Archive for the ‘Business of art’ Category
Posted by artradar on October 10, 2010
ART PRICE DATABASE DEALER NEWS
Artnet group, the leading art price database and online art auction company has chosen the year 2010 to branch out into a brand new venture: art dealing. And it chose a surprising venue for its debut.
Artnet booth at Hong Kong International Art and Antiques Fair 2010.
In a brief chat with Max Wolf, Modern and Contemporary Specialist in the Artnet booth at Hong Kong International Art and Antiques Fair 2010, Art Radar learned more about the ambitious plans Artnet has to break into high-priced art dealing and what has surprised the Artnet representatives about the collectors they have met on their first visit to Hong Kong.
Most people know you from your Price Database but this is a new venture?
It has spawned from our online auctions. We found a need to extend from our private treaties with dealers and collectors and a lot of the galleries on our website who perhaps don’t want to sell the work on the website, perhaps because it is a more significant work.
Yes, so this is the first time that we are showing work which we are not necessarily putting online for sale.
This is the first time you are in a fair?
Why did you choose this fair?
It seemed to align itself with this collection we are offering … this complete set of Warhols.… Hong Kong seemed like an ideal venue and it just serendipitously worked out with the timing that it just made sense…
Right. So how has your experience been?
Great, we have had considerable interest from a handful of collectors. We shall see; today should be pretty revealing…. We took the less-is-more approach and I think this has worked out well for us. We have this Warhol portfolio, a Haring, another Warhol and two Ashers.
What do you propose to do with this new arm? What do you hope for your new venture?
Sales! Of course. (laughs)
And apart from that (laughs) do you plan to go to more fairs in the future?
Which fairs would you like to try?
Well, depending on how this works out…. But with our online auctions and our private treaty sector of the business this seems like the natural progression for us.
What is your background in art?
I am one of a handful of auction specialists with Artnet.
So you didn’t come from the art world to Artnet?
Yes, I came with an auction background and was hired by Artnet to become an online auction specialist. There are six of us specialising in photography, unique painting works and prints.
How is that going?
Our online auctions are doing really really well. It seems that we are a panacea for the economy in a downturn. We are useful to collectors who don’t want to wait six months to consign a piece to a bricks and mortar auction house and then wonder whether it will be bought in. And then they have to pay for shipping and insurance even if it is bought in. With us they send us a .jpeg and within two weeks have money in [their] pocket.
That is great, great for the art world, great for collectors.
It is great. We have really enjoyed seeing the diversity of buyers. We sell to a lot of dealers but we also sell to private collectors, new buyers [and] new young collectors from all over the world…. From Australia, Kazakhstan, from all over. You would be surprised at the breadth.
You must have a great deal of information about where new collectors are coming from, the data…
Yes, the data that our technical team can gather, where and when is pretty impressive…
Have you been to Hong Kong before?
What kind of collectors have you met over the last three days?
A wide variety but we have seen a considerable number of serious collectors from Taiwan. We were surprised…. We thought we would see more Mainlanders but we have seen Taiwanese and local Hong Kong collectors, some Koreans and Brits, but we were surprised by the size of the Taiwanese presence.
About Artnet services (source: Artnet website)
In the mid 1980s Artnet developed its first product, the Price Database. Today the Price Database has a broad base of customers dominated by major auction houses, art dealers, museums, and insurance companies. Representing auction results from over 500 international auction houses, the Price Database covers more than 4 million auction results by over 188,000 artists, ranging from Old Masters to Contemporary Art.In 1995 the company transitioned the Price Database to the Internet and introduced a second product, the online Gallery Network, building and hosting websites for art dealers and galleries on its platform. In 1999, the online auction business was launched and now has 60,000 collectors visiting the site each month.
Related Topics: auctions, Market watch, collectors, Hong Kong
Subscribe to Art Radar Asia for more breaking market news in Asia
Posted in Auction staff, Auctions, Business of art, Hong Kong, Interviews, Market watch | Tagged: art auctions, art dealers, art dealing, art fairs, art Hong Kong, Artnet, HKIAAF, Hong Kong International Art and Antiques Fair, Max Wolf | 2 Comments »
Posted by artradar on October 7, 2010
ART AUCTION RESULTS SOTHEBY’S HONG KONG PRESS RELEASE
We present you with the latest press release from Sotheby’s Hong Kong on their autumn sale of modern and contemporary Southeast Asian paintings:
SOTHEBY’S HONG KONG
MODERN AND CONTEMPORARY SOUTHEAST ASIAN PAINTINGS 2010 AUTUMN SALE
TOTALS HK$78 MILLION / US$10 MILLION
(high estimate: HK$45 million / US$5.7 million*)
THE HIGHEST TOTAL FOR A VARIOUS-OWNER SALE
IN THIS CATEGORY AT SOTHEBY’S HONG KONG
ACHIEVING NUMEROUS ARTIST RECORDS AT AUCTION
“FATHER OF INDONESIAN MODERNISM” -
S.SUDJOJONO’S A NEW DAWN SOLD FOR AN IMPRESSIVE
HK$10.7 MILLION / US$1.4 MILLION
OVER 4 TIMES THE HIGH ESTIMATE
FILIPINO ARTIST RONALD VENTURA ’S NATURAL-LIES FETCHED
HK$2.5 MILLION / US$326,000
9 TIMES THE HIGH ESTIMATE
Other artist records were set for works by Indonesian artists including
Gede Mahendra Yasa, Ay Tjoe Christine, Samsul Arifin, Hendra Gunawan and Filipino artist Andres Barrioquinto, among others
Following the tremendous success of the Spring sale, Sotheby’s Autumn sale of Modern and Contemporary Southeast Asian Paintings today commanded a stunning total of HK$78 million / US$10 million (high estimate: HK$45 million / US$5.7 million*), the highest sale total for a various owners sale in this category at Sotheby’s Hong Kong. Today’s sale provoked active participation in the room and over the phone. There was particularly strong interest in top-end Southeast Asian contemporary paintings, which led to two auction records set for two artists – S. Sudjojono , Father of Indonesian Modernism, and Filipino artist Ronald Ventura.
MOK Kim Chuan, Sotheby’s Head of Southeast Asian Paintings, commented: “Top end Contemporary works fetched strong prices today with many pieces bringing multiples of their pre-sale high estimates. Among Modern works, the supreme highlight was the S. Sudjojono, a museum-quality example of the artist’s work which spurred a fierce bidding battle among nine bidders before selling for HK$10.7 million, a price which was four times the top estimate and set a record for the artist at auction. These results confirm the strategy of using conservative estimates to attract competition and let the market set the price level.”
The sale of 20th Century Chinese Art and Contemporary Asian Art continue in the evening.
Attached please find the relevant press releases, top-ten list as well as an image of the saleroom for your use. Should you need further information, please do not hesitate to contact Sotheby’s Hong Kong Press Office on +852 2868 6755 /Winnie.firstname.lastname@example.org.
* Estimates do not include buyer’s premium
Sotheby’s Hong Kong Press
Related Topics: Southeast Asian art, market watch – auctions, business of art, collectors
Subscribe to Art Radar Asia for more on art auction results
Posted in Artist Nationality, Auctions, Business of art, China, Collectors, Hong Kong, Market watch, Medium, Painting, Southeast Asian, Venues | Tagged: Andres Barrioquinto, art auction results, auction, auctions, Ay Tjoe Christine, Gede Mahendra Yasa, Hendra Gunawan, MOK Kim Chuan, Ronald Ventura, S. Sudjojono, Samsul Arifin, Sothebys, Sothebys Hong Kong, Southeast Asian art, Southeast Asian paintings | 1 Comment »
Posted by artradar on October 6, 2010
MIDDLE EAST CONTEMPORARY ART LONDON CONFERENCES
ArtInsight, the events partner of leading art market research firm, ArtTactic, has organised what we think looks to be a very important conference for early October in London. State of the Art – Middle East [The Future of the Middle East Contemporary Art Market] will focus on trends and opportunities in the Middle Eastern contemporary art scene.
Artwork by Houria Niati. Image courtesy of Janet Rady Fine Art.
As detailed in the latest press release from ArtInsight, State of the Art – Middle East will include talks and in-depth panel discussions with leading figures from all facets of the Middle Eastern art world, including curators, gallerists, consultants, museum professionals, artists, patrons/collectors, auction house specialists and art market experts. With this event, ArtInsight hopes to provide an comprehensive insider’s perspective of both market and artistic trends in the Middle East today, and into the future.
Key issues and topics to be explored and debated at State of the Art – Middle East will include:
- The impact of substantial museum building plans and activities throughout the region
- Collector opportunities: The effect of the rapid and growing visibility of Middle Eastern artists across the international art scene and art market
- The significance of the roles of auction houses, art fairs and galleries, in the development of the region’s art market
Leading speakers listed are:
- Lulu Al-Sabah: Founding Partner, JAMM-Art
- Alia Al-Senussi: Collector, Curator and Advisor
- Bashar Al-Shroogi: Director, Cuadro Fine Art Gallery (Dubai)
- Maryam Homayoun Eisler: Leading Patron/Collector and Contributing Editor
- John Martin: Co-founder and former Fair Director, Art Dubai
- Ahmed Mater: Artist
- Jessica Morgan: Curator, Contemporary Art, Tate Modern
- Anders Petterson: Founder and Managing Director, ArtTactic
- Dr Venetia Porter: Curator, Islamic and Contemporary Middle East, The British Museum
- Janet Rady: Director, Janet Rady Fine Art
- Stephen Stapleton: Director, Edge of Arabia
- Steve Sabella: Artist
- Roxane Zand: Director, Middle East & Gulf Region, Sotheby’s
- Conference Moderator Jeffrey Boloten: Co-founder and Managing Director, ArtInsight
State of the Art – Middle East [The Future of the Middle East Contemporary Art Market] will take place on Friday 8 October this year and runs from 9:00 a.m. to 5:00 p.m. at Asia House in London. The £195 conference fee includes a Halal lunch and there is a student discount available. For bookings, visit www.artinsight.eventbrite.com.
Related Topics: Middle Eastern artists, promoting art, art market
Subscribe to Art Radar Asia for more posts on Middle East art
Posted in Advisors, Asia expands, Business of art, Collectors, Conference, Critic, Curators, Directors, Events, Gallerists/dealers, Globalization of art, London, Middle Eastern, Professionals, Resources, Scholars, Trends, UK, Venues, Writers | Tagged: Ahmed Mater, Alia Al-Senussi, Anders Petterson, art collecting, art collectors, Art Dubai, art market, art professionals, ArtInsight, Arttactic, Asia House, Bashar Al-Shroogi, Collectors, Conference, Cuadro Fine Art Gallery (Dubai), Dr Venetia Porter, Edge of Arabia, Halal, Houria Niati, JAMM-Art, Janet Rady, Janet Rady Fine Art, Jeffrey Boloten, Jessica Morgan, John Martin, lectures, Lulu Al-Sabah, Martha Soemantri, Maryam Homayoun Eisler, Middle East Contemporary Art, Middle Eastern art, Middle Eastern art scene, Middle Eastern contemporary art, panel discussion, Panel discussions, Roxane Zand, Sothebys, State of the Art - Middle East, State of the Art - Middle East [The Future of the Middle East Contemporary Art Market], Stephen Stapleton, Steve Sabella, Tate Modern, The British Museum | Leave a Comment »
Posted by artradar on September 28, 2010
INTERVIEW CHINA CONTEMPORARY ART ARTS WRITERS BLOGGING
RedBox Review is one of the most prominent English-language blogs dedicated to Chinese contemporary art. In an interview with co-founder Katherine Don, Art Radar Asia gains some insight into the aims of this sort of online publication, the progressive nature of Chinese art and Don’s personal background.
The blog, which currently has around 8000 subscribers, was founded in 2005 by Katie Grube, Mike Hatch and Katherine Don, also a director of and art advisor for RedBox Studio. It features original articles, event listings, gallery reviews, and commentary on and links to other coverage on Chinese contemporary art. In this way, it is able to provide a unique view of the Chinese avant-garde. RedBox Review is aimed at people who either work with or are interested in contemporary art. Its success is based upon its selection of relevant information vetted by its young, bilingual team of writers who are actively involved in the Chinese art scene.
The homepage of English-language Chinese art blog 'RedBox Review'. Image property of Art Radar Asia.
Can you tell us about your background and how you became involved in art?
I am originally from Hawaii. I’m American. I’ve always been interested in arts. I went to school in New York at the Columbia University and studied art history there. I happened to spend a summer in China, where I was learning Chinese, and also started to intern for one of the galleries here. That was in 2001. I had travelled to China before then, just with my family. I am third generation Chinese-American…. [It was] through this relationship with China and learning about art when I was in school, that I became involved in the arts. I graduated with a dual-degree in Visual Arts, Art History and East Asian Studies.
So, how did you get involved in writing about art?
I have always wanted to write. The only way to be a better writer is to practice writing. So when I started working for a gallery in New York, focusing exclusively on Chinese contemporary art, I started writing. After two years, I moved to Taiwan to engage more in a faceted art community. But I realised that Beijing is the cultural hub of China, traditionally, but also with the contemporary art scene. So moving here to China was a way for me to get involved with the art scene and to see it on the ground. The curiosity and the desire to learn more about China from on the ground, this is RedBox Review.
You are one of the co-founders of RedBox Review. What is RedBox? What does it mean? How would you describe RedBox Review?
It’s our blog for viewing the contemporary art scene and art in China from [our] vantage point in Beijing. We write it in English, because that’s my mother tongue, but also I feel that there are numerous sites in Chinese that are available for the local audience to give them access to visiting shows or documentation about art. But in English it’s much more limited and if people don’t visit China, it’s very hard to know what’s happening…. RedBox Review is a way to edit the content by selecting which shows, news and articles we feature. We mainly do it objectively, linking to other articles, re-publishing texts that we think are worthwhile for reading. We’re not so interested in writing reviews of exhibitions. We’re more interested in being a research [tool] for people…. We’re not trying to be a critical voice.
Can you tell us the story of how RedBox Review began? What inspired you to start RedBox Review?
When I moved to China, I started… RedBox Studio. RedBox Studio began as… an art consultancy basically. All our projects are focused on promoting contemporary art in China. [RedBox Review developed as] a platform for my colleagues and I to share the information and the activities that we were seeing and doing here in Beijing.
You are also the co-founder for RedBox Studio. Can you tell us about this organisation?
Basically RedBox Studio is the platform for promoting contemporary art in China. We provide a variety of services, beginning with our graphic design studio. We print and publish artist catalogues, maps and guides for the art scene here. We also provide art advisory services.
Inside RedBox Studio, a China-based art consultancy firm. Image courtesy of RedBox Studio.
There are not many organisations like ours in China. The infrastructure is relatively young. I think that there is a need for art consultancy and people who provide a ladder-role between artists, galleries and museums. We are involved in a variety of different projects, basically introducing the art scene to new cultures, both Chinese and foreign.
We are not a gallery, but we are a consultancy, meaning that as an independent organisation, we work with different participants in the art scene – with galleries, with museums, with artists – directly to realise their projects. I do represent private clients and help them acquire acquisitions.
Over the time period that you have been covering art, what changes have you seen in the Chinese contemporary art scene? What are the biggest challenges facing artists in China?
There are many changes in the art scene in China, and that the artists are facing. But frankly, I think, by selecting shows or different articles and events on our website, we’re trying to provide a complete … picture of what might be happening here. Often the media abroad can only focus on, perhaps, sensational topics or the news [of] very well-known and established artists and often can’t really focus on some of the activities that are going on on the ground in China.
I think that there is a lot of room for development for art… [in] contemporary Chinese society. The way that people view art, the way that people understand art and collect art, is actively changing…. I think that this change is what is really exciting and interesting about the Chinese art scene today.
You also facilitate the sale of artworks. In your opinion, what are the current trends in Asian art?
In the past fifteen years, the Chinese art market has made its mark on the international stage and I think that the diversity of Chinese art, in terms of medium, makes [for] a very rich and engaging art scene in China. Artists are working in performance [and] video, exploiting different scenes such as Chinese painting, … photography, sculptures and oil-painting. There are artists experimenting with all mediums, but all with different kinds of content and different approaches to the art. I think that there is a lot going on in China.
Is there any particular information, news or advice you would like to share with our readers? What advice would you give to our readers about what websites and publications to follow about Chinese art?
Well, my first suggestion to people who want to know more about [Chinese contemporary art] is to read as much as they can. But if those sources are not available, my next [suggestion] is to visit China to take the opportunity to see what’s happening, because things change so quickly. The diversity of Chinese contemporary art goes beyond what can be reported and documented on in a two-dimensional format, meaning online and in pictures.
Installation view of work by Wang Tiande at the NBC Studio, Olympic Media Center (2008). The placement of these artworks was facilitated by RedBox Studio. Image courtesy of RedBox Studio.
How do you see the Internet being used to promote or communicate information about art in China? How important is it? Where and how do you see the art and the Internet evolving in the future?
I know a lot of people involved with contemporary art are trying to use and exploit the Internet and technology as a way to create a wider audience space. And it’s true, there’s a lot of opportunity [that comes] with using the Internet and technology, such as creating a virtual museum or electronic books or websites and blogs. But, I think that the first step is not only to invest in using the Internet, … people need to understand how diverse … art in China is and have an interest in viewing it and understanding what’s happening [here]. The diversity of art in China is really interesting…. It can’t be easily defined into one category. I think that the Internet plays a great role in disseminating information. That is actually quite innovative and I think it’ll continue to change in the future.
What is the biggest problem in obtaining information about Chinese art? What information is difficult to get hold of? What do you think could be improved?
Not reading Chinese. I think the language barrier is one of the biggest problems. I think one characteristic is that a lot more people [from China] can read English than those from abroad can read Chinese. They are very well-read and exposed to international art activity. In regards to writing, practiced critical writing, [this] is something that leaves a lot to be desired in the art scene here. I think objective critical writing is an evolving practice.
Where would you like to see RedBox Review go in the future? Do you have any plans or innovations?
I hope that more people read it and find it useful for understanding the art scene. Our plan is to continue contributing to this site [with] thoughtful and objective descriptions and posts about the art scene.
About Katherine Don
As a writer and specialist in contemporary Chinese art, her writing has been published in local publications, as well as Art in America and Art Asia Pacific. In 2005, she co-founded RedBox Studio, an art and design studio providing a unique combination of art consulting and graphic design services to the art community in Beijing and abroad. As Director, she works with artists, curators, galleries and institutions to realise exhibitions, art programs, and publications dedicated to the promotion of art and design in China.
Related Topics: interviews, art and the Internet, arts writers
Subscribe to Art Radar Asia for more interviews with arts writers
Posted in Advisors, Art and internet, Business of art, Critic, From Art Radar, Interviews, Katherine Don, Multi category, Professionals, Research, Resources, Writers | Tagged: art and internet, Art consultancy, art critic, art studio, Beijing, blog, China, Chinese art scene, Chinese contemporary art, cultural hub, English China blog, graphic design art, internet, Julie Anne Sjaastad, Katherine Don, online community, publishers, Redbox Review, RedBox Studio, resource, website, writers | 1 Comment »
Posted by artradar on September 16, 2010
KOLKATA CONTEMPORARY ART PRACTICE ART GALLERIES INTERVIEWS
For a gallery that is just over a year old, Experimenter, co-owned, run and mostly curated by husband-and-wife duo Prateek Raja and Priyanka Raja, is quickly becoming a critical current in the very new trend of gallery spaces interested strictly in the contemporary. It is a welcome break from the traditional gallery system that regularly falls back on the moderns of Indian art.
A month before the duo heads off to the Frieze Art Fair in London this October, the gallery is wrapping up a show called “This is Unreal“. Featuring artists Susanta Mandal, Yamini Nayar and RAQS Media Collective, the show was conceived by the Rajas as an idea to cohere the multiple realities of modern life. At the crux of the show is the idea of the manipulation of what is real – artists consistently create and break realities leaving the viewer in a constant state of doubt and speculation. This event marks the eighth show in the gallery’s young but accomplished life.
Art Radar Asia spoke with Prateek Raja from Experimenter about the gallery, the show, the art scene in India generally and in Kolkata; Kolkata is a city that has produced a number of great artists, but lags behind Delhi and Mumbai in the art market scene.
Raja on the Gallery, artists RAQS, Susanta Mandal and Yamini Nayar
The title is provoking. Why “This is Unreal”? Tell us how this project came about.
“This project came about from an initial idea of confronting modern day conspiracies and then filtered down to how everything today is projected as something and is in reality something else. The topic was left open for the artists to interpret in a way they saw fit. However, at this point I would like to say that we work with a different kind of approach. Our shows originate in conceptual ideas first and then we invite artists whose work has been in the kind of direction we are thinking to respond to that idea [or] concept. So all these artists within the realm of their practice have the ability to project multiple realities from the same experience.”
Tell us about yourselves. You are a husband-wife duo – both educated in Asian art at Sotheby’s. How did Experimenter happen for you and how does this partnership work?
“We both had this common urge to work together in the contemporary scene while Priyanka was at Proctor & Gamble and I was consulting on contemporary Indian art. Then she decided to take the plunge in mid 2008 and we opened the gallery in April 2009. In between, we did a short course on contemporary Asian art at Sotheby’s. Priyanka is the planner. She works out all the details. She is the arms and legs of the gallery. I do some of the thinking, but we both do the curatorial thinking together. We do only six shows a year, but believe me, its not easy to plan, ideate and keep a natural flow to the exhibitions for the six that we do. In fact, we balance each other out very well. That’s how this partnership works really.”
Experimenter is invested in capturing the “plurality of expression.” It is also deeply interested in the “now.” Tell us a little about this. How does this show fit into this paradigm?
“‘The plurality of expression’ comes from the inclination to introduce multiple mediums of expression and at the same time challenge the viewers to question established aspects of viewing contemporary art and break pre-conceived notions. It is also very linked into “now” because whatever we show or plan to show is about our generation, is about what is happening now and is reflective of what our society, our values, our systems project “now.” And if you look at people, organisations, governments, and the society around us, you will slowly peel off layer after layer to eventually derive your own understanding of the world, which might be completely unlike what you had originally perceived it to be. So the title does provoke in that sense by calling things unreal. Sometimes, one does not even have to go deep, just viewing an idea from a different point of view gives a completely new meaning to it. That’s the essence of this show.”
Tell us about the works in this show.
“RAQS has contributed three pieces, Skirmish, The Librarian’s Lucid Dream and I Did Not Hear.
Installation view detail of RAQS Media Collective's 'Skirmish', as shown at Gallery Experimenter exhibition from the show "This is Unreal". Image courtesy of Gallery Experimenter.
Skirmish is a narrative about an estranged couple continuing their ‘skirmish’ on the walls of an unsuspecting city. The woman paints keys that are similar to the keys to her apartment that she had given to her partner, whom she has since distanced herself from, and the man cannot go anywhere without seeing the keys and recognises what a mockery she is making of his yearning for her. Yet in response he paints padlocks on the walls to continue that skirmish (and in a sense continue the only way of communicating with her) while the city assumes it’s just locksmiths and key-makers that have stepped up their business.
Installation view of RAQS Media Collective's 'The Librarian's Lucid Dream', as shown at Gallery Experimenter exhibition "This is Unreal". Image courtesy of Gallery Experimenter.
The second work is a wallpaper called The Librarian’s Lucid Dream that forms the backdrop against which Skirmish is installed. It’s an interpretation of a librarian’s dream through just assemblages of texts. These are titles of books but all the titles are mixed up to created new meanings and realities.
The video I Did Not Hear is of a shooter at a shooting range. While the headphones on the viewer lead him or her through an abstract narrative, a rather sinister scaffolding of events is generated by the voice which in turn leads to multiple possible identities and roles for the shooter.
Installation view of RAQS Media Collective's 'I did not hear', as shown at Gallery Experimenter exhibition "This is Unreal". Image courtesy of Gallery Experimenter.
Mandal creates a kinetic sculptural installation which has a screen and a light source behind that projects an image of a boiling bowl of liquid on an open flame. Using a common scene of ‘cooking something,’ Mandal makes a pun of the phrase ‘cook up’ to express how most things today are indeed cooked up to project a reality quite different from the factual truth.
An untitled installation by Susanta Mandal, as shown at Gallery Experimenter exhibition "This is Unreal". Image courtesy of Gallery Experimenter.
Nayar’s process is essential to the show. She creates sculptural assemblages from found objects, creates them for the camera, and after photographing them destroys the objects, thereby destroying the physical existence of the source of the photograph. The works form a point of entry into the object but do not quite reveal their actual meaning.”
Yamini Nayar, 'Pursuit', archival C print on paper. Image courtesy of Gallery Experimenter.
RAQS Media Collective has come a long way since 1992 when they started out as a group of three media practitioners in the art world. What do you make of RAQS’ growing popularity in the international arts scene?
“They are a super super important artist collective. Any international curator or museum with any interest in contemporary Indian art will know the importance RAQS has on the Indian scene. And how the international market sees India is also defined by the shows that get seen at important venues like the ones that RAQS show in. Their practice is very critical to the Indian scene internally as well. They have some very interesting things lined up this year in Europe. We will also show them solo in February 2011 … and at the India Art Summit in January 2011 in New Delhi within a group show.”
This is your first time working with RAQS, Mandal and Nayar. How was the experience?
“Absolutely fantastic. They are very professional artists. Works and concepts were discussed (that were true to Experimenter’s way of working) over a year ago and we fleshed out ideas to finally put this show on. The most interesting bit is that their work really fits well together.”
Trends in Indian art
Do you think gallery spaces in India are generally not very encouraging for installation art?
“No. I don’t think so. It’s just that this is a growing population and, like all things new and different, installations have some amount of resistance to viewing and experiencing them, even now. From a point of view of being open to exhibiting installation art, there are a bunch of new galleries like us who are doing interesting things.”
Installation art and conceptual art are increasingly popular with Indian artists today. Do you see this as a trend?
“It’s a natural progression of what the Indian art scene is. The newer, younger galleries are looking to show this form of work. You have to know at the same time that the Western art viewing audience also saw this development in other countries several years ago and that’s possibly the trajectory we might see here in India too, but over the medium term.”
Kolkata on the Indian art map
Describe for us the arts scene in Kolkata? Why not set up Experimenter in Delhi or Mumbai?
“Because its the only city in the country where one can have viewers coming back three times over, spending two hours at the gallery. This is a city where art, literature, philosophy and politics all feature in regular conversations with regular people. It’s also a city which is extremely responsive to new forms of cultural influences and it’s fun to stir things up in a somewhat sidelined city!
Opening an Experimenter in Mumbai and/or Delhi would be easy and just another … contemporary space would have been added to the growing number we see today. In Kolkata, you are really making an impact on the visual arts scene with a program like ours.”
What has your experience been working in the Kolkata arts scene? How do you compare it with Delhi and Mumbai?
“Fantastic. For Experimenter at least, we have some very exciting collections in Kolkata that we are adding work to and we are evolving a new generation of collectors. Of course, we make sure that everything is available online – one can show works, do short videos of installations, gallery walk-through videos and share the program with the world. To give a small example, we will be the only Indian gallery at Frieze Art Fair, London this year. We did not apply; they hunted us down and asked for us to apply and we got through in the curated section where there will be only about twenty young galleries from all over the world. We are probably the youngest, too. Experimenter turned a year old in April this year.”
Do you feel it’s difficult to straddle the roles of gallery owner and curator?
“For us, a gallery is an extension of who the owners are. It’s our program. It’s not like a large faceless organisation, so curating shows for the gallery comes with what we want to show and how we respond to things in today’s world as people. So it’s not tough. It’s critical that we put our minds to developing the program in such a way that there is reflection of the ‘now’ in whatever we do. Also, most of our shows are quite political in nature and we like that. We like to make people a little uncomfortable.”
Related Topics: Indian contemporary art, interviews, trends: fact and fiction blur
Subscribe to Art Radar Asia for more interviews on Indian contemporary art practice
Posted in Kinetic, Sculpture, Installation, Indian, Photography, New Media, Video, Conceptual, Venues, India, Gallery shows, Professionals, Curators, From Art Radar, Interviews, Gallerists/dealers, Found object, Trends, Galleries work the web, Words, Business of art, Fact and fiction blur, Promoting art, Prateek Raja, Priyanka Raja | Tagged: photography, Sothebys, art collectors, London, Raqs Media Collective, installation art, Mumbai, Indian artists, curators in Asia, Susanta Mandal, Indian art galleries, Indian art, Frieze art fair, conceptual art, Indian contemporary art, gallerists, Ananya Mukherjee, gallery shows, New Delhi, art curators, art gallery shows, Experimenter, Kolkata India, Prateek Raja, Priyanka Raja, Yamini Nayar, This is unreal, Asian Art at Sothebys, Skirmish, I did not hear, Indian Art Summit 2011, Indian curators | Leave a Comment »
Posted by artradar on September 15, 2010
VISUAL ART FESTIVAL MALAYSIAN ARTISTS GALLERY EXHIBITIONS ART SEMINARS TALKS
1 Malaysia Contemporary Arts Tourism Festival 2010 or MCAT 2010, organised by Tourism Malaysia, is a new Malaysian visual art festival that is attempting to draw more “high-yield” tourists to the region. To support this festival, the government body has released a useful and comprehensive guide to Malaysian galleries and events.
'Teka Teki' (2010, acrylic on canvas), by Malaysian artist Masnoor Ramli, is one of the works held in the Aliya and Farouk Khan Collection. Image courtesy of Tourism Malaysia.
Presented as a contemporary art festival, it will showcase art from internationally recognised Malaysian-born artists through a series of seminars and exhibitions. Events began in June this year and will continue through October. Key highlights mentioned in the the press release include:
“… a display of Aliya and Farouk Khan’s personal collection as well as several exciting and vibrant works by some of the best internationally-acclaimed Malaysian artists, both young and established ones such as Abdul Multhalib Musa, who is regarded as one of Malaysia’s leading contemporary sculptors; Fauzan Omar; Annuar Rashid; abstract expressionist Yusof Ghani; Eng Hwee Chu; visual artist/writer A. Jegadeva; Dhavinder Gill and many more.
Other art works that will be showcased include those by Ahmad Zakii Anwar, Hamir Saib, Tan Chin Kuan, Shooshie Sulaiman, Umibaizurah Mahir, Kaw Leong Kang, Anthony Chang, Rajinder Singh, Bayu Utomo, Fauzan Mustapha, Stephen Menon, Ivan Lam and the list goes on. Besides the presence of curators and art collectors during the three-month period, world-renowned speakers such as Mika Kuraya from Japan and Russell Storer from Australia will also be there to conduct the seminars.”
To assist festival attendees in finding their bearings in Malaysia’s contemporary art scene, Tourism Malaysia has put together the “Tourism Art Trail“, a directory of contemporary art galleries, seminars and talks on Malaysia’s contemporary art scene, information on places where art tourists can visit as well as events they can attend or participate in.
The festival is projected to contribute RM115 billion and create two million jobs by 2015.
Related Topics: Malaysian artists, festivals, promoting art
Subscribe to Art Radar Asia for more on Southeast Asian art events
Posted in Artist Nationality, Business of art, Collectors, Emerging artists, Events, Festival, Individual, Malaysia, Malaysian, Professionals, Promoting art, Venues | Tagged: 1 Malaysia Contemporary Arts Tourism Festival 2010, A. Jegadeva, Abdul Multhalib Musa, Ahmad Zakii Anwar, Aliya and Farouk Khan, Aliya and Farouk Khan Collection, Annuar Rashid, Anthony Chang, art collectors, art festivals, art tourism, art tourists, Bayu Utomo, contemporary art, contemporary Malaysian art, Dhavinder Gill, Eng Hwee Chu, Fauzan Mustapha, Fauzan Omar, gallery guides, Hamir Saib, Ivan Lam, Kate Nicholson, Kaw Leong Kang, Malaysian art, Malaysian art collectors, Malaysian art galleries, Malaysian artists, Malaysian contemporary art, Masnoor Ramli, MCAT 2010, Mika Kuraya, Rajinder Singh, Russell Storer, Shooshie Sulaiman, Southeast Asian art, Southeast Asian art collectors, Southeast Asian artists, Stephen Menon, Tan Chin Kuan, Teka Teki, Tourism, Tourism Art Trail, Tourism Malaysia, Umibaizurah Mahir, visual art festival, Yusof Ghani | Leave a Comment »
Posted by artradar on September 15, 2010
TAIWANESE CONTEMPORARY ART INSTALLATION TAIWAN-CHINA RELATIONS ARTIST INTERVIEW
When Tsong Pu was studying overseas in the 1970s he would introduce himself as Chinese or as being from China. Later, as China opened it’s borders and more art from the country was exposed to the outside world, Tsong began to introduce himself as Taiwanese. Now, he introduces himself as a Shanghai-born artist who lives in Taiwan.
Cultural relations between Taiwan and China have always been complicated and the current success Chinese contemporary artists are enjoying globally generally outstrips that of artists who are living and working in Taiwan. Although originally from China himself, abstract artist Tsong Pu does not see much collaboration between the two countries.
“Each side does their own thing. At the moment you will find that very few Taiwanese artists show their work in Mainland China, in galleries or in museums. But you will find that many artists from China show their works in Taiwanese galleries or museums.”
Tsong believes that Taiwanese artists and art professionals need to work hard to change this situation, “to give collectors and buyers more confidence in Taiwanese art.” He goes on to state that the Chinese art market is created and supported by the Taiwanese collector.
“Much of the artwork coming out of China is being sold to Taiwanese collectors. The [Taiwanese] government supports Chinese artists, but the Chinese government doesn’t support Taiwanese artists.”
This view is expressed in the installation One Comes from Emptiness (2009, mixed media), which we discuss with Tsong in this article. Blake Carter, writing for the Taipei Times in November last year, talked about the piece:
“I was surprised to find that some of the ropes he installed at the Biennial fall onto a bent metal signpost that reads ‘Taiwan Contemporary Art Museum.’ There is no such place. Many artists complain that Taiwan’s museums – especially in the capital, and specifically the Taipei Fine Arts Museum (TFAM) – don’t pay enough attention to the country’s artists.”
Blake went on to say that “Taiwanese artists are relegated to the museum’s smaller galleries downstairs while Chinese artists Fang Lijun, Cai Guo-Qiang and Ai Weiwei get large exhibitions at TFAM.” When asked by Blake whether One Comes from Emptiness was a comment on Taiwan’s art institutions and their treatment of Taiwanese art and artists, Tsong replied, “Yes.”
This is part three of a three part series. In this part we relay to you Tsong’s views on the artistic relationship between Taiwan and China and look at two further installations by the artist. Both of these works are tied to the artist’s signature grid pattern, the repetition of 1 x 1 cm squares often intersected with a diagonal line. This grid form is represented in the weave of the nylon rope in One Comes from Emptiness (2009, mixed media) and pulled apart and reconstituted in the separate canvases of Declaration Independence (first presented 1996, mixed media). For more on what to expect from the first and second parts of this series, please read the notes at the bottom of this post.
Tsong Pu, 'One Comes from Emptiness', 2009, mixed media installation, 10 x 1075 cm. Image courtesy of the artist.
One Comes from Emptiness (2009, mixed media installation) was shown at Viewpoints and Viewing Points: 2009 Asian Art Biennial. In your artist statement for this exhibition you suggested that people from the West and people from the East will perceive this installation differently. Could you explain further?
“I tried to pretend that the rope is just like calligraphy: more natural and softer. This soft line is like Chinese calligraphy or Chinese traditional ink painting. When you see a Chinese courtyard, it makes you feel very natural, it’s soft…. It has something representing the water, the wind, the earth. I used very simple lines or string to create circles. These circles remind me of a Japanese courtyard, its oriental elements, and the lines are like the rain. A traditional Chinese courtyard always expresses these kinds of things. I tried to … merge [this] with Western style.
The steel part is more structural – it has more strength – and represents Western art expression: strong, energetic, long lasting. I am influenced by an artist from England called Anthony Caro who creates sculptures from steel.”
Why do the circles overlay the steel?
“At the very beginning, I tried to present only the circles and the simple white lines but I thought it was too beautiful…. It didn’t have any power. [The circles overlap the steel because] the nylon rope is soft and flexible. It can’t be cut or broken and it will flow over things. Of the material, you can see that one is soft and one is hard, so they contrast. That is the basic structure [of the work]. Different style, different shape, different material, different thinking. But when they come together they can merge.”
So they can exist together?
“Yes, yes. Together they can generate something new, a new way of thinking.”
Is there anything else you’d like to say about One Comes from Emptiness?
“This work was created in 2009. During this year a major typhoon hit Taiwan. This typhoon caused a landslide which covered a mountain village. Because of this event, the natural environment and the view of the landscape was changed. A house that has been moved or destroyed might not actually look so terrible in its new position. After you have viewed it for sometime, you might realise that it actually looks quite beautiful.”
Tsong Pu, 'Declaration Independence', 1996, mixed media installation, 480 x 260 x 360 cm. Image courtesy of the artist.
We are interested in your installation Declaration Independence (first presented 1996, mixed media) because you showed it in 1996 and then again this year at your TFAM retrospective, “Art From the Underground“. Can you explain the relationship between the objects and each painting?
“The idea for this work comes from [Transposition of Light and Water (1992, mixed media installation)] but it is represented in a different space. I took one cube from this work and distributed it into several pieces.”
The way you have used the gallery space in Declaration Independence is quite different to how you have used it in other installation pieces.
“These are canvases, just like [The White Line on Grey (mixed media, 1983)] is a canvas. I used the same technique [to paint them both]. The ones that are the same are grouped together. The paintings are like different pages in a book; the pattern [on the canvases] resembles words without any special meaning.
This [coat hanging on the wall] is an object and this object has some dimension – it is 3D and not flat – but [the paintings] are flat, so when they are placed with the 3D objects they will have a conversation. The paintings are like a code and when I separate them in this way they are like the pages [of a book] on the wall.
The paintings have no meaning, but the objects may project some meaning onto them. Among the objects are some maps. When all these things are separate they have no meaning but when they are placed together they could have some meaning. I am not sure whether the paintings influence the objects, or the objects influence the paintings. When you open a book there is a lot of information in it. It is like this book on the wall has been opened and many things have started to happen. There is a conversation between [the paintings and the objects], a relationship.”
And is it you, the artist, who brings meaning to this book, or is it the task of the viewer?
“It should be both. I hope it is the viewer.”
Tsong Pu, 'Declaration Independence', 2010, mixed media installation, 480 x 260 x 360 cm. Image courtesy of the artist.
About this series
This Art Radar interview with Taiwanese artist Tsong Pu has been presented in three parts. In part one, Master Tsong discusses two works in which he has used and adapted his most well known technique, a 1 cm by 1 cm grid pattern. In part two, the artist speaks on two very different installation pieces, close in date of construction but not in their theory of development. Part three talks about some of the artist’s most recent installation work.
We have also premised each part with some of the artist’s views on the current Taiwanese contemporary art industry, as developed from his roles as mentor, curator and master artist.
Related Topics: Taiwanese artists, interviews, installation art
Subscribe to Art Radar Asia for more on Taiwanese installation art and further artist interviews
Posted in Artist Nationality, Business of art, Collectors, Conceptual, From Art Radar, Installation, Interviews, Promoting art, Styles, Taiwanese, Themes and subjects, Tsong Pu, Z Artists | Tagged: abstract art, abstract artists, abstract paintings, Ai Weiwei, Anthony Caro, art collecting, art collectors, Art From The Underground, artist interview, artist interviews, Blake Carter, Cai Guo Qiang, Chinese art, Chinese artists, Chinese calligraphy, Chinese contemporary art, Chinese contemporary artists, Chinese courtyard, Chinese ink painting, collector, Collectors, cultural relations, Declaration Independence, Eastern art expression, Fang Lijun, government, installation, installation art, installations, Japanese courtyard, Kate Nicholson, mainland China, mixed media, mixed media installation, nylon rope, One Comes from Emptiness, Painting, paintings, retrospective, series, shanghai, Taipei Fine Arts Museum, Taipei Times, taiwan, Taiwanese, Taiwanese art, Taiwanese artists, Taiwanese collectors, Taiwanese contemporary art, Taiwanese contemporary artists, Taiwanese installation art, Taiwanese installation artists, Taiwanese painters, TFAM, The White Line on Grey, Transposition of Light and Water, Tsong Pu, typhoon, Viewpoints and Viewing Points - 2009 Asian Art Biennial, Western art expression | Leave a Comment »
Posted by artradar on September 6, 2010
AUSTRALIAN MODERN AND CONTEMPORARY ART PRICES AND TRENDS
As the 17th Sydney Biennale drew to a close, a recent article published on artprice.com reported on the improvement of the Australian modern and contemporary art market since 2007, despite its confinement to Sydney and Melbourne. There is a strong preference among Australian collectors for paintings, oil, acrylic and figurative work.
The article provides a list of the top ten Australian works which have been sold at the highest price between 2000 and 2010. Here is the list of the top five:
- First-Class Marksman (1946) by Sidney Robert Nolan (1917-1992): sold at USD4,103,100 by Menzies Fine Art Auctioneers and Valuers in March 2010
'First-Class Marksman' depicts a square-helmeted Ned Kelly pointing his gun into the Australian bushes to protect himself from the police. Picture taken from deutschermenzies.com.au.
- The Olgas for Ernest Giles (1985) by Brett Whiteley (1939-1992): sold at USD2,445,280 by Menzies Fine Art Auctioneers and Valuers in June 2007
"It's a highly charged, erotic painting and the landscape itself is depicted as having the qualities of flesh," said Adrian Newstead, managing director of Deutscher-Menzies, talking to the 'Sydney Morning Post' in 2007 about 'The Olgas for Ernest Giles'. Picture taken from deutschermenzies.com.au."
- The Old Time (1969) by John Cecil Brack (1920-1999): sold at USD2,301,320 by Sotheby’s in May 2007
'The Old Time' is a painting of a ballroom dancing couple. Picture taken from Art News Blog.
- Opera House (1971-1982) by Brett Whiteley (1939-1992): sold at USD1,972,560 by Sotheby’s in May 2007
This painting of the Sydney Opera House was owned by Qantas Airline. It hung in the club travellers lounge in Sidney. Picture taken from artquotes.net.
- The Bar (1954) by John Cecil Brack (1920-1999): sold at USD1,893,060 by Sotheby’s in April 2006
Modelled on Manet’s A Bar at the Folies-Bergère, this painting mocks the Six-o'clock swill - the last minute rush to buy drinks in bars due to their early closing. Picture taken from Brookston Beer Bulletin.
Sidney Robert Nolan’s First-Class Marksman, fetching over USD4,000,000 in 2010, tops the list. This is against the price trend of Nolan’s works, which has been downward since 2007.
Brett Whiteley, named the “most sought Australian artist during the decade” by the article, produced The Olgas for Ernest Giles which has fetched over USD 2,400,000. It has been reported that “100 euros invested in one of his works in 1998 were worth an average of 555 euros by February 2010”.
Among the best results of 2009 and 2010 are the sales of works by Norman Alfred Williams Linsay which went for between USD100,000 and 235,000.
In the affordable USD10,000-40,000 price range are the best works by Frederick Cress and large watercolors by John Henry Olsen and Frederick Ronald Williams. In the higher USD40,000-120,000 price range are the still-lifes by Grace Cossington SMITH and tranquil landscapes by Lloyd Frederic REES.
Representing the young generation of artists loyal to the Australian figurative tradition are Rick Amor, Lin Onus and Vincent Fantauzzo. Rick Amor broke the USD100,000 line with The Waiter which fetched USD100,300 at Menzies Fine Art Auctioneers and Valuers in May 2010. The value of Lin Onus’ Reflections, Barmah Forest leapt from USD100,600 less than seven years ago to USD200,600 in March 2010 at Deutscher & Menzies. Some of her oils on cardboard from the 1970s can be picked up at less than USD10,000. Vincent Fantauzzo’s portrait Brandon fetched USD 43,580 in June 2010 at Menzies Art Brands, Sydney.
While the purchase of contemporary art in Australia is picking up speed, the performance of Aboriginal art has been in serious decline since its peak in 2007. This may be because the buying spree of best works by Aboriginal art masters who have died in the last decade is gradually coming to an end.
Related Topics: Australian artists, lists, trends
Subscribe to Art Radar Asia for more contemporary art market trends articles
Posted in Artist Nationality, Auctions, Australian, Business of art, Collectors, Individual, Lists, Market watch, Medium, Painting | Tagged: art prices, auction sales, Australian art, Brett Whiteley, Carmen Bat Ka Man, contemporary art, Deutscher & Menzies, First-Class Marksman, Frederick Cress, Frederick Ronald Williams, Grace Cossington Smith, John Cecil Brack, John Henry Olsen, Lin Onus, Lloyd Frederick Rees, modern art, Opera House, Rick Amor, Sidney Robert Nolan, Sothebys, The Bar, The Old Time, The Olgas for Ernest Giles, Vincent Fantuazzo | 2 Comments »
Posted by artradar on September 1, 2010
ART EVENTS PROMOTING CONTEMPORARY ART ART SALES ART FAIRS ONLINE
Art Radar Asia was recently sent information on an event new to the art promotion circuit – VIP Art Fair is the first fair to be run entirely online. The event will launch on 22 January, 2011 and was founded by experienced art professionals James and Jane Cohan from James Cohan Gallery and Silicon Valley-trained technology and marketing specialists Jonas and Alessandra Almgren.
The fair will be free of charge and 45 international galleries have already signed up. Standout features include a VIP Lounge where special films of private collections and artist studios will be available to view, interaction between buyers and dealers through Skype and instant messaging, and a function which will allow fair attendees to take tours of the virtual gallery including the ability to zoom in on artwork detail.
A snapshot of a VIP Art Fair gallery page. Image courtesy of VIP Art Fair.
Read the press release:
HONG KONG, August 19, 2010 – VIP Art Fair, the first art fair to mobilize the collective force of the world’s leading contemporary art galleries with the unlimited reach of the Internet, announces its inaugural fair taking place exclusively online for one week only, January 22-30, 2011, at www.vipartfair.com.
An unprecedented event, VIP Art Fair gives contemporary art collectors access to artworks by critically acclaimed artists and the ability to connect one-on-one with internationally renowned dealers—from anywhere in the world and without leaving home.
“For anyone passionate about art, the Fair is a transformative experience: it delivers all the excitement of world-class art fairs with the convenience and personalization of the Internet,” said James Cohan, co-founder of VIP Art Fair in collaboration with Jane Cohan, Jonas Almgren and Alessandra Almgren. “We’ve invited the most prestigious international galleries, both established and emerging, to come together for an online event, creating a virtual community that will allow collectors, curators and the public to access distinguished galleries and learn about their artists, all with unparalleled ease and absolute discretion.”
VIP Art Fair Founding Galleries David Zwirner (New York), Galerie Max Hetzler (Berlin), White Cube (London), Gagosian Gallery (New York, London, Beverly Hills, Rome, and Athens), Gallery Koyanagi (Tokyo), Hauser & Wirth (Zürich, London, and New York), Anna Schwartz Gallery (Melbourne and Sydney), Xavier Hufkens (Brussels), Fraenkel Gallery (San Francisco), Kukje Gallery (Seoul), Sadie Coles HQ (London), and James Cohan Gallery (New York and Shanghai) will be joined by other international contemporary galleries. A partial gallery list is now available online. A complete list will be made public this fall.
VIP Art Fair Features
The revolutionary design of VIP Art Fair allows art collectors the opportunity to view artwork online as never before. VIP Art Fair’s innovative technology presents artworks in relation to other works of art and in relative scale to the human figure. Inquisitive visitors can zoom in to examine details of a painting’s surface, get multiple views of a three-dimensional work, and watch videos of a multimedia piece. Galleries will provide comprehensive details on artworks and artists, including biographies, catalogue essays, artist films and interviews, and in-depth information that will empower collectors.
One of the many distinct features of the Fair is the interactivity between dealer and collector. Each dealer has the ability to hold conversations with collectors via instant messaging, Skype, and telephone to discuss works on offer in the virtual booth. Dealers can also provide access to their gallery’s back room inventory, sharing works in real time with clients in specially-created Private Rooms on the client’s own computer screen.
There are many ways to explore the Fair, including online tours which are core to the VIP Art Fair experience. Visitors to the Fair can choose from a wide selection of tours—whether of featured works or a tour created by collectors, critics, and curators from participating museums. Visitors also can design their own personalized tours of the Fair that showcase their favorite works and can be shared with friends or posted in the VIP Lounge. Other ways to navigate the site include the Fair Map and advanced searches based on criteria of interest, such as artist’s name, medium, or price range.
The VIP Lounge is where visitors can watch specially commissioned films of leading private art collections and artists’ studios, check out Fair tours created by other visitors, access status updates on art market news, and learn about new works on view in the Fair.
Accessing VIP Art Fair
The Fair will open on Saturday, January 22, 2011 at 8:00 a.m. EST and conclude on Sunday, January 30, 2011, at 7:59 a.m. EST. Browsing the Fair is free of charge. To access interactive capabilities, visitors must have a VIP Ticket, which on January 22 and 23 will cost $100 and thereafter will cost $20. Visitors are encouraged to register in advance.
It seems the international art community is divided in its opinions regarding the success of online sales of artworks.
Pearl Lam, Director of Contrasts Gallery, speaking at the 2010 Art Taipei Forum, stated that,
“We have been selling paintings [through the Internet], that was in the good season, but at the present moment all the collectors … want to see the paintings…. Today, there are still collectors who are buying [through the Internet] but it’s less than what we used to have. We used to have ninety percent of them, … all [through the Internet] and they were not cheap … paintings. We still [sell through the Internet] but reduced and also depending on the price of the painting.”
However, Saffronart, a constant pioneer of new technologies in the art auction arena, recently introduced a mobile phone bidding application to it’s seasonal auctions.
With increasingly more mobile ways to access the Internet and new features which allow users to better explore and interact with virtual space, such as those that will be presented at VIP Art Fair, it’s hard to tell if this is a fad or the first successful move into better utilising this new sales territory.
What do you, our readers, think?
Related Topics: promoting art, art collectors, art fairs, art and the Internet
Subscribe to Art Radar Asia for more on the ways the art industry is using new technology
Posted in Art and internet, Business of art, Collectors, Events, Fairs, Promoting art, Trends | Tagged: 2010 Art Taipei Forum, 2011, Alessandra Almgren, Anna Schwartz Gallery, art and the Internet, art events, art fairs, art fairs in Asia, art market, art promotion, art sales, contemporary art auction, contemporary art fair, Contrasts Gallery, David Zwirner, Fraenkel Gallery, Gagosian Gallery, Galerie Max Hetzler, Gallery Koyanagi, Globalisation, Hauser & Wirth, hong kong, international art, James and Jane Cohan, James Cohan, James Cohan Gallery, Jane Cohan, Jonas Almgren, Jonas and Alessandra Almgren, Kate Nicholson, Kukje Gallery, mobile phone bidding, new technology, Online art, online auction, Pearl Lam, Promoting art, Sadie Coles HQ, Saffronart, Silicon Valley, Skype, VIP, VIP Art Fair, White Cube, www.vipartfair.com, Xavier Hufkens | Leave a Comment »