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Books on the topic 'Art market, contemporary art market, contemporary art production'

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Published: 9 March 2023
Last updated: 10 March 2023

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1

Polsky, Richard. Art market guide: Contemporary American art. San Francisco: Marlit Press, 1998.

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2

Buck, Louisa. Market matters: The dynamics of the contemporary art market. London: Arts Council England, 2004.

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3

Art of the deal: Contemporary art in a global financial market. Princeton [N.J.]: Princeton University Press, 2011.

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4

Rhetts, Paul Fisher, and Barbe Awalt. Contemporary Hispanic Market: 25 years. Los Ranchos [N.M.]: LPD Press, 2011.

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5

Velthuis, Olav. Talking prices: Symbolic meanings of prices on the market for contemporary art. Princeton, NJ: Princeton University Press, 2005.

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6

Museum of Contemporary Photography (Columbia College (Chicago, Ill.)). Photography's multiple roles: Art, document, market, science. Chicago: Museum of Contemporary Photography, Columbia College, 1998.

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7

Between state and market: Chinese contemporary art in the post-Mao era. Leiden: Brill, 2014.

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8

Paz, Aburto Guevara, ed. In anderen Worten: Der Schwarzmarkt der Übersetzungen : mit zeitgenössischen Kulturen handeln = In other words : the black market of translations : negotiating contemporary cultures. Berlin: Neue Gesellschaft für Bildende Kunst e.V. (NGBK), 2012.

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9

Talking prices: Symbolic meanings of prices on the market for contemporary art. Princeton, NJ: Princeton University Press, 2005.

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10

Fisher, Rhetts Paul, ed. Faces of Market: Traditional Spanish & Contemporary Hispanic Market : celebrating fifteen years of Tradición Revista Magazine. Los Ranchos, NM: LPD Press, 2010.

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11

Division, Toronto (Ont ). Records &. Archives. Interiors, exteriors: Contemporary art from the City's collection, July 27 to October 20, 1985, the Market Gallery of the City of Toronto Archives. [Toronto: City Archives, 1985.

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12

Barysheva, Anastasii͡a. INART 2016: Analiticheskii obzor rynka rossiiskogo sovremennogo iskusstva = Analytical report of the Russian contemporary art market. [Moskva?]: INART 2016, 2016.

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13

Dibazar, Pedram, and Judith Naeff, eds. Visualizing the Street. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462984356.

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From user-generated images of streets to professional architectural renderings, and from digital maps and drone footages to representations of invisible digital ecologies, this collection of essays analyses the emergent practices of visualizing the street. Today, advancements in digital technologies of the image have given rise to the production and dissemination of imagery of streets and urban realities in multiple forms. The ubiquitous presence of digital visualizations has in turn created new forms of urban practice and modes of spatial encounter. Everyone who carries a smartphone not only plays an increasingly significant role in the production, editing and circulation of images of the street, but also relies on those images to experience urban worlds and to navigate in them. Such entangled forms of image-making and image-sharing have constructed new imaginaries of the street and have had a significant impact on the ways in which contemporary and future streets are understood, imagined, documented, navigated, mediated and visualized. Visualizing the Street investigates the social and cultural significance of these new developments at the intersection of visual culture and urban space. The interdisciplinary essays provide new concepts, theories and research methods that combine close analyses of street images and imaginaries with the study of the practices of their production and circulation. The book covers a wide range of visible and invisible geographies — From Hong Kong’s streets to Rio’s favelas, from Sydney’s suburbs to London’s street markets, and from Damascus’ war-torn streets to Istanbul’s sidewalks — and engages with multiple ways in which visualizations of the street function to document street protests and urban change, to build imaginaries of urban communities and alternate worlds, and to help navigate streetscapes.
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14

Polsky, Richard. Art Market Guide 1998: Contemporary American Art (Art Market Guide). Archer Fields, 1998.

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15

Polsky, Richard. Art Market Guide 1997: Contemporary American Art (Art Market Guide). Distributed Art Pub Inc (Dap), 1997.

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16

Art Market Guide: Contemporary American Art: 1995-96 Season (Art Market Guide). Distributed Art Pub Inc (Dap), 1995.

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17

Goblin market: Irish new contemporary art. 2012.

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18

Winkleman, Edward. Selling Contemporary Art: How to Navigate the Evolving Market. Allworth, 2017.

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19

Winkleman, Edward. Selling Contemporary Art: How to Navigate the Evolving Market. Skyhorse Publishing Company, Incorporated, 2015.

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20

Selling contemporary art: How to navigate the evolving market. Allworth, 2015.

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21

Horowitz, Noah. Art of the Deal: Contemporary Art in a Global Financial Market. Princeton University Press, 2014.

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22

Horowitz, Noah. Art of the Deal: Contemporary Art in a Global Financial Market. Princeton University Press, 2014.

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23

Archer, Anita. Chinese Contemporary Art in the Global Auction Market. BRILL, 2022.

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24

Thompson, Don. Orange Balloon Dog: Bubbles, Disruptions and Avarice in the Contemporary Art Market. Quarto Publishing Group UK, 2018.

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25

Orange Balloon Dog: Bubbles, Turmoil and Avarice in the Contemporary Art Market. Douglas and McIntyre (2013) Ltd., 2017.

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26

Thompson, Don. Orange Balloon Dog: Bubbles, Turmoil and Avarice in the Contemporary Art Market. Quarto Publishing Group UK, 2018.

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27

Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art. Princeton University Press, 2013.

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28

Velthuis, Olav. Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art. Princeton University Press, 2013.

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29

Ekelund, Robert B., John D. Jackson, and Robert D. Tollison. Dimensions of the American Art Market. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657895.003.0002.

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Chapter 2 discusses the long evolution of the market for American art in a brief synopsis of key developments along the way. It explains the early marketing of American art, the romance of collectors with Old Masters, the shift in art education of Americans to Europe (especially Paris and Munich) and the ultimate development of a “unique” American art at the turn of the nineteenth century—involving the mix of European modernism with American influences of the “ashcan” artists and the American modernism sponsored by Alfred Stieglitz. Finally, the shift from pre–World War II art to abstract expressionism and contemporary styles is explained as the result of politics in the postwar period. The chapter includes dichotomized lists of eighty prominent American artists—those born prior to 1900 and those born 1900 through 1960.
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30

Cina Cina Cina!!!: Arte contemporanea cinese oltre il mercato globale = Chinese contemporary art beyond the global market. Cinisello Balsamo (Milano): Silvana, 2007.

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31

Ekelund, Robert B., John D. Jackson, and Robert D. Tollison. Early and Contemporary American Art as Investment Vehicles. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657895.003.0005.

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American art, both pre-1950 art and contemporary works, are examined as investment vehicles in this chapter. This study, unlike others, factors in both buyer’s and seller’s premiums charged by the auction house. These transaction costs must be considered when calculating actual returns from utilizing art at auction as an investment. We find that, under various assumptions of these transaction expenses, early American art (pre-1950) provides a modest return of between a negative 3-plus and a positive 2 percent. Contemporary American art, for our sample, yields a far higher return in the range of 18 percent and above. However, contemporary art carries a higher risk than holding a market portfolio, although quite naturally the return must include psychic income. This chapter, moreover, provides clear evidence that early and contemporary American art are two distinct markets.
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32

Velthuis, Olav. Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art (Princeton Studies in Cultural Sociology). Princeton University Press, 2007.

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33

Marie, Robertson Eleanor. MacGregors : Alan and Grant: All the Possibilities / One Man's Art. Harlequin Mills & Boon, Limited, 2011.

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34

The MacGregors: Alan & Grant: All The Possibilities\One Man's Art (STP - Mira). Silhouette, 2006.

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35

Barradas Jorge, Nuno. ReFocus: The Films of Pedro Costa. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474444538.001.0001.

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This is the first English-language study of internationally acclaimed Portuguese filmmaker Pedro Costa, examining the cultural, production and exhibition contexts of his feature films, shorts and video installations. It situates Costa’s filmmaking within the contexts of Portuguese, European and global art film, looking into his working practices alongside the impact of digital video, forms of collaborative authorship, and the intricate dialogue between modes of production and aesthetics. Considering the exhibition, circulation and reception of Costa’s creative output in settings such as film festivals, the art gallery circuit and the home video market, ReFocus: The Films of Pedro Costa provides an essential critical analysis of this major filmmaker – as well as of the multifaceted production and consumption practices that surround contemporary art cinema.
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36

Ekelund, Robert B., John D. Jackson, and Robert D. Tollison. Markets, Culture, and American Art. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657895.003.0001.

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Chapter 1 introduces the rationale for studying and analyzing the economic aspects of American art as a “category” of art genres and, more generally, it places the market for art in the context of trade for all goods and services. Art, like all traded goods, possesses credence characteristics, but they are present to a significant degree since the requisite assurance of authenticity is often difficult to determine. The chapter also explains why American art can be segmented for study apart from a “homogeneous” art category and also as two markets—one prior to art produced before 1950, and another that has come to be called contemporary American art. Chapter 1 previews the remainder of the book in which both semi-technical issues, such as artistic productivity, auction estimates, and investments, and narrative issues, including art crime, fakes, art marketing “death effects,” and contemporary art bubbles, are dissected from an economic perspective.
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37

Ekelund Jr., Robert B., John D. Jackson, and Robert D. Tollison. The Economics of American Art. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657895.001.0001.

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The Economics of American Art focuses solely on critical economic aspects of the full range of American art (as opposed to art produced and traded in the United States). After a brief introduction to the history of this market, simple economics in both narrative and statistical form is used to plumb a number of important topics and issues. Using a unique sample of 14,000 art auction observations between 1987 and 2013 of eighty American artists born before 1950, several important topics related to art and the marketplace are examined. These include such matters as the age at which artists achieve peak productivity. Further, the authors query whether the undeniably “innovative” art being produced in the United States today is partially related to marketing and modern selling techniques rather than the age-related link most often offered as explanation. Marketing techniques and the “fairness” of auction house estimates are evaluated in this regard. Other aspects of the auction marker, such as “bought-ins” and “burning,” are also addressed. The authors show statistically that there are two basic markets for American art: that produced prior to 1950 and that (post-1950) labeled “contemporary.” Investment in the latter, the authors conclude, may be far more remunerative. The disturbing issues of art crime, money laundering with art, fakes, and fraud are analyzed, with the costs and benefits of such activities in mind, as are the issues of the impact of an artist’s death and the appearance of bubbles in the art market.
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38

DeFino, Dean J. The HBO Effect. Bloomsbury Publishing Inc, 2014. http://dx.doi.org/10.5040/9798765100691.

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No advertisers to please, no censors to placate, no commercial interruptions every eleven minutes, demanding cliffhangers to draw viewers back after the commercial breaks: HBO has re-written the rules of television; and the result has been nothing short of a cultural ground shift. The HBO Effect details how the fingerprints of HBO are all over contemporary film and television. Their capability to focus on smaller markets made shows like Sex and the City, The Sopranos, The Wire, and even the more recent Game of Thrones and Girls, trigger shows on basic cable networks to follow suit. HBO pioneered the use of HDTV and the widescreen format, production and distribution deals leading to market presence, and the promotion of greater diversity on TV (discussing issues of class and race). The HBO Effect examines this rich and unique history for clues to its remarkable impact upon television and popular culture. It's time to take a wide-angle look at HBO as a producer of American culture.
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39

Ekelund, Robert B., John D. Jackson, and Robert D. Tollison. The Impact of Death and Bubbles in American Art. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657895.003.0007.

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Chapter 7 presents a dissection of two important issues affecting the art market and the fate of artists: “a death effect” and “bubbles.” Death of an artist is a guarantee that additional legitimate output will not be forthcoming, the “Coase durable monopoly conjecture.” Evidence indicates that the price path of seventeen artists who died over the sample period rises as the artist approaches death. After death, price may rise or fall with supply and demand, but we find it rises for our contemporary artists. “Bubbles”—rapid price increases—have and do occur in the art market. We find that art price behavior parallel GDP prior to 2008, but rose much faster thereafter. This result, coupled with an increasingly skewed world income distribution and billionaire buying, potentially denotes an “art price bubble.”
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40

Brunsson, Nils, Ingrid Gustafsson, and Kristina Tamm Hallström. Markets, Trust, and the Construction of Macro-Organizations. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198815761.003.0009.

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How can buyers know what they are buying? In many markets this is no trivial problem, particularly for ambitious, contemporary consumers who care about the way a product has been produced and its effects on health or the physical environment. Buyers have little choice but to trust sellers’ descriptions of the origins and effects of the product, which, in turn, evokes the question of how the buyers can trust the sellers. We describe how the problem of trust has justified the production of new formal organizations, such as certification organizations, accreditation organizations, meta-organizations for the accreditation organizations, and meta-meta-organizations for these meta-organizations. In order to create trust in organizations at one level, a new level of organizations has been created for monitoring the lower level. We argue that such a ‘macro-organization’ is unlikely to represent a stable solution, but has inherent tendencies for further growth.
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41

Davis, Adrienne D., and BSE Collective, eds. Black Sexual Economies. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042645.001.0001.

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This book is a compilation of contemporary and previously unpublished scholarship on Black sexualities. The sixteen essays work to untangle the complex mechanisms of dominance and subordination as they are attached to political and socioeconomic forces, cultural productions, and academic lenses that assess sexuality as it intersects with race. Some of the essays trace the historical and contemporary markets for sexual labor and systems of erotic capital. Other essays illuminate how forces of commodification, exploitation, and appropriation, which render black sexualities both desirable and deviant, also provide the spaces, networks, and relationships that have allowed black people to revise, recuperate, and re-articulate their sexual identities, erotic capital, and gender and sexual expressions and relations. The collection focuses on three themes linked by the major theory of black sexual economy: sex labor and race play; drag and hypersexual performance; and the erotics of life and death.
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42

Brown, Archie. Communism. Edited by Michael Freeden and Marc Stears. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199585977.013.0004.

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The chapter traces pre-Marxist ideas of a communist society before outlining the main elements of the Communist doctrine of Marx, Engels, and Lenin. Particular attention is paid to the theory and practice of Communist parties in power. The Soviet Union, China, and Yugoslavia developed models which varied both over time and from each other. Nevertheless, six defining characteristics of Communist ideology are identified and elaborated—the monopoly of power of the ruling Communist party; democratic centralism; state ownership of the means of production; centrally planned rather than market economy; membership of an international Communist movement; and the aspiration, in principle, to move eventually to a stateless, classless communist society. During the Soviet perestroika all six of these features were discarded. In contemporary China only the first two of the six remain. Communism no longer exists as a serious ideological and political force.
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43

Wing, Ian Sue, and Edward J. Balistreri. Computable General Equilibrium Models for Policy Evaluation and Economic Consequence Analysis. Edited by Shu-Heng Chen, Mak Kaboudan, and Ye-Rong Du. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199844371.013.7.

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This chapter reviews recent applications of computable general equilibrium (CGE) modeling in the analysis and evaluation of policies that affect interactions among multiple markets. At the core of this research is a particular approach to the data and structural representations of the economy, elaborated through the device of a canonical static multiregional model. This template is adapted and extended to shed light on the structural and methodological foundations of simulating dynamic economies, incorporating “bottom-up” representations of discrete production activities, and modeling contemporary theories of international trade with monopolistic competition and heterogeneous firms. These techniques are motivated by policy applications including trade liberalization, development, energy policy and greenhouse gas mitigation, the impacts of climate change and natural disasters, and economic integration and liberalization of trade in services.
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44

Pallot, Judith, and Tat'yana Nefedova. Russia's Unknown Agriculture. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199227419.001.0001.

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Basing their findings on four years of research during which they studied rural districts drawn from a variety of contrasting regions of European Russia, the authors discuss the place of rural households in Russia's agri-food production system. They show that far from being solely concerned with 'survival' household plots in contemporary Russia are increasingly used to produce crops and livestock products for the market. In the book they describe the rich variety of forms that small and independent farming takes today from highly localised clusters of cucumber or tomato producers to specialization in crop or animal husbandry at a higher spatial scale or associated with particular ethnic groups. The authors systematically examine the influence on past and present practices of distance and the environment, the state of the large farm sector, local customs, and ethnicity on what households produce and how they produce it often using case studies of people they have met (plot holders, farmers, local officials) to illustrate their point. They criticise the tendency of the household production to be treated as the agricultural 'Other' in post-Soviet Russia and argue with the right incentives it has the potential for further development.
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45

Santoro, Daniella. The Dancing Ground. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.17.

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The performative traditions of New Orleans second line parades offer profound insight into localized expressions of health and disability. As public, festive, and symbolic spaces of music, dance and movement, second lines privilege the body as a site of knowledge production and individual improvisation within a collective tradition. This essay focuses on the relationship between dance and disability as observed during second line parades in New Orleans from 2010 to 2013. The narratives of those participants who are marked as disabled by age or circumstance reveal how the public space of dance and embodied movement at a second line parade enables a rewriting of ableist scripts about the body and its potential. This research focuses on the corporeal landscape and how musical traditions inscribe embodied knowledge, and embolden social commentary on the wider workings of race and disability in contemporary New Orleans.
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46

Kotabe, Masaaki, and Crystal X. Jiang. Contemporary Research Trends in International Marketing. Edited by Alan M. Rugman. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199234257.003.0017.

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International business research is probably more influenced by various forces of the economic and political climates than its domestic (or generic) counterpart. The emergence of new market economies in Eastern Europe, China, India, and Brazil, the consolidation of the European Union, as well as a decade of economic stagnation and recent resurgence in Japan's economy has given global competition greater significance. This article looks at research in international marketing to see if the discipline has overcome the deficiencies outlined in the previous studies. It examines the state of the art in international marketing research, with particular emphasis on conceptual frameworks and theory development. Its primary focus is on studies published since the year 2000 because the first decade of the twenty-first century has been characterized by changes in virtually all aspects of businesses and personal life.
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47

Pacchioni, Gianfranco. The Overproduction of Truth. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198799887.001.0001.

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The way science is done has changed radically in the last years. The personal reflections and experiences of a protagonist help us to understand the mechanisms of contemporary science. A system where passion, dedication and reliability, have increasingly less room, pressed by hard market laws. From vocation of a few, science has become the profession of many, possibly too many. With consequences and risks, such as the increase of frauds, plagiarism, but in particular with a huge amount of scientific publications, often of little relevance. The solution? A slow approach with more emphasis to quality than quantity, that helps us to rediscover the central role of a responsible scientist. The work is a critical review and assessment of present-day policies and behaviors in science production and publication, touching upon the tumultuous growth of scientific Journals, in parallel to the growth of self-declared scientists over the world. Along with personal reminiscences of times past, the author investigates the loopholes and hoaxes of pretended Journals and non-existing Congresses, so common nowadays in the scientific arena. The troubles with bibliometric indices are also discussed, as resulting in large part from the above distortions of science life.
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48

Githire, Njeri. Dis(h)coursing Hunger. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038785.003.0004.

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This chapter examines the use of the trope of hunger in Lindsey Collen's There is a Tide (1990) and Mutiny (2001) to dispel the myth of Mauritius as a model of paradise that permeates historical, travel, and literary writing. In these texts, the plight of characters debilitated by lack of nourishment, literally and metaphorically, and symbolically consumed by the ravenous, parasitic apotheoses of capitalist market relations points to cannibalism as the ultimate act of domination. Specifically, Collen draws an analogy between the historic slavery that had been the economic basis of the island as a plantation colony, and contemporary economic processes that commodify bodies in the production of consumable goods. In this general scenario of cannibalistic cravings that threaten the autonomy of physical and national bodies, the predicament of the Chagossians (or Chagos Islanders)—forcibly displaced to Mauritius after their island was expropriated and turned into a strategic lynchpin for U.S. military operations in the Middle East and the wider Indian Ocean region—evokes territorial appropriation as spatial cannibalism par excellence. The chapter also highlights the newer forms of cannibal intent that continue to define islands' contact and subsequent negotiations with consumer culture.
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49

Nowak, Dariusz, ed. Production–operation management. The chosen aspects. Wydawnictwo Uniwersytetu Ekonomicznego w Poznaniu, 2021. http://dx.doi.org/10.18559/978-83-8211-059-3.

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The aim of the e-book is to present the theoretical, cognitive and practical aspects of the essence and complexity of operational management in a production company. The presented modern production methods together with the challenges and problems of contemporary enterprises should better help to understand the issues of sustainable development, with particular emphasis on waste. The book consists of six chapters devoted to relevant and topic issues relating to the core business of an industrial enterprise. Chapter 1 The nature of the industrial enterprise is an introduction to further considerations and deals with the essence of the basic aspects of the company. Both popular and less known definitions of an enterprise, its features, functions and principles of operation are presented. An important part of the chapter is the presentation and formulation of strategic, tactical and operational goals. Moreover, the division of enterprises is presented with the use of various criteria and the features of the industrial market, which make it distinct. Chapter 2 The operational management evolution and its role in the industrial enterprise discusses the evolution and concept of production and operational management. The management levels were also presented, indicating their most important functions. An integral part of the chapter is the essence of the production system, viewed through the prism of the five elements. Chapter 3 Functions and role in operations management presents the issues concerning the organization of production processes, production capacity and inventory management. This part also presents considerations on cooperation and collaboration between enterprises in the process of creating value. Chapter 4 Traditional methods used in operational activities focuses on methods such as benchmarking, outsourcing, core competences, JIT, MPR I and MRP II, as well as TQM and kaizen. Knowledge of these methods should contribute to understanding the activities of modern enterprises, the way of company functioning, the realization of production activities, as well as aspects related to building a competitive position. Chapter 5 Modern methods used in production-operations management discusses the less common and less frequently used production methods, based on a modern and innovative approach. In particular, it was focused on: Shop Floor Control and cooperative manufacturing, environment-conscious manufacturing (ECM) and life-cycle assessment ( LCA), waste management and recycling, Electronic Data Interchange (EDI), virtual enterprise, World Class Manufacturing (WCM), Quality Function Deployment (QFD) and House of Quality (HOQ), theory of constraints (TOC), Drum Buffer Rope (DBR), group technology (GT) and cellular manufacturing (CM), Demand Chain Management and competitive intelligence (CI). In the last section discusses: the role of sustainable statistical process control and Computer-Aided Process Planning in context formatting of information management. Chapter 6 Problems of sustainable development and challenges related to production and operations management describes the problem and challenges related to production and operations activities. In particular, attention was paid to the threats related to changes in global warming, the growing scale of waste, or the processes of globalization. It was pointed out that the emerging problem may be both a threat and a chance for the development of enterprises. An integral part of the chapter are also considerations on technical progress, innovation and the importance of human capital in operational activities.
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50

Deeg, Richard. Capitalisms: A Global System. Oxford University Press, 2018. http://dx.doi.org/10.1093/acrefore/9780190846626.013.377.

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The global political economy is a multilevel system of economic activities and regulation in which the domestic level continues to predominate—in other words, it is a global system comprising national capitalist economies. Nations differ in terms of the regulations and institutions that govern economic activity, an observation that is embodied in the so-called “varieties of capitalism” (VoC) literature. Contemporary VoC approaches highlight the significance of social and political institutions in shaping national economies, in stark contrast to neoclassical economics which generally ignores institutions other than markets or sees them as hindrances to the functioning of free markets. Three analytical premises inform the diverse conceptual frameworks within the VoC literature: the firm-based approach, national business systems approach, and the governance or “social systems of production” approach. The VoC literature offers three important contributions to our understanding of the global political economy. The first is that different sources of competitive advantage for firms and nations are institutionally rooted and not easily changed. The second contribution is that these distinct national arrangements give rise to different interests/preferences in how the global economy is constructed and managed. Finally, the VoC approaches provide a framework for analyzing long-term institutional changes in capitalist systems and the persistence of diverse forms of capitalism, including the global financial crisis of 2008–2009 that may usher in yet another epochal change in the “battle of capitalisms.”
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