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51-431: Jeffrey Deitch (pronounced DIE-tch ; born July 9, 1952) is an American art dealer and curator . He is best known for his gallery Deitch Projects (1996–2010) and curating groundbreaking exhibitions such as Lives (1975) and Post Human (1992), the latter of which has been credited with introducing the concept of " posthumanism " to popular culture. In 2010, ArtReview named him as the twelfth most influential person in

102-527: A Barbara Kruger video-and-slide-projection show in 1997. An early advocate of graffiti art in the 1980s, he later introduced New York to the style of street art which had originated in San Francisco in the 1990s among artists on the fringe of the skateboard scene. Deitch became well known as a supporter of young artists like Kehinde Wiley and Cecily Brown , while also representing the work of more established artists like Keith Haring and Jeff Koons . In

153-521: A vanity press does for authors. The shows lack legitimate curation and often include as many artists as possible. Most art professionals are able to identify them on an artist's resume. Rosi Braidotti Rosi Braidotti ( / b r aɪ ˈ d ɒ t i / ; born 28 September 1954) is a contemporary philosopher and feminist theoretician. Born in Italy, she studied in Australia and France and works in

204-478: A "cultural collision" between Deitch's more popular art tastes and MOCA's previous interests. Though Deitch was acknowledged to have boosted museum attendance to record levels, critics charged that MOCA's shows sometimes prioritized popular exhibits over artists who were well-known in the LA art scene or over more traditional scholarly concerns. In 2012, as the conflict grew, MOCA's board of trustees unanimously voted to ask for

255-429: A case for an alternative view on subjectivity, ethics and emancipation and pitches diversity against the postmodernist risk of cultural relativism while also standing against the tenets of liberal individualism. Throughout her work, Braidotti asserts and demonstrates the importance of combining theoretical concerns with a serious commitment to producing socially and politically relevant scholarship that contributes to making

306-437: A difference in the world. Braidotti's output also included several edited volumes. Her work has been translated in a total of 19 languages and all the main books in at least three languages other than English. In 2022, Braidotti published Posthuman Feminism, a text that helps establish a theoretical foundation for posthuman feminism, an alternate strand of posthumanism that seeks to move beyond Enlightenment humanism, embrace

357-609: A heating oil and coal company and his mother was an economist. He attended public high school in West Hartford, Connecticut , from 1967 to 1970. He was an exchange student in Paris in 1968, and in Japan in 1969. He graduated from Wesleyan University in 1974 and received an MBA from Harvard Business School in 1978. Deitch opened his first gallery as a college student in 1972 at the Curtis Inn,

408-404: A later interview that he was inspired by the example of Warhol's Factory to try to "create space for another generation of misfits." His first shows included works by Vanessa Beecroft , Jocelyn Taylor, Nari Ward , Yoko Ono , and Mariko Mori . Soon after, he bought the building housing Canal Lumber, a bigger space around the corner on Wooster Street. The first major exhibition project there was of

459-569: A portion of art sales; twenty-five to fifty per cent is typical. There are also many non-profit or collective galleries. Some galleries in cities like Tokyo charge the artists a flat rate per day, though this is considered distasteful in some international art markets. Galleries often hang solo shows. Curators often create group shows with a message about a certain theme, trend in art, or group of associated artists. Galleries sometimes choose to represent exclusive artists, giving them opportunities for regular shows. A gallery's definition can also include

510-486: A private for-profit commercial gallery. These galleries are found clustered together in large urban centers. Smaller cities are home to at least one gallery, but they may also be found in towns or villages, and remote areas where artists congregate, e.g. the Taos art colony and St Ives, Cornwall . Contemporary art galleries are often open to the general public without charge; however, some are semi-private. They profit by taking

561-545: A publication on new figurative painting featuring the most groundbreaking contemporary artists and their important predecessors. The following year, he conceived the creation of the Gallery Association Los Angeles (GALA), to "generate excitement about the L.A. gallery scene" and shared his idea with a group of gallerists in Los Angeles. In May 2020, GALA launched galleryplatform.la, an online platform that serves

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612-578: A record for the artist. Over his career, Deitch has crafted for himself a unique role that merges curatorial profile with the business side of art. Since 1975, Deitch has curated exhibitions internationally. Among his most celebrated projects are Lives (1975), Born in Boston (1979), New Portrait (1984) at Moma PS1 , and Form Follows Fiction (2001) at Castello di Rivoli , Turin. Between 1988 and 2008, Deitch curated numerous shows at Deste Foundation , Athens, including: In addition to Deste, Post Human

663-421: A regular at Warhol’s Factory , Deitch also introduced Warhol to a number of wealthy clients to draw their portraits. In 2022, he appeared in the documentary series The Andy Warhol Diaries to discuss their friendship. Deitch was also a friend of and art dealer for Jean-Michel Basquiat . He was the first dealer to buy a work by the artist and the first person to write about his work in print. He later delivered

714-601: A rented hotel parlor in Lenox, Massachusetts , and sold out the first week. Fascinated by the work of Andy Warhol and other contemporary artists, he later moved to New York and worked as a receptionist at John Weber Gallery in SoHo . From 1979 to 1988, Deitch helped develop and co-manage the art advisory and art finance department at Citibank . In this capacity, he lent money to major art collectors and facilitated loans to small galleries like Gracie Mansion for its 1984 renovation. Having become

765-537: A sustainable future? The Posthuman concludes by considering the implications of these shifts for the institutional practice of the humanities. Braidotti outlines new forms of cosmopolitan neo-humanism that emerge from the spectrum of post-colonial and race studies, as well as gender analysis and environmentalism. The challenge of the posthuman condition consists in seizing the opportunities for new social bonding and community building, while pursuing sustainability and empowerment. In 2011 Braidotti published two new books:

816-901: A thematic exhibition. From 2015 to 2021, the exhibitions were housed in The Moore Building of Miami's Design District . In 2018, Deitch opened a new 15,000-square-foot (1,400-square-metre) space in Hollywood, designed by Frank Gehry , specifically to mount what he described as "museum-level" exhibitions. The gallery was inaugurated with a solo exhibition of Ai Weiwei , followed by shows by Urs Fischer , Judy Chicago , Robert Longo , Nadia Lee Cohen , George Clinton , and Refik Anadol , among others. The gallery has also organized large-scale thematic exhibitions such as Shattered Glass (curated by AJ Girard and Melahn Frierson), 2021), Clay Pop (curated by Alia Dahl, 2022), and Wonder Women (curated by Kathy Huang, 2023). In 2019, Deitch edited Unrealism ,

867-734: Is a Fellow of the Australian Academy of the Humanities (FAHA) since 2009, and a Member of the Academia Europaea (MAE) since 2014. Her main publications include Nomadic Subjects (2011) and Nomadic Theory (2011), both with Columbia University Press, The Posthuman (2013), Posthuman Knowledge (2019), and Posthuman Feminism (2022) with Polity Press. In 2016, she co-edited Conflicting Humanities with Paul Gilroy, and The Posthuman Glossary in 2018 with Maria Hlavajova, both with Bloomsbury Academic. Braidotti, who holds Italian and Australian citizenship,

918-495: Is often said to be reflected in his portrait by Titian (1567) . Art dealers often study the history of art before entering on their careers. Related careers that often cross-over include curators of museums and art auction firms are industry-related careers. Gallery owners who do not succeed may seek to work for more successful galleries. Others pursue careers as art critics , academics, curators of museums or auction houses, or practicing artists. Dealers have to understand

969-419: Is subject to economic booms and busts just like any other market. Art dealers must be economically conscious in order to maintain their livelihoods. The mark ups of art work must be carefully monitored. If prices and profits are too large, then investments may be devalued should an overstock or economic downturn occur. To determine an artwork's value, dealers inspect the objects or paintings closely, and compare

1020-444: Is that a systematic ambivalence structures contemporary cultural representations of the globalised, technologically mediated, ethnically mixed, gender-aware world we now inhabit. The question consequently arises of what it takes to produce adequate cultural and political representations of a fast-changing world and move closer to Spinozian notions of adequate understanding. The ethical dimension of Braidotti's work on difference comes to

1071-648: The Netherlands since 1988, when she was appointed as the founding professor in women's studies . In 1995 she became the founding Director of the Netherlands research school of Women's Studies, a position she held till 2005. Braidotti is a pioneer in European Women's Studies: she founded the inter-university SOCRATES network NOISE and the Thematic Network for Women's Studies ATHENA, which she directed till 2005. She

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1122-523: The artist cooperative or artist-run space , which often (in North America and Western Europe) operates as a space with a more democratic mission and selection process. Such galleries have a board of directors and a volunteer or paid support staff who select and curate shows by committee, or some kind of similar process to choose art often lacking commercial ends. A vanity gallery is an art gallery charging fees from artists to show their work, much like

1173-457: The 1990s, Deitch helped fund Koons' expensive “Celebration series” and also organized the artist’s 50th birthday party at his gallery. In conjunction with Creative Time and Paper Magazine , Deitch Projects also organized SoHo's annual Art Parade, with over 1,000 participants from 2005 to 2008. In 2010, Jeffery Deitch was appointed Director to the Museum of Contemporary Art, Los Angeles (MOCA), which

1224-988: The Board of the Consortium Humanities Centres and Institutes (CHCI) and in 2014 a member of the Scientific Council of the Conseil National de la Recherche Scientifique in France. Braidotti was the founding Director of the Centre for the Humanities at Utrecht University (2007–2016), and is currently Distinguished University Professor at Utrecht University. Braidotti serves, or has served, on the advisory board of many academic feminist journals, including differences , Signs , Women's Studies International Forum , and Feminist Formations . Braidotti's publications have consistently been placed in continental philosophy, at

1275-455: The Netherlands. Braidotti is currently Distinguished University Professor Emerita at Utrecht University, where she has taught since 1988, and Honorary Professor at RMIT University in Australia. She was professor and the founding director of Utrecht University's women's studies programme (1988–2005) and founding director of the Centre for the Humanities (2007–2016). She has been awarded honorary degrees from Helsinki (2007) and Linkoping (2013); she

1326-534: The Streets (2011), the first major U.S. museum survey of graffiti and street art. In 2013, he helped organize a show by Urs Fischer in which the artist collaborated with 1000 LA residents to fill an exhibition space with clay figures. Additionally, Deitch conceived MOCAtv, the first original YouTube channel dedicated to fine art. Deitch donated his after-tax salary back to the museum throughout his tenure. By 2012, Deitch's directorship led to what one commentator called

1377-448: The business side of the art world. They keep up with trends in the market and are knowledgeable about the style of art people want to buy. They figure out how much they should pay for a piece and then estimate the resale price. They are also often passionate and knowledgeable about art. Those who deal with contemporary art promote new artists, creating a market for the artists' works and securing financial success for themselves. The art world

1428-552: The dialectics that both opposes it and thus links it by negation to the notion of sameness. This is evidenced in the philosophical agenda set in her first book Patterns of Dissonance: An Essay on Women in Contemporary French Philosophy , 1991, which gets developed further in the trilogy that follows. In the next book, Nomadic Subjects: Embodiment and Difference in Contemporary Feminist Theory , 1994,

1479-615: The dynamic Los Angeles art community with editorial content and rotating online viewing rooms. In 2022, Deitch opened a second location in a historic building on Santa Monica Boulevard , the former home of Radio Recorders , a studio that recorded Elvis Presley and Billie Holiday , among others. Periodically, Deitch hosts artisan marketplaces in the back courtyard of his flagship Los Angeles location. Art dealer An art dealer in contemporary art typically seeks out various artists to represent, and builds relationships with collectors and museums whose interests are likely to match

1530-443: The eulogy at Basquiat's funeral and served on the artwork authentication committee for the artist's estate. From 1988 to 1996, Deitch was a successful private dealer and art adviser to a number of collectors, including Jose Mugrabi . As advisor to Goldman Sachs for the public art in its 200 West Street New York headquarters in 2006, Deitch helped to realize Julie Mehretu 's 80-foot-long work "Mural", described by one critic as "one of

1581-412: The extent to which a post-humanist move displaces the traditional humanistic unity of the subject. Rather than perceiving this situation as a loss of cognitive and moral self-mastery, Braidotti argues that the posthuman helps us make sense of our flexible and multiple identities. Braidotti then analyzes the escalating effects of post-anthropocentric thought, which encompass not only other species, but also

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1632-422: The fine details with similar pieces. Some dealers with many years of experience learn to identify unsigned works by examining stylistic features such as brush strokes, color, form. They recognize the styles of different periods and individual artists. Often art dealers are able to distinguish authentic works from forgeries (although even dealers are sometimes fooled). The term contemporary art gallery refers to

1683-447: The fore in the last volume of the trilogy, Transpositions: On Nomadic Ethics , 2006. Here she surveys the different ethical approaches that can be produced by taking difference and diversity as the main point of reference and conclude that there is much to be gained by suspending belief that political participation, moral empathy and social cohesion can only be produced on the basis of the notion of recognition of sameness. Braidotti makes

1734-602: The international art world. Deitch has been closely associated with artists such as Andy Warhol , Jean-Michel Basquiat , and Jeff Koons . From 2010 to 2013, he served as director of the Museum of Contemporary Art, Los Angeles (MOCA) . He currently owns and directs Jeffrey Deitch Gallery, an art gallery with locations in New York and Los Angeles . Deitch was born on July 9, 1952, and grew up in Hartford, Connecticut , where his father ran

1785-472: The intersection with social and political theory, cultural politics, gender, feminist theory and ethnicity studies. The core of her interdisciplinary work consists of four interconnected monographs on the constitution of contemporary subjectivity, with special emphasis on the concept of difference within the history of European philosophy and political theory. Braidotti's philosophical project investigates how to think difference positively, which means moving beyond

1836-461: The largest and most successful public art works in recent times". In 1989, he bid US$ 10.5 million and paid $ 11.55 million for Jackson Pollock 's silvery No. 8, 1950 , then a record at auction for a work by the artist and the second-highest price at auction for a work by any contemporary artist. In 2006, he bought Bridget Riley 's Untitled (Diagonal Curve) (1966), at Sotheby's for $ 2.1 million, nearly three times its $ 730,000 high estimate and also

1887-862: The latter. Deitch is known as an advocate for street art and has headed several influential public art projects with street artists. He initiated Wynwood Walls with Tony Goldman in Miami in 2009 and Coney Art Walls on Coney Island in New York in 2015. In 1980, he became a regular columnist of Flash Art and the first U.S. editor of Flash Art International . His writings have appeared in numerous international magazines, including Art in America , Artforum , Garage , Interview magazine , Kaleidoscope , Paper magazine , and Purple magazine . In 1996, Deitch opened Deitch Projects in SoHo in New York City. He stated in

1938-434: The nonhuman, and imagine how technology is changing our lives while still centering social justice issues of gender, race, and class. In The Posthuman (2013), Braidotti offers both an introduction and major contribution to contemporary debates on the posthuman. As the traditional distinction between the human and its others has blurred, exposing the non-naturalistic structure of the human, The Posthuman starts by exploring

1989-669: The politics of affirmation. Influenced by philosophers such as Gilles Deleuze and especially French feminist thinker Luce Irigaray , Braidotti has brought postmodern feminism into the Information Age with her considerations of cyberspace, prosthesis, and the materiality of difference. Braidotti also considers how ideas of gender difference can affect our sense of the human/animal and human/machine divides. Braidotti has also pioneered European perspectives in feminist philosophy and practice and has been influential on third-wave as well as post-secular feminisms. On 3 March 2005, Braidotti

2040-486: The question is formulated in more concrete terms: can gender, ethnic, cultural or European differences be understood outside the straitjacket of hierarchy and binary opposition? Thus the following volume, Metamorphoses: Towards a Materialist Theory of Becoming , 2002, analyses not only gender differences, but also more categorical binary distinctions between self and other, European and foreign, human and non-human (animal-, environmental-, technological-others). The conclusion

2091-541: The renewed and revised edition of Nomadic Subjects and collection of essays Nomadic Theory. The Portable Rosi Braidotti . The collection provides a core introduction to Braidotti's nomadic theory and its innovative formulations, which engage with Gilles Deleuze , Michel Foucault , Luce Irigaray , and a host of political and cultural issues. Arranged thematically, essays begin with such concepts as sexual difference and embodied subjectivity and follow with explorations in technoscience , feminism , postsecular citizenship, and

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2142-485: The resignation of its longtime chief curator Paul Schimmel , leading to the resignation of four artists on MOCA's board in protest. Deitch resigned from MOCA the following year. In 2014, Deitch published Live the Art on the 15-year history of Deitch Projects. In 2015, he began hosting shows at 76 Grand Street in New York, one of his former gallery spaces. In July 2016, he reopened his Lower Manhattan gallery at 18 Wooster Street,

2193-587: The space he ran from 1996 to 2010 and rented out to the Swiss Institute for the following five years. Deitch now runs the two spaces under Jeffrey Deitch Inc. Since reopening the gallery, Deitch has organized exhibitions by Ai Weiwei , Kenny Scharf , Austin Lee , Bisa Butler , Kenturah Davis , Sasha Gordon , Kennedy Yanko , and Walter Robinson , among others. Every year, during Art Basel Miami Beach , Deitch's gallery collaborates with art dealer Larry Gagosian on

2244-428: The sustainability of our planet as a whole. Because contemporary market economies profit from the control and commodification of all that lives, they result in hybridization, erasing categorical distinctions between the human and other species, seeds, plants, animals and bacteria. These dislocations induced by globalized cultures and economies enable a critique of anthropocentrism, but how reliable are they as indicators of

2295-646: The work of the represented artists. Some dealers are able to anticipate market trends , while some prominent dealers may be able to influence the taste of the market. Many dealers specialize in a particular style, period, or region. They often travel internationally, frequenting exhibitions , auctions , and artists' studios looking for good buys, little-known treasures, and exciting new works. When dealers buy works of art, they resell them either in their galleries or directly to collectors. Those who deal in contemporary art in particular usually exhibit artists' works in their own galleries. They will often take part in preparing

2346-497: The works of art to be revealed or processed. Art dealers' professional associations serve to set high standards for accreditation or membership and to support art exhibitions and shows. The art dealer as a distinct profession perhaps emerged in the Italian Renaissance , in particular to feed the new appetite among collectors for classical antiquities , including coins. The somewhat disreputable character of Jacopo Strada

2397-695: Was a Leverhulme Trust Visiting professor at Birkbeck College in 2005–6; a Jean Monnet professor at the European University Institute in Florence in 2002–2003 and a fellow in the school of Social Science at the Institute for Advanced Study in Princeton in 1994. She is a founding member of the European Consortium for Humanities Institutes and Centres ( ECHIC ), 2008; in 2010 she was elected member of

2448-850: Was born in Italy and moved to Australia when she was 16, where she received degrees from the Australian National University in Canberra in 1977 and was awarded the University Medal in Philosophy and the University Tillyard prize. Braidotti then moved on to do her doctoral work at the Sorbonne , where she received her degree in philosophy in 1981. She has taught at the University of Utrecht in

2499-724: Was honored with a Royal Knighthood from Queen Beatrix of the Netherlands ; in August 2006 she received the University Medal from the University of Łódź in Poland and she was awarded an Honorary Degree in Philosophy from Helsinki University in May 2007. In 2009, she was elected Honorary Fellow of the Australian Academy of the Humanities. Since 2009 she is a board member of Consortium of Humanities Centre and Institutes. In 2013 she received an Honorary Degree in Philosophy from Linköping University in Sweden. Braidotti

2550-808: Was presented at five venues, including the Castello di Rivoli (Turin), Deichtorhallen (Hamburg), and The Israel Museum (Jerusalem). Philosopher Rosi Braidotti and others credit the show with introducing the term " posthuman " into the popular consciousness. In 1995, he wrote the strategic plan for the Mori Art Museum in Tokyo. His other curatorial projects have included the Venice Biennale 's Aperto (1993), City as Studio (K11 Art Foundation, Hong Kong, 2023), and Confluence (Nita Mukesh Ambani Cultural Centre, Mumbai, 2023), collaborating with poet Ranjit Hoskote on

2601-530: Was seeking to recover from low attendance and a near-bankruptcy following the Great Recession . Before stepping into the new role, Deitch closed Deitch Projects and also resigned from the Basquiat authentication committee. During his three-year tenure, Deitch advised and curated seminal exhibitions such as Dennis Hopper: Double Standard (2010), The Painting Factory: Abstraction After Warhol (2012) and Art in

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