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Relevant bibliographies by topics / Art market, contemporary art market, contemporary art production / Books

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Books on the topic 'Art market, contemporary art market, contemporary art production'

Author: Grafiati

Published: 9 March 2023

Last updated: 31 July 2025

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1

Polsky, Richard. Art market guide: Contemporary American art. Marlit Press, 1998.

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2

Buck, Louisa. Market matters: The dynamics of the contemporary art market. Arts Council England, 2004.

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3

Rhetts, Paul Fisher, and Barbe Awalt. Contemporary Hispanic Market: 25 years. LPD Press, 2011.

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4

Museum of Contemporary Photography (Columbia College (Chicago, Ill.)). Photography's multiple roles: Art, document, market, science. Museum of Contemporary Photography, Columbia College, 1998.

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5

Velthuis, Olav. Talking prices: Symbolic meanings of prices on the market for contemporary art. Princeton University Press, 2005.

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6

Dossi, Pirschka. Arte, prezzo e valore: Arte contemporanea e mercato = Art, price and value : contemporary art and the market. Silvana, 2008.

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7

Division, Toronto (Ont ). Records &. Archives. Interiors, exteriors: Contemporary art from the City's collection, July 27 to October 20, 1985, the Market Gallery of the City of Toronto Archives. City Archives, 1985.

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8

Barysheva, Anastasii͡a. INART 2016: Analiticheskii obzor rynka rossiiskogo sovremennogo iskusstva = Analytical report of the Russian contemporary art market. INART 2016, 2016.

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9

Shākir, Vaḥīd. Muqaddamahʹī bar muṭālaʻah-ʼi bāzār-i mālī va iqtiṣādī-i hunarʹhā-yi tajassumī-i muʻāṣir-i Īrān dar sih dahah-ʼi akhīr: An introduction to the study of financial market and economic of Iran's contemporary visual arts in the past three decades. Mihr-i Nawrūz, 2017.

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10

Đorđević, Jovana Abramović. Savremeni tokovi umetničkog tržišta: Umetnici i nove kompetencije = Contemporary trends of art market : artists and new competencies. Zadužbina Andrejević, 2014.

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11

Goldstein, Claudia. Beuckelaer and the Art of Dining. Amsterdam University Press, 2024. https://doi.org/10.5117/9789463727822.

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Sixteenth-century Flemish painter Joachim Beuckelaer produced dozens of large-scale paintings of contemporary working women and men selling, presenting, and preparing a visually stunning array of foodstuffs for the viewer. These were new subjects in Antwerp and even newer in Italy, where elite merchants and nobles like Margaret of Parma displayed them as they were meant to be displayed: in dining rooms and spaces used for entertaining. This study explores the cross-cultural meanings of Beuckelaer’s distinctly Northern European kitchen and market scenes in the context of North Italian dining an

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12

Dibazar, Pedram, and Judith Naeff, eds. Visualizing the Street. Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462984356.

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From user-generated images of streets to professional architectural renderings, and from digital maps and drone footages to representations of invisible digital ecologies, this collection of essays analyses the emergent practices of visualizing the street. Today, advancements in digital technologies of the image have given rise to the production and dissemination of imagery of streets and urban realities in multiple forms. The ubiquitous presence of digital visualizations has in turn created new forms of urban practice and modes of spatial encounter. Everyone who carries a smartphone not only

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13

Polsky, Richard. Art Market Guide 1998: Contemporary American Art (Art Market Guide). Archer Fields, 1998.

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14

Polsky, Richard. Art Market Guide 1997: Contemporary American Art (Art Market Guide). Distributed Art Pub Inc (Dap), 1997.

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15

Art Market Guide: Contemporary American Art: 1995-96 Season (Art Market Guide). Distributed Art Pub Inc (Dap), 1995.

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16

Goblin market: Irish new contemporary art. 2012.

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17

Winkleman, Edward. Selling Contemporary Art: How to Navigate the Evolving Market. Allworth, 2017.

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18

Winkleman, Edward. Selling Contemporary Art: How to Navigate the Evolving Market. Skyhorse Publishing Company, Incorporated, 2015.

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19

Horowitz, Noah. Art of the Deal: Contemporary Art in a Global Financial Market. Princeton University Press, 2014.

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20

Horowitz, Noah. Art of the Deal: Contemporary Art in a Global Financial Market. Princeton University Press, 2014.

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21

Art of the deal: Contemporary art in a global financial market. Princeton University Press, 2011.

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22

Archer, Anita. Chinese Contemporary Art in the Global Auction Market. BRILL, 2022.

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23

Thompson, Don. Orange Balloon Dog: Bubbles, Disruptions and Avarice in the Contemporary Art Market. Quarto Publishing Group UK, 2018.

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24

Orange Balloon Dog: Bubbles, Turmoil and Avarice in the Contemporary Art Market. Douglas and McIntyre (2013) Ltd., 2017.

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25

Thompson, Don. Orange Balloon Dog: Bubbles, Turmoil and Avarice in the Contemporary Art Market. Quarto Publishing Group UK, 2018.

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26

Selling contemporary art: How to navigate the evolving market. Allworth, 2015.

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27

Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art. Princeton University Press, 2013.

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28

Between state and market: Chinese contemporary art in the post-Mao era. Brill, 2014.

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29

Engelhardt, Keara. Social World of Galleries: Contemporary Art, the Market and Internationalization. Bloomsbury Publishing Plc, 2024.

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30

Velthuis, Olav. Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art. Princeton University Press, 2013.

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31

Talking prices: Symbolic meanings of prices on the market for contemporary art. Princeton University Press, 2005.

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32

Ekelund, Robert B., John D. Jackson, and Robert D. Tollison. Dimensions of the American Art Market. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657895.003.0002.

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Chapter 2 discusses the long evolution of the market for American art in a brief synopsis of key developments along the way. It explains the early marketing of American art, the romance of collectors with Old Masters, the shift in art education of Americans to Europe (especially Paris and Munich) and the ultimate development of a “unique” American art at the turn of the nineteenth century—involving the mix of European modernism with American influences of the “ashcan” artists and the American modernism sponsored by Alfred Stieglitz. Finally, the shift from pre–World War II art to abstract expr

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33

Fan, Xiang. Contemporary Art Cinema Culture in China. Bloomsbury Publishing Plc, 2024. https://doi.org/10.5040/9781350370135.

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How do contemporary Chinese audiences access art cinema? What are the alternative channels for the distribution and exhibition of art cinema in China? How is Chinese art cinema changing with the booming of internet media and commodity culture in the 21st century?To answer these questions, Xiang Fan explores the dynamic networks of art cinema in China in the 21st century, highlighting the cultural practices of intermediaries such as independent programmers, internet critics, and fan translators. Offering insights gleaned from original ethnographic research, Fan reveals how these intermediary pr

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34

Cina Cina Cina!!!: Arte contemporanea cinese oltre il mercato globale = Chinese contemporary art beyond the global market. Silvana, 2007.

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35

Ekelund, Robert B., John D. Jackson, and Robert D. Tollison. Early and Contemporary American Art as Investment Vehicles. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657895.003.0005.

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American art, both pre-1950 art and contemporary works, are examined as investment vehicles in this chapter. This study, unlike others, factors in both buyer’s and seller’s premiums charged by the auction house. These transaction costs must be considered when calculating actual returns from utilizing art at auction as an investment. We find that, under various assumptions of these transaction expenses, early American art (pre-1950) provides a modest return of between a negative 3-plus and a positive 2 percent. Contemporary American art, for our sample, yields a far higher return in the range o

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36

Velthuis, Olav. Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art (Princeton Studies in Cultural Sociology). Princeton University Press, 2007.

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37

Lee, Jung-Sil, and Dong-Yeon Koh. Modern and Contemporary Korean Art in Context (1950 - Now). Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9781350446892.

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Including over 120 full-colour images throughout, this is a vividly illustrated, in-depth and up-to-date introduction to the world of Korean art from 1950 to the present day. The book covers such as topics as: · Historical, political and social contexts in Korea from the military dictatorship through the post-Olympics period to the digital age; · Major artistic movements, including: Modernist, Avant Garde Dansaekhwa, Minjung Misul, Hangukhwa, Sogroup undong , Pop Art, Feminist art, Media art, and Postmodern art; · Key forms, from traditional ink painting to western style painting, print, photo

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38

Marie, Robertson Eleanor. MacGregors : Alan and Grant: All the Possibilities / One Man's Art. Harlequin Mills & Boon, Limited, 2011.

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39

Chagnon-Burke, Véronique, and Caterina Toschi, eds. Women Art Dealers. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350407701.

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Women Art Dealers brings together fascinating case studies of galleries run by women between the 1940s and 1980s. It marks a departure from other work in the field of art markets, challenging male-dominated histories by analyzing the work of female dealers who anticipated the global model, worked to promote art across continents, and thus developed an international art market. Part 1 focuses on the women gallerists behind the promotion of modern art after World War II who participated in important research about the neo-Avant-Garde. Part 2 examines the contributions by women art dealers toward

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40

Barradas Jorge, Nuno. ReFocus: The Films of Pedro Costa. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474444538.001.0001.

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This is the first English-language study of internationally acclaimed Portuguese filmmaker Pedro Costa, examining the cultural, production and exhibition contexts of his feature films, shorts and video installations. It situates Costa’s filmmaking within the contexts of Portuguese, European and global art film, looking into his working practices alongside the impact of digital video, forms of collaborative authorship, and the intricate dialogue between modes of production and aesthetics. Considering the exhibition, circulation and reception of Costa’s creative output in settings such as film f

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41

Ekelund, Robert B., John D. Jackson, and Robert D. Tollison. Markets, Culture, and American Art. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657895.003.0001.

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Chapter 1 introduces the rationale for studying and analyzing the economic aspects of American art as a “category” of art genres and, more generally, it places the market for art in the context of trade for all goods and services. Art, like all traded goods, possesses credence characteristics, but they are present to a significant degree since the requisite assurance of authenticity is often difficult to determine. The chapter also explains why American art can be segmented for study apart from a “homogeneous” art category and also as two markets—one prior to art produced before 1950, and anot

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42

Ekelund Jr., Robert B., John D. Jackson, and Robert D. Tollison. The Economics of American Art. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657895.001.0001.

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The Economics of American Art focuses solely on critical economic aspects of the full range of American art (as opposed to art produced and traded in the United States). After a brief introduction to the history of this market, simple economics in both narrative and statistical form is used to plumb a number of important topics and issues. Using a unique sample of 14,000 art auction observations between 1987 and 2013 of eighty American artists born before 1950, several important topics related to art and the marketplace are examined. These include such matters as the age at which artists achie

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43

Newman, Saul, and Tihomir Topuzovski. Postanarchism and Critical Art Practices. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350410374.

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Engaging with contemporary debates about the political role of art in an era of total market subsumption, this book shows how artists respond to the challenges of political authoritarianism, police violence, right-wing populism, ‘post-truth’ discourse, economic inequality, pandemics, and the environmental crisis, transforming the public sphere in new and unexpected ways. Going beyond sterile debates about identity politics, diversity and representation that beset the mainstream media, university campuses and other cultural domains, the volume illustrates the ways in which artists are opening u

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44

Harris, Charlaine. From Dead to Worse (Original MM Art) (Sookie Stackhouse/True Blood). Ace Trade, 2010.

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45

Harris, Charlaine. Living Dead in Dallas (Original MM Art) (Sookie Stackhouse/True Blood). Ace Trade, 2010.

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46

Harris, Charlaine. All Together Dead (Original MM Art): A Sookie Stackhouse Novel (Sookie Stackhouse/True Blood). Ace Trade, 2010.

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47

Harris, Charlaine. Dead to the World (Original MM Art): A Sookie Stackhouse Novel (Sookie Stackhouse/True Blood). Ace Trade, 2010.

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48

DeFino, Dean J. The HBO Effect. Bloomsbury Publishing Inc, 2014. http://dx.doi.org/10.5040/9798765100691.

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No advertisers to please, no censors to placate, no commercial interruptions every eleven minutes, demanding cliffhangers to draw viewers back after the commercial breaks: HBO has re-written the rules of television; and the result has been nothing short of a cultural ground shift. The HBO Effect details how the fingerprints of HBO are all over contemporary film and television. Their capability to focus on smaller markets made shows like Sex and the City, The Sopranos, The Wire, and even the more recent Game of Thrones and Girls, trigger shows on basic cable networks to follow suit. HBO pioneer

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49

Harris, Charlaine. Dead as a Doornail (Original MM Art): A Sookie Stackhouse Novel (Sookie Stackhouse/True Blood). Ace Trade, 2010.

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50

Ekelund, Robert B., John D. Jackson, and Robert D. Tollison. The Impact of Death and Bubbles in American Art. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657895.003.0007.

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Chapter 7 presents a dissection of two important issues affecting the art market and the fate of artists: “a death effect” and “bubbles.” Death of an artist is a guarantee that additional legitimate output will not be forthcoming, the “Coase durable monopoly conjecture.” Evidence indicates that the price path of seventeen artists who died over the sample period rises as the artist approaches death. After death, price may rise or fall with supply and demand, but we find it rises for our contemporary artists. “Bubbles”—rapid price increases—have and do occur in the art market. We find that art p

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