Thèses : « 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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Franzoni, Mariella. « The Economy of the Curatorial and the Fields of the Contemporary Art World : Curatorial instances and the market of contemporary art in and from (South) Africa ». Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/667674.

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This dissertation analyzes the relationship between curating and the contemporary art market, inscribing its enquiry in the realm of curatorial theory. Contributing to epistemological discussions on the notion of the curatorial, this study frames itself as an “economy of the curatorial”, an expression with which we define the sphere of economic relations of production and mediation engendered by curatorial practice and discourse in the contemporary art field. This field is considered increasingly dominated by market imperatives, since market players (commercial galleries, art fairs, and auction houses) have acquired an increasing authority in consecrating artists and, hence, in establishing both the economic and the symbolic value of art. Adopting a situated approach, this thesis is based on qualitative field research carried out in South Africa, and on the analysis of several instances that disclose the role of curators in the market of contemporary African art since 1989. The main case study is the analysis of curators’ role at the Goodman Gallery, which illustrates the performing of the curatorial within the marketplace.
Esta tesis propone un análisis de la relación entre la curaduría y el mercado del arte contemporáneo, inscribiéndose en el ámbito de la teoría curatorial. A la vez que contribuye a las discusiones epistemológicas sobre la noción de lo curatorial, este estudio propone pensar estas relaciones como parte de una “economía de lo curatorial”, expresión con la que definimos el ámbito de las relaciones económicas de producción y mediación generadas por la práctica y el discurso curatoriales en el campo del arte contemporáneo. Este campo se considera como cada vez más dominado por los imperativos del mercado, siendo que las galerías comerciales, las ferias de arte y las casas de subastas han adquirido autoridad a la hora de consagrar a los artistas y, por ende, de establecer tanto el valor simbólico como económico del arte. Adoptando un enfoque situado, esta tesis se basa principalmente en una investigación de campo llevada a cabo en Sudáfrica, y en el análisis de varios casos y coyunturas que revelan el papel de los curadores en el mercado del arte africano contemporáneo desde 1989. El caso de estudio clave consiste en el análisis del papel de los curadores en la galería Goodman, las cual ilustra como la curaduría opera en un contexto de mercado.

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

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

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Kalmykova, Anna. « Auction Houses and Contemporary Art : A Study of Outstanding Sales in 2007 and 2009 ». Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13154.

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This thesis aims to analyze contemporary art market in terms of auction sales carried out bySotheby’s and Christie’s in London and New York in 2007 and 2009. The study deals withinvestigating the cases when artworks’ prices exceeded their estimates. A model testing therelationships between hammer price, auction house, artist, form of art, the year of object’screation and its current owner along with the year of sale and performance of stock marketwas developed according to the theoretical framework, which includes such concepts as artobjects and their value, gatekeepers and investment and auction theories. Regression analysis revealed that the presence of a pre-lot note published in auctioncatalogue and specifying the collector putting the artwork for sale and the year of art piececreation have a significant contribution to predicting their hammer price. Moreover, theanalysis identified that paintings and sculptures typically reach high prices while drawings,watercolors and gouaches appeared to be less expensive objects. As far as the artists areconcerned, the study showed that pieces by such top artists as Andy Warhol, Jean-MichelBasquiat, Gerhard Richter, Willem de Kooning and Jeff Koons tend to achieve outstandingresults more often. The cases of over-performance were identified according to the model, which provided anopportunity to estimate predicted hammer price and compare it to the one achieved duringthe sale. Analysis did not reveal a clear pattern among over-performers, however, it can beobserved that objects sold at Sotheby’s tend to over-perform slightly more often; AndyWarhol and Damien Hirst appeared to be the artists whose artworks reach prices higherthan the estimates; and watercolors, drawings and gouaches along with sculptures, statuesand figures and photographs and prints turned out to be the over-performing forms of art.

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

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

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Jankauskas, Jennifer Kathleen. « Acquiring contemporary art in today's global market : collecting strategies at small, mid-sized and regional American museums ». Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/32246.

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Over the years, prices for contemporary works of art have continued to rise to the point that many small, mid-sized and regional American art museums have difficulties collecting in this arena. Few authors have examined this phenomenon, or the different tactics in place to combat it. This study aims to fill this gap by undertaking a detailed analysis of successful museum acquisition processes at several museums. To ground the discussion I closely examine the hierarchical systems of the art world and its subset, the art market, and investigate the ways in which particular actors, including collectors, dealers and museum curators, negotiate this realm. Despite the economic hardships that they face, many museums embark on creative strategies to compete in this global market. In order to identify and evaluate these strategies I take an ethnographic approach to the research. Participant observations were undertaken at three American art fairs to fully understand the role of key participants in the market. Furthermore, semi-structured interviews with gallery dealers, museum curators and museum directors revealed both the challenges and solutions involved in the acquisition process, and led to the examination of six key strategies currently in place at museums around the United States. An analysis of these strategies demonstrates the creativity and entrepreneurial nature necessary for continued collecting of contemporary art in a market that has outpaced acquisition budgets.

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Moody, Eric. « The art market and the state in Britain : a critical examination of the relationship between the contemporary British state subvention system for visual arts and various art markets ». Thesis, City University London, 1989. http://openaccess.city.ac.uk/7956/.

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This thesis is an examination of the complex relationship between a broadly defined art market and the British State. it is an examination of the visual arts economy within a British market economy. It demonstrates the state's failure to support and improve this economy even as it declares such a commitment. For the sake of the visual arts and the national economy, an alternative to the Orthodoxy of the State is argued and mechanism for its achievement proposed. This has required me to to reveal and question some firmly held attitudes and beliefs about art, artists, connoisseurs and public good. Although they constitute a comfortable notion of patronage for a minority, these contemporary notions of art, artist and connoisseur contribute to a decidedly uncomfortable economy for the majority.

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Dvořáková, Valérie. « Sběratelství moderního a současného umění v České republice : Jeho charakteristika a vliv na trh s uměním ». Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-198416.

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The thesis discusses current state of Czech market and trade with contemporary and modern art via the phenomenon of collectables. Major emphasis is given to the specifics of both young contemporary art in the context of collecting and trading, and using art as a form of investment. Theoretical part is derived from the limited present literature and describes basic mechanisms and theoretical processes of the art market. Practical part presents a mixture of statistics of art market parameters and interviews with professionals, and poses very concrete constructive questions in relation to investigation of the real manifestation of these processes. The thesis concludes with demonstrating that neither assumptions based on theory nor foreign common practice can be employed (due to numerous aspects) on the Czech market, which can be described as strongly conservative.

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Ndiaye, François Diouane. « La circulation des oeuvres d'art contemporain en Afrique de l'Ouest : cas des arts plastiques à travers l'exemple du Sénégal ». Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30042/document.

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La part de l’Afrique dans le commerce mondial de biens et services culturels reste très faible. Cette situation reflète en partie le niveau des échanges impliquant ce secteur à l’intérieur du continent. Des contraintes accrues pèsent en réalité sur l’écoulement des produits artistiques mais aussi sur les conditions de leur production. Les oeuvres d’art contemporain ne dérogent pas à cette affirmation. De plus en plus de publications et de recherches traitent de la problématique des échanges qui sous-tend la circulation des oeuvres d’art contemporain en Afrique. Il est aujourd’hui établi qu’étudier en Afrique les phénomènes et manifestations de la circulation des produits artistiques et particulièrement des oeuvres d’art contemporain relève d’une entreprise complexe tant le mélange de genre entre l’art traditionnel et l’art contemporain y est répandu : beaucoup de problématiques liées à l’art contemporain continuant d’être étudiées sous l’angle de l’art traditionnel. Cette thèse, en tant que contribution à la réflexion sur la création artistique, veut mettre en évidence les mobiles et les modalités des échanges sur l’art contemporain en Afrique de l’Ouest. Il est question de déterminer les relations existantes entre le champ de création et celui de la réception dans une perspective de développement des échanges sur les oeuvres d’art contemporain ainsi que ses incidences sur la création. Il s’agit aussi de démontrer que la circulation des oeuvres, assumée comme valeur intrinsèque de l’évolution de la création contemporaine et comme gage de notoriété des artistes, est censée concourir plus explicitement et, plus efficacement, au développement du champ de réception en contribuant à l’attractivité du marché de l’art. Les éclairages et les stimulations que ce travail pourrait apporter sur l’état du marché de l’art ainsi que la diffusion des oeuvres d’art contemporain au Sénégal, permettront d’avoir une meilleure approche sur cette question dans les autres pays de la sous-région
The part of Africa in the world trade of cultural products and services remains very weak. This situation reflects partially the level of the exchanges involving this sector inside the continent. Growing constraints bear down on the flow of the artistic works but also on the conditions of their production. The works of contemporary art are not departed from this assertion. More and more publications and researches deal with the problem of the exchanges which underlies the flow of the works of contemporary art in Africa. It’s established nowadays that studying the phenomena and demonstrations of the circulation of the artistic products and particularity of the works of contemporary art is a complex matter. Because of the mixture of genders and origins inside the traditional and the contemporary art in Africa. Many problems connected to the contemporary art in Africa continue to be analyzed under the frame of the traditional art. This academic work is a contribution for the thought on the artistic creation; it aims to highlight the motives and modalities of the exchanges on the contemporary in western Africa. This PhD determines the existing relations between the field of creation and that of the reception in a perspective of development of the exchange on the works of contemporary art as well as its incidences on the creativity. We’ll demonstrate also that the flow of artistic products, assumed as intrinsic value of the evolution of the contemporary works and generally known fame of the artists, is supposed to compete more explicitly and, more effectively, to the development of the field of reception by contributing to the attractiveness of the market of the art. The lightings and the stimulations that this academic work could bring on the art’s market as well as the dispatching of the products of contemporary art in Senegal, will allow us to have a better approach on this question in the other countries of the sub- Saharan area

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Gibbs, Levi Samuel. « Song King : Tradition, Social Change, and the Contemporary Art of a Northern Shaanxi Folksinger ». The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371429829.

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Bacíková, Jana. « Současné české umění na domácím a světovém trhu ». Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-196533.

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The goal of this thesis is to analyse trends of the contemporary Czech art on the domestic market and possibilities of the contemporary Czech artists to succeed on the international art market. The firts part of the thesis describes specific forms of contemporary art and their position on the art market. The main factors influencing contemporary art prices are mentioned. The next chapter is concentrated on trends of contemporary art in comparison with the other segments of the art market. The third chapter is focused on development of the contemporary art on the domestic market. It analyses the present situation on the Czech art market and explores the potential of the contemporary Czech art. The last part of the thesis evaluates a success rate of the contemporary Czech art on the global art market.

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Peško, Banzetová Michaela. « Marketingové strategie obchodu s uměním se zaměřením na současnou českou výtvarnou scénu ». Doctoral thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2017. http://www.nusl.cz/ntk/nusl-295613.

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Contemporary art trade in the Czech Republic has been regarded as a private area accessible only to a few insiders. So far no adequate literature about this field has existed, the marketing strategies used within it were, not only from the outside perspective, quite unclear. This work shows that it is not a secret sphere. On the contrary, it is a part of the market, which has the effect that the more you talk about it openly, the better impact it has on the whole society. The author presents the current situation in this field, its historical context, and openly discusses the long-term marketing strategies of gallerists who work with contemporary artists. On the basis of case studies from abroad she also shows other possible ways how to bring society closer to contemporary art by means of some specific marketing tools.

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Caldas, Felipe Bernardes. « O campo enquanto mercado : um estudo sobre o cenário mercadológico de Porto Alegre (1990-2012) ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/81848.

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Este trabalho possui como tema o mercado da arte em Porto Alegre entre as décadas de 1990 e 2000, com foco no que denominamos de mercado da arte contemporânea. Volta-se a uma abordagem a partir do produtor primário, em outras palavras, o artista. Ou seja, na tríade “produtor, intermediários e consumidor”, a perspectiva adotada está centrada no produtor. Possui como objetivo averiguar e compreender as mais variadas mercadorias produzidas e comercializadas pelos artistas, assim como sua inserção em um mercado de trabalho. Deste modo, esta pesquisa não se limita a considerar somente o processo de compra e venda de obras, mas se propõe a entender e refletir sobre como os artistas participam de um processo produtivo e mercadológico entre 1990 e 2012 em Porto Alegre. Para tal entendimento, constitui-se uma pesquisa interdisciplinar entre arte, sociologia e economia, tendo como aporte teórico Pierre Bourdieu, Domenico de Masi, Michael Hardt, André Gorz e Maurizio Lazzarato. A pesquisa foi constituída a partir de três vertentes. A primeira, via entrevistas com atores locais do campo artístico (artistas, colecionadores, galerista, curadores, professores universitários). A segunda, através de enquete disponibilizada e divulgada via internet, que pretendeu atingir o maior número possível de agentes locais. A terceira, por meio de revisões bibliográficas a respeito da estrutura e história de um sistema artístico e seu mercado em Porto Alegre. Assim, esta proposição discute a condição do artista inserido em um sistema artístico, produtivo, mercadológico e seus meios de aquisição de capital financeiro, simbólico e de permanência no campo.
The theme of this work is the art market in Porto Alegre between the decades of 1990 and 2000, focusing on what we call contemporary art market. Its approach is on the primary producer, in other words, the artist. I.e., in the triad "producer, middlemen and consumers", the adopted perspective is centered on the producer. It is aimed at finding out and understanding the various goods produced and marketed by the artists, as well as their insertion in a labor market. Thus, this research is not limited to considering only the process of buying and selling works, but it aims to understand how artists participate in a production and a marketing process between 1990 and 2012 in Porto Alegre. For such understanding, it constitutes an interdisciplinary research between art, sociology and economics, having as theoretical basis Pierre Bourdieu, Domenico de Masi, Michael Hardt, André Gorz and Maurizio Lazzarato. The research has three strands. The first one, via interviews with agents from the local field (artists, collectors, gallery owners, curators, university professors). The second one, through a survey available and disseminated via the Internet, which sought to reach the largest possible number of local agents. The third one, through literature reviews on the structure and history of an art system and its market in Porto Alegre. Thus, this proposition discusses the status of the artist inserted into an artistic, productive and marketing system and their means of acquisition of financial, symbolic and permanence capital in the field.

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Lopes, Andreia Sofia Simões Monteiro. « A arte como investimento : a arte contemporânea em Hong Kong ». Master's thesis, Instituto Superior de Economia e Gestão, 2017. http://hdl.handle.net/10400.5/14462.

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Mestrado em Gestão e Estratégia Industrial
O mercado chinês de arte contemporânea experienciou um crescimento exponencial nestes últimos anos, com cada vez mais investidores individuais e institucionais que diversificam as suas carteiras de investimentos com arte. Hong Kong emergiu como art hub nos últimos anos, devido aos esforços destes investidores, curadores e galerias de renome em preservar as suas bases e defender a arte contemporânea local e internacional. Assim, o presente trabalho de investigação estuda o comportamento das variáveis que mais afetam o mercado de arte contemporânea de Hong Kong, tendo por base os índices da ArtPrice e Artnet. Os resultados sugerem que vale a pena investir em arte. Apesar de o ano de 2016 não ter sido um ano motivador, segundo o relatório TEFAF da Artnet respeitante ao primeiro semestre de 2017, o ganho com a arte em Hong Kong é constante.
The Chinese contemporary art market has experienced exponential growth in recent years, with more and more individual and institutional investors diversifying their art investment portfolios. Hong Kong has emerged as an art hub in recent years due to the efforts of these investors, curators and renowned galleries in preserving their foundations and defending contemporary local and international art. Thus, the present study investigates the behavior of the variables that most affect the Hong Kong contemporary art market, based on the ArtPrice and Artnet indices. The results suggest that it is worth investing in art. Although 2016 was not a motivating year, according to Artnet's TEFAF report for the first half of 2017, Hong Kong's art gain is steady.
info:eu-repo/semantics/publishedVersion

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Bužinskaitė, Ugnė. « VILNIAUS DAILĖS AKADEMIJOS VAIDMUO SKATINANT SĖKMINGĄ VIZUALIŲJŲ MENŲ STUDENTŲ INTEGRACIJĄ Į ŠIUOLAIKINIO MENO RINKĄ ». Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_144410-38608.

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Darbo vadovas: prof. dr. Ieva Kuizinienė Darbas parengtas: 2014 m. Vilniuje Darbo apimtis: 149 puslapiai su priedais, 3 lentelės, 12 paveikslų Darbo aktualumas: Jaunųjų menininkų problema šiandien yra ypatingai aktualizuojama. 2013 m. Viešosios politikos ir vadybos institutas atliko „Jaunų menininkų socialinės ir kūrybinės padėties Lietuvoje tyrimą“. Pastarasis parodė valstybės politikos fromavimo būtinumą, orientuojantis į pagalbą jaunųjų menininkų karjeros formavime. Pastebimas ir suaktyvėjusi meno edukacija jaunųjų menininkų kūrinių įsigijimo klausimais – 2014 m. – galerija „Vartai“ kartu su meno ir edukacijos centru „Rupert“ organizavo ketvirtąją „Art Mantica“ paskaitų ciklo pranešimą „Nuo meno mėgėjo iki kolekcionieriaus“. Pranešimą skaitė meno patarėja Francesca Ferrarini. Darbo tikslas: Išanalizuoti Vilniaus dailės akademijos vaidmenį, skatinant sėkmingą vizualiųjų menų studentų integraciją į šiuolaikinio meno rinką, pateikti siūlymus ir rekomendacijas, padėsiančias Vilniaus dailės akademijai siekti efektyvesnių rezultatų skatinant sėkmingą jaunųjų menininkų karjerą ir ugdant savivadybos gebėjimus. Darbo uždaviniai: 1. Išanalizuoti šiuolaikinio meno rinkos sąrangą. 2. Išanalizuoti Lietuvos šiuolaikinio meno rinkos specifiką. 3. Nustatyti jaunųjų menininkų integracijos į šiuolaikinio meno rinką problemtaiką Lietuvoje. 4. Atlikti kiekybinį Vilniaus dailės akademijos vizualiųjų menų studentų (tiek iš Vilniaus, tiek ir iš Kauno fakultetų) tyrimą – elektroninę apklausą... [toliau žr. visą tekstą]
Thesis supervisors: prof. dr. Ieva Kuizinienė Work prepared in Vilnius, 2014 Relevance of the work: 149 pages with appendixes, 3 tables, 12 pictures The relevance of the work: The nowadays-young artists’ issue is being especially underlined. In 2013 ‘Public Policy and Management Institute’ conducted a research analysing young artists social and creative status in Lithuania. It highlighted state policy’s necessity in forming young artists careers. It can also be observed that society is being educated regarding the acquisition of young artists’ pieces of works. In 2014 ‘Galerija Vartai’ alongside arts and education centre ‘Rupert’ organized the fourth ‘Art Mantica’ lecture series report: ‘From art lover to the collector’. The report was read by art advisor Francesca Ferrarini. Work tasks: 1. To analyse the structure of contemporary art market. 2. To determine the specifics of Lithuania’s contemporary art market. 3. To set the problems in Lithuania regarding young artists integration into the contemporary art market. 4. Perform a quantitative research on Vilnius Academy of Visual Arts students (both in Vilnius and Kaunas faculties) - an electronic survey. Employ the findings of the research to identify the challenges and opportunities associated with the students’ integration into the contemporary art market. 5. To perform a qualitative research analysing in-depth interviews with three different art market target groups: 1) Vilnius Academy of Arts staff and students; 2)... [to full text]

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Batista, Sandro Tôrres. « Do começo ao fim : história da implantação, desdobramentos e encerramento do Salão Nacional de Arte de Goiás - Prêmio Flamboyant (Goiânia, 2001 – 2006) Bastidores e memórias de um caso no sistema artístico regional ». Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6703.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research had as object the National Art Salon Goiás - Flamboyant Award held in Goiânia between 2001 and 2006; analyze the relevant facts gathered from documentary sources and depositions. The Salon was designed, built and managed throughout its realization by a group of professionals who combined the project scope in the commercial sphere and professionals in the arts, in the defense of cultural character, and coined a form and regimentation never before seen in this State and aimed to select and reward through public tender (via notice) Brazilian artists with recent production in contemporary art. In the period of the Salon, the city was featured in the Brazilian scene of the visual arts and, therefore, attracted the attention of renowned artists, curators and art critics. It was left to the researcher in his text to highlight some aspects from the data collected in the survey, particularly with regard to the analysis of competition-salon format, the impact on the local landscape and the historical and cultural legacy for the city and the state. Interviews were conducted with some of the main characters involved in the project and analyzed documents and printed primary sources of research. During the master of the period, some versions of the text results of the survey were presented in the form of communications, lectures and discussions on the topic in the history of events, arts and within the Research Group Interartes- Interartistics Processes and Systems and Performance Studies (CNPq), which the researcher was part of effective and active form since joining the PPGH UFG.
Esta pesquisa teve como objeto o Salão Nacional de Arte de Goiás – Prêmio Flamboyant que aconteceu em Goiânia entre 2001 e 2006; com o objetivo de analisar os fatos relevantes levantados a partir de fontes documentais e depoimentais. O Salão foi concebido, erigido e gerido, ao longo de sua realização, por um grupo de profissionais que mesclavam o escopo do projeto na esfera mercantil e profissionais do campo das artes, na defesa do caráter cultural, e cunhou uma forma e arregimentação nunca dantes vista neste estado e tinha como finalidade selecionar e premiar, por meio de concurso público (via edital), artistas brasileiros com produção recente em arte contemporânea. No período de realização do Salão, a cidade recebeu destaque no cenário brasileiro das artes visuais e, com isso, atraiu a atenção de reputados artistas, curadores e críticos de arte. Coube ao pesquisador em seu texto destacar alguns aspectos dentre os dados levantados em pesquisa, principalmente no tocante à análise do formato de concurso-salão, o impacto no cenário local e o legado histórico e cultural para a cidade e o estado. Foram realizadas entrevistas com alguns dos principais personagens envolvidos no projeto e analisados documentos e materiais impressos, fontes primárias de pesquisa. Durante o período do mestrado, algumas versões do texto resultado da pesquisa foram apresentadas na forma de comunicações, palestras e discussões sobre o tema em eventos de história, de artes e dentro do Grupo de Pesquisa Interartes- Processos e Sistemas Interartísticos e Estudos de Performance (CNPq), do qual o pesquisador fez parte de forma efetiva e atuante desde seu ingresso no PPGH-UFG.

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Spettel, Elisabeth. « Double jeu de la subversion : entre dadaïsme, surréalisme et art contemporain ». Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30042.

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« Que nul n’entre ici s’il n’est subversif » ! Cette sentence pourrait orner le frontispice du Cabaret Voltaire, célèbre lieu qui a vu naître le dadaïsme en 1916. Les spectacles Dada subvertissaient les conventions esthétiques, remettant en question le statut de l’oeuvre d’art et mêlaient les médiums et les styles jusqu’à incorporer des objets, photomontages, masques, marionnettes… dans la sphère artistique. Ce caractère interdisciplinaire et transgressif réapparaît chez les surréalistes connus pour leurs scandales, leurs manifestes, leurs inventions littéraires et plastiques mais aussi leur engagement politique. Ces deux avant-gardes marquent une rupture dans l’histoire de l’art. Leur caractère subversif influence encore aujourd’hui de nombreux artistes contemporains occidentaux sur le plan des formes, des sujets abordés ou des processus de création. Néanmoins, le changement de contexte amène à redéfinir la subversion qui se transforme parfois en provocation chez les artistes actuels, encourant le risque de devenir une nouvelle norme et d'être récupérée par le marché de l'art. Ce sont ces différences entre subversion et provocation que cette thèse se propose d’étudier en confrontant deux contextes : celui des avant-gardes historiques et le contexte contemporain avec la fin des « grands récits »
« Do not enter if you are not subversive ». This sentence could decorate the frontispiece of Cabaret Voltaire, the famous place where Dadaism was born in 1916. Dada 's shows subverted aesthetic conventions, questioned the status of the work of art and mixed styles and mediums even integrating objects, photomontages, masks, marionettes in artistic area. This interdisciplinary and transgressive characteristic reappears with Surrealists, well-known for their scandals, manifestoes, literary and artistic inventions but also for their political involvement. These both avant-gardes broke with academic history of art. Their subversive characteristic is still influencing nowadays a lot of occidental contemporary artists on a formal, thematic or creative way. Nevertheless, the change of context leads to redefine the subversion which sometimes turns into provocation in contemporary artists' practices, taking the risk of changing into a new norm and being taken over by the art market. This thesis intends to study these differences between subversion and provocation comparing two contexts : the context of the historical avant-gardes' and the contemporary one with the end of the grand narratives

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Hochleitner, Katya de Castro. « SP-Arte : histórico e impacto percebido no mercado brasileiro de arte ». Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-27012016-133127/.

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Esta dissertação se propõe a examinar e contextualizar a SP-Arte no mercado brasileiro de arte, compreendendo seus efeitos em termos de circulação, produção, preços e promoção da arte, com o objetivo de avaliar o seu impacto no mercado brasileiro de arte. Trata-se de um estudo exploratório, com adoção de levantamento teórico e documental e também de pesquisa qualitativa, com o uso da técnica de entrevistas em profundidade, para investigar a percepção dos diferentes agentes do sistema brasileiro de arte contemporânea, a saber: organizadores, artistas, galeristas, curadores e críticos de arte, compradores e colecionadores, conservadores e diretores de instituições de arte. Notamos que a SP-Arte tem se destacado no mercado de arte, com a realização de onze edições sucessivas, completadas em 2015. A SP-Arte tem apresentado sucesso crescente, tanto em volume e valor de vendas quanto no número de participantes, entre os quais galerias, artistas e visitantes. Os entrevistados destacaram como pontos favoráveis: organização, otimização do espaço de exposição, qualidade dos participantes (galerias, artistas, curadores, organizadores etc.), participação de expositores internacionais, qualidade das atividades paralelas, e, ainda, nível de vendas em relação a outras feiras brasileiras. Enfatizaram ainda a redução de tributos na aquisição de obras de arte durante a feira, possibilitada pela administração pública, que favorece a comercialização de arte, seja ela de origem nacional ou estrangeira, embora o público comprador que frequenta a SP-Arte ainda seja predominantemente local. Além disso, os entrevistados destacaram o fato da feira ter se tornado um evento importante na agenda cultural paulistana, atraindo turistas de negócios e lazer. Há alguns elementos que ainda podem ser aperfeiçoados, tais como: a infraestrutura no acesso (trânsito e falta de estacionamento); o fomento a parcerias com escolas e instituições no âmbito educacional; a reavaliação da política ou da comunicação de preços da feira, no sentido de atenuar a imagem de altos custos para galeristas (e potenciais expositores) e de preços demasiadamente elevados das obras de arte (em relação a outros canais de venda); e, finalmente, a eficiência da comunicação do evento no exterior para aumentar a visitação de compradores estrangeiros. Tais mudanças podem ajudar a colocar a SP-Arte no mesmo patamar das grandes feiras de arte internacionais consideradas como imperdíveis, principalmente por galerias e colecionadores.
This paper aims to examine and contextualize the art fair SP-Arte in the Brazilian art market, including its effects in terms of circulation, production, prices and promotion of art, in order to assess the impact of the fair on the Brazilian art market. It is an exploratory study, for which we chose, first, to perform secondary research of existing theories and data; followed by a qualitative research study, using the in-depth interview technique to investigate the perception of the different agents in the Brazilian Contemporary Art system, namely, organizers, artists, gallery owners, curators and art critics, buyers and collectors, museum conservators and directors of art institutions. We note that SP-Arte has excelled in the art market, with the completion of eleven successive editions, completed this year, 2015. SP-Arte has shown increasing success, both in volume and value sales, as well as in the number of participating galleries, artists and visitors. Respondents to our survey highlighted as positive points: organization, optimization of the exhibition space, quality of participants (galleries, artists, curators, organizers, etc.), participation of international exhibitors, quality of the complementary activities, and also the level of sales in relation to other Brazilian art fairs. They additionally stressed the reduction of taxes on the purchase of art works during the fair, made possible by the state government, which favors the sales of art, be it of domestic or foreign origin, although the people who attend SP-Arte are mainly local. In addition, respondents highlighted the fact that the fair has become an important event in Sao Paulos cultural calendar, attracting business and leisure travelers. There are some elements that can still be improved, such as infrastructure access (traffic and lack of parking); fostering partnerships with schools and other organizations in the education sector; a reassessment of the price policy or a more effective communication strategy concerning it, to mitigate the image of a high cost event for gallery owners (and potential exhibitors) and higher priced artworks, when compared to other art sales channels; and, finally an international communication strategy, to increase the number of foreign collectors visiting the fair. These changes could elevate SP-Arte to the same level of major international art fairs, which are considered not to be missed, especially for galleries and art collectors.

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Ludvíková, Daniela. « Branding a jeho význam pro primární a sekundární trh s uměním v České republice ». Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-205651.

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This masters thesis identifies and analyzes the aspects and specifics of branding of an artist in the art industry, which is relatively different from the branding which we know from the corporate world. The first section defines the theoretical background of the branding and marketing communication with focus on those aspects that are relative to an art and its market specifics. Theoretical definition in combination with the outcome of qualitative research, which was conducted with outperforming contemporary artists and representatives of leading galleries in Czech Republic, helps to outline the most important factors and subjects influencing the artists brand creation process which is described in the practical part of this masters thesis. Besides the quality of the piece of art itself, the aspect of the strong brand is unquestionably increasing the value of artists production. Therefore, this chapter investigates those factors and subjects that have remarkable impact on the value of the artists pieces of art. The last section of this paper gives local and international best examples of contemporary artists with strong brand.

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Silveira, Andrea Aparecida Capssa de Lima da. « CONSIDERAÇÕES SOBRE AS GALERIAS VIRTUAIS E SUAS RELAÇÕES COM O MERCADO DE ARTE ». Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/5244.

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This research in the field of History, Theory and Criticism of Art with an emphasis on Art and Technology, aims a theoretical and practical study of virtual galleries from contemporary art to cyberspace. It aims to understand the functions of the galleries and the role of the gallerist as entrepreneur / strategist for the art market. In this study are selected six art galleries - all Brazilian and distinct characteristics - which can contribute to the recognition methods to choose exclusively online environment or act between physical and virtual environments. According to the data found, all virtual galleries seek legitimacy through the interested public, collectors, and other art dealers are made up of expository and informative environments, but only a few follow with e-commerce.
Esta pesquisa no campo da História, Teoria e Crítica da Arte, com ênfase em Arte e Tecnologia, tem como objetivo um estudo teórico das galerias virtuais, a partir de questões pertinentes à arte contemporânea e ao ciberespaço. Visa compreender as funções das galerias e o papel do galerista enquanto empreendedor/estrategista para o mercado da arte. Neste estudo são selecionadas seis galerias de arte todas brasileiras e com características distintas que podem contribuir para o reconhecimento das estratégias dos galeristas que optam por trabalhar em ambiente exclusivamente online ou atuar simultaneamente em ambientes físicos e virtuais. De acordo com os dados encontrados, todas as galerias virtuais buscam legitimação através do público interessado, dos colecionadores e dos demais galeristas, estão constituídas de ambientes expositivo e informativo, mas apenas algumas seguem com e-commerce.

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Assis, Naira Cristina Rodrigues de. « As regras do mercado : dinâmicas e construção do valor no mercado de arte contemporânea ». Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/100/100135/tde-18092017-112256/.

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Entre todos os mercados que lidam com bens culturais e artísticos, o mercado de arte contemporânea permanece como um dos mais inacessíveis e desconhecidos. A dificuldade em estabelecer relações objetivas entre arte e economia, típica dos mercados de bens simbólicos, parece atingir seu ápice quando se trata de discutir as artes visuais. Em relação ao mercado de arte, atribui-se com frequência a ideia de um campo sem regras, caracterizado por valores exorbitantes, eventos espetaculares e agentes orientados para a obtenção do máximo lucro. Porém, a partir de uma análise detalhada do campo, é possível identificar uma série de normas e estratégias econômicas e simbólicas que regulam o mercado e sobre as quais se estabelece o preço das obras e o valor artístico. Deste modo, a presente pesquisa busca analisar as leis que operam este mercado, assim como a construção do valor das obras de arte contemporâneas, levando em consideração as especificidades e o lugar que o mercado de arte brasileiro ocupa dentro deste sistema como um todo
Among all the markets that deal with cultural and artistic goods, the contemporary art market remains one of the most inaccessible and unknown. The difficulty of establishing objective relations between art and economy, typical of symbolic goods, seems to reach the peak of uncertainty when it comes to discussing the visual arts. The art market is frequently seen as a field without rules, characterized by exorbitant prices, spectacular events and actors oriented to obtain the maximum profit. Departing from a detailed analysis of the field is posibible to identify a series of economic standards and symbolic strategies that regulate the market and on which the artistic value and the price is set. Thus, this research seeks to analyze the laws that operate this market, as well as the construction of the value of contemporary art, taking into account the specificities and the place that the brazilian art market occupies within this system as a whole

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Dvořák, Olga. « Český a globální trh výtvarného umění (s akcentem na kritickou reflexi českých a zahraničních autorit) ». Doctoral thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-203753.

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The dissertation examines art as a very specific luxury commodity that is difficult to define and place on a market. The objectively given uncertainty of an art market does not seem to be consistent with the investment function of an artwork. The price of this product is unstable and non transparent and it is generally formed through a marketing tool - a commercial art fair. The main aim of this dissertation is to uncover the specifics of the fine art market. The secondary objective is to determine how emerging art from the Czech Republic is represented on a global scale. The research method included expert opinions from interviews as well as statistical processing of survey answers from several different professions. The main outcome of this research found out expert opinions from prominent art institutions around the world, and their awareness of Czech contemporary art. The beneficial factor of this research is the recommendation for Czech artists and commercial galleries to penetrate the global market. Beside the practical benefits there are additional benefits for science, as the information and research is taken from different fields, which is not so sufficiently monitored or presented as well in the Czech Republic. The focus on the pedagogical benefits are evident as the author has paid much attention to these issues for several years in the conext of regular lectures on the art of marketing at the University of Economics in Prague.

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Flynn, Emma. « Building careers, managing capitals ». Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/9393.

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I sought to find out whether this was a tension between artistic and commercial in the career of visual artists, and if so, how this tension was managed. In attempting to uncover information which could address the research question I undertook in-depth career history interviews with artists which covered their time at art school through to their current practice. The career history method was deliberately chosen in order to address the research question at a tangent as both the literature, and my own personal experience of the field of contemporary visual art, had suggested that the topic of artistic and commercial was a sensitive one. By framing the interviews around the experiences the artists had through the time period of their training and career, I was able to approach the research questions indirectly from the perspective of the artists. Through analysis of the interview transcripts the framework of Bourdieu's capitals arose as one that would capably explain the activities which the artists were undertaken and I used this as a framing device for the empirical chapters in the thesis. In exploring ideas of cultural, social and economic capitals in relation to how artists describe the activities they undertake during their career it became apparent that the broad structures of cultural capital needed further refinement in their application to the careers of visual artists. In the thesis I chose to elaborate further on the concept of artistic capital which has, until now, been unexplored by scholars. I have developed an understanding of artistic capital as a subcategory of cultural capital with particular application to the field of contemporary visual art – with the potential for wider application beyond the thesis. The three capitals of artistic, social and economic proved a capable structure for understanding whether there was a tension between artistic and commercial and how artists managed this. Through this research I have found that artists come to believe, during their early career and training through art school, that there is a tension between artistic and commercial as this is perpetuated by institutions and art world participants through their exclusion or dismissal of commercial aspects of the visual art field. Through their careers they come to realise that this tension is less prevalent than they thought and that they are able to manage these two aspects of artistic and commercial more effectively. However, artists continue to be faced with instances where this tension is imposed upon them by other art world players who perpetuate the belief that there is an inherent, unresolvable tension between artistic and commercial. These individuals attempt to shield artists from this perceived tension later in their careers when artists are already adept at managing the competing priorities of artistic and commercial without the two creating tension.

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Crubilé, Marine. « L'art contemporain ou le fétichisme du lucre ». Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30009/document.

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La marchandisation de l’art se traduit par une dérive progressive de l'esprit de collection. Elle est notamment perceptible dans le désir de plus-value des collectionneurs, qui va de pair avec le fait que l'aura de la valeur artistique et esthétique d'une œuvre est fonction du prix qu'elle atteint en tant que marchandise de luxe dans les salles de vente. La valeur de l’art s’en est trouvée assujettie à un marché capitaliste dont les guerres ont paradoxalement favorisé la mondialisation. Ce marché de l’art, qui est en cours de restructuration permanente, favorise chez les artistes une course à la « starification » et à des cotations tout particulièrement ambivalentes. Faut-il en conclure que la marchandisation a pris le pas sur l'artistique, le prix sur la valeur de l’œuvre, le lucre sur l'esthétique ? Cette thèse défend l'idée que la force, et la ruse des œuvres d'art, se manifestent dans leur capacité, à se jouer du milieu religieux, idéologique ou imagologique dans lequel elles voient le jour. Cette force se révèle aujourd'hui dans l’aptitude du geste créateur, qui relève — Marcel Mauss l'a bien vu — fondamentalement du don et du contre-don, à faire voler en éclat les illusions engendrées par la marchandisation. En permettant à l’imaginaire de s’incarner à l’égal du réel, l’artiste ouvre le champ infini des possibles. C'est pourquoi la vie des œuvres d'art n'en finit pas de rendre le cosmos cosmétique, quitte à se servir du « lucre » comme d'un appât habile à stimuler le marché, dont se sert in fine, sa « main invisible »
The commodification of art results in a gradual drift of the collection spirit. This is particularly noticeable in the desire of collectors for added value, which goes hand in hand with the fact that the aura of the artistic and aesthetic value of work depends on the price it has achieved as a luxury commodity in the sales rooms. The result was a subjugation of the value of art to a capitalist market whose wars paradoxally favored globalization. This art market, which is undergoing permanent restructuring, favors artists’ quest for « starification » and particularly ambivalent ratings. Must we conclude that commodification has overtaken the artistics, that the price is now beyond the value, the profit beyond the aesthetic ? This thesis defends the idea that force and cunning of works of art are manifested in their opportune ability to trifle with the religions, ideological or imaginary environment in which they emerge. This force is today identified in the aptitude of the creative gesture, which – Marcel Mauss saw clearly – is fundamentally a gift and a counter-gift, to smash to pieces the illusions engendered by the commodification. And strong work links the imaginary to the symbolics to become « real ». By making the imaginary equal to the real, the artist opens the infinite field of possibilities. This is why the life of works of art never ceases to make the cosmos cosmetic, even if it uses the « lucre » as a bait skilful enough to stimulate the market, which is, in fine, manipulated by its « invisible hand »

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Causadias Domingo, Isabel. « Mercat primari de l’art contemporani a Catalunya ». Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/380896.

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Mercat primari de l'art contemporani a Catalunya és un treball d'investigació sobre les galeries d'art i els intermediaris que centra el seu estudi empíric a Catalunya. En la dissertació s'efectua una revisió històrica del mercat de l'art i l'origen de les estructures comercials que han marcat el naixement de les galeries com a mediadors en el sistema de l'art. Mitjançant l'exploració dels intermediaris a través d'entrevistes s'explica quines són les estratègies de funcionament del mercat, quin és el paper que tenen les galeries, i com s'estableixen les relacions entre artistes, galeries i col•leccionistes. Més específicament, l'estudi centra l'atenció sobre la funció de la confiança en el mercat de l'art com a mecanisme de reducció de riscos i costos de transacció.

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Chamberlain, Rachel P. « Articulations of Liberation and Agency in Yanagi Miwa's "Elevator Girls" ». Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/102.

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Miwa Yanagi’s Elevator Girls series, a collection of glossy photographs featuring groups of similarly clad women lingering in expansive, empty arcades, made its international debut in 1996. While the pieces garnered positive reactions, Yanagi found that most Western viewers read her work as predominantly “Oriental”—confirming stereotypes of a highly polished techno-topic Japan that was still negotiating gender equality. In this thesis, I explore alternative ways of reading Yanagi’s Elevator Girls series, which, I argue, call attention to myopic views of commercialism and identity in order to provide an alternative reading of these women as agents of transgression and ideological transcendence. Whereas many viewed Yanagi’s works as a comment on capitalist machinations, where consumerism has produced soulless, vapid feminine identities, I focus on the ways in which these women exercise agency without relying on notions of an individualized, unique ego.

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Jahan, Bakhsh Sefidi Zahra. « La valeur de l'art du Moyen-Orient : l'effet de l'arrivée du marché sur l'évolution du monde de l'art de l'Iran, du Liban et Émirats Arabes Unis et leur rayonnement international ». Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA041/document.

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Cette thèse a pour principal objectif d’étudier la nouvelle configuration de la valeur de l’art moderne et contemporain du Moyen-Orient, et plus précisément la perception qui s’est fait jour à partir du milieu des années 2000, où Dubaï serait devenu le lieu de fixation de la valeur économique et de diffusion de l’art à différents niveaux : national, régional et international. L’art visuel du Moyen-Orient, jusqu’alors limité aux scènes nationales et négligé sur la scène internationale, connaît une évolution locale ainsi qu’un rayonnement international inédit. La mutation innovante du monde de l’art de cette zone géographique repose, en général, sur l’implantation de maisons de vente et sur la formation d’un marché international pour l’art du Moyen-Orient à Dubaï. Ce nouveau dispositif a influencé non seulement l’écosystème du monde national de l’art, mais aussi le choix d’artistes, des commissaires d’exposition autant que des conservateurs des musées internationaux. L’accroissement de champ du marché est l’objet principal de cette étude, et l’ajustement du champ artistique un objet secondaire. En retraçant l’histoire des pays étudiés par une approche sociologique de l’art, il s’agira, d’abord, de cerner l’évolution quantitative et qualitative des galeries d’art visuel, après les avoir identifiées en tant qu’acteur multifonction du monde de l’art, en ce qui concerne trois pays emblématiques de l’art de la région : l’Iran, le Liban et les Émirats Arabes Unis ; ensuite, il s’agira d’analyser leurs activités internationales ainsi que leur rayonnement à la fois régional et international, avant la formation du marché de l’art de Dubaï en 2006 et jusqu’à 2015. La méthodologie employée pour ce travail sollicitera un certain nombre d’outils propres aux sciences sociales et humaines : l’entretien compréhensif, l’enquête quantitative, l’analyse typologique, l’étude documentaire et l’enquête de terrain : l’immersion et l’observation participante
The main objective of the present doctoral thesis is to study the configuration of the value of Middle Eastern modern and contemporary art. More precisely, we look at how Dubai has emerged in international perceptions as the center for art appraisal and diffusion nationally, regionally and internationally. Middle Eastern visual arts, mainly limited to their national settings, have been overlooked on an international level. Today, we are witnessing their unprecedented emergence and appreciation on the international scene. The innovative mutation of the art world within this geographical zone is mainly due to the implantation of auction houses and the creation of an international market for Middle Eastern art in Dubai. These new measures have not only influenced the ecosystem of the art milieu on a national level, but have also impacted the choice of artists, exhibition commissioners and curators of international museums. The development of this market is the principal object of the present study and as a secondary object, we look at the adjustments made by the art world to adapt to this new art scene. Through the Sociology of Art approach, we retrace the history of three emblematic countries (Iran, Lebanon and the United Arab Emirates) with the aim of understanding the quantitative and qualitative evolution of their visual art galleries identified as multifunctional actors of the art world. We then analyze their international activities as well as their expansion, regionally and internationally, before the creation of the art market of Dubai between 2006 and 2015. Our methodology is based on the research methods of the social sciences: comprehensive interviews, quantitative investigations, typological analyses, documentation review and field work through immersion and participatory observation

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Richter, Till Florian Alexander. « The evaluation of contemporary art with art historical and market criteria : the 3C Model ». Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-12-4824.

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For the most recent contemporary art no art historical or price records exist that can testify of its value. However, the market for contemporary art is enormous and the art historical interest in it is equally important. If we can find out how to evaluate contemporary art, it will further the art historical understanding, the market transparence and the sales of contemporary art thus having an influence also on the creation of art (William Grampp). The art historical verdict and the market verdict are linked. This has been proven by a number of economists (Frey, Galenson, Grampp). The question is how they are linked. Basically, both art history and the market contribute to the creation of value in art. What is it that makes art valuable? What are the criteria used in art history and in the market to evaluate art? The focus is on European and US American art between 1970 and today. Evaluation, be it aesthetic or financial, is a process of decision making. Decisions are based on criteria that must be conscious at least after the decision is made (Clement Greenberg). In the art world, certain decision makers are more influential than others. Therefore the dissertation analyzes the most influential positions in art theory and in the art market and distills the essential criteria used. The dissertation seeks to advance the research on this fundamental question of the evaluation of art through a more comprehensive and interdisciplinary study than those previously undertaken. It presents a model that integrates the most important criteria from both sides and allows a more reliable evaluation of contemporary art. The 3C Model explains the ensemble of Quality-Value-Price through three criteria: Change, Connectivity and Context (Time, Space, People). The 3C Model can be used as a general basis in the discourse on value and quality. It is a structural method that can be applied to almost any art from any period. The model is exercised here using Gerhard Richter, François Morellet, Julian Schnabel, Jeff Koons, Sophie Calle and Pipilotti Rist as examples.
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Vekony-Harper, Delia. « What defines a good work of art within the contemporary art word ? theories, practices and institutions ». Diss., 2010. http://hdl.handle.net/10500/4047.

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The dissertation explores how quality-judgments on works of art are created within the contemporary art world. The research starts with the examination of modernist art theories supported by the museum, and continues with the exploration of the impact of the art market on quality-judgments. Although the art market had already distorted the idea of quality, further contradictions and difficulties have risen within judgment-making after the 1960s due to the dematerialisation of the work of art. Art criticism should have been able to deal with this complexity, but it is demonstrated that art criticism is a subjective field and even if there is a universal theory on quality, it often fails when applied to the particular work of art. Throughout the dissertation it is demonstrated that although ‘good art’ is a subjective, power- and discourse-dependent concept, all art professionals seek something that is an inherent quality of the artwork. However, regardless of the existence of such inherent value, judgments on quality are constructed by and subjected to power-struggle.
Art History, Visual Arts & Musicology
M.A. (Art History)

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Vaughan, Priya. « Pay Attention : Aboriginal Art in NSW ». Phd thesis, 2017. http://hdl.handle.net/1885/148402.

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Despite extensive academic focus on Indigenous Australian art, sustained engagement, particularly in the discipline of anthropology, has largely focused on artists and artworks from the central, northern and western regions of Australia. Academic works examining art-making in the south east of Australia, particularly New South Wales (NSW), are relatively few, despite news articles, exhibition catalogues and monographs penned by artists and curators providing evidence of vibrant communities of Aboriginal artists and solo practitioners working across NSW. In light of this, this thesis addresses the relative academic silence around Aboriginal art-making in NSW. It asks, broadly, what kind of art is being made in NSW and why? Drawing on fieldwork undertaken across NSW – including interviews with 65 artists, curators, arts workers and others – and on primary analysis of several data sets – including material from the Australian Art Sales Digest and Parliament of NSW Aboriginal Art Prize catalogues – this thesis seeks to pay attention to Aboriginal artists working across NSW in order to document the work they make, the technical, creative and social processes through which they create art, their experiences of the art-world, particularly the art market, and their motivations for making. As a result of this attention, this thesis focuses on various themes, issues and topics. The history of intellectual and commercial engagement with Aboriginal art produced in NSW since British colonisation is canvassed in order to contextualise and make sense of the concerns and creative interests of research participants. Participant use of art to represent, affirm and constitute diverse personal, cultural and professional identities is explored and it is demonstrated that identity-focused works reveal that Aboriginality is conceptualised, by artists, in overwhelmingly non-essentialist ways, although the nature of this non-essentialism is varied. Diverse art practices undertaken by Aboriginal artists in NSW are described, including detailed analysis of two visual forms (south eastern designs and dots) and two styles or genres (urban art and contemporary art) which are commonly created, or are felt to be significant, by participants. These forms/genres are positioned by artists and others as traditional and non-traditional to NSW, sometimes simultaneously. Analysis of engagement with these forms reveals the ways participants conceive of culture especially as it pertains to tradition, authenticity, change and continuity. Finally, consideration of the sale of art in various art market spheres illustrates that selling work is significant for artists, and confers meaning upon artworks offered for sale.

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Yang, Li-Wei, et 楊麗薇. « A Research on Contributing Factors of Business Model for Shanghai Contemporary Art Market- Based on Analytic Hierarchy Process Analysis ». Thesis, 2017. http://ndltd.ncl.edu.tw/handle/3hn5yz.

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碩士
國立臺灣師範大學
美術學系
105
Due to the language commonality, Taiwan art gallery has always been enthusiastic about the Chinese market. Shanghai has emerged to become an important art market with her contribution and focus in the art industry and her determination to globalization. This paper intends to discuss how art galleries can become operational profitable in Shanghai contemporary art market. With historical qualitative studies, expert questionnaires and the analytic hierarchy process (AHP) to discover the contributing factors of business model and relative orders of importance for Shanghai contemporary art market. The paper selected 20 factors affecting the Shanghai contemporary art market operation, the orders for relative importance are : professional management, agglomeration benefits, attending art fair, capital, potential market scale, originality, market mal-positioning, cost, interpersonal relationship marketing, art reviews, art experience, learning and expert backgrounds, style of work, creator morality, aesthetics understanding, media utilization, operation positioning, cultural clash, exhibits and awards and consumer behavior. In which, the professional management outweighs other factors by 10.85%. The attending art fair and agglomeration benefits weigh 7.26% and 6.85% relatively. By analytical conclusion, a few phenomena exist in Shanghai contemporary art market: (1) confronting problems with intellectual collection, (2) importance of capital injection, (3) effects of globalization. Shanghai art market scale is developing as we speak. If Taiwan art galleries wish to enter such market with capital-intensive character, one can aggressively participate in art fair. Backing with professional knowledge of the Taiwan art galleries and positioning oneself in the Shanghai elite sector, adding up collaborations with international art galleries and introduce mature and well-known artists to worldwide market in order to achieve short-term objectives. This paper aims and covers the Shanghai contemporary art market. If one is to apply such structure to other regions, one is able to differentiate the structural differences and overall hierarchy importance and analyze regional characteristics, which can prove for future studies.

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Michel, Victoire Marie Isabelle. « From private collections to public exhibitions : the case study of Châteu La Coste ». Master's thesis, 2020. http://hdl.handle.net/10400.14/33406.

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The current report corresponds to an internship at Château La Coste, in the department of art and architecture for the private collection of Patrick McKillen in Aix-En- Provence, France. The duration was of 4 months from the 15th August 2019 to the 15th December 2019. The collection of Patrick McKillen at Château La Coste consists of an outdoor exhibition 36 artworks and architecture installation from famous contemporary artists and architects worldwide. The first artist to construct a massive architectural building on the property was Tadao Ando, who built the art centre starting from 2009 and welcomed its first visitors only in the summer of 2011. The ongoing constructions on site today are of; Richard Roger, James Turell, Jean Nouvelle with Louise Bourgeois and Richard Long. On top of the outdoor installations there are three exhibition galleries on site, two Wilmotte galleries and Renzo Piano pavilion with a gallery space. The purpose of the internship experience was to understand and explore the functioning of private collections to their opening to the public by being in the heart of the management structure of Château La Coste. The internship was a need to comprehend the grounding work of exhibiting artworks that are the public. This report aims at answering the question of why private collectors open their collection to the public, how they follow their vision and why these new collectors have a willingness to open private collections to the public. The growing number of institutions like this one are becoming case studies to understand the changing cultural dynamics in the art market. This phenomenon is global and has become a new norm to consume culture to consume culture thought the private collection it is not a unique case that we are seeing with Château La Coste. Through academic research and my personal experience at the Château La Coste this report aims at understanding the trend of contemporary art collecting and exhibiting in our time.

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Custoza, Linda Morando di. « The contemporary art market at the beginning of the third millennium : focus on the impact of the 2008 economic crisis in the city of Lisbon ». Master's thesis, 2021. http://hdl.handle.net/10400.14/34284.

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This research proposes a brief historical analysis of the art market following the economic crisis of 2008, taking into account the socio-cultural context of the post-modern period. Within the first chapter of this dissertation, a brief introduction will be given regarding the historical and cultural evolution of the contemporary neo-liberal society, presenting the key concepts of the contemporary art market in which, with the beginning of the new millennium, globalization has played a fundamental role. Following the analysis of the new neo-liberal principles of the market and the art market, the main factors that led to the recession following the economic crisis of 2008 will be presented. Through the analysis of the effects of the economic crisis, we will focus on the Portuguese experiment, which has become a positive example of economic recovery within European countries. The last chapter will focus on the situation of the Portuguese art market, highlighting the main periods of change and international development in Portuguese contemporary art. A chronological list of new art galleries developed since the 1990s in Lisbon will be presented, highlighting a greater development since 2016, thanks to the participation of important art fairs such as Art Basel1. The internationalization of the city of Lisbon, which also includes the art market, becomes a fundamental element in terms of development and economic recovery. As will be highlighted in the third chapter of this dissertation, the Portuguese art market, as well as the international one, has undergone continuous changes since the 1990s, leading Lisbon's art galleries to invest more and more in international art fairs, thus helping national and international artists. The investments made by the Portuguese government in the tourism sector have led to an increase in capital and a consequent growth in purchasing power, influencing the field of culture, including works of art.

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Curto, Inês de Oliveira Baptista Marcelo. « Negotiating the priceless : an analysis of negotiation techniques applied in Lisbon’s primary market for contemporary art in the early 21st century ». Master's thesis, 2011. http://hdl.handle.net/10071/4579.

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This study begins by setting the scene for the appearance and exponential growth of the contemporary art market, offering reasons for why art is collected and why it may command such high commercial values at present. The long-standing debate of art as a commodity is also addressed and used to explain why this market still operates intuitively rather than in a scripted fashion as other economic markets do. The study proceeds by analyzing the primary contemporary art market through the lens of negotiation theory, determining that this business management theory is applied and/or adapted in the market and offering the reader tools for operating in this field of action. A model is created based on documental research on negotiation in business and in the global contemporary art market, and is then used to analyze data collected via interviews with gallerists on Lisbon’s primary market for contemporary art, in a bid to establish a working model for the negotiation of contemporary art in Lisbon. Some differences between the global market and the Lisbon market are identified; it’s likely these differences can be attributed to the relatively young market of Lisbon, and the lack of cultural education that Portugal has suffered for most of the 20th Century. Lastly, the study also identifies some unique negotiation techniques that are specific to the contemporary art market, both globally and locally: rather than a merely economical construct, the art market thrives due to the social ties that it is founded upon.
Este estudo começa por explicar o aparecimento e crescimento exponencial do Mercado de arte contemporânea, propondo motivos pelos quais se colecciona arte e pelos quais ela poderá conseguir atingir valores comerciais tão elevados na actualidade. O já antigo debate da arte como um produto comercial é também analisado e utilizado para explicar os motivos pelos quais este mercado ainda opera de forma intuitiva ao invés de uma forma mais estruturada como se passa noutros mercados. O estudo prossegue com a análise do mercado primário de arte contemporânea à luz das teorias da negociação, determinando que esta teoria da gestão de empresas é aplicada e/ou adaptada no mercado, oferecendo ao leitor ferramentas para a actuação neste domínio. É criado um modelo baseado em pesquisa documental sobre a negociação na gestão e no mercado de arte contemporânea global, que em seguida é utilizado para analisar a informação reunida através de entrevistas com galeristas do mercado primário de arte contemporânea de Lisboa, numa tentativa de estabelecer um modelo aplicado à negociação da arte contemporânea de Lisboa. Algumas diferenças entre o mercado global e o mercado Lisboeta são identificadas; é provável que estas diferenças sejam atribuíveis à juventude relativa do mercado de Lisboa, e a falta de educação cultural sofrida por Portugal durante a maior parte do século XX. Por fim, o estudo também identifica algumas técnicas de negociação únicas que são específicas deste mercado, tanto de forma global como local: não sendo apenas uma construção económica, o mercado de arte prospera devido às ligações sociais sobre as quais está fundado.

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Simões, Patrícia Alexandra Assis. « A feira de arte contemporânea na era da globalização cultural : o caso da Arco Lisboa ». Master's thesis, 2017. http://hdl.handle.net/10400.14/25664.

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As feiras de arte contemporânea, cuja primeira edição remonta ao ano de 1967, têm vindo a tornar-se eventos cada vez mais relevantes no sistema e no mercado de arte contemporânea. Para isto contribuem o facto de terem alterado significativamente a forma de comercializar arte, assim como a sua expansão por diversas partes do globo de forma mais ou menos padronizada, fenómeno que passou a ser designado de ‘feirização’. Consequentemente, têm-se procurado formas de diferenciação e de criação de uma identidade de modo a consolidar determinada feira no calendário de arte contemporânea – as ferramentas do novo feirismo têm sido a resposta mais comum. Este trabalho toma como caso de estudo, a partir do estágio realizado na ARCOmadrid e ARCOlisboa entre Janeiro e Maio de 2017, a ARCOlisboa, questionando qual a estratégia de diferenciação que esta feira poderá colocar em prática para se estabelecer e se posicionar no sistema de arte global. Uma solução possível aponta para a criação de uma identidade própria a partir da identidade da cidade onde se estabelece, seja através da sua dimensão, do tipo de actividades do programa paralelo, na arte exibida, entre outros – entendendo Lisboa como cidade simultaneame nte criativa, bairrista e cosmopolita.
Contemporary art fairs, which had their first edition in 1967, have become increasingly important events in the contemporary art market and system. The fact that they have significantly altered the way of commercializing art and its expansion across the globe in a standardized way, phenomena known as ‘fairization’, have contributed to the fair’s growing role. Therefore, new forms of differentiation and the creation of an unique identity have been pursued in order to consolidate the fair in the contemporary art calendar – the tools of new fairism have been the most common answer. This work uses ARCOlisboa as a case study (from the internship in ARCOmadrid and ARCOlisboa between January and May of 2017), questioning which differentiation strategy can the fair use to establish and position itself in the global art system. A possible answer is the creation of its own identity from the city identity where it takes place, reflected in its dimension, in the kind of activities of the parallel programme, in the art that is exhibited, among others – understanding Lisbon as a simultaneously creative, cosmopolitan and with a strong sense of the neighbourhoods city.

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Ramires, Maria Luísa Santana. « Galerias de arte em Lisboa : passado e presente ». Master's thesis, 2018. http://hdl.handle.net/10071/17133.

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As galerias de arte contemporânea raramente foram objeto de estudos históricos. O trabalho que se segue pretende fazer um levantamento da evolução galerística em Lisboa, desde a criação da primeira galeria comercial em 1933 até ao ano de 2017. Nestes oitenta e quatro anos pretendemos contextualizar e analisar a evolução do panorama galerístico, bem como a evolução da sua tipologia e relações. De um ponto de vista abrangente, estudamos a conjuntura económica, social, política, urbana e consequentes respostas dos galeristas e galerias ao longo deste período. Numa perspetiva de gestão interna, salientamos as influências recíprocas entre galerias, e ainda com os diversos agentes do mercado da arte como artistas, críticos, colecionadores e outras galerias. O trabalho está dividido em três fases temporais onde se aborda uma seleção de galerias de arte, caracterizando-as de forma individual. "Galerias Históricas" é o período, entre a década de trinta e o final da década de cinquenta, onde o conceito de galeria se encontra associado a negócios de outras naturezas. Em "Surgimento de Mercado" observa-se um questionamento e legitimação das galerias de arte, ao longo das décadas de sessenta e setenta. Por fim, na fase de "Consolidação de Mercado" as galerias já detêm um estatuto independente. Este é também o período mais longo, já que vai desde o "boom" galerístico da década de oitenta até aos dias de hoje, e onde se concretiza o reconhecimento e democratização do mercado galerístico.
Portuguese commercial art galleries have seldom been the object of historical studies. In this work we intend to study the commercial art galleries evolution in the city of Lisbon, since 1933, when the first one emerged, until 2017. We intend to contextualize and analyse the commercial art galleries environment in these eighty-four years, as well as the evolution of their relationships and typology. From a wider point of view, we study the economic, social, political and urban context and the consequential changes in galleries in this period. From a management perspective, we also highlight the mutual influences between galleries and with other art market agents, such as artists, critics, collectors, and other galleries.VI The work is chronologically structured in three parts, where we analyse one-by-one a selection of commercial art galleries. "Historic Galleries" is the period between the 1930s and the late 1950s, when the concept of commercial gallery was associated with other types of businesses. In "Rise of the Market" we observe a questioning and legitimations of galleries through the 1960s and 1970s. Finally, in "Market Consolidation" galleries reach independent status. This is also the longest of the three periods, going from the 1980s boom until today, when commercial art galleries are recognized and a popularization of the art market happens in Portugal and Lisbon.

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Blanchette-Lafrance, Gabrielle. « Le pouvoir des méga-collectionneurs sur le marché de l'art international : le cas Mugrabi ». Thèse, 2018. http://hdl.handle.net/1866/20690.

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Ramalhosa, Cláudia Sofia Feliz. « Investimentos artísticos a longo prazo : uma proposta sobre três países emergentes ». Master's thesis, 2015. http://hdl.handle.net/10071/10699.

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As transformações vividas nas últimas três décadas, em termos económicos, geopolíticos e geoculturais tiveram fortes implicações na (re)definição das grandes capitais mundiais da arte, quer em termos culturais quer em termos de mercados. No primeiro capítulo desta dissertação apresenta-se, precisamente, o modo como diferentes cidades ocuparam o papel de capitais artísticas nos últimos 100 anos, levando ao aparecimento e ao ocaso de novos centros. No segundo capitulo, é realizada uma análise a alguns relatórios económicos com projeções para o crescimento da economia mundial até 2030, antecedida por uma reflexão crítica acerca deste tipo de relatórios e acerca dos problemas relacionados com os investimentos a longo prazo. Com a ajuda destes relatórios selecionámos três países que se espera venham a crescer acima da média global, para os quais há um grande potencial para o investimento em arte a longo prazo. O terceiro e último capítulo desta dissertação analisa os três países emergentes, apontados pelos referidos relatórios como particularmente promissores em termos de crescimento económico: México, Turquia e Indonésia. Neste último capítulo é realizada uma caracterização histórico-cultural de cada país e é feita uma descrição sobre o que existe hoje em dia em termos de mercado e de produção artística em cada um deles. Em complemento, apresentam-se hipóteses acerca de como cada um desses países poderá evoluir e quais os investimentos em arte mais aconselhados.
The transformations experienced in the last three decades, in economic, geopolitic and geocultural terms have had strong implications in the (re)definition of the great world art capitals, in cultural terms as well as in market terms. In the first chapter of this dissertation it is presented, in the most precise manner, how different cities have occupied the role of artistic capitals in the last 100 years, leading to the appearance and the decline of new centers. In the second chapter, an analysis will be made to some economic reports regarding growth projections in the world up to 2030, preceded by a critical observation concerning these types of reports and related problems with long term investments. With the help of these reports, we have selected three countries that will hopefully grow above the global average, with great long term investment potential. The third and last chapter of this dissertation analyses the three emerging, indicated by such reports as particularly promising in terms of economic growth: countries: Mexico, Turkey and Indonesia. In this last chapter, a historic-cultural characterization is made for each country, as well as a description of what can be expected in terms of market and artistic production in each of them. In addition, hypotheses are presented about how each of these countries might evolve and what kind of artistic investments are more advised.

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Silveira, Pedro Lemos Dinis Brum da. « Os leilões online de arte moderna e contemporânea da Cabral Moncada Leilões entre 2016 e 2020 : análise da performance das vendas ». Master's thesis, 2020. http://hdl.handle.net/10071/22355.

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O objetivo do presente trabalho consiste em realizar uma análise dos leilões "online" de arte moderna e contemporânea da Cabral Moncada Leilões, entre 2016 e 2020, a partir de três vertentes: a análise da performance dos leilões "online"; a análise dos leilões presenciais; e por fim a leitura comparada dos leilões "online" e dos leilões Neste sentido, começamos por caracterizar os mercados "online", desde o desenvolvimento do "e-commerce" em geral até aos leilões "online" em específico. Incluímos ainda uma revisão dos principais acontecimentos do mercado da arte nos últimos seis anos, quer no cenário internacional quer em território nacional. Naturalmente, este estudo analisa ainda o aparecimento do mercado da arte "online" em Portugal, beneficiando de uma série de entrevistas prestadas pelos responsáveis das principais leiloeiras do mercado nacional. Para além da análise de vendas da CML entre 2016 e 2020, também realizámos um estudo sobre os clientes do setor "online" explorando algumas categorias (género, verba despendida, lotes adquiridos, etc.), entre as quais se destaca a distribuição geográfica. Os resultados para os leilões "online" demonstram que o desenho obteve os melhores resultados em todas as categorias, excerto no número de lotes vendidos, ocupado pelo mobiliário, e no preço médio por lote, que é ocupado pela pintura. Na análise aos clientes constatou-se que maioritariamente o comprador "online" é do sexo masculino, português e residente no concelho de Lisboa. Na conclusão deste trabalho apontam-se linhas de crescimento para os leilões "online", sobretudo num quadro como o atual de crise sanitária e distanciamento social.
The aim of this dissertation consists of an analysis of the sales of the Online Auctions of Modern and Contemporary Art at Cabral Moncada Leilões between 2016 and 2020 based on three main aspects: an overview of the Online Auctions, an analysis of the Live Auctions and, finally, a comparative view of both. In this sense we begin by characterizing the online market, spawning from the development of e-commerce to art auctions online. We include also a revision of the most important highlights of the art market during the last six years, both internationally and nationally. Naturally in this study we also look at the appearance of the Portuguese online art market aided with a series of interviews with the major auction houses of our domestic market. Besides the main analysis of the sales between 2016 and 2020, we also looked upon the segmentation of the online clients (gender, money spent, number of lots bought.), and also their geographical distribution. The main conclusions of this dissertation show that the category Drawing has the best overall sales results on the Online sector, and the categories Furniture and Painting had the best results, respectively, for the highest percentage of sold lots, and highest average price per lot. The results also showed that the clients that buy the most are Portuguese males residing in the city of Lisbon. We also present new lines of possible growth in the upcoming future, especially now that we live under social distancing laws.

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Petrides, Loizos. « Developing and managing the artist´s career : the visual artist as entrepreneur ». Doctoral thesis, 2017. http://hdl.handle.net/10071/17069.

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Este estudo investiga o impacto de processos do mercado (galerias, feiras, e leilões de arte) e decisões curatoriais nas carreiras de artistas visuais. O estudo contribui para a literatura sobre o empreendedorismo artístico, introduzindo o conceito de "business level entrepreneurship" e as qualidades de proatividade, capacidade de gestão, e networking relacionadas com este conceito. O contexto do estudo é o mundo artístico de Lisboa e a sua análise melhora a compreensão das complexidades inerentes e as interações de artistas com outros agentes e processos no mundo de arte. Esta análise contribui para a literatura adicionando ao paradigma global conhecimentos obtidos através deste contexto artístico. Na revisão da literatura, uma abordagem multidisciplinar é utilizada para analisar a complexidade do funcionamento do mercado de arte ocidental. Na parte empírica, foram realizadas 28 entrevistas semiestruturadas com agentes do mundo artístico (14 artistas, 7 agentes do mercado e 7 institucionais) que foram analisadas seguindo as diretrizes da análise temática. A visibilidade do trabalho do artista é o tema principal deste estudo, e os meios para alcançá-la são a afiliação galerística do artista e a presença do seu trabalho em feiras e instituições. Este estudo demonstra que o artista que possui qualidades empresariais pode desenvolver uma carreira com mais visibilidade, reconhecimento, e sucesso no mercado. O estudo tem implicações para a carreira artística e a sua internacionalização, e oferece recomendações de pesquisa relacionadas com o conceito de "business level entrepreneurship".
This study researches the impact of market-based processes (galleries, art fairs, auctions), and curatorial-led decisions on the career development of visual artists, including its internationalization. The study contributes to the arts entrepreneurship literature by introducing the concept of "business level entrepreneurship" and the qualities of proactiveness, managerial capability, and networking associated with it. The context of the study is the Lisbon art world and its examination enhances the understanding of the intricacies of the art world and the interactions of artists with other art world agents and processes. It also expands the relevant literature aiming to enrich the global paradigm by adding insight obtained from this art world. For the literature review, a multi-disciplinary approach is used to reveal the complexity of the workings of the western art market. For the research, 28 semi-structured interviews with art world agents (14 artists and 14 market/institutional agents) were conducted and analyzed using thematic analysis. Visibility for the artist’s work is the main theme, and the artist’s gallery affiliation, art fair participation, and institutional presence, are means to achieve it. This research demonstrates that the artist possessing entrepreneurial qualities at the business level can develop a career with more visibility, recognition, and market success. The study has implications for artists and their careers, provides recommendations for state policies for visual arts, and suggests research topics for further developing the concept of "business level entrepreneurship".

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Thèses sur le sujet « Art market, contemporary art market, contemporary art production »

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