Sotheby's The Now and contemporary evening sale in New York, November 2024. Courtesy of Sotheby's

Journalist Kabir Jhala spoke with Megan Fox Kelly about the Sotheby’s auctions and the impact of the U.S. presidential election.

“… the adviser Megan Fox Kelly noted that while the unsurety of the US presidential race no doubt subdued the amount of high-value lots consigned to the November sales, the election's results are probably too recent to properly impact bidding this week.”

Read the rest of Megan’s thoughts at The Art Newspaper here.

Ed Ruscha’s absolutely stunning 1964 picture Standard Station, Ten-Cent Western Being Torn in Half. Christie's Images Limited, 2024

Journalist Daniel Cassady spoke with Megan Fox Kelly about the Christie’s marquee fall auctions in New York.

“But really it comes down to just a few things, quality of the object, provenance, and desire.”

Read the rest of Megan’s thoughts at ARTnews here.

Ed Ruscha, The Wrap-Up, 1993. Courtesy Sotheby's

Megan Fox Kelly shared her thoughts on the recent UBS and Art Basel Survey of Global Collecting with journalist Angelica Villa, specifically noting buying behaviors heading into the fall New York auctions.

New York art adviser Megan Fox Kelly said there’s a shift right now among the clients she works with, veering away from prestige pieces and favoring ones priced at or below $700,000—the level that ultra-contemporary artists often fall under.

“The focus has shifted to steady, stable buys,” she added.

Read the rest of the article at ARTnews here.

(Top L) Mica Ertegun photographed by Andy Warhol; (Center)Installation of the Harings at Sotheby; (Top R)Matisse; (Bottom L)Rene Magritte, L'empire des lumieres. Harring Exhibition: Photo by Stephen Yang for Sotheby’s; Matisse: Courtesy Sotheby’s; All others: Courtesy of CHRISTIE'S IMAGES LTD. 2024.

Journalist Nate Freeman spoke with Megan Fox Kelly about fall auction week in New York.

“The Magritte is unparalleled—it’s been off the market for a really long time, so not only is it iconic, it’s irreplaceable, it’s got provenance and a freshness to the market that always drives demand,” said the art adviser Megan Fox Kelly, who has a number of clients planning to bid next week.

Read the rest of Megan’s thoughts at Vanity Fair here.

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Listen to our latest podcast episode featuring Mary Morton, Curator and Head of the Department of French Paintings, and Kimberly Jones, Curator of 19th Century French Paintings at the National Gallery of Art in Washington, D.C. Together, they discuss their work on the landmark exhibition, Paris 1874: The Impressionist Moment, and the accompanying exhibition catalogue.

The conversation centers on the daring spirit of the first Impressionist exhibition in 1874, a moment that saw artists defy the prestigious Paris Salon to showcase new ways of capturing modern life. Jones and Morton share insights into the forces behind Impressionism's revolutionary appeal, from the political and social upheavals in France to the transformation of Paris under Haussmannization. They explain how these changes inspired artists to redefine not only the subjects they painted but also how art itself was exhibited and experienced.

“You can talk about things like style and subject and that's a part of it, but my biggest takeaway is how these artists are reclaiming control in a very powerful, forceful, and undeniable way.”

– Kimberly Jones

Paris 1874: The Impressionist Moment is on view at the National Gallery of Art in Washington, D.C. through January 19, 2025.

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Learn more about the podcast Reading the Art World here.

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About the Curators

Mary Morton has been curator and head of French paintings at the National Gallery of Art since 2010. She previously served as associate curator of paintings at the J. Paul Getty Museum (2004–2010) and associate curator of European art at the Museum of Fine Arts (MFA), Houston (1998–2004). In 2018, Morton was awarded the Chevalier of the Order of Arts and Letters by France's Ministry of Culture. Morton received her PhD from Brown University (1998), concentrating on 19th- and early 20th-century European painting. She also holds a BA in history from Stanford University (1987).

Kimberly A. Jones has been curator of nineteenth-century French paintings at the National Gallery of Art since 2016. A former museum fellow at the Musée national du château de Pau (1990–1991) and the Musée d'Orsay, Paris (1993–1994), she joined the curatorial staff of the National Gallery of Art in 1995 as assistant curator of French paintings. Jones holds a PhD and MA from the University of Maryland with specialization in 19th-century European and American art, as well as a dual degree in art history and studio art from Western Maryland College (now McDaniel College).

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Listen to our latest podcast episode featuring Diana Seave Greenwald, curator of the exhibition Manet: A Model Family at the Isabella Stewart Gardner Museum and editor of the associated catalogue, published by Princeton University Press.

Manet: A Model Family offers a fascinating look at the personal life and family relationships that shaped one of art history's most influential painters. Greenwald, Curator of the Collection at the Isabella Stewart Gardner Museum, reveals how Édouard Manet's complex family dynamics—including his relationship with his mother, his marriage to his brothers' piano teacher, and his role as godfather to her son—influenced his artistic development and provided him with willing models for his groundbreaking works.

“For all the ink spent on Manet's engagement with other artists and time in cafes and he's a bohemian and he's this charming guy and he's a luminary of this moment in Paris, his family was important to him. And it's in the visual record.”

– Diana Seave Greenwald

Diana Seave Greenwald is an art historian and economic historian. An expert in 19th century American and French art, she is currently William & Lia Poorvu curator of the collection of the Isabella Stewart Gardner Museum in Boston. Prior to joining the Gardner, Diana was an Andrew W. Mellon Postdoctoral Curatorial Fellow at the National Gallery of Art in Washington, D.C., working in the departments of American and British Paintings and Modern Prints and Drawings. She received a D.Phil. in History from the University of Oxford. Before doctoral study, Diana earned an M.Phil. in Economic and Social History from Oxford and a Bachelor’s degree in Art History from Columbia University.

Listen to this podcast on Spotify and Apple

Order the book here

Learn more about the podcast Reading the Art World here.

ARTnews editors compiled the definitive list of the world’s top 135 art professionals for 2024. For the second year in a row, Megan Fox Kelly Art Advisory is named one of the top 40 art advisors in the world.

Read the full list here.

Courtesy of Frieze/Linda Nylind

With Frieze London's VIP opening today and Art Basel Paris opening next week, I wrote a guide for collectors in Observer on how to make the most of their time at art fairs this season.

The prospect of acquiring art in the sometimes frenzied art fair environment can be as exhilarating as it is daunting. Yet with so many events packed into a few short months, experienced and novice collectors can use clear strategies and focus to make it rewarding.

Find out more by reading the article here.

Megan Fox Kelly was invited to speak on The Art Law Podcast, a platform that hosts discussions about topics at the intersection of art and law with art lawyers Steve Schindler and Katie Wilson-Milne and their distinguished guests.

This episode includes conversations about the proliferation of resale restrictions in art transactions, what problems they seek to address, who they purport to help, how effective they are, and the legal issues they raise.

Listen to the episode here or below.

Twenty-five years ago, our advisory practice began with the intention and commitment of providing clients thoughtful and informed advice, expertise on building collections of lasting value, and museum-quality services for the care of their art collections. Over the years, we have expanded to include sales and strategic planning for collectors and foundations, preserving artists' legacies through collection and estate planning, and advising on artwork appraisals.

We have advised and appraised numerous significant collections throughout the United States and abroad, including the collections of Michael Crichton, the Robert B. and Beatrice C. Mayer Family, The Terra Foundation of American Art, The Robert Rauschenberg Foundation, The Joan Mitchell Foundation, The Thomas Hart Benton Trust, and the Star of Hope Foundation (Robert Indiana), amounting to over $5 billion in fine art assets and completing art appraisals totaling over $6.5 billion.

In 2021, we launched our interview podcast series, Reading the Art World, which presents interviews between Megan Fox Kelly and authors of recently released or upcoming art-centric books. The conversations explore timely subjects in the art world, based on artists and market trends along with published art historical writing. Podcast interviewees include art critic Jerry Saltz; journalist Georgina Adam; former President and CEO of the Metropolitan Museum of Art, Daniel Weiss; Former Director of the Yale Center for British Art and current Executive Director of the Rauschenberg Foundation, Courtney J. Martin; cultural strategist, András Szántó; art collector and philanthropist, Marguerite Steed Hoffman; among many others. 

We are grateful to all our clients and colleagues for being part of our practice and look forward to continuing to provide thoughtful guidance in the years to come.

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Listen to Reading the Art World on Apple Podcasts or Spotify below.

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Listen to our latest podcast episode featuring Gary Garrels, curator and editor of Willem de Kooning and Italy, published by Marsilio Arte, distributed internationally by Artbook D.A.P. The associated exhibition is on view at Gallerie dell’Accademia di Venezia through September 15, 2024.

Willem de Kooning and Italy is the first monograph to expand upon the artist’s two impactful trips to Italy: in the fall of 1959 and in the summer of 1969. These two chapters in de Kooning’s life and career, as reflected in the development of his work from the end of the ’50s to his last works of the ’80s. In addition to essays by the two curators and editors, Gary Garrels and Mario Codognato, this beautifully illustrated catalogue includes contributions from the art historians Jeremy Bleeke, Ester Coen, Anna Coliva and Patrick Elliott.

"De Kooning, unlike so many of the abstract expressionists, was not interested in just rupture, but in continuity. A lot of the abstract expressionists had disdain for tradition and history—wanted to reinvent art and painting. But de Kooning was very steeped in the history and tradition. So he was always looking to the past and was aware of the whole, especially the European tradition of painting.”

– Gary Garrels

Gary Garrels is a highly respected and influential curator for more than thirty-five years at major museums in the United States, including: Dia Art Foundation, New York, Director of Programmes, 1987-1991; Walker Art Center, Minneapolis, Senior Curator, 1991-1993; San Francisco Museum of Modern Art, Chief Curator of Painting and Sculpture, 1993-2000; Museum of Modern Art, New York, Chief Curator, Department of Drawings and Curator, Department of Painting and Sculpture, 2000-2005; Hammer Museum, Los Angeles, Chief Curator and Deputy Director of Exhibitions and Public Programmes, 2005-2008; and again at San Francisco Museum of Modern Art, as Senior Curator of Painting and Sculpture, 2008- 2020. He is currently an independent curator living and working in New York, focused on projects of special interest.

Listen to this podcast on Spotify and Apple

Order the book here

Learn more about the podcast Reading the Art World here.

Interior view of The Armory Show, 2024. Courtesy of The Armory Show.

Journalist Carlie Porterfield spoke with Megan Fox Kelly about The Armory Show’s VIP preview and the current state of the market.

“A lot of collectors are responding to the pretty significant amount of press following the auctions in May. Totals were down,” Megan Fox Kelly, an art advisor based in New York who opened her advisory firm in 1999, said in the days leading up the fair. “Journalists seem to jump on (auction results) as an indicator of a market that is down, as opposed to that there weren't as many consignments and there weren't the biggest sales.”

Read the rest of Megan’s thoughts at The Art Newspaper here.

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Listen to our latest podcast episode featuring Richard Shiff, art historian and author of Writing after Art, published by David Zwirner Books.

Richard Shiff’s book is an expansive anthology of his most influential writings, many of which have shaped the art world’s understanding of 20th and 21st century artists. Throughout our conversation, Richard illuminates how he comes to observe and understand an artist's work in a way that can inspire us to do the same more thoughtfully.

"Writing is certainly itself an art. And critical writing that is probing, rather than mirroring art, is a kind of aesthetic exercise in itself, and it should stand aside the art as a kind of parallel, or as a collaborative venture that's like the other side. It's thought that becomes explicitly expressed rather than transient. It’s put down and it's permanent.”
– Richard Shiff

Richard Shiff is the Effie Marie Cain Regents Chair in Art at The University of Texas at Austin. His interests range broadly across the field of modern and contemporary art. His publications include Barnett Newman: A Catalogue Raisonné (coauthored, 2004), Doubt (2008), Between Sense and de Kooning (2011), Ellsworth Kelly: New York Drawings 1954–1962 (2014), Joel Shapiro: Sculpture and Works on Paper 1969–2019 (2020), and Sensuous Thoughts: Essays on the Work of Donald Judd (2020). He is currently completing a comprehensive study of the art of Jack Whitten.

Writing after Art includes essays on a wide range of prominent artists, many of whom are featured in current exhibitions around the world. 

• Willem de Kooning - Gallerie dell'Accademia

• Peter Doig - Group exhibition at Pinakothek der Moderne in Munich

• Jasper Johns - San Diego Museum of Art

• Donald Judd - Gagosian in Basel

• Ellsworth Kelly - Cahiers D'Art and Art Institute Chicago

• Julie Mehretu - recently unveiled BMW Art Car collab, Museum of Contemporary Art Australia upcoming exhibition

• Bridget Riley - SCAD

• Richard Serra -Longleaf Art Park 

• Zeng Fanzhi - LACMA in Venice

Listen to this podcast on Spotify and Apple

Order the book here

Learn more about the podcast Reading the Art World here.

We have put together a list of great art books to read this summer that we think you will enjoy. In the accompanying podcast episode, Megan provides insights on three recently published exhibition catalogues—wonderful to read even if you could not see the exhibitions.

We are always looking for great new art books to share with our audience that contribute to how we experience art and see the art world.

Listen to Megan’s commentary in our latest episode below.

You can find the books mentioned in the podcast below, as well as a few others to consider adding to your to-read list!

Fashioned by Sargent

Edited with text by Erica E. Hirshler, Caroline Corbeau-Parsons, James Finch, Pamela A. Parmal. Text by Paul Fisher, Frances Fowle, Dominic Green, Rebecca Hellen, Stephanie L. Herdrich, Elaine Kilmurray, Richard Ormond, Elizabeth Prettejohn, Anna Reynolds, Andrew Stephenson.

Published by the Museum of Fine Arts Boston, Fashioned by Sargent is a lavish exploration of Sargent’s relationship to fashion, featuring exquisite costumes from the Gilded Age.

“Sargent used the power of costume and fashion to express the personality of his sitters. Their presence, their beauty, their stature, their place in society, in politics, in theater, or the art world.”

– Megan Fox Kelly

Georgia O'Keeffe: "My New Yorks"

Edited by Sarah Kelly Oehler and Annelise K. Madsen. With contributions by Adrienne Brown, Annelise K. Madsen, Sarah Kelly Oehler, Sascha T. Scott, and Lisa Volpe

Published by The Art Institute of Chicago, Georgia O'Keeffe: "My New Yorks" and the accompanying exhibition highlights O'Keeffe's fascination with New York City. You'll see her modernist style so well known from her images of flowers and southwestern landscapes applied to urban architecture and city views, reducing what she observed to their simplest and most abstract forms.

“She called these ‘My New Yorks,’ hence the title of the book, much the way she referred to the Pedernal, the great hill near her home in Abiquiu, New Mexico, saying, ‘It is my private mountain. God told me if I painted it enough, I could have it.’ O'Keeffe's paintings and drawings of objects, buildings, flowers do eventually seem to make the subject her own somehow.”

– Megan Fox Kelly

Martin Puryear: Lookout

Foreword by John P. Stern. Text by Adela Goldsmith, Nora Lawrence, Amy S. Weisser. Conversation between Glenn Adamson and Martin Puryear.

Published by Gregory R. Miller & Co and Storm King Art Center, Martin Puryear: Lookout documents the construction and unveiling of American artist Martin Puryear's monumental site-specific installation, Lookout, at Storm King Art Center in New Windsor, New York. In addition to the focus on this site specific installation, the book provides a broader perspective on Puryear's impactful work going back 40 years.

“I particularly like it when exhibition catalogs include an interview with the artist. Art historians and critics provide incomparable context to works, but a first person account of the decisions, history, and building the large sculpture is thrilling. So you'll enjoy that aspect of this book as well.”

– Megan Fox Kelly

Artemisia Gentileschi and the Business of Art

By Christopher R. Marshall

Published by Princeton University Press, this book offers a new account of the renowned Baroque painter, revealing how her astute professional decisions shaped her career, style, and legacy.

The Blue Rider: Masters of Art

By Florian Heine

Published by Prestel, The Blue Rider: Masters of Art provides the perfect introduction European modern art’s most important movements. Founded in Munich in 1911, the Blue Rider Group was a revolutionary collective that pioneered German Expressionism and included artists such as Wassily Kandinsky, Franz Marc, Natalia Goncharova, Gabriele Münter, and Marianne von Werefkin.

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Listen to our latest podcast episode featuring Eva Respini, curator and editor of Simone Leigh, published by DelMonico Books in association with the Institute of Contemporary Art/Boston.

Eva Respini’s book, and our conversation, offers a deep dive into the groundbreaking work of contemporary artist Simone Leigh, whose multidimensional artistry challenges conventions, and sparks meaningful conversations about race, gender, and identity.

“Because when I started looking around and doing more research, I realized that she hadn't had a museum survey exhibition, and there had been no book, no monograph published. And this to me seemed shocking for an artist that not only was so hyper visible in this moment in New York, in our little bubble of an art world, but also someone who was so confident in her practice, and had an artistic and aesthetic language that was very mature and very complex.”
– Eva Respini

Respini served as the Curator and Co-Commissioner for the 2022 US Pavilion’s presentation of Simone Leigh at the 59th International Art Exhibition of La Biennale di Venezia. It marked the first time a Black woman represented the United States at the Biennale, and Leigh won the 2022 Golden Lion for her groundbreaking work. Eva Respini is currently Deputy Director and Director of Curatorial Programs at the Vancouver Art Gallery.

The traveling exhibition, Simone Leigh, organized by the Institute of Contemporary Art/Boston and Eva Respini, opens at LACMA and the California African American Museum on Sunday, May 26th. The exhibition is the first comprehensive survey of the richly layered work of this celebrated artist.

Listen to this podcast on Spotify and Apple

Order the book here

Learn more about the podcast Reading the Art World here.

Ana Mendieta’s Silueta Works in Mexico, 1973-1977, which carried a presale estimate of $50,000 to $70,000. Source: Christie’s

Journalist James Tarmy spoke with Megan Fox Kelly about her thoughts on Christie’s website hack and their 21st Century Evening Sale.

“Everybody knows it’s smaller sales in general across all three houses this week than it has been in past years,” said the advisor Megan Fox Kelly.

“We're not bidding for $10 million, $15 million, $20 million lots by clicking a button on the website,” said Fox Kelly, speaking a few hours before the auction began. “I want to see what's going on in the room and I want to get a sense of what other bidders are going after the work.”

Read the rest of Megan’s thoughts at Bloomberg here.

Christie's New York, 2012. Photo: Ben Hider/Getty Images.

Journalist Brian Boucher spoke with Megan Fox Kelly about her thoughts on Christie’s website hack and what that might mean for collectors.

“You can look at my website and find out information about my company and me and what we do, but that’s not where my company lives,” said art advisor Megan Fox Kelly, commenting on the difference between the two kinds of hacks. “I really can’t imagine that valuable data is exposed. It’s too sophisticated a company. And yet, it’s no less devastating that the promotional website goes down the week before the spring sales. Now they have to pivot to find out how to effectively stage these sales.”

Read the full article at artnet here.

Installation view of Francis Bacon, Portrait of George Dyer Crouching (1966). Image courtesy Sotheby's.

Journalist Eileen Kinsella spoke with Megan Fox Kelly about her thoughts on the New York Spring art auctions, including implications for fewer collections from estates and what types of art are on the rise.

There are fewer collections coming from estates than in other years, and those estates are smaller, but material amassed by the late Miami collector Rosa de la Cruz and the screenwriter and producer Norman Lear collection will be closely watched, art advisor Megan Fox Kelly said. “The auction houses really built these sales brick by brick, consignment by consignment,” she said. “I don’t see collectors feeling compelled to ‘cash in’ right now by selling works they own unless an artist’s auction market looks particularly compelling.”

What’s trending right now? “We’ve seen a resurgence of interest in Impressionism after a period of it feeling rather flat,” Fox Kelly said. “New buyers are turning their attention to that market. It has to be the right picture, of course, but when something great and fresh to market comes up, we’re seeing pretty competitive bidding and new price levels.”

Read the rest of Megan’s thoughts at artnet here.

Leonora Carrington, Les Distractions de Dagobert, 1945. COURTESY SOTHEBY'S

Journalist Abby Schultz spoke with Megan Fox Kelly about her thoughts on the New York Spring art auctions and and the implications for collectors.

New York-based art advisor Megan Fox Kelly agrees estimates for the upcoming auctions are fairly conservative, noting that none are “shockingly low” or “shockingly high.”

“We’re going through a kind of crazy time in terms of what’s happening in the world,” Fox Kelly says. “There just seems to be a bit of caution and with caution, a little bit of pullback.”

Read the rest of Megan’s thoughts at Barron’s Penta here.

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Listen to our latest podcast episode featuring Martin Gayford, art critic and author of Venice: City of Pictures, published by Thames & Hudson. Gayford’s book brings the richness and complexity of Venice's centuries of history to life with his rumination on the city’s paintings, sculpture, and architecture that are both familiar to us and new revelations.

The conversation shines a special spotlight on the magical, cultural city in advance of the Venice Biennale, opening April 20, 2024.

“So there were all these people passing through, actually almost the same piece of space, looking at exactly the same view. And so there were social connections, and it also established a reputation for what it really still has, which is being the city of art. It was a city where people who were interested in the arts were drawn to go and stay.”
– Martin Gayford

Martin Gayford is an author and journalist. He studied philosophy at Cambridge and art history at the Courtauld Institute of London University. He's written prolifically about art and jazz, contributed regularly to the Daily Telegraph, and also to many art magazines and exhibition catalogs. He was art critic of the Spectator from 1994 to 2002, subsequently at the Sunday Telegraph before becoming chief art critic for Bloomberg News until 2013.

Martin's publications and writings include studies of the lives and works of van Gogh, Gauguin, Constable, Michelangelo, Lucian Freud, Antony Gormley and several beautiful collaborations with David Hockney.

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Order the book here

Learn more about the podcast Reading the Art World here.