Bibliographies thématiques / Art market, contemporary art market, contemporary art production

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Littérature scientifique sur le sujet « Art market, contemporary art market, contemporary art production »

Auteur : Grafiati
Publié le 9 mars 2023
Mis à jour le 10 mars 2023

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Articles de revues sur le sujet "Art market, contemporary art market, contemporary art production"

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Enxuto, João, et Erica Love. « The Institute for Southern Contemporary Art (ISCA) ». Finance and Society 2, no 2 (19 décembre 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 (1 décembre 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 (29 septembre 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 et Nikhilesh Dholakia. « Production and marketing of art in China ». Arts and the Market 5, no 1 (5 mai 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 (1 décembre 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 (30 janvier 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 (1 octobre 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 (2 décembre 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 (26 octobre 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 et Amy Spiers. « Ambivalent entrepreneurs : arts-based social enterprise in a neoliberal world ». Social Enterprise Journal 16, no 2 (30 mars 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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Thèses sur le sujet "Art market, contemporary art market, contemporary art production"

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

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

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CODIGNOLA, FEDERICA. « Mercato dell'arte e prodotto artistico contemporaneo ». Doctoral thesis, Università degli Studi di Milano - Bicocca, 2006. http://hdl.handle.net/10281/46013.

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The author agrees with the current hypothesis, namely, that the contemporary art market can be examined from an economic perspective, by using analytical instruments that are typical of the management and marketing sciences. It is a fact that the evolution of the artist-as-artisan towards the artist-as-creator is based upon the concept of the non-retribution of the creative act. (The latter is described as the artist's intimate expression.) This fact, however, does not prevent the result of such a creative act from becoming the object of a monetary exchange and being assigned a price tag. The author then accepts that, when compared to other products, the artistic product is unique due to the subjectivity of its value. In this framework, she examines the laws regulating the contemporary art market and the behavioral patterns of its actors -- the creative, production, and exchange levels, the promotion of the artists' activity, the networks of often conflicting individuals and institutions. Still, she is well aware that, far from being stable, the contemporary art market is still deeply influenced by evolving mechanisms that aim towards an overall simplification. The typical features of the contemporary art market significantly enrich the scope of the management and marketing sciences. Their analytical instruments, however, remain of fundamental value even for the contemporary art market, in spite of the fact that they normally take for granted homogeneous market conditions which are not so in the contemporary market. The author concludes that any examination of the contemporary art market must focus on its special features and be wary of concepts and frameworks normally used for manufactured products (efficacy, competition, well-being). According to the authors, these special features are the results of values and criteria that are peculiar but not irrational, of subjective but not arbitrary judgments, and of irregular but non incomprehensible dynamics. The author also examines how globalization influences the contemporary art market. She singles out phenomena such as democratization, superimposition, enlargement, and approximation as the more evident results of such an interaction. By well using the analytical instruments of the management and marketing sciences, the author shows the innovative dimensions of the contemporary art market and identifies its institutional and organizational needs. Finally, the author points to the ways in which the contemporary art market tries to enlarge its scope by reaching out to new consumers.
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Binder, Lisa M. « Contemporary African art in the London art market : 1995-2005 ». Thesis, University of East Anglia, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500812.

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This thesis explores the market for contemporary African art in London from 1995 to 2005 using case examples of artists, museums, art festivals and fairs, auctions and galleries. The study is generally bracketed by two festivals, africa 95 and africa 05, touching also on events that transpired during the intervening decade. Many artists from Africa who were working, living or exhibiting in London during this time experienced degrees of marketable success as a result of their participation or relationship with actors involved in the marketplace and in private and public institutions. However, this was not the case for all connected with the two events. The purpose of this thesis is to examine the underlying network of market systems, in a particular place and time, for work by contemporary artists from Africa, in order to frame the various points of entry into the market and, by extension, the broadening of contemporary art historical canons
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Wang, Xuan. « Gallery's Role in Contemporary Chinese Art Market ». The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1258577100.

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Shojai, Kaveh Darya <1995&gt. « Contemporary Iranian Art : Emerging Interest in Iranian Art in the International Art Markets and the Reception, Production and Assessment of Iranian Contemporary Art in the International Sphere ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15423.

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Contemporary Iranian Art has recently become a new entry in International art markets, a condition possibly derived from the current political situation. Both Christie's and Sotheby's, two of the most important auction houses in the world, have introduced specialist departments dedicated to Iranian Contemporary Art, as early as 2007, within their Modern & Contemporary Middle Eastern Art departments. Increasing interest in contemporary Iranian art can be traced by its exponential economic growth in such markets. The aim of this thesis is to investigate and observe the changes in the reception of contemporary Iranian art, how this effects the production and reception of the art and artists themselves, mainly through the effect of the entrance of Iranian contemporary art in international art markets, ownership and exhibitions, either through personal collections or galleries, focusing on Iranian contemporary art. Specifically because of the peculiar political situation of the country itself, the problems of censorship and anti-Western sentiments, Iranian art arises as an oddity in the Middle East, where artists and galleries are, as of recent times, trying to regain their own space and create art that can reflect a new national identity, signalling a reclaiming of Iran and negative aspects associated with the country.
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Kuizon, Jaclyn. « Fine Art and Clandestine Identity : American Indian Artists in the Contemporary Art Market ». W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626648.

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

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Thesis: Ph. D., Massachusetts Institute of Technology, Sloan School of Management, May, 2020
Page 115 blank. Cataloged from PDF version of thesis.
Includes bibliographical references.
The first essay draws on 18 months of ethnographic fieldwork to examine the puzzle of why galleries discipline collectors --
who provide much-needed financial capital - for appearing too motivated by profit. Whilst art worlds have strong norms that enjoin artists to avoid the naked pursuit of profit and instead affect an air of "disinterestedness" (that is, a concern only for universal virtues and aesthetic qualities such as truth and beauty), why might art dealers demand that collectors similarly conform to such norms? This study addresses how (and why) galleries enforce conformity to the art-world norm of disinterestedness among collectors as part of an array of tactics they deploy to "protect" their artists from price volatility that could depress demand for the artist's work. The findings suggests a paradoxical resolution. Although galleries framed such discipline as a moral imperative, a key implication of this study is that enforcing a norm that disavows extrinsic rewards such as fortune and fame ultimately supports a profitable business and investment strategy.
The second essay (coauthored with Ezra W. Zuckerman Sivan) also draws on an 18-month ethnographic investigation examining the rise and proliferation of International Art Fairs (IAFs) in the global art market. This study contributes to our understanding of how the construction and extension of market platforms shapes market dynamics. On the surface, the explosive growth of IAFs in the contemporary art market reflects the greater efficiency that market platforms typically offer, both for facilitating exchange and for expanding access. But past research on market construction does not prepare us for either of the two main findings of this paper. The first is that market participants (and especially the mid-size galleries that dominate the fairs) are deeply ambivalent about the fairs' value relative to the cost of participation. The second main finding -- that galleries (and others) believe they must participate in order to be visible in the market --
affords insight into how markets vary in their visibility and opacity; how such variation shapes status competition; and how markets that are designed to increase efficiency may
by James Whitcomb Riley.
Ph. D.
Ph.D. Massachusetts Institute of Technology, Sloan School of Management
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Waelder, Laso Pau. « Selling and collecting art in the network society : Interactions among contemporary art new media and the art market ». Doctoral thesis, Universitat Oberta de Catalunya, 2016. http://hdl.handle.net/10803/399029.

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Aquesta tesi explora i analitza les interaccions actuals entre art, nous mitjans i el mercat de l'art, i també les transformacions que es produeixen en el reconeixement de l'art digital, l'estructura del mercat de l'art i els rols de l'espectador i el col·leccionista. La tesi es divideix en tres parts. La primera part analitza les maneres en què l'art de nous mitjans s'ha definit ell mateix com un món de l'art específic, i les polèmiques que exemplifiquen la seva separació del món de l'art contemporani. La segona part analitza les motivacions i les expectatives dels artistes que treballen amb tecnologies emergents, per mitjà d'una enquesta feta per l'autor entre més de cinc-cents artistes de cinquanta països. La tercera part analitza les maneres en què l'art digital ha estat comercialitzat i els canvis recents en el mercat de l'art contemporani a internet.
La presente tesis explora y analiza las interacciones actuales entre arte, nuevos medios y el mercado del arte, así como las transformaciones que se están produciendo en el reconocimiento del arte digital, la estructura del mercado del arte y los roles del espectador y el coleccionista. La tesis se divide en tres partes. La primera parte analiza las formas en que el arte de nuevos medios se ha definido a sí mismo como un mundo del arte específico, y las polémicas que ejemplifican su separación del mundo del arte contemporáneo. La segunda parte analiza las motivaciones y las expectativas de los artistas que trabajan con tecnologías emergentes, por medio de una encuesta realizada por el autor entre más de quinientos artistas de cincuenta países. La tercera parte analiza las maneras en que el arte digital ha sido comercializado y los cambios recientes en el mercado del arte contemporáneo en internet.
The present dissertation explores and analyzes the current interactions among art, new media and the art market, as well as the ongoing transformations in the recognition of digital art, the structure of the market, and the role of the viewer and collector. It is divided into three parts. The first part analyzes the ways in which new media art has defined itself as a distinct art world, as well as the controversies that exemplify its separation from the mainstream contemporary art world. The second part exposes the motivations and expectations of artists working with emerging technologies by means of a survey carried out by the author among more than 500 artists from 50 countries. The third part discusses the ways in which digital art has been commercialized as well as the recent developments in the online contemporary art market.
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Ecevit, Emek Can. « A study on institutionalisation of contemporary art from Turkey ». Thesis, Brunel University, 2016. http://bura.brunel.ac.uk/handle/2438/13247.

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This doctoral study is concerned with identifying the determinants of the institutionalisation of art (IoA) in general and institutionalisation of contemporary art (IoCA) in particular. It focuses on the influence of the state and the private sector on economics and politics of arts as artworld in Turkey. The proposed relational framework is based on the current controversial problematisation of social theory in terms of various understandings of modernity and post-modernity. Here, modern art is taken to be based on an orthodox (classical) modernity understanding. In contrast, contemporary art (CA) is regarded as either a rejection of modern art from a post-modernity perspective or an intensive criticism of it from inside modernity. Both positions direct their criticisms to the basic assumptions, methodological tools, epistemological sources and ontological basis of the classical understanding of modernity. Within this scope, this study formulates and operationalises the research problem in terms of relational sociology and uses grounded-theory to establish the significant interactive relations that define IoA. The unit of analysis is the interactive relations of individuals as artists. The boundaries of the study are primarily limited to national level. The research questions are, in general, framed with qualitative research techniques and specifically substantiated with data sources primarily obtained from a self-employed semi-structured survey method complemented by observations and an extensive review of the relevant literature as documentary-historical data. The analysis of the data and the interpretations of the findings are undertaken within the scope of relational sociology and using the tools of grounded-theory methodology. The empirical data collected from a sample of artists actively involved as producers of works of arts and/or academicians, advisors and art critics from Turkey. Within this conceptual framework, the roles of the state and the private sector are questioned in terms of the economics and politics of arts, including their cultural couplings. The domain of social relations remaining outside the private sector, specifically the art public and the groups, collectives and initiatives of arts are assessed as the civil domain of arts. Knowledge of the arts and its formal (institutional) and informal relations provide an essential source and play a central role in this study. Within this framework, the art market is considered as an emerging hegemonic construct in the economics and politics of arts. Furthermore, artists and artworks are considered as the primary constituting components of the interactive relations of IoA. The findings of this thesis have implications for increasing the knowledge about and practices of IoA and contribute to the development of a framework of research questions that explains the interactive relations of the IoA in Turkey and offers an insight into a growing body of literature on art and includes recommendations for the directions of future research. The proposed relational framework is based on the current controversial problematisation of social theory in terms of modernity and post-modernity understandings. Here, modern art is considered to be based on orthodox (classical) modernity understanding. In contrast, contemporary art (CA) is regarded as either a rejection of modern art from post-modernity perspective or an intensive criticism of it from inside modernity. Both positions direct their criticisms to the basic assumptions, methodological tools, epistemological sources and ontological basis of classical understanding of modernity. Within this scope, this study formulates and operationalises its research problem in terms of relational sociology and uses grounded-theory to establish the significant interactive relations defining IoA. The unit of analysis is the interactive relations of individuals as artists. The boundaries of the study primarily remained at national level. The research questions are framed in general with qualitative research techniques and substantiated specifically with data sources primarily obtained by self-employed semi-structured survey method in addition to observations and extensive review of the relevant literature as documentary-historical data. The analysis of the data and the interpretations of the findings made within the scope of relational sociology and with the tools of grounded-theory methodology. The empirical data collected from a sample of artists actively involved as producers of works of arts and/or academicians, advisors and critics of arts from Turkey. Within this conceptual framework, the role of the state and the private sector is questioned in terms of economics and politics of art, including their cultural couplings. The domain of social relations remaining outside of the private sector, specifically the art public and the groups, collectives and initiatives of arts are inquired as the civil domain of arts. Knowledge of arts and its formal (institutional) and informal relations provide an unavoidable source and play a central role in this study. Within this framework, art market is considered as an emerging hegemonic construct in the economics and politics of arts. Furthermore, artists and artworks were taken as primary constituting components of the interactive relations of IoA. The findings have implications for knowledge and practices of IoA and contribute in the developing a framework of research questions that explains the interactive relations of the IoA in Turkey and adds an insight to a growing body of literature on art including recommendation for future research directions.
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Stanford, Jon D. « An economic analysis of the contemporary visual art market in Australia, 1972-1989 ». Thesis, University of Leicester, 1996. http://hdl.handle.net/2381/35524.

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

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

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

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

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

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

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

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

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Fisher, Rhetts Paul, dir. 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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Chapitres de livres sur le sujet "Art market, contemporary art market, contemporary art production"

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Cangiano, Serena, Davide Fornari et Azalea Seratoni. « Re-search, Re-enactment, Re-design, Re-programmed Art ». Dans Cultural Inquiry, 141–50. Berlin : ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_15.

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Kinetic and programmed art has been a trend of contemporary arts that flourished in the 1950s and 1960s. Kinetic artworks often incorporated technology, at that time still immature, and involved the audience in the production of visual, sound, and somatic effects. Gruppo T was the pioneering group at the forefront of this groundbreaking vision of art as reproducible, participatory, and interactive. Through an action research project and the methodological tool of reenactment, a group of researchers, designers, and artists has proposed an alternative way to conserve Gruppo T artworks. The project ‘Re-programmed Art: An Open Manifesto’ originated from the ephemeral and experimental features, as well as fragility, of the works by Gruppo T — that is, from the difficulties of practice, conservation, technology, and market that have confined them for far too long to the margins of mainstream art history. We conceive reenactment not just a mere restaging but as re-designing, re-thinking, updating, and re-programming a series of works by Gruppo T.
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Santagata, Walter. « The Market in Contemporary Art ». Dans The Culture Factory, 85–92. Berlin, Heidelberg : Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-13358-9_10.

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Zorloni, Alessia, et Antonella Ardizzone. « Celebrity Effect in the Contemporary Art Market ». Dans Art Wealth Management, 67–79. Cham : Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-24241-5_4.

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de Cordova, Dayana Zdebsky. « Brazil’s Booming Art Market : Calculations, Images, and the Promotion of a Market of Contemporary Art ». Dans An Anthropology of Contemporary Art, 120–29. New York : Bloomsbury Academic, An imprint of Bloomsbury Publishing Plc, 2017. : Routledge, 2020. http://dx.doi.org/10.4324/9781003084464-11.

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Solimano, Andrés. « Main features of the art market ». Dans The Evolution of Contemporary Arts Markets, 36–55. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003215127-4.

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Solimano, Andrés. « The art market in historical perspective ». Dans The Evolution of Contemporary Arts Markets, 8–23. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003215127-2.

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Adeyemi, Jonathan. « Evolution of the Market for Contemporary Art ». Dans Sociology of the Arts, 91–112. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-17534-3_6.

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Sagot-Duvaroux, D., S. Pflieger et B. Rouget. « Factors Affecting Price on the Contemporary Art Market ». Dans Cultural Economics, 91–102. Berlin, Heidelberg : Springer Berlin Heidelberg, 1992. http://dx.doi.org/10.1007/978-3-642-77328-0_11.

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Kurz, Katharina. « The Power Balance in the Contemporary Art Market : Artists, Dealers and Collectors ». Dans Looking Forward, Looking Back : Drawing on the Past to Shape the Future of Marketing, 547–50. Cham : Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-24184-5_137.

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Santagata, Walter. « Rights Allocation in the Contemporary Art Market : Copyright, ‘Droit de Suite’, ‘Right to Exhibit’. » Dans Cultural Economics And Cultural Policies, 111–24. Dordrecht : Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-011-1140-9_9.

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Actes de conférences sur le sujet "Art market, contemporary art market, contemporary art production"

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Monteiro, Caique Cahon. « Aesthetic Experience and Digital Culture : New Flows in The Space of Art Exhibition ». Dans LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.67.

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Artistic institutions are traditionally places of cultural and social memory reverberation. Such spaces have a character of institutionalisation of the cultural market. Contemporary works of art and the exhibition format are factors that shape the possibilities of consumption and experience from visitors within these spaces. By taking advantage of the artifices of their time, art and artists appropriate new digital Technologies, digital culture contextualizes this movement, interweaving new paradigms in the exhibition spaces of museums, galleries and cultural centres. It is clear that the artistic production that involves digital media at some level creates increasingly subjective and hybrid paths between machine and human in the processes. This occurs not only in the scope of raw material and in the production of their poetics and narratives, but also in every present social context, of consumption, access, and dissemination of artistic works. In the last 10 years there has been a growing number of public in cultural institutions in Brazil (data from IPEA - Institute for Applied Economic Research), this curve does not resemble any increase in investment in public policies, improvement in education or culture. This rate of increase in visitors to cultural spaces is like the increase in access to mobile devices and use of the internet and social networks, perhaps, at some level, it shows that internet access and digital culture may be enabling an environment of spontaneous dissemination for the artistic market in Brazil. With the advent of smartphones and the constant use of this technology in various moments of leisure and work, the habit of taking a picture from any work of art has become something normalised in institutions. This process can create different media flows that reformulate the visitor's experience in front of the exhibition space. In this way, the traditional and passive spectator subject is mixed with the user subject present in digital culture, with its agency potential and sharing capacity. Although these photographs present themselves in society as a cultural product, their visualisation and distribution extend to a computational level. This master's research project proposes to establish dialogues between the field of communication and the arts, especially digital culture, and aesthetic experience. The object of study is the production of photographic images made by visitors to cultural exhibitions through smartphones and shared on the Instagram social network. Through the use of artificial intelligence, it will be possible to analyse hundreds of images from the Instagram social network that were taken at the Banco do Brasil Cultural Centre, located in the city of Rio de Janeiro, Brazil (Brazilian institution with the highest number of visitors in the last 5 years). This qualitative and quantitative analysis enables a reflection on the contemporary media character present in art exhibition spaces and the observation of new experiences between public, work, and digital culture.
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Lei, shijin. « The Innovation of Shoushan Stone Carving Under the Background of Contemporary Diversified Art Market ». Dans proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France : Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.434.

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Li, Dongdong. « Cultivation of Ability of Talents in Textile Art Design Specialty from the Perspective of Market Situation ». Dans 2nd International Conference on Arts, Design and Contemporary Education. Paris, France : Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.400.

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Jarry, Rémy. « The Factors of Market Success and Failure of Contemporary Artists from ASEAN countries | ปัจจัยทางการตลาด ที่ทำาให้ศิลปินร่วมสมัยจากประเทศอาเซียนประสบ ความสำาเร็จ หรือ ล้มเหลว ». Dans The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-23.

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The market of contemporary art from Southeast Asia hasn’t been explored in-depth, despite its rise in sales and notoriety over the last two decades at national and international levels. Our aim is to identify the factors of success and failure of contemporary artists from ASEAN countries in the global art market. To do so, we map the trajectories of those artists and evaluate the role of the other stakeholders of the art world. Our methodology relies on a multidisciplinary approach, balancing quantitative and qualitative data. The period of study focuses on the art market data since 2000.
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Titova, S. Y. « THE MODERN TRENDS OF THE KHABAROVSK REGION EXPORTSUPPORT ». Dans New forms of production and entrepreneurship in the coordinates of neo-industrial development of the economy. PD of KSUEL, 2020. http://dx.doi.org/10.38161/978-5-7823-0731-8-2020-119-122.

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The article is devoted to export promotion measures investigation. The most popular measures of export promotion are identified on the basis of exporters’ opinion analysis. They are: industrial fairs participation, providing with market information and financial support. On the basis of international practice analysis the conclusion was made that the structure of popular measures in the region is not quite adequate to contemporary trends. Also main export promotion targets are evaluated.
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Danilevičienė, Irena, et Boguslavas Gruževskis. « The Influence of Wage on the Economic Development in Lithuania ». Dans Contemporary Issues in Business, Management and Education. Vilnius Gediminas Technical University, 2017. http://dx.doi.org/10.3846/cbme.2017.026.

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One of the major objective of each country is to ensure the economic development. The ability to set the efficient wage allows to economic development. The systematic researches of different scientists have shown that the wage must be harmoniously related to general trends of economic development. The essence of classical economics is that lower labour costs had a positive impact on the production cost and make the product more competitive. In nowadays, economy a linear relationship occurs only partially. An open labour market, especially in welfare states, and in the long-term perspective low wage inadequate to standards of living often have a negative impact on economic development. Negative factors of economic development and wage non-compliance occurs within the worker goes from national to foreign labour market. The objective of this article is to analyze these trends in general terms with emphasis on the situation in Lithuania, where from 2008–2014 years disproportion between economic development and wage level were the highest among the European Union countries. In the article, also the possibilities of economic development for using the universal progress indicator and features of wage determination are discussed. At the end of the article are concluded, that during the analyzed period (until 2015 year) Lithuania was a country, where economic development has been stopped by the improper wage determination.
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Graziosi, Serena, et Michele Germani. « Sustainable Production in the Age of Mass Customization : An Example in the Footwear Industry ». Dans ASME 2008 International Mechanical Engineering Congress and Exposition. ASMEDC, 2008. http://dx.doi.org/10.1115/imece2008-66781.

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It is well known that the global market is driving companies towards new productive paradigms oriented to product customization, agility and environmental sustainability. Companies have to face the problem of providing as much product variety as possible in order to rapidly satisfy a wide number of specific market segments. Even if the emerging automated agile production environments could enable them to manage product variety, in many productive fields, large waste streams, due to the practical difficulty of adapting the traditional production lines to product changes, are still present. At the same time a growing public concern for the environment, is forcing companies to investigate alternative uses for waste material. In this paper we present a practical example from the footwear industry in order to show how companies can successfully apply the concept of sustainable production taking into account the mass customization requirements but contemporarily reducing the material waste. The approach is focused on the combination in the same plant of two different production lines: one is dedicated to the primary production while the other uses the waste material to realize the secondary production.
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Niculescu, Olga, Carmen Gaidau, Elena Badea, Lucretia Miu, Dana Gurau et Demetra Simion. « Special effect finish for bookbinding leather ». Dans The 8th International Conference on Advanced Materials and Systems. INCDTP - Leather and Footwear Research Institute (ICPI), Bucharest, Romania, 2020. http://dx.doi.org/10.24264/icams-2020.ii.21.

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The art of bookbinding requires not only skills in the old craft of bookbinding but also materials that can transform a simple book into a high-quality artistic product. Due to its unique properties, leather still remains the first-choice material in the case of art and archival bindings. However, the long-term durability of modern leather is not known since there is little commercial interest in long periods of durability and the market of leather for art, design and archival purposes is very small. It is worth noting that deterioration is influenced by the manufacturing technology, and especially by the chemical ingredients used in the various steps of leather making, from dehairing to tanning and finishing. It is therefore very likely that modern and contemporary artworks made of/with modern leather undergo faster degradation than ancient and medieval artworks. Thus, leather finishing is very important for both artistic and sustainable points of view. In fact, finishes with special effects such as antique, bicolour, printed, cracked, waxy are highly sought for vegetable tanned leather used for artistic and luxury bookbinding, archival bookbinding and restoration purposes. The evolving leather finishing technology of chrome-free leather (i.e. vegetable tanned leather) has enabled us to protect and improve the quality, look and feel of leather and to make it suitable for contemporary art bindery.
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Lima, Cláudia. « Design Practices within Contemporary Societies ». Dans 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001369.

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This paper addresses pedagogical practices developed in the context of the Communication Design BA at Lusófona University in Porto, Portugal, aimed at highlighting the importance of social design innovation as a fundamental field of application for the area of design hence promoting a socially aware design practice towards human needs and global sustainability. These practices are based on collaborations made with local social institutions, such as Portuguese Red Cross, Alzheimer Portugal Association, and Eu Sou Eu - Association for the Social Inclusion of Children and Young People, and are anchored on three axes: (i) the need to integrate students in the professional activity, through the development of specific projects for real contexts; (ii) the inexistence of curricular units structured in the scope of Social Design in the curricular programs of Design BAs in Portugal; (iii) the difficulty of social institutions to harness the potential of Design tools and methodologies to respond to the needs of both the institution and the community it serves, due to the lack of human and financial resources. Since 2018, several projects have been developed with students including fundraising campaigns, cognitive stimulation materials for individuals with dementia, signage for day care centres and visual identities. These projects provided students with a professional context, requiring direct contact with the client, in-depth knowledge of the institution and awareness of the community it serves to achieve suitable solutions. For their development, Design Thinking methods were used as the basis of a work process divided into three essential phases: (i) problem definition which included meetings with the client, visits to the institution, interviews with its collaborators, research on issues related to the institution and the community it serves; (ii) project ideation where ideas were discussed and tested, the financial and material feasibility was assessed, as well as the suitability of the project under development regarding the defined problem; (iii) project implementation which included the production and dissemination of the project and possible future developments, envisaging the materialization of a professional relationship between student and institution beyond the academic context. These projects highlighted the importance of the designer's role as a social agent: students were confronted with real social problems found in the community (situations of poverty, domestic violence, special educational needs, dementia), and the needs of the institutions themselves. At the end of each project, the knowledge acquired was not limited to the domain of academic design exercises, but extended to social learning, humanitarian values and ways of acting through design projects aimed at citizenship. It is argued that in times of change, marked by the growing identification of social needs, the Designer can assume an essential role as a social agent. Hence the need to integrate social issues in Design curricular programs, envisaging an approach to Design that is more oriented towards human needs and in line with the global sustainability and social equality. In this paper, design methodologies adopted for these projects are described with a view to the replication of this pedagogical model in other contexts.
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M. Conti, G., et R. Gaddi. « Design through the layers : Smart textiles for contemporary design solutions and sustainable consumption processes ». Dans Intelligent Human Systems Integration (IHSI 2022) Integrating People and Intelligent Systems. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe100952.

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"As individual consumers, one of the most responsible actions we can take to protect the planet is to extend the life of the things we already use."Taking under advisement the indication of Rose Marcario, CEO of Patagonia, the Salewa Metro System project aims to analyse and understand which aesthetic, functional and technical characteristics must be integrated in a garment to ensure maximum longevity, counteracting the trend towards massive consumption of contemporary society. Today the textile and fashion industry is the least sustainable and most polluting among the entire industrial system, both considering the production side where "every phase of its production chain threatens our planet" (Shen, 2014), and that of consumption, which hardly adopts or induces habits that contribute to the cause of a more equitable fashion system. Starting from a stylistic and product analysis of the so-called "vintage" sector, the aesthetic and functional characteristics that allow a garment to remain desirable, regardless of the fashion cycles, have been defined. Quality, functionality, style and sustainability are critical factors both from an environmental and also a commercial point of view, if we consider the ever-increasing sensitivity of the market to issues related to the protection of the planet. In the hyper-connected contemporary society, the ever-increasing search for technologies and materials related to well-being and health, in contrast with an extremely tiring urban environment, have been analysed together with the latest growing fashion trends as “athleisure”, where the demand for stylistic freedom, comfort and sporting performance is central. The Salewa Metro System project is a collection of urban and sporty, convertible and multifunctional outerwear composed of three layers of fabric that can be coupled according to the conditions of the external environment. The technical analysis of the layering system, that is the technical garments with which mountaineers are equipped, has generated the guidelines for the development of a collection that starts from pure technical performance, smoothing out the most extreme accents (useful only in situations of extreme meteorological hostility) to then propose itself to an urban and low mountain market. The use of smart materials and nano textile technologies has made it possible to create a layered system of garments with different functions that can always guarantee the best conditions in which to make the human body work. Used correctly, a good sequence of layers provides protection from environmental atmospheric agents and pollutants, perfect skin transpiration as well as the conservation and dissipation of body heat. The project was carried out in collaboration with the Salewa sportswear company, and the garments are designed to remain intact as long as possible, prepared for care, repairs and replacement of parts. They remain aesthetically attractive in the long term thanks to the classic stylistic choices that can be modified according to the occasion. They are always upgradeable in performance: the individual textile components are always replaceable. They tolerate aging well, have a long-life cycle and hit the market objectives together with increasingly design inputs for a more sustainable fashion process.
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Rapports d'organisations sur le sujet "Art market, contemporary art market, contemporary art production"

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Cahaner, Avigdor, Susan J. Lamont, E. Dan Heller et Jossi Hillel. Molecular Genetic Dissection of Complex Immunocompetence Traits in Broilers. United States Department of Agriculture, août 2003. http://dx.doi.org/10.32747/2003.7586461.bard.

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Objectives: (1) Evaluate Immunocompetence-OTL-containing Chromosomal Regions (ICRs), marked by microsatellites or candidate genes, for magnitude of direct effect and for contribution to relationships among multiple immunocompetence, disease-resistance, and growth traits, in order to estimate epistatic and pleiotropic effects and to predict the potential breeding applications of such markers. (2) Evaluate the interaction of the ICRs with genetic backgrounds from multiple sources and of multiple levels of genetic variation, in order to predict the general applicability of molecular genetic markers across widely varied populations. Background: Diseases cause substantial economic losses to animal producers. Emerging pathogens, vaccine failures and intense management systems increase the impact of diseases on animal production. Moreover, zoonotic pathogens are a threat to human food safety when microbiological contamination of animal products occurs. Consumers are increasingly concerned about drug residues and antibiotic- resistant pathogens derived from animal products. The project used contemporary scientific technologies to investigate the genetics of chicken resistance to infectious disease. Genetic enhancement of the innate resistance of chicken populations provides a sustainable and ecologically sound approach to reduce microbial loads in agricultural populations. In turn, animals will be produced more efficiently with less need for drug treatment and will pose less of a potential food-safety hazard. Major achievements, conclusions and implications:. The PI and co-PIs had developed a refined research plan, aiming at the original but more focused objectives, that could be well-accomplished with the reduced awarded support. The successful conduct of that research over the past four years has yielded substantial new information about the genes and genetic markers that are associated with response to two important poultry pathogens, Salmonella enteritidis (SE) and Escherichia coli (EC), about variation of immunocompetence genes in poultry, about relationships of traits of immune response and production, and about interaction of genes with environment and with other genes and genetic background. The current BARD work has generated a base of knowledge and expertise regarding the genetic variation underlying the traits of immunocompetence and disease resistance. In addition, unique genetic resource populations of chickens have been established in the course of the current project, and they are essential for continued projects. The US laboratory has made considerable progress in studies of the genetics of resistance to SE. Microsatellite-marked chromosomal regions and several specific genes were linked to SE vaccine response or bacterial burden and the important phenomenon of gene interaction was identified in this system. In total, these studies demonstrate the role of genetics in SE response, the utility of the existing resource population, and the expertise of the research group in conducting such experiments. The Israeli laboratories had showed that the lines developed by selection for high or low level of antibody (Ab) response to EC differ similarly in Ab response to several other viral and bacterial pathogens, indicating the existence of a genetic control of general capacity of Ab response in young broilers. It was also found that the 10w-Ab line has developed, possibly via compensatory "natural" selection, higher cellular immune response. At the DNA levels, markers supposedly linked to immune response were identified, as well as SNP in the MHC, a candidate gene responsible for genetic differences in immunocompetence of chickens.
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