scholarly journals Evolution of the territorial field of art in a post-socialist city. Distribution patterns of private contemporary art galleries in Krakow, Poland, between 1989 and 2019

2021 ◽  
pp. 100402
Author(s):  
Jarosław Działek
Keyword(s):  
Contemporary Art ◽  
Distribution Patterns ◽  
Art Galleries

scholarly journals Sustainable Management of Contemporary Art Galleries: A Delphi Survey for the Spanish Art Market

2019 ◽  
Vol 11 (2) ◽  
pp. 541 ◽  
Author(s):  
Alicia Mateos-Ronco ◽  
Nieves Peiró Torralba
Keyword(s):  
Contemporary Art ◽  
Delphi Method ◽  
Sustainable Management ◽  
Supply And Demand ◽  
Business Management ◽  
Art Market ◽  
Art Galleries ◽  
Economic Agents ◽  
Economic Markets ◽  
Spanish Art

The art market operates in a very different way from conventional economic markets, ranging from its behaviors of supply and demand, the trading of goods, and the economic agents intervening in it. In addition, it is a highly unregulated market, with very little standardized information in economic terms. This paper focuses on art galleries, which are the most influential intermediaries in the Spanish primary contemporary fine-art market and perform a role that goes beyond the mere distribution of works of art. This study develops and applies a prospective methodology based on the subjective information compiled by experts, known as the Delphi method, to identify and evaluate the factors that determine the current situation and future outlook for Spanish contemporary art galleries. The results show, on one hand, that the method employed constitutes a valid option to provide reliable information. In addition, they show that the survival of these organizations will depend on their ability to adapt to the changing conditions of the economic environment, reactivating and internationalizing demand, and redirecting their business model towards sustainable management by implementing appropriate business management models and techniques.

scholarly journals Video Art: “A White Cube” or “A Black Box”?

2014 ◽  
Vol 6 (4) ◽  
pp. 114-123
Author(s):  
Alexandra Dmitrievna Staruseva-Persheeva
Keyword(s):  
Contemporary Art ◽  
Video Art ◽  
Black Box ◽  
High Definition ◽  
Art Galleries ◽  
Matthew Barney ◽  
Experimental Cinema ◽  
Moving Pictures

Video art is a hybrid, combining features of both contemporary art as well as screen arts. It brings together different ways of perception working both in a manner of a movie which transfers the viewer into virtual daydreaming (Matthew Barney, Steeve McQueen), and in a manner of a painting or sculpture which gives a viewer some intense corporal experience (Tony Oursler). Accordingly, there are two ways of presenting video art: in a white cube and a black box. In 1970-s video art used to be presented in white cubes of contemporary art galleries where they nailed the screens right to the wall. In a white cube video comes into the viewers sight together with other items in display, therefore a show-piece comes into contact with other ones in a spectators minds eye. Moreover, a white cube gives visitors an opportunity to be in charge of their time of viewing, which implies, that the white cube perception appears rather chaotic and the final cut of a video in the spectators mind becomes unpredictable, what is characteristic of video. In 2000-s when both video and film technologies got replaced by the digital one, all the moving pictures started to resemble one another. A well-lit room of a white cube was not appropriate for high definition videos, whereas a black box is usually associated with a cinema hall and consequently a video presented in such a cinematic manner makes a viewer unconsciously expect to see a cinematic piece of art. Video today is an indispensable figurant of any significant exhibition of contemporary art and it is defined as an artistic (not cinematic) media. Traditionally video is being exhibited in a white cube of a gallery; however, there is now a distinct tendency to present video art in a black box, that is in a cinematic way. As a result its getting harder and harder to distinguish video art from experimental cinema. Nowadays the very strategy of presentation of video may help this media to retain identity or to lose it.

scholarly journals Economic Freedom and Inequality in the Art Market: The Case of the Commercial Gallery

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 126
Author(s):  
Ronit Milano
Keyword(s):  
Contemporary Art ◽  
Economic Freedom ◽  
Free Market ◽  
Art Market ◽  
The Political ◽  
Art Galleries ◽  
Political Function ◽  
Commercial Art ◽  
General Operation

This article aims to consider the contemporary art market vis-à-vis the concept of economic freedom. Drawn from a larger study, this paper offers a glimpse of the political function of the art market, which is essentially an economic field. What I demonstrate is an inevitable clash between a free market and between political constructions that effect levels of freedom—concentrating on the parameter of inequality. The article focuses on the case of commercial art galleries, and analyzes their operation under neoliberal conditions, which represent the implementation of the idea of freedom in the economic field. Subsequently, I demonstrate the how high levels of concentration in the art market erode the levels of the equality of the players in the field. Ultimately, I argue that this case offers an example of the more general operation of the art market, which follows neoliberal principles, and thereby undermines the concept of economic freedom that is intrinsic to them.

Opening the Black Box of the White Cube: a survey of French contemporary art galleries at the turn of the millenium

Poetics ◽  
2002 ◽  
Vol 30 (4) ◽  
pp. 263-280 ◽  
Author(s):  
Françoise Benhamou ◽  
Nathalie Moureau ◽  
Dominique Sagot-Duvauroux
Keyword(s):  
Contemporary Art ◽  
Black Box ◽  
Art Galleries

scholarly journals ‘Aimless and Absurd Wanderings’? Children at the Museum of Old and New Art (Mona)

2018 ◽  
Vol 16 (1) ◽  
Author(s):  
Adrian Franklin ◽  
Michelle Sansom
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Galleries ◽  
Ethnographic Approach ◽  
Global Art ◽  
Contemporary Artists

AbstractThis article reports on the experience of children at the Museum of New and Old Art (Mona) in Hobart, Tasmania.  Referred to by its innovative owner as a ‘subversive adult Disneyland’, Mona went further than most new contemporary art galleries in designing a radically new experience of art.  It captured the imagination of people new to art in its own locality as well as a global art public.  Favoured by leading international contemporary artists for the freedom it gave art unmediated by art history, Mona also seemingly captured the imagination of children. Through an ethnographic approach in which five young children’s visits were documented in great detail, the article considers these in the light of children’s experiences of previous exhibitionary platforms and the relevance of Mona’s museological interventions for building their dispositions to art and broadening art publics.

scholarly journals If I knew they were the expression of creativity in people with blindness, I would rate them higher - Bias in Evaluating the Work of People with Blindness

2019 ◽  
Vol 6 (2) ◽  
pp. 182-197
Author(s):  
Magdalena Szubielska ◽  
Agnieszka Fudali-Czyż
Keyword(s):  
Pilot Study ◽  
Contemporary Art ◽  
Visual Arts ◽  
Aesthetic Appreciation ◽  
Art Galleries ◽  
Aesthetic Experiences ◽  
People With Disability ◽  
Informed Group

AbstractObjective: In our pilot study, we tested to what extent subjective understanding and aesthetic appreciation of em-bossed drawings were dependent on the information that their creators were people with disability. Method: Our research was carried out in a gallery of contemporary art with 30 adults who were non-experts in the field of visual arts. Subjects were asked to view the current exhibition and then evaluate their subjective understanding and aesthetic appreciation (liking and interest) of 12 embossed drawings on seven-point scales. Results: Participants who were aware that persons with blindness had created the drawings (the informed group) in contrast to those who remained unaware (the uninformed group) declared – both – greater subjective understanding and higher appreciation of the exhibited works. In the informed group (N = 15), in comparison to the uninformed group (N = 15), the correlation between appreciation and subjective understanding of artwork was stronger. Conclusions: We discuss our pattern of results considering the attributional approach to creativity (Kasof, 1995) and the model of a cognitive mastering process of aesthetic experiences (Leder, Belke, Oeberst, & Augustin, 2004). Our results can be used, among others, by educators working in art galleries and museums.

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