Yayoi Kusama Tops 2023 List of 21st-Century Artists
3 min
Artworks by Yayoi Kusama collectively sold for nearly US$81 million last year at the major global auction houses, making her the top-selling 21st-century contemporary artist, according to the Hiscox Artist Top 100 report.
The boost in sales for Kusama’s works pushed David Hockney, the previous year’s top-selling artist, to second place. Hockney’s art garnered US$50.3 million in sales last year, down from US$74.7 million in 2022, said Hiscox, a London-based specialty insurer.
The second annual ranking, compiled with research and analysis from London-based ArtTactic, also showed Kusama’s No. 1 ranking was consistent with a strong showing by women artists overall last year. Joining Kusama among the top five last year was Cecily Brown, who ranked fourth with US$31.7 million in sales.
Yoshitomo Nara, ranked third with sales of US$36 million and George Condo ranked fifth with sales of US$29.5 million.
Total sales of contemporary art made after the year 2000 fell 17% to US$955 million last year from US$1.5 billion in 2022, according to the report. Though sales of contemporary art by women fell 8% to US$306 million, the number of works sold rose 21%. And sales by their male peers fell a much sharper 20%, the report said.
“The market for female artists has been much more resilient than that for male artists,” the report said.
The results go beyond ultra-contemporary art. Earlier this year, ArtTactic reported that overall sales of art by women at the major auction houses hit a record US$825.8 million last year, up 7% from a year earlier.
Another mark of progress: Art by women comprised 32% of 21st-century art auction sales last year, up from 29% in 2022, as the number of women artists behind these sales continued to climb. There were 728 women artists represented last year, up 179% from 2019, the report said.
“Contemporary female artists have always been undervalued and underrepresented,” Robert Read , head of art and private clients at Hiscox said in a news release. “Meaningful progress has been made in recent years, as the market gradually begins to recognise the importance and value of their work, but we are still some way from parity.”
Following Kusama and Brown, the top female artists by sales value were Julie Mehretu, with sales of US$21.4 million; Jadé Fadojutimi, with sales of US$8.5 million; and Jenny Saville, with sales of US$7.8 million.
The Hiscox report just examined the auction market for works created in the 21st century and sold at Christie’s, Phillips, and Sotheby’s. This segment was stronger than much of the art market last year, with sales still 26% above pre-pandemic levels. Sales of art made before 2000 have fallen 22% since 2019, the report said.
This segment of the market is also making up a larger share of all post-war and contemporary art sold at auctions, reaching 70% last year from 63% a year earlier.
The Hiscox report was consistent with other analyses of the art market last year that found large-ticket sales, over US$1 million, declined in favor of sales of works with price tags of US$50,000 or less.
Within the 21st-century art category, the number of lower-priced works sold gained 25% while the number sold above US$1 million fell by 12%. The trend is backed by a near doubling in the number of artists making 21st-century works that end up at auction since 2019, the report said.
The benefits of so-called flipping—or the practice of selling art made by young artists within two years of their creation—fell dramatically, bringing in US$39 million in sales last year from US$67 million in 2022. That’s despite the number of lots with this newly made art at 662 was about the same as the previous year.
Though Kusama is 95 years old, 41% of those making 21st-century art are under age 45, unsurprisingly. Leading this group of younger artists last year was: Nicolas Party, whose works sold for US$20.2 million; the late Matthew Wong, whose works sold for US$16.5 million; Fadojutimi; Caroline Walker, whose works sold for US$7.5 million; and Dmitri Cherniak, whose works sold for US$6.7 million.
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The federal budget has rattled property investors. But the biggest mistake isn’t the tax changes, it’s the conclusion many are drawing from them.
2 min
The recent budget has forced a reckoning for property investors.
Negative gearing now restricted to new residential builds, the CGT discount gone and on paper, the numbers look different.
And many investors are responding by pivoting toward yield, prioritising cash flow over capital growth in a way that property strategists say misses the point entirely.
“The debate has shifted to yield versus growth as if they are opposing forces,” says Abdullah Nouh, founder of Melbourne-based buyers’ agency Mecca Property Group. “But that framing is itself the mistake.”
Nouh, who works with high-net-worth families and investors on long-term acquisition strategy, argues that capital growth remains the primary driver of genuine wealth creation and that the post-budget environment has made quality assets more important, not less.
The numbers make his case plainly. An additional $500 per week in rental income is welcome. A prestige asset appreciating by $1 million over a market cycle is transformative.
These are not equivalent outcomes, and portfolios built around yield at the expense of location and land value tend to generate income while wealth stands largely still.
The more nuanced shift Nouh is seeing among sophisticated investors is a move toward assets where both outcomes can be engineered simultaneously – established homes on substantial land in quality locations, where the existing dwelling can be repositioned, rental returns improved, and the underlying land value compounds independent of what sits on it.
For investors with existing equity, commercial property is also entering the conversation in a more serious way.
Prestige industrial assets, medical centres and long-leased essential retail offer income profiles that residential property in most capital city markets cannot currently match: longer lease terms, tenants covering outgoings, and greater predictability than the residential tenancy cycle.
“The investors who build lasting wealth are rarely the ones who chased yield or growth exclusively,” says Nouh.
“They are the ones who built a strategy they could sustain – one that generated enough income to hold quality assets through multiple cycles while those assets compounded in value.”
The budget has changed the settings. It has not changed the fundamentals.
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