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Created by Claire Serpi

12

Mar

10 Lessons from TEFAF Art Market Report

Rome's Teatro Valle Occupato wins Princess Margriet Award

11

Mar

Major Unidentified Lucio Fontana Painting Authenticated After Decade of Research - artnet News

10

Mar

44% of Ultra High Net Worth Rich (>$30m) Plan to Buy Art Next Year

Speculating on Trophy Art

27

Feb

Peek into the Lucio Fontana Market

In Numbers

Fontana by Year Madeimage

Auction Turnover

image

Average Priceimage

Great extended analysis at Art Market Monitor courtesy Art Media Agency

Rosso Verde 1968
Carla Accardi (1924-2014) 

Rosso Verde 1968

Carla Accardi (1924-2014) 

23

Feb

Global Reach for Smaller Fairs

Are you listening Artissima, Roma Road to Contemporary Art, Arte Fiera Bologna, MiArt?

22

Feb

Is Futurism's Time Now? The Guggenheim Takes a Chance On Turbulent History

"Futurism is complicated, and it evolved over more than three and a half decades,” says Vivien Greene, senior curator of 19th- and early 20th-century art at the Solomon R. Guggenheim Museum, who has worked over the past five years to prepare “Italian Futurism, 1909–1944: Reconstructing the Universe,” which opens February 21. While the movement has been explored institutionally in Europe, particularly in Italy and the U.K., this show will offer the largest and most comprehensive survey in the United States."

19

Feb

Beauty will save the world.
Fyodor Dostoevsky

Ugo Rondinone Participates in Gstaad Art Retreat: Video Coverage at NOWNESS

18

Feb

Georgina Adam gives her 2 cents on Arte Povera sale Eyes Wide Open

The sale achieved a punchy £38.4m, on the nose of its high estimate and with just 23 lots bought in. Very active in the room was Italian film-maker Pietro Valsecchi, who picked up four works, including Boetti’s checkerboard-like embroidery “Addition” (1974), which made £1.7m, well over the estimate of £300,000-£400,000. Having successfully disposed of the group, the Fossatis are apparently going to collect younger artists – and have a tidy sum with which to do so.

More here

Art as an Asset and Questionable Ethics in WSJ Interview with Marianne Boesky

A few choice’words from the article:

Since the contemporary art market weathered the economic downturn better than assets like homes, Ms. Boesky thinks art is now considered a less volatile asset than it once was. “Late 2009 and 2010 wasn’t easy for anyone, but it’s kind of incredible,” she says. “The richest people…even in the worst of times are still rich, and they need to put their money somewhere." Unlike stock in a tech company, art is a physical asset. "Things go up and down, but they don’t go to zero…and at least I have a storage facility in Delaware I could visit,” she quips.

In the past few years, the art market has come under fire for its lack of oversight. Art-fair transactions are not public, and auction houses rarely disclose buyers or sellers of works they bring to market. Most galleries don’t post the prices of their artwork, in defiance of a decades-old law that mandates they do so.

And groups of speculators can buy a large amount of work by a particular artist, put the pieces up for sale at auction and then enlist their friends to bid up the prices. If the works sell well, the speculators can reap tidy profits. “You can call that collusion, but it’s not illegal, and I don’t even know if it’s unethical," she says. She admits there is a fine line. "You could compare it to insider trading in that…all the little people who don’t get access get hurt by losing opportunity," she says, "but it’s all very gray.”

Ms. Boesky does think the art world, traditionally a handshake business, would be better served by embracing written contracts, which would avoid many of the legal spats over payments that have plagued countless deals. In the end, though, she says most people buy art because they love it. "We’re talking about art," she says. "Nobody gets hurt."

It’s all very gray, indeed.

16

Feb

The Center for Italian Modern Art in New York to Open this Month

The Center for Italian Modern Art (CIMA) was established in 2013 in New York City to promote scholarly research and to advance public appreciation of modern and contemporary Italian art throughout the United States and around the world.

Through annual installations, fellowships, and cultural programming, CIMA provides opportunities for the public and scholars alike to explore Italian modernist masterpieces in-depth and to consider the legacy and ongoing impact of this work on contemporary art. CIMA will open in February 2014.

14

Feb

Saatchi Online spotlights emerging Italian artists