🔥 Qatar Buys Venice + Alissa McKendrick

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HEY Y’ALL!

Thanks for all the great feedback on the Damien Hirst piece I shared last Monday!

🔥 ICYMI – Catchs from the Last Week:

1. Anthony Cudahy, Glimmering on the land, 2021 - priced at £35,000

2. Javier Calleja, Drop By Drop, 2021 - priced at £150,000

3. Madeleine Bialke, Hook & Eye, 2023 – priced at £19,000

Today we have an Alissa McKendrick that hits like a street fight—bold, raw, and still cheap. Plus, layoffs shake up advisors, and Qatar flexes in Venice.

But first…

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A message I got this week about Artscapy:

Limited spots—don’t miss out!

-Today’s Catch-

Alissa McKendrick

💭 My 2 Cents: Alissa McKendrick’s Untitled (2019) is a small but punchy piece dripping in pink angst. A figure in a fur-trimmed coat and killer boots strikes a pose somewhere between a runway walk and a street brawl—like they just threw hands and are still savoring the moment. It’s got that mix of raw figuration and “I don’t care if you get it” energy that makes her work stand out.

🔑 Key Numbers: 36 x 25 cm means it’s compact, easy to place, and harder to ignore. £2,900? That’s barely above entry-level for a solid mid-career artist with international shows. Her works have popped up in Hong Kong auctions for around $2,500, so this price is fair, if not a steal. She’s mostly gallery-driven, meaning no crazy secondary-market flips—yet.

🧠 Why It’s a Smart Pick: McKendrick’s market isn’t on fire, but it’s warming up. She’s got the critical backing, the cult following, and the kind of satirical edge that keeps collectors hooked. If she lands with a bigger gallery or museums finally catch on, these prices will look laughably low. Either way, you’re buying into an artist who paints like she has nothing to prove—and that’s usually a good sign.

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-In a Minute-

🔥 Words I Like: purge, power moves, bloodbath

Artsy Bloodbath: Who’s Next?

Artsy just massacred its secondary-market team—fifteen people gone, no warning, just a cold email and a "keep your laptop" consolation prize. This isn't just a random bloodbath, it's part of a bigger trend: Sotheby’s, Christie’s, and the rest are quietly cutting people loose, and the result?

A wave of high-level art advisors hitting the streets, setting up shop solo. Indie advisory is the new flex, and Artscapy is already scooping them up—because why let the auction houses take all the money when collectors can deal direct?

Meanwhile, Spain is getting cocky, and honestly, it’s earned it. ARCOmadrid is coming in hot, fueled by Spain’s unexpected economic boom. Galleries from across Europe are suddenly expanding into Madrid, looking for fresh collector money before prices get stupid.

On the other side of the world, Richard Koh is sick of the nonsense—he’s calling out the obsession with high-net-worth flexing and reminding everyone that Southeast Asia’s market isn’t just for seven-figure ego plays. He believes the real money is in the $10K-$50K range, where collectors actually buy instead of just posing for fair selfies. If you're serious about flipping in a couple of years, that's where you look.

And in Venice? Qatar just did what Qatar always does—walked in, threw money at the problem, and got itself a permanent pavilion. First new country in 30 years to pull this off.

The message is clear: the Gulf isn’t playing around. Museum infrastructure means long-term validation, and if Qatar starts buying up artists for their collection, their market value gets an automatic upgrade. If you’re already holding works from Gulf-connected artists, congrats, you just got a free price bump.

-Whenever You Are Ready-

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See you soon!

-Alvaro (@theartmarketguy)

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Disclaimer

Not financial advice. Frame&Flame is strictly educational and is not investment advice or a solicitation to buy or sell any assets or to make any financial decisions.