The Art of Fernando Carpaneda – artmarketblog.com

The Art of Fernando Carpaneda – artmarketblog.com

Todd 2004

Todd 2004

I sometimes come across artists that I just have to let the world know about and Fernando Carpaneda is one of those artists, but be warned, because Carpaneda’s work is very confronting and will be not be to everyone’s taste. Those willing to keep an open mind and explore Carpeneda’s work will be glad they did because he is a truly amazing artist. A brave artist too. Brave enough to use rent boys, thieves, punks, goths, homeless people, and other unsavoury types as the subject of his work. If you are intrigued then please read on.

When I first saw a picture of one of Carpeneda’s works I didn’t know what I was looking at. What I saw looked like a photo of a person but had a surreal element to it that suggested that there was more to Carpeneda’s work than the image revealed. As soon as I found out that I was looking at a clay sculpture I was completely blown away. The level of detail and the amount of work put into each sculpture is quite astonishing especially for a clay sculpture. To give each sculpture a personal association with the person they depict, Carpaneda uses objects connected to that person in the sculpture. Carpaneda says about his work on his website that: “All his portraits are like a relic, a holy place, a moment caught in time. He uses objects that have a connection to the portrayed person to composing his work, such as cigarette butts, condoms, beer cans, underwear, semen, empty toothpaste boxes. In other words, things that are part of these people’s real world, and his own. He uses such objects and remains as a beginning for his portraits”

Most of the people we see on a day to day basis whether it be at work or at social event dress and prepare their appearance so that the look as one would expect a normal person leading a normal life to look. Most of the people that Carpaneda depicts, however, dress and prepare their appearance in a way that reflects their true personality.  These are the sort of people one would normally want to stare at but would try and refrain from doing so because we are taught that it is rude to stare. Instead of depicting the perfect male figure that most people are familiar with as a result of classical sculptors, Carpaneda utilises classical methods and materials to construct highly detailed analogues of what many would consider to be the outcasts of society.

A classical sculpture of a nude male figure is an image that almost everyone is familiar with and is able to view without feeling uncomfortable, embarrassed or repulsed. A sexualised image of a homosexual male, however, is a totally different story. Carpaneda’s sculptures challenge our perceptions of gender and identity as well as questioning the labels that society put on people who do not conform to the accepted norm. Yes, his work is confronting and will not be to every one’s liking but it is undeniably the work of a talented artist who is not afraid of challenging the boundaries of artistic practice and confronting viewers with the issues of stigma and division in modern society.

For more information on Fernando Carpaneda and his work visit
http://www.fernandocarpaneda.com/

and for information on the newly released book on his work see:
http://www.artslant.com/chi/articles/show/8249

**Nicholas Forrest is an art market analyst, art critic and journalist based in Sydney, Australia. He is the founder of http://www.artmarketblog.com, writes the art column for the magazine Antiques and Collectibles for Pleasure and Profit and contributes to many other publications.

Adam Reeder on Your Mac Life – artmarketblog.com

Adam Reeder on Your Mac Life – artmarketblog.com

zeusSculptor Adam Reeder whose work I featured on this blog not long ago has been interviewed by Your Mac Life, the internet’s number 1 Mac broadcast. To listen to the interview follow this link: http://yourmaclifeshow.com/QT/stream.mov and, if you don’t want to listen to the whole show, fast forward to 51:10 which is when the interview with Adam starts. Adam’s work has also been featured in two Mac related publications which you can see here :
http://www.macworld.com/article/139275/bay_area_artist_combines_apple_gear_with_greek_gods_.html

and here:
http://cultofmac.com/apple-gear-gives-new-life-to-classical-figures/9349

Well done Adam!!!

**Nicholas Forrest is an art market analyst, art critic and journalist based in Sydney, Australia. He is the founder of http://www.artmarketblog.com, writes the art column for the magazine Antiques and Collectibles for Pleasure and Profit and contributes to many other publications.

Adam Reeder and Pan’s Ipod – artmarketblog.com

Adam Reeder and Pan’s Ipod  – artmarketblog.com

"Pan with his Ipod"

"Pan with his Ipod"

If I am going to be honest I have never really been a big fan of classical figurative sculpture but after being introduced to the work of California based artist Adam Reeder I may have rethink my position. Judging by the pictures on his website, Reeder is a very accomplished artist with a particular talent for classical style sculpture and drawing but it is his most recent project titled “Socio-Technic Evolution” that really caught my attention. As you would expect, classical themes and subjects are an integral part of Reeder’s artistic practice but with his latest series he has taken the conventions of classical sculpture and added a 21st century twist. “Sleeping Gamer”, “Atlas With his iPhone” and “Pan With His iPod” are the titles of a few of the sculptures that are part of the “Socio-Technic Evolution” series which, as the titles suggest, are no ordinary classical figures.

I was so impressed by the “Socio-Technic Evolution” series that I thought that I would ask Adam to explain the concept behind these works and how he came up with the idea.

This is what Adam has to say about his work:

They are all based on the concept of how technology changes the way western culture interacts with it’s world. To display this, I have combined technological objects with Greco-Roman gods, or iconic Greek sculpture. This is because the Greco-Roman period is the root of western civilization. My work is not about the change that takes place but the change in interaction, facilitated by technology.

Pan with his mp3 player is the first in the series. It has won first place in the spring show at the San Francisco Academy of art university, as well as getting into other shows. My goal was to combine iconic Grecian images, and god’s with well known technological objects. The Grecian images and god’s were to represent western culture. The Greco-Roman empires are known as the root of western culture. I avoided using anything from the Cartesian time periods so as to keep the religious contexts out of the discourse.

The technological objects should change the context of the original image, but not the nature. Arguably, any change could change the nature of it. However, my thought was that the nature of the interaction between the image and the object, would not change the way the image would have originally interacted. I used Pan with his mp3 player as the example for my final proposal. The Greek god Pan, used a flute which he played in the wood and danced with nymphs. My depiction shows Pan, still dancing as before, but no longer playing his own music. Thus, the technology changes the context, but not the nature.

This work is not about consumerism, or commercialism. Rather it is about how technology changes the way in which Western culture interacts with it’s world. This body of work should remind the viewer of pop art, because pop art showed viewers what they were consuming in popular culture. It should also feel like an ad campaign.I like the fact that the initial reaction upon viewing (even for me) is, “oh great, another classic figure”, then upon closer inspection, the viewer recognizes these iconic technological objects and it all comes together.

I have seen that process happen in the eyes of viewers, and have been told about it from museum directors, gallery owners, exhibition organizers, and art agents. This thesis stemmed from an internal reaction I had to my 6 year old daughter’s request for an iPod for her birthday, as opposed to a Barbie, or easy bake oven. I became acutely aware at that moment, that technology was changing the way western culture interacts with its world.

To clarify, this is not a series of sculpture about a little girl, or about how I feel about the change which is taking place. My Thesis is simply a playful reflection of that change.

To see more of Adam’s work go to http://www.adamreeder.com

**Nicholas Forrest is an art market analyst, art critic and journalist based in Sydney, Australia. He is the founder of http://www.artmarketblog.com, writes the art column for the magazine Antiques and Collectibles for Pleasure and Profit and contributes to many other publications.

Danger of Careless Art Market Talk – artmarketblog.com

Danger of Careless Art Market Talk – artmarketblog.com

A Sotheby’s auction here in Australia on the 26th of August did not go as well as was anticipated with just less than half of the works selling and a final sales figure of AUD$5.77 million without buyers premium against an estimate of $9-$12 million. According to an article in the Australian newspaper, Georgina Pemberton, Sotheby’s head of paintings, described last night’s result as “a reflection of our economic climate and we are now going through a correction in the art market” After making this comment to the Australian newspaper, Georgina then went on to make the following comment regarding the auction to Bloomberg news “Some of the collectors are becoming more conservative, but overall the art market is still very strong”. Hmmm, seems like someone doesn’t know whether they are coming or going.

Other than the fact that these two statements contradict themselves, stating that the market is currently experiencing a correction that is seemingly based on this one sale is rather silly. A market correction is generally understood to mean a drop of between 10% and 20% in a financial market over a short period of time which would require a general market downward trend. Taking into consideration that there has been very little indication that the market is losing strength other than the Sotheby’s auction and that there are no figures relating to the definition of a market correction to back this statement up, to state that the market is experiencing a correction is very premature and at this point, incorrect.

Further evidence that the market is not in a correction came from an auction that took place the next evening by Bonhams and Goodman which experienced a far different result to Sothebys. According to the Bonhams and Goodman website “Record numbers had inspected the paintings at viewings in Sydney and Melbourne, with over 1500 people attending the auction venues, 30% up on the numbers for April. On auction night 250 people packed the Prahran saleroom to see Masterpieces of Australian Art from The Julian & Miriam Sterling Collection sell for $1,976,000 (including buyer’s premium), well over the lower estimate published in the catalogue. The sale of the Australian Fine Art catalogue contributed another $3 million to the result. ” Geoffrey Smith, Director & National Head of Art at Bonhams and Goodman went on to comment that “It was our most successful sale ever.” In total $4.9 million of art was sold against a lower estimate of $3.6 million although interestingly, only 49% of works sold which was the same percentage of works that sold at the Sotheby’s auction. What these results do show is that people are paying more money for the best works and that, although the sale rates may give the appearance of a correction, an proper analysis of the whole market points to more of a market transformation (ie. a change in buying trends and habits as opposed to a down-turn)

Another telling indication that the problem may be with Sotheby’s and not the market is the fact that only around 150 reportedly turned up at the Sotheby’s auction compared with 250 at the Bonhams and Goodman auction. With several more important art auction scheduled in Australia over the coming weeks it will be interesting to see what the results will be.

**Nicholas Forrest is an art market analyst, art critic and journalist based in Sydney, Australia. He is the founder of http://www.artmarketblog.com, writes the art column for the magazine Antiques and Collectibles for Pleasure and Profit and contributes to many other publications

Damien Hirst Screws Himself – artmarketblog.com

Damien Hirst Screws Himself – artmarketblog.com

On the 15th and 16th of September a total of 223 previously unsold works by Damien Hirst will go under the hammer at Sotheby’s. The collection consists mainly of different versions of Hirst’s most iconic concepts including versions of his spot paintings, spin paintings, butterfly paintings, medicine cabinets, formaldehyde works and photo realist paintings.

In continuation from my previous post on this auction I have conducted some further research on Damien Hirst and the market for his work which resulted in some rather interesting results. The online art auction result database Artprice.com lists a total of 1013 Damien Hirst works sold at auction since 1992, 169 of which were auctioned in 2007 which means that the Sotheby’s auction of 223 Damien Hirst works will account for more than a years worth of auction results. Comparatively, Jeff Koons, who is 10 years Damien’s senior, only has 524 auction recorded auction results since 1991.

The fact that Hirst has made the decision to sell at auction partly because the commission rates charged by an auction house are lower than those charged by most galleries suggests that his motivation is mostly, if not purely, financial. Although the demand for Hirst’s work is very high there are already plenty of works on the market due to the huge number of works that Hirst produces. This makes me wonder how many people will be buying from this auction purely because of the nature of the sale as opposed to the quality, price or attraction of the work on offer. I would say probably lots. If there are lots of people buying purely as a result of the nature of the sale then this could result in people buying works from this auction at inflated prices created by a false perception of scarcity and immediacy created by Sothebys when in fact there are already plenty of Hirst works available for sale elsewhere.

There are basically two different outcomes for this auction both of which I perceive as being potentially detrimental to Hirst’s career. Firstly, a successful sale where a majority of the works are sold for above estimate will result in a glut of Damien Hirst works being thrust onto the market which could well result in the demand and desirability Hirst’s work to drop due to the availability of works increasing dramatically. The effect that the sale of these works will have on the market for Hirst’s work depends on how many people are purchasing with the intention of on-selling within a short period of time. Scenario number two is that the sale goes terribly which would of course result in Hirst’s reputation and value dropping.

To be continued….

**Nicholas Forrest is an art market analyst, art critic and journalist based in Sydney, Australia. He is the founder of http://www.artmarketblog.com, writes the art column for the magazine Antiques and Collectibles for Pleasure and Profit and contributes to many other publications

Oz Artist Resale Royalty Boost – artmarketblog.com

Oz Artist Resale Royalty Boost – artmarketblog.com

For those who regular readers of my blog, you will be aware that I am an Australian and that I am a strong supporter of the implementation of an artist’s resale right in Australia. Just because the current Australian government made the decision to introduce a resale royalty scheme does not mean that the whole resale royalty saga is over. All that the Australian government has done is made the promise to implement a resale royalty, they have not said when it will be implemented or what model will be implemented. There are many different resale royalty model options that the government could choose to implement some of which are downright ridiculous and potentially ineffective.

On Friday an announcement was made that will be signal a major boost to the Australian art world with a press release being made public announcing that Joanna Cave, CEO of the UK’s primary copyright and collecting society for artists and visual creators DACS (Design and Artists Copyright Society), will be moving to Australian in January 2009. Joanna will be moving to Australia to take up the position of CEO of Australia’s copyright and collecting society for artists and visual creators and sister society of DACS, Viscopy. What makes this announcement so exciting is that Joanna Cave is probably the world’s most knowledgeable and experienced person on the resale right for visual artists having successfully implemented the resale right in the UK. Now that such an influential person will be coming to Australia there is a much better chance that the resale right model that is implemented will be the most effective and managable model. There is also now a much better chance that the resale right will be implemented smoothly, effectively and with the smallest amount of disruption due to the experience, knowledge and wisdom of Joanna cave.

See the press release from DACS below.

Design and Artists Copyright Society

News release

22 August 2008

CHANGE OF LEADERSHIP AT DACS

DACS’ Board of Directors today announced the resignation of Chief Executive Joanna Cave after eight years of dynamic leadership.

During that time, DACS (the Design and Artists Copyright Society) has changed in both size and profile, and now enjoys a strong reputation among artists whilst generating almost £9 million annually through its three rights management services.

Most recently, Joanna led the campaign for the Artist’s Resale Right in the UK – against fierce opposition in some quarters – which culminated in the government introducing legislation that delivers genuine benefit to artists without harming the market for art.

Since 2006, DACS has collected £6.3 million in resale royalties for over 1500 artists and DACS’ service is recognised as the best in the world.

DACS Chair Andrew Potter says: ‘Many thousands of artists, designers and photographers have every reason to be grateful to Joanna for her hard-won achievements on their behalf. She leaves DACS in great shape, doing a brilliant job on behalf of its members. I, the Board and everyone at DACS will miss her greatly, both professionally and personally. Everyone who works with Jo holds her in the highest regard.’

It is the success of the UK Resale Right campaign that has led Joanna to her next challenge, spearheading the campaign for the Artist’s Resale Right in Australia and New Zealand.

Michael Keighery, Chair of DACS’s equivalent organisation, VISCOPY, in Sydney, says: ‘Jo has been a tireless advocate for artists in the UK and on the international stage. Under her leadership Australian and New Zealand artists can look forward to VISCOPY championing their rights with great commitment and energy.’

Joanna says: ‘It’s a privilege to have been part of the DACS success story and leaving after eight happy years is going to be a wrench. But I am excited about the opportunity to work on behalf of artists in Australia and New Zealand. The Artist’s Resale Right is hugely important not least for indigenous artists, many of whom continue to be poorly rewarded for their work, despite its current popularity throughout the world’.

Joanna Cave will take up her new post in Australia in January 2009. DACS has commenced its search for her successor. Details of the vacancy will be available on http://www.dacs.org.uk.

For further information, please call Joanne Milmoe on 020 7336 8811.

**Nicholas Forrest is an art market analyst, art critic and journalist based in Sydney, Australia. He is the founder of http://www.artmarketblog.com, writes the art column for the magazine Antiques and Collectibles for Pleasure and Profit and contributes to many other publications

Indian Art Fair and Summit 08 – artmarketblog.com

Indian Art Fair and Summit 08 – artmarketblog.com

Today marks the start of the Indian Art Summit, India’s modern and contemporary art fair, which is taking place from the 22nd to the 24th of August. According to the Indian Art Summit website (http://www.indiaartsummit.com) the “India Art Summit™ 2008 has received an overwhelming response with over 90 applications from galleries and art businesses. The art fair will house 34 of the best exhibitiors of Indian art representing over 12 regions from India & overseas. The India Art Summit™ will therefore showcase the most diverse range of modern and contemporary paintings, sculpture, photography, mix media, prints, drawings and video art by veterans and upcoming artists from across the country. The 3 days in August will see the largest congregation of art collectors, a new wave of investors and art lovers from different geographies.”

It is no secret that the market for contemporary Indian art is red hot but you may be surprised to learn that an Australian gallery was partly responsible for one of the first major international touring shows of contemporary Indian. The exhibition, titled “Edge of desire: recent art in India”, was a joint initiative of the Art Gallery of Western Australia and the Asia Society in New York that, according to the exhibition catalogue, captured “the breadth and depth of practice in India and demonstrated why Indian art today plays such a vital role in the current international art scene. The first stop for the traveling exhibition was the Art Gallery of Western Australia from the 25 Sept 2004 – 9 January 2005 after which the exhibition moved to the United States where it was shown at the Asia Society and Museum from March 1 – June 5, 2005 and then the Queens Museum of Art from February 27 – June 5, 2005.

The fact that Australian’s have shown such an interest in Indian art is not that surprising when you consider between similarities between Australia’s beloved Aboriginal art and Indian art. Both cultures, for instance, have extremely old and unique visual and pictoral traditions that are key components in the visual representation and expression of various components of their culture with a particular focus on spiritual and religious beliefs. Both cultures have also experienced, and continue to experience, a sort of identity crisis at the heart of which is a struggle to maintain and preserve their traditions in a rapidly developing and progressing world. This struggle between tradition and contemporary society is often played out on canvas with many Australian Aboriginal and Indian artists having adapted the traditional visual representation of their social values, spiritual beliefs and cultural practices to the modern mediums of video, photography and installation. Many of Australia’s indigenous artists also use art as an expression of the trials and tribulations that a relatively unchanged ancient culture have faced, and continue to face, in a rapidly changing environment – just as many contemporary Indian artists do.

As an art collector and investor whose latest purchase was a print by the fantastic Indian artist Manjunath Kamath, I can tell you now that I will be continuing to expand my collection of contemporary Indian for as long as contemporary Indian artists continue to produce such amazing work.

**Nicholas Forrest is an art market analyst, art critic and journalist based in Sydney, Australia. He is the founder of http://www.artmarketblog.com, writes the art column for the magazine Antiques and Collectibles for Pleasure and Profit and contributes to many other publications