Fine Art Bourse

 

You might say it was the best of online sales, it was the worst of online sales. Newly launched Fine Art Bourse set a record for an indigenous Australian woman’s work of art last week, according to The Art Newspaper:

A painting by the late Aboriginal artist Emily Kame Kngwarreye has sold for A$2.1m at auction in Sydney, ($1.6m/£1.2m; with buyer’s premium), setting a record sale price for an Australian female artist. The work, Earth’s Creation I (1994), which was shown at the Venice Biennale in 2015, was bought by the New York-based dealer Tim Olsen for a client.

But the sale came after a mysterious denial of service attack originating from the Ukraine that shut down FAB’s site and caused the sale to be postponed:

IT specialist and newly appointed Director of Fine Art Bourse Limited, William Ehmcke, told NITV News the servers received over 20,000 hits from unknown sources in the Ukraine, which resulted in a “denial of service”.
 
“The timing and the size of the attacks suggest a paid, deliberate and successful attack resulting in F.A.B.’s inability to proceed with the auction,” Mr Ehmcke said. “There is also evidence that the auction platform database was hacked, just prior to the auction launch, to further disrupt the sale process. All client data has now been removed from the F.A.B. database.”
 
The denial of service attack raises some interesting questions about whether the auction was the target, someone bidding on the work or the information of the buyers or sellers. Emily Kame Kngwarreye painting sells for $1.6m, breaking record for an Australian female artist (The Art Newspaper) Prominent Indigenous art auction delayed due to suspected cyberattack (NITV)

This is Goodman's second attempt to launch FAB as a competitor in the saleroom business. The first folded in 2015 but Goodman says this incarnation is the product of his work and that of Aboriginal art expert Adrian Newstead, the former head of Menzies Art Brands, and Mirri Leven. He says the business has 36 shareholders, including a Chinese hedge fund and former Macquarie banker Bill Moss.

"People can bid on the phone or the traditional way," says Goodman. "We are completely automated and there is no auctioneer – it's a electronic server in Hong Kong." 

He says the platform was developed in Australia using the government's R&D cash rebate scheme. "So the IP is Australian conceived and made." 

The headline offer at the sale is Emily Kame Kngwarreye's Earth's Creation, which Goodman expects to sell for more than $2 million. The painting is being sold by Alice Springs gallerist Tim Jennings, who bought it in the booming 2007 market for a ­record $1.056 million. 

Newstead says it's impossible to predict what it will sell for. "Maybe $2 million to $3 million. But it could be more, and it could be less. One thing for sure is that it may break local and world auction records including most expensive painting ever sold online, highest price for any Australian female artist, highest price for any Aboriginal artist." 

Eighty-four works will be auctioned. Cooee Art, which was founded by Newstead, has agreed to pay the artist resale royalty on any Aboriginal painting.

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When the hammer falls at a normal art auction the successful bid is only the start of what a buyer has to pay. The extras start with a 20-25 per cent commission for the saleroom – known as the buyer's premium – and extend through GST on that premium and a 5 per cent artist resale royalty, which goes to the family of the artist.

By the time you settle the bill it can be a third higher than the hammer price. 

That, says former Sotheby's Australia chairman Tim Goodman, is a cost structure crying out to be disrupted. He's hoping the first major sale by his fledgling, robot-run auction business – Fine Art Bourse – on November 14 will set it on its way to challenging major auction houses Sotheby's and Christie's, which have 80 per cent of the $US20 billion worldwide market.

Goodman says the secret to cutting out so much cost is the use of "this 11th century Anglo Saxon law which means the auction takes place where and when the hammer falls". That is Hong Kong, where the server is based and there are no relevant taxes. FAB will take a flat 5 per cent buyer's premium and offer free shipping anywhere in the world. 

This is Goodman's second attempt to launch FAB as a competitor in the saleroom business. The first folded in 2015 but Goodman says this incarnation is the product of his work and that of Aboriginal art expert Adrian Newstead, the former head of Menzies Art Brands, and Mirri Leven. He says the business has 36 shareholders, including a Chinese hedge fund and former Macquarie banker Bill Moss.

"People can bid on the phone or the traditional way," says Goodman. "We are completely automated and there is no auctioneer – it's a electronic server in Hong Kong." 

He says the platform was developed in Australia using the government's R&D cash rebate scheme. "So the IP is Australian conceived and made." 

The headline offer at the sale is Emily Kame Kngwarreye's Earth's Creation, which Goodman expects to sell for more than $2 million. The painting is being sold by Alice Springs gallerist Tim Jennings, who bought it in the booming 2007 market for a ­record $1.056 million. 

Newstead says it's impossible to predict what it will sell for. "Maybe $2 million to $3 million. But it could be more, and it could be less. One thing for sure is that it may break local and world auction records including most expensive painting ever sold online, highest price for any Australian female artist, highest price for any Aboriginal artist." 

Eighty-four works will be auctioned. Cooee Art, which was founded by Newstead, has agreed to pay the artist resale royalty on any Aboriginal painting.

Read more: http://www.afr.com/lifestyle/arts-and-entertainment/art/fine-art-bourse-aims-to-shake-up-art-industry-with-lowcost-auctions-20171103-gze4ko#ixzz4xhVNXSTh 

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Zdjęcia dzieł zostały umieszczone na profilu domu aukcyjnego. Administratorzy strony ocenzurowali je twierdząc, że reklamy nie mogą zawierać treści dla dorosłych.

Cenzura objęła zdjęcia 19-wiecznych dzieł sztuki, umieszczone na fanpage'u australijskiego domu aukcyjnego Fine Art Bourse. Obrazy przedstawiały kobiety z nagimi piersiami, co nie spodobało się administratorom Facebooka. Post, opublikowany przez właściciela Fine Art Bourse - Tima Goodmana, miał być reklamą erotycznej wyprzedaży obrazów.

Reakcja Facebooka zaskoczyła biznesmena. Tim Goodman napisał list otwarty do Marka Zuckerberga, w którym uznał, że "roboty" skanujące treści na portalu nie są w stanie odróżnić sztuki od pornografii. Stwierdził, że takie "pomyłki" są nieuniknione, jeżeli władze portalu wolą posługiwać się sztuczną inteligencją, niż szkolić swoich pracowników. Goodman określił politykę Zuckerberga jako "absurdalną".

Przed napisaniem listu Goodman próbował wyjaśnić sytuację mailowo. Otrzymał jednak automatyczną odpowiedź: "Nie publikujemy reklam zawierających nagość, nawet jeśli nie jest ona pokazana w kontekście erotycznym. Zakaz obejmuje również nagość w treściach o charakterze artystycznym i edukacyjnym".

To nie pierwszy raz kiedy Facebooka zalała fala krytyki z powodu cenzury. W 2016 roku ze strony usunięto zdjęcie nagiej dziewczynki, uciekającej przed bombardowaniem podczas wojny w Wietnamie. W czerwcu natomiast z Facebooka pomyłkowo ocenzurował zdjęcie karmiącej piersią matki.

Jagoda Mówińska19.08.17 (02:15)

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The art world is evolving to cope with the fragmentation of the market. Traditional auction business models are now facing tough competition from exclusively online auctions, with lower running costs

When you think of an art auction, what do you picture? A man with a gavel, standing next to a priceless masterpiece while a well-dressed audience make bids with furtive hand gestures; twitch, and you might accidentally lose a small fortune. Yes, it’s thrilling theatre, but it can also be a little daunting.

Enter Tim Goodman. After a career spanning 40 years in the auction business, he is a man on a mission to shake up the industry.

While the internet had a massive effect on many auctioneers, the worlds of fine art and antiques remain dominated by the same few historic houses. But for how long? “I believe the future lies in a new business model for fine art auctioneering,” says Goodman, formerly Australian head of Bonhams and later Sotheby’s. “The traditional auction business model is no longer sustainable.”

That is why Goodman has just launched an online auction: Fine Art Bourse (FAB). His desire is to refresh the entire auction world and attract completely new audiences. The aim of FAB, he says, is to “democratise the secondary art market and make more art more accessible to more people”.

FAB’s first sale, “Erotic, Fetish & Queer Art & Objects”, takes place on 25 September, and has already attracted controversy following Facebook’s refusal to post advertisements for the sale.

The images include La Toilette by Bernard Fleetwood-Walker and a 19th-century silver cigarette case featuring a nude after the French Orientalist painter Jean-Léon Gérôme. Facebook blocked the images and locked FAB’s account on grounds of indecency.

Following what he saw as unfair censorship, Goodman addressed an open letter to Facebook founder Mark Zuckerberg, expressing his outrage over the platform’s inability to distinguish between pornography and fine art.

“Facebook seems to be using its monopoly over social interaction to impose absurd standards of political correctness,” he wrote. “The problem is not… conservative advertising guidelines, [but] a system that doesn’t allow for real judgement.”

But Facebook is not the only big name that Goodman is now up against. His new venture is adopting digital technology to break apart the stronghold of the industry’s power players. Unlike traditional auction houses, with their expensive galleries and doorstopper catalogues (which are environmentally unfriendly, says Goodman), FAB focuses on what really matters to both buyers and sellers.

“My model lies in slashing costs in three areas: bricks and mortar, human resources and printing,” explains Goodman. Auctions take place purely online, specialists are hired for specific projects as needed and there are no printed catalogues.

These cost efficiencies, combined with locating the business in Hong Kong, which has no indirect tax nor copyright and artist resale royalty charges, have allowed FAB to offer the tempting prospect of 5 per cent premiums. With fees at traditional auction outlets nearing 20 per cent for sellers and 25 per cent for buyers, Goodman sees the internet as a way to overturn the more old-fashioned models of auctioneering.

It’s not just about cutting costs; FAB offers impressive flexibility, too. “As the world unremittingly grows more dependent on mobile devices,” says Goodman, “it only makes sense for art to join the ranks of industries disrupted by digital technology.

“With each coming generation, the leap to purchasing art online gets smaller and smaller, with portals like Instagram changing the dialogue by providing a platform for a new generation of younger people to admire influencers, source artists and purchase art without third-party intervention.”

Fine Art Bourse’s first auction, ‘Erotic, Fetish & Queer Art & Objects’, takes place on 25 September. Details of this and all forthcoming FAB sales can be found on Barnebys

By Tom Jeffreys

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Facebook est souvent critiqué pour sa politique de modération et ce n’est sans doute pas près de changer. La plateforme a en effet commis une nouvelle bévue en censurant des œuvres d’art datées du XIXe siècle. Ce n’est évidemment pas la première fois que l’équipe de modération du service commet une telle erreur. Elle a en effet censuré à plusieurs reprises L’Origine du Monde de Gustave Courbet et elle en a fait tout autant avant l’été avec un sublime nu de Modigliani.

Facebook : une nouvelle affaire de censure

C’est évidemment problématique, et encore plus dans la mesure où certains contenus clairement répréhensibles restent souvent en ligne pendant de longues heures avant d’être supprimés par les modérateurs de la plateforme.

Tim Goodman se passionne depuis longtemps pour tout ce qui touche au domaine de l’art et il a ouvert sur les terres australiennes une maison spécialisée dans les ventes aux enchères, la Fine Art Bourse.

Afin de toucher le public le plus large possible, il a pris l’habitude d’annoncer ses prochaines ventes sur la page Facebook de son entreprise.

Il a récemment publié un message sur la plateforme pour annoncer la tenue d’une vente spéciale regroupant plusieurs œuvres d’art issues du XIXe siècle. Le message comprenait plusieurs illustrations et certaines d’entre elles mettaient en scène des nus de la collection avec des poitrines apparentes.

L’homme a ensuite lancé une campagne sponsorisée sur la plateforme pour atteindre de nouveaux prospects. Facebook n’a cependant pas apprécié la teneur de la publication et la campagne a été refusée par les modérateurs.

Tim Goodman a reçu en parallèle un message automatique de l’entreprise, un message lui indiquant que la plateforme n’autorisait pas les publicités présentant de la nudité, et ce même si ce n’est pas de nature sexuelle. Pour ne rien arranger, le message indiquait que cette mesure s’appliquait également à la nudité utilisée à des fins artistiques ou éducatives.

Un problème de société ?

Agacé, l’homme a publié dans la foulée une lettre ouverte à Mark Zuckerberg afin de lui signifier son incompréhension.

Il explique dans sa missive que la notion de censure nécessite de l’éthique et une sensibilité humaine. Elle ne peut donc pas être laissée entre les mains d’un robot ou d’un script automatique. Très incisif, l’homme explique aussi que c’est dommage qu’une des plus grosses entreprises du web ne soit pas en mesure de mieux gérer ces questions.

Tim Goodman n’a évidemment pas tort sur le principe, mais ses arguments ne s’appliquent pas uniquement à Facebook.

De mon point de vue, il s’agit avant tout d’un problème sociétal et il suffit ainsi de regarder autour de soi pour constater une véritable régression en matière de nudité et/ou d’érotisme.

À la base, la nudité n’a rien de pornographique ou de sexuel. Elle ne décrit pas une action, mais un état.

Toutefois, peu de gens parviennent désormais à faire la différence et il suffit ainsi d’un simple mamelon apparent – parfois moins – pour donner suite à d’improbables débats sur les réseaux sociaux.

Facebook est évidemment le plus touché compte tenu de sa popularité, mais toutes les plateformes sociales sont logées à la même enseigne.

By MOTS-CLÉS

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