A handful of influential figures dominate the art market's power dynamics. These individuals wield considerable sway over the direction of their respective careers and industries. Their ability to acquire art, persuade artists to part with their work, and navigate the intricate web of collector-seller relationships is nothing short of remarkable.
One notable example is Matthew Brown, a young dealer who recently expanded his operations to New York. He successfully lured living legend Carroll Dunham away from Gladstone, marking a significant coup in the competitive art world. Similarly, Hauser & Wirth continued its winning streak with numerous exhibitions at top museums, including Amy Sherald's show at the Whitney Museum of American Art.
Galleries are increasingly adopting a "farm team" approach, absorbing up-and-coming artists to cater to collectors' desire for more affordable options. Conversely, kurimanzatto in Mexico City is pushing the boundaries by staging high-profile exhibitions with major names, such as Haegue Yang.
The auction world remains dominated by two players: Christie's and Sotheby's. Patrick Drahi's ownership of the former has led to a decline in public auction sales, which fell 19% this year, or $25.1 billion. However, Guillaume Cerutti and Alexander Rotter have been bucking the trend, with their respective companies thriving.
Art Basel and UBS Global Art Market Report author Clare McAndrew's influence remains unparalleled, despite recent challenges from newer outlets like Artnet and Artsy. Noah Horowitz and Vincenzo de Bellis must be doing something right, as everyone in the industry attended this year's Art Basel Paris.
Ari Emanuel's acquisition of Frieze fairs via his venture MARI has given him significant control over the event's direction. Meanwhile, museums continue to exert their power, with the loss of Agnes Gund and the rise of Sarah Arison at MoMA marking notable developments in the industry. Max Hollein's continued dominance as director of both New York gallery Louisa Acosta and the Metropolitan Museum of Art underscores his influence.
This year's Art Power Index recognizes these individuals for their pivotal roles in shaping the art world's trajectory. They are redefining the structures and evolution of the industry, navigating its changes with vision and capital.
One notable example is Matthew Brown, a young dealer who recently expanded his operations to New York. He successfully lured living legend Carroll Dunham away from Gladstone, marking a significant coup in the competitive art world. Similarly, Hauser & Wirth continued its winning streak with numerous exhibitions at top museums, including Amy Sherald's show at the Whitney Museum of American Art.
Galleries are increasingly adopting a "farm team" approach, absorbing up-and-coming artists to cater to collectors' desire for more affordable options. Conversely, kurimanzatto in Mexico City is pushing the boundaries by staging high-profile exhibitions with major names, such as Haegue Yang.
The auction world remains dominated by two players: Christie's and Sotheby's. Patrick Drahi's ownership of the former has led to a decline in public auction sales, which fell 19% this year, or $25.1 billion. However, Guillaume Cerutti and Alexander Rotter have been bucking the trend, with their respective companies thriving.
Art Basel and UBS Global Art Market Report author Clare McAndrew's influence remains unparalleled, despite recent challenges from newer outlets like Artnet and Artsy. Noah Horowitz and Vincenzo de Bellis must be doing something right, as everyone in the industry attended this year's Art Basel Paris.
Ari Emanuel's acquisition of Frieze fairs via his venture MARI has given him significant control over the event's direction. Meanwhile, museums continue to exert their power, with the loss of Agnes Gund and the rise of Sarah Arison at MoMA marking notable developments in the industry. Max Hollein's continued dominance as director of both New York gallery Louisa Acosta and the Metropolitan Museum of Art underscores his influence.
This year's Art Power Index recognizes these individuals for their pivotal roles in shaping the art world's trajectory. They are redefining the structures and evolution of the industry, navigating its changes with vision and capital.
they got these like 10-15 ppl dominating everything from dealers to auction houses to museums it's wild! Matthew Brown is literally a mastermind w/ Carroll Dunham jumping ship from Gladstone, that's a HUGE deal! But what I'm really loving is how galleries r trying to up their game by signing more affordable artists 
and kurimanzatto in Mexico City is totally slaying the game w/ major names like Haegue Yang 
. Can't believe they're still getting away with selling masterpieces for millions to faceless collectors who just wanna hang it on their wall 
. And don't even get me started on the auction houses - Christie's and Sotheby's are like the art world's old guard, refusing to adapt despite being in decline 
. At least some of these influencers are shaking things up with their "farm team" approach or putting on sick exhibitions 
. But let's be real, it's all about the Benjamins 
and whoever can get the most attention from the art world elite 
... I mean, it's crazy to think that just a few people can swing the direction of entire careers or industries. Can't we see more opportunities for smaller players to shine? And what's up with these "farm teams" galleries doing? It feels like they're more interested in catering to rich collectors than supporting new artists who actually have something unique to say 
... like Haegue Yang's shows at kurimanzatto. And I'm glad to see Guillaume Cerutti and Alexander Rotter bucking the trend in auction sales 
it's not all bad though, I love seeing new galleries popping up like kurimanzatto in Mexico City that's bringing some much needed freshness to the scene 