Rashid Johnson and Amy Sherald—both currently having solo shows at New York museums—joined more artists and celebrities to celebrate “Superfine: Tailoring Black Style”
Tag Archives: fashion
By LUSYA YANGIROVA
In December 2023, fetchish_net reimagined the heart of London’s Pushkin House into a site of fantastical disruption, queer celebration, and dreamlike transformation. Titled “Winter Special: Ordinary Miracle”, the art performance fused the sensibilities of underground rave culture with the ornate spirit of masquerade—resulting in an unforgettable experience that blurred the boundaries between performance, visual art, and participatory costume.
Rather than adhering to any staid holiday tradition, Ordinary Miracle dared to rewrite it. Guests—draped in costumes ranging from angelic to grotesque—moved through a space that felt alive, reactive, and rich in myth. The atmosphere hovered between Slavic folklore and deconstructed club aesthetics. Every corner of Pushkin House was charged with the eerie magic of a fairy tale rewritten by queers, punks, and romantics.
A Visceral Space of Performance
Among the strongest conceptual anchors of the night was the audio-reactive visual environment crafted by Anastasia Kozlova, whose work acted not merely as set design, but as a vital organ in the event’s living body. Her visuals—dreamlike yet fragmented—stitched together club culture’s rawness with the tender melancholy of traditional winter iconography. Deconstructed visuals pulsed across walls: snowy television static bled into soft candle glows, Orthodox motifs flickered beneath digital frost, and echoes of Soviet holiday broadcasts were corrupted into glitchy ephemera.
Kozlova’s approach wasn’t decorative—it was dramaturgical. Her visual curation shaped the emotional arc of the night, syncing with sound in a way that made the room feel enchanted and unstable all at once. Her manipulation of archival aesthetics—looping VHS textures, pixelated memories, bursts of chroma—invoked a kind of haunted nostalgia, collapsing time into sensation. The work offered no fixed image of winter celebration; instead, it danced between broken fragments of memory and possibility. In her hands, tradition didn’t shatter—it shimmered, refracted, and reformed.
Importantly, Kozlova’s role extended beyond the screen. As a key part of the curatorial team, managed by Zlata Mechetina, a London-based producer and curator, she helped shape the night’s rhythm—ensuring the transitions between visual, sonic, and spatial experiences flowed like a hallucination rather than a program. Her work offered continuity and rupture in equal measure, becoming the very terrain on which other elements—performance, costume, intimacy—could unfold.
In one room, a “bedroom installation” softened the spectacle. Velvet-red sheets spilled onto the floor as bodies reclined, read, and connected. Amidst the flicker of chaotic visuals, this intimate corner provided a moment of grounding—a soft cocoon within the night’s revelry. It echoed the quiet, tender moments of a holiday night: warm drinks, whispered confessions, and resting in the arms of others.
Nearby, furry mythical creatures, created by Sonya Bleiph and Marina Aleksashina, loomed with playful menace. These beings—rooted in Slavic mythology—became touchstones of the night’s core inquiry: What happens when folklore is queered, fractured, and worn like a second skin?
A Queer, Sonic Mythology
Headlining the night were two magnetic performers whose styles echoed the event’s fusion of intensity and play. Henry Spychalski, frontman of the London-based experimental group HMLTD, delivered a performance charged with theatrical abandon and an undercurrent of erotic chaos. His presence—equal parts glam, punk, and spectral cabaret—embodied the night’s fluid energy.
Equally captivating was VenesiaWorld, a deconstructed hyperpop producer from Serbia, who conjured a soundscape of dazzling digital excess. Her performance oscillated between sweetness and distortion, offering up a sonic ritual that felt both futuristic and folklore-tinged. Together, their sets constructed an alternative mythology—one rooted in rupture, glitch, and celebration.
Bodies in Rebellion and Ritual
Looking at the documentation of the event—a series of flash-lit, analog-style photographs—we are met with a tableau of poetic dissonance: a woman in sheer lace and angel wings adjusting another’s crown; two figures in whisper-close conversation, makeup smudged and eyes glittering; a clown-faced guest speaking with someone cradling Bert and Ernie puppets like talismans. These are not just party snapshots—they are glimpses into a communal rite where costume becomes language, and gesture becomes resistance.
There’s a tension in every frame—between irony and sincerity, costume and identity, excess and vulnerability. What emerges is a living carnival, not of spectacle alone, but of self-revelation. This was a night where playfulness could coexist with political edge, and myth could become queered embodiment.
The Miracle Is the Gathering
In an era where winter holidays are often co-opted by commerce and emptied of subversion, Ordinary Miracle offered something radically different: an act of joyful resistance. Fetchish_net didn’t simply throw a party; they curated a world where magic, memory, and masquerade met in a state of flux. Through costume, performance, and immersive scenography, they invited a new kind of festive ritual—one that honored intimacy, absurdity, transformation, and the ecstatic truth of collective becoming.
The miracle was not in any one object or act. The miracle was the gathering.
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Sponsored content. Story submitted by Irina Evseenko. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post Ordinary Miracle at Pushkin House: A Queer Carnival of Winter Dreams appeared first on World Art News.
Analysing the highs and lows of our recent attendance survey, plus a tour of a show exploring how the UK’s most famous Victorian designer ”went viral”, and a chat about the ways Henri Matisse’s daughter shaped his life and art
In an ever-evolving art world, securing the right media exposure can make or break an artist, gallery, or creative initiative. As digital platforms reshape the landscape and new trends emerge, mastering the art of public relations has never been more crucial. To uncover the secrets of a winning art PR campaign in 2025, we spoke with Christina Ioannou, an internationally recognized Art PR expert. With a career spanning top agencies and major institutions like Art Basel, Christina shares her journey, insights into global art trends, and expert advice on how artists and businesses can craft compelling narratives, engage the media, and stand out in a crowded market.
Can you tell us about your background and what led you to specialize in PR for the art world?
I grew up in Athens, Greece, where culture shapes our reality and informs our decisions a lot, even unconsciously, as Greeks. Growing up, I was exposed to cultural events and settings thanks to the great education I received. I remember my school took us on a museum visit per month. That was when I started feeling that those spaces are so powerful, and the whole museum immersion experience was fascinating to me: everything was quieter there, stepping into history and witnessing creative approaches of the past, all while trying to relate, in the silence of the exhibition. It was almost like a meditative experience to me. I am deeply interested in provenance and cultural diversity, and this has shaped my career as well, as I supported international cultural initiatives where people had a chance to explore and understand different cultures through art.
While I was studying Business Communications, I had the chance to work for Gagosian in Athens, and that’s when all my horizons widely opened. A few of the Gagosian artists were Goldsmiths graduates, hence I was motivated to join the MA in Arts Administration and Cultural Policy, where I mainly focused on cultural initiative implementation at the government level. Being exposed to the cultural diversity of London and the opportunities there, I was keen to combine my communications experience and my art business expertise. I was lucky to then work with leading Arts PR agencies such as Pickles PR, Brunswick Arts, KTW, and later with Art Basel as Senior Media Relations Manager.
I founded CCIcomms in order to support young businesses with a more diverse profile to look after their PR positioning and branding—from galleries to individual artists and fairs to public art festivals. We recently started serving other sectors as well, such as tech, lifestyle, and design, and we were recently voted the best PR agency in London for 2025/2026 by Prestige Awards for supporting the growth of SMEs.
What are the most exotic or unique works of art you have worked with?
You hit a special spot there—exotic art is what I enjoy the most! I had a chance to work for SP-Arte and promote Brazilian art, immersing myself in the art of contemporary Brazilian artists such as Ernesto Neto, but also more historical ones such as Tarsila do Amaral. I think Central and Latin America are such unique arts hubs thanks to their cultural diversity and vibrancy, and artists there should be supported as much as possible. I had a special encounter working with Mexican artist Eduardo Terrazas, an artist and architect who is celebrated for his substantial contributions to the field of art, not just in Mexico, but globally. I could see in real life how passionate he was about his craft, following his inspiration.
What excites you the most about working in art marketing today?
The potential to enhance the physical with the digital in a way that is ethical, interesting, and multidimensional and serves a higher purpose, not just sales. I also love that there is more power in artists’ hands; they have more choices to work independently and to position their own work and shape their own narratives. The growth of art activism interests me a lot.
North America, Europe, Asia, the Middle East—perhaps Africa or South America—where is art making the biggest moves right now from your perspective?
Certainly in Latin America, as mentioned above, but surely in Africa too. We see many African artists being recognized or loved for their work abroad, gaining momentum, and reshaping contemporary cultural identity, such as my favorite female queer artist, Sola Olulode. On the other hand, I do think that Eastern European art is so promising and current as well as less explored; David Kovats Gallery is doing some amazing work in giving a platform to Eastern European artists in the UK and internationally.
What are the top art trends you are seeing, and how can artists and businesses capitalize on them?
The art world is evolving with key trends like AI-generated and digital art, sustainability-focused creations, immersive experiences (AR/VR), and more. Limited-edition drops and collectible releases are also driving engagement. I think Avant-Arte’s model is unique in that perspective. Also, artists can capitalize by embracing digital tools, sustainability, and storytelling—by taking the lead in promoting their work in a way that speaks to them and directly connects with their audiences. The opportunities are endless due to the plethora of tools available: they should test and see what serves them best. In the same way, businesses can collaborate with artists to create meaningful brand experiences, immersive installations, and exclusive art-driven campaigns. Long gone are the days when galleries looked at exclusive partnerships or representations. Gallery models are changing, promoting transparency and genuine career support for their artists. I see that there is also further space for e-commerce-related art initiatives.
How have digital media and social platforms changed the way art businesses approach PR?
Very interesting question. Brands today know they are media platforms themselves and have many ways to talk to their audiences. They do not necessarily need to be in traditional press, although it helps in terms of authority building. If the ultimate purpose is sales, then you get way more data and user information by focusing on brand-owned communication channels or by working with influencers, for example—if it comes to a product. You still need a communications strategy to refine messaging and make sure you are participating in wider and relevant discussions. For public or government-led initiatives where there is no commercial angle, traditional media are more relevant. In any case, PR still needs to play a key role in a business’s marketing efforts, now that the media landscape has become so complex to navigate. At the end of the day, our job is to help brands and leaders understand what good exposure means and how to get there.
What are some of the biggest mistakes art businesses make when trying to gain exposure?
What I have noticed is that art businesses tend to rush PR campaigns without allowing the important teaser phase to happen, in a way that they “demand” press coverage when their show or program opens without respecting media deadlines. It just doesn’t work unless it’s a groundbreaking show. Especially if you are a young art business, you have to take time to cultivate media relationships to be in their good books. What that means for businesses is that they have to secure their artists, venues, and programs well in advance.
What are the key elements of a successful art PR campaign in 2025?
Multi-channel engagement is key. Almost all media publications have social media, and sometimes these followers are different from their readers, so it is important to try and amplify opportunities for exposure with every platform you engage with. Also, identifying specific newsworthy angles and points of innovation is always key when it comes to success with news media. And finally, create and own your data or intellectual property—this can be more powerful than you think. If brands can become sources of valuable information for their niche, then they not only gain exposure but reputation as well. Take the example of Art Basel’s art market report, which comes out every year—it’s in the news, but it’s also their own research, and it will always be referenced wherever it is published.
How important is storytelling in art promotion, and what are some effective ways to craft a compelling narrative?
Connecting to current and trending themes, whether socio-political or business-related, always counts. Essentially, stories need to inspire and motivate people, and they need to relate to them as well. To me, storytelling is the opposite of straightforward promotional advertising: you make your personal story, problem or solution, inspiration or pain, known to your audience in a way that they can genuinely connect with and remember.
What role do collaborations and partnerships play in an effective PR strategy?
The quality of your brand partnerships speaks volumes about aligned values, vision, and community. I think that whether we are referring to a media or a corporate partnership, what is important is to choose partners wisely and make sure you benefit from mutual exposure, setting a clear and shared strategy for promotion.
What advice would you give to artists or galleries looking to get featured in major art publications?
To the less established ones, I would say that starting from smaller blogs or podcasts is actually the way to go, and as they build their portfolio and media exposure confidence, bigger publications will come. In the end, if your story is innovative and groundbreaking enough, you might make it to the front pages or top titles, but how can you stay there? Even if you get that one piece, how can you stay relevant after that? For the bigger players, I think diversifying in terms of media platforms and messaging is key.
How can emerging artists and smaller galleries compete for media attention in a crowded space?
By doing excellent work with their own content channels—and I do not mean that they have to be digital marketers. But they have to engage in community building (follow, like, comment, and promote interesting things in their network to stay in the know), while also presenting authentic stories, behind-the-scenes glimpses, studio visits, and giving ‘access’ to their world by making everything feel less promotional. Understand and read your audience, and create content that speaks to them.
What’s the best way to approach influencers and journalists to secure coverage?
I would say that you need to follow a standard format to make sure the message comes across correctly and the proposal is clear. Showing genuine interest in the content creator’s or journalist’s approach and providing proof that you know what they write or post about is the first important step to connecting with them in a non-transactional way. Then, having something tangible to offer them—from a product to a story to an event or speaker access—rather than just words, will take you further.
What social media platforms should art businesses prioritize in 2025?
There are many variables here, from where the business operates to how it operates and where its audience is. For a gallery or program that focuses on modern art, I think it’s Instagram, but for contemporary or ultra-contemporary art, it has to be TikTok. Reels and videos are the way to go because they boost the algorithms, driving more followers and engagement to your pages. Instagram is more of a millennial tool, whereas TikTok is for Gen Z—take your pick! One thing is for sure: LinkedIn remains the most relevant platform when it comes to profile-raising for founders or senior leaders, and any content presented there should be more business- and strategy-oriented.
How do you see the future of art PR evolving over the next few years?
With the rise of artificial intelligence and the speed at which technology is reshaping the business world, I think PR professionals will benefit a lot from tools such as ChatGPT, Figma, or others. But it is important to be critical about how to use those tools and their generated content and to be sophisticated with the prompts. I do not see AI as a threat to ‘taking our jobs’ but quite the opposite—there will now be a need for more authentic high-level storytelling and lobbying, and thankfully, the relationship-building aspect, which is an essential part of our work, cannot yet be done by robots. We are moving into a higher-intelligence era!
Can you share an example of an outstanding PR campaign that truly made an impact?
The first thing that comes to mind is the interesting campaign we worked on with Filthy Fox Auction Club, whom you have interviewed before. We had an interesting connection, and I could immediately see the potential of the project. I was personally fascinated by the work Paula and Ala do to challenge traditional auction event models, but also to give a platform for young, promising artists and collectors to connect in a more informal and festive way. I also love their branding—less conventional and more entertaining—which is so much needed in the art world. No surprise they made it to the Financial Times!
What sacrifices have you had to make to become successful in this business?
I think everything serves a purpose, and even though I saw some things as sacrifices in the past when it comes to work, in the end, all these things build you up as you mature in business. You become resilient through your experiences, persistence, and efforts, and you gain confidence by having people appreciate your work and wish to partner with you. I had to step out of my comfort zone many times, but that’s the only way to find your own path to follow!
Are there any books on art, media, or PR that you would recommend to our readers?
This question takes me back to the first-ever art-world book I read, Seven Days in the Art World by Sarah Thornton. It will always be a good choice for everyone who is not in the art world but wants to understand it better. Other than that, I currently take inspiration from the Talk Art podcast and The Diary of a CEO.
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Sponsored content. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post Creating a Winning Art PR Campaign in 2025 – Exclusive Insights from International Media Expert Christina Ioannou appeared first on World Art News.
Looking for a good jewelry store in NYC? You’ve probably heard about the Diamond District. It’s a busy stretch of 47th Street filled with shops selling everything from engagement rings to custom gold pieces. Some people swear by it, saying you can find great deals if you know what to look for. Others warn that it’s chaotic, with too many options and pushy sales tactics. So, is it worth visiting, or are there better places to shop? Let’s break it down.
What is the Diamond District?
The Diamond District is one of NYC’s most well-known spots for buying jewelry. It’s a single block on 47th Street, between 5th and 6th Avenues, packed with hundreds of jewelry stores, showrooms, and small booths. Whether you’re looking for engagement rings, custom pieces, or loose diamonds, you’ll find plenty of options here.
The area has been a hub for jewelers since the 1940s and is known for offering lower prices compared to big-name brands. Many stores sell directly from manufacturers, which means you can often negotiate and get a better deal than at a traditional retail store. But with so many choices, it can also feel overwhelming—especially if you’re not sure what to look for.
Should you shop here or skip it? That depends on what you’re looking for and how comfortable you are with bargaining. Let’s go over the pros and cons.
Pros of Shopping in the Diamond District
Competitive Prices
Many shops in the Diamond District offer lower prices than big-name jewelry stores. Since a lot of these sellers work directly with manufacturers or wholesalers, you can skip the high retail markups. If you’re willing to negotiate, you might get an even better deal.
Huge Selection
With hundreds of vendors packed into one block, you’ll find just about any style of jewelry you can imagine. Whether you want a classic solitaire ring, a trendy gold chain, or a rare vintage piece, chances are someone here has it.
Customization & Wholesale Options
Many jewelers in the Diamond District specialize in custom designs, so you can create a one-of-a-kind piece. If you have a specific vision for your jewelry, you can work with a jeweler to bring it to life. Some vendors also sell loose diamonds at wholesale prices, which can be a smart option if you’re designing an engagement ring.
Instant Shopping Experience
Unlike online stores, where you have to wait for shipping, you can walk into a shop, compare pieces in person, and leave with your purchase the same day. This is especially helpful if you need a last-minute gift or want to inspect a diamond before buying.
Cons & Risks to Consider
Overwhelming Atmosphere
The Diamond District is packed with stores, aggressive salespeople, and a fast-paced shopping environment. As soon as you step onto 47th Street, expect to be approached by vendors trying to get you into their store. If you don’t like high-pressure sales tactics, this can be frustrating.
Quality Can Vary
Not every store in the Diamond District is reputable. Some sellers may try to pass off lower-quality diamonds at inflated prices, especially if they think a buyer isn’t knowledgeable. Always ask for certification (GIA is the gold standard) and carefully inspect any piece before making a purchase.
Prices Aren’t Always as Good as They Seem
Many shops advertise “wholesale” or “best prices,” but that doesn’t always mean you’re getting a bargain. Some vendors set high starting prices, expecting buyers to negotiate. If you don’t know the market value of what you’re buying, you might not actually be saving money.
Return Policies Are Unclear
Unlike big jewelry chains, many stores in the Diamond District have strict or nonexistent return policies. Some sales are final, and others may only allow exchanges. Always ask about the store’s policy before purchasing to avoid issues later.
Need for Negotiation Skills
Unlike shopping at a traditional jewelry store, where prices are set, the Diamond District often requires bargaining. Some people enjoy the back-and-forth, while others find it stressful. If you’re not comfortable negotiating, you might not get the best deal.
How to Shop Smart in the Diamond District
If you decide to visit the Diamond District, going in with a plan can make all the difference. This isn’t like shopping at a traditional jewelry store where everything has a fixed price and clear policies. Here, negotiation is expected, and doing your homework ahead of time will help you avoid overpaying or ending up with something of questionable quality.
Start by researching specific stores before you go. Not every vendor has a great reputation, so checking reviews on Yelp or Google can help you find reliable sellers. If you’re shopping for diamonds, always ask for GIA certification to ensure you’re getting what you pay for. Many shops will show you different options, but understanding the basics of diamond grading—cut, clarity, color, and carat weight—will help you make an informed choice. For example, knowing how the shape affects sparkle and value can help you spot a good deal if you’re looking at princess-cut engagement rings.
Haggling is part of the experience, so don’t be afraid to negotiate. Vendors often start with higher prices, expecting buyers to push back. Compare prices at a few stores before committing to anything, and don’t let anyone rush you into a purchase. If a deal seems too good to be true, it probably is.
Finally, always ask about the store’s return and exchange policies before buying. Some places have strict no-return policies, while others may allow exchanges within a limited time frame. Getting everything in writing will save you from any surprises later.
With the right approach, the Diamond District can be a great place to find high-quality jewelry at better prices than major retailers. But if you prefer a low-pressure shopping experience with clear pricing, there are other options worth considering. Let’s look at a few alternatives.
Alternatives to the Diamond District
If the fast-paced, high-pressure environment of the Diamond District isn’t for you, there are plenty of other ways to find beautiful jewelry in NYC and beyond. Whether you’re looking for a relaxed shopping experience, better transparency, or unique designs, these alternatives might be a better fit.
For those who want high-quality diamonds without the stress of negotiating, online retailers like Blue Nile and Brilliant Earth are solid choices. They offer certified diamonds with clear pricing, so you know exactly what you’re getting. Many of these sites also provide customization options, letting you design an engagement ring or fine jewelry piece without feeling rushed. The downside is that you can’t see the jewelry in person before buying, but most reputable online stores have generous return policies.
If you’re more into independent designers and unique pieces, boutique jewelry stores in NYC might be the way to go. Places like Catbird, Mociun, and The Last Line specialize in stylish, high-quality jewelry that stands out from mass-market designs. These stores tend to focus on ethical sourcing and craftsmanship, making them a great option if you care about sustainability.
Another alternative is to shop pre-owned. Luxury resale platforms like The RealReal and 1stDibs offer secondhand designer jewelry at lower prices than retail, often with certification to guarantee authenticity. Vintage and antique shops can also be great spots to find one-of-a-kind rings, bracelets, and necklaces with history and character.
At the end of the day, the best place to buy jewelry depends on what matters most to you—price, selection, convenience, or uniqueness. The Diamond District has its advantages, but there are plenty of other ways to find something special without the hassle.
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Sponsored content. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post Is the New York Diamond District Worth the Browse? appeared first on World Art News.
The Good Luck, Babe! singer pulled a vintage Jean Paul Gaultier dress inspired by Impressionism from the designer's archive for the award show red carpet
The London institution dedicates an exhibition to the boundary-breaking artist and performer whose body was his canvas
His work for brands such as Benetton sparked conversations about issues including the Aids crisis and anorexia
BY MARK ANDERSON
The third edition of the Filthy Fox Auction Club (FFAC), held last week at The Old Church in Stoke Newington, London, has once again proven to be a trailblazer in reimagining the art auction experience. With 90% of the artworks sold and the highest average sales to date, the event celebrated not just the art but the thriving connection between emerging artists and a new wave of collectors.
The brainchild of Alexandra Hochgürtel and Paula Parole, FFAC is an artist-run initiative designed to break down the exclusivity of the traditional art world. This year’s auction showcased 33 works from 13 recent graduates of prestigious institutions, including Slade School of Fine Art, Camberwell College of Arts, and City & Guilds of London Art School, as well as Central Saint Martins, Goldsmiths, and the Royal College of Art. True to its mission of supporting artists, FFAC directed 100% of the hammer price to the creators, with the founders taking a modest 30% buyer’s commission to cover costs.
“This year’s event was beyond our expectations,” said Hochgürtel. “From the incredible turnout at The Old Church to the online participation, we’re thrilled by how much excitement and support the auction has generated.”
An Unforgettable Evening at The Old Church
Set in the stunning, atmospheric Old Church, the auction welcomed a sold-out crowd of 200 attendees. The evening began with a captivating performance by the ANGAQQUK collective, immersing the audience in an artistic ambience before the bidding began. The works, which had already been previewed at Sarah Kravitz Gallery in Soho earlier in the week, drew spirited competition from both in-person and online bidders.
The event wasn’t confined to the physical space alone. For the first time, nearly 50% of the bids came through Instagram, where the auction was live-streamed to a global audience. The hybrid format allowed collectors from all over the world to engage in the excitement, though room bidders retained a slight edge thanks to FFAC’s priority rule for offline offers.
“This hybrid model is part of what makes FFAC so unique,” explained Parole. “It democratizes access to contemporary art while maintaining the intimacy and energy of a live event.”
The auction ended with a celebratory afterparty featuring sets by Harold Van Lennep and MARILL (a DJ duo comprising artist Lexia Hachtmann and Louis Hoffmann), turning the evening into a vibrant celebration of creativity and community.
Empowering Emerging Artists
The heart of FFAC lies in its unwavering support for early-career artists. With all starting bids set under £1,000—some as low as £50—the auction makes investing in original art accessible while ensuring meaningful earnings for the creators.
“This experience has been life-changing,” said one participating artist. “Knowing my work resonated with collectors gave me the motivation to keep creating. The proceeds will help me fund my next project.”
The selection process for FFAC ensures a diverse and dynamic range of works, reflecting the bold, innovative spirit of London’s top art schools. In addition to graduates from Slade, Camberwell, and City & Guilds, the auction featured artists from Central Saint Martins, Goldsmiths, and the Royal College of Art, each contributing fresh perspectives to the collection. Participating artists included Lexia Hachtmann, Wei Xiong, and Mariana Sanchez, whose works drew significant attention during the bidding.
Changing the Game for Art Auctions
Hochgürtel and Parole launched FFAC in response to the exclusivity and high costs of the traditional art market. Their mission is simple but transformative: to make contemporary art accessible, affordable, and free of pretension. The results speak for themselves. The Filthy Fox Auction Club has not only built a loyal community of collectors but also provided a vital springboard for emerging artists. By fostering connections between creators and buyers, the auction gives early-career artists the financial and emotional support they need to thrive.
“This is more than an auction,” Hochgürtel remarked. “It’s a movement—a way to show that the art world can be inclusive, vibrant, and human.”
Looking Ahead
With the success of Vol. III, FFAC has firmly established itself as a standout event in London’s cultural calendar. Plans are already underway for the next edition, with the founders eager to bring even more talent to the fore.
For art enthusiasts, collectors, and supporters of emerging talent, FFAC has become an unmissable opportunity to invest in the future of contemporary art. As Parole put it, “This is just the beginning. We’re excited to keep pushing boundaries and celebrating what makes art so essential: its ability to connect people.”
For more information on the Filthy Fox Auction Club and updates on future events, visit:
Filthy Fox Auction Club Instagram
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Sponsored content. Story submitted by CCI communications. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post Filthy Fox Auction Club Vol. III: Breaking Barriers for Emerging Artists appeared first on World Art News.
The fashion writer Derek Guy—perhaps best known for his pithy menswear observations and advice, dolled out via X—talks us through his sartorial favourites, from David Hockney to Njideka Akunyili Crosby