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Is Market Rotation to Prints & Overlooked Categories Signaling Health or Weakness?

January 30, 2017 by Marion Maneker

David Hockney “Steps with Shadow F (Paper Pool 2),” 1978, £629,000

The New York Times has been pushing the idea, for a year or so, that the global art market must be facing an inevitable reckoning. It began with 2016’s slowdown in auction volume. The paper continues with its steady questioning of whether buyers will want art in the age of Trump.

The problem with the Times’s single-minded premise—the art market can only be binary, up or down—is that the paper is blinded to possibility of more complex turns in the global trend toward placing value in works of art.

“Art is a transcontinental commodity,” said William Weston, a specialist dealer in modern prints, who was at Phillips on the evening of Jan. 19 for the auction house’s eighth “Editions” sale of prints in London. “Nationalism won’t harm its trading position. It won’t affect the market in New York or London. Americans won’t stop buying David Hockney because he’s a British artist.”

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Belgian Fair Holds Its Own

January 27, 2010 by Marion Maneker

Mel Ramos was the surprise star of BRAFA, the Belgian art fair that has grown from a local affair of 55 galleries to an international congregation of 120 dealers in just seven years. ArtInfo covers the gallery action but only records a few of the sales:

“We did very well,” Van de Velde remarked, summarizing his first days at the fair. Seven Paul McCarthy photographs of filthy, ghoulish masks, hung wittily next to Ensor’s seven monstrosities, had also sold by Sunday evening, for a tidy €70,000 ($99,000). He had also parted with a 1941–54 edition of Marcel Duchamp’s Boîte-en-valise — priced at €150,000 ($212,000) — to a fellow dealer. Containing 68 miniature reproductions of the artist’s (and his female alter-ego, Rrose Sélavy’s) works, it is a career’s worth of art for the price of one.Continue Reading

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