This article is part of the Artnet Intelligence Report Year Ahead 2024. Through in-depth analysis of last year’s market performance, the new edition paints a data-driven picture of the art world today, from the latest auction results to the artists and artworks leading the conversation.

What three words describe the state of Paris’s art market?

Booming. Energized. Refreshing.

What was the most surprising development in the Parisian art market in 2023?
The opening of international galleries in Paris such as Mendes Wood DM and Hauser & Wirth is helping to revitalize the city and place it once again at the heart of the global art market. This dynamic was initiated in 2022 with the arrival of Paris+ par Art Basel, replacing FIAC. Museums have presented major exhibitions in recent months (Rothko, Mike Kelley, Van Gogh, Nicolas de Staël), helping to raise the city’s profile internationally. Auction houses also achieved good results in the fields of design and contemporary art.

What needs to change for Paris’s art market to reach the next level?

Paris needs to be able to sell works of greater value. French collectors must also support this renewed interest by opening their collections to an international public. International galleries, museums, and collectors need to give more support to the French art scene, and it’s essential that galleries setting up in Paris represent more French artists, who have somehow been isolated from the international market. Finally, the private sector must increasingly support the public institutions that contribute to France’s influence in the cultural scene.

Paris+ par Art Basel has reignited the Parisian art market. This year, the fair will relocate to the recently renovated Grand Palais. Courtesy of Paris+ par Art Basel.

What do you make of the continued narrative that Paris is poised to overtake London in the art market hierarchy?
Tax-wise, France has the lowest VAT in Europe, which is a great advantage for Europeans buying in Paris. London is very isolated but has a large international audience that travels there because of the language. Frieze London and Paris+ are taking place one after the other. In the future, galleries and collectors are likely to make a choice between the two. Paris is waking up and trying to get back to what it was at the turn of the 20th century, with many international artists coming to work here. I think Paris, with the reopening of the Grand Palais and the 2024 Olympic Games, has all the ingredients to be at the forefront.

What do you hope to see more of in Paris in 2024?

I hope collectors will reconsider the use of a good art advisor. Unfortunately in France, collectors always think that having an advisor is a tax on top of the price already negotiated. I have been trained since the ’90s in the United States, where collectors see the advantage of having a professional to protect them from their impulses, help them get priority on works in galleries, and give them real advice. I also hope that with all this new energy happening in France, some very good French artists will be more supported by French institutions and galleries and, of course, be recognized on the international scene.

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The idea for Drew Gardner’s series Descendants emerged from a simple observation by his mother: she noticed that Gardner resembled his grandfather. Intrigued by how traits are passed down—not just as physical likeness but the elemental foundations of DNA—he began researching and documenting the lineages of historical figures. In the nearly two decades since the project started, Gardner has met and photographed relatives of notable people like Charles Dickens, Berthe Morisot, Napoleon, Geronimo, and Frederick Douglass.

A few years into the series, something increasingly bothered him: most of his subjects were white. Reflective of the historical erasure of people of color from Western history books, archives, and art collections, the subjects whose descendants Gardner tracked down were largely European and famous. But he knew there was more to the story.

In 2020, the U.K.-based photographer collaborated with Smithsonian Magazine to produce a U.S. installment of portraits, which added a layer of nuance to his work: “Ordinary people have paid an incredible price for where we are today with our democracy, with the nations we live in,” he tells Colossal. At a time when significant Black historical sites face an increased risk of loss as they’re abandoned or forgotten, capturing history on film is a powerful and effective way to preserve it.

When Gardner visited the U.S. in February of this year, he was puzzled that he noticed few indications that it was Black History Month. “I honestly wouldn’t have known, and I am quite a bit of a media beast,” Gardner says. “I don’t think I saw a single mention of Black History Month.” Observations like these only reinforce the importance of highlighting the contributions of Black people and people of color throughout history, and Gardner felt compelled to focus on both influential and little-known people whose actions have significantly shaped culture and politics. 

Left: Harriet Tubman. Right: Deanne Stanford Walz, descendant of Tubman

Gardner dove into The Black Civil War Soldier by acclaimed photographer Deborah Willis, containing more than 70 images, many of which are rarely reproduced and several of which feature unnamed soldiers. Through additional research, Gardner was able to compile a list of 120 portraits in which the subjects were named. He’s found more in the meantime, now exceeding 200, yet that number is still remarkably small within the broader context of Civil War portraiture.

Genealogical researcher Ottawa Goodman collaborated with Gardner to narrow down about 25 of those portraits to begin tracing relatives, relying on the WikiTree U.S. Black Heritage Project for help. Of those 25, the pair only managed to connect with descendants of about six original sitters. Working with designers who assisted with set design, costumes, props, and styling, Gardner recreated and captured the spirit of the original photographs, from the iconic seated portrait of Harriet Tubman to the poignant image of a young drummer named David Miles Moore.

He’s sensitive to the fact that the photographs are not only treasured family heirlooms but integral and emotional elements of family heritage. Sometimes, living descendants are enthusiastic to learn more about the project and participate; other times, he doesn’t receive a response.

The American Civil War, which in many ways marked the dawn of photography, provides a deep well for Gardner’s research, revealing countless untold stories. “This is mainstream photography for, not quite the masses, but getting there. It’s one of the first wars that photography played a major part,” he says. 

Find much more of the Descendants series on Gardner’s website and Instagram.

Left: Andrew Jackson Smith. Right: Kewsi Bowman, a descendant of Smith

Left: Lewis Douglass, son of Frederick Douglass. Right: Austin Morris, a descendant of Frederick Douglass

Left: David Miles Moore. Right: Neikoye Flowers, a direct descendant of Moore

Left: Louis Troutman. Right: Chris Wilson, a descendant of Troutman

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 His Ongoing ‘Descendants’ Series, Drew Gardner Recreates Striking Portraits of Black Civil War Soldiers appeared first on Colossal.

Global Wall Art Market size was valued at USD 21.4 Bn in 2023 and Wall Art Market revenue is expected to reach USD 31.6 Bn by 2030, at a CAGR of 5.4 % over the forecast period (2024-2030).

Wall Art Market Report Overview:

The report comprehensively encompasses the analysis of insights concerning the Wall Art market including its dynamic patterns, industry landscape, and all significant aspects of the market. An in-depth examination of key players is also presented within the Wall Art market report.

For further information, click the following link

Wall Art Market Scope and Research Methodology

The aim of this report is to assess and predict the size of the Wall Art market. It offers strategic profiles of significant market participants to provide an accurate depiction of the competitive landscape within the global Wall Art market.

This includes a comprehensive analysis of recent developments such as new product launches, acquisitions, mergers, joint ventures, brand activities, and major players in the Wall Art industry. The report presents insights into industry trends, dynamics, and potentials, assisting professionals in staying informed about the latest trends and sector performance.

This insight aids in predicting growth and decline in Wall Art market share over the forecast period.

In-depth understanding of the Wall Art industry was achieved through a combination of primary and secondary research methods. Various methodologies, including PESTLE, PORTER, and SWOT analysis, were employed to ensure accurate findings.

SWOT analysis was employed to outline strengths, weaknesses, opportunities, and challenges for key players within the Wall Art industry. Additionally, the use of PORTER and PESTLE analysis allowed for an understanding of the microeconomic and macroeconomic factors influencing the Wall Art industry.

To Get More: www.maximizemarketresearch.com/market-…et/195574/ 

Wall Art Market Segmentation:

by Type

Paintings
Prints and Posters
Photographs
Wall Sculptures
Tapestries and Textile Art
Mixed Media Art

by Material

Canvas
Metal
Wood
Glass
Ceramic
Fabric

by Application

Residential
Commercial
Hospitality
Retail Stores

Click here for a more detailed explanation: www.maximizemarketresearch.com/request…ple/195574 

Wall Art Market Key Players:

1. Saatchi Art (California, U.S.)
   2. Artfinder (London, U.K.)
   3. Minted LLC. (California, U.S.)
   4. Artspace LLC (New York, U.S.)
   5. Artsy (New York, U.S.)
   6. Zatista LLC (Yardley, U.S.)
   7. The Tellenge Store (Bengaluru, India)
   8. Artisera (Bengaluru, India)
   9. Seven Wall Art Corporation (California, U.S.)
   10. VGL Group (New York, NY)

Wall Art Market Regional Analysis:

The report is segmented into several key countries, with market size, growth rate, import and export of Wall Art market in these countries, which covering North America, U.S., Canada, Mexico, Europe, UK, Germany, France, Spain, Italy, Rest of Europe, Asia Pacific, China, India, Japan, Australia, South Korea, ASEAN Countries, Rest of APAC, South America, Brazil, and Middle East and Africa.

For More Reports: 

Global Phosphate Rock Market www.maximizemarketresearch.com/market-…ket/33671/ 
Global High-Pressure Seals Market www.maximizemarketresearch.com/market-…ket/76434/ 
Global Pentane Market www.maximizemarketresearch.com/market-…ket/16695/ Key Questions Addressed in This Report:

 Key Questions Addressed in This Report:

• How has the Wall Art market performed so far and how will it perform in the coming years?
• What is the market segmentation of the global Wall Art market?
• What is the regional breakup of the global Wall Art market?
• What are the price trends of various feedstocks in the Wall Art industry?
• What is the structure of the Wall Art industry and who are the key players?
• What are the various unit operations involved in a Wall Art processing plant?
• What is the total size of land required for setting up a Wall Art processing plant?
• What is the layout of a Wall Art processing plant?
• What are the machinery requirements for setting up a Wall Art processing plant?
• What are the raw material requirements for setting up a Wall Art processing plant?
• What are the packaging requirements for setting up a Wall Art processing plant?
• What are the transportation requirements for setting up a Wall Art processing plant?
• What are the utility requirements for setting up a Wall Art processing plant?
• What are the human resource requirements for setting up a Wall Art processing plant?
• What are the infrastructure costs for setting up a Wall Art processing plant?
• What are the capital costs for setting up a Wall Art processing plant?
• What are the operating costs for setting up a Wall Art processing plant?
• What should be the pricing mechanism of the final product?
• What will be the income and expenditures for a Wall Art processing plant?
• What is the time required to break even?
• What are the profit projections for setting up a Wall Art processing plant?
• What are the key success and risk factors in the Wall Art industry?
• What are the key regulatory procedures and requirements for setting up a Wall Art processing plant?

Key Offerings:

• A detailed Analysis of the Market Overview
• Market Share, Size & Forecast by Revenue | 2023−2029
• Market Dynamics – Growth Drivers, Restraints, Investment Opportunities, and Key Trends
• Market Segmentation – A detailed analysis by Route of administration, Application, Facility of use and Region and Region
• Competitive Landscape – Top Key Vendors and Other Prominent Vendors

“For me, the experience of painting an object reveals just how alien and unknowable it truly is,” says Eric Wert, whose vibrant still lifes seem to glow from within. From decadent bouquets that overflow from their vases to a pair of rain-speckled magnolia branches, the subjects of the Portland, Oregon-based artist’s oil paintings are portrayed in hyperrealistic detail.

Wert draws on his background in scientific illustration, a discipline that attracted him “because of the emphasis on rigorous accuracy in representation,” he says. “Over time, I found that objective technical drawings would never convey the complex feelings experienced while observing my subjects.”

Contributing to the long history of still life in European art history, Wert’s compositions take a contemporary view of the tradition while retaining the elements that characterize the genre: composition and precision. “My oil paintings are intended to be both seductive and destructive—a highly controlled meditation on the impossibility of control,” he says. Abundant flowers spill from displays and cross sections of fruit reveal sensual textures. The backdrops also complement the central subject, often depicting ornamental textiles or wallpaper patterns.

Wert references the qualities of vanitas painting in particular, which brim with symbolism intended to remind the viewer of the worthlessness of worldly desires or pleasures within the broader context of mortality. “Conveying a recognizable image happens early on in the process,” Wert says, “but my favorite part of the painting happens days or weeks later when I stop trying to control it—when I get out of the way and let the object reveal its other self.”

Three of the artist’s paintings are currently included in the group show Still Life at Gallery Henoch in New York City, which continues through April 12. Find more on Wert’s website, where prints of some of his paintings are available for purchase in addition to a selection of puzzles and cards published by Pomegranate. Stay up to date by following the artist on Instagram.

“Dragon Breath” (2023), oil on canvas, 30 x 30 inches

“Magnolia” (2022), oil on panel, 18 x 24 inches

“Moss Nest” (2024), oil on panel, 20 x 16 inches

“Plums” (2023), oil on panel, 24 x 24 inches

“Sottobosco” (2022), oil on canvas, 40 x 50 inches

“Still Life With Medieval Tapestry” (2016), oil on canvas, 36 x 36 inches

“The Arrangement” (2015), oil on panel, 50 x 40 inches

Detail of a work in progress

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 Elaborate Still Lifes Erupt with Vivid Color in Eric Wert’s Oil Paintings appeared first on Colossal.

In Ridge Lines, Lee Hyun Joung navigates along the roving meeting point of two adjoining bodies. The artist melds the artistic and aesthetic traditions of her native Korea with those of her adopted home in Paris, rendering intricately bisected landscapes where the two converge.

Opening next month at Galerie Sept in Brussels, Lee’s solo exhibition comprises several new paintings made with handmade Hanji paper and ink from Korean pigments and fish glue. The artist often works on the floor, drawing each thin, sweeping line in a sort of meditative trance. “Instead of flattening the paper, I let the random embossed pattern show through. I use my brush to create line patterns to emphasize or obstruct the paper’s natural relief. Through the movements of my body, I create a rhythm, without a structured plan,” she told critic Isabelle de Maison Rouge in advance of the show.

Lee’s works capture this repetitive motion as they heave toward the central crest. Her paintings have grown in complexity in recent years, expanding on the mountain-like landscapes to puncture terrains with deep, hidden valleys. The vertical “Chemins de Vie” works, for example,  follow a winding path that loops and turns back on itself to create pockets along the ridge. Likening each line to “a day in the life of a human,” the artist grasps at the connection between time and space where seemingly disparate experiences join together.

Ridge Lines runs from April 4 to May 19. Find more from Lee from Galerie Sept.

“Collision” (2024), 100 x 130 x 3.5 centimeters

“Contemplation Vert” (2024), 147 x 80 x 3.5 centimeters

“Chemin Bleu” (2024), 130 x 100 x 3.5 centimeters

Left: “Chemins de Vie 2” (2024), 150 x 50 x 3.5 centimeters. Right: “Chemins de Vie 1” (2024), 150 x 50 x 3.5 centimeters

The artist’s studio

“Mémoire du Vent Bojagi” (2024), 195 x 130 x 3.5 centimeters

The artist working in her studio

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 Densely Heaving Lines Meet at Mountainous Junctures in Lee Hyun Joung’s Paintings appeared first on Colossal.

In regions where conifer trees are abundant, the humble pinecone has long held a symbolic role. For Amber Renaye, an interest in these small wonders of nature have led to a remarkable ongoing series of elaborately patterned tondos.

Ancient architecture, coats of arms, and sculptures have been dedicated to the pinecone over the centuries as a symbol of knowledge and fertility. The Vatican’s Cortile della Pigna, or Pinecone Courtyard, centers around an enormous bronze fountain shaped like the seed-bearing object, dating to the 1st century C.E. and thought to represent immortality and rebirth.

Scholars and sages of ancient civilizations also regarded the human brain’s tiny pineal gland, named for the pinecone, as the source of a person’s soul or spirit. Renaye says, “I couldn’t help but wonder: How could something so deeply correlated with our being, once ubiquitously understood and still prominently displayed in revered and sacred locations, be so significantly unfamiliar today?”

Renaye began experimenting with pinecones when her research took her into the ancient world of amber, the golden, fossilized resin produced by extinct coniferous trees of the Tertiary Period. The material has been valued as a gemstone for thousands of years and is still commonly used in jewelry and as a healing agent in folk medicine.

She was fascinated by the remnants of life from millions of years ago, picturing amber as “a story of self-preservation, the fragments of the forest a self-portrait,” she says.  “I searched for the nearest pine tree on Google Maps, then walked to Central Park with an empty bag.”

Renaye collects numerous varieties of the cones, which drop to the ground in autumn. She sometimes enlists friends in parts of world who can collect different specimens. The artist then gets help with the involved cleaning process through a collaboration within the floral industry, and once the scales are removed from the core, she gets to work on the compositions.

Using a pencil tied to string, she begins each piece by drawing lines onto a blank panel until a pattern emerges, then figures out which size or type of scale will fit best. Since the individual pieces naturally nestle into one another and overlap as they grow, Renaye taps into the form’s inherent characteristics to fit them together in her elegant reliefs.

If you’re in Chicago, you can see one of the artist’s pieces at the Rainbo Club in the show Pothole², on view through April 21, presented by Good Weather and M. LeBlanc. Find more on Renaye’s website and Instagram.

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 Individual Pinecone Scales Unfurl in Intricate Patterns in Amber Renaye’s Enchanting Reliefs appeared first on Colossal.

This article is part of the Artnet Intelligence Report Year Ahead 2024. Through in-depth analysis of last year’s market performance, the new edition paints a data-driven picture of the art world today, from the latest auction results to the artists and artworks leading the conversation.

What three words describe the state of Hong Kong’s art market?
Discerning. Since the inauguration of Art Basel Hong Kong 10 years ago, collectors have learned more about the nuances of collecting Western art and handling relationships with Western galleries. The days of capitalizing on the naivete of Hong Kong collectors to peddle leftover stock are over. They will not pay top dollar for second-rate material.

Involved. Collectors, galleries, and artists in the region have really involved themselves in the globalization, promotion, and expansion of the Asian cultural capital.

Collaborative. I’ve worked in the world’s three major art centers: New York, London, and Hong Kong. Nowhere have I experienced a city that is as collaborative as Hong Kong. Perhaps it is because we were all stuck in this tiny city for the past three years due to Covid, but collectors, galleries, and artists all work together to aid each other in whatever is needed.

What was the most surprising development in the Hong Kong art scene in 2023?
The number of new galleries that have popped up. Despite three years of heavy lockdowns, Hong Kong has still maintained a steady rise in galleries outside of the city wanting to open here.

We’ve heard a lot about speculators leaving the market, which has led the art market in Asia to take a hit. What is the outlook for 2024?
Fewer speculators means more collectors. When you weed out those who just take an interest in art for investment’s sake, there will be a slight decline on the commercial side, but fewer speculators will also lead to better-quality artworks on the market. Thus, quality will determine the sustainability of the galleries in the region.

Guests gathered at Art Basel Hong Kong in 2023. It was the fair’s largest edition since 2019. Courtesy Art Basel.

Many have questioned if Hong Kong can retain its crown as Asia’s art hub in recent years. What is your take?
Hong Kong has proven time and time again that it is not going anywhere. All the major auction houses, galleries, and museums are in Hong Kong and the city’s financial system is structured for trade of goods to be as simple as possible (multicurrency accounts, Hong Kong dollar pegged to U.S. dollar, all major flagship bank locations). The city is also designed to be as easy for visitors to navigate as possible: English is spoken, Google, Uber, etc. all exist, the MTR underground train system is easy and reliable. Hong Kong is also within four hours of any major collecting city [in Asia]. That being said, why must there be one hub? The West has many hubs, so why are we constantly forcing Asian cities to compete against each other?

How has the international perception of artists from Hong Kong and the rest of Asia changed in recent years?
The local art scene has changed and brought the artists and institutions with it. The art world recognizes that Asia is part of it and that it cannot be ignored; Asian art is not just Ming dynasty furniture. Any true collection, public or private, cannot be complete without Asian contemporary art.

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From a bustling cafe to the comfort of a family meal to the morning quietude of a specialty shop, Rain Szeto’s illustrations (previously) capture inviting, everyday places in vibrant detail. The artist’s portraits of local places often radiate from a central vignette of a lone employee, a family interaction, or feline resident making its daily rounds. She treats every scene with with great attention to its unique characteristics, outlining stacks of merchandise, architectural details, and personal effects into chaotic yet appealing tableaux.

Szeto’s work is currently included in Giant Robot Biennale 5, on view through September 1, at the Japanese American National Museum in Los Angeles. Next month, the artist also has work in Giant Robot’s group exhibition, Multimatter, where risograph prints of “Taxipunk” will be available. Find more Szeto’s shop and on Instagram.

“Herb Shop 2”

“Izakaya”

“Postcard”

“Something Warm”

“Taxipunk”

“Traditions: Kitchen”

“Traditions: Mirror”

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 Rain Szeto’s Elaborate Ink and Watercolor Illustrations Illuminate the Pleasant Chaos of Daily Life appeared first on Colossal.

Artists are known for presenting themselves on their own terms, proving their passion, persistence, and talent through their work. Many also choose to define themselves online with a .ART domain.

More than a website address, .ART is a bold declaration of one’s identity as an artist. It makes a statement that goes beyond just establishing an online portfolio. In a world where digital presence increasingly reflects offline reality, securing a .ART domain is a strategic move for any artist aiming to solidify their presence in both spheres. Artists like Helen Beard (helenbeard.art), Rone (rone. art), Fanny Sage (fannysage.art), David Spriggs (davidspriggs.art), and Sophia Wallace (sophiawallace.art) are showcasing their work on .ART, anchoring their online presence to mirror their offline acclaim.

Screenshot from helenbeard.art

State your role in the art world by securing your .ART domain today through get.art or your preferred domain name registrars like GoDaddy or Namecheap.

A portion of .ART’s revenue helps fund the Art Therapy Initiative, a philanthropic endeavor that aims to harness the healing power of creative expression.

Screenshot from rone.art

Screenshot from fannysage.art

Screenshot from davidspriggs.art

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 Anchor Your Artistic Identity Online With .ART appeared first on Colossal.