scholarly journals The Evolution of a Consolidated Market for Neo-Traditional Chinese Contemporary Art

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 121
Author(s):  
Iain Robertson
Keyword(s):  
Contemporary Art ◽  
Art Market ◽  
Global Market ◽  
Market Model ◽  
Modern World ◽  
Chinese Values ◽  
Chinese Contemporary Art ◽  
The Past ◽  
Shanghai School ◽  
Southern City

The purpose of this paper is to determine whether there is an incipient market in China strong enough to replace the global market for Chinese contemporary art. The (informal) market I have identified supports traditional methods of transaction and practice. It charts a course twixt slavish emulation of the past and unqualified acceptance of the present. To demonstrate the contemporary application of this trend, I introduce three case studies, which examine the attitude and behaviour of three Chinese artists active between 2005 and 2015. This period marks the transformation of China from an aspirant economic power to a self-confident advocate of Chinese values. The premise of this paper is that the China market today is moving towards a harmonious ideal rooted in Chinese thought. In the nineteenth-century art movement known as the Shanghai School, I have found a precedent for the evolutionary transformation of Chinese art from the traditional to the modern. This study will reveal how the Shanghai School market might be an exemplar for today’s Chinese contemporary art market. I will refer to this historical model to show how conventional methods of creation, distribution and consumption can effectively be modernised. Another effort to culturally transform China was attempted a generation later in the southern city of Guangzhou. The movement, known as the Lingnan School, attempted to fuse Western-style realism with Chinese techniques and media. I argue that these two early attempts to amalgamate the traditional with the modern failed to metamorphose into a consolidated Chinese contemporary art market model. They have, instead, resulted in the co-existence of two corrupted models; the one, a diffident fusion of the past and the modern world, and the other a concerted alliance of nationalism and globalism.

scholarly journals Materialising Markets: The Agency of Auctions in Emergent Art Genres in the Global South

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 106
Author(s):  
Anita Archer
Keyword(s):  
Contemporary Art ◽  
Local Governments ◽  
Developing Economies ◽  
Supply And Demand ◽  
Art Market ◽  
Global South ◽  
Chinese Contemporary Art ◽  
Market Expansion ◽  
Auction Houses ◽  
Art Auction

For the last two decades, the international auction houses Sotheby’s and Christie’s have been at the forefront of global art market expansion. Their world-wide footprints have enabled auction house specialists to engage with emerging artists and aspiring collectors, most notably in the developing economies of the Global South. By establishing their sales infrastructure in new locales ahead of the traditional mechanisms of primary market commercial galleries, the international auction houses have played a foundational role in the notional construction of new genres of art. However, branding alone is not sufficient to establish these new markets; the auction houses require a network of willing supporters to facilitate and drive marketplace supply and demand, be that trans-locational art market intermediaries, local governments, and/or regional auction businesses. This paper examines emerging art auction markets in three Global South case studies. It elucidates the strategic mechanisms and networks of international and regional art auction houses in the development of specific genres of contemporary art: Hong Kong and ‘Chinese contemporary art’, Singapore and ‘Southeast Asian art’, and Australia and ‘Aboriginal art’. Through examination and comparison of these three markets, this paper draws on research conducted over the past decade to reveal an integral role played by art auctions in the expansion of broader contemporary art world infrastructure in the Global South.

The booming global market of contemporary art

Focaal ◽  
2014 ◽  
Vol 2014 (69) ◽  
pp. 84-96 ◽  
Author(s):  
Thomas Fillitz
Keyword(s):  
Contemporary Art ◽  
Capital Flows ◽  
Financial Crises ◽  
Art Market ◽  
Moral Economy ◽  
Global Market ◽  
Special Focus ◽  
Net Worth ◽  
High Flexibility ◽  
Global Art

The present economic and financial crises do not seem to particularly influence the global art market of contemporary art. In an attempt to understand this apparent opposition, I adopt a macro perspective, combining my own research ventures in Dakar and Vienna with general art market studies. I argue that this market is a special representation of millennial capitalism (Comaroff and Comaroff 2001). The global art market puts in place an organization of diversity that allows a high flexibility in including specific centers and marginalizing others, as well as a special focus on a globally acting group of “ultra high net worth” individuals. Striking features are the concentration of capital flows to a few major centers, the constitution of complex, transnational networks, the dominant logics for each market field (gambling, glamour, moral economy), and the diversification of the commodity character of the work of art.

The concept of the flat earth in the holy scripture

2020 ◽  
Vol 1 (100) ◽  
pp. 77-82
Author(s):  
V.P. Kultenko ◽  
◽  
K.M. Mamchur ◽  
Keyword(s):  
Old Testament ◽  
Space Exploration ◽  
Practical Experience ◽  
Modern World ◽  
Cultural Experience ◽  
Religious Texts ◽  
Sacred Texts ◽  
The Past

The article deals with the concept of flat Earth. There has a adherents and defenders in the modern world, despite the solid age of heliocentric teaching. Flat Earth apologists point out, that the evidence in favor of the scientific heliocentric theory is held on confidence. People should trust the testimony of astronauts, space exploration data, and more. However, the vast majority of people cannot verify this data from their own practical experience. If science is a criterion for truth, then the heliocentric concepts and flat Earth are far removed from this criterion. Moreover, in the cultural experience of the past we can find arguments in favor of the concept of a flat Earth. These testimonies are contained, in particular, in the Old Testament Bible, the sacred texts of Christianity and Judaism. The mythological and religious texts of other nations and cultures also refer to the idea of a flat Earth.

From Market to Bazaar: Metamorphosis of Commercialization of the Past in the Modern World

2019 ◽  
pp. 49-58
Author(s):  
A. Linchenko ◽  
◽  
O. Golovashina ◽  
D. Anikin ◽  
◽  
...  
Keyword(s):  
Modern World ◽  
The Past

Denouement: World Politics, Systemic Leadership, and Climate Change

2018 ◽  
Author(s):  
William R. Thompson ◽  
Leila Zakhirova
Keyword(s):  
Climate Change ◽  
Global Warming ◽  
World Politics ◽  
First Century ◽  
Modern World ◽  
Climate Fluctuations ◽  
The Past ◽  
Agrarian Economy ◽  
Historical Processes

In this final chapter, we conclude by recapitulating our argument and evidence. One goal of this work has been to improve our understanding of the patterns underlying the evolution of world politics over the past one thousand years. How did we get to where we are now? Where and when did the “modern” world begin? How did we shift from a primarily agrarian economy to a primarily industrial one? How did these changes shape world politics? A related goal was to examine more closely the factors that led to the most serious attempts by states to break free of agrarian constraints. We developed an interactive model of the factors that we thought were most likely to be significant. Finally, a third goal was to examine the linkages between the systemic leadership that emerged from these historical processes and the global warming crisis of the twenty-first century. Climate change means that the traditional energy platforms for system leadership—coal, petroleum, and natural gas—have become counterproductive. The ultimate irony is that we thought that the harnessing of carbon fuels made us invulnerable to climate fluctuations, while the exact opposite turns out to be true. The more carbon fuels are consumed, the greater the damage done to the atmosphere. In many respects, the competition for systemic leadership generated this problem. Yet it is unclear whether systemic leadership will be up to the task of resolving it.

The Oxford History of Historical Writing

2018 ◽  
Keyword(s):  
Early Modern ◽  
Korean Peninsula ◽  
Comparative Approach ◽  
Modern World ◽  
Historical Writing ◽  
North West ◽  
The Past ◽  
History Of

How was history written in Europe and Asia between 400–1400? How was the past understood in religious, social, and political terms? And in what ways does the diversity of historical writing in this period mask underlying commonalities in narrating the past? The volume tackles these and other questions. Part I provides comprehensive overviews of the development of historical writing in societies that range from the Korean Peninsula to north-west Europe, which together highlight regional and cultural distinctiveness. Part II complements the first part by taking a thematic and comparative approach; it includes chapters on genre, warfare, and religion (amongst others) which address common concerns of historians working in this liminal period before the globalizing forces of the early modern world.

MONARCHS, TRAVELLERS AND EMPIRE IN THE PACIFIC'S AGE OF REVOLUTIONS

2020 ◽  
Vol 30 ◽  
pp. 77-96
Author(s):  
Sujit Sivasundaram
Keyword(s):  
Pacific Islanders ◽  
Modern World ◽  
Global History ◽  
The Past ◽  
The Pacific ◽  
Cultural Terms ◽  
The Pacific Ocean ◽  
Definition Of ◽  
The Uk ◽  
A Site

AbstractThe Pacific has often been invisible in global histories written in the UK. Yet it has consistently been a site for contemplating the past and the future, even among Britons cast on its shores. In this lecture, I reconsider a critical moment of globalisation and empire, the ‘age of revolutions’ at the end of the eighteenth century and the start of the nineteenth century, by journeying with European voyagers to the Pacific Ocean. The lecture will point to what this age meant for Pacific islanders, in social, political and cultural terms. It works with a definition of the Pacific's age of revolutions as a surge of indigeneity met by a counter-revolutionary imperialism. What was involved in undertaking a European voyage changed in this era, even as one important expedition was interrupted by news from revolutionary Europe. Yet more fundamentally vocabularies and practices of monarchy were consolidated by islanders across the Pacific. This was followed by the outworkings of counter-revolutionary imperialism through agreements of alliance and alleged cessation. Such an argument allows me, for instance, to place the 1806 wreck of the Port-au-Prince within the Pacific's age of revolutions. This was an English ship used to raid French and Spanish targets in the Pacific, but which was stripped of its guns, iron, gunpowder and carronades by Tongans. To chart the trajectory from revolution and islander agency on to violence and empire is to appreciate the unsettled paths that gave rise to our modern world. This view foregrounds people who inhabited and travelled through the earth's oceanic frontiers. It is a global history from a specific place in the oceanic south, on the opposite side of the planet to Europe.

Ruskin, Pugin, and the Contemporary Context of “The Bishop Orders His Tomb”

PMLA ◽  
1969 ◽  
Vol 84 (6) ◽  
pp. 1588-1594 ◽  
Author(s):  
Robert A. Greenberg
Keyword(s):  
Modern World ◽  
The Past ◽  
Old Order ◽  
Contemporary Context

When read in the context of the 1840's, “The Bishop Orders His Tomb” is seen to be neither an explicitly anti-Catholic poem nor a simple historical construct. Much of its bent and many of its details had previously been expressed by so vigorously polemical a Catholic writer as Pugin; they appear again later in Ruskin's pages. Browning's concern rather—and this he shares with Newman, as well as Pugin and Ruskin—was to search out in the past the roots of his own age. The corruption of spirit that he discerns in the Renaissance he also recognizes as extending into his time. The ethos represented by Saint Praxed is dead; the modern world has begun; the qualities of the Bishop are the qualities of Browning's reader. The same historicizing of the past informs “My Last Duchess”, which dramatizes in the deadly embrace of the Duke and the Duchess the destruction of the old order at the hands of the new. The Duchess survives as a frozen portrait, Saint Praxed as no more than a confused and ineffectual memory. But despite the coherence of his analysis, and unlike Ruskin and Pugin, Browning refused to enter the lists with a programme of his own.

Sign in / Sign up

Export Citation Format

Share Document