Don Thompson Bücher

Acquiring contemporary art is about passion and lust, but it is also about branding, about the back story that comes with the art, about the relationship of money and status, and, sometimes, about celebrity. The Supermodel and the Brillo Box follows Don Thompson's 2008 bestseller The $12 Million Stuffed Shark and offers a further journey of discovery into what the Crash of 2008 did to the art market and the changing methods that the major auction houses and dealerships have implemented since then. It describes what happened to that market after the economic implosion following the collapse of Lehman Brothers and offers insights and art-world tales from dealers, auction houses, and former executives of each, from New York and London to Abu Dhabi and Beijing. It begins with the story of a wax, trophy-style, nude upper-body sculpture of supermodel Stephanie Seymour by Italian artist Maurizio Cattelan, which sold for $2.4 million to New York über-collector and private dealer Jose Mugrabi, and recounts the story of a wooden Brillo box that sold for $722,500. The Supermodel and the Brillo Box looks at the increasing dominance of Christie's, Sotheby's, and a few über dealers; the hundreds of millions of new museums coming up in cities like Dubai, Abu Dhabi, and Beijing; the growing importance of the digital art world; and the shrinking role of the mainstream gallery.

The $12 Million Stuffed Shark delves into the economics and psychology of the contemporary art world – artists, dealers, auction houses, and wealthy collectors. If it’s true – as so often said – that 85 percent of new contemporary art is bad, why were record prices achieved at auction for works by 131 contemporary artists in 2006 alone, with astonishing new heights reached in 2007? The $12 Million Stuffed Shark explores money, lust, and the self-aggrandizement of possession in an attempt to determine what makes a particular work of art valuable while others are ignored. In the style of the bestselling Freakonomics, Thompson uses economic concepts to explain the unique practices employed, to great success, in the international contemporary art market. He discusses branding and marketing and how various strategies are tailored to a wealthy clientele, driving a "must-have" culture. Drawing on exclusive interviews with both past and present executives of auction houses and art dealerships, artists, and the buyers who move the market, Thompson launches the reader on a surprising journey of discovery.

A fascinating explanation, through the field of behavioural economics, for the phenomena that is behind the incredible value of contemporary art.

The narrative explores the intersection of artificial intelligence and spiritual growth through Pastor Paul Duncan's journey. Initially resistant to technology, Paul reluctantly accepts an Artificial Personal Assistant to ease his workload. As he discovers its capabilities in research and sermon writing, he develops a deeper, more complex relationship with the APA. This exploration leads to unforeseen consequences, raising questions about the implications of integrating AI into personal and spiritual realms.

Exploring the non-linear nature of time, this journal captures the essence of a long life through fifty-two weekly entries. It reflects on memories as they ebb and flow, navigating through turbulent rapids and tranquil moments. Each entry allows for contemplation, embracing the meandering path of recollection without urgency. The narrative invites readers to ponder the complexities of memory and the passage of time, illustrating how life’s experiences can be both chaotic and serene.

The story follows Roger Carrington, a former CEO who faces a drastic fall from grace, ending up homeless under a Seattle freeway. As he struggles to adapt to his new life, he forms unexpected friendships with fellow inhabitants of the overpass, prompting him to confront his previously held beliefs about wealth and homelessness. This journey of survival leads him to reevaluate his self-centered past and uncover a newfound sense of purpose, challenging his conservative values along the way.

The narrative explores the Mason family's turmoil upon discovering Luke's brother's ties to white supremacy, transforming their initial perception of the issue from a private political difference to a pressing moral crisis. As they confront loss and confusion, the family embarks on a journey of personal growth and resilience. Themes of love and hope permeate the story, making it a poignant exploration of tolerance and action in the face of hate. The book is also recommended for book clubs, with discussion questions available online and author participation via Zoom.

If you have ever had the flu, Orley The Flu Bug is to blame. He has sharp teeth, claws, a long needle tail, strong legs, great eyesight, and tiny bubbles in his stomach. Orley, The Flu Bug is very good at giving you the tiny bubbles. YUCK!

Ekonom a sběratel současného umění, Don Thompson, poodhaluje vzrušující svět obchodování s uměleckými díly skrze principy behaviorální ekonomie. Zaměřuje se na iracionalitu lidského rozhodování, která ovlivňuje prodeje a nákupy uměleckých artefaktů. Čtenáři provádí prestižními aukčními síněmi, galeriemi a muzei, přičemž svůj výklad doplňuje neuvěřitelnými příběhy pracovníků těchto institucí. Na nejvyšší cenové úrovni trhu se současným uměním ceny stoupají nejen díky uměleckým kvalitám, ale také poptávce superbohatých sběratelů a státních fondů, transakcím bez zdanění a prestižním veletrhům. Mnozí aktéři uměleckého světa dnes vidí v současném umění především jeho finanční hodnotu. Trh se současným uměním – obchodníci, agenti a aukční domy – je složitější, než se běžně předpokládá. Po vydání dvou předchozích knih o trhu s uměním lidé často žádali o vysvětlení jeho dynamiky. Behaviorální ekonomie poskytuje vhled do iracionality lidského chování a rozhodování a snaží se ovlivnit jednání sběratelů. Tato kniha nabízí pohled do světa obchodníků s uměním a aukčních domů, přičemž vypráví příběhy bývalých vedoucích pracovníků z New Yorku, Londýna, Lucemburku a Pekingu, kteří byli zodpovědní za nákup a prodej uměleckých děl.