More Intelligent Life, The Economist’s udmærkede kulturmagasin, skriver om Andy Warhol boblen, der har ramt verdens kunstmarkeder.
Warhol is now the god of contemporary art. He is indeed, it is said, the “American Picasso” or, if you prefer, the art market’s one-man Dow Jones. In 2010 his work sold for a total of $313m and accounted for 17% of all contemporary auction sales. This was a 229% increase on the previous year—nothing bounced out of recession quite like a Warhol. But perhaps the most significant figure is the rise in his average auction prices between 1985 and the end of 2010: 3,400%. The contemporary-art market as a whole rose by about half that, the Dow by about a fifth. “Warhol is the backbone of any auction of post-war contemporary art,” says Christopher Gaillard, president of the art consultants Gurr Johns. “He is the great moneymaker.”
Jeg læste artiklen på vej hjem i flyet fra Berlin og tænkte på Robert Hughes, den gamle kæmpe indenfor moderne vestlig kunst. Han er ikke fan af Warhol. Men finder ham, trods alt, mere spiselig end fx Damien Hirst:
Jeg elsker det udtryk af ren foragt, der ligger over Robert Hughes’ ansigt igennem hele klippet. Selv kan jeg ret godt lide både Warhol og Hirst – ironien, udtrykket, legen. Og hele problematiseringen af kunst- og kunstnerbegrebet der følger med dem.
mycorporateblog by kristoffer holm pedersen 