The high-end art world is a complicated place. It's amazing how two pieces by the same artist can end up in such dichotomous homes. This week's stories draw us into contrasting worlds, assuring that you'll have an interesting topic of discussion ready for Saturday's dinner party.
After a record year for sales in 2014 -- artnet reported that the global fine art auction reached $16.1 billion -- expectations are high for the upcoming modern and contemporary sales in New York. This May, the auctions will bring an influx of art buyers from around the world to the city.
The online auction arena is rapidly growing. For Christie's it offers opportunity to be a more full-service well-rounded company. The numbers of players competing in this space seemingly expands, like our universe.
Honestly I would like to see stories about auction prices covered as financial news: a few graphs and charts would tell the story just fine. That way, art critics and bloggers could devote their time to reporting on some more fresh and compelling art world stories.
Many think art -- particularly original art -- is prohibitively expensive because they hear about the multimillion-dollar auction results at Christie's or get blindsided by the number of zeros on the wall at their local galleries. As a result, they don't buy.
The early prints of "Moonrise, Hernandez" showed what Adams actually saw that late afternoon in 1941, with the moon becoming visible in the sky while the sun was just sinking below the horizon; the moon was dim, while the sky was gray and open.
What is clear is that against the elegant backdrop of such noblesse oblige is a growing breed of money changers whose idea of cultural enrichment involves buying and selling works of art as if they were trading them on the New York Stock Exchange.