Art Markets and Auctions

Art History ◽  
2014 ◽  
Author(s):  
Noah Horowitz
Keyword(s):  
Contemporary Art ◽  
Performing Arts ◽  
Art Market ◽  
Cultural Economics ◽  
Art World ◽  
Historical Survey ◽  
Academic Field ◽  
Market Structures ◽  
Market Practices ◽  
Economic Dilemma

This article surveys the growing body of literature covering the international art market. Though discussions about collecting and patronage are as old as the market itself, the academic field of study is relatively new and continues to expand rapidly. Gerald Reitlinger’s Economics of Taste remains the foundational historical survey of its kind, and Baumol and Bowen’s Performing Arts: The Economic Dilemma, which looks at the economics of the performing arts, is credited with catalyzing the field of cultural economics (ultimately leading to the founding of The Journal of Cultural Economics in 1977). This has led, in subsequent years, to detailed inquiry into historical market structures and public policy issues. More recently, as the art world has spread globally and sales of modern and contemporary art have reached unprecedented heights, there has been a flood of writing on the investment value of art and on new types of collectors and market practices. The Internet, meanwhile, has enabled scholars and market professionals alike to actively mine the trade for up-to-the-minute data and analytics. This article aims to ground this sprawling debate and begins with an introduction to the literature on art market history and continues with sections on the following: how the market works, investment issues, critical theory, current market issues; plus there is an overview of analytical and research tools. This article should speak to scholars across a variety of disciplines, from art historians, critics, and journalists to economists and sociologists. Certainly one goal of future art market studies is to bridge this gap by providing intelligent economic analysis of the global trade that is equally in tune with the sensibilities of the diverse actors and positions that constitute it.

Who (or What) is an AI Artist?

Leonardo ◽  
2021 ◽  
pp. 1-9
Author(s):  
Kieran Browne
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Market ◽  
Art World ◽  
Significant Disagreement ◽  
History And Theory

Abstract The mainstream contemporary art world is suddenly showing interest in “AI art”. While this has enlivened the practice, there remains significant disagreement over who or what actually deserves to be called an “AI artist”. This article examines several claimants to the term and grounds these in art history and theory. It addresses the controversial elevation of some artists over others and accounts for these choices, arguing that the art market alienates AI artists from their work. Finally, it proposes that AI art's interactions with art institutions have not promoted new creative possibilities but have instead reinforced conservative forms and aesthetics.

scholarly journals Inside and Outside the Market for Contemporary Art in Brazil, through the Experience of Artists and Gallerists

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 113
Author(s):  
Amanda Brandellero
Keyword(s):  
Contemporary Art ◽  
Art Market ◽  
Art World ◽  
Visual Artists ◽  
Roles And Responsibilities ◽  
Market Expansion ◽  
Market Consolidation ◽  
Global Art ◽  
Opening Up ◽  
World Development

In this paper, I seek to extend our understanding of global art markets by focusing on the relationships between different art world agents and their perceived responsibilities and roles in a market considered locally ‘incipient’ and emergent on the global scene. For this purpose, I draw on over 50 interviews with art gallerists, independent art spaces and visual artists represented by them, living in São Paulo and Rio de Janeiro, the two largest clusters of the contemporary art market in Brazil, at a time of market expansion and internationalisation. In an incipient market, two main functions are considered important: Developing the commercial circuit and opening up the market, and; enhancing the value of art in society. Such functions occur against the backdrop of a large and complex country, where the ‘eixo’ (axis) of the main cities offers greater opportunities for visibility and valorization. The findings help to elucidate the perceptions of responsibility and roles in a context of market development, as well as the emerging boundaries between culture and the market. Moreover, the paper explores the emerging dynamics and strategies of art world development as they are enacted, offering insights into how art market actors perceive their roles and responsibilities, as well as the strategies available to them to support market consolidation.

scholarly journals Art journalism and the impact of ‘globalisation’: New fugal modalities of storytelling in Austral-Asian writing

2008 ◽  
Vol 14 (2) ◽  
pp. 141-161
Author(s):  
Ruth Skilbeck
Keyword(s):  
Mass Media ◽  
Contemporary Art ◽  
Art Market ◽  
Art World ◽  
Story Telling ◽  
Art Writing ◽  
The Impact ◽  
Global Art

The writing of art journalism has played a key yet little acknowledged role in the ongoing expansion of the international contemporary art world, and the multi-billion dollar global art economy. This article discusses some contradictory impacts of globalisation on art journalism—from extremes of sensationalist record-breaking art market reporting in the global mass media to the emergence of innovative modalities of story-telling in Australian independent journalistic art writing.  This article discusses some contradictory impacts of gobalisation on art journalism— from extremes of sensationalist record-breaking art market reporting in the global mass media to the emergence of innovative modalities of story-telling in Australian independent art writing. 

The Factors of Market Success and Failure of Contemporary Artists from ASEAN countries | ปัจจัยทางการตลาด ที่ทำาให้ศิลปินร่วมสมัยจากประเทศอาเซียนประสบ ความสำาเร็จ หรือ ล้มเหลว

2021 ◽  
Author(s):  
Rémy Jarry ◽  
Keyword(s):  
Contemporary Art ◽  
Qualitative Data ◽  
Multidisciplinary Approach ◽  
Art Market ◽  
Art World ◽  
Asean Countries ◽  
Global Art ◽  
Do So ◽  
Contemporary Artists

The market of contemporary art from Southeast Asia hasn’t been explored in-depth, despite its rise in sales and notoriety over the last two decades at national and international levels. Our aim is to identify the factors of success and failure of contemporary artists from ASEAN countries in the global art market. To do so, we map the trajectories of those artists and evaluate the role of the other stakeholders of the art world. Our methodology relies on a multidisciplinary approach, balancing quantitative and qualitative data. The period of study focuses on the art market data since 2000.

The Smart Art Market Products from the Contemporary Art World

2019 ◽  
Vol 1 (1) ◽  
Author(s):  
Pang-Soong LIN ◽  
Jia FU
Keyword(s):  
Contemporary Art ◽  
Art Market ◽  
Value Systems ◽  
Art World ◽  
Art Exhibition ◽  
Mass Consumption ◽  
Market Product ◽  
National Boundaries ◽  
Museum Of Contemporary Art ◽  
Fair Access

The power of the Smart Art Market product has become the vehicles between art and mass consumption of communication. Furthermore, it has across national boundaries and cultural regions that took part in the consumption and public opinion actively. In this trend, typical exhibitions is bridging to an economic model, and Smart Art Market presents a new logic of trade and valuation, ensuring fair access, distribution and acquisition for widely types of art collector. Indeed, this contemporary art exhibition attracts large audiences all the time, such crowed visitors entering the art zone places as the Museum of contemporary art, cultural and creative industrial park, a commercial gallery to visit and establish tourist consume. It breaks the last form of art. On the other hand, Smart Art Market product expand the value systems from the contemporary art world. Within the exhibition program, symbolic meaning from the original work has been discussed and explored.

scholarly journals What Does Developing a Ranking of Leading Contemporary Art Galleries Unveil about the Importance of the National Factor? An Analysis of Art Basel Art Fair

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 105
Author(s):  
Alain Quemin
Keyword(s):  
Contemporary Art ◽  
Art Market ◽  
Art World ◽  
Social Scientists ◽  
Art Galleries ◽  
The World ◽  
The 1960S ◽  
The Impact

Since the French sociologist Raymonde Moulin developed her pioneering research in the 1960s, the art market has been continuously studied by social scientists. For several years now, art market studies have rapidly proliferated. Collectors and collections, though, have tended to draw more attention than professionals and dealers, which remain less analyzed. In this article, we intend to study the impact of the national factor on the gallery sector by using a ranking of the leading contemporary art galleries in the world that we ourselves developed. Having analyzed the construction of the most significant rankings in the art world that all focus entirely or partly on artists, we decided to create one for contemporary art galleries. The methodology that we used will be presented in the first part of the article. In its second part, we will analyze the territorial/national dimension that can be identified in the most important art fair in the world, Art Basel. We will comment on what is revealed by our ranking in terms of countries of origin associated with their share and diverse positions in the ranking. Finally, we will address the contribution that our ranking brings to the knowledge of so-called globalization.

4. Uses and prices of art

2020 ◽  
pp. 83-111
Author(s):  
Julian Stallabrass
Keyword(s):  
Contemporary Art ◽  
Art Market ◽  
Tax Avoidance ◽  
The State ◽  
Art World ◽  
Art Collecting ◽  
Clear View ◽  
Competing Demands ◽  
Corporate Art

‘Uses and prices of art’ details how, since the early 2000s, strong modernizing forces in the contemporary art market brought money into clear view and unabashed discussion. The prices of art and the forces that threaten art’s autonomy are all part of the story. These include the modernization of the art market, and the competing demands, promulgated by the state and business, that art should be put to use. Corporate art collecting has had a massive impact on the art world and this has been driven by the growing number of the super-rich who buy contemporary art. Ultimately, art has become a standard investment, part of the portfolio of the super-rich, used to spread risk and engage in tax avoidance.

1. A zone of freedom?

2020 ◽  
pp. 1-25
Author(s):  
Julian Stallabrass
Keyword(s):  
Everyday Life ◽  
Free Trade ◽  
Contemporary Art ◽  
Installation Art ◽  
Art Market ◽  
Political Art ◽  
Art World ◽  
Global Events ◽  
Financial Power ◽  
The Relationship

‘A zone of freedom?’ discusses how contemporary art seems to exist in a zone of freedom, set apart from the mundane and functional character of everyday life, and from its rules, conventions, and bureaucratic procedures. The relationship between free trade and free art is an important consideration here, in that the economy of art closely reflects the economy of finance capital. As financial power has shifted between nations, so has the art market. It is important to note how the current face of the contemporary art world was forged by the global events of 1989 and after, this has resulted in the emergence of political art and the rise of ‘installation art’.

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