Auction Houses as Architects of Emerging Art Markets: African Modern & Contemporary Art in the Global Auction Market

This research explores the evolution of the art market and the position of auction houses as market agents driving this transformation through their investment in emerging art categories. It will investigate the case study of African Modern & Contemporary Art, considering how the category has grown over the past several decades through the involvement of commercial and non-commerical actors, with a particular focus on how auction houses specifically have contributed to this development

East Meets West: Korean Modern Art’s Emergence in the Global Art Scene

Korean modern art has emerged as a significant global art trend, capturing the attention of international art community. This paper studies how Korean art has rapidly gained prominence on the global stage, establishing itself as a significant trend within the international art world. The study explores the evolution of Korean modern art, its unique characteristics, and the factors contributing to its growing global influence. Furthermore, the study examines the historical context of Korean modern art, the impact of globalization, and the role of cultural identity in shaping contemporary Korean artistic expression. By analyzing key artists, movements, and exhibitions, this study aims to provide a comprehensive understanding of how Korean modern art has become a dynamic force in the global art scene today

The Categorisation of Different Periods in Indian Art & the Market’s Role

When one thinks of Indian art, a broad spectrum of types of art & periods come tomind. Each period is marked by distinct differences in style, influence, medium andmore, yet a significant number of these periods are grouped together, despite thedifferences. Indian art is traditionally seen on the market under the Antiquities, orModern & Contemporary category in spite of the distinguishable differences in theaesthetic, and cultural context. These categories inform market perceptions, value of the works as well as preferences of the collectors, and hence it is imperative to have well defined categories. This paper explores these categories, how and why they have evolved with respect to the global art market, as well as how further change can come across create new categories which will benefit the general populace’s understanding of each of these periods

Art Collecting In India Through The Ages

This study examines the evolution of art collecting in India, from royal patronage to modern practices shaped by socio-political and economic changes. It highlights the ancient tradition of art– serving spiritual, cultural, and political purposes, evolving through colonial influences that introduced Western aesthetics and private collecting. Post-independence, collecting in India became a means of reclaiming cultural identity, marked by movements like that of the Progressive Artists\u27 Group. Three collections illustrate the diversity of contemporary Indian collecting- the personal collection of Kiran Nadar and the Kiran Nadar Museum of Art focusing on public engagement and modern Indian art; Vinay Sheth’s private, encyclopaedic collection preserving historical traditions; and Abhishek Bagri’s contemporary approach, emphasizing personal connection over trends. This essay explores how economic liberalisation, globalisation, and digital access have expanded the art market while raising tensions between financial motives and cultural preservation. It underscores the critical role of collectors and museums in bridging India\u27s artistic heritage and modern narrative

How to Be Avant-Garde: Modern Artists and the Quest to End Art

Art has poisoned our life, proclaimed Dutch artist and De Stijl cofounder Theo van Doesburg. Reacting to the tumultuous crises of the twentieth century, especially the horrors of World War I, avant-garde artists and writers sought to destroy art by transforming it into the substance of everyday life. Following the evolution of these revolutionary groups, How to Be Avant-Garde charts its pioneers and radical ideas. From Paris to New York, from Zurich to Moscow and Berlin, avant-gardists challenged the confines of the definition of art along with the confines of the canvas itself. Art historian Morgan Falconer starts with the dynamic Futurist founder Filippo Tommaso Marinetti, whose manifesto extolling speed, destruction, and modernity seeded avant-gardes across Europe. In turn, Dadaists Hugo Ball and Emmy Hennings sought to replace art with political cabaret, and the Surrealists tried to exchange it for tools to plumb the unconscious. He guides us through the Russian Constructivists with their adventures in advertising and utopianism and then De Stijl with the geometric abstractions of Piet Mondrian. The Bauhaus broke more boundaries, transmuting art into architecture and design. Finally, the Situationists swapped art for politics, with many of their ideas inspiring the 1968 Paris student protests. How to Be Avant-Garde is a journey through the interlocking networks of these richly creative lives with their visions of a better world, their sometimes sympathetic but often strange and turbulent conversations, and their objects and writings that defied categorization

ArTAsk: A business plan for facilitating logistics in the artworld

Acknowledging that there is a need to improve a major logistical gap in the art world when it comes to efficiently preparing to attend art fairs –Federica Jermann, recent Sotheby’s Institute of Art graduate, is providing a practical solution through the creation of an app called ArTAsk. Before completing her Art Business Master’s degree at the Sotheby’s Institute in New York, Federica Jermann has gathered several years of helping gallerists from the US, Mexico, Germany, Spain, Sweden and Ireland in preparing and exhibiting at many renown international art fairs. Through this work she established a strong network and good relationship with many gallerists, and art world professionals. These consistently emphasized the same desperation and problems when dealing with the entirety of the logistical preparations – often within cultural contexts different to their own habits. On the newly developed ArTAsk app one can find and contact specialized service providers at the destination you need who can offer their help in what they do best. The logistical process is therefore simplified, making it a more transparent, reliable, secure, efficient and cheaper for the app users. ArTAsk will focus on providing the necessary service providers for and during major art fairs, but is not limited to only those circumstances, but also for providing these contacts for other art world professionals and other purposes like moving collections or traveling exhibitions. The idea of this business venture is for this app to be designed, developed and launched within one calendar year whilst simultaneously processing standardized service level agreements with the local and international logistical providers. The app would first come into play for Zona Maco art fair taking place in February of 2026 in Mexico City, followed by Art Basel in Basel in June of 2026. Once it has been inaugurated at these two fairs the portal will also launch its features Jermann 4 for other large art fairs like Frieze, The Armory Show, TEFAF, Art Basel’s other locations (Paris, Miami, Hong Kong), Art Dubai, Art Cologne, Photo London, eventually followed by other wellknown satellite fairs like Volta, art Miami, NADA, Untitled, 1-54 Marrakesh, Positions Belin, as well as for the Venice Biennial, and other major art events. Finally, the app aims to facilitate all preparation to an art fair as well as finding the same providers for other logistical purposes like organizing your own exhibition somewhere, planning a traveling exhibition if you are a museum, or simply wanting to ship an artwork or collection without the help of a gallery – if you’re an artist, a collector, an art advisor or other. The financial analysis shows that ArTAsk LLC would break even after the third business year and after 10 years it would reach a positive Net Present Value of USD 3.8 million

SHARED VISIONS: A Dialogue Between Penck and Basquiat

Even though they have never met, A.R. Penck and Jean Michel Basquiat are related in many ways. Their ties have never been properly explored before, whether it is through an institutional exhibition or a publication. Their works were directly linked once during their shared lifetime, at the Beyeler Foundation in Basel, in the group show Expressive Paintings After Picasso in 1983. It notably included Self-Portrait, 1982 by Basquiat, used for the poster of SHARED VISIONS: A Dialogue Between Penck and Basquiat. Cahier d’Arts briefly explored this connection in a small exhibition in Paris in 2023, but its commercial context and logistical limitations restricted its scope. In an Artnet article about this show, Jeffrey Deitch – a famous New York-based art dealer and curator who befriended Basquiat – declared that both artists had a mutual admiration for each other. A.R. Penck was “such a figure” for Basquiat during his lifetime, and Penck felt like Basquiat was an “extraordinary painter”. 1 In 1984, A.R. Penck painted a monumental triptych in homage to Basquiat titled Triptychon für Basquiat. In that same year, he also wrote a Poem for Basquiat on the occasion of Basquiat’s first exhibition at the Bruno Bischofberger / Mary Boone / Michael Werner Gallery in New York. It is important to note that the two artists each had two solo exhibitions at this gallery in both 1984 and 1985. The poem written by A.R. Penck, also known as Ralf Winkler, was included in the publication of the show and was later read by Suzanne Mallouk – Basquiat’s lover - at the artist’s funerals in 1988 in New York. 2 Basquiat and A.R. Penck are both considered to be neo-expressionist painters. They share a common style that implies raw brushstrokes on large-scale gestural works, compelling 4 uses of vivid colours, primitive-like imagery and most importantly distinct symbolic visual languages. These two artists not only share a common style but also common passions – Music and Poetry. While Basquiat was part of the ‘Gray’ music band, A.R. Penck was part of the ‘Triple Trip Touch’; they both recorded music and designed vinyl album covers. Music was a crucial part of their life. While Penck’s passion for poetry was explicit—he was a poet himself—Basquiat’s lyrical power emerged through his frenetic, poetic use of words, both on his paintings and on New York’s walls during his early SAMO years, as seen in the Downtown 81 movie shot in 1980-81. Finally, many parallel lines can be drawn between their oeuvre through recurrent themes – often political and existential – addressed in their works. Among other things, Basquiat and Penck devoted themselves to exploring the systemic oppression, the fight against the establishment, and their identity and cultural heritage. These universal themes transcend geographic and cultural boundaries, resonating across time and place. A transatlantic dialogue of two artists who rose to fame in the 1980s after a period of transition - from East to West Germany for Penck in 1980 and from the streets to the studio for Basquiat in 1982 – will reaffirm their relevance in today’s globalized and fractured cultural landscape. SHARED VISION: A Dialogue Between Penck and Basquiat not only sheds light on an underexplored artistic dialogue but also asserts the power of art to bridge divides, inspiring new generations to engage with these timeless themes through a contemporary lens

Private Spaces, Public Personas: Elsie de Wolfe’s Interiors for Henry Clay Frick

We cannot do better than to accept the standards of other times, and to adapt them to our uses. - Elsie de Wolfe In 1914, pioneering interior decorator Elsie de Wolfe was hired by industrialist Henry Clay Frick to design and furnish most of the private rooms on the second floor of his newly constructed mansion in New York City. Through biographical research and consultation of archival sources, this work examines the relationships between de Wolfe, Frick, and others involved in the decoration and acquisition of furnishings for his home. Also considered is the influence of de Wolfe on the Frick Collection as it is today, an analysis of interiors that are no longer extant, and reflections on the unique perspective of de Wolfe as a queer woman working at the dawn of the 20th century

Art Patrons: Redefining Art Patronage and Transforming Public Spaces Through Digital Innovation

This project examines Art Patrons, a digital platform that reimagines art patronage by linking the sale of limited-edition artworks to the funding of impactful public art projects. By offering collectors the opportunity to own affordable and exclusive art pieces, Art Patrons directly channels a portion of the proceeds toward creating large-scale public installations, fostering a tangible connection between private art ownership and community enrichment. Leveraging advanced digital tools, the platform seeks to make art ownership more inclusive while transforming public spaces into hubs of cultural and social engagement. The study investigates the evolving global art market, emphasizing the pivotal role of digital platforms in engaging younger demographics, particularly Millennials and Generation Z. Through insights from industry reports, case studies, and market analysis, the research identifies a significant opportunity to bridge the gap between art sales and public art funding. Employing a mixed-methods methodology, this research integrates qualitative and quantitative data gathered from surveys, artist interviews, and case studies of comparable platforms. The findings reveal a strong appetite among younger collectors for art tied to meaningful causes, underscoring the viability of Art Patrons’ business model. The project concludes with a detailed implementation and growth strategy addressing scalability. By blending accessibility, affordability, and innovation, Art Patrons establishes a sustainable framework for redefining art patronage while fostering cultural enrichment and community development

ArtAnt

ArtAnt is a Hong Kong-based art services company. Ant was chosen as the company name to reflect the values embodied by ants—integrity, networking, and cooperation— qualities essential in building a thriving ecosystem within the art world. Just as ants collaborate tirelessly to build intricate networks, ArtAnt strives to cultivate connections and partnerships across the dynamic global art markets. Guided by the slogan Capturing Art, Crafting Experiences, ArtAnt aims to integrate art, design, and digital media, offering tailored services for artists, collectors, and art institutions, including museums, galleries, and auction houses. ArtAnt provides media and content services, space design and production, and art derivatives, positioning itself as a versatile platform within the contemporary art scene