"The Art Economist" Premieres
The Art Economist -- Wall Street Legend Fred Alger's New Publication Which Examines the Contemporary Art Market -- Premieres Issue 3 Featuring Expanded Editorial on the Economics of Art, Art Fair Advice, and Updates on the Market's Top 300
The Art Economist, a newly launched global publication which examines the contemporary art market in ten issues per year, announces the premiere of Volume 1, Issue 3, featuring expanded editorial on the economics of art, compelling features, and updates on the market's top 300 living artists, under the direction of Editor-in-Chief, Bruce Helander and founder Fred Alger. Unique in the publishing industry in its offering of 88 beautifully illustrated, advertising-free pages per issue, The Art Economist's Issue 3 continues the publication's commitment to exceptional design with cover art by acclaimed artists Maurizio Cattelan and Beth Katleman. The Art Economist premieres its third issue globally, March 1, 2011, offering timely advice for the upcoming New York fairs and auctions.
In keeping with its striking, thematic cover design, Volume 1, Issue 3 captivates with new contributions from some of the art world's most celebrated writers, all beyond the new Issue's cover art based on an image by renowned Italian artist Maurizio Cattelan. The Art Economist's Donald Kuspit takes us beyond the Issue's cover and further into the world of Cattelan in his article which offers insight on this highly unusual piece, as well as his other iconic works that have jettisoned Cattelan to a coveted spot among the top yielding artists.
Former Deputy Editor of W magazine, Julie Belcove, surveys the emerging artists' scene with her article entitled, "A Leap of Faith," zeroing in on the Lower East Side, which has become an urban hunting ground for serious collectors hoping to make a valuable discovery. Anthony Haden-Guest's column takes an investigative look at the artistic marriage of sculptor-architect-engineer and public art, featuring independent entrepreneurs Jonathan Borofsky, Alice Aycock and the late, great Dennis Oppenheim. Brook Mason offers an in-depth overview of the ADAA Show and the Armory Show, perfectly timed with the Issue's release upon the opening of the New York fairs, which analyzes what trends to spot and which galleries are offering the most exciting new works.
Elizabeth Sobieski visits Tom Otterness' expansive Brooklyn work-space as a preview to his Marlborough exhibition of serious and fun-filled cartoonlike figures that show a penchant for sculpted images of money, as Photographer Amy Arbus offers a memorable portrait of the artist in his studio. Drew Hammond interviews legendary collector and curator, Billie Milam Weisman, about the essence of a collecting strategy that has spanned over a half a century and resulted in over 1500 works for the Frederick R. Weisman Art Foundation in Los Angeles.
In combination with the stellar aforementioned articles, The Art Economist continues to break ground with a measurable increase in articles and information about the economics of art. Publisher and Chairman, Fred Alger, offers candid commentary about the dynamics of our future economy and the advantages of acquiring contemporary art as a wedge against inflation. "The current economic situation suggests that art may be one of the few safe havens for investors in the next ten years. We are beginning to witness the revival of a strong forward motion fueled by the vitality of the art market, not only from educated collectors and others who consider contemporary art an important component in their lives, but by a new frontier of traditional investors who are finding art a relatively good bet."
Editor-in-Chief Bruce Helander discusses the long destructive winter and its parallels to the art market, which is starting to show signs of thawing after a multi-year freeze, while referencing artist Will Ryman's Park Avenue installation featuring large-scale roses in full bloom despite having been up to their "thorns" in snow.
The newest section of The Art Economist, the "Pink Sheets," are dedicated to analyzing the art market, and present editorial by renowned University of Chicago economics professor, David Galenson, entitled "The Not-So-Curious Economics of Art." In addition, The Art Economist has formed a strategic relationship with Beautiful Asset Advisors, the leading art industry economic analysts and producers of the Mei Moses statistical indexes. The new issue will present strategically informative charts and data from the Mei Moses All Art Index, which indicate compelling perspective for an increase in the art market.
Also presented are new fluctuations in "The List" of top 300 living earning artists, hinting at changes for the strong, seemingly unshakable positions held currently by Lucian Freud, Jasper Johns, Jeff Koons, Damien Hirst, Gerhard Richter and Takashi Murakami. Corresponding with the market's top 300, "The Artists to Watch" section offers a more in-depth look at some of the top artists coming out of Germany, Japan, United States, and the Netherlands.
The Art Economist Volume I, Issue 3 closes with a back cover design by artist Beth Katleman. Featuring an illusion-packed repeat design installation, the artist presents her own twist on a decorative tradition begun in 200 B.C. by "unrolling" the ironic, dark side of her often humorous three-dimensional vignettes.
The newly launched publication is the brainchild of Fred Alger, a legendary figure in the financial community, known for his remarkable success in bringing record gains to his investment firm, Fred Alger Management, which he founded in 1964. Alger, an art collector and former board member of the Museum of Modern Art, had always envisioned a publication that examined the art market, which often produced remarkably profitable sales, but at the same time was unregulated and opaque.
Mr. Alger began his corporate collection in 1985, for which he employed a full-time curator. At first, he concentrated primarily on acquiring emerging American painters, but soon moved on to internationally known photo-based works. Some of the artists whose works he acquired included Cindy Sherman, John Baldessari, Richard Prince, Hiroshi Sugimoto and Vito Acconci; however, the bulk of the collection was lost during the terrorist attack on the World Trade Center where his offices were on the 93rd floor.
The Art Economist editorial team is comprised of Editor-in-Chief Bruce Helander; Deputy Editor Gary Walther; Associate Editor Marisa J. Pascucci; Contributors: Leslie Alexander, Julie L. Belcove, David W. Galenson, Anthony Haden-Guest, Drew Hammond, Donald Kuspit, and Elizabeth Sobieski; and Contributing Photographers: Amy Arbus, Ralph Gibson and Harry Benson.
A yearly subscription for 10 issues and complete access to the website is $400; the publication will not be available on newsstands and carries no advertising so that its writers and editors can truly make conflict-free advisory judgments. The target market is wealthy contemporary art collectors and art investors, along with the international community of art world professionals. The Art Economist presents a remarkable print and paper quality, and features more full-color reproductions of artists' works than almost any other art publication.
The Art Economist
The Art Economist is a critically informative publication serving as a constructive tool for art collectors, museums and galleries to ascertain transparency of art value in the global contemporary art market. In each issue, The Art Economist celebrates and beautifully documents the major creative and financial achievements of the world's leading living artists by ranking the top 300 living artists based on their auction results since 2008; presenting condensed profiles of 30 of those artists; offering art market analysis; providing in-depth profiles of artists and collectors; and recommending new, primary market artists to watch for their predicted, eventual success. The Art Economist further features a private interactive website that offers a ticker with up to the minute news and auction results concerning artists on the continuously evolving List of 300, as well as expanded editorial.