Sotheby’s Harsh Reshuffle: After Amy Cappellazzo and Kevin Ching, Next Prominent Figure TERASE Yuki Bites the Dust サザビーズのコンテンポラリーアート部門アジア地区部長・寺瀬由紀氏を巡って
Two weeks ago, in a melancholic mood, I expressed my sorrow about the departure of sympathetic, popular Amy Cappellazzo from Sotheby’s.
Next One @ Sotheby’s: Hugely Popular Amy Cappellazzo Bites the Dust
What will happen @ Sotheby’s Japan? (2021/4/29)
Five weeks ago I wrote about outgoing Sotheby’s Asia CEO Kevin Ching
アジアのアートマーケットの中心的人物：26歳のネイサン ドライ氏、新CEO サザビーズアジア (サザビーズのオーナー パトリック・ドライの息子）(2021/4/14)
Key Person of Asia’s Art Market: 26 Years Old Nathan Drahi, New CEO Sotheby’s Asia (Son of Sotheby’s Owner Patrick Drahi)
Today’s news shocked the Japanese art world: the only Japanese authority at Sotheby’s Hongkong, Senior Director, Head of Contemporary Art, Asia, TERASE Yuki 寺瀬由紀 is leaving in July. Of course, all the news are written diplomatically in a positive way, bla, bla, bla…, however, I honestly doubt that highly successful Terase wanted to leave her beloved company, where she worked hard to achieve this kind of amazing career. Plus, – let’s proclaim it bluntly: she had one of the most beautiful jobs in the Asian art world.
With my critic eye I may hereby say, Drahi’s (Nathan’s or Patrick’s?) choice of replacements, Alex & Max, for Terase is a fiasco. Those two white men lack the overview about the huge, diverse Asian art community, lack the Asian (contemporary) art history knowledge, do not speak, understand or read Chinese, Korean nor Japanese. In this sense, let me on ART+CULTURE express my anger: Alex Branczik and Max Moore, you two macho-guys, f*ck-off and return to your places you came from, or quit Sotheby’s! Be a gentleman and fight for the position of Yuki!
1. Let Yuki continue to do her job!
2. If her replacement is really necessary, the position should go to one or two Asian women!
Today I looked up for some pics (screenshots) from Yuki’s latest appearances in the video of Sotheby’s Hong Kong | Contemporary Art Evening Sale, which occurred exactly one month ago, on the 19th of April. May my readers appreciate her work, success, charm and competence. Don’t give up, Yuki!
Today’s New York Times: what a joy, Yuki & Amy in full swing for the Asian art market! … our stars in the auction world (2021/10/13)
Today’s official press release by Sotheby’s 今日のサザビーズの声明文:
Alex Branczik to assume role of Chairman of Modern & Contemporary Art, Sotheby’s Asia
TERASE Yuki’s biography 寺瀬由紀氏の経歴：
Prince, Basquiat Lead Sotheby’s $108.2 M. Jay Chou-Curated Contemporary Sale in Hong Kong
BY ANGELICA VILLA, June 18, 2021 Artnews
These results reflect the growing force of the Asian buyers in the market. In an interview after the sale, Sotheby’s head of contemporary art in Asia, Yuki Terase, whose final sale this was before her departure at the end of the month, told ARTnews that the market in the region has adapted drastically since the beginning of her decade-long tenure at Sotheby’s. “You could see how enthusiastic Asian clients were in the saleroom and I think that demonstrates the market here right now,” she said. Terase explained that when she first began her role, the market for contemporary art was only in its nascence. “It was more premature, a lot of people were not so certain about offering great Western pieces in Hong Kong auctions.”
Next up was Richard Prince’s Runaway Nurse (2005-2006), from the Pictures Generation artist’s seminal Nurse paintings series. The guaranteed work set a new record for the artist at HKD 94 million ($12.1 million), against an estimate of HKD 75 million ($9.6 million). It attracted several bidders in Asia, most of whom, Terase said, had not competed for or privately bought a work by Prince through Sotheby’s before. The consignor, Japanese mega-collector Yusaku Maezawa paid $9.7 million for the painting at Christie’s in 2016, which was the artist’s previous record; he received $10.3 million for it today.
Property from a Distinguished Asian Collector
inkjet and acrylic on canvas
signed, titled and dated 2005-06 on the overlap
280 by 168 cm. 110¼ by 66¼ in.
Private Collection (acquired directly from the artist)
Christie’s, New York, 10 May 2016, Lot 38B
Acquired from the above sale by the present owner
Yusaku Maezawa today’s Twitter posting “Art is liberty.” (2019/5/8)
日経woman 「アジアの現代美術マーケットをけん引 寺瀬由紀」
Young, monied and keen to gamble on art: the super power of Asian collectors
Asian buyers are now the biggest spenders at international auctions and these digitally-native collectors are happy to splurge online
Scott Reyburn, 2021/9/21 The Art Newspaper
Why are Asian bidders paying more than ten times the gallery price for such works? “There is a desire to buy into the Western lifestyle. There are a lot of people who want it, and want it now. If they’re rich enough, why should they go onto Western galleries’ waiting lists?” Brown says, adding that these prices reflect a high-rolling edge to Hong Kong auctions. “There’s more of a speculative gambling culture in Asia… they want to make money out of art.” These Asian collectors also tend to be younger than their Western counterparts. “They’re in their 30s and 40s, sometimes even their 20s,” says Yuki Terase, Sotheby’s former head of contemporary art in Asia. For Terase, this new wave of Asian collectors falls into two main categories: “One is self-made and entrepreneurial, like IT billionaires, the other is second or third generation wealth. Art is a trophy they share on their social media platforms. They’re looking for newer names. They want to position themselves as someone who discovers young talent.”
Crucially, these trophies are discovered, bought and shared by Asian collectors on their phones. High-value works of art are routinely bought from live-streamed and online-only auctions, as well as from dealer shows and Instagram. Terase says that, “what has happened during Covid has really matched what Asian clients were already doing.”
ここに載せた写真とスクリーンショットは、すべて「好意によりクリエーティブ・コモン・センス」の文脈で、日本美術史の記録の為に発表致します。Creative Commons Attribution Noncommercial-NoDerivative Works photos: cccs courtesy creative common sense