ArtForum sends a Kiwi back home to report on the Auckland Art Fair. Anthony Byrt adds some insight into the New Zealand market and its astonishing numbers:
[T]he fact is, New Zealanders like buying. But they tend to collect within a narrow range—mostly local artists, with a few Australians thrown in. The result is a humid little microclimate of a market where artists with little profile beyond Australasia command prices way out of step with what they could achieve internationally. (It’s also pretty common for overseas visitors to choke on their cocktails when they’re told a work’s price.) This is a dangerous game, particularly for young artists, because once their prices are set too high at home, it becomes very difficult for them to find success elsewhere. […] Back at the fair, the late greats Colin McCahon and Gordon Walters were still ruling as market heavyweights, with the very-much-present Billy Apple not far behind. Thirty-something artists like Rohan Wealleans, Ricky Swallow, and Francis Upritchard were attracting plenty of attention too, and Yvonne Todd—whose work at Peter McLeavey was one of the fair’s highlights—is still superb. Although when it came to pleasing crowds, Brett Graham trumped everyone with his work Mihaia—a military tank carved from MDF. But really, art fairs are only ever about one thing. When I asked a dealer on Saturday night how much work he’d managed to sell, he gave me a typically deadpan New Zealand response that also seemed to be the consensus: “fucking heaps.”
Fair Weather (Scene&Herd/ArtForum)
Forty Winks was the only painting Goldie did of Rutene Te Uamairangi, a Kingite Warrior of Taupo. It sold to a private New Zealand buyer for $573,000 – a record auction price for a Goldie. […]
