Art Market Podcasts

Interviews with leaders and innovators in the global art industry

Michael Moses – Mei Moses Index

22 August 2014

In this week’s episode of the ArtTactic Podcast, Michael Moses, co-founder of Beautiful Asset Advisors and the Mei Moses Index, joins us to discuss the trend of art flipping and if it is occurring more frequently in the current art market compared to in the past. First, Michael defines two types of art flipping, one which is measured by the duration of time in which an artwork appears then re-appears at auction and the other, in which an artwork is sold at auction only a short period of time after being created. Analyzing the first type of art flipping, Michael tells us that while on average the holding period of an artwork has decreased over time, the current holding time is actually barely longer than it was over the past few years during the art market peak.

Michael Moses – Mei Moses Index

22 August 2014

In this week’s episode of the ArtTactic Podcast, Michael Moses, co-founder of Beautiful Asset Advisors and the Mei Moses Index, joins us to discuss the trend of art flipping and if it is occurring more frequently in the current art market compared to in the past. First, Michael defines two types of art flipping, one which is measured by the duration of time in which an artwork appears then re-appears at auction and the other, in which an artwork is sold at auction only a short period of time after being created. Analyzing the first type of art flipping, Michael tells us that while on average the holding period of an artwork has decreased over time, the current holding time is actually barely longer than it was over the past few years during the art market peak.

Mary Lane – The Wall Street Journal

13 July 2014

In this week’s episode of the ArtTactic Podcast, Mary Lane, European art market reporter for The Wall Street Journal, joins us to recap last week’s London Post-War & Contemporary auctions. First, Mary identifies a trend in the marketplace that was manifested during the sales, in which collectors are more focused on acquiring artworks by younger, millenial artists, rather than lesser quality works by blue-chip artists, and explains why the marketplace reacted to this trend in a positive manner. Then, she discusses how artists, galleries, auction houses and collectors are responding to the recent phenomenon in which several born post-1980 artists are appearing at auction. Lastly, Mary details some of the major reasons why young artists are now appearing at auction at a rate far greater than in the past.

Nazy Vassegh – Masterpiece London

8 July 2014

In this week’s episode of the ArtTactic Podcast, Nazy Vassegh, CEO of Masterpiece London, joins us to recap this year’s edition of the fair. First, Nazy tells us about the unique visitor experience at Masterpiece London as rather than focusing on a single artistic movement, the fair features a variety of objects, including art, antiques, design and jewellery. Then, she elaborates on the cross-collecting that occurs at the fair as a result of the plethora of artworks and objects available for sale. Also, Nazy highlights some of the noteworthy sales from the fair as well as which categires cumulatively performed well.

Kenny Schachter

27 June 2014

In this week’s episode of the ArtTactic Podcast, art dealer, writer and curator, Kenny Schachter, returns to the podcast to preview the upcoming Post-War & Contemporary auctions in London. Specifically, Kenny shares his thoughts as well as his predictions for six lots upcoming at auction which are also featured in our ArtTactic Forecaster game, in which contestants play for free, predicting auction prices for artworks coming up for sale. Kenny examines and shares his prediction for Gerhard Richter’s Abstraktes Bild (Lot 12) in Sotheby’s Evening Sale, Christopher Wool’s Untitled (Lot 32) in Christie’s Evening Sale, Richard Prince’s Untitled (Four Women With Hats) (Lot 75) in Christie’s Evening Sale, David Ostrowski’s F (Gee Vaucher) (Lot 1) in Phillips’ Evening Sale, Wade Guyton’s Untitled (Lot 5) in Phillips’ Evening Sale and Lucien Smith’s Boys Don’t Cry (Lot 4) in Phillips’ Evening Sale. Lastly, Kenny touches on the significant price differential for young artists in the primary market versus the secondary market and tells us if he were advising a client, when he would and when he wouldn’t recommend bidding on artworks by these young artists at auction.

Anna Dempster – Risk and Uncertainty in the Art World

15 June 2014

In this week’s episode of the ArtTactic Podcast, Anna Dempster, associate professor at the Sotheby’s Institute of Art London and editor of the book Risk and Uncertainty in the Art World, joins us to talk about her new book. First, Anna tells us why she focused on the topics of risk and uncertainty in her recently published book and identifies some of the key risks that exist within the art world. Also, she discusses how the art market distinguishes itself from other kinds of marketplaces in terms of levels of risk and uncertainty. Lastly, Anna explains how the proliferation of the art market, both by volume and value, has changed the way we should treat risk moving forward.

Catherine Edelman – Catherine Edelman Gallery

4 June 2014

In this week’s edition of the ArtTactic Podcast, Catherine Edelman, founder of Catherine Edelman Gallery, a prominent, Chicago-based photography gallery, joins us to recap a few recent photography fairs as well as discuss trends occurring in the broader photography market. First, Catherine gives us a sense of the pulse of the photography market at the moment based on her recent experiences exhibiting at the AIPAD photography show and Paris Photo LA. Then, she identifies some of the visual trends she has witnessed recently from contemporary photographers, most notably the mixing of mediums from younger photographers, specifically, photography with paintings, sculpture and video. Also, Catherine interestingly discusses what she calls the “Gursky Effect”, in which the mainstream success and appeal of photographers such as Cindy Sherman, Andreas Gursky and Thomas Struth have had a positive impact on the broader photography market.

Charlotte Burns – The Art Newspaper

26 May 2014

In this week’s edition of the ArtTactic Podcast, Charlotte Burns, US News, Market and Business Editor at The Art Newspaper, joins us to recap the May New York Post-War & Contemporary auctions. First, Charlotte shares her and others reactions to the record-setting week of auctions. Then, she discusses the story she broke regarding a Chinese businesswoman who purchased over $28 million of post-war art during the week and tells us if the week was a turning of the corner for Chinese consumption of contemporary art. Also, Charlotte touches on the plethora of guarantees at auction this season as well as the strong presence of young, born post-1980 artists and why buying works by these artists has become similar to buying tech stocks early.

Scott Boecker – Saatchi Art

23 May 2014

In this week’s edition of the ArtTactic Podcast, Scott Boecker, Chief Operating Officer of Saatchi Art, joins us to discuss the online art gallery as well as the broader online art market. First, Scott explains Saatchi Art’s business model and how they fit within the broader online art marketplace. Then, while the top end of the contemporary art market has experienced dramatic price increases over the past few years, he tells us to what extent demand has strengthened for contemporary art ranging from $1,000-10,000, an area in which Saatchi Art specializes. Also, Scott identifies some remaining obstacles that exist within the online art market that need to be overcome in order for the art market to continue to shift significantly online.

Asher Edelman – Edelman Arts

11 May 2014

In this week’s episode of the ArtTactic Podcast, Asher Edelman, founder of Edelman Arts, talks with us about next week’s post-war & contemporary auctions in New York as well as the overall contemporary art market. First, Asher identifies a few lots featured in the upcoming sales and tells us why he will be following them closely. Then, with such a plethora of auction guarantees in next week’s sales, he explains why he believes there should be more transparency for guaranteed lots, otherwise prospective bidders may begin to shy away from participating on such lots.  Also, Asher argues the broader art market is not nearly as strong as is being reported, however prices for evening sale lots have reached an unprecedented level.

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