scholarly journals The Making of Modern Art through Commercial Art Galleries in 1930s London: The London Gallery (1936 to 1950)

2020 ◽  
Vol 21 (2) ◽  
pp. 145-176
Author(s):  
Jutta Vinzent
Keyword(s):  
Modern Art ◽  
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.

The art of philanthropy? The formation and development of the Walker Art Gallery

2018 ◽  
pp. 166-189
Author(s):  
James Moore
Keyword(s):  
Financial Support ◽  
Modern Art ◽  
Art World ◽  
Art Gallery ◽  
Local Authorities ◽  
Art Galleries ◽  
Popular Art ◽  
The Gift ◽  
Elite Influence ◽  
The City

The opening of Liverpool’s Walker Art Gallery provided the city with one of the country’s most modern art galleries, complementing the impressive neoclassical architecture that had emerged around the famous St. George’s Hall. Yet a gallery aimed at promoting popular art education was decidedly unpopular with many of Liverpool’s population. The partisan nature of the gift by well-known brewer and Conservative A.B. Walker was flavoured with corruption and revealed the difficulties that municipal art institutions faced when accepting financial support from controversial local donors. It also revealed that although municipalisation promised a more democratic age, financial limitations on local authorities meant that elite influence in the local art world remained strong.

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 But is it art? : the construction and valuation of illustration in Victoria's Island Illustrators Society

2021 ◽  
Author(s):  
Shannon Jaleen Grove
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art History ◽  
Modern Art ◽  
Division I ◽  
Traditional Art ◽  
Art Form ◽  
Commercial Art ◽  
Binary Oppositions ◽  
History Of

In Canada, illustration, commercial art, and conservative, traditional art are often spoken of as separate from and opposite to "non-commercial", "contemporary art", a division I argue stems from the older distinction between art and craft but one that can be subverted. Using concepts from Gowans, Greenhalgh, Mortenson, Shiner, and Bourdieu's theory of the field of cultural production, this thesis traces the sociology and art history of the division between traditional and modern art that led to the formation of the Island Illustrators Society in 1985 in Victoria, British Columbia. I argue illustration is an original, theoretical art form indistinguishable from but alienated by contemporary art, that conservative art is neither static nor irrelevant, and that non-commercial contemporary art is a misnomer. I find the Society challenged the definitions of art and illustration by promoting illustrative fine art and by transcending binary oppositions of conservative and contemporary, commercial and non-commercial.

scholarly journals Very Young Learners in a Gallery of Modern Art – Opportunities Arising from the Implementation of Modern Art in Foreign Language Teaching

2020 ◽  
Vol 4 ◽  
pp. 63-73
Author(s):  
Krystian Kamiński
Keyword(s):  
Foreign Language ◽  
Intercultural Competence ◽  
Language Teaching ◽  
Modern Art ◽  
Foreign Language Teaching ◽  
Practical Implementation ◽  
Art Galleries ◽  
Young Learners ◽  
Language Classrooms ◽  
Visual Materials

Inviting very young learners to a gallery of modern art does not seem as an obvious didactic solution. Some may argue that children are not able to interpret modern art, and, therefore, it is not possible to use such a medium as a teaching tool. However, it all depends on the pedagogical approach and the way art is implemented during classes. This article starts with an overview of definitions of very young learners, defining this group not only in terms of their age, but also characteristic traits. It is also to justify the use of modern art-cued visual materials as a component of language teaching and to ponder upon using elements of artistic creation to foreign language classrooms. The practical implementation of a presented solution is also discussed in the article. The ideas were used as workshops aimed at introducing very young learners to modern art as well as at acquiring new English vocabulary. Classes were carried out in one of the modern art galleries in Lublin. An example of chosen artwork and pieces created by a very young learner are shown in this article. Finally, the opportunities arising from implementing the new methodology are analysed. They are connected with linguistic development, improvement of young learners’ skills, as well as developing intercultural competence.

scholarly journals But is it art? : the construction and valuation of illustration in Victoria's Island Illustrators Society

2021 ◽  
Author(s):  
Shannon Jaleen Grove
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art History ◽  
Modern Art ◽  
Division I ◽  
Traditional Art ◽  
Art Form ◽  
Commercial Art ◽  
Binary Oppositions ◽  
History Of

In Canada, illustration, commercial art, and conservative, traditional art are often spoken of as separate from and opposite to "non-commercial", "contemporary art", a division I argue stems from the older distinction between art and craft but one that can be subverted. Using concepts from Gowans, Greenhalgh, Mortenson, Shiner, and Bourdieu's theory of the field of cultural production, this thesis traces the sociology and art history of the division between traditional and modern art that led to the formation of the Island Illustrators Society in 1985 in Victoria, British Columbia. I argue illustration is an original, theoretical art form indistinguishable from but alienated by contemporary art, that conservative art is neither static nor irrelevant, and that non-commercial contemporary art is a misnomer. I find the Society challenged the definitions of art and illustration by promoting illustrative fine art and by transcending binary oppositions of conservative and contemporary, commercial and non-commercial.

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.

Games, Abram (1914–1996)

2018 ◽  
Author(s):  
Kashish Mittal
Keyword(s):  
Graphic Design ◽  
Golden Age ◽  
Modern Art ◽  
British Modernism ◽  
Metropolitan Police ◽  
Royal Shakespeare Company ◽  
Commercial Art ◽  
The Times ◽  
Work Done ◽  
Propaganda Posters

Abram Games belonged to the golden age of British graphic design and as a freelance commercial artist he produced posters for clients including Shell, London Transport, BEA, Guinness, the Royal Shakespeare Company, London Zoo, the Metropolitan Police, The Times, and The Financial Times. His career spanned six decades and saw commercial art develop into the discipline of graphic design. His career is a collection of work done by a man of tireless invention and is a major contribution to British modernism. The force of his design came partly from the Bauhaus with its geometric directness, but Games also learned from a completely different strand of modern art, surrealism, when he fused different objects. Games secured his reputation through a series of stunning wartime propaganda posters for the War Office, of which, Join the ATS (1941) and Your Talk May Kill Your Comrades (1942) are the most famous.

scholarly journals The Development of Modern Art in Mongolia: On the Example of Mongolian Modern Painting of the Late Twentieth and Early Twenty-First Centuries

2021 ◽  
Vol 3 (3) ◽  
pp. 15-19
Author(s):  
Selenge Tumur-ochir
Keyword(s):  
Modern Art ◽  
The Other ◽  
Art Galleries ◽  
Other Hand ◽  
The People ◽  
Early Twenty ◽  
Late Twentieth ◽  
Major Trend

Modern art in Mongolia has been developing since the last century. The art appeared as a result of artists’ ideas, expression of national mentality and other factors. As some researches said: “Mite of the abstract paintings were established in Hun states, because when this times, all of the people to the paint-ed effect of their mind on the rock of cave” on their tractate book. That says that the abstract paintings was established at that time, but according to other sources it was developed in 1960. For example, in 1968 Mongolian young painters orga-nized an exhibition named: the first exhibition of young painters. Then, in 1980 modern and contemporary arts started developing. The purpose of the study is to analyze the development and classification of modern art in the late twentieth and early twenty-first centuries, which are kept in art galleries. The study was con-ducted in the following steps: to study modern Mongolian art and to identify cur-rent trends in its evolution. The study classified 2,333 paintings. Consequently the next conclusions were drawn: abstractionism, post-impressionism, and im-pressionism were more developed in modern paintings created in 1990–2000. Modern paintings created in 2000–2009, on the other hand, were more developed in abstraction, fauvism, surrealism, and symbolism. This shows that modern Mongolian artists prefer abstract and symbolic paintings. Before 1990, there was a lot of realism, but since 1990, modernism has developed a lot and has become a major trend.

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