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Latest Art Market Internet Startups – artmarketblog.com

admin — Sun, 05 Feb 2012 13:34:40 +0000

Latest Art Market Internet Startups – artmarketblog.com

Here is a list of the best new art market internet startups:

my-artmap

http://www.myartmap.de

my-artmap is a social network and the social network for art & the art market. Members are persons or institutions who deal professionally with art and the art market (auction house, commercials, galeries, museums, exhibitions) and private persons who are interested in art. They all have through my-artmap the chance to talk about art, to show and to share art, as well as to inform themselves about current exhibitions, appointments etc. The network my-artmap claims to establish the worldwide leading social network for art & the art market. Currently my-artmap is available in 7 different languages and provides an unique network which will be expanded by more languages and functionalities.

Artolo

http://www.artolo.com

The visual art world reinvented, rebooted and made accessible to all.

An online platform that allows you to discover and purchase work ANYWHERE, be it your local cafe, an artist studio near your holiday destination or in the basement of a well-established gallery.

A place where ANYBODY can resell work from a piece by a friend to a Monet discovered in the attic.

And a place where EVERY artist will have all the tools they need to present their work, connect with the right audience and manage the process of a sale. The art world will never be the same.

ArtBinder

http://www.artbinder.com

ArtBinder’s mission is to offer galleries a brilliant way to display a curated selection of their works.

ArtBinder provides galleries with an elegant iPad solution with intuitive tools to streamline the sales and presentation experience.

Ocula

http://www.ocula.com

Ocula presents leading contemporary galleries in Australia and New Zealand in one place.
On Ocula you can browse the latest exhibitions, explore a gallery stockroom, and discover
works by artists they represent.

Ocula online art auctions offer exciting opportunities to buy art in a new way. Prospective bidders
can access comparable sales data, artist’s profiles and provenance all at the click of a mouse.
High-resolution images  reveal details, a zoom tool gets you up close and many artworks offered
can be viewed prior to and during an auction at  our gallery in Auckland. Or you can use our virtual
gallery which offers 3D viewing of the works.

Artfinder

http://www.artfinder.com

At Artfinder.com you can explore our huge gallery of works (from over 400 museum and gallery collections), build your own art profile, collect the art you love, and share it with your friends.

The more Artfinder learns about the works you like, the better it can recommend similar art for you to discover, and connect you with other Artfinder users who share your tastes.

Collectrium

http://www.collectrium.com

Founded by Boris Pevzner in 2009, Collectrium is a New York-based company providing innovative technology for organizing, discovering, sharing, and promoting art on the web and mobile devices, including the revolutionary ArtCapture and virtual wall tools. Over time, the Collectrium team—which has extensive expertise in the fields of technology, finance, and the fine and decorative arts—will offer collectors and galleries integrated services for art storage, appraisals, financing and other needs.

Artnetbook

http://www.artnetbook.com

Artnetbook is a web-based art management solution, art management web tool to manage, market and sell your arts online. Manage your arts on the web from anywhere in the world!

Artnetmarket will allow art people, artists, art galleries, to freelty join online artnetbook.com art community and add profiles for free.

The idea of ArtMap lays in the systematic interactive map with thorough art directory. Visitors will be able to find and search for the different part of art world services provided by different institutions.

**Nicholas Forrest is an art market analyst, art critic and journalist based in Sydney, Australia. He is the founder of http://www.artmarketblog.com, writes the art column for the magazine Antiques and Collectibles for Pleasure and Profit and contributes to many other publications.

Top 5 Art Market Internet Startups – artmarketblog.com

Jan 2012 Art Market Blog Press Update – artmarketblog.com

admin — Thu, 19 Jan 2012 18:58:48 +0000

Jan 2012 Art Market Blog Press Update – artmarketblog.com

Just a few recently published articles that I wrote. Hope you enjoy !!

In Recognition of an LA-Centric Art Market Trend

http://www.fabrikmagazine.com/content/in-recognition-of-an-la-centric-art-market-trend/

Latest London Contemporary Art Auction Roundup

http://www.arterynyc.com/2011/12/october-2011-london-contemporary-art-auction-roundup/

Pearls prove a collectors best friend

http://www.worthpoint.co.uk/2012/01/pearls-prove-a-collectors-best-friend/

image: Painting by Frederick Hammersley

November New York Art Auctions Confuse Market – artmarketblog.com

admin — Fri, 25 Nov 2011 11:51:48 +0000

November New York Art Auctions Confuse Market – artmarketblog.com

The recent round of Contemporary, Modern and Impressionist art auctions produced some interesting results that require some serious analysis to understand. Thanks to Sotheby’s November Contemporary Art Evening Sale, which saw the record sale of four Clyfford still paintings, there has been plenty of confident banter surrounding the current strength of the art market. But is this confidence misplaced? A more widespread and objective analysis of recent art auctions would suggest so. Take the Clyfford Still auction for instance. The entire auction produced a total of $315,837,000, which was well above the $192,000,000 – 270,800,000 pre-sale estimate, and was also the company’s third highest Contemporary Art Evening sale total. However, the four Clyfford Still paintings made up $114 million of the sale total against a $71 million high estimate.

Considering that the four Clyfford Still paintings paintings were a complete and utter anomaly because of the fact that they should never really have gone to auction, and also because they represent a once in a lifetime, never to be repeated opportunity, I think it only fair that they be removed from the equation. After all, if 95% of Still’s oeuvre were not out of bounds it is unlikely that the prices being achieved for his work would be anything close to what they have been, right? What the sale of the Still paintings tells us about the market is that there is still plenty of money available when an opportunity arises to make a highly significant purchase.

Next on the agenda is Gerhard Richter whose Abstraktes Bild (849-3) 1997 set a new auction record for the artists of $20.8 million. A total of eight Richter paintings were sold by Sotheby’s for a total of $74 million against a pre-sale expectation of $27 million, which is a great result but not an unexpected one considering that a major retrospective of Richter’s work has recently opened at the Tate Modern in London. Sotheby’s should be congratulated for the success achieved with the sale of the Richter paintings that do deserve to be recognised in their sale total unlike the Still paintings.

What concerns me most is that when the prices achieved for the eight Richter works and the four Still works are combined the result is a startling total of $188,000,000 which is more than half of the entire total of the Sotheby’s sale. The reason this concerns me is that the numbers could easily be used to justify a bullish view of the art market – and have been numerous times over recent weeks. Although Sotheby’s did achieve an excellent result and deserve to be praised for winning the opportunity to sell the Still paintings, the results need to be approached with caution and a healthy dose of skepticism.

Christie’s didn’t fair as well as Sotheby’s with their Post-War and Contemporary Art Evening Sale managing 90% sold by lot and 87% by value for a total of $247,597,000 against an estimate of $226,450,000-$312,340,000. With commissions removed, Christie’s failed to break the low estimate although they did manage to set 16 new world auction records for artists including Roy Lichtenstein, Paul McCarthy, Charles Ray and Louise Bourgeois.

Phillips de Pury did okay with their Contemporary Art Evening Sale achieving 94% by value and 84% by lot with a sale total of $71,292,500 against an estimate of $66,560,000 – 97,970,000. A new world auction record was set for Richard Serra whose Palms sold for $2,322,500 against an estimate of $2,500,000 – 3,500,000.

The all important Impressionist and Modern Art sales failed to produce any spectacular results. Sotheby’s once again triumped over Christie’s with an evening sale total of $199,804,500 against a pre-sale estimate of $167.6-229.9 million and a sold by lot rate of 84%. Exceeding the May 2011 sale total, Sotheby’s set new auction records for Gustave Caillebotte, Tamara de Lempicka and Maxime Maufra with the top price of the auction going to Klimt’s Litzlberg am Attersee (Litzlberg on the Attersee) which sold for $40,402,500. The unusual “in excess of $25 million” estimate provided for Litzlberg am Attersee (Litzlberg on the Attersee) suggests that Sotheby’s had were unsure about how successful this work would be and thus chose to provide an estimate that ensured the greatest chance of a positively perceived result.

Christie’s Impressionist and Modern Art evening sale was estimated to achieve more than $215,000 but only managed a total of $140,773,500. The highlight of the sale was Max Ernst’s The Stolen Mirror, which sold for $16,322,500 against an estimate of $4,000,000-6,000000, setting a new artist record that more than tripled the artist’s previous record. A new auction record was also set for any single print sold at auction with Pablo Picasso’s La femme qui pleure selling for $5,122,500 against an estimate of $1.5-2.5 million.

Overall, the major November auctions produced relatively consistent results that suggest a market dominated by buyers who have the money to spend, and are interested in purchasing fine art, but only at the safe haven high end of the market. The fact that the market is relying on the work of a small number of highly desirable artists is concerning as it leaves a very small margin for error.

image:

Max Ernst (1891-1976)
The Stolen Mirror
signed ‘max ernst’ (lower right); signed again, dated and inscribed ‘max ernst 1941 product of France’ (on the reverse)
oil on canvas
25 5/8 x 31 7/8 in. (65 x 81 cm.)
Painted in 1941

Greek Financier Wins Picasso’s Lover in Art Auction Stoush – artmarketblog.com

admin — Mon, 27 Jun 2011 19:21:33 +0000

Greek Financier Wins Picasso’s Lover in Art Auction Stoush – artmarketblog.com

Greek financier Dimitri Mavrommatis added to his already impressive art buying history on the 21st of June when he purchased Picaso’s Femme assise, robe bleue at Christie’s London Impressionist and Modern Art sale for £17,961,250 against an estimate of 4,000,000 – 8,000,000. Bidding like a man yet to be informed of the Greek economic crisis, Mavrommatis held off several other determined bidders to come out the victor taking Picasso’s mistress as his spoils of war. Not the first time that he has made a move on one of Picasso’s women, Mavrommatis purchase a painting of Picasso’s wife Jaqueline from Christie’s New York in May last year (2010). Again paying well over the expected price, Mavrommatis took home Picasso’s Femme au chat assise dans un fauteuil for $18 million against an estimate of $10-15 million. Considering that Macrommatis is a member of rival auction house Sotheby’s advisory board, he has sure spent a lot of money at Christie’s. Again feeding what appears to be a penchant for anatomically askew females, Mavrommatis plonked down 11.8 million pounds at Sotheby’s in June of 2010 for Matisse’s 1928 Moroccan interior Odalisques jouant aux dames which had an estimate of 10-15 million pounds.

Having amassed a great collection of old master and modern paintings from the early 1990′s onwards, many of which were purchased from London dealer Richard Green, Mavrommatis sold 17 paintings from his collection in 2007 through Sotheby’s who sold them for just over 8 million pounds against an expected total of only 3 million pounds. Again employing the services of Sotheby’s to sell items from his collection of important french furniture and Sèvres porcelain that was housed in his Chester Square, London house – the sale of which prompted the clear out – Mavrommatis once again profited substantially from the sale. According to Sotheby’s :

“Furniture and Works of Art from the Collection of Dimitri Mavrommatis on July 8 (2008) in London attracted strong competition from the all corners of the globe, realizing the extraordinary sum of £10,410,600 ($20,535,950) against a pre-sale estimate of £5.5/ 8.7 million. No fewer than 80 of the 85 lots offered found buyers, with the majority of lots sold achieving prices well in excess of the pre-sale high estimate. The top lot in the sale was an Important and Rare Large Gilt-Bronze-Mounted Chinese Black and Gold Porcelain Pot-Pourri Vase and Cover (the Gilt-Bronze Louis XV, circa 1745, the Porcelain Qianlong, 1736-1795), which sold for £2,169,250 ($4,279,063) – far exceeding its pre-sale estimate (“in excess of £1 million”), and establishing a new auction record for a piece of mounted porcelain.”

Studying the habits of connoisseur collectors such as Mavrommatis is a great way of learning how to develop a collection. Mavrommatis is a man who obviously knows what he wants and makes sure that he gets it as long as the spoils are top quality works by famous artists. By focusing on the very best examples of the artists and artisans that he is interested in, Mavrommatis has been able to profit significantly from his collecting efforts over the last few decades.

Images:

1. Femme assise, robe bleue by Picasso

2. Femme au chat assise dans un fauteuil by Picasso

What Price Art Auction Philanthropy? – artmarketblog.com

admin — Fri, 18 Feb 2011 12:15:51 +0000

What Price Art Auction Philanthropy? – artmarketblog.com

Christie’s 16^th of February Post War and Contemporary Art Evening Auction saw a staggering new auction record for a living French artist when Martial Raysse’s “L’année dernière à Capri (titre exotique), (Last Year in Capri (Exotic Title))” sold for €4,851,241 against an estimate of €1,000,000 – 1,500,000. The problem is, at least as far as the value of the work is concerned, that the painting was sold to benefit a charitable foundation. Now, before the angry emails start flooding in, I want to state that I think it is great that someone is donating the proceeds of the sale to charity. What does concern me are the effects that this sale could have on the way people perceive the value of this particular work, and the artist’s work in general.

I have no doubt that the price the bidders were willing to pay for this work was significantly influenced by the fact that the proceeds of the sale were going to be donated to charity. Although it may seem that Raysse would have benefited significantly from this sale and from the charitable association, I’m not so sure he has. You see, people are always going to question whether this work would have sold for such a high price if the proceeds of the sale were not going to charity. What makes this question even more relevant is the fact that Raysse is not the most well known or desirable artist and is nowhere near as highly regarded as his American pop artist counterparts. There is, however, significant evidence to suggest that Raysse was beginning to become more highly regarded and more popular, which makes this whole matter even more complicated.

According to artprice.com, the prices being paid for Raysse’s work at auction have been quite solid over the past few years with many works fetching six figures, and a few breaking the one million pound mark. As far as I could see, the previous auction record for Raysse was achieved with a sculpture titled “Snack”, which was sold by Sotheby’s London for 1.26 million pounds in 2008. It is worth noting at this point that a huge majority of the works by Raysse that have been sold at auction were sold in Paris. This doesn’t bode well for Raysse’s reputation as it makes the auction record, which was set in London, seem even more anomalous.

Given the current trend towards works that can be associated with the concepts of arte-povera and primitivism, it would make sense that Raysse’s work would be experiencing a surge in popularity. As an artist who is known for his mixed media collages and sculptures that include “found objects”, both of which are the type of works that are driving the current arte-povera trend, there is every chance that “L’année dernière à Capri (titre exotique), (Last Year in Capri (Exotic Title))” would have still exceeded the estimate and achieved the record had the proceeds not been going to charity. The problem is that we will never know for sure. Instead of this being an excellent chance for Raysee’s work to really excel at auction, this whole situation has generated a big question mark surrounding the true value of Raysse’s work. Given that Raysse’s work rarely appears at auction outside France, there may not be another chance like this for a long time, which is a really big shame. Hopefully Raysse’s work will continue to become more well know and more highly valued as it deserves to be.

image:

Martial Raysse (b. 1936)
L’année dernière à Capri (titre exotique)
(Last Year in Capri (Exotic Title))
signed twice and titled ‘MARTIAL RAYSSE “L’année dernière à Capri” (titre exotique)’ (on the reverse)
oil, paper collage, glycerospray and painted wooden frame on board
72 3/8 x 53in. (184 x 134.6cm.)
Executed in 1962

Top 2010 Art Market Trends Pt. 2 – artmarketblog.com

admin — Sun, 16 Jan 2011 13:07:11 +0000

Top 2010 Art Market Trends Pt. 2 – artmarketblog.com

There is really not just one dominant “art market” that one can refer to anymore. Once upon a time when one referred to the art market they were generally referring to the global leaders England and the USA, with perhaps the French market included depending on who you talked to and what their allegiances were. Now, however, there are so many more highly influential markets emerging on a regular basis that it has become extremely difficult to trace, track and predict art market movements – not totally impossible though. My last post focussed on the art market trends that I have seen emerge during 2010, which were identified primarily from observing auction sales throughout the year. With this post I want to look a bit further into those trends and the reasoning behind them.

The arte povera trend that I mentioned in my previous post on art market trends is not exclusive to the auction world. Some of the world’s top contemporary galleries are exhibiting works that have obvious ties with the concepts and characteristics that one associates with the Arte Povera movement – in particular the use of found objects. For instance, the Barbican Gallery recently held a special exhibition of work by Damian Ortega, a Mexican artist who has strong associations with the White Cube gallery, which consisted of a number of installations using found objects. New York’s Gagosian Gallery chose to use one of Rauschenberg’s ‘Combine’ paintings, a series of works that incorporate found objects and reproduced images, as the feature image of their Rauschenberg show that finished in November 2010. In fact, the first three works of the exhibit were from the artist’s ‘Combine’ series. Since September Hauser and Wirth have exhibited a sculpture by Martin Creed titled ‘Work No. 700’ (2007), three progressively slimmer steel I-beams balanced on top of each other. Creed’s steel girders are left in their used, practical state, which once again fits in with the “found object” trend.

If I can divert back to the auction market for a moment, the January 11-12 2011 Christie’s sale of items from the estate of Dennis Hopper included a particularly interesting array of works that perfectly reflect the current market trends that I have been talking about. A range of junk assemblages by George Herms, an artist who many consider to have been overlooked by the art world, attracted a particularly high level of attention and sold for several times the estimate. The Hopper sale also included a noticeably high number of collage works – another trend that I consider an extension of the “found object” trend. A “found object” collage by Bruce Conner titled ‘Picnic on the Grass’ took the third highest price of the auction reaching a fantastic $96,100 against an estimate of $10,000-$15,000. According to the Christie’s press release “Conner was a key artist in the development of assemblage art, a movement of found-object sculpture that critic Peter Plagens defined as “the first home-grown California modern art.” Hopper’s collection boasts several Conner works, including this multi-layered work that employs fabric, printed paper, plastic, string and even an acorn”. A verifax collage by Wallace Berman proved popular finding favour with a US buyer who paid $42,500, going well beyond the $12,000 to $18,000 estimate. Also included in the sale were collages by Viggo Mortensen and Llyn Foulkes; a collage by Lyn Foulkes titled ‘The Scene that is God’s Mouth’ was purchased by the Hammer Museum in Los Angeles.

Collages also proved popular on the gallery side of the market during 2010 with Gagosian Gallery holding an exhibition of discarded object sculptures and photographic collages by Nancy Rubin from June to July. Victoria Miro extended their exhibition of renowned collage artist Tom Lubbock who passed away less than a month after the exhibition closed. According to the gallery website, “Tom Lubbock died on Sunday 9 January 2011. In tribute to him Victoria Miro Gallery will reopen his exhibition on Saturday 15 & Saturday 22 January. This exhibition of beautifully crafted paper collages, provides the first opportunity to see a small selection of works made weekly by Tom Lubbock for the Saturday edition of The Independent between 1999 and 2004”.

The current fascination and focus on the 2D and 3D versions of “found object” assemblages tells us more about the market than you may realise. Erik Davis gave an excellent explanation of the allure of found objects in an article he wrote titled ‘The Alchemy of Trash, the West Coast of Spiritual Collage’. According to Davis:

“Duncan (Robert Duncan) praises the outsider artist, who goes against the grain, risks height, ignores dogma. This is all part of our “alternative” myth these days, but it remains to be seen whether the margins still exist — culturally, economically, spiritually — that could allow such creative feats to flourish. Juxtaposition has become an advertiser’s art. Trash is not the same thing today, in our belated self-conscious world of thrift-store savvy, mediated hipster rebellion, and omniverous collector mania. Before you know it, it’s on Ebay. Many of us still hear the spiritual call of redemptive refuse, of glimmers, junk, and “bits of beauty.” But it remains to be seen whether we can join the ranks of those who, in Ginsberg’s howling words, “dreamt and made incarnate gaps in Time & Space through images juxtaposed…”.

In a world that is so obsessed with material possessions, and that is so influenced by commercialism, it is inevitable that there will be times when the world becomes disillusioned with this particular path of progression and the objects associated with it. In my opinion the false, shallow and impersonal nature of the material world we live in is more than enough reason for collectors to want to seek works of art that represent a more idealistic and romantic approach to life. The familiar nature of works that are constructed of “found objects” is one reason that such works have greater appeal during times of disillusionment and disenchantment. As far as I am concerned it makes sense that a work constructed of familiar “found” objects would quite easily evoke a sense of nostalgia and sentimentality in many people and, as I have mentioned in previous posts, the familiar brings a sense of comfort and confidence to people during times of uncertainty.

The work of artists who are influenced by, or who produce work in line with, the concepts adopted by the Arte Povera movement, can also act as a sort of escapism that transports the viewer to another world that Erik Davis describes in his article ‘The Alchemy of Trash, the West Coast of Spiritual Collage’ as:

“a life authentically rooted in the noncommercial margins of bohemia, a magic circle of art and fellowship and esoteric romanticism that transmuted the objects and images it embraced”.

The inauthentic, sterile and commercialistic path that the art market tends to take during heady times of blissful ignorance will always come to a grinding halt when people are forced to face facts and return to reality. Works that embody the concept of arte povera, such as “found object” collages and sculptures, have an authenticity and spirituality that is extremely difficult to ignore unless one has been blinded by the glitz, glamour and sheen of the modern material world. Thankfully, the veil of commercialism and materialism has been lifted allowing these often shunned works to be experienced in all their glory – if only for a short period of time.

To be continued…………

image:

George Herms
Song for Hope
ca. 1986

Top iPhone Apps for Art Collectors – artmarketblog.com

artforprofits — Thu, 31 Dec 2009 01:55:27 +0000

Top iPhone Apps for Art Collectors – artmarketblog.com

Several art related companies and institutions have taken advantage of the revolution that is the Apple iPhone, and released apps that make buying, browsing and finding out about works of art possible anywhere, anytime. Below are my top iPhone Apps for art collectors and investors.

Artfact.com iPhone App

Why waste your valuable time searching hundreds of old auction house catalogs and websites for auction price results, when you can find everything you need all in one easy-to-use service?
Artfact is the world’s largest and most comprehensive online auction price guide, delivering over 55 million price results for fine art, decorative art, antiques and collectibles all sold at auction.

-Browse over 100,000 upcoming live auction items
-Research over half a million auction price results
-Place confidential absentee bids on upcoming lots
-Receive email alerts if you are outbid
-Share your favorite items via Facebook or email

Available free of charge from the iTunes App Store
http://itunes.apple.com/us/app/artfact-live-auctions/id340245009?mt=8

Invaluable.com iPhone App

Invaluable Live! is the world’s premiere live auction bidding platform, enabling collectors and dealers around the globe to bid online in real-time on over 100,000 upcoming items for sale at auction. More than 150 traditional, international auction houses host their auctions exclusively on the Invaluable Live! platform.

Available free of charge from the iTunes App Store
http://itunes.apple.com/us/app/invaluable-live-auctions/id343664441?mt=8

Christie’s iPhone App

When you are on the run, Christie’s iPhone application allows you to browse over 450 auctions in over 80 categories including all areas of fine and decorative arts, jewelry, photographs, collectibles, wine, and more from the palm of your hand. With a touch of a finger, you can also review auction results and learn how to buy and sell with Christie’s.

* Email a lot to a friend
* Discover how to buy and sell with Christie’s or more about our Private Sale services
* Explore over 80 Specialist Departments
* Get directions to and locate our salerooms across the globe using Google maps
* Show your passion for fine art, jewelry, decorative arts and more with one of our downloadable wallpapers
* Learn about the history of the the world’s first fine art auctioneers, and about our company today

Available from iTunes App Store
http://www.christies.com/on-the-go/iphone/

Saffron Art iPhone App

Key features of the application include a color-coded bid status indicator, proxy bidding capabilities, as well as information on current bid amounts, bid histories and post-auction results. Users can also preview the entire auction catalogue, with such lot details as size, surface, medium, estimates and images, searching by lot number, artist or designer name, material or type

Available from iTunes App Store
http://www.saffronart.com/sitepages/Mobile-Auction/iPhone.aspx

LiveAuctioneers.com iPhone App

Anyone with this application loaded onto their iPhone will have instant access to any auction catalog listed on LiveAuctioneers and can even log in and leave absentee bids through our Secure Bidder Network (SBN). With SBN functionality, which is unique to LiveAuctioneers, your absentee bid is kept private and unknown to anyone until auction day, when the bid is executed. Additionally, the new iPhone app enables the user to share auction lots with others via e-mail and to access more than 4 million fully illustrated auction results from past sales conducted through LiveAuctioneers

Another bonus feature of LiveAuctioneers’ iPhone app is its exclusive direct connection to Auction Central News (www.auctioncentralnews.com), the leading online source for news about auctions, antiques and fine art.

Available from iTunes App Store
http://www.liveauctioneers.com/iPhoneApp

Heritage Auctions iPhone App

Heritage Auctions has announced the launch of a mobile version of its award-winning Website, www.HA.com. Collectors now have the opportunity to search for, view and bid on any lot in any current Heritage auction from most any mobile device with a web browser from anywhere in the world where there’s Web service.

Available from iTunes App Store
http://itunes.apple.com/au/app/heritage-auctions/id346185455?mt=8

Artnear iPhone App

Artnear is the first global guide to art for the iphone platform. Find top galleries and museums around the world. Browse and see images of current shows, openings and more.

Available from iTunes App Store
http://itunes.apple.com/au/app/artnear/id320653064?mt=8

Seoul Auction iPhone App

Check what’s happening with Korea’s leading art auction house

Available from iTunes App Store
http://itunes.apple.com/au/app/seoulauction/id345138823?mt=8

Saatchi Magazine iPhone App

Art News, views, reviews, interviews, essays by the world’s leading writers, critics and curators on art and artists, weekly openings and more…

Available from iTunes App Store
http://itunes.apple.com/au/app/saatchi-magazine/id341552232?mt=8

Louvre iPhone App

The Musee du Louvre in Paris has recently launched its own iPhone application, offering a virtual experience of the world’s largest museum. Users can view some of the Louvre’s most famous items, such as the Mona Lisa and St. Mary Magdalene, and take a virtual tour of the museum’s historic buildings. As well as virtual guides, the app also offers tourist information about the museum, such as opening times and visitor maps.

Available from iTunes App Store
http://itunes.apple.com/au/app/id337339103?mt=8

National Gallery London iPhone App

The National Gallery is offering art lovers the opportunity to put works by Leonardo and Van Gogh in their pocket. A new application, called Love Art, allows iPhone and iTouch users to explore 250 of the Gallery’s best-loved paintings in the palm of their hand.

Take an unforgettable journey around the National Gallery. Zoom in to explore fine details and enjoy over three hours of video and audio content.

You can listen to the stories behind the masterpieces in insightful interviews with artists, writers and experts including:

* National Gallery Director Nicholas Penny
* Dramatist Robin Brooks
* Artist Maggie Hambling
* Author Tracy Chevalier

Available from the iTunes App Store
http://itunes.apple.com/au/app/love-art-national-gallery-london/id314566159?mt=8

The Spectacle of the Art Market Pt. 1 – artmarketblog.com

artforprofits — Wed, 25 Nov 2009 15:43:54 +0000

The Spectacle of the Art Market Pt. 1 – artmarketblog.com

One of the interesting trends that has been particularly noticable during the recent current art market correction is that works that have less visual impact and are not as flamboyant are experiencing competitive bidding and high prices. Works of art that would perhaps have been overshadowed by their more visually stunning siblings are now coming to the forefront as collectors and connoisseurs approach what is on offer from a more scholarly, connoisseurial and art historical perspective. I also believe that the more sombre mood caused by the financial crisis has made people less likely to purchase overtly cheerful works of art and more likely to obtain objects that reflect the more philosophical and reflective mood that many people are currently experiencing.

When the global economy has gone to the dogs, and a large number of people are in a financially difficult position, the purchase of those shiny works of art that are typically seen as status symbols and flamboyantly excessive trophies of one’s wealth just doesn’t seem right. One may expect the opposite situation to arise where people purchase bright and cheerful works of art to make themselves happier, but this just doesn’t seem to be what happens. It seems that it is extremely difficult to justify the purchase of one of many of these “bright and shiny” trophies when one’s financial situation comes into question, which suggests that the purchase of such a work would be a bad investment (as we know so many of them are).

The contemporary art market tends to rely on immediate visual impact and instant gratification to entice people to get out their wallets. With so many artists vying for the attention and patronage of a relatively small number of collectors and investors it is not surprising that the visual impact and attractiveness of an artist’s work becomes such an important factor. The Frieze art fair is a good example of the way an artist’s work looks can have a major effect on its ability to get noticed. Not unlike a supermarket, the Frieze art fair is filled with aisle after aisle of products vying for the attention of the waves of shoppers that pass by. The dizzying array of goods on offer means that it is very easy for a particular atist’s work to get lost in the crowd. And many do. In such an environment it is undoubtedly beneficial for an artist to present their most high impact and visually stunning work as anyone who has visited a fair such as Frieze would know.

To suggest that the path that the art market can be affected to such a degree by the instinctual human attraction to bright shiny objects may sound bizarre at first but if you take some time to ponder the concept I think you will find it is not as silly as it may seem.

To be continued……….

Artprice Launches My Art Collection – artmarketblog.com

artforprofits — Wed, 28 Jan 2009 04:08:59 +0000

Artprice Launches My Art Collection – artmarketblog.com

Artprice has just announced the launch My Art Collection, the first free and confidential art portfolio management service. This service, now available to Artprice’s 1,300,000 subscribers is available as of today for professional or amateur art collectors anywhere in the world. http://web.artprice.com/portfolio/login.aspx

However much you spend on art, the value of your collection is evolving at an ever-faster pace as the art market becomes increasingly sensitive to economic and geopolitical events. With Artprice’s unique and free service My Art Collection, you can follow the value evolution of your collection as a whole with regular revaluations for each of the works in the portfolio.

Using a simple tool that takes full advantage of Artprice’ knowledge in the sector as world leader in art market information, collectors can follow the financial value of their works and their portfolios at just a glance.

This exclusive service enables Artprice subscribers to take full advantage of their immediate access to Artprice’s leading standardised marketplace and to buy or sell elements in their collections in reaction to market fluctuations.

Moreover, in just a couple of clicks, Artprice subscribers can access the pay-service Artpricing: within 48 hours, our analysts (art historians, professionals and econometricians) can provide updated valuation of works. Artprice subscribers can also access the Artprice databases which contain more than 25 million auction results, indices and price statistics for over 405,000 artists.

In addition, this portfolio valuation service will give our subscribers access to online insurance services with quotes calculated in real time by Artprice and its art insurance partners, thereby accelerating the notion of an immediate financial guarantee of their works.

The art market is increasingly reactive. Its principal players are seeking fast and reliable information. My Art Collection by Artprice(R) is today the perfect tool to provide art collectors with the kind of economic information they need. Accessible to all Artprice subscribers, My Art Collection by Artprice is a service that scrupulously respects the confidentiality of its users and protects all personal and private information.

Since 1987, Artprice’s econometrics department has been developing index calculation algorithms based on Artprice’s unique skills and databases. These indices and indicators are today the reference on the art market and have made Artprice the global leader in art market information.

The econometrics department uses its skills to create innovative tools that greatly enhance the transparency of the art market. The Art Market Confidence Index (the reference indicator measuring the confidence of art market professionals) and the Art Price Global Indices (price indices calculated on the basis of 25 million auction results worldwide) are just two such products that are today absolutely indispensable for those wishing to gauge the health of the market.

In 2009, despite a financial and economic crisis that all major institutions agree is of historic proportions, the Art Market Confidence Index – which reflects the views and expectations of its 1,300,000 subscribers in real-time – shows a substantial correction of art market prices; but the instrument itself has contributed to greater overall confidence in the market, particularly with respect to liquidity and acquisition timing. So far, the data from Artprice’s standardised marketplace has indeed been entirely coherent with the AMCI. http://web.artprice.com/amci/

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