The recent announcement of the UK’s top ten most expensive living artists offers a sobering opportunity to think about the extent to which contemporary art has been infected by its entanglement with money.
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One door closes another door opens… Although a number of meritorious small galleries have closed recently, there’s a new trend towards auction houses putting on curated exhibitions of selling art as if, in effect, they’re commercial galleries who don’t represent artists.
The price of art is a much discussed and much maligned phenomenon. But whilst there may sometimes be good grounds for suspicion, a lot of what we hear about the price of art is a wilful fantasy of the media, fuelled by a perennially disingenuous market.
The company started in Paris three years ago, our aim from the beginning has been to get people involved in investing in artists they believe in and have always been fans of, however many have not had the financial means to buy the work they have long desired.
‘Post-internet Art’ – a current buzz-term meaning work informed by the web, rather than anticipating its demise – is well represented in London now in shows by Camille Henrot (Chisenhale), Hito Steyerl (ICA) and Trisha Baga (Anita Zabludowicz).
Imagine a millionaire who lives on a diet of boiled eggs and iced coffee. He is an altruist and a patron, he is a tyrant and a menace. Imagine that he made the careers of today’s top artists,
During 2008-12 London saw a recession and an apparently counter-cyclical increase in the number of contemporary galleries. Now, as we’re said to be emerging from our economic woes, galleries are closing.
About a year ago the term ‘digital influencer’ started to build momentum, it featured in mainstream newspaper editorials and was casually referred to in conversations.