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 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. 

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.

Veronicas and Artists

2017 ◽  
Keyword(s):  
Contemporary Art ◽  
Religious Images ◽  
The Public ◽  
The Past ◽  
History Of Art ◽  
The Status ◽  
History Of ◽  
The Way ◽  
Contemporary Artists

Chapter One deals with several central issues with regard to understanding the role of religious motifs in contemporary art. Besides being a repetition of imagery from the past, religious motifs embedded in contemporary artworks become a means to problematise not only the way different periods in the history of art are delimited, but larger and seemingly more rigid distinctions as those between art and non-art images. Early religious images differ significantly from art images. The two types are regulated according to different sets of rules related to the conditions of their production, display, appreciation and the way images are invested with the status of being true or authentic instances of art or sacred images. Chapter One provides a discussion of the important motif of the image not made by an artist’s hand, or acheiropoietos, and its survival and transformation, including its traces in contemporary image-making practices. All images are the result of human making; they are fictions. The way the conditions of these fictions are negotiated, or the way the role of the maker is brought to visibility, or concealed, is a defining feature of the specific regime of representation. While the cult image concealed its maker in order to maintain its public significance, and the later art image celebrated the artist as a re-inventor of the old image, contemporary artists cite religious images in order to reflect on the very procedures that produce the public significance and status of images.

India’s Kochi Biennale: sponsorship, patronage, and art’s resistance

2019 ◽  
Vol 9 (1) ◽  
pp. 16-31
Author(s):  
Annamma Joy ◽  
Russell Belk
Keyword(s):  
Contemporary Art ◽  
Art World ◽  
Future Directions ◽  
Role Of Government ◽  
International Context ◽  
Content Type ◽  
The World ◽  
The Government ◽  
Financial Power

Purpose The purpose of this paper is to examine the meaning, in both local and international context, of the Kochi-Muziris Biennale (KMB), the first international exhibit of contemporary art in India. Kochi Biennale Foundation (KBF), which administers the KMB, identifies art as a means for transforming society, with a mission to bring global contemporary art to India and to present India’s modern art to the world. The authors further investigate the role of government sponsorship and corporate patronage in funding the KMB, and investigate how resistance through art is key to the KMB’s identity. Design/methodology/approach This study focuses primarily on published materials relating to the KMB. One of the authors attended the 2016 KMB and interviewed fellow attendees. Additionally, the authors reviewed and assessed social media postings regarding the 2016 KMB. Findings The authors argue that government sponsorship and corporate patronage are never solely about political or financial power. Rather, a generalized reciprocity among the three entities – corporations, the government and the artists – allows the KMB to flourish. For the artists involved, the KMB, co-founded by activist artists, sustains interest in and awareness of resistance. Originality/value Extant literature on biennales is sparse on ways in which these exhibits extend their impact beyond the art world. The authors examine issues such as India expanding its position on the world stage through art, and the implications of political resistance embraced by Indian artists on future directions for the KMB, that have heretofore been unaddressed.

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.

[no title]

1992 ◽  
Vol 17 (1) ◽  
pp. 30-31
Author(s):  
Halina Rusak
Keyword(s):  
New York ◽  
New York City ◽  
Contemporary Art ◽  
Visual Arts ◽  
York City ◽  
Art History ◽  
Art World ◽  
Full Spectrum ◽  
Insight Into

My involvement as an artist and as an art librarian allows me to see a full spectrum of art history from its inception by an artist to its assessment by an art historian. It enables me to better understand the needs of faculty and students in the field of visual arts, as well as to interface effectively with faculty and scholars in art history. My gallery membership at SOHO 20 in New York City provides me with insight into art trends in the making. It demonstrates well a woman’s place in the contemporary art world, and a role of a critic in promoting or establishing an artist. I feel that this knowledge makes me a better librarian.

Past Resurrections

2020 ◽  
pp. 305-307
Author(s):  
Tamara Chalabi
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art World ◽  
Academic World

This chapter explores the growing need to work with antiquity through contemporary art in order to engage wider audiences with heritage. All too often archaeology is seen through a vague prism of heritage that is disconnected from the present, but working with present-day artists, especially from areas of conflict, interacting with “heritage” offers a dynamic and much-needed exchange. Today, the lauded role of the artist in a society in which the art world is an ever-growing platform can allow for a different conversation on heritage than the current one, which is more limited to dry, policy-related agency papers or the less accessible academic world of Art History and Archaeology. While issues of identity and national, racial, and geographic delineations are so contested today, antiquity—rather than serving to enrich debates—has mostly been too remote in the discussion or consciousness to have the nuanced impact that it can through contemporary art.

Creational Aesthetics and the Challenge of Conceptual Art

2016 ◽  
Vol 20 (5) ◽  
pp. 663-673
Author(s):  
Steven Félix-Jäger
Keyword(s):  
Contemporary Art ◽  
Visual Art ◽  
Conceptual Art ◽  
Art World ◽  
Theological Aesthetics ◽  
The Arts ◽  
Essential Form ◽  
God's Image

A trend in theological aesthetics is to advocate for a “creational aesthetic” when discussing the ontology and calling of the artist. In its essential form, a creational aesthetic affirms that artists honor the Creator God by creating art. In some way artists are functioning as God’s image when they make art. While this view is popular in the Christian engagement of the arts, it is uncertain if such an observation is the preeminent way of understanding the role of the artist. Can one be considered an artist if s/he is removed from the tactile process of making? In the contemporary art world, the role of the artist in visual art has come into question with a stronger emphasis on conceptuality, over and against construction. In this article I argue for an alternate way of understanding creational aesthetics that makes room for conceptuality in art.

scholarly journals O PAPEL DO MERCADO NA LEGITIMAÇÃO ARTÍSTICA E ALGUNS REFLEXOS PARA HISTÓRIAS DA ARTE EM CONSTRUÇÃO / The role of the market for artistic legitimation and some reflexes for art histories under construction

2020 ◽  
Vol 26 (40) ◽  
pp. 173-183
Author(s):  
Bruna Fetter
Keyword(s):  
Art Market ◽  
Public Institutions ◽  
Organizational Changes ◽  
Contemporary World ◽  
Artistic Production ◽  
Brazilian Art ◽  
Private Museums ◽  
Under Construction ◽  
Global Art

O mundo contemporâneo apresenta uma série de desafios para o sistema da arte. Mudanças econômicas, sociais, culturais e organizacionais na década passada produziram um mercado global de arte cuja influência já atinge desde a produção artística à programação de importantes instituições. O número de museus privados cresce, enquanto instituições públicas não possuem verba para investir em novas aquisições para suas coleções. Nesse cenário, nos perguntamos: em 50 ou 100 anos, o que estará legitimado nas coleções institucionais referentes à atualidade? Onde estarão as obras mais significativas dos artistas brasileiros contemporâneos? Quem serão os artistas brasileiros mais reconhecidos? Quais critérios estéticos estão sendo legitimados através dos mecanismos dessa nova institucionalização no Brasil? Quais narrativas acompanharão a historicizacão da arte contemporânea brasileira? Que papel o mercado e os colecionadores privados têm desempenhado na definição de histórias da arte em construção?Palavras-chave: Mercado de arte; Legitimação; Papel do colecionador; História da arte; Arte brasileira.Abstract:The contemporary world presents a series of challenges for the art system. Economic, social, cultural and organizational changes in the past decade have produced a global art market whose influence already reaches from artistic production to the programming of important institutions. The number of private museums grows, while public institutions do not have funds to invest in new acquisitions for their collections. In this scenario, we ask ourselves: in 50 or 100 years, what will be legitimized in the institutional collections for today? Where are the most significant works by contemporary Brazilian artists? Who will be the most recognized Brazilian artists? What aesthetic criteria are being legitimized through the mechanisms of this new institutionalization in Brazil? Which narratives will accompany the historicization of contemporary Brazilian art? What role have the market and private collectors been playing in shaping art histories under construction?Keywords: Art market; Legitimation; Collector's role; Art history; Brazilian art.

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