Wind energy was no longer funny-it was well on its way to powering more than 6% of electricity in the United States.Īward-winning journalist, Russel Gold tells Skelly's story, which in many ways is the story of our nation's evolving relationship with renewable energy. Eight years later, Skelly helped build the second largest wind power company in the United States-and sold it for $2 billion. A transition from a North American power grid that is powered mostly by fossil fuels to one that is predominantly clean is feasible, but it would require a massive building spree-wind turbines, solar panels, wires, and billions of dollars would be needed.Įnter Michael Skelly, an infrastructure builder who began working on wind energy in 2000 when many considered the industry a joke. We have fallen out of love with dirty fossil fuels and want to embrace renewable energy sources like wind and solar. The United States is in the midst of an energy transition. It hasn’t happened yet, but they are confident they can push the price there soon.Meet Michael Skelly, the man boldly harnessing wind energy that could power America's future and break its fossil fuel dependence in this "essential, compelling look into the future of the nation's power grid" (Bryan Burrough, author of The Big Rich). Now, dealers and auctioneers are seeking the first billion-dollar painting. This kaleidoscopic history begins in the mid-1940s in genteel poverty with a scattering of galleries in midtown Manhattan, takes us through the ramshackle 1950s studios of Coenties Slip, the hipster locations in SoHo and Chelsea, London’s Bond Street, and across the terraces of Art Basel until today.
He has spoken to all of today’s so-called mega dealers-Larry Gagosian, David Zwirner, Arne and Marc Glimcher, and Iwan Wirth-along with dozens of other dealers-from Irving Blum to Gavin Brown-who worked with the greatest artists of their times: Jackson Pollock, Andy Warhol, Cy Twombly, and more. Michael Shnayerson, a longtime contributing editor to Vanity Fair, writes the first ever definitive history of their activities. But none of it would happen without the dealers-the tastemakers who back emerging artists and steer them to success, often to see them picked off by a rival.ĭealers operate within a private world of handshake agreements, negotiating for the highest commissions. The contemporary art market is an international juggernaut, throwing off multimillion-dollar deals as wealthy buyers move from fair to fair, auction to auction, party to glittering party. They can make and break careers and fortunes.
The meteoric rise of the largest unregulated financial market in the world-for contemporary art-is driven by a few passionate, guileful, and very hard-nosed dealers.
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