The Artsy Advisor Notebook: December 2023

In this monthly series, we collect opinions and highlights from Artsy’s art experts on what they’re seeing, expecting and enjoying in the art world this month.

To say there were nerves in the air going into Art Basel Miami Beach would be an understatement. More than a few dealers have told me it’s possible they won’t sell exactly anything, which is a concern given that they typically use the proceeds from the early December fairs to get them through the quieter winter months. But halfway through the fair’s opening day, people seemed to breathe a sigh of relief. Advance sales were better than expected and people showed up on Wednesday ready to buy more. Gallerists showing at NADA, which opened a particularly strong edition the day before, could even be seen walking the halls of Art Basel with smiles on their faces after supposedly selling out their booths.

Sales were not frantic like at the end of 2021 and the first half of last year. The secondary market in particular continues to lag, with sellers stubbornly resisting higher than realistic prices. Buyers have almost zero urgency and claim and get discounts well above the usual 10%. But the light, even cheerful mood was in contrast to last year’s Art Basel Miami Beach, when dealers tried to pretend the boom times were still going strong.

In some cases, galleries seemed to clutter the market — bringing in fine examples of artists’ work or inventory previously offered during this busy fall season for fear of burning the best in the Florida sun. Those who took the gamble and brought A-class gear fared better.

Miami has a particular advantage in being in the least-conscious state of the developed world’s best-performing economy, but it could also signal a broader recovery sometime in the new year as EMEA and APAC economies continue to tendency leader of the USA. At the very least, it was a worthy reminder for galleries to maintain a steady presence with American collectors even though the buzz this fall may have been across the pond.

—Alexander Forbes, vice president of Galleries and Fairs

Many of my favorite paintings from Miami Art Week could be grouped into two fashion styles: “quiet luxury” and “hazy nostalgia.” The first usually speaks to the subject of the painting: heavily cut cocktail glasses, clothing, sometimes jewelry. The latter describes the way the painting’s subject is represented: soft, blurred edges that make the subject appear plucked from memory.

At NADA, Rachel Lancaster exhibited several hazy luxury paintings with London-based gallery WORKPLACE. His most striking work on the stand, steam route (2023), shows the back of an anonymous woman’s head, her blonde hair tied back in a large pink bow. The thin glazes of paint create an illusion of movement, as if the woman is turning slightly, an intentional choice by the artist, who chooses her subject from film photographs.

Tomas Harker’s stand of bright monochrome tables at The Sunday Painter also fits the trend. In one of NADA’s few individual booths, the artist brazenly places iconic images of historic art on fine china, paired with crystal glassware and white linen napkins. my favorite work Atlantis (2023), depicts a lobster the color of cotton candy, which playfully appears in the foreground while empty wine glasses are dimly reflected at the far edges of an empty table.

Canadian artist Grace Kalyta’s paintings at Pangée refer to luxury in the form of fashion, depicting leather jackets, a blue silk shirt, a lucky charm. The items could easily be luxury brands, but no tags are shown. Again, the subject is heavily cropped showing the fine details of the clothing. Some of the best works on the stand, such as Heart of Fire (2023), use various materials such as satin, rhinestones and pearls to further enhance the sense of nostalgia.

At Art Basel Miami Beach, Sayre Gomez’s striking red painting at François Ghebaly stuck with me the most. The viewer enters the frame as if in the driver’s seat of a car stuck at a traffic light on a rainy night in Los Angeles. Ahead, the taillights of a red-hot car glow as a blurry traffic light in the distance turns green. It’s a distinctly Californian scene: bumper-to-bumper traffic as the smog descends.

Maybe it’s the Issy Wood effect? Perhaps these artists approach a broader cultural critique of class and consumption? Regardless, I’m excited to see how these trends continue to gain momentum in the new year.

—Caroline Perkins, Private Sales Consultant, New York

Few photographers transcend the medium they are known for like Hiroshi Sugimoto. On my way to the artist’s current exhibit at the Hayward Gallery, I was surprised to see a complex wooden structure outside the museum, and I immediately thought, “This can’t be Sugimoto!” I explored the deserted exhibition space on a crisp Sunday morning and fully immersed myself in Sugimoto’s eclectic subjects, which range from sculpture to monochrome “paintings” (the artist’s 2018 “Optiks” series) to portraiture and “rooms horror”.

This survey, the artist’s largest to date, really gives you a glimpse into Sugimoto’s philosophy. A meditative experience, the show guides you through the artist’s series over the years, including some of his most celebrated works such as ‘Seascapes’ and ‘Theatres’. The market for Sugimoto is strong and has gained momentum at recent auctions in London.

—Daniela Bianco, Senior Advisor, Private Sales, London