Co-directors of Art Basel Miami Beach
WHITEWALL: The fair opened on Wednesday. Can you give me a mid-fair report?
MARC SPIEGLER: I think that for us it’s been a process. We’ve been here since last week and things have gone very smoothly. When the crates unloaded we were struck by the quality of the work coming out.
WW: I was interested to see what galleries would bring in terms of installation and sculpture versus painting due to financial constraints. But walking around, the economy did not seem to be a deterring factor in bringing sculptural work.
MS: I would say, frankly, the only change that we’ve heard anyone comment on is the quality of the work. It sounds counter-intuitive but it’s really quite logical. In an environment where people are more cautious with their money, the only thing that will sell is great work. So people brought the best possible things they could and exposed them in the best possible way.
In terms of medium, I’ve seen a lot of sculpture out there.
ANNETTE SCHONHOLZER: More than I actually expected, really. The was the first thing that I was apprehensive about was maybe bringing sculptures. We had a very strong year with sculpture in Basel. I was also surprised to see really large pieces and galleries have not been reluctant to put up large installations in their booth. I think they have been very selective in preparation.
WW: Do you think that gone are the days that booths can expect to sell out on the first night?
AS: That’s actually historically not completely correct. In Basel we have experienced fairs where the first days were really, really hot. In Miami really has not been exactly that way. What we’re seeing this year is that we might have more people come in on the weekends that came earlier in the week. The collector’s do have more time to select now, they know that, and they’re taking their time.
WW: Why has it been less common for booths to sell out in Miami?
MS: One simple thing is that Miami is a real tourist destination and a resort. People tend to combine a pleasure vacation with coming to a show. In that sense because they’re staying three or four days, they are coming back Saturday.
AS: And this may be a wild speculation, but every other year you have the Venice Biennale going on so people actually come from somewhere, rush to Basel, and leave for somewhere else soon after. People don’t stay for three or four days.
WW: Having more time to select is certainly a positive change from the collector’s standpoint.
MS: I think it’s a more pleasant way for people to collect, they don’t feel rushed into buying. They don’t feel bad about being put on a wait list.
AS: There’s a little bit more equality around here.
MS: It’s a more balanced situation. Before you had an extreme seller’s market and now you have something that’s more tipped towards the buyers. For us I think, people keep talking about a “new reality.” If the new reality is one in which the art market is a place where the best work from the best galleries sell to the most serious collectors that’s really not such a bad thing.
