ART AND MILLIONS FOR BEGINNERS
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Really the only plugin you may want to keep is Akismet which helps to filter spam comments. If you want comments on your blog then keep Akismet. First you can check if your site is online by visiting the URL in your browser, although it can take up to hours to fully become visible to the world. That means now is the perfect time to dive into your WP settings page and make a few changes to get your blog looking sharp. By default your site name should match whatever your blog name is. So that you might leave alone. On this page you can change how comments work on your blog and which criteria need to be met for comments.
By default all your WordPress links will look really ugly. Now the last thing we want to do is reset the default photo sizes.
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People gather a first impression within the first seconds of landing on your website. Check out the free WP themes directory and try searching for blog themes. There are thousands of free themes out there with plenty to dig through. You can spend hours looking at themes—and in many cases that might be a good idea to make sure you really like the one you pick. This will take you to the themes page with a list of all the currently installed themes. It should appear automatically as the first result. So clicking that link will now make the theme live on the blog all from this one page.
These are all free themes that can work well on an art blog:. Spend as much time as you need to find a theme you like and get it up. Nobody will see it until you start publishing content anyway. But this gives you a clean starting point to add new features with plugins. The WP community has thousands of free plugins covering a wide array of great features. Deactivated plugins have a light grey background while active plugins are colored light blue. You can always go through Yoast to change some of the SEO settings for different pages or archives, but the default is more than enough.
If you want to learn some basic SEO for your blog then check out this awesome guide to learning Yoast. Everything in the plugin is totally free and honestly pretty simple to understand. But you can research caching on your own if you want to learn how it works. If you do need more forms you can make them on this page. That way I know which emails were sent directly to me vs which ones came through my contact form.
This will all become more familiar as you use WordPress. Then paste that code inside the text box. The default contact form style should be OK for most blogs. If you already have a WordPress. It should be right at the top of the page. Your blog is officially being protected from spam comments. Just make sure to check the Akismet spam filter every so often. Auctions are the art world's blood sport, with wealthy collectors and art speculators convening in tony salesrooms to compete with one another for the finest works coming to market—providing delight for the rows of onlookers who attend the events to watch the action.
They also tend to set the mood for the art market, with successful sales indicating a continuing boom and poor-performing auctions undermining confidence throughout the art world. For the initiated, they are enormous fun to watch, with record prices eliciting gasps and applause and celebrity bidders causing stirs. For those unfamiliar with the baroque logic of art auctions, they can seem impenetrable mysteries.
In the interest of spreading the joys of art auctions, we've compiled a glossary of auction terms to explain how these glamorous contests work. Click here for our collection of work by 30 top artists at auction Auctioneer - The MC of the sale. A consummate showman or woman , oftentimes British at the tonier houses, who is able to use both humor and high drama to wheedle remarkable prices from even reluctant bidders.
Each auctioneer has a signature style, which among the younger generation of contemporary-art gavelers can lean toward the edgy and in-your-face sometimes in the manner of Guy Fieri. Hammer - This is the auctioneer's Excalibur, wielded as a cross between a conductor's baton and a judge's gavel, and when it comes down—sometimes with a light tap, other times with a plangent thunk—it indicates a sale.
Auction Block - The podium behind which the auctioneer stands, and frequently the object of the hammer's thwack.
When an artwork goes up for auction it is said to "go on the block," though in reality the work is displayed by white-gloved handlers who strut out behind the auctioneer or on a screen. Paddle - The snooty cousin of the ping pong paddle, these numbered instruments can be used to telegraph bids too—though many high-flying buyers opt for a more discreet approach, signaling the auctioneer with a prearranged system of signs.
These can be as simple as a nod, or a complicated language with multiple bidding expressions. Lot - This is the term for the work at issue in a particular round of bidding. A lot is typically a single work but can also contain more than one piece as a group. Consignor - The person, estate, or institution that put a specific artwork up for auction, oftentimes as a result of one of the "three Ds": Appraisal - This is the approximate market value assigned to a particular lot by the auction house's specialists. Specialist - These are the on-staff connoisseurs who put together the auction, acquiring the works, assessing their value, and contextualizing them in the frame of art history for the catalogue.
Specialists are highly trained professionals grouped by their expertise in a particular field—contemporary art, say, or Chinese ceramics and works of art—and they spend their time jetting around the world to scout private collections. Estimate - This is the auction house's guestimate for what a particular work could fetch in a sale, agreed upon in advance by the house's specialists as a bracket around the appraisal and included in the auction catalogues.
There are estimates for each individual work and estimates for the overall sale. In auction reports, journalists can squeeze great writerly pleasure from these figures, saying that a work "unstoppably hurdled its high estimate," "sputtered and died short of its low estimate," et cetera. Reserve - The minimum price that a consignor will allow the auction house to sell an artwork for, meaning that if bidding fails to rise to the level of the reserve the work will be bought in.
Catalogue - This is the glossy, beautifully produced glamorized brochure that the auction house sends to collectors and other interested parties to whet the appetite for a sale, provide the estimates, and pump up the works on offer. It is not unheard of to spend a million dollars to produce a catalogue for a major sale, enlisting top art historians and photographers to argue why a work deserves to go for sometimes astronomical sums.
Cover Lot - This is the lot displayed on the cover of the magazine, and it's generally the artwork that the house believes will generate the most excitement at auction. Buyer's Premium - This is the surcharge that the auction house adds to the price of any sale, usually between 10 and 20 percent of the hammer price, depending on the house and the price point of the work being sold. Auction reports most frequently cite the total prices, including the buyer's premium, and auction records include them as well. Seller's Commission - This is the vigorish that the auction house extracts from a work's consigner—unless the auctioneer is intent on landing the consignment, in which this fee can be waived or negotiated down.
Guarantee - An amount of money that the auction house promises it will pay the consignor regardless of whether a work sells at auction. Issuing guarantees was a central strategy during the years of the mids art book for houses to acquire showpieces for their marquee evening sales, but after the financial collapse drained confidence in the art market, auctioneers lost millions and millions of dollars paying out guarantees on overestimated lots. As a result, Christie's and Sotheby's more or less stopped offering guarantees backed by the auction houses.
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In the immediate aftermath the two auction houses saw annual revenues for contemporary art decline by a stunning 75 percent, but since then—with the help of third-party guarantees—sales have rebounded. Third-Party Guarantee - A guarantee that an auction house offers by finding a buyer for an artwork before the sale who is willing to pay a certain price above the reserve for the piece.
The house can then assure the consignor that the work will sell no matter the action in the salesroom. Evening Sale - These are the marquee auctions held at night, offering the most coveted lots in a sophisticated atmosphere of high drama and adrenaline. Champagne is often served, and bidders and onlookers typically arrive in formal attire, with gawkers craning around to spot celebrities. Day Sale - These are the sales that typically occur the day after the evening sales and offer lower-priced works.
Bid - This is the price that a bidder indicates that he or she is willing to pay for a particular work, either by personally signaling it in the salesroom, having a surrogate place it on the bidder's behalf, calling it in on the phone, or logging it online. You do not want to place one of these accidentally.
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Increment - The minimum sum by which a bidder must top the previous bid. Absentee Bid - A bid placed on behalf on someone by a surrogate. Art dealers and other market experts often attend sales as surrogates for an anonymous prospective buyer. Larry Gagosian, in particular, is known to relish bidding on behalf of others.
Telephone Bid - A bid called in to one of the immaculately dressed specialists who fill the phone bank behind the auctioneer. Because so many of the most spectacular sales are made to anonymous buyers in China, Russia, or elsewhere, an auction's top lots frequently are won by telephone bids—to the chagrin of auction aficionados, who prefer to see the action unfold more dramatically in the salesroom.
Chandelier Bid - A fake bid that the auctioneer logs in order to goose tepid bidding, looking off to an indistinct spot and pretending to see a bidder. Also known as a "rafter bid," this is an unscrupulous practice that is frowned upon in the industry.
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- Annual Percentage Discount or Premium.
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Hammer Price - This is the price of the winning bid at the time that the gavel comes down, before the buyer's premium has been added to the sum. Bought In - The term for an artwork failing to sell at auction, at which point it gets returned to the consignor. Sell-Through Rate - This is the tally compiled after bidding is done to assess how the auction performed, with percentages crunched down to see both the rate by lot i.
Rates under 80 percent are considered to be anemic, lackluster, or worse. Buy-In Rate - The percentage of the overall lots on offer that failed to sell. White Glove Sale - An auction in which every single lot sells, for a perfect percent sell-through rate. A flood of champagne is uncorked after one of these. Collusion - This is a practice when a group of buyers who dominate a certain market—for Warhol, say, or a category like the Zero Group—band together into a cabal, agreeing not to bid against each other in order to win works at artificially deflated prices.
This is an unethical practice, but hard to prevent because certain markets are dominated by a small circle of wealthy players. Protecting a Market - When a dealer places a bid on behalf of an artist he or she represents or has a financial interest in to ensure that the price of the work does not fall below a certain price, which can bring down the artist's overall market value.
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Artists represented by major galleries typically expect this kind of protection from their dealers. Price Fixing - When auction houses conspire to set rates and eliminate competition, violating federal antitrust law. The most notorious instance of this was the price-fixing scandal at Christie's and Sotheby's in which the chairmen of the two leading auction houses were found to have met in secret 12 times to set the prices for sellers' commissions, a practice that effectively locked consignors into exorbitant rates.
In a judge sentenced Sotheby's chairman and owner A. We offer exclusive works you can't find anywhere else. Collecting with us means you're helping to sustain creative culture and supporting organizations that are making the world a better place. We have the resources to find works that suit your needs.
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Between the 70s and 90s investment in furniture, antiques, art objects and decoration became one of the surest ways to make a profit and keep the money in the. 19th-Century Art: A Beginner's Guide (Beginner's Guides) and millions of other . She is the author of several books on art, including Art: A Beginner's Guide.
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Collecting with us helps support creative culture while bringing you art news, interviews and access to global art resources. Issuing guarantees was a central strategy during the years of the mids art book for houses to acquire showpieces for their marquee evening sales, but after the financial collapse drained confidence in the art market, auctioneers lost millions and millions of dollars paying out guarantees on overestimated lots. But the key to starting a great blog is to be different from others. When it comes to choosing the right art class for you, there are a number of factors you need to take into account. In addition, you expressly waive any right to a jury trial in any legal proceeding against Artspace its parent, subsidiaries, divisions, or affiliates or their respective officers, directors, employees, agents, or successors under or related to these Terms. Art History on Khan Academy.
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