Artlogic, the integrated business platform geared specifically to the art industry, recently released a new webinar that took a granular look at the Art Basel and UBS Global Art Market Report 2024 to examine pertinent insights for galleries and dealers. Partnering with author and economist Dr. Clare McAndrew, with additional input from market experts Josh Baer and Maureen Bray, “Navigating Art Market Trends in 2024 for Dealers” pinpointed patterns and translated raw data that together illustrate a pathway for success.

What became apparent from the conversation was both the necessity of an omnichannel approach—one in which all channels are integrated to serve the consumer—and the observation that much of the art market already functions that way. The diverse facets of the art market, from art fairs and exhibitions to social media and digital marketing, coalesce to make an omnichannel experience for all parties involved. What McAndrew, Baer, and Bray noted is the power that taking a focused and purposeful rather than passive approach to omnichannel market engagement offers the potential for greater success and growth.

Courtesy of Artlogic.

Despite the pivot to online platforms as a result of the pandemic, in-person experiences are still a crucial element for business, with fairs and gallery walk-ins remaining some of the top choices for new buyers. Further, artworks at higher price points still see most sales offline, with “over 95 percent of transactions in online-only auctions were for prices of less than $50,000,” according to the UBS Art Basel Report. Paralleling this is the increase of online sales, which, according to the report “are up by seven percent, accounting for a total of $11.8 billion (18 percent of the market)—bringing the digital component of the art market in line with other industries, underlining how this segment of the art business is maturing.”

Together, the importance of a robust omnichannel approach is evident, allowing galleries and dealers to meet collectors where they are and curate a seamless buyer journey. Leveraging both digital and in-person methods cohesively, however, can be tricky. Here, integrated platforms like Artlogic can be seen as invaluable, where users can oversee and strategize essentially all facets of art sales and marketing—and create numerous interfaces through which collectors can engage with and purchase artworks.

With tools such as Artlogic Private View links, through which tailored selections of artworks can be shared with clients, email and digital marketing campaign builders, and the Artlogic app, together cover the bases of an omnichannel approach. And features such as Artlogic Pay, which allows sales to be streamlined efficiently and heightens client trust.

Parsing through the market data, what’s clear is the future of art sales is omnichannel, and overcoming barriers in both infrastructure and online through platforms like Artlogic is an opportunity for greater success.

Watch “Navigating Art Market Trends in 2024 for Dealers” webinar by Artlogic here.

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Stretching thousands of miles off Chile’s coast to Rapa Nui, also known as Easter Island, the Salas y Gómez Ridge is a vast underwater mountain range in the Pacific Ocean. Seventy-three percent of the region is part of the high seas, which is under international control and vastly underexplored. The Salas y Gómez Ridge is one of the most biologically productive regions in the world, and thanks to researchers with the Schmidt Ocean Institute, we now know more about the life that thrives there.

During a recent 40-day expedition, an international team of scientists discovered that the area is home to 160 species not known to live in the region, 50 of which are thought to be entirely new to researchers. The team primarily studied 10 of the approximately 110 seamounts near the western edge of the ridge closest to Rapa Nui. This expedition follows a similar trip in January to the Nazca Ridge, which connects to the Salas y Gómez Ridge, that revealed approximately 100 new species.

Images gathered from remote-operated vehicles highlight the regions’ wild diversity, spotlighting mollusks, sea stars, glass sponges, sea urchins, and crabs, some of which hadn’t been seen previously. Included are the bright right, spiny Chaunacops that’s part of the sea toad family, the scarcely seen whiplash squid, and a spiky squat lobster hiding among coral.

Because of the findings, the area is under consideration for protected status, although only Chile and Palau have ratified the U.N. treaty to do so. The measure requires 60 countries to formally adopt the agreement.

An urchin retrieved as a sample by ROV SuBastian is handled by a researcher before being taken to the laboratory on Research Vessel Falkor (too) for cataloging and analysis. Photo by Alex Ingle

A rarely-seen whiplash squid (Mastigopsis hjorti) documented at 1105 meters depth after inking at Seamount 17 (Ikhtiandr) in the Nazca Ridge. Image by ROV SuBastian

Detail of a sponge documented at 1238.67 meters depth at Seamout 10, also known as Guyot Baral. Image by ROV SuBastian

A squat lobster is documented on sediment at 1392 meters deep on Seamount SF2 inside the Nazca-Desventuradas Marine Park. An international group of scientists aboard a recent Schmidt Ocean Institute expedition believe they have discovered more than 100 new species living on seamounts off the coast of Chile, including deep-sea corals, glass sponges, sea urchins, amphipods, and squat lobsters. Image by ROV SuBastian

A spiraling coral documented at 1419 meters deep on Seamount JF1, within the bounds of the Mar de Juan Fernández Multiple Uses Marine Protected Area off the coast of central Chile. Image by ROV SuBastian

A squat lobster documented in coral at a depth of 669 meters on Seamount JF2. An international group of scientists aboard a recent Schmidt Ocean Institute expedition believe they have discovered more than 100 new species living on seamounts off the coast of Chile, including deep-sea corals, glass sponges, sea urchins, amphipods, and squat lobsters. Image by ROV SuBastian

Oblong Dermechinus urchins documented at a depth of 516 meters on Seamount JF2. An international group of scientists aboard a recent Schmidt Ocean Institute expedition believe they have discovered more than 100 new species living on seamounts off the coast of Chile, including deep-sea corals, glass sponges, sea urchins, amphipods, and squat lobsters. Image by ROV SuBastian

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 Researchers Uncover Hundreds of New Marine Species in the Underwater Mountain Ecosystems of the Pacific Ocean appeared first on Colossal.

In Persuasions, artist Edie Fake turns their attention to the wise, enduring insights of plants. The new series of acrylic and gouache paintings expands Fake’s bold visual language to incorporate flowers, which they render amidst the kaleidoscopic geometries they’re known for. Evocative of architecture and mechanics, the colorful graphic works veer into the spiritual, melding the myriad systems that order our lives.

Fake often begins with a meticulous sketch in graphite. Using rulers and protractors, they render impeccably precise shapes that together, comprise a highly engineered network of gears, bottles, and lanterns. This series draws on Tarot and the diagrams of Swiss healer Emma Kunz (1892-1963), who saw her work as answers to larger philosophical, spiritual, and medical problems. Vines crawl up the side of “Theater of the Fool” and the flowering pillars of “The Old Arrangements in a New Light” beam with radiant light, seamlessly binding the botanical and the divine.

Persuasions is on view from April 12 to June 1 at Western Exhibitions in Chicago. Find more from the artist on Instagram.

“Theater of the Fool” (2024), acrylic and gouache on wood panel, 48 x 48 inches

“One Thing To Fit Another” (2024), acrylic and gouache on wood panel, 36 x 36 inches

“Mr. Snakes and Ladders” (2024), acrylic and gouache on wood panel, 48 x 48 inches

“The Old Arrangements in a New Light” (2024), acrylic and gouache on wood panel, 36 x 36 inches

“Suasion” (2024), acrylic and gouache on wood panel, 36 x 36 inches

“Hurricane Lantern” (2024), acrylic and gouache on wood panel, 16 x 12 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 Kaleidoscopic Paintings by Edie Fake Invoke the Spiritual Wisdom of Plants appeared first on Colossal.

Although trained in traditional painting techniques, Dutch artist Joris Kuipers isn’t satisfied with the constraints of a rectangular frame or pieces that sit stationary on the wall. His undulating, cloud-like installations appear to float and flutter as if a clump of giant, colorful autumn leaves have been tossed upwards and frozen in mid-air.

In his ongoing series Jardin Suspendus and In Bloom, Kuipers invokes the atmosphere of gardens. Floral-like shapes overlap, swell, and skitter in site-specific installations, whether hanging from the ceiling or flaring up from pedestals. Installed on stem-like supports, the vibrant forms playfully evade a single definition, taking on the organic, blossoming quality of flowers, coral, or lichen.

Kuipers was recently commissioned by U.K.-based agency ArtLink for a series of works in red niches that will eventually be installed in a new cruise ship. Find more on the artist’s website and Instagram.

“Jardin Suspendus 1”

“In Bloom”

“Jardin Suspendus 2”

Detail of “Jardin Suspendus 3”

Ceiling detail of “Jardin Suspendus 3”

Left and right: Two pieces from the “In Bloom” series

“INBLOOM!,” Raffles at Galaxy Hotel, Macau

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 Billowing Sculptures, Joris Kuipers Suspends Cloud-Like ‘Gardens’ from the Ceiling appeared first on Colossal.

In 19th-century France, a style of bright, illustrative prints known as Images d’Épinal emerged as a way to portray subjects in sharp colors. The name was derived from the works’ first publisher, who hailed from the municipality of Épinal. And while the designs proved popular in children’s items like card games and books, their use as propaganda glorifying Napoleon I solidified the prints’ rise to fame. Today, “image d’Épinal” has become a proverbial expression in French to refer to a naïve depiction of something, showing only its good characteristics.

Roeselare, Belgium-based artist Kristof Santy nods to the legacy of the narrative tableaux in his striking paintings, portraying everyday scenes in vibrant colors, bold lines, and flattened perspectives. His playful, idealized compositions are simultaneously specific and universal; each painting brims with personal or idiosyncratic details that at the same time represent observations we all experience, from getting ready in the bathroom to going to the office to passing vehicles on the road. “Veevervoer,” for example, which means “livestock transport,” depicts a parked yellow truck with its driver-side curtain pulled shut and cartoonish animals peering out from the trailer.

Epinal, Santy’s solo exhibition at Christine König Galerie, explores a variety of ubiquitous subjects like clothing zippers or arrays of food (previously) while also tapping into an autobiographical experience. The artist’s series Cours De Dessin, which translates to “drawing lesson,” distills potted plants or everyday items, like writing utensils or a wristwatch, into vivid geometric shapes.

If you’re in Vienna, you can stop by Epinal through May 18. Find more on the artist’s website and Instagram.

“Veevervoer” (2023-24), oil on canvas, 200 x 240 centimeters

Left to right: “#15,” “#13,” and “#12” (Cours De Dessin series 2), (2024), pencil and wax on 130 gram simili japon paper, 96 x 64.2 centimeters each

“Tiret” (2024), oil on canvas, 80 x 70 centimeters

“Lavabo” (2024), oil on canvas, 180 x 160 centimeters

Left: “Bureau” (2024), oil on canvas, 200 x 180 centimeters. Right: “Schmink” (2024), oil on canvas, 200 x 180 centimeters

“Bureau” (2024), oil on canvas, 200 x 180 centimeters

‘Cours De Dessin’ series (2024), pencil and wax on 130 gram simili japon paper, 56 x 38 centimeters each

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 ‘Epinal,’ Kristof Santy’s Vibrant Tableaux Nod to a 19th-Century French Print Traditions appeared first on Colossal.

Peters Valley School of Craft enriches lives through the learning, appreciation, and practice of fine craft. For more than 50 years, accomplished artists and students have come together as a community to harness the power of creativity and joyous lifelong learning in the beautiful Delaware Water Gap National Recreation Area. We are firmly dedicated to inclusion, diversity, equity, and access and welcome the experienced professional artist, the new learner, the collector—and everyone in between—to be touched by the power of craft.

Throughout the year, people come to Peters Valley for meaningful hands-on learning with expert instructors in myriad disciplines, like blacksmithing, fine metals, ceramics, woodworking, printmaking, fibers, and more. From novices to advanced artists, all are invited to gather for weekend or week-long workshops for an immersive experience like no other.

Lars Shimabukuro will be teaching ‘All About Double Weave’ from August 16 to 20

Workshop participants range in age from 18 to 80+, beginner through advanced, from all walks of life, forging new connections across demographics. All share in a communal lunch at the dining hall and are encouraged to visit studios in the evening. Plus, Friday night instructor presentations give everyone an incredible insight into the process and inspiration of the visiting artists.

Our dormitories, studios, dining hall, office, and gallery are housed in mostly historic farmhouses and structures, some of which are only partially accessible. The terrain is natural; paths, driveways, and even some roads are not paved. There are no streetlights in the park, allowing for gorgeous night skies. We are surrounded by waterfalls and hiking trails and located just two miles from the Delaware River.

In addition, all are invited to get inspired and support local and national artists through our in-person and online galleries. Shop handmade crafts from over 250 makers at our physical location, which is open every day from 10 a.m. to 6 p.m., or visit PetersValleyGallery.org to shop online. Proceeds from all sales support independent working artists and Peters Valley’s educational programs. At our Sally D. Francisco Exhibition Gallery, numerous professional exhibitions are showcased each year, and you can find current and past shows on our website.

Visit PetersValley.org to start your journey today!

Ashley Page will be teaching ‘Experimental Printmaking’ from August 2 to 6

Jordan Borstelmann will be teaching ‘Forging a Viking Axe’ from August 2 to 6

Rebecca Hutchinson will be teaching ‘Really Big, Really Light with Paper Clay’ from June 14 to18

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 Peters Valley School of Craft Offers Fine Craft Programming in the Delaware Water Gap National Recreation Area appeared first on Colossal.

Lan Kwai Fong Group (LKF Group) has partnered with non-profit arts organisation HKWALLS and Ruder Finn International to unveil two captivating murals that combine art and AI, creating an interactive mural experience for visitors.  

Visitors at both mural locations will have the unique opportunity to not only admire freshly painted artworks but also engage with them through the integration of AI technology, created in collaboration with Ruder Finn Interactive, the digital division under Ruder Finn International.  

By simply scanning a QR code placed at each HKWALLS mural and visiting lankwaifong.com (LKF Group’s ticketing and city guide platform), visitors can use prompts that enable them to create their own personalised interpretations of the street art using their smartphones.  

This interactive experience aims to elevate the enjoyment and appreciation of the artwork, offering a captivating fusion of art and technology. 

Allan Zeman, chairman of Lan Kwai Fong Group said, “We are thrilled to work with HKWALLS for this year’s Savouring Art, providing a platform for local and international artists to paint captivating murals in our city. By combining art and AI, we offer visitors a unique and interactive experience with the artwork. LKF Group remains committed to supporting our city’s growing art and cultural scene to create unforgettable experiences for both locals and visitors alike.” 

This comes as part of LKF Group’s annual ‘Savouring Art’ campaign in March, where art and culinary experiences converged in the heart of Lan Kwai Fong. It also comes in line with HKWALLS Festival 2024 which took place in late March, where two artists painted in Lan Kwai Fong for the first time. 

For example, Nut, a graffiti artist from China, has developed a distinct style influenced by the “blue-and-white porcelain” aesthetic from an early age. As a graffiti creator in China to embrace this style, Nut’s vibrant creations capture the essence of Oriental aesthetics.  

In his latest masterpiece, Nut fuses graffiti with the timeless beauty of blue-and-white porcelain. The artwork, featuring a crane and vase, exudes undeniable elegance reminiscent of delicate ceramic paintings.  

Reana Bachiller, a Filipina illustrator based in Hong Kong, has presented her digital illustrations that capture the fantasy and kookiness found within everyday life.  

Her mural, inspired by emotional vulnerability with a wholesome twist, serves as a reminder to express gratitude towards the people and environment around people. Additionally, the artwork promotes responsible drinking and supporting a work-life balance amidst the bustling city life of Hong Kong. 

MARKETING-INTERACTIVE has reached out to LKF Group for more information. 

Join us this coming 26 June for Content360 Hong Kong, a one-day-two-streams extravaganza under the theme of “Content that captivates”. Get together with our fellow marketers to learn about AI in content creation, integration of content with commerce and cross-border targeting, and find the recipe for success within the content marketing world! 

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Through a catchy, rapid rhythm evoking the hustle and bustle of places around India, a new commercial for a steel company by Early Man Film highlights the endless applications of metal. Founded by Anand Menon and Ayappa KM, the Mumbai-based production studio specializes in advertising and documentary shorts, illuminating a wide breadth of lifestyles, traditions, and subcultures around the region. From ceremonies and personal styles to motorcycle parts and fishing implements, the video celebrates an array of daily routines, industries, and customs.

Find more from Early Man Film on Vimeo and the studio’s website.

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 Fast-Paced New Commercial by Early Man Film Celebrates the Cultural Rhythms of India appeared first on Colossal.