Location dynamics of commercial art galleries in Sydney

2021 ◽  
pp. 1-20
Author(s):  
Alex Martin ◽  
Phillip O’Neill
Keyword(s):  
Art Galleries ◽  
Commercial Art

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.

scholarly journals Growth of Firms in a Fragmented Cultural Industry: Italian Commercial Art Galleries’ Competitive Strategies

2021 ◽  
Vol 13 (9) ◽  
pp. 5057
Author(s):  
Donatella Depperu ◽  
Giacomo Magnani ◽  
Lisa Crosato ◽  
Caterina Liberati
Keyword(s):  
Business Strategy ◽  
Cultural Industry ◽  
Competitive Strategies ◽  
Art Galleries ◽  
Local Economies ◽  
Policy Makers ◽  
Contingency Perspective ◽  
Commercial Art ◽  
Specific Factors ◽  
Strategic Perspective

The growth of cultural firms is important in developing local economies, enhancing employment, and improving urban sustainability, but it is difficult to achieve in fragmented industries that are populated by the smallest firms and offer a particularly unfavorable context for growth. The study takes a contingency perspective and contributes to both the literature on business strategy in fragmented industries and that on the growth of small and medium-sized enterprises (SMEs) by identifying the strategies implemented in a fragmented cultural industry, determining which of them are associated with a firm’s expected growth, and finding the few firm-specific factors that are associated with growth. It also complements the extant literature on art galleries by looking at them from the understudied strategic perspective. Suggestions for practitioners and policy makers are included.

scholarly journals Cacophony of Voices and Emotions: Dialogic of Buying and Selling art

2010 ◽  
Vol 2 (3) ◽  
pp. 347-364 ◽  
Author(s):  
Can-Seng Ooi
Keyword(s):  
Social Contexts ◽  
Primary Concern ◽  
Art World ◽  
Art Practice ◽  
Art Galleries ◽  
Monetary Value ◽  
The Social ◽  
Commercial Art ◽  
Dialogic Approach ◽  
Social Encounters

The importance of galleries as go-betweens for artists and art buyers is acknowledged in art world research. Using a Bakhtinian dialogic approach, this article examines social encounters of three artists, two art buyers and one gallery sales executive in Singapore. Specifically, it looks into the social interactional dynamics of artists and art buyers when they trade directly. Situational ambiguities and emotional ambivalence arise during such meetings from the different expectations and demands that are imposed, which have the effect of placing the parties involved in conflicting social contexts. For instance, when art connoisseurs and artists discuss aesthetics, monetary value is not of primary concern, nonetheless when they want to trade, commercial concerns become central; this can lead to discomfort between the parties. Similarly, art buyers may want to go behind the scenes to know more about the artist and the art practice; getting away from the glitter of the commercial gallery and into the modest art studio for an authentic experience may reveal too much for visitors; such experiences may break their illusion of the glamorous artist. This article looks at the microscopic interaction between artists and art buyers and shows how the ambiguities and ambivalence that can be generated by their encounters become constraining factors in encouraging artists and art buyers to trade directly, by-passing commercial art galleries and dealers.

Conventions and temporal differences in painted faces: A study of posture and color distribution

2020 ◽  
Vol 2020 (11) ◽  
pp. 267-1-267-8
Author(s):  
Mitchell J.P. van Zuijlen ◽  
Sylvia C. Pont ◽  
Maarten W.A. Wijntjes
Keyword(s):  
Scientific Community ◽  
Human Face ◽  
Art Galleries ◽  
Art Collections ◽  
Color Distribution ◽  
Scientific Domain ◽  
The Face ◽  
And Gender ◽  
Changes Over Time ◽  
Over Time

The human face is a popular motif in art and depictions of faces can be found throughout history in nearly every culture. Artists have mastered the depiction of faces after employing careful experimentation using the relatively limited means of paints and oils. Many of the results of these experimentations are now available to the scientific domain due to the digitization of large art collections. In this paper we study the depiction of the face throughout history. We used an automated facial detection network to detect a set of 11,659 faces in 15,534 predominately western artworks, from 6 international, digitized art galleries. We analyzed the pose and color of these faces and related those to changes over time and gender differences. We find a number of previously known conventions, such as the convention of depicting the left cheek for females and vice versa for males, as well as unknown conventions, such as the convention of females to be depicted looking slightly down. Our set of faces will be released to the scientific community for further study.

50 Shades of Red: Recreational Communism in Post-Socialist Vietnam

2021 ◽  
pp. 146879762110358
Author(s):  
Emmanuelle Peyvel
Keyword(s):  
Spatial Analysis ◽  
Social Interactions ◽  
Art Galleries ◽  
Place And Space ◽  
Social Distinction ◽  
Flea Markets ◽  
The Way

Using a post-socialist framework, this article analyzes recreational communism, that is, the commodification of communism through commercial places that use Bao Cấp (subsidy period in Vietnam) for tourism and leisure. These places include cafés, restaurants, souvenir shops, art galleries, or flea markets. Why do places dedicated to pleasure make use of such a painful period? I propose to go beyond this paradox by focusing not only on the economic, but also the emotional, political, and memorial value of Bao Cấp, both in the way they are designed by their owners and practiced by customers. The visual descriptions and interviews I accumulated since 2006 allow me to address the dynamics of social interactions between people, place, and space. The spatial analysis of this material explores recreational communism as a practice of social distinction in the sense that it involves upper classes within the most globalized cities of the country.

scholarly journals External Shocks in the Art Markets: How Did the Portuguese, the Spanish and the Brazilian Art Markets React to COVID-19 Global Pandemic? Data Analysis and Strategies to Overcome the Crisis

Arts ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 47
Author(s):  
Adelaide Duarte ◽  
Ana Letícia Fialho ◽  
Marta Pérez-Ibáñez
Keyword(s):  
Art Market ◽  
External Shocks ◽  
Art Markets ◽  
Art Galleries ◽  
Academic Literature ◽  
Brazilian Art ◽  
Global Pandemic ◽  
The Social ◽  
The Impact

The spread of the COVID-19 pandemic worldwide, and the restrictions imposed by the social distance and the enforced confinement, are having an impact on the art markets globally. The aim of this article is to evaluate the impact of an external shock in the primary art market, using three countries as a case study: Portugal, Spain, and Brazil. These geographies have in common being at the margins in the art market’s main art hubs. It is intended to analyze how agents are responding to the new context, according to the data gathered within the gallery sector. The methods applied in the research are a combination of surveys carried out by the authors, field-based observation, along with an academic literature review, complemented by international and national reports analysis. The study’s main findings allow us to characterize the art market as a very resilient sector that energetically responded to the crisis, able to adapt and overcome challenges imposed by the new pandemic situation. Contemporary art galleries expanded digital activities, kept participating in art fairs hybrid models, continued to focus on internationalization, and pointed to the strengthening of public policies towards the sector and partnerships as key strategies to overcome the crisis.

scholarly journals Orthogonal art galleries with interior walls

2006 ◽  
Vol 154 (11) ◽  
pp. 1563-1569 ◽  
Author(s):  
Joan Hutchinson ◽  
André Kündgen
Keyword(s):  
Art Galleries ◽  
Interior Walls
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