The Experts below are selected from a list of 186615 Experts worldwide ranked by ideXlab platform

Andreas Fischer - One of the best experts on this subject based on the ideXlab platform.

Olav Velthuis - One of the best experts on this subject based on the ideXlab platform.

  • local contexts as activation mechanisms of market development Contemporary Art in emerging markets
    Consumption Markets & Culture, 2018
    Co-Authors: Nataliya Komarova, Olav Velthuis
    Abstract:

    ABSTRACTThe paper studies how local contexts contribute to the emergence of markets. In pArticular, it explains how potential entrepreneurs are motivated to become active in establishing new markets. Empirically, the focus is on Contemporary Art markets in two emerging countries: India and Russia. The paper draws upon qualitative interviews with 65 Contemporary Art dealers conducted in New Delhi, Mumbai, Moscow and Saint Petersburg. We show how different socio-cultural contexts function as activation mechanisms: in India, family backgrounds predominantly structure the decision-making processes, among others through the economic, social and cultural capital which these families provide. In Russia, by contrast, such family background is non-existent. Instead, the socio-economic turmoil of 1990s and 2000s as well as the strong involvement of the state function as activation mechanisms. We suggest that these different activation mechanisms contribute to explaining the diverging market performance in both coun...

  • cosmopolitan canvases the globalization of markets for Contemporary Art
    2015
    Co-Authors: Olav Velthuis, Baia S Curioni
    Abstract:

    This book brings together recent, multidisciplinary, cutting edge research on the globalization of markets for Contemporary Art. Focusing on different regions including China, Russia, India, and Japan, the chapters in this book study the extent to which Art markets have indeed become global. On the one hand, it focuses on organizations such as the Art fairs, Internet platforms, and auction houses which have enabled global flows of Contemporary Art. It shows how Art from places such as the Middle East has been transformed into a new asset class. On the other hand, the chapters highlight the multiple barriers which globalization has encountered in Art markets. Although markets for Contemporary Art have indeed emerged across the globe, cross-border flows of works of Art have remained comparatively insignificant. The reasons behind these barriers are explored. They include differences in taste across the globe, trade barriers in countries like India and Brazil, and vested interests of actors in local Art worlds like Japan. This book recognizes the coexistence of various ecologies of Contemporary Art exchange and sketches the presence of resilient local networks of actors and organizations within Art markets. Some chapters moreover argue that Europe and the United States continue to dominate the global market, especially when considering rankings of success and pArticipation in the most prestigious commercial events such as Art Basel.

  • determinants of prices for Contemporary Art in dutch galleries 1992 1998
    Journal of Cultural Economics, 2002
    Co-Authors: Merijn Rengers, Olav Velthuis
    Abstract:

    We analyse determinants of prices for Contemporary Art with the help of quantitative data. The focus is on gallery rather than auction prices in the Netherlands. We model the determinants of prices on three different levels: the work of Art (size, material), the Artist (age, sex, place of residence, institutional recognition), and the gallery (location, institutional affiliation, age). Our main findings are that the size and material of works of Art, and the age and place of residence of the Artist are strong predictors of price; that differences in size and materials pArtly ``mask'' price differences between Artists; and that the variance in prices across galleries is largely explained by characteristics of the Artists they represent.

Alessia Zorloni - One of the best experts on this subject based on the ideXlab platform.

Terry K Smith - One of the best experts on this subject based on the ideXlab platform.

  • Contemporary Art world currents in transition beyond globalization
    Contemporaneity: Historical Presence in Visual Culture, 2014
    Co-Authors: Terry K Smith, Saloni Mathur
    Abstract:

    An edited transcript of a colloquium between Terry Smith, Mellon Professor of Contemporary Art History and Theory at the University of Pittsburgh, and Saloni Mathur, Associate Professor of the History of Art, University of California, Los Angeles, held at the DepArtment of the History of Art and Architecture, University of Pittsburgh, on October 17, 2012.

  • Contemporary Art world currents
    2011
    Co-Authors: Terry K Smith
    Abstract:

    Acknowledgments General Introduction: Contemporary Art in Transition: From Late Modern Art to Now I BECOMING Contemporary IN EUROAMERICA 1. Late Modern Art becomes Contemporary 2. The Contemporary Art Boom II THE TRANSNATIONAL TRANSITION 3. Russia and (East of) Europe 4. South and Central America, the Caribbean 5. China and East Asia 6. India, South and Southeast Asia 7. Oceania 8. Africa 9. West Asia III Contemporary CONCERNS 10. World Pictures: Making Art Politically 11. Climate Change: Art and Ecology 12. Social Media: Affects of Time 13. Coda: Permanent Transition Notes Select Bibliography A Directory of Selected Contemporary Art Websites Index Picture Credits

  • what is Contemporary Art
    2009
    Co-Authors: Terry K Smith
    Abstract:

    Who gets to say what counts as Contemporary Art? Artists, critics, curators, gallerists, auctioneers, collectors, or the public? Revealing how all of these groups have shaped today's multifaceted definition, Terry Smith brilliantly shows that a historical approach offers the best answer to the question: What Is Contemporary Art? Smith argues that the most recognizable kind is characterized by a return to mainstream modernism in the work of such Artists as Richard Serra and Gerhard Richter, as well as the retro-sensationalism of figures like Damien Hirst and Takashi Murakami. At the same time, Smith reveals, post-colonial Artists are engaged in a different kind of practice: one that builds on local concerns and tackles questions of identity, history, and globalization. A younger generation embodies yet a third approach to contemporaneity by investigating time, place, mediation, and ethics through small-scale, closely connective Art making. Inviting readers into these diverse yet overlapping Art worlds, Smith offers a behind-the-scenes introduction to the institutions, the personalities, the biennials, and of course the works that together are defining the Contemporary. The resulting map of where Art is now illuminates not only where it has been but also where it is going.

  • Contemporary Art and contemporaneity
    Critical Inquiry, 2006
    Co-Authors: Terry K Smith
    Abstract:

    A park in Istanbul during the autumn months of 2001: out from the manicured grass protrudes the corner section of a new, white-walledbuilding. Or is it sinking (fig. 1)? High modernist styling like that can onlymean one thing: Art gallery. But for what kind of Art, and why is it here? Walk around it and the words Temporary Art appear above the blocked, nearly inaccessible door. Of course: a gallery or museum of Contemporary Art. Yet its duck-rabbit directionality is a puzzle. Are we meant to construe it as the victim of some unfelt eArthquake, historical tragedy, or human neglect? Or perhaps is it emerging from underground, an architectural chrysalis taking, triumphantly, its rightful shape? The answer is left deliberately ambiguous. The creators of this piece of public Art, Michael Elmgreen and Ingar Dragset, made it for the Seventh Istanbul Biennale; the park is a pArt of the exhibition grounds. So it is, first of all, what the words on it lightheArtedly say it is: a temporary work of Art. In other projects by these Artists, architectural forms and functions are altered in subtle and amusing ways. In one case, they installed a diving board so that it pointed out the window of an upper story in a modernist high rise. For awork entitledSPECTACULAR2003 theKunstPalast inDusseldorf underwent the transformation of having its entire collection dismantled, packed into trucks that were driven once around the building, then reinstalled exactly as before. In the same year Elmgreen and Dragset installed a white truck with a caravan as if it had shot through from the other side of the planet and erupted, jackknifed, at the main crossing of the Galleria,

Julia Giebeler - One of the best experts on this subject based on the ideXlab platform.