Good morning and welcome to Labour Day. Ko te ra tenei i hanga e te Ariki. Ka koa tatou, ka koa hoki ki reira.

Labour Day is a New Zealand public holiday commemorated each year on the fourth Monday in October, and celebrates when the eight hour working day became the law in New Zealand.

The Bay of Plenty is expected to have some morning cloud, otherwise it will be a fine day ahead. Cloud is returning in the late evening with the chance of a shower. Southerlies will be turning northerly this morning.

It’s a one-to-two-layer clothing day with an expected high of 19 degrees, and an overnight low of 14 degrees. High tide is at 2.40pm and low tide is at 8.48pm. Sunset is at 7.40pm.

What’s on today?

Give it a go today from 6.15pm with Ultimate Frisbee at Waipuna Park. Bring friends, a dark and white top, water, cleats – sneakers are ok, but not much traction. All welcome! even if you haven’t played before. You’ll find the Ultimate Frisbee event happening in the Top Fields, which is right next to the main car park. For more information click here

re:generate Fashion Market. Photo; Supplied.

Head to Mount Maunganui for the re:generate Fashion Market at the Mount Sports Action Centre.This market features a curated selection of vintage and modern preloved fashion and accessories for all genders and budgets.

The Incubator. Photo: Supplied.

At The Incubator Creative Hub at Tauranga Historic Village, there are many exhibitions, workshops and events happening daily. For more information click here.

For more events visit My Tauranga.

The Mission House at The Elms | Te Papa Tauranga. Photo: Rosalie Liddle Crawford.

The Elms | Te Papa Tauranga in Mission St is open from 10am – 4pm. Come and view the Mission House and gardens. For more information click here

.Tauranga Art Gallery in Willow St. Photo: Supplied.

Take a walk through Tauranga Art Gallery and view the many exhibitions on display there this week. The gallery, in Willow St, is open from 10am – 4pm.

Love public art? CITY ART WALK TAURANGA app is a free to download walking tour of 20 public artworks in Tauranga’s city centre. For more information click here

Diana Bomford, Tony Fraser and Hugh Bomford at the Lion and Tusk Museum at Mount Maunganui. Photo: Daniel Hines.

Have you been to the Lion and Tusk Museum yet? It’s open today from 10am – 3pm at Unit 4, 14 Portside Dr, Mount Maunganui. Come and see a massive display of Rhodesian military history records and exhibits of uniforms, medals and equipment. Opening hours are 10am – 3pm Thursday to Sunday. For more information click here

What else is on today?

Association Croquet
Sat, Mon,Wed at Club Mt Maunganui, 45 Kawaka St. 9.15am for 9.30am start. Visitors & new players welcome. Ph. Malcolm 027 681 5204

Beginner Social Dance Group
Commencing Monday, 18 Sept, 6-7pm, Welcome Bay School Hall, Welcome Bay Road. Ballroom/Latin/Rock&Roll. Just come along to enrol on the night. Ph Sonia 0273221786

Body+Soul 50+ Fun fitness
Exercise for better health, strength and balance. Move to great music. Make new friends. First class free. 9.15am Greerton hall Ph Dianne 027 4314326

Chess at Mount Maunganui
Mount RSA Chess Club 544 Maunganui Rd, Mondays (excl public holidays). Early program 6.15pm-7pm Late program 7pm onwards. Casual Chess allowed. Search “Western BoP Chess”.

Creative Fibre Tauranga
Knitting, crochet, spinning, weaving, felting & dying. Every Monday 9.30am & every 2nd & 4th Thursday 6.30pm. 177 Elizabeth Street. Enjoy learning new crafts. Phone Rosanne 027 575 2175

Free Public Advocacy Service
Advocacy Clinics: Tuesdays, Greerton Library 1pm – 2:30pm. Thursdays, Welcome Bay Community Centre 1pm – 2:30pm. *Mondays, Merivale Community Centre, phone for appt 0225629845.

Papamoa Family History Group
Meets 2nd Monday Feb-Dec 10am-2pm at Papamoa Community Centre 15 Gravatt Road. Visitors and new members welcome. Beginners Classes starting early 2024. Contact papgen@gmail.com.

Tauranga Senior Citizens Club
500 Cards. Come join us for a game of 500. 14 Norris Street (behind Pak’n’Save). Start at 1 pm. ph 022 6392411

Tauranga Vision Friendship Club
4th Monday of each month, starts 10am, Tga Citz club, 13th Ave Tga upstairs. entry $5.00 Visitors welcome for information Phone Sue 021543544

EN | FR | 

Paris+ par Art Basel’s second edition concluded today, once again showcasing the French capital’s exceptional cultural dynamism and continued ascent as a global art market hub. Featuring 154 premier galleries including 61 operating spaces in France, the show offered a vibrant panorama of the country’s thriving art scene, to which it further contributed with an expanded, freely accessible public program realized in collaboration with the city’s world-class cultural institutions and unfolding across six storied Parisian locations. This second edition was emboldened by a strong showing of leading international participants from Europe, the Americas, Africa, Asia, and the Middle East, including 15 galleries who joined Paris+ par Art Basel for the first time. The fair took place at the Grand Palais Éphémère from October 20 to 22, 2023 and attracted an overall attendance of 38’000 throughout its VIP and public days. The fair’s next edition will unfold in the event’s permanent venue, the iconic Grand Palais, from October 18 to 20, 2024.

Galleries reported strong sales across all market segments, including works by 20th-century masters such as Alexander Calder, Ed Clark, Niki de Saint Phalle, Leonor Fini, Jean Hélion, Aristide Maillol, Robert Rauschenberg, and Anna Zemánková; blue-chip contemporary artists such as Mark Bradford, Tracey Emin, Camille Henrot, Loie Hollowell, Lee Ufan, Wolfgang Tillmans, Yan Pei-Ming, and Flora Yukhnovich; mid-career practitioners such as Katinka Bock, Mohamed Bourouissa, Reggie Burrows Hodges, Sayre Gomez, Rachel Jones, Suki Seokyeong Kang, Jean-Luc Moulène, and Laure Prouvost; and emerging voices such as Jenna Bliss, Gaëlle Choisne, Elladj Lincy Deloumeaux, Karol Palczak, Nora Turato, Sophie Varin, Xie Lei, and Trevor Yeung.

Leading art patrons and private collectors from France, Europe, the Americas, Asia, and beyond were in attendance. Paris+ par Art Basel was also attended by representatives of more than 170 prestigious museums and foundations from across the globe, such as Art Gallery of Ontario, Toronto; Aspen Art Museum; Bourse de Commerce – Pinault Collection, Paris; Centre Pompidou, Paris; Dia Art Foundation, Beacon; Fondation Beyeler, Riehen; Hirshhorn Museum, Washington, D.C.; Istanbul Museum of Modern Art; K11 Art Foundation, Hong Kong; KW – Institute of Contemporary Art, Berlin; Los Angeles County Museum of Modern Art (LACMA); M+, Hong Kong; MAXXI, Rome; MoMA PS1, New York; Musée d’Orsay, Paris; Museo de Arte Latinoamericano de Buenos Aires (MALBA), Buenos Aires; Museo Tamayo, Mexico City; National Museum of Modern and Contemporary Art, Korea, Seoul; National Museum of Modern Art Tokyo; Norval Foundation, Cape Town; Palais de Lomé; Palais de Tokyo, Paris; Städel Museum, Frankfurt; Stedelijk Museum, Amsterdam; and Tate, London. French Minister of Culture Rima Abdul Malak and First Lady Brigitte Macron also visited Paris+ par Art Basel.

Clément Delépine, Director of Paris+ par Art Basel, commented, ‘I am deeply grateful to all the galleries, artists, patrons, institutional representatives, and partners who joined us for Paris+ par Art Basel’s second edition and made it such a success. Together, we were able to present art of the highest quality, from the show floor to the Jardin des Tuileries, and the fair’s impact on the city’s cultural life is palpable. We already look forward to our arrival at the renovated Grand Palais in 2024, a move that we believe will anchor Paris+ par Art Basel even more firmly in the city’s creative landscape and amplify its resonance in the global art ecosystem.’

Participating exhibitors remarked on their experiences of the second edition:

‘We could sense a real enthusiasm in Paris as the cultural scene develops, assisted by the arrival of Art Basel and the public and private institutions who present outstanding exhibitions. The first few hours of the fair seemed even busier this year, and we sold a number of works within the first minutes of the doors opening, with sales going to both private and public collections.’
Serena Cattaneo Adorno, Senior Director, Gagosian (New York, Los Angeles, Beverly Hills, Hong Kong, Paris, Athens, Rome, Basel, Geneva, Saanen, London)

‘Paris+ has once again exceeded our expectations. Though the first edition was remarkable, we were struck by the excellent level of the fair this year, which occurred in a very positive atmosphere. The international clientele, most particularly from Europe and Asia, was very well represented, and was equally enthusiastic about Jean Claracq’s pieces, who is an established artist, but also by Nanténé Traoré’s, who as a young photographer is making his first steps on the art market.’
Guillaume Sultana, Founder, Sultana (Paris, Arles)

‘Never before has a fair in Paris brought together such a high-quality audience and collectors from such distant and varied regions: Indonesia, Korea, California… even more Americans in general. Paris has many facets to offer, and we had almost 1,200 visitors to the gallery in five days, because collectors are looking for surprise and novelty in the primary market. There’s plenty on offer at the fair and in Paris. Despite the geopolitical uncertainties, this fair is the new place to go to find reliable artistic references and, let’s hope, open optimistic conversations about the world.’
Niklas Svennung, Director, Chantal Crousel (Paris)

‘We presented a solo booth by Roberto Gil de Montes, his first presentation in Europe. It was important for us to present a comprehensive overview of his practice, including paintings and works on paper. The reception has been overwhelmingly positive and we sold all the works on the booth, with prices ranging from $12,000 to $150,000. We sold to a global range of collections.’
Malik Al-Mahrouky, Partner/Sales Director, kurimanzutto (Mexico City, New York)

‘This week, with the inauguration of our brand-new gallery space in the 8th arrondissement and the opening of the second edition of Paris+, we celebrated Paris as a place that has welcomed, inspired, and nurtured generations of living artists but also as a capital of connoisseurship and collecting at the most astute, sophisticated, and ambitious levels. Our first day at the fair was tremendous, with a sold-out booth and major sales to foremost private and institutional collections in Paris and France as well as internationally.’
Marc Payot, President, Hauser & Wirth (Zurich, Gstaad, St Moritz, London, Somerset, Los Angeles, New York, Hong Kong, Monaco, Ciutadella de Menorca)

‘Our experience at the fair reflects the current energy in Paris: eminently dynamic!’
Frédérique Buttin Valentin, Director, Semiose (Paris)

‘This edition of Paris+ par Art Basel has been particularly productive and one of the busiest fairs we have seen for years. The international audience and the solid quality of the artworks on display reflect the growing significance of this fair that coincides with Paris’s art market revival.’
Martin Desfossés, Director, Vedovi Gallery (Brussels)

‘French, Italian, and Mexican institutions flocked to the show right from the start. In addition to strong sales, this year’s audience was of the highest quality: we welcomed a large number of foreign collectors on the first day, as well as new contacts. We look forward to a very promising follow-up.’
Sandrine Djerouet, Director and Partner, Jocelyn Wolff (Romainville)

‘It was an extremely lively opening with the presence of very important institutions. There is a very high quality to Paris+ par Art Basel and positive competition that always encourages us to do our best. There were a lot of interesting international collectors on the first day of the fair. We met foreign collectors who followed us from Art Basel in Basel, so there is positive feedback from one fair to another.’
Raffaella Cortese, Founder, Galleria Raffaella Cortese (Milan)

‘We are proud to be showing again in the Galeries Émergentes section, alongside a great selection of galleries and projects of an extremely high standard. Continuing the tone and high expectations set last year, the fair is a platform for showing experimental projects on the highest stage.’
David Hoyland, Founder and Director, seventeen (London)

‘Our inaugural encounter with Paris + par Art Basel has been fantastic! Connecting with collectors from all around the world has been incredible, and Lu Yang’s new video work has received enthusiastic responses from collectors, institutions, and visitors.’
Mathieu Borysevicz, Founder, Bank (Shanghai)

For the full list of statements from exhibitors, please click here.

Galeries Émergentes

Dedicated to emerging galleries across the globe, Galeries Émergentes featured 14 solo presentations. Exhibitors included Bank (Shanghai), LC Queisser (Tbilisi), seventeen (London), Document (Chicago, Lisbon), and PM8 / Francisco Salas (Vigo), and others Supported by groupe Galeries Lafayette, artist Mohamad Abdouni, represented by Marfa’ (Beirut), was selected by a specially appointed jury to produce a new piece in the workshop of the Lafayette Anticipations – Fondation Galeries Lafayette. The new work will be exhibited at Lafayette Anticipations in 2023. As part of the initiative, Marfa’ will be reimbursed its fair participation fee.

The jury was composed of Guillaume Houzé, President, Lafayette Anticipations; Rebecca Lamarche-Vadel, Director, Lafayette Anticipations; Ruba Katrib, Curator and Director of Curatorial Affairs, MoMA PS1; Diana Campbell Bétancourt, Artistic Director, Samdani Foundation and Dhaka Art Summit; as well as artist and fashion designer Akeem Smith, the 2022 laureate.

For the full list of exhibitors in Galeries Émergentes, please visit parisplus.artbasel.com/galeries-emergentes.

Public Program

Freely accessible to the public and realized in collaboration with the City of Paris and local cultural institutions, Paris+ par Art Basel’s expanded, citywide public program featured three exhibitions, two monumental outdoor installations, and a series of talks and debates, presented in six iconic locations across the city. Select projects remain on view beyond the fair dates.

A group exhibition realized in collaboration with the Musée du Louvre, curated by Annabelle Ténèze, Director of the Louvre-Lens Museum, and titled ‘La Cinquième Saison’ (‘The Fifth Season’) was on view in the Jardin des Tuileries – Domaine National du Louvre. It brought together 25 artworks by artists from different generations and continents, including Alex Ayed, Claudia Comte, Nicène Kossentini, and Gaetano Pesce.

Two new venues were added to the program: The Palais d’Iéna, hosting a duo exhibition by Daniel Buren and Michelangelo Pistoletto through October 29, curated by art historian Matthieu Poirier and supported by Galleria Continua; and the parvis de l’Institut de France, hosting a monumental textile sculpture by Sheila Hicks, presented by galerie frank elbaz in collaboration with Meyer Riegger and Massimo Minini, through October 25.

A multimedia installation by Jessica Warboys was on view at the Chapelle des Petits-Augustins des Beaux-Arts de Paris, presented by Gaudel de Stampa.

A five-meter-high aluminum sculpture by Urs Fischer, titled Wave, will be shown on the Place Vendôme through December 1. The work is presented by Gagosian.

Curated for the second year by Pierre-Alexandre Mateos and Charles Teyssou, the show’s Conversations program took place at the Musée national Picasso – Paris and was realized in collaboration with Centre Pompidou.

To view all the projects, please visit parisplus.artbasel.com/public-program.

Download the full press release here.

SoWa Open Market connects local community of artists, vendors, customers – The Huntington News

The rivalry between France and England is long-running and bitter. The Wikipedia entry for “France-United Kingdom Relations”, at more than 15,000 words, is almost the length of a novella. Since William the Conqueror did what his name suggests in 1066, the French and English have vied for superiority with swords, guns, words and—more recently—art auctions.

On October 20th a painting by Joan Miró, a Spanish artist, was sold at Christie’s in Paris. The work, with squiggly stick figures, stars and dabs the colour of macaw feathers, fetched €20.7m ($22m), making it one of the most expensive paintings sold in France in recent decades. For those watching, the paddle-populated auction of avant-garde and Italian work was a symbol of Paris’s growing clout in art. The Italian sale used to be held in London, before Christie’s shifted it to Paris last year because of Brexit. “A part of London’s attractiveness used to be its position at the centre of the European Union,” says Guillaume Cerutti, the boss of Christie’s, who adds: “The momentum is now more with Paris.” (Mr Cerutti is, coincidentally, a Frenchman living in London.)

Parisians in the art world are popping champagne corks even more than usual. Last year Sotheby’s had 70 auctions in Paris, 140% more than in 2013; in London there were 131 auctions, 75% more than a decade earlier. But auction houses are just one part of the picture. Recently prominent international galleries, such as Hauser & Wirth, a Swiss firm, have set up shop. “The wave of galleries opening in Paris is extraordinary; we haven’t seen this in any other city,” says Thaddaeus Ropac, an Austrian gallerist, whose outposts include London and Paris.

France’s art market is still small compared with Britain’s, which claimed 18% of the $67.8bn in art sales worldwide last year. Britain is the second-biggest market after America, which has 45% of sales. London is also where most artworks in Europe that go for more than $10m are sold. France, par contre, had a mere 7% of the global market. But Paris’s share is growing, and so is its place in the minds of art buyers and enthusiasts, who are often guided more by emotion than statistics. France now claims 54% of all art transactions by value in the EU, says Clare McAndrew of Arts Economics, a research firm.

Some insist it is not a competition between London and Paris, which suggests it is. Paris+, an art fair, ends on October 22nd and takes place just after a rival event in London called Frieze, which celebrated its 20th anniversary this year. Many “artizens” do not have the time to go to both. Recently attendance at Frieze London has decreased. There were fewer Americans, who saved their trip for Paris, says Leslie Ramos of the Twentieth, an art-advisory firm. By contrast, Paris+ has been generating buzz since it was launched by Art Basel, a Swiss firm, last year.

Brexit is one reason for the attention Paris is getting. Britain’s withdrawal from the EU in 2020 has changed the dynamics for buyers and sellers of art. Before, Europeans could buy an artwork in London without any import duty; now 5-20% of the value is levied if a buyer imports it into an EU country from London. There is also more paperwork and red tape to contend with. “As an artist, getting your work in and out of the UK is so complicated now,” says Peter Doig, a Scottish painter who lives in London but is considering moving to Paris.

Some European artists have left London for other cities in Europe, says Noah Horowitz, the boss of Art Basel. Berlin, which has a vibrant contemporary arts and museum scene, has been a winner, but it does not claim as many buyers or vendors as London or even Paris.

Yet Brexit does not entirely explain Paris’s boom, says Charles Stewart, Sotheby’s chief executive, who thinks “the collision of luxury and culture, and luxury and art, plays into Paris.” Private foundations, fuelled by money-spinning luxury-goods firms, have upped the city’s artistic game. There is the Bourse de Commerce, a former commodities exchange, which houses the collection of François Pinault, one of the world’s richest men, who made his fortune from fashion brands. (He also owns Christie’s.) The Fondation Cartier, launched by a company known for panthers and its pantheon of jewels, will move its contemporary-art collection to a building opposite the Louvre.

And then there is the Fondation Louis Vuitton, the creation of Bernard Arnault, whose luxury firms have made him the second-richest man in the world. Museums’ exhibitions and ambitions are constrained by the price of shipping and insuring art. The Fondation Louis Vuitton, however, does not have to worry about costs. Its retrospective of Mark Rothko, an American painter, which opened on October 18th, features 115 works, many of them enormous colour-drenched canvases. The value of the borrowed works is in the billions of dollars. “The Rothko show couldn’t happen anywhere else in the world,” says Aurelie Cauchy, also of the Twentieth.

Paris’s revival has a quality of déjà vu. From the late 19th century through the second world war, Paris was “the star of the art market” and “was more important than London, particularly in terms of modern art”, says Philip Hook, a former director of Christie’s and Sotheby’s and author of “The Rogue’s Gallery”, which examines the history of art-dealing. Artists flocked to Paris and so did buyers. But in the 1950s France started imposing new taxes on art transactions, which fuelled London’s growth.

Three factors make a strong art hub—wealth, cultural infrastructure and a seamless regulatory system, says Ms McAndrew. She argues that London and Paris both score well on the first two but less so on the regulatory front; America has less intrusive bureaucracy. The French government, aware of how the country lost its edge before, is more deliberate about trying to preserve France’s attractiveness, Ms McAndrew notes.

Some in Britain complain that funding cuts from the current government have hurt the arts, while others say that leaders should promote policies to help London retain its pole position. “The UK government needs to change some regulations if they want to regain their competitive advantage,” says Mr Cerutti. Anthony Browne, chairman of the British Art Market Federation, is trying to coax the government to eliminate import taxes on art, which he says would not have “any significant impact on the government revenues but would put us on a level footing with our main global rivals”, such as America and Hong Kong. But shielding art transactions from import tax, however small the financial cost, may look bad, as it is mainly the wealthy who would benefit.

Ultimately, policies may matter less than market forces. Art as an asset class has been surprisingly resilient in the face of higher interest rates, but there is no guarantee it will stay that way. Recently the Asian market has wobbled, due to real-estate and financial jitters in China. London’s recent sales have been mixed. Violence in Israel and Palestine has somewhat muted the freewheeling mood at the fairs and may have suppressed buying, some dealers murmur. But harder times can also encourage rivalries to be set aside. Perhaps for Paris and London, there will soon be a détente. ■

Hundreds crowded the main exhibition hall at the Dena’ina Center in downtown Anchorage Thursday for the first day of the Alaska Federation of Natives arts market. 

Each year, Indigenous artisans converge for three days during the convention to sell carvings, kuspuks, fur-lined hats and all manner of jewelry. Festival organizers said this year’s market was bigger than ever.  

This year’s convention featured more than 200 artists from around Alaska and the Lower 48. Sitting in the middle of it all was George J. Bennett Sr., a Lingít artist from Sitka. His bentwood boxes, decorated in formline designs, were already halfway sold out by the end of the morning. 

“I had about six, eight people converge on my table before I was even ready to price them,” Bennett said. “They wanted boxes … so about eight or nine boxes went out within a half hour after I got here!”

Bennett has been making boxes for 25 years. This is his fifth market. His wife is from the Interior, so they enjoy catching up with all of the friends they run into. 

“This is kind of like the melting pot,” he said. “It’s like you’re sat on a corner and you’re watching all your friends go by and as you see them and you wave.”

Jack Bonney from Visit Anchorage helped organize the AFN convention and this year’s market. He said every region of the state is represented. 

“It’s a microcosm of all of Alaska in Anchorage, in one or two rooms for a couple of days,” he said. 

Bonney said the market draws thousands of people to AFN every year. Upstairs, prominent leaders speak and important discussions about Alaska Native issues take place. But the market can be an entry point for the general public. 

“The Arts Market is one of the big draws for folks who may not otherwise know what AFN is about, or it might be their first visit that leads to a broader conversation about what AFN does in the community,” he said.

Trinity Villalobos came to the convention from Fairbanks for work. But like everyone else who attends AFN, she and friend Tiara Davis took some time to browse for things that wouldn’t break the bank.

“I was looking for something cool, something unique, something that I can afford,” Villalobos said. 

She was eying some Halloween-themed bracelets — while Davis had her eye on a hummingbird hair clip. 

“We realized that like the beadwork, it takes a lot of time and so you want to be able to pay people what they are worth or what they’re quoting,” Davis said. “But, you know, the price just might not be what your pockets can handle.”

For the first time, this year’s market spilled over into an additional room upstairs. Vina Brown set up her table there. She’s Haíłzaqv and Nuučaan̓uɫ, originally from British Columbia. She traveled from Lummi, Washington to the market for the first time. She’s been to the Santa Fe Indian Market and others. 

“I really didn’t know what to expect. But it’s quite impressive so far. I mean, there’s so many people,” she said. 

Her business is called Copper Canoe Woman, based on her Indigenous name ƛ̓áqvas gḷ́w̓aqs, and features traditional designs like formline with a high-fashion flare. 

“Just like our rights aren’t frozen in time, our art isn’t frozen in time. So we’re allowed to adapt and pivot and elevate that,” Brown said. 

Many artists sell out before the final day, and Brown said she was manifesting that as well — to help offset her travel costs. 

Back in the main hall, Bennett said that whether he sold all his boxes or not, seeing people enjoy his work was enough. 

“It’s a good way to connect and share each other’s culture through this kind of work,” he said. “So it’s beautiful.”

DUBLIN, Oct. 20, 2023 /PRNewswire/ — The “Global Online Auction Market (by Product Type, & Region): Insights and Forecast with Potential Impact of COVID-19 (2022-2027)” report has been added to ResearchAndMarkets.com’s offering.

The global online auction market is poised for substantial growth, with an expected value of $7.42 billion by 2023, representing a robust Compound Annual Growth Rate (CAGR) of 11.50% during the forecast period.

Younger audiences, particularly High-Net-Worth Millennials, are driving the digital transformation of auctions, leveraging online platforms to access a wide range of goods and services.

Market Segmentation:

The report categorizes the global online auction market based on various parameters:

By Product Type:

• Fine Art
• Jewels and Watches
• Cars
• Decorative Arts and Furniture
• Others

Fine art auctions hold the largest market share, driven by increasing consumer adoption of online platforms for art transactions.

Geographic Coverage:

The global market is divided into five major regions:

• North America
• Asia Pacific
• Europe
• Middle East & Africa
• Latin America

Asia Pacific is the fastest-growing regional market, fueled by sustainability, affordability, and collectibility trends. China stands as a significant contributor to the growth of online auctions in the region.

Key Growth Drivers:

1. Rise in Internet Use for Auctions: The internet has revolutionized the auction industry, enabling global access to auctions 24/7, on any device. Advancements in technology, high-speed internet, and secure payment options have facilitated online auctions.
2. Rapid Urbanization: Urbanization trends have led to increased consumer demand for online auctions, particularly in densely populated urban areas.
3. Surging Millennial Population: High-Net-Worth Millennials are becoming significant spenders in the online auction market as they enter their peak earning years.
4. Growing Recognition of NFTs: The rise of Non-Fungible Tokens (NFTs) is garnering attention, attracting collectors and investors to digital assets.

Key Challenges:

1. Security Concerns: Security and privacy are paramount in online auctions, and breaches can result in the exposure of sensitive information, undermining trust in the platform.
2. Auction Fraud: Online auctions are susceptible to fraudulent activities, such as fake listings and scams, posing risks to both buyers and sellers.

Key Trends:

1. Growing Popularity of Mobile Bidding: Mobile devices are increasingly used for bidding, offering convenience and accessibility to a wider audience.
2. Integration of Artificial Intelligence (AI): AI is enhancing various aspects of online auctions, from customer service to fraud prevention, and improving the overall experience for participants.
3. Growing Influence of Digital Marketing: Digital marketing strategies are being leveraged to promote online auctions, attracting a broader audience and increasing engagement.
4. Cloud-based Live Streaming Online Auctions: Online auctions are incorporating cloud-based live streaming to provide an immersive and interactive experience for bidders.

The COVID-19 Impact:

The COVID-19 pandemic accelerated the digital transformation of the online auction market, as remote work and digital activities became the norm. The convenience and safety of online auctions gained traction during the pandemic, leading to lasting changes in the industry.

Analysis of Key Players:

The global online auction market features both organic and inorganic expansion strategies among vendors. Key players are leveraging cutting-edge technology to enhance the presentation of auctioned products. Leading companies in the market include Ritchie Bros. Auctioneers Incorporated, eBay Inc., Auction Technology Group PLC (LiveAuctioneers.com), Mortgage Specialists International, LLC (Auction Network), Epiris LLP (bonham.com), Ebid.com, The Auction Company (TAC), Invaluable, LLC (AuctionZip.com), OnlineAuction.com, Inc., WebStore.com, Catawiki, Biddingo.com, and A One Salasar Pvt. Ltd.

For more information about this report visit https://www.researchandmarkets.com/r/mh0nrl

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SOURCE Research and Markets

As conceptual art emerged in the 1960s as a dominant movement, more artists turned their attentions toward atypical materials and spaces. Using wood, steel, plants, peat moss, and other organic matter became commonplace in the genre known as land art, which included works made directly on the earth or with natural materials brought into the gallery.

As with most of art history, land art has generally been dominated by men, although a new book published by Delmonico offers a corresponding, if not corrective, narrative. Groundswell: The Women of Land Art is a 256-page volume that encompasses a range of works by renowned artists like Ana Mendieta, Nancy Holt, and Agnes Dean, to name a few.

On the cover is Lita Albuquerque’s “Spine of the Earth,” an ephemeral creation of concentric circles laid in the Mojave Desert in 1980, with projects like Meg Webster’s verdant “Moss Bed, Queen” and Patricia Johanson’s winding “Fair Park Lagoon” inside its pages. Given the fleeting nature and live components of many land-art pieces, the book is both a celebration of the women artists working in the genre and a necessary resource for documenting such groundbreaking and transient additions to the canon.

Groundswell is available on Bookshop.

Patricia Johanson, “Fair Park Lagoon” (1981–86), gunite, native plants, and animal species, For the People, the Meadows Foundation, Communities Foundation of Texas, Texas Commission on the Arts and their private and corporate donations, permanently sited in Fair Park, Dallas. Image by Michael Barera, © Patricia Johanson, courtesy of the artist

Alice Aycock, “Maze” (1972), 12-sided wooden structure of 5 concentric dodecagonal rings, broken by 19 points of entry and 17 barriers 6 x 32 feet diameter, originally sited at Gibney Farm near New Kingston, Pennsylvania, now destroyed. Image by Silver Spring Township Police Department, Mechanicsburg, Pennsylvania, © Alice Aycock, courtesy of the artist

Nancy Holt, “Sun Tunnels” (1973-76), Great Basin Desert, Utah, concrete, steel, earth, 9 1/6 x 86 x 53 x 86 feet, collection of Dia Art Foundation with support from Holt/Smithson Foundation. Image © 2023 Holt/Smithson Foundation and Dia Art Foundation, licensed by Artists Rights Society, New York

Meg Webster, “Moss Bed, Queen” (1986/2005), peat moss, earth, and plastic tarp, 10 x 60 x 80 inches, Walker Art Center, T. B. Walker Acquisition Fund, 2006. Image © Meg Webster, courtesy of the artist and the Paula Cooper Gallery  Photo: Courtesy Walker Art Center

Maren Hassinger, “Twelve Trees” (1979)

Mary Miss, “Perimeters/Pavilions/Decoys” (1977–78 ), earth, wood, and steel, temporary installation at the Nassau County Museum, Long Island, New York. Image © Mary Miss, courtesy of the artist

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article A New Book Celebrates the Groundbreaking Women Who Changed Land Art appeared first on Colossal.

Last week, on Paris’s oldest planned square, the Place des Vosges, the global gallery brand Mendes Wood DM opened its fourth branch. The two-storey space takes over a newly renovated 18th-century building in the artistic Marais district. It joins Mendes Wood DM locations in New York, Brussels and São Paulo, where the gallery was founded in 2010 by Pedro Mendes, Matthew Wood and Felipe Dmab to show a roster of contemporary Brazilian and international artists, which includes Sonia Gomes, Lucas Arruda and Lynda Benglis.

While Mendes Wood DM is one of three prominent international galleries to have opened in the French capital over the weekend before Paris + by Art Basel (until 22 October), along with Hauser & Wirth and Modern Art, its plans pre-date the city’s current art market boom, Mendes says. “Paris has always been important to us. This is where Matthew and I met as students in the 2000s, and where I lived for seven years—our experiences in Paris are what led us to open our first gallery in Brazil.”

Of course, the city’s ascendant position within the global art trade is a draw too. “Paris feels like the perfect gateway to Europe—and it has a renewed energy,” Mendes says. The move also allows the gallery to be physically closer to institutions and collectors that have led the way for the visibility of Latin American art in the West, including the Centre Pompidou and the Fondation Cartier, he adds.

The Mendes Wood DM team considered opening their newest space in London, Mendes says, but “Paris felt more like home”. He continues that Brexit-related issues were certainly factors that the gallery took into account when deciding between the two cities, but also that he has heard of instances in which the UK’s departure from the EU has created “favourable tax situations” for some galleries.

The gallery opened its first overseas outpost in Brussels, in 2017. This was a necessary step to allow many of its European clients to more fully engage with its programme. “It’s important to have a physical presence. Collectors need to understand your gallery beyond the context of the art fair circuit,” Mendes says.

The Brussels space allowed Mendes Wood DM to begin operating in a country where legal and tax structures are more favourable for art trading. “Ease of doing business is certainly one of the reasons we create these ’embassies’ in various countries,” Mendes says. Establishing a gallery in Brussels was also informed by a desire to not have another space in a huge metropolitan city like São Paulo, Dmab says.

Mendes Wood DM’s New York space opened in 2022, cementing the gallery’s position as a serious player in a global industry, although it ran a project space in the city for a few years in the mid-2010s. With locations on three continents, Mendes Wood DM counts itself among a growing number of Latin American galleries that have expanded to the West in recent years, including Mexico City’s Kurimanzutto, and Nara Roesler, from Brazil, both of which have opened in New York. Madrid is witnessing a new influx of Latin American galleries too, such as Ginsburg and Hilario Galguera.

Mendes reflects on whether his Latin American-founded gallery is at risk of losing its identity by expanding so far outside of the region. “In the beginning there was a boxing in for galleries like us—and now often people don’t remember our origin. Brazil is our home, just like Paris, New York and Brussels are our homes. From the beginning we have represented artists whose practices were outside of the centre. When we began in São Paulo we were a black swan—people said our artists were too formalist, too crafty. So if people don’t understand our gallery, it doesn’t bother us. We’re used to being on the outside anyway.”

Mendes Wood DM’s Paris space is directed by Nicolas Nahab. He joined the gallery last month from Marian Goodman Paris, where he was a partner. He was previously with the Paris gallery Yvon Lambert. “This is the first time I am working with a team of gallerists who are of my generation, and that’s an exciting prospect,” Nahab says of his reasons for joining. “I like how horizontal the structures are at this gallery, it appeals to me.”

Mendes Wood DM’s inaugural show in Paris, curated by Fernanda Brenner, features around 50 artists, most of whom are not represented by the gallery. Its title, I See No Difference Between a Handshake and a Poem, comes from a 1960 letter by the poet Paul Celan. Themed around hands, touch, and mark making, the multi-media show includes works by Tosch Basco, Michael Dean and Marguerite Duras.

At the Paris+ fair and its satellites, there was plenty of talk about the art world’s center of gravity in Europe shifting from Britain to France.