Art History: BVA 312 - 22/09/2019 (Art History Essay)
Art as a commodity in the market.
https://www.pantograph-punch.com/post/nailing-it-to-the-door-the-new-zealand-art-market-and-the-problem-of-commodification
Behind the Canvas: An Insider’s Guide to the New Zealand Art Market. It was so matter-of-fact: people like art and so they buy it (if they can afford it – that big but silent “if”). Sometimes they also hope to make money off it.
This statement caught my eye:
Nailing It to the Door: The New Zealand Art Market and the Problem of Commodification
https://www.pantograph-punch.com/post/nailing-it-to-the-door-the-new-zealand-art-market-and-the-problem-of-commodification
Behind the Canvas: An Insider’s Guide to the New Zealand Art Market. It was so matter-of-fact: people like art and so they buy it (if they can afford it – that big but silent “if”). Sometimes they also hope to make money off it.
This statement caught my eye:
[Husband: Could those be the same question? Is good art the same as art that sells?
Wife: Don’t be silly, darling; good art is art that sells for a lot, and then resells for more at auction.]
Ha, ha. But seriously, folks. What happens to artists who create good art which won’t sell? I’m not saying that such undiscovered treasures are two a penny, but there are trends. And there are difficult personalities. And, as Henderson points out, there are buyers with smaller and smaller apartments and artists who make big works (perhaps they should try Alan Gibbs?). These factors have nothing to do with the quality of the painting or sculpting or multi-mediating, but they will presumably impact on a dealer’s decision about whether to open the peeling gates to the artist or not.
A nude painting just sold in New York for a record-breaking $157 million -- here are the 15 most expensive paintings ever sold
An example of an artwork that expensive.
(I should discuss how the artwork get its value, or how an artwork is being valued)
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