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Madison Welker

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Nov 24, 2021, 4:42:44 AM11/24/21
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⚷Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art ebook ⚷lire Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art en ligne gratuit ⚷Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art epub bud

The meteoric rise of the largest unregulated financial market in the world -- for contemporary art -- is driven by a few passionate, guileful, and very hard-nosed dealers. They can make and break careers and fortunes. The contemporary art market is an international juggernaut, throwing off multimillion-dollar deals as wealthy buyers move from fair to fair, auction to auction, party to glittering party. But none of it would happen without the dealers-the tastemakers who back emerging artists and steer them to success, often to see them picked off by a rival. Dealers operate within a private world of handshake agreements, negotiating for the highest commissions. Michael Shnayerson, a longtime contributing editor to Vanity Fair, writes the first ever definitive history of their activities. He has spoken to all of today's so-called mega dealers -- Larry Gagosian, David Zwirner, Arne and Marc Glimcher, and Iwan Wirth -- along with dozens of other dealers -- from Irving Blum to Gavin Brown -- who worked with the greatest artists of their times: Jackson Pollock, Andy Warhol, Cy Twombly, and more. This kaleidoscopic history begins in the mid-1940s in genteel poverty with a scattering of galleries in midtown Manhattan, takes us through the ramshackle 1950s studios of Coenties Slip, the hipster locations in SoHo and Chelsea, London's Bond Street, and across the terraces of Art Basel until today. Now, dealers and auctioneers are seeking the first billion-dollar painting. It hasn't happened yet, but they are confident they can push the price there soon.
Michael Beahan Shnayerson (born December 2, 1954) is an American journalist and contributing editor for Vanity Fair magazine. He is the author of several books and over 75 Vanity Fair stories since 1986.[1] Two of his pieces for the magazine have been developed into films.[2]


His career started as a Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art sportswriter for the weekly The Santa Fe Reporter in l977 before moving on to become a staff writer for TIME magazine, focusing on environmental stories, in l978.


In l980, Shnayerson became the editor-in-chief of AVENUE magazine, a glossy monthly distributed to upper-income households in New York and Los Angeles. In Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art 1986, he became a staff writer at Vanity Fair and went on to publish more than 75 feature stories for the magazine over the next three decades, ranging from political pieces to art world intrigue and celebrity cover stories. Also in l986, joined the launch staff for Condé Nast Traveler, Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art created by famed British editor Harold Evans.[3]


His first book,
in 1989, was a biography of Irwin Shaw, prominent novelist and short story writer of the mid-20th century. In 1996, he wrote The Car That Could: The Inside Story of GM's Revolutionary Electric Vehicle, which was named one of the Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art best business books of that year by BusinessWeek. In 2002, he authored The Killers Within: The Deadly Rise of Drug-Resistant Bacteria before writing Coal River: How a few brave Americans took on a powerful company - and the federal government - to save the land they love in 2008.[4]


Shnayerson's Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art fifth book was a collaborative biography of singer, actor and civil rights activist Harry Belafonte, titled My Song in 2011. In 2016, he wrote The Contender, an unauthorized biography of New York Governor Andrew Cuomo,[5] while his seventh book, BOOM: Mad Money, Mega Dealers, and the Rise of Contemporary Art Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art was released in 2019.[6]


For BOOM, Shnayerson interviewed more than 200 art world figures to write a popular history of
contemporary history and the dealers who helped make the market what it became.[7] Among them were interviews with all four mega dealers, which included David Zwirner, Iwan Wirth of Hauser Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art & Wirth, Arne Glimcher of Pace Gallery, and Larry Gagosian.[8]


BOOM begins in the post-World War II period with the rise of abstract expressionism and its nurturing by dealers Peggy Guggenheim, Betty Parsons and Sidney Janis.[9] It continues through Leo Castelli and the Pop Period, on through the l980s most Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art prominent dealers (Mary Boone, Larry Gagosian, Arne Glimcher) and the neo-expressionists they promoted (Julian Schnabel, Jean-Michel Basquiat, David Salle, Eric Fischl) through the fracturing of styles over the last three decades, and the explosive growth of the global contemporary art market.[10] BOOM is in its fourth printing. Television rights have Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art been sold to producer and talent manager Guymon Casady.


Shnayerson is the son of Robert Shnayerson, a senior editor at TIME and editor-chief of Harper's magazine in the 1970s,
and the late Lydia Todd Shnayerson, a classical pianist. He attended the Collegiate School in Manhattan, New York from l960-1972, Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art and then attended Dartmouth, where he studied English literature and earned a bachelor of arts degree.


Shnayerson was briefly married to Cynthia Stuart,[11] daughter of actress Mary Stuart, before marrying Cheryl Merser, a fellow writer.[12] He is now married to Gayfryd Steinberg,[13] widow of Saul Steinberg. He has Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art a daughter, Jenna, and divides his time between Manhattan and Sag Harbor, New York.


In 2004, Shnayerson contributed $2,000 to John Kerry.[14]


Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art



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