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1
Enxuto, João, and Erica Love. "The Institute for Southern Contemporary Art (ISCA)." Finance and Society 2, no. 2 (December 19, 2016): 173–74. http://dx.doi.org/10.2218/finsoc.v2i2.1730.
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The Institute for Southern Contemporary Art (ISCA) was founded in 2016 to advance a meaningful alternative to the problem of contemporary art production and its political economy. While technology is intensifying the soft power of speculation, reputation, and the hype of networks, recent changes in technical infrastructure have done very little to shake the narrowly-defined and limited objectives of contemporary art. Technological change alone hasn’t curtailed an art field defined by individualism and competition, despite counter-claims made by progressive artists and collectives. Following a long-century of escapist fantasies projected as utopian horizons, there is little to offer up as a functional alternative to an art market spiralling toward ever more comprehensive financialization. At a time when disdain for contemporary art is proliferating, undoing this system accelerating toward stagnation cannot be left to the ‘inevitable’ unravelling of its internal contradictions. ISCA offers another option by rerouting capital from the contemporary art market to fund a path to working otherwise, culminating in a think-tank and independent program to promote new terms for art production.
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Esposito, Claudia. "Traces of Souffles: on cultural production in contemporary Morocco." Contemporary French Civilization 45, no. 3-4 (December 1, 2020): 305–15. http://dx.doi.org/10.3828/cfc.2020.18.
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This article examines contemporary cultural production in Morocco and focuses in particular on how poet-artist Abdellatif Laâbi, founder of the journal Souffles, and writer-artist Mahi Binebine display ties of filiation. Bringing to light the artistic and social collaborations that these two cultural actors nurture in Morocco, the article traces a filial genealogy between Laâbi and Binebine and examines the post-independence years to reveal the spirit of combat that lies at the origin of the current artistic scene in Morocco. Questioning the link between art and the public, the article concludes by acknowledging the tension between art and market-driven concerns inherent in an increasingly competitive art business.
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Skiba, Stefan. "Some Thoughts on Contemporary Graphic Print." Journal of Arts and Humanities 5, no. 9 (September 29, 2016): 84. http://dx.doi.org/10.18533/journal.v5i9.1010.
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<p align="center">The production requirements of original graphic works of art have changed since 1980. The development of digital printing using lightfast colors now rivals traditional techniques such as wood cut, screen print, lithography, etching etc. Today, with respect to artistic legitimacy, original graphics using traditional printing techniques compete with original graphics produced by digital printing techniques on the art market. What criteria distinguish traditional printing techniques from those of digital printing in the production and acquisition of original graphics? What consequences is the serious artist faced with when deciding to implement digital print production? How does digital print change original graphic acquisition decisions?</p>
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Dholakia, Ruby Roy, Jingyi Duan, and Nikhilesh Dholakia. "Production and marketing of art in China." Arts and the Market 5, no. 1 (May 5, 2015): 25–44. http://dx.doi.org/10.1108/am-10-2013-0023.
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Purpose – The purpose of this paper is to explore how art production and marketing in China is attempting to move up the value chain as increasing number of Chinese replica-selling galleries seek to break free from the image of Chinese art towns as skilled but imitative centres of art production. Design/methodology/approach – In-depth interviews were conducted among seven gallery owners in Wushipu art village over three weeks to discover how art production in China has evolved and to chart its future growth. Findings – In the Chinese setting with its distinctive cultural patterns, tensions between the emergent national pride in original art and the facile and commercial moneymaking potential of simply selling industrially produced art are revealed. Practical implications – The changing dynamics of arts markets in China provide marketers and researchers a glimpse into a parallel trend: the gradual but rising shift to innovation, originality and luxury occurring in the China-based manufacturing centres of material goods. Social implications – The attempts to break from the imitative mass production of art and strike a balance between creating and meeting the art needs of the Chinese consumer indicate how domestic market priorities and economic growth are likely to serve as the new fuel for contemporary China’s socioeconomic development. Originality/value – Via an interpretive look at contemporary Chinese modes of arts production and marketing, the paper revisits the antagonism between the creation of original art and the production of industrial art in a context not well-known in the west, the massive art production centres of China.
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Tam, Isabella. "Canton Express: Urbanization and contemporary Chinese art." Journal of Contemporary Chinese Art 7, no. 2-3 (December 1, 2020): 241–60. http://dx.doi.org/10.1386/jcca_00028_1.
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Canton Express was a project situated within the larger exhibition Zone of Urgency in the Venice Biennale in 2003. It was the first comprehensive exhibition focusing on the relationship of urbanization and cultural landscape in the Pearl River Delta and presented on an international platform. Since the open-door policy in 1979, the Pearl River Delta played a pioneering role in China’s economic reform and urbanization throughout the 1980s and 1990s. This was resulted with unprecedent transformation of the cityscape and inhabitants’ lifestyle. More importantly, it defined the artistic context and character of the southern region uniquely from other parts of China, providing an opportunity for an alternative narrative in the discourse of contemporary Chinese art. Taking Canton Express as a case to reflect the uncanny observations and immediate responses among the fourteen participating artists and collectives on the new reality brought by urbanization and economic development which may, however, conflicted with the socialist-communist political ideology. And such tension nevertheless triggered a collective consciousness in the artistic community and their traits of flexibility, openness and self-autonomy to seek for an artistic identity independent from the existing narrative of contemporary Chinese art legitimized by the officials for biennales held inside and outside China. On this note, the essay will point out Canton Express proposed an interdisciplinary curatorial methodology for positioning ‘urbanism’ in the discourse. It will also provide examples of how it was instituted into the official system, expanding the multiplicity of contemporary Chinese art other than the market and political symbols, and shifted attention to art productions from a local perspective with global resonance. Through Canton Express and curatorial projects held afterwards, this essay attempts to prompt future research and discussion on qualities and conditions for artistic production and circulation of Chinese art in a world emerging from the COVID-19.
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Kuleva, Margarita I. "Turning the Pushkin Museum into a ‘Russian Tate’: Informal creative labour in a transitional cultural economy (the case of privately funded Moscow art centres)." International Journal of Cultural Studies 22, no. 2 (January 30, 2019): 281–97. http://dx.doi.org/10.1177/1367877918821236.
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This article investigates the creative work that is now taking place in newly established cultural institutions in Moscow, the non-governmental museums of contemporary art (MoCAs). The exploration of creative work in Russian art centres is of particular interest because it promises to record the transition of the contemporary art market from the Soviet-era cultural monopoly to the market economy, during the real-time formation of new, informal standards of cultural production. The present article evaluates what informality means within these new standards of the organization of creative work: while standing for culture ‘in a new and innovative way’, the new art centres preserve many residues of the ‘old system’, such as the practices of blat, favour-swapping and clientelism. The article is based on an empirical study conducted in 2016 which included 25 in-depth interviews with cultural workers employed full-time, and 20 live observations in offices and exhibition areas of the art centres.
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Tagore-Erwin, Eimi. "Contemporary Japanese art: between globalization and localization." Arts and the Market 8, no. 2 (October 1, 2018): 137–51. http://dx.doi.org/10.1108/aam-04-2017-0008.
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Purpose The purpose of this paper is to identify and analyze the influence that globalization has had on the development of the contemporary Japanese art production. The study also aims to expand the global narrative of Japanese art by introducing concepts behind festivals for revitalization that have been occurring in Japan in recent years. Design/methodology/approach Guided by Culture Theorist Nira Yuval-Davies’ approach to the politics of belonging, the paper is situated within cultural studies and considers the development of contemporary art in Japan in relation to the power structures present within the global art market. This analysis draws heavily from the research of art historians Reiko Tomii, Adrian Favell, and Gennifer Weisenfeld, and is complemented by investigative research into the life of Art Director Kitagawa Fram, as well as observational analyses formed by on-site study of the Setouchi Triennale in 2015 and 2016. Findings The paper provides historical insight to the ways that the politics of belonging to the western world has created a limited benchmark for critical discussion about contemporary Japanese art. It suggests that festivals for revitalization in Japan not only are a good source of diversification, but also evidences criticism therein. Research limitations/implications Due to the brevity of this text, readers are encouraged to further investigate the source material for more in-depth understanding of the topics. Practical implications The paper implies that art historiography should take a multilateral approach to avoid a western hegemony in the field. Originality/value This paper fulfills a need to reflect on the limited global reception to Japanese art, while also identifying one movement that art historians and theorists may take into account in the future when considering a Japanese art discourse.
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Fetter, Bruna. "O PAPEL DO MERCADO NA LEGITIMAÇÃO ARTÍSTICA E ALGUNS REFLEXOS PARA HISTÓRIAS DA ARTE EM CONSTRUÇÃO / The role of the market for artistic legitimation and some reflexes for art histories under construction." arte e ensaios 26, no. 40 (December 2, 2020): 173–83. http://dx.doi.org/10.37235/ae.n40.12.
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O mundo contemporâneo apresenta uma série de desafios para o sistema da arte. Mudanças econômicas, sociais, culturais e organizacionais na década passada produziram um mercado global de arte cuja influência já atinge desde a produção artística à programação de importantes instituições. O número de museus privados cresce, enquanto instituições públicas não possuem verba para investir em novas aquisições para suas coleções. Nesse cenário, nos perguntamos: em 50 ou 100 anos, o que estará legitimado nas coleções institucionais referentes à atualidade? Onde estarão as obras mais significativas dos artistas brasileiros contemporâneos? Quem serão os artistas brasileiros mais reconhecidos? Quais critérios estéticos estão sendo legitimados através dos mecanismos dessa nova institucionalização no Brasil? Quais narrativas acompanharão a historicizacão da arte contemporânea brasileira? Que papel o mercado e os colecionadores privados têm desempenhado na definição de histórias da arte em construção?Palavras-chave: Mercado de arte; Legitimação; Papel do colecionador; História da arte; Arte brasileira.Abstract:The contemporary world presents a series of challenges for the art system. Economic, social, cultural and organizational changes in the past decade have produced a global art market whose influence already reaches from artistic production to the programming of important institutions. The number of private museums grows, while public institutions do not have funds to invest in new acquisitions for their collections. In this scenario, we ask ourselves: in 50 or 100 years, what will be legitimized in the institutional collections for today? Where are the most significant works by contemporary Brazilian artists? Who will be the most recognized Brazilian artists? What aesthetic criteria are being legitimized through the mechanisms of this new institutionalization in Brazil? Which narratives will accompany the historicization of contemporary Brazilian art? What role have the market and private collectors been playing in shaping art histories under construction?Keywords: Art market; Legitimation; Collector's role; Art history; Brazilian art.
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Di Summa-Knoop, Laura T. "Art Today and Philosophical Aesthetics." Culture and Dialogue 4, no. 2 (October 26, 2016): 246–62. http://dx.doi.org/10.1163/24683949-12340014.
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The demise of grand narratives of art, and the emergence of “post-historical art,” have produced a chasm between the tradition of philosophical aesthetics and the production and reception of contemporary art, a divide that has deprived philosophy of the fundamental role it had played, arguably, until the end of the Modern period. The goal of this paper, which focuses primarily on art after 2000, is to investigate possible venues and directions in the current production and reception of art that might lead to a reconciliation of these two poles and to the advancement of new philosophical strategies for the analysis of art. Specifically, I will concentrate on three aspects of the experience of art today: first, the emphasis, in the production and reception of artworks, on enactive accounts of artistic experience; secondly, the importance given to the ethical content of artworks and to their ability to trigger ethical, social, and political reflection; and, lastly, the growing role of the art market and its structures in the overall appreciation of the arts.
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McQuilten, Grace, Deborah Warr, Kim Humphery, and Amy Spiers. "Ambivalent entrepreneurs: arts-based social enterprise in a neoliberal world." Social Enterprise Journal 16, no. 2 (March 30, 2020): 121–40. http://dx.doi.org/10.1108/sej-03-2019-0015.
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Purpose The purpose of this paper is to consider the social turn in contemporary capitalism and contemporary art through the lens of art-based social enterprises (ASEs) that aim to create positive social benefits for young people experiencing forms of marginalisation, and which trade creative products or services to help fulfil that mission. A growth in ASEs demonstrates a growing interest in how the arts can support social and economic development, and the ways new economic models can generate employment for individuals excluded from the labour market; extend opportunities for more people to participate in art markets; and challenge dominant market models of cultural production and consumption. Design/methodology/approach This paper considers a number of challenges and complexities faced by ASEs that embrace a co-dependence of three goals, which are often in tension and competition – artistic practice, social purpose and economic activity. It does so by analysing interviews from staff working with 12 ASE organisation’s across Australia. Findings While the external forces that shape ASEs – including government policy, markets, investors and philanthropy – are interested in the “self-sufficient” economic potential of ASEs, those working in ASEs tend to prioritise social values and ethical business over large financial returns and are often ambivalent about their roles as entrepreneurs. This ambivalence is symptomatic of a position that is simultaneously critical and affirmative, of the conditions of contemporary capitalism and neoliberalism. Originality/value This paper addresses a gap in social enterprise literature presenting empirical research focussing on the lived experience of those managing and leading ASEs in Australia.
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Cohen, Matthew Isaac. "Wayang Kulit Tradisional dan Pasca-Tradisional di Jawa Masa Kini." Jurnal Kajian Seni 1, no. 1 (November 7, 2014): 1. http://dx.doi.org/10.22146/art.5965.
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Regional traditions of wayang kulit puppetry remain alive and vibrant in contemporary Indonesia, responding to currents of global culture, changing configurations of patronage, and the challenges of doctrinal Islam. Enterprising artists tap into new funding sources to renew audiences, strategic alliances are struck between academics and performers, and after the long hiatus of a military dictatorship under President Soeharto, wayang kulit has resumed its role as a mouthpiece for political commentary and dissent. In addition to traditional wayang kulit, the last decade has seen a surge of post-traditional wayang kulit. Post-traditional productions, which are generally not linked to ritual events or functions, etiolate and hybridize the conventions of the form, intentionally violating sacred norms and taboos. Traditionally-trained practitioners alive to global popular culture and the demands of the international contemporary art market, sometimes in collaboration with other artists, create new work that draws deeply on wayang kulit conventions and practices to speak to new audiences about issues of current relevance. While traditional and post-traditional wayang kulit present strikingly different aesthetic profiles, practitioners happily cross between the two art worlds, benefiting from contemporary society’s cultural pluralism.
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Grba, Dejan. "Faux Semblants: A Critical Outlook on the Commercialization of Digital Art." Digital 3, no. 1 (February 24, 2023): 67–80. http://dx.doi.org/10.3390/digital3010005.
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Heralded by promises for the long-awaited economic empowerment of digital art and the paradigmatic shift of creative production, the art market’s fusion with blockchain technologies and the crypto economy has polarized opinions among artists, cultural workers, and economists. Its capricious dynamics and exuberance largely shroud the continuation of the art market’s ideology and the reinforcement of the disturbing political vectors of the crypto/blockchain complex. In this paper, I address several interrelated aspects of art tokenization in a compact and comprehensive critical framework that may be useful for a constructive discourse of contemporary digital art. By focusing on the core poetic principles of artmaking—which concern the historically informed autonomy of expression and socially responsible freedom of creative thinking—I identify some of the prospects for advancing digital art towards an ethically coherent and epistemologically relevant expressive stratum. The opening sections Introduction, Markets, and Contrivances outline the art market, its adoption of crypto technologies, and its influences on the production and expressive modes of digital art. Sections Ideologies and Myths describe the ideological and technical issues of the crypto economy, while Shams and Fallouts delve into the conceptual shortcomings and ethical, political, and creative consequences of the standard art tokenization rhetoric. The closing sections Options and Conclusion present the considerations for a productive assessment of blockchain technologies in digital art and summarize some of the alternative approaches for navigating and interfacing with the crypto art world.
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Post, Erik, and Filipe Calvão. "Mythical Islands of Value: Free Ports, Offshore Capitalism, and Art Capital." Arts 9, no. 4 (September 28, 2020): 100. http://dx.doi.org/10.3390/arts9040100.
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The Geneva Free Port in Switzerland has paved the way for a new generation of art and luxury free ports. These are critical spatial pivots for the management of art assets, including storage and transactions of artworks, and serve as proxy to examine mechanisms for the capture and generation of value, integral but also outside the global art market. Drawing from the trajectory of the Geneva Free Port and an interdisciplinary body of scholarship on “offshore” and other special zones of production, and value circulation in human geography, anthropology, history, and sociology, this article frames free ports in a longer genealogy of offshore capitalism. First, we claim that the emergence of the Geneva Free Port prefigures and helps illuminate contemporary transformations in offshore capitalism; second, these spaces are more deeply imbricated with public and state authorities than previously suggested. Finally, a holistic understanding of art capital—works of art for investment and asset management—requires an encompassing view of free ports not as accidental and exceptional features in the world of high art but as spaces deeply implicated in the creation and operation of the art market more generally.
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Zou, Xiangping. "Promoting Environmental Protection through Art: The Feasibility of the Concept of Environmental Protection in Contemporary Painting Art." Journal of Environmental and Public Health 2022 (September 26, 2022): 1–8. http://dx.doi.org/10.1155/2022/3385624.
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With the development of society and the progress of science and technology, the impact of human beings on the environment is becoming more and more serious but also facing the crisis of resource exhaustion. The frequent occurrence of natural disasters has sounded the alarm to human beings, and people are paying more and more attention to the concept of green ecology. There is a close relationship between people and the environment, the development of industry, and the abuse of resources, so that today’s ecological environment has been greatly damaged, people’s requirements for the environment are constantly improving, and people’s environmental awareness is also increasing. While vigorously strengthening environmental management, the government also put forward the “people-oriented” sustainable development strategy. Along with the development of The Times, the art of graphic design is an important service in the field of the society, serves people, is the service life of important activities, its art function must keep pace with The Times, should not only meet the needs of The Times, and to be able to meet the needs of The Times, and to be able to meet the needs of the market. More should make full use of the function of the design to influence and change the society through design ideas, to advocate environmental protection, to improve people’s thinking patterns and values, and to change those production and life styles that deviate from sustainable development. Therefore, this article will discuss and analyze the modern painting from the artistic concept, art education, green environment concept, green design, and so on.
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LEWTHWAITE, STEPHANIE. "Reworking the Spanish Colonial Paradigm: Mestizaje and Spirituality in Contemporary New Mexican Art." Journal of American Studies 47, no. 2 (April 17, 2013): 339–62. http://dx.doi.org/10.1017/s002187581300011x.
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During the early 1900s, Anglo-Americans in search of an indigenous modernism found inspiration in the Hispano and Native American arts of New Mexico. The elevation of Spanish colonial-style art through associations such as the Anglo-led Spanish Colonial Arts Society (SCAS, 1925) placed Hispano aesthetic production within the realm of tradition, as the product of geographic and cultural isolation rather than innovation. The revival of the SCAS in 1952 and Spanish Market in 1965 helped perpetuate the view of Hispanos either as “traditional” artists who replicate an “authentic” Spanish colonial style, or as “outsider” artists who defy categorization. Thus the Spanish colonial paradigm has endorsed a purist vision of Hispano art and identity that obscures the intercultural encounters shaping contemporary Hispano visual culture. This essay investigates a series of contemporary Hispano artists who challenge the Spanish colonial paradigm as it developed under Anglo patronage, principally through the realm of spiritually based artwork. I explore the satirical art of contemporary santero Luis Tapia; the colonial, baroque, indigenous and pop culture iconographies of painter Ray Martín Abeyta; and the “mixed-tech media” of Marion Martínez's circuit-board retablos. These artists blend Spanish colonial art with pre-Columbian mythology and pop culture, tradition with technology, and local with global imaginaries. In doing so, they present more empowering and expansive visions of Hispano art and identity – as declarations of cultural ownership and adaptation and as oppositional mestizo formations tied historically to wider Latino, Latin American and transnational worlds.
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Claassen, Marek. "Artfacts.Net." Leonardo 45, no. 3 (June 2012): 278–79. http://dx.doi.org/10.1162/leon_a_00372.
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The author posits that the vast majority of people have little confidence about the “value” they should attribute to contemporary artworks. Many people are seduced into confusing worth with material production, with auction sales records, cult of celebrity, and endless gossip. People are unable to analyze the real activities of artists, their sales and exhibitions, from the unsubstantiated catchphrases of media speculation. This article aims to help clarify the basic mechanisms of the contemporary art market and to enhance understanding through the means of econometrics.
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Keshmirshekan, Hamid. "Modern Art in the Arab World, Primary Documents: A Review Essay." Review of Middle East Studies 54, no. 2 (December 2020): 342–51. http://dx.doi.org/10.1017/rms.2021.4.
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The study of modern and contemporary art from Islamic lands, and particularly the Arab world, is a developing field. Over the past few decades, a variety of publications on modern and contemporary art from the Arab world and its diasporas has appeared in art magazines, journals, and exhibition and auction catalogues. There is, however, still a lack of scholarly literature and reliable resources on the subject. Many such existing sources have focused on productions that are largely in line with certain interests or agendas pursued by the particular magazine/journal, exhibition, or art market in question. Therefore, although recent scholarly output has played a crucial role in introducing modern art in the Arab countries in the Middle East and North Africa, these publications have not sufficiently filled the gap of discussion regarding certain aspects of the subject. Modern Art in the Arab World, a collection of critical writings by Arab intellectuals and artists, offers an unparalleled source for the study of modernism in the Arab world. Mapping the primary documents with additional entries written by the editors and other scholars, this book addresses the major historical, conceptual, theoretical, and aesthetic issues that inform the modern art paradigm in the Arab world. Arranged largely in a chronological order, it explores the art of the Arab world by tracing the main discourses that have shaped artistic practices and transformations in the region from the mid-nineteenth century until the late 1980s.
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Lanzendörfer, Tim. "How to Read the ‘Literary’ in the Literary Market." Zeitschrift für Anglistik und Amerikanistik 69, no. 1 (March 1, 2021): 9–23. http://dx.doi.org/10.1515/zaa-2020-2026.
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Abstract This essay argues that under contemporary capitalism, all literary production is, at first approximation, commodity production. This has consequences for our understanding of the work of literary studies. We are no longer able to easily recur to preformed theories of the ‘literary’ as a category at least in some way exempt from extrinsic pressures. Attention to the ‘literary market’ remains superficial when it insists on paying attention chiefly to so-called literary fiction on the understanding that it has prima facie higher claims to our attention than popular genre fiction—it does not. In fact, as this essay argues, appreciation of the thorough commodification of art under capitalism asks us to take seriously the need to break with our categories; to insist on the primacy of interpretative attention in determining what kinds of fiction we study.
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Hvala, Tea. "As little as possible for as little as possible." Maska 30, no. 175 (November 1, 2015): 58–71. http://dx.doi.org/10.1386/maska.30.175-176.58_5.
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On the occasion of the 20th anniversary of the contemporary art festival City of Women, which was dedicated to survival tactics, I discuss the conditions under which it came about and the conditions under which artists or self-employed individuals in the field of culture must work in this time of cuts to public funding of the arts in Slovenia. In the context of selected performances from this year’s City of Women programme, I ask how it is possible to create antagonistic art within the capitalist means of production without the artist and producer burning themselves out in the process and, with the insights of Silvia Federici, how it is possible to separate oneself from the market and from the country without reducing oneself to poverty.
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Pupparo, P., M. Tufarelli, and M. C. Coppola. "Experimenting in Industrial Product Design. The Case: "Art, Design and Business Project for New Young Talents - Young Culture as a Motor for a New Business Economy in Tuscany”." Proceedings of the Design Society 2 (May 2022): 2175–82. http://dx.doi.org/10.1017/pds.2022.220.
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AbstractThe design of mass-produced products is a design process aimed at the masses, which describes approaches and phenomena in strong transformation. The production techniques, the semantic value of the products, the concept of mass production and the similarities between these factors explain new production and design balances following the latest technological and cultural transformations within contemporary society and the market. The paper discusses and investigates the theme of industrial design aimed at the masses, reporting relevant case studies and experimental tests.
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Dedinkin, M. O. "Friedrich Wilhelm Brass, Creator of the Genossenschaft for Proletarian Art in Berlin: the First Experience of a Biography." Art & Culture Studies, no. 3 (August 2022): 38–63. http://dx.doi.org/10.51678/2226-0072-2022-3-38-63.
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The purpose of this article is to study the life and activity of Friedrich Wilhelm Brass, founder of Genossenschaft for Proletarian Art in Berlin (1920). Friedrich Wilhelm Brass (1873–1931) throughout his life sought to combine the commercial interests of a contemporary art dealer with the ideas of the social reorganization of the world. One of the first to call himself a communist in Germany, he created in 1920 in Berlin the Genossenschaft for Proletarian Art, the collection of which became the first contemporary western art brought to Soviet Russia. On the basis of this collection kept in the Hermitage and the Russian Academy of Arts, archival materials and work in museum collections in Germany, the history of the emergence of the Genossenschaft in Berlin in 1920, the composition of the participants and the biography of its creator are reconstructed. The relevance and novelty of the article is due to the lack of scientific research on this issue discovered by the author in his works. The life path of F.W. Brass is consistently considered. Trained as a craftsman in Krefeld, Brass made several attempts to establish an art trade there, primarily aimed at the workers’ milieu. A member of the Social Democratic Party of Germany, he tried to interest the party in the prospect of such educational and agitational work. These initiatives proved to be financially untenable. Brass later worked at the German Workshops Hellerau, where the manufacturer Karl Schmidt implemented a project for the mass production of furniture designed by leading European designers and oriented to the widest and most democratic market. During the First World War, Brass was mobilized and spent several years in captivity in Russia, where he met the revolution and returned to Germany in 1919 as a convinced supporter of the communist reorganization of the world. After the November Revolution, several artistic organizations arose in Berlin, whose activities were directed towards the proletariat (the Workers’ Council for Art, the Association of Socialist Artists, the Union for Proletarian Culture, the Proletarian Theatre of Erwin Piscator, etc.). Among them was the Genossenschaft for Proletarian Art of the communist Brass, who collected the works of left-wing artists, mainly expressionists of the first and second generation. Like most of these artistic initiatives, the Brass Genossenschaft could not survive the economic crisis. The unique collection of the Genossenschaft was acquired during a trip to Germany by Comintern Chairman G. Zinoviev in October 1920 and brought to Soviet Russia. Later, during the years of the Weimar Republic, Brass no longer undertook such ambitious projects, continuing to trade in the works of left-wing artists. He worked in Hagen and Düsseldorf, where he died in 1931. The author comes to the conclusion that the figure of Brass represents a new type of entrepreneur for the art market of the 20th century, focused primarily on the promotion of the latest art among the workers, agitation for a new life in the language of art.
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BRAIDE, O. O. "STYLISTIC FEATURES OF CONTEMPORARY ADIRE IN NIGERIAN TEXTILE PRACTICE." Journal of Humanities, Social Science and Creative Arts 11, no. 1 (November 22, 2017): 106–18. http://dx.doi.org/10.51406/jhssca.v11i1.1698.
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With the whole lot of innovation the adire textile is going through, the indigenous craft still maintained and retained its cultural values among its various users most especially the Yoruba people. The paper therefore examines the styles and forms of contemporary adire in Nigeria, its distribution and entrepreneurship. Of further interest is the wide gamut of other product which Kampala technique images have been adapted. From clothing to postcard and house hold decoration items. Examination of contemporary adire and its mellowed design, ease of production and recent acceptance as wearable fashion material and other uses, indicate the diverse direction that traditional art forms may take as it enters the international market, The paper deduced that the different innovations that have taken place in the traditional textile craft is as a result of the formal education been acquired by the very few 7.4% of new generation producers of adire and this innovations has in one way or the other improve the patronage of adire and the calibre of its users. It has also transformed adire into ceremonial attire, other than the usual knockabout. It highlights the differences in the patterning methods of the cloth and also the preference choice of users. The study discovered that adire can play a dual role of a commodity and a gift because of its new variety of uses among the customers, from dress to house hold materials and souvenir.
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hockx, michel, and julia strauss. "introduction." China Quarterly 183 (September 2005): 523–31. http://dx.doi.org/10.1017/s0305741005000330.
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this collection offers a variety of perspectives on culture in contemporary china. we begin and end with pieces by jing wang and deborah davis on the production and consumption of culture in general, before moving on to three specific areas: visual culture, music and poetry. jing wang's opening piece on “bourgeois bohemians” (bobos) in china revolves around the all-important question of how taste is constructed and a multiplicity of lifestyles imagined. in china as elsewhere in the world, lifestyles are first imagined and transmitted through advertising. wang describes how marketing campaigns propagate idealized lifestyles to different segments of china's self identified urban middle class; notably the bohemian and the xin xin renlei. deborah davis focuses on the consumption end of culture, suggesting that for all the real resentments and worries engendered by growing income inequality and job insecurity, urbanites in shanghai experience consumer culture and the pursuit of individual taste and comfort in the home through shopping to be positive experiences, particularly when juxtaposed against the deprivations of the past. both wang and davis show that the production and consumption of culture are complex phenomena that go beyond mere market manipulation. there is substantial agency involved, from urbanites joyfully participating in redecoration of their flats to the ways in which niche segments of the urban middle class separate into different “tribes.”the braester, denton and finnane essays focus on different aspects of the production and consumption of visual culture: film, museums and fashion. braester suggests that one cannot sharply differentiate commercial film from art film on the basis of content or aesthetics, as directors previously known for making art films move into commercials, and both share similar sensibilities.
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Portnova, Tatiana. "Historical Aspects of Project Technologies Development and Opportunities for their Use in Scenic Arts." Space and Culture, India 6, no. 4 (December 23, 2018): 48–56. http://dx.doi.org/10.20896/saci.v6i4.380.
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The author considers historical trends in the development of project technologies in the arts. Various project and artistic solutions are analysed with the focus on various historical periods and styles, from the Ancient East to the Modern Age. An emphasis is placed on the era itself, which required a new approach to the organisation of theatrical enterprises and the performance production principles. The article also reveals the specifics of projects as a type of the human creative activity and defines the role of the project method as a system of unique and clearly defined actions aimed at obtaining specific results in a multifunctional environment within a specified period and within the allocated resources. The author shows that they are characterised by a deep mutual integration of the artistic and creative principle and the development of information technologies. The article contains various examples of the implementation of projects from the beginning of civilisation up to the twentieth century when art management appears as a form of arrangement of the theatrical business, and a combined company becomes possible. The author emphasises the role of the Russian Seasons by S. P. Diaghilev in creating conditions for the development of unique professional and artistic experience in Russia and other countries. Development of special knowledge and dialectics of research of project strategies in the twentieth century imply increasing importance of knowledge derived from the historical past, which can improve the competitiveness of performances, as well as of other creative works in the contemporary art market.
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Osodlo, Vasyl, Oleh Rybchuk, and Viktoriia Krykun. "Organizational Culture as a Basis for Efficient Development of Organization." Management and Business Research Quarterly 17 (February 2021): 18–30. http://dx.doi.org/10.32038/mbrq.2021.17.02.
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The article is devoted to the study of non-material assets of an organization development, particularly of organizational culture as a basis of effective development of an organization. The hypothesis lies in the fact that specific features study of organizational culture of a company provides possibility of objective evaluation of a degree of stability of organization, its ability for competition, allows to predict the important directions of management decisions, and a possibility of achievement of planned results. The tendencies concerning the transformations of contemporary management of organizations, which are realized in transferring of management influences from the management of technology of work to technology of management of human potential of a company, are revealed. The change of emphasis is due to objective reasons: due to the processes of globalization, state-of-the-art production technologies, including the latest information technologies, as well as the international labor market, humanization of industrial relations and human resource management technologies are becoming widely available. The article presents the results of an empirical study of certain aspects that determine the organizational culture. Promising directions, that have a significant potential for improving organizational culture, are identified.
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Bruno, Fernanda, Paola Barreto, and Milena Szafir. "Surveillance Aesthetics in Latin America: Work in progress." Surveillance & Society 10, no. 1 (July 18, 2012): 83–89. http://dx.doi.org/10.24908/ss.v10i1.4212.
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This on line curatorship presents a selection of 11 works by Latin American artists who incorporate in their creations technologies traditionally linked to surveillance and control processes. By Surveillance Aesthetics we understand a compound of artistic practices, which include the appropriation of dispositifs such as closed circuit video, webcams, satellite images, algorithms and computer vision among others, placing them within new visibility, attention and experience regimes. The term referred to in the title of this exhibition is intended more as a vector of research rather than the determination of a field, as pointed by Arlindo Machado under the term “surveillance culture”. (Machado 1991) In this sense, a Latin America Surveillance Aesthetics exhibition is a way to propose, starting from the works presented here, a myriad of questions. How and to what extent do the destinies of surveillance devices reverberate or are subverted by market, security and media logics in our societies? If, in Europe and in the USA, surveillance is a subject related to the war against terror and border control, what can be said about Latin America? What forces and conflicts are involved? How have artistic practices been creating and acting in relation to these forces and conflicts? Successful panoramas of so called Surveillance Art already take place in Europe and North America for at least three decades, the exhibition “Surveillance”, at the Los Angeles Contemporary Exhibitions being one of the first initiatives in this domain. In Latin America however, art produced in the context of surveillance devices and processes is still seen as an isolated event. Our intention is to assemble a selection of works indicating the existence of a wider base of production, which cannot be considered eventual.The online exhibition can be accessed here.http://www.pec.ufrj.br/surveillanceaestheticslatina/
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Yunizal, Dwi. "KAJIAN BUDAYA JEPANG PADA PROSES DAN TEKNIK SENI LUKIS TAKASHI MURAKAMI." Gorga : Jurnal Seni Rupa 11, no. 2 (December 25, 2022): 513. http://dx.doi.org/10.24114/gr.v11i2.39802.
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Contemporary artist Takashi Murakami from Japan works in painting, sculpture, and commercial media including fashion, merchandise and animation with the superflat theory. The creative process combines traditional culture with contemporary culture, this study aims to understand Murakami's background in managing the dynamics of traditional culture with critical and genius visual discourse. The superflat theory was finally able to lead Murakami to become a well-known artist, due to the meeting of the dynamics of traditional and capitalist culture in the global market. The use of kawaii elements which mean cute and sweet, both as a style and a way of life can be found in Murakami's art. Symbolism plays an important role in attracting people's attention and working to elevate otaku culture's status as a representation of Japan. Murakami's mythical sensibility presents traditional Japanese, Chinese, and Buddhist myths giving mythopoeic achievements. This study uses library research with a semi-systematic approach that originates from journals, dissertations, theses, and internet media, based on the results of data and information processing, the works of artist Murakami are influenced by Japanese cultural structures such as Soga Shohaku, kawaii, and otaku. Murakami's awareness in understanding art discourse by incorporating a kawaii style, so that it is easily accepted in the global art market. Understanding how Murakami's formula manages traditional culture to become today's art, can be analyzed in a work entitled “Dragon in Clouds – Indigo Blue”. The conclusion of Murakami's work is the symbolism influenced by his personal experience.Keywords: soga shohaku, kawaii, otaku, superflat. AbstrakSeniman kontemporer Takashi Murakami dari Jepang mengerjakan karya lukisan, patung, dan media komersial termasuk fashion, barang dagang, dan animasi dengan teori superflat. Proses kreatif memadukan budaya tradisional dengan budaya kontemporer. Penelitian ini bertujuan memahami latar belakang Murakami mengelola dinamika budaya tradisional dengan wacana visual yang kritis dan jenius. Teori superflat akhirnya mampu mengantarkan Murakami menjadi seniman ternama, karena pertemuan dinamika budaya tradisional dan kapitalis di pasar global. Penggunaan unsur kawaii yang berarti imut dan manis, baik sebagai gaya maupun gaya hidup dapat ditemukan dalam karya seni Murakami. Simbolisme memainkan peran penting untuk menarik perhatian orang, dan berupaya mengangkat status budaya otaku sebagai representasi Jepang. Kepekaan mitis Murakami menghadirkan mitos tradisional Jepang, Cina, dan Buddha memberikan pencapaian mythopoeic. Penelitian ini menggunakan penelitian kepustakaan dengan pendekatan semi-sistematik yang bersumber dari jurnal, disertasi, tesis, dan media internet. Berdasarkan hasil pengolahan data dan informasi, karya seniman Murakami dipengaruhi oleh struktur budaya Jepang seperti soga shohaku, kawaii, dan otaku. Kesadaran Murakami dalam memahami wacana seni dengan memasukkan gaya kawaii, sehingga mudah diterima di pasar seni global. Memahami bagaimana formula Murakami mengelola budaya tradisional menjadi seni masa kini, dapat dianalisis dalam karya berjudul “Dragon in Clouds – Indigo Blue”. Kesimpulan dari karya Murakami adalah simbolisme yang dipengaruhi pengalaman pribadinya.Kata Kunci: soga shohaku, kawaii, otaku, superflat. Author:Dwi Yunizal : Institut Seni Indonesia Yogyakarta References:Birlea, O. M. (2021). “Cute Studies”. Kawaii (“Cuteness”) – A New Research Field. Philobiblon, 26(1), 83–100. https://doi.org/10.26424/philobib.2021.26.1.05.Borggreen, G. (2011). Cute and Cool in Contemporary Japanese Visual Arts. The Copenhagen Journal of Asian Studies, 29(01), 39–60. https://doi.org/10.22439/cjas.v29i1.4020.Hashimoto, M. (2007). Visual Kei Otaku Identity - An Intercultural Analysis. Intercultural Communication Studies, XVI(1), 87–99. https://www.researchgate.net/publication/239576790_Visual_Kei_Otaku_Identity-An_Intercultural_Analysis.Hu, X. (2021). Is Takashi Murakami’s Art an Exploration of Symbolism ?. Proceedings of the 2021 6th International Conference on Modern Management and Education Technology, 582, 560–564. https://doi.org/10.2991/assehr.k.211011.101.Khairi, I. A ., & Hafiz, H. (2022). Kajian Estetika Lukisan Realis Kontemporer Drs. Irwan, M.Sn. yang Berjudul di Ujung Tanduk. Gorga: Jurnal Seni Rupa, 11(01), 138-146. https://doi.org/10.24114/gr.v11i1.34129. Mamat, R., Rashid, R. A., Paee, R., & Ahmad, N. (2022). VTubers and anime culture: A case study of Japanese learners in two public universities in Malaysia. International Journal of Health Sciences, 6(S2), 11958–11974. https://doi.org/10.53730/ijhs.v6nS2.8231.Pellitteri, M. (2018). Kawaii Aesthetics from Japan to Europe: Theory of the Japanese “Cute” and Transcultural Adoption of Its Styles in Italian and French Comics Production and Commodified Culture Goods. Arts, 7(3), 24. https://doi.org/10.3390/arts7030024.Raman, K., Othman, A. N., Idris, M. Z., & Muniady, V. (2021). Kawaii-Style Pedagogical Agents Designs in Virtual Learning Environment: A Research Conceptual Framework. International Journal of Academic Research in Progressive Education and Development, 10(01), 154-170. https://doi.org/10.6007/IJARPED/v10-i1/8489.Raubenheimer, L. (2006). Blandness and the digital sublime in Takashi Murakami’s designs for Louis Vuitton. South African Journal of Art History, 21(2), 74–88. http://hdl.handle.net/2263/10629.Rupadha, I. K. (2016). Memahami Metode Analisis Pasangan Bibliografi (Bibliographic Coupling) dan Ko-Sitasi (Co-Citation) Serta Manfaatnya untuk Penelitian Kepustakaan. Lentera Pustaka, 2(1), 58–69. https://doi.org/10.14710/lenpust.v2i1.12358. Sanjaya, B. & Citra, P. A. C. (2022). Fenomena Aku Setelah Pandemi Covid-19 sebagai Ide Penciptaan Karya Seni Lukis. Gorga: Jurnal Seni Rupa, 11(01), 107-113. https://doi.org/10.24114/gr.v11i1.33867.Sari, M. (2020). Penelitian Kepustakaan (Library Research) dalam Penelitian Pendidikan IPA. NATURAL SCIENCE: Jurnal Penelitian Bidang IPA dan Pendidikan IPA. 6(1). 41-53. https://ejournal.uinib.ac.id/jurnal/index.php/naturalscience/article/view/1555.Sharp, K. (2007). Superflatlands : The global cultures of Takashi Murakami and superflat art. ACCESS: Critical Perspectives on Communication, Cultural & Policy Studies, 26(1), 32–42. https://search.informit.org/doi/10.3316/informit.665904534038717. Uzelac. G. (2022). Harnessing The Myths of Now :Restoring Social Harmony Through Mythic Art. The University of Sydney, 1-69. https://hdl.handle.net/2123/27724.Yazovskaya, O., (2018). Artistic Language of Mass Culture As Illustrated By Takashi Murakami (On Materials From “Under The Radiation Falls” Exhibit, 2017-2018, Moscow). IJASOS-International E-Journal of Advances in Social Sciences, IV(11), 516-520. https://doi.org/10.18769/ijasos.455682.
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Darmayanti, Ni Wayan Ririn Putri, and Luh Putu Kerti Pujani. "Pengaruh Erupsi Gunung Agung Terhadap Produksi Kerajinan Patung Di Desa Sebatu, Kecamatan Tegallalang, Kabupaten Gianyar." JURNAL DESTINASI PARIWISATA 7, no. 1 (July 1, 2019): 131. http://dx.doi.org/10.24843/jdepar.2019.v07.i01.p20.
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This research was conducted to determine the effect of Mount Agung eruption on the production of sculpture
in Sebatu Village, Tegallalang District, Gianyar Regency. The types of data and sources of data used are qualitative, primary and secondary data. Data collection is conducted by observation, in-depth interviews and documentation. Analysis of the data used was qualitative data analysis to seek the relationship between the influence of the Mount Agung eruption on the qaunitity of sculpture production and the distribution network of sculpture crafts in Sebatu Village. The results of this study indicate that sculpture crafts produced in Sebatu Village are a type of contemporary sculpture that is dominated by animal statues. The production capacity of sculpture crafts in Sebatu village after the eruption of Mount Agung has increased, contrary to when the eruption occurred tourists could not come directly to order sculpture and their production capacity had declined. The working system of sculpture craftsmen has started to run normally with increasing production capacity. The distribution network of sculpture crafts in Sebatu Village can be distributed in five ways through distribution to the Sukawati art market, Balinese souvenirs, shipping by sea, shipping via cargo and distribution to the villa. From the conclusion, the Gianyar Regency Government should provide capital support for the sculpture industry, especially in Sebatu Village, Tegallalang District.There is a need to increase capital for handicraft business owners by providing financial or credit assistance for sculpture.Thus, there will be many entrepreneurs who are growing and increasing their production.
Keywords: Statue Craft, Mount Agung Eruption, and Distribution Network.
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Quemin, Alain. "INTERNATIONAL CONTEMPORARY ART FAIRS IN A ‘GLOBALIZED’ ART MARKET." European Societies 15, no. 2 (May 2013): 162–77. http://dx.doi.org/10.1080/14616696.2013.767927.
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Sherry, John F. "The market (documents of contemporary art)." Consumption Markets & Culture 19, no. 2 (March 10, 2015): 251–53. http://dx.doi.org/10.1080/10253866.2015.1013242.
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Al-Shawi, Hani Fadhil Jumaah. "The Effect of Using the Art of Harmony and Synergy with Strategic and Cognitive Dimensions in Improving the Methods of Storming Competitors' Strategies." Business and Management Studies 7, no. 2 (April 25, 2021): 23. http://dx.doi.org/10.11114/bms.v7i2.5222.
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When I start talking about clarifying and explaining what distinguishes between the cognitive, social and performance capabilities of the leader, I must analyze the characteristics of leadership and management related to their perceptions of work activities represented in solving technical problems that arise in the field of administrative work by creating a style of harmony and coping, and the effect of the characteristics of his nature and the reflection of their upbringing on How to create an appropriate climate to contain the emergency situations that hinder the functional and production processes and try to find out whether they have the capabilities that direct it towards (Benchmarking) organizations that develop unique solutions to those situations or not?This study came as an attempt to present explanations and clarifications of the aforementioned by introducing scientific additions to what researchers have gone by, who contributed to drawing a roadmap, but they did not fully seize the opportunity, but rather left it for the coming intellectual generations to put touches on it that approach their reality and their era, which increases questions, ambiguity and challenges. The study aims to develop a (Head, heart, Legs) model for the contemporary managerial psychologist (Finn Havaleshka), which is one of the most important and pioneering scientific contributions in the field of managerial psychology that focuses on explaining the characteristics of individuals at the level of managerial decision-making (administrative and leadership) from By focusing on the cognitive and social aspects, and their impact on performance), let this study be an evolution of this model and an update of what this pioneering scientist started by adding a fourth stage to the model represented by the dimension of (Arms) or arms that defend the successes achieved through their maintenance and preservation. On the one hand, the situation is transferred to the offensive stage by expanding the area of success by using offensive strategies that invade the labor market, as it is said that the best defense is attack. The study was divided into three axes:The first axis focused on presenting the methodological aspect of the research, while the second focused on the available theorizing and the third covered the conclusions.
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Paete, Melchor. "Cultural Code Analysis of the Integration of Pintados Design in Furniture Product Development using Semiotics and Quality Function Deployment." Journal of Visual Art and Design 14, no. 1 (July 13, 2022): 86–105. http://dx.doi.org/10.5614/j.vad.2022.14.1.7.
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This study consisted of a design research into the application of Pintados tattoo patterns in a furniture product design and used semiotic theories to explore furniture product design methods. The research was carried out in three phases: (1) semiotic analysis (thematic analysis), (2) Quality Function Deployment (technical case study), and (3) cultural code analysis. The purpose was to find new strategies to convey scientific-based design information in introducing the cultural connotations of Pintados tattoo patterns to modern design. The main results of this study were: (1) the developed Pintados furniture design was semiotically projected onto a traditional time development axis, a localized spatial development axis, and a cultural conforming/cultural difference axis; (2) the cultural code analysis revealed that the psychological aspect reflects affect, transmission, and identification codes, while the behavioral aspect generates function and transmission codes, and the physical aspect expresses aesthetic, transmission, style and hue codes; (3) designers are recommended to start from their own traditional roots, meaning in this case that the ‘culturally literate market’ must be part of the Visayan community and must be aware of the Pintados tattoo tradition. By considering developments from the pre-colonial past to the present, we can assess the paradigm shift of cultural codes from the traditional interpretation to the contemporary modern understanding, stripped of preconceived biases imposed by the hegemonic Western mindset. These biases, which are a systemic problem in the process of semiotic practice (discourse, design, production and distribution), can be addressed by art and design appreciation and a thorough analysis of consumer culture.
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Mačianskaitė, Vilma. "Contemporary Lithuanian Artists: Career Opportunities." Art History & Criticism 13, no. 1 (December 1, 2017): 88–110. http://dx.doi.org/10.1515/mik-2017-0007.
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Summary By analysing the careers of internationally recognized artists from Lithuania and the relationship between Lithuanian contemporary artists and art galleries and museums, the author explores the challenges faced by today’s artists and hypothetically underlines the principles that could be useful for them in seeking to enter into the global art scene. The essay analyses the lack of cooperation between artists and galleries, and the representation of artists in Lithuanian museums, which is considered to be the base of a contemporary artist’s career. The essay assesses the influence of the main participants in the art market upon artists’ careers, by investigating the Lithuanian art market’s position after the restoration of independence in 1990. Twenty Lithuanian artists, major galleries or representatives of museums (such as the National Art Gallery and the MO Museum, formerly known as the Modern Art Centre) were interviewed for the purposes of this study. This examination of the Lithuanian art market reveals the peculiarities that artists have encountered, and could help international art market players to better understand the problems that the Lithuanian art market is facing. The author seeks to identify the main factors helping artists to navigate the global art scene and the global art market.
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Fillitz, Thomas. "The booming global market of contemporary art." Focaal 2014, no. 69 (June 1, 2014): 84–96. http://dx.doi.org/10.3167/fcl.2014.690106.
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The present economic and financial crises do not seem to particularly influence the global art market of contemporary art. In an attempt to understand this apparent opposition, I adopt a macro perspective, combining my own research ventures in Dakar and Vienna with general art market studies. I argue that this market is a special representation of millennial capitalism (Comaroff and Comaroff 2001). The global art market puts in place an organization of diversity that allows a high flexibility in including specific centers and marginalizing others, as well as a special focus on a globally acting group of “ultra high net worth” individuals. Striking features are the concentration of capital flows to a few major centers, the constitution of complex, transnational networks, the dominant logics for each market field (gambling, glamour, moral economy), and the diversification of the commodity character of the work of art.
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Zarobell, John. "Arts Special Issue “The Contemporary Art Market”." Arts 10, no. 3 (June 30, 2021): 43. http://dx.doi.org/10.3390/arts10030043.
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When setting out to organize this Special Issue of Arts, I began with the goal to survey the emerging field of art market studies but also to expand the notion of the market to include alternatives, such as art collectives and festivals, that challenge the dominance of the market as the pre-eminent arbiter of cultural value [...]
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Zorloni, Alessia, and Antonella Ardizzone. "The winner-take-all contemporary art market." Creative Industries Journal 9, no. 1 (January 2, 2016): 1–14. http://dx.doi.org/10.1080/17510694.2016.1154651.
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Santagata, Walter. "Institutional anomalies in the contemporary art market." Journal of Cultural Economics 19, no. 2 (1995): 187–97. http://dx.doi.org/10.1007/bf01074205.
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Bocart, Fabian, Eric Ghysels, and Christian Hafner. "Monthly Art Market Returns." Journal of Risk and Financial Management 13, no. 5 (May 19, 2020): 100. http://dx.doi.org/10.3390/jrfm13050100.
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We provide an innovative methodological contribution to the measurement of returns on infrequently traded assets using a novel approach to repeat-sales regression estimation. The model for price indices we propose allows for correlation with other markets, typically with higher liquidity and high frequency trading. Using the new econometric approach, we propose a monthly art market index, as well as sub-indices for impressionist, modern, post-war, and contemporary paintings based on repeated sales at a monthly frequency. The correlations enable us to update the art index via observed transactions in other markets that have a link with the art market.
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Sidorova, Elena. "The Cyber Turn of the Contemporary Art Market." Arts 8, no. 3 (July 4, 2019): 84. http://dx.doi.org/10.3390/arts8030084.
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The paper addresses the issue of digitalization of the contemporary art market. It analyzes key features of today’s online art market and discusses three technological innovations—cryptocurrency, blockchain, and artificial intelligence—that have the potential to contribute to the further development and growth of online art trade. The paper demonstrates that whereas cyberspace attracts new talent and great business ideas intended to make global art commerce more versatile and efficient, online art market players alongside with providers of the online art market data and analytics offer interesting avenues of future research in this sector.
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Ivanova, Victoria. "Contemporary art and financialization: Two approaches." Finance and Society 2, no. 2 (December 19, 2016): 127–37. http://dx.doi.org/10.2218/finsoc.v2i2.1726.
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This essay identifies two approaches to theorizing the relationship between financialization and contemporary art. The first departs from an analysis of how market logics in non-financial spheres are being transformed to facilitate financial circulation; the other considers valuation practices in financial markets (and those related to derivative instruments in particular) from a socio-cultural perspective. According to the first approach, the contemporary art market is in theory a hostile environment for financialization, although new practices are emerging that are increasing its integration with the financial sphere. The second approach identifies socio- cultural similarities between the logics by which value is extracted, amplified, and distributed through derivative instruments and contemporary art. The two approaches present a discrepancy: on the one hand, contemporary art functions as an impediment to outright financialization because of market opacity; on the other, contemporary art represents a socio- cultural analog to derivative instruments. The essay concludes by setting out the terms for a more holistic understanding of contemporary art’s relationship to financialization, which would enable an integration of its economic and socio-cultural dimensions.
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Angoso de Guzmán, Diana. "Art Expertization, Appraisal and Valuation. Conservation Issues in the Spanish Contemporary Art Market." Ge-conservacion 20 (December 17, 2021): 303–17. http://dx.doi.org/10.37558/gec.v20i1.1071.
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The need to apply conservation-restoration criteria in museums, heritage and public collections has been widely studied in previous publications. However, the functions of the conservator-restorer in the face of the problems of the Spanish Contemporary Art Market have hardly been addressed in scientific literature. This research is based on two objectives: firstly, to investigate how the specific technical and artistic knowledge of the conservator-restorer covers a need in the ecosystem of the Contemporary Art Market by means of expert reports, appraisal and valuation. Secondly, to analyze how these specific skills and knowledge are transferred through Higher Education programs. Based on a comparative study, the specific problems of the Spanish Art Market shall be mapped, and protocols proposed that are respectful of conservation-restoration criteria and transferable through university programs to the future contemporary art stakeholders.
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McMillan, Kate, and Lauren England. "Gendered Obstacles in Contemporary Art: The Art Market, Motherhood and Invisible Ecologies." Journal of Gender, Culture and Society 2, no. 2 (December 23, 2022): 24–38. http://dx.doi.org/10.32996/jgcs.2022.2.2.4.
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This article addresses issues of gender inequality in the UK’s contemporary art sector. It combines quantitative data on shifts in gender representation from over a hundred commercial contemporary art galleries in London in 2016, 2019 and 2022 with qualitative interviews with leading gallery directors. The research seeks to uncover structural inequalities in the commercial art sector which continue to create obstacles for female artists. In particular, we highlight the impact of the myth of meritocracy and an insistence on “quality” (particularly in relation to masculine ideology around ‘genius’); the continuing relationship between art history and the contemporary art market; the impact of parenting on the careers of female artists; and, the commercial sector’s influence on the public and not-for-profit arena in light of dwindling government financial support of public institutions. Our key findings underline that the commercial sector is increasingly necessary for career success, and that biases against women in the commercial art world inhibit opportunities for women artists and the number of women being represented by commercial galleries. Our data, collected over a period of six years, shows a mere 1% annual improvement, to just 34% in 2022.
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Güman, Kerem. "A Materialistic Analysis of the Contemporary Art Market." Fiscaoeconomia 3, no. 2 (January 31, 2019): 1. http://dx.doi.org/10.25295/fsecon.2019.s1.008.
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Захарова, Олександра Артемівна. "Developpment of art galleries and centers under conditions of contemporary art market." ScienceRise 3, no. 1 (3) (October 13, 2014): 72. http://dx.doi.org/10.15587/2313-8416.2014.27465.
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Panfilova, Oleksandra, and Olga Kaleniuk. "PROMOTION OF CONTEMPORARY UKRAINIAN ART IN THE CONDITIONS OF THE ART MARKET." Ukrainian Academy of Arts. Research and Scientific Methodological Works, no. 32 (2022): 111–16. http://dx.doi.org/10.32782/2411-3034-2022-32-15.
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Chen, Yufei. "Evaluation Factors and Pricing Stochastic Model of Contemporary Art." Mobile Information Systems 2022 (July 7, 2022): 1–6. http://dx.doi.org/10.1155/2022/5129618.
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Contemporary art is the artwork created by currently active artists. As a result, it reflects the many complexities that shape our varied, global, and continuously changing world. Many modern artists use their work to investigate personal or cultural identity, criticize societal and institutional frameworks, or even redefine art itself. The current chaotic phenomena of art market prices has an impact on the development of art, particularly substantial price fluctuations, resulting in a number of problems that are preventing the art market from developing. The aim of this paper is to get a greater understanding of art, as well as a novel approach of evaluating art and a mathematical stochastic model for estimating its price. This paper investigates the pricing method and model by looking at the cultural basis of art, modelling, decoration, market supply and demand, product practicability, and random elements, among other things, in order to help the art market flourish and allow artists to consume. The model test results clearly demonstrate the rationality of the indicator selection, indicating that the pricing model is well designed.
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Arutynyan, J. I. "Contemporary art criticism: judgment and interpretation." Vestnik of Saint Petersburg State University of Culture, no. 1 (30) (March 2017): 177–80. http://dx.doi.org/10.30725/2619-0303-2020-3-177-180.
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An important question of contemporary art studies is the problem of expanding the methodological base of the discipline. Modern art criticism refl ects the fundamental problems of contemporary art. Clash of the axiological approaches and the principle of interpretation, subjectivity, the infl uence of requests of the art market and commercialization are the main problems of formation of the expressive language of art criticism in the 20th–21st centuries
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Preece, Chloe. "The branding of contemporary Chinese art and its politics." Arts Marketing: An International Journal 4, no. 1/2 (September 30, 2014): 25–44. http://dx.doi.org/10.1108/am-10-2013-0021.
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Purpose – The purpose of this paper is to examine the branding of the Cynical Realist and Political Pop contemporary art movements in China. The trajectory this brand has taken over the past 25 years reveals some of the power discourses that operate within the international visual arts market and how these are constructed, distributed and consumed. Design/methodology/approach – A review of avant-garde art in China and its dissemination is undertaken through analysis of historical data and ethnographic data collected in Beijing, Shanghai and Hong Kong. Findings – The analysis exposes the ideological framework within which the art market operates and how this affects the art that is produced within it. In the case of Cynical Realism and Political Pop, the art was framed and packaged by the art world to reflect Western liberal political thinking in terms of personal expression thereby implicitly justifying Western democratic, capitalist values. Research limitations/implications – As an exploratory study, findings contribute to macro-marketing research by demonstrating how certain sociopolitical ideas develop and become naturalised through branding discourses in a market system. Practical implications – A socio-cultural branding approach to the art market provides a macro-perspective in terms of the limitations and barriers for artists in taking their work to market. Originality/value – While there have been various studies of branding in the art market, this study reveals the power discourses at work in the contemporary visual arts market in terms of the work that is promoted as “hot” by the art world. Branding here is shown to reflect politics by circulating and promoting certain sociocultural and political ideas.
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Poposki, Zoran, and Isaac Hok Bun Leung. "Hong Kong as a Global Art Hub: Art Ecology and Sustainability of Asia’s Art Market Centre." Arts 11, no. 1 (February 7, 2022): 29. http://dx.doi.org/10.3390/arts11010029.
Full textAbstract:
Over the past decade, Hong Kong’s art market has experienced unprecedented growth, emerging as the second largest in the world in 2020 in terms of contemporary art auctions. Factors such as the city’s free-market economy and well-developed infrastructure, as well as its unique position as a gateway to the large and growing Chinese art market, have led to major global art fairs and galleries establishing their presence in the city, in addition to the already present international auction houses. Moreover, the recent opening of M+, Hong Kong’s new museum of visual culture, as part of the West Kowloon Cultural District, is designed to further seal Hong Kong’s position and contribute to the continued growth of its art market. This paper explores the Hong Kong art ecosystem and its sustainability by focusing on leading art market institutions, anchor cultural organizations, and other key actors driving the development of the Hong Kong art system, on both the commercial and the nonprofit side; the effects of the expanding art market on the city’s art scene; the dynamics of the relationship between the Hong Kong art market and the broader Chinese art market; and the key emerging opportunities and challenges to Hong Kong’s future development as Asia’s premier art hub.
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Karpov, A. V. "Aesthetic Height of the Art and the Art Market: Essential and Imaginary Nature of Art Quality." Art & Culture Studies, no. 4 (December 2021): 94–131. http://dx.doi.org/10.51678/2226-0072-2021-4-94-131.
Full textAbstract:
A problem of perfection at art is analyzed in the article according to paradigm of the art market as a system of cultural, economic and social interactions of the art world. The author finds out the vitality of the artwork not only as its essential value but also defines the idea of its imaginary vitality. The latter is created by the art market participants, and it causes the commercial value of the artwork. The article makes an assumption about the division of art, at least of the Modern and Contemporary history, into two spheres — the art of “aesthetic experience” and the art of “commercial success”. While the art of “aesthetic experience” is aimed at finding and creating a new artistic language (the embodiment of new creative ideas, complex ethical and aesthetic problems), the art of “commercial success” follows artistic stereotypes, uses creative innovations in an adapted form, which is included in the cultural and aesthetic system familiar to the audience of art. This antithesis is analyzed in the article by the example of comparing a number of works by two artists of the same time. One is Mikhail Larionov, a prominent artist of the Russian Avant-Garde, and the other is Vladislav Izmailovitch, a typical representative of Salon and Late Academic art. Considering the specific historical aspects of vitality in art, the author analyzes several examples. Firstly, the late oeuvre of the Russian artist Ilya Repin as a metaphor for the “joy of the risen”. Secondly, the Easter rarities of the House of Faberge, which have changed their status over the past century from a home memorabilia to a cultural myth and became an object of the art market nowadays. Thirdly, the exposition of the Russian pavilion at the Venice Biennale of Contemporary Art in 2019, where authors and curators exploited the vitality of Dutch and Flemish art of the 17th century as the personification of contemporary creative pursuits.