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Art publishes the new Artprice's Report on the Contemporary Art Market, the primary growth driver with a +2,100% increase over 20 years – Canada NewsWire



The Contemporary Art Market is not what it was 20 years ago. It has undergone profound structural changes, with evermore artists (from 5,400 artists to nearly 32,000 today) and evermore artworks (from 12,000 lots offered to 123,000) and it has grown and expanded geographically, from 39 to 64 countries active in auctions. It has accelerated with the fluidification of remote transactions and is now the most dynamic and profitable segment of the entire Art Market. In 20 years, the number of auction houses participating in the Contemporary Art Market has almost doubled, the number of specialized sessions has tripled, and the number of lots sold has multiplied by six.

– The Contemporary Art rush
– The market’s pillars
– Painting… above all

Contemporary Artists from China, Japan and Korea… from Africa and the African diasporas… from Latin America and the Middle East… are today all operating in a market that has not only opened internationally, it has opened to female artists and a whole range of alternative narratives with substantial cultural and symbolic significance. This challenge to Western hegemonic narratives of Art History has opened new horizons for thousands of artists around the world. Since the start of the 21st century, the question of diversity has been at the heart of debates, and at the root of major developments within the Art Market.

– A new landscape
– « No Man’s Land »
– Black (also) matters (in art)

The Contemporary Art Market is a market under the influence of a number of different factors including passion for art, soft-power ambitions, financial speculation, fashion and of course nowadays, the massive influence of the digital sphere in terms of marketing, coolhunting etc. Today social networks (the new influencers), pop stars, luxury and streetwear brands play an active role in the popularization of artists. They contribute to the orientation of tastes, just as art critics used to do. Online presences have played a vital role in countering the impacts of the Covid crisis, and have proved absolutely essential for a number of major market players. In reality, the Contemporary Art Market has just passed an important milestone in 2020, a milestone that represents the true beginning of its digital revolution.

– In search of novelty
– Multiple choice…
– Digital agility

This extraordinary progression is driven by the passions that Contemporary Art elicits, but it is also based on the confidence that it has won. Nowadays, collectors no longer necessarily prefer work by dead artists, and they allow themselves to be convinced by new techniques, new art forms and new influences by living artists. Today, at a time of unprecedented crisis, the Contemporary Art Market is still galloping forward. Indeed, it’s the segment that adapts fastest to changes and the one that lends itself best to online sales.

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Contact Artprice’s Econometrics Department for your questions relating to our indices and statistics, as well as for our Personalized Study Services: [email protected]

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About Artmarket: is listed on Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

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Artmarket and its Artprice department was founded in 1997 by its CEO, thierry Ehrmann. Artmarket and its Artprice department is controlled by Groupe Serveur, created in 1987.

See certified biography in Who’s who ©:

Artmarket is a global player in the Art Market with, among other structures, its Artprice department, world leader in the accumulation, management and exploitation of historical and current art market information in databanks containing over 30 million indices and auction results, covering more than 740,000 artists.

Artprice Images® allows unlimited access to the largest Art Market image bank in the world: no less than 180 million digital images of photographs or engraved reproductions of artworks from 1700 to the present day, commented by our art historians.

Artmarket with its Artprice department accumulates data on a permanent basis from 6300 Auction Houses and produces key Art Market information for the main press and media agencies (7,200 publications). Its 4.5 million ‘members log in’ users have access to ads posted by other members, a network that today represents the leading Global Standardized Marketplace® to buy and sell artworks at a fixed or bid price (auctions regulated by paragraphs 2 and 3 of Article L 321.3 of France’s Commercial Code).

Artmarket with its Artprice department, has been awarded the State label “Innovative Company” by the Public Investment Bank (BPI) (for the second time in November 2018 for a new period of 3 years) which is supporting the company in its project to consolidate its position as a global player in the market art.

Artprice by Artmarket’s 2019 Global Art Market Report published in February 2020 :

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Follow all the Art Market news in real time with Artmarket and its Artprice department on Facebook and Twitter: (4.9 million followers)

Discover the alchemy and universe of Artmarket and its artprice department headquartered at the famous Organe Contemporary Art Museum “The Abode of Chaos” (dixit The New York Times):

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Pay Phones Turned Into Public Art, in “Titan” – The New Yorker



Photograph by Chris Maggio for The New Yorker

New York City’s pay phones are obsolete, and, by early next year, they will also be history—removed to make way for Wi-Fi kiosks. Through Jan. 3, a dozen artists (including Glenn Ligon, Patti Smith, and Jimmie Durham, whose contribution is pictured above) are making creative use of phone booths along Sixth Avenue, from Fifty-first to Fifty-sixth Streets. The project, called “Titan,” was co-curated by Damián Ortega and Bree Zucker, in collaboration with the Kurimanzutto gallery.

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Qaumajuq—new name of Winnipeg Art Gallery's Inuit art centre—an act of decolonization –



​The Winnipeg Art Gallery’s Inuit Art Centre has a new name.

In a ceremony on Oct. 28, the gallery, known as WAG, announced the centre would be renamed Qaumajuq [HOW-ma-yourq], an Inuktitut word meaning “It is bright, it is lit”.

Qaumajuq is set to open in February 2021 after construction began in March 2018 on a new 40,000-square-foot-building designed by Michael Maltzan Architecture with Cibinel Architecture. It’s home to the largest public collection of contemporary Inuit art in the world.

The WAG building itself was given a name in Anishinaabemowin—Biindigin Biwaasaeyaah [BEEN- deh-gen Bi-WAH-say-yah], meaning “Come on in, the dawn of light is here” or “the dawn of light is coming.”

The naming ceremony was hosted by Dr. Stephen Borys, director and CEO of WAG. The ceremony occurred with a small gathering of Borys and Julia Lafreniere, WAG manager of Indigenous Initiatives. A Qulliq lighting ceremony was conducted by Elder Martha Peet, with virtual appearances from Theresie Tungilik and Elder Dr. Mary Courchene. The latter two formally announced the new names in Inuktitut and Anishinaabemowin respectively.

Tungilik, an Inuk artist from Rankin Inlet, Nunavut, said “Qaumajuq will be a place where all walks of life will experience, through the creation of Inuit art, our survival, hardships and resilience.”

Courchene, who comes from the Sagkeeng First Nation in Manitoba, said the Biindigin Biwaasaeyaah name was created to “include all the Indigenous populations of Manitoba, the First Nations, the Métis, and the Inuit populations.”

“The language keepers and Elders came together in a powerful moment of cross-cultural reflection and relationship-building,” Borys said. “This initiative is an act of decolonization, supporting reconciliation and Indigenous knowledge transmission for generations to come in an effort to ensure WAG-Qaumajuq will be a home where Indigenous communities feel welcome. Where everyone feels welcome.”

In addition to the new name of Qaumajuq, which will serve as the primary name for the space, various areas within the WAG will also have new names in Inuvialuktun (Inuit), Nêhiyawêwin (Cree), Dakota, and Michif (Métis) that were given by Indigenous language keepers.

“Indigenous-focused and Indigenous-led initiatives will be at the heart of this new space and giving the spaces Indigenous names is just the start,” reads the WAG’s website where pronunciations and audio clips for the new names are available.

“We are thrilled to share the names of the spaces in the seven Indigenous languages of Manitoba and Inuit Nunangat,” said Dr. Heather Igloliorte and Dr. Julie Nagam, co-chairs of the Indigenous Advisory Circle for Winnipeg Art Gallery, in a joint statement.

“The Circle demonstrates the breadth of knowledge that represents the relationship to the collection and the buildings and it has been an incredible experience for all Circle members. We are so honoured to gift the institution with these new names that point to a new path forward for galleries and museums in this country,” the statement continued.

The WAG also states that the “historic naming responds to the United Nations Declaration on the Rights of Indigenous Peoples Article 13 and the Truth and Reconciliation Commission’s Call to Action 14i, both of which reference the importance of Indigenous languages.”

Article 13 reads:

Indigenous peoples have the right to revitalize, use, develop and transmit to future generations their histories, languages, oral traditions, philosophies, writing systems and literatures, and to designate and retain their own names for communities, places and persons.

TRC Call to Action 14i states:

Aboriginal languages are a fundamental and valued element of Canadian culture and society, and there is an urgency to preserve them.

A press release issued by WAG states that Qaumajuq “will innovate the art museum, taking art from object to full sensory experience with Inuit-led programming.” One of these features includes the three-storey tall column called the ‘visible vault’ that is filled with thousands of Inuit carvings and immediately viewable upon entry into Qaumajuq.



“This is a place that amplifies and uplifts Inuit stories, connecting Canada’s North and South. This is a site for reconciliation… We can’t wait to unveil this new cultural landmark in the heart of the country with these new names honouring Indigenous voices and languages,” Borys said.

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Art-loving couple helping Bayfield arts hub get off the ground – Toronto Star



A Bayfield-based arts non-profit is moving forward with plans for an arts centre in the Huron County community, thanks to a large donation from a local couple.

The Bayfield Centre for the Arts (BCA) has purchased a building on the village’s edge that will be transformed into a 1,115-square-metre visual arts hub.

“The concept of a Bayfield arts centre had been cooking for several years, but I wanted to formalize the vision . . . in terms of acquiring a building and bringing together a number of art organizations under one roof,” said centre president Leslee Squirrell.

Squirrell said the new facility will include an art gallery to showcase local artists and travelling exhibits, plus studio spaces and rooms for workshops.

A variety of arts will be featured, from new media and photography to painting, pottery and woodworking.

“We do have a big vision,” Squirrell said. “Even though the centre itself might be located in Bayfield, the purpose is to be a destination arts centre. It’s for the broader local community and those all over the county.”

Purchase of the building, at Highway 21 and Cameron Street, was made possible by a “significant financial donation” from Huron County residents Mac Voisin and Marcela Bahar.

“This state-of-the-art facility will benefit generations to come,” Voisin said. “(We are) delighted to be part of this project.”

Along with educational workshops and art showcases, Squirrell said they plan a mobile art truck that will let the centre take programming on the road across the region.

A film festival is also in the works, spurred on by the recent shooting of the movie Trigger Point in Bayfield.

The film’s director, Brad Turner, lives in the Lake Huron village seasonally and is a BCA adviser, Squirrell said.

The centre now uses a converted barn on Bayfield’s Main Street as a temporary home.

Amid the COVID-19 pandemic, the organization has been holding outdoor painting and photography workshops.

“We’re doing the best we can to continue to create our vision even though COVID has created obstacles,” Squirrell said.



She said the picturesque village is the perfect backdrop for a Southwestern Ontario arts hub, since it’s already a popular tourist destination with many local artists nearby.

“We’re an incredibly beautiful, ideal, creative type of community on Lake Huron,” Squirrell said.

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