Contemporary Art

, , ,

ART FAIR REPORT: MELBOURNE ART FAIR, FEBRUARY 2024

, , ,

The MAF Curatorial Theme, 2024: ‘…A word of the Boon Wurrung, ketherba to us expresses a togetherness imbued with promise, one that not only transcends but embraces difference and gives cause for hope…’

There was an infectious sense of anticipation and almost a collegiate ‘back to school’ sense of connection and excitement for the VIP Preview of the Melbourne Art Fair at the MCEC last week. The fair, now in its 35th year, continued to project a refreshingly unique identity generally (but not exclusively) best achieved by those galleries who followed the fair organiser’s encouragement to focus on presenting significant bodies of work by individual artists.

This concept was first mooted by the organisers for the most recent fair in 2022 and two years on, the galleries who embraced this strategy treated the visitor in 2024 to some exceptional presentations of curatorial clarity, rarely experienced at an art fair overseas, let alone in Australia. Combined with a generous floor layout for the 60 participating galleries, there were multiple opportunities to pause and relish the space each booth carved out, giving presentations space to ‘breath’.

The single artist format was best achieved by a number of galleries, including an exceptional collection of works by Yvonne Audette at Charles Nodrum Gallery. Recognised as one of the two or three greatest Abstract painters Australia has produced, it was an absolute treat to view works on paper and significant oil paintings on board from the 1950’s right through to the 1980’s. These years include Audette’s time living and working in the US and Europe where she was influenced by her fellow artists (including de Kooning, Motherwell, Kline, Pollack and Twombly) and her appeal remains universal. Now in her 94th year, Audette’s deserved recognition continues apace with the gallery reporting that, as of the end of day 2 of the fair, only a couple of works remained unsold and most interestingly, buyers were from multiple demographics – young and old, new and established collectors.

Equally, at MARS Gallery, the evocative Hopper’esq paintings of Dani McKenzie were hot property with only 2 works remaining before the Vernissage even began on the first day. By Saturday morning, the stand was a sell-out.

Over at Martin Browne Contemporary the work of Ildiko Kovacs made their mark. Works on board were complimented with an entire wall hung with a candy store choice of works on paper; deciding which to choose was almost too much! Many did though and the gallery reported strong sales.

New discoveries included the captivating work of Tia Ansell at LON Gallery. Recently returned from a residency at Lottozero Textile Laboratories in Prato, Italy, the show was a total sell out. One also couldn’t escape the emotional impact of Ali Tayahori’s works which are composed of archival photographs printed on glass at This is no fantasy. Again, completely sold out. This emerging artist is going from strength to strength with international projects on the go throughout 2024.

Deciding to go their own way with a successful mixed group showing were Fox Jensen McCrory with an exceptionally refined presentation including works by British artist, Mark Francis and the ever-ethereal Tomislav Nikolic. Equally memorable was the work shown by Gallery Sally Dan Cuthbert, especially new bronze works by Tammy Kanat, recipient of the 2024 Richard Parker Award. Over at Diane Singer Gallery, only a single fabulous Zoe Croggan perspex encased work on paper remained available by Saturday afternoon, as was the case with Gregory Hodge’s works at Sullivan and Strumpf.

The fair was also complemented by a studied program of on and off-site talks, artist studio visits and special events.

Previously held bi-annually, now annually, MAF has definitely upped the ante for the organisers of Sydney Contemporary, and it will be interesting to see how MAF settles into this new format and what Sydney will make of it all… watch this space!

Recommendations for your diary… We highly encourage you to visit the Trienniale at the National Gallery of Victoria and we have our eye keenly on the upcoming Sydney Biennale 2024, especially the previously ‘hands off’ venue, the White Bay Power Station…

©Angeline Collings, 2024

Images:
Image 1:
Yvonne Audette
Construction Site, 1979-80
oil on board
86.00 x 101.50
@ Charles Nodrum Gallery

Image 2.
Dani McKenzie
Installation
@ Mars Gallery

Image 3.
Ildiko Kovacs
Installation view
@Martin Browne Contemporary

Image 4
Tia Ansell
Stephen
Acrylic on handmade cotton weaving in aluminium frame
160 x 130 x 6cm@ Lon Gallery, in situ

Image 5
Mark Francis
Dub Groove, 2023
oil on canvas
153 x 122 cm
(left)
Mark Francis
Audio Groove, 2023
oil on canvas
153 x 122 cm
(right)
@ Fox Jensen Gallery

Image 6:
Gregory Hodge
Installation
@ Sullivan & Strumpf

, ,

The changing face of the art market & ultra-contemporary artists

, ,

Galleria Continua, Frieze Seoul, 2023

Dee Jefferson, former digital arts editor with the ABC, recently interviewed me for a feature article on the changing face of the art market and why it's a good time to invest in young Australian women artists.

While we wait for publication, I thought it may be instructive to share some of the questions and my brief responses.


How do you see the art market changing currently?

Possibly one of the most dramatic changes in the art market, from a global perspective, is the rise of a new young, confident, monied and well-educated collector, who are ‘chasing’ artists from their generation. There’s nothing new in this; art historically there is precedent for collectors acquiring works by their own generation.  But what is unique in the contemporary scene, is the rate and ‘fervour’ of acquisition.   

There has also been a definite shift in the reasons behind people buying art; a decade or so ago it was all about investment in art, (which at times unfortunately slipped into completely untenable notions of ‘doubling your money’ within a certain time period); now we’re seeing a notable shift in a genuine desire to build a collection, and perhaps a more ‘curatorial’ approach to acquisition, and the ‘investment’ aspect now, is actually the collector themselves, expending time and energy in seeking professional advice and working in concert with their advisor to develop a collection over a period of time. This is type or style of collecting is emanating predominantly from this new class of collector. 

Investment is still a consideration - it stands to reason, that with greater engagement and building of knowledge of the art market by collectors – new and established – mercantile factors or the dollar value will still hold some sway as far as acquisition is concerned, albeit a secondary consideration.

 

What have you observed about the movements within the market & women artists:

With so many initiatives, re-assessments, edits and realignment of curatorial strategies, within the museum, gallery and auction sectors, across the globe, over the last few years, women artists have really been thrown under the spotlight.  Some examples:

  •  we are seeing curated auctions comprising only women artists – examples here in Australia -would be Leonard Joel’s now annual auction; and Deustcher & Hackett had a dedicated sale in November 2021;

  • we’ve observed some tightly curated exhibitions at museums focussing solely on women artist;, a recent and Australian example, was the “Know My Name” group exhibition, an initiative, but perhaps more a commitment, by the NGA;

  • Indigenous Australian artist, Sally Gabori received the international survey treatment with the superbly curated exhibition at the Fondation Cartier pour l’art contemporain in Paris last year;

  • and let’s not forget about publishing – every woman working in the arts should now have Katy Hessel’s The Story of Art Without Men on their desks, perhaps in lieu of Gombrich’s; other examples in this sector include Catherine McCormack’s “Women in the Picture” and “Great Women Painters”published by Phaidon.

  •  and finally, women collectors and in particular those that have focussed on work by women artists, are also being propelled into the spotlight; although this is perhaps more prevalent in Europe and the States.

So, we’re in a type of watershed moment, long overdue, in recognising women artists and their position throughout history and within the contemporary art market.

Clearly it is due in no small part to a confluence of world events – think “#Me#Too as just one example -plus the changes happening in the art market across the sectors, which have really opened the doors for many young women artists. Dealers, gallerists and museum curators are also picking up on this buoyancy and adapting or changing their programs accordingly.

What is also interesting is how quickly this demand for ultra-contemporary work, especially by young women artists is developing, and its direct impact on collector behaviour and therefore the market.There are numerous examples of young women artists having had only 8 - 10 exhibitions behind them, selling at what I would term fairly moderate price levels, and then suddenly they’re picked up by one of the major, globally-based galleries, and their prices have escalated into 6 figures.

It’s another discussion, but I would caution collectors considering these ultra-contemporary artists; the trick is to discern which artist is here for the long term, the tenure of their gallery presentation, and therefore the future stability of their market.  Right at this point, there are unfortunately a few artists whose market is about to be severely compromised.

Thaddeus Ropac, Frieze Seoul, 2023

In Australia, are we seeing a tilt towards ultra-contemporary women artists?

I haven’t observed the same fervour or enthusiasm for purely “ultra contemporary women artists”

There is definitely an uptick in the breadth of interest in contemporary art within Australia – but apart from curators and institutions and some publishers – the momentum for this category, as described, is not on the same level as that internationally. 

But what I would say, is that there is a strengthening interest in women Indigenous artists – and this is being played out in values and acquisitions across the primary and secondary markets.

 

What kind of mediums are dominating the contemporary art scene?

Abstract art or abstraction is predominantly the most sought after and acquired of the genres.  And we can break that down into:

(i)                  pure abstraction;

(ii)                gestural abstraction: and

(iii)               surrealist abstraction. 

Globally, there’s a clear leaning by young female artists for a style which I would describe as derivative of surrealism, which is abstracted back, and finessed to suit the composition or their thematic concerns. 

Here within Australia, I would suggest there’s a strong return to pure abstraction and the materiality of the work, and with regard to women artists, a diffused, gestural figuration.

We are also observing, again on a global scale, a strong interest and use of textiles either used as the main medium of a work, or incorporated in some manner – but in either manifestation, it’s a clear nod to ancient practices.

Ceramics are being embraced by a number of practitioners – and elevated if you like, way above the previous and archaic category of ‘craft’. 

And light works have become far more prevalent in the contemporary art scene. 

 

Where are collectors buying: galleries, auctions, online?

Post-covid we now have so many options in terms of acquisition –

The art fair juggernaut has responded to the changes in the art market, post-covid, and there seems to be a subtle shift in how these entities are now accommodating these new developments and the changing persona of collector.

In this year alone at ABHK, Frieze Seoul and KIAF also in Seoul, I observed a clear appeal for younger collectors, in terms of the VIP programs, the nature of artwork on display and how it was presented.  And it was also very clear that this demographic was keen to buy; which is not to suggest that the more established collector is avoiding art fairs; that’s not the case.

Of course, the digital world is a second home for the younger demographics, and so buying online – whether from an arts platform or via auctions or galleries online -has become a core part of the collecting journey. 

Not surprisingly, Instagram is probably one of the highest viewed platforms for discovering new artists.

There is some distinction between the generations, in terms of how they acquire artworks.  The older more established collector appears to acquire from galleries and auction houses, in person; whereas the younger generation of collector is comfortable to transact online or via email.

 

What are some names you’d count as rising stars?

 

Investment Artists / UK / US Art market:

Flora Yukhnovich
Ewa Juszkiewicz
Cristina Quarles
Anna Weyant
Jade Fadojutimi
Sarah Ball
Emma McIntyre

Investment Artists / Asia Art Market:

Lee Jinjun
Wang Xiyao
Li Hei Di
Zhang Zipiao

Artists of interest from a curatorial perspective / Australia, NZ art market:

Mia Middleton
Jenny Topfer
Tia Ansell
Hannah Gartside
Megan Streader

 ©Catherine Asquith 2023

, ,

Vicinity Centres: Northland Artwork Commission

, ,

Karen Lee Mungarrja, “SHARE WITH US” / “BUNDYI “, (WIRADJURI) 2023, Gouache on Belgian Linen, 100 x 190cm

Northland Art Collection

Catherine Asquith Art Advisory was engaged by Vicinity Centres to facilitate and manage the commissioning of artwork(s), specifically, work which would be upscaled and fabricated to selected areas (bulkheads) located throughout the Northland Shopping Centre in Preston.

The project required an innovative yet authentic interpretation of the brief and was open to Indigenous Australian artists.

In July last year, Vicinity Centres extended a limited invitation to selected and recommended artists to respond to the project by way of a suite of integrated artworks for allocated spaces situated within the Northland Shopping Centre. 

Considering the rich profile of the community, its defining attributes, and the overall vision for the Centre, the artwork would need to incorporate and celebrate the community that is Northland.

As well as highlighting the site’s cultural significance, history and stories, the commission was also to encompass the stories of future generations and the continued developing nature of this diverse region, and the community’s values.

After a comprehensive and vigorous selection process, and consultation with Wurundjeri Woi Wurrung reference group, Karen Lee Mungarrja was the artist appointed for the commission.

Karen’s proposal response was to employ an integrated approach to the brief, and endeavour to “create visual stories that not only celebrate the attributes of the people that use the space, but represent the ideas in relation to the social and environmental consciousness of the community and the importance of respecting each other and sharing Aboriginal culture.”

Elder knowledge and contribution specific to this project was essential. The Wurrundjeri Woi Wurrung cultural reference group were brought into the process from the outset and have been an integral part of the process. This inclusion and consultation have been a key component in this project, and has allowed for a culturally enriched project, a nuanced understanding its cultural importance, as well as providing a platform of knowledge-sharing and engagement with the Wurundjeri Woi Wurrung.

All 5 of the artworks, now upscaled and fabricated to selected bulkheads throughout the Centre, are from the one series and titled “All Are One”.  The series illustrates a multi-layered story referencing the Wurundjeri peoples, Aboriginal culture and the unique diversity of the Darebin community, a community that has programmes and events which celebrate, nurture and provide unique opportunities for all people to have a voice and be heard.

Underlying themes to each artwork in the series is the importance of acceptance, social and environmental consciousness and the development of the community for future generations – all of which can only be a good thing.

See more artworks here

, , ,

Venetian Media Group: New Collection

, , ,

Having facilitated and managed the VMG Art Series in the recent past, we were well acquainted with the dynamics and interior of Venetian Media Group’s Melbourne headquarters in South Yarra. 

VMG is a communications, advertising and branding agency, and our objective for this curation was to highlight VMG’s fundamental mandate:

 create authentic, engaged spaces between brands & consumers where our people, clients and communities are more enriched for the experience

We wanted to curate a collection which reflected the values, philosophy and branding of VMG, one which recognised its location, work, and aspirations, and one which would engage both its staff and visiting clientele.

With these aspects in mind, we then harnessed the following thematic and aesthetic parameters to help guide artwork selection:

•       filmic / cinematic theme

•       figurative /narrative genre

•       strong / defined palette 

•       contemporary / conceptual aesthetic

 

Each artwork selected has a connection to or reflects something of the above.

Artworks were sourced from Artbank, a federally funded visual arts scheme, which acquires artworks from the primary market and leases to a range of clientele, was consulted for the procurement of the collection.

Selected In Situ shots:

 Victoria Reichelt
Monumenta, 2007
Oil on canvas
103.5w x 103.5h x 7d

 Victoria Reichelt
Film Noir, 2006
Oil on canvas
103.5w x 103.5h x 7d

Zoe Croggon
Untitled #1, 2012
Digital Type C photograph
52.5w x 66.5h

Zoe Croggon
Untitled #2, 2012
Digital Type C photograph
52.5w x 66.5h

Jo Darbyshire
Dust 4, 2005
Oil on canvas
81.5w x 81.5h x 5d

Jo Darbyshire
Dust 2, 2005
Oil on canvas
81.5w x 81.5h x 5d

Jo Darbyshire
Dust 3, 2005
Oil on canvas
81.5w x 81.5h x 5d

Jo Darbyshire
Dust 1, 2005
Oil on canvas
81.5w x 81.5h x 5d

Andrew Hurle
Forge I, 1998
Inkjet print
100w x 100h x 2d

Andrew Hurle
Forge II, 1998
Inkjet print
100w x 100h x 2d

Paul Ferman
Excavare #252, 2013
Digital Type C photograph
129w x 129h x 4.5d

Paul Ferman
Excavare #256, 2013
Digital Type C photograph
129w x 129h x 4.5d

Paul Ferman
Excavare #255, 2013
Digital Type C photograph
129w x 129h x 4.5d

©Catherine Asquith

,

C & D Capital, Curating a New Collection

,

Always a pleasure working with new corporate clients and a recent brief from C & D Capital, a Family Office, whose values and brand equate with authentic, brave, somewhat of a maverick, and a philosophy of embracing creative thinking was a welcome brief.
 
Catherine Asquith Art Advisory was appointed as art advisor to curate a collection which reflected the values, philosophy and branding of C & D Capital, in addition to complementing the incorporated design and materiality by Bates Smart, for its new offices in Cremorne.  As such, works were carefully selected so as to present as a cohesive, thematically appropriate and aesthetically complementary collection.

Each artwork was selected on the basis of having some connection or alignment with the company, brand, location, or history of the site.  Additionally, whilst we do not necessarily advocate ‘matching artwork to décor’ there is clearly a benefit to balancing the aesthetic, genre and palette with a bespoke interior. 

The guiding principles informing the process were therefore:

•       procuring a curatorially sound collection, one with integrity, endurance and longevity;

•       sourcing best available artworks by established and well regarded artists;

•       identifying conceptual and/or thematic aspects inherent to each artist’s practice which held a connection with C & D Capital; and

•       adhering to a consistency in theme, genre, palette & aesthetic.

The parameters of the brief allowed for leasing of artworks for a short period, and Artbank, a federally funded visual arts scheme, which acquires artworks from the primary market and leases to a range of clientele, was consulted for the procurement of the collection.

 

Read about the project on Bates Smart website here

Selected In Situ shots:

Stefan Dunlop
Composition #1 with Bust, 2020
Oil on canvas
150 x 170cm

Daniel von Sturmer
Production Still, The Cinema Complex (Sequence 1) 1, 2, 3, 4, 5, 2011
Pigment print
83 x 52cm each.

Michael Zavros
Rush, 2002
Oil on canvas
107 x 192cm

Jacqui Stockdale
Rama-Jaara the Royal Shepherdess, 2012
Lagunta Man, Leeawuleena, 2012
Luchadora Botanica, 2012
Type C photograph
103 x 81cm each

 Photography: Peter Clarke & author

©Catherine Asquith

, , ,

Art Basel Hong Kong – back with a bang!

, , ,

By all accounts ‘palpable excitement’ circumscribed the return of Art Basel Hong Kong and was clearly welcomed by the city, regional and international collectors, and the exhibiting galleries and artists. 

Proudly espousing some stats, media releases noted that 177 galleries were taking part in this year’s iteration, up from the 130 exhibitors in 2022, making ABHK the “largest fair in Hong Kong since 2019”.

Early indications suggested a plethora of healthy sales during the VIP day.  Selected notable sales were several acquisitions by Asian museums: “Birdcage Man”, Yinka Shonibare at £200,000, from Stephen Friedman; “Truffaut” by Elizabeth Peyton at $2.2m from David Zwirner. The George Condo 2011 work on Hauser & Wirth’s stand, “Purple Compression” sold for $4.75m to a private collector, and the large-scale abstraction by Mark Bradford, “A Straight Line” also sold for $3.5m.  White Cube enjoyed some solid sales of works by Anslem Kiefer (EUR1m), Damien Hirst (USD525K), Antony Gormley (GBP500K) and three works by Park Seo-Bo.

Strong, buoyant attendance was also evident, although there was a visible difference in numbers between the VIP and Public days, with the latter becoming painfully congested.

Mainland Chinese collectors accounted for “a big chunk” of attendees; Korean, Japanese, and Taiwanese collectors were also highly visible at the fair, especially younger collectors.  European collectors were in the minority.

Whilst there has been speculation that Hong Kong’s formerly draconian measures regarding the pandemic would have a negative impact on the international position of Hong Kong, as a global city, and it is certainly a changed city now, the tax advantages are driving the market and maintaining its position.

Additionally, substantial investment in the city’s cultural infrastructure is a factor: M+ Museum finally ‘fully’ opened to the public with a major survey show by the ubiquitous Yayoi Kusama alongside showcasing the 1500-strong Uli Sigg collection.  The West Kowloon Cultural District (WKCD) precinct, which ‘houses’ the Museum will likely become a destination arts hub, with the addition of Phillips new Asian headquarters, also based in the WKCD.

 

, ,

Art Acquisitions Advisory Committee at the City of Stonnington.

, ,

Delighted to announce I have been selected to be on the Art Acquisitions Advisory Committee at the City of Stonnington.

The City of Stonnington Council maintains a significant collection of contemporary works of art. The Collection dates from the late twentieth century to present day and presents the work of emerging, mid-career and senior contemporary Australian artists with a particular strength of the Collection being works of art that demonstrate a connection to the City of Stonnington. The Collection is a valuable community asset, displayed in publicly accessible locations throughout Council buildings and contributes to the vibrancy and cultural landscape of the municipality.

The City of Stonnington Art Acquisitions Advisory Committee’s primary role is to identify, recommend, and assess works of art for acquisition into the Collection and the commissioning of public art.

 

Image:
Kathy Temin
“Garden Islands”, 2010
A collaboration between City of Stonnington and Fridcorp – Lilli Building, and located in Claremont Street, South Yarra

 

,

Melbourne Art Fair / VIP Fair Tours

,

Delighted to be hosting Melbourne Art Fair’s selected VIP Fair Tours for the 2022 iteration, in which the Melbourne Art Fair will harness the monumental exhibition spaces of the Melbourne Convention and Exhibition Centre to present solo presentations and works of scale and significance by 53 of the region’s leading galleries.

Partnering with Melbourne’s leading institutions, private museums and independent art spaces, the Melbourne Art Fair VIP Program celebrates the vibrancy of Victoria’s cultural landscape. The program engages an international network of collectors through invitation-only dinners, studio visits, private collection tours, exhibition openings, and private events. Melbourne Art Fair allows collectors to discover artists, galleries and artworld figures at the forefront of contemporary art, and experience the best of our host city, Melbourne.

Tickets and more information here.

Images:

Jonny Niesche
Total Vibration (Stardust Blue), 2021
Voile, powder coated aluminium, mirror polished brass
180 x 330 x 5 cm
Showing @ 1301SW

Matt Arbuckle
Recto Verso, 2020
acrylic on knitted polyester voile and acrylic on timber
190 x 5000 cm
Showing @ Daine Singer

Tomislav Nikolic
“Initiation of Intuition”, 2020
Synthetic polymer, marble dust, 22ct gold leaf and copper leaf on linen, gesso compound & wood, 236 x 292 x 11cm
Showing @ Fox Jensen & Fox Jensen McCrory

Andre Hémer
Scenes from an Infinite Sky (October 10, 16:23 CEST), 2021
Acrylic and pigment on canvas
165 x 120cm
Showing @ Yavuz Gallery

 

, ,

AMP Capital: 255 George Street / Artwork Commission

, ,

#ART
#COMMISSION

AMP’s landmark CBD-based building, 255 George Street has been undergoing an extensive refurbishment.

One of the refurbished areas within the Lobby will be the new flexible workplace, Annexe, which will offer highly tailored workspaces that support organisations to drive productivity, innovation and growth.

As part of this specific redevelopment Catherine Asquith Art Advisory was engaged by Mostyn Copper to provide art consultancy services for the commissioning of a site-specific artwork which reflected not only the values of AMP Capital but moreover, allowed for an artwork which addressed the scale, volume and function of the space; provided a conceptual connection to the site; enhanced the visitor experience; and provided a welcoming, uplifting and complimentary aesthetic addition to the space.

From a highly competitive field of shortlisted artists, Sydney-based artist Camie Lyons was duly awarded the commission by the selection panel.

Camie’s well-researched and innovative artwork proposal, one derivative of the Australian bush, was at its essence, to “re-forest and re-energize the Annex space by bringing back the original species of trees that once stood on the site”.

AMP Capital / 255 George Street, Sydney
Artwork Commission: Camie Lyons
Project Managers: Mostyn Copper
Architects: Richards Stanisich

 

#art #contemporaryart #sculpture #commission #collectart #collections #artadvisor

, ,

ARCO MADRID

, ,
ARCO 2021.jpg

ARCOmadrid is the international contemporary art fair in Spain that, since 1982, has been one of the main platforms for the art market, as well as having become one of the essential art fairs on the international calendar.

For this year’s edition, having commenced 7 July, the fair will comprise a number of programs including the ARCOmadrid Forum, a series of talks, and ArtsLibris which hosts editions.

As would be expected in this ‘new normal’ covid-era, the fair has implemented a number of health and safety protocols, including monitoring visitation and traffic through the enclosure.  Approximately 130 galleries will be participating, which equates with approximately half of the visitation last seen in February 2020.

Read Ocula’s highlights of the Fair here.

Catherine Asquith Art Advisory Pty Ltd
Melbourne & Sydney

*Please note Catherine Asquith Art Advisory does not accept artist submissions

Privacy Policy

Terms & Conditions

©Catherine Asquith Art Advisory 2022

 
 
 
 
 

Catherine Asquith Art Advisory acknowledges the Traditional Custodians of the lands on which we work. We pay our respect to the Kulin Nation and all Aboriginal and Torres Strait Islander Elders.