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To Frieze or Not to Frieze: Are collectors leaning towards Paris, the City of Love and Art, over London? As Frieze Week opens in London, collectors are also preparing for the newly rebranded Art Basel Paris, raising questions about which city is the priority this year. With Paris often dubbed the "City of Love", it's not just romantic allure that draws international art lovers, but its deep cultural roots as the birthplace of Impressionism and home to leading modern painters like Picasso and Matisse. The post-Olympic glow and the reopening of the Grand Palais make Art Basel Paris particularly attractive. Arianne Piper, a London-based art advisor, highlights how Paris’s glamour and ease of navigation make it appealing, especially for collectors with limited time. Above all, Paris holds a unique place in art history as the center of revolutionary movements like Impressionism and Cubism, where the streets once inspired Monet, Degas, Caillebotte and Van Gogh. This legacy lives on today, with Paris’s contemporary gallery scene booming and attracting more international attention, making it an irresistible destination for collectors. Meanwhile, London’s art scene still thrives, with its global art market status. But a slightly stronger British pound (trading at $1.32 to the dollar, compared to $1.22 last year) could make London pricier for collectors. In contrast, the euro exchange rate remains more favorable at $1.10. Additionally, the UK's post-Brexit bureaucracy is causing administrative headaches for galleries, according to Martin Wilson of the British Art Market Federation. Eva Langret, director of Frieze London, emphasizes the city’s role as a global stage for young artists and creatives. However, the magnetic pull of Paris, with its artistic history and cultural prestige, seems to be casting a shadow over London’s usual dominance this year. Frieze has responded by extending its VIP programming into the weekend, aiming to capture those stopping by before heading to Paris, but how this affects sales remains to be seen. #artcollecting #artexhibition #artmuseum #artinvesting #artinvestment #artcollector #artnews #artworld #artmarket #artmarketnews #artauction #arthistory #worldrecord #modernart #impressionism #postwar #frieze #artbasel #london #paris

As the art world shifts into gear for the fall season, collectors find themselves preparing for a whirlwind of art fairs and auctions stretching from New York to London and Paris. The prospect of acquiring new pieces in such a frenzied environment is as exhilarating as it is daunting. With so many events packed into a few short months, from Frieze London to Art Basel Paris, experienced and novice collectors alike must approach the season with clear strategy and focus. The fall 2024 art season is defined by both post-pandemic recovery and a tightening global market. After the 2021 through 2022 art market boom, a slowdown has occurred, particularly among speculative buyers who entered the market during the pandemic. However, this contraction could benefit seasoned collectors, who see opportunities for strategic acquisitions. Read more: https://lnkd.in/e29WFCMN By Megan Fox Kelly

Is this what a more collaborative, community-centered art market could look like? The initiative from galleries Bortolami Gallery, James Cohan Gallery, kaufmann repetto, Anton Kern Gallery, Andrew Kreps Gallery, and kurimanzutto aims to create a shared space for group exhibitions and cultural activities, with the inaugural exhibition to feature works by 80 artists. The way we see it, the joint venture signals a welcome shift towards collaboration and community-building within the art market. The initiative not only breathes new life into a neglected space but also fosters a sense of creative and professional synergy among participating galleries, their staffs, and artists. More of that, please. But, we can't pretend it's all sunshine and rainbows. Amid an art, design, and vacation home boom in the Hudson area, we're curious what steps the galleries might take to ensure the community benefits too, considering the "The Campus'" potential impact on the area's cultural and economic landscape. What do you think?

The contemporary art market is increasingly polarized, with a small group of elite artists and mega-galleries like Gagosian and Hauser & Wirth dominating, while emerging artists and mid-sized galleries struggle for visibility. This elitism, rooted in historical patronage systems, has been intensified by economic inequality and technological advances. Art fairs like Art Basel and auctions have become spectacles that prioritize established names, inflating art’s value based on attention rather than artistic significance. Meanwhile, technology, though offering democratizing potential through online platforms and NFTs, often reinforces this divide as algorithms favor already-visible artists. This growing concentration of power raises critical questions about who decides what art deserves recognition. Inspired by the inclusive vision of the DSLcollection, which leverages technology to connect diverse voices, there is a need to rethink the art market’s structure. Independent curatorial projects, artist residencies, non-commercial spaces, and digital platforms can create alternative ecosystems where art regains its authentic, transformative role. Emerging artists can navigate these barriers by engaging in local shows and building strong online presences. The future of the art market offers opportunities for inclusivity through technological innovation and a growing interest in global artistic diversity. However, achieving this requires a collective effort to ensure art reflects the complexity of human experience and remains accessible to all. By fostering experimentation and inclusivity, the art world can shift from polarization to a more equitable system that values cultural transformation over profit.

https://lnkd.in/e3vtQdCg My career has spanned both the vibrant energy of mid-market galleries and the sophisticated world of blue-chip art. While the latter often commands the spotlight, I've always held a deep appreciation for the crucial role played by those galleries operating at a more accessible level. These are often unsung heroes, fostering a passion for art in communities that might otherwise feel excluded. I've encountered some of the most dedicated and insightful art professionals within these spaces—individuals who are not only deeply knowledgeable but possess a remarkable ability to cultivate genuine collectors. This is, perhaps, their most significant contribution. These galleries don't just sell art; they *create* collectors, introducing the transformative power of art to individuals who might never have considered themselves part of the art world. I've even heard the misconception, "I'm not fancy enough for an art gallery," firsthand. It underscores the vital work these galleries do in demystifying art and making it a tangible part of people's lives. Their impact on the broader art ecosystem, in nurturing a wider appreciation and participation, is immeasurable and deserves far greater recognition. As someone now focused on protecting valuable assets, I understand the importance of cultivating a strong, diverse, and passionate art community, and I believe these mid-market galleries play an indispensable role in that process.  

"The lower end of the market is where creativity and risk-taking flourish, offering a platform for emerging artists and where prices—sometimes under $5,000—make art accessible to new buyers. This is typically where the journey of any collector begins. Proposals such as free booth space, fair and transparent selection of galleries away from nepotism, reduction of art prices, mandatory price transparency, the use of technology for personalized tours of the fair, and artist and gallery participation in fair profits could put galleries and artists on a more secure financial footing. The solution lies in disruptive change and a shift in perspective – away from outdated revenue streams and towards bold steps to foster a vibrant, inclusive market." Such an interesting and correct article: https://lnkd.in/d5rRxB7N

"As we move into 2025, the art market’s most dominant trend is an increased emphasis on private transactions, both for buyers and sellers. In the wake of a sluggish auction market that may take another 12 to 18 months to fully rebound, private sales will continue to emerge as a preferred channel." Philip Hoffman ARTnews

Last week, I was in Singapore for the third edition of ART SG. A brilliant fair (kudos to Craig Brown and the team at The Art Assembly) in a nascent but rapidly developing art market. In addition to supporting our existing gallery partners with the First Thursday platform, I spent time speaking with Sales Directors about the challenges they face on the ground at fairs. One recurring issue came up in nearly every conversation: collectors placing works on hold, only to vanish. Many galleries spoke of the excitement of having their booths fully reserved during the VIP day, only for most holds to fall through. In the art world, it’s standard practice to allow collectors to place works on ‘hold’ without any deposit or collateral, preventing other buyers from purchasing in the meantime. However, at a fair—where time is of the essence—this can be a significant risk. If a gallery offers a hold to the wrong person, they may have to turn away a genuine buyer and lose a sale. This risk is compounded by the high-stakes nature of fairs. Galleries invest tens—sometimes hundreds—of thousands of dollars to attend, while working with a limited inventory of unique works and engaging with hundreds of potential buyers each day. This dynamic creates a perverse incentive for collectors. With no financial repercussions for reserving works, why not secure everything you like to ensure first pick? For galleries, a hold may signal strong intent to buy, but for collectors, it often means far less. There are no simple solutions to this issue, especially given how deeply embedded ‘free’ holds are in the art world. However, transitioning to a deposit-based approach—at least for collectors not already known to a gallery—could help realign the incentives. While such a change might feel difficult initially, it could ultimately ensure better returns on the significant investment galleries make in fairs. Hearing about this challenge reminded me of Paul Becker’s thoughts on the widespread practice of automatic 10% discounts in galleries (I’ll share the article below). As Becker writes: “the existing sales culture of knee-jerk or automatic discounting is a blight on the art world that in the long term helps neither collector, nor artist, nor gallery. It’s not sustainable, not smart, and not necessary.” I believe the same could be said for deposit-free holds.

The Art Works is a growing industry and apart the up and down in the market You're absolutely right! The art industry is indeed a dynamic and evolving field, with its own set of challenges and opportunities. Despite market fluctuations, the art market has shown remarkable resilience over the years. Current Trends in the Art Market Resilience Amid Challenges: The global art market has faced economic challenges such as high interest rates and inflation. Despite these obstacles, the market has remained relatively stable, with sales in 2023 reaching an estimated $65 billion. Online Sales Growth: Online marketplaces have become increasingly important, helping galleries connect with new collectors and make sales. This shift to digital platforms has been crucial, especially during times when physical art fairs and exhibitions were less feasible. Cost-Cutting Measures: Many galleries have implemented cost-cutting measures to maintain profitability, such as reducing administrative expenses and marketing budgets. Some have also scaled back on participating in art fairs due to high costs. Future Outlook Sustainable Growth: The focus for many galleries in 2024 is on achieving sustainable and profitable growth. This involves finding ways to navigate the uncertain economic and political landscape while maintaining stability. Global Reach: The US continues to lead the global art market, but other regions like China and the UK also play significant roles. The market is becoming more globalized, with buyers and sellers from different parts of the world participating in transactions. Conclusion The art industry's ability to adapt and evolve in response to market conditions is a testament to its resilience. While there are ups and downs, the industry continues to thrive, driven by innovation, digital transformation, and a globalized approach to art sales.

The ongoing discussion on the polarisation of the art market reflects broader societal dynamics, including wealth centralisation, cultural spectacle, and marginalisation of non-commercial art. This raises fundamental questions about the value of art in a stratified context. While the market often prioritises profit over art’s mission to generate new visions and represent human complexity, the challenge lies in rethinking this framework. Independent projects, residencies, and digital spaces offer avenues for art to regain authenticity and inclusivity. An ethical reformulation is vital, emphasising art as a collective, transformative experience rather than a commodity. Whether it will solve the fragments between international fairs, million-dollar auctions, or the few giant galleries dominating over a landscape of artists and galleries, polarisation still presents an opportunity to foster new cultural ethics and further enhance inclusivities. #artadvisory #artfund #modernart #contemporaryart #asiacontemporaryart #visualart #artcollector #artmuseum #curatedexhibition #SGEvents #DiscoverSG #ArtLoversSG #SingaporeArt #SGShopping #ShopLocalSG #RetailTherapySG #VisitSingapore #ExploreSG #ArtInProgress #ArtistsOnInstagram #EmergingArtists #artseasonsgallery