Posts Tagged ‘art market’
Posted by artradar on October 19, 2010
EMERGING YOUNG ASIAN ARTISTS
The “Alternate-Friday Top Series” is a series of lists, produced fortnightly by Artprice, which provide artist ranking on various themes. The September 10th edition lists the top ten artists aged under thirty that have achieved the highest auction results in the first half of this year. Asian artists overwhelm artists from other areas and we name them here.
Artprice has listed ten artworks by eight artists, Peng Si and Kao Yu appear twice in the list, and of those ten, nine have been created by artists from Asia. The number one spot, however, goes to an artwork by American Dash Snow.
As Artprice summarises, “What do these artists from such different backgrounds and cultures have in common? They have all managed to carve a place in the art market before reaching their thirtieth year, have all exhibited their work in numerous exhibitions … and all have plenty of potential to continue their artistic careers.”
Peng Si (ranked 2 and 3 out of 10)
Peng Si, a Chinese artist based in Beijing, holds second and third ranking, with Portrait of a Man in Red (2006) and Portrait of a Man in Yellow (2006) which sold for USD51,359 and USD48,791 respectively at Christie’s May 2010 sales in Hong Kong (Asian contemporary art). Peng Si produces oil paintings that have a dreamlike quality, mixing classical Chinese imagery, while equally expressing a unique modern value.
Peng Si, 'Portrait of a Man in Red', 2006, oil on canvas, 188 x 118 cm. Image taken from artnet.com.
Erinç Seymen (ranked 4 out of 10)
Erinç Seymen, a Turkish artist who lives and works in Istanbul came fourth. His Untitled (2010) fetched USD32,306 at Sotheby’s in London in April’s sale (2010). The work combines car paint, aluminium, steel and fibreglass and represents a pink butterfly with a body in the form of a grenade. Untitled (2008) and Civilian (2006) bear the same pink tonality.
Yang Na (ranked 5 out of 10)
Chinese artist Yang Na’s Gold Coined Hibernation (2008) (acrylic on canvas), sold under the hammer for USD31, 381, at 33 Auction in Singapore in May, 2010. Yang Na is part of the new wave of artists that grew up during rapid economic expansion in China, becoming exposed to a technological world of new media. The art communicates the artist’s experience of this technology and media. She often creates simplified characters, with exaggerated features that lie between the metaphysical and irreality.
Yang Na, 'Gold Coined Hibernation', 2008, acrylic on canvas, 150 x 150 cm. Image taken from artnet.com.
Kao Yu (ranked 6 and 9 out of 10)
Chinese artist Kao Yu, takes third and ninth place in the rank, Love Tear Gas (2004) fetched USD30,217 in June, 2010 at the Shanghai Hosane Auction Co. and Ultimate Taste of Capitalism (2009) fetched USD23,038 in April, 2010 at Phillips de Pury in London.
Zakaria Ramhani (ranked 7 out of 10)
Zakaria Ramhani, a Moroccan artist holds seventh place with Faces of the Other (2008) that fetched USD30, 000 at Christie’s April, 2010 sale in Dubai. Living and working in Tangier and Montreal, he uses his mother tongue and the language of the Other, French. Moving between speaking the two languages inspired him to create visual and audio portraits. The portraits explore human identity, investigating issues of self and other by establishing a dialogue between painting, writing and sound.
Noriko Yamaguchi (ranked 8 out of 10)
Noriko Yamaguchi, a Japanese artist, holds ninth position in the rank. The three telephone girls Keitai girl suit 3 (old model) Keitai girl suit 4 (silver) Keitai girl suit 5 (white and red) fetched USD25 679 in Christie’s Hong Kong in May, 2010. The “Keitai Girls” are futuristic archetypes that explore the future development with the human body and its interaction with technology.
Ariadhitya Pramuhendra (ranked 10 out of 10)
The final artist on the list is emerging Indonesian artist Ariadhitya Pramuhendra. Memorable 2 (2008) fetched USD21,827 in May, 2010 at Christie’s in Hong Kong. The charcoal portrait on canvas reflects his continual questioning of his religious, social and art world identities.
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Posted in Emerging artists, Lists, Trends | Tagged: 33 Auction, Alice Nava, Alternate-Friday Top Series, Ariadhitya Pramuhendra, art, art auctions, art market, Artprice, Chinese art, Chinese artists, Christie's auctions, Civilian, contemporary art, Dash Snow, Emerging artists, Erinc Seymen, Faces of the Other, Gold Coined Hibernation, Keitai girl suit 3 (old model) Keitai girl suit 4 (silver) Keitai girl suit 5 (white and red), Keitai Girls, Lists, Love Tear Gas, Memorable 2, Noriko Yamaguchi, Peng Si, Phillips de Pury, Portrait of a Man in Red, Portrait of a Man in Yellow, Shanghai Hosane Auction Co., Sothebys, Turkish artists, Ultimate Taste of Capitalism, Whitney Biennial, Yang Na, Yu Kao, Zakaria Ramhani | 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
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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 20, 2010
SOUTH KOREA CONTEMPORARY ART INTERVIEW CURATOR
Art Radar Asia recently spoke with German-born curator Tobias Berger, who currently holds the position of Chief Curator at the Nam June Paik Art Center, about the Center’s exhibition “The Penguin that goes to the Mountain“. During this interview, Berger also revealed a few of his observations on living and working in the Korean art environment.
Korean art has always been in the shadow of Japanese and Chinese artistic success, often “dismissed as a mere conduit between the two mega cultures.” This may be because few of the local magazines, exhibition catalogues and other art texts produced on Korean contemporary art are available in English. As Berger states, “There are none. They’re all in Korean. There’s nothing really good in English.” And while the local art scene is perhaps not on par with what can be experienced in these neighbouring countries, Berger notes that the art that is being produced in Korea is of a very high quality, due to good art schools, a diversity of art spaces, talented pioneers and governmental support.
'Shamoralta Shamoratha' (2007) by Inbai Kim was shown at "Korean Eye: Moon Generation" in 2009. Korean Eye was founded in 2009 as a way to support emerging Korean artists by providing international exhibition opportunities.
As a European who formerly lived and worked in the Hong Kong art scene, how do you find the South Korean art scene compares?
“The Seoul art scene is probably the most sophisticated art scene in Asia. It has really good independent spaces, good commercial galleries, interesting art schools and good museums. It has this whole pyramid of different art spaces, exhibition possibilities, and it has a lot of really good and wonderful artists. That level of depth and the level of different kinds of art spaces is incomparable. Certainly in Beijing [you] have galleries, but you don’t have any independent spaces, and in Tokyo it’s also very different.”
How do you keep up to date with the Korean art scene?
That is a problem because it’s all in Korean and it’s very difficult to keep up [with]. I mean, you just go to the 10-15 [art] spaces once a month … and you talk to your friends and your colleagues that go to the big exhibitions…. You just have to look at how it is. There was a [recent] survey show called “Bright Future” but it only had twelve artists.
Tell us about the art school system in Korea? How does it differ from other places?
It’s the most sophisticated [system] because it had some good pioneers [and] a lot of governmental help. [South Korea] has some good art schools and it has a lot of good artists that have studied overseas and come back. This allowed a lot of critical discourse and [there were] a lot of magazines. That allowed the art scene to grow well and in the right way.
Korean art is becoming popular with international collectors. “Korean Eye“, for example, was shown at The Saatchi Gallery in London earlier this year. Can you tell us why you think this is happening now?
“Here in South Korea you don’t feel that there’s much happening. The Korean scene is nothing compared to what’s happening in China…. On the one side, these shows, where this is popular or that is popular, don’t really mean a thing. There is a lot of good art in South Korea and the quality of the art is really on a high level, because art education has been good for 15-20 years. A lot of people are educated in Europe and America and have very good support and certainly output good quality art…. I mean, you don’t want to buy or you don’t want to show an artist because he’s Korean, you want to show an artist because he’s a good artist.”
Related topics: Korean artists, interviews, Tobias Berger, curators
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Posted in Art spaces, Artist-run, Asia expands, Curators, From Art Radar, Generation art, Globalization of art, Interviews, Korean, Museums, Tobias Berger | Tagged: America, art dealers, art exhibitions, art history, art magazines, art market, art museums, art school, art schools, art space, art spaces, art trends, artist-run spaces, artistic expression, Beijing, Bright Future, Chinese contemporary art, Collectors, commercial galleries, critical discourse, cultures, curators, dealers as curators, Emerging artists, emerging Korean artists, Europe, European, gallery art, Globalisation, Hong Kong art scene, independent art spaces, international art, international collectors, international visual language, Julie Anne Sjaastad, Korea, Korean art, Korean art scene, Korean artist, Korean artists, Korean contemporary art, Korean Eye, Lee Ufan, Nam June Paik, Nam June Paik Art Center, publications, Saatchi Gallery, Seoul, South Korea, South Korean art scene, Suh Se-ok, The Saatchi Gallery, Tobias Berger, Tokyo, traditional painting, Transition, urbanism | Leave a Comment »
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
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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 »
Posted by artradar on August 17, 2010
ART FAIRS ECONOMY
A recent article in the Economist comments on the globalisation of art and how art fairs accelerate the transnational exposure of artists, something that could become necessary for artists if they want to attract the attention of serious collectors and art investors. Importantly, it also identifies the current international art fair hot spots. Read on for our summary of this article.
Globalisation of the art market
Globalisation is one of the most important phenomenon in the history of recent art. Contemporary art needs the potential of a global market and thus enters the art fair. Biennials and landmark exhibitions help to initiate global change in the art scene. International art fairs spread belief in contemporary art through the help of banks and royalty, from Deutsche Bank to local rulers in the Middle East.
In addition, the article quotes Marc Spiegler and Annette Schönholzer, co-directors of Art Basel, as saying that private collections are becoming increasingly international. Collectors start by acquiring art from their own nation and eventually acquire internationally. In many countries contemporary art has become an economic project involving collectors, dealers and huge cultural districts with museums and art fairs.
Art Basel 2009.
For an art fair to be properly diverse, careful curation is essential. For good international fairs, this not only means that attending galleries show talented artists, but also that they show artists that live in the country the gallery is located in. As quoted in The Economist,
As Lucy Mitchell-Innes of Mitchell-Innes & Nash, a New York gallery, warns: ‘It’s a problem if four or five booths have the same artist’s work. A good international fair wants Chinese galleries to bring talented Chinese artists, not another Antony Gormley.’
International art fair hot spots
The locational hierarchy of art fairs differs from that in the auction market. For art auctions, the three most prominent cities are New York, London and Hong Kong, in that order. When talking about art fairs, Basel would come first, but what follows this lead is unclear: Miami or London, New York or Paris?
Even more notable are the art fairs currently sprouting up in Asian countries. These are creating alternate markets for art and challenging Western leadership. Adding to the hierarchical ladder are two newcomers: Hong Kong’s ART HK (Hong Kong International Art Fair) and Abu Dhabi Art, operating from the Middle East.
What art fairs mean for artists and their art
In general, art fairs can accelerate the transnational exposure of all artists represented. Art Basel is unrivalled in this category and it may be because it has always defined itself as international. The frenzied demand for new art peaked with the creation of smaller art fairs. Some of them work as satellites to the major European events, the biennials, art festivals and fairs such as Basel. These budding fairs cater to lesser known, emerging artists.
Within the art market, that an artist is “international” has become a selling point. Consequently, the local artist has become almost insignificant, while those called “national” are damned with faint praise.
Art fairs, with their aggregation of art dealers forming a one-stop shoppers’ marketplace for art, attract high-spending collectors, generate greater sales and have to some extent replaced galleries with their increasing drawing power. Still the globalisation of the art is not just about money. There are a growing number of non-profit biennials that are developing along with the market structures. As quoted in The Economist,
Massimiliano Gioni, a curator based in Milan and New York, who is overseeing the Gwangju Biennial, which opens in South Korea in September, recalls that the avant-garde was ‘built on a transnational community of kindred spirits,’ adding, ‘sometimes I long for that.’
This is an Art Radar summary of “Global frameworks – Art-fair musical chairs“, first published in The Economist.
Related Topics: art fairs, international artists, market watch – globalisation
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Posted in Artist Nationality, Biennials, Business of art, Collectors, Events, Fairs, Festival, Gallerists/dealers, Globalisation, International, Market transparency, Market watch, Promoting art | Tagged: Abu Dhabi, Abu Dhabi Art fair, Annette Schönholzer, Antony Gormley, Art Basel, art fairs, art festivals, Art HK, art industry, art investment, art market, artists, asia, Asian art market, avant-garde, biennale, Biennials, Chinese galleries, Collectors, contemporary art, Dealers, Deutsche Bank, Frieze Fair, global art market, Global frameworks – Art-fair musical chairs, Globalisation, Gwangju Biennial, hong kong, Hong Kong International Art Fair, International, international art, international art community, international art fair, international art market, Julie Anne Sjaastad, London, Lucy Mitchell-Innes, Marc Spiegler, market structures, Miami, Middle East, Mitchell-Innes & Nash, new york, Paris, South Korea, The Economist | 1 Comment »
Posted by artradar on August 10, 2010
KOREAN ARTISTS WESTERN EXPOSURE
The Saatchi Gallery in London once again hosted the popular exhibition “Korean Eye“, which showcases emerging Korean artists to the West. This year the exhibition will travel; in October and November it will travel to Singapore and Seoul with the aim of reaching a wider audience.
“Korean Eye,” founded by curator David Ciclitira, specialises in introducing Korean artists to the international market, giving them recognition outside the Asian region. The first exhibition, “Korean Eye: Moon Generation” in 2009, was extended due to its popularity, reaching 40,000 visitors in two weeks, and ultimately drawing a total 250,000 visitors.
The 2010 exhibition “Korean Eye: Fantastic Ordinary” hosts over thirty works by twelve talented Korean artists with little prior exposure to the Western market. This year the show started off at the Saatchi Gallery in London, and will move to Singapore in October and Seoul in November, to coincide with the G20 Summit.
Bae Joon Sung, 'The Costume of Painter - Drawing of Museum R, J. L. David lie down Dress Inn', 2009, oil and lenticular on canvas, 181.8 x 259.1 cm.
The ten artists participating in this years exhibit are: Bae Chan Hyo, Bae Joon Sung, Gwon Osang, Young In Hong, Jeon Joonho, Ji Yong Ho, Kim Dong Yoo, Kim Hyun Soo, Park Eun Young, and Shin Meekyoung. In addition, 2009 Joong Ang Fine Art Prize winner Jeon Chae Gang and Perrier-Jouet nominated artist Lee Rim will join the list of members.
The success of the franchise clearly shows a rise in interest towards Korean art, but may also have something to do with shrewd management. In a 2009 Art Radar interview, “Korean Eye” founder David Ciclitira revealed his views on the future of the art industry and his unique take on the management of art exhibitions, both of which should involve not only collector and auction house input but also government support and bank sponsorship.
What I’ve found interesting in this whole learning process is how unsophisticated the art world is, because when you work in major sports events, there are more dates, so much more research, everything is television linked to media values, and art feels amateur when you look at how they do things, and it’s no small wonder that when they need to raise massive money, they find it quite hard.
“Korean Eye” is funded by Standard Chartered, one of Britain’s largest banks, and features each of its artists along with a catalogue of their work to create an international selling environment for the brand new Korean works. It has opened up a window of awareness for Korean art in the West and suggests a rise in Korean contemporary art sales in future.
Plans for the 2011 and 2012 exhibitions have already been made and involve further expansion. “Korean Eye” will continue at Saatchi Gallery in 2011 and in 2012, and in 2012, plans have been made to expand “Korean Eye” over the entire gallery, where works will be selected and curated by Charles Saatchi and the gallery’s team.
Related Topics: David Ciclitira, gallery shows, Korean artists, venues – London
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Posted in Asia expands, Business of art, David Ciclitira, Gallery shows, Korean, London, Promoting art, Trends | Tagged: art curators, art exhibitions, art management, art market, art professional interviews, art professionals, Asian art market, Bae Chan Hyo, Bae Joon Sung, banks and art, British bank, business of art, Charles Saatchi, contemporary art in Korea, curators, David Ciclitira, emerging Korean artists, G20 summit, gallery shows, government funding, Gwon Osang, Hong Young In, interviews with art professionals, J. L. David lie down Dress Inn, Jeon Chae-gang, Jeon Joon Ho, Ji Yong Ho, Joong Ang Fine Art Prize, Kim Dong Yoo, Kim Hyunsoo, Korean art, Korean art exhibitions, Korean art in international market, Korean art market, Korean artists, Korean contemporary artists, Korean emerging artists, Korean Eye, Korean Eye: Fantastic Ordinary, Korean Eye: Moon Generation, Lee Rim, London, Maya McOmie, Park Eun Young, Perrier-Jouet, Promoting art, Saatchi Gallery, Seoul, Shin Meekyoung, singapore, Standard Chartered, The Costume of Painter - Drawing of Museum R | Leave a Comment »
Posted by artradar on July 28, 2010
ART MARKET ART AUCTIONS CALLIGRAPHY DOHA
Sotheby’s London recently announced it will hold the first ever international auction house sale dedicated solely to calligraphy in Doha, Qatar, at The Ritz-Carlton Doha hotel, on 15 December. The groundbreaking calligraphy auction Hurouf: The Art of the World will showcase various works ranging from very early Islamic calligraphies to a mix of modern and contemporary Arabic, Farsi and Ottoman Turkish works.
Highlights of the forthcoming auction will travel through the Gulf Region prior to sale, one of which being Ali Omar Ermes’ The Fourth Ode which has an estimated price ranging from USD250,000 to USD350,000.
- Ali Omar Ermes’s ‘The Fourth Ode’ (acrylic and ink on paper).
Calligraphy is an art form that has influenced the Doha art scene for many years, and Sotheby’s believes this sale represents the region’s past and present talents. Says Roberta Louckx, Sotheby’s Executive Vice President and Head of Sotheby’s in Qatar, in a the press release announcing the sale:
We are delighted to return to Doha later this year with an inaugural auction devoted to ‘calligraphy’, a theme that has inspired and informed the art of this rich and diverse culture throughout the ages – from the production of the first Kufic Qur’ans to the modern and contemporary artworks of Farhad Moshiri. Sotheby’s is strongly committed to the region, and we are extremely excited to present for sale, in Qatar, the creative endeavours of some of the region’s most talented artists, past and present.
According to the press release, the forthcoming calligraphy sale is built on the success of last year’s Doha sales. After opening an office in Doha in 2008, Sotheby’s held maiden sales in March last year during which an Indian carpet made of pearls and gems fetched USD5.5 million, although the Bloomberg article which reported on this sale also mentioned that the prices of the auctions were disappointing in general. As Dalya Islam, Director of Sotheby’s Middle East Arab & Iranian Art Department, states in the press release,
Last year at our Doha sales Sotheby’s achieved solid success for works by highly sought-after Arab artists such as Chafic Abboud, Nabil Nahas, Ayman Baalbaki, Yousef Ahmad and Ali Hassan. In order to build on this, we have decided to devote a sale to works of significant interest to the region, focusing on calligraphy. The Arabic script has stimulated artists for more than a millennium, and is still a highly regarded and revered art form that reflects the rich history of the region. The auction will emphasise the enduring legacy of Islamic art by tracing the development of calligraphy, with a focus on its contemporary manifestation.
Related Topics: market watch – auctions, calligraphy, Middle Eastern artists
Posted in Artist Nationality, Auctions, Business of art, Calligraphy, Market watch, Middle Eastern, Qatar, Styles, Words | Tagged: Ali Hassan, Ali Omar Ermes, Arabic, arabic art, Arabic script, art market, auction, Ayman Baalbaki, Bloomberg, Calligraphy, calligraphy auction, calligraphy sales, Carmen Bat Ka Man, Chafic Abboud, contemporary calligraphy, Dalya Islam, Doha, Farhad Moshiri, Farsi, farsi art, Gulf Region, Hurouf: The Art of the World, Islamic art, Islamic calligraphies, islamic calligraphy, Kufic Qur'ans, market watch, Middle Eastern art market, Middle Eastern artists, Nabil Nahas, Ottoman Turkish, Qatar, Roberta Louckx, sales, Sotheby’s London, Sothebys, Sothebys auction, The Fourth Ode, The Ritz-Carlton Doha hotel, Turkish art, words in art, Yousef Ahmad | 1 Comment »
Posted by artradar on July 22, 2010
ART AUCTIONS NEW TECHNOLOGY MOBILE PHONES
Art Radar Asia has found a new tool available to collectors when bidding for artworks at auction – lots can now be won via mobile phone bids.
M. F. Husain's 'Kerala - V'.
As reported on the Saffronart website, the online auctioneer concluded its most recent sale on 17 June, with ten lots won by the company’s new mobile application.
Ten lots were won via Saffronart’s new mobile application, which allows bidders to bid from Blackberrys and iPhones. Those lots totaled $934,272. M.F. Husain’s Untitled was the highest lot sold via mobile, making $235,750.
Saffronart, a specialist in Indian art, was founded in 2000 by art collectors Dinesh and Minal Vazirani. It is renowned for its innovative use of new technologies within the art industry; their online auction model was recently the subject of a case study at Harvard Business School. The company has galleries and offices in Mumbai, New York and London. This most recent online auction grossed $6.7 million.
Related Topics: business of art, market watch – auctions, Indian artists
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Posted in Artist Nationality, Auctions, Business of art, Indian, Market watch | Tagged: art auctions, art market, Blackberry, business of art, Dinesh Vazirani, Harvard Business School, Indian art, Indian artists, innovative technology and the arts, iPhone, Kate Nicholson, London, M.F. Husain, market watch, Minal Vazirani, mobile bidding application, mobile phone bidding, Mumbai, new york, online auction, Saffronart, technology and the arts | Leave a Comment »
Posted by artradar on July 21, 2010
SEOUL AUCTION HOUSE RESULTS
A recent article by The New York Times explains the market trends of recent Hong Kong newcomer, Seoul Auction’s two highly successful auctions held in 2009: Korean collectors continue to acquire Western contemporary artists, Chinese artists buy modern Chinese paintings and Korean art sales are a hit and miss affair. Read on for more…
Seoul Auction was established in 1998, and was for many years was the city’s only auction house. In 2008, it opened an office in Hong Kong, and since then has been gaining international credibility as a top-rate Asian auction house. Seoul Auction uses the auction platform as a way to introduce Western art to the Asian market, as well as introducing relatively new work from South Korea and other Asian countries to the international market.
Damien Hirst, 'The Importance of Elsewhere – The Kingdom of Heaven,' 2006, butterflies and household paint on canvas, 292x243.9 cm.
Trends in Western art
Seoul Auction’s record-breaking 2.2 million dollar sale of Damien Hirst’s The Importance of Elsewhere – The Kingdom of Heaven, arguably its most notable achievement, and similarly pricey sales of other Western artists have revealed a flourishing market for Western Art in Asia. Works from Damien Hirst’s “Butterfly” series have proven very sell-able, although Seoul Auction has avoided his brush paintings – a pair of silk screen prints failed to sell at their April sale.
Donald Judd’s linear block sculpture Untitled (Progression 87-26) and Robert Indiana’s Eight from his number series are among those that fetched the highest prices. Roy Lichtenstein has also been introduced and has had a healthy reception.
According to the chief executive of Seoul Auction, Jun Lee, “Korean collectors are very sophisticated.” He adds that they had been collecting Western contemporary art “for the past twenty years, even when the market was not that active, even in New York. They are very open-minded. It’s a survival strategy under these circumstances, in periods of recession. We’re trying to persuade our contacts with whom we’ve built relationships over the past ten years to sell.”
Popular Asian contemporary artists
The “Infinity Nets” mixed media sculptures by Japanese artist Yayoi Kusama have been highly successful. Works by Anish Kapoor, introduced to Korea by Seoul Auction, have also been highlighted as having healthy sales.
A photographer takes a picture of Yayoi Kusama's 'Venus No.1, Statue of Venus, Obliterated by Infinity Nets' (1998) at the Hong Kong International Art Fair. Taken from freep.com.
Korean art hit and miss
Although Korean works account for forty percent of Seoul Auction’s offerings in Hong Kong, sales of Korean art have been hit and miss. Kim Whanki’s abstract geometry paintings have sold well, but video artist Nam Juin Paik’s work has failed to sell. The article accredits this to the relatively short history of South Korean art in the international market compared to that of Japanese and Chinese artists, although in recent years sales to Western collectors have increased.
Chinese collectors prefer traditional art
Chinese art has been undeniably popular among Chinese buyers. Sanyu’s Flowers in a White Vase, Wang Yi Dong’s Girl and Peaches and Zeng Fanzhi’s Mask Series no 21 3-1 sold for good prices, some even exceeding their estimates.
Also popular among Chinese buyers are traditional paintings, such as works by Impressionists Chagall, Renoir, and Picasso, but they are less interested in less familiar American pop artists. According to an article by the Hong Kong Trader, there is also a trend for crossover art.
With the growing trend for crossover art (Chinese buying Japanese art, Japanese buying Korean art, etc), Ms Shim expects more Asian auction houses will look to set up a base in Hong Kong. By moving early, she says, Seoul Auction will gain a strong foothold. ‘We are preparing now for the good times ahead.’
As expressed in The New York Times article, the buying power of China is told only too well through the popularity of traditional works when contemporary works are struggling to sell.
Read the full article here.
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Posted in Auctions, Business of art, Collectors, Hong Kong, Market watch, Promoting art | Tagged: American pop art, Anish Kapoor, art auctions, art auctions in Asia, art market, Asian art market, Asian collectors, auction houses, Butterfly series, Chagall, China, Chinese art, Chinese collectors, Collectors, consignors, contemporary art, Damien Hirst, Donald Judd, Eight (numbers series), Flowers in a White Vase, Girl and Peaches, hong kong, Impressionsts, Indian art, infinity nets series, Japan, Japanese art, Jun Lee, Kim Whanki, Korean auction houses, Korean collectors, Maya McOmie, Misung Shim, mixed media, Nam Jun Paik, Numbers series, Painting, Picasso, Pink Rose, Recession, Renoir, Robert Indiana, Roy Lichtenstein, Sanyu, sculpture, Seoul, Seoul Auction, South Korea, South Korean art, South Korean consignors, The Importance of Elsewhere – The Kingdom of Heaven, The New York Times, Tranquility, Untitled 06-1, Venus No.1 Statue of Venus (infinity nets), Wang Yi Dong, Western art, Western collectors, Yayoi Kusama, Zeng Fanzhi | Leave a Comment »