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Artículos de revistas sobre el tema "Gallerists"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 1 de febrero de 2022

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1

Sharafjahan, Rozita, Anahita Ghabaian, Maryam Majd, Masoumeh Mozaffari, Combiz Moussavi-Aghdam y Keivan Moussavi-Aghdam. "In Tehran: A Conversation with Iranian Gallerists". Art Journal 77, n.º 4 (2 de octubre de 2018): 6–25. http://dx.doi.org/10.1080/00043249.2018.1549873.

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2

Batinic, Bernad. "Information Strategies of Fine Art Collectors, Gallerists, and Trendsetters". Empirical Studies of the Arts 23, n.º 2 (julio de 2005): 135–52. http://dx.doi.org/10.2190/5nk2-terb-2a4r-qmd3.

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The objective of this article is to identify the strategies and information sources used by gallery owners and people who are particularly interested in the art market to obtain information about artists and their works, and how they use this information to evaluate an artist's significance. The survey was carried out at the international art fair “Art de Cologne.” One hundred three people participated in this study, of which 25 were gallery owners. The descriptive data analysis reveals many differences between the gallery owners and people interested in the art market. In a second step, a model for trendsetting in the field of arts is proposed. According to this proposal, such a model should be able to identify significant artists of the future at an early point in their career. Key features of trendsetters are their pronounced information-seeking behavior and their intensive use of the media to inform themselves about art. They are able to categorize innovative artists into the correct existing art-trends, and furthermore they are interested in telling people in their sphere about their discoveries. The results of this study show a significant positive correlation between trendsetting and knowledge about art. Major trendsetters inform themselves about arts using specialist journals and the Internet, but reject friends and acquaintances as sources of information.

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3

Coslor, Erica, Brett Crawford y Andrew Leyshon. "Collectors, Investors and Speculators: Gatekeeper use of audience categories in the art market". Organization Studies 41, n.º 7 (16 de diciembre de 2019): 945–67. http://dx.doi.org/10.1177/0170840619883371.

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This research examines gatekeepers’ categorization work to assess and sort audience members. Using a multi-sited ethnography and interpretivist qualitative lens, we explore how high-value art gallerists sort buyers via categories, but also encourage conformity with preferred audience categories, both for artistic consecration goals and to discourage disruptive speculation. Categories served as reference points, with preferred and problematic buyer categories providing a discursive socialization tool, but also informing gatekeeping strategies, for example, problematic behaviors and buyer categories led to value-protecting gatekeeping and exclusion, often justified in moral terms. Monitoring continued throughout the relationship, with decisions considered both fair and necessary for gallerists’ professional practice. Gatekeeping decisions included long-term temporal considerations, prompting strategies including ‘placement’, monitoring and audience recategorization. This extends gatekeeping beyond simply passing muster at the ‘gate’. We also illustrate the dynamic and fluid nature of hidden categories, which provide gatekeepers with heightened abilities to punish perceived wrongdoing.

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4

Lee, Phil. "Art Photography and the Changing Map of Contemporary Art: From Gallerists, to Collectors, and to Museums". Journal of the Association of Western Art History 42 (28 de febrero de 2015): 255. http://dx.doi.org/10.16901/jawah.2015.02.42.255.

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5

Asquith, Wendy y Leon Wainwright. "A Moment to Celebrate? Art of the Caribbean at the Venice Biennale". Journal of Curatorial Studies 9, n.º 1 (1 de abril de 2020): 40–68. http://dx.doi.org/10.1386/jcs_00010_1.

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In recent years, the sporadic presence of various Caribbean national pavilions at the Venice Biennale – Jamaica (2001), Haiti (2011), Bahamas (2013), Grenada (2015, 2017, 2019), Antigua and Barbuda (2017, 2019), Dominican Republic (2019) – has on each occasion been almost unanimously applauded as marking some sort of moment of ‘arrival’ or ‘becoming’ for artists of the Caribbean, and for the local institutional structures and professionals that surround them. This article critically explores what the gains are of such a presence beyond the fleeting ‘Venice effect’ – mega-hyped exposure to international audiences, curators, gallerists and other market actors. The alleged benefits-for-all of contemporary cultural exchange, in an expanding globalizing field such as Venice, are by no means shared equally, and such discourses gloss over layers of uneven privilege embedded within the institution.

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6

Brandellero, Amanda. "Inside and Outside the Market for Contemporary Art in Brazil, through the Experience of Artists and Gallerists". Arts 9, n.º 4 (4 de noviembre de 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 are considered important: Developing the commercial circuit and opening up the market, and; enhancing the value of art in society. Such functions occur against the backdrop of a large and complex country, where the ‘eixo’ (axis) of the main cities offers greater opportunities for visibility and valorization. The findings help to elucidate the perceptions of responsibility and roles in a context of market development, as well as the emerging boundaries between culture and the market. Moreover, the paper explores the emerging dynamics and strategies of art world development as they are enacted, offering insights into how art market actors perceive their roles and responsibilities, as well as the strategies available to them to support market consolidation.

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7

Fuller, Martin G. "Less than Friends, More than Acquaintances: Artists, Markets and Gallery Openings in New York". International Review of Social Research 5, n.º 2 (1 de octubre de 2015): 120–29. http://dx.doi.org/10.1515/irsr-2015-0011.

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Abstract This article describes one way that unknown and ‘emerging’ artists with limited exhibition history or reputation take steps towards developing their careers. Artists cannot apply directly for exhibition opportunities, therefore they develop social associations with gallerists that are described as being ‘kind-of-friendly-with’. Using a descriptive ethnographic narrative drawn from a case study of artists as they navigate an evening of commercial gallery openings in New York’s Chelsea district, it is argued that establishing a career in contemporary visual art depends on the ability to render one’s self visible to other participants in an art world. Rather than viewing the symbolic value of artworks as antagonistic with the economic art market, artists seek to establish social associations in which different forms of value are interrelated. In conclusion it is suggested that this is an art world in which the ‘economic world reversed’ is inversed.

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8

Lang, Sabine y Björn Ommer. "Reconstructing Histories: Analyzing Exhibition Photographs with Computational Methods". Arts 7, n.º 4 (9 de octubre de 2018): 64. http://dx.doi.org/10.3390/arts7040064.

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Displays of art in public or private spaces have long been of interest to curators, gallerists, artists and art historians. The emergence of gallery paintings at the beginning of the seventeenth century and the photographic documentation of (modern) exhibitions testify to that. Taken as factual documents, these images are not only representative of social status, wealth or the museum’s thematic focus, but also contain information about artistic relations and exhibition practices. Digitization efforts of previous years have made these documents, including photographs, catalogs or press releases, available to public audiences and scholars. While a manual analysis has proved to be insufficient, because of the sheer number of available data, computational approaches and tools allowed for a greater access. The following article describes how digital images of exhibitions, as released by the New York Museum of Modern Art in the fall of 2016, are studied with a retrieval system to analyze in which artistic contexts selected artworks were presented in exhibits.

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9

Duarte, Adelaide. "The Periphery Is Beautiful: The Rise of the Portuguese Contemporary Art Market in the 21st Century". Arts 9, n.º 4 (9 de noviembre de 2020): 115. http://dx.doi.org/10.3390/arts9040115.

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The aim of this article is to characterise the rise of the Portuguese contemporary art market since the beginning of the 21st century, within the broader context of the global contemporary art market. Against a theoretical backdrop of the globalisation of markets for contemporary art and the concept of the periphery, I will analyse Lisbon’s art scene as a local phenomenon that is looking for an international recognition. In doing so, I am focusing on two working hypotheses. The first relates to the efforts made by the gallery sector to raise the international profile of its artists, giving them sought-after widespread recognition, which encompasses a historical perspective on the situation and a prominent role for the younger generation of gallerists. The second intends to observe the role played by private collectors and their contributions towards boosting the art scene, assembling their contemporary art collections and making them available to the public. I conclude that this has led to an upsurge in the contemporary art market in connection with the growing number of validating structures, museums, and art centres, due mainly to the fact that the shortcomings of the public sector are being made up for by private initiatives.

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10

Loinjak, Igor. "Umjetnost u službi generiranja viška vrijednosti – o umjetničkom djelu kao (specifičnom) obliku kapitala". Život umjetnosti, n.º 104 (julio de 2019): 144–58. http://dx.doi.org/10.31664/zu.2019.104.09.

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According to one of Marx’s classifications, human labour can be divided into productive and unproductive: productive labour produces and accumulates surplus value, while unproductive does not. In his analysis of the field theory, Pierre Bourdieu implied that, by its very existence, a work of art possesses value that generates the accumulation of capital on the market. In this sense, an artistic artefact is considered to be the result of productive labour. Bourdieu writes that, in the intellectual (artistic, scientific) field, priority is given to the symbolic capital, which can be converted into the economic one at any time. Although it is derived from Marx’s theses, Bourdieu’s concept of capital is not consistently based on the Marxist idea of the exploitation of surplus value. However, the French sociologist admits that all capital is essentially based on the economic one, because all other types of capital can be converted into the economic one, which brings Bourdieu’s theory back into the framework of Marxist economism. Fields are arenas in which participants clash over different types of capital, but they are also spaces of struggle for legitimacy and the right to monopolise. On the basis of insights into the relationships of gallerists, curators and critics with the work of artists belonging to the new artistic practice in Croatia in the late 1960s and 1970s, this article will examine the extent to which Marx’s theses on productive and unproductive labour correlate to Bourdieu’s concept of the artistic field and its capital, and how artistic products of the new artistic practice can justify their existence as products of productive labour.

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11

Garay, Urbi. "The Latin American art market: literature and perspectives". Academia Revista Latinoamericana de Administración 31, n.º 1 (5 de marzo de 2018): 239–76. http://dx.doi.org/10.1108/arla-04-2017-0117.

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Objective The purpose of this paper is to present the progress and trends of the literature on art as an investment and to outline potential research lines to be developed. Design/methodology/approach This work gathers, analyses and critically discusses the attributes of investments in art in general, and in Latin American art in particular. Findings Most studies report that art (art in general, and Latin American in particular) has offered relatively low but positive real returns, which have tended to be below those offered by stocks and similar to those realized by bonds. Art has a low correlation with other investments. Research limitations and implications The literature on the attributes of Latin American art as an investment is limited and new research would help to close the knowledge gap with respect to this segment of the art market as it continues to grow. Practical implications Similarly to the research carried out into other segments of the art market, studies on Latin American art suggest that the works of art are worth more, ceteris paribus: the more renowned the artist, the larger the work, whether they were executed in oil, and if they were auctioned at Sotheby’s or Christie’s. The paper also details a series of practical implications for those who participate in the art market. Originality/value To the best of the authors’ knowledge, this is the first exhaustive review of the literature on the attributes of Latin American art as an investment. The findings of this study are useful for academics, art collectors, auction houses, gallerists and others who take part in the arts market.

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12

Paradise, JoAnne C. "Alfred Schmela, Impassioned Gallerist". Getty Research Journal 1 (enero de 2009): 197–204. http://dx.doi.org/10.1086/grj.1.23005377.

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13

Itz, Caspar A. "Virtual Galleries". Journal of Homosexuality 39, n.º 2 (10 de julio de 2000): 177–79. http://dx.doi.org/10.1300/j082v39n02_09.

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14

Somerville, Rosa. "Galleries Revisited". Art Book 11, n.º 2 (marzo de 2004): 57. http://dx.doi.org/10.1111/j.1467-8357.2004.00422.x.

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15

Zepatos, Thalia. "Galleries and Gamelans". Women's Review of Books 12, n.º 10/11 (julio de 1995): 9. http://dx.doi.org/10.2307/4022159.

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16

Casey, Bernard, Philip Taylor, Jeremy Eckstein, Dominic Moody, Adrienne Muir y Catherine Shaw. "Museums and galleries". Cultural Trends 7, n.º 25 (enero de 1995): 19–45. http://dx.doi.org/10.1080/09548969509364994.

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17

Williams, Susan, Donald L. Fennimore, Amanda E. Lange, Robert F. Trent, Deborah E. Kraak, E. McSherry Fowble, Neville Thompson y Felice Jo Lamden. "The Galleries at Winterthur". American Quarterly 47, n.º 2 (junio de 1995): 309. http://dx.doi.org/10.2307/2713283.

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18

Boström, Hans‐Olof. "Naketskildringar i Fürstenbergska galleriet". Konsthistorisk Tidskrift/Journal of Art History 58, n.º 3 (enero de 1989): 124–40. http://dx.doi.org/10.1080/00233608908604233.

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19

Carmichael, Stephen W. "Microscopes in Art Galleries?" Microscopy Today 14, n.º 6 (noviembre de 2006): 3–5. http://dx.doi.org/10.1017/s1551929500058806.

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In addition to concerns about the appearance of a display, curators of art galleries are also concerned about conservation of the artwork and their authenticity. Microscopes have played a role in these latter activities since the 1930s. Various imaging techniques, including X-radiography, infrared reflectography, macrophotography, UV-fluorescence and raking light (light source at a low angle to the surface) imaging have their advantages and disadvantages. Confocal microscopy is most useful compared to the other methods for the purpose of examination of subsurface structure, but the close working distance (a few mm) makes it precarious to use on valuable masterpieces. More recently, Haida Liang, Marta Cid, Radu Cucu, George Dobre, Adrian Podoleanu, Justin Pedro, and David Sauders have demonstrated the usefulness of optical coherence tomography (OCT) for non-destructive examination of artwork. OCT, as discussed previously in this column, is more commonly used to examine biological specimens.

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20

Sprayregen, Molly. "Galleries of the Mind". American Book Review 38, n.º 1 (2016): 19. http://dx.doi.org/10.1353/abr.2016.0151.

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21

Fillitz, Thomas. "Viennese Museums and Galleries". African Arts 35, n.º 4 (1 de diciembre de 2002): 88. http://dx.doi.org/10.1162/afar.2002.35.4.88.

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22

Hightower, John B. "Are Art Galleries Obsolete?" Curator: The Museum Journal 12, n.º 1 (9 de julio de 2010): 9–13. http://dx.doi.org/10.1111/j.2151-6952.1969.tb01759.x.

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23

Toppings, M. Glenn. "Are Art Galleries Obsolete?" Curator: The Museum Journal 12, n.º 1 (9 de julio de 2010): 69–70. http://dx.doi.org/10.1111/j.2151-6952.1969.tb01768.x.

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24

Czyzowicz, J., E. Rivera-Campo, N. Santoro, J. Urrutia y J. Zaks. "Guarding rectangular art galleries". Discrete Applied Mathematics 50, n.º 2 (mayo de 1994): 149–57. http://dx.doi.org/10.1016/0166-218x(92)00029-l.

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25

Efrat, Alon y Sariel Har-Peled. "Guarding galleries and terrains". Information Processing Letters 100, n.º 6 (diciembre de 2006): 238–45. http://dx.doi.org/10.1016/j.ipl.2006.05.014.

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26

MackaySim, Matilda, Jamshid Ahmadi y Saxby Pridmore. "Suicide in Shooting Galleries". Materia Socio Medica 26, n.º 1 (2014): 17. http://dx.doi.org/10.5455/msm.2014.26.17-20.

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MackaySim, Matilda, Jamshid Ahmadi y Saxby Pridmore. "Suicide in Shooting Galleries". Materia Socio Medica 26, n.º 1 (2014): 17. http://dx.doi.org/10.5455/msm.2014.26.17-21.

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28

Vrabková, Iveta y Jiří Bečica. "The Technical and Allocative Efficiency of the Regional Public Galleries in the Czech Republic". SAGE Open 11, n.º 2 (abril de 2021): 215824402110092. http://dx.doi.org/10.1177/21582440211009221.

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The regional public galleries in the Czech Republic belong to the most important and the biggest institutions of their kind. The article deals with the assessment of the technical and allocation efficiency of 19 regional public galleries for the period between 2011 and 2015 from the perspective of the static as well as the dynamic efficiency. For the estimation of the efficiency according to the specific inputs and outputs, the Data Envelopment Analysis model and the Malmquist Index were used. In 2015, four galleries were fully technically efficient, and the average efficiency of the set being assessed was 70%. In 2015, in comparison with 2011, 11 public galleries improved their productivity. In 2015, seven galleries reached the full allocation efficiency, and the average efficiency was 90%. In 2015, in comparison with 2011, 12 public galleries improved their efficiency.

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29

Sommer, Robert. "Art from Flotsam". Boom 3, n.º 1 (2013): 56–62. http://dx.doi.org/10.1525/boom.2013.3.1.56.

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For thirty years Northern California hosted several informal galleries in which local people constructed unsigned sculpture from flotsam. The work received considerable media publicity. The premier gallery was in Emeryville, but several other locations around the Bay were used, along with subsidiary galleries in Arcata and North Bend, OR. All these tidal galleries have become state parks, nature reserves, or otherwise closed to sculpture-building. Given the creative energy of people in the area, future galleries in other tidal locations are likely to arise.

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30

Memili, Esra, Hanqing Fang, Gerd-Michael Hellstern, Joanna Ozga y Dilek Zamantili Nayir. "An Empirical Analysis of Art Galleries". Zeitschrift für Kulturmanagement 2, n.º 2 (1 de noviembre de 2016): 103–22. http://dx.doi.org/10.14361/zkmm-2016-0206.

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Abstract Despite the extant research on entrepreneurial orientation (EO) and its performance consequences, cultural industries have been under researched. In our paper, we examine the impact of the Entrepreneurial Orientation (EO) on performance as well as performance deviation from industry average in art galleries. The findings of our exploratory study based on responses from 113 art galleries in Istanbul showing that EO improves performance only in galleries with above industry average performance. We further find that the relationship between EO and performance deviation of galleries is U-shaped.

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31

Terreni, Lisa. "Beyond the Gates: Examining the Issues Facing Early Childhood Teachers when they Visit Art Museums and Galleries with Young Children in New Zealand". Australasian Journal of Early Childhood 42, n.º 3 (septiembre de 2017): 14–21. http://dx.doi.org/10.23965/ajec.42.3.02.

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EXCURSIONS TO CULTURAL CENTRES, such as art museums and galleries, can add new and valuable learning opportunities for young children. This paper presents the findings from a large scale national questionnaire that asked early childhood (EC) teachers in New Zealand about their engagement with art museums and galleries for learning experiences, outside of their EC centres. As part of a mixed methods research project, the questionnaire also sought to ascertain the degree to which the EC sector uses art museums and galleries as excursion destinations, and the ways in which they are used (or not). The findings suggest that key factors that both help and hinder visiting art museums and galleries with young children include: the pedagogical approaches EC teachers have in relation to visual art education, the ways in which teachers view successful learning opportunities for young children, and a teacher's own perceptions and fears of art museums and galleries. This study suggests that teachers have mixed views about whether visiting art museums and galleries will provide appropriate experiences for young children.

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32

Krishnan, Prakash. "Diversity Counts: Gender, Race, and Representation in Canadian Art Galleries". Public 31, n.º 61 (1 de diciembre de 2020): 311–13. http://dx.doi.org/10.1386/public_00037_5.

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A review of Anne Dymond’s new book, Diversity Counts: Gender, Race, and Representation in Canadian Art Galleries. In it, she takes a statistical approach to investigating gender and racial parity in large Canadian art galleries. By counting solo exhibitions shown in Canadian art galleries, Dymond reveals that they are not in fact representative of the nation’s diverse population.

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Longshore, Douglas. "Prevalence and Circumstances of Drug Injection at Los Angeles Shooting Galleries". Crime & Delinquency 42, n.º 1 (enero de 1996): 21–35. http://dx.doi.org/10.1177/0011128796042001002.

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This study estimates the prevalence of drug injection at shooting galleries in Los Angeles and describes their characteristics. Data indicate that 23% of local drug injectors went to a gallery during the year before their interview and that drug use at shooting galleries may have been underestimated in other studies. “Dirty works” are commonly shared in Los Angeles galleries, and gallery access is not limited to people who know each other. However, galleries in the eastern and western United States appear to differ in their scale of operation, that is, the number of users who visit them on a given day.

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34

Hollett, Calvin. "“Let There Be No Galleries”". Newfoundland and Labrador Studies 34, n.º 1 (21 de octubre de 2020): 57–92. http://dx.doi.org/10.7202/1072437ar.

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35

Żyliński, Paweł. "Cooperative guards in art galleries". Dissertationes Mathematicae 450 (2007): 1–132. http://dx.doi.org/10.4064/dm450-0-1.

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Hutchinson, Joan P. y Andre Kundgen. "Art Galleries with Walls: 10478". American Mathematical Monthly 105, n.º 3 (marzo de 1998): 274. http://dx.doi.org/10.2307/2589095.

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37

Valis, Noel, Antonio Machado y Richard L. Predmore. "Solitudes, Galleries, and Other Poems". Modern Language Studies 19, n.º 3 (1989): 89. http://dx.doi.org/10.2307/3195108.

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38

Stephenson-Wright, Ann y Frank Howie. "Safety in Museums and Galleries". Studies in Conservation 34, n.º 2 (mayo de 1989): 98. http://dx.doi.org/10.2307/1506272.

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39

Tennent, Norman H. y Janet Turner. "Light in Museums and Galleries". Studies in Conservation 32, n.º 2 (mayo de 1987): 92. http://dx.doi.org/10.2307/1506299.

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40

Rogers, Timothy J., Antonio Machado y Richard L. Predmore. "Solitudes, Galleries, and Other Poems". Hispania 71, n.º 4 (diciembre de 1988): 850. http://dx.doi.org/10.2307/343301.

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41

Chapman, Lucy. "4x4: Four Galleries, Four Exhibitions". TEXTILE 7, n.º 3 (noviembre de 2009): 370–77. http://dx.doi.org/10.2752/147597509x12541451110152.

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42

Lienhard, S., M. Specht, B. Neubert, M. Pauly y P. Müller. "Thumbnail galleries for procedural models". Computer Graphics Forum 33, n.º 2 (mayo de 2014): 361–70. http://dx.doi.org/10.1111/cgf.12317.

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43

Massis, Bruce. "Art galleries in the library". Information and Learning Science 118, n.º 9/10 (10 de octubre de 2017): 566–68. http://dx.doi.org/10.1108/ils-08-2017-0083.

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Purpose The purpose of this study is to report that the library has recognized the benefit to the community of including art gallery space in the library. Design/methodology/approach This paper is a literature review and commentary on this topic that has been addressed by professionals, researchers and practitioners. Findings Exposure to art in the library can open and expand worlds that might never have been available to some and can provide the populace with greater access directly in their own community. Originality/value The value in exploring this topic is to provide libraries that may not have considered including an art gallery in their libraries to consider the possibility of doing so.

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44

Gray, Clive. "Museums, Galleries, Politics and Management". Public Policy and Administration 26, n.º 1 (15 de noviembre de 2010): 45–61. http://dx.doi.org/10.1177/0952076710365436.

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45

Schuetz, Jenny. "Do art galleries stimulate redevelopment?" Journal of Urban Economics 83 (septiembre de 2014): 59–72. http://dx.doi.org/10.1016/j.jue.2014.08.002.

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46

Giorgione, Claudio. "To the New Leonardo Galleries". Artefact, n.º 12 (15 de julio de 2020): 273–77. http://dx.doi.org/10.4000/artefact.5942.

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47

Cox, Miranda. "Visiting museums and art galleries". Practical Pre-School 1999, n.º 18 (noviembre de 1999): 17–18. http://dx.doi.org/10.12968/prps.1999.1.18.41107.

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48

Schellenberg, Kristian y Thomas Vogel. "Swiss Rockfall Galleries – Impact Load". IABSE Symposium Report 90, n.º 6 (1 de enero de 2005): 9–16. http://dx.doi.org/10.2749/222137805796271080.

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Mills, John Orme. "Whispering Galleries: the small magazines". New Blackfriars 77, n.º 906 (julio de 1996): 369–76. http://dx.doi.org/10.1111/j.1741-2005.1996.tb01570.x.

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Selwood, Sara, Adrienne Muir y Dominic Moody. "Museums, galleries and the lottery". Cultural Trends 7, n.º 28 (enero de 1995): 1–27. http://dx.doi.org/10.1080/09548969509365020.

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