scholarly journals Mythical Islands of Value: Free Ports, Offshore Capitalism, and Art Capital

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 100
Author(s):  
Erik Post ◽  
Filipe Calvão
Keyword(s):  
Asset Management ◽  
Art Market ◽  
Human Geography ◽  
Works Of Art ◽  
Holistic Understanding ◽  
The World ◽  
The Creation ◽  
Free Port ◽  
New Generation ◽  
Global Art

The Geneva Free Port in Switzerland has paved the way for a new generation of art and luxury free ports. These are critical spatial pivots for the management of art assets, including storage and transactions of artworks, and serve as proxy to examine mechanisms for the capture and generation of value, integral but also outside the global art market. Drawing from the trajectory of the Geneva Free Port and an interdisciplinary body of scholarship on “offshore” and other special zones of production, and value circulation in human geography, anthropology, history, and sociology, this article frames free ports in a longer genealogy of offshore capitalism. First, we claim that the emergence of the Geneva Free Port prefigures and helps illuminate contemporary transformations in offshore capitalism; second, these spaces are more deeply imbricated with public and state authorities than previously suggested. Finally, a holistic understanding of art capital—works of art for investment and asset management—requires an encompassing view of free ports not as accidental and exceptional features in the world of high art but as spaces deeply implicated in the creation and operation of the art market more generally.

The Creation of Art

2021 ◽  
pp. 163-186
Author(s):  
Tom Cochrane
Keyword(s):  
Human Activities ◽  
Cognitive Theory ◽  
Social Role ◽  
Living Well ◽  
Works Of Art ◽  
The World ◽  
Functionalist Account ◽  
Vital Component ◽  
The Creation ◽  
Aesthetic Values

This chapter presents Aestheticism as a general approach to life. It is argued that a dedicated aestheticist will be inspired to create works of art. In alignment with this view an aesthetic functionalist account of art is defended, incorporating aspects of the expression theory of art and the cognitive theory of art. It is then suggested that the way an artist creatively responds to the value of the world is an ideal of living well. Moreover, although there are other such ideals, the artistic paradigm can apply to a variety of human activities, including the pursuit and expression of one’s understanding (as in philosophy). In the latter part of the chapter it is then argued that, in distilling aesthetic values, the artist has an important social role to play. Artworks help us to discern value ideals, and our capacity to discern values is a vital component of virtue.

Book Reviews

2016 ◽  
Vol 54 (4) ◽  
pp. 1405-1406
Keyword(s):  
Art Market ◽  
Art Markets ◽  
The World ◽  
Structural Mechanisms ◽  
Global Art

David Throsby of Macquarie University reviews “Understanding Art Markets: Inside the World of Art and Business,” by Iain Robertson. The Econlit abstract of this book begins: “Updated second edition of textbook analyzes technical and structural mechanisms that create value in the global art market; addresses how each of the four major art markets generate value; and considers private, public, and nonpecuniary value.”

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.

‘An indefatigable intermediary’

2020 ◽  
Vol 32 (3) ◽  
pp. 537-558
Author(s):  
Eliot W Rowlands
Keyword(s):  
Art Market ◽  
World Market ◽  
Art Museum ◽  
The Public ◽  
Works Of Art ◽  
Mary Magdalen ◽  
The World ◽  
Assistant Director ◽  
Cleveland Museum Of Art

Abstract At a time when museum curatorship in America was in its infancy, Harold Woodbury Parsons (1882–1967) scouted and negotiated for outstanding works of art for the cash-rich Cleveland Museum of Art, which opened to the public in 1916. As its European representative (1925–41), he acquired such masterworks as the Stroganoff Ivory, El Greco’s Holy Family with St Mary Magdalen, and the Warren tondo by Filippino Lippi, all during the late 1920s. During a lifetime’s work in the art market, in which he worked for private collectors and other museums, this was his most important achievement. What he acquired for the Cleveland Museum is vividly recounted in the art agent’s correspondence, until now, almost entirely unpublished. After moving to Rome in 1910, Parsons first served as ‘an indefatigable intermediary’ in the world market for antiquities. Later, with the blessing of Edward Waldo Forbes and Paul J. Sachs – director and assistant director, respectively, of Harvard’s Fogg Art Museum – and with a host of European contacts, he was able to ‘gun for’ art for an ever expanding number of clients.

scholarly journals Creativity as the Act of Transcending Oneself and the World: from Creativity to Transcendence

2019 ◽  
Vol 6 (2) ◽  
pp. 264-268
Author(s):  
Katarzyna Citko
Keyword(s):  
Science Education ◽  
Positive Aspect ◽  
Works Of Art ◽  
The World ◽  
The Creation

AbstractThe text aims to present how creativity and creative behaviours, understood as an act of transcending oneself and the world, can positively influence the fields of art, science, education and upbringing. A constitutional feature of creativity is its ability to transcend what is fixed, tamed and predictable, both individually and globally, at the microcosmic and macro-cosmic level; to transcend what is within us and outside us. The author of the article analyzes the following issues: is there a positive aspect to creativity understood as the act of transcendence? And, given such an understanding of creativity, are all acts of creation, whether they involve the creation of great works of art, the pursuit of science, the processes of education and upbringing, or simply the resolution of daily problems, more spiritual than intellectual?

The Demise of the World of the Gutnajers: The Warsaw Art Market in World War II

2019 ◽  
Vol 33 (3) ◽  
pp. 333-350
Author(s):  
Nawojka Cieślińska-Lobkowicz
Keyword(s):  
World War Ii ◽  
Art Market ◽  
World War ◽  
German Occupation ◽  
Warsaw Ghetto ◽  
Jewish Art ◽  
Works Of Art ◽  
The World ◽  
Pre World War Ii

Abstract A substantial number of Jewish art and antiques dealers operated in pre-World War II Warsaw. Particularly respected were the salons of the brothers Bernard and Abe Gutnajer. Virtually everyone in their milieu perished in the Warsaw ghetto or Treblinka. Taking their place were new “Aryan” dealers and a clientele of “new” money. The Warsaw art market under the German occupation experienced a particular growth between the start of the Jewish ghetto’s liquidation in mid-1942 and the outbreak of the Warsaw Uprising in August 1944, as “abandoned” property flooded the market. After decades of subsequent turbulent history, researchers can hardly hope to document the provenance of more than a fraction of tens of thousands of surviving works of art and valuable antiques.

scholarly journals The Ideological Concept of the Monograph “Theatrical and Dramatic Collections of the World”

2020 ◽  
Vol 3 (1) ◽  
Keyword(s):  
Works Of Art ◽  
The World ◽  
Archival Documents ◽  
The Creation ◽  
Reference Tools ◽  
Theatrical Culture ◽  
Private Collections ◽  
Written Sources ◽  
Comprehensive Study

This monograph presents the first comprehensive study of museums and private collections of theatrical and dramatic profile. Addressing the origins of the creation and the process of formation of collections, the author focuses on the peculiarities of works and objects displayed in the exhibitions and stored in the collections of theatre museums of the world. The author devotes attention to the most interesting and significant collections of different countries. The presented rarities range from the rarest, unique things and works of art acquired in the time of the creation of the museum funds to the monuments of theatrical culture coming to museums these days. The author considers the specifics of theatrical collections, classifying them by type: theatre museums, museums in theatres, private theatrical collections, and dramatic museums. The majestic and chamber architecture of the museums located in the central squares and old streets of the cities leads the readers to the museum halls, where they can get acquainted with the theatrical heritage, touch the expressive and picturesque nature of the theatre language reflected in documentary photos, portraits, sketches of costumes and scenery, personal belongings of artists, written sources, and other materials. The monograph is written in the genre of review with extensive use of illustrative and reference tools, providing analytical conclusions for each chapter. The study is based on the use of art materials, archival documents in private collections, domestic and foreign museums, as well as catalogues of various collections and exhibitions.

scholarly journals The Impact of Pandemics Sentiment on the Global Art Market

2021 ◽  
Vol 9 ◽  
Author(s):  
Wei Wang
Keyword(s):  
Quantile Regression ◽  
Least Squares ◽  
Art Market ◽  
Ordinary Least Squares ◽  
Global Level ◽  
Uncertainty Shocks ◽  
The World ◽  
The Impact ◽  
Global Art

This paper investigates the effects of pandemics sentiment (the World Pandemics Discussion Index) on the returns of the global art market from 1998Q1 to 2021Q2 at the global level. The Ordinary Least Squares and the Quantile Regression estimations indicate that global pandemics sentiment positively affects the returns of the global art market. This evidence means that investing in the art market can hedge the uncertainty shocks related to pandemics at the global level.

Art Market and Its Investment Capacity

2010 ◽  
pp. 65-78
Author(s):  
A. Sarkisyants
Keyword(s):  
Art Market ◽  
Rate Of Return ◽  
Russian Art ◽  
The World ◽  
Market Trends ◽  
Russian Art Market ◽  
Investment Capacity ◽  
Comparative Rate

The article investigates the world art market trends. It considers the main market indicators, comparative rate of return and the prospects of the market as well as the problems of art banking. Special attention is paid to the Russian art market.

Artistic-professional strategies in the music sector. The case of the jazz scene in Barcelona

2020 ◽  
pp. 145-163
Author(s):  
Marta Casals Balaguer
Keyword(s):  
Research Methods ◽  
Social Dimension ◽  
Artistic Identity ◽  
Professional Musicians ◽  
Main Research ◽  
Works Of Art ◽  
The Social ◽  
The Creation

This article aims to analyse the strategies that jazz musicians in Barcelona adopt to develop their artistic careers. It focuses on studying three main areas that influ-ence the construction of their artistic-professional strategies: a) the administrative dimension, characterized mainly by management and promotion tasks; b) the artistic-creative dimension, which includes the construction of artistic identity and the creation of works of art; and c) the social dimension within the collective, which groups together strategies related to the dynamics of cooperation and col-laboration between the circle of musicians. The applied methodology came from a qualitative perspective, and the main research methods were semi-structured inter-views conducted with active professional musicians in Barcelona and from partic-ipant observation.

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