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trending_up market schedule May 22, 2025 visibility 31 link 27 artists, 3 galleries

kenny schachter new york fair auction recap

Kenny Schachter's article for Artnet News draws a parallel between President Jimmy Carter's 1977 energy-crisis plea to lower thermostats and the current art-market response to Trump-era tariff turmoil. He reports that the spring 2025 auction cycle generated $1.25 billion, continuing a decade-long decline from the 2014 peak, with bidders spending less and big-ticket sellers stuck. Schachter also promotes his own no-reserve auction, "Hoarder #6," scheduled for July 8–17 at Phillips, and critiques Trump's economic policies and crypto ventures, name-dropping Justin Sun as a major holder of $Trump tokens.

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trending_up market schedule May 7, 2026 visibility 23 link 8 artists, 2 galleries

Andy Warhol | Ace Gallery Exhibition Poster "The American Indian S… (1976) | For Sale

An Andy Warhol offset lithograph poster from his 1976-1977 "American Indian Series" is being offered for sale by Revolver Gallery in West Hollywood. The poster, designed to advertise Warhol's exhibition at Ace Gallery Los Angeles in February 1977, depicts Native American civil rights activist Russel Means, a member of the American Indian Movement. Warhol created three different posters for consecutive exhibitions at Flow Ace Gallery Paris (October 1976), Ace Gallery Vancouver (November 1976), and Ace Gallery Los Angeles (February 1977), with this blue version corresponding to the Los Angeles show. The work is signed by Warhol, includes a certificate of authenticity, and is priced at $2,860.

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trending_up market schedule Jul 9, 2025 visibility 17 link 3 artists, 1 gallery

How Does the Economy Impact the Art Market?

Olivia Gavoyannis's article examines how broader economic factors—such as interest rates, trade policies, inflation, and currency fluctuations—affect the art market. It notes that recent economic volatility, including COVID-19 recessions and tariffs, has led to high-profile auction flops and slower demand for top-tier works, but argues that such coverage only tells part of the story. The piece explores the unique economics of art, where artworks are non-fungible and pricing is driven by perception, scarcity, and insider networks rather than utility, and highlights the lack of transparent pricing data.

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