Althea Viafora Kress

When appraising art, the most relevant comparable sales are usually those by the same artist. If there are no appropriate comps, one may, by necessity, look to other artists. Find yourself appraising a Mantegna painting with no useful auction sales in 20+ years, you might look at the recent Botticelli sales to gain an understanding of present demand for significant Italian Renaissance paintings. Doing such is relatively uncommon when appraising contemporary art, particularly by well-known artists whose works sell regularly at auction and privately. Yet, if I were appraising Maurizio Cattelan’s Comedian, the duct-taped banana that sold this week at Sotheby’s, New York for $6.2 million against an estimate of $1-1.5M, I would do just that. [...] It was not another Cattelan, but rather a Banksy that had me convinced that Comedian would perform far beyond its estimate, and enormously above its primary-market realized price of $120,000 at Perrotin’s booth at Art Basel Miami Beach in 2018. The appreciation rate of 50x seems about right given the sentiment that it tapped, as well as the attendant press, now coupled with deft marketing. The best comparable is, in my view, the Banksy, formerly known as Girl with Balloon, which sold, considerably above estimate, for $1,364,669, at Sotheby’s London; upon hammering, the painting dropped and partially shredded. The owner kept the work, and the stunt became an instant media sensation. The shredded Banksy was offered again just three years later, again at Sotheby’s London, this time with a lofty estimate of £4,000,000 - £6,000,000 ($ 5,473,340 - $ 8,210,010), and it made multiples, fetching, with buyer’s premium £18,582,000 ($ 25,426,401), a new record for the artist. Notoriety sells, without question. But why does a work become notorious? The commonalities extend beyond mere shock. Cattelan’s conceptual modified-readymade and Banksy’s shredded painting share tropes of self-destruction and decomposition, each updating concepts explored by artists for generations. Further, both fundamentally question the meaning and limits of what constitutes a work of art. For these reasons, I consider Love is in the Bin to be a pertinent comp for Comedian, arguably the most pertinent — and its repeat(-ish) sale in 2021 for 18 times higher than the 2018 sale is what caused me to believe that Comedian would soar as it did. Full text on blog: https://lnkd.in/efSxQnAq

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As we look ahead to 2025, the art world is poised for exciting transformations. From the integration of AI and algorithmic art to the rise of sustainable practices and immersive experiences, contemporary art is embracing innovation and diversity. This blog post explores the top trends shaping the future of art, highlighting how artists are pushing boundaries and redefining creativity. Whether you're an artist, collector, or enthusiast, staying attuned to these trends can inspire new ideas and deepen your appreciation for the vibrant world of contemporary art. https://lnkd.in/gwiT6WH6

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As a cataloguer, this highlights how vital details like provenance, condition, and scholarly recognition are in shaping an artwork’s value. Even subtle differences between seemingly identical works can lead to dramatically different outcomes at auction. #CaseStudy #Auction #ArtMarket #Cataloger #CareerInsight #Research

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There are recent reports from the Wall Street Journal and Artnet suggesting financial issues at Sotheby’s, including delayed payments to vendors and IOUs instead of incentive pay for staff. I’m curious how people in the art and auction world are seeing this, especially with the contracting high-end market. Will we see more restructuring or layoffs ahead? What implications might this instability have for the market overall? #ArtMarket #BusinessNews #Economy

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A North American who likes to admire old cloisters doesn't strictly need to go to Europe. More conveniently, he could visit the Met Cloisters in New York, or access the Isabella Stewart Gardner Museum in Boston. Or, else, the cloister of the St. Bernard de Clairvaux Church at Miami in Florida. Nonetheless, stone by stone, those buildings were imported from France or Spain and recomposed there, to exemplify a Middle Ages preceding the discovery of the Americas by the Europeans. Really, is there no “local” alternative? Indeed, it would be enough to go further south, or to Latin America, to find it quite easily, even if obviously those cloisters are later than the exploit of the famed navigator Christopher Columbus. Below, from left to right and top to bottom, four relevant pictures: a Romanesque covered walkway with central open-air garden at The Cloisters, a branch of the Metropolitan Museum of Art in Manhattan, New York; the cloister with garden of the Mission Santa Barbara, in California, founded in 1786; the Renaissance cloister of the Monastery and Church of San Juan Bautista, at Coyoacán in Mexico City, dating back approximately to 1552; the Baroque cloister of the Convent and Church of São Francisco, Salvador, Bahia, Brazil, built in the 18th century (photo by Marco Ramerini). In reality, especially in Latin America, there is no shortage of cloisters. This not only reflects a historical spread of monastic orders, but also a difference in Christian architecture between Catholic and predominantly Protestant areas. Despite its neutral meditative function, the structure of the cloister belongs above all to the former area. This, evidently, before the modern development of a secular tourism, generally indifferent to religious differences. At most, paying attention to cultural ones, and of course to an artistic value.

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In the world of art, composition is the backbone of any successful piece. It’s the arrangement of elements within a work that guides the viewer’s eye and evokes emotion. A well-composed painting can transform a simple subject into a captivating masterpiece, making composition a crucial skill for any artist. In this article, I’ll share my personal experiences in creating custom paintings and provide 10 helpful techniques for mastering composition. https://lnkd.in/gMYQFYyF

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The title of this article is pretty self-explanatory and symbolic of the current situation in the market… Mark Rothko, one of my favorite artists, has long held a significant place in the art world, both in terms of value and emotional impact. However, this recent auction at Sotheby’s Hong Kong clearly shows how the market is fluctuating. While the sale of his Untitled (Yellow and Blue), 1954, reaching over $32.5 million, is impressive in this current market, the withdrawn lots, unsold pieces, and underperforming prices signal a demand that’s beginning to show signs of weakness. For me, Rothko always seemed untouchable, due to his status and the deep connection many people feel to his works, especially those works with a history of prominent collectors. But these signals are a reminder that even iconic artists aren’t immune to economic shifts or changing market preferences. Maybe this correction marks the beginning of an evolution in taste or in the willingness to buy within the segment of modern art’s great masters. Timing is also everything. Here’s the article—I thought it was interesting: This Storied Rothko Painting Sold for $32.5 Million—30 Percent Less Than a Decade Ago https://lnkd.in/gE64PCGA

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Inspired by my original digital abstract painting titled "A Neutral Matter" This beautiful abstract artwork features earth tones, pink, and yellow accents. https://lnkd.in/eVZBMiNC #abstractart #digitalart #abstractpainting #digitalart #digitalpainting

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Sharing the insights from 2017 of #Sotheby’s leading figure in the Middle Eastern #Art department. There is no doubt in 2024 that these projections were correct. The time is right to invest in Middle Eastern Art. #artcollecting #artinvestment #assetclass #middleeast

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“Acrylically Speaking” A 125 Piece Fine Art Exhibit By Milton 510 Bowens Opening Reception And ArtTalk Sat. Aug. 24th 5-7pm at The Coleman Center For The Arts @ccayork “And The Oscar Goes To Co-Switching” 30” x 40” Mixed Media Collage on Canvas At this point in Americas History, code-switching feels natural to most who have been forced to engage in it. In fact, folks are not even cognizant that they do it anymore. For those who don’t know, This kind of behavioral adjustment is casually referred to as “code-switching,” which has long been a strategy for black people to successfully navigate interracial interactions and has large implications for their well-being, economic advancement, and even physical survival. If America is truly seeking to promote inclusion and address social inequality, We must begin by understanding why a segment of this nations workforce believes that they cannot truly be themselves in the office, regardless of how prestigious the position. As a Nation we should address what everyone in this country needs to do to change this. “Acrylically Speaking”

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