Hong Kong’s Enid Tsui Wants to See More Diversity: The South China Morning Post’s Enid Tsui was cheered to see Lehmann Maupin open a Catherine Opie show in Hong Kong but she worries the work is too tame:

• Hong Kong’s art market suffers from a lack of diversity. Lehmann Maupin is the one exception, and bringing Catherine Opie to Hong Kong is consistent with the international art gallery’s commendable efforts to include gender parity and sexual diversity in its programming. But be warned. The works chosen for the American photographer’s first solo show in the city are natural landscapes that are thoroughly safe and unobjectionable (unless one takes issue with what Opie describes as the “vaginal” cropping of images of a particular waterfall) …

Christie’s American Art Sale Makes $32.8m: It was a good day for Childe Hassam, Charles Ephraim Burchfield and Milton Avery who all had works out run their estimates at Christie’s American art sale.

How Much Bidding Is Out of Spite: The art market is filled with rivalries, feuds and vendettas. But we rarely see them openly acknowledged let alone narrated. Except when Kenny Schachter is involved. One part compulsive diarist; one part sincere art addict; one part ferocious family man, all three parts came together today in Schachter’s diary of the New York auctions. He attended Phillips Evening sale with his wing man Inigo Philbrick. It’s not uncommon to see interested parties bid on works that they don’t intend to buy. Usually they own similar works or represent the artist. Here, Schachter confesses to other motivations which hardly seem appropriate to pursue let alone brag about:

• “A few years ago, advisor Todd Levin of the Levin Art Group—which I gather is Todd and his assistant—lashed out in a thread on my Facebook page, but rather than attack my (probably untenable) art argument, he chimed in with a dig at my in-laws. Sometimes the art world resembles the schoolyard. Todd was bidding on a Twombly work on paper as I related the story of his unprovoked meanness to the friend I was seated next to. Levin manically flicked his wrist to indicate each successive bid with such fervor that my friend determined he’d go higher—and, in a move of unheralded solidarity, threw up a bid of $100,000 higher, which Levin topped. In other words, Levin’s Facebook transgression cost him $200,000 more than he would have otherwise had to pay for the work, which cost him $1,455,000 on an estimate of $800,000 to $1.2 million.” …

A Museum Just Missed Out on Kerry James Marshall’s Past Times:Colin Gleadell has a little more information on the bidding war that drove Kerry James Marshall’s massive work that had been hanging in Chicago’s McCormick Place. Dealer David Zwirner entered the bidding quite late and was quickly outbid by Sotheby’s Jackie Wachter who was bidding for Sean Combs. According to Gleadell, “bidding against the artist’s London dealer, David Zwirner, who had been bidding on behalf of a major American museum.” …

What Do You Do a Year After Opening Your Art Advisory? Yuri Yasuda, whom Hong Kong Tatler says everyone calls Yureeka, talks about her Tokyo Art Office which is an “art advisory, liaisons and VIP relations. It’s quite diverse: I am building collections for a new generation of Japanese collectors, writing for Forbes Japan, while at the same time doing the liaison for Soho House Tokyo that’s opening next year.”

Yasuda goes on to describe what she’s planning to do next:

• “Besides committing to the arts, I am a proud promoter of Japanese culture and developing my own artisanal brand called Sayuri, launching with a boutique collection of Japanese sake and premium green teas. Having owned a few F&B companies and being a certified tea sommelier, Sayuri has been a passion project that has finally come to life.”

Keynes Could Have Made £100m on his Art in the Long Run: John Maynard Keynes was famous for saying, “In the long run we’re all dead.” That was in response to the equanimity some economists expressed in the face of short-term crises. Keynes was more than an economist, though. He was an investor and, it turns out, an art collector. Jason Zweig, the Wall Street Journal’s investing columnist, wrote about an academic paper on Keynes’s art collection a few months ago. Like most collections, the lasting monetary value of his collection which included works by Paul Cézanne, Georges Seurat and Pablo Picasso. “Of the 135 works in Keynes’s collection,” Zweig writes, “two account for more than half its total value and 10 constitute 91%.”

• “In his three decades of collecting, Keynes paid a total of £12,847 for his holdings, roughly £600,000 ($840,000) today when adjusted for inflation. Based on appraisals in 2013 by five independent experts, Keynes’s collection is worth more than £70.9 million, or $99 million. That’s an average return of 10.9% annually, barely a tenth of a percentage point below the return on British stocks over the same period.” …

Where Are They Buying Now? Ron and Ann Pizzuti, who made their fortune in real estate like so many other Contemporary art collectors, are the featured collectors in the Times’s Show Us Your Walls feature. The Pizzuti own 2,400 housed in their homes in Sarasota, Columbus, and New York but also at the Pizzuti Collection, an 18,000-square-foot, nonprofit public space with rotating exhibitions. Like many collectors who have been in the game for some time, they feel priced out of Modern and Contemporary art:

• “Today, unless it’s a Frank Stella print from Tyler Graphics in excellent condition, or another artist we already collect in depth, we’re not buying anything produced before 2001. We had to redefine what we were doing, otherwise we’d be broke. We’re particularly focusing on African and African-American artists. It started a few years ago with Lyle Ashton Harris and Hank Willis Thomas. Also Cuban artists like Roberto Diago, who I think is the best living artist in Cuba today.”