Wall Art Market size is forecast to grow by $34.77 billion during 2022-2031, accelerating at a CAGR of 5.6% according to a new research report

By in Art World News

Wall Art Market size is forecast to grow by $34.77 billion during 2022-2031, accelerating at a CAGR of 5.6% according to a new research report

The market for wall art is expanding rapidly, even in emerging economies where home accessories and other related goods are finding great success on the market. Due to the expansion of the real estate sector in major cities and the shift from traditional to urban living, the impact of this aspect on the wall art market is anticipated to grow during the projected period.

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Allied Market Research recently published a report, titled, “Wall Art Market by Type (Modern, Abstract, Others), by Price Point (Premium, Mass), by Sales Channel (Auction Houses, Specialty Stores, E-commerce, Others): Global Opportunity Analysis and Industry Forecast, 2021-2031.”

As per the report, the global wall art industry was estimated at $20.40billion in 2021, and is set to reach $34.77 billion by 2031, growing at a CAGR of 5.6% from 2022 to 2031. The report offers a detailed analysis of changing market trends, top segments, key investment pockets, value chains, regional landscapes, and competitive scenarios.

📚 𝗗𝗼𝘄𝗻𝗹𝗼𝗮𝗱 𝗦𝗮𝗺𝗽𝗹𝗲 𝐏𝐃𝐅 𝐨𝐟 𝐓𝐡𝐢𝐬 𝐑𝐞𝐩𝐨𝐫𝐭 at www.alliedmarketresearch.com/request…mple/17281

Rise in disposable income, increase in the global population, and thriving real estate sector drive the growth of the global wall art market. A massive increment in the number of households due to urbanization will promote global market growth trends. Growing demand for modern and abstract wall art across the commercial and residential sectors is predicted to create new growth opportunities for the global market. However, fluctuations in raw material costs can put brakes on the global market expansion.

The market will expand due to the home decor sector’s quick development and expansion in developing economies. Since manufacturers are concentrating on creating innovative wall paintings and drawings, the wall art market demand for abstract and modern wall art from the residential and commercial sectors is rising. This is projected to have an impact on the wall art market growth over the course of the forecast period. One of the factors propelling the wall art market’s growth over the forecast period is the movement of people from rural to urban areas, where they are embracing the modern lifestyle. But the market’s expansion is being constrained by shifting raw material prices.

The global wall art market is segmented into type, price point, sales channel, and region. By type, the market is divided into modern, abstract, and others. Among these, the abstract segment occupied the major wall art market share of the market in 2021, and is projected to maintain its dominance during the forecast period. Modern art that does not depict imagery from the real world is called abstract art. Even though it features color, lines, and shapes, neither of them is intended to resemble actual objects or live beings. The abstract concepts and ideas frequently had an impact on the works of art. As a result, abstract wall art is greatly demanded by consumers.

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According to the estimate for the global market for wall art, North America held the largest share of the market in 2021 and is expected to keep doing so in the near future. The increase in consumer spending on high-end home design and décor items and the rise in living standards are driving the growth of wall art market in North America region. Sales in this area are further boosted by a well-developed retail infrastructure and celebrity brand endorsements. Additionally, the U.S. is anticipated to expand at the greatest CAGR because of its fast-developing infrastructure and alterations in consumer behavior brought on by an increase in disposable income.

The COVID-19 epidemic had an adverse effect on the global market for wall art. The pandemic’s disruption of the supply chain, shortage of raw material availability, and restrictions on the transit of commodities had an effect on the market for wall art. Additionally, delays and disruptions at national borders have made it difficult to export and supply wall art around the globe.

One of the reasons affecting the sales of wall art is the expanding social media. The majority of Americans have acknowledged that they get more of their decorating ideas from publications, the houses of their friends and family, television shops,. The manufacturers are also increasing their social media presence in an effort to increase customer awareness of new product introductions and drive sales. Due to the growing numbers of millennials and generation X, the effective marketing strategies are also very common in the nation.

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𝐓𝐡𝐞 𝐦𝐚𝐣𝐨𝐫 𝐩𝐥𝐚𝐲𝐞𝐫𝐬 𝐚𝐧𝐚𝐥𝐲𝐳𝐞𝐝 𝐟𝐨𝐫 𝐠𝐥𝐨𝐛𝐚𝐥 𝐰𝐚𝐥𝐥 𝐚𝐫𝐭 𝐢𝐧𝐝𝐮𝐬𝐭𝐫𝐲 𝐚𝐫𝐞
• Etsy, Society 6,
• Saatchi art,
• 1000 Museums,
• Paintru,
• Artfinder,
• Redbubble,
• Schoolhouse,
• Urban Outfitters,
• Rifle Paperco,
• One Kings Lane,
• Big Wall Decor,
• Wayfair,
• Z Gallerie, and
• Art.com.

𝐊𝐄𝐘 𝐅𝐈𝐍𝐃𝐈𝐍𝐆𝐒 𝐎𝐅 𝐒𝐓𝐔𝐃𝐘
• By type, the abstract segment was the highest revenue contributor to the market, with $9,798.2 million in 2021, and is estimated to reach $16,480.3 million by 2031, with a CAGR of 5.5%.
• Depending on price point, the mass segment was the highest revenue contributor to the market, with $12,294.9 million in 2021, and is estimated to reach $20,385.1 million by 2031, with a CAGR of 5.4%.
• As per sales channel, the specialty stores segment was the highest revenue contributor to the market, with $9,845.1 million in 2021, and is estimated to reach $16,401.8 million by 2031, with a CAGR of 5.4%.
• Region wise, North America was the highest revenue contributor, accounting for $7,895.3 million in 2021, and is estimated to reach $12,621.8 million by 2031, with a CAGR of 5.0%.

𝐀𝐧𝐚𝐥𝐲𝐬𝐭 𝐑𝐞𝐯𝐢𝐞𝐰
According to CXOs of leading companies, rising interest in giving homes and offices an aesthetic look, increasing demand for wall art from the construction industry to provide furnished and ready-to-live homes, increasing applications of décor in spas, salons, restaurants, and other establishments, rising preferences for the use of customized decorative products, and increasing demand for specific design of decoration are some of the significant and essential factors that will likely accelerate the growth of the wall art market. On the other hand, growing adoption of smartphones and internet portals, together with the prevalence of better sales channels, would further contribute by producing enormous chances that will led to the rise of the wall art market during the forecast period.

Another major driver of the demand for wall art is rising consumer disposable income. High-paying customers rarely give such purchases for their homes much thought. The changing tastes and preferences of customers as well as their changing lifestyles are contributing to this rise in demand for wall art. Additionally, the real estate market in developed nations like the U.S., Germany, the UK, and France, among others, has seen a considerable uptick in recent years, which is fueling demand for home lifestyle items like wall art. Another element boosting demand for wall art is GDP growth in developed nations.

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Photographer Brian Griffin, Who Shot Depeche Mode’s Iconic Album Covers, Dies

By in Photography

Photographer Brian Griffin, Who Shot Depeche Mode’s Iconic Album Covers, Dies
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Influential music photographer Brian Griffin, who shot Depeche Mode’s first five iconic album covers, has died.

Clash Magazine reports that Griffins, who is widely acknowledged as one of the most prominent music photographers of his generation, passed away on Monday at the age of 75.

Griffins, who was born in Birmingham, U.K., was working an industrial job in a factory when he took up photography as a hobby and joined a local camera club.

Griffin’s hobby eventually became his profession when he moved to London in 1972 and took a job as a corporate photographer for Management Today magazine.

Griffin’s move to London also came around the same time as punk music was emerging and he started shooting bands for independent record label Stiff Records.

His photography experience shooting businessmen translated perfectly to the bands of the time who also dressed in suits and ties, such as The Jam and Elvis Costello and the Attractions.

Over the following years, Griffin went on to shoot iconic portraits and album covers for music artists such as Kate Bush, Siouxsie Sioux, R.E.M., Echo & The Bunnymen, Billy Idol, Iggy Pop, Ringo Starr, Queen, and Peter Gabriel.

A Pioneer of ‘Capitalist Realism’ in Photography

However, it was Griffin’s artistic partnership with Depeche Mode that defined his career and shot him to fame. Griffin took the photographs for the band’s first five albums.

Griffin’s cover image for Depeche Mode’s 1982 album A Broken Frame, which depicted a woman working and cutting grain in a field, was inspired by the socialist photography of Soviet Russia. The image would later be named Photograph Of The Decade by Time in 1990.

Griffin’s photograph for A Broken Frame also appeared on the cover of Life’s 1990 edition of “World’s Best Photographs 1980–1990” — and helped earn him the title of “photographer of the decade” by The Guardian in 1989.

In an interview with the British Journal of Photography in 2016, Griffin described how his pioneering visual style, which has been since been referred to as “Capitalist Realism,” was influenced his father’s death by lung cancer caused by years of working in an industry factory.

In his photographs, Griffin drew upon the backgrounds of his subjects — many of whom were workers and tradesmen — and learned about their poor working conditions. In his portraits, which sometimes resemble paintings, these subjects are elevated to a different, almost royal, status through their poses.

Griffin left photography behind in the 1990s to start a production company. However, he returned to the craft in the early 2000s to shoot a documentary for Sir Paul McCartney in 2004.

Brian Griffin, photographer of rock stars and construction workers, has died aged 75

By in Photography

Brian Griffin, photographer of rock stars and construction workers, has died aged 75

“He was a real innovator,” says Martin Parr, remembering fellow British photographer and longtime friend, Brian Griffin, who died at home in London last weekend, aged 75. “He really livened up the whole world of portraiture. They [his portraits] were so recognisably his. No one had ever seen anything like them. And not many photographers can say that.”

Griffin is best known for his iconic album covers, such as Depeche Mode’s A Broken Frame (1982) and Joe Jackson’s Look Sharp (1979), but he was much more than a rock photographer, injecting surreal narrative and noir lighting into commercial and editorial commissions, while pursuing his own projects. Griffin made no distinction between personal and assignment work; he put equal energy and ambition into both, always looking to create some playful visual disruption and make lasting, meaningful photographs.

He grew up in the Black Country in the English Midlands, attributing the sights and sounds of heavy industry as a major influence upon his imagery.

Brian Griffin, Liam, Steel Worker (2007). From the project Team Photo, for the opening of the Eurostar terminal at St Pancras station © Brian Griffin Estate

Griffin gave up a job at British Steel at the end of the 1960s to study photography at Manchester Polytechnic, where he met Parr and Daniel Meadows. Afterwards, he moved to London to begin his storied freelance career, taking a portfolio of photographs of ballroom dancers to Roland Schenk at Management Today. The celebrated Swiss art director immediately saw his potential and encouraged the young photographer’s flights of imagination in the most unlikely setting of corporate portraiture.

His personal documentary work featured in landmark exhibitions in the 1970s, when Britain’s art establishment began taking photography seriously, including Hayward Gallery’s first major survey of contemporary practice, Three Perspectives (1979). The 1980s were, however, his undoubted peak. Indeed, the Guardian hailed him “the photographer of the decade”. Many of his most famous images of musicians (Kate Bush, Siouxsie Sioux and Elvis Costello, to name but a few) were made during this time, as was his most memorable large-scale commission, celebrating the completion of the Broadgate project in the City of London.

Brian Griffin, Rush Hour, London Bridge (1974). Commissioned by Roland Schenk for Management Today © Brian Griffin Estate

He was widely recognised for Work, published in 1988, one of many often self-published books he produced throughout his career. And following an exhibition at the Rencontres d’Arles photography festival in 1987, alongside the first showing of Nan Goldin’s Ballad of Sexual Dependency outside the US, dozens more shows followed, at home in the UK and across Europe.

Throughout the 1990s, Griffin worked primarily as a director of TV commercials and music videos, returning to photography in 2002 and picking up where he left off, shooting memorable campaigns for Reykjavik Energy, the completion of the HSI railway, the city of Marseilles, and a prized commission for the London Olympic Games in 2012. And among the dozens of books and shows he produced over the past 15 years, there were retrospectives in the UK, Iceland, Italy and Georgia. In 2021 he published what was to be the first half of his autobiography, Black Country Dada, designed by Cafeteria, with whom he was planning to do the second part later this year.

“This remarkable generation came out of Manchester Polytechnic, which included Brian and Martin Parr and Daniel Meadows,” says the collector and gallerist James Hyman, who founded the Centre for British Photography. “And the three of them have been absolutely fundamental, in their different ways, in the development of British photography over a 50 year period. He’s got a central place in that history, and he was also a very individual voice.”

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