Wikipedia:Articles for deletion/Judd Tully

The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.

The result was keep. So Why 08:39, 15 July 2017 (UTC)[reply]

Judd Tully

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From one side, when I search for him, there are hundreds of links, where he is author, but I didn't find a lot of information that maintains the notability claim as per WP:JOURNALIST. Arthistorian1977 (talk) 12:42, 29 June 2017 (UTC)[reply]

Keep – Believe the author meets our notability guideline under WP:AUTHOR “…as a person being regarded as an important figure or is widely cited by peers or successors.” In looking at Google Scholar here[1] we can see Mr. Tully is a prolific author where his papers and books are being cited on an ongoing bases by other authors. In addition, when looking at were his work is being used we see an abundance of well-known and important academics using Mr. Tully’s work as referenced in the cites [2]. ShoesssS ^Talk 14:43, 29 June 2017 (UTC)[reply]

Keep – I understand reservations about his notability from an digital media perspective. His work has only been more recently making it online. However he is really a ubiquitous figure in the artworld, especially in regards to covering the art market^[1]. His oeuvre go back almost 35 years where he got his start writing with a lot of the early Contemporary Art Magazines and journals in 1970’s SOHO. I think the issue is maybe a chunk of his body of work is in print that has never been ported over to online sources. I’m working on digging some of those up and putting them here, but for now my entry is just a start.

The person is regarded as an important figure or is widely cited by peers or successors.
Tully is quoted widely and frequently as a source amongst established art critics. For example
- Quoted by NY Times Critic Roberta Smith in an article about sculptor Donald Judd.^[2]
- Referenced as source in NY times obituary of Art and Auction editor Bruce Wolmer.^[3]
- Cited in NY Times by critic Benjamin Genocchio about the artist Reuben Kadish ^[4]
The person is known for originating a significant new concept, theory, or technique.
He was one of the first journalist to cover the rise secondary market as a significant place to store wealth and use price collusion.
- Art and Auction Cover Feature on Price Collusion^[5]
- Washington Post article for record Sale Sale of Van Gogh’s Irises in 1987^[6]
The person has created or played a major role in co-creating a significant or well-known work or collective body of work. In addition, such work must have been the primary subject of an independent and notable work (for example, a book, film, or television series, but usually not a single episode of a television series) or of multiple independent periodical articles or reviews.
Tully has been writing for Cultural and Art outlets since the late seventies. Again a lot of these materials are extant as print and not digital. He has written for Flash Art, Art and Auction Magazine, New Art Examiner, ARTS Magazine, ART/WORLD, Horizons, Artnews and Artnet to name a few^[7]. He does have several monographs that are sought after including Red Grooms Manhattan Rukus^[8] and more recently Donald Judd solo show catalog at Mnuchin Gallery^[9]
The person's work (or works) either (a) has become a significant monument, (b) has been a substantial part of a significant exhibition, (c) has won significant critical attention, or (d) is represented within the permanent collections of several notable galleries or museums.
I think other two sections above help illustrate this.

User:Meenween ^Talk12:05, 30 June 2017 (UTC)[reply]

Note: This debate has been included in the list of Arts-related deletion discussions. Coolabahapple (talk) 12:31, 1 July 2017 (UTC)[reply]

Note: This debate has been included in the list of Journalism-related deletion discussions. Coolabahapple (talk) 12:31, 1 July 2017 (UTC)[reply]

References

^ Thompson, Don (Feb 21, 2012). The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art. St. Martin’s Press. p. 255. Always informed and readable is the writing of Kelly Devine Thomas of ARTnews, Carol Vogel of the New York Times, Jerry Saltz, fomrer art critic for New York's The Village Voice, Anthony Haden-Guest of the Financial Times, and Judd Tully of Art& Auction.
^ Smith, Roberta (October 2011). "Donald Judd: 'Stacks'". nytimes.com. The New York Times. Retrieved June 29, 2017. In the catalog to the exhibition at the Mnuchin Gallery, the art critic Judd Tully aptly calls the stacks "regal." They have the implacable presence of ships' prows or big trees but without the ponderous weight.
^ Kennedy, Randy (August 16, 2007). "Bruce Wolmer, Editor and Art World Explainer, Dies at 59". nytimes.com. The New York Times. Retrieved June 28, 2017. Bruce Wolmer, the longtime editor and publisher of Art & Auction magazine and an expert on the heavily moneyed byways of the international art world, died in New York on Saturday. He was 59 and lived in Manhattan. The cause was complications of diabetes, said Judd Tully, an art critic and the magazine's editor at large.
^ Genocchio, Benjamin (September 19, 2004). "ART REVIEWS; What He Learned in the War". nytimes.com. The New York Times. Retrieved June 28, 2017. And then he moved with his young family to a ramshackle dairy farm outside Vernon, N.J., where, after almost a decade in retreat from art, he began to make sculpture. His first works were squat, crudely fashioned figures in clay, the artist carving directly into the pliable material with the sharpened point of a rib from a pig he had slaughtered for the family table, the art critic Judd Tully writes melodramatically in his essay for the catalog. Later, Kadish began casting in bronze and making larger-scale pieces modeled loosely on Indian architecture and carved stone sculpture.
^ Tully, Judd (March 1, 2000), What is Price Collusion?, Art and Auction, pp. 43–56, As this issue went to press, another explosion in the wide-reaching Department of Justice probe of the art market detonated on February 21, with the twin resignations of Sotheby's longtime corporate leaders, chairman and majority shareholder A. Alfred Taubman and president and CFO Diana D. ("Dede") Brooks. "My decision is a very difficult one, but I have taken it in the best interests of the company and of my colleagues," said Brooks in a press statement. Breaking its stony silence, the company also commented on the 22-month-old antitrust investigation: "Sotheby's has recently met with the Department of Justice in order to discuss a prompt and appropriate resolution of this investigation, which will allow the company to put this difficult matter behind it." It also confirmed that the investigation and subsequent spate of related lawsuits "could well have a material impact on Sotheby's financial condition and/or results of operations." Sotheby's noted that it has secured a $300 million credit line through Chase Manhattan Bank to meet those 'future business needs." Sotheby's named former Columbia University president (and Clinton legal defense fund trustee) Michael I. Sovern as chairman. Sotheby's veteran William E Ruprecht takes over Brooks's position. Both Taubman, who controls 63 percent of the voting power, and Brooks remain on Sotheby's board, however. The timing and impact of the resignations could not haw been worse for the company as it entered the critical last two weeks of nailing down multi-million-dollar consignments for the important May sales. Already at a competitive disadvantage from Christie's recent lowering of seller commissions (see page 63), the firm is being hit where it hurts most, its vaunted bottom line. Wall Street reacted to the latest news with thumbs-down velocity, sending Sotheby's stock skittering south to a near-record low it closed at 150 on February 22—and also fueling rumors that the company was ripe for a takeover, given the grim scenario. Speculation centers on online giants amazon.com and eBay and the luxury-goods empire LVMH.
^ Tully, Judd (November 12, 1987), $53.9 MILLION FOR VAN GOGH, Washington Post, In the space of three minutes yesterday evening, "Irises," one of Vincent van Gogh's most beautiful paintings, was sold for $53.9 million to a collector whose identity was not immediately disclosed. The telephone bid, submitted by a European agent, shattered the previous record for a work of art sold at auction, the $39.9 million paid for van Gogh's "Sunflowers" last March.
^ "Klein Artist Works - Judd Tully Profile". kleinartistworks.com. Klein Artist Works. Retrieved June 28, 2017. New York-based arts writer and journalist Judd Tully has been steeped in the international art market since the mid-1970s. He discusses the trajectory of his career and elucidates the international art market, auctions, art fairs, and different levels of artists' careers. Judd Tully is an arts writer and editor at large for Art + Auction and ARTINFO. He has covered auctions, art fairs, and exhibitions for nearly forty years. He got his start writing for underground papers in Berkely, CA, before moving to Manhattan and writing about art for the SoHo Weekly News, an early competitor of the Village Voice. Tully was subsequently a freelance writer for the Washington Post, Flash Art, The New Art Examiner, and numerous other publications.
^ Red Grooms and Ruckus Manhattan. G. Braziller. 1977. Retrieved June 28, 2017 – via Internet Archive.
^ Andrew, Russeth (October 1, 2013). "'Donald Judd: Stacks' at Mnuchin Gallery". observer.com. The Observer. Retrieved June 29, 2017. In a catalog essay, art-market reporter Judd Tully quotes from a 1989 interview with Judd, new to me, in which the artist states with characteristic fervor, "I object very much when my work is said to not be political, because my feelings about the social system are in there somewhere. The idea is to have it all in there together—you can't pull it out." Take him at his word. While they're no doubt exemplars of wall power, presented in such a large group, they also have to be seen as emblems of American imperial and corporate might, these industrial materials repetitiously cut into lines of boxes like so many products, prisons or computer server cabinets. They harbor energies, beautiful and dark.

Relisted to generate a more thorough discussion and clearer consensus.
Please add new comments below this notice. Thanks, Winged Blades^Godric 06:05, 7 July 2017 (UTC)[reply]

The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.

[1] Thompson, Don (Feb 21, 2012). The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art. St. Martin’s Press. p. 255. Always informed and readable is the writing of Kelly Devine Thomas of ARTnews, Carol Vogel of the New York Times, Jerry Saltz, fomrer art critic for New York's The Village Voice, Anthony Haden-Guest of the Financial Times, and Judd Tully of Art& Auction.

[2] Smith, Roberta (October 2011). "Donald Judd: 'Stacks'". nytimes.com. The New York Times. Retrieved June 29, 2017. In the catalog to the exhibition at the Mnuchin Gallery, the art critic Judd Tully aptly calls the stacks "regal." They have the implacable presence of ships' prows or big trees but without the ponderous weight.

[3] Kennedy, Randy (August 16, 2007). "Bruce Wolmer, Editor and Art World Explainer, Dies at 59". nytimes.com. The New York Times. Retrieved June 28, 2017. Bruce Wolmer, the longtime editor and publisher of Art & Auction magazine and an expert on the heavily moneyed byways of the international art world, died in New York on Saturday. He was 59 and lived in Manhattan. The cause was complications of diabetes, said Judd Tully, an art critic and the magazine's editor at large.

[4] Genocchio, Benjamin (September 19, 2004). "ART REVIEWS; What He Learned in the War". nytimes.com. The New York Times. Retrieved June 28, 2017. And then he moved with his young family to a ramshackle dairy farm outside Vernon, N.J., where, after almost a decade in retreat from art, he began to make sculpture. His first works were squat, crudely fashioned figures in clay, the artist carving directly into the pliable material with the sharpened point of a rib from a pig he had slaughtered for the family table, the art critic Judd Tully writes melodramatically in his essay for the catalog. Later, Kadish began casting in bronze and making larger-scale pieces modeled loosely on Indian architecture and carved stone sculpture.

[5] Tully, Judd (March 1, 2000), What is Price Collusion?, Art and Auction, pp. 43–56, As this issue went to press, another explosion in the wide-reaching Department of Justice probe of the art market detonated on February 21, with the twin resignations of Sotheby's longtime corporate leaders, chairman and majority shareholder A. Alfred Taubman and president and CFO Diana D. ("Dede") Brooks. "My decision is a very difficult one, but I have taken it in the best interests of the company and of my colleagues," said Brooks in a press statement. Breaking its stony silence, the company also commented on the 22-month-old antitrust investigation: "Sotheby's has recently met with the Department of Justice in order to discuss a prompt and appropriate resolution of this investigation, which will allow the company to put this difficult matter behind it." It also confirmed that the investigation and subsequent spate of related lawsuits "could well have a material impact on Sotheby's financial condition and/or results of operations." Sotheby's noted that it has secured a $300 million credit line through Chase Manhattan Bank to meet those 'future business needs." Sotheby's named former Columbia University president (and Clinton legal defense fund trustee) Michael I. Sovern as chairman. Sotheby's veteran William E Ruprecht takes over Brooks's position. Both Taubman, who controls 63 percent of the voting power, and Brooks remain on Sotheby's board, however. The timing and impact of the resignations could not haw been worse for the company as it entered the critical last two weeks of nailing down multi-million-dollar consignments for the important May sales. Already at a competitive disadvantage from Christie's recent lowering of seller commissions (see page 63), the firm is being hit where it hurts most, its vaunted bottom line. Wall Street reacted to the latest news with thumbs-down velocity, sending Sotheby's stock skittering south to a near-record low it closed at 150 on February 22—and also fueling rumors that the company was ripe for a takeover, given the grim scenario. Speculation centers on online giants amazon.com and eBay and the luxury-goods empire LVMH.

[6] Tully, Judd (November 12, 1987), $53.9 MILLION FOR VAN GOGH, Washington Post, In the space of three minutes yesterday evening, "Irises," one of Vincent van Gogh's most beautiful paintings, was sold for $53.9 million to a collector whose identity was not immediately disclosed. The telephone bid, submitted by a European agent, shattered the previous record for a work of art sold at auction, the $39.9 million paid for van Gogh's "Sunflowers" last March.

[7] "Klein Artist Works - Judd Tully Profile". kleinartistworks.com. Klein Artist Works. Retrieved June 28, 2017. New York-based arts writer and journalist Judd Tully has been steeped in the international art market since the mid-1970s. He discusses the trajectory of his career and elucidates the international art market, auctions, art fairs, and different levels of artists' careers. Judd Tully is an arts writer and editor at large for Art + Auction and ARTINFO. He has covered auctions, art fairs, and exhibitions for nearly forty years. He got his start writing for underground papers in Berkely, CA, before moving to Manhattan and writing about art for the SoHo Weekly News, an early competitor of the Village Voice. Tully was subsequently a freelance writer for the Washington Post, Flash Art, The New Art Examiner, and numerous other publications.

[8] Red Grooms and Ruckus Manhattan. G. Braziller. 1977. Retrieved June 28, 2017 – via Internet Archive.

[9] Andrew, Russeth (October 1, 2013). "'Donald Judd: Stacks' at Mnuchin Gallery". observer.com. The Observer. Retrieved June 29, 2017. In a catalog essay, art-market reporter Judd Tully quotes from a 1989 interview with Judd, new to me, in which the artist states with characteristic fervor, "I object very much when my work is said to not be political, because my feelings about the social system are in there somewhere. The idea is to have it all in there together—you can't pull it out." Take him at his word. While they're no doubt exemplars of wall power, presented in such a large group, they also have to be seen as emblems of American imperial and corporate might, these industrial materials repetitiously cut into lines of boxes like so many products, prisons or computer server cabinets. They harbor energies, beautiful and dark.

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