Lucy Bull
GrowthEgon research · Artist market profile
The market, in context.
Explore Lucy Bull’s auction history alongside the exhibitions, collections and gallery relationships behind the market.
Auction record
HK$15m hammer / HK$18.5m with fees (c. US$2.3m; MutualArt records US$2,381,467)
18:50 (2021), oil on canvas, 178 x 307 cm
View the sale and market context →Institutional research
Collections & exhibitions
Read holdings, exhibition history and their qualifications in context.
Read the institutional research →
Egon investment scores
Market position
Research updated
Auction record
Pricing
Prints multiples
No significant published print or edition market; the market is unique oil paintings on linen/canvas plus a small number of charcoal works on paper. All figures above are for unique works.
Temporal trajectory
2019-2021 primary: $4,500-$85,000. 2022-2023 secondary: breakout - $11.3m of auction turnover across New York, Hong Kong and London in 2022-23 (The Art Newspaper); a $4,500 work resold at $841,263 in 2023. 2024: record year, auction sales topped $10m, record $2.3-2.4m at Christie's Hong Kong. 2025-2026: top end holds ($1.69m in Oct 2025) while volume and sell-through soften and the ultra-contemporary segment cools.
Primary market 2019 2021
Small early works at c. $4,500 (2019, Johannes Vogt group show). At Kordansky's Frieze London solo booth in October 2021, seven works sold at $25,000-$85,000 to private and institutional buyers (ARTnews).
Primary market 2024 2026
Artnet reported an eight-foot painting offered by David Kordansky at Art Basel Miami Beach 2024 with a $250,000 asking price, marked sold going into the fair; the 39-foot ICA Miami stairwell-scale work was priced substantially higher (not disclosed). Current primary pricing is gallery-controlled and allocation-based - contact David Kordansky Gallery for current pricing and waitlist status.
Secondary market by scale
- Works on paper small
- Charcoal sheets: roughly $10,000-$20,000 (MutualArt records a works-on-paper high of c. $18,366)
- Small canvases under 60cm
- c. $30,000-$60,000 (Untitled, 30.4 x 22.8 cm, $30,240, Christie's Mar 2025, Egon database)
- Mid scale canvases 120 160cm
- c. $400,000-$700,000 in 2025 (Light Rain $490,200, Phillips Nov 2025; Christie's Sep 2025 lot $603,915 - both Egon database)
- Large signature canvases 2m plus
- $1.7m-$2.4m (9:59 $1,691,802, Sotheby's Oct 2025, Egon database; 18:50 c. US$2.3-2.4m, Christie's Hong Kong Sept 2024)
Liquidity
Depth
Genuine international bidding depth, with top results concentrated in Hong Kong and New York evening sales; Hong Kong produced the record and much of the early flipping activity
Market type
Two-tier: a tightly allocated, price-controlled primary market and an active, guarantee-supported secondary market with a documented history of rapid resale
- Sell through
- 84% across 2022-May 2024 (Artnet, 40 lots); 67% across the 6 settled lots from 2025 onward (Egon database)
- Annual volume
- Approximately 10-15 lots per year since 2022 (c. 56-58 lots total through Q1 2026); 6 lots catalogued in the Egon database from 2025 onward
Comparables
Jade Fadojutimi and Avery Singer are the closest comparables by generation, segment and price architecture; Matthew Wong is the standard reference for ultra-contemporary painting with rapid price compounding.
Collector base
Composition
Mix of American and Asian private collectors, private-museum founders and institutional buyers; the 2021 Frieze London booth sold to both private and institutional buyers
- Demand pattern
- Waitlist-driven primary allocation; The Art Newspaper characterised collectors as stampeding to her abstractions in May 2024
Named or identifiable
- Long Museum West Bund, Shanghai (Liu Yiqian / Wang Wei) - solo exhibition 'Venus World' 2023 and collection holding
- Pond Society, Shanghai - two-person exhibition with Guo Fengyi
- The Warehouse, Dallas (Rachofsky/Rose collection venue) - solo 'Nacar', 2023
- Scantland Collection, shown at Columbus Museum of Art ('Present Generations', 2021)
- Interscope-linked LACMA project 'Artists Inspired by Music: Interscope Reimagined' (2022)
Auction history
Record
- Work
- 18:50 (2021), oil on canvas, 178 x 307 cm
- Price
- HK$15m hammer / HK$18.5m with fees (c. US$2.3m; MutualArt records US$2,381,467)
- Venue
- Christie's Hong Kong, 20th/21st Century Evening Sale, 26 September 2024 (lot 3, inaugural sale at The Henderson APAC headquarters)
- Estimate
- HK$5m-8m - tripled the low estimate; world auction record for the artist
Overview
Auction debut in 2022; roughly 56-58 lots recorded at auction through Q1 2026 across Christie's, Sotheby's and Phillips, concentrated in New York, London and Hong Kong. Artnet's Price Database recorded 40 works at auction between 2022 and May 2024 with an 84% sell-through rate and 63% of works exceeding estimate.
Provenance caution
Egon-database figures and web-sourced lot listings are reported separately above and deliberately not merged. Where a work appears in both (9:59, Light Rain, the March 2025 Untitled), the Egon figure is the price of record; external aggregators generally do not publish realised prices without subscription and are used here only to confirm lot, date and house.
Bought in and unsold
Two of the six lots in the Egon database (2025 onward) did not settle as sales, implying 67% sell-through in that window against the 84% Artnet recorded across 2022-May 2024 - the clearest quantitative sign of cooling. Individual bought-in lot titles are not published in accessible sources.
Egon database summary
6 lots catalogued from 2025 onward, 4 sold, 67% sell-through across 6 settled lots; range $30,240-$1,691,802; average $704,039. Partial coverage (2025 onward, four houses only).
Market position
- Segment
- Ultra-contemporary (works made within the past two decades) - the most volatile and speculative market segment
Peer set
Named alongside Avery Singer and Jade Fadojutimi in ARTnews' coverage of the Art Basel/UBS 2026 report as emblematic of the fast-moving ultra-contemporary sector
Flipping risk
Artnet News documented 'fast and furious' flipping of early works sourced from Smart Objects, High Art and the Barn Show. Christie's discontinued its Post-Millennium ultra-contemporary sales in 2024, its Asia deputy chairman telling The Art Newspaper the house had walked away from that market rather than participate in speculation - a structural reduction in the number of venues able to absorb supply of this kind.
Macro context
The Art Basel/UBS 2026 report describes a fourth consecutive year of contemporary market decline with Old Masters and Impressionists rebounding. Bank of America's Spring 2026 market update records a 20% year-on-year fall in New York auction lot counts in 2025, with works under $50,000 making up 61% of lots sold, and notes Contemporary and Young Contemporary works fell below estimate on average while making up 43% of lots offered. Bull's top end has so far resisted the segment trend better than average.
Investment outlook
Risks
Segment-wide ultra-contemporary cooling; dependence on Hong Kong/New York evening-sale bidding; no catalogue raisonne and a short price history; the record was set within a single market cycle and has not been tested through a downturn; resale supply from 2019-2021 primary buyers remains an overhang; Christie's withdrawal from ultra-contemporary sales narrows venue capacity.
Upside
Further first-rank museum acquisitions, a first European or Asian public-museum solo, a travelling version of the ICA Miami survey, or a landmark private-collection placement could re-rate the market upward.
Summary
A young, high-velocity market that has compounded faster than the institutional record beneath it. The top end remains strong - $1,691,802 in October 2025 against a $402,810-$671,350 estimate (Egon database) - but volume is thinning and sell-through has fallen from 84% (2022-mid-2024) to 67% across settled lots from 2025 onward.
Guidance
Treat any single result as a data point in a still-forming market rather than a stable benchmark; watch whether gains broaden across a more geographically diverse buyer pool, and weight scale heavily - the gap between a small canvas ($30k) and a signature time-titled work ($1.7m+) is roughly 50x.
Primary market access
Exclusive primary representation with David Kordansky Gallery since 2021; allocation is waitlist-driven and prices are not published. Early works reach the market only through resale.
Institutional presence
Research updated
Exhibitions
Group
Scroll horizontally if needed →
| Dates | Title | Venue |
|---|---|---|
| 16 May - 30 August 2026 | Abstraction, Continued: Recent Paintings from the Speed Art Museum Collection | Speed Art Museum, Louisville, KY |
| 2026 | Skins | Fundacion Medianoche0, Granada, Spain |
| 2024 | How Do We Know the World? | Baltimore Museum of Art, MD |
| 2024 | Abstraction (re)creation - 20 under 40 | Le Consortium, Dijon, France |
| 2023 | NGV Triennial | National Gallery of Victoria, Melbourne, Australia |
| 2023 | He Said/She Said: Contemporary Women Artists Interject | Dallas Museum of Art, TX |
| 2022 | Artists Inspired by Music: Interscope Reimagined | Los Angeles County Museum of Art |
| 2022 | 13 Women: Variation I | Orange County Museum of Art, Costa Mesa, CA |
| 2021 | ABSTRACT VOCABULARIES: Selections from the Collection | Museum of Contemporary Art San Diego |
| 2021 | Present Generations: Creating the Scantland Collection of the Columbus Museum of Art | Columbus Museum of Art, OH |
| 2019 | The Barn Show | Johannes Vogt, East Hampton, NY |
Biennial triennial
NGV Triennial, Melbourne, 2023 - her only major recurring international survey inclusion to date. No Venice Biennale or Whitney Biennial participation found.
Solo and two person
The Garden of Forking Paths
- Dates
- 3 December 2024 - 30 March 2025
Notes
First U.S. museum exhibition; curated by Gean Moreno; sixteen paintings from 2019-2024 including large-scale horizontal works over ten feet across; accompanied by an ICA Miami stairwell commission (c. 39 feet, spanning three floors) on view through September 2025
- Venue
- Institute of Contemporary Art, Miami, FL
Nacar
- Dates
- 9 September - 25 November 2023
- Venue
- The Warehouse, Dallas, TX (private collection venue)
Venus World
- Dates
- 10 June - 13 August 2023
- Venue
- Long Museum West Bund, Shanghai, China (private museum)
Lucy & Fengyi (two-person with Guo Fengyi)
- Dates
- 8 January - 20 February 2022
- Venue
- Pond Society, Shanghai, China
Piper
- Dates
- 2022
- Venue
- David Kordansky Gallery, New York
View 7 more records
Skunk Grove
- Dates
- 2021
- Notes
- Debut with the gallery
- Venue
- David Kordansky Gallery, Los Angeles
Skylining
- Dates
- 2020
- Notes
- Described by Ocula as a breakthrough moment introducing her signature swirling compositions
- Venue
- David Kordansky Gallery
Solo exhibitions with High Art
- Venue
- High Art, Paris (2019) and Arles (2020), France
The Damage
- Dates
- 2-17 February 2019
- Venue
- Human Resources, Los Angeles
Solo exhibition
- Dates
- 2019
- Venue
- Smart Objects, Los Angeles
Mother Culture
- Dates
- 2017
- Venue
- RMS Queen Mary, Long Beach, CA
Gallery presentations 2025
- Venue
- David Kordansky Gallery, Los Angeles (15 July - 16 August 2025); Karma, Thomaston, Maine (20 July - 31 August 2025)
Upcoming and current
Speed Art Museum collection exhibition, Louisville, 16 May - 30 August 2026 (current at the time of research). No announced 2026-2027 museum solo exhibition or announced forthcoming gallery solo was found in accessible sources.
Publications
Exhibition materials accompany the ICA Miami survey. No catalogue raisonne exists - normal for a living artist this early in her career - and works are verified through the artist's studio and David Kordansky Gallery rather than an authentication board. No independent scholarly monograph or peer-reviewed academic literature identified.
Credit line note
No acquisition credit line for any Lucy Bull holding is published in any accessible museum online record located in this research. The curatorial-purchase versus donor-gift distinction therefore cannot be established for a single holding, and holdings are weighed on institutional tier alone. No credit line has been inferred.
Museum collections
Hirshhorn Museum and Sculpture Garden, Smithsonian, Washington, D.C.
- Tier
- First-rank (national modern/contemporary collection, international loan standing)
- Credit line
- credit line not published
Los Angeles County Museum of Art (LACMA)
- Tier
- First-rank encyclopedic
- Credit line
- credit line not published
Albertina Museum, Vienna, Austria
- Tier
- First-rank international
- Credit line
- credit line not published
Museum of Contemporary Art, Los Angeles (MOCA)
- Tier
- Major contemporary museum
- Credit line
- credit line not published
Baltimore Museum of Art, MD
- Tier
- Major American museum
- Credit line
- credit line not published
View 8 more records
Perez Art Museum Miami
- Tier
- Major American contemporary museum
- Credit line
- credit line not published
Dallas Museum of Art, TX
- Tier
- Major American museum
- Credit line
- credit line not published
MAMCO, Geneva, Switzerland
- Tier
- European contemporary museum
- Credit line
- credit line not published
Museum of Contemporary Art San Diego
- Tier
- Strong regional contemporary museum
- Credit line
- credit line not published
Rose Art Museum, Brandeis University, Waltham, MA
- Tier
- University museum
- Credit line
- credit line not published
Speed Art Museum, Louisville, KY
- Tier
- Regional museum
Credit line
credit line not published - holding evidenced by the 2026 collection exhibition 'Abstraction, Continued: Recent Paintings from the Speed Art Museum Collection'
Institute of Contemporary Art, Miami, FL
- Tier
- Contemporary institution with a permanent collection
- Credit line
- credit line not published
Long Museum West Bund, Shanghai, China
- Tier
- Private museum - not a public collecting institution for institutional-validation purposes
- Credit line
- credit line not published
Awards and recognition
No major prizes, fellowships, residencies or honorary positions located in accessible sources. Recognition has accrued through exhibition and acquisition rather than through award structures, a common pattern for a market-led ultra-contemporary trajectory. Inclusion in Le Consortium's 'Abstraction (re)creation - 20 under 40' (Dijon, 2024) functions as a curatorial selection signal rather than a prize.
Career & Biography
Research updated
Identity
- Gender
- Female
- Website
- lucybull.com
- Full name
- Lucy Bull
- Birth year
- 1990
- Birthplace
- New York City, New York, USA
- Nationality
- American
- Current location
- Lives and works between Los Angeles and New York (primary studio in East Los Angeles)
Education
Note
At SAIC she developed a parallel curatorial interest, organizing an early group show staged around a lazy susan at a dim sum restaurant while taking a class with artist Joseph Grigely based on his book 'Exhibition Prosthetics'.
- Degree
- BFA, Painting, School of the Art Institute of Chicago, 2012
- Undergraduate start
- Rhode Island School of Design, painting, 2008-2010 (attended, transferred, no degree conferred)
Career timeline
- Year
- 2012
- Event
- BFA, School of the Art Institute of Chicago; moves briefly to New York
- Year
- c. 2014
- Event
- Relocates to Los Angeles; begins organizing exhibitions from her East Hollywood apartment
- Year
- 2017
- Event
- Presentation 'Mother Culture', RMS Queen Mary, Long Beach, CA
- Year
- 2018
- Event
- Begins appearing regularly in group exhibitions per her CV
- Year
- 2019
Event
Solo exhibitions at Smart Objects, Los Angeles (credited in trade press with discovering the artist) and 'The Damage' at Human Resources, Los Angeles; solo with High Art, Paris; included in Johannes Vogt's 'The Barn Show', East Hampton, where a work sold at $4,500
View 7 more records
- Year
- 2020
- Event
- Solo with High Art, Arles; 'Skylining' marks the emergence of her signature swirling compositions
- Year
- 2021
Event
Joins David Kordansky Gallery; debut gallery solo 'Skunk Grove', Los Angeles; solo booth at Frieze London (seven works sold $25,000-$85,000 to private and institutional buyers per ARTnews); two-person 'Lucy & Fengyi' with Guo Fengyi at Pond Society, Shanghai (run into Feb 2022)
- Year
- 2022
Event
'Piper', David Kordansky Gallery, New York; auction debut year and secondary-market breakout; '13 Women: Variation I', Orange County Museum of Art; LACMA 'Artists Inspired by Music: Interscope Reimagined'
- Year
- 2023
- Event
- Institutional-scale solos 'Venus World' at Long Museum West Bund, Shanghai and 'Nacar' at The Warehouse, Dallas; NGV Triennial, Melbourne
- Year
- 2024
Event
World auction record HK$18.5m / c. US$2.3-2.4m for '18:50' (2021), Christie's Hong Kong, 26 September; 'The Garden of Forking Paths' opens at ICA Miami (3 Dec), her first U.S. museum exhibition; 'Abstraction (re)creation - 20 under 40', Le Consortium, Dijon
- Year
- 2025
Event
ICA Miami survey runs to 30 March 2025; ICA Miami stairwell commission on view through September 2025; gallery presentations at David Kordansky, Los Angeles (15 Jul-16 Aug 2025) and Karma, Thomaston, Maine (20 Jul-31 Aug 2025)
- Year
- 2026
Event
Included in 'Abstraction, Continued: Recent Paintings from the Speed Art Museum Collection', Speed Art Museum, Louisville (16 May - 30 Aug 2026); 'Skins', Fundacion Medianoche0, Granada, Spain
Studio practice
Bull works in a lofted two-storey home/studio in East Los Angeles, keeping in-progress paintings throughout the living space so she can move between them with fresh eyes. She works on many canvases simultaneously over long, physically demanding sessions - she has described laying out paint one day that she will obliterate the next - with some paintings labored over for months and others arriving quickly. Her process begins with automatic mark-making and relinquishing control, then proceeds through iterative addition, layering and revision.
Family and formation
Both parents are artists: her mother a painter/multimedia artist who designed textiles; her father a documentary filmmaker and former teaching assistant to painter-theorist Manny Farber. Bull has a twin sister.
Political social engagement
No significant documented activist or overtly political dimension to the practice; the work is non-representational and perceptual rather than social-issue based.
Artistic context and influences
Contemporaries
Grouped in market commentary with Avery Singer and Jade Fadojutimi as emblematic of the ultra-contemporary painting segment; peer LA abstraction cohort and the Kordansky roster.
Cited influences
- Helen Frankenthaler
- Wassily Kandinsky
- Sigmar Polke
- Max Ernst and Surrealist landscape
- Alma Thomas / Sam Gilliam colour-field lineage (comparison drawn by Sotheby's)
- psychedelic visual culture
- spiritual abstraction
- automatic drawing, literature and dreams
- the light and landscape of Los Angeles
- Curatorial sensibility
- An early curatorial practice (apartment shows, restaurant-staged group exhibitions) informs her cross-scene, community-building approach.
Artistic Profile
Research updated
Style
Large-scale, densely layered oil-on-linen abstraction built from accumulated marks into atmospheric all-over fields with no fixed orientation or horizon. Surfaces hum with optical activity and appear in constant flux; the gallery describes the formal attributes as visual bait that draws the eye into atmospheric space before opening onto a near-limitless set of associations. Works invite rotation and sustained looking rather than resolving into an image.
Evolution
Early work to c. 2018 was more structured and smaller in scale. The 2019-2020 period, culminating in 'Skylining', established the swirling, improvisational, hallucinatory idiom; works such as 36.5 and Untitled (2020) are densely worked with no fixed orientation. 2021-2023 brought escalating scale and chromatic complexity under Kordansky. The 2024 ICA Miami survey introduced monumental horizontal formats over ten feet wide, described by the museum as inaugurating a new field of exploration, alongside continued vertical works.
Influences
- Helen Frankenthaler
- Wassily Kandinsky
- Sigmar Polke
- Max Ernst and Surrealist landscape/frottage
- Alma Thomas and Sam Gilliam (colour-field comparison drawn by Sotheby's)
- Guo Fengyi (exhibition pairing; visionary drawing)
- psychedelic visual culture and spiritual abstraction
- Los Angeles light and landscape
Visual language
- Mood
- Ecstatic and sensorially overwhelming in the warm works; enveloping, aquatic stillness in the cool tonal works
Colour
Saturated, chromatic, jewel-toned; warm analogous palettes (burnt sienna, violet) alternating with cool teal-to-viridian fields with chartreuse and white accretion
Composition
All-over composition, flatness, forms pressed against the picture plane, soft edges, curvilinear tendrils, repeating scalloped patterning, orb-like and eye-like inclusions
Signature series
- Time-titled paintings (18:50, 15:15, 14:05, 9:59, 8:50, 22:14) - the core body of work and the source of every top-end auction result
- Named single works: Skunk Grove, Piper, Skylining, Gloam, Light Rain, Weatherman, A New Dew, Most Attractive, Tap, Untitled (Touched)
- Plume charcoal works on paper (2018)
Themes and subjects
- Perception, optical instability and the act of seeing
- Time, memory and consciousness
- Dream states and altered psychological conditions
- Interior psychic landscape versus exterior landscape - the macroscopic and microscopic swapping places
- Ambiguity, infinity and openness to future interpretation
- Synaesthesia - works described in sonic, tactile and emotional terms
- Process and materiality
Movements and periods
- Contemporary abstraction (2010-present)
- Gestural / Abstract Expressionist register
- Biomorphic and psychedelic abstraction
- Surrealist automatism lineage
- Colour-field inheritance
Techniques and mediums
Methods
Automatic mark-making as a point of departure; iterative addition and obliteration over long sessions; layered translucent glazes building chromatic depth; scumbling; dry-brush dragging that catches the canvas weave; fine-line feathered detail; localized impasto and white accretions; many canvases worked simultaneously over months
Primary
Oil on linen and oil on canvas, typically large-scale; horizontal works over ten feet across and one ICA Miami stairwell commission of approximately 39 feet
- Secondary
- Charcoal on paper (e.g. the Plume works, 2018)
Fingerprint verification
Extended
Oil on LINEN is the dominant support (the fingerprint records only 'oil' and 'painting'). Add automatic mark-making and no-fixed-orientation composition as method-level signals; the time-stamp titling convention as the identifier of her core body of work; monumental horizontal format (10 ft+, one 39 ft commission) as a post-2024 development the fingerprint's exemplars predate; and synaesthesia - sonic and tactile description - as the artist's and gallery's own framing.
Confirmed
Oil/painting medium, scumbling, all-over composition, flatness, soft edges, saturated jewel-toned chromatic palettes, the 2010-present contemporary bracket, the gestural/Abstract Expressionist register, and the collector themes of nature and the organic, process and materiality, and pure abstraction are all corroborated by gallery, museum and editorial sources.
Disagreements
Two points of tension with the stored fingerprint. (1) 'Spirituality and the sacred' is weakly supported: sources emphasise perception, consciousness, dream states and psychedelia; 'spiritual abstraction' appears only as a listed influence, not as subject matter. (2) The Surrealist reading (Ernst, Carrington) is corroborated by Sotheby's and by critics, but sources equally stress that critics deliberately decline to assign her a single lineage, and the Frankenthaler/Kandinsky/Polke colour-field line is at least as strongly documented as the Surrealist one. Additionally, 'ecstatic' captures only half the emotional register - the cool teal works are consistently described in terms of stillness and immersion rather than ecstasy.
Critical Reception
Research updated
Critical reception
Gaps
No Artforum, frieze, Art in America or Brooklyn Rail review was located in accessible sources, and no scholarly essay independent of gallery or museum exhibition publishing was found. Her editorial footprint is heavily market-press weighted - a meaningful asymmetry given the price levels the work has reached, and the single clearest reason her institutional score sits below her market scores.
Summary
Reception has been overwhelmingly favourable but weighted toward market and profile journalism rather than sustained art-historical criticism. Curators and critics consistently describe the work as immersive, hallucinatory and physically demanding, attending to the obsessive layering of her process rather than assigning a single art-historical lineage.
Notable coverage
- Note
- Profile framing her practice around athletic endurance; source of the 84% sell-through and 63% above-estimate statistics
- Piece
- 'The Endurance Test of Lucy Bull's Visceral Abstractions', Katie White, 24 May 2024
- Outlet
- Artnet News
- Note
- Market analysis of flipping dynamics, the $4,500-to-$841,263 resale, and the $250,000 Art Basel Miami Beach asking price
- Piece
- 'Why There's a Bull Market for Lucy Bull's Paintings' (Work of the Week)
- Outlet
- Artnet News
- Note
- Studio visit plus the $11.3m 2022-23 auction turnover figure
- Piece
- 'Collectors stampeding to Lucy Bull's visionary abstractions', 17 May 2024
- Outlet
- The Art Newspaper
- Note
- Record reported in the context of Christie's public retreat from ultra-contemporary speculation
- Piece
- Christie's Hong Kong sale report, 26 September 2024
- Outlet
- The Art Newspaper
- Piece
- Christie's Hong Kong headquarters evening sale report, Sept 2024, and March 2026 Art Basel/UBS report coverage
- Outlet
- ARTnews
View 6 more records
- Piece
- 'I'm Obsessed With Ambiguity: 20 Minutes in Miami With Artist Lucy Bull', December 2024
- Outlet
- Interview Magazine
- Piece
- 'Behind the Gravitational Pull of Her Electric Abstractions: An Interview with Lucy Bull', 2024
- Outlet
- Observer
- Note
- Tier-1 market-editorial 'ones to watch' inclusion
- Piece
- '10 Breakthrough Artists at Auction in 2022'
- Outlet
- Artsy
- Piece
- Artist interview
- Outlet
- The Creative Independent
- Piece
- ICA Miami exhibition documentation and notices, December 2024
- Outlet
- VernissageTV / dreamideamachine ART VIEW
- Piece
- Artist profile and Frieze Los Angeles coverage
- Outlet
- Ocula
Editorial signals
Her editorial recognition consists of breakthrough/ones-to-watch listings (Artsy 2022), major trade-press profiles (Artnet News, The Art Newspaper) and repeated naming in Art Basel/UBS report coverage as a defining ultra-contemporary name. No magazine cover feature or 'New Talent' issue placement was located.
Curatorial framing
ICA Miami positions her as a singular voice in contemporary abstract painting whose works sit at the edge of language, with the macroscopic and microscopic swapping places and landscapes morphing into internal psychic spaces. Curator Gean Moreno drew the exhibition title from the Borges story; Bull endorsed the frame as matching the work's openness to future interpretation, telling Interview Magazine she is obsessed with ambiguity.
Publications and media
- Interviews
- Interview Magazine (2024), Observer (2024), The Creative Independent, Ocula
Social media
Active Instagram presence; her early reputation was built partly through apartment- and project-space curating in Los Angeles circulated through social networks
Art historical positioning
Positioned between the chromatic vibrancy of colour-field painting (Alma Thomas, Frankenthaler, Gilliam) and Surrealist landscape and automatism (Ernst), with a psychedelic, post-digital inflection. Commentators note critics resist assigning a single lineage, reading the work as bodily and perceptual instead.
Gallery & Representation
Research updated
Fair presence
Solo booth with David Kordansky at Frieze London, October 2021 (seven works sold, $25,000-$85,000); Art Basel Miami Beach 2024 (an eight-foot painting pre-sold against a $250,000 asking price); regular presence on the Kordansky fair calendar including Frieze Los Angeles.
Representation
Galleries
Scroll horizontally if needed →
| Name | Tier | Since | Status | Location |
|---|---|---|---|---|
| David Kordansky Gallery | 2 | 2021 | current | Los Angeles and New York |
| High Art | 1 | 2019 | former | Paris and Arles, France |
| Smart Objects | 0 | 2019 | former | Los Angeles |
| Johannes Vogt | 0 | 2019 | former | New York / East Hampton |
| Karma | 2 | 2025 | secondary | Thomaston, Maine / New York |
| Almine Rech | 2 | Not supplied | secondary | Brussels, Paris, London, New York, Shanghai |
| David Benrimon Fine Art | 1 | Not supplied | secondary | New York |
Geographic reach
United States (Los Angeles, New York, Miami, Dallas, Baltimore, Louisville, San Diego, Columbus), Europe (Paris, Arles, Dijon, Vienna, Geneva, Granada), Asia (Shanghai, Hong Kong) and Australia (Melbourne). Asia is disproportionately important to her market: the Shanghai institutional shows and Hong Kong evening-sale bidding have driven her top results.
Representation history
Discovered through the Los Angeles project-space ecosystem - Smart Objects is credited in the trade press with finding her - with early European exposure via High Art in Paris (2019) and Arles (2020). She joined David Kordansky Gallery in 2021 and rapidly became a signature artist of the programme, with solos in Los Angeles (2021, 2024, 2025) and New York (2022). Kordansky remains her exclusive primary representation; the other dealers listed handle resale rather than representation.
Sources & research notes
Egon’s artist research combines historical auction records, recent sales, institutional history, critical reception and gallery information. Researched auction records and auction highlights are identified separately.
Read prices with their work, sale date, currency and stated basis. Egon’s market assessments are distinct from reported auction results.
Reference: Egon, “Lucy Bull: Market Intelligence & Investment Profile.”
Research bibliography · 31 sources
Sources recorded for this artist’s research. This bibliography does not assign every source to an individual claim.
- Lucy Bull — Wikipedia
- Lucy Bull - Artist - David Kordansky Gallery
- Lucy Bull | Art for Sale, Results & Biography | Sotheby's
- Lucy Bull — Masterworks Academy
- Lucy Bull's Art For Sale, Exhibitions & Biography | Ocula Artist
- Lucy Bull - Art & Prints for Sale | Artsy
- Lucy Bull - Auction Results and Sales Data | Artsy
- Lucy Bull | Artnet
- Lucy Bull | 58 Artworks at Auction | MutualArt
- Lucy Bull Sold at Auction Prices | Invaluable
- The Endurance Test of Lucy Bull's Visceral Abstractions | Artnet News
- Why There's a Bull Market for Lucy Bull's Paintings | Artnet News
- Collectors stampeding to Lucy Bull's 'visionary' abstractions | The Art Newspaper
- Christie's Hong Kong sale notches $134m amid 'more selective, more cautious' market | The Art Newspaper
- Christie's Hong Kong Art Sales Fetch $162.2m | Ocula
- Christie's inaugural evening sale at new APAC headquarters amasses US$133m | The Value
- By the Numbers: Christie's Hong Kong 20th/21st Century Inaugural Evening Sale, September 2024 | Artnet News
- Christie's Inaugurates Swanky New Hong Kong Headquarters with $134M Evening Sale | ARTnews
- Art Basel UBS Report 2026: Contemporary Art Market Cools as Old Masters and Impressionists Rebound | ARTnews
- Art Market Update Spring 2026: Trends and Analysis | Bank of America Private Bank
- Art Market Update: Key Trends and Analysis for Spring 2026 | Merrill
- Lucy Bull: The Garden of Forking Paths - Institute of Contemporary Art, Miami
- Lucy Bull: The Garden of Forking Paths / ICA Miami | VernissageTV
- ART CITIES: Miami - Lucy Bull | dreamideamachine ART VIEW
- 'I'm Obsessed With Ambiguity': 20 Minutes in Miami With Artist Lucy Bull | Interview Magazine
- GP.LA | LUCY BULL — David Kordansky Gallery
- Lucy Bull – The Creative Independent
- Lucy Bull Charges Forward | LiveArt
- 10 Breakthrough Artists at Auction in 2022 | Artsy
- Lucy Bull Biography | Almine Rech
- Lucy Bull - Los Angeles - Smart Objects
Research updates by section
These dates show when Egon’s research sections were updated. Source retrieval dates, where supplied above, refer to individual evidence notes.
Ranking updated . Research sections follow their own update dates.
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