Dissertationen: „Art and antiquities market“

1

Stüssi, Garcia Susana. „Les arts méconnus des Anciens Américains : discours savants, goût privé et évolutions dans le commerce en France au XIXe siècle“. Electronic Thesis or Diss., Paris 1, 2023. http://www.theses.fr/2023PA01H090.

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Cette thèse étudie plusieurs moments marqués par un intérêt et engouement forts pour les artefacts et monuments précolombiens – ou pensés comme tels – pour comprendre leur présence et usages en France durant le long 19ème et avant leur appréhension esthétique de la première moitié du 20ème siècle. Suivant surtout des objets provenant du Mexique et de l’Amérique Centrale, cette étude privilégie deux aspects jusqu’alors moins explorés : le goût, les espaces et les usages privés d’une part; leur place dans le commerce de l’antiquité, de la curiosité et de l’art de l’autre. Le dépouillement de catalogues de collections et de ventes, de publications savantes artistiques et des enquêtes archivistiques en France et aux États-Unis ont permis de relever des moments où créativité érudite, intérêt amateur et marché ont évolués ensemble. Après suivre la formulation d’une valeur d’«antiquité» pour les «objets anciens» des Amériques à la fin du 18ème siècle, l’arrivée de nouvelles collections mexicaines à Paris et le projet de publication des Antiquités mexicaines (1834-1840) permettent d’identifier un nouveau foyer d’intérêt pour l’antiquité américaine et ses œuvres d’art au sein de la Société Libre des Beaux-Arts de Paris. A partir des années 1830 et en parallèle à l’intensification des échanges avec l’Amérique Latine, il est dès lors possible d’identifier des marchands et offrant des artefacts des Amériques et de suivre l’émergence des premiers «experts» de ce marché. La Deuxième Intervention Française au Mexique (1861-1867) permet d’explorer l’idée d’une relation privilégiée entre la France et le Mexique. L’étude des mutations du marché et des sensibilités montre comment cet épisode et l’engouement contemporain pour l’univers du «primitif» se sont traduits par un développement considérable du commerce et du collectionnisme d’artefacts des Amériques. Deux études de cas sur le marchand Eugène Boban et le collectionneur Eugène Goupil permettent de recontextualiser ces développements structuraux à l’échelle de l’individu. Enfin, l’étude d’un réseau de collectionneurs franco-mexicains et nord-américains, sous le double prisme de l’affirmation de discours patrimoniaux patriotiques et d’un marché de l’art transnational, éclairent la nouvelle valeur marchande et la mutation en «ouvre d’art» de ces objets partir des années 1920
This thesis examines different moments characterized by a strong interest for and fascination with Pre-Columbian artefacts – or though as such – to better understand their place in 19th century France, before their aesthetic “rediscovery” in the 20th century. Focusing on artefacts from Mexico and Central America and drawing from sales catalogues, scholarly and artistic publications and archival research, this thesis explores the role played by personal taste and private usages in collecting as well as the place occupied by these objects in the developping art and antiquities market. In the 1830s, the arrival of new collections in Paris and the publication of Antiquités mexicaines serve as the starting point from which to consider the Société Libre des Beaux-Arts as one of the main centres structuring interest for American Antiquity. It is now also possible to identify the first merchants and “experts” to offer Pre-Columbian artefacts for sale. We then examine the aftermath of the Second Franco-Mexican War (1861-67) : how it contributed to articulate the idea of a privileged relationship between France and Mexico and how the emergence of a new taste for all things “primitive” affected the commerce of Pre-Columbian artefacts. Finally, through the study of dealer Eugène Boban and collector Eugène Goupil we analyse these structural changes at the level of the individual and follow a network of Franco- Mexican and North American collectors whose activity, considered in terms of patriotic heritage discourses and the emergence of a transnational art market, contribute to understanding the transformation of Pre-Columbian material culture into “artworks” in the 1920s

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2

Skates, Elizabeth Anne. „Museum and antiquities market interactions : manifestations of the museum paradox“. Thesis, University of Cambridge, 2000. https://www.repository.cam.ac.uk/handle/1810/251720.

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3

Bianchin, Francesco <1995&gt. „CHINESE ART MARKET ON AUCTION“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16702.

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One of the main developments in the art market history of the twenty-first century is the emergence of China as a strong market player, and the growing prominence of Chinese art and antiquities, based on the record-high prices attained at auction in 2010. Within a three year period between 2007 and 2010, China has gone from sixth place to being the second-largest art market in the world, behind the US. Based on fine art auctions statistics, the buyer demographic of Chinese art and antiquities in the past three decades has moved from the West to China. PRC Chinese are the largest group of art buyers today, collecting Chinese antiquities, classical and modern paintings, and contemporary Chinese art. Following the time chronology of China in the thesis is analyzed the development of the art market throw the different historic periods and art of collecting Chinese antiquities, from the ancients dynasties to the modern collectors of the twentieth century. The global market for Chinese art today covers an extensive geographical area and a history spanning over two millennia. The thesis will explore the main developments in the Chinese art market within the global context in the twentieth century, and how these developments have shaped the growth of the art market in the twenty-first century. Through historical analysis, key players in the demographic market and price trends will be identified.

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4

Binder, Lisa M. „Contemporary African art in the London art market : 1995-2005“. Thesis, University of East Anglia, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500812.

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This thesis explores the market for contemporary African art in London from 1995 to 2005 using case examples of artists, museums, art festivals and fairs, auctions and galleries. The study is generally bracketed by two festivals, africa 95 and africa 05, touching also on events that transpired during the intervening decade. Many artists from Africa who were working, living or exhibiting in London during this time experienced degrees of marketable success as a result of their participation or relationship with actors involved in the marketplace and in private and public institutions. However, this was not the case for all connected with the two events. The purpose of this thesis is to examine the underlying network of market systems, in a particular place and time, for work by contemporary artists from Africa, in order to frame the various points of entry into the market and, by extension, the broadening of contemporary art historical canons

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5

Montgomerie, Elizabeth Amber. „Images of rural activities on mosaic pavements in Late Antiquity in the Levant“. Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:06c62da9-7dcf-4b34-96ec-3d5ea425e2cb.

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Images of rural activities become very popular in mosaic floor decoration in the Levant during the Late Antique period. I aim to explore different categories of iconography and discuss the images of people engaged in rural activities, such as pastoralism; hunting, fishing and activities connected with the vintage. I also aim to look at imagery that is often discussed in isolation without relation to other connected iconographic categories. The symbolic meaning of the representations of the zodiac found in synagogues, for example, is often discussed in detail without also looking at the rural calendars that appear in Christian contexts during the same period in the same region. I also want to explore the archaeological evidence for the activities that appear on the mosaic pavements. Studying both the archaeology and the iconography will, I hope, help us understand what the use of these particular categories of iconography in decorative schemes can tell us about the society that created them.

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6

Lu, Di Yin. „Seizing Civilization: Antiquities in Shanghai's Custody, 1949 – 1996“. Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10437.

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Seizing Civilization uses the Shanghai Museum as a case study to examine an extraordinary process of art appropriation that persisted from 1949 to 1996 in the People's Republic of China (PRC). At the heart of this story is the museum's destruction of the preexisting art market, its wholesale seizure of privately-owned antiquities, and its sale of these objects on the international market. My findings show that museum employees used these events to create public art collections in the PRC. The Shanghai Museum pioneered the techniques that Chinese museums use to transform craft objects, as well as select ancient paintings, ceramics, and bronzes, into canonized cultural relics. I argue that the application of these techniques explains the erasure of provenance at Chinese Museums, and demonstrate how state cultural institutions render acquisition ledgers, private collecting records, and connoisseurship disputes invisible. I examine cultural relics' transformation into Chinese cultural heritage in five chapters. I first demonstrate how museum employees appropriated private collections during nation-building campaigns such as the nationalization of industries (1956). Second, I investigate changes to the Chinese art historical canon, placing them in the context of art market takeovers, the wholesale acquisition of ethnic minority artifacts, as well as municipal programs in salvage archaeology. Then, in two chapters, I reveal the Shanghai Museum's active participation in antiquities confiscation and divestment during the Cultural Revolution (1966 – 1976), which enriched public art collections on a previously unprecedented scale. I conclude with an examination of the mass restitution of expropriated property in the 1980s and 90s, which underpinned the museum’s dual function as both a preservationist institution, as well as a political and commercial enterprise. The antiquities and events I analyze not only explain the ascendency of a dominant narrative about Chinese civilization, but also reveal the limits, contradictions, and challenges of PRC national patrimony.
History

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7

Tsirogiannis, Christos. „Unravelling the hidden market of illicit antiquities : the Robin Symes-Christos Michaelides network and its international implications“. Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648271.

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8

Tseng, Suliang. „The art market, collectors and art museums in Taiwan since 1949“. Thesis, University of Leicester, 2001. http://hdl.handle.net/2381/31164.

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Radical changes in society have significantly influenced Taiwan since 1949. These changes have created a diversity of social forces, derived from politics, the economy and culture, which have widespread impacts. After 1980, these increasing forces contributed to a prospering art market, art collecting and museum expansion. Political changes intensified the ethnical conflict between the Benshengren and Waishengren, Economic prosperity provoked the art market, encouraged art collectors and diversified collecting interests. Cultural awareness, which was influenced by political ideology and growing Nativism, caused people to re-evaluate local culture. Collecting local cultural objects became very popular and rivalled the collecting of traditional Chinese objects. These social forces, which interweaved and interacted with each other, contributed to cultural development in Taiwan and consequently provoked a diversity of phenomena such as collecting fever, artistic fashion, faking, smuggling, theft and an explosion of museums, auction houses and dealerships. These phenomena emerged rapidly, grew and strongly influenced the art market. The prosperous art market thus can be seen as a place reflecting the social impact and the cultural evolution of Taiwan. Based on observation, historical review of contemporary sources and interviews, this thesis examines the complex relationships between these phenomena. Sociologically and historically, this research not only shows the complexity of these relationships but also provides a model for the operation of the art market as it enters Mainland China.

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9

Lane, David C. Jr. „The Social Economy of the Illicit Arts and Antiquities“. VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/83.

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This work will offer sociological theory about deviance, positing that deviance is part of larger social processes. Specifically, it will examine the illicit arts and antiquities trade, arguing that networks of legitimate status-role positions facilitate illegitimate behaviors. This theoretical framework is developed out of the notion that deviant actions may be the result of a social economy, and not the result of individual or psychological concerns. The work will use an exploratory methodology and attempt to explain or answer several research questions. This is tested by using qualitative, open-source data describing the context and means of participation in the status-role positions. The intent is to highlight specific cases and explain how the alternative theory of deviance may be more suitable to explain this type of phenomena.

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Ulmschneider, Katharina. „Markets, minsters and metal-detectors : the archaeology of Middle Saxon Lincolnshire and Hampshire compared /“. Oxford : Archaeopress, 2000. http://catalogue.bnf.fr/ark:/12148/cb40210664x.

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11

Wang, Xuan. „Gallery's Role in Contemporary Chinese Art Market“. The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1258577100.

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12

Whittaker, Daniel Joseph. „Re-imaging antiquities in Lincoln Park| Digitized public museological interactions in a post-colonial world“. Thesis, Illinois Institute of Technology, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10007515.

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The study of an architecture of autonomy consists of theoretical investigations into the realm of building types where a sole use or purpose is manifest in a structure that could, site provided, be constructed. However, provisions that conventional architecture traditionally provide are not present in these explorations. Technological advancements such as indoor plumbing, electric lights, and vertical conveyance systems in the form of elevators and escalators are excluded. Platonic geometric form-making are instead thoroughly investigated, imagined, and manipulated for the purposes of creating new spatial experiences. The desired resultant is an architecture of singularity, an architecture of fantastical projection.

Through a series of two theoretical ritual-based investigations, three-dimensional form manipulation and construction of proportioned scale models, the essence of elements that compose a spatial experience contributed to a collection of metaphorical tools by which the designer may use to build a third imagined reality: the re-imagination of the archetypal museum. A building whose purpose is not solely to house ancient objects in a near hermetically-sealed environment, free of temperature, humidity and ultra-violet light aberrations, but is a re-imagined. A structure meant to engage the presence of two seemingly divergent communities: the local patron/visitor and the extreme distant denizen.

This paper also examines key contemporary global artists’ work and their contributions to the fragmentation / demolition of architectural assemblages for the purposes of re-evaluating the familiar vernacular urban landscape while critically positioning the rôle of both the artifact and gallery in shaping contemporary audience’s museum experiences.

The power of the internet and live-camera broadcasting of images utilizing both digital image recording and full-scale screen-projections enable the exploration of “transporter-type” virtual-reality experiences: the ability to inhabit an art work’s presumed original in situ location, while remaining in Chicago as a visitor within a vernacular multi-tenant masonry structure: vacated, evicted, and deconstructed for the purposes of displaying art amidst a new urbane ruin. The complexities of this layered experience is meant to simultaneously displace and interrupt a typical set of so-called a priori gallery expectations while providing the expectant simulacrum that video cameras and screens provide, whetting a contemporary patron’s appetite.

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13

Holm, Margaret Ann. „Prehistoric Northwest Coast art : a stylistic analysis of the archaeological record“. Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29932.

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This thesis is a stylistic study of the prehistoric art record from the Northwest Coast of North America. Its purpose is three-fold: to describe the spatial and temporal variation in the stylistic attributes of prehistoric art; to evaluate theories on the evolution of the Northwest Coast art tradition; and to comment on the possible factors behind variation in the prehistoric art record. This study examines stylistic attributes related to representational imagery, concentrating on five variables: decorated forms, carving techniques, design elements, design principles, and motifs. The core sample consists of anthropomorphic and zoomorphic images from dated archaeological contexts; a total of 242 artifacts from 58 sites are examined. The material is presented in chronological order corresponding to the Gulf of Georgia prehistoric cultural sequence. The major finding of this study is that by the end of the Locarno Beach phase or the beginning of the Marpole phase the essential character of the Northwest Coast art style had developed. There are new developments in the late period, but the evidence presented suggests a previously undocumented stylistic continuity from the late Locarno Beach phase to historic Coast Salish art with no decline in quality or productivity. This study indicates that, as far back as the record extends, three-dimensional, naturalistic forms and two-dimensional incising and engraving techniques have equal antiquity. From the Locarno Beach phase onward the flat, engraved style and the three-dimensional sculpture style developed together; the formline concept developed very early out of the raised, positive lines created by deep engraving in antler.
Arts, Faculty of
Anthropology, Department of
Graduate

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14

Raskin, Shaina. „Analysis and Ethical Conservation of a Roman Statue Head in the Scripps College Permanent Collection“. Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/664.

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Unprovenanced and undocumented antiquities play a large roll in the international trade of antiquities, a billion dollar sector of the art market. The removal of these antiquities from their source countries creates many problems for the academic community and the standards put in place to eliminate illegal activity. An analysis of an ancient Roman statue head of Livia was used to demonstrate the usefulness of such an legally acquired undocumented antiquity. A visual analysis was first conducted on the Scripps Livia residing within the Scripps Permanent collection by creating comparisons to other known portraits of Livia. A chemical analysis was then conducted to continue verifying authenticity. With the use of a Scanning Electron Microscope, four samples removed from the sculpture were analyzed for elemental composition. Based on the data gathered from these analyses recommendations for new acquisition policies were created for the purpose of ethically researching and displaying the Scripps Livia.

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15

Bianco, Christine. „Selling American art celebrity and success in the postwar New York art market /“. [Florida] : State University System of Florida, 2000. http://etd.fcla.edu/etd/uf/2000/ane5873/thesis.pdf.

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Thesis (M.A.)--University of Florida, 2000.
Title from first page of PDF file. Document formatted into pages; contains iv, 70 p. Abbreviated abstract copied from student-submitted information. Vita. Includes bibliographical references (p. 56-69).

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16

Kuizon, Jaclyn. „Fine Art and Clandestine Identity: American Indian Artists in the Contemporary Art Market“. W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626648.

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17

Vosilov, Rustam. „Essays on Art Markets : insight from the international sculpture auction market“. Doctoral thesis, Umeå universitet, Företagsekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-106693.

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The main purpose of this thesis is to investigate the viability of sculpture as a potential alternative investment. This goal is achieved through partly assessing the market quality of the auction market for sculptures and partly by studying their long-run diversification potential. The assessment of the sculpture market quality, together with the long-run co-movement analysis are objectives met through conducting four individual studies. In Paper I, I find that auction house art experts' relative estimate range positively affects realized prices. The effect is robust across the mid- low- and high-end segments of the international sculpture market. Interpreting the art experts' price estimate range as a proxy for the prevailing divergence of investor opinion in the art market, the findings are consistent with the disagreement model of Miller (1977). This evidence is contradictory to the predictions of the general auction model in Milgrom (1982) and does not lend support to the interpretation of the price estimate range as a proxy only for uncertainty. Moreover, the study gives insight into the price determinants of sculpture using a unique large dataset of over 65,000 sculpture sales at international auctions. Paper II is the first study to find evidence of a home bias in prices of art sold at international art auctions. All else equal, art prices are higher when they are auctioned in the home country of the artist compared to outside of the artist's home country. Moreover, the home bias in prices is more pronounced in the low-end sculpture market segment than in the high-end segment, indicating that familiarity can be a potential explanation of the bias. Furthermore, the home bias is found to be partly related to patriotism. The findings indicate that the home bias in prices increases as the relative level of patriotism rises in the home country of the artist, and that patriotism is a more persistent source of the home bias in art prices than familiarity. Paper III examines the absolute and time-varying weak-form market efficiency of the international sculpture auction market. The results indicate that the sculpture market efficiency varies over time lending support to the Adaptive Markets Hypothesis. Moreover, I find that the times of peaking relative market inefficiency coincide with distress in the wider economy and financial markets. Additionally, I find evidence that auction house art experts' pre-sale estimate accuracy Granger causes developments in time-varying market efficiency, highlighting the importance of art experts. Paper IV analyzes the dynamic relationship between the international sculpture market and the traditional financial investments during the period 1985-2013. Three international sculpture price indices are constructed to proxy for the general sculpture market price movements along with the low- and high-end segments of the international sculpture market. The results show that price development in the sculpture market does not move together with government bond prices in the long run. When it comes to equity markets, I find significant cointegrated dynamics between sculpture indices and the world equity markets. On the other hand, there is no such relationship when the S&P 500 is considered. Furthermore, cointegration is detected when analyzing the sculpture markets with the world GDP per capita. Granger-causality tests reveal that sculpture prices, in general, are Granger-caused by GDP per capita. Moreover, the Granger-causality tests indicate that sculpture price developments follow the world equity price movements, but not those of the S&P 500.

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Durante, Annachiara <1993&gt. „The Power of the Experience in the Art Market Art business on Cruise Ships“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12407.

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The aim of this work is to analyze the importance of the experiencial aspect of the art market, through a broad overview of its various sales structures: art houses, fairs, galleries. While there is an emergent digital market, the experience is still a very important component in buying art. An example proving this evidence is the idea of an art business on the cruise ships. I will examine the case of ArtWave, an american company that has started a new art program on-board of two luxurious cruise ships: Azamara Journey and Azamara Quest, while having as well three land-based galleries in the U.S. The business strategy and the initial results will be investigated, for demonstrating how to take advantage of the power of the experience, translating it into another experience that has his own pover: the leisure vassel. Following their projects I will notice the leaks of the previous pioneer, briefly analyzing the case of Park West Gallery. Legislative aspects will be treated in short as part of the strategy, as well as the history of the birth of the phenomenon of cruises will help us to understand what are and what have always been the needs of the mankind; so to take advantage of it, transforming the cruise in a floating birdcage. The power of the experience becomes a postulate at the end of the considerations, and this can be an encouragement for new art business on this focus.

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Waelder, Laso Pau. „Selling and collecting art in the network society: Interactions among contemporary art new media and the art market“. Doctoral thesis, Universitat Oberta de Catalunya, 2016. http://hdl.handle.net/10803/399029.

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Aquesta tesi explora i analitza les interaccions actuals entre art, nous mitjans i el mercat de l'art, i també les transformacions que es produeixen en el reconeixement de l'art digital, l'estructura del mercat de l'art i els rols de l'espectador i el col·leccionista. La tesi es divideix en tres parts. La primera part analitza les maneres en què l'art de nous mitjans s'ha definit ell mateix com un món de l'art específic, i les polèmiques que exemplifiquen la seva separació del món de l'art contemporani. La segona part analitza les motivacions i les expectatives dels artistes que treballen amb tecnologies emergents, per mitjà d'una enquesta feta per l'autor entre més de cinc-cents artistes de cinquanta països. La tercera part analitza les maneres en què l'art digital ha estat comercialitzat i els canvis recents en el mercat de l'art contemporani a internet.
La presente tesis explora y analiza las interacciones actuales entre arte, nuevos medios y el mercado del arte, así como las transformaciones que se están produciendo en el reconocimiento del arte digital, la estructura del mercado del arte y los roles del espectador y el coleccionista. La tesis se divide en tres partes. La primera parte analiza las formas en que el arte de nuevos medios se ha definido a sí mismo como un mundo del arte específico, y las polémicas que ejemplifican su separación del mundo del arte contemporáneo. La segunda parte analiza las motivaciones y las expectativas de los artistas que trabajan con tecnologías emergentes, por medio de una encuesta realizada por el autor entre más de quinientos artistas de cincuenta países. La tercera parte analiza las maneras en que el arte digital ha sido comercializado y los cambios recientes en el mercado del arte contemporáneo en internet.
The present dissertation explores and analyzes the current interactions among art, new media and the art market, as well as the ongoing transformations in the recognition of digital art, the structure of the market, and the role of the viewer and collector. It is divided into three parts. The first part analyzes the ways in which new media art has defined itself as a distinct art world, as well as the controversies that exemplify its separation from the mainstream contemporary art world. The second part exposes the motivations and expectations of artists working with emerging technologies by means of a survey carried out by the author among more than 500 artists from 50 countries. The third part discusses the ways in which digital art has been commercialized as well as the recent developments in the online contemporary art market.

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Fisher, Kylie Michelle. „Imprinting Antiquity: Reinventing the Past through Sixteenth-Century Prints“. Case Western Reserve University School of Graduate Studies / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=case1585853474864203.

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21

Gimbel, David Nelson. „The evolution of visual representation : the elite art of early dynastic Lagas and its antecedents in late Uruk period Sumer and predynastic Egypt“. Thesis, University of Oxford, 2002. http://ora.ox.ac.uk/objects/uuid:209a8832-9e13-494d-946e-016ba9aa215c.

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The corpus of artifacts from the Lagas state constitutes what is arguably the single largest cohesive body of elite representational display forms thus far discovered to have come from Early Dynastic (ED) Sumer. Unlike the equally extraordinary finds from ED levels of Ur, which consist primarily of grave goods and small finds (Woolley 1934; Woolley 1956), what is unique about the finds from Lagas is that the majority of them are programmatic artifacts that were intended to be displayed to specific audiences. Specifically, many of them are relief carvings or, to a lesser degree, statues that were carefully composed and executed in order to encode and transmit carefully constructed messages on the part of individual rulers, or the religious establishment. As such, the ED Lagas corpus is a particularly important record of how one particular group of Sumerian rulers viewed themselves and how the wished to be viewed by others.

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22

Lishiko, Billiard Berbbingtone. „The politics of production of archaeological knowledge :a case study of the later stone age rock art paintings of Kasam, Northern Zambia“. Thesis, University of the Western Cape, 2004. http://etd.uwc.ac.za/index.php?module=etd&amp.

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The main purpose of this study was to investigate and examined the politics in the production of archaeological knowledge especially in rock art, at academic, heritage institutions and national and global level. It aims to trace and examine the development and movement of particular hypotheses or interpretations and their appropriateness in the study and management of rock art heritage in southern Africa.

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23

Riley, James Whitcomb. „Social exchange and valuations in the market for contemporary art“. Thesis, Massachusetts Institute of Technology, 2020. https://hdl.handle.net/1721.1/126977.

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Thesis: Ph. D., Massachusetts Institute of Technology, Sloan School of Management, May, 2020
Page 115 blank. Cataloged from PDF version of thesis.
Includes bibliographical references.
The first essay draws on 18 months of ethnographic fieldwork to examine the puzzle of why galleries discipline collectors --
who provide much-needed financial capital - for appearing too motivated by profit. Whilst art worlds have strong norms that enjoin artists to avoid the naked pursuit of profit and instead affect an air of "disinterestedness" (that is, a concern only for universal virtues and aesthetic qualities such as truth and beauty), why might art dealers demand that collectors similarly conform to such norms? This study addresses how (and why) galleries enforce conformity to the art-world norm of disinterestedness among collectors as part of an array of tactics they deploy to "protect" their artists from price volatility that could depress demand for the artist's work. The findings suggests a paradoxical resolution. Although galleries framed such discipline as a moral imperative, a key implication of this study is that enforcing a norm that disavows extrinsic rewards such as fortune and fame ultimately supports a profitable business and investment strategy.
The second essay (coauthored with Ezra W. Zuckerman Sivan) also draws on an 18-month ethnographic investigation examining the rise and proliferation of International Art Fairs (IAFs) in the global art market. This study contributes to our understanding of how the construction and extension of market platforms shapes market dynamics. On the surface, the explosive growth of IAFs in the contemporary art market reflects the greater efficiency that market platforms typically offer, both for facilitating exchange and for expanding access. But past research on market construction does not prepare us for either of the two main findings of this paper. The first is that market participants (and especially the mid-size galleries that dominate the fairs) are deeply ambivalent about the fairs' value relative to the cost of participation. The second main finding -- that galleries (and others) believe they must participate in order to be visible in the market --
affords insight into how markets vary in their visibility and opacity; how such variation shapes status competition; and how markets that are designed to increase efficiency may
by James Whitcomb Riley.
Ph. D.
Ph.D. Massachusetts Institute of Technology, Sloan School of Management

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Makela, Daniel. „Art and Culture: The Transformation of Louisville's East Market District“. University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277497985.

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Foster, Timothy Charles. „A study of the market valuation of antique Chinese ceramics“. Thesis, Southampton Solent University, 1997. http://ssudl.solent.ac.uk/1261/.

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This research describes an attempt to postulate a grounded theoretical understanding of the valuation of objects described as art and antiques. The approach adopted is fundamentally inductive and interdisciplinary. It begins with a discriminating synthesis of the relevant literature from the disciplines of Art History, Sociology, Anthropology, Economics and Psychology. Financial value is strongly correlated with aesthetic value, which is created partially through the process of exchange itself, but largely through the ascribing of 'meaning' to objects through social and historical mechanisms. These mechanisms are examined using consumer behaviour paradigms. The economic notion of 'artistic capital stock' is assessed for its wider applicability. The study focuses on the creation of perceptions of cultural and financial worth, and valuation of antique Chinese ceramics, which through their inter-cultural complexity, are seen as illuminating a breadth of generalisable phenomena. The creation of perceptions is viewed on both the level of encircling cultural predispositions, and on a level of more specific interactions between the consumer and what are viewed as marketing inputs. The methodology adopted is one of cross-reference between qualitatively described observations derived from particiopation in the market, and quantitative behavioural analysis of a database compiled from the auction sales of Sotheby's and Christie's over a five year period. The results indicate that consumers of 'art' are behaviourally similar to generic consumers of any goods. Further they are risk-reducing seekers of autonomy through affiliation, which appears to compete in the fulfilment of their higher order psychological needs. Culturally established mechanisms for the ascription of 'meaning' to 'art' objects are shown to correlate functionality with the creation of brand perceptions through the marketing of fast moving consumer goods. The specific inputs which contribute to the perception of value, are identified and modelled. Recommendations are made regarding a fuller examination of the 'valuation' process and the appropirateness of further examinations of the 'art market' by consumer behaviourists.

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Grove, Jennifer Ellen. „The collection and reception of sexual antiquities in the late nineteenth and early twentieth century“. Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/15064.

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Sexually themed objects from ancient Greece and Rome have been present in debates about our relationship with the past and with sexuality since they were first brought to modern attention in large numbers in the Enlightenment period. However, modern engagement with this type of material has very often been characterised as problematic. This thesis pushes beyond the story of reactionary censorship of ancient depictions of sex to demonstrate how these images were meaningfully engaged with across intellectual life in late nineteenth- and early twentieth-century Britain and America. It makes a significant and timely contribution to our existing knowledge of a key historical period for the development of the modern understanding of sexuality and cultural representations of it, and the central role that antiquity played in negotiating this fundamental aspect of modernity. Crucially, this work demonstrates how sexual antiquities functioned as symbols of pre-Christian sexual, social and political mores, with which to think through, and to challenge, contemporary cultural constructions around sexuality, religion, gender roles and the development of culture itself. It presents evidence of the widespread and prolific acquisition of sexually themed artefacts throughout private and institutional collecting culture. This deliberate seeking out of ancient images of sex is shown to have been motivated by debates on the universal human connection between sex and religion, as part of wider constructions of notions such as ‘culture’ and ‘primitivism’, with Classical material maintaining a central position in these ideas, despite research into increasingly diverse cultures, past and present. The purposeful engagement with sexual imagery from antiquity is also revealed as having acted as a valuable new source of knowledge about ancient sexual life between men which gave new impetus to the negotiation, defence, celebration and promotion of homoerotic desire in contemporary turn of the twentieth century, Western society.

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Stevenson, Michael. „The art market, its intermediaries and the components of value of art works in an historical perspective“. Master's thesis, University of Cape Town, 1993. http://hdl.handle.net/11427/21499.

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Bibliography: pages 247-263.
The dissertation begins with an historical overview of aspects of the Western art market, and continues with a discussion of financial and economic aspects of the art market. Throughout the factors and intermediaries that come into play in the determination of economic value and the price of exchange are considered. There are two common threads to the dissertation in relation to both art history and financial theory: firstly, the analysis of the role of intermediaries and institutions; and secondly, the valuation of art works in relation to the Components of Value of art works. In the Introduction the concept of intermediation in the context of the art market is discussed, as is the financial and economic definition of an art work. The historical overview that follows is a descriptive analysis of the various support systems and intermediaries in the Western art market from the Renaissance through to the late twentieth century, the guilds, patrons, academies, and dealers, that have and still do function as intermediaries to expedite the transfer of works of art in primary and secondary markets. Five art markets have been selected to provide an historical overview of the structure and functioning of the Western art market. These are Italy in the fourteenth, fifteenth, and sixteenth centuries [Chapter One]; the Low Countries in the sixteenth and seventeenth centuries [Chapter Two]; England from the seventeenth through to the late nineteenth centuries [Chapter Three]; France from the seventeenth to the early twentieth centuries [Chapter Four]; and the U.S.A. in the late nineteenth and the twentieth centuries [Chapter Five]. These periods and geographical locations have been chosen to draw attention to the historical shifts in the structure and functioning in the art market. In Chapter Six the Components of Value of art works through history and in the art market of recent years are analysed. The Components of Value are those factors, aesthetic, historical, economic, and otherwise that, depending on the art work and period in which it is exchanged, influence the economic value of art works. This chapter then considers in detail the range of Components of Value that each contribute in a different manner to the price of exchange. The concluding chapter provides an analysis of the 'supply' of art works in. terms of the suppliers, the artists; and the demand, the consumers; and the linking of the supply and demand by art market intermediaries in terms of the Components of Value.

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Pezzini, Barbara. „Making a market for art : Agnews and the National Gallery, 1855-1928“. Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/making-a-market-for-art-agnews-and-the-national-gallery-18551928(4f296d6c-997a-4eab-95ca-bace7b9c3596).html.

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The thesis investigates the interaction that developed between a major art dealer, Thos. Agnew and Sons (Agnews), and a principal public collection, the London National Gallery, from 1855 to 1928. Agnews played a crucial role in the life of the National Gallery and greatly facilitated the museum accession of important paintings, such as the Madonna Ansidei by Raphael, the Rokeby Venus by Velazquez, the Portrait of Doge Vincenzo Morosini by Tintoretto, and many others. In turn, collaborating with the National Gallery allowed Agnews to penetrate the international Old Masters market and reach for higher social standing. Through the analysis of ten case studies of acquisitions, which are supported by new archival evidence and are contextualised within a broader historical and theoretical framework, this thesis charts the emergence, development and decline of the rapport between the two organisations. It analyses how Agnews and the National Gallery began as two unconnected entities in the mid-nineteenth century, explores how their distinct trajectories turned into a close, collaborative rapport during the 1880s, and finally examines how in the third decade of the twentieth century they separated and initiated a newly detached professional relationship. Appropriating sociological theories by Pierre Bourdieu, Bruno Latour, Viviana Zelizer and others, this study investigates museum acquisitions as resulting from complex interplays of cultural and commercial forces within the field of cultural production. Acquisitions are further enlightened by the analysis of the networks that underpin them, which provide additional evidence on how economic factors are embedded within broader social constructs. By detailing and locating these processes and relationships within the historical context of a broad shift towards commercialisation, yet demonstrating that cultural elements are part of the dealers activities and that commercial values are an intrinsic component of the museum, this study provides an insight into the historical origins of modern-day relationships between museums and art dealers.

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Downey, Erin Elizabeth. „The Bentvueghels: Networking and Agency in the Seicento Roman Art Market“. Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/335436.

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Art History
Ph.D.
This dissertation evaluates the position of Netherlandish migrant artists in the dynamic cultural environment of seventeenth-century Rome through an examination of the role of the Bentvueghels (“birds of a feather”) as a social and economic nexus for the city’s foreign community. One of the most distinctive societies in the history of art, this high-spirited ex-pat “brotherhood” attracted hundreds of traveling artists and was notorious throughout Europe for its raucous initiations and for the raw depictions of Rome by Pieter van Laer and his followers, the Bamboccianti. While earlier scholarship has established important aspects of the group, such as its history and the artistic significance of individual members, the society has been characterized largely as antagonistic and antithetical to organizations and institutions specific to Rome. I offer instead a fresh outlook on the Bentvueghels that examines their day-to-day economics and response to (and even driving of) market forces in Rome, in order to determine how the society of foreigners as a whole operated functionally within a shifting creative environment in one of the most vital artistic centers in Europe. To address these issues, each chapter is arranged thematically and chronologically, focusing on the period between 1620, when the group first organized, through the close of the seventeenth century, when the last known images of Bentvueghel initiations were created. Using a methodology that integrates art historical primary source investigation with migration theory and network analysis, I analyze the various stages of the journey to Rome for these artists, from initial arrival, to the establishment of a workshop, to the achievement of success in local and international markets. The Introduction (Chapter One) sets up the methodological and historiographical framework for the dissertation. In the second chapter, “Arriving in Rome: The Bentvueghels as a Social and Economic Nexus,” the social activities of the Bentvueghels and their networks are discussed. Archival sources including parish censuses, criminal court records, and notarial documents demonstrate how the group enabled migrant artists to adapt to a different—and often hostile—market by fostering surrogate kinship networks. The Bentvueghels offered migrant artists, who were typically young (around 22-25 years of age), male, and single, a place to live, a ready-made network of friends, and critical financial assistance. Chapter Three, “Working in Rome: Bentvueghel Workshops and Working Practices,” establishes the working practices of Dutch and Flemish artists, a relatively uncharted area of research, and locates economic and social network formation within the space of the workshop. Centers of artistic production in the city are scrutinized, from the highly trafficked studios of Netherlandish artists such as Paul Bril to the private drawing academies hosted by prestigious patrons, including the celebrated Genoese aristocrat, Vincenzo Giustiniani. Paintings, drawings, and prints produced by Dutch and Flemish Italianate artists are compared to identify patterns in workshop practices, determine market impact, and measure the degree to which they were influenced by their new surroundings and by their association with the Bentvueghels. In the fourth and final chapter, “Staying in Rome: Cornelis Bloemaert II as a Case Study for Long-term Strategies of Networking,” I explore strategies of integration among members who remained in Rome for extended periods, focusing on the engraver Cornelis Bloemaert II as a case study. Collaborative enterprises such as large-scale book productions, which comprised a significant proportion of Bloemaert’s artistic output in Rome, provided ways for artists to enhance their artistic education and experiment with new techniques and motifs, while also encouraging further expansion and development of an artist’s social and economic networks. This study thus evaluates the full scope of a foreign artist’s experience in Rome, highlighting with greater accuracy the ways in which affiliation with the Bentvueghels influenced acclimation and eventual integration within the social and cultural fabric of the city. It offers, moreover, a much needed contextualization of the artistic relations between northern European and Italian artists in seventeenth-century Rome, and the important position of the Bentvueghels within this cosmopolitan environment.
Temple University--Theses

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Grewatz, Abby. „Folk Art, Nationalism, and Identity in a Kyiv, Ukraine Souvenir Market“. Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/17901.

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Since the collapse of the USSR independent Ukraine has used politics and culture to define a separate national identity, in contrast to Russia. Through a performance studies lens I describe Kyiv's largest souvenir market, Andriyivsky Uzviz, and place it in the context of nationalism and cultural promotion. I draw on Conquergood who situates the performing of culture at the intersection of history and identity, and Kapchan who notes that markets are key sites where ethnic identity is defined within sociopolitical frameworks. While profit and customer demand are important to vendors in the Uzviz, Ukrainianness is consciously emphasized through their folk art items. Vendors wear national costume, sell "traditional" Ukrainian items, and explicitly identify as Ukrainian, not Russian. Through one Uzviz folk artist I illustrate vendors' use of folk arts to express Ukrainian cultural identity and show how the market is a microcosm of the larger nationalist movement in Ukraine.

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Prusak, Błażej, und Olena Rybak. „Adaptation of the world art market to the conditions of the pandemic within digital technology“. Thesis, National Aviation University, 2021. https://er.nau.edu.ua/handle/NAU/54608.

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1. Art market worldwide statistics & facts | Statista. URL: http://www.ukrstat.gov.ua/ (дата звернення: 04.12.2021). 2. Vickers M. Marketing and Buying Fine Art Online.: URL: https://archive.org/details/ marketingbuyingf00vick (дата звернення: 06.12.2021). 3. Hermann, M., Pentek, T. and B. Otto (2015). Design principles for Industrie 4.0 Scenarios. Working paper No.01/2015. Technische Universität Dortmund, 15 p.
The authors looked into the aspects of world art market adaptation to the conditions of the pandemic within digital technology, analyzed the main market trends, described changes in the trade mechanisms. The main challenges of the current art market were defined, and the ways to resolve them were outlined.

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Van, den Bosch Annette. „The art market since 1940 : a model of relationships between key players and the interactions between aesthetic and financial values“. Thesis, The University of Sydney, 1989. https://hdl.handle.net/2123/26264.

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The interaction between aesthetic and financial values which has developed in the art market since 1945 constitutes a new situation for the practice of art and poses new problems for aesthetic theory. There have been previous studies of the relationships between artists and dealers, and of the role of collectors, museums s and auction houses in the sale of works of art. However, no single study has attempted to construct a model of the market which takes account of the principal players and their interactions. In New York, the different processes for value formation in art, aesthetic value and ﬁnancial value (or price), become thoroughly mixed in the development of a market for American Modernism. The model of the market which is developed in volume one is a simpliﬁe d representation of a historical situation. The analysis concentrates on a few major elements in the system: tastemakers and collectors, dealers and museums, artists and public policy. The leading role played by tastemakers, and the limited number of key players, leaves the art market open to manipulation. The expansion and acceleration of the New York artworld/market system into Europe and Australia in the 1960s is traced. The impact of increased investment in art, and the role of corporate collectors and their relationships to museums is examined in both the international market and the Australian market. The second volume of the thesis develops a model of the interactions between the international market and a national market, in Australia. The study of the Australian market shows the impact of the New York investment market model in the 1960s, and the full reproduction of the New York model in Sydney in the 1970s. Changing patterns in artists' careers and new processes for reputation formation are examined. The interactions between public sector arts policy and the market, the growth of museums, and the role of all dare in widening the audience for art, are discussed in relation to both the United States and Australia. The model shown in evolution is a dynamic system. Various crises both financial and aesthetic forced the market to restructure. Some artists actively participated in the system, others developed new norms or practices. The increased use of art for investment led to an emphasis on male reputations in museums and in dealers' galleries - the modern masters syndrome - which was resisted by women artists. Active debates have taken place and legislation has been formulated to resist the most obvious manipulations of the market. The use of a model of the market may enable all those concerned to focus debate on the processes for the formation of aesthetic or financial value (or price) in the artworld/market system.

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Van, den Bosch Annette. „The art market since 1940: a model of relationships between key players and the interactions between aesthetic and financial values“. Thesis, The University of Sydney, 1989. https://hdl.handle.net/2123/26277.

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The interaction between aesthetic and financial values which has developed in the art market since 1945 constitutes a new situation for the practice of art and poses new problems for aesthetic theory. There have been previous studies of the relationships between artists and dealers, and of the role of collectors, museums and auction houses in the sale of works of art. However, no single study has attempted to construct a model of the market which takes account of the principal players and their interactions. In New York, the different processes for value formation in art, aesthetic value and financial value (or price), become thoroughly mixed in the development of a market for American Modernism. The model of the market which is developed in volume one is a simplified representation of an historical situation. The analysis concentrates on a few major elements in the system: tastemake|$ and collectors, dealers and museums, artists and public policy. The leading role played by tastemakers, and the limited number of key players, leaves the art market open to manipulation. The expansion and acceleration of the New York artworld/market system into Europe and Australia in the 1960s is traced. The impact of increased investment in art, and the role of corporate collectors and their relationships to museums is examined in both the international market and the Australian market. The second volume of the thesis develops a model of the interactions between the international market and a national market, in Australia. The study of the Australian market shows the impact of the New York investment market model in the 1960s, and the full reproduction of the New York model in Sydney in the 1970s. Changing patterns in artists' careers and new processes for reputation formation are examined. The interactions between public sector arts policy and the market, the growth of museums, and the role of all three in widening the audience for art, are discussed in relation to both the United States and Australia. The model shown in evolution is a dynamic system. Various crises both financial and aesthetic forced the market to restructure. Some artists actively participated in the system, others developed new norms or practices. The increased use of art for investment led to an emphasis on male reputations in museums and in dealers' galleries - the modern masters syndrome - which was resisted by women artists. Active debates have taken place and legislation has been formulated to resist the most obvious manipulations of the market. The use of a model of the market may enable all those concerned to focus debate on the processes for the formation of aesthetic or financial value (or price) in the artworld/market system.

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Riedemann, Lorca Valeria. „Greek myths abroad : a comparative regional study of their funerary uses in fourth-century BC Apulia and Etruria“. Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2bc2051b-16ec-42cd-8460-69e78ddbeff9.

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This dissertation presents a regional comparative study of the uses of Greek heroic stories as illustrated on funerary monuments of Apulia and Etruria in the fourth century BC. Founded on the grounds of contextual archaeology and reception theory, it approaches a group of Apulian red-figure vases, Etruscan sarcophagi and tomb-paintings from both regions as a means of investigating the cultural significance of the myths presented in the grave by different peoples in Italy. Moreover, this study emphasises the possible ways in which viewers engaged with the images depicted on these monuments by defining a cultural frame ('horizon of expectations') for their interpretation of the images. Further contributions include the development of a model for the interpretation of the myths depicted on Apulian red-figure vases and the prominence of the corpus of Etruscan mythological sarcophagi, a type of monument often neglected in Etruscan studies. At the end of the dissertation, it will become clear - it is expected - that there were regional preferences for particular myths and differences in both the media and the ways in which Greek myths were used and displayed during the funeral.

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Li, Tang. „Art for the market commercialism in Ren Yi's (1840-1895) figure painting /“. College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/149.

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Thesis (M.A.) -- University of Maryland, College Park, 2004.
Thesis research directed by: Dept. of Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Yogev, Tamar. „Drawing a fair picture : A study of the contemorary visual art market“. Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527326.

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Gittinger, Anne Meredith. „Class Act: Negotiating Art and Market in the Career of Isadora Duncan“. W&M ScholarWorks, 2010. https://scholarworks.wm.edu/etd/1539626615.

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Wehn, James R. III. „Inventing the Market: Authenticity, Replication, and the Prints of Israhel van Meckenem“. Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case155428951539756.

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Adams, Christa. „Bringing "Culture" to Cleveland: East Asian Art, Sympathetic Appropriation, and the Cleveland Museum of Art, 1914-1930“. University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1447097382.

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Wei, Linna, und Xichan Zhao. „Investment Study on Christie’ Chinese 20th Century Art“. Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13812.

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This thesis focuses on the blooming market of Chinese 20th Century Art. The study object is one category of Christie’s Auction house, Chinese 20th Century Art, before 2009. Eight artists’ auction results are selected to the dataset for the research. We find that the previous researches based on the collection of Western arts cannot explain the whole situation of Chinese 20th Century Art. It has speculative character as an invest option in global art market. And some factors would affect the price changing in the auction activities. The Capital Asset Pricing Model is applied to study the investment condition of Chinese 20th Century Art as a capital asset. The result we get from our dataset presents that Chinese 20th Century Art is with high risks and high returns, which is quite different from the previous studies based on Western Artworks. Regression analysis reveals that some factors do affect the rate of price changes. We find that young Chinese artists who born after 1950 achieve better sale results than older ones. Their artworks are always sold on high realized prices. In addition, the high price sale more often happened in the auction house of Hong Kong and the market of Chinese 20th Century Art is enlarging these years. The rate of price change is increasing by the sale year growing. The prices of the artworks are growing higher and higher recently. However, the findings above just explain parts of the price increasing. All the reasons for the price increasing are not clear in this thesis.

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Matsinhe, Sebastiao Filipe. „The production of local art for a global cultural market in contemporary Mozambique“. Thesis, University of the Western Cape, 2012. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_4062_1363774738.

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This thesis examines the production of commercial art in contemporary Mozambique. It explores the power relationship between local artists &ndash
painters and sculptors &ndash
and their patrons and brokers in the art market. This means, on one hand, that it looks at the artworks that have been produced during the late colonial period (1962 &ndash
1974) and the post-colonial periods (June 1975 - 2010) and relates this to the changing political landscape in Mozambique. On the other hand, the aim is to explore the artists&rsquo
life histories,
especially how their talent was first recognized, their art training (formal or otherwise), previous work experience, and the reasons for their current success (or lack thereof). This is done in order to see how and to what extent their artistic works have been influenced by external forces or actors. The power relationship existing between the art producers and their customers in the art markets in Mozambique is then related to the issue of globalisation. In this process, the study critically analyses who the actual art patrons of Mozambique art are and the extent to which Mozambican art is influenced by global forces. The focus is on a number of artists and the thesis examines their life histories specific to their art production in order to highlight the themes and trends of their art works. It was found that local art produced in Mozambique is not simply responding to local influences but also to global forces, of which the latter dominates. However, the study further reveals that while the art producers are influenced externally by their buyers, they (the art
producers) have their own ways of manipulating their buyers in order to be able to sell their products. In other words, the artists have the power of mediating between local,
personal influence and that of the patrons.

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Stanford, Jon D. „An economic analysis of the contemporary visual art market in Australia, 1972-1989“. Thesis, University of Leicester, 1996. http://hdl.handle.net/2381/35524.

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The analysis of the market is undertaken in both theoretical and empirical terms. The theoretical analysis finds that the dynamics of the art market are important but are difficult to formalise; the primary market is one where prices are set administratively; the secondary market, auction market, is the one where market-clearing occurs; success in the art market will come only to those artists whose works can command the same price in the secondary market as is set in the primary market; the overall market operates with considerable lags so that it may take many years before artists' work appear in the secondary market; and the dealers in the primary market play an important role as intermediaries. The results of the empirical studies carried indicate that the returns to owning art over the period, 1972-1989 have been high and higher than the returns to financial assets. The results of the Portfolio Study confirmed by the results of the resales aspect of the Auction Price Study and by examination of the performance of individual artists. The justification of public support for contemporary visual art is not very strong. Considerable doubt has been cast on the value of the proposed Droit de Suite scheme because the basis of the scheme that artists are exploited cannot be substantiated; artists have difficult in making first sales; most resales do not result in capital gains; the potential costs of a collecting scheme are substantial; and the introduction of the scheme will reduce the current demand for contemporary visual art. The criticisms of the Australia Council have been accepted as the activities of the Council work to advance the interests of artists and contribute to the oversupply in the market.

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MORGENBRODT, Kai Martin. „European social market economy conceptualizing the legal dimension of Art. 3(3) TEU“. Doctoral thesis, European University Institute, 2019. http://hdl.handle.net/1814/65947.

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Award date: 1 October 2019
Examining Board: Professor Claire Kilpatrick, European University Institute (Supervisor)
The Lisbon Treaty introduced in its Art. 3 new language into primary law that expresses the ambition to give the EU a stronger social dimension.1 In comparison to its predecessor provision of Art. 4 (1) of the Treaty Establishing the European Community, which solely relied on the ‘principle of an open market economy with free competition’, the basic objectives of the EU were broadened. Art. 3 TEU now includes objectives that come across as a promise to rebalance market and non-market values through the foundational provisions of the European Union. In line with other wide-ranging objectives, like fighting social exclusion, this article includes the eye-catching sentence that the EU aims for ‘a highly competitive social market economy’ that seeks to achieve ‘full employment and social progress’

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Chen, Karen Y. „Constructing Historical Truth: An Examination of the Chinese Art Market As A Reflection of China’s Concerted but Conflicted Contemporary Reconciliation with its Problematic Past“. Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/877.

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This paper examines the connection between art and nationalism in Chinese culture and asserts that the recent market boom and price jump in Chinese fine art reflects a concerted yet conflicted effort by the Chinese government and Chinese society as a whole to reconcile with a problematic twentieth-century past. The paper first delves into the historical practice of utilizing art to construct political narratives though Ming-Qing dynasties before examining how antiquarianism was utilized by Mao Zedong himself and by the modern day Chines Communist Party.

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Plagens, Emily S. Hafertepe Kenneth. „Collecting Greek and Roman antiquities remarkable individuals and acquisitions in the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the J. Paul Getty Museum /“. Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5259.

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Coate, Bronwyn, und bronwyn coate@rmit edu au. „An Economic Analysis of the Auction Market for Australian Art: Evidence of Indigenous Difference and Creative Achievement“. RMIT University. Economics, Finance & Marketing, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091127.160406.

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This thesis explores factors that determine the price for Australian art sold at auction. Using a large data set that comprises over 20,000 sale observations of Australian paintings sold between 1995 and 2003 characteristics associated with the artist, the work and auction are included in a series of hedonic models. In addition to modelling the overall market, differences within defined market segments for Indigenous and Non-indigenous art are explored. The role of artist identity and critical acclaim, the period in which art works are created and the event of an artist death are areas of specific focus within the analysis along with an investigation of the risks and returns associated with Australian art investment. It is found that artist identity is a crucial factor that drives price. Further, the most highly valued Non-indigenous art works are found to be created prior to 1900, although the market for Contemporary art produced post 1980 is associated with relatively high prices also. Distinctions emerge between Indigenous and Non-indigenous art as we consider the period in which works are created and the influence this has upon price. Almost 90 per cent of Indigenous art sold at auction has been created since 1970 and it is works from the 1970s that command the highest prices for Indigenous art sold at auction. This is not unexpected given the rise of Indigenous art in the early 1970s coinciding with the emergence of the Papunya Tula art movement. The death of an artist also proves to have a different influence upon price when we compared Indigenous and Non-indigenous art. For Non-indigenous art there is clear evidence of a death effect upon art prices, where prices typically rise around the time of an artists death before falling back somewhat with the passing of time. For Indigenous art the influence of a living artist's conditional life expectancy upon price proves to be of greater relevance in explaining price where as the artist ages and the term of their life expectancy reduces prices tend to rise. The analysis within this thesis finishes with the construction of a number of short term art price indices where it is found that returns to investment in Indigenous art are generally higher and less risky compared to Non-indigenous art. Australian art generally and Indigenous art in particular is found to have a relatively weak correlation with the stock market suggesting that Australian art has a role to play in a balanced investment portfolio especially taking into account the aesthetic utility that can also be derived as a result of holding art. The research contributes to understanding how the auction market for Australian art operates with emphasis paid to the distinctions and similarities observed within the sub-markets for Indigenous and Non-indigenous art. Insights from this research have the potential to inform public policy on a number of issues including the effect of resale royalties upon the operation of the auction market, and how indigenous economic development may be facilitated through a strong market for Indigenous art.

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Knebel, Christian. „Anomalies in fine art markets three examples of an imperfect market for perfect goods /“. kostenfrei, 2008. http://d-nb.info/988470349/34.

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Madan, Alican, und Kemal Erkin Araz. „Fine Art Logistics : How Innovation Creates Niche Market for Third Party Logistics Service Providers“. Thesis, Högskolan i Gävle, Akademin för teknik och miljö, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-15315.

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Fine art logistics concept is revealed by Innovative third party logistics services. However, fine art logistics concept is quite new topic of current logistics literature and existing resources, acquired knowledge are limited. Furthermore, innovative logistics services, which are provided by third party logistics service providers and their relation with niche market strategy, are not well researched. This study is prepared for making contribution to current logistics literature about fine art logistics and to investigate relation between niche market strategy and innovative third party logistics services. The method used is a qualitative case study at Benice Logistics, a fine art logistics service provider firm, located in Turkey. This study concludes and suggests how, third party logistics service providers should be more innovative for settle new business trend, and how they can create new opportunities and new specialization areas with their innovative services.

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Pollard, Alison. „Carmen heroum : Greek epic in Roman friezes“. Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:1bd394a8-200e-48c7-b7b4-e1e7cabd39e0.

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Roman wallpainting has been the subject of innumerable studies from the eighteenth century to the present day, but the epic-themed friezes of Late Republican and Early Imperial Italy have been comparatively neglected throughout this history of scholarship. This thesis therefore seeks to examine the three painted and stucco Iliad friezes from Pompeii, all found on the Via dell'Abbondanza, and the Odyssey frescoes from a house on the Esquiline in Rome, as four examples of a type which had a long history in the Graeco-Roman world, even if their survival in the archaeological record is scant. The primary aim of the study is to understand each frieze in the knowledge of how they might have been regarded in antiquity, as elucidated in Pausanias' commentaries on Polygnotus' Iliupersis and Nekyia frescoes in Delphi, and to understand their extra-textual insertions and spelling discrepancies not as artistic errors but as reflections of the geographical and chronological contexts in which the friezes were displayed. Through detailed study of their iconography and epigraphy, alongside contemporary writers' discussion of the epic genre and its specific concerns for a Roman audience, this study aims to show that the most fruitful course of enquiry pertaining to the friezes lies not in an argument about whether they are entirely faithful to the Homeric epics or depart from them in puzzling ways, but in the observation that reliance on the text and free play on it go hand in hand as part of the epic reception-culture within which these paintings belong.

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Zheng, Jiahong. „An Econometrics Analysis of Mark Rothko's Auction Results“. Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1929.

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This paper investigates the factors that influence hammer price in fine art auctions. Unlike previous studies, this thesis focuses solely on Mark Rothko’s abstract painting auction results, which eliminates pricing variation from multiple artists or painting genres. Using a freshly constructed database that covers all Rothko auction records from 1985 to 2017, this thesis affirms the presence of declining price anomaly. Auction house experts’ pre-sale estimates are shown to be largely unbiased with a marginal downward pricing tendency. Furthermore, size is a statistically significant variable that affects hammer price and Rothko’s vertical compositions are favored in the auction market.

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