Dark Side of the Boom: The Excesses Of The Art Market In the 21 CentryPaperback
This book scrutinizes the excesses and extravagances that the 21st-century explosion of the contemporary art market brought in its wake. The buying of art as an investment, temptations to forgery and fraud, tax evasion, money laundering and pressure to produce more and more art all form part of this story, as do the upheavals in auction houses and the impact of the enhanced use of financial instruments on art transactions. Drawing on a series of tenaciously wrought interviews with artists, collectors, lawyers, bankers and convicted artist forgers, the author charts the voracious commodification of artists and art objects, and art’s position in the clandestine puzzle of the highest echelons of global capital. Adam’s revelations appear even more timely in the wake of the Panama Papers revelations, for example incorporating examples of the way tax havens have been used to stash art transactions – and ownership – away from public scrutiny. With the same captivating style of her bestselling Big Bucks: The Explosion of the Art Market in the 21st Century, Georgina Adam casts her judicious glance over a section of the art market whose controversies and intrigues will be of eye-opening interest to both art-world players and observers.
20 Art and the Global Economy
Art and the Global Economy analyzes major changes in the global art world that have emerged in the last twenty years including structural shifts in the global art market; the proliferation of international art fairs, biennials and blockbuster exhibitions; and the internationalization of the scope of contemporary art. John Zarobell explores the economic and social transformations in the cultural sphere, the results of greater access to information about art, exhibitions, and markets around the world, as well as the increasing interpenetration of formerly distinct geographical domains. By considering a variety of locations—both long-standing art capitals and up-and-coming centres of the future—Art and the Global Economy facilitates a deeper understanding of how globalization affects the domain of the visual arts in the twenty-first century. With contributions by Lucia Cantero, Mariana David, Valentin Diaconov, Kai Lossgott, Grace Murray, Chhoti Rao, Emma Rogers and Michelle Wong.
The Great Reframing. How Technology Will – and Won’t – Change the Gallery System Forever
In recent years, observers and participants alike have passionately debated technology’s prospects for altering the art industry, particularly the contemporary-gallery sector. A few staunch Luddites aside, many, if not most, now seem to believe that wholesale “disruption” of this specialized market is inevitable. But both parties in this would-be merger harbor grave misconceptions about the other’s business—misconceptions that distort their often-utopian predictions about the “frictionless” and “democratic” future of contemporary-art sales.
“The Great Reframing: How Technology Will—and Won’t—Change the Gallery System Forever” seeks to correct the record on both sides. By revealing the secretive and counterintuitive dynamics of the 21st-century art market as only a veteran of the industry can, Tim Schneider unpacks how and why this unique space dismantles many of digital innovation’s most dependable weapons of disruption. And by elucidating tech’s winner-takes-all effects on earlier-adopting cultural sectors like pop music and film, he foreshadows the unintended (and unsettling) consequences that e-commerce, data science, and other advancements are likely to unleash on a largely unsuspecting art industry. Through this double-barreled approach, “The Great Reframing” blasts open the debate about how—and how much—contemporary artists, gallerists, and professionals alike need to evolve if they want to avoid being herded onto the industry’s scrap heap in the years to come, beginning right now.
The Auctioneer – Adventures in the Art Trade
Simon de Pury
Just as William Goldman, the ultimate screenwriter, took us inside Hollywood, Simon de Pury, the ultimate art player, will take us inside an even more secretive business, whose staggering prices, famous collectors, and high crimes are front page news almost every day. The former Chairman of Sotheby’s Europe, the former owner of Sotheby’s rival Phillips de Pury, and currently a London-based dealer and advisor to great collectors around the world, Simon has one of the highest profiles of any non-artist in the art world. Even though he has an ancient title and the aura of an elegant Swiss banker, Simon is famous as an iconoclast and is known as “The Mick Jagger of Auctions” for his showmanship and exuberance. His whole life in art has been devoted to bringing art to the public and to the juxtaposition of high and low. Movie stars, musicians, and athletes compete with hedge funders and billionaires for the great art, and Simon is their pied piper; he wants to turn the world onto art and this book will be his message.
Une Historie d’Art Contemporain
This book tells the story of an emblematic French gallery. Daniel Templon started selling contemporary art from a cellar in the Latin Quarter in 1966, just when New York as dethroning Paris and American art was taking the French art scene by storm. Championing both avant-garde artists from over the Atlantic and emerging French talents, he helped redefine the role of the dealer, emerging as one of the leading gallerists of his generation. Over the last fifty years, the programming of his spaces in Paris-as well as Milan and Brussels-has reflected the deeps changes that have transformed not only contemporary art but also the art world itself-the critics, collectors and, especially, artists.
Placing Daniel Templon’s activity in its artistic, economic, and political context, Julie Verlaine’s detailed account follows the career of a man whose position has made him a privileged witness to the making of art and the remaking of the art world. The accompanying interviews with Daniel Templon himself are rich in personal recollections of some of the leading artists of our time (such as Donald Judd, Carl Andre, Andy Warhol, Roy Lichtenstein, Frank Stella, Ellsworht Kelly, Helmut Newton, Jean-Michel Bsquiat, Ben, Daniel Buren, César, Gérard Garouste, and Jean-Michel Alberola). They also offer some frank and vivid insights into the working of the French art scene.
When Art meets Money – Encounters at the Art Basel
Stephan Egger + Thomas Mazzurana + Franz Schultheis + Erwin Single
Art Basel is more than just a fair in the commercial sense of the word, more than a concentrated gathering of dealers offering their goods for sale to interested buyers. It is the site of display of holy goods in the presence of thousands and thousands of believers, a mecca for the ritualized adoration of modern and contemporary art. It is also the decisive witness of the upheaval marking a radical change in the relationship between art and money, with all of the consequences–not least, the evaluation of what is to be regarded as “genuine” art. When Art Meets Money offers a sociological study in the vein of Pierre Bourdieu, the result of several years of field work, attempting to draw a picture of this change as perceived by the participants, fair organizers, gallerists, collectors, curators, art consultants and artists as a central problem of the contemporary art scene.
Big Bucks – The Explosion of the Art Market in the 21st Century
This highly readable and timely book explores the transformation of the modern and contemporary art market from a niche trade to a globalised operation worth an estimated $50 billion a year.
Drawing on her personal experience, Georgina Adam describes in fascinating detail the contributions made by a range of people and institutions to these recent development of auction houses into globalized, often cut-throat ‘art business’ firms; the emergence and modi operandi of mega-dealers and middlemen; the new frontier of selling art on the internet; the radical changes in the profile of art collectors; the phenomenon of the branded artist and the explosion of art fairs. It addresses the negative side to the art market’s expansion, particulary its lack of transparency and light regulation.
Engagingly written, this informative text will be ideal for collectors, students, and anyone interested in learning more about the evolution of the unprecedented market for art which exists today.
Art as an Investment – A Survey of Comparative Assets
Aimed at collectors and investors, this user-friendly guide explains art’s value as an asset through comparisons with more familiar investments, including property, shares and gold. It draws on extensive research and interviews with key players in these other markets, as well as the author’s own experience, to clarify the specifics of art as an asset class.
This timely book considers the growing importance attributed to art as an investment, testing the validity of claims about art’s capacity to generate returns that outweigh its risks. It offers jargon-free explanations of how the characteristics of blue-chip art can be seen to coincide with and diverge from the fundamental features of more established types of asset. Key issues addressed include the role of subjectivity in the perception of value; the failure of attemps to establish stock markets for art; the risks and shortcomings of art funds; banks’ reluctance to lend against art; and the art world’s distaste for selling and speculation.
This thorough but accessible text from a respected art-market professional is essential reading for art investors and prospective art investors.
Art of the Deal – Contemporary Art in a Global Financial Market
Art today is defined by its relationship to money as never before. Prices have been driven to unprecedented heights, conventional boundaries within the art world have collapsed, and artists think ever more strategically about how to advance their careers. Art is no longer simply made, but packaged, sold, and branded. In Art of the Deal, Noah Horowitz exposes the inner workings of the contemporary art market, explaining how this unique economy came to be, how it works, and where it’s headed. In a new postscript, Horowitz reflects on the evolution of the trade since the book’s original release in 2011, shining light on the market’s continued ascent as well as its most urgent challenges.
Leo & His Circle – The Life of Leo Castelli
Leo Castelli reigned for decades as America’s most influential art dealer. Now Annie Cohen-Solal, author of the hugely acclaimed Sartre: A Life (“an intimate portrait of the man that possesses all the detail and resonance of fiction”–Michiko Kakutani, The New York Times), recounts his incalculably influential and astonishing life in Leo and His Circle.
After emigrating to New York in 1941, Castelli would not open a gallery for sixteen years, when he had reached the age of fifty. But as the first to exhibit the then-unknown Jasper Johns, Castelli emerged as a tastemaker overnight and fast came to champion a virtual Who’s Who of twentieth-century masters: Rauschenberg, Lichtenstein, Warhol, and Twombly, to name a few. The secret of Leo’s success? Personal devotion to the artists, his “heroes” by putting young talents on stipend and seeking placement in the ideal collection rather than with the top bidder, he transformed the way business was done, multiplying the capital, both cultural and financial, of those he represented. His enterprise, which by 1980 had expanded to an impressive network of satellite galleries in Europe and three locations in New York, thus became the unrivaled commercial institution in American art, producing a generation of acolytes, among them Mary Boone, Jeffrey Deitch, Larry Gagosian, and Tony Shafrazi.
Leo and His Circle brilliantly narrates the course of one man’s power and influence. But Castelli had another secret, too: his life as an Italian Jew. Annie Cohen-Solal traces a family whose fortunes rose and fell for centuries before the Castellis fled European fascism. Never hidden but also never discussed, this experience would form the core of a guarded but magnetic character possessed of unfailing old-world charm and a refusal to look backward–traits that ensured Castelli’s visionary precedence in every major new movement from Pop to Conceptual and by which he fostered the worldwide enthusiasm for American contemporary art that is his greatest legacy.
Drawing on her friendship with the subject, as well as an uncanny knack for archival excavation, Annie Cohen-Solal gives us in full the elegant, shrewd, irresistible, and enigmatic figure at the very center of postwar American art, bringing an utterly new understanding of its evolution.