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There, she gained extensive knowledge of the global art market. She managed daily operations and ensured the smooth running of high-profile exhibitions held annually alongside significant fairs in London, Hong Kong, and Seoul. Léa also contributed to a Paris-based non-profit that fundraised for cultural institutions by working closely with globally renowned art collectors. ",[],{"type":33,"text":38,"spans":44,"direction":36},[],{"type":33,"text":46,"spans":47,"direction":36},"She holds degrees in Law from the Sorbonne, Art Appraisal and Trade from IESA, and an MBA in the Business of Art from ICART.",[],[49],{"type":33,"text":50,"spans":51,"direction":36},"Lea is a managing editor and content producer at ArtExplored. ",[],"Managing Editor",{"dimensions":54,"alt":57,"copyright":7,"url":58,"id":59,"edit":60},{"width":55,"height":56},533,800,"Léa Nedwed","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6d191cd1-efb6-4857-ae83-8d44a38fb195_LC%E2%95%A0%C2%BAa+NEDWED+%28Art+Cataloguer%29+%28BW%29.png?auto=compress,format","ZHYDyhAAACYAMRXl",{"x":61,"y":61,"zoom":62,"background":63},0,1,"transparent",{"dimensions":65,"alt":57,"copyright":7,"url":58,"id":59,"edit":66},{"width":55,"height":56},{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":68,"alt":7,"copyright":7,"url":58,"id":59,"edit":69},{"width":55,"height":56},{"x":61,"y":61,"zoom":62,"background":63},[71],{"type":33,"text":72,"spans":73},"Léa Nedwed is a senior writer at ArtExplored",[],"Document","6fd091ad-1724-478e-aae1-6caaf42a8fdd",false,{"dimensions":78,"alt":7,"copyright":7,"url":81,"id":82,"edit":83},{"width":79,"height":80},3840,2160,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ35L3ZbqstJ99KWh_Yourparagraphtext.png?auto=format,compress","Z35L3ZbqstJ99KWh",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":85,"alt":7,"copyright":7,"url":86,"id":87,"edit":88},{"width":80,"height":79},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8mAmRsAHJWomLkl_COUV_WARHOL4.jpg?auto=format,compress","Z8mAmRsAHJWomLkl",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":90,"alt":7,"copyright":7,"url":86,"id":87,"edit":91},{"width":80,"height":79},{"x":61,"y":61,"zoom":62,"background":63},"2025-03-07",[94,140,158,185,199,213,228,244,262],{"variation":95,"version":96,"items":97,"primary":98,"id":138,"slice_type":139,"slice_label":7},"default-slice","sktwi1xtmkfgx8626",[],{"title":99,"content":100},[],[101,104,107,114,117,120,123],{"type":33,"text":102,"spans":103,"direction":36},"A dominant force in the art market, Andy Warhol racks up records on the global stage. His most iconic paintings, now cultural touchstones, fetch sky-high prices at auction, making him one of the best-selling artists in history. Equally notable is Warhol’s impressive sales volume, which rivals Picasso’s – a testament to his extensive output across a broad range of mediums, and, by extension, price points.  ",[],{"type":33,"text":105,"spans":106,"direction":36}," Like all truly enduring artists, Warhol cultivated an instantly recognisable style. But more than that, his most iconic works have become so deeply ingrained in our visual culture that his distinctive aesthetic is readily identifiable to virtually anyone who comes across it today. ",[],{"type":33,"text":108,"spans":109,"direction":36}," Known as the “Pope of Pop Art”, Warhol is widely regarded as the preeminent American painter of the modern era and even as one of the two defining figures of 20th-century Western art, alongside, once more, Pablo Picasso. Shaped by the rise of consumerism and postwar industrial expansion, Warhol’s best-known works elevated the banal imagery of popular culture to the status of high art, overturning well-established conventions in the process.  ",[110],{"start":111,"end":112,"type":113},221,222,"em",{"type":33,"text":115,"spans":116,"direction":36}," In perfect harmony with this shifting social and economic landscape, Warhol employed a mechanised approach inspired by mass production to create his works. Through various printing techniques, Warhol was not only able to replicate his motifs but also distance himself from the act of creation, imbuing his work with a deliberate sense of detachment. This way, he established a new standard for the role of the artist—one that continues to develop and influence the art world today, from Damien Hirst to Jeff Koons’ factory-like production. ",[],{"type":33,"text":118,"spans":119,"direction":36},"Warhol explored silkscreen printing techniques, frequently layering printed motifs over hand-painted backgrounds. He experimented with variations in colour and repetition, creating entire series of unique artworks around a single subject.  ",[],{"type":33,"text":121,"spans":122,"direction":36},"Warhol’s fascination soon gravitated toward movie stars—true pop icons—with Marilyn Monroe at its zenith. He also turned his focus to public figures like Jackie Kennedy and even Mao Zedong, exploring the media-driven narratives that surrounded them. In hindsight, Warhol’s work anticipated the media’s expanding influence on culture—shaping public visibility, fueling consumerism, and transforming celebrity into a product for mass consumption. ",[],{"type":33,"text":124,"spans":125,"direction":36},"For more than three decades, Warhol’s auction records have been driven by his most iconic portraits. In 1989, a 1964 Marilyn against a red background commanded $4 million, setting a new high for the artist at auction. Since then, Warhol’s top record has been eclipsed six times, with standout works featuring Marilyn Monroe, Mao Zedong, and even the darkly resonant Car Crash series. The current record-holder—a 1964 Marilyn on a blue background—achieved an astonishing $195 million in 2022, securing its place as the second most expensive artwork ever sold at auction, behind Leonardo da Vinci’s Salvator Mundi. ",[126,129,132,135],{"start":127,"end":128,"type":113},117,124,{"start":130,"end":131,"type":113},366,375,{"start":133,"end":134,"type":113},417,424,{"start":136,"end":137,"type":113},597,611,"text$5d4db630-15e5-4f2a-ad40-e2d4a0e2bdb1","text",{"variation":141,"version":96,"items":142,"primary":151,"id":156,"slice_type":157,"slice_label":7},"centered-slice",[143],{"image":144,"title":7,"subtitle":7},{"dimensions":145,"alt":7,"copyright":7,"url":148,"id":149,"edit":150},{"width":146,"height":147},1157,771,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8sQUBsAHJWomPGS_3_2-1.jpg?auto=format,compress","Z8sQUBsAHJWomPGS",{"x":61,"y":61,"zoom":62,"background":63},{"image1":152,"label":7,"copyright":155},{"dimensions":153,"alt":7,"copyright":7,"url":148,"id":149,"edit":154},{"width":146,"height":147},{"x":61,"y":61,"zoom":62,"background":63},[],"image$2403c4d2-29b0-4191-a331-06df34822581","image",{"variation":95,"version":96,"items":159,"primary":160,"id":184,"slice_type":139,"slice_label":7},[],{"title":161,"content":162},[],[163,166],{"type":33,"text":164,"spans":165,"direction":36},"The journey to Warhol’s nine-figure auction record has been marked by a steady stream of high-priced sales in the $10 million-plus range. Since 1998, an impressive 60 lots have crossed the $17 million threshold, with 18 fetching over $40 million. This trajectory reflects the robust confidence in Warhol’s market over the years. ",[],{"type":33,"text":167,"spans":168,"direction":36},"Returning to Warhol’s portrayals of Marilyn and Mao, the highest auction sales were recorded for his historic 1960s depictions of the Hollywood icon and the inaugural \"early Mao\" portraits from 1972. According to ArtExplored’s data, these iconic Marilyns amassed $443.6 million ($532.1 million adjusted for inflation) from 12 lots sold at auction between 2004 and 2023. By contrast, the early Maos generated a total of $97.3 million ($128.7 million adjusted for inflation) from only 3 sales. Their average sales prices are virtually neck-and-neck at $44.3 million for iconic Marilyns versus $42.9 million for early Maos (inflation-adjusted). ",[169,172,175,178,181],{"start":170,"end":171,"type":113},174,177,{"start":173,"end":174,"type":113},246,255,{"start":176,"end":177,"type":113},393,398,{"start":179,"end":180,"type":113},575,584,{"start":182,"end":183,"type":113},615,619,"text$267b9a24-f04e-4d3e-a723-16059b1b0b53",{"variation":141,"version":96,"items":186,"primary":193,"id":198,"slice_type":157,"slice_label":7},[187],{"image":188,"title":7,"subtitle":7},{"dimensions":189,"alt":7,"copyright":7,"url":190,"id":191,"edit":192},{"width":146,"height":147},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8sQURsAHJWomPGT_3_2-2.jpg?auto=format,compress","Z8sQURsAHJWomPGT",{"x":61,"y":61,"zoom":62,"background":63},{"image1":194,"label":7,"copyright":197},{"dimensions":195,"alt":7,"copyright":7,"url":190,"id":191,"edit":196},{"width":146,"height":147},{"x":61,"y":61,"zoom":62,"background":63},[],"image$39ce1e84-2bbd-45e4-acfd-d572d0591631",{"variation":141,"version":96,"items":200,"primary":207,"id":212,"slice_type":157,"slice_label":7},[201],{"image":202,"title":7,"subtitle":7},{"dimensions":203,"alt":7,"copyright":7,"url":204,"id":205,"edit":206},{"width":146,"height":147},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8sQTxsAHJWomPGR_3_2.jpg?auto=format,compress","Z8sQTxsAHJWomPGR",{"x":61,"y":61,"zoom":62,"background":63},{"image1":208,"label":7,"copyright":211},{"dimensions":209,"alt":7,"copyright":7,"url":204,"id":205,"edit":210},{"width":146,"height":147},{"x":61,"y":61,"zoom":62,"background":63},[],"image$b9e2dd4d-b61f-4d16-a6d8-c15d7944fbe6",{"variation":95,"version":96,"items":214,"primary":215,"id":227,"slice_type":139,"slice_label":7},[],{"title":216,"content":217},[],[218],{"type":33,"text":219,"spans":220,"direction":36},"A closer look at these sales reveals that five Marilyns were resold during this period, averaging CAGR of 14.2% (11.8% adjusted), while the sole early Mao resale outperformed with a striking 21.7% CAGR (19.2% adjusted).",[221,224],{"start":222,"end":223,"type":113},47,55,{"start":225,"end":226,"type":113},151,154,"text$5d2a8f3b-6a5f-4f4d-8b38-a05de8d582ac",{"variation":141,"version":96,"items":229,"primary":238,"id":243,"slice_type":157,"slice_label":7},[230],{"image":231,"title":7,"subtitle":7},{"dimensions":232,"alt":7,"copyright":7,"url":235,"id":236,"edit":237},{"width":233,"height":234},2268,1359,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8seFxsAHJWomPOa_GRAPH.jpg?auto=format,compress","Z8seFxsAHJWomPOa",{"x":61,"y":61,"zoom":62,"background":63},{"image1":239,"label":7,"copyright":242},{"dimensions":240,"alt":7,"copyright":7,"url":235,"id":236,"edit":241},{"width":233,"height":234},{"x":61,"y":61,"zoom":62,"background":63},[],"image$0eb724a7-a208-4d35-be87-67a241ea8d4c",{"variation":95,"version":96,"items":245,"primary":246,"id":261,"slice_type":139,"slice_label":7},[],{"title":247,"content":248},[],[249,258],{"type":33,"text":250,"spans":251,"direction":36}," Though Marilyn remains the definitive icon of Warhol’s portraits—her image appearing in his work from 1962, shortly after her tragic death, until the end of his life—the Mao series marks a critical turning point. It signals Warhol’s renewed commitment to painting, emerging after a four-year hiatus following a near-fatal shooting. The early Maos, created in 1972, were his first noncommissioned paintings since the incident, featuring a curious choice of subject that appears to oscillate between celebration and critique. Bridging two distinct periods in Warhol’s career, they formally recall his early portraits of film stars while introducing a new painterly technique that anticipates the evolution of his later work. Unconventionally, Warhol produced the early Maos entirely on his own, using an exceptionally large screen to print the two-meter-tall figures, without his assistants’ usual help. In another departure from his typical methods, Warhol applied the paint afterward, employing gestural brushstrokes that starkly contrasted the mechanical precision of his earlier Pop aesthetic.",[252,255],{"start":253,"end":254,"type":113},343,347,{"start":256,"end":257,"type":113},768,772,{"type":33,"text":259,"spans":260,"direction":36}," Throughout his prolific career, Warhol constantly reinvented himself, yet he remained an enigmatic figure—an aspect he skillfully exploited. 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Pleasure’: A beautifully crafted intro to Jean-Michel Basquiat",{"id":433,"type":25,"tags":434,"lang":18,"slug":435,"first_publication_date":436,"last_publication_date":437,"uid":438,"data":439,"link_type":74,"key":477,"isBroken":76},"ZBBfzBAAACgAzQAo",[],"william-corwin","2023-03-14T11:51:45+0000","2023-07-10T00:55:46+0000","will-corwin",{"description":440,"short_description":453,"job":457,"thumbnail":458,"cover":467,"uid":438,"title":462,"og_image":470,"meta_description":473,"meta_title":462},[441,444,447,450],{"type":33,"text":442,"spans":443},"William Corwin covers art news and features in North America. He is a sculptor, journalist, and curator from New York. He has exhibited at The Clocktower, LaMama and Geary galleries in New York, as well as galleries in London, Hamburg, Beijing and Taipei. ",[],{"type":33,"text":445,"spans":446},"He has written regularly for The Brooklyn Rail, Artpapers, Bomb, Artcritical, Raintaxi and Canvas and formerly for Frieze. He curated and wrote the catalog for Postwar Women at The Art Students League in New York, an exhibition of the school’s alumnae active between 1945-65, and 9th Street Club, an exhibition of Perle Fine, Helen Frankenthaler, Mercedes Matter, Grace Hartigan, Lee Krasner and Elaine Dekooning at Gazelli Art House in London. ",[],{"type":33,"text":448,"spans":449},"His most recent curatorial projects were the first solo exhibition of French Mid-century painter Marguerite Louppe (1901-1989) at Rosenberg & Co gallery in New York (Corwin has been working with the estates of Marguerite Louppe, and her husband the painter Maurice Brianchon for the past decade), and The Agreement:  Chromatic presences, and exhibition of colored sculpture featuring Ugo Rondinone, Lynn Umlauf, Remy Jungerman, Kianja Strobert and Tom Doyle, among others. ",[],{"type":33,"text":451,"spans":452},"He is the editor of Formal Concerns: Collected Essays of Saul Ostrow, to be published in 2023 by Elective Affinity Press, and participated in the exhibition Anchor\u002FRoots at the Newhouse Center for Contemporary Art at Snug Harbor Cultural Center in 2021. He is the author of the book &Model (2020), a history of a Grass-roots artist-run gallery in Northern England, published by Leeds Metropolitan University.",[],[454],{"type":33,"text":455,"spans":456},"William Corwin covers North America for ArtExplored",[],"Art Writer (North America)",{"dimensions":459,"alt":462,"copyright":462,"url":463,"id":464,"edit":465},{"width":460,"height":461},2660,3012,"William Corwin","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4bbbe5d4-21a0-489e-8fe3-96d3a471c015_William+Corwin+B%26W+Art+Explored.jpg?auto=compress,format","ZIg3ghAAACAApnDS",{"x":61,"y":61,"zoom":62,"background":466},"#fff",{"dimensions":468,"alt":462,"copyright":7,"url":463,"id":464,"edit":469},{"width":460,"height":461},{"x":61,"y":61,"zoom":62,"background":466},{"dimensions":471,"alt":462,"copyright":462,"url":463,"id":464,"edit":472},{"width":460,"height":461},{"x":61,"y":61,"zoom":62,"background":466},[474],{"type":33,"text":475,"spans":476},"Will Corwin covers North America for ArtExplored",[],"be23fa4e-ff09-4737-b849-02146dbc704f","Installation view of Jean-Michel Basquiat: King Pleasure, Photo by Ivane Katamashvili, courtesy of Jean-Michel Basquiat: King Pleasure ©",{"dimensions":480,"alt":481,"copyright":481,"url":482,"id":483,"edit":484},{"width":79,"height":80},"Installation view of Jean-Michel Basquiat: King Pleasure, Photo by Ivane Katamashvili, courtesy of Jean-Michel Basquiat: King Pleasure©","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F0a130d4b-c6f5-4312-b0bb-ee4608556c6b_Cover+Landscape+-+1.jpg?auto=compress,format","ZB2mgRAAACMAzYBQ",{"x":61,"y":61,"zoom":62,"background":466},{"dimensions":486,"alt":481,"copyright":481,"url":487,"id":488,"edit":489},{"width":80,"height":79},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F8107c828-fd5d-4ee7-9e72-d1064823d7af_9_16+%285%29.jpg?auto=compress,format","ZEFIVBEAACIArKJ2",{"x":61,"y":61,"zoom":62,"background":466},{"dimensions":491,"alt":481,"copyright":481,"url":487,"id":488,"edit":492},{"width":80,"height":79},{"x":61,"y":61,"zoom":62,"background":466},[494,554,591,612,624,637],{"variation":95,"version":96,"items":495,"primary":497,"id":553,"slice_type":139,"slice_label":7},[496],{},{"title":498,"content":503},[499],{"type":500,"text":501,"spans":502},"heading1","",[],[504],{"type":33,"text":505,"spans":506},"Artists and art always need a story: Pliny the Elder describes how Kora of Sicyon traced the shadow of her lover on a wall – inventing drawing; Vasari describes the discovery of the young Giotto scratching figures in the dirt on a dusty road outside of Sienna by the mural painted Cimabue. None of these stories are true, but they give the viewer something with which to relate and a point of access to their creative genius. An exhibition of the work of Jean-Michel Basquiat: King Pleasure, formerly in New York’s Starrett-Lehigh Building in 2022 and opening in Los Angeles in March 2023, offers a glossy narrative of the life of the artist.\n\nThirty-five years after the enigmatic Basquiat’s death, King Pleasure is a beautifully crafted introduction to a contemporary genius.  \n\nWhile the show boasts rooms of gorgeous paintings, it isn’t geared to those who are well-acquainted with the artist’s oeuvre – viewers who know Basquiat well don’t need to see a recreation of his family home or his studio – but it is an exhibition for people to bring their children to, in order to introduce them to the artists, and particularly for African American parents who want to present to their children someone who looks like them who is an influential figure in contemporary art. Are there more worthy figures who could get the mythologising treatment? Sure. Elizabeth Catlett, Amiri Baraka, Mavis Pusey, Jacob Lawrence, Jack Whitten: the list could go on forever. But many of these figures had deep leftwards political leanings or were even card-carrying communists, so they are actually quite disconcerting both to the institutions that fund exhibitions like this, and often to their audience.",[507,516,524,531,539,547],{"start":508,"end":509,"type":380,"data":510},37,52,{"id":511,"type":512,"tags":513,"lang":18,"slug":514,"first_publication_date":515,"last_publication_date":515,"link_type":74,"isBroken":76},"ZKx_vBEAACMAc2YB","definition",[],"pliny-the-elder","2023-07-10T22:01:36+0000",{"start":517,"end":518,"type":380,"data":519},67,81,{"id":520,"type":512,"tags":521,"lang":18,"slug":522,"first_publication_date":523,"last_publication_date":523,"link_type":74,"isBroken":76},"ZKx_6xEAACMAc2be",[],"kora-of-sicyon","2023-07-10T22:02:24+0000",{"start":525,"end":225,"type":380,"data":526},144,{"id":527,"type":512,"tags":528,"lang":18,"slug":529,"first_publication_date":530,"last_publication_date":530,"link_type":74,"isBroken":76},"ZKyAFxEAACIAc2em",[],"giorgio-vasari","2023-07-10T22:03:23+0000",{"start":532,"end":533,"type":380,"data":534},188,195,{"id":535,"type":512,"tags":536,"lang":18,"slug":537,"first_publication_date":538,"last_publication_date":538,"link_type":74,"isBroken":76},"ZKyASREAACIAc2iM",[],"giotto","2023-07-10T22:03:57+0000",{"start":540,"end":541,"type":380,"data":542},281,288,{"id":543,"type":512,"tags":544,"lang":18,"slug":545,"first_publication_date":546,"last_publication_date":546,"link_type":74,"isBroken":76},"ZKyAcBEAACMAc2lB",[],"cimabue","2023-07-10T22:04:35+0000",{"start":548,"end":549,"type":380,"data":550},1132,1177,{"link_type":382,"url":551,"target":552},"https:\u002F\u002Fhosting.fluidbook.com\u002FDEMO-Artist-Report-Francis-Bacon-Artexplored","_blank","text$0e987c0e-e037-4568-82dd-4dedd019d2b5",{"variation":555,"version":96,"items":556,"primary":573,"id":590,"slice_type":157,"slice_label":7},"double-slice",[557,566],{"image":558,"title":562,"subtitle":7},{"dimensions":559,"alt":562,"copyright":7,"url":563,"id":564,"edit":565},{"width":560,"height":561},2880,1920,"Installation view of Jean-Michel Basquiat: King Pleasure, Photo by Ivane Katamashvili, courtesy of Jean- Michel Basquiat: King Pleasure ©","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fe7d286c4-68e5-43ea-b1c0-ed29955f866b_King+pleasure+2.jpg?auto=compress,format","ZKbTehEAACQAWkU6",{"x":61,"y":61,"zoom":62,"background":466},{"image":567,"title":562,"subtitle":7},{"dimensions":568,"alt":562,"copyright":7,"url":570,"id":571,"edit":572},{"width":569,"height":561},3743,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F1e0e3ffa-6e96-41de-b9fb-5e8a7c167f49_King+pleasure+1.jpg?auto=compress,format","ZKbTehEAACQAWkU9",{"x":61,"y":61,"zoom":62,"background":466},{"image1":574,"image2":581,"label":7,"copyright":587},{"dimensions":575,"alt":562,"copyright":577,"url":578,"id":579,"edit":580},{"width":79,"height":576},2561,"Installation view of Jean-Michel Basquiat: King Pleasure, Photo by Ivane Katamashvili, courtesy of Jean- Michel Basquiat: King Pleasure©","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7e05cce3-ae98-4f30-ab4f-3c4a4f646314_3_2+-+2.jpg?auto=compress,format","ZB2nnhAAACQAzYWq",{"x":61,"y":61,"zoom":62,"background":466},{"dimensions":582,"alt":562,"copyright":577,"url":584,"id":585,"edit":586},{"width":560,"height":583},1921,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff97b5208-1961-4d49-99ff-790d5c68eb4b_3_2+-+1.jpg?auto=compress,format","ZB2njBAAACQAzYVX",{"x":61,"y":61,"zoom":62,"background":466},[588],{"type":33,"text":562,"spans":589},[],"image$d1ae3164-5a59-4a01-8e4c-7ec40bc05294",{"variation":95,"version":96,"items":592,"primary":594,"id":611,"slice_type":139,"slice_label":7},[593],{},{"title":595,"content":596},[],[597],{"type":33,"text":598,"spans":599},"King Pleasure is designed by the architect David Adjaye, who also designed The National Museum of African American History and Culture in DC, the surfaces are sumptuous, rich and dark – an antidote to the “white box” condition of modern galleries and museums. At the start, a glistening wood tunnel with fluid corners and aquiline edges urges us through Basquiat’s early years, presenting childhood home movies and teenage ‘zines of the young artist. It feeds into a recreation of the painter’s family home – a kitchen\u002Fdining room with a wall-installed rotary phone and allspice spice rack. Across from the kitchen, there’s a comfortable sitting room with a biography of Muhammad Ali prominently displayed on the bookcase. There are no documentary photos verifying that this isn’t anything more than a fantasy contrived to make us think that Basquiat came from a “normal” middle-class home. What we are aware of is that the painter frequently talked about physical abuse, his parents separated when he was seven, he left home at 15, and was homeless on and off. More importantly, there is almost no mention made of his life as graffiti writer Samo, his band Gray that performed at the Mudd Club, nor his friendships early on with Debbie Harry and Glenn O’Brian. Vaunted curator and founder of P.S.1, Alanna Heiss said of the artist at age 20, “he was the new Rauschenberg.” \n\nAdjaye lines the walls of the main gallery with wooden slats in imitation of two distinctive untitled paintings on wood from 1984; one featuring a small black head with red and white highlights, the other painting a donkey’s head in black white and red juxtaposed with a dial, either a clockface or rotary telephone. Throughout the show, we become aware that portrait heads and animals, inscribed with text, are the artist’s favourite subjects. The climax of the main gallery is Dry Cell (1988), a life-size monochromatic painting in black of a baboon on a stark yellow background. In a poetic curatorial gesture, the exhibition ends with a matching solid blue painting Kalik, also painted in the year of the artist’s death, 1988, but this time the mostly black brushstrokes describe an enigmatic chemical diagram, with the words “Death of Marat,” a reference to the iconic work of 1793 by the great painter of the French Revolution Jacques Louis-David.",[600,603],{"start":601,"end":602,"type":113},1855,1864,{"start":604,"end":605,"type":380,"data":606},2308,2328,{"id":607,"type":512,"tags":608,"lang":18,"slug":609,"first_publication_date":610,"last_publication_date":610,"link_type":74,"isBroken":76},"ZKyAmhEAACEAc2oE",[],"jacques-louis-david","2023-07-10T22:05:18+0000","text$2295f2a3-3d3e-412b-b924-9bcb5ae09e58",{"variation":141,"version":96,"items":613,"primary":614,"id":623,"slice_type":157,"slice_label":7},[],{"image1":615,"label":7,"copyright":620},{"dimensions":616,"alt":577,"copyright":577,"url":617,"id":618,"edit":619},{"width":79,"height":576},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F087eb45d-fb26-41f9-9cdf-01a73c06fc82_3_2+-+3.jpg?auto=compress,format","ZB2nuxAAACEAzYY6",{"x":61,"y":61,"zoom":62,"background":466},[621],{"type":33,"text":562,"spans":622},[],"image$0b2c25f8-2e2c-46c5-99d5-4c2e3757fec9",{"variation":95,"version":96,"items":625,"primary":627,"id":636,"slice_type":139,"slice_label":7},[626],{},{"title":628,"content":629},[],[630],{"type":33,"text":631,"spans":632},"King Pleasure avoids the troubled angels of Basquiat’s nature, and downplays a chronological assessment of his work, instead centring the exhibition on a recreation of Basquiat’s studio. With a soundtrack of Curtis Blow and Debbie Harry blaring in the background, a paint-spattered concrete floor and a carefully reconstructed vacuum-tube TV playing The Breakfast Club, Basquiat’s studio is a fairy-tale rendering of an artist’s studio in 1980’s New York. It is enrapturing with its half-finished bottles of red wine, crumpled cigarette packs, and rhinestone jackets hung from painting racks. According to the wall label, 50 original works of art have been strewn on the floor, hung and leaned on the walls, and laid on tables in order to give a sense of how the artist lived. This is an immense waste – we should be allowed to look at these works carefully. The art is secondary to the idea of the artist. As you walk out of the flickering twilight of the studio, a framed black and white crown painting is centred on the wall, again focusing on the brand of Basquiat, not so much the artist’s practice, and they are two very different things. The exhibition ends with a recreation of the artist’s VIP room at the Palladium, a dance club that once inhabited an old opera house on 14th Street in Manhattan. The installation here is much better, as the two gargantuan murals that Basquiat created for the club cannot be obscured by the props meant to immerse the viewer. King Pleasure does a fine job of exciting newcomers about Jean-Michel Basquiat, and despite all the questionable mythologising, the very deep and profound talent of the artist emerges unscathed.\n\nJean-Michel Basquiat: King Pleasure\n31 March - 31 July 2023. The Grand LA, Los Angeles. 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Pleasure’: A beautifully crafted intro to contemporary genius Jean-Michel Basquiat","The show, which received rave reviews in New York and will move to LA in Spring 2023, heightens the enigmatic artist’s already mythical status.",{"dimensions":728,"alt":481,"copyright":7,"url":729,"id":730,"edit":731},{"width":388,"height":389},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F2f9e0353-ef5b-4646-9163-fbf82094712b_Image+Opengraph+Basquiat+King+Pleasure.jpg?auto=compress,format","ZK_8txIAACEAahhl",{"x":61,"y":61,"zoom":62,"background":466},[733,749,756],{"variation":95,"version":96,"items":734,"primary":743,"id":748,"slice_type":321,"slice_label":7},[735],{"post":736},{"id":737,"type":738,"tags":739,"lang":7,"slug":740,"first_publication_date":7,"last_publication_date":7,"link_type":74,"key":741,"isBroken":742},"ZAh5NhAAACsAv0Ej","broken_type",[],"-","a0444aa9-2681-4fdf-989f-ca7eaddb570e",true,{"slides_per_view":744,"max_slides_count":745,"tag":746,"type":8,"title":747,"paralax":7},4,3,{"link_type":74},"Read more","carousel$394bdec1-1242-4b5d-a1e2-3dc3a2d34c20",{"variation":95,"version":96,"items":750,"primary":751,"id":755,"slice_type":321,"slice_label":7},[],{"slides_per_view":744,"max_slides_count":7,"tag":752,"type":753,"title":754,"paralax":7},{"link_type":74},"podcast","Listen to audiocasts","carousel$3468829a-ed7e-41a3-96b0-6b224d48423d",{"variation":95,"version":96,"items":757,"primary":760,"id":764,"slice_type":321,"slice_label":7},[758],{"post":759},{"link_type":74},{"slides_per_view":7,"max_slides_count":7,"tag":761,"type":762,"title":763,"paralax":7},{"link_type":74},"video","Discover more artists","carousel$cac3abaa-4616-4b97-b34c-38d163ac9b4a",{"id":300,"uid":306,"url":7,"type":8,"href":766,"tags":767,"first_publication_date":304,"last_publication_date":305,"slugs":768,"linked_documents":769,"lang":18,"alternate_languages":770,"data":771},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZnwEZhMAAB8ALXHW%22%29+%5D%5D",[12,302],[303],[],[],{"title":772,"subtitle":773,"author":774,"copyright_cover":7,"cover_desktop":775,"cover_mobile":780,"thumbnail":786,"published_at":7,"slices":789,"meta_title":826,"meta_description":827,"og_image":828,"slices2":834},"Evaluating the market for Richter’s iconic Abstrakte Bilder","Spotlight on 1985-1994 paintings",{"link_type":74},{"dimensions":776,"alt":7,"copyright":7,"url":777,"id":778,"edit":779},{"width":79,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZdIR5LeNNTwyDC_Slide16_9_GRichterFocusReportHeader.jpg?auto=format,compress","ZoZdIR5LeNNTwyDC",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":781,"alt":7,"copyright":7,"url":783,"id":784,"edit":785},{"width":782,"height":79},2154,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZc0B5LeNNTwyC8_Richter_ShortFormArticle_Thumbnail_V41.jpg?auto=format,compress","ZoZc0B5LeNNTwyC8",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":787,"alt":7,"copyright":7,"url":783,"id":784,"edit":788},{"width":782,"height":79},{"x":61,"y":61,"zoom":62,"background":63},[790],{"variation":95,"version":96,"items":791,"primary":793,"id":825,"slice_type":139,"slice_label":7},[792],{},{"title":794,"content":795},[],[796,799,804,810,817,823],{"type":33,"text":797,"spans":798,"direction":36},"Gerhard Richter (b. 1932) is one of the most influential figures in contemporary art, having garnered global critical acclaim for his diverse work. This praise has been paralleled by an extraordinary breakthrough in the market, with Richter ranking today among the highest-valued living painters at auction.  ",[],{"type":33,"text":800,"spans":801,"direction":36},"His top 10 records surpassed $30 million each, constantly achieved by Monumental Abstrakte Bilder measuring 200 cm or more and created between 1985 and 1994. ",[802],{"start":518,"end":803,"type":113},98,{"type":33,"text":805,"spans":806,"direction":36},"ArtExplored’s latest Focus Report delves into the market for these specific works that attract considerable market interest.  ",[807],{"start":808,"end":809,"type":113},21,33,{"type":33,"text":811,"spans":812,"direction":36},"Click on the visual below to read the full report. ",[813],{"start":814,"end":379,"type":380,"data":815},29,{"link_type":382,"url":816,"target":384},"https:\u002F\u002Fwww.artexplored.com\u002FGerhard-Richter-Artist-Report\u002F#\u002Fpage\u002F0",{"type":157,"url":818,"alt":7,"copyright":7,"dimensions":819,"id":820,"edit":821,"linkTo":822},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnwG35bWFbowe3zy_Richter_Analysis_Article_Feature_Image.jpg?auto=format,compress",{"width":79,"height":80},"ZnwG35bWFbowe3zy",{"x":61,"y":61,"zoom":62,"background":63},{"link_type":382,"url":816,"target":552},{"type":33,"text":501,"spans":824,"direction":36},[],"text$529b332e-b6f6-4e87-8a3a-7fdda808d05a","Focus Report: Gerhard Richter's Abstrakte Bilder","Gerhard Richter (b. 1932) is one of the most influential figures in the contemporary art market, having garnered global critical acclaim for his diverse work. This praise has been paralleled by an extraordinary breakthrough in the art market, with Richter ranking today among the highest-valued living painters at auction.  \nHis top 10 records surpassed $30 million each, constantly achieved by Monumental Abstrakte Bilder measuring 200 cm or more and created between 1985 and 1994. \nArtExplored’s latest Focus Report delves into the market for these specific works that attract considerable market interest.  ",{"dimensions":829,"alt":7,"copyright":7,"url":831,"id":832,"edit":833},{"width":830,"height":389},2386,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZdfx5LeNNTwyDI_Richter_ShortFormArticle_Header_V32_Opengraph.jpg?auto=format,compress","ZoZdfx5LeNNTwyDI",{"x":61,"y":61,"zoom":62,"background":63},[835,881],{"variation":95,"version":96,"items":836,"primary":877,"id":880,"slice_type":321,"slice_label":7},[837,847,857,867],{"post":838},{"id":839,"type":8,"tags":840,"lang":18,"slug":842,"first_publication_date":843,"last_publication_date":844,"uid":845,"link_type":74,"key":846,"isBroken":76},"ZOShthIAACYA1xCI",[841,12],"Francis Bacon","first-artist-report-sheds-light-on-francis-bacons-market","2023-08-24T13:17:37+0000","2023-08-29T15:59:39+0000","artist-report-francis-bacon","96e9ab12-9bbc-4143-a36d-c2f5070100ff",{"post":848},{"id":849,"type":8,"tags":850,"lang":18,"slug":852,"first_publication_date":853,"last_publication_date":854,"uid":855,"link_type":74,"key":856,"isBroken":76},"ZnwALhMAACIALWrC",[12,851],"Claude Monet ","the-market-landscape-of-monets-water-lilies","2024-07-02T09:15:33+0000","2024-07-03T14:13:54+0000","artist-report-claude-monet","97094c6c-e388-4f87-afc3-248b77cf382c",{"post":858},{"id":859,"type":8,"tags":860,"lang":18,"slug":862,"first_publication_date":863,"last_publication_date":864,"uid":865,"link_type":74,"key":866,"isBroken":76},"ZAh0SRAAACsAvyne",[861],"Henri Matisse","the-creative-twilight-of-matisses-career","2023-03-08T15:49:21+0000","2023-07-13T14:13:58+0000","henri-matisse-exhibition-in-philadelphia-highlights","a2a8aff1-302b-4841-807d-0de4775be923",{"post":868},{"id":869,"type":8,"tags":870,"lang":18,"slug":872,"first_publication_date":873,"last_publication_date":874,"uid":875,"link_type":74,"key":876,"isBroken":76},"ZAiOihAAACoAv4s1",[871],"Renaissance","dutch-art-for-arts-sake-and-tudor-renaissance-majesty","2023-03-08T15:48:43+0000","2023-07-13T14:29:58+0000","the-dutch-and-tudors-renaissance","6df2f42d-e67c-469c-a688-ed6f06f174be",{"slides_per_view":7,"max_slides_count":7,"tag":878,"type":8,"title":879,"paralax":76},{"link_type":74},"Articles","carousel$c83bc1bd-aa66-4eb2-8946-ff5fecfc9a8d",{"variation":95,"version":96,"items":882,"primary":887,"id":890,"slice_type":321,"slice_label":7},[883,885],{"post":884},{"link_type":74},{"post":886},{"link_type":74},{"slides_per_view":7,"max_slides_count":7,"tag":888,"type":753,"title":889,"paralax":76},{"link_type":74},"Listen to Audiocasts","carousel$d5bbbc96-2ecf-4ae1-8eb3-a5ba196d0816",{"id":310,"uid":315,"url":7,"type":8,"href":892,"tags":893,"first_publication_date":313,"last_publication_date":314,"slugs":894,"linked_documents":897,"lang":18,"alternate_languages":898,"data":899},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBmiNxEAACUAZCbn%22%29+%5D%5D",[12],[312,895,896],"buying-art-is-often-a-highly-emotional-affair-but-how-does-it-stack-up-against-other-more-traditional-markets-when-it-comes-to-returns","buying-art-is-often-a-highly-emotional-affair-but-how-does-it-stack-up-against-other-more-traditional-markets-when-it-comes-to-returns-artexplorer-investigates.",[],[],{"title":900,"subtitle":901,"author":902,"copyright_cover":7,"cover_desktop":943,"cover_mobile":951,"thumbnail":956,"published_at":7,"slices":959,"meta_title":1040,"meta_description":1041,"og_image":1042,"slices2":1048},"Is art a sound investment?","Buying the right painting and sitting on it can be very fruitful",{"id":903,"type":25,"tags":904,"lang":18,"slug":906,"first_publication_date":907,"last_publication_date":908,"uid":906,"data":909,"link_type":74,"key":942,"isBroken":76},"ZBB4GBAAACgAzS2z",[905],"Robert Budden","robert-budden","2023-03-14T13:35:25+0000","2023-07-10T00:56:54+0000",{"description":910,"short_description":920,"job":924,"thumbnail":925,"cover":932,"uid":906,"title":905,"og_image":935,"meta_description":938,"meta_title":905},[911,914,917],{"type":33,"text":912,"spans":913},"Robert Budden is ArtExplored's Art Market Editor. He is a financial journalist with expertise in personal finance and investment. He spent most of his journalistic career writing for the Financial Times where he held a number of roles including Deputy Markets Editor, Personal Finance Editor and Chief Media Correspondent. ",[],{"type":33,"text":915,"spans":916},"He has written extensively on many areas of personal finance and investment from hedge funds and mutual funds to stocks and shares, junk bonds and financial market instruments as well as alternative investments such as wine.",[],{"type":33,"text":918,"spans":919},"He has won around a dozen awards for journalism including Pensions Journalist of the Year (Business Journalist of the Year Awards), Investment Trust Journalist of the Year (Association of Investment Companies) and Pensions and Investment Journalist of the Year (Aon). He has frequently appeared on TV and radio for a number of  broadcasters including CNN, CNBC, Sky News and the BBC.",[],[921],{"type":33,"text":922,"spans":923},"Robert Budden covers the financial and art market for ArtExplored. ",[],"Art Market Editor",{"dimensions":926,"alt":905,"copyright":7,"url":929,"id":930,"edit":931},{"width":927,"height":928},2291,2446,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff845a770-a008-44c8-9879-c9f3b0b5e52a_Robert+Budden.jpg?auto=compress,format","ZIsQqxAAACEAs6bQ",{"x":61,"y":61,"zoom":62,"background":466},{"dimensions":933,"alt":905,"copyright":7,"url":929,"id":930,"edit":934},{"width":927,"height":928},{"x":61,"y":61,"zoom":62,"background":466},{"dimensions":936,"alt":905,"copyright":905,"url":929,"id":930,"edit":937},{"width":927,"height":928},{"x":61,"y":61,"zoom":62,"background":466},[939],{"type":33,"text":940,"spans":941},"Robert Budden is a finance and art markets writer at ArtExplored",[],"acc86b5a-c0ce-43ff-bb78-544a4c84474f",{"dimensions":944,"alt":947,"copyright":7,"url":948,"id":949,"edit":950},{"width":945,"height":946},2881,1621,"Massysm Quentin — The Moneylender and his Wife","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6cb95598-e3af-4c20-ae64-d8f7775dda0f_Slide+16_9+-+85.jpg?auto=compress,format","ZJq2chEAACIAroje",{"x":61,"y":61,"zoom":62,"background":466},{"dimensions":952,"alt":947,"copyright":947,"url":953,"id":954,"edit":955},{"width":80,"height":79},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa6363f49-781b-40dc-9173-db3c111bbcd8_9_16.jpg?auto=compress,format","ZJq19hEAACEAroa_",{"x":61,"y":61,"zoom":62,"background":466},{"dimensions":957,"alt":947,"copyright":947,"url":953,"id":954,"edit":958},{"width":80,"height":79},{"x":61,"y":61,"zoom":62,"background":466},[960,992,1002,1012,1021,1033],{"variation":95,"version":96,"items":961,"primary":963,"id":991,"slice_type":139,"slice_label":7},[962],{},{"title":964,"content":968},[965],{"type":500,"text":966,"spans":967}," ",[],[969],{"type":33,"text":970,"spans":971},"It is the sort of gain most investors only dream of. The sale at Sotheby’s in 2017 of Untitled by Jean-Michel Basquiat for $110.5m marked a record for a post-1980 painting by an American artist at the time. Bought for \"just\" $19,000 in 1984, the sale price delivered its owner impressive profits - equating to a compound annual return (before costs) of about 30%. The world’s best-paid hedge fund managers would be immensely proud of that performance.\n\nSuch returns are by no means unique in the art world: some savvy collectors who bought works from the likes of Andy Warhol or David Hockney at the right time will also be sitting on huge gains. Art advisers have many of their own stories about clients who purchased artworks that have increased in value considerably, sometimes over a period of just a few years. \n\nSo, does art make sense as an investment and how has the wider art market performed? \n\nA number of art indices including Sotheby’s Mei Moses, Artprice, and Artnet capture data from multiple sources. Over the 15 years between 2005 and 2020, the Artnet Index for Fine Art produced a compound annual growth rate of 4.9%, against 7.6% (excluding dividends) for the S&P 500, the leading basket of US stocks. ",[972,975,983],{"start":973,"end":974,"type":113},86,94,{"start":976,"end":977,"type":380,"data":978},564,576,{"id":979,"type":512,"tags":980,"lang":18,"slug":981,"first_publication_date":982,"last_publication_date":982,"link_type":74,"isBroken":76},"ZK0tLxEAACEAdnWz",[],"andy-warhol","2023-07-11T10:21:41+0000",{"start":984,"end":985,"type":380,"data":986},579,592,{"id":987,"type":512,"tags":988,"lang":18,"slug":989,"first_publication_date":990,"last_publication_date":990,"link_type":74,"isBroken":76},"ZK0uhhEAACMAdnxa",[],"david-hockney","2023-07-11T10:27:29+0000","text$1bdd61da-7e86-40cd-a086-e0b1d9c8e77c",{"variation":95,"version":96,"items":993,"primary":995,"id":1000,"slice_type":1001,"slice_label":7},[994],{},{"quote":996},[997],{"type":33,"text":998,"spans":999},"\"You can’t just go out and pay $50,000 for 10 contemporary artists with no history, no secondary market, and no institutional representation and expect to do well. Randomised spending sprees increase the risk of negative performance enormously.\"",[],"quote$63a4a947-8dd2-4b3b-b41b-73029c75031d","quote",{"variation":95,"version":96,"items":1003,"primary":1005,"id":1011,"slice_type":139,"slice_label":7},[1004],{},{"title":1006,"content":1007},[],[1008],{"type":33,"text":1009,"spans":1010},"Over 2022, as inflation and interest rates climbed and stock markets plummeted, the broad Global Artprice index fell 18%. However, the Artprice100 index of leading artists was up 3% in 2022, supporting the dictum that blue chip art is a relative safe haven.\n\nBut how reliable are these numbers? Art advisers urge caution. Art indices only track publicly available data – essentially prices from auctions – immediately cutting out the more opaque private market, which typically accounts for about half of all sales. Indices also only record price changes from artworks that have sold more than once. This limits their accuracy still further by excluding the vast majority of auction transactions – sale debuts, say art advisers. \n\n“You need to look at these indices with a pinch of salt,” says Laurent Issaurat, head of Art Banking Services at Société Générale. “They reflect only a very limited portion of the art market [lots that sell twice or more at auction], don’t include transaction costs and only show the winners in the race. The losers are forgotten. If there is no bidder in the room then an artwork is burned and this is not taken into account [in the indices] at all.” \n\nSuch so-called “survivorship bias” means that indices have a tendency to flatter investment performance. In terms of transaction costs, Philip Hoffman, founder of the Fine Art Group and a former deputy CEO at Christie’s, estimates the typical auction spread between buyer and seller can be as much as 37%.\n\nDespite these limitations, however – if used carefully – art indices can still prove valuable tools, for example, when negotiating purchases or identifying trends, say art specialists. \n\nFor a better guide to long-term art performance, Adriano de Picinati di Torcello, global art and finance coordinator at Deloitte, points to academic studies. One, published in 2011 by Elroy Dimson and Christophe Spaenjers, tracked the performance of the art collection of renowned economist John Maynard Keynes from 1900 to 2010. \n\nThe collection, containing works by major blue chips such as Picasso and Matisse, delivered a respectable real return (after allowing for inflation) of 2.4% a year over the period, comfortably ahead of government bonds and not far behind the total return on stocks and shares. Another paper by Christophe Spaenjers found art returned an impressive 4% a year between 1951 and 2007, again after inflation. \n\nThese are numbers that many long-term investors would be pretty happy with. The challenge, say art advisers, is achieving them as the art market is very diverse ranging from Old Masters to Contemporary and from low to high-end. All can have very different performance profiles.\n\n\"You can’t just go out and pay $50,000 for 10 contemporary artists with no history, no secondary market and no institutional representation and expect to do well. Randomised spending sprees increase the risk of negative performance enormously,” says Eugénie Dumont, art collections manager at Belgian private bank Degroof Petercam. “You need to purchase astutely and put together a collection carefully, based on your taste, your budget and its ultimate purpose while keeping in mind a long-term strategy.”\n\nThere are other points to consider too. While stocks and shares tend to pay dividends, art does not. Instead, there is a cost of ownership of art which includes insurance, maintenance and possibly storage for example. These costs can run from “well under 1%” per annum [of the value of the painting] for \"plain vanilla\" artworks requiring very little maintenance, according to Dumont, to much more for valuable and fragile pieces requiring a specific conservation environment, as well as historical discoveries where provenance and authenticity must be proven.\n",[],"text$855ac36b-1f02-44fb-9321-0d6fb003a622",{"variation":95,"version":96,"items":1013,"primary":1015,"id":1020,"slice_type":1001,"slice_label":7},[1014],{},{"quote":1016},[1017],{"type":33,"text":1018,"spans":1019},"“During Covid art held much of its value. It wasn’t demand that dropped dramatically it was more that, in a very uncertain market, sellers would stop selling.”",[],"quote$2097a3b3-3dde-4bce-bc35-28624f8dbc43",{"variation":95,"version":96,"items":1022,"primary":1024,"id":1032,"slice_type":139,"slice_label":7},[1023],{},{"title":1025,"content":1028},[1026],{"type":500,"text":501,"spans":1027},[],[1029],{"type":33,"text":1030,"spans":1031},"Artworks are also much less liquid than other mainstream investments such as stocks or bonds, meaning they can be complicated and time-consuming to sell. \n\n“Although I have done deals in a day or even in an hour, the average sale probably takes three years,” says the Fine Art Group’s Hoffman, reflecting the time it takes to find the right buyer.\n\nBut there are clear attractions of art as an asset too. If chosen carefully, art has proven a long-term store of value and a good hedge against inflation. Over a 22-year holding period, the British Rail pension fund’s foray into art investments in the 1970s delivered a healthy 13.1% annual investment return (almost 6% after inflation), boosted by timely purchases and disposals. Astutely, the fund sold works by Renoir and Cezanne in 1989 ahead of the sharp correction in the Impressionist art market of the early 1990s. \n\nArt also has a relatively low correlation to mainstream investments like equities, meaning that when stocks and shares are falling, some art investments can hold their value.\n\nWhile this was not really the case during the 2008 financial crisis – the S&P 500 index, the US stock market index, fell about 50% from peak to trough and art sales and prices similarly collapsed during this period – art investments did perform better than equities as the Covid pandemic took hold.\n\n“During Covid art held much of its value,” says Société Générale’s Issaurat. “It wasn’t demand that dropped dramatically it was more that, in a very uncertain market, sellers would stop selling.”\n\nIssaurat adds that because many collectors often hold up to 5% to 15% or so of their overall wealth in art, they don’t have to be forced sellers. In the event that they desperately need cash, most collectors have other – more liquid – assets they can sell first, helping underpin art prices in a downturn.\n\nThis is not to say that the art markets are immune from global economic events. Far from it. Art prices were boosted by quantitative easing as central banks pumped more money into the global economy, say art experts. Rising interest rates have in the past also dampened sentiment in the art markets.\n\n“I was running Christie’s when [interest rates] hit 15% and that crucified the art market,” recalls the Fine Art Group’s Hoffman. “Everybody said ‘Let’s put $10m on deposit and we get $1.5m of interest a year without doing anything’.” \n\nHe thinks a tipping point for the art market might be if interest rates in Western economies start to climb above 8% – still some way above current levels.\n\nTrends currently affecting art prices, according to Kristiane Backer, founder of fine art consultancy Baraka Consultants, include the war in Ukraine and the reopening of China after Covid. “Russian buyers are no longer there but the Chinese seem to be coming back so, for the moment, the art market remains strong,” she says. \n\nIn recent years Backer says she has seen growing numbers of buyers turn to art for investment reasons. \n\n“Art is definitely worth considering if you want to diversify your portfolio,” she says. “But take good advice to buy well and, above all, buy what you like and love.”\n\nMost buyers are unlikely to come across the next Basquiat. But, if they do buy well, they could achieve decent annual positive returns, say art advisers.\n\nThe real dividend of owning artworks, according to Issaurat, however, is “the intellectual or aesthetic enjoyment you get... 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