Does anyone have any comments on the fact that Vanity Fair have elevated (dropped?) Art World participants to the same level as media titans and celebrities? This (Dec) issue is their first ever Art World focus. A first and last? Or a status that will endure?
Everyone I know who has seen Tobias Meyer’s preview video has fixated on his caressing the David Smith sculpture Voltri XVII and then rounding off the foreplay with the thought, “Maybe humans are imperfect, too?”Bouncy Castle Mini Jungle ouverte
But when it came to the climax, of course, things went awry: That statue was bought in last night in a sale described by Bloomberg as “Quiet.” Wonder what conclusion, if any, will be drawn by auction house re: sculpture Smith video previews fondling the merchandise.
The Tobias Meyer video interview that Sothebys is using to promote the 14 Nov sale is interesting. Have they done one before? Interesting use of the medium; both to push the sale and to show Meyer at his (pretentious) best. Wonder how regular buyers will react? Wonder how the new buyers from Asia that he mentions will react? Interesting that he highlights their presence but makes no comment about how their new tastes may shift the market.
Has anyone done any studies on whether the arrival of successive waves of new money (US, Arab, Russian et al) have shifted the core contemporary (or classical for that matter) Art markets at all? I would guess not much. New money is often not Art informed and therefore it relies on advisors who, in turn, perpetuate the same current Artist vogues. The same Art sub-movements. The only real changes come from new gallerists if they latch on to new sources of capital, as they discover/create new artist reputations, no? I wonder if the arrival of the slightly more confident Chinese will change any of this?