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. 

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.

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.

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.

scholarly journals THE IMPACT OF NATIONALITY ON THE CONTEMPORARY ART MARKET

2015 ◽  
Vol 5 (3) ◽  
pp. 825-856 ◽  
Author(s):  
Alain Quemin
Keyword(s):  
United Kingdom ◽  
Contemporary Art ◽  
Art Market ◽  
Major Effect ◽  
Art World ◽  
The United Kingdom ◽  
The Usa ◽  
The Impact

Abstract Although actors in the contemporary art world tend to deny the fact, nationality and territory have a major effect on artistic fame. The most recognized artists generally belong to a very select number of countries that are all Western and among which the United Kingdom and Germany, but even more so the USA, take the lion’s share. This reflects the uneven representation of countries in the elaboration of rankings, like the Kunstkompass, used to objectivize the fame and visibility of artists. The very small number of countries concentrating the most famous artists also shows a homology with the nationality of the most powerful players from the contemporary art world, as listed in the ArtReview Power 100. In concluding the article, I show that, at least for top artists over recent years, the nationalities of the most visible artists in institutions and those of the most successful artists on the artists on the market diverge.

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 Contemporary Taonga: The Art Works of Brett Graham

2021 ◽  
Author(s):  
◽  
Anna-Marie White
Keyword(s):  
New Zealand ◽  
Contemporary Art ◽  
Art History ◽  
Art World ◽  
Art Practice ◽  
Collaborative Process ◽  
Western Art ◽  
Art Works ◽  
Kaupapa Māori ◽  
The Impact

<p>The production of taonga is a sovereign Māori tradition closely guarded in contemporary Māori society. Many Contemporary Māori Artists observe taonga principles in their work though these qualities are stifled within the New Zealand art system. In the 1990s these subjects were fiercely debated resulting in Contemporary Māori Art being defined differently to the ancestral tradition of taonga. This debate created a rupture, which disturbs the practice of Māori art and is a major concern in the emerging practice of Māori art history. Reviving earlier arguments for Contemporary Māori Art to be defined according to the principles of taonga, this thesis applies the concept of ‘contemporary taonga’ to the art works of Brett Graham (Ngāti Koroki Kahukura), to argue that taonga production is active in contemporary Māori life and offers a new method to reconcile Māori art histories.  The practice of Kaupapa Māori research and theory enlivened the taonga principles of Brett Graham’s art works. Intensive accounts of two art works, produced a decade apart, reveal ‘contemporary taonga’ to be a collaborative process involving recognition and instrumentalisation by authoritative Māori viewers. Kahukura (1996), produced in response to the debates was, however, overwhelmed by competing interests of the time. Āniwaniwa (2006) undertook an arduous journey—to the centre of the Western art world in order to be shown within the artist’s tribal rohe—where Ngāti Koroki Kahukura kaumātua recognised Graham as a tohunga. Iwi leaders also employed Āniwaniwa in their Treaty of Waitangi claims process, functionalising the art work as taonga to support the advancement of their people. Āniwaniwa then left New Zealand to play a role in the formalisation of an international indigenous art network.   As a type for contemporary taonga, Āniwaniwa is an expansive model to introduce this concept to contemporary art discourse. The impact of this concept is yet to be realised though immediately reconciles long-standing issues in Māori art. ‘Contemporary taonga’ has the potential to radically reconcieve, and reorganise, Contemporary Māori Art practice and history according to the practice of ancestral Māori traditions and determined by the authority and agency of Māori people.</p>

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.

scholarly journals Art in the Digital during and after Covid: Aura and Apparatus of Online Exhibitions

2020 ◽  
Vol 12 (5) ◽  
Author(s):  
João Pedro Amorim ◽  
◽  
Luís Teixeira ◽  
Keyword(s):  
Contemporary Art ◽  
New Technologies ◽  
Art World ◽  
Art Gallery ◽  
Digital Platforms ◽  
The Public ◽  
Alternative Materials ◽  
Digital Reproduction ◽  
Mega Event ◽  
The Impact

The public health measures that were put in place to contain COVID-19 impacted the lives of people and institutions alike. For its global impact and transformation, the pandemic has the potential to be classified as a mega-event. Such radical events have become great opportunities to the testing of new technologies and forms of organisation, (Masi, 2016) that might in the future become prevalent. The impact of the pandemic was particularly felt in the contemporary art world, as the entire cultural activity was suspended. During this period, art institutions and collectives around the world reacted by adapting and providing alternative materials online. This paper aims at reflecting upon the challenges facing the exhibition of contemporary art online. Following Boris Groys’ (2016) actualisation of Walter Benjamin, we problematise how the digital reproduction of art affects the aura of an artwork. Proposing a critique of the apparatus of digital platforms, we analyse how the digital reproduces and enhances ideological structures that overpass the whole of society. For that purpose we analyse how four different organisations (an artist-run space, an art gallery, a museum and an art biennale) have migrated their activity to online platforms. The case-studies will allow a broad understanding of the different approaches available – with some radically taking advantage of the digital environment, and others merely digitising the role taken henceforth by printed catalogues.

scholarly journals REDRESSING DIGITAL ORIENTALISM: VIETNAMESE CULTURAL PROFESSIONALS’ DIGITAL WORK DURING THE COVID-19 PANDEMIC

2021 ◽  
Vol 20 (43) ◽  
Author(s):  
Emma Duester ◽  
Michal Teague
Keyword(s):  
Contemporary Art ◽  
Digital Technology ◽  
Digital Technologies ◽  
Art World ◽  
Structured Interviews ◽  
Digital Ethnography ◽  
Art And Culture ◽  
Digital Work ◽  
Facebook Pages ◽  
Global Art

The current study investigates how digital technologies can potentially be used to re-orientate the global narrative on Vietnam, overcome an imbalance in representation and help redress digital orientalism. Global digital technologies allow Vietnamese cultural professionals to reach beyond the borders of their nation and to become part of the global art world. With this,they can participate in the production, dissemination, and circulation of discourses on art and culture globally. In doing so, they can redress digital orientalism by contemporizing narratives on Vietnam. However, there is an underlying tension, as the very means by which their voicesare heard is achieved by using global (western) technologies, tools and platforms. The research uses a digital ethnography of the Facebook pages of 7 contemporary art spaces in Hanoi and 20 semi-structured interviews with art and cultural professionals in Hanoi. The interviews were carried out during the Covid-19 Pandemic and addressed its impact and use of digital technology in their work during this time.

Sign in / Sign up

Export Citation Format

Share Document