Tagsmart is a British technology company, formally launched in April 2016. The company pioneered the application of DNA tags to authenticate artworks and is now the go-to provider of tagging and certification services in the fine art market. It was the only such business highlighted in the 2017 Deloitte Art and Finance Report. Tagsmart already has 23,000 artworks on its platform attributed to over 200 artists and has tagged and certificated more than 11,000 works.
The company has relationships with hundreds of artists, galleries, and fabricators, from world-renowned founding partners like Gary Hume through to increasing numbers of emerging and decorative artists.
Robert Suss is also a Trustee of the Royal Academy of Arts and Co-Founder of the Frank-Suss Collection, which contains more than 1,000 works by emerging and mid-career artists from ‘countries undergoing significant social, economic, or political change’.
His account is a mixture of socialising, additions to his collection, and holiday shots.
His abstract photography pieces were just beautiful, particularly Blushes #136 (2014). It was the first time that I saw photography executed in this way. By playing with chemicals and light, he created almost a painting through photography. Another work that drew me in was Tillmans’ luscious and foamy depiction of the sea in La Palma (2014). Very satisfying to look at.
This exhibition at Zabludowicz Collection was the most moving exhibition that I had ever been to, leaving a permanent impression on me.
Upon entering, I was faced with mostly naked men and women, wearing only latex, ripped bodystockings and slathers of paint. They moved in slow motion to the sound of a heavy bass, leaving remnants of paint on the glass installation and footsteps in the sand maze.
I thought that a room filled with naked people would put me on edge, but somehow I felt I could sit in the beautiful chapel and watch the scene with comfort, totally mesmerised by the passing models who seemed totally unaware of my presence.
The show could have been laughable, but Huanca executed it with a certain delicacy and fearlessness which I cannot contest.
Back in the 1950/60s, Hélio Oiticica created the radical series of red, yellow, and orange hanging structures called Relevos Espaciais (Spatial Reliefs). Built from sheets of plywood, they intersect and overlap, leaving gaps through which light can pass. By transposing blocks of colour into space, Oiticica involved the viewers in a personal and immersive way with these three-dimensional constructions.
It seems to me a further step was taken in this direction with Joel Shapiro’s suspended sculptures, which seem to float and defy gravity. Open to several possible interpretations, his continuous study of the dynamics of form and colour confounds expectations and challenges our senses.
What fascinates me about him is his almost unique talent for creative composition, which is really clear in the works shown here. There was less emphasis on his paintings, which suited me because I don’t enjoy them as much! I bought several, of course – they took my cheque.
I loved the way it was set up. It was very interesting to see periods in his life divided by rooms and so much of his work in one place. The last room with digital iPad drawings just showed how talented he really is, that he could adapt quickly to new media.