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Journal articles on the topic 'Art market'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Taylor, Jeffrey, Mayela Cardenas, and Stephanie Edwards. "Measuring Art Markets: The Colorado Art Market in 2017." Artivate 8, no. 2 (2019): 5–19. http://dx.doi.org/10.1353/artv.2019.0010.

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2

Akimov, Dmytro. "Segmentation of art market in the fine art’ marketing." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 27–31. http://dx.doi.org/10.32461/2226-2180.39.2021.238676.

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The purpose of the article. Research and analysis of marketing technology algorithms by means of market segmentation in fine arts marketing. The methodology of the study is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the processes of segmentation of the fine arts market with the subsequent use of research results in the marketing processes of promoting works of art from artist to consumer. The scientific novelty consists in expanding the notions about the technology of segmentation of the art market. The article analyzes the algor

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3

Wieand, Kenneth, Jeff Donaldson, and Socorro Quintero. "Are Real Assets Priced Internationally? Evidence from the Art Market." Multinational Finance Journal 2, no. 3 (1998): 167–87. http://dx.doi.org/10.17578/2-3-1.

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Bocart, Fabian, Eric Ghysels, and Christian Hafner. "Monthly Art Market Returns." Journal of Risk and Financial Management 13, no. 5 (2020): 100. http://dx.doi.org/10.3390/jrfm13050100.

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We provide an innovative methodological contribution to the measurement of returns on infrequently traded assets using a novel approach to repeat-sales regression estimation. The model for price indices we propose allows for correlation with other markets, typically with higher liquidity and high frequency trading. Using the new econometric approach, we propose a monthly art market index, as well as sub-indices for impressionist, modern, post-war, and contemporary paintings based on repeated sales at a monthly frequency. The correlations enable us to update the art index via observed transacti

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David, Géraldine, Kim Oosterlinck, and Ariane Szafarz. "Art market inefficiency." Economics Letters 121, no. 1 (2013): 23–25. http://dx.doi.org/10.1016/j.econlet.2013.06.033.

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6

Goetzmann, William N., Luc Renneboog, and Christophe Spaenjers. "Art and Money." American Economic Review 101, no. 3 (2011): 222–26. http://dx.doi.org/10.1257/aer.101.3.222.

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This paper investigates the impact of equity markets and top incomes on art prices. Using a newly constructed art market index, we demonstrate that equity market returns have had a significant impact on the price level in the art market over the last two centuries. We also find evidence that an increase in income inequality may lead to higher prices for art. Finally, the results of Johansen's cointegration tests strongly suggest the existence of a long-run relation between top incomes and art prices.

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Gao, Zhengyuan. "Yet Another Model on Contemporary Art Market." Journal of Applied Economics and Policy Studies 6, no. 1 (2024): 19–36. http://dx.doi.org/10.54254/2977-5701/6/2024043.

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The contemporary art market places significant emphasis on the value attributed to symbols. These symbolic values act as mirrors, reflecting how political economy interprets the artistic landscape and defines its dynamics within the market. This paper engages in modeling the process of elevating symbols as mutual osmosis equilibrating the supply and the demand, delving into their communal accumulation within cultural contexts, and examining their pivotal roles in shaping the contemporary art markets. The study introduces a comprehensive model that unveils a feedback loop encompassing the eleva

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Sevastyanov, Aleksandr Nikitich. "Modern art market: art, economics, marketing." Uchenyy Sovet (Academic Council), no. 1 (January 1, 2021): 19–27. http://dx.doi.org/10.33920/nik-02-2101-02.

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The article is devoted to the analysis of the market mechanism in the field of art, as well as the influence of the market on the development of mass taste and aesthetic mainstream. The author demonstrates that the market price for works of art is an indicator in which all the numerous factors of the art market, both aesthetic and economic, including the current situation, are collected and embodied in a concentrated form. That is, the price accumulates all the social connections of art. By spreading, auction catalogs like nothing else make the art market global, serving as a single informatio

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Lu, Min, and Huamin Wang. "The Influence of Cultural Policies on the Art Market: Exploring Their Impact." Highlights in Art and Design 4, no. 3 (2023): 152–55. http://dx.doi.org/10.54097/gftx2znm.

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This study aims to explore the relationship between cultural policies and the art market, examining the influence of cultural policies on the art market. It further investigates how cultural policies in different countries or regions impact the development of their respective art markets through case analyses. The framework of the study encompasses three main aspects: the relationship between cultural policies and the art market, the impact of cultural policies on the art market, and case analyses of cultural policies and their influence on the art market. Firstly, the study delves into the cl

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Yuliastuti, Ida Ayu Nyoman, and Ni Luh Putu Sandrya Dewi. "PENDAPATAN PEDAGANG PASAR SENI GUWANG: KAJIAN BERDASARKAN FAKTOR INTERNAL DAN EKSTERNAL." Widya Akuntansi dan Keuangan 1, no. 2 (2019): 32–48. http://dx.doi.org/10.32795/widyaakuntansi.v1i2.379.

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One of the famous art markets in Gianyar Regency is the Guwang Art Market. Along with the development of globalization and competition in the economy, the economic potential of the Guwang Art Market has gradually experienced sluggishness. The Gianyar Regency Government as the manager of the Guwang Art Market and the Guwang Art Market traders must pay attention to internal and external factors that can increase tourist visits to the Guwang Art Market. This study aims to conduct a more in-depth analysis of internal and external factors that can affect the income of the Guwang Art Market traders.

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Dizaji, Farzaneh Maleki. "The Indian Tribal Art Market." Journal of Social and Development Sciences 7, no. 4(S) (2017): 23–28. http://dx.doi.org/10.22610/jsds.v7i4(s).1501.

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Abstract: In the study of art market of Indian tribal, creativeeconomy, cultural economy effect on consumer behavior, governmentprotection, changes of cultural believes and religion by tribal for increasing market, art economic etc. has been considered. In Indian tribal art economics, creative imagination coming from their culture, believes, religions etc. So it becomes more sensitive and restricted. The Field work was conducted in Bhopal (IGRMS), Madhya Pradesh, India. Data collection was performed by qualitative informal depth interview and quantitative data by questionnaire. Tools and techn

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Wang, Shuyu. "Crypto Art: NFT Art Trading and the Art Market." Asian Journal of Social Science Studies 7, no. 10 (2022): 14. http://dx.doi.org/10.20849/ajsss.v7i10.1311.

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This article introduces what NFT art is and what virtual art trading is and analyses the advantages, disadvantages, and current status of NFT art. It also discusses how NFT artworks have changed the trend and demand in the art market.

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Maltseva, O. V. "Analysis of the structure and development of the world art market." Voprosy regionalnoj ekonomiki 31, no. 2 (2017): 170–74. http://dx.doi.org/10.21499/2078-4023-2017-31-2-170-174.

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This article deals with the structure and dynamics of the world art market. It includes the classification of the world art market. The main statistical indicators and factors influencing the dynamics of prices for art objects are analyzed. The features of regional markets are considered, leading regional art markets of the world are revealed.

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Munteanu, Anca, and Andreea Pece. "Investigating Art Market Efficiency." Procedia - Social and Behavioral Sciences 188 (May 2015): 82–88. http://dx.doi.org/10.1016/j.sbspro.2015.03.341.

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15

Crowley, Daniel J. "The Circumpolar Art Market." African Arts 19, no. 1 (1985): 70. http://dx.doi.org/10.2307/3336386.

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Pandey, Aarna Anil. "Art Market in Russia: An Analysis of the Art Market in Moscow." International Journal of Social Science Research and Review 7, no. 11 (2024): 188–96. http://dx.doi.org/10.47814/ijssrr.v7i11.2383.

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Art markets contain issues such as income inequality, dearth of transparency related to the work, challenges for budding artists to establish themselves, and others. Following the pivot in the geopolitical climate on 24th February 2022 with the Russian annexation of Ukraine, these problems have been accentuated. In addition to such issues, Russian artists have been facing problems related to selling their work, networking, and other activities that are increasingly making it difficult for artists to subsist. Using a qualitative approach involving in-depth 15 semi-structured interviews, this st

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Suciu, Silvia. "Afacerea artei. Piața de artă în Țările de Jos în sec. al XVII-lea." Anuarul Muzeului Etnograif al Transilvaniei 32 (December 20, 2018): 232–65. http://dx.doi.org/10.47802/amet.2018.32.15.

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The art market is a system by which the artwork reaches the public - collectors, museums, public institutions. Thus, the artwork becomes “merchandise” and its journey begins in the artist’s workshop and ends by being shown to the public. During centuries, the art market has registered many changes, according to different factors, such as: political regimes, economical and social crises, artistic tastes of the collectors. Until the 16th century, the public of the artwork was the church, the royal families or the aristocracy; in time, the work of art gained a wider audience. At the beginning, th

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Drabik, Ewa. "A Few Notes On Art Auctions." Foundations of Management 15, no. 1 (2023): 115–28. http://dx.doi.org/10.2478/fman-2023-0009.

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Abstract The art market, following the example of financial markets, is divided into a primary market, where works are traded directly from artists, and a secondary market that is mainly the auction market. Coronavirus disease 2019 (COVID-19) and galloping inflation have influenced the creation of a bull market in artwork. The high incomes of some buyers and inflation have influenced the emergence of the so-called ‘glittery’ art market. Works by neglected artists have ‘very much taken on a life of their own’: fantasy art, works by young poster artists, casting ‘nightmares’ – have been selling

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19

Borowski, Krzysztof. "Sensitivity of the Art Market to Price Volatility." Finanse i Prawo Finansowe 2, no. 26 (2020): 11–36. http://dx.doi.org/10.18778/2391-6478.2.26.02.

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The purpose of the article: The art market becomes very popular among investors, when there is strong turbulence on the stock market. In times of calm, the art market is used by investors to diversify risk and build more efficient investment portfolios according to the Markovitz’s theory. The aim of this paper is to: (i) present the peculiarity of investment on the art market, represented by art market indexes in comparison to traditional investments in other financial market segments (money market, equity indexes and commodity market), (ii) to verify the hypothesis of normality of the distrib

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20

Joselit, David. "Conceptual Art of the Press Release, or Art History without Art." October 158 (October 2016): 167–68. http://dx.doi.org/10.1162/octo_a_00276.

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As in neoliberal market theory, where maximal information is said to make markets more efficient, what Joselit calls “Conceptual art of the press release” (in which the artwork is “translated” into text as a proposition about its meaning) makes even difficult art easy to consume. The once radical proposal of Conceptual art—that objects exist in a transactional relation with text (and prosaic photographic documents)—has now become business as usual. But this is not merely the result of the now-standard practice of training artists in MFA programs, where learning consists of verbally justifying

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21

AP, Moreno. "Brazilian Contemporary Art in the International Art Market." World Journal of Social Science Research 10, no. 4 (2023): p74. http://dx.doi.org/10.22158/wjssr.v10n4p74.

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With changes in the art world, the Brazilian Contemporary art becomes an interesting subject to be analyzed in its relationship to the art market dynamics. The international art market has been growing since late 90s thanks to globalization. In this sense, the problematization of the research lies in an economical perspective of the art market to understand Brazilian Contemporary art internationalization through art fairs, biennials, art galleries and auction houses. With this analysis, the objective is to present an opinion about the panorama of Brazilian Contemporary art and its internationa

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22

Molho, Jeremie. "Becoming Asia’s Art Market Hub: Comparing Singapore and Hong Kong." Arts 10, no. 2 (2021): 28. http://dx.doi.org/10.3390/arts10020028.

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The recent emergence of new regions in the global art market has been structured by hub cities that concentrate key actors, such as global auction houses, influential art fairs, and galleries. Both Singapore and Hong Kong have developed explicit strategies aimed at positioning themselves as Asia’s art market hub. This followed the steep rise of the Chinese art market, but also the general perception of Asia as the world’s most dynamic art market. While Hong Kong’s emergence derives from its status as gateway to the Chinese market, and has been driven by key global players, such as the auction

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23

ШУБИНА, В. А. "OVERVIEW OF THE GLOBAL AND RUSSIAN ART MARKET." Экономика и предпринимательство, no. 3(152) (June 12, 2023): 239–42. http://dx.doi.org/10.34925/eip.2023.152.3.046.

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За последние два десятилетия наблюдается экспоненциальный рост международного арт-рынка. А рост рынка искусства означает увеличение емкости рынка страхования предметов искусства. Уровень активности на арт-рынке напрямую влияет на количество новых договоров страхования. Обвалы на рынках ценных металлов и нефти, санкции, пандемия – все это заставляет задумываться о поиске новых способов сохранения капитала. А одной из особенностей рынка предметов искусства как раз является слабая корреляция с другими финансовыми рынками. Over the past two decades, there has been an exponential growth of the inte

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Gürşen, Aylin Ecem. "Art marketing as an emerging area in an emerging market." Arts and the Market 10, no. 1 (2020): 34–52. http://dx.doi.org/10.1108/aam-01-2019-0004.

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PurposeIn this study, art is considered as a product subjected to marketing activities. In this context, this study aims to present a conceptual framework covering the research areas related to art marketing, the relation of art product with brand and consumer and how internet technologies can transform the art market. Finally, the situation of art marketing and its progressing process in a developing country and its potential horizons was discussed.Design/methodology/approachThis study uses a literature review to present a conceptual framework about art marketing activities and their potentia

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Brandellero, Amanda. "Inside and Outside the Market for Contemporary Art in Brazil, through the Experience of Artists and Gallerists." Arts 9, no. 4 (2020): 113. http://dx.doi.org/10.3390/arts9040113.

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In this paper, I seek to extend our understanding of global art markets by focusing on the relationships between different art world agents and their perceived responsibilities and roles in a market considered locally ‘incipient’ and emergent on the global scene. For this purpose, I draw on over 50 interviews with art gallerists, independent art spaces and visual artists represented by them, living in São Paulo and Rio de Janeiro, the two largest clusters of the contemporary art market in Brazil, at a time of market expansion and internationalisation. In an incipient market, two main functions

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Karja, I. Wayan, and Tai Lei. "BALI PAINTING MARKET: A BRIEF HISTORY AND EXPLORATION OF VARIOUS FACTORS AFFECTING ITS DEVELOPMENT." Jurnal Kajian Seni 11, no. 1 (2024): 30. https://doi.org/10.22146/jksks.99799.

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This article presents a brief history of the art market in Bali and explores the various factors that have influenced its development. We also examine how local culture, the tourist market, village networks, government policies, and the global art market have shaped the trajectory of Balinese art. These forces include the assumption of local culture to art, the commercialization along with the opening of the tourist market, the local network based on village lives, the state policy to promote Balinese art and culture, and the effects brought by the booming of the global art market dominated by

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Močnik, Rastko. "Vantržišna motivacija tržišta umetničkih dela." Život umjetnosti, no. 104 (July 2019): 66–85. http://dx.doi.org/10.31664/zu.2019.104.04.

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Art markets are not homogeneous, the difference being especially between the art products that can be technically reproduced and the unique products. As for the former, regulations of the copyright type introduce certain specificities (the author retains some rights over the object in circulation— for example, she or he can withdraw it). In case of unique goods, the demand is determined by the buyers’ tastes and does not result from some generally valid presupposition: thus, these goods have a price, but they have no value. Since the aesthetic nature of the reproducible works of art is subject

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Khanna, Tarun, and Krishna Palepu. "Emerging Markets: Look Before You Leap: Spotting Market Voids." IESE Insight, no. 17 (June 20, 2013): 44–51. http://dx.doi.org/10.15581/002.art-2385.

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Suasih, Ni Nyoman Reni, Ida Ayu Nyoman Saskara, Putu Yudy Wijaya, I. Putu Sastra Wibawa, and I. Komang Gede Santhyasa. "Polemic of stakeholders’ objectives in the decision of revitalization and relocation of the Sukawati traditional market as the most distinguished art market in Bali, Indonesia." Decision Science Letters 13, no. 1 (2024): 211–24. http://dx.doi.org/10.5267/j.dsl.2023.9.005.

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Sukawati Art Market is one of the distinguished art markets in Bali for decades, which is also close to the Sukawati Public Market. The government is making efforts to revitalize the Sukawati Public Market to become the Sukawati Art Market, while the Sukawati Public Market is being relocated to a new location far from settlements. So that during the two years of the market revitalization and reallocation program it was quiet and triggered the emergence of traders around the old market area which disturbed public order. The purpose of this research is to analyze the polemic of stakeholders obje

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Radermecker, Anne-Sophie. "Selling lowbrow art and cultural goods in times of pandemic: The case of a provincial art market." International Journal of Cultural Property 29, no. 3 (2022): 283–310. http://dx.doi.org/10.1017/s0940739122000340.

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AbstractThis article examines the impact of the coronavirus pandemic on a provincial art market to shed light on how gallerists, auctioneers, and antique dealers have coped with this exogenous event. Provincial intermediaries, active in the lower ends of the art market, are characterized by economic properties that differ from those of the upper-end markets. Their location at the periphery of metropolitan centers, combined with the characteristics of supply and demand, are likely to affect their ability to face a global crisis. Based on 15 semi-structured interviews with provincial intermediar

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Poposki, Zoran, and Isaac Hok Bun Leung. "Hong Kong as a Global Art Hub: Art Ecology and Sustainability of Asia’s Art Market Centre." Arts 11, no. 1 (2022): 29. http://dx.doi.org/10.3390/arts11010029.

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Over the past decade, Hong Kong’s art market has experienced unprecedented growth, emerging as the second largest in the world in 2020 in terms of contemporary art auctions. Factors such as the city’s free-market economy and well-developed infrastructure, as well as its unique position as a gateway to the large and growing Chinese art market, have led to major global art fairs and galleries establishing their presence in the city, in addition to the already present international auction houses. Moreover, the recent opening of M+, Hong Kong’s new museum of visual culture, as part of the West Ko

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32

Wang, Lu. "The Analysis on the Potential of the Art Futures Market." Advances in Economics, Management and Political Sciences 86, no. 1 (2024): 103–7. http://dx.doi.org/10.54254/2754-1169/86/20240955.

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This study explores the burgeoning field of qualified art derivatives as an innovative investment channel, leveraging the unique attributes of art for inflation resistance, low correlation to traditional financial markets, and cultural significance. Through the analysis of art market trends, the research identifies individuals, family offices, pension funds, foundations, and investment funds as potential purchasers, with artists, galleries, museums, and financial institutions as key sellers. Utilizing data from art market transactions, auction records, and expert appraisals, the study examines

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Chanel, Olivier. "Is art market behaviour predictable?" European Economic Review 39, no. 3-4 (1995): 519–27. http://dx.doi.org/10.1016/0014-2921(94)00058-8.

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Ciambra, D. "Computers: Thesaurus art market information." Museum Management and Curatorship 11, no. 4 (1992): 427–28. http://dx.doi.org/10.1016/0964-7775(92)90086-k.

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Carrier, David, Oskar Batschmann, Gregg Horowitz, et al. "Modernist Art and Its Market." Art Journal 57, no. 4 (1998): 102. http://dx.doi.org/10.2307/777935.

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Karl, Barbara. "Art for the International Market:." Beiträge zur islamischen Kunst und Archäologie 2, no. 1 (2010): 163–77. http://dx.doi.org/10.29091/9783954909537/010.

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O’Neil, Kathleen M. "Bringing art to market: The diversity of pricing styles in a local art market." Poetics 36, no. 1 (2008): 94–113. http://dx.doi.org/10.1016/j.poetic.2007.12.002.

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Hiraki, Takato, Akitoshi Ito, Darius A. Spieth, and Naoya Takezawa. "How Did Japanese Investments Influence International Art Prices?" Journal of Financial and Quantitative Analysis 44, no. 6 (2009): 1489–514. http://dx.doi.org/10.1017/s0022109009990366.

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AbstractWe test the luxury consumption hypothesis of Ait-Sahalia, Parker, and Yogo (2004), using a unique international art price, import/export flow, and stock market data set. We find that the demand for art by Japanese collectors is positively correlated with art prices and Japanese stock prices. This correlation is magnified during the “bubble period” of the Japanese economy (the mid-1980s to the early 1990s) and gains even further strength for works of art typically favored by Japanese collectors. Our results suggest that Japanese investors (or Japanese asset markets) indeed affect intern

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Archer, Anita. "Materialising Markets: The Agency of Auctions in Emergent Art Genres in the Global South." Arts 9, no. 4 (2020): 106. http://dx.doi.org/10.3390/arts9040106.

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For the last two decades, the international auction houses Sotheby’s and Christie’s have been at the forefront of global art market expansion. Their world-wide footprints have enabled auction house specialists to engage with emerging artists and aspiring collectors, most notably in the developing economies of the Global South. By establishing their sales infrastructure in new locales ahead of the traditional mechanisms of primary market commercial galleries, the international auction houses have played a foundational role in the notional construction of new genres of art. However, branding alo

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Herrero, Marta. "Selling National Value at the Auction Market: The London and Dublin Markets for Irish Art." Cultural Sociology 5, no. 1 (2011): 139–53. http://dx.doi.org/10.1177/1749975510380624.

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This article explores how nationality is articulated as a form of art value in the art market, where art is defined in two related ways: instrumentally, in terms of its economic value, and culturally, by defining its meaning and significance. Focusing on the auction market of Irish art in London and in Dublin, and drawing upon interviews with auctioneers in both capitals, it investigates how nationality is produced and marketed as a form of cultural value for Irish art, comparing the specific dynamics of this process in both London and Dublin auction markets. Whilst the findings in this articl

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Pla, Adria Harillo. "Art and Communication: A Look to the Art Market." Cultural Management: Science and Education 5, no. 2 (2021): 47–64. http://dx.doi.org/10.30819/cmse.5-2.04.

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This text presents a communicative model in the art market as well as its importance compared to the traditional communication model analysed from Art History. To achieve this, we expose the lack of solid criteria when defining what art is. Subsequently, we defend that the Sociology of Language allows us to obtain a referential and pragmatic knowledge of what a community calls art. As we will say, this lan-guage is produced through money, and that is why Economic Sociology plays a key role. Understanding that “art” is something named like this in a social environment with its agents, motivatio

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Quemin, Alain. "INTERNATIONAL CONTEMPORARY ART FAIRS IN A ‘GLOBALIZED’ ART MARKET." European Societies 15, no. 2 (2013): 162–77. http://dx.doi.org/10.1080/14616696.2013.767927.

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Akimov, Dmytro. "Marketing researches and promotion works of art in the fine art’s marketing." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 139–44. http://dx.doi.org/10.32461/2226-0285.1.2021.238609.

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The purpose of the article. Research and analysis of marketing technology algorithms by means of market segmentation in fine arts marketing. The methodology of the study is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the processes of segmentation of the fine arts market with the subsequent use of research results in the marketing processes of promoting works of art from artist to consumer. The scientific novelty consists in expanding the notions about the research of marketing processes in the art market. The article establishes t

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Plotnytska Svitlana, Plotnytska Svitlana, and Larina Тetiana Larina Тetiana. "The impact of digitalization on the art market actors' activity management." Ukrainian Journal of Applied Economics and Technology 8, no. 4 (2023): 69–73. http://dx.doi.org/10.36887/2415-8453-2023-4-11.

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The article attempts to analyze how digital technologies change the paradigm of management of art market subjects as distributors of cultural content. In particular, the article examines how the transition to digitalization affects access to cultural consumption and the current challenges and opportunities in this new context. The study aims to determine the peculiarities of the management of art market entities, namely museums, in the conditions of digitalization. The paper analyzes the theoretical material of recent years related to new challenges in managing the activities of art market sub

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Dewi, Luh Kartika Sutra, NPE Mahadewi, and NGAS Dewi. "STRATEGI PEMASARAN PASAR SENI GUWANG SUKAWATI SEBAGAI DAYA TARIK WISATA BELANJA." Jurnal IPTA 8, no. 1 (2020): 74. http://dx.doi.org/10.24843/ipta.2020.v08.i01.p10.

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Guwang Art Market is one of traditional art market in Sukawati sub-district, Gianyar Regency. Along with technological advances and the rise of the modern art market, the traditional art market has begun to be abandoned. This study was conducted to determine the right marketing strategy to maintain the existence of the Guwang Art Market as a shopping tourist attraction. The data analysis technique used are internal external/IFAS EFAS factors with used the Marketing Mix 7Ps as an internal factor and the external factors analysis used are markets, competitors, government, technology, economics,

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Koh, Dong-Yeon. "Artists Art Market and Its Artists: The Stories of Artists Participating at Alternative Art Market." Korean Arts Association of Arts Management 47 (August 30, 2018): 143–72. http://dx.doi.org/10.52564/jamp.2018.47.143.

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Hua, Sue. "Disruption, Digitalization and Connectivity: Asia’s Art Market in Transformation." Arts 11, no. 3 (2022): 57. http://dx.doi.org/10.3390/arts11030057.

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This study investigates the ongoing transformation in galleries, auctions, and museums in Hong Kong, Shanghai, Taipei, and Singapore, where new models for art transactions and exhibiting practices lead to unprecedented evolution in the global art market. While the pandemic hit the art market unprecedentedly, art organizations in Asia are seeing the light at the end of the tunnel as the digitalization of online auctions and virtual art-viewing technology has made up for the cancellation of art events. We are also seeing increased cross-regional and cross-national collaborations in marketing and

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Jung, Mi Seong, and Jung Won Park. "A Study on the Establishment of Craft Market by Understanding the Structure of Art Market - focused on the primary art market for contemporary craft art -." Journal of Basic Design & Art 25, no. 5 (2024): 557–78. http://dx.doi.org/10.47294/ksbda.25.5.36.

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Mateos-Ronco, Alicia, and Nieves Peiró Torralba. "Sustainable Management of Contemporary Art Galleries: A Delphi Survey for the Spanish Art Market." Sustainability 11, no. 2 (2019): 541. http://dx.doi.org/10.3390/su11020541.

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The art market operates in a very different way from conventional economic markets, ranging from its behaviors of supply and demand, the trading of goods, and the economic agents intervening in it. In addition, it is a highly unregulated market, with very little standardized information in economic terms. This paper focuses on art galleries, which are the most influential intermediaries in the Spanish primary contemporary fine-art market and perform a role that goes beyond the mere distribution of works of art. This study develops and applies a prospective methodology based on the subjective i

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Merk, Tara. "Beyond markets: The DADA case for NFTs in art." Technoetic Arts 21, no. 1 (2023): 73–89. http://dx.doi.org/10.1386/tear_00098_1.

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The rise of non-fungible tokens (NFTs) has been astonishing, in particular for the arts and creative industries. The dominant discourse both in mainstream media and in academia today focuses predominantly on what this new technology can do for the art market rather than art itself. However, framing NFTs in art in the context of money and markets draws attention away from the more subtle and creative role of NFTs. Consequently, this article asks: What is the role of NFTs in art, beyond the market? This research complements existing empirical work, by conducting a case study and interviews with

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