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1
Vosilov, Rustam. "Essays on Art Markets : insight from the international sculpture auction market." Doctoral thesis, Umeå universitet, Företagsekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-106693.
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The main purpose of this thesis is to investigate the viability of sculpture as a potential alternative investment. This goal is achieved through partly assessing the market quality of the auction market for sculptures and partly by studying their long-run diversification potential. The assessment of the sculpture market quality, together with the long-run co-movement analysis are objectives met through conducting four individual studies. In Paper I, I find that auction house art experts' relative estimate range positively affects realized prices. The effect is robust across the mid- low- and high-end segments of the international sculpture market. Interpreting the art experts' price estimate range as a proxy for the prevailing divergence of investor opinion in the art market, the findings are consistent with the disagreement model of Miller (1977). This evidence is contradictory to the predictions of the general auction model in Milgrom (1982) and does not lend support to the interpretation of the price estimate range as a proxy only for uncertainty. Moreover, the study gives insight into the price determinants of sculpture using a unique large dataset of over 65,000 sculpture sales at international auctions. Paper II is the first study to find evidence of a home bias in prices of art sold at international art auctions. All else equal, art prices are higher when they are auctioned in the home country of the artist compared to outside of the artist's home country. Moreover, the home bias in prices is more pronounced in the low-end sculpture market segment than in the high-end segment, indicating that familiarity can be a potential explanation of the bias. Furthermore, the home bias is found to be partly related to patriotism. The findings indicate that the home bias in prices increases as the relative level of patriotism rises in the home country of the artist, and that patriotism is a more persistent source of the home bias in art prices than familiarity. Paper III examines the absolute and time-varying weak-form market efficiency of the international sculpture auction market. The results indicate that the sculpture market efficiency varies over time lending support to the Adaptive Markets Hypothesis. Moreover, I find that the times of peaking relative market inefficiency coincide with distress in the wider economy and financial markets. Additionally, I find evidence that auction house art experts' pre-sale estimate accuracy Granger causes developments in time-varying market efficiency, highlighting the importance of art experts. Paper IV analyzes the dynamic relationship between the international sculpture market and the traditional financial investments during the period 1985-2013. Three international sculpture price indices are constructed to proxy for the general sculpture market price movements along with the low- and high-end segments of the international sculpture market. The results show that price development in the sculpture market does not move together with government bond prices in the long run. When it comes to equity markets, I find significant cointegrated dynamics between sculpture indices and the world equity markets. On the other hand, there is no such relationship when the S&P 500 is considered. Furthermore, cointegration is detected when analyzing the sculpture markets with the world GDP per capita. Granger-causality tests reveal that sculpture prices, in general, are Granger-caused by GDP per capita. Moreover, the Granger-causality tests indicate that sculpture price developments follow the world equity price movements, but not those of the S&P 500.
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Bianchin, Francesco <1995>. "CHINESE ART MARKET ON AUCTION." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16702.
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One of the main developments in the art market history of the twenty-first century is the emergence of China as a strong market player, and the growing prominence of Chinese art and antiquities, based on the record-high prices attained at auction in 2010. Within a three year period between 2007 and 2010, China has gone from sixth place to being the second-largest art market in the world, behind the US.
Based on fine art auctions statistics, the buyer demographic of Chinese art and antiquities in the past three decades has moved from the West to China. PRC Chinese are the largest group of art buyers today, collecting Chinese antiquities, classical and modern paintings, and contemporary Chinese art.
Following the time chronology of China in the thesis is analyzed the development of the art market throw the different historic periods and art of collecting Chinese antiquities, from the ancients dynasties to the modern collectors of the twentieth century.
The global market for Chinese art today covers an extensive geographical area and a history spanning over two millennia. The thesis will explore the main developments in the Chinese art market within the global context in the twentieth century, and how these developments have shaped the growth of the art market in the twenty-first century. Through historical analysis, key players in the demographic market and price trends will be identified.
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Binder, Lisa M. "Contemporary African art in the London art market : 1995-2005." Thesis, University of East Anglia, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500812.
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This thesis explores the market for contemporary African art in London from 1995 to 2005 using case examples of artists, museums, art festivals and fairs, auctions and galleries. The study is generally bracketed by two festivals, africa 95 and africa 05, touching also on events that transpired during the intervening decade. Many artists from Africa who were working, living or exhibiting in London during this time experienced degrees of marketable success as a result of their participation or relationship with actors involved in the marketplace and in private and public institutions. However, this was not the case for all connected with the two events. The purpose of this thesis is to examine the underlying network of market systems, in a particular place and time, for work by contemporary artists from Africa, in order to frame the various points of entry into the market and, by extension, the broadening of contemporary art historical canons
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Tseng, Suliang. "The art market, collectors and art museums in Taiwan since 1949." Thesis, University of Leicester, 2001. http://hdl.handle.net/2381/31164.
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Radical changes in society have significantly influenced Taiwan since 1949. These changes have created a diversity of social forces, derived from politics, the economy and culture, which have widespread impacts. After 1980, these increasing forces contributed to a prospering art market, art collecting and museum expansion. Political changes intensified the ethnical conflict between the Benshengren and Waishengren, Economic prosperity provoked the art market, encouraged art collectors and diversified collecting interests. Cultural awareness, which was influenced by political ideology and growing Nativism, caused people to re-evaluate local culture. Collecting local cultural objects became very popular and rivalled the collecting of traditional Chinese objects. These social forces, which interweaved and interacted with each other, contributed to cultural development in Taiwan and consequently provoked a diversity of phenomena such as collecting fever, artistic fashion, faking, smuggling, theft and an explosion of museums, auction houses and dealerships. These phenomena emerged rapidly, grew and strongly influenced the art market. The prosperous art market thus can be seen as a place reflecting the social impact and the cultural evolution of Taiwan. Based on observation, historical review of contemporary sources and interviews, this thesis examines the complex relationships between these phenomena. Sociologically and historically, this research not only shows the complexity of these relationships but also provides a model for the operation of the art market as it enters Mainland China.
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Wang, Xuan. "Gallery's Role in Contemporary Chinese Art Market." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1258577100.
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Gittinger, Anne Meredith. "Class Act: Negotiating Art and Market in the Career of Isadora Duncan." W&M ScholarWorks, 2010. https://scholarworks.wm.edu/etd/1539626615.
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Bianco, Christine. "Selling American art celebrity and success in the postwar New York art market /." [Florida] : State University System of Florida, 2000. http://etd.fcla.edu/etd/uf/2000/ane5873/thesis.pdf.
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Thesis (M.A.)--University of Florida, 2000.Title from first page of PDF file. Document formatted into pages; contains iv, 70 p. Abbreviated abstract copied from student-submitted information. Vita. Includes bibliographical references (p. 56-69).
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Kuizon, Jaclyn. "Fine Art and Clandestine Identity: American Indian Artists in the Contemporary Art Market." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626648.
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Knebel, Christian. "Anomalies in fine art markets three examples of an imperfect market for perfect goods /." kostenfrei, 2008. http://d-nb.info/988470349/34.
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Waelder, Laso Pau. "Selling and collecting art in the network society: Interactions among contemporary art new media and the art market." Doctoral thesis, Universitat Oberta de Catalunya, 2016. http://hdl.handle.net/10803/399029.
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Aquesta tesi explora i analitza les interaccions actuals entre art, nous mitjans i el mercat de l'art, i també les transformacions que es produeixen en el reconeixement de l'art digital, l'estructura del mercat de l'art i els rols de l'espectador i el col·leccionista. La tesi es divideix en tres parts. La primera part analitza les maneres en què l'art de nous mitjans s'ha definit ell mateix com un món de l'art específic, i les polèmiques que exemplifiquen la seva separació del món de l'art contemporani. La segona part analitza les motivacions i les expectatives dels artistes que treballen amb tecnologies emergents, per mitjà d'una enquesta feta per l'autor entre més de cinc-cents artistes de cinquanta països. La tercera part analitza les maneres en què l'art digital ha estat comercialitzat i els canvis recents en el mercat de l'art contemporani a internet.La presente tesis explora y analiza las interacciones actuales entre arte, nuevos medios y el mercado del arte, así como las transformaciones que se están produciendo en el reconocimiento del arte digital, la estructura del mercado del arte y los roles del espectador y el coleccionista. La tesis se divide en tres partes. La primera parte analiza las formas en que el arte de nuevos medios se ha definido a sí mismo como un mundo del arte específico, y las polémicas que ejemplifican su separación del mundo del arte contemporáneo. La segunda parte analiza las motivaciones y las expectativas de los artistas que trabajan con tecnologías emergentes, por medio de una encuesta realizada por el autor entre más de quinientos artistas de cincuenta países. La tercera parte analiza las maneras en que el arte digital ha sido comercializado y los cambios recientes en el mercado del arte contemporáneo en internet.
The present dissertation explores and analyzes the current interactions among art, new media and the art market, as well as the ongoing transformations in the recognition of digital art, the structure of the market, and the role of the viewer and collector. It is divided into three parts. The first part analyzes the ways in which new media art has defined itself as a distinct art world, as well as the controversies that exemplify its separation from the mainstream contemporary art world. The second part exposes the motivations and expectations of artists working with emerging technologies by means of a survey carried out by the author among more than 500 artists from 50 countries. The third part discusses the ways in which digital art has been commercialized as well as the recent developments in the online contemporary art market.
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Durante, Annachiara <1993>. "The Power of the Experience in the Art Market Art business on Cruise Ships." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12407.
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The aim of this work is to analyze the importance of the experiencial aspect of the art market, through a broad overview of its various sales structures: art houses, fairs, galleries.
While there is an emergent digital market, the experience is still a very important component in buying art.
An example proving this evidence is the idea of an art business on the cruise ships.
I will examine the case of ArtWave, an american company that has started a new art program on-board of two luxurious cruise ships: Azamara Journey and Azamara Quest, while having as well three land-based galleries in the U.S.
The business strategy and the initial results will be investigated, for demonstrating how to take advantage of the power of the experience, translating it into another experience that has his own pover: the leisure vassel.
Following their projects I will notice the leaks of the previous pioneer, briefly analyzing the case of Park West Gallery.
Legislative aspects will be treated in short as part of the strategy, as well as the history of the birth of the phenomenon of cruises will help us to understand what are and what have always been the needs of the mankind; so to take advantage of it, transforming the cruise in a floating birdcage.
The power of the experience becomes a postulate at the end of the considerations, and this can be an encouragement for new art business on this focus.
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Riley, James Whitcomb. "Social exchange and valuations in the market for contemporary art." Thesis, Massachusetts Institute of Technology, 2020. https://hdl.handle.net/1721.1/126977.
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Thesis: Ph. D., Massachusetts Institute of Technology, Sloan School of Management, May, 2020Page 115 blank. Cataloged from PDF version of thesis.
Includes bibliographical references.
The first essay draws on 18 months of ethnographic fieldwork to examine the puzzle of why galleries discipline collectors --
who provide much-needed financial capital - for appearing too motivated by profit. Whilst art worlds have strong norms that enjoin artists to avoid the naked pursuit of profit and instead affect an air of "disinterestedness" (that is, a concern only for universal virtues and aesthetic qualities such as truth and beauty), why might art dealers demand that collectors similarly conform to such norms? This study addresses how (and why) galleries enforce conformity to the art-world norm of disinterestedness among collectors as part of an array of tactics they deploy to "protect" their artists from price volatility that could depress demand for the artist's work. The findings suggests a paradoxical resolution. Although galleries framed such discipline as a moral imperative, a key implication of this study is that enforcing a norm that disavows extrinsic rewards such as fortune and fame ultimately supports a profitable business and investment strategy.
The second essay (coauthored with Ezra W. Zuckerman Sivan) also draws on an 18-month ethnographic investigation examining the rise and proliferation of International Art Fairs (IAFs) in the global art market. This study contributes to our understanding of how the construction and extension of market platforms shapes market dynamics. On the surface, the explosive growth of IAFs in the contemporary art market reflects the greater efficiency that market platforms typically offer, both for facilitating exchange and for expanding access. But past research on market construction does not prepare us for either of the two main findings of this paper. The first is that market participants (and especially the mid-size galleries that dominate the fairs) are deeply ambivalent about the fairs' value relative to the cost of participation. The second main finding -- that galleries (and others) believe they must participate in order to be visible in the market --
affords insight into how markets vary in their visibility and opacity; how such variation shapes status competition; and how markets that are designed to increase efficiency may
by James Whitcomb Riley.
Ph. D.
Ph.D. Massachusetts Institute of Technology, Sloan School of Management
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Makela, Daniel. "Art and Culture: The Transformation of Louisville's East Market District." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277497985.
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Stevenson, Michael. "The art market, its intermediaries and the components of value of art works in an historical perspective." Master's thesis, University of Cape Town, 1993. http://hdl.handle.net/11427/21499.
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Bibliography: pages 247-263.The dissertation begins with an historical overview of aspects of the Western art market, and continues with a discussion of financial and economic aspects of the art market. Throughout the factors and intermediaries that come into play in the determination of economic value and the price of exchange are considered. There are two common threads to the dissertation in relation to both art history and financial theory: firstly, the analysis of the role of intermediaries and institutions; and secondly, the valuation of art works in relation to the Components of Value of art works. In the Introduction the concept of intermediation in the context of the art market is discussed, as is the financial and economic definition of an art work. The historical overview that follows is a descriptive analysis of the various support systems and intermediaries in the Western art market from the Renaissance through to the late twentieth century, the guilds, patrons, academies, and dealers, that have and still do function as intermediaries to expedite the transfer of works of art in primary and secondary markets. Five art markets have been selected to provide an historical overview of the structure and functioning of the Western art market. These are Italy in the fourteenth, fifteenth, and sixteenth centuries [Chapter One]; the Low Countries in the sixteenth and seventeenth centuries [Chapter Two]; England from the seventeenth through to the late nineteenth centuries [Chapter Three]; France from the seventeenth to the early twentieth centuries [Chapter Four]; and the U.S.A. in the late nineteenth and the twentieth centuries [Chapter Five]. These periods and geographical locations have been chosen to draw attention to the historical shifts in the structure and functioning in the art market. In Chapter Six the Components of Value of art works through history and in the art market of recent years are analysed. The Components of Value are those factors, aesthetic, historical, economic, and otherwise that, depending on the art work and period in which it is exchanged, influence the economic value of art works. This chapter then considers in detail the range of Components of Value that each contribute in a different manner to the price of exchange. The concluding chapter provides an analysis of the 'supply' of art works in. terms of the suppliers, the artists; and the demand, the consumers; and the linking of the supply and demand by art market intermediaries in terms of the Components of Value.
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Downey, Erin Elizabeth. "The Bentvueghels: Networking and Agency in the Seicento Roman Art Market." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/335436.
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Art HistoryPh.D.
This dissertation evaluates the position of Netherlandish migrant artists in the dynamic cultural environment of seventeenth-century Rome through an examination of the role of the Bentvueghels (“birds of a feather”) as a social and economic nexus for the city’s foreign community. One of the most distinctive societies in the history of art, this high-spirited ex-pat “brotherhood” attracted hundreds of traveling artists and was notorious throughout Europe for its raucous initiations and for the raw depictions of Rome by Pieter van Laer and his followers, the Bamboccianti. While earlier scholarship has established important aspects of the group, such as its history and the artistic significance of individual members, the society has been characterized largely as antagonistic and antithetical to organizations and institutions specific to Rome. I offer instead a fresh outlook on the Bentvueghels that examines their day-to-day economics and response to (and even driving of) market forces in Rome, in order to determine how the society of foreigners as a whole operated functionally within a shifting creative environment in one of the most vital artistic centers in Europe. To address these issues, each chapter is arranged thematically and chronologically, focusing on the period between 1620, when the group first organized, through the close of the seventeenth century, when the last known images of Bentvueghel initiations were created. Using a methodology that integrates art historical primary source investigation with migration theory and network analysis, I analyze the various stages of the journey to Rome for these artists, from initial arrival, to the establishment of a workshop, to the achievement of success in local and international markets. The Introduction (Chapter One) sets up the methodological and historiographical framework for the dissertation. In the second chapter, “Arriving in Rome: The Bentvueghels as a Social and Economic Nexus,” the social activities of the Bentvueghels and their networks are discussed. Archival sources including parish censuses, criminal court records, and notarial documents demonstrate how the group enabled migrant artists to adapt to a different—and often hostile—market by fostering surrogate kinship networks. The Bentvueghels offered migrant artists, who were typically young (around 22-25 years of age), male, and single, a place to live, a ready-made network of friends, and critical financial assistance. Chapter Three, “Working in Rome: Bentvueghel Workshops and Working Practices,” establishes the working practices of Dutch and Flemish artists, a relatively uncharted area of research, and locates economic and social network formation within the space of the workshop. Centers of artistic production in the city are scrutinized, from the highly trafficked studios of Netherlandish artists such as Paul Bril to the private drawing academies hosted by prestigious patrons, including the celebrated Genoese aristocrat, Vincenzo Giustiniani. Paintings, drawings, and prints produced by Dutch and Flemish Italianate artists are compared to identify patterns in workshop practices, determine market impact, and measure the degree to which they were influenced by their new surroundings and by their association with the Bentvueghels. In the fourth and final chapter, “Staying in Rome: Cornelis Bloemaert II as a Case Study for Long-term Strategies of Networking,” I explore strategies of integration among members who remained in Rome for extended periods, focusing on the engraver Cornelis Bloemaert II as a case study. Collaborative enterprises such as large-scale book productions, which comprised a significant proportion of Bloemaert’s artistic output in Rome, provided ways for artists to enhance their artistic education and experiment with new techniques and motifs, while also encouraging further expansion and development of an artist’s social and economic networks. This study thus evaluates the full scope of a foreign artist’s experience in Rome, highlighting with greater accuracy the ways in which affiliation with the Bentvueghels influenced acclimation and eventual integration within the social and cultural fabric of the city. It offers, moreover, a much needed contextualization of the artistic relations between northern European and Italian artists in seventeenth-century Rome, and the important position of the Bentvueghels within this cosmopolitan environment.
Temple University--Theses
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Grewatz, Abby. "Folk Art, Nationalism, and Identity in a Kyiv, Ukraine Souvenir Market." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/17901.
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Since the collapse of the USSR independent Ukraine has used politics and culture to define a separate national identity, in contrast to Russia. Through a performance studies lens I describe Kyiv's largest souvenir market, Andriyivsky Uzviz, and place it in the context of nationalism and cultural promotion. I draw on Conquergood who situates the performing of culture at the intersection of history and identity, and Kapchan who notes that markets are key sites where ethnic identity is defined within sociopolitical frameworks. While profit and customer demand are important to vendors in the Uzviz, Ukrainianness is consciously emphasized through their folk art items. Vendors wear national costume, sell "traditional" Ukrainian items, and explicitly identify as Ukrainian, not Russian. Through one Uzviz folk artist I illustrate vendors' use of folk arts to express Ukrainian cultural identity and show how the market is a microcosm of the larger nationalist movement in Ukraine.
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Foster, Timothy Charles. "A study of the market valuation of antique Chinese ceramics." Thesis, Southampton Solent University, 1997. http://ssudl.solent.ac.uk/1261/.
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This research describes an attempt to postulate a grounded theoretical understanding of the valuation of objects described as art and antiques. The approach adopted is fundamentally inductive and interdisciplinary. It begins with a discriminating synthesis of the relevant literature from the disciplines of Art History, Sociology, Anthropology, Economics and Psychology. Financial value is strongly correlated with aesthetic value, which is created partially through the process of exchange itself, but largely through the ascribing of 'meaning' to objects through social and historical mechanisms. These mechanisms are examined using consumer behaviour paradigms. The economic notion of 'artistic capital stock' is assessed for its wider applicability. The study focuses on the creation of perceptions of cultural and financial worth, and valuation of antique Chinese ceramics, which through their inter-cultural complexity, are seen as illuminating a breadth of generalisable phenomena. The creation of perceptions is viewed on both the level of encircling cultural predispositions, and on a level of more specific interactions between the consumer and what are viewed as marketing inputs. The methodology adopted is one of cross-reference between qualitatively described observations derived from particiopation in the market, and quantitative behavioural analysis of a database compiled from the auction sales of Sotheby's and Christie's over a five year period. The results indicate that consumers of 'art' are behaviourally similar to generic consumers of any goods. Further they are risk-reducing seekers of autonomy through affiliation, which appears to compete in the fulfilment of their higher order psychological needs. Culturally established mechanisms for the ascription of 'meaning' to 'art' objects are shown to correlate functionality with the creation of brand perceptions through the marketing of fast moving consumer goods. The specific inputs which contribute to the perception of value, are identified and modelled. Recommendations are made regarding a fuller examination of the 'valuation' process and the appropirateness of further examinations of the 'art market' by consumer behaviourists.
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Pezzini, Barbara. "Making a market for art : Agnews and the National Gallery, 1855-1928." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/making-a-market-for-art-agnews-and-the-national-gallery-18551928(4f296d6c-997a-4eab-95ca-bace7b9c3596).html.
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The thesis investigates the interaction that developed between a major art dealer, Thos. Agnew and Sons (Agnews), and a principal public collection, the London National Gallery, from 1855 to 1928. Agnews played a crucial role in the life of the National Gallery and greatly facilitated the museum accession of important paintings, such as the Madonna Ansidei by Raphael, the Rokeby Venus by Velazquez, the Portrait of Doge Vincenzo Morosini by Tintoretto, and many others. In turn, collaborating with the National Gallery allowed Agnews to penetrate the international Old Masters market and reach for higher social standing. Through the analysis of ten case studies of acquisitions, which are supported by new archival evidence and are contextualised within a broader historical and theoretical framework, this thesis charts the emergence, development and decline of the rapport between the two organisations. It analyses how Agnews and the National Gallery began as two unconnected entities in the mid-nineteenth century, explores how their distinct trajectories turned into a close, collaborative rapport during the 1880s, and finally examines how in the third decade of the twentieth century they separated and initiated a newly detached professional relationship. Appropriating sociological theories by Pierre Bourdieu, Bruno Latour, Viviana Zelizer and others, this study investigates museum acquisitions as resulting from complex interplays of cultural and commercial forces within the field of cultural production. Acquisitions are further enlightened by the analysis of the networks that underpin them, which provide additional evidence on how economic factors are embedded within broader social constructs. By detailing and locating these processes and relationships within the historical context of a broad shift towards commercialisation, yet demonstrating that cultural elements are part of the dealers activities and that commercial values are an intrinsic component of the museum, this study provides an insight into the historical origins of modern-day relationships between museums and art dealers.
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Prusak, Błażej, and Olena Rybak. "Adaptation of the world art market to the conditions of the pandemic within digital technology." Thesis, National Aviation University, 2021. https://er.nau.edu.ua/handle/NAU/54608.
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1. Art market worldwide statistics & facts | Statista. URL:
http://www.ukrstat.gov.ua/ (дата звернення: 04.12.2021).
2. Vickers M. Marketing and Buying Fine Art Online.: URL:
https://archive.org/details/ marketingbuyingf00vick (дата звернення: 06.12.2021).
3. Hermann, M., Pentek, T. and B. Otto (2015). Design principles for
Industrie 4.0 Scenarios. Working paper No.01/2015. Technische Universität
Dortmund, 15 p.The authors looked into the aspects of world art market adaptation to the conditions of the pandemic within digital technology, analyzed the main market trends, described changes in the trade mechanisms. The main challenges of the current art market were defined, and the ways to resolve them were outlined.
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Li, Tang. "Art for the market commercialism in Ren Yi's (1840-1895) figure painting /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/149.
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Thesis (M.A.) -- University of Maryland, College Park, 2004.Thesis research directed by: Dept. of Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Yogev, Tamar. "Drawing a fair picture : A study of the contemorary visual art market." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527326.
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Wei, Linna, and Xichan Zhao. "Investment Study on Christie’ Chinese 20th Century Art." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13812.
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This thesis focuses on the blooming market of Chinese 20th Century Art. The study object is one category of Christie’s Auction house, Chinese 20th Century Art, before 2009. Eight artists’ auction results are selected to the dataset for the research. We find that the previous researches based on the collection of Western arts cannot explain the whole situation of Chinese 20th Century Art. It has speculative character as an invest option in global art market. And some factors would affect the price changing in the auction activities. The Capital Asset Pricing Model is applied to study the investment condition of Chinese 20th Century Art as a capital asset. The result we get from our dataset presents that Chinese 20th Century Art is with high risks and high returns, which is quite different from the previous studies based on Western Artworks. Regression analysis reveals that some factors do affect the rate of price changes. We find that young Chinese artists who born after 1950 achieve better sale results than older ones. Their artworks are always sold on high realized prices. In addition, the high price sale more often happened in the auction house of Hong Kong and the market of Chinese 20th Century Art is enlarging these years. The rate of price change is increasing by the sale year growing. The prices of the artworks are growing higher and higher recently. However, the findings above just explain parts of the price increasing. All the reasons for the price increasing are not clear in this thesis.
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Van, den Bosch Annette. "The art market since 1940 : a model of relationships between key players and the interactions between aesthetic and financial values." Thesis, The University of Sydney, 1989. https://hdl.handle.net/2123/26264.
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The interaction between aesthetic and financial values which has developed in the art market since 1945 constitutes a new situation for the practice of art and poses new problems for aesthetic theory. There have been previous studies of the relationships between artists and dealers, and of the role of collectors, museums s and auction houses in the sale of works of art. However, no single study has attempted to construct a model of the market which takes account of the principal players and their interactions. In New York, the different processes for value formation in art, aesthetic value and financial value (or price), become thoroughly mixed in the development of a market for American Modernism.
The model of the market which is developed in volume one is a simplifie d representation of a historical situation. The analysis concentrates on a few major elements in the system: tastemakers and collectors, dealers and museums, artists and public policy. The leading role played by tastemakers, and the limited number of key players, leaves the art market open to manipulation. The expansion and acceleration of the New York artworld/market system into Europe and Australia in the 1960s is traced. The impact of increased investment in art, and the role of corporate collectors and their relationships to museums is examined in both the international market and the Australian market.
The second volume of the thesis develops a model of the interactions between the international market and a national market, in Australia. The study of the Australian market shows the impact of the New York investment market model in the 1960s, and the full reproduction of the New York model in Sydney in the 1970s. Changing patterns in artists' careers and new processes for reputation formation are examined. The interactions between public sector arts policy and the market, the growth of museums, and the role of all dare in widening the audience for art, are discussed in relation to both the United States and Australia.
The model shown in evolution is a dynamic system. Various crises both financial and aesthetic forced the market to restructure. Some artists actively participated in the system, others developed new norms or practices. The increased use of art for investment led to an emphasis on male reputations in museums and in dealers' galleries - the modern masters syndrome - which was resisted by women artists. Active debates have taken place and legislation has been formulated to resist the most obvious manipulations of the market. The use of a model of the market may enable all those concerned to focus debate on the processes for the formation of aesthetic or financial value (or price) in the artworld/market system.
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Van, den Bosch Annette. "The art market since 1940: a model of relationships between key players and the interactions between aesthetic and financial values." Thesis, The University of Sydney, 1989. https://hdl.handle.net/2123/26277.
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The interaction between aesthetic and financial values which has developed in the art market since 1945 constitutes a new situation for the practice of art and poses new problems for aesthetic theory. There have been previous studies of the relationships between artists and dealers, and of the role of collectors, museums and auction houses in the sale of works of art. However, no single study has attempted to construct a model of the market which takes account of the principal players and their interactions. In New York, the different processes for value formation in art, aesthetic value and financial value (or price), become thoroughly mixed in the development of a market for American Modernism.
The model of the market which is developed in volume one is a simplified representation of an historical situation. The analysis concentrates on a few major elements in the system: tastemake|$ and collectors, dealers and museums, artists and public policy. The leading role played by tastemakers, and the limited number of key players, leaves the art market open to manipulation. The expansion and acceleration of the New York artworld/market system into Europe and Australia in the 1960s is traced. The impact of increased investment in art, and the role of corporate collectors and their relationships to museums is examined in both the international market and the Australian market.
The second volume of the thesis develops a model of the interactions between the international market and a national market, in Australia. The study of the Australian market shows the impact of the New York investment market model in the 1960s, and the full reproduction of the New York model in Sydney in the 1970s. Changing patterns in artists' careers and new processes for reputation formation are examined. The interactions between public sector arts policy and the market, the growth of museums, and the role of all three in widening the audience for art, are discussed in relation to both the United States and Australia.
The model shown in evolution is a dynamic system. Various crises both financial and aesthetic forced the market to restructure. Some artists actively participated in the system, others developed new norms or practices. The increased use of art for investment led to an emphasis on male reputations in museums and in dealers' galleries - the modern masters syndrome - which was resisted by women artists. Active debates have taken place and legislation has been formulated to resist the most obvious manipulations of the market. The use of a model of the market may enable all those concerned to focus debate on the processes for the formation of aesthetic or financial value (or price) in the artworld/market system.
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Moody, Eric. "The art market and the state in Britain : a critical examination of the relationship between the contemporary British state subvention system for visual arts and various art markets." Thesis, City University London, 1989. http://openaccess.city.ac.uk/7956/.
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This thesis is an examination of the complex relationship between a broadly defined art market and the British State. it is an examination of the visual arts economy within a British market economy. It demonstrates the state's failure to support and improve this economy even as it declares such a commitment. For the sake of the visual arts and the national economy, an alternative to the Orthodoxy of the State is argued and mechanism for its achievement proposed. This has required me to to reveal and question some firmly held attitudes and beliefs about art, artists, connoisseurs and public good. Although they constitute a comfortable notion of patronage for a minority, these contemporary notions of art, artist and connoisseur contribute to a decidedly uncomfortable economy for the majority.
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Matsinhe, Sebastiao Filipe. "The production of local art for a global cultural market in contemporary Mozambique." Thesis, University of the Western Cape, 2012. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_4062_1363774738.
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This thesis examines the production of commercial art in contemporary Mozambique. It explores the power relationship between local artists &ndash
painters and sculptors &ndash
and their patrons and brokers in the art market. This means, on one hand, that it looks at the artworks that have been produced during the late colonial period (1962 &ndash
1974) and the post-colonial periods (June 1975 - 2010) and relates this to the changing political landscape in Mozambique. On the other hand, the aim is to explore the artists&rsquo
life histories,
especially how their talent was first recognized, their art training (formal or otherwise), previous work experience, and the reasons for their current success (or lack thereof). This is done in order to see how and to what extent their artistic works have been influenced by external forces or actors. The power relationship existing between the art producers and their customers in the art markets in Mozambique is then related to the issue of globalisation. In this process, the study critically analyses who the actual art patrons of Mozambique art are and the extent to which Mozambican art is influenced by global forces. The focus is on a number of artists and the thesis examines their life histories specific to their art production in order to highlight the themes and trends of their art works. It was found that local art produced in Mozambique is not simply responding to local influences but also to global forces, of which the latter dominates. However, the study further reveals that while the art producers are influenced externally by their buyers, they (the art
producers) have their own ways of manipulating their buyers in order to be able to sell their products. In other words, the artists have the power of mediating between local,
personal influence and that of the patrons.
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Stanford, Jon D. "An economic analysis of the contemporary visual art market in Australia, 1972-1989." Thesis, University of Leicester, 1996. http://hdl.handle.net/2381/35524.
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The analysis of the market is undertaken in both theoretical and empirical terms. The theoretical analysis finds that the dynamics of the art market are important but are difficult to formalise; the primary market is one where prices are set administratively; the secondary market, auction market, is the one where market-clearing occurs; success in the art market will come only to those artists whose works can command the same price in the secondary market as is set in the primary market; the overall market operates with considerable lags so that it may take many years before artists' work appear in the secondary market; and the dealers in the primary market play an important role as intermediaries. The results of the empirical studies carried indicate that the returns to owning art over the period, 1972-1989 have been high and higher than the returns to financial assets. The results of the Portfolio Study confirmed by the results of the resales aspect of the Auction Price Study and by examination of the performance of individual artists. The justification of public support for contemporary visual art is not very strong. Considerable doubt has been cast on the value of the proposed Droit de Suite scheme because the basis of the scheme that artists are exploited cannot be substantiated; artists have difficult in making first sales; most resales do not result in capital gains; the potential costs of a collecting scheme are substantial; and the introduction of the scheme will reduce the current demand for contemporary visual art. The criticisms of the Australia Council have been accepted as the activities of the Council work to advance the interests of artists and contribute to the oversupply in the market.
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MORGENBRODT, Kai Martin. "European social market economy conceptualizing the legal dimension of Art. 3(3) TEU." Doctoral thesis, European University Institute, 2019. http://hdl.handle.net/1814/65947.
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Award date: 1 October 2019Examining Board: Professor Claire Kilpatrick, European University Institute (Supervisor)
The Lisbon Treaty introduced in its Art. 3 new language into primary law that expresses the ambition to give the EU a stronger social dimension.1 In comparison to its predecessor provision of Art. 4 (1) of the Treaty Establishing the European Community, which solely relied on the ‘principle of an open market economy with free competition’, the basic objectives of the EU were broadened. Art. 3 TEU now includes objectives that come across as a promise to rebalance market and non-market values through the foundational provisions of the European Union. In line with other wide-ranging objectives, like fighting social exclusion, this article includes the eye-catching sentence that the EU aims for ‘a highly competitive social market economy’ that seeks to achieve ‘full employment and social progress’
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Wehn, James R. III. "Inventing the Market: Authenticity, Replication, and the Prints of Israhel van Meckenem." Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case155428951539756.
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Chen, Karen Y. "Constructing Historical Truth: An Examination of the Chinese Art Market As A Reflection of China’s Concerted but Conflicted Contemporary Reconciliation with its Problematic Past." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/877.
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This paper examines the connection between art and nationalism in Chinese culture and asserts that the recent market boom and price jump in Chinese fine art reflects a concerted yet conflicted effort by the Chinese government and Chinese society as a whole to reconcile with a problematic twentieth-century past. The paper first delves into the historical practice of utilizing art to construct political narratives though Ming-Qing dynasties before examining how antiquarianism was utilized by Mao Zedong himself and by the modern day Chines Communist Party.
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Madan, Alican, and Kemal Erkin Araz. "Fine Art Logistics : How Innovation Creates Niche Market for Third Party Logistics Service Providers." Thesis, Högskolan i Gävle, Akademin för teknik och miljö, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-15315.
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Fine art logistics concept is revealed by Innovative third party logistics services. However, fine art logistics concept is quite new topic of current logistics literature and existing resources, acquired knowledge are limited. Furthermore, innovative logistics services, which are provided by third party logistics service providers and their relation with niche market strategy, are not well researched. This study is prepared for making contribution to current logistics literature about fine art logistics and to investigate relation between niche market strategy and innovative third party logistics services. The method used is a qualitative case study at Benice Logistics, a fine art logistics service provider firm, located in Turkey. This study concludes and suggests how, third party logistics service providers should be more innovative for settle new business trend, and how they can create new opportunities and new specialization areas with their innovative services.
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Ecevit, Emek Can. "A study on institutionalisation of contemporary art from Turkey." Thesis, Brunel University, 2016. http://bura.brunel.ac.uk/handle/2438/13247.
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This doctoral study is concerned with identifying the determinants of the institutionalisation of art (IoA) in general and institutionalisation of contemporary art (IoCA) in particular. It focuses on the influence of the state and the private sector on economics and politics of arts as artworld in Turkey. The proposed relational framework is based on the current controversial problematisation of social theory in terms of various understandings of modernity and post-modernity. Here, modern art is taken to be based on an orthodox (classical) modernity understanding. In contrast, contemporary art (CA) is regarded as either a rejection of modern art from a post-modernity perspective or an intensive criticism of it from inside modernity. Both positions direct their criticisms to the basic assumptions, methodological tools, epistemological sources and ontological basis of the classical understanding of modernity. Within this scope, this study formulates and operationalises the research problem in terms of relational sociology and uses grounded-theory to establish the significant interactive relations that define IoA. The unit of analysis is the interactive relations of individuals as artists. The boundaries of the study are primarily limited to national level. The research questions are, in general, framed with qualitative research techniques and specifically substantiated with data sources primarily obtained from a self-employed semi-structured survey method complemented by observations and an extensive review of the relevant literature as documentary-historical data. The analysis of the data and the interpretations of the findings are undertaken within the scope of relational sociology and using the tools of grounded-theory methodology. The empirical data collected from a sample of artists actively involved as producers of works of arts and/or academicians, advisors and art critics from Turkey. Within this conceptual framework, the roles of the state and the private sector are questioned in terms of the economics and politics of arts, including their cultural couplings. The domain of social relations remaining outside the private sector, specifically the art public and the groups, collectives and initiatives of arts are assessed as the civil domain of arts. Knowledge of the arts and its formal (institutional) and informal relations provide an essential source and play a central role in this study. Within this framework, the art market is considered as an emerging hegemonic construct in the economics and politics of arts. Furthermore, artists and artworks are considered as the primary constituting components of the interactive relations of IoA. The findings of this thesis have implications for increasing the knowledge about and practices of IoA and contribute to the development of a framework of research questions that explains the interactive relations of the IoA in Turkey and offers an insight into a growing body of literature on art and includes recommendations for the directions of future research. The proposed relational framework is based on the current controversial problematisation of social theory in terms of modernity and post-modernity understandings. Here, modern art is considered to be based on orthodox (classical) modernity understanding. In contrast, contemporary art (CA) is regarded as either a rejection of modern art from post-modernity perspective or an intensive criticism of it from inside modernity. Both positions direct their criticisms to the basic assumptions, methodological tools, epistemological sources and ontological basis of classical understanding of modernity. Within this scope, this study formulates and operationalises its research problem in terms of relational sociology and uses grounded-theory to establish the significant interactive relations defining IoA. The unit of analysis is the interactive relations of individuals as artists. The boundaries of the study primarily remained at national level. The research questions are framed in general with qualitative research techniques and substantiated specifically with data sources primarily obtained by self-employed semi-structured survey method in addition to observations and extensive review of the relevant literature as documentary-historical data. The analysis of the data and the interpretations of the findings made within the scope of relational sociology and with the tools of grounded-theory methodology. The empirical data collected from a sample of artists actively involved as producers of works of arts and/or academicians, advisors and critics of arts from Turkey. Within this conceptual framework, the role of the state and the private sector is questioned in terms of economics and politics of art, including their cultural couplings. The domain of social relations remaining outside of the private sector, specifically the art public and the groups, collectives and initiatives of arts are inquired as the civil domain of arts. Knowledge of arts and its formal (institutional) and informal relations provide an unavoidable source and play a central role in this study. Within this framework, art market is considered as an emerging hegemonic construct in the economics and politics of arts. Furthermore, artists and artworks were taken as primary constituting components of the interactive relations of IoA. The findings have implications for knowledge and practices of IoA and contribute in the developing a framework of research questions that explains the interactive relations of the IoA in Turkey and adds an insight to a growing body of literature on art including recommendation for future research directions.
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Thomas, Vincent. "Is Fine art a viable alternative investment?" Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-134942.
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This paper will study the Art market as an investment opportunity. We will forget about the artistic characteristics of the market (history of art, aesthetic, technic...) and focus only on the business and economic aspects of the market treating art works as tradable goods. Our goal will be to determine whether or not the art market would be a suitable investment vehicle, offering some interesting outlook to investment diversification. This paper will pay a closer look at the recent financial crisis period, trying to understand the mechanism which bonds the financial industry and the Art industry. This will be the key to introduce an investment portfolio including Art as an asset class for investment. Focusing on the performance of such portfolio we will give some further recommendation on how to reach a better than expected performance.
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Coate, Bronwyn, and bronwyn coate@rmit edu au. "An Economic Analysis of the Auction Market for Australian Art: Evidence of Indigenous Difference and Creative Achievement." RMIT University. Economics, Finance & Marketing, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091127.160406.
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This thesis explores factors that determine the price for Australian art sold at auction. Using a large data set that comprises over 20,000 sale observations of Australian paintings sold between 1995 and 2003 characteristics associated with the artist, the work and auction are included in a series of hedonic models. In addition to modelling the overall market, differences within defined market segments for Indigenous and Non-indigenous art are explored. The role of artist identity and critical acclaim, the period in which art works are created and the event of an artist death are areas of specific focus within the analysis along with an investigation of the risks and returns associated with Australian art investment. It is found that artist identity is a crucial factor that drives price. Further, the most highly valued Non-indigenous art works are found to be created prior to 1900, although the market for Contemporary art produced post 1980 is associated with relatively high prices also. Distinctions emerge between Indigenous and Non-indigenous art as we consider the period in which works are created and the influence this has upon price. Almost 90 per cent of Indigenous art sold at auction has been created since 1970 and it is works from the 1970s that command the highest prices for Indigenous art sold at auction. This is not unexpected given the rise of Indigenous art in the early 1970s coinciding with the emergence of the Papunya Tula art movement. The death of an artist also proves to have a different influence upon price when we compared Indigenous and Non-indigenous art. For Non-indigenous art there is clear evidence of a death effect upon art prices, where prices typically rise around the time of an artists death before falling back somewhat with the passing of time. For Indigenous art the influence of a living artist's conditional life expectancy upon price proves to be of greater relevance in explaining price where as the artist ages and the term of their life expectancy reduces prices tend to rise. The analysis within this thesis finishes with the construction of a number of short term art price indices where it is found that returns to investment in Indigenous art are generally higher and less risky compared to Non-indigenous art. Australian art generally and Indigenous art in particular is found to have a relatively weak correlation with the stock market suggesting that Australian art has a role to play in a balanced investment portfolio especially taking into account the aesthetic utility that can also be derived as a result of holding art. The research contributes to understanding how the auction market for Australian art operates with emphasis paid to the distinctions and similarities observed within the sub-markets for Indigenous and Non-indigenous art. Insights from this research have the potential to inform public policy on a number of issues including the effect of resale royalties upon the operation of the auction market, and how indigenous economic development may be facilitated through a strong market for Indigenous art.
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Zheng, Jiahong. "An Econometrics Analysis of Mark Rothko's Auction Results." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1929.
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This paper investigates the factors that influence hammer price in fine art auctions. Unlike previous studies, this thesis focuses solely on Mark Rothko’s abstract painting auction results, which eliminates pricing variation from multiple artists or painting genres. Using a freshly constructed database that covers all Rothko auction records from 1985 to 2017, this thesis affirms the presence of declining price anomaly. Auction house experts’ pre-sale estimates are shown to be largely unbiased with a marginal downward pricing tendency. Furthermore, size is a statistically significant variable that affects hammer price and Rothko’s vertical compositions are favored in the auction market.
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Washington, Tiffany Elena. "Selling Art in the Age of Retail Expansion and Corporate Patronage: Associated American Artists and the American Art Market of the 1930s and 1940s." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1349292575.
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Van, Zyl Marelize. "Constructing the value of art : a sociological perspective on value creation at South African art auctions." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20053.
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Thesis (MA)--Stellenbosch University, 2012.ENGLISH ABSTRACT: The value of art is a critical concept in theoretical discourse. As a result, the high prices of artworks on auctions pose questions about the various processes of value construction and the status of art in these processes. This thesis adopts a sociological approach to the construction of value of art on South African auctions. This approach is situated within a socio-historical perspective, which introduces the various social structures and conditions of cultural production. The main premise of this approach is that a multiplicity of social and cultural influences permeates the art market, its processes and structures, and therefore the determination of value. This research therefore indicates that the value of art on auction is socially constructed. As such, the value of an artwork does not reside in itself, but is produced (and constantly reproduced) through processes that are subject to the codes and conventions of the art world. Within the context of the art market, artworks function as commodities for economic exchange. Since economic exchange is socially and culturally situated, the distinctive ways in which art auctions in South Africa (as a market intermediary) encompass certain social and cultural processes, is also explored. To asses the various factors that influence the value and exchange of artworks on auction, the study introduces the Components of Value Model. The Aesthetic and Historical Factors; the Supporting Documentation and Material Attributes of an artwork, as well as the Financial and Economic Factors collectively indicate that values are, first and foremost, social categories. The value of art on auction is therefore a socially constructed value.
AFRIKAANSE OPSOMMING: Die waarde van kuns is ‘n kritiese konesep in teoretiese gesprekvoering. Na aanleiding van die hoë pryse wat kunswerke op Suid-Afrikaanse veilings behaal, word verskeie vrae gevolglik gestel rondom die verskillende prosesse van waarde samestelling en die status van kuns in hierdie prosesse. Hierdie verhandeling neem ‘n sosiologiese benadering aan tot die samestelling van die waarde van kuns op veilings. Dié benadering is gesetel binne ‘n sosio-historiese perspektief wat verskeie sosiale strukture en voorwaardes van kulturele-produksie inlei. Die hoof premis van hierdie benadering is dat ‘n aantal sosiale en kulturele invloede die kunsmark se prosesse en trukture deurweek, en gevolglik ook die bepaling van waarde. Hierdie navorsing kom dus tot die gevolgtrekking dat die waarde van kuns op veilings sosiaal geskep word. Gevolglik is die waarde van kuns nie intrinsiek nie, maar word geproduseer (en aanhoudend geherproduseer) deur prosesse wat onderhewig is aan die kodes en konvensies van die kunswêreld. Binne die konteks van die kunsmark, funksioneer kunswerke bloot as kommoditeite vir ekonomiese verhandeling. Omdat ekonomiese vehandeling sosiaal en kultureel gesetel is, word die eiesoortige wyse van hoe kunsveilings (as ‘n marktussenganger) sekere sosiale en kulturele prosesse omvat, ook ondersoek. Om die veskeie faktore wat die waarde van kunswerke op veilings beïnvloed te ondersoek, word die ‘Komponente van Waarde Model’ ingebring. Gevolglik dui die Esteties- en Historiese Faktore; Ondersteunende Dokumentasie en Materiële Eienskappe van kunswerke asook die Finansiële en Ekonomiese Faktore gesamantlik aan dat waardes hoofsaaklik sosiale kategorieë is. Die waarde van kuns op veiling is gevolglik sosiaal gekonstrueer.
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Shubinski, Julianna. "FROM EXCEPTION TO NORM: DEACCESSIONING IN LATE TWENTIETH CENTURY AMERICAN ART MUSEUMS." Lexington, Ky. : [University of Kentucky Libraries], 2007. http://lib.uky.edu/ETD/ukyarhi2007t00632/SHUBINSKI_THESIS.pdf.
Full textAbstract:
Thesis (M.A.)--University of Kentucky, 2007.Title from document title page (viewed on September 4, 2007). Document formatted into pages; contains: v, 57 p. : ill. (some col.). Includes abstract and vita. Includes bibliographical references (p. 52-56).
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Link, Anne-Marie Luise. "Papierkulture : the new public, the print market and the art press in late eighteenth century Germany." Thesis, Birkbeck (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260932.
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The thesis investigates some elements of the eighteenth century German public sphere concerned with the visual arts. It considers the periodical press (with the art journal Miscellaneen artistischen Inhalts [1779-1808] providing a particular focus), the new bourgeois public for this press (the subject of Part I), and what is argued was the most crucial mediator of the visual to the new public, the engraved print, particularly the English print. The thesis locates these issues into the larger project of eighteenth century German bourgeois society, that is, the creation of a cultured class, with the 'man of taste' at its core. Part II considers the periodical press in general, and the art journal in particular, in relation to the new reading public and to the role they played in mediating/constructing information about the print as an art object. The role of print collecting handbooks in creating a discourse about the print as art and as equal to painting is similarly considered. The idea of Nachr.ichtenverkehr (information exchange) as part of Warenverkehr (commodity exchange) is discussed in terms of the art journal's use of artist's biography and its role in the print market. Part III focusses on the fashion (Mode) for the English print in Germany and explores, through the use of the case study, the issues of review writing and the male reader/viewer in regard to the subject matter, form, and medium of the English print (and some of its German imitators) . It is argued that the English print, because of its strong market presence and its representation of what was believed to be a positive English middle class model, had a relevance to Germany's new art collecting public. The specific examples of the stippled 'fancy' picture, the 'Grecian' pictures of Arigelica Kauffmann and the engraved modern history piece of West's Death of General Wolfe, are discussed respectively in terms of gendered viewing, bourgeois notions of virtue and the 'feeling' viewer. The final section points out that the development of a public taste, as formed by the press and the print market, was not without its opponents. The use of the public's press by scholars and academicians is discussed in terms of their project as self-appointed leaders in the creation of a tasteful society, and their own agenda of instituting measurable standards based on their interpretation of the antique, art theory and a metahistorical notion of 'art'.
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Piette, Jacques-Erick. "Le neuvième art, légitimations et dominations." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA081/document.
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En France, la bande dessinée est exposée dans des musées et des bibliothèques, ses dessins originaux sont vendus dans des galeries dédiées et par de prestigieuses maisons de ventes, mais est-elle pour autant réellement légitimée en tant qu'art au sein de ces champs ? Qui a initié et participe aujourd'hui à ce processus, et selon quelles stratégies ? Cette thèse s'attache à répondre à ces questions en mobilisant les concepts de champs et de légitimité développés par Pierre Bourdieu mais aussi par des emprunts théoriques et méthodologiques à différents sociologues de l'art comme Howard Becker, Serge Chaumier, Jean-Louis Fabiani, Nathalie Heinich, Bernard Lahire, Eric Maigret, Raymonde Moulin, ou Alain Quemin. En venant questionner les trois pôles que sont les artistes, les institutions et le marché, nous établissons un corpus d'évènements et de dessinateurs valorisés par ceux-ci, mais aussi des producteurs de ces évènements. En étudiant leurs déclarations et en allant à leur rencontre lors d'entretiens, nous analysons leurs motivations. Nous parvenons finalement à établir la relativité de la légitimation de la bande dessinée, tant en qualité qu'en nombre d'individus concernés. Malgré la mise en valeur d'un phénomène générationnel dans l'évolution du statut de la bande dessinée et de sa reconnaissance, nous concluons que l'acquisition d'une semi-légitimité (pour reprendre le mot de Jean-Louis Fabiani) du neuvième art est davantage d'un état de fait que d'un processus dynamique en cours d'évolutionIn France, museums and libraries exhibit comics, galleries devoted to them sell their original drawings and renowed art auction houses do too, but does it mean thereby that comics are truly legitimated as art within these fields ? Who initiated the process and today who keeps participating in it, and in doing so, according to which strategies ? This thesis seeks to answer these questions by gathering together the concepts of fields and legitimacy developed by Pierre Bourdieu but also by borrowing theories and methodologies from art socioloists such as Howard Becker, Serge Chaumier, Jean-Louis Fabiani, Nathalie Heinich, Bernard Lahire, Eric Maigret, Raymonde Moulin, or Alain Quemin. By questioning the three poles formed by the artists, the institutions and the art market, we have established a corpus of events, of strip cartoonists highlighted by these events and of the producers of these same events. By studying their declarations and by meeting them to interview them, we have analysed their motivations. We have finally come to establish the relativity of the legitimation of comics both for their quality and the number of the individuals concerned. Despite the fact that a generational phenomenon has been given prominence in the evolution of the status and the recognition of comics, we can conclude that the acquisition of a semi-legitimacy (to employ Jean-Louis Fabiani’s own word) by the ninth art is more of a fact than a dynamic process in development
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Zaninelli, Fulvia. "Alessandro Contini Bonacossi, antiquario (1878-1955) : the art market and cultural philanthropy in the formation of American museums." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31510.
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This thesis aims to document and discuss the role and legacy of the Italian antiquario Alessandro Contini Bonacossi (1878-1955) in the international secondary art market for Old Master paintings during the first half of the twentieth century. Grounded in the discovery of primary archival evidence and set against the major historical events that unfolded during his lifetime, this work presents its findings by following a research process adopted to answer the following research questions: who was Contini Bonacossi, what was his business network (where was he buying paintings, at what prices, and who were his clients), what was his modus operandi for selling and marketing his work, and what is his legacy. To answer these questions, I made extensive use of primary sources, the vast majority of which are unpublished or have never been used before in this context, framed by a contextualized analysis of their historical background. The archival investigation has brought to light, for the first time, documentary evidence of Contini Bonacossi's transactions and business ties with other European dealers such as Duveen Brothers, Heinemann Galleries, Colin Agnew, Colnaghi, Böhler, Steinmeyer, and Kleinberger Galleries; with scholars such as Wilhelm von Bode, Roberto Longhi, and Bernard Berenson; as well as previously unknown connections Contini Bonacossi had with members of the Harvard museum community and the Boston cultural elite such as Paul Sachs (1878-1965), Edward W. Forbes (1873-1969) Denmann Ross (1853-1935); and offers new details regarding his relationship with the Kress Brothers, their gifts of artworks to the new National Gallery of Art in Washington DC, and the Kress Foundation's Regional Program that endowed museums across the US. Ultimately, this work adds to our knowledge important sources for the study of the history of private and public collecting during its crucial years in the formation of American museums. More broadly, in documenting Contini Bonacossi's case, this study strives to rethink the role of art dealers, to look at them not solely as market professionals engaged in the dynamics of supply, demand and profit, but first and foremost as bearers and sellers of culture, whose activities were fully embedded in the socio-political environment of their time and so to acknowledge and extend knowledge about their active role in the international dissemination and interpretation of cultural heritage.
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Kalmykova, Anna. "Auction Houses and Contemporary Art : A Study of Outstanding Sales in 2007 and 2009." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13154.
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This thesis aims to analyze contemporary art market in terms of auction sales carried out bySotheby’s and Christie’s in London and New York in 2007 and 2009. The study deals withinvestigating the cases when artworks’ prices exceeded their estimates. A model testing therelationships between hammer price, auction house, artist, form of art, the year of object’screation and its current owner along with the year of sale and performance of stock marketwas developed according to the theoretical framework, which includes such concepts as artobjects and their value, gatekeepers and investment and auction theories. Regression analysis revealed that the presence of a pre-lot note published in auctioncatalogue and specifying the collector putting the artwork for sale and the year of art piececreation have a significant contribution to predicting their hammer price. Moreover, theanalysis identified that paintings and sculptures typically reach high prices while drawings,watercolors and gouaches appeared to be less expensive objects. As far as the artists areconcerned, the study showed that pieces by such top artists as Andy Warhol, Jean-MichelBasquiat, Gerhard Richter, Willem de Kooning and Jeff Koons tend to achieve outstandingresults more often. The cases of over-performance were identified according to the model, which provided anopportunity to estimate predicted hammer price and compare it to the one achieved duringthe sale. Analysis did not reveal a clear pattern among over-performers, however, it can beobserved that objects sold at Sotheby’s tend to over-perform slightly more often; AndyWarhol and Damien Hirst appeared to be the artists whose artworks reach prices higherthan the estimates; and watercolors, drawings and gouaches along with sculptures, statuesand figures and photographs and prints turned out to be the over-performing forms of art.
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Franzoni, Mariella. "The Economy of the Curatorial and the Fields of the Contemporary Art World: Curatorial instances and the market of contemporary art in and from (South) Africa." Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/667674.
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This dissertation analyzes the relationship between curating and the contemporary art market, inscribing its enquiry in the realm of curatorial theory. Contributing to epistemological discussions on the notion of the curatorial, this study frames itself as an “economy of the curatorial”, an expression with which we define the sphere of economic relations of production and mediation engendered by curatorial practice and discourse in the contemporary art field. This field is considered increasingly dominated by market imperatives, since market players (commercial galleries, art fairs, and auction houses) have acquired an increasing authority in consecrating artists and, hence, in establishing both the economic and the symbolic value of art. Adopting a situated approach, this thesis is based on qualitative field research carried out in South Africa, and on the analysis of several instances that disclose the role of curators in the market of contemporary African art since 1989. The main case study is the analysis of curators’ role at the Goodman Gallery, which illustrates the performing of the curatorial within the marketplace.Esta tesis propone un análisis de la relación entre la curaduría y el mercado del arte contemporáneo, inscribiéndose en el ámbito de la teoría curatorial. A la vez que contribuye a las discusiones epistemológicas sobre la noción de lo curatorial, este estudio propone pensar estas relaciones como parte de una “economía de lo curatorial”, expresión con la que definimos el ámbito de las relaciones económicas de producción y mediación generadas por la práctica y el discurso curatoriales en el campo del arte contemporáneo. Este campo se considera como cada vez más dominado por los imperativos del mercado, siendo que las galerías comerciales, las ferias de arte y las casas de subastas han adquirido autoridad a la hora de consagrar a los artistas y, por ende, de establecer tanto el valor simbólico como económico del arte. Adoptando un enfoque situado, esta tesis se basa principalmente en una investigación de campo llevada a cabo en Sudáfrica, y en el análisis de varios casos y coyunturas que revelan el papel de los curadores en el mercado del arte africano contemporáneo desde 1989. El caso de estudio clave consiste en el análisis del papel de los curadores en la galería Goodman, las cual ilustra como la curaduría opera en un contexto de mercado.
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Peško, Banzetová Michaela. "Marketingové strategie obchodu s uměním se zaměřením na současnou českou výtvarnou scénu." Doctoral thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2017. http://www.nusl.cz/ntk/nusl-295613.
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Contemporary art trade in the Czech Republic has been regarded as a private area accessible only to a few insiders. So far no adequate literature about this field has existed, the marketing strategies used within it were, not only from the outside perspective, quite unclear. This work shows that it is not a secret sphere. On the contrary, it is a part of the market, which has the effect that the more you talk about it openly, the better impact it has on the whole society. The author presents the current situation in this field, its historical context, and openly discusses the long-term marketing strategies of gallerists who work with contemporary artists. On the basis of case studies from abroad she also shows other possible ways how to bring society closer to contemporary art by means of some specific marketing tools.
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CODIGNOLA, FEDERICA. "Mercato dell'arte e prodotto artistico contemporaneo." Doctoral thesis, Università degli Studi di Milano - Bicocca, 2006. http://hdl.handle.net/10281/46013.
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The author agrees with the current hypothesis, namely, that the contemporary art market can be examined from an economic perspective, by using analytical instruments that are typical of the management and marketing sciences. It is a fact that the evolution of the artist-as-artisan towards the artist-as-creator is based upon the concept of the non-retribution of the creative act. (The latter is described as the artist's intimate expression.) This fact, however, does not prevent the result of such a creative act from becoming the object of a monetary exchange and being assigned a price tag. The author then accepts that, when compared to other products, the artistic product is unique due to the subjectivity of its value. In this framework, she examines the laws regulating the contemporary art market and the behavioral patterns of its actors -- the creative, production, and exchange levels, the promotion of the artists' activity, the networks of often conflicting individuals and institutions. Still, she is well aware that, far from being stable, the contemporary art market is still deeply influenced by evolving mechanisms that aim towards an overall simplification. The typical features of the contemporary art market significantly enrich the scope of the management and marketing sciences. Their analytical instruments, however, remain of fundamental value even for the contemporary art market, in spite of the fact that they normally take for granted homogeneous market conditions which are not so in the contemporary market. The author concludes that any examination of the contemporary art market must focus on its special features and be wary of concepts and frameworks normally used for manufactured products (efficacy, competition, well-being). According to the authors, these special features are the results of values and criteria that are peculiar but not irrational, of subjective but not arbitrary judgments, and of irregular but non incomprehensible dynamics. The author also examines how globalization influences the contemporary art market. She singles out phenomena such as democratization, superimposition, enlargement, and approximation as the more evident results of such an interaction. By well using the analytical instruments of the management and marketing sciences, the author shows the innovative dimensions of the contemporary art market and identifies its institutional and organizational needs. Finally, the author points to the ways in which the contemporary art market tries to enlarge its scope by reaching out to new consumers.
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Заяц, К. С. "Маркетинговый подход к оценке произведений искусства." Thesis, Сумский государственный университет, 2013. http://essuir.sumdu.edu.ua/handle/123456789/32689.
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Искусство в своем широком значении – это вид культурной деятельности, посредством которого творец выражает мир в художественном образе; другими словами – творчество во всех его проявлениях. Произведениями искусства являются картины, скульптуры и прочие объекты, обладающие эстетической ценностью.
При цитировании документа, используйте ссылку http://essuir.sumdu.edu.ua/handle/123456789/32689
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Schönfeld, Susanne, and Andreas Reinstaller. "The effects of gallery and artist reputation on prices in the primary market for art: a note." Inst. für Volkswirtschaftstheorie und -politik, WU Vienna University of Economics and Business, 2005. http://epub.wu.ac.at/342/1/document.pdf.
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This paper advances a decision theoretical foundation for pricing scripts by means of a simple model of product differentiation implementing the undercut-proof equilibrium concept. We argue that while sociological factors play undoubtedly an important role, economic analysis can complement the insights from economic sociology on pricing in the primary art market. Our model analyzes the effects of the gallery's and the artist's reputation on the price the gallery charges. The results suggest that prices positively correlate with an artist's reputation and negatively correlate with a gallery's reputation. The model may therefore explain the results of recent empirical studies that have led to similar results. (author's abstract)Series: Department of Economics Working Paper Series
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Jankauskas, Jennifer Kathleen. "Acquiring contemporary art in today's global market : collecting strategies at small, mid-sized and regional American museums." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/32246.
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Over the years, prices for contemporary works of art have continued to rise to the point that many small, mid-sized and regional American art museums have difficulties collecting in this arena. Few authors have examined this phenomenon, or the different tactics in place to combat it. This study aims to fill this gap by undertaking a detailed analysis of successful museum acquisition processes at several museums. To ground the discussion I closely examine the hierarchical systems of the art world and its subset, the art market, and investigate the ways in which particular actors, including collectors, dealers and museum curators, negotiate this realm. Despite the economic hardships that they face, many museums embark on creative strategies to compete in this global market. In order to identify and evaluate these strategies I take an ethnographic approach to the research. Participant observations were undertaken at three American art fairs to fully understand the role of key participants in the market. Furthermore, semi-structured interviews with gallery dealers, museum curators and museum directors revealed both the challenges and solutions involved in the acquisition process, and led to the examination of six key strategies currently in place at museums around the United States. An analysis of these strategies demonstrates the creativity and entrepreneurial nature necessary for continued collecting of contemporary art in a market that has outpaced acquisition budgets.
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Tonelli, Giulia <1991>. "Loi Travail : Art. 2 and the ‘inversion of the hierarchy of norms’ in the french labour market." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10116.
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This thesis deals with one of the most discussed topics in France, the new french labour law, commonly called the ‘El Khomri law’ after the French Minister of Labour, Myriam El Khomri, has generated significant attention during these last months.
The discussion begins with an overview of the discontent of the french people, caused in particular by the procedure used by the Government to impose the reform, without a vote.
After touching all the main points of the reform and so all the proposed changes for the french workers , the focus of the discussion will be on Article 2 of the labour law which intends henceforth to make company agreements the new norm. This article establishes that a company or establishment-wide collective bargaining agreements take priority over branch level agreements, even if the enterprise agreement is less favorable to employees. Opponents of the law denounce an “inversion of the hierarchy of norms”. It is the most discussed and disputed article because it would change the balance of power between workers and companies, in favor of the second ones.
Concluding, perspectives and reflections about the importance and the necessity of the evolution of the labour law, but this means being able to capture the right tools to increase the freedom of choice of workers, in order to maintain the perfect balance between the parties, favoring the well functioning of the labor market.
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Holmqvist, Anna, Michael Nørkjær, and Björn Ullmark. "The Art of Turning Relationships into Competitive Advantages : Managing direct customer relationships in China." Thesis, University of Kalmar, Baltic Business School, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-2101.
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Many firms are today established in China via intermediaries, such as distributors or agents. However this establishment is not valuable in a long-term perspective if the industry environment offers a possible higher return on investment by establishing on its own. Furthermore, when a firm establishes more committed in a foreign market, it gain control over the marketing activities and the sales channel. When entering new markets, problems occur in cases of cultural barriers, institutional distances and lack of contact with the customers within the market. The focus of this master thesis is the establishment of relationships in order to achieve competitive advantages through enhanced understanding of market specific factors and the adaptation towards the market.
The thesis is initiated by our interest for firms expanding in international markets. We have recognized the importance of the relationship establishment when entering China. Based upon the identified problem we build a theoretical framework and apply the empirical findings from our case company Dako A/S, which are about to establish in the Chinese market with more commitment.
We have for this master thesis collected data from our case company. We have, via semi-structured interviews, conducted the material within the division for the establishment in China. The purpose of the thesis is to introduce findings that will help Western firms to enhance their understanding of the importance of establishing, developing and maintaining customer relationships in China in order to gain a competitive advantage. The central phases of the thesis, is our theoretical framework, the findings from the case company and the establishment of competitive advantages through relationship and choosing the right entry mode.
Throughout our research and our seeking towards answering the above purpose we can draw the following main conclusion; it is crucial for a foreign firm to develop its capabilities in order to establish a competitive advantage. The organizational capabilities have to be addressed the market specific knowledge and the feedback towards the organization in order to exploit the competitive advantages. We summarize the findings in a conclusion, which can be applied for Western firms in different industries, in order to establish competitive advantages in China. Finally, we provide recommendations to our case company and their establishment in China, within the research area of this thesis.