The only fair in the UK dedicated exclusively to contemporary art in editions, Multiplied is a great place for collectors both established and young who are looking for art that is unique and cutting-edge. Ahead of the sixth edition of this fair, which is hosted by Christie’s and runs October 16-18, director Murray Macaulay (also the senior prints specialist at Christie’s), spoke to ARTINFO about the fair, its role in nurturing its unique market, and the current trends in the field.
As the Multiplied art fair heads into the sixth edition, could you sum up the experience so far? How has the fair grown in these years?
Multiplied’s appeal in an era of mega art-fairs is its focus, on editions, and its intimate scale, with a maximum of 40 exhibitors. It has been a steep learning curve for us as fair organisers and has taken time, but it has now achieved an established place in the art world calendar as the place to see the best new editions by emerging and established artists.
It’s implicit in the name of the fair that your target buyers are those who are looking at slightly more affordable art than the top original pieces available in the market. Is that the only reason why buyers come to Multiplied or there are other reasons too? Could you elaborate?
There are lots of reasons why editions are attractive. Accessibility is one, especially in the light of the price inflation of contemporary art over the last decade. But it is by no means limited to it. Artists are making compelling work in editions; in traditional media like printmaking or photography, but also with high tech digital and 3-D printing techniques. Sometimes it is the aesthetic they are after; the gouge and grain of a woodcut; the acid bite lines of etching; the cool detachment of a digital print. Or it’s the conceptual potential of a multiple image or object. It seems strange to me that the misconception persists that an art work’s merit is judged by its closeness to the artist’s hand. Didn’t Duchamp change all that?
Could you give some insights into the prints market? How has it evolved in the past decade or so? What are its current highlights? Is it expanding globally or are there some concentrated pockets of interest?
At Christie’s we deal with prints from the late 15th century to the present day. So it is more accurate to speak of several markets in one category, each subject to its own trends and shifts in taste. In the last decade the main area of expansion in terms of buyers and value have been in Pop and Post-War editions, reflecting the wider trend across the whole art market. Modern prints remain a main stay, and are still our top sellers in terms of single value items, as are important Old Master prints, often exceptionally rare in fine impressions and very desirable to connoisseurs. In the auction world it is sometimes said that the print market is a bellwether for the health of the wider market, with robust sales reflecting consumer confidence. If our sale at King Street last week was anything to go by then things are looking very positive.
As part of the larger umbrella of art at Christie’s, what makes Multiplied special? How have the two — the Multiplied art fair and the Prints department at Christie’s — benefitted each other?
In the past my experience as a print specialist was of works in the secondary market. That remains the core of what we do, with regular prints and multiples sales in London, New York and online. What Multiplied has done is connect us to a network of new artists, printers and publishers, and their audiences, as well as introducing our clients to this vibrant contemporary scene. It nurtures a new market and collector base, expands our horizons as specialists, and opens up new opportunities for collaboration.
What are the highlights of the sixth edition of Multiplied?
This year we are launching Multiplied Selects – an offering of editions sourced exclusively from exhibitors and available for instant purchase on Christie’s Online Only e-commerce sale platform. Multiplied Selects will extend the experience of Multiplied Art Fair to a wider audience and will run in conjunction with the fair, offering editions for sale at a fixed price, from 15 - 29 October. We also have a fantastic line up of events and talks, including Iwona Blaswick OBE, Director of the Whitechapel Gallery, in conversation with Cornelia Parker OBE RA on Friday 16 October.
Of all the categories showcased at Multiplied — prints, digital art, 3D multiples, artists’ books and photographs — which one offers the most robust potential for growth in present times and why?
There is an established culture of collecting prints, photographs and artist’s books, whereas multiples and the newer digital and 3-D printing technologies are still quite new to the art buying public. In terms of investment return it isn’t really about the medium but much more about the career development of the artist.
Given the wide global network of Christie’s in the world of art, do you plan to take this fair to other locations in the world?
There was a niche for a contemporary editions fair in the UK and an obvious synergy between Multiplied and Christie’s South Kensington. As there are already contemporary editions fairs in other major centres there isn’t the same incentive to replicate it elsewhere.
What would you advise a young collector who is just beginning to build his own collection? What are the prints he should be investing in right now?
Having an eye on the potential investment return of a work of art is one reason for buying it, but, in my view, can be limiting. Buying art is all about curiosity, about being open to new ideas and other people and the way they see the world. I think buying editions by early career artists is a great place to ‘cut your teeth’ as a collector. The work is fresh and often very affordable, and, although there are no guarantees that they’ll be the next big thing, each acquisition makes an important contribution to the cultural economy, helping to sustain the next generation of artists.
Could you also comment on the 40 years of Christie’s South Kensington? What makes this auction room special in a field that is so competitive and forever creating new challenges for itself?
Christie’s South Kensington is a very special place. It is open 7 days a week, and almost every week offers visitors something completely different. Christie’s South Kensington Chairman, Nic McElhatton aptly describes it as ‘the alternative museum’ and it really is a treasure trove of fine and decorative arts, with estimates starting from £700. Such is its appeal that in 2014 bids were registered from around 100 countries, with 25% of buyers at South Kensington new to Christie’s. With approximately 100 sales per year, across 30 different sale categories, it is the busiest saleroom in the UK.
With this year marking its 40th year, we are celebrating the anniversary with ‘Christie’s Lates’. On the 1st Tuesday of each month anybody can drop in, for free, between 6-8.30 to hear experts talk about art, interior design and collecting. We’ll also be hosting a special Christie’s Lates Multiplied Edition on Friday 16th October from 6pm.
