Support Hyperallergic’s independent arts journalism.
As the New York Times convenes a debate over the possibility of an art market bubble in a letter to the editor, the news arrives that international art sales reached a grand total of $64 billion over the past year, reports Artlyst.
In his letter to the Times, author William Cole complains that the exorbitant size of the art market and its recent predilection for huge auction house prices is caused not by the connoisseurship of intelligent collectors and art advisers, but by hype that goes unchecked by a complacent critical media, just waiting for someone (presumably Cole) to proclaim the emperor (Damien Hirst? Gagosian?) is actually naked.
Well, better luck in 2013. The $64 billion benchmark is big, and the art market size has grown over the past few years, despite numerous economic pitfalls. A report from the European Fine Art Foundation in 2011 set the size of the market at $60.8 billion, and Artnet shows growth since 2009’s low point of $39.4 billion, which was down from 2007’s $65.8 billion. Although art critic Blake Gopnik is also questioning the viability of the art bubble, the money is still flowing.
But just how large is the art market in the grand scheme of things? Let’s look at some other annual economic figures for comparison.
International Art Market: $64 billion
Christie’s Worldwide Sales, first half of 2012 (source): $3.5 billion
Chinese Art & Antiques Industry (source): $13 billion*
*This figure is heatedly questioned by market commentators, who point out the company that owns China’s state auction houses also has stakes in the military and weapons manufacturers.
Ikea’s 2013 Sales (source): $30 billion
American Tobacco Industry (source): $35.1 billion (in revenue, 2011)
American Alcohol Industry (source): $43.6 billion (in revenue, 2012)
U.S. Military Spending in 2012 (source): $1.4 trillion
The art market number is a hefty sum, and, perhaps surprisingly, it holds its own against some of the larger figures on that list. Yet despite all the value we assign to the art world culturally — we’re looking at objects of enduring historical significance and aesthetic accomplishment, after all — it can always be reduced down to a number, just like any other business. What’s missing from these statistics is that sense of non-monetary importance, i.e., the things we actually like about participating in that $64 billion community.
Art by Athena LaTocha, Wendy Red Star, Marianne Nicolson, Anita Fields, Jaune Quick-to-See Smith & Neal Ambrose-Smith, and more is on view through January 2022.
Unless you were already familiar with Bey’s documentary work, the horror he refers to might not be recognizable to you.
The intention behind the seemingly bizarre combination was, according to Attie, “to give visual form to the shared American and Brazilian reality of nationalistic divisions that defines our political present.”
Nowhere in the museums’ advertising blitzkrieg for the performance were we told to bring our wildfire-season masks as well as our covid masks, and covid masks don’t prevent smoke inhalation.
View work by over 40 experimental artists and collectives from throughout the Americas who contributed to New York’s art scene during the 1960s and ’70s.
Several members of the 2021 cohort identify as artists and storytellers, utilizing the power that art and narrative have on changing ideas of power.
Made possible by a donation from Amazon stakeholder MacKenzie Scott, the award is the single largest in the Bedstuy-based organization’s history.
A donation of two hundred works includes Jean-Michel Basquiat, Robert Mapplethorpe, Keith Haring, and Donald Baechler.