art market

(data via TEFAF; graph by Claire Voon/Hyperallergic)

“It’s really business as usual,” announced one Fabian Bocart in today’s New York Times, apropos the putative stability of the art market.

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Post image for A Demographic Breakdown of the World’s 200 Top Art Collectors

Hyperallergic has taken it on ourselves to crunch the numbers and scan the demographics of ARTnews magazine’s top 200 art collectors in the world.

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Post image for What’s Good for the Art Market Is Bad for the Economy

One of the art world’s neatest neoliberal parlor tricks is transforming the real world’s troubles into pleasingly hermetic objects for hobbyists, and in this respect the European Fine Art Foundation (TEFAF)’s ebullient annual economic report is a fine specimen.

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Post image for Art Market Moved $66 Billion Last Year, Nearing Pre-Recession Levels

International art and antique market sales totaled €47.4 billion ($66 billion) last year, their highest sum since the pre-recession days of 2007, according to the European Fine Art Foundation (TEFAF)’s annual art market report, released yesterday.

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Post image for Marc Jancou, Cady Noland, and the Case of the Authorless Artwork

SOMERVILLE, Mass. — Ending not with a bang but a whimper, the last bit of legal wrangling in the case that pitted collector Marc Jancou against Cady Noland and Sotheby’s was quietly settled on November 11.

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Post image for Will the Art Market Ever Regulate Itself?

Regulation in the world of art commerce is a troublesome word.

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Post image for The Art Market Is the Market Is the Market

Yesterday’s critique of Allison Schrager’s art market takedown in Quartz was about something that is ultimately quite simple: certain fictions about the exceptional irrationality or corruption of the art market are sustained for various reasons — from marginalized artists who would sooner believe that it is the art market, rather than the market entire, which is predisposed against them to financial journalists who want to legitimize their own lack of scrutiny for “the real economy” by using the art market as a straw man for “inefficient” or “corrupt” markets.

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Post image for The Art Market Smells Like Money

Last week, Atlantic Media’s business publication, Quartz, ran a 2200-word takedown of the art market by Allison Schrager. The story was accompanied by a helpful flowchart illustrating how deeply corrupt the art market is, and carries all the familiar signs of the minimally self-aware bloviation characteristic of the financial press. That Schrager, “an economist with a focus on pension issues,” seems to not quite be sure of anything she’s saying — the word “probably” appears with alarming regularity — is not the most repugnant quality of the piece.

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Post image for Watch Out, Art World: Amazon Is About to Start Selling Art

This day may have been inevitable, but now it’s finally here. In its attempt to take over the world — or at least everything that can be bought and sold in the world, Amazon is launching an art gallery.

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Art Is the New Gold

by Mostafa Heddaya on April 29, 2013

Post image for Art Is the New Gold

Channeling the conspiratorially unhinged salesmanship of a Cash 4 Gold pitchman, the New York Times ran a hilariously bad art market trend piece today — a story titled “As Money Props Up Art World, Prospects Are Mixed,” which portends to link macroeconomic trends with demand for art market investment vehicles. In its own imbecility it reveals a different sort of trend: the perpetual shortcomings in art market coverage, an area that often sees a minimum of rigor and a maximum of price-tag sensationalism at major newspapers.

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