About Freud and Rodko - balm to the soul. You can not even understand why no such prices, or to assess the artistic value. About love for their creativity and can not speak.

I have a question. If (and it seems inevitable) crisis in the global economy will move on art market, what will happen to prices at auctions and in galleries? How much%on average, they will change? What do you think the expected level of correction?

Tell me, and you can make the artist was in the top hundred of the best artists? And in general - as they get into these ratings? All thanks to those who have their spins?

Frosechka, the depth of the coming correction can only conjecture ..

Even the casual researcher of the history of world art can tell about the collapse of Soho in the early 90's - the stars of world art, Julian Schnabel, Sandro Kia and Enzo Kuchchi not find a buyer, the legions of the most prestigious galleries finally closed its doors, general sense of despair and fear gripped the entire quarter. In 1993, critic for The New York Times NR Kleynfild analyzed the level of desperation dealers Soho. Bargaining, as if he bought a used car, every time he gets 20%discount - such discounts now available only to very large collectors and museums. In the gallery of Leo Castelli, he was offered 270,000 dollars for Lichtenstein sculpture, a year ago has cost $ 400,000.

It says skadke in 20%, but 270,000 for the sculpture, which cost 400000, I think that this is not 20%, and more than 30%.
We must also see whether there were customers who take these things on the proposed prices, or better said, how many of these buyers?

Mademuazell Art,
if this were possible, such ratings would not have existed, although I do not quite agree with the wording "ranking of the best artists," better to talk about "rankings of the most expensive art", otherwise we obtain a somewhat strange: within 3 months of X considered the best, and then Y to move it to second place "for goodness" - but not for long, because at the next auction of the work of X sold more than the work of Y. and again begins mess!
One can assume that for unwinding at this level need very substantial funding and, more importantly, different social status.

Volodya: a priori, I would say that the precedents. Names that come to mind first of all, it Meissonier, Fortuny, that is, more or less the official painting of the second half of the 19 th century.
But it is too easy an answer, it would be interesting to see, not worthless if many works of old art, I'm talking about the artists of the Renaissance and the Baroque. Prices of many paintings are known, but statistics on the "housewife's shopping basket" at the time was carried out (and sorry, right? Though this is the basket - is also quite a scam), so it's hard to imagine what those prices are consistent with, for example, up to 19 century in England the price of the bed is almost equal to the price of farmhouse - surprisingly, no?

Not to mention Velasquez with his freaks:)
Calling it "the Shanghai bars" you have shown exceptional generosity, sir, I would remember any other fur-bearing animals, Mexican badger:)

Another thing: at the Rothko I'm with you (with a small letter, as you, sinners, several!) Does not agree, I like it very much!

And finally: somewhere I read that the prices on contemporary art always too high compared with the old. But by definition, at some point it ceases to be modern, it is necessary to observe what is happening on that fateful day: p

LCR, I never, and never claimed that Rothko - a bad artist. Moreover, in my opinion, he has developed some very good ideas Matyushina. But the oil (or the temperature, which is more common) Matyushina today is, say, 400 000, well, the best things - 1 000 000, and Rothko - 70 000 000. That's what is wrong. Matyushin - one of the most important people in the history of art, and Rothko - one of the. In my opinion, a fair price for the Rothko must be at the level of Vasarely, Lansky - ie 150 000 - 300 000, everything above - the foam from the promotion. And he is a good artist;).

[color="# 666686"]Posted 2 hours 38 minutes[/color]
Deb-Ponsan, Forain, Rops, GIS, Viyett, Guillaume, Legrand, Riviera, Blois, Jouy, Donna, Debuten, de Chavannes, Ranson, Vyuyyar, Roussel, Muller, DETAILS, Enner, Ziem, Fanta, Darda, Lautier, Morin - it is the artists, which doctor Vollar, the most famous Marshal, in the history of art, the organizer of the first Impressionist exhibition and Cubists, called in his time the most important and promising. In the early twentieth century, they sold much better than Cezanne, Monet, Degas.
Another example. I began to buy paintings in the late eighties. My first Purchace were works by Alexander Parkhomenko and Eugene licorice. These people have had solo exhibitions in the CHA, it was a lot of publications, for their work frantically traded at auctions. I was lucky at the auction and buy some of their works to 10 000 rubles. Then that was big money, for example, Lada cost about 7000. Can you now say anything about any artist mentioned? This is the answer to your second question.
The first question is simple. It may well be that prominent gallery owners, for some reason begin to engage in other names, but without the active participation of the audience forget Neo Rauch in a very short time. Indeed, he did not Bacon and Tanguy, but only - one.

And in that case do? Is it possible that the price over time offset? Or should rid fixing damages?

Art business is not Exchange, then other laws ..

Everything Else - convincingly, but these names are forgotten nuance. Remote historical period. Then there was two things: 1) powerful media 2) global market (Americans, Japanese, Chinese). Now promotion and dissemination of information takes place globally and tightly. 80%of the names and would not know, but we told the LCR, someone read in the Art Institute amerkika, someone on the Internet - and all the information has remained in history. There is not forgotten. And then business Vollara with these names would have drowned if I come in large numbers, and U.S. investors have become all the sour cream, pumping up the market. Last week, spoke with Gary Tatintsyanom, he returned from China and said that the market is so-so and poor Chinese artists are not hyped the Chinese themselves, and American Funds - Chinese business created from scratch. Generally Tatintsyan lot of interesting things said - soon decipher interview sheet.

I think that this phrase defines the future of contemporary art markets, and No funds will not help)) or vice versa would help - these worked, come along for the next.

Volodya it will be interesting ...

How to unleash the artist bis

raskrutka xudoznika
 

Zdorovo u vas na forume. Liudi vyskazyvaiutsia, est 'mneniia, teorii i chasto otvety.
U menia gallereia v Avstralii i zdes 'ia zanimaius' tem ze samym: raskrutka, investment, vystavki itd.

Est 'neskol'ko bol'shih proektov, no rynok men'she chem v exUSSR.

Budu chitat 'dal'she. Forum isait zivye, interesnye. Otvecu vsem.

Welcome to the forum Alexander!

Somehow I do not even imagine that the antipodes also have gallery of Russian art, what a wonderful surprise:)

LCR, so the term itself already speaks for itself: though they had "by" the equator, but still "anti", suggesting that art and galleries there, not just opera ...: D

to LCR

Spasibo za otklik.
K sozaleniiu, moia gallereia prakticheski ne zanimaetsia Russkim iskusstvom.
Tol'ko odin hudoznik iz ex USSR - Mila Grigoriev.
Hotia v Au russkii art priobretaet nekuiu populiarnist '.

V nastoiaschii moment ia zanimaius' istoriei i sozdaniem fonda Danila Vassilieff.
On okazal suschestvenneishee vliianie na formirovanie sovremennogo avstraliiskogo iskusstva v 30 -40 godah. Pozalui samyi vliiatel'nyi hudoznik togo vremeni, no bes osobogo kommercheskogo uspeha.

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to dedulya

Est ', est'! V mire seichas ne ochen 'isvestnoe, no ia nad etim rabotaiu.)

Kak interesno!
 

Kak interesno!