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šŸ”„ Qatar Buys Venice + Alissa McKendrick

Permanent pavilion. Status locked.

HEY Yā€™ALL!

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

šŸ”„ ICYMI ā€“ Catchs from the Last Week:

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

But firstā€¦

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A message I got this week about Artscapy:

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-Todayā€™s Catch-

Alissa McKendrick

Alissa McKendrick, Untitled, 2019

šŸ’­ My 2 Cents: Alissa McKendrickā€™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 brawlā€”like they just threw hands and are still savoring the moment. Itā€™s got that mix of raw figuration and ā€œI donā€™t care if you get itā€ energy that makes her work stand out.

šŸ”‘ Key Numbers: 36 x 25 cm means itā€™s compact, easy to place, and harder to ignore. Ā£2,900? Thatā€™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. Sheā€™s mostly gallery-driven, meaning no crazy secondary-market flipsā€”yet.

šŸ§  Why Itā€™s a Smart Pick: McKendrickā€™s market isnā€™t on fire, but itā€™s warming up. Sheā€™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, youā€™re buying into an artist who paints like she has nothing to proveā€”and thatā€™s usually a good sign.

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-In a Minute-

šŸ”„ Words I Like: purge, power moves, bloodbath

Artsy Bloodbath: Whoā€™s Next?

Artsy just massacred its secondary-market teamā€”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: Sothebyā€™s, Christieā€™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 upā€”because why let the auction houses take all the money when collectors can deal direct?

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

Jorge Pardoā€™s installation at ARCOmadrid

On the other side of the world, Richard Koh is sick of the nonsenseā€”heā€™s calling out the obsession with high-net-worth flexing and reminding everyone that Southeast Asiaā€™s market isnā€™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 doesā€”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 isnā€™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 youā€™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.