What is “chandelier bidding?” How do third-party guarantees work? And what are the “three D’s?”
The it-book of summer, we were told, was Management of Art Galleries by the self-proclaimed “art market expert, serial entrepreneur, and bestselling author” Magnus Resch.
According to Bloomberg, Citigroup is hoping to prevent losses by teaching the heirs of its wealthiest bank customers how to invest in art.
A new series of maps created by howmuch.net attempts to look at art valuation based on country of origin.
When art and commerce mix, a certain level of mania is inevitable: it’s what you get when passion and pragmatism collide.
Stefan Simchowitz has a talent for making himself the center of conversation. That talent was on full view over the past week, since the New York Times released its Sunday magazine profile of the art collector/dealer.
Listen up: $1.5 billion!
Art gallerists in Mexico are blaming slow business on an anti–money laundering law targeting drug lords, reports the Washington Post.
“It’s really business as usual,” announced one Fabian Bocart in today’s New York Times, apropos the putative stability of the art market.
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.
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.
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.