Last week I wrote about Price Waterhouse being engaged to count the Oscar ballots and I mentioned a book by Mark Stevens, The Big Eight. Mark also wrote a follow-up titled The Big Six. I read them both (and also most of his other books).

One day I was browsing through a bookstore and saw a new book titled Your Marketing Sucks, which caught my eye. I picked it up and noticed the author’s name was Mark Stevens and was curious if it was the same guy who wrote the two books I read about the giant accounting firms, and it was. I then opened the book and happened to turn to a page that had the title “Lazy CPA Firms: The Case of Fifty CPAs.” I read that chapter and he described something we did that did not work at all, and then I bought the book. After I read it, I distributed copies to many clients. My interest in giving it to them wasn’t about the CPA firms’ experience, but his other tips and suggestions on marketing. I thought the book was great and wanted to share it with my clients. 

I also gave books to my marketing coordinator, Kristen Ferrar Celii, to read, as well as my partners. Kristen, being resourceful, found out that he was speaking in Manhattan the following week and she purchased a ticket for her and me and we attended it. We also saw a couple of our clients at that presentation. He spoke even better than his book, and we became raving fans of his. A month or two later, we engaged him to speak at our annual Partners’ Network Power Breakfast. 

My purpose in writing this is not my personal journey through memory lane, but to introduce you to an excellent, and short, marketing book. I purchased the Kindle version to reread it before writing this column. His “10th Anniversary Edition” was published in 2014 but is still as relevant and crisp as the original. Good marketing ideas do not wither with age, and as long as they are used, adapted to the ever-changing media and customer needs and subjected to market dictated iterations, they grow stronger and more significant. Of course, this is true some of the time. Your results, experiences, message, follow-through, creativity and imagination will determine the validity of your marketing. 

I believe this book is a strong contender for your interest and attention. I also recommend using it to get started following my 2000 🡪 70 🡪 40 🡪 12 🡪 1 🡪 60 growth method. There are probably 2,000 ideas you can adopt or wish you could, but practically only about 70 are really relevant to you. Of those, there are likely about 40 that are just right for you, but doing them becomes too overwhelming of a project, so nothing is done for lack of deciding which to start with. My suggestion is to make a goal of learning and doing one new thing a month. That means you will have accomplished 12 new ways of growth over the course of a year, and 60 new ways over the next five years. That is pretty impressive and should greatly add to your success. 

My takeaway is to pick one new thing a month to use, adopt, try or put in practice. This book has many ideas. Pick one for this month. Next month, pick it from some other source, or go back to this book, or maybe get it from one of my columns posted here, and you will be on your way to 60 new things over the next five years. Pretty cool!

Do not hesitate to contact me at emendlowitz@withum.com with your practice management questions or about engagements you might not be able to perform.

A 19th-century thatched ice house that was an important staging post for fish between the sea and the nation’s stomachs is to be transformed into a circus training centre.

The quayside Grade II-listed Great Yarmouth Ice House, built as one of a pair between 1851 and 1892, was a key asset in the town’s once-thriving fishing industry.

It was constructed at the same time as a nearby railway station, allowing freshly caught herrings to be packed in ice and quickly transported to the Billingsgate fish market in London and beyond.

Now the National Lottery Heritage Fund is contributing almost £2m to convert the historic building into the National Arts and Circus Centre, a training and performance space due to open in 2024.

The ice house grant is part of £12.2m in funding to restore and transform historic buildings announced by the heritage fund on Tuesday.

The Strand Arts Centre in Belfast, an art deco jewel, will be restored with the help of a grant of £768,000.

The Strand opened in 1935 with a screening of Bright Eyes, starring Shirley Temple. The picture house had one screen and 1,170 seats.

Its design featured a curved end, like a ship’s prow, and porthole windows influenced by the nearby shipyard Harland & Wolff.

Once one of 40 picture palaces in Belfast in the prewar golden age of cinema, it is the last still in operation.

The grant will help transform the building into a living museum and preserve it for future generations.

Cardiff’s Grade II*-listed Victorian market will get a grant of more than £2m for restoration. It opened in 1891 on the site of the city’s jail and gallows, where the coal miner Dic Penderyn was hanged 60 years earlier for his part in the Merthyr Rising.

The market is now home to more than 60 independent businesses and traders. The restoration plans include repairs to the roof and the market clock, and the creation of a 70-seat eating area close to food stalls.

Lowestoft town hall in Suffolk has been awarded £3.25m to transform the empty Grade II-listed building into a civic and community centre with a gallery and cafe.

The original council chamber contains three stained glass windows, the largest of which commemorates the Anglo-French alliance against Russia during the Crimean war.

The grants would help “revitalise and preserve the UK’s remarkable built heritage”, said Eilish McGuinness, the fund’s chief executive.

“We look forward to seeing these fantastic projects improving the condition and understanding of the important heritage they guard, reducing the amount of heritage at risk, and delivering transformational projects for communities across the UK,” she added.

The fund has also given development grants to a number of planned projects, including one at St Conan’s Kirk, a lochside church in Argyll. Considered to be one of the finest church buildings in the UK, its highlights include a Norman doorway, Gothic flying buttresses, a Celtic cross, Arts and Crafts carvings, a Saxon tower and a stone circle.

While the granddad sketches could be where the crawdads sing, Michael Campbell mostly sketches flora in Longmont where he also puts his artwork up in the Firehouse Art Center.

Longtime Longmont resident Michael Campbell is a dedicated pencil artist whose passion lies in depicting the natural world’s intricate beauty and teaching the scientific artistic rendering of botany. 

Campbell, a seasoned artist and instructor, has a unique journey that spans decades, traversing the realms of graphic design in his former career and more recently the world of botanical art. 

Campbell worked for the University of Colorado for 25 years as a graphic art director. During the end of this period, he stumbled upon the School of Botanical Art & Illustration at the Denver Botanic Gardens, and botanical art immediately captured his interest, sparking a fresh passion within him.

Campbell’s unwavering commitment to botanical art drove him to obtain both a certificate and an advanced diploma at the School of Botanical Art & Illustration which not only honed his drawing skills but also opened doors for him professionally. Campbell’s expertise gained him a position as an instructor at Front Range Community College and then at the very institution that had ignited his passion for botanical art — the Denver Botanic Gardens.

“So now I teach pencil drawing, and some other stuff in the program. And that’s sort of like my second career. I wasn’t sure how it was going to work out. But leaving CU is probably the best thing I ever did,” Campbell said.

Campbell’s dedication to mastering the art of botanical illustration led him to invest both time and effort into honing his skills, a journey that spanned almost eight years and included extensive coursework. Campbell’s age, nearly 70, is no barrier to his passion for teaching and creating art. 

“When you spend all that time going to meetings, and marketing, and organizations, and academia and all that stuff. The natural world and drawing the natural world, it’s just so soulfully fulfilling,” Campbell said. “It’s just endlessly interesting to me. And the older I get, the more I focus on the tiny little things. I can spend hours just trying to get the shape of acorns correct, or pinecones.”

The rigor of botanical art demands precision and accuracy, especially when collaborating with botanists. Campbell’s dedication to portraying plants authentically reflects his deep respect for the scientific aspect of botanical illustration. Campbell’s preference for drawing with graphite over painting is the simplicity of using something as slight as a pencil to create something so detailed and exquisite.

“Pencil is just so direct. All you need is any kind of pencil and a piece of paper. That’s all you need,” Campbell said. “I love the directness and the simpleness of it. Even when it’s so subtle, and you can be so elegant with it.”

Campbell believes that botanical art offers a deeper connection to the subject matter than mere photography. Through his artwork, he strives to convey not only the accuracy of the plant but also his personal interpretation and perspective. His illustrations provide viewers with a comprehensive understanding of the plant’s anatomy and beauty.

For four decades, Michael Campbell has called Longmont, Colorado his home. His connection to this community and its natural treasures has not only fueled his passion for botanical art but has also become an integral part of his creative journey. 

Campbell’s involvement in documenting heritage trees in Ireland has translated into a unique local pursuit. He scours Longmont’s natural spaces to find specimens native to Ireland, which serve as subjects for his illustrations. Within Longmont’s flora, Campbell has found such subjects as the Scots Pine and English Oak trees. 

“There’s a whole science behind this thing called the spring gentian, which comes up for like two, three weeks in April and May. It’s an Alpine, the deepest, darkest blue I’ve ever seen like velvet, I cannot match the color. But that’s probably my favorite,” Campbell said. “I started illustrating bird’s nests with graphite. And I still do it. There are a couple in that exhibit. But I just find those very, very therapeutic.”

Nature and art lovers can find Campbell’s botanical art sketches on the second floor of the Firehouse Art Center until the end of September.

Portland-based artist Alexis Hilliard describes her collages as “visual symphonies,” blending numerous photographs and archival materials to create harmonious compositions. “Sometimes I use whole photos, not cut up much. That’s like sampling a bass line,” she tells Colossal. “Other times, I’m only using a tiny color swatch, so that’s more like adding a simple note into the mix.”

An avid collector of images, Hilliard scours everything from historical archives to oil paintings to Pinterest boards, amassing a collection of tens of thousands that span a wide variety of themes and content. And she is also drawn to working in a variety of scales. “When I first started, I worked a lot with WWI and WWII photos, but the collage technique itself quickly became the point…There is something to making large art pieces, the ones that surround your peripheral sight and evoke the sublime,” she says.

Hilliard explores a range of themes that tie together history, the volatility of nature, grandiosity, vulnerability, and more. She often emphasizes focal point, like running stags or a silhouetted couple seated on a bench, in the foreground of vast and dramatic landscapes. “I’m not the best at perspective… but that also gives me the shameless ability to add 8 vanishing points with reckless abandon,” she says. “It’s a fun way to play with perceived rules and break away from expectations—even your own.”

Hilliard documents much of her process, which you can find on Instagram.

“Volcano Study No. 2” (2021), collage on panel, 6 x 6 inches

“White Stags” (2020), collage on panel, 18 x 14 inches

“With the Current” (2016), collage on panel, 48 x 36 inches

“Portrait of Pele” (2022), collage on panel, 10 x 10 inches

“Foolish Decisions (2023), collage on panel, 18 x 14 inches

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 In Detailed Paper Collages, Alexis Hilliard Delves Into Depth and Drama appeared first on Colossal.

What was your first purchase?

The first works of art we “collected” were a small group of trinkets that the artist Joseph Cornell mailed to my father Robert Schoelkopf, who was an art dealer and was working with Joseph in the 1960s. They are amusing and very spontaneous works.

Sidewalk in Vicksburg, Miss. (Variant) (1936). Courtesy of Andrew Schoelkopf.” width=”1024″ height=”819″ srcset=”https://www.mecreates.com/story/news/wp-content/uploads/2023/09/Andrew-walker-evans-1024×819.jpg 1024w, https://news.artnet.com/app/news-upload/2023/09/Andrew-walker-evans-300×240.jpg 300w, https://news.artnet.com/app/news-upload/2023/09/Andrew-walker-evans-1536×1228.jpg 1536w, https://news.artnet.com/app/news-upload/2023/09/Andrew-walker-evans-50×40.jpg 50w, https://news.artnet.com/app/news-upload/2023/09/Andrew-walker-evans-1920×1535.jpg 1920w, https://news.artnet.com/app/news-upload/2023/09/Andrew-walker-evans.jpg 2000w” sizes=”(max-width: 1024px) 100vw, 1024px”>

Walker Evans, Sidewalk in Vicksburg, Miss. (Variant) (1936). Courtesy of Andrew Schoelkopf.

The next work was a lovely photograph by Walker Evans, which was a gift from Walker to me when I was about nine years old and remains a treasured object. My brother and I own many works by Walker Evans because my father was a chief proponent of fine art photographs in general and Evans in particular.

Works by Anish Kapoor, left, and Rolph Scarlett in Schoelkopf’s home. Courtesy of Andrew Schoelkopf.

What was your most recent purchase?

My wife, Grace, and I bought a suite of works on paper by Anish Kapoor at Frieze London in late 2022. We adore Kapoor’s work in all media and think he is a genius.

Tell us about a favorite work in your collection.

My favorite artwork is a John Marin watercolor from 1939, which we acquired from our friend Lisa Marin, the artist’s granddaughter. A primary passion for us as collectors is works on paper—particularly those of the first half of the 20th century. I love the immediacy and elegance of this watercolor of Maine—the pigment is fresh and varied. During this period of his career, Marin was so accomplished as a watercolorist that it reads in a very jazzy and free way.

John Marin, Untitled (Landscape) (1939). Courtesy of Andrew Schoelkopf.

Which works or artists are you hoping to add to your collection this year?

I love the American Precisionists, despite their rarity, and I would love to own an important work by Charles Sheeler. Arthur Dove, Marsden Hartley, and Georgia O’Keeffe are other favorites. I am totally priced out of the market at this point—the Hartley I would want to live with is $20 million plus, and the O’Keeffe more. So, I missed checking that off the list. I am also a huge fan of John Frederick Kensett and love his late work from around 1870, and I love the work of the Pre-Raphaelites, and on and on and on.

March, April (1929). Courtesy of Andrew Schoelkopf.” width=”1000″ height=”1024″ srcset=”https://www.mecreates.com/story/news/wp-content/uploads/2023/09/Andrew-arthur-dove-1000×1024.jpg 1000w, https://news.artnet.com/app/news-upload/2023/09/Andrew-arthur-dove-293×300.jpg 293w, https://news.artnet.com/app/news-upload/2023/09/Andrew-arthur-dove-1500×1536.jpg 1500w, https://news.artnet.com/app/news-upload/2023/09/Andrew-arthur-dove-50×50.jpg 50w, https://news.artnet.com/app/news-upload/2023/09/Andrew-arthur-dove-1875×1920.jpg 1875w, https://news.artnet.com/app/news-upload/2023/09/Andrew-arthur-dove.jpg 2000w” sizes=”(max-width: 1000px) 100vw, 1000px”>

Arthur Dove, March, April (1929). Courtesy of Andrew Schoelkopf.

What is the most valuable work of art that you own?

There are many worth a fair amount, but I never think about what the works we collect or live with at home are worth. That is a slippery slope for a dealer and it is better to wall off the value from the enjoyment. That, of course, will probably serve our children well.

Where do you buy art most frequently?

If Grace and I buy something together, it is usually when we are on a busman’s holiday checking out an art fair. I am afflicted with the collecting gene, as my friend and retired partner Susan Menconi used to say—so I would buy 10 things a day if I had the resources.

EAT (2022). Courtesy of Andrew Schoelkopf.” width=”866″ height=”1024″ srcset=”https://www.mecreates.com/story/news/wp-content/uploads/2023/09/andrew-Richard-Estes-866×1024.jpg 866w, https://news.artnet.com/app/news-upload/2023/09/andrew-Richard-Estes-254×300.jpg 254w, https://news.artnet.com/app/news-upload/2023/09/andrew-Richard-Estes-1299×1536.jpg 1299w, https://news.artnet.com/app/news-upload/2023/09/andrew-Richard-Estes-42×50.jpg 42w, https://news.artnet.com/app/news-upload/2023/09/andrew-Richard-Estes.jpg 1464w” sizes=”(max-width: 866px) 100vw, 866px”>

Richard Estes, EAT (2022). Courtesy of Andrew Schoelkopf.

Is there a work you regret purchasing?

There are a few, but I still enjoy owning them.

What work do you have hanging above your sofa? What about in your bathroom?

Above our sofa in the family room is a gorgeous work on paper by Tara Donovan. I love her work across media, particularly the sculptural works. I hope to be able to live with one sometime as I enjoy and am attracted to her work every time I see it. We don’t hang important works In the bathrooms, but I love the Jeffrey Milstein photograph that hangs in our powder room.

What is the most impractical work of art you own?

It’s hard to say what might make a work of art impractical, as we don’t own anything huge or otherwise cumbersome. We do own some 19th-century photographs that we keep in cases and don’t enjoy frequently because we are concerned about keeping them safe from sunlight. It is harder to store and enjoy those, of course, but it is still possible and practical, I suppose.

Autumn Cascade (ca. 1910). Courtesy of Andrew Schoelkopf.” width=”1019″ height=”1024″ srcset=”https://www.mecreates.com/story/news/wp-content/uploads/2023/09/Andrew-Marsden-Hartley-1019×1024.jpg 1019w, https://news.artnet.com/app/news-upload/2023/09/Andrew-Marsden-Hartley-300×300.jpg 300w, https://news.artnet.com/app/news-upload/2023/09/Andrew-Marsden-Hartley-150×150.jpg 150w, https://news.artnet.com/app/news-upload/2023/09/Andrew-Marsden-Hartley-1528×1536.jpg 1528w, https://news.artnet.com/app/news-upload/2023/09/Andrew-Marsden-Hartley-50×50.jpg 50w, https://news.artnet.com/app/news-upload/2023/09/Andrew-Marsden-Hartley-256×256.jpg 256w, https://news.artnet.com/app/news-upload/2023/09/Andrew-Marsden-Hartley-1910×1920.jpg 1910w, https://news.artnet.com/app/news-upload/2023/09/Andrew-Marsden-Hartley-96×96.jpg 96w, https://news.artnet.com/app/news-upload/2023/09/Andrew-Marsden-Hartley.jpg 2000w” sizes=”(max-width: 1019px) 100vw, 1019px”>

Marsden Hartley, Autumn Cascade (ca. 1910). Courtesy of Andrew Schoelkopf.

What work do you wish you had bought when you had the chance?

Stuart Davis, Marsden Hartley, Arthur Dove, and O’Keeffe, among a great many others.

If you could steal one work of art without getting caught, what would it be?

The Artist in His Museum by Charles Willson Peale. It is a masterpiece and really says a lot about the artists and art dealers of yesterday and today. I adore that picture and the whimsy of it, even though it was painted in 1822.

PS: I am obsessed by Walton Ford and would love to own a large watercolor!

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Since 2011, The Other Art Fair presented by Saatchi Art has been nurturing its artist-led event for over 70 editions across the globe, serving visitors with surreal experiences and accessible art. The upcoming edition in Dallas, taking place October 5 to 8, will dazzle and delight with a unique lineup of surprising and colorful features. Advance tickets are available for a limited time and start at $18 for weekend admission.

Here are the top 10 reasons why people are talking about this event:

10. You can have your photograph taken by a Grey’s Anatomy actor-turned-artist. It’s time to unleash your inner animal as the fair welcomes photographer Charles Michael Davis as its Guest Artist. Each solo photo session will result in one unmasked and one animal-masked action shot, directed and shot by Davis himself.

9. Get a personalized haiku based on any word or phrase you offer the in-house poet.

8. Get poked! The stick-and-poke trend you’ve been seeing pop up in Dallas? You can get your very own work of art by the skilled and professional tattoo artists from Poetic Pokes (booking on a first-come-first-served basis).

7. A play on the “take what you need” bulletin, an all-new installation titled “The Karmacy” invites you to choose a bottle that contains what you need the most and allows the well-wishes of a “karmacist” to work its magic.

6. Peruse art after drinks are poured. The bar inside the fair offers a selection of alcoholic and non-alcoholic drinks to enjoy while you browse.

5. All artworks are affordably priced! The Other Art Fair proudly offers curated collections of originals under $500.

4. Check out the New Futures winners! Art should never be elite. The Other Art Fair’s New Futures program is part of its continued mission to break down traditional barriers of the contemporary art world by giving prizes to talented, often underrepresented, emerging artists.

3. Become the artist by grabbing a friend and participating in one of the on-site workshops. This edition, the fair is offering sessions on sign lettering and watercolor landscapes.

2. Bring your family! Visit the fair on Sunday for a relaxed, creative vibe. Kids can get coloring sheets for your budding artists to share in the fun.

1. Now to the core of what makes The Other Art Fair, well, other. Unlike the usual gallery-led fairs, this event allows you to meet 130 independent artists. Artists who work with paint, clay, photographs, and more will be selling original work for you to take home.

To learn more and get tickets, visit theotherartfair.com/dallas.

Susan Whigham, “Purple Passion”

Elizabeth Dyer, “Untitled”

Chrissy Lush, “Untitled (record player)”

Quel Hynson, “SHINE”

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 Top 10 Reasons to Visit The Other Art Fair in Dallas appeared first on Colossal.

PARIS, Sept. 25, 2023 /PRNewswire/ — France’s art market professionals will be extremely relieved by this news. The French government has decided to maintain the VAT rate at 5.5% for initial sales and imports of artworks from countries outside the European Union, proof that the two French Ministers, (Rima Abdul Malak for culture and Bruno Le Maire for the economy) succeeded in making their case against strong headwinds from Brussels.

Photo – https://mma.prnewswire.com/media/2219463/Artmarket_1.jpg

If they had failed, there was a high risk that VAT would be raised to 20% before 1 January 2025, which would undoubtedly have broken the dynamics of the French art market, now the fourth largest national art market in the world according to Artprice.com by Artmarket.

Over recent years France has been accumulating a number of very positive signals for the re-emergence of its art market. These include the presence of large private foundations such as the Fondation Louis Vuitton and the Pinault Collection, the replacement of the FIAC with Paris+ (organized by Art Basel),  the arrival and/or expansion of major international galleries such as the Gagosian, Zwirner, Skarstedt, Max Hetzler, Thaddaeus Ropac, Continua, Marian Goodman, and Bonhams’ recent acquisition of the French auction house Cornette de Saint Cyr, not to mention the rise of the two major global auction houses, Christie’s and Sotheby’s, both owned by French business tycoons (François Pinault and Patrick Drahi respectively), and, the successful transformation of Drouot, and Arcurial (Dassault family), France’s leading auction house in terms of turnover which now ranks 14th among the world’s top 20 auction houses.

Since Brexit, the French art market has been the main beneficiary being the main gateway to the European Union.

A VAT rate hike to 20% would have a negative impact not just on artists, antique dealers, art dealers, and auction houses, but also on the entire art market ecosystem which includes tens of thousands of people employed in related fields ranging from frame-building to journalism, from restoration to transport, from logistics to security and from tourism to insurance.

In March 2023 the Parisian gallery owner Kamel Mennour told the Le Monde newspaper (interview by Harry Bellet) “If the increase makes it difficult for me to sell their works, I will obviously be less inclined to sign new artists“. Now that the VAT has been maintained at 5.5%, Kamel Mennour can breathe a sigh of relief…

Artprice.com by Artmarket congratulates the government’s decision.

VAT at 20% would have harmed the art market in France as a whole, and, as a result, would have damaged the confidence and dynamism of Artprice.com by Artmarket’s French clientele. Incidentally – as the World Leader in Art Market Information for more than 25 years –  Artprice notes that its French clients, who represented less than 5% of their total clientele a few years ago, now represent more than 10% (see Artmarket.com’s universal reference document registered with the AMF, France’sFinancial Markets Authority), showing that French collector participation has doubled.

The reduced VAT rate of 5.5% will therefore continue to apply as of 2025 to initial sales as well as to imports of artworks from outside the EU. The rate will apply to the total price and not just to the margin, which will penalize low-margin sales very slightly.

“A VAT rate at 20% would, for example, prevents the return to our country of Impressionist paintings or even masterpieces of Modern art by the likes of Picasso, Matisse and Manet, which are no longer in France although they were created in France and are adored by French collectors. Art is not a common consumer good: a State is enriched by its imports as well as the production of its ‘home-grown’ artists. Inversely, the departure en masse of its national treasures has an impoverishing impact on the State that loses them.” This idea was expressed with courage by journalist Martine Robert who became the ‘whistleblower’ for this cause for the French economics newspaper Les Échos in February 2023.

thierry Ehrmann – founder of Artprice and CEO of Artmarket.com and himself a sculptor (see his biography in Who’s Who In France)  –  made the following observation: “This decision by the government will ensure that the dynamism of the French Art Market is not disrupted. We can only rejoice at this courageous decision by our Ministers Rima Abdul Malak and Bruno Le Maire. Artprice.com by Artmarket has worked for more than 25 years with all the players in the French art market, and it knows how much the VAT rate can impact the good performance of the art market. As a sculptor, I have been passionately following artistic creation in France for 40 years, and it is once again resonating around the world. This move will give substantial reassurance to French artists.”

Faced with an increasingly globalized art market, France remains a strong and competitive market.

Infographic – https://www.mecreates.com/story/news/wp-content/uploads/2023/09/Artmarket_2_Infographic.jpg

France’s place in the global and European art market

In the first half of 2023, French auction houses sold 54,000 fine art lots, generating a total turnover of $384.3 million. Artprice.com‘s econometrics department has calculated that France therefore accounts for 5.9% of the overall value of global art auction sales, (giving it 4th place in the world) and 50% of the European art market. And it is creeping ever closer to the Top 3 podium.

Several other European Union countries also play significant roles in the global art market, albeit on smaller scales: Germany (2.8% of global art auction turnover), Italy (1.5 %), Switzerland (1.3%), Austria (0.8%), Poland (0.6%), Belgium (0.6%). Much less centralized than France, the German market is the strongest neighboring country, and Sotheby’s has recently launched new sales sessions in Cologne. Read Artprice by Artmarket reports on the art market: https://www.artprice.com/artprice-reports/the-art-market-in-2022

Competition with the United Kingdom

Despite Brexit, the United Kingdom still accounts for 17% of global art auction turnover with 5% VAT. The competition between London and Paris is particularly palpable every year in October.

In a few weeks, Frieze London and Paris+ by Art Basel will take place in short succession. For the first time ever, the latter will be hunting on an equal footing with the Frieze, thanks to the power of Art Basel. In all, October is an intense period with the most prestigious galleries deciding whether or not to make the trip across the Channel. It is also a key time with auction houses hosting major sales and several organizations choosing to make major announcements to the world press. The Marcel Duchamp prize, for example, is awarded every October by the ADIAF (of which Artprice.com by Artmarket is a patron) to an artist from the French art scene at the Pompidou Center in Paris.

According to Artprice.com‘s econometrics department, in 1960, France’s share of the global art market was 62%. The old stock market adage “a price once attained always comes back sooner or later,” also works in economics…

More than 23 years ago, when Artprice definitively became the World Leader in Art Market Information following the spectacular and unexpected acquisition of the American leader Sound View Press NY, there was a widely held belief in financial and economic circles that Artprice’s head office would inevitably migrate to its New York offices. The decision to stay in France was indeed a daring one. Today, France can rest assured that the World Leader in Art Market Information, Artprice.com by Artmarket, will remain in France.

Images: [https://imgpublic.artprice.com/img/wp/sites/11/2023/09/image1-Rima-Abdul-Malak-Culture-Bruno-Lemaire-Economy-Finance.jpg] [https://imgpublic.artprice.com/img/wp/sites/11/2023/09/image2-geographical-distribution-fine-art-auction-turnover-H1-2023.png]

Copyright 1987-2023 thierry Ehrmann www.artprice.com – www.artmarket.com

About Artmarket:

Artmarket.com is listed on Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Discover Artmarket and its Artprice department on video: www.artprice.com/video

Artmarket and its Artprice department was founded in 1997 by its CEO, thierry Ehrmann. Artmarket and its Artprice department is controlled by Groupe Serveur, created in 1987.

See certified biography in Who’s who ©:
https://imgpublic.artprice.com/img/wp/sites/11/2023/04/2023_2_Biographie-thierry-Ehrmann_WhosWhoInFrance.pdf

Artmarket is a global player in the Art Market with, among other structures, its Artprice department, world leader in the accumulation, management and exploitation of historical and current art market information in databanks containing over 30 million indices and auction results, covering more than 817,000 artists.

Artprice by Artmarket, the world leader in information on the art market, has set itself the ambition through its Global Standardized Marketplace to be the world’s leading Fine Art NFT platform.

Artprice Images® allows unlimited access to the largest Art Market image bank in the world: no less than 180 million digital images of photographs or engraved reproductions of artworks from 1700 to the present day, commented by our art historians.

Artmarket with its Artprice department accumulates data on a permanent basis from 7200 Auction Houses and produces key Art Market information for the main press and media agencies (7,200 publications). Its 7.2 million (‘members log in’+social media) users have access to ads posted by other members, a network that today represents the leading Global Standardized Marketplace® to buy and sell artworks at a fixed or bid price (auctions regulated by paragraphs 2 and 3 of Article L 321.3 of France’s Commercial Code).

Artmarket, with its Artprice department, has twice been awarded the State label “Innovative Company” by the Public Investment Bank (BPI), which has supported the company in its project to consolidate its position as a global player in the art market.

Artprice by Artmarket’s Global Art Market Report, “The Art Market in 2022”, published in March 2023:
https://www.artprice.com/artprice-reports/the-art-market-in-2022

Artprice releases its 2022 Ultra-Contemporary Art Market Report:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2022

Index of press releases posted by Artmarket with its Artprice department:
https://serveur.serveur.com/artmarket/press-release/en/

Follow all the Art Market news in real time with Artmarket and its Artprice department on Facebook and Twitter:

www.facebook.com/artpricedotcom/ (over 6.3 million followers)

twitter.com/artmarketdotcom

twitter.com/artpricedotcom

Discover the alchemy and universe of Artmarket and its artprice department https://www.artprice.com/video headquartered at the famous Organe Contemporary Art Museum “The Abode of Chaos” (dixit The New York Times): https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

La Demeure du Chaos / Abode of Chaos
GESAMTKUNSTWERK & SINGULAR ACRHITECTURE
Confidential bilingual work now public:
https://ftp1.serveur.com/abodeofchaos_singular_architecture.pdf

Contact Artmarket.com and its Artprice department – Contact:  Thierry Ehrmann, [email protected]

Logo – https://mma.prnewswire.com/media/1009603/Art_Market_logo.jpg

View original content to download multimedia:https://www.prnewswire.com/news-releases/artmarketcom-france-obtains-the-maintenance-of-vat-at-the-reduced-rate-of-5-5-on-the-art-market-a-major-victory-with-very-considerable-advantages-according-to-artprice-301936972.html

SOURCE Artmarket.com

As the autumnal equinox arrived on Saturday, hundreds of festivalgoers welcomed the new season at Boulder’s fall festival over the weekend.

Downtown Boulder Fall Fest, along Pearl Street Mall, hosted a variety of live music acts, a beer garden, children’s entertainment and over 100 artisanal booths curated by Firefly Handmade market.

Beth Pomerantz, owner and creative director of Firefly Handmade, said the market is beneficial to both customers and artisans as it connects local creatives together while giving them a chance to present their works of art to customers.

“We’re helping to build a community that loves arts and goods,” Pomerantz said.

She said there is appreciation on both sides of the exchange, as customers are exposed to new artisans and local artists, who, in turn, can meet the local community while also displaying their work.

Firefly was founded in 2013, and Pomerantz bought the market in 2013. She laughed while saying that before she bought the market, she applied to be a vendor and was denied. Pomerantz went to lunch with the Firefly founders, simply to learn more about the local art community and how she could improve her next application, when she realized she could buy the market.

Pomerantz has a background as an artist and in marketing, and she wanted the market to be a place where artists could display and sell their work while meeting fellow local artists.

Participating vendor Jessica Fraser, owner of Baby Jess Art, said her art is inspired by her childhood sketchbook pages. She said that she wants her art to capture the whimsy of childhood.

“I want my art to have the same feeling that art gave me as a kid,” Fraser said.

Fraser’s art is reminiscent of the books her mom would give her as a kid, with scenes of whimsical mice and fairies.

Vendor Jane E. Roberti started her namesake business in 2008 when she was working at a jewelry store in Chicago, realizing none of the pieces were made in-house. She said if she did not know how the piece was made, she would have a hard time selling it, so she started taking jewelry-making classes.

Roberti said that once she started making jewelry, she could not stop — so her business began. She said throughout the years her jewelry has changed and evolved, but she has always had talismans in her pieces.

Roberti said the talismans in her art hold power and let people connect to themselves, the earth, history and loved ones.

“There’s power in the talismans and it becomes more than just fashion,” Roberti said.

She loves literature, so she also creates necklaces with phrases engraved on them to “literally hold a message close to your heart.”

Friend Assembly, owned by Sarah Schreiber, is a ceramics business that had a booth at the weekend festival. Schreiber teaches a ceramics class in Denver, and she said ceramics is an approachable art that people can easily learn. She sells a variety of mugs and planter pots that all are adorned with their own little faces, giving the pieces a personality.

“The small ones (plant pots) have air plants in them, which I like to call hair plants,” Schreiber said.

She explained that the plant acts like the hair for the face on the pot, and each ceramic becomes a friend in the home.

The next Firefly Handmade market will again visit the Pearl Street Mall for its holiday market from 11 a.m. to 5 p.m. Nov. 11-12. More information about Firefly is available at fireflyhandmade.com.

More information about Boulder Fall Fest is available at boulderdowntown.com/fall-fest.

NEW YORK, Sept. 24, 2023 /PRNewswire/ — The “non-fungible token (NFT) market by application (collectibles, sports, arts, and others), end-user (personal and commercial), and geography (APAC, North America, South America, Europe, and the Middle East and Africa) – Forecast and Analysis 2023-2027″ report has been added to technavio offering. With ISO 9001:2015 certification, Technavio has proudly partnered with more than 100 Fortune 500 companies for over 16 years. The potential growth difference for the non-fungible token (NFT) market from 2022 to 2027 is USD 113.93 billion, according to Technavio. The increasing demand for digital art is a key factor driving market growth. Digital art can be defined as anything of a visual nature created using a computer. NFTs have gained traction in digital art applications through the Internet, social networks, and other digital media. NFTs link a piece of digital art through a token. The owner or artist can set the appropriate price for the NFT artwork. The key is then transferred to the end user to confirm proof of ownership. Additionally, NFTs allow for greater accessibility to the world of art. Hence, these factors are expected to drive the market growth during the forecast period. Get deeper insights into the market size, current market scenario, future growth opportunities, major growth driving factors, the latest trends, and more. Buy the full report here

Market Challenge 

Uncertainty in NFT demand and pricing are significant challenges restricting market growth. 

Learn about additional key drivers, trends, and challenges available with Technavio. Read Sample PDF Report Now

The non-fungible token (NFT) market has been segmented into application (collectibles, sports, arts, and others), end-user (personal and commercial), and geography (APAC, North America, South America, Europe, and the Middle East and Africa).

• The market share growth of the collectibles segment will be significant during the forecast period. NFT collectibles are limited edition or rare NFT tokens issued on the blockchain. Collectibles are unique and a collectible cannot be traded or exchanged with another collectible. Some vendors offering NFT collectibles include Funko Inc., Foundation, and Makerspace. In addition, the growth of the collectibles segment is mainly driven by the growing demand for digital assets worldwide. Most industries have turned to digital to market their products. The near ubiquity of the Internet and the widespread use of mobile devices and growing Internet usage have encouraged companies to expand services and investments related to digital assets. Hence, these factors are expected to drive segment growth during the forecast period. 

 View the Sample Report for insights into the contribution of all the segments and regional opportunities in the report.

Key Companies in the non-fungible token (NFT) market:

Binance Services Holdings Ltd., Cloudflare Inc., Dapper Labs Inc., Decentraland, Enjin Pte. Ltd., Foundation Labs Inc., FTX Trading Ltd., Funko Inc., Gala Games, Gemini Trust Co. LLC, Mintable.app, Mobox Digital Co. Ltd., Onchain Labs Inc., OpenSea, Rarible Inc., Sorare, SuperRare Labs Inc., Theta Labs Inc., Yellowheart LLC, and Yuga Labs LLC

FAQS

• How do the major trends impact the market?
• How big is the APAC market?
• How do the key drivers and challenges impact the market?

Related Reports:

The Radio Frequency Identification (RFID) for Industrial Applications Market size is estimated to grow at a CAGR of 10.63% between 2022 and 2027. The market size is forecast to increase by USD 2,677.78 million. This RFID for industrial applications market report extensively covers market segmentation by product (RFID tags, middleware, passive RFID systems, and active RFID systems), type (high frequency, ultra-high frequency, and low frequency), and geography (North America, APAC, Europe, South America, and Middle East and Africa). One of the key factors driving the RFID for industrial applications market growth is the evolution of Industry 4.0. 

The digital workplace market size is estimated to grow at a CAGR of 22.73% between 2022 and 2027. The market size is forecast to increase by USD 59,283.64 million. This digital workplace market report extensively covers market segmentation by component (solution and service), application (large enterprises, and small and medium enterprises), and geography (North America, Europe, APAC, South America, and Middle East and Africa). The reduced hardware cost for enterprises is driving growth in the digital workplace market.

ToC:

Executive Summary

Market Landscape

Market Sizing

Historic Market Sizes

Five Forces Analysis

Market Segmentation by Application

Market Segmentation by End-Users

Market Segmentation by Geography

Customer Landscape

Geographic Landscape

Drivers, Challenges, & Trends

Company Landscape

Company Analysis

Appendix

About Technavio

Technavio is a leading global technology research and advisory company. Their research and analysis focus on emerging market trends and provide actionable insights to help businesses identify market opportunities and develop effective strategies to optimize their market positions. With over 500 specialized analysts, Technavio’s report library consists of more than 17,000 reports and counting, covering 800 technologies, spanning across 50 countries. Their client base consists of enterprises of all sizes, including more than 100 Fortune 500 companies. This growing client base relies on Technavio’s comprehensive coverage, extensive research, and actionable market insights to identify opportunities in existing and potential markets and assess their competitive positions within changing market scenarios.

Contacts

Technavio Research
Jesse Maida
Media & Marketing Executive
US: +1 844 364 1100
UK: +44 203 893 3200
Email: [email protected]
Website: www.technavio.com

SOURCE Technavio