I had not planned for that. It was supposed to be another one. Called Red No. 1. I had planned for the Sam Francis. So this one come up before that. And all of a sudden, it was like a beautiful girl swimming out from the ocean. Very beautiful. It touched my heart. I said, "Let's bid."
My assistant said, "We had not planned for that. We have not done any research for that." I said, “I like it. Let's do it."
Are you already thinking about what you might want to collect next?
I think for Yves Kleins, if I could buy IKB 1. I know it's like $10 million but it's my target. [Aside: I was curious and did some research in the artnet Price Database. The work Zeng was referring to, IKB 1 (1960), was sold in 2008 at Sotheby's New York for $17.4 million. (It was estimated to sell for $5 million – $7 million.)] Because this artist, he has a philosophy. In Chinese philosophy, you have to be empty to get something. If you have a teapot, and you leave old water in overnight, you'll never drink fresh water. Empty it first. Then you drink fresh tea. In our industry one of our heroes is Steve Jobs. He would always go to India to try to get some tips from Zen philosophy. Once he learned more about empty, he developed an ecosystem, IOS…. When you become empty and let other people share with you then you become developers of the ecosystem. So it's very important to become empty to absorb new ideas. This is a philosophy in our industry. From this piece of art, I do see a lot of things like this. I see the blue, the empty…. It's Simple. Simple is beautiful.
Savona is one of two agents based in New York specially trained in the investigation of art crimes, a multimillion-dollar industry rivaling organized crime and arms trafficking. If someone calls the FBI reporting the robbery of a painting or a fraud being committed by a would-be dealer in New York, the case would most likely wind up on her desk or on that of her colleague Christopher McKeogh. The two are members of the FBI’s Art Crime Team, a specialized unit with 16 full-time agents stationed throughout the United States which has recovered more than 2,650 items, valued at more than $160 million, since its inception in 2004.
Here’s what he told the Australian Financial Review:
“We’re seeing a generation of people who’ve made their wealth as employees; people are paid a lot more than they used to be,” Sumner says. “There’s also a whole new demographic of wealth; same-sex families, double-income families with no children. Many combinations.”
The things people collect to make their lives more aesthetically, emotionally and intellectually tolerable are shifting with these broader societal mores. Stamps have a discrete, devout market that includes many senior businessmen, while the coin market “doesn’t have booms but doesn’t have crashes either”.
These were noteworthy events even in this sometimes murky world. Specialists know that most of the Russian avant-garde works available on the market are fakes—ten times as many fakes as genuine works, said James Butterwick, who has been dealing in Russian avant-garde art in London for 20 years, and others in the field backed him up.
These days the major auction houses are extremely cautious and reject any work whose incomplete provenance arouses doubts, but dubious works continue to proliferate in minor auction houses and art galleries all over Europe. Russian and Western experts who certify artworks regularly accuse one another of corruption or negligence.
Now a new organization, the London-based Russian Avant-Garde Research Project (RARP), is entering the field with an ambitious goal. “We want to introduce new standards of scholarship that will help solve the main problems in the field of Russian art history,” said Konstantin Akinsha, one of RARP’s founders and a member of its board.
“They’re really equal – there’s a part of it here in the gallery, and a second part online as clickbait,” says Arcangel, with the gentle, tousled demeanour of a new parent. Five years ago, aged 33, he became the youngest artist since Bruce Nauman to be given a full-floor solo show at the Whitney museum in New York. That show brought together a number of software works in which Arcangel had hacked outmoded computing equipment and games. In Beat the Champ, co-commissioned by the Barbican, a row of bowling games was adapted so the frustrated avatars threw only gutterballs.
It’s not a bad thesis but then Sevcik tips his empty hand when he starts to riff on the subject of which West Coast creative types might be persuaded to collect art next.
What Sevcik doesn’t seem to know is that there are many people in Tech who already buy heavily and have for a long time. Not just newer tech people like Marc Andreessen but old tech folks like Paul Allen.
This leads to an important question, one that is regularly heard anywhere art impresarios convene: “Will tech buy art?” The success of all these new ventures depends on the hope that the shift from finance to tech as the key wealth generator will happen smoothly. Traditionally, bankers collected art because many of them had a humanities education. Will people educated in digital technology collect art as well? And, for that matter, will Hollywood’s actors and directors, trained in narrative-creation and self-branding, collect art?
WITHOUT ALCOHOL, THE ART WORLD AS WE KNOW IT WOULD COLLAPSE!
The most important drug in the art world is alcohol. It works as a legal tool to ease the atmosphere between people with very different statuses and lifestyles who still have to get to know each other or who already know each other far too well. In the world of literature the bond between writers, publishers and critics used to be fuelled by large amounts of alcohol as well, but this stopped happening at the end of the twentieth century. With the digitalisation of accounting and inventory, bookselling became a pretty sober business. In film and music, the situation must be similar. Only the art world remains deeply attached to alcohol. At international art events in strictly Islamic states, it’s impressive to see how willingly the international crowd squeezes into chartered buses, sometimes for an hour or two, to end up in a generic five-star hotel that is licensed to serve booze.
1. Don't challenge the artist or ask overly personal questions
An artist we interviewed said she was once told to "freeze her eggs." Don't be that guy. We suggest that on your studio visit, you avoid making such personal comments. A studio is a creative and personal space. But it's also a professional one, so professional and social etiquette rules apply. Remember the reasons why you decided to visit in the first place and try to stick to questions and comments about the work. While the egg-freezing comment was probably intended as some kind of compliment of the desirability of the artist's genetic make-up, it's way too weird and personal.
US Trust is the private wealth management arm of Bank of America, which sponsors major museum exhibitions, lends money to collectors against their art assets, and handles the finances of various American museums. US Trust has been doing similar studies of very wealthy Americans for several years, but this is the first time they've asked their respondents about art. The report is based on a survey of 684 "high net worth and ultra high net worth adults" nationwide, with assets totaling north of $3 million.
Some of the study's findings might be comforting to those who believe that art's principal worth is aesthetic, intellectual, or cultural. For example, three-quarters of collectors surveyed say their primary reason for collecting is art's aesthetic value.
It is estimated that as few as 5 to 10 percent of stolen artworks are ever recovered, and the grand scale of the Nazis’ crime has left a vast space for speculation about what may have happened to great paintings by Rembrandt, Vermeer, and van Gogh—an imaginative gap which Hollywood has taken upon itself to fill. As in the case of Dr. No, cinema provides stolen masterpieces a fictional afterlife, assigning them to an array of filthy rich villains: Modigliani’s Woman with a Fan (1919) and Picasso’s Le pigeon aux petits pois (1911), both unrecovered, make appearances in the collection of Bond nemesis Ernst Stavro Blofeld (Christoph Waltz) in Sam Mendes’s Spectre (2015). Cinema theorizes the lives and motives of a brand of criminals so rarely brought to justice, alternately glorifying and vilifying the forgers, thieves, and black marketeers who operate in the shadows of the art market.
- Business and Art Schools
Solomon has been awarded for his work in both fine art and photography and, his work can be found displayed on various online art and photo galleries.
- Museum of Digital Fine ArtsCEO, presentThe Founder and Principle of the Museum of Digital Fine Arts, which spotlight and showcases established and emerging artists and photographers along with their incredible work in monthly exhibitions. Solomon's duties encompass management, curating, marketing, writing, social media, talent search, and much more.
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