the art market ・exclusive, with controlled access

While a “mature” market may be “fair” and present an even playing field for all market participants, the art market remains “exclusive,” with access controlled by market participants.

Five panelists who met during Art Basel to discuss the art market turned their attention to a number of topics, including market-defined hierarchies and market-controlled access.

I quote from the article that appeared in Artsy as the words are fun, worth reading in the original, and insightful:

Rennie, the veteran collector, described visiting Mary Boone’s gallery [Mary Boone Gallery] in the early 1990s, dressed in a ripped ski jacket, and asking two young men standing behind a desk and a woman sitting behind a typewriter whether Mary was in. Both men said no. As Rennie began to explain who he was and why he was visiting, the woman behind the typewriter jumped up, extended a hand and said, “Hi Bob, I’m Mary Boone.” That kind of selective attention, he said, happens routinely in the art world.

Further along in his collecting career, in 1999, Rennie said, things changed “very clearly” for him and his wife, after they acquired Mike Kelley’s John Glenn Memorial Detroit River Reclamation Project (Including The Local Culture Pictorial Guide, 1968-1972, Wayne/Westland Eagle).

“I found that when I mentioned that, I got into the club,” he said. “We all of a sudden got access to works that other collectors couldn’t be the custodians of.” He challenged anyone listening to “try and get a Mark Bradford.” You can’t, he said, unless you have a relationship with museums or an existing collection deemed strong or important enough to merit the opportunity to buy one of his works.

Observed Olav Velthuis of the University of Amsterdam,

“It is that part of the market that makes it attractive to people, the whole spiel about the waiting lists, and about getting access and not getting access.”

The art market presents a “a status mechanism,” an indicator of where people “are in this global cultural elite.”

See:

The Art Market Has Changed Dramatically – But Is It a Mature Industry?” | Anna Louie Sussman, Artsy, 8 July 2017

#art #artmarket #realestate  #collecting #collections #ArtBasel #luxury #smartluxury

 

 

costs of collecting art

Artsy’s Sara Roffino’s article, What It Really Costs To Be a Mega Art Collector, helpfully itemizes some of the costs of buying, owning, maintaining, and selling art.

The cost of maintaining a collection can run from 1% – 2% to 15% – 20% of the overall value of a collection.

The variation reflects the costs of collection services. Services include shipping, framing, installation, insurance, security, appraisals, storage, and conservation.

When purchasing from an auction house, expect to pay buyer premiums on top of the hammer price. Buyer premiums at New York auction houses now run from 20 to 25 percent.

The industry-standard rate for the services of an art advisor is 10% (of the cost of a work of art purchased).

Homes that exhibit works of art such as paintings or sculptures may require adjustments such as special lighting, security, and UV window protection.

Specialized fine art storage in Manhattan costs between $10 and $12.50 per square foot per month for a private space. Shared space outside of the city can cost as little as $5 per square foot.

Conservation assessments provided before major purchases are made can cost from  $300 and $1,000. This is for the assessment only, before any conservation work begins.

Rates to insure art, from 5 to 20 cents per hundred dollars, depend on the material of the work of art, type of storage, and geographic location. The same rates apply to artworks of any price.

There are costs to selling works of art as well. Selling costs include de-installation, shipping, and transit insurance.

See:

What It Really Costs To Be a Mega Art Collector” | Sara Roffino, Artsy.net, 7 July 2017

#art #collectingart #artcollections #shipping #framing #installation #insurance #security #appraisals #storage #conservation

 

 

 

Chicago ・66% of office buildings certified LEED or Energy Star

“Green certification is no longer an oddity or nice to have. In many top markets it’s an oddity if you’re not green certified.”

Nils Kok, associate professor, Maastricht University, the Netherlands

Chicago now has the highest percentage, 66%, of certified LEED or Energy Star office buildings among the 30 largest real estate markets in the United States. (CBRE and Maastricht University study, 6 July 2017).

See:

Chicago Grabs Lead in Green Office Buildings, Study Shows” | Emily Chasan, Bloomberg, 6 July 2017

2017 National Green Building Adoption Index” | Maastricht University, CBRE, Real Green, 6 July 2017

 #Chicago #LEED #EnergyStar #commercialbuildings #commercialrealestate #officebuildings #CBRE #MaastrichtUniversity #realestate #emissions #energy

luxury ・ evolving

Sara Bernát, a freelance brand strategist and Ph.D candidate at Humboldt Universitat, Berlin, focuses on the sociology of luxury.

The aim of her research is “to study social, cultural, and economic forces that have culminated to shape and define the concept of luxury throughout modern historical eras.”

She observes that educated millenials are no longer able to ignore irresponsible social and environmental impacts of product manufacture that promotes and seeks to fulfill heedless demand and unbridled consumption.

Consumerism, however, is core to our existence today. It is also tied deeply into psychological and social behavior. And so, the solution to the sociological and environmental threats lays within.

Rather than becoming the social pariah, a number of new luxury brands recognized that traditional luxury may carry the solution.

With its limited production, carefully sourced materials and respect for craftsmanship, sustainability could be innate to luxury.

See:

How luxury is the millenial’s unlikely weapon to fight social inequality” | Sara Bernát, Luxury Daily, 4 July 2017

Sara Bernát | LinkedIn

 

#luxury #smartluxury #realestate #art #resilience

Max Beckmann’s “Hölle der Vögel” (Birds’ Hell) (1937-1938) Sells for US$45,834,365

Max Beckmann’s “Hölle der Vögel” (Birds’ Hell) sold for US$45,834,365 at Christie’s London Tuesday evening (June 27).

The painting, executed in oil on canvas in 1937 – 1938, drew three bidders and sold to Larry Gagosian. It is understood that Mr. Gagosian was bidding on behalf of the New York collector Leon Black.

Art dealer Richard Feigen acquired the painting in 1983. Hölle der Vögel” (Bird’s Hell) has remained in his collection until now.

See:

Boosted by Gagosian’s Record Bid on Beckmann, Christie’s Notches a $190 Million Impressionist and Modern Sale” | Colin Gleadell, Artnet.com, 27 June 2017

Christie’s Impressionist and Modern Art Evening Sale, London, 27 June 2017, Results | Christie’s

Max Beckmann Hölle der Vögel, 1937-38 (special catalogue) | Christie’s

 

#art #artcollections #artmarket #MaxBeckmann #BirdsHell #HöllederVögel #Christie’s #LarryGagosian #LeonBlack #realestate #resilience #luxury #urbanluxury #NewYork #London

coastal property, coastal property values, & flood risk

For those considering an investment in real property (residential or commercial) along the eastern seaboard of the United States, insights are offered in an article published in April by the New York Times, “When Rising Seas Transform Risk Into Certainty” (Brooke Jarvis, 18 April 2017).

Some highlights follow. The upshot? Conduct your discovery and due diligence carefully. Try to think long-ish term (what are your long-term investment investment horizons, when do you plan to exit, e.g., sell your house or property, etc.). Consider a  variety of numbers (not only interest rates, number of bedrooms and bathrooms, square footage, appraisals, etc., but also sea levels, projected sea levels, flood zones, insurance premiums, any projected rise of insurance premiums, etc.). Ask your lender (if you are financing), real estate professional, and insurance professional lots and lots of questions.

  • Economists aren’t sure if coastal property values will decline gradually, as the life expectancy of homes shrinks, or precipitously, “the first time a lender refuses to make a mortgage on a nearby house or an insurer refuses to issue a homeowner’s policy.” (Sean Becketti, chief economist, Freddie Mac)
  • “Hundred-year flood zone” | A hundred-year flood zone sounds like sounds like a factor of time, as if the land were expected to flood only once every 100 years. What it really means is the land has a one percent (1%) chance of flooding each year.
  • If the property that you are considering buying is in a “hundred-year flood zone,” then in order to get a federally backed mortgage, you will be required to pay for flood insurance through the National Flood Insurance Program (N.F.I.P.).
  • Congress created the N.F.I.P. (the National Flood Insurance Program) in the late 1960s
  • The N.F.I.P. was intended to encourage safer building practices
    • The N.F.I.P. offers insurance coverage, some of it subsidized, to communities that meet floodplain-management requirements;
    • People that want to buy a house in a flood-prone area are required to buy N.F.I.P. insurance coverage.
    • The N.F.I.P. provides grants for mitigation projects, like elevating houses, meant to reduce flooding damage.
  • Critics of the N.F.I.P. observe that N.F.I.P. flood insurance, by bailing people out repeatedly and by spreading the true costs of risk, incentivizes people to build, and stay, in flood-prone areas instead of encouraging safer building practices.
  • As storm damage becomes more costly, the N.F.I.P. is getting deeper and deeper (in the order of tens of billions of dollars) into debt. The expense of insuring coastal properties is increasing. Taxpayer-subsidized premiums are not able to meet the costs of insuring the coastal properties.
  • In 2012 and 2014, Congress responded to the N.F.I.P.’s troubles with bills known as Biggert-Waters and Grimm-Waters.
  • The Biggert-Waters bill of 2012 cut subsidies and phased out grandfathered rates so that premiums would start to reflect the true risk that properties face, achieving “actuarial soundness.”
  • Prospective buyers are disturbed less about the risk of high waters and more about the certainty of high premiums.
  • Insurance provides stability, both financial and mental, in an uncertain world, and implies “mastery of risk”.
    • As waters rise, flooding in low-lying places without sea walls will become more and more common.
    • The presence of water will become less about chance and more about certainty.
    • Few insurers are willing to bet against a certainty.
  • The math of the “collective hedge against helplessness” (insurance) in the face of climate insecurity will get harder.
  • AIR Worldwide models the risks of catastrophic events for insurance companies and governments.
  • According to AIR Worldwide, $1.1 trillion in property assets along the Eastern Seaboard lie within the path of a hundred-year storm surge.
    • $1.1 trillion represents only the risk on the East Coast under current sea levels.
  • According to a 2008 analysis by Risk Management Solutions (R.M.S.) and Lloyd’s of London, annual losses from storm surges in coastal areas globally could double by the 2030s.
  • In 2015, the N.F.I.P. asked R.M.S. and AIR Worldwide to update its modeling of financial exposure from possible storms to properties it insures across the country
  • In 2016 and 2017, the N.F.I.P. transferred some of its risk to large, private companies known as reinsurers (insurance for insurance companies)
  • A vote to reauthorize (or not) the N.F.I.P. is scheduled to take place in September of this year
  • Some believes it is time to start limiting coverage for properties that are flooded over and over.
    • Multiple losses “should force us to shift our position where we make an offer of mitigation to a homeowner, and if they do not choose to take it, we don’t renew their policy.”
  • Flooding is the most common, and most expensive, natural disaster in the United States.
  • Private insurers have long declined to cover flood risk.
  • Some private insurers are beginning to show an interest in covering flood insurance for the first time.
    • Again, prospective buyers are disturbed less about the risk of high waters and more about the certainty of high premiums.
    • The end of subsidized coverage and the possibility of higher premiums encourages private insurers
    • As flood insurance premiums increase,
    • private insurers have a greater incentive to compete.
    • Private insurers can seek and obtain private underwriting from companies such as Lloyd’s of London and A.I.G. subsidiaries.
  • More accurate risk analysis, with powerful computers running more simulations that include more variables, also incentivizes private insurers
    • Premiums from private insurers can now cost 30 to 35 percent less than those policies bought through FEMA
    • Yet, private companies issue such policies in the belief that the outcomes against which risk is covered will not occur
    • Private insurance is “of course” not interested in covering severe-repetitive-loss properties or buildings whose exposure is higher than what can be recouped in premiums.
  • Mike Vernon, an insurance agent in the Hampton Roads area of Norfolk/Virginia Beach, gets most of his business from referrals from real estate agents. He observes
    • “We’re often actually making the building worse to bring down premiums,” filling in basements, or preparing a house to let water flow through it instead of keeping it out (yes, the house may be damaged by moisture, but at least it won’t be pushed off its foundation). “Or we’re eliminating something good, like a sunroom on a slab.”
    • “People are getting killed. To an appraiser it’s still worth $300,000, but to the real world it ain’t worth nothing, because it’s not going to sell.”

See:

When Rising Seas Transform Risk Into Certainty” | Brooke Jarvis, The New York Times, 18 April 2017

The National Flood Insurance Program (N.F.I.P.) | FEMA

Biggert-Waters Flood Insurance Reform Act of 2012 Timeline” | FEMA

H.R. 3370 – Homeowner Flood Insurance Affordability Act of 2014” | 113th Congress, Congress.gov

#realestate #risk #riskmanagement #propertyvalues #floodrisk #insurance #NFIP #FEMA #resilience #smartluxury #art #collections #collectionsmanagement

 

 

the luxury market is driving LEED & green building tech

The use of  advances in green building technology and LEED (USGBC’s Leadership in Energy and Environmental Design) by U.S. developers and architects is increasingly market driven.

Such initiatives have oftentimes been borne out of environmental regulations and tax subsidies initiated at local, state and federal levels.

It appears, however, that such environmental regulations and tax subsidies are no longer sole primary drivers.

Rather, market demand is also driving the adoption of green building technology and LEED in the design and development of luxury buildings.

People understand the need for and benefits of green building technologies and carbon neutral energy programs. Developers, architects, and designers are beginning to follow suit.

Here are some examples:

  • Marcos Corti, CEO, Consultatio, the developer of Oceana, the first building on Bal Harbour, Florida to be LEED certified:

“The trend is to go LEED and to continue that path. It is on everybody. If the government or the leader is not going that way, I think the entire population is going that way, so it isn’t going to change.”

  • Stephen Glascock, President and Managing Partner, founded New York-based Anbau in 1998 based on the vision that “good design makes good business.” The Anbau focus is on residential condominium development in New York City, seeking value and appropriate risk-adjusted returns.

“We don’t get any subsidies for LEED stuff. All the sustainable stuff comes from what we feel is the right thing to do.”

  • Christopher Gandolfo, vice president of development, Swire Properties. Swire Properties is active globally. Brickell City Centre is 9.1-acre city-within-a-city, a retail-led mixed complex of luxury condo towers, class-A office buildings, a five-star hotel, and an open-air shopping center, engineered and built on platforms over the street level that link shops, restaurants, hotel and the other buildings.

“We are pioneer for the time. I’d like to believe other good developers will follow suit. It is up to the public to demand it to some degree as well.”

LEED “helps keep the very large team of designers, specialist consultants, and contractors who work on a project like 520 W 28th Street focused on the project’s performance and indoor air quality goals, and it gives our buyers an extra level of comfort that we achieved these goals.”

  • Brandon Specketer, partner at COOKFOX Architects, “architectural studio dedicated to a vision of integrated, environmentally responsive design. We believe good design is sustainable and we are committed to being wise stewards of our shared natural and cultural resources.”

COOKFOX project 550 Vanderbilt in Prospect Heights, Brooklyn utilizes Biophilic Design principles throughout the building to connect residents to the natural world for enhanced creativity, clarity of thought, and improved well being.

“LEED isn’t a checklist. It is a standard of quality that helps everyone meet a certain standard.”

See:

Green Building in U.S. Luxury Developments Continues to Flourish” | Ariel Ramchandani, Mansion Global, 29 May 2017

City in a city: Brickell City Centre set to transform downtown Miami” | Debora Lima, Miami Herald, 15 May 2016

550 Vanderbilt | COOKFOX

#realestate #luxury #smartluxury #LEED #greentech #Consultatio #Anbau #SwireProperties #RelatedCompanies #COOKFOX #realestatedevelopment #architecture #design #NewYork #Miami #climaterisk #urbanliving

 

CO2 vibrates, that’s just what it does

The CO2 molecule vibrates. As a matter of fact, it vibrates in three different ways. As it vibrates, it absorbs and emits the radiant heat (energy) of our sun as it reaches our earth, and it does so very well and very efficiently … That’s just what it does.

The CO2 molecule is composed of three atoms: one atom of carbon (C) and two atoms of oxygen (O). Hence CO2, carbon dioxide (“di” refers to “two”).

The carbon and oxygen atoms move around each other and interact with each other at different frequencies. Each different way of moving around constitutes a vibration mode.

In one vibration mode, with the oxygen and carbon atoms interacting at a certain frequency, the CO2 molecule attracts and absorbs the energy (radiant heat) of the sun. Just the way a magnet might attract a paper clip.

As the molecule absorbs the energy of the sun, it switches into another vibration mode, moving faster. In this faster vibration mode, with the carbon and oxygen atoms interacting at another frequency, the energy of the sun is emitted. Think of two magnets, repulsing each other.

This is a very good thing. Without the presence of these little CO2 factories doing their work day in and day out, absorbing and emitting the radiant heat (energy) of our sun, our planet would be a frozen ball of ice.

These little CO2 factories do their work well and efficiently. That’s just what they do. The more of them there are in the atmosphere, the more radiant heat is absorbed and emitted into the air all around all of us.

See:

What is Infrared?” | Jim Lucas, Live Science, 26 March 2015

Carbon Dioxide Absorbs and Re-emits Infrared Radiation” | UCAR Center for Science Education

Molecules Vibrate” | UCAR Center for Science Education

John Tyndall” | Wikipedia

Introduction to Structure Determination; Infrared: Introduction” | Prof. Adam Bridgeman, School of Chemistry, The University of Sydney, 2017.

Jean-Michel Basquiat’s “Untitled” (1982)

Consigned by Lise Spiegel Wilks, the daughter of Jerry Spiegel, a real estate developer of Kings Point, N.Y., and his wife Emily, who as collectors of works by emerging artists bought the work in 1984 for $19,000, Jean-Michel Basquiat’s “Untitled” (1982, acrylic, spray paint and oil stick on canvas) was offered at auction by Sotheby’s on May 18, 2017 with a guaranteed price of at least $60 million.

The painting was purchased for $110,487, 500 (hammer price with buyer’s premium) by Yusaku Maezawa.

Yusaku Maezawa, 41, is the founder of Contemporary Art Foundation and of of Japan’s large online fashion mall, Zozotown.

Passionate about the works of Jean-Michel Basquiat, Mr. Maezawa acquired “Untitled” for a museum that he is planning for his hometown of Chiba, Japan.

“But before then I wish to loan this piece — which has been unseen by the public for more than 30 years — to institutions and exhibitions around the world, I hope it brings as much joy to others as it does to me, and that this masterpiece by the 21-year-old Basquiat inspires our future generations.”

Yusaku Maezawa

See:

Untitled” | Jean-Michel Basquiat, 1982, acrylic, spray paint and oil stick on canvas

A Basquiat Sells for “Mind-Blowing” $110.5 Million at Auction” | Robin Pogrebin & Scott Reyburn, The New York Times, 18 May 2017

How Basquiat Became the $60 Million Man” | Robin Pogrebin & Scott Reyburn, The New York Times, 17 May 2017

Sibling Rivalry Erupts Into $160 Million Art Auction Showdown” | Katya Kazakina, Bloomberg, 10 May 2017

Monumental Basquiat Leads Contemporary Art Evening Sale” | Sotheby’s, 18 April 2017

#JeanMichelBasquiat #Basquiet #artmarket #YusakuMaezawa #JerryandEmilySpiegel #LiseSpiegelWilks #Sotheby’s #GabrielaPalmieri #AlexRotter