YouSaid · the spoken record

Brooke Lampley

lines on the record: 84
first: 2018-01-11
most recent: 2018-01-11
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“That was a stunning painting. It is a work that had previously been an auction in the Gans sale in 1997, so it was interesting that it was not the first time that it was ever appearing on the market.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“And there's such a premium in the market, in the world for paintings over works on paper, if you could ever have something. It would be perhaps a pencil drawing.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“No, it's a notional value based on it being a da Vinci. Scarcity. It has almost nothing to do with the object itself. I really don't believe that. The people who are pursuing this object care deeply about how it looked. Or the condition of the work. And that's fine. That's their right. But the value of this object is founded almost entirely in the fact that there is no other Da Vinci painting that you can ever acquire.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Here's how it makes sense. The market, the art market is definitively shaped right now by individuals who are aligned with institutions or creating institutions. The fusion of the institution and the individual is hugely powerful at the top end of the market. So the way I see it There could be no greater attraction for the Louvre Abu Dhabi. Is no greater single object that they could add to their collection to make that institution make sense, especially in its pendant relationship to the Louvre in Paris. Than a painting by Da Vinci.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Combination, that's also for a subjective, there is an opinion to that, whether unsigned and unfinished are the same and whether that is different for every artist. It's unstable. It's not a direct equation. There is value. There's definitely value. It's just like anything, it's a factor on the value. And so everything is an exponent on the artwork itself.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“There are unsigned works and for every artist actually there are works that generally remained in the studio and were unsigned.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Logical, and he codified a lot of his work. He numbered and dated almost everything. He also cooperated in the publication of a fairly thorough book, a catalog resume of his very extensive production. These are huge market tools.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, if you're buying a contemporary artwork, that should be able to easily be traced back to the dealer and the artist. And if you can't do that, well, then you should be out of luck because that should be so easy. information change should be unbroken. But as recently as the early 20th century, the information chain is definitely broken for so many artists. There are so many artists for whom we have incomplete archives or the dealers didn't preserve their journals and their invoices well enough for us to have a complete picture of sales. And so for the dealers who did do that in the early 20th century, it's a huge boon to the market. Or, for example, the fact that Picasso was quite”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“It's still uncommon as much as we'd all like to believe it will happen to us, but what needs to be understood is that we now live in the information age, so we assume that there is a clear archive of historical data associated with every artwork that is available to us. And it's just not true.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“As long as this had the inscriptions on the reverse, that it would ring true. But if it didn't have the inscriptions on the reverse, it was implausible. And we brought it to New York and we took the backing off the painting. And they're beautifully, perfectly as we wanted to believe it would be was exactly the style of signature and inscription and titling on the reverse that we have come to expect from Leger in this period. And we were able to sell the work. It was estimated at, I believe, three to five million dollars and sold for $8 million. And it was.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“So they have no provenance, they had no bill of sale for the work. They had, there is no authenticating body for the artist's leg ⁇ so the only resources that we have in the market are the catalog resume and provenance. And this work was not in the catalog resume. One had to believe that this work would have been given or sold directly by the artist to the curator James Johnson Sweeney and that's why it was not featured in the book and also why it was, you know, this had to be a proven implausible history. The one thing that was missing was Lege typically titled, numbered, and dated his works on the reverse of the canvas. And there was a backing on this painting, and that could not be seen. And my team and I basically came to the conclusion that”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“But because of the scale of the work and how. Beautifully painted, it is, and how reductive the style is. It's particularly difficult to forge minimalist paintings very well. I looked at it and then I learned something even more important, that the person who I was speaking to was a family descendant, direct descendant of the previous Guggenheim director and MOMA curator, James Johnson Sweeney.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Is that This would be an unusual painting in some senses to copy, not because forgeries of leisure are unusual because they're actually very common.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“So I have a great example for this actually, and it was one of the most fun things that I've worked on in my career. Given that I went to Harvard, I was contacted by a Cambridge local a few years ago. I think this was 2007. And they had a painting that they invited me to come see. And it was a L ⁇ ge still life from the 1920s. It was 50 inches high. It was radiantly beautiful. It clearly to me was consistent with the work by the artist that I had seen from this period.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Is a range, but generally, yes, it just refers to the condition of the work. But not generally the authenticity, though of course if a work has been broadly repainted and there is very little evidence of the original hand, then one would argue that that's an authenticity issue.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“A UV light typically reveals later stage painting. That could, in some instances, even be the artist's own reworking. Of their painting later on, which is still important to recognize. But generally speaking, it is a restoration to the painting. And people are, of course, very interested to understand to what degree the original artist's work is preserved in the painting that they're looking at. Or another hand has helped restore the image to what we believe it should be.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Hasn't been sold for whatever reason. So there haven't been equally great examples by Matisse, in my view. The last 10 years, and every decade the market's changing. So you set a record, for example, of Van Gogh that sold in the 80s would sell for a completely different number today, and that would in effect reset the artist's market. So it's not just about completely fresh works. It's about The timing of those works arriving on the market. 30”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“He is widely recognized as one of the most important artists of the 20th century, but the market is driven by the examples. That come to market. And that differs for every artist. So, for example, for Picasso, there have been great Picasso's, truly great picasos that have sold publicly at auction.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“They have some stunning works specifically from the period that I focus on. There are going to be wonderful monets. There's a sensuous Matisse Odelisque painting from the 1920s that perhaps will reset the market for that artist. Really?”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Their data. And I think that's changing and people are becoming more accustomed to needing to share information in order to receive insurance and services. But primarily people get appraisals for Insurance provider, and that's the primary reason. Or if they're receiving a loan, for example. And then in terms of selling, yes, many people collect art over their lifetime with no intention of selling it, either until they pass or their children determine that it will be sold or until they gift it somewhere. So that can be That can be quite common. That certainly used to be, I think, much more common than it is today.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“That's somewhat unsurprising to me in the sense that in my experience, there are many people who are very comfortable with the appraisal process, and there are some who are just skittish about it, who don't like the idea that somebody is going to know what they have. And I understand that I don't think that. You know, we're in a world where people are concerned about privacy and the privacy.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“It's highly subjective. And as an expert, we learn to dissect and quantify that subjectivity to the degree possible. But it's also why At least at the auction houses, we work in teams and try to utilize a diversity of opinion to come to a conclusion about something. But generally, yes, I'm looking at something and I'm saying, wow, this is sensual and romantic and has an incredibly luscious surface. And I'm looking at example B, which is a very similar picture, but it's not the same because the color's just not quite as rich and the surface is not quite as thickly painted and that makes an enormous difference in price.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Oh, it's 95 to 98% instant. There, of course, exceptions or particularly excellent forgeries or things that are troubling or juvenilia by an artist that may not look exactly like what you expect from the artist. But by and large, It's immediate. And then there are two wavelengths. It's not just the authenticity wavelength. Then there's also the commercial appeal instinct. That also becomes a reflexive reaction.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“It's hard not to be a favorite. It's mine too. But by looking at so many examples by these artists over and over again, you really get An instinctual sense Authenticity. That's what connoisseurship is. It's what Malcolm Gladwell is talking about in Blink. It's looking at something and having a gut feeling. And you only get that by looking at a great range and multitude of examples by a particular artist.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“By looking over years at many, many examples of artworks by particular artists. So I have a field that I focus on, and that's primarily European art from the latter half of the 19th century and the first half of the 20th century.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Smaller paintings or vignettes that were then cut down, you didn't really have the full scope. Suddenly at Christie's, I had the full scope. I got to see so much more. And it was really invigorating. I felt like I trained my eye. That was something that I hadn't truly done before. It was a much deeper experience with the art. And it was Thrilling to be working with people directly and talking to them about art all day long in a variety of capacities, whether I'm talking to a seller or a potential buyer or appraising someone's collection, I just talk to people about art.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Christie's, I really discovered that I loved business as much as I loved art. That I loved the fast pace, I loved the competitive nature. I loved the act of discovery. You get at the auction houses that you don't get anywhere else is. Old fashioned connoisseurship. You're really seeing So much material by an artist In my prior experience at My academic and museum experience, you were only looking at masterpieces and you never had any context for why something was a masterpiece because you weren't seeing the drudgery. You weren't seeing Renoir sketches. You weren't seeing”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“But I looked at it, I was just applying to jobs generally at that point. I wanted to move to New York and have a different job experience.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“How did that happen? I decided to throw it open. I just decided, you know, it was time to see what the commercial art world was all about. And I was attracted to the auction houses particularly because it gives a more macrocosmic view of the market as opposed to going to a gallery where you might focus on a few artists in great depth.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“I had been given to think. So I felt that when I was. In academia, there was a very Sort of division between Academics and the museum world and the commercial art world. And I was reflexively.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Work experience. So I took a leave of absence to go work at the National Gallery in a curatorial department. I was working in the Department of Photographs. And I did that to confirm that I wanted to be a curator and for better or for worse, it didn't work out that way. It's quite. A wonderful institution, and the department I was in was doing incredible work at the time. Sarah Greeno had just made it an independent department, moved it out of the administration of the Prince Department. They were having their, they had recently endowed independent galleries within. Museum, so they were having their first full. Schedule of exhibition programming. Three temporary exhibitions in the year that I was there It was full on, but it was also highly administrative. And I also, it was the first time that I realized that museum work.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“It wasn't intentional. I started out, I really believed that I wanted to be a curator. I was very academic in my interest. I was reading art forum every week, reading really theoretical out there stuff about art. And that's what I was really interested in. I was really interested in critical theory. I thought that I was going to spend my life writing quite Esoteric observations on art that a very narrow audience might read. But I went to graduate school really young and I discovered there that I was young and I didn't have a lot of professional experience inform the career path that I was choosing and I started get some cold feet about the fact that I was going to be there for potentially five years accomplishing my PhD before then having a real”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Interest and I loved it. I loved it in high school. I went to college and I actually did a joint concentration or major in literature and history of art because I didn't want to solely focus on history of art because I highly suspected that that was something that I was going to focus on in my life. So I enjoyed taking a lot of comparative literature classes as well as history of art classes and I was pretty certain at the end that I was going to apply to art history graduate school.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Annoyingly, I did know for a long time that I was interested in art. I was quite a bookish kind of nerdy kid. And I came from an artistic family. My mother was a painter. My aunts and architect. My other aunt works in fashion. I didn't have any more conventional career models. I didn't have a lawyer or a doctor or a banker in my family. So when I discovered art history, it was the perfect fusion of my kind of academic inclination with an artistic”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source