Art Cologne in numbers 1967-2017 Cologne_2017_pr.pdf · time, art aficionados will pause to reflect...

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ART COLOGNE IN NUMBERS 1967-2017 On 25th April Art Cologne will open its doors for the 51st time and, at the same time, art aficionados will pause to reflect on the fair’s substantial 50 year his- tory. Being that it is the first fair of its kind (the “Mother” of the art fairs), Art Cologne has defined contemporary art history. In honor of this occasion, ArtFacts.Net has taken a closer look at the data sur- rounding galleries and artists who have participated in Art Cologne, and offer insights on inquiries such as: what is the correlation between female and male artist participants, and how has this relationship evolved historically? How often do galleries return to Art Cologne? Is there a marked difference between the number of galleries and number of artists shown, according to internation- ality? From this gathered data we organized 8 key visuals that offer a new way of understanding and analyzing the development and characteristics of Art Cologne over time. For over 15 years ArtFacts.Net has built the world’s largest art database to become the industry standard ranking and data source for artists, galleries, collectors, academics and more. With over 37 million data points, ArtFacts. Net covers exhibitions from 192 countries dating from the mid-19th century up until today, bringing unique insights to the art market through deep structural and contextual analysis. ArtFacts.Net monitors over half a million contem- porary artists, providing each with an algorithmically calculated rank. That delivers a trusted evaluation of an artist’s career within the complex realities of today’s cultural landscape and market trends. This makes it possible to com- pare artists where minimal or no sales data is available. For further information and images please contact: Email: [email protected] Telephone: +44 2081 808566 ArtFacts.Net. Ltd 2nd Floor 109 Uxbridge Road London W5 5TL P: +44 2081 808566 [email protected] www.artfacts.net

Transcript of Art Cologne in numbers 1967-2017 Cologne_2017_pr.pdf · time, art aficionados will pause to reflect...

Page 1: Art Cologne in numbers 1967-2017 Cologne_2017_pr.pdf · time, art aficionados will pause to reflect on the fair’s substantial 50 year his-tory. Being that it is the first fair of

Art Cologne in numbers 1967-2017

On 25th April Art Cologne will open its doors for the 51st time and, at the same time, art aficionados will pause to reflect on the fair’s substantial 50 year his-tory. Being that it is the first fair of its kind (the “Mother” of the art fairs), Art Cologne has defined contemporary art history.

In honor of this occasion, ArtFacts.Net has taken a closer look at the data sur-rounding galleries and artists who have participated in Art Cologne, and offer insights on inquiries such as: what is the correlation between female and male artist participants, and how has this relationship evolved historically? How often do galleries return to Art Cologne? Is there a marked difference between the number of galleries and number of artists shown, according to internation-ality? From this gathered data we organized 8 key visuals that offer a new way of understanding and analyzing the development and characteristics of Art Cologne over time.

For over 15 years ArtFacts.Net has built the world’s largest art database to become the industry standard ranking and data source for artists, galleries, collectors, academics and more. With over 37 million data points, ArtFacts.Net covers exhibitions from 192 countries dating from the mid-19th century up until today, bringing unique insights to the art market through deep structural and contextual analysis. ArtFacts.Net monitors over half a million contem-porary artists, providing each with an algorithmically calculated rank. That delivers a trusted evaluation of an artist’s career within the complex realities of today’s cultural landscape and market trends. This makes it possible to com-pare artists where minimal or no sales data is available.

For further information and images please contact:Email: [email protected]: +44 2081 808566

ArtFacts.Net. Ltd 2nd Floor 109 Uxbridge RoadLondon W5 5TL

P: +44 2081 [email protected]

Page 2: Art Cologne in numbers 1967-2017 Cologne_2017_pr.pdf · time, art aficionados will pause to reflect on the fair’s substantial 50 year his-tory. Being that it is the first fair of

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Art Cologne: German vs International Participation

Artists

0

25

50

75

100

1967 1977 1987 1997 2007 2017

German Artists International Artists

Galleries

% of Participants

0

25

50

75

100

1967 1977 1987 1997 2007 2017

German Galleries International Galleries

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Art Cologne: German Gallery Representation by Capital

Number of Galleries

0

15

30

45

60

1967 1972 1977 1982 1987 1992 1997 2002 2007 2012 2017

Berlin Cologne/Dusseldorf Frankfurt/Main Munich others

Fall of the Berlin Wall

First ever Art Forum Berlin

Last Art Forum Berlin

Graph 1: Comparing German vs international participation culminates in major differences in the early years of the fair. While more international artists exhibited from 1967 on, only German galleries participated in the fi rst year. From this we can conclude that German galleries presented international artists. 50 years later, the relationship between galleries situated in Germany or abroad is 54% to 46% – almost balanced.

Graph 2: This graph points out the consistently high representation of galleries based in the art centers of Cologne and Dusseldorf, indicating Art Cologne is highly regarded by and geared towards the local players. What is also interesting is the increase of participating Berlin galleries over time, which rose even before the wall came down, as well as the downward sloping Berlin curve during the existence of the Art Forum Berlin. After its last edition, Berlin galleries gradually return to Art Cologne. What’s also signifi cant is the strong presence of galleries not based in what are traditionally regarded as cultural centers. This serves as an indicator of Germany’s decentralized federal structure.

Art Cologne: german vs international Participation

Art Cologne: german gallery representation by Capital

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Art Cologne: Return Rate of Participating Galleries

33 %

30 %

17 %

9 %

10 %50 times or more40-49 times20-39 times10-19 times5-9 times2-4 timesOnce

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Art Cologne: Gallery vs Artist Participation

1967

1977

1987

1997

2007

2017

Total Number of Participants

0 500 1000 1500 2000

Galleries Artists

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Graph 3: The percentage of returning galleries is a phenomenon that can be measured to determine an art fair’s relevance and success. Why a gallery decides to return (or not) is often linked to the high fi nancial risk that galleries undertake when deciding to enter an art fair. Nevertheless, Art Cologne has a high number of long-term participants, refl ecting the durability of the fair.

Graph 4: In 1967 Art Cologne opened as a small fair with 18 galleries. It grew to host nearly 350 at its peak in the mid-90s. As a consequence, the total number of artists exhibited at the fair rose signifi cantly. This boost is also related to the increased average number of artists that were shown per gallery during these years (comp. Graph 5).

Art Cologne: return rate of Participating galleries

Art Cologne: gallery vs Artist Participation

Page 4: Art Cologne in numbers 1967-2017 Cologne_2017_pr.pdf · time, art aficionados will pause to reflect on the fair’s substantial 50 year his-tory. Being that it is the first fair of

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Art Cologne: Mean Number of Artists Shown per Gallery

Number of Artists

0

5,5

11

16,5

22

1967 1977 1987 1997 2007 2017

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Art Cologne: Distribution of Artist Demographics

% of Participants

0

25

50

75

100

1967 1977 1987 1997 2007 20171967 1977 1987 1997 2007 2017

75

100

25

© 2017 © 2017 01967 1977 1987 1997 2007 2017

Female Male Artist Duos or Collectives

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Graph 5: The average number of artists exhibited per gallery was subject to various variables over the fi ve decades. Starting with an average of 22 artists per booth and mostly exhibiting only one piece per artist, today’s galleries present a select few artists at the booth – presumably with considerably more works per artist.

Graph 6: Participants in the fi rst Art Cologne were almost entirely made up of men – 97% to 2% female artists, as well as 1% who were artist duos or collectives. Today there remains an enormous gender gap concerning the artist representa-tion at the fair.

Art Cologne: mean number of Artists shown per gallery

Art Cologne: Distribution of Artist Demographics

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Art Cologne: Origin of Exhibited Artists

% of Participants

0

10

20

30

40

50

1967 1977 1987 1997 2007 2017

Africa AsiaAustralia and New Zealand other European countriesGermany North AmericaRussia South America

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Art Cologne: Primary vs Secondary Market Participants

% of Participants

0

22,5

45

67,5

90

1967 1977 1987 1997 2007 2017

Living Artists Deceased Artists

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Graph 7: German and other European artists still make up the majority of con-tributors to the fair. American artists have increased their presence at the fair over the last few years - presumably due to fair director Daniel Hug, who stepped in in 2008, and the cooperation with the American art fair NADA from 2012 to 2016. Non-Western cultures still play a role at the fair, but they are consistently under-represented. Asian artist participation peaked at 8% 10 years ago.

Graph 8: The ratio of living vs deceased artists serves as an indicator for primary vs secondary market relationships. It can be concluded that Art Cologne has a strong focus on the primary market section.

Art Cologne: origin of exhibited Artists

Art Cologne: Primary vs secondary market Participants