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受稳健的国际需求驱动，美国艺术家主宰高端市场，中国艺术家则得到充满活力的国内市场支持，展现出强大的影响力。
Driven by solid international demand, American artists dominate the high-end market, followed by Chinese artists supported by their effervescent domestic market.
50位艺术家撑起64%市场|64% of Contemporary Art auction turnover from 50 artists
本年度有近2.2万艺术家拍出超过7.1万件艺术作品。尽管当代艺术市场呈现出令人欣喜的多样性，但极少艺术家真正“有身价”。当代艺术市场的财力主要依靠500位表现超凡的艺术家，其作品的总成交额达16.8亿美元，占全球总成交额的89%。More than 71,000 works by nearly 22,000 artists were sold in the 12-month period… but while the Contemporary Art market may be extraordinarily diverse, relatively few artists fetch seriously high prices. The market’s economic power is largely dependent on 500 high-performance artists, whose works generated $1.68 billion, or 89% of global turnover.
最具投资竞争力的50位艺术家贡献了全球成交额的一半以上（64%）。More than half of the global turnover (64%) comes from only 50 artists, who, in financial terms, represent the most competitive investments.
拍场表现最佳的艺术家对全球总成交额的贡献|Contribution of the top-selling artists to global auction turnover
顶级身价艺术家的国籍|Dominant nationalities当代艺术市场的主要参与者是美国、英国和中国，来自这些国家的艺术家自然有着最耀眼的拍卖成绩：在拍卖百强艺术家中，有71人来自美国、英国或中国。虽然其中的中国艺术家数量33人超过美国28人，但年度总成交金额十强体现了美国买家的偏好——6位美国艺术家上榜，并斩获了最高拍价。Since the main players in the Contemporary Art market are the United States, the United Kingdom and China, the artists from these countries are naturally the most sought-after on the global auction market: 71 of the top 100 performing artists in terms of annual turnover are American, British or Chinese. Of these 71, there are more Chinese artists (33) than American artists (28), but Americans dominate the Top 10 annual turnovers where we find six Americans… and those six elicit the highest bids.
中国市场的一大特点在于对年轻艺术家的信心。郝量（生于1983年）、米巧铭（生于1986年）和贾蔼力（生于1979年） 是全球范围内40岁以下拍场表现最佳的的艺术家。作为冉冉上升的一代，他们已跻身中国内地和香港拍场的百万级艺术家。这三位艺术家的成功——在2019年刷新了个人纪录——完全归功于中国内地和香港市场的热捧。One of the specificities of the Chinese market is the confidence it invests in young artists. HAO Liang (1983), MI Qiaoming (1986) and JIA Aili (1979) are the top-selling under 40 artists in the world. This rising generation is already fetching million-dollar results on the auction market in China and Hong Kong. The success of these three artists – who also revised their personal records in 2019 – owes much to the dynamism of the Chinese and Hong Kong markets.
欧洲表现最佳的艺术家是意大利的鲁道夫·斯汀格尔和莫瑞吉奥·卡特兰、比利时的哈洛·安卡和吕克·图伊曼斯，以及八位德国艺术家（其中阿尔伯特·厄伦，位列全球前十）。德国艺术家安塞姆·基弗凭借《新月沃土》（The fertile crescent）个人拍价纪录突破400万美元，这幅近10米的巨型作品没有在他的两大主要市场——伦敦或纽约拍出，而是在北京由中国嘉德（2019年6月3日）。Regarding European artists, the most successful are the Italians Rudolf STINGEL and Maurizio CATTELAN, the Belgians Harold ANCART and Luc TUYMANS as well as eight German artists, including Albert OEHLEN who is among the global Top 10. His compatriot Anselm KIEFER revised his auction record at close to $4 million with The fertile crescent (新月沃土), a major work measuring nearly 10 metres, selling not in London or New York (his two primary markets), but in Beijing, at China Guardian (3 June 2019).
德国艺术家十强以及在全球前500强艺术家中的排名|Top 10 German Artists and their relative positions in the Top 500
- 阿尔伯特·厄伦 第8名 Albert Oehlen 8th
- 马丁·基彭伯格 第30名 Martin Kippenberger 30th
- 安塞姆·基弗 第31名 Anselm Kiefer 31st
- 昆特·福格 第33名 Günther Förg 33rd
- 托马斯·舒特 第42名 Thomas Schütte 42nd
- 安德瑞亚·古尔斯基 第65名 Andreas Gursky 65th
- 丹尼尔·里希特 第72名 Daniel Richter 72nd
- 沃尔夫冈·提尔曼斯 第78名 Wolfgang Tillmans 78th
- 卡塔琳娜·格罗瑟 第112名 Katharina Grosse 112th
- 尼奥·罗施 第113名 Neo Rauch 113th
相对于德国艺术家的表现，十位法国艺术家跻身500强之列，以罗伯特·孔巴斯为首。孔巴斯世界排名第50，其作品《Hécatombe》（直译 :一百头牛；意译 :古希腊，宗教祭祀100头牛。1992年）于今年4月在Cornette de Saint Cyr拍卖行以30.37万美元售出（最低估价10.1万美元），创下新纪录。尽管有少量美国和亚洲藏家对孔巴斯感兴趣，但他仍未在海外拍卖行取得突破，其拍卖总成交额有近90％源自法国。尽管存在这些不足之处，但自2000年以来他的身价暴涨了513％。Compared with the market performances of the Germans, ten French artists are among the top 500 with Robert Combas in the lead. In 50th place last year, Combas set a new record in April with Hécatombe (1992) fetching $303,700 at Cornette de Saint Cyr against a low estimate of $101,000. Although some American and Asian collectors are interested in his work, he has not yet penetrated international auctions and nearly 90% of his auction turnover is hammered in France. Nevertheless, despite this disadvantage, his price index is posting an impressive increase of +513% since the year 2000.
法国当代艺术家长期缺席美国大型拍卖会，这一情况今年有所改观，丹尼尔·布伦开始在纽约市场占据一席之地。其作品《Peinture aux formes indéfinies》（无定义图形画，1966年）于5月15日在佳士得拍卖行以近220万美元成交，创下新个人纪录。其他几位法国艺术家的作品则低调现身知名度较低的拍场，例如贝尔纳·弗里茨在富艺斯伦敦日间拍卖会突破10万美元大关（10.3万美元，《Verte》，2003，2019年6月28日）。French Contemporary artists are still absent from major US sales, except, this year, Daniel BUREN who is beginning to find a place on the New York market. By including his Peinture aux formes indéfinies (1966) in their 15 May sale, Christie’s hammered a new record for Buren at close to $2.2 million. A number of other French Contemporaries are getting international exposure in less prestigious sales, including Bernard FRIZE who crossed the $100,000 threshold in London at a Phillips day sale ($103,000, Verte, 2003, on 28 June 2019).
两位南非艺术家的作品拍价位列百强：马琳·杜玛斯（770万美元）和威廉·肯特里奇（390万美元）。拉丁美洲艺术家缺席百强，但有多人跻身全球前500强艺术家之列：加布里埃尔·奥罗斯科、博斯克·索迪、奥斯·格梅奥斯、比特利兹·米拉塞斯、阿德里阿娜·瓦勒亚、维克·穆尼斯和切尔多·梅雷莱斯。Two artists from South Africa are among the top-selling 100 artists by turnover: Marlene Dumas ($7.7 million) and William Kentridge ($3.9 million). Latin American artists are conspicuously absent from the top 100, but there are lots in the top 500, including Gabriel Orozco, Bosco Sodi, Os Gemeos, Beatriz Milhazes, Adriana Varejao, Vik Muniz and Cildo Meireles.
美国艺术家包揽前三|A 100% US podium当代艺术市场的三大中流砥柱是巴斯奇亚、杰夫·昆斯和卡伍斯。仅此三人就占据了全球拍卖总成交额的19％，其拍品（超过900件）本年度吸金3.627亿美元。The three economic pillars of the global Contemporary Art market are Basquiat, Koons and Kaws. They alone account for 19% of the segment’s global auction turnover, with sales of their works (more than 900) generating $362.7 million in the 12-month period (2018/19).
当代艺术作品拍卖成交额Top 10 （2018/7 – 2019/6）|Top 10 Contemporary Artworks sold at auction (July 2018 – June 2019)
巴斯奇亚，当代艺术市场上的毕加索|Basquiat: the Contemporary market’s equivalent to Picasso on the Modern market巴斯奇亚是都市艺术的先驱、一个时代的创作活力的象征、当代神话和市场宠儿，十年来稳居第一，本年度拍卖总成交额达1.571亿美元。他唯一一次屈居第二是在2008/2009年度，在2008年9月15日和16日的伦敦苏富比拍卖会上，达米恩·赫斯特的作品拍出天价，此时正值雷曼兄弟银行破产。A pionnier of Street Art… emblematic of the creative vitality of an era… a Contemporary myth and ‘idol’ of the market, Jean-Michel Basquiat, whose works generated a turnover total of $157.1 million over the past year, has remained the market’s undeniable leader for 10 years (he lost his first place in 2008/09 after the notorious Damien Hirst sale at Sotheby’s in London on September 15 and 16 just as Lehmann Brothers was collapsing).
巴斯奇亚是首位,也是迄今为止唯一一位单件作品拍价超过1亿美元的当代艺术家。该纪录于2017年5月以他1982年创作的一幅布面油画（《无题》，纽约苏富比）创下，这幅作品由日本企业家和艺术收藏家前泽友作以1.105亿美元购得。尽管其拍卖成交额低于往年（2017/2018年度总成交额为2.56亿美元），但巴斯奇亚占据今年拍价十强中的四席，维持了自己的统治地位。Basquiat is the first and, to date, the only Contemporary artist to have created a work that has fetched a 9-digit result on the auction market. The record was hammered in May 2017 for a 1982 canvas that was acquired by Japanese business tycoon Yusaku Maezawa for $110.5 million (Untitled《无题》, Sotheby’s New York). Despite generating a lower annual turnover than in previous years ($256 million in 2017/2018), Basquiat maintained his dominant position, fetching four of the top 10 results.
此外，这位艺术家的光环还为非裔美国艺术家的成功铺设了道路。如今效果初显，尤以身价日益见涨的克里·詹姆斯·马歇尔为例，他是仅次巴斯奇亚身价最高的非裔美国艺术家，本年度全球排名第26。2019年3月，其作品《Untitled (Painter) 》(无题， 画家）以3倍于苏富比最高估价的730万美元成交。这是他的个人第二高拍价，第一为2110万美元（布面油画《昔日》，苏富比，2018年5月）。The Basquiat phenomena probably contributed to the promotion and valorisation of the work of a number of other African-American artists, and we are still seeing the impact of this wave. Kerry James MARSHALL was the most expensive African-American artist behind Basquiat (26th in the world by annual turnover) last year. In March 2019, a work by Marshall (Untitled (Painter)) fetched $7.3 million, triple Sotheby’s high estimate. That was the artist’s second-best result after he reached $21.1 million in May 2018 for his painting Past Times (Sotheby’s).
杰夫·昆斯，“身价最高的在世艺术家”|Jeff Koons crowned “most valued living artist”
杰夫·昆斯是排在巴斯奇亚之后的第二名，凭借雕塑作品《兔子》(Rabbit，1986年）斩获了今年的最高落锤价。这件雕塑作品共有三个版本（外加一个艺术家试样），十分有名。它已在最著名的博物馆中展出，例如泰特现代美术馆、惠特尼美术馆和蓬皮杜艺术中心。它被视为后沃霍尔时代美国作品的象征，被《纽约时报》称为当代艺术的“标志”。佳士得负责拍卖其仍在流通的唯一版本，于5月15日估价约为7千万美元，却还是低估了该作品的吸引力。《兔子》（Rabbit）最终以9100万美元成交，成为世界上最贵的在世艺术家作品。该作品的成交价占杰夫·昆斯年度成交额的81％，并成为有史以来艺术品拍价第20高的艺术作品。Second behind Basquiat in annual turnover, Jeff KOONS generated the segment’s best result of the year with his sculpture Rabbit (1986). Undeniably famous, this sculpture (from an edition of 3 plus an artist’s proof) has been exhibited in major museums including the Tate Modern, the Whitney and the Pompidou Center. It is considered an emblem of post-Warhol American creation and, according to the New York Times, an “icon” of Contemporary Art. Mandated to sell the only copy still in circulation, Christie’s expected it to fetch around $70 million on 15 May, but substantially underestimated its power of attraction. Fetching $91 million, Rabbit《兔子》become the most world’s most expensive artwork by a living artist. The work alone generated 81% of Jeff Koons’ annual auction turnover and the result is the 20th best-ever auction result in art auction history.
卡伍斯，新宠儿|Kaws, the new idol of the global market
本年度，卡伍斯（又名：布莱恩·唐纳利）的进步最为惊人：以9360万美元的成绩排在昆斯之后，荣列第三，比2017/2018年度高出7830万美元。这位四十余岁的美国艺术家，以及昆斯，为波普文化在艺术市场上的成功提供了最受瞩目的作品之一。他标志性的叉叉眼海盗骷髅头造型公仔成为了时尚爆款。卡伍斯凭借作品高产（价格亲民）和巨型雕塑（价格不菲）——比如三月值香港巴塞尔艺术展之际漂浮在香港港口的36米雕塑——吸引了全球目光。卡伍斯会造流量，刷热度（instagram上的粉丝有2300万），贾斯汀·比伯、法瑞尔·威廉姆斯等许多明星艺术爱好者都是他的粉丝。追捧他的粉丝中不乏亚洲藏家：其作品有58%在亚洲售出，而美国只占13%（2018年以来），这使得卡伍斯跻身最受香港和日本买家青睐的西方当代艺术家。KAWS (aka Brian Donnelly) has enjoyed the most breathtaking progress of the year, taking third place (in turnover terms) behind Jeff Koons, with a total of $936 million, that’s $78.3 million more than in 2017/2018. The forty-year-old American artist represents – along with Koons – one of the most remarkable examples of the continued success of Pop culture on the art market. Kaws has managed to pursue the Pop ethos through his Companion, an emblematic character with crosses for eyes and crossbone ears. He has invaded the world with a large-scale production of affordable works and giant (high-priced) sculptures, such as the 36-metre float that was anchored in the Hong Kong harbour in March on the sidelines of Art Basel HK. The artist has a perfect understanding of the modern era “internet buzz”, particularly via Instagram (2.3 million followers) and fashionable art lovers like Justin Bieber and Pharrell Williams. Many Asian collectors are also among the fervent admirers of his regressive universe: 58% of his works are sold in Asia versus 13% in the United States (since 2018), which makes Kaws the Western Contemporary artist who receives the greatest support from Hong Kong and Japanese buyers.
其令人震惊的个人最高成交纪录1480万美元就是在4月1日的香港苏富比拍卖会创下的。这幅取名《The Kaws Album》(Kaws专辑，2005)的画作是对辛普森一家的重新演绎，在巨型公仔天降香港港口之后几日以最低估价15倍的价格成交。两周之后的纽约，他的丙烯画作《The Walk Home》（步行回家）再次印证了这位市场新宠的热度，最高估价仅80万美元，最终富艺斯拍卖行拍出了595.5万美元的天价。His breathtaking auction record of $14.8 million was set in Hong Kong on 1 April at Sotheby’s. Entitled “The Kaws Album” (2005), the Beatles/Simpsons inspired canvas multiplied its low estimate by 15 just a few days after the appearance of the floating Companion giant in the port of Hong Kong. Back in New York two weeks later, his acrylic “The Walk Home” confirmed the feverish demand focused on the new idol of the Contemporary Art market by fetching $5.955 million at Phillips against a high estimate of $800,000.
卡伍斯 （Kaws）-《无题(SM1)》 （Untitled (SM1)，2000年）布面丙烯画 （Acrylic on canvas），41*41厘米 （41 x 41 cm）©卡伍斯 （© Kaws）17.65万美元，SBI艺术拍卖株式会社，东京，2018年11月3日$176,500, SBI Art Auction Co, Ltd, Tokyo, 3 November 2018
十强动向（与2017/18年度相比）|Shifts in the Top 10 ranking (vs. 2017/18 )
1 ↘ Basquiat: – $99 million1st for the 10th consecutive year
从第8升至第2位（从4,080万美元到1.118亿美元）2 ↗ Jeff Koons: + $71 millionMoved from 8th to 2nd place (from $40.8 million to $111.8 million)
从第22升至第3位（从1,530万美元到9,360万美元）3 ↗ Kaws: + $78.3 millionMoved from 22nd to 3rd place ($15.3 million to $93.6 million)
从第6升至第4位（从4,550万美元到7,700万美元）4 ↗ Wool: + $31.5 millionMoved from 6th to 4th place (from $45.5 million to $77 million)
从第4降至第5位（从4,920万美元到4,570万美元）5 ↘ George Condo: – $3.5 millionMoved from 4th to 5th place (from $49.2 million to $45.7 million)
从第11升至第6位（从3,500万美元到4,250万美元）6 ↗ Yoshitomo Nara: + $7.5 millionMoved from 11th to 6th place ($35 million to $42.5 million)
从第15升至第7位（从2,430万美元到4,120万美元）7 ↗ Keith Haring: + $16.9 millionMoved from 15th to 7th place (from $24.3 million to $41.2 million)
从第26升至第8位（从1,360万美元到3,490万美元）8 ↗ Albert Oehlen: + $21.3 millionMoved from 26th to 8th place (from $13.6 million to $34.9 million)
从第7降至第9位（从4,360万美元到3,410万美元）9 ↘ Zhou Chunya: – $9.5 millionMoved from 7th to 9th place (from $43.6 million to $34.1 million)
从第2降至第10位（从1.009亿美元到3,090万美元）10 ↘ Peter Doig: – $70 millionMoved from 2nd to 10th place (from $100.9 million to $30.9 million)
另一位重要的当代艺术画家克里斯托弗·伍尔紧随卡伍斯之后位居第四。伍尔别具一格的作品超越了其所属的波普艺术和抽象表现主义流派，但本质上还是“美国范儿”的，其价格指数自2000年以来上涨了1.440%。Another essential signature in Contemporary painting, the American artist Christopher WOOL took 4th place in the global Top-10 Contemporary artists by auction turnover for the 2018/19 period, behind Kaws. Beyond his affiliation with Pop Art and Abstract Expressionism, Wool has managed to create a unique œuvre that is quintessentially “American”. His price index is showing a phenomenal increase of +1,440% since 2000.
和卡伍斯及村上隆一样，奈良美智凭借本年度成交的339件拍品，跻身全球最畅销艺术家十强行列。其受到热捧的程度不仅体现为价格指数的狂飙突进（自2003年以来上涨了773%），还体现在作品《Sleepless Night (Cat)》（睡夜 猫，1999年）今年5月在香港佳士得创下的440万美元新纪录。与我们上一期报告的3,500万美元相比，本年度奈良美智作品总成交额达到4,250万美元（个人年度新纪录）。Like Kaws and Murakami, Yoshitomo NARA is one of the 10 best-selling artists on the planet, with 339 results in 12 months. His popularity is also illustrated by the strong growth of his price index (+773% since 2003) and a new record of $4.4 million for his Sleepless Night (Cat) (1999) hammered in May at Christie’s Hong Kong. The sale of his works generated $42.5 million (an annual record for the artist) versus $35 million in the year-earlier period.
本年度对阿尔伯特·厄伦而言也是值得纪念的一年：凭借本年度创下的三项新纪录，总成交额爆炸式增长（27件拍品总共入账3,490万美元）。顶级画廊主拉里·高古轩的加持，2018年在弗朗索瓦·皮诺特的格拉西宫当代艺术博物馆开展均成为奥伦拍卖成绩的助推器，个人纪录两年内翻了一番。最高纪录为《两手空空的自画像》今年6月在伦敦苏富比创造的750万美元。这位西格玛尔·波尔克的前学生的个人影响力达到历史顶峰。其作品价格的飙升（2000年以来上涨了3.862%）证明其已成为做市商的宠儿之一。Albert OEHLEN has had a memorable year: his auction turnover ($34.9 million from just 27 lots) exploded thanks to three new records set in 12 months. Supported by the world’s most powerful gallery-owner, Larry Gagosian, and exhibited at François Pinault’s Palazzo Grassi in 2018, the artist is so well supported at auction that his record has doubled in two years. It now stands at $7.5 million for a self-portrait, “Selbstportrait mit Leeren Händen (Self-Portrait with Empty Hands)” (两手空空的自画像) (1998) sold in June at Sotheby’s in London. The former student of Sigmar Polke is at the peak of his influence. The extraordinary progression of his price index (+3,862% since 2000) proves he is one of the major favourites of market-makers.
榜单最后一位是去年高居第二的苏格兰艺术家彼得·多伊格。尽管千万级拍价对他来说已是常事，但其2018/2019年度的个人最高纪录只有990万美元。值得一提的是，在本年度拍出的11幅画作中，没有一幅比得上《Rosedale》 或是《山涧间的建筑师小屋》引人入胜。因此，其表现不佳（下降7,000万美元）的原因在于推向市场的杰作匮乏，而绝非买家失去兴趣。The Scottish artist Peter DOIG closes out this ranking after holding second place last year. While he used to regularly generate bids above $10 million, his best result in 2018/2019 was $9.9 million. It should be said that among the 11 paintings sold during the period, there were no paintings as exciting as Rosedale or “The Architect’s Home In the Ravine”（山涧间的建筑师小屋）. The underperformance (-$70 million) is due to the lack of of masterworks in circulation and in no way reflects buyer disaffection.
女性艺术家的份额|Female artists in the Contemporary Art market …
无论是数量还是身价，男性艺术家占艺术市场的绝对支配地位。这是自拍卖行业诞生以来就未曾变过的事实。十年前，年度总成交额百强名单上仅有六名女性（塞西莉·布朗、辛迪·雪曼、珍妮·萨维尔、瑞秋·怀特里德、马琳·杜玛斯、谢莉·莱文）。与男性艺术家相比，巨大的身价差异至今依然体现在作品的拍卖成交额上。目前，女性艺术家所占的份额非常小：身价最高的艺术家百强榜上只有12名女性，男性则有88人。Male artists dominate the Contemporary Art market in both number and value. Indeed this domination dates back to the beginning of auction history. Ten years ago, only six women were among the Top 100 annual turnover figures (Cecily Brown, Cindy Sherman, Jenny Saville, Rachel Whiteread, Marlene Dumas, Sherrie Levine). Substantial price differences between the sexes are still reflected today in the annual turnover figures of women compared to men. Ten years later, women are still a small minority: the top 100 artists by annual auction turnover contains 88 men and just 12 women.
Men vs Women (July 2018 – June 2019)
这一情况正在逐步改变，因为女性艺术家的地位问题已成为艺术市场领域一个相当流行的基本议题。艺术机构、策展人、批评家以及拍卖行正越来越多地关注女性艺术家。Nevertheless… with the subject of the place of female artists having become a much more openly-discussed subject in the Art world and the Art Market, the situation is changing. More attention is being paid to women by museums, curators, critics and, now, by auction companies.
这种表态可从市场上的一些动向窥知一二：佳士得借国际妇女权利日创办了一个小活动，邀请了一些专家介绍他们最喜欢的女性艺术家创作的馆藏作品；苏富比则在试点纯女性艺术作品小型网上拍卖会（By Women, For Tomorrow’s Women，2019年3月1日）。The latter have adopted a couple of somewhat timid stances: Christies created a micro-event to mark International Women’s Day, inviting experts to present their favorite museum works by women; Sotheby’s, for its part, tested a small, exclusively female, online sale (By Women, For Tomorrow’s Women, 1 March 2019).
拍卖行的表态对于未来实现男女平衡而言非常重要。就目前而言，女性艺术家在纽约战后与当代艺术拍卖会中仍处于弱势地位。最近的苏富比名品拍卖会女性艺术家占总成交额的23%，而佳士得则只占10%（2019年5月15日、16日）。There can be no doubt that some form of strong commitment by the sales companies is essential to hope for a rebalancing in the coming years. For the time being, women are in a minority in Post-War & Contemporary Art sessions in New York. At Sotheby’s latest prestige sale women represented 23% of the artists, and at Christie’s equivalent sale, just 10% (15 and 16 May 2019).
女性艺术家的弱势还体现在百万级作品的成交量上：2018/2019年度仅有四名女性当代艺术家跻身拍卖百强榜。珍妮·萨维尔和塞西莉·布朗是身价最高的两位（分别排在第11和第12名）。朱莉·梅雷图世界排名第31，马琳·杜马斯则排在第93。This under-representation is of course highly visible in the relative numbers of million-plus results: only four Contemporary female artists rank among the top 100 results in 2018/2019. Jenny Saville is the best performer (7th/19th/36th), followed by Julie Mehretu (31st/92nd), Cecily Brown (32nd/58th/72nd) and Marlene Dumas (93rd).
马琳·杜玛斯 （Marlene Dumas）-《Whose Hat?》 （谁的帽子？，1985年）纸上水彩、油性粉笔及拼贴，44*31厘米(Watercolor, chalk and collage on paper, 44 x 31 cm)1.5万美元，De Vuyst，洛格伦，比利时，2018年10月20日($15,000, De Vuyst, Lokeren, Belgium, 20 October 2018)
珍妮·萨维尔，身价最高的当代女性艺术家|Jenny Saville: the most valued female Contemporary artist
“年轻英国艺术家派”代表画家珍妮·萨维尔擅长描绘丰满壮硕的女性肉体，打破以男子为中心的审美文化。其极具冲击力的画作《支撑》(1992年）让她首次跻身伦敦千万级画家之列（苏富比，2018年10月）。这幅巨型裸体画最终以远超最高估价两倍的1240万美元成交，让她一举成为身价最高的在世女性造型艺术家，超过了草间弥生。这位英国人作品非常稀少（2018/2019年度仅有四幅作品出售），已成为全球身价最四高的女性艺术家，仅次于乔治亚·欧姬芙、路易丝·布尔乔亚和琼安•米契儿。她还是艺术家500强中排名最高的女性，排在塞西莉·布朗之前。Originally associated with the YBAs, Jenny SAVILLE paints bodies with abundant flesh, well-detached from the phallocentric model of what women should look like. In October 2018, the power of her painting “Propped” (支撑) (1992) allowed her to cross the $10 million threshold at Sotheby’s in London for the first time. The monumental female nude largely doubled its high estimate to set a new record of $12.4 million, giving her the status of most-valued living female artist, ahead of Yayoi Kusama. Despite the rarity of her works (only four canvases offered in 2018/19), the Briton has become the fourth most expensive female artist in the world (all periods), after Georgia O’Keeffe, Louise Bourgeois and Joan Mitchell. She is also the top female artist in the top 500, ahead of her compatriot Cecily Brown.
塞西莉·布朗，英美通吃|Cecily Brown, British… and American这位英国女艺术家从1994年起定居纽约，受到拉里·高古轩等市场巨擘的热捧，其“创作出配得上当代纽约的作品”的壮志已踌（希拉里·M·希茨，《纽约时报》，2018年9月20日）。塞西莉·布朗继2017/2018年度以一鸣惊人的姿态登上排行榜之后，今年又创下了新纪录。今年其最高成交价达到500万美元，由作品《The Pyjama Game》(睡衣游戏)创下，该作品在2007年拍卖的时候成交价仅160万美元。从纽约的首次拍卖（佳士得）到11年之后香港的再次拍卖（首尔拍卖），作品升值了210%。Based in New York since 1994, supported by heavyweights like Larry Gagosian, the British artist whose ambition was to “make the painting that New York deserves now” has achieved her goals (Hilarie M. Sheets, New York Times, 20 September 2018). Cecily BROWN has had another record year after her breakthrough in the 2017/2018 ranking. Her best result of the past year, close to $5 million, was hammered for her The Pyjama Game, a work previously sold for $1.6 million in 2007. The value of this painting rose 210% between its first auction in New York (at Christie’s) and its resale 11 years later in Hong Kong (Seoul Auction).
朱莉·梅雷图，香港造极 |Julie Mehretu… a new peak in Hong Kong
这位1970年出生于埃塞俄比亚的美国艺术家创下个人新纪录：其画作《墨景（深邃的光）》在4月1日的香港苏富比拍卖会上以560万美元的价格拍出。这一纪录揭示了西方当代艺术巨头在香港和纽约市场之间的鸿沟。在白立方画廊和玛丽安·古德曼画廊的支持下，梅雷图正在筹备个人大型回顾展，计划于2020年夏天在纽约惠特尼博物馆美国艺术博物馆开展。梅雷图在年度最畅销艺术家排行榜上名列第36（900万美元），排在阿尼什·卡普尔和马克·坦西之后。On 1 April last, Sotheby’s Hong Kong hammered a new record of $5.6 million for the great American artist (born in 1970 in Ethiopia). Her painting Black Ground (Deep Light) (墨景（深邃的光）) was offered in what turned out to be a highly successful sale. This record illustrates the melting of the boundaries between Hong Kong and New York for the titans of Western Contemporary Art. Defended by White Cube and Marian Goodman Gallery, the Mehretu is preparing for a major retrospective, scheduled for the summer of 2020 at the Whitney Museum in New York. With an annual auction total of nearly $9 million, Julie MEHRETU scored the year’s 36th best annual performance behind Anish Kapoor and Mark Tansey.
除此之外，还有一些女性艺术家在艺术品市场上激起了不小的涟漪。美国艺术家丹娜·舒兹（作品总成交额第四高的女性）在同一天两度打破个人纪录：作品《Signing》(签收)于富艺斯拍卖行以98万美元拍出，远超35万美元的最高估价；作品《Civil Planning》(土木规划)在同一天以六倍于最高估价的242万美元在苏富比拍出。仅在一天之内，舒兹的个人纪录就从79.5万美元升至98万美元再到242万美元。A number of other women have also elicited enthusiastic bidding. The American artist Dana SCHUTZ (4th best performing female artist by auction turnover) twice renewed her personal auction best on the same day: first, her Signing sold for $980,000 against a high estimate of $350,000 at Phillips, and then later that day her Civil Planning sold for six times its high estimate at Sotheby’s, at no less than $2.42 million. In the space of 24 hours, the artist’s record rose from $795,000 to $980,000, then to $2.42 million.
六月，英裔加纳艺术家利奈特·伊阿德姆·博阿基耶凭借作品《Leave A Brick Under The Maple》第二次拍出百万级佳绩，而这幅作品的估价仅为50万美元。创下同样佳绩的还有马琳·杜玛斯，其作品《Losing (Her Meaning)》(在枫树下放一块砖)以双倍于估价的价格成交，达到150万美元。In June, Phillips sold a work by the Anglo-Ghanaian Lynette YIADOM-BOAKYE above the million-dollar line (her second 7-digit result). Leave A Brick Under The Maple was carrying an estimate of around $500,000. Similarly, a work by Marlene DUMAS, Losing (Her Meaning), sold at double its estimate to reach $1.5 million.
女性艺术家的身价看涨还在于藏家们视其作品为有利可图的投资机会，因为与男性艺术家高不可攀的价格相比，她们的作品价格更平易近人。这一点从美国抽象表现主义画家琼安•米契儿以及海伦·弗兰肯特尔近期创造的拍价纪录可窥知一二。纽约佳士得战后与当代艺术部负责人亚历山大·罗特表示：“这是本来早就该出现的市场调整。”The value of work by female artists will increase as collectors understand the advantages of acquisition opportunities at relatively low prices (vs. their male peers). We have seen this phenomenon with the recent records for Joan Mitchell and Helen Frankenthaler in the field of American Abstract Expressionism. According to Alexander Rotter, head of Christie’s Post-War & Contemporary Art Department in New York, “it’s a market adjustment that should have occurred a long time ago”.
今后会有一部分藏家有意识地购买女性艺术家的作品。佳士得、苏富比和富艺斯拍卖行各部门负责人注意到市场对女性艺术家作品的需求有切实的增加。正在进行的重新估价和价值开发工作可能导致按“性别”划分市场被淘汰，从而推动艺术市场，尤其是当代艺术市场的深度变革。We are now seeing certain collectors making a conscious decision to buy works by female artists. Department heads at Christie’s, Sotheby’s and Phillips have all noted a real increase in demand for works created specifically by women. The work of reassessment and revalorisation currently in progress may eventually lead to the obsolescence of a gender distinction, and therefore, to a profound evolution of the Art Market, particularly its Contemporary segment.
百强中的12名女性艺术家（按成交额计，与2017/2018年相比）The 12 women artists in the top 100 (turnover totals vs. 2017/2018)
从第158升至第11位（从110万美元到288万美元）1 ↗ Jenny Saville: + $27.7 millionMoved from 158th to 11th place (from $1.1 million to $28.8 million)
从第14升至第12位（从272万美元到284万美元）2 ↗ Cecily Brown: + $1.2 millionMoved from 14th to 12th place (from $27.2 million to $28.4 million)
从第66升至第36位（从340万美元到890万美元）3 ↗ Julie Mehretu: + $5.5 millionMoved from 66th to 36th place (from $3.4 million to $8.9 million)
从第231升至第37位（从67.4万美元800万美元）4 ↗ Dana Schutz: + $7.3 millionMoved from 231st to 37th place (from $674,000 to $8 million)
从第29降至第38位（从1,230万美元到770万美元）5 ↘ Marlene Dumas: – $4.6 millionMoved from 29th to 38th place (from $12.3 million to $7.7 million)
从第92升至第46位（从230万美元到610万美元）6 ↗ Elizabeth Peyton : + $3.8 millionMoved from 92nd to 46th place (from $2.3 million to $6.1 million)
从第126升至第58位（从140万美元到440万美元）7 ↗ Tracey Emin: + $3 millionMoved from 126th to 58th place (from $1.4 million to $4 million)
从第42降至第67位（从680万美元到380万美元）8 ↘ Cindy Sherman: – $3 millionMoved from 42nd to 67th place (from $6.8 million to $3.8 million )
从第157升至第70位（从110万美元到370万美元）9 ↗ Barbara Kruger: + $2.6 millionMoved from 157th to 70th place (from $1.1 million to $3.7 million )
从第115升至第89位（从170万美元到296万美元）10 ↗ Amy Sillman: + $1.26 millionMoved of the 115th to the 89th place (from $1.7 million to $2.96 million)
从第215升至第91位（从75.4万美元290万美元）11 ↗ Ayako Rokkaku: + $2.1 millionMoved from 215th to 91st place (from $754,000 to $2.9 million)
从第98升至第95位（从220万美元到270万美元）Moved from 98th to 95th place (from $2.2 million to $2.7 million)
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雅昌和Artprice 自2009 年就建立了合作伙伴关系，于2018 年10 月签署了一项创建“新丝绸艺术之路”的历史性协议，此项协议属于2013 年推出的“一带一路”计划范畴，在欧洲名为“新丝绸之路” 。Artprice通过与其忠诚的合作伙伴雅昌艺术集团（雅昌）合作，覆盖了全世界，尤其是中国的艺术市场，拥有超过6 万本书籍与拍卖目录，年出版量为3 亿。雅昌成立于1993 年，其创始人万捷先生（世界上最大的艺术书籍印刷商）担任董事长。
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雅昌文化集团（Artron）创建于1993年，是一家立足于艺术领域的综合性文化产业集团，现已拥有北京、上海、深圳三大运营基地，杭州、广州、南京、成都、西安、合肥六大艺术服务中心，产品和服务遍及全球几十个国家和地区。雅昌以通过“为人民艺术服务”达成“艺术为人民服务”，传承、提升、传播和实现艺术价值为使命。在艺术专业领域，传承优秀艺术文化，提升艺术价值；在艺术大众市场，传播艺术价值，让艺术之美融入生活。面对日新月异的技术发展和商业模式的变化，雅昌不断创新，以工匠精神推动传统加工业务向智能制造和定制服务进化；以艺术数据为核心，IT技术为手段 ，互联网为平台 ，为艺术行业提供智慧化的艺术数据及IT服务综合解决方案，为艺术追随者构建数字化艺术体验；以艺术空间为体验，充分释放艺术行业内的资源潜力，开发艺术消费品，探索博雅教育新方式，满足艺术专业人士和艺术爱好者的艺术生活需要。
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