End of an era?

Despite the economic downturn, money still dominated the conversations at last week's Frieze Art Fai

[The organisers of the Frieze Art Fair report that this year's event offers "clear evidence of renewed confidence in the contemporary art market". Our guest blogger Dany Louise reflects on what Frieze says about art, commodification and aesthetic judgement.]

The Frieze Art Fair was born out of the dwindling power of the public sector and the cult of entrepreneurialism. It is art primarily as big business, not as public service.

The famous Frieze tent is both a literal and a metaphorical marketplace: a demonstration of the market's dominance, not just of the art world, but of public discourse, too. We have reached a point where no alternative to the market model is taken seriously. There was some exceptionally good art on show at Frieze, but it is inescapable that much of that work is valued primarily for its financial potential rather than its intrinsic worth. It is also clear that, at the stratospheric end of the financial spectrum, the excessive rewards given to certain artistic brand names are both ludicrous and disturbing.

Critically acclaimed artists with a proven body of work made over many years sell for decent prices: Andreas Gursky's magnificent Kathedrale at White Cube sold for €500,000. Two emergent artists whose idiosyncracy, skill and vision stand out sell for prices that are reasonable in comparison to others -- a sumptuous Ged Quinn painting was sold for £55,000, and one of Natalie Djurberg's Venice Biennale "claymation" films is "still cheap" at £14,000, for one of an edition of four. Which, if the gallery takes 50 per cent, leaves the artist with a taxable £7,000 for a piece of work that undoubtedly took £7,000 of labour, probably more. And that's without even attempting to quantify her intellectual property. Times by four and she will receive £28,000. Here is one artist who is not being over-rewarded. (It's interesting to note the strategy of artificial scarcity being applied to moving image works.)

It has become a truism that the price of art is frequently dissociated from critical judgement of its quality. The market over the past ten years has become speculative, in effect a reflection of what very rich collectors and/or investment funds want to buy for future gain. There is a gaping disconnect between what is happening in the country's art schools, which are concerned with giving artists a theoretical underpinning for their work, and the art marketplace. The Frieze Foundation attempts to address this with specific commissions from working artists. But these were fairly low-profile at this year's fair, with the exception of Ryan Gander's project We are Constant.

If the marketplace is to have such influence, the role of our public-sector museums and galleries as arbiters of judgement and status becomes ever more important. Yes, curators come to Frieze to see particular work and discuss future exhibitions in the public sector, and museum directors buy at the fair. But the ratcheting up of prices over the past decade has priced public collections out of the market for a great deal of work, in the UK at least. This is notwithstanding the Outset/Frieze Art Fair Fund for the benefit of the Tate collection, which bought six works costing £120,000 in total -- welcome, but pennies in the grand scheme of things.

Frieze holds a mirror up to an era in which money doesn't just talk very loudly, it all but overwhelms the conversation.

Harry Potter and the Cursed Child
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New Harry Potter and the Cursed Child pictures: an analysis

What do the new cast photos tell us about what we can expect from the Harry Potter play?

With the first public performance only a week away, the team behind Harry Potter and the Cursed Child have released the first in costume cast photos of three of its stars: Harry, Ginny and their son, Albus.

But what do the new pictures tell us about what we can expect from the play? Here’s your annotated guide.

Harry

Harry is suited up like the civil servant we know he has become. When we left him at the end of book seven, he was working for the Ministry of Magic: JK Rowling has since revealed he became the youngest head of the Auror Office at 26, and the play description calls Harry “an overworked employee of the Ministry”. Jamie Parker’s costume suggests a blend of the traditional establishment with Harry’s rebelliousness and familiarity with danger.

Parker told Pottermore of the costume, “He’s wearing a suit because he’s a Ministry man, but he’s not just a bloke in a suit, that’s way too anonymous.”

Ginny

Ginny looks like a mix of the cool girl we know and love, blended with her mother, and a little something else. She has a perfect journalist’s bob (Ginny became a Quidditch reporter after a career as a professional player), paired with a “gorgeous, hand-knitted jumper” reminiscent of the Weasley’s Christmas sweaters. In silhouette, she might look like her mum with an edgier haircut, but with (literally) cooler colours and fabrics.

Actress Poppy Miller said the costume matches Ginny’s personality: “Kind and cool, exactly as I imagined her.”

Albus

Albus’s costume is perhaps more interesting for what it hides than what it reveals – we are given no suggestion of what house he might be sorted into at Hogwarts. This is particularly interesting knowing Albus’s nerves about being sorted: the final book ended with him asking his father, “What if I’m in Slytherin?”. Rowling writes, “The whisper was for his father alone, and Harry knew that only the moment of departure could have forced Albus to reveal how great and sincere that fear was.”

Actor Sam Clemmett said, “This is what Albus wears at the start of the show. I had the idea he was wearing James’s – his older brother’s – hand-me-downs. So I wanted him to feel quite uncomfortable, and be able to play with his clothes.”

His oversized second-hand clothes also emphasise how important the role of family inheritance will be in the play. The only reminder of Albus’s older siblings, they call to mind both his Weasley heritage (Ginny and her siblings were teased for their hand-me-down robes) and the enormous legacy of his father. The play description notes, “While Harry grapples with a past that refuses to stay where it belongs, his youngest son Albus must struggle with the weight of a family legacy he never wanted.”

Family portrait

Again, this group picture is interesting for absences – there are no Potter siblings here, further suggesting that Albus will be the main focus of this new story. It also continues to place an emphasis on family through the generations – if Albus donned a pair of specs, this could easily be a picture of James, Lily and Harry. Even the posture is reminiscent of the Mirror of Erised shot from the first movie.

An intriguing hint at what next week’s play might hold for audiences.

Anna Leszkiewicz is a pop culture writer at the New Statesman.