Llucià Homs | ART MARKET BIBLIOGRAPHY

ART MARKET BIBLIOGRAPHY

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Every month I will review some key books related to the art market

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10 AM1
Big Bucks – The Explosion of the Art Market in the 21st Century
Georgina Adam
2014

This highly readable and timely book explores the transformation of the modern and contemporary art market from a niche trade to a globalised operation worth an estimated $50 billion a year.
Drawing on her personal experience, Georgina Adam describes in fascinating detail the contributions made by a range of people and institutions to these recent development of auction houses into globalized, often cut-throat ‘art business’ firms; the emergence and modi operandi of mega-dealers and middlemen; the new frontier of selling art on the internet; the radical changes in the profile of art collectors; the phenomenon of the branded artist and the explosion of art fairs. It addresses the negative side to the art market’s expansion, particulary its lack of transparency and light regulation.
Engagingly written, this informative text will be ideal for collectors, students, and anyone interested in learning more about the evolution of the unprecedented market for art which exists today.

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89 AM2
Art as an Investment – A Survey of Comparative Assets
Melanie Gerlis
2014

Aimed at collectors and investors, this user-friendly guide explains art’s value as an asset through comparisons with more familiar investments, including property, shares and gold. It draws on extensive research and interviews with key players in these other markets, as well as the author’s own experience, to clarify the specifics of art as an asset class.

This timely book considers the growing importance attributed to art as an investment, testing the validity of claims about art’s capacity to generate returns that outweigh its risks. It offers jargon-free explanations of how the characteristics of blue-chip art can be seen to coincide with and diverge from the fundamental features of more established types of asset. Key issues addressed include the role of subjectivity in the perception of value; the failure of attemps to establish stock markets for art; the risks and shortcomings of art funds; banks’ reluctance to lend against art; and the art world’s distaste for selling and speculation.

This thorough but accessible text from a respected art-market professional is essential reading for art investors and prospective art investors.

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51 Bis AM 3
Leo & His Circle – The Life of Leo Castelli
Annie Cohen-Solal
2011

Leo Castelli reigned for decades as America’s most influential art dealer. Now Annie Cohen-Solal, author of the hugely acclaimed Sartre: A Life (“an intimate portrait of the man that possesses all the detail and resonance of fiction”–Michiko Kakutani, The New York Times), recounts his incalculably influential and astonishing life in Leo and His Circle.
After emigrating to New York in 1941, Castelli would not open a gallery for sixteen years, when he had reached the age of fifty. But as the first to exhibit the then-unknown Jasper Johns, Castelli emerged as a tastemaker overnight and fast came to champion a virtual Who’s Who of twentieth-century masters: Rauschenberg, Lichtenstein, Warhol, and Twombly, to name a few. The secret of Leo’s success? Personal devotion to the artists, his “heroes” by putting young talents on stipend and seeking placement in the ideal collection rather than with the top bidder, he transformed the way business was done, multiplying the capital, both cultural and financial, of those he represented. His enterprise, which by 1980 had expanded to an impressive network of satellite galleries in Europe and three locations in New York, thus became the unrivaled commercial institution in American art, producing a generation of acolytes, among them Mary Boone, Jeffrey Deitch, Larry Gagosian, and Tony Shafrazi.

Leo and His Circle
brilliantly narrates the course of one man’s power and influence. But Castelli had another secret, too: his life as an Italian Jew. Annie Cohen-Solal traces a family whose fortunes rose and fell for centuries before the Castellis fled European fascism. Never hidden but also never discussed, this experience would form the core of a guarded but magnetic character possessed of unfailing old-world charm and a refusal to look backward–traits that ensured Castelli’s visionary precedence in every major new movement from Pop to Conceptual and by which he fostered the worldwide enthusiasm for American contemporary art that is his greatest legacy.
Drawing on her friendship with the subject, as well as an uncanny knack for archival excavation, Annie Cohen-Solal gives us in full the elegant, shrewd, irresistible, and enigmatic figure at the very center of postwar American art, bringing an utterly new understanding of its evolution.

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68 AM4
When Art meets Money – Encounters at the Art Basel
Stephan Egger + Thomas Mazzurana + Franz Schultheis + Erwin Single
2015

Art Basel is more than just a fair in the commercial sense of the word, more than a concentrated gathering of dealers offering their goods for sale to interested buyers. It is the site of display of holy goods in the presence of thousands and thousands of believers, a mecca for the ritualized adoration of modern and contemporary art. It is also the decisive witness of the upheaval marking a radical change in the relationship between art and money, with all of the consequences–not least, the evaluation of what is to be regarded as “genuine” art. When Art Meets Money offers a sociological study in the vein of Pierre Bourdieu, the result of several years of field work, attempting to draw a picture of this change as perceived by the participants, fair organizers, gallerists, collectors, curators, art consultants and artists as a central problem of the contemporary art scene.

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46 AM5
The Auctioneer – Adventures in the Art Trade
Simon de Pury
2016

Just as William Goldman, the ultimate screenwriter, took us inside Hollywood, Simon de Pury, the ultimate art player, will take us inside an even more secretive business, whose staggering prices, famous collectors, and high crimes are front page news almost every day. The former Chairman of Sotheby’s Europe, the former owner of Sotheby’s rival Phillips de Pury, and currently a London-based dealer and advisor to great collectors around the world, Simon has one of the highest profiles of any non-artist in the art world. Even though he has an ancient title and the aura of an elegant Swiss banker, Simon is famous as an iconoclast and is known as “The Mick Jagger of Auctions” for his showmanship and exuberance. His whole life in art has been devoted to bringing art to the public and to the juxtaposition of high and low. Movie stars, musicians, and athletes compete with hedge funders and billionaires for the great art, and Simon is their pied piper; he wants to turn the world onto art and this book will be his message.

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1 AM6
Art of the Deal – Contemporary Art in a Global Financial Market
Noah Horowitz
2014

Art today is defined by its relationship to money as never before. Prices have been driven to unprecedented heights, conventional boundaries within the art world have collapsed, and artists think ever more strategically about how to advance their careers. Art is no longer simply made, but packaged, sold, and branded. In Art of the Deal, Noah Horowitz exposes the inner workings of the contemporary art market, explaining how this unique economy came to be, how it works, and where it’s headed. In a new postscript, Horowitz reflects on the evolution of the trade since the book’s original release in 2011, shining light on the market’s continued ascent as well as its most urgent challenges.

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267 AM7
Art and the Global Economy
John Zarobell
2017

Art and the Global Economy analyzes major changes in the global art world that have emerged in the last twenty years including structural shifts in the global art market; the proliferation of international art fairs, biennials and blockbuster exhibitions; and the internationalization of the scope of contemporary art. John Zarobell explores the economic and social transformations in the cultural sphere, the results of greater access to information about art, exhibitions, and markets around the world, as well as the increasing interpenetration of formerly distinct geographical domains. By considering a variety of locations—both long-standing art capitals and up-and-coming centres of the future—Art and the Global Economy facilitates a deeper understanding of how globalization affects the domain of the visual arts in the twenty-first century.
With contributions by Lucia Cantero, Mariana David, Valentin Diaconov, Kai Lossgott, Grace Murray, Chhoti Rao, Emma Rogers and Michelle Wong.

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257 AM8

The Great Reframing. How Technology will –and Won’t– Change the Gallery System Forever   
Tim Schneider
2017

In recent years, observers and participants alike have passionately debated technology’s prospects for altering the art industry, particularly the contemporary-gallery sector. A few staunch Luddites aside, many, if not most, now seem to believe that wholesale “disruption” of this specialized market is inevitable. But both parties in this would-be merger harbor grave misconceptions about the other’s business—misconceptions that distort their often-utopian predictions about the “frictionless” and “democratic” future of contemporary-art sales.

“The Great Reframing: How Technology Will—and Won’t—Change the Gallery System Forever” seeks to correct the record on both sides. By revealing the secretive and counterintuitive dynamics of the 21st-century art market as only a veteran of the industry can, Tim Schneider unpacks how and why this unique space dismantles many of digital innovation’s most dependable weapons of disruption. And by elucidating tech’s winner-takes-all effects on earlier-adopting cultural sectors like pop music and film, he foreshadows the unintended (and unsettling) consequences that e-commerce, data science, and other advancements are likely to unleash on a largely unsuspecting art industry. Through this double-barreled approach, “The Great Reframing” blasts open the debate about how—and how much—contemporary artists, gallerists, and professionals alike need to evolve if they want to avoid being herded onto the industry’s scrap heap in the years to come, beginning right now.

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218 AM9
Art Affairs
Gabriele Heidecker
2007

Sie sind die Motoren des Kunstbetriebes, die jede Saison mit immer neuen Raffinessen und Extras aufwarten: die internationalen Kunstmessen. Hier wird über Status quo, Bedeutung und Hype entschieden, quer durch die Kunst unterschiedlichster Stilrichtungen. Hier findet der Austausch statt, hier ist die vibrierende Schnittstelle zwischen den Künstlern, den Sammlern, den Institutionen und den Kunstinteressierten. Ein Mikrokosmos der Entscheidungen und Eitelkeiten, der unablässig von Station zu Station zieht. Die Berliner Künstlerin Gabriele Heidecker (*1945 in Konstanz) erfasst mit der Kamera zielsicher die charakterisierenden Momente zwischen Menschen und Werken. Das Ziel ihres auf sieben Jahre angelegten Projektes ist die Bestandsaufnahme eines sich ständig verändernden Phänomens wie dem der Kunstmessen. Motive und Gestaltung dieses Buches sind in Bewegung, facettenreich und treffend zugleich, und werden von Texten renommierter Autoren ergänzt, die Kunstmessen in Tradition und Wandel analysieren.

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269 AM10
Leo Castelli. L’italiano che inventò l’arte in America
Alan Jones
2012

“Che fine avremmo fatto se non ci fossero stati i mercanti d’arte?”, si chiedeva un tempo Pablo Picasso. In pochi casi la domanda è così calzante come per Leo Castelli: il gallerista italiano che reinventò l’arte in America accanto a espressionisti astratti dell’Action Painting come Jackson Pollock e Willem De Kooning, a neodadaisti come Robert Rauschenberg e Jasper Johns, con protagonisti della Pop Art come Roy Lichtenstein e Andy Warhol, e artisti del calibro di Frank Stella e Cy Twombly. Dandy, poliglotta dalle mille sfaccettature, brillante e raffinato seduttore, Leo scrisse più di un importante capitolo della storia dell’arte del Novecento nelle sue gallerie newyorkesi: prima sulla Settantasettesima Strada Est, e poi al leggendario 420 di West Broadway. La storia comincia dalla sua città di origine, la Trieste di inizio secolo, per passare al rarefatto ambiente surrealista di Parigi, con i suoi vernissage a mezzanotte, in cui la femme fatale Leonor Fini si incontrava con i maîtres-à-penser André Breton e Marcel Duchamp. Arrivando alla New York degli anni Cinquanta, tra le icone pop e i loft degli artisti di SoHo, fino al clima arrivista e rampante degli anni Ottanta. La vita di Leo Castelli è il “viaggio incantato” verso l’essenza di ogni uomo: la sua creatività, la sua vocazione, la sua missione nel mondo. (Introduzione di Gillo Dorfles)

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