Trends in the Art Criticism Development in the Context of Modern Art Market (on the Example of Kyiv Situation)

2021 ◽  
Vol 5 (1) ◽  
Author(s):  
Olesia Sobkovych ◽  
Keyword(s):  
Contemporary Art ◽  
Art Criticism ◽  
Art Market ◽  
Art World ◽  
Opinion Formation ◽  
Art Business ◽  
Process Art ◽  
Time Period ◽  
Art Practices ◽  
Market Factors

In modern realities, the degree of culture dependence on economic factors is consistently high. It is confirmed by the art world that is more and more oriented towards the global art market, which sphere of interest is commerce that moreover envisages the establishment of communication and regulation of the relationship “artist-consumer / recipient”. Consequently, the art market (despite the differences in the logic of art dealings: the art market considers it as the means of profit making; criticism tends to clarify the artistic value according to the time period) has functions identical to artistic criticism, in particular, sociocultural and regulatory. They provide for / support the formation of the artistic expression value, its actualization and functioning in the cultural sphere of our time and, as a result, interest and the formation of demand for certain art practices and names. In addition, art criticism and the contemporary art market have a certain influence on the artists themselves: judgments of art criticism, the demand for some art practices and names in the art market are to particular extent guides for authors (those who do not exclude themselves from the art market), factors of influence on further transformations in their creative activity. These circumstances, firstly, allow us to consider the art market not only in the economic field (as an economic category), but also as an interdisciplinary phenomenon of great importance for culture; secondly, it rises the practical value of exploring the interaction issue of these institutions / subjects of the cultural process (art market and art criticism), the degree of their interdependence and disclosure, dictated by the art market changes in the art criticism activities, which will determine the role of the art market and art criticism in sociocultural field. It is necessary to note that the main trends in the development of art criticism in the context of the contemporary art market are its growing dependence on commercial factors, marketing, the significant decrease in serious non-biased materials expressing the independence of their authors’ views (detailed analysis and professional interpretation of the artistic processes). This niche is being actively filled by amateur publications, information genres and advertising materials. The depicted situation creates the preconditions for providing a significant role in the artists’ selection and attraction to the commercial sphere, and, finally, for the public opinion formation to the art business representatives; dominance in the news field of information highlighted from the favourable perspective for the main players of the art market, which satisfies their interests in their own promotion and contributes to their hegemony in the art space. This situation is caused, among others, by the lack of financial independence of the art criticism in Kyiv and it lack of demand at the national art market.

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.

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.

Animals in Contemporary Art

2020 ◽  
pp. 103-126
Author(s):  
Ted Nannicelli
Keyword(s):  
Contemporary Art ◽  
Art Criticism ◽  
Prima Facie ◽  
Art World ◽  
Ethical Criticism ◽  
The World ◽  
Oriented Approach ◽  
Moral Respect

With reference to a number of contemporary cases, such as that surrounding the Guggenheim’s Art and China after 1989: Theater of the World exhibition, this chapter argues that some important controversies about the ethics of art can be explained in terms of a disconnect between people who tacitly adopt the perspectivist (or another interpretation-oriented) approach to ethical criticism and people who tacitly adopt a production-oriented approach to ethical criticism. The chapter argues that perspectivism tends to be favored not only in philosophical aesthetics, but also in art criticism and in many art world institutions. In contrast, non-specialists tend to tacitly adopt the production-oriented approach. In the case of the use of animals in contemporary art, current controversies are further explained by the fact that, given some fairly uncontroversial premises about the moral respect that we owe to non-human animals, people who evaluate such work from a production-oriented approach are likely to find much that is prima facie ethically blameworthy. Moreover, they are rationally warranted in doing so.

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. 

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 Smart Art Market Products from the Contemporary Art World

2019 ◽  
Vol 1 (1) ◽  
Author(s):  
Pang-Soong LIN ◽  
Jia FU
Keyword(s):  
Contemporary Art ◽  
Art Market ◽  
Value Systems ◽  
Art World ◽  
Art Exhibition ◽  
Mass Consumption ◽  
Market Product ◽  
National Boundaries ◽  
Museum Of Contemporary Art ◽  
Fair Access

The power of the Smart Art Market product has become the vehicles between art and mass consumption of communication. Furthermore, it has across national boundaries and cultural regions that took part in the consumption and public opinion actively. In this trend, typical exhibitions is bridging to an economic model, and Smart Art Market presents a new logic of trade and valuation, ensuring fair access, distribution and acquisition for widely types of art collector. Indeed, this contemporary art exhibition attracts large audiences all the time, such crowed visitors entering the art zone places as the Museum of contemporary art, cultural and creative industrial park, a commercial gallery to visit and establish tourist consume. It breaks the last form of art. On the other hand, Smart Art Market product expand the value systems from the contemporary art world. Within the exhibition program, symbolic meaning from the original work has been discussed and explored.

scholarly journals La educación artística como configuración de lo contemporáneo en el arte

2018 ◽  
pp. 149
Author(s):  
Daniel Montero
Keyword(s):  
Contemporary Art ◽  
Art Criticism ◽  
Art World ◽  
Art Theory ◽  
Palabras Clave ◽  
Or Practice ◽  
Art Research ◽  
Global Art ◽  
Art Schools ◽  
Arte Contemporáneo

Resumen: El siguiente texto es una reflexión personal que parte de mi experiencia profesional como investigador en historia y crítica de arte, así como de mi labor docente en escuelas de formación artística en niveles de licenciatura y posgrado y que permite pensar en cómo es que tanto la teoría, la historia y las prácticas del arte coinciden necesariamente. Se argumenta, en general, que la noción de arte contemporáneo, más que un estilo o una moda, es un espacio de experimentación que puede ser aprovechado en las escuelas de arte como un lugar para pensar en cómo es que se percibe la realidad inmediata y cómo es que se pueden singularizar ciertas experiencias de una manera única, de forma muy diferente a cualquier otra disciplina. En ese sentido, y al contrario de lo que se podría esperar por las reglamentaciones y tradiciones que lo predeterminan, el espacio académico se convierte a su vez en un lugar en que la práctica del arte puede escapar y empezar a dialogar de otra forma con la institucionalidad del mundo del arte global y de ciertas maneras de hacer que se han convertido en códigos fácilmente comprensibles. Así, la noción de arte contemporáneo incorporada a la escuela podría incluso cuestionar las mismas bases del conocimiento artístico permitiendo cierta movilidad de los sujetos, así como de las prácticas. Palabras clave: Investigación artística, Arte contemporáneo, Arte crítico, Escuela de arte, Formación artística.   Abstract: The following text is a personal reflection from my professional experience as a researcher in arte history and art criticism, as well as from my teaching work in art schools at undergraduate and graduate levels. That allows me to think about how the art theory, art history and practice of art necessarily coincide. It is argued, in general, that the notion of contemporary art, rather than a style or a fad, is a space for experimentation that can be used in art schools as a place to think about how it is perceived the immediate reality and how it is that you can single out certain experiences in a unique way, very differently from any other discipline or practice. In that sense, and contrary to what could be expected by the regulations and traditions that predetermine it, the academic space becomes a place where the practice of art can escape the institutionality of the global art world and of certain ways of doing that have become easily understandable codes. Thus, the notion of contemporary art incorporated into the school could even question the very foundations of artistic knowledge allowing certain mobility of the subjects, as well as of the practices. Keywords: Art research, Contemporary art, Critical art, School of art, Artistic education.   http://dx.doi.org/10.7203/eari.9.11492

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.

6. Fracture

2020 ◽  
pp. 130-148
Author(s):  
Julian Stallabrass
Keyword(s):  
Contemporary Art ◽  
Social Activism ◽  
Digital Art ◽  
Art World ◽  
Global Event ◽  
Activist Art ◽  
Art Practices ◽  
Event Driven ◽  
Internet Art ◽  
Technological Means

‘Fracture’ explains that in contemporary art, a profound rift has opened up between the marketized art directed at the super-rich, extravagantly expensive, and often familiarly standardized, and a world of artistic social activism. The restless, global, event-driven art world has become ever more environmentally damaging. It is thus unsurprising that art fairs have occasionally been the site of protest. One response was found in increasingly activist art practices of online art or Internet art. In digital art, the use of new technological means to make and distribute work came into conflict with the craft-based practice, patronage, and elitism of the art world.

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