Art & Collection

The art world is a whirlwind of activity, with major biennials, fairs, and exhibitions constantly vying for attention. For discerning collectors like Laurie Ziegler, navigating this landscape requires keen foresight and a global perspective. Ziegler, a prominent Los Angeles-based arts patron, offers a glimpse into her anticipated highlights for 2025, showcasing a year promising rich artistic experiences across continents.

By  Virginia Anderson 

image credit: flickr.com

Ziegler's forecast begins in the Middle East, predicting a surge of international interest in the region. "2025 starts with the opening of the Islamic Arts Biennale in Riyadh and the Sharjah Biennial in early February," she notes. These significant events, coupled with the Dubai Art Fair in April, will undoubtedly draw a substantial international audience, creating a vibrant hub for art enthusiasts.
Shifting focus to South America, Ziegler highlights the impact of Adriano Pedrosa's curation of the 2024 Venice Biennale. This, she believes, has brought renewed global attention to Brazil's thriving art scene. "I foresee more international guests at SPArte in April, ARPA in May, or at the opening of the 36th edition of the São Paulo Bienal," she explains, suggesting that the proximity of the São Paulo Bienal (opening in September) to Art Rio will allow international patrons to efficiently experience both cities' artistic offerings.
Looking beyond established powerhouses, Ziegler's gaze turns to Georgia. She expresses excitement about the burgeoning talent emerging from the country, particularly those introduced by Tbilisi's Gallery Artbeat at NADA Miami and Paris Internationale. "Tamo Jugeli is having a show at Karma in L.A. this January, Nika Kutateladze will have a show at Mendes Wood DM, and Nina Kintsurashvili will have a show at Polina Berlin in New York this March," she reveals, highlighting the international reach of these Georgian artists.
Ziegler's insights offer a compelling roadmap for art lovers in 2025. Her focus transcends individual exhibitions, emphasizing the interconnectedness of the global art world and the opportunities for discovery that arise from attending major events and following emerging artists across diverse geographical locations. From the bustling fairs of the Middle East to the dynamic scenes of Brazil and the exciting new voices from Georgia, 2025 promises to be a year of significant artistic exploration.
 

In the vibrant realm of art collecting, shifts in market dynamics can dramatically influence both seasoned collectors and newcomers alike. As the speculative bubble on ultra-contemporary art has burst, many have felt the repercussions. However, amidst these disheartening effects lies an opportunity for a more discerning approach to collecting. Nike O. Opadiran, a prominent lawyer based in Washington, D.C., shares her perspective on these nuanced developments and highlights exciting upcoming exhibitions that promise to enrich the local art scene.

By  Virginia Anderson  

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Opadiran recognizes that the current state of the art market presents a unique advantage for dedicated collectors. "This is a good time to be a genuine collector," she states. The previous frenzy of inflated prices and speculative acquisitions has diminished, allowing collectors to take a step back and reassess their strategies. With the pressure of rapid investment fading, Opadiran finds herself embracing the chance to be more selective and deliberate in her acquisitions. The art market's recalibration has opened doors to accessible, quality works, making it an opportune moment to refine personal collections without the pressures of inflated costs.
In a region as culturally rich as Washington, D.C., Opadiran's focus remains primarily local, although her enthusiasm for art is universal. "I don’t have much on my radar outside of D.C.," she notes, reflecting the city's vibrant artistic community. However, her excitement for notable exhibitions showcases the dynamic nature of D.C.’s art scene.
Coming up in April, Opadiran is particularly eager to see Adam Pendleton’s work at the Hirshhorn Museum. Pendleton's innovative approach, which often blends text and visual elements, offers a contemporary commentary on race, identity, and the broader human experience. His ability to challenge viewers' perceptions of art is something that resonates well with Opadiran's vision as a collector striving for depth in her collection.
Later in the year, she looks forward to Amy Sherald's exhibition at the National Portrait Gallery in September. Sherald, renowned for her striking portraits and mastery of color, gained widespread acclaim for her depiction of former First Lady Michelle Obama. Her work’s capacity to convey narratives of identity and history aligns with Opadiran's appreciation for artists who not only create compelling visuals but also provoke thought and reflection.
In this era of recalibration, collecting art is no longer solely about financial investment or status; it is a deeply personal journey. For Opadiran, it promotes engagement with artists whose work resonates with her values and beliefs. The current landscape invites collectors to focus on the stories behind the art, fostering connections that transcend mere possession.
As art enthusiasts navigate the evolving landscape, Opadiran's reflections serve as a reminder of the importance of intentionality in art collection. The new normal encourages a shift towards authenticity, where genuine appreciation for quality works takes precedence over speculative gains. With pivotal exhibitions like those of Pendleton and Sherald on the horizon, collectors in Washington, D.C. have much to look forward to, marking a return to the heart of what it means to truly collect art.

Sarah Arison, a prominent New York arts patron, offers insightful perspectives on the evolving landscape of the art world, highlighting the innovative integration of art into diverse industries and the crucial support for artist-mothers. Arison's observations point to a dynamic shift, showcasing art's increasing influence beyond traditional galleries and museums.

By  Virginia Anderson

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Arison's attention is drawn to Work of Art Holdings (WOAH), a pioneering company founded by art world veteran Michi Jigarjian. WOAH's unique approach focuses on integrating art into sectors like sports, real estate, hospitality, technology, wellness, and fashion. Arison believes this strategy is not merely aesthetic; it fosters deeper community engagement, sparks innovation, and leaves a lasting cultural and social footprint. This forward-thinking model suggests that art's value extends far beyond its intrinsic beauty, impacting the very fabric of various industries.
Beyond the corporate integration of art, Arison also emphasizes the importance of supporting artists themselves, particularly those facing unique challenges. She expresses immense enthusiasm for Camille Henrot's upcoming monumental exhibition at Hauser & Wirth in New York. However, her praise extends beyond Henrot's artistic talent to acknowledge the artist's commitment to her community. Arison specifically highlights Henrot's involvement in the founding of Artists and Mothers, an organization dedicated to supporting emerging and mid-career artists who are also mothers.

Arison rightly points out the significant hurdles faced by mothers in the art world, a population often overlooked and underserved. The establishment of Artists and Mothers addresses this critical need, providing much-needed resources and recognition. This initiative underscores a growing awareness of the systemic barriers that prevent artists from balancing creative pursuits with the responsibilities of motherhood. Arison's excitement about this organization underlines the vital role of supporting initiatives that promote inclusivity and equity within the art world.
In conclusion, Sarah Arison's commentary reveals a dynamic and evolving art world. Her perspective highlights not only the exciting intersections between art and various industries driven by innovative companies like WOAH, but also the crucial need to support and empower artists, especially mothers, who often face significant challenges in pursuing their creative endeavors. Her observations suggest a future where art's influence is both broadened and deepened, enriching both the commercial landscape and the artistic community.