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COLLECTING CONTEMPORARY

COLLECTING CONTEMPORARY

LINDEMANN ADAM
Κωδ. Πολιτείας: 3745-0846




Παρουσίαση

Recently, the soaring prices and the excitement surrounding the Contemporary Art market hit the front pages of The New York Times and The Wall Street Journal. This sort of mainstream journalistic attention suggests that perhaps we are in the midst of an historic shift in the history of the art market, if not art history itself. Certainly there had been a major boom and bust only a decade ago in the Contemporary Art world, when artists like Julian Schnabel, Eric Fischl and David Salle had waiting lists a mile long; however, never before had a painting that sold for well under 100.000 dollars (e.g. John Currin's Fishermen, 2002) been flipped for more than 1.5 million dollars in only two or three years.
Even more remarkable is the fact that auction records for individual artists are being broken on a regular basis. Maurizio Cattelan's "Not Afraid of Love" (2000) - a life-sized elephant covered by a sheet - was sold by his dealer Marian Goodman for about 350.000-500.000 dollars; within a year it was flipped at Christie's for 2.75 million dollars. These types of returns would be spectacular in any business, but are even more so when we consider that collecting art is supposed to be about things like culture and beauty, not speculation and monster profits.
What comes with the allure of making ten times your investment buying and selling Contemporary Art? People who were merely collecting before are now turbo-charging their art-buying activity, and people who would never spend thousands on art are now rethinking their bias. Why? Because art now looks like an investment, not just an indulgence; at least seven new art funds are out there raising money at this very moment, recommending that investors put up to ten percent of their assets into this new asset class.
Must this bubble burst? If so, when? It's impossible to predict with any certainty. Nonetheless, the fact that prices for Impressionist Art have been sinking while Contemporary Art soars leads us to believe that today's art buyer wants to tap into what's new and exciting and is willing to take a few risks to get it. Certainly the 8.3 million dollars paid for Damien Hirst's "The Physical Impossibility of Death in the Mind of Someone Living (1991) - a shark preserved in formaldehyde, suspended within a giant tank - is staggering. On the other hand, if one believes that it is the iconic art object of the Nineties, then it looks like an appropriate sum for a unique and historical cultural trophy.
If you are currently collecting art or just thinking about it, you must try to understand the various types of people who promote, sell, and collect these works. Collecting Contemporary Art is not a "who's who", and certainly not a guide on what to buy or sell, but it is a selection of 40 representative interviews offering a broad range of opinions on the subject. Over one hundred hours of conversation, explanation, and insider tips with some of the art world's leading figures have been reduced to a few easy-to-read pages; their words will give you powerful insights into the inner mechanisms of today's art market. (From the publisher)

Περιεχόμενα

The Artist
The Art Critic
The Art Dealer
The Art Consultant
The Collector
The Auction House Expert
The Museum Professional: Directors and Curators
Λεπτομέρειες
ISBN139783822849392
ΕκδότηςTASCHEN
Χρονολογία ΈκδοσηςΔεκέμβριος 2006
Αριθμός σελίδων400
Διαστάσεις22x16
Συγγραφέας/Δημιουργός (Ελληνικά)ΛΙΝΤΕΜΑΝ ΑΝΤΑΜ
Κωδικός Πολιτείας3745-0846
Θέμα
Θέση στο κατάστημαΕίσοδος Δ, Πατάρι

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