Insights sobre Artistas no Mercado Brasileiro de Arte Contemporânea
Sumário
O mercado de arte brasileiro tem sido objeto de análises econômicas ou estatísticas limitadas. Nosso objetivo foi obter insights sobre as trajetórias de carreira de artistas brasileiros e identificar fatores que poderiam influenciar seu sucesso. Este estudo representa nosso esforço inicial para estabelecer um banco de dados sobre artistas brasileiros e apresentar estatísticas fundamentais nesse sentido. Nosso processo de coleta de dados envolveu a compilação de informações disponíveis sobre artistas e galerias brasileiras em sites em inglês e português. O banco de dados resultante inclui informações demográficas dos artistas, como nomes, sexo, local de nascimento, educação, galeria de arte atual e localização da galeria de arte. Ao analisar dados de 1.575 artistas, representados por 81 galerias de arte brasileiras, este estudo confirmou a importância do Estado de São Paulo como o principal pólo brasileiro de galerias de arte, artistas e instituições de ensino no mercado de arte.
Palavras-chave: mercado de arte brasileiro, arte contemporânea, artistas contemporâneos, economia da arte
1. Introdução
O mercado de arte contemporânea é um mercado globalizado. No entanto, o poder está centralizado nos Estados Unidos e em alguns países da Europa, onde ocorrem negócios de alto risco e onde estão localizadas as principais instituições artísticas (Fraiberger, 2018). As vendas totais do mercado de arte global flutuaram entre 50 e 68 mil milhões de dólares desde 2010. De acordo com o UBS Art Market Report 2022 (McAndrew, 2022), as vendas globais de arte variaram entre um mínimo de 50 mil milhões de dólares em 2020, o pior ano da pandemia de Covid-19. pandemia, para um máximo de 68 mil milhões em 2014. Em 2021, as vendas totais atingiram 65 mil milhões de dólares, um valor semelhante ao de 2011. No entanto, se considerarmos a inflação do dólar durante o período 2010-2021, o contorno poderia ser diferente e poderia até mostram uma diminuição real do valor de mercado. Os principais mercados em 2019 (McAndrew 2020), antes da pandemia de Covid, foram os EUA (44% das vendas globais), Reino Unido (20%), China (18%), França (7%), Suíça (2%) , Alemanha (2%) e Espanha (1%), seguidos pelo resto do mundo, com 7% das vendas globais de arte.
2. Método
Nosso objetivo foi acompanhar a trajetória profissional de artistas brasileiros para detectar como diferentes fatores poderiam influenciar seu sucesso futuro. Este artigo marca nosso passo inicial nessa direção, que envolve a construção de um banco de dados sobre artistas brasileiros. Para coletar dados, utilizamos web scraping, uma técnica que envolve extrair informações publicamente disponíveis de sites e salvá-las em um arquivo local usando um scraper Python. Nossa primeira tarefa foi determinar quais sites de galerias de arte pesquisar. Focamos nas galerias de arte de maior destaque no mercado de arte brasileiro, sejam aquelas afiliadas à associação brasileira de galerias de arte do setor primário, ABACT, ou aquelas participantes de uma das duas principais feiras de arte brasileiras, a SP-Arte (em São Paulo) e ArtRio (no Rio de Janeiro). Identificamos uma lista de 81 galerias de arte para nosso estudo, com base nos sites da ABACT (https://abact.com.br), SP-Arte (https://www.sparte.com) ou ArtRio (https:/ /artrio.com)em suas edições de 2022. Iniciamos então a construção de um banco de dados contendo informações sobre os artistas brasileiros citados nos sites das 81 galerias de arte selecionadas, em inglês e português.
![](https://d2r9epyceweg5n.cloudfront.net/stores/002/498/249/rte/057ff91e-459b-48c2-ac1c-cc50de78856f.jpeg)
Nesta pesquisa detectamos inicialmente um total de 2.004 inscrições de artistas, que foram representados pelas 81 galerias de arte mencionadas anteriormente. Contudo, é importante destacar que 429 artistas foram representados por mais de uma galeria. Depois de eliminar nomes duplicados nessas galerias, determinamos uma contagem final de 1.575 artistas únicos para este estudo. A Figura 2 mostra a distribuição dos 1.575 artistas, categorizados por década de nascimento. O grupo predominante é composto por artistas nascidos na década de 70, representando 21,1% do total.
![](https://d2r9epyceweg5n.cloudfront.net/stores/002/498/249/rte/baad3711-2452-444c-a86b-18cf343d08db.jpeg)
Figura 2. Artistas por ano de nascimento
Conforme ilustrado na Figura 3, os artistas do sexo masculino predominaram na maioria das décadas, representando 67,1% do total, em contraste com a representação de 32,9% de artistas do sexo feminino. Uma exceção notável foi observada entre os artistas nascidos na década de 90, onde a proporção de artistas mulheres (48%) quase igualou a de artistas masculinos (52%).
![](https://d2r9epyceweg5n.cloudfront.net/stores/002/498/249/rte/b07ed232-7725-4ab5-889a-1faadbc25d97.jpeg)
Figura 3. Número de artistas, gênero autodenominado, por década de nascimento
Na Figura 4 podemos ver o número total de artistas categorizados por local de nascimento. O maior percentual de artistas nasceu na região Sudeste do Brasil, sendo a maioria (30,9%) originária do estado de São Paulo, seguido pelos estados do Rio de Janeiro (24,9%) e Minas Gerais (12%) . A segunda maior participação foi atribuída à região Sul do Brasil, com artistas nascidos nos estados do Rio Grande do Sul (5,0%), Paraná (3,4%) e Santa Catarina (1,2%). A terceira região brasileira mais significativa em termos de berço de artistas foi o Nordeste (14,4%).
![](https://d2r9epyceweg5n.cloudfront.net/stores/002/498/249/rte/a24cddfc-40f2-4581-a641-5ce5e7efca07.jpeg)
Figura 4. Artistas brasileiros por naturalidade (estado)
Na Figura 5 observamos as principais universidades e escolas frequentadas pelos artistas incluídos nesta pesquisa. As escolas de maior destaque, representadas por seus percentuais sobre o total de artistas, são as seguintes: 1. FAAP (Fundação Armando Álvares Penteado), São Paulo (SP) - 10,5% 2. UFRJ (Universidade Federal do Rio de Janeiro), Rio de Janeiro (RJ) - 8,1% 3. Universidade de São Paulo (SP) - 6,9% 4. EAV (Escola de Artes Visuais) Parque Lage, Rio de Janeiro (RJ) - 6,4% 5. UFMG (Universidade Federal de Minas Gerais), Belo Horizonte (MG) - 4,1% 6. UNB (Universidade Nacional de Brasília) - 4,0% 7. PUC-RJ (Pontifícia Universidade Católica), Rio de Janeiro (RJ) - 3,9% 8. UEMG (Universidade Estadual de Minas Gerais), Belo Horizonte (MG) - 2,8% Destaca-se que a L'Ecole Nationale Supérieure des Beaux-Arts de Paris, França, ocupa a 20ª posição, superando 19 renomadas universidades brasileiras, com 1,2% dos artistas tendo estudado
![](https://d2r9epyceweg5n.cloudfront.net/stores/002/498/249/rte/347509de-e99d-48ce-a1ea-407f13897051.jpeg)
Figura 5. Universidades e escolas frequentadas por artistas brasileiros
![](https://d2r9epyceweg5n.cloudfront.net/stores/002/498/249/rte/89a48ac4-1173-428d-a118-8aa55cf07fd8.jpeg)
Figura 6. Principais instituições de ensino frequentadas por artistas brasileiros
3. Discussão
Este estudo teve como objetivo obter insights sobre os perfis dos artistas brasileiros por meio da construção de um banco de dados abrangente, possivelmente identificando fatores que poderiam influenciar o sucesso de um artista. Analisamos dados dos artistas que foram representados, em 2022, por 81 galerias de arte brasileiras. Essas galerias eram membros da Associação Brasileira de Galerias de Arte Contemporânea (ABACT) ou participavam de uma das duas principais feiras de arte brasileiras, SP-Arte e ArtRio.
Referências Earp, F. S., & Kornis, G. O (2019). Mercado de artes visuais: algumas características e tendências.https://www.researchgate.net/publication/330144674_
O_MERCADO_DE_A RTES_VISUAIS Fraiberger et al. (2018). Quantificando reputação e sucesso na arte. Ciência,362, 825-829. https://www.science.org/doi/10.1126/science.aau7224 Latitude Brasil. (2018). Pesquisa Setorial Latitude 2018. https://web.archive.org/web/20211102145547/http://www.latitudebrasil.org/pesquisasetorial/ McAndrew, C. (2013). Relatório do Mercado de Arte da TEFAF. TEFAF. McAndrew, C. (2020). O Mercado de Arte. 2020. ART BASEL & UBS. McAndrew, C. (2022). O Mercado de Arte. 2022. ART BASEL & UBS. Menconi, D. 2021. Ensaios sobre economia da arte. 2021. (Dissertação de Mestrado, Escola de Economia de São Paulo). Repositório FGV. https://bibliotecadigital.fgv.br/dspace/bitstream/handle/10438/31210/Essays%20on%20A rt%20Economics%20by%20Denise%20Menconi.pdf?sequence=1. Velthuis, O., & Curioni, SB (Ed.). (2015). Telas cosmopolitas: a globalização dos mercados para a arte contemporânea. Imprensa da Universidade de Oxford.
Insights
on Artists in the Brazilian Contemporary Art Market
Katya C. Hochleitner1 , Paulo Varella2
1Fundação Getulio Vargas, São Paulo
School of Economics,
Rua Leão Coroado 153, ap 141,São Paulo,
SP, Brazil
2Fundação Getulio Vargas, São Paulo
School of Economics, Rua Monet,731, Cotia, SP, Brazil
doi.org/10.51505/IJEBMR.2024.8202 URL:
https://doi.org/10.51505/IJEBMR.2024.8202 Received: Jan 18, 2024 Accepted: Jan
24, 2024 Online Published: Feb 11, 2024
Abstract
The Brazilian art market has been
subject to limited economic or statistical analysis. Our aim was to gain
insights into the career trajectories of Brazilian artists and identify factors
that could influence their success. This study represents our initial endeavor
to establish a database on Brazilian artists, and present fundamental
statistics in this regard. Our data collection process involved compiling
available information on Brazilian artists and galleries from both English and
Portuguese language websites. The resulting database includes artists'
demographic information such as their names, gender, birthplace, education,
current art gallery and art gallery location. By analyzing data from 1,575
artists, represented by 81 Brazilian art galleries, this study confirmed the
significance of São Paulo State as the main Brazilian hub for art galleries,
artists, and educational institutions in the art market.
Keywords: Brazilian art market,
contemporary art, contemporary artists, art economics
1.
Introduction
The contemporary art market is a globalized market. However, the power is centralized in the United States and certain countries in Europe, where high-stakes businesses take place, and the main art institutions are located (Fraiberger, 2018). Total global art market sales have fluctuated between 50 to 68 billion dollars since 2010. According to the UBS Art Market Report 2022 (McAndrew, 2022), global art sales ranged from a low of 50 billion dollars in 2020, the worst year of the Covid pandemic, to a high of 68 billion in 2014. In 2021, total sales reached 65 billion dollars, a value similar to 2011. Nonetheless, if we consider the dollar inflation during the period 2010-2021, the outline could be different and might even show a real market value decrease. The main markets in 2019 (McAndrew 2020), before the Covid pandemic, were the USA (44% of global sales), United Kingdom (20%), China (18%), France (7%), Switzerland (2%), Germany (2%), and Spain (1%), followed by the rest of the world, with 7% of global art sales.
The Brazilian art market, included in the “rest of the world”, is part of what is called the Global South, in contrast to the Global North, as per European art market scholars such as Olav Velthuis (2015), from Amsterdam University. Global South includes regions from Latin America, Asia, Africa, and Oceania, also known as the "Third World" or "Periphery," terms that denote regions outside Europe and North America, mostly lower-income and often politically or culturally marginalized. The Brazilian art market is small and, being correlated with the existing wealth (Menconi, 2021), most estimates agree that it represents less than 1% of the global art market (McAndrew, 2013; Earp & Kornis, 2019). Statistical studies on the Brazilian art market are scarce. One of the few sources is the 2018 Latitude Report (Latitude Brasil, 2018), which presents limited quantitative data on Brazilian contemporary art galleries operating in the primary sector, and, unfortunately, does not include information on sales revenues, artwork prices, or artists they represent.
Another available data source is www.catalogodasartes.com.br, a Brazilian
website that offers historical, albeit limited, auction prices in Brazil, for
Brazilian works of art, antiques, and collectibles. This website provides price
information for a user fee. The purpose of this research was to gather new
insights regarding the Brazilian art market, with a particular focus on
Brazilian artists and their career trajectories. This approach was inspired by
Fraiberger et al.'s (2018), which suggested that an artist's success may be
related to the venues where his or her art is exhibited. The goals included
compiling an extensive database of artists whose works are sold by the main
galleries in the Brazilian art market., along with information about their
educational backgrounds and the art galleries representing them. Additionally,
this study involved analyzing the collected data, deriving conclusions,
initiating discussions, and disseminating helpful information to the
stakeholders in the Brazilian art market. This unprecedented initiative, in
Brazil, was particularly designed to assist Brazilian artists and art galleries
in making better decisions, there for enhancing their career and business
prospects.
2.
Method
We aimed to track the career paths of Brazilian artists to detect how different factors could influence their future success. This paper marks our initial step in that direction, which involves building a database on Brazilian artists. To collect data, we used web scraping, a technique that involves extracting publicly available information from websites and saving it to a local file using a Python scraper.
Our first task was to determine which art galleries' websites to search. We focused on the most prominent art galleries in the Brazilian art market, either those affiliated with the Brazilian primary sector art galleries' association, ABACT or those participating in one of the two main Brazilian art fairs, SP-Arte (in São Paulo) and ArtRio (in Rio de Janeiro). We identified a list of 81 art galleries for our study, based on the websites of ABACT (https://abact.com.br), SP-Arte (https://www.sparte.com) or ArtRio (https://artrio.com)in their 2022 editions. We then began building a database containing information about the Brazilian artists mentioned on the websites of the 81 selected art galleries, in both English and Portuguese. The artists database included each artist's name, sex, place and year of birth, year of death (if applicable), art college/school attended, current art gallery, and art gallery location.
Since
not all galleries' websites provided the information we needed about their
artists, we also scraped the artists' websites, both in Portuguese and English.
3. Results In this study, we identified 81 art galleries that were, in 2022,
either members of ABACT (Brazilian Association of Contemporary Art Galleries,
in the primary sector) or had participated in the main international art fairs
of Brazil (SP-Arte, in São Paulo, or ArtRio, in Rio de Janeiro). All the
analyzed galleries have physical premises in Brazil. As illustrated in Figure
1, most of these galleries were situated in the Southeast region: 60.5% in São
Paulo state, 22.2% in Rio de Janeiro state, and 6.2% in Minas Gerais. The
Northeast emerged as the second most important region, housing 3.7% of the
galleries in Bahia and 2.5% in Pernambuco. The South ranked as the third
significant region, with 2.5% of the galleries in Paraná and 1.2% in Rio Grande
do Sul.
Figure 1. Location of art galleries by
state
In this research we initially detected a
total of 2,004 artist entries, who were represented by the 81 art galleries
previously mentioned. However, it is important to note that 429 artists were
represented by more than one gallery. After eliminating duplicate names across
these galleries, we determined a final count of 1,575 unique artists for this
study. Figure 2 displays the distribution of the 1,575 artists, categorized by
their decade of birth. The predominant group consists of artists born in the 70s,
comprising 21.1% of the total. This is followed closely by artists born in both
the 60s and 80s, each group making up 18.5%. Artists from the 50s represent
13.6%, while those from the 40s account for 9.0%, and the 90s for 5.5%. Artists
born in the 20s and 30s contribute 5.0% and 3.3%, respectively, and finally,
those born in the first two decades of the 20th century collectively represent
3.3%. 2.1% of the artists were born before 1900. Out of the total number of
artists represented by the selected art galleries, 385 of them are deceased,
representing approximately 24.4% of the total.
Figure 2. Artists by year of birth
As depicted in Figure 3, male artists
predominated in most decades, accounting for 67.1% of the total, in contrast to
the 32.9% representation of female artists. A notable exception was observed
among artists born in the 90s, where the proportion of female artists (48%)
nearly matched that of male artists (52%).
Figure 3. Number of artists,
self-described gender, by decade of birth
In Figure 4 we can see the total number
of artists categorized by their place of birth. The highest percentage of
artists were born in the south-eastern region of Brazil, with the majority
(30.9%) originating from the state of São Paulo, followed by the states of Rio
de Janeiro (24.9%) and Minas Gerais (12%). The second largest share was
attributed to the southern region of Brazil, with artists born in the states of
Rio Grande do Sul (5.0%), Paraná (3.4%), and Santa Catarina (1.2%). The third
most significant Brazilian region in terms of artists' birthplace was the
northeast (14.4%).
Figure 4. Brazilian artists by place of
birth (state)
In Figure 5, we observe the main
universities and schools attended by the artists included in this research. The
most prominent schools, represented by their percentages of the total number of
artists, are as follows: 1. FAAP (Fundação Armando Álvares Penteado), São Paulo
(SP) - 10.5% 2. UFRJ (Universidade Federal do Rio de Janeiro), Rio de Janeiro
(RJ) - 8.1% 3. University of São Paulo (SP) - 6.9% 4. EAV (Escola de Artes
Visuais) Parque Lage, Rio de Janeiro (RJ) - 6.4% 5. UFMG (Universidade Federal
de Minas Gerais), Belo Horizonte (MG) - 4.1% 6. UNB (Universidade Nacional de
Brasília) - 4.0% 7. PUC-RJ (Pontifícia Universidade Católica), Rio de Janeiro
(RJ) - 3.9% 8. UEMG (Universidade Estadual de Minas Gerais), Belo Horizonte
(MG) - 2.8% It is noteworthy that L'Ecole Nationale Supérieure des Beaux-Arts
in Paris, France, ranks in 20th place, surpassing 19 renowned Brazilian
universities, with 1.2% of the artists having studied
Figure 5. Universities and schools attended by Brazilian artists
Figure 6. Main educational institutions
attended by Brazilian artists
3.
Discussion
This study aimed to gain insights into the profiles of Brazilian artists by building a comprehensive database, possibly identifying factors that could influence an artists' success. We analyzed data from the artists who were represented, in 2022, by 81 Brazilian art galleries. These galleries were either members of the Brazilian Association of Contemporary Art Galleries (ABACT) or participated in one of the two main Brazilian art fairs, SP-Arte and ArtRio. Representation by one of these galleries already places an artist in a somewhat privileged position within the Brazilian art market. Most of the art galleries in the study were located in the south-eastern region of Brazil, with São Paulo being the most prominent state, accounting for 60.5% of the galleries.
The southeast region of Brazil, particularly São Paulo and Rio de Janeiro, was also the most common birthplace for the artists. Furthermore, the research identified the main art schools attended by the artists, with FAAP (SP), UFRJ (RJ), and the University of São Paulo (SP) being the most common. All these institutions are located in the south-eastern part of the country. Notably, EAV Parque Lage (RJ), an independent school of visual arts, and not a higher education institution like the other 19 in the list of the top 20, appears in fourth place in the statistics of this study, demonstrating that its role as an entry point for an artist in the Brazilian art market is exceptional. The importance of the Southeast region in the three aspects (number of galleries, place of artists’ birth, and art schools) aligns with its contribution of more than 50% to Brazil's Gross Domestic Product and its relevance to the country's economy.
The investigation identified a total of 1,575 artists, with the largest portion born in the 1970s, currently between 44 and 53 years old. Male artists represented the majority across almost all decades, except for those born in the 1990s, where there was a balance of 48% female artists compared to 52% male artists. However, it is important to note that artists born in the 90s represent only 5.5% of the total artists. The study's finding that 24.4% of the observed artists were deceased is an important piece of information that demands further analysis in the future. The data raises questions into factors such as longevity of artistic careers, the impact of artists' legacies on the art market, and potential implications for the sustainability of the Brazilian art industry. The research provides important insights for those interested in the Brazilian art market.
The data confirms São Paulo's prominence as a Brazilian hub for art galleries and artists, emphasizing its significance in the Brazilian art world. Additionally, the predominance of male artists and the number of deceased artists identified suggest the need for further exploration of gender representation and sustainability in the Brazilian art market. Finally, the presence of artists who received education abroad highlights the importance of globalization in the Brazilian art world and the potential for international collaboration and exchange. For future studies, it is recommended to compare the data gathered in this study with the market performance of the 1,575 Brazilian artists. Such a comparison could reveal potential correlations between an artist's market success, as indicated by artwork prices or quantities sold, and their career trajectory.
Another factor to consider would
be the venues where artworks exhibitions take place, as suggested by Fraiberger
(2018), which were not part of this study. Analyzing how these variables influence an artist's success
in the market can provide researchers with valuable insights into the Brazilian
art market's dynamics, potentially uncovering patterns or trends that
contribute to an artist's commercial achievements.
References Earp, F. S., & Kornis, G.
O (2019). Mercado de artes visuais: algumas características e tendências.https://www.researchgate.net/publication/330144674_
O_MERCADO_DE_A RTES_VISUAIS Fraiberger
et al. (2018). Quantifying reputation and success in art. Science,362, 825-829.
https://www.science.org/doi/10.1126/science.aau7224 Latitude Brasil. (2018).
Pesquisa Setorial Latitude 2018. https://web.archive.org/web/20211102145547/http://www.latitudebrasil.org/pesquisasetorial/
McAndrew, C. (2013). TEFAF Art Market Report. TEFAF. McAndrew, C. (2020). The
Art Market. 2020. ART BASEL & UBS. McAndrew, C. (2022). The Art Market.
2022. ART BASEL & UBS. Menconi, D. 2021. Essays on art economics. 2021.
(Master Dissertation, Escola de Economia de São Paulo). FGV Repository.
https://bibliotecadigital.fgv.br/dspace/bitstream/handle/10438/31210/Essays%20on%20A
rt%20Economics%20by%20Denise%20Menconi.pdf?sequence=1. Velthuis, O., &
Curioni, S. B. (Ed.). (2015). Cosmopolitan canvases: the globalization of
markets for contemporary art. Oxford University Press.
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