Kunstmarkt-News über Thomas STRUTH (1954)

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ArtMarket® Insight Übersicht

The photography market’s top sales… from Paris to New York [22.11.2019]

Every November Paris hosts a multitude of special events dedicated to photography. This year the core fair, Paris Photo, was accompanied by numerous “off” fairs and auction sales, as well as a whole series of special exhibitions at Parisian cultural institutions. The result was a rich and highly diverse program attracting a record number of […]

Top photography results [29.04.2016]

In Artprice’s fortnightly series of auction rankings, this week’s Friday Top looks at the best auction results in the art market’s photography segment.

Tribute to the Bechers [20.10.2015]

The Bechers, as we now call them, were a couple of photographers who immortalized industrial architecture in pictures that treated each edifice as if it were an “anonymous sculpture”.

FIAC 2011 – Notes from the fair [25.10.2011]

The 38th edition of the FIAC just ended. Nearly 21 countries represented, 168 galleries, close to 70 000 visitors… the 2011 FIAC was a tremendous success.

GERMAN PHOTOGRAPHY – From reality to fiction [10.05.2006]

Bernd and Hilla Becher are the leading lights of « objective » photography in Germany. Their approach refutes the anecdotal and focuses on inventorying anonymous « industrial sculptures » that appear throughout our environment. The radicalism of their documentary work had a strong impact on their students including Andreas Gursky, Thomas Ruff, Thomas STRUTH and Candida HÖFER. This later generation of photographers assimilated much of the Becher’s approach, although sometimes freeing itself from the « objective » view of reality by altering their images. From an auction and museum preference point of view, the later generation seems to have become more popular than the objective purism of the Becher period.

Contemporary photography: +35% in 2004 [21.03.2005]

In the mid-1990s, paintings were the only medium in the art market that investors considered of any speculative interest. But recently, with growing demand and a wave of artistic renewal, other creative formats have proved as, or more, lucrative than paintings. The photography market has been expanding rapidly for the past five years and is today one of the art world’s fastest-growth segments.

International contemporary art driven by Phillips, De Pury & Luxembourg [23.11.2003]

The contemporary art market has been doing fairly well of late, and the last big auctions of the year have reaffirmed the trend. The wealthiest US investors are continuing to support new art. Record after record has been falling in New York, and not only for American artists.

Contemporary photographers rise in the east [03.08.2003]

A wave of enthusiasm among younger generation collectors has driven contemporary photography prices up by 92% in less than six years, an annual growth rate of more than 12.7%. This kind of speculative rally used to be the preserve of big name German and US photographers, but in the last few months the market seems to have been led by less renowned artists of other nationalities.

How does the French contemporary art market measure up today? [30.06.2003]

Since it reformed its auctioneers, France has increased its share of the auction market from 7% of worldwide turnover in 2001, to 8.6% in 2002. Yet growth in the wider sector has done little for the contemporary art market. France only generated 4.5% of the proceeds from contemporary artworks in 2002.

Contemporary photography: prices surge in this more selective and transparent market [13.06.2002]

In a market segment which attracts young collectors hammer prices rise and fall in line with sales. Despite being a particularly unstable market, contemporary photographers have commanded steadily rising prices in recent years. But prices are still influenced by economic swings and speculation. The talent of these artists is not yet rooted in art history or in the market. Selection is particularly tough.

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