Art Market Magazine
This month, October, it is impossible to miss that great international gathering known as the FIAC. For just under a week, Paris celebrates contemporary art in every form beneath the glass roof of the Grand Palais in an event that seems like a concentrate of contemporary creation. And yet there is not a whiff of a generational movement that has been creating a buzz for several years now: street art. Has this key fair become sectarian, relegating this movement to the sidelines of living art when London's Tate Modern was already devoting a flagship exhibition to it in 2008? In this issue, La Gazette focuses on this young creative generation in the light of a red-letter sale at Drouot on 25 October, and talks to a number of experts, gallery owners and collectors. The conclusion is that a market's value is not dictated by age...
.Content - Number 29
Nearly 150 works in the rising urban art market have taken the path to the auction room. They are by artists in the urban scene of virtually five continents. Honour to whom honour is due: so let's start with the founding fathers, Jean-Michel Basquiat (1960-1988) and Keith Haring (1958-1990). In 1981, Haring made his name with clandestine chalk drawings of figures, dogs, spaceships, TV sets, and so on, on New York's subway advertising panels. The next year, Tony Shafrazi invited him to his gallery for his first solo exhibition. Two acrylics on canvas, “Sneeze” from 1984 and “CityKids Speak on Education” from 1989 – works inspired by children and teenagers benefiting from the programmes of his foundation, CityKids – should fetch around €500,000/700,000 and €300,000/500,000 respecitively. However, you will need between €700,000 and €1,000,000 if you want to land Monticello a painting from 1986 by all-round champion Jean- Michel Basquiat, the darling of investors. A five-cent coin stands out on a black background, showing a house in Monticello, Virginia the birthplace of Thomas Jefferson, third president of the United States and a slave-owner - and the Latin phrase "e pluribus unum" (from many, one) referring to the union of America's states. The work "unum" is crossed out, and illegible. A criticism of the individualist consumer society or a stand against racism? Probably both...
All creators need a muse, even Yves Saint Laurent... The famous couturier met the girl from the provinces, Danielle Luquet de Saint-Germain, in 1966. Two years later, the duo caused a scandal in the magazine "Paris Match", where the model posed in a chiffon and ostrich feather dress that revealed her bare breasts. Danielle Luquet de Saint Germain worked for several years as a model, building up a close creative relationship with the couturier. "She made me advance," said Yves Saint Laurent, who always worked directly on his models...
As we remember, on 22 April this year, in a Paris sale devoted to pieces connected with the dancer and choreographer Serge Lifar, a curious Dadaist assemblage given to him by Coco Chanel created a surprise in garnering €120,564 (Arts Talents Enchères). On 22 September, the same auction house offered four similar works, which led to a positive hurly-burly of bidding and totted up a tidy total of €1,878,840. These anonymous assemblages evoking one of the world's most famous fragrances, Chanel No. 5, rallied bidders from all over the world, mainly Asia.
For the entire period under study, the silverwork (and jewellery) sector showed a lot of dynamism. This is an area where we find works by artists of the 19th century, like Odiot and Froment-Meurice, as well as creators of the 20th. In this sector, France benefits from its history, and the fact that families collect pieces which gradually come onto the market as estates are sold off. The development of the speciality is mixed, in view of the figures for 2012. There was healthy growth of 10% outside France...
The Beauty is far from sleeping! Everyone agrees that the FIAC has become an eagerlyawaited date for collectors and players in the art market, not to mention exhibition and museum curators from all over the world, just after Frieze. It is one of the oldest contemporary art fairs in Europe, having been created in 1974, a little after Art Cologne (1967) and Art Basel (1970). ‘It has established itself as a key event on the world stage over the last four or five years’, says Paris gallery owner Nathalie Obadia, and ‘has won back the place it occupied during the Eighties when it was at the Grand Palais’...
In a decade, urban art sales have posted a global growth rate of over 90%. This is what Artprice established in its 2011-2012 report on contemporary art, devoting a section to it with a speaking title: "The next generation". This rate, says the report, was "calculated according to price indexes regardless of generation between 1 January 2002 and 1 June 2012". It should be stressed that this exponential performance is largely due to the fact that the market was in its infancy at the beginning of the century, concentrated in the hands of the very few galleries that had ventured along these uncertain byways.
Nicolas Laugero Lasserre. In less than twenty years, the lad from the South has carved himself a name as a committed collector. His hobby-horse? Street art. And he has built up a thoroughly comprehensive collection. How would you define street art? That's a tricky question, because there are so many movements, with endless cross-references. Today, with a bit of distance, I would say there are two families: graffiti by vandals who often work at night, anonymously, and street art with historic artists like Ernest Pignon- Ernest, Jef Aérosol, Mesnager, Speedy Graphito, Miss. Tic and Bleck le Rat...
October 2013 Edition
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