Word: marketting
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Dates: during 1980-1989
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Japanese buyers may be aesthetically unsophisticated -- they buy names, not pictures -- but this will inevitably change. (It did in America, after 1890, while Europe was laughing.) The Tokyo market still has a weakness for yucky little Renoirs and third-string Ecole de Paris painters like Moise Kisling, whom nobody wanted a few years ago; one Japanese collector is the proud owner of a thousand paintings by Bernard Buffet. But the Japanese started going after bigger game about five years ago, and already the outflow is immense. Contemporary art has become, quite simply, currency. The market burns off all nuances...
This indicates a radically transformed market structure. In art as in other markets at the end of Reagan's economic follies, America sinks and Japan rises. In this context it is fatuous to utter bromides about art's being the Common Property of Mankind. Americans now begin to view the outflow of their own art with bemused alarm -- just as Italians and Englishmen, at the turn of the century, watched the Titians, Sassettas and Turners, pried loose from palazzo and stately home by the teamwork of Bernard Berenson and Joseph Duveen, disappearing into American museums. "The Japanese are awash...
...feeling of a cultivated Japanese in 1885, watching his cultural patrimony being politely stripped by American collectors, led by Ernest Fenollosa and the "Boston bonzes." The emerging lesson of the late '80s, which is unlikely to change in the '90s, is that America no longer controls the art market to any significant degree. Mostly, it sells. Its buying power is fading fast...
Irises, it seemed at the time, was the picture that saved the art market after Black Monday -- Oct. 19, 1987 -- when Wall Street plunged 508 points. Actually, the market was running quite high between the crash and the sale of Irises, but the painting was greeted as a talisman. Bond beefed up the security arrangements on the top floor of his headquarters in Perth to fortress strength and unveiled his acquisition -- the only Van Gogh in Australia -- to the press. "This isn't just a great painting!" he exulted to the cameras. "It's the greatest painting in the world...
...market was going like the Wabash Cannon Ball through 1988 and 1989, Bond's own finances were not. His bid for Irises had been part of a consistent pattern: paying far too much for investments even though they were, as assets, sound. In 1987 he paid more than $700 million for Kerry Packer's TV stations in Australia. In the financial year ending last June, Bond's media firm posted a $34 million loss. Also in 1987, Bond paid more than $1 billion for the U.S. brewery G. Heileman, whose 1989 resale value is about half that...