Hossein Hashempoor: The Visual Arts' Economy Is an Identity Economy
The weird thing is that artists, institutions, and art collectors fail to recognize the signature as a critical strategic tool.
The weird thing is that artists, institutions, and art collectors fail to recognize the signature as a critical strategic tool.
Offering masterpieces for sale at auction and in secondary art markets has become almost uncommon and undoubtedly rare since “The Ultimate Capital Commodity is the Artwork” became the focus of massive economic corporations.
The Middle East is currently dissatisfied, as it has been for the last 365 days. Every day, the dead are carried from alley to alley, and each instant of death and struggle is inhaled like oxygen.
It may sound incredible, but the record for selling an artwork in the Middle East has remained at 2.8 million dollars since 2008.
The very existence of the Venice Biennale is unintentionally brought to the attention of viewers by the establishment of the Art Dubai and Sikka Art & Design Festival in Madinat Jumeirah and Al Shindagha in Dubai, as well as the Abu Dhabi Art Fair, Louvre, etc. in the Bassam Freiha Art Foundation in Al Saadiyat Island of Abu Dhabi near water venues Can a developing art biennale be held in the Middle East during the fall and winter of the year, when the Venice Biennale is closed?
I first became acquainted with Master Abdulqader Al Rais, a renowned Emirati painter, through Christie's auction catalogs from 2007 to 2008 and beyond. At the time, my friends and I were flying from Tehran to Dubai for the Christie's Middle East Auction, which was held twice a year at the Emirates Towers Hotel in April and October to create reports.
The development and continual publication of literature concerning Middle Eastern creative institutions, artists, and artworks serves as the foundation for the region's art advancement and growth.
Hossein Hashempoor; From Art Dubai to Sikka There Is No Nationality in Art
The Middle East has no desire to become a gas station. Though it's not the complete tale, this is the most straightforward interpretation of the intriguing piece by prominent Saudi artist Ahmed Mater.
When Azadeh Jafarian asked South African painter Gavin Jantjes to choose a piece for us to photograph in Sharjah Art Foundation Gallery 4, I expected it to be a distinctive African painting with people and references to African politics and culture. His creations are well-known throughout the world, and he has even participated in auctions at Sotheby's. Gavin, nevertheless, grabbed our hands and urged us to move. He showed us gallery 5 ...
RECENT NEWS