Tag: contemporary-art

The Art Market Enters 2026 With Renewed Confidence and a Sharper K-Shape Divide

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Experts’ view on the market performance for the different artist segments over the next 12 months. Source: ArtTactic Art Market Expert Survey – January 2026

As Observer predicted would happen in our own end-of-year reporting, the market’s K-shaped divide will only become more acute: the most robust performance and dynamic deal flow are expected either at the top end—above the $1 million mark—or in the more accessible tiers below $50,000, while the middle market remains sluggish, especially for contemporary artists whose prices outpaced their résumés on the way into the five-figure range.

While 51 percent of experts surveyed expressed a positive outlook for the over-$1 million segment, confidence has rebounded even more sharply in the lower tiers, with 61 percent of respondents expecting a stronger year, compared with just 44 percent in 2025. Even on the heels of a stellar fall auction season, most experts—57 percent—agree that the secondary and auction markets will recover more quickly than the primary market, where 46 percent anticipate a flat year of post-bubble stability and only 35 percent foresee a comparable revival.

Across period categories, demand continues to concentrate around a limited number of names. For example, while the $236.4 million record-breaking Klimt sale contributed to the Modern segment’s standout performance—reaching $1.38 billion in 2025, up 19.4 percent year over year—the survey shows that auction sales were largely driven by just three top performers: Pablo Picasso (up 23.8 percent), Mark Rothko (up 122.2 percent) and Alexander Calder (up 108.9 percent). Similarly, on the Postwar and Contemporary side, the strongest gains were recorded by institutionally and market-consolidated artists such as Jean-Michel Basquiat, Gerhard Richter, David Hockney, Ed Ruscha and Yoshitomo Nara, all of whom have been the subject of major museum exhibitions in recent years, reinforcing both buyer interest and market confidence.

Meanwhile, as the ultracontemporary segment continues to cool, all five of the top-selling Young Contemporary artists at auction—Matthew Wong, Nicolas Party, Avery Singer, Shara Hughes and Jadé Fadojutimi—have experienced year-over-year declines in both lot volume and total sales since 2023. Nicolas Party, once a market phenomenon, saw his total auction sales fall from a peak of $20,170,129 in 2023 to $2,497,160 in 2025. It remains unclear whether his current exhibition of 40 pocket-size paintings at Karma New York is intended to reignite market interest or to strategically introduce more accessible price points for new buyers after prices rose too quickly to sustain demand. Only 10 works were actually offered for sale, priced between $165,000 and $205,000, and all sold. The remaining three quarters of the exhibition consist of works from the artist’s archive—replicas of earlier pieces—intended, perhaps, to maintain visibility and keep his “myth” alive.

Installation view: Nicolas Party’s “Dead Fish” at Karma Chelsea. Courtesy Karma

More broadly, compared with the near-impossible waiting lists of the recent past, many of these artists are now considerably more accessible on the primary market, provided buyers are willing to meet revised price expectations. This shift may help explain the increase in unsold, withdrawn or canceled lots at recent auctions, unless estimates were already adjusted to create a sense of “deal.” A vivid 2022 abstraction by record-setting artist Jadé Fadojutimi, for example, failed to sell at Phillips last November, likely due to an overly ambitious $800,000-1,200,000 estimate. At Frieze Seoul in September, Taka Ishii presented an entire booth of her works priced between a more accessible $475,000 and $610,000, all available for sale on preview day.

Holding periods and annual rates of return

Looking at 81 repeat sales in the contemporary segment, the average annual rate of return (CAGR) fell to +2.3 percent (not inflation-adjusted), down from +5.1 percent the previous year. Short-term resales were particularly weak: nine works resold within five years posted an average annual loss of -9.2 percent. While it’s best to avoid framing art purely in financial terms, analysis confirms that, in today’s post-wet-paint-bubble market, historically validated works held for extended periods by the same owner deliver the strongest resale outcomes.

In the Impressionist category, for example, at least 67 percent of resold lots generated positive returns, up slightly from 65 percent in 2024, with an average annual return of +5.4 percent (not inflation-adjusted), compared with +4.3 percent the previous year. The average holding period increased to 27.3 years from 22.9 years in 2024, while the top 10 performing lots achieved an average CAGR of +18.2 percent over an average holding period of 14.6 years. The strongest individual result of 2025 was Tamara de Lempicka’s Femme Assise (1925), which sold for $522,357 (including buyer’s premium) at Christie’s Hong Kong in September 2025 after being acquired in 2015 for $31,283—an annualized return of +30.3 percent over a ten-year holding period.

Returns are even more polarized in the Postwar category when holding periods are factored in. According to ArtTactic, among 10 works resold within five years, the average annual loss was -7.6 percent. In contrast, works held for more than two decades delivered significantly stronger results, with average annual returns of +9.6 percent, rising to an average CAGR of +19.1 percent over a 15.3-year holding period.

In today’s post-wet-paint-bubble market, historically validated works held for extended periods by the same owner deliver the strongest resale outcomes. Source: ArtTactic Art Market Expert Survey – January 2026

In the contemporary segment, the holding period proves decisive, as time allows living artists to achieve more meaningful institutional validation—helping justify price levels and fueling both demand and confidence. Longer-held works, particularly those owned for more than 20 years, continued to perform more positively, delivering average annual returns of +8.9 percent. The strongest result was Lynette Yiadom-Boakye’s Womanology (2010), which sold for $573,181 (including buyer’s premium) at Phillips London in March 2025 after having sold for $90,600 at Christie’s London in 2014, yielding an annualized return of +19.4 percent over a 10.4-year holding period.

Political uncertainty and market expectations

One of the most revealing elements of the report is the extent to which art market experts’ sentiment aligns with rapidly shifting global geographic and economic conditions—particularly given how eventful the year’s opening has been. Despite growing political division and rising tension at both national and international levels, the Federal Reserve Bank’s Blue Chip survey of professional forecasters still projects about 1.9-2.0 percent real GDP growth for 2026, with inflation hovering around 2.9 percent and unemployment slightly higher than in 2025. At the 2026 World Economic Forum, U.S. officials suggested even stronger early-year momentum, with Commerce Secretary Howard Lutnick forecasting first-quarter GDP growth above 5 percent. Reinforcing this relative resilience, all 33 U.S. banks with assets over $50 billion posted positive total returns last year.

Yet political uncertainty is clearly filtering into market expectations. While art expert sentiment toward the U.S. art market as the primary global center remains broadly positive heading into 2026, more optimistic growth expectations declined from 52 percent in 2025 to 48 percent in 2026. The current political and economic environment has also shaped experts’ perceptions of London and, more broadly, the U.K., which was once the undisputed second global center of the art market. Nearly half of respondents—49 percent—expect the British art market to remain at current levels, reflecting cautious confidence but also an acknowledgment that punitive tax policies targeting high-net-worth individuals—compounded by the longer-term disruptions of Brexit—have increasingly pushed wealth toward other global centers rather than attracting it.

Despite growing political division and rising tension at both national and international levels, the U.S. Federal Reserve Bank’s Blue Chip survey of professional forecasters still projects about 1.9-2.0 percent real GDP growth for 2026. Source: ArtTactic Art Market Expert Survey – January 2026

Despite Europe entering 2026 in a phase of growing fragility—marked by heightened geopolitical tension, economic deceleration and a visible erosion of political leverage on the global stage—expert sentiment toward the continent has nonetheless improved. Positive expectations for Europe’s role in the art market rose from 17 percent to 28 percent, primarily driven by Paris’s renewed positioning as the most dynamic global art hub. Still, with the overall economic growth outlook for 2026 remaining sluggish at around 1.3 percent with slower wealth expansion than in other regions, most experts anticipate a stabilized, largely flat market characterized by incremental improvements rather than a full revival or renewed growth cycle.

Experts increasingly agree that power dynamics—and particularly the financial force shaping the future of the art market—are shifting toward new geographies. Unsurprisingly, with the arrival of Art Basel and Frieze and the success of Sotheby’s early Saudi sales, the Middle East—and the Gulf in particular—stands out as the most bullish region heading into 2026, with 76 percent of experts expecting positive market performance and minimal downside risk. This confidence is driven not only by the growing concentration of wealth but also by robust public investment in cultural infrastructure, an expanding institutional presence and sustained government-backed initiatives, with tourism authorities partnering directly not only with global museum brands but also, increasingly, with fairs and auction houses. Although the Middle East still accounts for a relatively small share of global turnover and activity remains concentrated in a limited number of centers, with regional economic growth projected at around 3.9 percent in 2026, its fairs and institutions are emerging as new magnets for international market activity at a moment when other regions face slower growth and mounting political headwinds.

South Asia and Southeast Asia are the other regions experts expect to sustain growth, driven by rising domestic wealth, increasing international recognition of regional artists and expanding institutional engagement that continue to bolster market confidence. This momentum is further reinforced by a younger, increasingly affluent population drawn to art, design and luxury collecting, with growing spending power. According to Christie’s year-end results, younger and new buyers from the region accounted for 37 percent of global luxury auction spending. Reflecting this shift, 53 percent of respondents now believe the art market in South Asia will continue its ascent, up from 32 percent last year. In comparison, positive expectations for Southeast Asia have climbed to 48 percent, up from 35 percent in 2025. India, in particular, remains the region’s anchor market, supported by strong domestic demand, projected economic growth of around 6.4 percent in 2026 and a rapidly expanding base of high-net-worth and ultra-high-net-worth individuals.

The primary gateway to the region remains Hong Kong, where all major auction houses have doubled down over the past year, investing heavily in expansive, experience-driven luxury headquarters. While auction results in 2025 were uneven and buyer behavior at Art Basel Hong Kong was notably more conservative, expert sentiment toward the city has improved sharply. Positive expectations for Hong Kong as the region’s leading art-market hub rose from 19 percent to 48 percent, while negative views fell dramatically from 52 percent in 2025 to just 14 percent heading into 2026.

China’s improving art-market outlook appears increasingly driven by ultra-high-net-worth individuals and internationally mobile capital, particularly as it continues to funnel through Hong Kong’s established financial and cultural infrastructure. Source: ArtTactic Art Market Expert Survey – January 2026

This rebound in confidence has unfolded alongside renewed optimism around mainland China. Despite escalating geopolitical tensions and U.S. tariffs, China posted approximately 5.0 percent economic growth in 2025, meeting the government’s official target and marking a modest rebound amid persistent domestic weakness and external pressures. While domestic consumption remained subdued—with retail sales growing only about 3.7 percent—and private museums continued to close throughout 2025, the improving art-market outlook appears increasingly driven by ultra-high-net-worth individuals and internationally mobile capital, particularly as it continues to funnel through Hong Kong’s established financial and cultural infrastructure.

Looking more broadly across Asia, experts also anticipate renewed energy in the South Korean market following a slow year and sluggish sales at Frieze Seoul, as the initial contemporary boom gave way to more conservative behavior—even among younger buyers. Thirty-four percent of experts expect a positive turn (up from 16 percent in 2025), supported by a broader wealth outlook pointing to moderate economic recovery, with growth projected at around 1.9-2.0 percent in 2026, driven by semiconductors, A.I.-related investment and a rebound in domestic consumption. This recovery is expected to be measured rather than explosive, as the market stabilizes after a speculative phase and becomes increasingly supported by institutional engagement and a more selective, quality-driven collector base.

Stability is also expected to continue to characterize Japan’s steadily evolving art market, in line with its broader economy and political landscape. Neutral sentiment among experts rose to 65 percent (up from 35 percent), reflecting a market historically anchored in mature institutions and seasoned players—largely resistant to speculative excess after having already absorbed its consequences during the 1980s boom.

Looking to the other side of the Americas, despite slowing regional growth and heightened geopolitical tension heading into 2026, confidence in the Latin American art market is strengthening, with positive expectations rising to 41 percent on the back of record-setting Modern sales and increased international visibility.

Experts’ outlook for Africa’s art market also remains stable rather than expansionary, with modestly improving sentiment and declining downside risk supported by selective institutional interest and growing international visibility—even as strong economic growth from a low base continues to be tempered by structural infrastructure constraints.

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Elisa Carollo

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January 27, 2026
A Juvenile Triceratops and Francis Bacon Heat Up Phillips’s $67.3 Million Evening Sale

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Phillips’s New York Evening Sale closed at $67.3 million—a 24 percent increase from last November. Photo: Jean Bourbon

The auction results of the past few years have confirmed it: dinosaurs are on trend. And not just as prehistoric relics or tools of scientific inquiry, but as symbols of timelessness and taste. More and more, fossil skeletons are being treated as investments—something that is, in some cases, more emotionally and symbolically resonant than contemporary art with which it might share the auction block. Is it the return of Jurassic Park? Or perhaps simply that most of us are captivated by dinosaurs in childhood? In any case, as nostalgia increasingly drives purchasing decisions across collectibles markets, dinos are unquestionably riding the wave.

Phillips has been strategically attuned to this shift—likely thanks to a younger cohort of specialists in its ranks. Instead of competing head-to-head with Sotheby’s and Christie’s single-owner sale narratives, the house has leaned into a different storytelling and marketing strategy, enhancing the symbolic power of artworks not through tales of glamorous collectors but by connecting the works to deep time.

Last night, CERA—a juvenile Triceratops skeleton dated to 66 million years ago and the first of its species ever to appear at auction—fetched $5,377,000 in the Out of This World auction (a specially curated section of the house’s November Modern & Contemporary sales). While that figure may seem modest when measured against the marquee masterpieces of the season, spirited bidding pushed it far beyond its $2,500,000-3,500,000 estimate and confirmed demand for this type of collectible. It also brought Phillips an audience that may never have engaged with the auction house otherwise; representatives confirmed that the skeleton sold to a private American collector new to the house, though global interest had poured in ahead of the sale from both private buyers and international institutions.

According to Miety Heiden, Phillips’ chairman for private sales, the result is a powerful testament to collectors’ evolving tastes. “More than ever, we’re seeing a desire for works that spark curiosity and transcend traditional categories. People are looking for objects that bring wonder and dialogue into a collection,” she said. “This result underscores the appetite for rare and extraordinary pieces that challenge convention and expand the boundaries of what collecting can be.”

At this year’s Frieze Masters—the only segment of the global brand typically reserved for million-dollar modernist and Old Masters works—two of the opening day’s first sales were paleontological. David Aaron placed a Triceratops head from the Late Cretaceous (circa 68 million years ago) within the first hour, followed later by a complete saber-toothed Nimravidae skeleton from the Oligocene (circa 33.7-23.8 million years ago), which sold for a strong six-figure sum. And no one has forgotten the Stegosaurus Apex, which shattered records at Sotheby’s in July 2024, hammering at $44.6 million—more than seven times its $4-6 million estimate—to billionaire Ken Griffin.

Phillips’s Evening Sale on November 19 achieved $67,307,850 across 33 lots, with a robust 94 percent sold by lot (only two passed) and 97 percent sold by value. It was a strong result, particularly considering the momentum already shown by Sotheby’s and Christie’s earlier in the week.

Leaving behind the cutting-edge but highly speculative ultra-contemporary works that once dominated its auction offerings, the evening’s turnout—up 24 percent from last November—was driven by a pairing of institutionally recognized blue-chip artists of the past century with recent market consolidations, presented for the first time alongside natural history highlights under the Out of This World label. The top lot was the highly anticipated Francis Bacon Study for Head of Isabel Rawsthorne and George Dyer (1967), which sold for $16,015,000—neatly within its $13-18 million estimate. Just after came Joan Mitchell’s monumental Untitled (1957-1958), a densely gestural canopy of color from her New York years, which brought in $14,290,000.

Another high-profile lot, Jackson Pollock’s dynamic 1947 work on paper, sold for $3,486,000—just below its high estimate. Mark Tansey’s Revelever (2012) sparked a competitive seven-minute bidding war that carried it to $4,645,000 against its $2,500,000-3,500,000 estimate. The hypnotic, conceptually loaded composition creates an optical push-pull that immerses viewers in a moment of driving toward a mountainous horizon, almost tasting the crisp air in its ultramarine haze.

Meanwhile, Jean-Michel Basquiat’s Exercise (1984), a loosely composed, surreal tangle of hallucination and paint, achieved $3,852,000 after a $3-4 million estimate. Another Basquiat from 1982 followed close behind, selling for $1,225,500. Camille Pissarro’s late Impressionist Le pré et la maison d’Éragny, femme jardinant, printemps (1901) surpassed its high estimate, closing at $1,900,000. Max Ernst’s Dans les rues d’Athènes (1960) doubled its expectations with a $1,534,000 result, riding the continued momentum for Surrealism. Rising Colombian artist Olga de Amaral also saw strong results. Her luminous golden textile Alquimia 62 (1987) soared to $748,200, well above its $300,000-500,000 estimate. A few lots later, a red composition from the same series met its estimate midpoint, hammering at $516,000.

Firelei Báez set a new auction record—if only briefly. Her Daughter of Revolutions brought in $645,000 over a $300,000-500,000 estimate before being surpassed by a $1,111,250 result at Christie’s later that evening.

Women artists once again delivered some of the evening’s most compelling results. Amid growing recognition for Alma Thomas, her Untitled collage from 1968—a blueprint for her signature mosaic-like abstractions—sold for $477,300 over a $250,000-350,000 estimate. Ruth Asawa’s Untitled (S.230, Hanging Single-Lobed, Five-Layered Continuous Form within a Form) opened the sale with a burst of energy, doubling its $400,000-600,000 estimate to achieve $1,006,200 as her MoMA retrospective opened. Others performed well too: a Martha Jungwirth fetched $516,000 (estimate $200,000-300,000), and Lucy Bull’s Light Rain (2019) exceeded its high estimate at $490,200.

One of the night’s more surprising passed lots was a vivid 2022 abstraction by record-setting enfant prodige Jadé Fadojutimi, whose $800,000-1,200,000 estimate may have been too ambitious. Also unsold, despite its uniqueness and luxuriousness, was The Thunderbolt, the longest gold nugget ever discovered. Weighing 3,565 grams and measuring 50 centimeters, the 114.6-troy-ounce gold formation was estimated at $1.25-1.5 million but failed to find a buyer. Dug up by accident at Hogan’s Find in Western Australia, the rare natural formation was revealed by sheer chance.

According to Robert Manley, Phillips’s chairman for modern and contemporary art, the success of the evening was due in part to the house’s new priority bidding system, which helped secure early commitments and interest on most lots. That contributed to 91 percent of works selling within or above estimate. “The enthusiasm was made especially clear by the fact that we had 27 times the number of early selling bids for this sale as we had last November, partly a result of our introduction of Priority Bidding,” he told Observer. The results, he said, confirmed not only the enduring draw of blue-chip artists but also the market’s resilience and ongoing global demand. “With strong participation from collectors worldwide and competitive bidding across Impressionist, Postwar, Contemporary and Natural History offerings, tonight’s outcome reaffirms confidence in the long-term strength of this market.”

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Elisa Carollo

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November 20, 2025
Unitled Art Makes Its Houston Debut

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Untitled Art, one of the world’s leading contemporary art fairs, planted new roots in Houston this September. Known for its flagship fair on the sands of Miami Beach, Untitled expanded to Texas for the first time with a boutique edition at the George R. Brown Convention Center. The move carried more than just spectacle. It signaled Houston’s growing weight in the global art market.

The inaugural Houston fair brought together 88 exhibitors from 22 countries, including 20 galleries from Texas and 12 based in Houston. That balance was deliberate, said Executive Director Clara Andrade Pereira, who emphasized the importance of both showcasing international voices and grounding the fair in the city’s cultural fabric.

“For us, it was very important to blend local with international,” she explained. “Out of 88 exhibitors, we have 20 galleries from Texas, 12 from Houston, and 22 countries represented. The idea is engaging with the community, supporting the community, and doing it with the community, but also bringing international galleries, many of whom are here for the first time.”

The reception was immediate and measurable. Early sales included a Carlos Cruz Diaz work placed by Sicardi Ayers Bacino for 415,000 dollars, a John Alexander canvas sold by McClain Gallery for 125,000 dollars, and multiple works by Dorothy Hood for 75,000 dollars each. Mid-tier galleries reported brisk movement in the five-figure range, while younger spaces saw accessible works placed with new collectors.
“We invited a lot of international press, advisors, and institutions to Houston,” Pereira said. “But it is also about education, making sure younger generations understand the cultural and economic value of art. That is critical not just for collectors but for the development of the city itself.”

Pereira also spoke about the importance of making the fair accessible to guests who may never have attended an art show before. “Ask questions, talk to the galleries, learn who the artists are,” she said. “Everything is for sale, but this is not just about buying. It is about starting to learn and develop your eye. You might come in with no background at all and leave with a deeper understanding of what you like, who these artists are, and why their work matters.” By encouraging newcomers to see themselves as part of the experience, she positioned the fair as both a marketplace and an open door into the art world.

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The fair not only included art but also programming like podcasts and panel discussions covering various social needs.

Photo by Casey Kelbaugh

Programming stretched beyond the convention center floor. The week included panel discussions on Black and Latino artists shaping Houston culture, podcast recordings with local curators, and even a Spanish language panel moderated by Pereira to engage the city’s Latino community. Attendance at the podcast lounge reached more than 80 people, evidence of the hunger for dialogue alongside collecting.

“This is not a one time thing,” Pereira stressed. “We are committed to the city. We are looking at keeping it in September every year. Our intention is to stay and to grow the fair with Houston.”

For local gallerists, the fair’s presence was a marker of validation. Janice Bond, owner of Art is Bond and Bond Contemporary, saw it as proof that the international art market recognizes Houston’s potential. “This is not just an art party,” she said. “This is one of the key components of the commercial art business. When an international fair says they are willing to bank on resources and partnerships here, what they are saying is that they see a level of viability in Houston as a place for expansion and growth.”

For international galleries, the fair provided direct access to collectors. Christian Gundin Garcia, director of El Apartamento with locations in Havana, Madrid, and Miami, said the engagement was immediate. “We reached a lot of local collectors here,” he noted. “We have made good sales, and the reception has been really strong. Collectors are thoughtful. They take their time, they come back, they ask questions. That is what we are here for.”

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Artists, Gallery Owners, and Guides spent the weekend leading guests through exhibits.

Photo by Casey Kelbaugh

Untitled Art’s arrival in Houston represents more than another weekend on the calendar. It is a public declaration that the city’s artists, galleries, and institutions are ready to be part of the global conversation. With six figure sales already moving, hundreds of out of town visitors circulating, and plans to return each September, the fair has the potential to reshape Houston’s art economy and elevate its cultural profile worldwide.

Just as important, it has the power to reshape who feels welcome inside that economy. Pereira’s invitation to curious first timers showed that the fair was not designed only for seasoned collectors or insiders. It was also designed for Houstonians from every walk of life who may never have set foot in a gallery before. In a city defined by diversity and growth, Untitled Art arrived as both a marketplace and a meeting place, opening the doors wider for Houston to see itself as an international art capital. The fair continues at the George R. Brown Convention Center through Sunday.

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DeVaughn Douglas

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September 21, 2025
Is Atlanta the Country’s Next Great Art Hub?

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Amid a slowing art market, a sweep of gallery closures, and layoffs, Atlanta is proclaiming itself another destination on the map of contemporary art with the inaugural Atlanta Art Fair. Taking place through October 6 in Pullman Yards, the fair features 63 exhibitors: galleries, cultural partners, nonprofits, and institutions from throughout the South (25% of the featured galleries being homegrown in the city), greater US, and abroad. The weekend’s programming will center on its theater, where American Southern Art as it pertains to collecting, culture, artists’ legacies, environmental crises, and the city’s “renaissance” will be the themes of a series of talks.

Art Market Productions director Kelly Freeman set the scene during a recent call with Vanity Fair: “There’s something about creating that blank canvas that then our gallery partners, our cultural partners, our artists get to come in and program,” she says. “There’s so much energy in the air, and of course that’s Atlanta for you.”

The Atlanta Art Fair runs concurrently with Atlanta Art Week (held September 30 through October 6), which was founded by art adviser Kendra Walker. Now in its third year, Walker’s project not only landed her a spot on Forbes 30 Under 30 list, but signaled Atlanta’s rise to the larger art community. While there isn’t overt collaboration between the two events, there isn’t competition either—instead an overarching desire to cultivate longevity prevails. The Atlanta Art Fair therefore is simultaneously a response to the city’s massed attention and a call for more interested parties to stick around.

“Once people are engaged, I hope that they stay engaged with the offerings that Atlanta has outside of October, outside of that week,” Lauren Jackson Harris, guest curator and cofounder of Black Women in Visual Art, said. “It’s just visibility and consistency that I’m hoping to see, because we’re not a New York or LA, but we can create our brand by people just being consistent and intentional about feeding the arts.”

This is the refrain of those with a more optimistic outlook of the current market. As the scramble to readjust unfolds, those with robust commitments to community, art, and artists themselves, rather than to a game of assets and numbers, will stand the test.

“Letting Atlanta be Atlanta—it’s what I think we do best as an organization,” Freeman said. “We have no ego in the project. I know I will have done my job correctly if an attendee learns about some exhibition happening at Spelman College in January and decides to go because of an interaction they had at the fair.”

Here, a conversation with the curators of the Art Fair about the state of Southern art and Atlanta’s growing part in its continued presence.

Vanity Fair: Can each of you speak to the dynamic of the American South in the contemporary art world?

Lauren Jackson Harris: It was a funny comment from one of our friends, she mentioned people sometimes revere Atlanta’s art scene as the hillbilly of the South. I think once people come to the city and experience the vastness of talent that is here, even though you have to dig a little bit more—it’s not as concentrated in pockets as New York or LA.—but once you do find the richness that’s in Atlanta, you really see the value that we offer to the platform as a whole.

People always talk about this “Atlanta Renaissance,” but I’m like, Atlanta has been the Renaissance for many years. Whether it’s music, acting, dance, visual art, creative industry. We always have created that energy and that fire, and people have capitalized off of that.

I don’t want to be compared to New York or LA. Because Atlanta, we are our own child, we are our own entity, and we have our own brand of what we offer. And to compare us to major cities such as New York and LA. does us a disservice.

Karen Comer Lowe: We’re treated like this stepchild, as if there has not been an active art scene in Atlanta for decades. When I entered, I came during the National Black Arts Festival, which was this, at the time, biannual festival that brought people to Atlanta every other year for visual arts, dance, and film. Everything Black and in culture. I’ve seen this art community thrive.

If it’s new to you, that’s great. But what I would like is for people to come here, and like Lauren said, just experience it for yourself so that you can see what we have here, because there’s so many artists who live here and show outside of Atlanta. What we need in Atlanta are resources put into these spaces that we have so that we can develop new spaces.

What were the early conversations about curation, the narratives you wanted to present, and choice of artists to feature?

Harris: I sometimes work backwards, but my title didn’t come until after I started really working and having conversations with the artists and seeing what their work made me feel. The work of genteel/gentle has been haunting me from another exhibition that I wanted to do.

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Arimeta Diop

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October 4, 2024
Top 5 Reasons Why Costa Rica is the Ultimate Destination for Art and Culture Lovers

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SAN JOSÉ, Costa Rica, July 24, 2024 (Newswire.com)
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If you’re an art and culture enthusiast looking for your next travel adventure, look no further than Costa Rica. Beyond its stunning landscapes and eco-tourism, Costa Rica is a burgeoning hub for contemporary art and culture. Here are the top 5 reasons why art and culture lovers should add Costa Rica to their travel list, featuring insights from MÍRAME Fine Art (www.miramefineart.com).

1. Discover a Thriving Contemporary Art Scene

Costa Rica is home to an exciting contemporary art scene. Renowned museums such as the Museum of Costa Rican Art and the Museum of Contemporary Art and Design in San José, alongside contemporary galleries like deCERCA Gallery in Nosara, showcase a wide range of artistic expressions.

Use MÍRAME Fine Art to identify what’s on each week. Travellers can visit these museums, galleries, and artist studios, and enjoy discovering talented local artists.

2. Engage with Local Artists and Cultural Events

Visiting Costa Rica offers the unique opportunity to engage directly with local artists and attend various cultural events. MÍRAME Fine Art features artist interviews and exhibition round-ups, providing travellers with insider access to the most exciting events and personalities in the Costa Rican art world.

3. Uncover the Depth and Diversity of Costa Rican Art

Costa Rica’s breathtaking landscapes inspire many artists. However, you’ll discover that Costa Rican art goes far beyond these natural beauties.

The country boasts a wide range of artistic expressions. Local artists are producing thought-provoking, high-calibre works that explore complex themes such as identity, environment, and socio-political issues.

Platforms like MÍRAME Fine Art showcase these powerful works, offering a unique blend of eco-tourism and cultural exploration that shows why the country’s art is so compelling and deserving of recognition.

You can research and identify artists that resonate with you on MÍRAME Fine Art, ask advice, buy their works directly through the online gallery marketplace – which boasts DHL shipping integration – or in person at the artist’s studio.

4. Support Sustainable Tourism and Local Economies

By engaging with the local art scene, travellers contribute to the sustainable growth of Costa Rica’s economy. MÍRAME Fine Art promotes local artists, ensuring that your support goes directly to the creators. This helps sustain the art community and encourages cultural exchanges, making your travel experience both enjoyable and impactful.

5. Immerse Yourself in Costa Rican Culture

Costa Rica is not only about its natural beauty but also its rich cultural heritage. Through platforms like MÍRAME Fine Art, visitors can gain a deep appreciation for a whole range of the country’s artists.

Plan Your Artistic Adventure Today.

Whether you’re an art collector, an enthusiast, or simply a curious traveller, Costa Rica offers a huge range of worthwhile experiences.

Visit miramefineart.com to start your journey, discover a world of incredible art, and buy Costa Rican art online directly through the gallery marketplace.

Source: MÍRAME Fine Art

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July 24, 2024
Have we reached mass-media overload?

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The effects of mass media and communication is an area that has been extensively studied by human behavioral experts. Dr Sharon Coen is a media psychologist and senior lecturer at Manchester’s University of Salford. “I think art, paradoxically, has a better chance than I do in getting the message across,” she tells BBC Culture. “If I say it, it will sound like doom. First of all, artists can take a non-traditional, non-scientific approach, which can help us to understand things in different ways. An art piece hits in the heart.”

While Coen recognises the negative effects that mass media can have, she feels positive about the human ability to recognise the dangers. “There are a lot of alarmist attitudes, feelings of ‘Oh my God, we’re screwed’,” she says. “Actually, the more I talk to people and observe my surroundings, I realise that we are very strategic. With ‘doom scrolling’, some people get sucked in and they spend hours and hours looking at terrible stuff online. But guess what, how did we learn about doom scrolling? Because people realised they were doing it and said ‘Oh, this isn’t good.’ So while it is a problem, I don’t think we should underestimate ourselves.”

Coen traces the fear of collective cognitive decline to long before the internet was formed, and even before the visual overload of television. “A lot of my peers have a tendency to blame the internet and say it’s the origin of all our problems,” she says. “I keep telling them, more than 2,000 years ago Socrates hated writing. Why? Because he was saying we were going to become stupid and not be able to remember anything. He thought our cognitive functioning would change. But in writing we save mental space that we would use in trying to remember everything, and we can use that for other things. It’s always a balance.”

Many of today’s artists have one eye on the trailblazing names who came before them, and the other on future developments that loom on the horizon. “I loathe the idea of the metaverse,” says Holder, “but it seems as if this is the way that the mega-cyber corps want to take us, creating a virtual layer of reality, a simulation of life. Grandiose claims are being made about it. That it will help improve mental health, reduce crime rates and save the planet, but I’m sceptical, and think that the opposite will also be true. I think we should give up on the idea of trying to create a copy of the world in digital form, life is far too complex, it can’t be simulated.”

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February 1, 2023
Art & Luxury Come Together at Eden Gallery Dubai’s 1st Anniversary

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Press Release
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updated: Feb 2, 2023 07:41 EST

NEW YORK, February 1, 2023 (Newswire.com)
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Eden Gallery Dubai, a luxurious destination for contemporary art connoisseurs, is proud to celebrate its 1st anniversary. Nestled in the heart of Dubai, next to the iconic Burj Khalifa, the gallery boasts a lavish 11,000-square-ft space, with floor-to-ceiling artwork displayed in a modern design that allows the art to take center stage while providing visitors with a beautiful and alluring atmosphere. As one of the most exquisite galleries in the UAE, it’s a must-visit for art enthusiasts visiting Dubai.

The Gallery That Redefined Art & Luxury

For over 25 years, Eden Gallery has been showcasing the works of renowned artists in premier locations worldwide. And now, Eden Gallery has brought Its expertise to the Middle East by opening Eden Gallery Dubai. This milestone anniversary marks a year of curating the most extraordinary and diverse exhibitions, featuring the works of some of our time’s most exciting and innovative artists. From the bold and striking street art of Alec Monopoly to the vibrant and dynamic paintings of Eduardo Kobra, Eden Gallery Dubai offers a visual feast for art enthusiasts of all tastes. The gallery is also elated to feature the exceptional works of additional talented artists, including Gal Yosef, Angelo Accardi, David Kracov, and many more.

In addition to these exhibitions, Eden Gallery Dubai also hosts various exclusive events throughout the year, providing visitors with a unique opportunity to engage with the art and artists in a more personal and intimate setting. As they look forward to another year of bringing the best in contemporary art to Dubai, they invite everyone to join them in celebrating the 1st birthday of Eden Gallery Dubai.

Eden Gallery Dubai 1^st Anniversary: Exclusive Events & Art

Eden Gallery invites guests to mark their calendars and join in a month-long celebration of FebruArt, a series of unique art events as part of their anniversary celebration. Long-time collectors and art enthusiasts are invited to immerse themselves in the vibrant and colorful world of contemporary art at Eden Gallery Dubai. The gallery is located in The Dubai Mall on Fashion Avenue and is open Monday to Sunday from 10 am to 10 pm. This is an opportunity for visitors to experience the epitome of luxury and art at Eden Gallery Dubai.

Source: Eden Gallery LTD

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February 1, 2023
The slave ship in a London courtyard

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“I can see that the different African blocs, lusophone [Portuguese-speaking], anglophone and francophone, evolve at different paces. The anglophone bloc is way ahead, thanks to artists from Nigeria and black artists in the UK and US.”

In Britain, in recent years, the work of Keith Piper, Lubaina Himid, Sonia Boyce, Hew Locke, Chris Ofili or John Akomfrah, all of African or Caribbean heritage, have addressed similar issues, in their own ways. “What’s important now is to remain united to push this progress forward on the continent itself,” Barreto adds.

For Touria El Glaoui, the founder of 1-54 and daughter of Hassan El Glaoui, one of the most significant African modernist artists, the landscape of today for African artists has definitely changed for the better compared to 2011, when she launched her project. “We are in two different universes; the perception of the African artist has radically changed,” she says. The fair also takes place every year in New York and Marrakesh, in Morocco, where Touria is from, with special events, panel discussions led by African curators, and solo shows for emerging artists.

“We’re honoured to have Grada Kilomba this year, she’s an artist of great ambition,” Touria adds. “Her performance involves 27 people, creating with her the music, dancing and singing; it represents so much of what my project always aimed for. I believe artists can be stronger voices for these discussions on black and African history, each of them in different ways and different ideas, as Hassan Hajjaj, Julie Mehretu, Michael Armitage or Nú Barreto do. They offer some of the best ways to address complex issues and raise awareness.”

O Barco / The Boat is at Somerset House, London until 20 October (accompanied by live musical performance at 5pm BST on 13 October and 1pm BST on 14 October). 1-54 London 2022 takes place until 16 October.

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October 13, 2022
Ksana Spirits: Artists From Around the World in an International Exhibition in Italy.

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The On The Road Project makes its second stop in Milan. Eleven artists from seven different countries will be featured from September 21 to September 28, at the Milan Art and Events Center.

Press Release
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updated: Sep 7, 2017

MILAN, Italy, September 7, 2017 (Newswire.com)
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The second installation of the “On The Road” project, titled “Ksana Spirits”, will be hosted by the Milan Art and Events Center from September 21 to September 28. Eleven artists from seven different countries will be featured: Bill Anderson (United States), Aditya Tri Hanggono (Indonesia), Zhenfei Liu (China), Sonny Pimentel (Mexico), Motoi Takahashi (Japan), Francisco Rizquez (Venezuela), Araceli Valdivia (Chile), Ping Wang (China), Yao Yao (China) and the duo artists Bai Feng & Juntao Yang (China). This exhibition is being curated by the founder of the “On The Road” project, Gaoya Yang, and displays distinctive works of art presented in different forms, from varied cultural backgrounds, aimed at both the public and professional audience.

The Sanskrit word Ksana is used to describe a short, nearly imperceptible moment. A multitude of human emotions can arise and desist within the span of a Ksana. These emotions are hidden, complex and innumerable, endowing a moment of time with its own spirits. The artists have created a collection of works, filtered through individual creative ways of thinking and artistic expressions that have made it possible to construct an emotional dialog that travels through this time and space. The installation will be presented in a way to evoke a dialogue between the art and the emotions formed around the theme, “Ksana Spirits”.

The “Ksana Spirits” exhibition is the second event in the “On The Road” project, which was founded and is curated by Gaoya Yang. The project is aimed at facilitating aesthetic pleasure and cultural exchange among artistic spaces around the world. With the sponsorship of AGSP Fashion Consulting in partnership with Immaterial Media, the “On The Road” project began its journey with its first exhibition in Beijing, China in December 2016, where twenty-eight photographs by several emerging artists from China, Mexico, and Ecuador were presented for the first time in the PDFCHIC Art Gallery for the international public.

For more information on this exhibit and the “On the Road” project, visit their Facebook page and Instagram: @OTRProject, or contact Ms. Yang at grace@immaterialmedia.com.

Source: On The Road Project

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September 7, 2017