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You are at:Home»News»November Auction Sales See Decline in Works by Emerging Artists
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November Auction Sales See Decline in Works by Emerging Artists

November 20, 20242 Mins Read
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‘Manzar’ exhibition in Qatar puts spotlight on Pakistani art and architecture through the ages ‘Manzar’ exhibition in Qatar puts spotlight on Pakistani art and architecture through the ages A bamboo prefabricated octa green structure displayed for the ‘Manzar’ exhibition in the courtyard of the Palace of Sheikh Abdullah Al-Thani at the National Museum of Qatar in Doha. (Courtesy of Kuzey Kaya Buzlu) Short Url https://arab.news/9peg6 Updated 4 min 30 sec ago Aisha Zaman November 17, 2024 15:03 4450 Follow Exhibition features more than 200 paintings, videos, sculptures and installations from the 1940s to the present Exhibition will run at the National Museum of Qatar until Jan. 31, 2025 DOHA: A three-month art and architecture exhibition in Doha featuring the works of renowned Pakistanis from the 1940s to the present highlights the South Asian country’s diverse art scene and brings the evolution of art and architecture in the region to a global audience. For the latest updates, follow us on Instagram @arabnews.lifestyle Titled “Manzar,” which can be translated from Urdu to mean scene, view, landscape or perspective, the exhibition includes more than 200 paintings, drawings, photographs, videos, sculptures, installations, tapestries and miniatures from celebrated Pakistani artists. It has been organized by an Art Mill Museum team and will run at the National Museum of Qatar until Jan. 31, 2025. Pakistani Prime Minister Shehbaz Sharif, Qatar’s Emir Sheikh Tamim bin Hamad Al-Thani and his sister, Sheikha Al Mayassa Al-Thani, inaugurated the exhibition in Doha last week. “Pakistan’s art scene is less well known in the world compared to other art scenes and for us art historians it is absolutely fascinating to be able to share it with the world,” Caroline Hancock, senior curator of modern and contemporary art at the Art Mill Museum, told Arab News. “We wanted to recount an expansive notion of this place, not limited by drawn and imposed borders, but true to the porosity and transnational interconnections of cultural expressions (in Pakistan).” ‘Flowers: Gardens of Paradise’ (2021) by Hamra Abbas at the ‘Manzar’ exhibition at Qatar Museums in Doha, Qatar. (Courtesy of Kuzey Kaya Buzlu) Zarmeene Shah, director of graduate studies at the Indus Valley School of Art and Architecture in Karachi, the co-curator for Manzar, described the exhibition as “exceptionally significant.” “Because we never see such a body of noteworthy work come together in a single space, as most of these artworks live in private collections, inaccessible to the public, which is why Manzar offers an incomparable opportunity for audiences to engage with these masterpieces, and to explore how art and architecture have responded to, and reshaped, the nation’s social and political narratives,” Shah told Arab News. “Our aim is to start a conversation and not provide a definitive showcase.” The exhibition, designed by eminent Pakistani architect Raza Ali Dada, integrates architecture and art to chart the thought processes, resistance struggles and achievements of the artistic and architectural community of the South Asian country. The exhibition runs thematically and opens with works by pioneering artists such as Abdur Rahman Chughtai and Zainul Abedin, who produced stellar works of art during British colonial rule from 1858-1947 and continued after Pakistan was born as a separate nation out of united India. A video installation titled ‘Disruption as Rapture’ by Shahzia Sikander (2016), displayed at the ‘Manzar’ exhibition at the National Museum of Qatar in Doha. (Kuzey Kaya Buzlu) Indeed, the partition of 1947 is a significant theme for many Pakistani artists at the exhibition, including Anna Molka Ahmed, Zarina and Bani Abidi. The exhibition also features the aesthetic experiments of artists such as Shakir Ali, Zubeida Agha, Murtaja Baseer and Sadequain, whose deeply personal modes of expression are rooted in the vibrant urban centers of Karachi, Lahore, Dhaka, and the twin cities of Rawalpindi and Islamabad, which embody diverse artistic responses to historical and cultural shifts in the region. Zahoor Ul-Akhlaq, Imran Mir and Rasheed Araeen — known for their multidisciplinary approaches, involvement in educational initiatives, and theoretical writings challenging Western art history and traditions at home and internationally — are also featured, as are influential figures of different generations such as Salima Hashmi, Quddus Mirza, Lala Rukh, Aisha Khalid and Durriya Kazi. Important diaspora artists whose work is part of the exhibition include Naiza Khan in London, Ruby Chishti, Huma Bhabha, Iftikhar and Elizabeth Dadi and Salman Toor in New York, Bani Abidi in Berlin, Basir Mahmood in Amsterdam, Seher Shah in Barcelona and Khadim Ali in Sydney. The exhibition also sheds light on contributions by foreign architects who reshaped Pakistan’s landscape and articulated the ambitions of its institutions through landmark projects. These include French artist Michel Ecochard, who designed the first university in the southern city of Karachi, and Greek artist Konstantínos Doxiadis, the lead architect who planned Pakistan’s capital Islamabad. Manzar also explores Pakistan’s engagement with the debate on regionalism in architecture through the works of influential architects such as Nayyar Ali Dada and Kamil Khan Mumtaz from Lahore, alongside Yasmeen Lari, Habib Fida Ali, and Arif Hasan from Karachi. The exhibition extends to the courtyard of the Palace of Sheikh Abdullah Al-Thani with a range of outdoor and indoor installations, as well as a film and video program. Renowned architect Yasmeen Lari, who works in the intersection of architecture and social justice, has exhibited bamboo shelters designed as emergency open-source housing for flood victims, in collaboration with the Heritage Foundation of Pakistan. Additionally, the art collective Karachi LaJamia is exhibiting a project addressing the environmental crisis in the province of Sindh. Many of these contemporary projects emphasize the themes of sustainability and ecology, reflecting a growing urgency to address environmental issues through art and architecture. “Manzar is an exhibition that truly reflects how everyone from the discourse of art and architecture seem in constant conversation, in dialogue about the environment, either the political environment or the ecological environment,” Karachi-based architect Marvi Mazhar said during a panel discussion, saying Manzar had brought into the spotlight the political and ecological changes the region has undergone through the decades. “We have always faced heartbreaks, be it the partition, or the formation of East Pakistan (present day Bangladesh) or other movements such as the politics of land and water. Yet historically we collectively ride the tide, through forging diverse practices and sensitivity to their connection to the wider history of modern and contemporary art.”
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After years of soaring interest in emerging artists during the pandemic, the November auction sales in New York show a significant shift. Collectively expected to generate $1.6 billion across Sotheby’s, Christie’s, and Phillips, the focus appears to have pivoted toward established names, with works by artists born in the 1980s and ’90s taking a smaller share.

For example, Phillips’ contemporary art evening sale last November featured six artists from the ’80s and ’90s valued at $1.12 million, representing 2% of the $70 million total. This year, that figure has dropped by 50% to $540,000, making up just 1% of the projected $62 million. In contrast, in 2022, this segment represented $7.1 million—or 5%—of Phillips’ total sales.

Harry Smith, CEO of Gurr Johns, described the trend as a “needed reset,” pointing out the market’s prior overreliance on younger artists to drive revenue growth. Notably, only six artists born in the 1990s are included in the upcoming contemporary evening sales, with another five from the 1980s. Among the youngest, Li Hei Di and Pol Taburet are debuting at auction, with their works first gaining traction in exhibitions such as François Pinault’s Paris showcase earlier this year.

Artists like Jadé Fadojutimi, a frequent presence in ultra-contemporary categories, saw their market peak in recent years. However, recent auction results suggest cooling interest, with one of her paintings failing to sell at Christie’s London last month.

This decline reflects broader market shifts, as galleries navigate fluctuating demand and collectors move toward more stable investments. A UBS and Art Basel report showed a 32% drop in average collector spending on individual works in 2023, signaling a return to slower-paced buying habits.

Megan Fox Kelly, a New York art adviser, noted in an email to ARTnews, “The focus has shifted to steady, stable buys,” with many clients seeking works priced under $700,000, traditionally the domain of ultra-contemporary artists.

As the spotlight dims on emerging talent, the art world anticipates where collectors’ focus will turn next.

ArtCollectors ArtMarketTrends AuctionHouses ContemporaryArtSales EmergingArtists
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