scholarly journals Contemporary Lithuanian Artists: Career Opportunities

2017 ◽  
Vol 13 (1) ◽  
pp. 88-110
Author(s):  
Vilma Mačianskaitė
Keyword(s):  
Modern Art ◽  
Art Market ◽  
Art Gallery ◽  
Art Galleries ◽  
Career Opportunities ◽  
Art Scene ◽  
Main Factors ◽  
Global Art ◽  
The Relationship ◽  
Contemporary Artists

Summary By analysing the careers of internationally recognized artists from Lithuania and the relationship between Lithuanian contemporary artists and art galleries and museums, the author explores the challenges faced by today’s artists and hypothetically underlines the principles that could be useful for them in seeking to enter into the global art scene. The essay analyses the lack of cooperation between artists and galleries, and the representation of artists in Lithuanian museums, which is considered to be the base of a contemporary artist’s career. The essay assesses the influence of the main participants in the art market upon artists’ careers, by investigating the Lithuanian art market’s position after the restoration of independence in 1990. Twenty Lithuanian artists, major galleries or representatives of museums (such as the National Art Gallery and the MO Museum, formerly known as the Modern Art Centre) were interviewed for the purposes of this study. This examination of the Lithuanian art market reveals the peculiarities that artists have encountered, and could help international art market players to better understand the problems that the Lithuanian art market is facing. The author seeks to identify the main factors helping artists to navigate the global art scene and the global art market.

scholarly journals Global Art Market in the Aftermath of COVID-19: A Case Study on the United Arab Emirates

Arts ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 59
Author(s):  
Eve Grinstead
Keyword(s):  
United Arab Emirates ◽  
Art Market ◽  
Institutional Structures ◽  
Art Scene ◽  
The 2008 Financial Crisis ◽  
Global Art ◽  
Insight Into ◽  
Rare Instance

How has COVID-19 affected the global art market? This virus interrupted 2020 in unforeseen ways globally, including the cancellation of the most important art events of the year. Through a close chronological study of the Emirati art scene’s response, both in commercial and noncommercial venues, this essay explains how, and why, the UAE’s art scene was able to react quickly and perhaps more effectively than that of other nations, and what that means for its future. Based on fieldwork and press articles, this article posits that the Emirati art scene evolved from being virtually non-existent to a thriving contemporary art hub in a matter of decades because it has always had to adapt to challenges such as nonexistent art infrastructure or the 2008 financial crisis. By studying the UAE, we find examples of exhibitions that quickly moved from being in situ to online, a rare instance of galleries and art auction house collaborating, government and institutional structures stepping up to support artists and galleries, and the renaissance of Art Dubai taking place in person in 2021 after being abruptly cancelled in 2020. This knowledge provides insight into how the global art market is changing to face the consequences of COVID-19.

Locating Modern Arab Art: Between the Global Art Market and Area Studies

2020 ◽  
Vol 54 (1) ◽  
pp. 25-36
Author(s):  
Haytham Bahoora
Keyword(s):  
Arab World ◽  
Academic Discipline ◽  
Modern Art ◽  
Art Market ◽  
Islamic Art ◽  
Institutional Barriers ◽  
Area Studies ◽  
Primary Documents ◽  
Global Art ◽  
Visual Cultures

AbstractThis essay situates the publication of Modern Art in the Arab World: Primary Documents in the context of an expanding global interest in modern Arab art as well as the study of modern Arab art as an academic discipline. The essay first examines the implications of the cultivation of a new museum and gallery infrastructure for modern Arab art in the Arab Gulf. It then considers how the academic study of modern Arab art has faced institutional barriers, due largely to the overwhelming academic focus on Ancient Studies and Islamic art. Finally, it suggests that Modern Arab Art in the Arab World provides scholars with a comprehensive textual archive that calls for a historicized approach to theorizing the emergence of modernist aesthetics in Arab visual cultures.

Performatywne alter ego

2019 ◽  
Vol 26 (26) ◽  
pp. 108-133
Author(s):  
Agata Szuba Szuba
Keyword(s):  
Social Media ◽  
Performance Art ◽  
Wide Spectrum ◽  
Art Gallery ◽  
Leaving Home ◽  
New Methods ◽  
The Social ◽  
Art Scene ◽  
Alter Ego ◽  
Global Art

The dynamic development of the Internet and the constant search for new ways of reaching the user bring about the availability of materials that were previously unattainable. Performance art, thanks to its special openness to new methods of expression, reaches the mass media, while showing the individual’s psyche and character of the author’s work. The set of gestures, their sequence and narration are the basis for creating performance art, understood not only as a clear alternative to conventional art, but also characterized by unpredictability, in which the viewer is not prepared for the way messages are received. Undoubtedly, social platforms create an illusion. “The influencer” can reach thousands of viewers and gain fame without leaving home. Without a doubt, social media have created a new entry point to the global art scene, opening way to a wide spectrum of diverse artistic activities. The method of recording, the non-cutaneous nature of the phenomenon makes it possible to own performative actions. The context of a performance is particularly important. It affects what can be universally recognized as art. The question arises (since we distinguish two values of the performative action: in the art gallery and on the street), what frames on the social media allow the audience to interpret it as art, and assuming that it is an art, does it change the perception of a given phenomenon?

Introduction

Grief ◽  
2020 ◽  
pp. 1-4
Author(s):  
David Shneer
Keyword(s):  
Modern Art ◽  
Art Market ◽  
Art Museums ◽  
The World ◽  
The 1960S ◽  
Global Art

The introduction describes how the author first learned about Grief from a local photography collector, whom Shneer learned played a central role in exposing the Soviet photographer Dmitri Baltermants and the photograph to the global art market. The collector assumed that, given its aesthetics, the photograph was a postbattle image taken at Kerch. Only through painstaking research did Shneer learn that Grief was one of the first photographs documenting the liberation of a Nazi atrocity site, even though there are likely no Jews in the photograph, either dead or alive. It is found in Holocaust photo archives and major art museums’ permanent collections and has been exhibited around the world since the 1960s. This book is a biography of Grief and its maker and asks how a photograph documenting Nazi atrocities can be found in modern art museums and Holocaust institutions, whose missions seem diametrically opposed.

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.

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 National Gallery of Zimbabwe

2018 ◽  
Author(s):  
Amanda H. Hellman
Keyword(s):  
Visual Culture ◽  
Visual Art ◽  
Modern Art ◽  
Art Museum ◽  
National Gallery ◽  
Art Gallery ◽  
Art And Design ◽  
Southern Rhodesia ◽  
One Year ◽  
Contemporary Artists

The National Gallery of Zimbabwe is an art museum in Harare dedicated to collecting, preserving, and promoting Zimbabwean visual culture. Though the collection focuses on contemporary artists from Zimbabwe, its holdings are diverse, containing traditional and contemporary African along with European Old Master paintings—a reflection of the acquisition interests of the first director. Sir James Gordon McDonald (1867–1942), a friend and biographer of Cecil Rhodes, gifted £30,000 to found an art gallery in 1943. Ten years later in 1953 a board was established to raise funds, build the museum, and select a director. In 1956, Scotsman Frank McEwen (1907–1994) was appointed to the post of director. The Rhodes National Gallery was opened on 16 July 1957 in Salisbury, Southern Rhodesia (renamed Harare, Zimbabwe in 1980). The institution changed its name to the National Gallery of Rhodesia in 1972, one year prior to McEwen’s resignation. One of McEwan’s projects was the Rhodes National Gallery Workshop School. Artists who participated in this early workshop, such as Thomas Mukarobgwa and John and Bernard Takawira, helped define Zimbabwean modern art. After Zimbabwe gained independence in 1980 the National Gallery developed the BAT Workshop, which became the National Gallery School of Visual Art and Design in 2012.

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.

Performative alter ego

2019 ◽  
Vol 26 (26) ◽  
pp. 108-132
Author(s):  
Agata Szuba
Keyword(s):  
Social Media ◽  
Performance Art ◽  
Wide Spectrum ◽  
Art Gallery ◽  
Leaving Home ◽  
New Methods ◽  
The Social ◽  
Art Scene ◽  
Alter Ego ◽  
Global Art

The dynamic development of the Internet and the constant search for new ways of reaching the user bring about the availability of materials that were previously unattainable. Performance art, thanks to its special openness to new methods of expression, reaches the mass media, while showing the individual’s psyche and character of the author’s work. The set of gestures, their sequence and narration are the basis for creating performance art, understood not only as a clear alternative to conventional art, but also characterized by unpredictability, in which the viewer is not prepared for the way messages are received. Undoubtedly, social platforms create an illusion. “The influencer” can reach thousands of viewers and gain fame without leaving home. Without a doubt, social media have created a new entry point to the global art scene, opening way to a wide spectrum of diverse artistic activities. The method of recording, the non-cutaneous nature of the phenomenon makes it possible to own performative actions. The context of a performance is particularly important. It affects what can be universally recognized as art. The question arises (since we distinguish two values of the performative action: in the art gallery and on the street), what frames on the social media allow the audience to interpret it as art, and assuming that it is an art, does it change the perception of a given phenomenon?

scholarly journals Analysis of the Modern Gallery Activities as an Element of the Tourism Infrastructure of the City

2019 ◽  
Vol 29 (4) ◽  
pp. 552-559
Author(s):  
Irina Kalinina ◽  
Polina Maksimova
Keyword(s):  
Comparative Analysis ◽  
Art Market ◽  
Theoretical Background ◽  
Art Gallery ◽  
Art Galleries ◽  
Gift Shop ◽  
The City

Nowadays, due to the insufficiently developed theoretical background of gallery business, gallery owners mainly rely on their intuition, analysis of the art market, and numerous sketchy theoretical works and tips. The article presents a comparative analysis and characteristics of the art galleries of the city of Irkutsk, not mentioned previously in the literature. A list of resources necessary for the formation and promotion of attractiveness of art galleries for tourists has been developed. It was created on the basis of the analysis of the activities of Russian and foreign galleries in terms of their tourism attractiveness and cooperation with tourist companies. At the same time, it is mentioned that measures aimed at developing of the tourism attractiveness of the gallery, which are quite often commercial by their nature, should promote the brand of the territory where the gallery is located, preserving its uniqueness. They should in no way turn the art gallery into a gift shop selling art souvenirs.

Sign in / Sign up

Export Citation Format

Share Document