Jan Prasens on Talking Galleries Panel Focus: Art Finance Debunked

PRESENT FOCUS: ART FINANCE DEBUNKED

Talking Galleries New York in partnership with Schwartzman& Artand_Media Podcast with Loring Randolph

MONDAY, April 4th, 2022 – 2:30 to 3:45PM EST

Gilder Lehrman Hall at The Morgan Library & Museum, New York

The panel “Focus: Art Finance Debunked” will bring together art experts Jan Prasens, Deputy Chairman of The Fine Art Group, Noah Horowitz, Worldwide Head of  Gallery & Private Dealer Services of Sotheby’s, and Suzanne Gyorgy, Managing Director and Head of Citibank Private Art Advisory & Finance, in conversation with Melanie Gerlis of the Financial Times to debate art lending and the use of art as collateral.

Are there opportunities for lending against the inventory of mid-level galleries? How do we expand innovative applications of art lending?

Tickets may be purchased by following this link.

FURTHER READING

• The Asking Price: Understanding Value 1
• Are You a Tangible Asset Fiduciary? Topic #1 
• Philip Hoffman and Freya Stewart Named Top Professionals in Art Advisory and Art Finance

What happens when the title event of Frieze week is a no show? It’s complicated. The fairs themselves – Frieze London, Frieze Masters, an already postponed Photo London – mostly moved online, although 1:54 optimistically went ahead with an IRL event at Somerset House.

Some Frieze week absences are welcome – the tired feet, gallery dinner malaise, bushels of Gail’s Bakery receipts – but, unsurprisingly, without the usual international traffic in town, the mood was and remains calm, steady, muted. Without marquee auctions accompanying the week – the biggest sales to coincide with Frieze week were Christie’s mixed offerings in New York and Sotheby’s successful contemporary sale in Hong Kong – the heat of blue chip commerce has been deferred in London to later this month.

The online iterations of Frieze and Frieze Masters, finely tuned technologically and stronger than most, generally contributed to the growing consensus that we’ve passed peak online viewing room. Bigger galleries reported meaningful sales, but there were few surprises. No fair passes without Hauser & Wirth pointedly announcing sales of at least several objects for several million each, yet there seemed to be little mention of reported sales from Frieze Masters.

While operating at a less frenetic pace there is nonetheless considerable depth to the museum and gallery schedule in London. The closest the week came to the usual fair buzz was a few hours on the afternoons of Thursday 8^th and Friday 9^th October on Cork Street. Blue chips Lisson and Sadie Coles have opened temporary spaces on the street, both until the end of October. While South Africa’s Goodman Gallery is a relatively new but permanent addition to the new Cork Street development which has stood empty for more than eighteen months. Outsize at the north end of the street is the new venture Saatchi Yates. Nearly three years in the making, the business is run by Phoebe Saatchi (daughter of Charles) and her husband Arthur Yates. The opening show – a young artist, Pascal Sender – is reportedly close to selling out, with large works priced at 50,000 – 60,000 GBP.

Typically the time of year for grand openings, there are further new spaces in the city. Dealer Ben Hunter has taken on White Cube’s first space at 44 Duke Street, opening with a sell-out show of paintings by Sarah Ball. Soon to open on Margaret Street, Fitzrovia is Workplace Gallery – headquartered in Gateshead – with a solo presentation by young painter Louise Giovanelli. Other galleries opened temporary off-sites in the centre of town – most notably Rome’s Galleria Lorcan O’Neill in Mayfair, Project Native Informant in Soho and Edel Assanti at St Cyprian’s Church in Baker Street.

Long in the making is the opening of Cromwell Place, a much talked about development of several South Kensington town houses into a commercial arts ‘hub’, with gallery spaces for hire, offices, club rooms and professional storage. Conceived several years ago as a response to the increasingly peripatetic nature of the art market and the focus on particular, seasonal moments in the city, the operation has nonetheless opened with a mixed offering of current occupants, most notably Lehmann Maupin – who appear to be longer term residents than others – and Edinburgh’s Ingleby Gallery.

Commercial shows in town remain strong, with or without the fair. Dana Schutz at Thomas Dane is a relative ‘must see’ (until 19 December 2020), as is Howard Hodgkin at Hazlitt Holland-Hibbert (until 11 December 2020) and John Stezaker at Luxembourg & Co. (until 5 December 2020). Other presentations of note include Christina Quarles at Pilar Corrias (until 21 November 2020) and a historicising group presentation, Nude at Olivier Malingue (until 11 December 2020).

The autumn season also sees strong institutional presentations recently opened or soon to open. Critics and the commentariat have significant praise for Toyin Ojih Odutola’s solo exhibition at the Barbican (until 24 January 2021), and group shows including The Botanical Mind: Art, Mysticism and The Cosmic Tree at Camden Arts Centre (until 23 December 2020) and Not Without My Ghosts: The Artist as Medium at the Drawing Room (until 1 November 2020). Bruce Nauman’s retrospective at Tate Modern, the artist’s first major show in London for twenty years, presents one of conceptual art’s most provocative proponents in depth (until 21 February 2021).

Soon to open, and hotly anticipated, are the solo surveys of Lynette Yiadom-Boake (18 November – 9 May 2021, Tate Britain) and Zanele Muholi (5 November – 7 March 2021, Tate Modern). We’re also excited to see Tracey Emin / Edvard Munch at the Royal Academy of Arts (15 November – 28 February 2021). And, continuing the yBa theme, Damien Hirst’s self-mounted early career survey at the Newport Street Gallery (until 7 March 2021).

The woes facing the museum sector – Tate especially – are myriad. And staff at leading institutions, including the Royal Academy of Arts, have been vocal in their criticism of the organisation’s financial priorities following announcements of large redundancies and cost cutting. Commercial galleries are likewise working harder than usual to turn the wheels of commerce without the heat, buzz and noise of the art fair circuit. So the current outlook for the London arts scene is one of great resilience, yes, but also enormous flux. While a little stilted compared to other years, the exhibition schedule in London should remind us of its place – come what may in January 2021 with our departure from the European Union – as one of the world’s most important ecosystems for modern and contemporary art.

Image 1: Image courtesy The Art Newspaper; Image 2: Image courtsey Novaloca; Image 3: Image courtesy Cromwell Place; Image 4: Image courtesy Hazlitt Holland-Hibbert; Image 5: Image courtsey Barbican; Image 6: Image courtesy artnet news

FURTHER READING

• What Will Collectors Buy in 2022?
• Market Update: How the Art Market Joined the Digital Age
• Commentary: Will Online Platforms Kill Art Fairs?

By Jonathan Levy, Head of DACH Region

The German-speaking Art world emerged from this year’s seemingly endless summer, with a hat trick of overlapping gallery weekends. Zurich, Munich and Berlin all opened their respective versions of the Corona-friendly format on the second weekend of September, to regional visitors anxious to experience Art IRL.

My forays took me to most galleries, museums and artist-run spaces in and around Zurich, followed by a day trip to Munich, where I was able to visit two extraordinary exhibitions at the Museum Brandhorst and immerse myself in the Bavarian capital’s gallery scene.

ZURICH ART WEEKEND

My Zurich Art Weekend started on Thursday evening, with a visit to Acrush, a production company on the industrial outskirts of Zurich. Acrush works with international galleries, museums and artists to realize ambitious large-scale commissions and exhibition projects. The impressive roster of artists includes names like Urs Fischer, Rob Pruitt, Paul McCarthy and the American artist, Darren Bader, with whom Acrush produced a special AI-experience to mark the occasion.

Bader’s work falls into a variety of categories, including “trash”- and “impossible” sculptures, “pairings” and “collaborative installations”. Using a range of experimental media, Bader explores inter-connections between seemingly disparate narratives and objects and presents the viewer with surprising and often humorous juxtapositions. In the current exhibition, entitled “Character Study”, Bader expands and confuses the object nature of art. He presents an experience in augmented reality that merges guided city walks in New York and Zurich, simultaneously. These walks are accompanied by an AR-character that can be produced and purchased in any desired scale. One version of the 3D character – part turtle, part cartoon – is placed at the centre of the exhibition space. The walls show posters of “Scott Mendes”, Bader’s fictitious travel agent, whom the artist developed as a mobile application for the 2019 Venice Biennale, to add an extra layer of content to the already crowded Arsenale and Central Pavillion exhibitions.

Over at Karma International, visitors are invited to explore the gallery’s massive 2-floor extension in an empty furniture showroom. The group exhibition in the new space combines exceptional works on paper by Meret Oppenheim and Bauhaus stage proposals by Xanti Schawinsky from the 1930s, with large paintings by Ida Ekblad and installation pieces by Sylvie Fleury, Pamela Rosenkranz, Ser Serpas and Vivian Suter.

Across the street, the gallery presents an exhibition curated by former artistic director of Documenta, Adam Szymczyk. The show is dedicated to Elisabeth Wild, whose colourful geometric collages, made from found magazine clippings, contrast against works by Raúl Itamar Lima and Sophie Thun.

The Swiss response to London’s Mayfair gallery scene, is the area between the infamous Kronenhalle restaurant and the soon-to-be opened, David Chipperfield-designed Kunsthaus.

Opening on Friday afternoon, ZAW-visitors were invited to discover shows by Georg Baselitz (Levy Gorvy with Rumbler), Mira Schor (Fabian Lang Gallery), Jannis Kounellis (Larkin Erdmann), Matt Mullican (Galerie Mai 36) and Sarah Slappey (Gallery Maria Bernheim). Galerie Eva Presenhuber opened a new gallery on Waldmannstrasse, with a solo exhibition of large, colourful works by the American painter, Joe Bradley.

Next door, at Tobias Mueller Modern Art, visitors are greeted by wall-mounted installations and large paintings by American artists, including Julian Schnabel, Terry Winters, Virginia Overton, Philip Taafe and Tim Rollins & K.O.S (Kids of Survival). Climbing up the stairs to Galerie Bernhard on the second floor, we find an intimate display of new works by the Swiss-born, Berlin-based artist,  Tobias Spichtig, whose paintings of sunglasses and resin sculptures of languid figures radiate the sense of primitive coolness inherent to underground youth culture, which creates the perfect transition from the elegant showrooms of uptown Rämistrasse to the local scene of artist- and curator run off-spaces that would round off my Zurich Art Weekend after a good night’s rest.

VARIOUS OTHERS, MUNICH

On Monday I left for Munich to catch the end of “Various Others”, a slightly different response to the Zurich and Berlin gallery weekends. The event is organized and hosted by VFAMK E.V., the Society for the Promotion of Munich’s External Perception as a Cultural Location. In this year’s edition the organizers asked local gallerists to host cooperative art projects together with other foreign gallery friends.

Galerie Nagel Draxler invited Lars Friedrich (Berlin) to its recently opened Munich dependence, for a sensual exhibition of paintings by the German abstract painter, Stefan Müller and a group of large scale leather leaves by the South Korean artist Min Yoon.

Other visiting galleries include Thomas Dane (at Jahn und Jahn), Sultana and Peres Projects (at Nir Altman), Emanuel Layr (at SPERLING) and Esther Schipper (at Walter Storms Gallery).

The highlight of my trip to Munich, however, was the impressive collection display at the Museum Brandhorst, and the fantastic mini-retrospective by Glaswegian artist, Lucy McKenzie (1977).

Walking into the museum, I stared down the barrel of Patty Hearst’s machine gun, in one of my favourite works by the American artist, Cady Noland. The menacing sculpture is placed against a huge backdrop by Louise Lawler and is flanked by two St. Petersburg-style displays of works by Andy Warhol. The Brandhorst collection spans the period from 1950 to the present day and boasts not only the largest collection of works by Warhol, but also substantial holdings of works by Cy Twombly that fill the entire upstairs galleries.

Walking down the large staircase into the museum’s belly, the first thing I notice is a long painting by Lucy McKenzie, entitled “Mooncup”, originally designed to mimic a multi-storey advertising banner. It leads into the artist’s first retrospective exhibition, which curator Jacob Proctor structures along the artist’s successive artistic phases. The show begins with a salon display of paintings, reminiscent of McKenzie’s Dundee diploma show in the late 1990s and moves through different iconic bodies of her work. The interest in painting and its conceptual potential was strongly influenced by German painters like Kai Althoff and Martin Kippenberger, whom McKenzie discovered during an Erasmus exchange in Karlsruhe. Her blown-up architectural maquettes reference the work of early modern architects like Charles Rennie Mackintosh and Adolf Loos. McKenzie creates fantastically immersive spaces that shrink the viewer and invite reflections on the power shared by architecture, design and authoritarian regimes. McKenzie’s further studies at the Van Der Kelen School for decorative painting in Belgium resulted in a series of “Quadlibet-”paintings. McKenzie uses these arranged inorganic still lives as powerful moodboards on which to experiment, juxtapose and confront themes of social and political tension. In one such moodboard McKenzie imagines the task of an interior designer, balancing colours, materials nd surfaces for a Fascist bathroom, with a glass door aptly labelled “Avanti”.

Delighted by the humorous, thought-provoking and enormously skillful display of Lucy MkKenzie’s work, I leave the museum in search of a typical Munich “Wirtshaus” and the hope that I will continue to be able to travel and experience more great exhibitions as the months get colder.

FURTHER READING

• Market Update: How the Art Market Joined the Digital Age
• Commentary: Will Online Platforms Kill Art Fairs?
• See You at the Fair?

Inaugurating Modern Art’s new space on Bury Street is a group of recent paintings by Austrian artist Martha Jungwirth. Born 1940 in Vienna, much of her reputation, influence and exhibition history has been confined to central Europe. Although recognised during the 1960s – 1970s (she participated in Documenta 6, 1977) she had since faded from international view until 2010, all the while remaining an important figure in the Vienna art scene. This turning point is often linked to the inclusion of her work in a group show curated by German painter Albert Oehlen at the Essl Museum in Austria that year. While many of the subsequent commercial exhibitions over the past decade have presented historical bodies of work, Modern Art’s new exhibition presents paintings and works on paper from the past few years.

Jungwirth’s work elides numerous art historical genealogies while somehow standing apart from them. Studying in the 1950s and early 60s, the prevailing artistic winds of the time are evident in her handling of mark and gesture. Cy Twombly and Joan Mitchell are often mentioned, and there’s certainly a lyrical nature to her late career abstraction which might be traced to the tail end of Abstract Expressionism. Like numerous artists of her generation, the lingering presence of Surrealist interests – especially automatism and the role of chance – greatly inform her practice.

One of the most notable aspects of her work is the prominence of touch, centre stage. Her surfaces are splattered, stroked, stained, dragged and brushed into existence, while large expanses of empty sheet are left lightly touched, leaving the buff brown of the card she often uses to become a primary component of the overall personality of each work. As such, her gestures have been likened to ‘actors on a stage’: individual marks dancing with each other across the sheet.

Numerous works in oil are marked by purposefully visible, paint-y finger prints from where the artist has handled the sheet in the studio. Understood art historically, these could be seen as a sort of joke on the dogmatic clash between AbEx with Pop and Minimalism in the 1960s. Where AbEx asserted the singular authorship of the artist as a uniquely endowed creator of meaningful works, Pop and Minimalism – in line with left-leaning literary theory of the time – denied the ‘hand of the artist’ almost entirely. Perhaps given a further twist, the predominant shades in recent works are bright pinks, rich maroons, vivid reds and deep purples – a decidedly fleshy, even bruised, palette. Whether understood as a record of a performative act, or a physical encounter with the artist’s touch, the body is consistently evoked in her work as painterly presence.

The title of a solo show in 2013 at Galerie Cinzia Friedlaender, Berlin provides further insight on her views to the artistic milieu of her early career. Pädagogisch wertlos – translated as Devoid of Pedagogical Value – may refer to her ten years as an art school professor in Vienna, but could well be a rejoinder to see the value of her work in tactile, visual pleasure. Where so much of AbEx was high-minded (even quasi-spiritual in the case of Rothko) – the show title suggests that retinal pleasure is as important, if not more so, than lecturing the viewer with a diffuse, overbearing rhetoric beloved of many mid-century abstractionists. Perhaps a plea to see colour as colour, and to enjoy it as such, rather than as an existential cry into the abyss.

Guilty, like many, of coming to her work in the past decade we’ve followed this later career reappraisal with considerable attention. Market interest has become fierce in recent years, with an auction record of 80,000 EUR (with fees) set in March 2020. While her work rarely left central Europe for many decades, those further afield – such as the Rubell Family Collection in Miami – have now acquired her work in depth. Likewise a show at Fergus McCaffrey, New York in 2019 was the artist’s first commercial exhibition outside Europe. As such the current presentation at Modern Art, closing 26 September 2020, presents a cherished opportunity to see a new body of recent works in the round. Not to be missed!

Banner Image: Copyright Martha Jungwirth. Courtesy the artist and Modern Art, London.

FURTHER READING

• May 2023 Auction Season: Our Team’s Top Picks & Insights
• The Educated Eye: Understanding the Hermès Luxury Handbag Market

As New Yorkers took shelter amid the March Covid-19 lock-down, many collectors fled to the Hamptons, the eastern tip of Long Island better known as a playground for the wealthy rather than a place to buy art. 

Well, times have changed. Beginning in June 2020, the openings of East End outposts from established New York based galleries started attracting attention in the press. Skarstedt, Van de Weghe, Michael Werner, Pace and Sotheby’s Private Sales are among some of the newest spaces in the beachside community.  These businesses join the long-established East Hampton galleries Ross + Kramer, Rental Gallery, Harper’s Books, Eric Firestone and Halsey-McKay. 

Within two blocks visitors can now hit numerous galleries and see some very good art from established names.  The offering is a mix of curated exhibitions – such as Yoshitomo Nara’s After all I’m cosmic dust at Pace – and Sigmar Polke, Francis Picabia and Friends at Michael Werner, while Skarsdedt feature various works by assorted blue artists from their roster including Eric Fischl (a Hamptons resident), Sue Williams, George Condo and David Salle. The Sotheby’s space offers a wide presentation of property across sale categories: post-War and contemporary art, design, jewelry and watches. In an effort to create comradery and patronage amongst neighbors, many of the East Hampton spaces stay open late on Thursday evenings to host pandemic-style receptions with masks and hand sanitizer at the ready. 

Changes are certainly underway in the artworld and the length of the gallery leases could be an indication of how long these dealers expect to make use of their new East End spaces. Although Pace has taken the lease until October 2020, others like Van de Weghe have signed for three years while Hauser & Wirth have a one year lease in Southampton, only a few miles down the highly trafficked highway 27. Also in Southampton is Emmanuel Di Donna’s new space Sélavy, showcasing fine art and design.

Following are a selection of my photos from my July gallery visits in East Hampton:

FURTHER READING

• The Secrets to Maintaining Large Collections
• The Fine Art Group Art Advisory Team at Frieze LA

Denison Museum in Granville, Ohio is currently hosting Say It Loud, a curated exhibition of the work of contemporary celebrated black artists.

While it’s not possible during this unprecedented time to see the exhibition in person,  you can experience Say It Loud through a short video filmed at Denison University Art Museum.

“From the collection of Hedy Fischer and Randy Shull, Say It Loud includes the work of world-renowned contemporary black artists who document and challenge dominant historical perspectives and events. The exhibition illustrates the struggles and achievements of African-Americans, with themes focused on ethnic identity, institutional racism, gender, and beauty. Works come from an array of Guggenheim, Whitney, and MoMA artists, including Kehinde Wiley (Obama’s official portraitist), Kerry James Marshall, Alison Saar, Trenton Doyle Hancock, Mickalene Thomas, Hank Willis Thomas, and Sanford Biggers.”

Denison Museum

OUR SERVICES

Offering expert Advisory across sectors, our dedicated Advisory and Sales Agency teams combine strategic insight with transparent advice to guide our clients seamlessly through the market. We always welcome the opportunity to discuss our strategies and services in depth.

Colleen Boyle, Pall Mall Art Advisors’ Senior Vice President and National Sales Director, makes an appearance in the true crime art documentary Real Fake The Art, Life and Crimes of Elmyr de Hory. 

The National Arts Club in New York City will be hosting a special filmmakers’ screening February 5, 2020. Pall Mall Art Advisors would like to encourage you to register for and attend this special event.

Real Fake: The Art, Life and Crimes of Elmyr de Holy
A Film by Jeff Oppenheim
The National Arts Club
15 Gramercy Park S
New York, NY 10003
February 5, 2020 – 8 PM

Elmyr de Hory was one of the most notorious forgers. He is alleged to have painted thousands of “fakes,” many of which still hang in major museums and private collections worldwide. Having eluded prosecution from Interpol, Scotland Yard and other authorities, veteran filmmaker Jeff Oppenheim re-opens the case in this investigative caper that sheds new light on the depth of Elmyr’s crimes. 

This event is free and open to the public, however an 
RSVP is required at nationalartsclub.eventbrite.com.

The Advisory team at The Fine Art Group is excited to bring you some of the objects of our affection this Valentine’s Day, including jewelry, fine art, handbags, wine, rare books and decorative arts. Hand-picked by our specialists and advisors, from upcoming sale venues, we hope that our selections inspire your gifts for your valentines this year.

Sotheby’s
February 11, 2020 – Contemporary Art Evening Auction
Sale L20020
Lot 3

Banksy
VOTE TO LOVE
Spray paint on UKIP placard mounted on board
46 x 46 x 3 1/4 in.
Estimate: $522,840-$784,260

Heritage Auctions
May 3, 2020 – Luxury Accessories Signature Auction
New York #5505

Chanel
Matte Pink Python Medium Boy Bag
Estimate: $3,000-$4,000

Rock Paper Film

Maciej Zbikowski
Sabrina
33 x 23 in.
1967
Retail Price: $1050

Sotheby’s
January 28, 2020 – Specialist Selects
Sale L20309
Lot 9

Fine Diamond Ring
Set with an oval diamond weighing 10.16 carats, between baguette diamond shoulders, size L.
Estimate: $367,416-$459,270 

Sotheby’s
January 25, 2020 – Triumphant Grace: Important Americana from the Collection of Barbara and Arun Singh
Sale N10303
Lot 1072

Rare Stamp and Punch-Decorated Black and Red Leather Key Basket
Circa 1800
Estimate: $5,000-$8,000

Sotheby’s
February 5, 2020 – Impressionist & Modern Art Day Sale
Sale L20004
Lot 125

Marc Chagall
Bouquet d’œillets aux amoureux en vert
Gouache, pastel, oil and brush and ink on paper
31 1/2 x 23 in.
1950
Estimate: $459,270-$721,710 

Berry Bros. & Rudd
Petrus, Pomerol
Cab. Sauvignon Blend, Full Bodied, Dry
13.5% alcohol
1989
$38,650

Bonhams
February 5, 2020 – Knightsbridge Jewels
Lot 297

Cartier
A Cultured Pearl and Diamond ‘Panthère’ Necklace
Estimate: $6,600-$9,200

Heritage Auctions
April 4, 2020 – Photographs Signature Auction
New York #8002
Elliott Erwitt
California Kiss, Santa Monica
Gelatin silver print
12 1/4 x 18 in.
1955, printed later
Estimate: $4,000-$6,000

Doyle
January 23, 2020 – Cherished: American Folk Art & Toys from the Estate of a Private Collector
Sale 20FA01
Lot 380

American school
A Courtship Valentine
Watercolor on paper
11 1/4 x 8 in.
19th Century
Estimate: $2,000-$4,000

The Fine Art Group is pleased to be a sponsor at the National ACTEC 2019 Fall Meeting.

Experienced attorneys come across clients who own art, jewelry and other valuable collectibles from time to time.

In the process of advising clients you probably have asked yourself one or more of the following questions:

• How do I achieve the best possible return on the sale of an estate’s art, jewelry, wine and collectibles?
• Does my client have a varied and complex portfolio of tangible assets that require an IRS compliant appraisal or a monetization strategy?
• What is the best strategy to include my client’s valuable tangible assets into a philanthropic plan to maximize tax benefits or continue a legacy?

In order to answer these and other questions, we’d like to invite you to stop by The Fine Art Group table at the ACTEC 2019 Fall Meeting.

If you prefer to make an appointment with me or one of my colleagues ahead of time, please don’t hesitate to reach out to me through the below email address or by phone.

I look forward to meeting you in person.

Further Readings

• Protect Your Investments while Divesting Tangible Assets
• Freya Stewart To Speak at the Art Business Conference

THE FINE ART GROUP AT LONDON ART BUSINESS CONFERENCE

On September 4th, Freya Stewart will be speaking at The Art Business Conference.

Now in its 6th edition, The Art Business Conference is an annual one-day conference, held in the heart of London. Through paneled discussions and speeches by leading experts in art, business, and technology, the conference provides an informed global perspective on key issues of the art market, and looks ahead to potential future developments.

Freya Stewart will be speaking on the subject of Demystifying Art Finance in conversation with Financial Times reporter Melanie Gerlis. Their session includes,

“Whether you own your own art collection, are an advisor seeking more insight for clients, or if you just want to know more about this rapidly developing market, this ‘need to know’ expert session will cover the ins and outs of art lending from loan costs and terms to financing for art business.”

Read more about The Art Business Conference here.