Higher interest in local art; market response more mixed

In January, several industry insiders predicted that Aboriginal art would receive more attention this year. That month, Phillips prepared to open “New Terrain,” its first sales exhibition of contemporary Aboriginal and First Nations art, at its New York headquarters. It soon became apparent that Phillips’ predictions before and after the exhibition were correct. Later that month, the Venice Biennale will announce the list of artists for its main exhibition, “Foreigners Everywhere,” which will include many indigenous artists.

Now, as 2024 draws to a close, museums, auction houses and galleries are providing further evidence that Aboriginal art is on the rise. Artist Jeffrey Gibson (Mississippi Choctaw Indian/Cherokee Band), who represents the United States at the Venice Biennale, is represented by Hauser & Wirth. Diné painter Emmi Whitehorse, who was featured in the Biennale’s main exhibition, set a new auction record at Phillips when one of her works sold for more than $117,000, nearly its high estimate Nine times. A retrospective of Aboriginal painter Emily Kam Kngwarray continues across Australia, even leading to the late artist being added to Pace’s roster.

It’s clear that Aboriginal art is getting more mainstream attention than ever before. But some dealers, art consultants and auction house executives say the impact on the market remains uncertain.

Multiple sources say the Venice Biennale has had a significant impact in bringing global attention to indigenous artists.

“There are Native artists from the United States, but also Native artists from Indonesia, Africa, and especially Latin America, because that’s Adriano’s specialty,” said Mary Sabatino, vice president and partner at Lelong Gallery (Mary Sabbatino) tells us art newsreferring to Biennale curator Adriano Pedrosa. “I think this is going to have a ripple effect that’s going to be decade-long.”

In addition to Whitehorse, the main exhibition includes Brazilian Yanomami artists Joseca Mokahesi and André Taniki; Australian Aboriginal artists Marlene Gilson and Naminapu Maymuru -White; Maori artists Sandy Adsett and Selwyn Wilson; and Native American artist Kay Walkingstick (Cherokee).

“I’ve made a lot of new friends because they saw the work,” said gallerist Garth Greenan, who represents Whitehorse and a host of other First Nations and First Nations artists at his eponymous New York gallery. art news.

The Biennale also awarded top prizes to four Maori women from the Mataaho Collective and Archie Moore (Kamilaroi/Bigambul) in the Australian Pavilion.

Narrated by artist Nicholas Galanin (Tlingit/Unanga) art news While the work by indigenous artists on display at the biennale is stunning, he wasn’t surprised by its inclusion. “Over the last 25-plus years, or however long I’ve been in this industry, I’ve been able to meet a lot of incredible artists,” he told me art news. “I knew these artists and their work, and I always knew it was great.”

Garanin also had a stellar year, with work included in the Phillips auction, solo exhibitions at the Baltimore Museum of Art and Peter Blum Gallery in New York, and a Guggenheim Fellowship. Earlier this month, during Art Basel Miami Beach, Galanin unveiled a newly commissioned installation on Faena Beach near the fair.

Indigenous artists also feature prominently in PST ART, a recurring initiative funded by the Getty Foundation in which more than 70 California institutions create exhibitions around a single theme. During this year’s “Art Meets Science” event, the Los Angeles County Museum of Art, the Fowler Museum at UCLA, and the Autry Museum of the American West are all hosting exhibitions featuring Native artists. Many other programs include Aboriginal works.

Fragmentation in auctions and private sales

Despite a significant increase in visibility, interest in the work of Indigenous artists has been as fragmented as the rest of the art market this year. In May, Whitehorse and Kent Monkman (Cree) set new auction records at Phillips, while a 2014 sculpture by Gibson forever after now It failed to sell at Sotheby’s first evening sale that same month.

For Phillips, January’s “New Terrains” exhibition and the Monkman sale via its direct-from-artist DropShop platform generated more appraisal inquiries and interest, but the auction house received far fewer consignments. Less than expected for the category’s top artworks, said Vice Chairman and Head of Private Sales Miety Heiden.

“The answer we got was, ‘If we sell it now, we’ll never get it back,’ and I think that’s absolutely right,” Hayden told art news. “We were looking for a great Fritz Skelder, a great [George] Morrison, but they are very hard to find and people are reluctant to sell them. “

Another complicating factor that adds to the appeal of this category is the subject matter addressed by many Aboriginal artists, who historically have dealt head-on with land ownership, colonialism and racism, often in conceptual ways. “The situation is often more complicated given the historical references, given the hardships they experienced as Aboriginal artists in their communities [and] How they are marginalized,” said Thomas Stauffer, art consultant and gallerist at Gerber & Stauffer Fine Arts in Zurich. art news.

Greenan was not surprised that Phillips did not experience a boom in the private sales and auction consignment markets after the auction. “It’s not a quick, immediate payback,” he said. “It’s about inclusivity and overall acceptance by institutions, private museums, galleries, etc., and art history as a whole.”

Several sources echoed Hayden’s sentiments, noting the growing demand for mid-career and historical artists, such as Jaune Quick-to-See Smith (Confederated Salish/Kotenai Tribes), Schoulder (Luiseño), Morrison (Oji Buwei), TC Cannon (Kiowa/Caddo), Oscar Howe (Yanktonai/Dakota), Andrea Carlson (Ojibwe), Dyani White Hawk (West Cangu, Lakota), Rose Simpson (Santa Clara Pueblo), and Galanin.

“I used to be able to buy George Morrison [works] Been getting nothing at auctions but now I can’t. ” said Zach Feuer, co-founder of Forge Project and director of Gochman Family Collection. art news. Beau Dick (Kwakwaka’wakw) Mask competition has also intensified significantly. “My bids on two of the pieces this month exceeded my expectations, so I definitely got beat on that one,” Fair said.

Artist Tony Abeyta (Navajo Nation), one of the three co-curators of “New Terrain,” said some of the works sold after the Phillips auction also led to new commissions and new commissions for several participating artists. Agency. “For me, that’s why I love it,” he said. “We’re able to connect with Indigenous artists in New York and around the country who might not have that opportunity.”

Several Indigenous artists are making their New York debut this year, including PPOW’s Ishi Glinsky (Tohono O’odham Nation), Hannah Traore Gallery’s Rachel Martin (Tlingít), and Broadway’s Teresa Baker (Mandan/Hidatsa). “I think all of these shows are doing really well,” Fair said.

Greenan said he has observed greater institutional interest in the artists he represents, including Smith, Whitehorse, multimedia artist Kanupa Hanska-Lugh (Mandan/Hidasa/Arikala/La Cota) and weaver Melissa Cody (Navajo).

“Institutional activity is very steady, because I think that’s where the biggest edicts are,” Greenan said, noting that sales to individual collectors interested in filling gaps in existing collections of American and contemporary art are also steady.

And, at this year’s Art Basel in Miami Beach, Sabatino noticed that Greenan Gallery’s large booth was prominently located. The presentation included works by Cody, Luger, Whitehouse and Quick-to See, among others.

“I think it shows that these artists are not marginalized, or that some of these artists are considered important enough to be shown at a central global art fair, Art Basel, rather than at Art Basel,” Sabatino said. Presented at Niche Expo.”

an ongoing process

Artists who are not straight white men are not immediately accepted and integrated into museums, galleries and art history textbooks, which means Aboriginal artists face an uphill battle. Some artists say they are aware of the challenges involved.

“All I know is that this is an ongoing process that will take centuries to complete,” filmmaker, artist and curator Dana Claxton (Wood Mountain Lakota Nation) told us art news.

Between milestones like auction records, major institutional acquisitions, biennials, and installations at major fairs, Indigenous artists like Galanin also have simpler goals, like helping pay for his six children’s college tuition. “My goal is to be able to get them to at least some form of higher education,” he said.

As the visibility and interest in Aboriginal artists continues to grow, and Abeyta has noticed an increasing number of young people, contemporary Aboriginal artists feel encouraged to experiment in the way they think, create and collaborate. “I’m more interested in that than hearing about an artist’s work being sold for $1.2 million,” Abeyta said.