The Art Economist
About Us

The Art Economist publication is the brain child of Fred Alger, a legendary figure in the financial community known for his 
remarkable success in bringing record gains to his investment firm, which he founded in 1964. Mr. Alger, art collector and former 
board member of the Museum of Modern Art, had always envisioned a publication that examined an unregulated and basically 
veiled market filled with profitable sales but also with intrigue and confusion. Alger believes that Wall Street is convinced of the 
ongoing potential profits and continued increasing value of the contemporary art market, and that a straightforward, easy to read 
publication addressing those topics and therefore we publish The Art Economist and weekly emails to its subscribers with an eye
to tactical, and cogent information and opinion about increasing or decreasing values in the art market.

Bruce Helander is Editor-in-Chief of the publication; he is an artist and critic, and a former art magazine publisher and editor, White
House Fellow of the NEA, Provost and Vice President for Academic Affairs at the Rhode Island School of Design. Helander has 
spent much of his formal career as an artist, represented in New York by the Marisa de Re Gallery, where his collectors included 
luminaries such as Jane Holzer, Beth DeWoody, Blake Byrne and the late John Kluge. His work is in over fifty museum collections, 
including the Guggenheim, Whitney and Metropolitan. He has been a contributor to The New Yorker, as well as writing numerous
published reviews on artists such as Bourgeois, Oehlen, Lichtenstein and Artschwager. His latest book, Learning to See, recently
was named an Indie Award Finalist. In the 1980s, he operated galleries on West Broadway (New York) and Worth Avenue 
(Palm Beach), and has curated over 100 museum and gallery exhibitions including surveys on Noland, Chamberlain, Poons and
Duane Hanson.

Our strong team of writers and editors believe we have a significant opportunity to be thought leaders in establishing sustainable
transparency in the somewhat veiled world of contemporary art. We believe in the important role of art as a fundamental tenet in 
our culture and civilization and we also believe we can shed light into the shadows of the mysterious world of current and future 
art values. We also believe we can both enlighten and entertain our subscriber family with opinion and information that provides 
thoughtful guidance to their future art investment selections.

We see each day as another chance to do better. We enjoy what we do, but we also realize our duty to be responsible, ethical and
accurate in everything we do. We are committed to excellence as a way of life and we are committed to providing our Subscribers
the best art publication they have ever seen. Every day in every way… we are The Art Economist!

 



CHAIRMAN AND PUBLISHER Fred Alger | EDITOR-IN-CHIEF Bruce Helander  | DEPUTY EDITOR Gary Walther  | ART & DESIGN DIRECTOR Daniel Ellis 
MANAGING EDITOR Susan Hall | ASSOCIATE EDITOR Marisa J. Pascucci  |  EXECUTIVE VICE PRESIDENT Norka Saad
  |  ADMINISTRATION MANAGER Karene Telesca 
FOREIGN CORRESPONDENT Drew Hammond | EDITOR AT LARGE Leslie Alexander | ONLINE EDITOR Anna Celander | VIDEO EDITOR Tyler Sargent
ADMINISTRATIVE ASSISTANT Camila Helander | EDITORIAL RESEARCH Jill Miller | RESEARCH ASSISTANT Christopher Hurbs
FINANCIAL RESEARCH Renee Gibson | SPECIAL PROJECTS Carole Newhouse | CHIEF OPERATING OFFICER Andy Ruppanner 
PROOFREADER Judith Wilkis | TECHNOLOGY DIRECTOR Sanjay Connare 
CONTRIBUTING WRITERS
Julie L. Belcove, Bonnie Clearwater, David W. Galenson, Kathryn Graddy, Anthony Haden-Guest, Drew Hammond, Phoebe Hoban, Howard Hurst, Carol Kino, Donald Kuspit, Shana Beth Mason, Susan Michals, Richard Polsky, Elizabeth Sobieski, Don Thompson, Kara Walker Tomé, William Warmus | CONTRIBUTING PHOTOGRAPHERS Amy Arbus, Harry Benson, Neke Carson, Jonathan Exley, Christopher Fay, Ralph Gibson, Michael Price, Kim Sargent | CONTRIBUTING ILLUSTRATORS Philip Burke, Rollin McGrail

 

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10 informative issues per year as
well as a copy of Don Thompson's
best-selling book, The $12 Million
Stuffed Shark: The Curious
Economics of Contemporary Art
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