Impreso el 24 de noviembre de 2025 Impresión
Liberalia es un proyecto del grupo de investigación iArtHis_LAB, del Departamento de Historia del Arte de la Universidad de Málaga. Es un motor de búsqueda especializado que obtiene datos de un grupo curado de fuentes de información presentes en la Red sobre exposiciones de contenido artístico. Es de acceso público, muy rápido y eficiente, con vocación didáctica y de herramienta para la investigación.
Dos veces al día recopila información relevante, y se puede consultar la más reciente en esta página.
Hyperallergic. Marc J. Straus – Hyperallergic. 24 de noviembre de 2025 01:04. art.
Marc J. Straus is a poet, writer, doctor, scientist, art collector, and gallerist. He is the author of numerous scientific papers and articles on contemporary art, has published four poetry collections. He has received numerous awards for his writing. Hyperallergic is a forum for serious, playful, and radical thinking about art in the world today. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York.
Hyperallergic. Art Market Reporters Are Getting It All Wrong. 24 de noviembre de 2025 01:04. art, history, artist, sculptures, curator, sculpture, painting, exhibition, curated.
In an ArtNews report from September, Daniel Cassady asks if art market writers are getting it wrong, arguing that the market is not as distressed as reported ad nauseam. He quotes Kenny Schachter, who suggests that the data is skewed; some noteworthy gallery closures in New York City do not represent a market that is doing just fine. Cassady points out that all these articles of doom and gloom may be feeding the downturn. I started collecting art in my early 20s in medical school, buying by working weekend jobs and taking out loans. There were no art databases, nothing to check auction history. I overpaid substantially for our first contemporary purchase — Kenneth Noland’s “Shift” (1966). The third purchase my wife, Livia, and I made was Ellsworth Kelly’s “Chatham VIII” (1971), which required a three-year bank loan. How was I to understand the reasoning behind its price when we were the only buyers of the 14 new Chatham works? How did galleries determine prices? I set out to learn this and the intricacies of auctions: hidden reserves, chandelier bids, guarantees, authenticity, and iffy condition reports. Livia and I were offered Donald Judd’s first stacks, standing at 10 feet (~3
