Art: financial aspects Books

Book SynopsisThis interdisciplinary collection of case studies rethinks corporate patronage in the United States and reveals the central role corporations have played in shaping American culture. The case studies in this volume offers new methodologies and models for the subject of corporate patronage, going beyond the usual focus on corporate sponsorship and collecting to explore the complex organizational networks and motivations behind corporate commissions. Featuring chapters on Margaret Bourke-White, Julie Mehretu, Maxfield Parrish, Pablo Picasso, Diego Rivera, Eugene Savage, Millard Sheets, and Kehinde Wiley, as well as studies on Andrew Carnegie, Andrew Mellon, John D. Rockefeller Sr. and Jr., and Dorothy Shaver, and companies such as Herman Miller and Lord and Taylor, this book looks at a wide array of works, ranging from sculpture, photography, mosaics, and murals to advertisements, department store displays, sportswear, medical schools, and public libraries. It also contains an extensive Trade ReviewMore than just a necessary corrective to the prevailing scholarly inattention to the private sector’s consumption of the visual arts, Corporate Patronage of Art & Architecture in the United States demonstrates how extensively the histories of art and commerce interlace. Brimming with archival gems, fresh interpretations, and new interpretive frameworks, this collection of essays by fourteen authors examines artistic commissions of remarkable variety and complexity, both in terms of their underlying motives and their outward manifestations: hospital architecture, installations for office buildings, banks, and ocean liners, department store displays, furniture design, magazine advertisements, contemporary sportswear, and even the very materials from which art is made. Often circulating beyond the white cube of the museum, these collaborations between cultural producers and business enterprise, moreover, represented most Americans' first or primary exposure to modern art, design, and architecture. This volume will not only encourage business historians to take corporate visual culture more seriously but also urge art historians to reconsider the facile distinctions between commercial culture and the avant-garde that have shaped the field. * John Ott, Professor of Art History, James Madison University, USA *Writing in 1927, the American advertising executive Earnest Elmo Calkins declared that “beauty [is] the new business tool.” This anthology re-considers the modern alliance between art and industry that laid the foundation for the ubiquitous corporate sponsorship of our own time. Calkins would have approved, thankful for this new history of beauty and business. * Regina Lee Blaszczyk, Leadership Chair in the History of Business and Society, University of Leeds, UK *Table of ContentsList of Illustrations Acknowledgments Introduction Beyond the Commercial: Corporate Patronage Reconsidered Monica E. Jovanovich and Melissa Renn Part I: Rethinking Corporate Patronage Chapter 1: Corporate Patronage at the Crossroads: Situating Diego Rivera’s ‘Rockefeller Mural’ Then and Now Mary K. Coffey Chapter 2: Maxfield Parrish’s Creative Machinery for Transportation Jennifer A. Greenhill Chapter 3: Connections and Conflicts: Margaret Bourke-White’s Corporate, Commercial, and Documentary Photography Mark Durden Chapter 4: Incorporated Philanthropy: The General Education Board, Abraham Flexner, and the Architecture of American Medical Schools in the Early Twentieth Century Katherine L. Carroll Part II: From Tastemaking to Marketing: Corporate Patronage Networks Chapter 5: The Corporate Person as Art Collector: Andrew Mellon’s Capital and the Origins of the National Gallery of Art Seth Feman Chapter 6: ‘To live is to look and move forward’: Lord and Taylor’s 1928 Exposition of Modern Art and Design Elizabeth McGoey Chapter 7: Merchants, Manufacturers, and Museums: The Patronage Networks of Modern Design in the United States, 1930s–1950s Margaret Maile Petty Chapter 8: Marketing Hawaii: Eugene F. Savage and the Matson Murals (1938–1940) Elizabeth B. Heuer Part III: Corporate Commissions as Branding and Public Relations Chapter 9: Civic Space and an Iconic Brand: Paradoxes of Corporate Patronage in the Carnegie Library Phenomenon Douglas Klahr Chapter 10: Banking with Family in Postwar California: Howard Ahmanson, the Millard Sheets Studio, and the Home Savings and Loan Commissions, 1953–1991 Adam Arenson Chapter 11: Rusting Giant: U.S. Steel and the Promotional Material of Sculpture Alex J. Taylor Chapter 12: From Bank Lobbies to Sportswear: Julie Mehretu, Kehinde Wiley, and the Shift in Corporate Patronage in the Twenty-First Century Daniel Haxall Bibliography List of Contributors

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Book SynopsisReconsiders exceptionalism between aesthetics and politics Here, Arne De Boever proposes the notion of aesthetic exceptionalism to describe the widespread belief that art and artists are exceptional. Against Aesthetic Exceptionalism challenges that belief by focusing on the sovereign artist as genius, as well as the original artwork as the foundation of the art market. Engaging with sculpture, conceptual artwork, and painting by emerging and established artists, De Boever proposes a worldly, democratic notion of unexceptional art as an antidote to the problems of aesthetic exceptionalism.Forerunners: Ideas First Short books of thought-in-process scholarship, where intense analysis, questioning, and speculation take the leadTrade Review"De Boever’s work offers an ongoing intellectual and critical project."—Collateral

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Book SynopsisIn The Entrepreneurial Artist: Lessons from Highly Successful Creatives, Aaron Dworkin offers an engaging, practical guide to achieving artistic fulfillment, both personally and professionally. Based on the accomplishments of Shakespeare, Mozart, and several contemporary creatives, these lessons will help you realize your goals—no matter your medium. Among those Dworkin personally interviewed for this book are Emmy-winning actor Jeff Daniels, Tony-award winning choreographer Bill T. Jones, Grammy award-winning musician Wynton Marsalis, and Pulitzer Prize winner Lin-Manuel Miranda, among others. The stories of these twelve remarkable individuals come alive with lessons of love, loss, despair, sacrifice, perseverance, and triumph. Some of the artist-entrepreneur takeaways explored in this book include: ·Build partnerships—with peers, patrons, and sponsors ·Embrace diversity ·Expand your focus ·Allow your work to mature Whether one is an aspiring student artist in search of practical tools to build a sustainable career, or a veteran seeking reinvention, The Entrepreneurial Artist offers insights—well-tested, unusual, or innovative—that are meaningful for every kind of creative.Trade ReviewAaron Dworkin has made his life his art form, and he lives it with honesty, dedication and creativity. He thinks of music as a human invention to help us understand ourselves, our environment, and others. Music was invented to serve society, and Aaron is living proof of that commitment. -- Yo-Yo Ma, Grammy-award winning musicianAaron uses fourteen creative individuals to distill the complexities of success in ways that are both accessible and inspiring. I am grateful for this contribution to the arts sector and beyond! -- Deborah Borda, President and CEO, New York PhilharmonicDworkin is dropping plenty of knowledge and wisdom in these pages. I recognized early in my career how critical it was for me to not wait for the phone to ring and create work for myself. The age of the artist/entrepreneur is upon us. -- LeVar Burton, Actor (Star Trek: The Next Generation; Roots)Inspiring and informative insight into the leading entrepreneurial artists who have transformed our world. A must-read for anyone interested in living a creative life! -- Josh Linkner, New York Times bestselling author, Disciplined Dreaming: A Proven System to Drive Breakthrough CreativityA fascinating insider’s look at the traits we share that compel us to create, full of invaluable guidance on how to turn our creative impulses into successes. -- Benj Pasek and Justin Paul, Grammy and Tony award-winning songwriters (La-La Land; Dear Evan Hansen)Professor Dworkin combines the fascinating stories of acclaimed artists with constructive steps on how to turn great ideas into reality; reminding us that some of the most influential entrepreneurs are artists. -- Jane Chu, Past Chair, National Endowment for the ArtsAaron Dworkin has a profound commitment to Humankind; and the Creative Forces that dwell within Us. That Commitment manifests dynamically and inspirationally, in this book and the work he engages; producing entrepreneurial and creative artistry, that is a gift for us all. -- Delroy Lindo, Actor (The Good Fight; Get Shorty)I’ve long known about Aaron Dworkin’s great gifts to the art world—his own creative composing and performing; his inspirational teaching; his powerful non-profit work. Perhaps his biggest legacy will be this book: a tactical guide for musicians and artists to show them that the same skills and habits that have helped them to make their art so special are also what can will help them make their way—creatively and effectively—through business world -- Ari Weinzweig, author, The Art of BusinessThe arts are not just a passion, they are a career. Aaron Dworkin builds a bridge between them with inspiring interviews and insights from the best of the best. It’s a must read for anyone who imagines dedicating their life to music and the arts. -- Gustavo Dudamel, Music & Artistic Director, Los Angeles PhilharmonicBravo to Aaron Dworkin. He has pulled together a great set of life and business lessons from what some might think are unexpected places. However from my own life’s work I know that artists and their experiences are a rich resource for many learnings: productivity, teamwork, creativity and so much more. This book is full of excellent, useful information. It is also a great deal of fun to read. -- Robert L. Lynch, President and CEO, Americans for the ArtsWhat would happen if we taught the most creative people, musicians, artists, writers, and the like, to be entrepreneurs? In The Entrepreneurial Artist, Professor Aaron Dworkin answers the question by examining how renowned artists have become successful both artistically and commercially. The Entrepreneurial Artist uses real case studies to identify how they achieved their goals, both creative and financial, and how you can do the same. I recommend this book for artists and entrepreneurs of all types who want to get more out of their career. -- Jeff DeGraff, bestselling author of The Innovation CodeA pleasingly practical handbook of success that never forgets the inspiration, the soul and the fire that lie at the heart of the true artist entrepreneur. This book will surely be an inspiration for many generations to come. -- Marshall Marcus, CEO, International Youth FoundationAaron Dworkin catapults us into the world of extraordinary artists. His profiles challenge, inspire and calls on all of us to excel - whether we are artisan farmers, struggling artists or investors of innovation. We have much to learn from the arts! -- David Mas Masumoto, Author, Changing Season: A Father, A Daughter, A Family Farm

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Book SynopsisNFTs, non-fungible tokens, as collectible, digital, blockchain-secured files became an international sensation in 2020, with the trend in trading them peaking in the fall of 2021. Many sold for millions, and one even sold for $69 million. And yet what exactly are they, and why do they have value? This is the definitive book on NFTs in the story of art and collecting. It is co-authored by an art historian who has written often on the value of art and the history of collecting. NFTs caught Noah Charney’s attention and fascinated him. He, too, felt that initial knee-jerk reaction that so many who hear of a $69 million sale do: how is this digital image different from me clicking “right-click save” on my touchpad and downloading it to my computer? Why would anyone pay $69 million for something that’s not f*cking there?This book provides answers to these questions and far more. Charney sees in NFTs a direct parallel to the history, sociology and psychology of art collecting. He was recently a “normee” but he’s now halfway inside the club—he is also an acknowledged authority on the history of art and collecting. He knows all there is to know about humans collecting things of no practical value but that we just really want. But then he worked for a period with two crypto-related companies, and got to know this world from within.He’s not alone on this ride. The second half of this book is written by someone who knows just about all there is to know about NFTs: Kenny Schachter. Kenny is an artist, collector, curator, professor, columnist and NFT influencer. In fact, he was listed in the fall of 2021 as among the 30 most influential people in the world of NFTs. He even coined (and trademarked) a term, NFTism. While Charney is an art historian considering the NFT phenomenon from the thoughtful but remote perch of his couch, examining NFTs historical and within the context of collecting and the value of art, Kenny has been “in the field” more than anyone, even during the pandemic, zipping from London to Zurich to Art Basel Switzerland to Art Basel Miami. He has his finger on the virtual, digital pulse of this fascinating, bizarre, hugely lucrative phenomenon.Welcome to the definitive book on NFTs.Trade ReviewA great read for people who are looking to learn more about NFTs and are wondering how this breakthrough technology has impacted our world today. -- Alexander Salnikov, co-founder of Rarible

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Book SynopsisThe full, inside story of how the discovery of a previously unknown painting by Raphael, the Italian Renaissance master, went from media sensation to career-destroying scandal.On the eve of its centennial celebrations in December, 1969, the Boston Museum of Fine Arts announced the acquisition of an unknown and uncatalogued painting attributed to Raphael. Boston’s coup made headlines around the world. Soon afterward, an Italian art sleuth began investigating the details of the painting’s export from Italy, challenged the museum’s right to ownership. Simultaneously, experts on both sides of the Atlantic lined up to debate the artwork’s very authenticity.While these contests played themselves out on the international stage, the crisis deepened within the museum as its charismatic director, Perry T. Rathbone, faced the most challenging crossroads of his thirty-year career. The facts about the forces that converged on the museum, and how the

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Book SynopsisFew Americans are aware that the federal government is the country's largest single patron of art. Every year a group of unelected bureaucrats and congressmen spends millions of taxpayer dollars on monuments, sculptures, buildings, plays, and exhibitions, largely without public knowledge or involvement. Frank Gehry's outlandish memorial to President Eisenhower, an installation that blinks quotes from Eleanor Roosevelt in Morse code at a cash-strapped Veterans Administration hospital, a giant $750,000 wood sculpture whose fumes sickened workers at an FBI building in Miami, FL, and funding for research on the visual cultures of tea consumption in Imperial India are just a few of the hundreds of unwanted and wasteful projects supported annually by the General Services Administration, the National Endowments for the Arts and Humanities, and their enablers on Capitol Hill. In this book, Bruce Cole, the longest-serving chairman of the National Endowment for the Humanities, exposes the programs and policies responsible for this glut of unsupervised bureaucratic pork and offers suggestions for their reform or elimination.

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Book SynopsisIn the late 1700s, as the events of the French Revolution roiled France, London displaced Paris as the primary hub of international art sales. Within a few decades, a robust and sophisticated art market flourished in London. 'London and the Emergence of a European Art Market, 1780-1820' explores the commercial milieu of art sales and collecting at this turning point. In this collection of essays, twenty-one scholars employ methods ranging from traditional art historical and provenance studies to statistical and economic analysis; they provide overviews, case studies and empirical reevaluations of artists, collectors, patrons, agents and dealers, institutions, sales and practices. Drawing from pioneering digital resources-notably the Getty Provenance Index-as well as archival materials, such as trade directories, correspondence, stock books and inventories, auction catalogs and exhibition reviews, these scholars identify broad trends, reevaluate previous misunderstandings and consider overlooked commercial contexts to illuminate artistic taste. From individual case studies to econometric overviews, this volume is groundbreaking for its diverse methodological range that illuminates artistic taste and flourishing art commerce at the turn of the nineteenth century.

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Book SynopsisInside the Getty takes readers on a tour from the Getty Villa to the Getty Center, from the Museum's original home in J. Paul Getty's house to the many labs, libraries, and galleries that fill the Center in Brentwood today. Readers will discover more about the history and daily operations of this institution. The second edition refreshes the illustration program with more recent photography and brings the text up to date with new information about some of the Museum's most prominent new acquisitions, the Getty Research Institute's holdings, the work done by the Getty Conservation Institute and the Getty Foundation, and changes to Getty operations site-wide.

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Book SynopsisIn this volume, Diana Davis demonstrates how London dealers invented a new and visually splendid decorative style that combined the contrasting tastes of two nations. Departing from the conventional narrative that depicts dealers as purveyors of antiquarianism, Davis repositions them as innovators who were key to transforming old art objects from 'ancien re gime' France into cherished "antiques" and, equally, as creators of new and modified French-inspired furniture, bronze work, and porcelain. The resulting old, new, and reconfigured objects merged aristocratic French eighteenth-century taste with nineteenth-century British preference, and they were prized by collectors, who displayed them side by side in palatial interiors of the period. 'The Tastemakers' analyzes dealer-made furnishings from the nineteenth-century patron's perspective and in the context of the interiors for which they were created, contending that early dealers deliberately formulated a new aesthetic with its own objects, language, and value. Davis examines a wide variety of documents to piece together the shadowy world of these dealers, who emerge center stage as a traders, makers, and tastemakers.Trade Review“Clear and concise...the book presents a thought-provoking discussion, underscored by extremely detailed archival research.”—Mark Westgarth, Furniture History Society Newsletter

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Book SynopsisA sophisticated examination of today’s contemporary art market from an art dealer’s point of view, this new book focuses on recent changes in the quickly evolving market. With an emphasis on how the market responded to the global recession that began in 2008, gallery owner Edward Winkleman moves from an examination of the factors beyond the individual dealer’s command to those that the dealer can control. Sections cover: The rise of the art fair The rise of the mega gallery New online competition Models of post–brick-and-mortar art dealing Art dealers as art fair organizers Collaboration in a new era Coverage is also given to the specifics of contracts contemporary art dealers may need, including an examination of a variety of contracts for representation, consignment, and new forms of contemporary art. Exhibiting a wide range of interviews with international experts including dealers, collectors, art fair directors, journalists, and online art entrepreneurs, Selling Contemporary Art is a must-read for gallery owners, dealers, and artists affected by the rapid innovations in the art-dealing industry. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.Trade Review"Edward Winkleman will rightfully make you love and admire people you think you should hate: art dealers, the hell they go through trying to make ends meet, keeping artists happy, talking to critics, collectors, curators, electricians, and everyone else who wants a piece of the art action, all while operating businesses that are free to the public. I love art dealers and love that Winkleman will make you see how hard they work. Amen!" —Jerry Saltz, senior art critic, New York magazine "Edward Winkleman delivers an absorbing, well-researched, and much-needed book on the gallery world of the last seven years. He provides in-depth analysis based on research along with his own astute observations making this book a must-read for those contemplating a start-up as much as for those who have spent their lives in the gallery business." —Dorsey Waxter, partner, Van Doren Waxter Gallery, New York"Edward Winkleman will rightfully make you love and admire people you think you should hate: art dealers, the hell they go through trying to make ends meet, keeping artists happy, talking to critics, collectors, curators, electricians, and everyone else who wants a piece of the art action, all while operating businesses that are free to the public. I love art dealers and love that Winkleman will make you see how hard they work. Amen!" —Jerry Saltz, senior art critic, New York magazine"Edward Winkleman delivers an absorbing, well-researched, and much-needed book on the gallery world of the last seven years. He provides in-depth analysis based on research along with his own astute observations making this book a must-read for those contemplating a start-up as much as for those who have spent their lives in the gallery business."—Dorsey Waxter, partner, Van Doren Waxter Gallery, New York

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Book SynopsisA sophisticated examination of today’s contemporary art market from an art dealer’s point of view, this new book focuses on recent changes in the quickly evolving market. With an emphasis on how the market responded to the global recession that began in 2008, gallery owner Edward Winkleman moves from an examination of the factors beyond the individual dealer’s command to those that the dealer can control. Sections cover: The rise of the art fair The rise of the mega gallery New online competition Models of post–brick-and-mortar art dealing Art dealers as art fair organizers Collaboration in a new era Coverage is also given to the specifics of contracts contemporary art dealers may need, including an examination of a variety of contracts for representation, consignment, and new forms of contemporary art. Exhibiting a wide range of interviews with international experts including dealers, collectors, art fair directors, journalists, and online art entrepreneurs, Selling Contemporary Art is a must-read for gallery owners, dealers, and artists affected by the rapid innovations in the art-dealing industry. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.Trade Review"Edward Winkleman will rightfully make you love and admire people you think you should hate: art dealers, the hell they go through trying to make ends meet, keeping artists happy, talking to critics, collectors, curators, electricians, and everyone else who wants a piece of the art action, all while operating businesses that are free to the public. I love art dealers and love that Winkleman will make you see how hard they work. Amen!" —Jerry Saltz, senior art critic, New York magazine "Edward Winkleman delivers an absorbing, well-researched, and much-needed book on the gallery world of the last seven years. He provides in-depth analysis based on research along with his own astute observations making this book a must-read for those contemplating a start-up as much as for those who have spent their lives in the gallery business." —Dorsey Waxter, partner, Van Doren Waxter Gallery, New York"Edward Winkleman delivers an absorbing, well-researched, and much-needed book on the gallery world of the last seven years. He provides in-depth analysis based on research along with his own astute observations making this book a must-read for those contemplating a start-up as much as for those who have spent their lives in the gallery business." —Dorsey Waxter, partner, Van Doren Waxter Gallery, New York"Edward Winkleman will rightfully make you love and admire people you think you should hate: art dealers, the hell they go through trying to make ends meet, keeping artists happy, talking to critics, collectors, curators, electricians, and everyone else who wants a piece of the art action, all while operating businesses that are free to the public. I love art dealers and love that Winkleman will make you see how hard they work. Amen!" —Jerry Saltz, senior art critic, New York magazine

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Book SynopsisAn insider's guide to buying, collecting, and selling art from an insider of Christie's Grounded in real-life stories, Art Collecting Today is the essential practical guide to today's art market. A lightly regulated industry with more than sixty billion dollars of annual sales, the art market is often opaque and confusing to even the most experienced collectors. But whether a seasoned collector, an uninitiated newcomer, or an art-world insider, readers will learn within these pages how the art marketplace works in practice and how to navigate it smartly. Those who may have been put off by art-world practices will finally feel they have the knowledge needed to participate freely and fully, and collectors will be able to pursue their passion with more confidence. Important topics covered include:How to evaluate, buy, and sell art while avoiding costly mistakes and time-consuming roadblocks How the market works in practice for essential artists like Ren? Magritte, Christopher Wool, Amedeo Modigliani, and Yayoi Kusama How collectors can be taken advantage of, and the actions they should take to protect themselves Why tax laws in the United States reward "art investors" yet penalize "art collectors" How cultural property laws impact the market for works by such artists as Frida Kahlo and Andy Warhol Advice for new and prospective collectors Informed by close to one hundred interviews with collectors, lawyers, art advisors, gallerists, and auction specialists in the United States and Europe, as well as by the author's own experiences, Art Collecting Today offers a lively and thought-provoking analysis of the day-to-day workings at play today in the fine art marketplace.Trade Review"The latest in Allworth's series on the nuts and bolts of the art world, Mr Woodham's book is an elegant, amusing and perceptive guide to a market that is (often) long on hocus-pocus and short on transparency." ?THE ECONOMIST "Several books about the notoriously opaque art market claim to be user-friendly, but Doug Woodham, who was president of Christie's Americas between 2012 and 2014, may be the first to produce a truly hand-holding guide." ?THE FINANCIAL TIMES "Mr. Woodham's book contains startling information about the number of people in the market for the world's most expensive art." ?THE NEW YORK TIMES "Doug Woodham deftly explains how a sixty-billion-dollar marketplace works. It is beautifully written?clear, concise, and free of art-world jargon. A must-read at all levels of collecting." ?VIK MALHOTRA, Chairman of the Americas and Senior Partner, McKinsey and Company "This book is a gem. It is full of great stories and surprises for both specialists and general readers. It is brimming with practical advice for how collectors can best navigate the complex world of modern and contemporary art." ?LAURIE TISCH, Co-chair of the Board of Trustees at the Whitney Museum of American Art, President of the Laurie M. Tisch Illumination Fund "An intelligently written and insightful book on the art market, this fascinating read is relevant to both newcomers and seasoned collectors alike. I know of no other comparable book. It's an instant classic." ?DON MARRON, Trustee and President Emeritus of the Museum of Modern Art, Chairman and Founder of Lightyear Capital "For anyone who cares for or is just curious about art, Doug Woodham is an astute, lively, and entertaining guide who tells you candidly how the art world works, how it's changing, and how to get engaged. Art Collecting Today presents his wealth of knowledge in a crisp, accessible, and fascinating form." ?MELISSA BERMAN, President and CEO, Rockefeller Philanthropy Advisors "This thoughtful volume is one of the few that explores the entire ecosystem of the art market?auction houses, art fairs, advisors, galleries, artists, and museums. Woodham aims to make the market more accessible and rightly foregrounds passion, quality, and connoisseurship as the jumping off point for collecting." ?ADAM WEINBERG, Alice Pratt Brown Director, Whitney Museum of American Art"The latest in Allworth's series on the nuts and bolts of the art world, Mr Woodham's book is an elegant, amusing and perceptive guide to a market that is (often) long on hocus-pocus and short on transparency." ?THE ECONOMIST "Several books about the notoriously opaque art market claim to be user-friendly, but Doug Woodham, who was president of Christie's Americas between 2012 and 2014, may be the first to produce a truly hand-holding guide." ?THE FINANCIAL TIMES "Mr. Woodham's book contains startling information about the number of people in the market for the world's most expensive art." ?THE NEW YORK TIMES "Doug Woodham deftly explains how a sixty-billion-dollar marketplace works. It is beautifully written?clear, concise, and free of art-world jargon. A must-read at all levels of collecting." ?VIK MALHOTRA, Chairman of the Americas and Senior Partner, McKinsey and Company "This book is a gem. It is full of great stories and surprises for both specialists and general readers. It is brimming with practical advice for how collectors can best navigate the complex world of modern and contemporary art." ?LAURIE TISCH, Co-chair of the Board of Trustees at the Whitney Museum of American Art, President of the Laurie M. Tisch Illumination Fund "An intelligently written and insightful book on the art market, this fascinating read is relevant to both newcomers and seasoned collectors alike. I know of no other comparable book. It's an instant classic." ?DON MARRON, Trustee and President Emeritus of the Museum of Modern Art, Chairman and Founder of Lightyear Capital "For anyone who cares for or is just curious about art, Doug Woodham is an astute, lively, and entertaining guide who tells you candidly how the art world works, how it's changing, and how to get engaged. Art Collecting Today presents his wealth of knowledge in a crisp, accessible, and fascinating form." ?MELISSA BERMAN, President and CEO, Rockefeller Philanthropy Advisors "This thoughtful volume is one of the few that explores the entire ecosystem of the art market?auction houses, art fairs, advisors, galleries, artists, and museums. Woodham aims to make the market more accessible and rightly foregrounds passion, quality, and connoisseurship as the jumping off point for collecting." ?ADAM WEINBERG, Alice Pratt Brown Director, Whitney Museum of American Art

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Book SynopsisHow to Get Others to Support Your Vision If you have a dream that needs backing, be it an art project, an invention, or even a business, this is the book for you. Brainard Carey offers advice with solid examples of how building relationships with sponsors, investors, grant-makers, and patrons is something every creative person can pursue. Carey draws from his extensive experience and interviews with others to show artists and creative people how to raise money without the use of crowdfunding platforms. Readers will learn how to articulate their funding needs, develop a campaign, and approach sponsors. Chapter topics include: Defining your funding goals Pitching a proposal Writing to someone you've never met before Conversational tactics to help you ask for funding Methods for keeping in touch with potential sponsors Real examples of artists and entrepreneurs who succeeded in gaining the support of philanthropists and patrons And much more With chapters divided between practical how-tos and case studies, Fund Your Dreams Like a Creative Genius, offers readers both instructive and demonstrative lessons in making their next big project a reality. Everyone can do it with the right tools, and Carey offers an insider's guide to an otherwise daunting process.Trade Review*Selected for City Book Review's 2018 Gift Guide*

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Book SynopsisLearn how to navigate the turbulent seas of the art world from acclaimed art advocate Brainard Carey. In this succinct volume, author Brainard Carey, an artist with prestigious exhibitions like the Whitney Biennial under his belt, distills two decades of personal experience and over 1,900 interviews with artists and curators for Yale University Radio exploring the question of how to achieve, manage, and maintain art careers. In The Problems in the Art World: An Artist’s A-Z Action Guide, Carey directly addresses the following key challenges every artist grapples with at some point: A. The problem of commitment B. The problem of getting recognition C. The problem of a community D. The problem with grants E. The problem with money F.  The opportunities problem G. The scam problem H. The social media problem And much more! With a shareable illustrated format for easily taking action, The

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Book SynopsisAn integral resource for aspiring artists, this third edition updates key pieces of the classic Starting Your Career as an Artist. In this comprehensive manual, veteran art career professionals Angie Wojak and Stacy Miller show aspiring artists how to evaluate their goals and create a plan of action to advance their professional careers, and use their talents to build productive lives in the art world. In addition, the book includes insightful interviews with professional artists and well-known players in the art scene. The third edition features a chapter on social media and includes interviews with artists, museum professionals, and educators, as well as new chapters on how to navigate the post-pandemic art world. All chapters cover topics essential to the emerging artist, such as: •Using social media to advance your practice •Health and safety for artists •Artist’s resumes and CVs •Finding alternative exhibition venues •Building community through networking •Collaborating and finding mentors •Refining career aspirations This invaluable resource is sure to encourage and inspire artists to create their own opportunities as they learn how the creativity that occurs inside the studio can be applied to developing a successful career in the art world. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

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Book SynopsisAn updated edition of the legal art classic.Legal Guide for the Visual Artist is a classic guide for artists. This sixth edition is completely revised and updated to provide an in-depth view of the legal issues facing the visual artist today and provides practical legal guidance for any visual artist involved with creative work. It has been over twelve years since the fifth edition was published, and so much has changed in the world since that time, especially in the law and artists’ legal rights and obligations. This edition has been updated for both a new generation of visual artists and for those who have purchased earlier editions. Among the many new topics covered in this comprehensive guide are: copyright fair use transformative rights; recognition of the rights of temporal street art in the Five Pointz VARA case; the demise of California’s Resale Royalty statute; NFTs; detailed coverage of the myriad developments in copyright (including online copyright registration procedures and use of art on the Internet); changes in laws protecting artists in artist-gallery relationships are explained in depth; scope of First Amendment protections for graffiti art and the sale of art in public spaces; detailed as well as new cases dealing with art and privacy; and a model contract for Web site design and much more. The book also covers copyrights, moral rights, contracts, licensing, sales, special risks and protections for art and artists, book publishing, video and multimedia works, leases, taxation, estate planning, museums, collecting, grants, and how to find the best professional advisers and attorneys. In addition, the book suggests basic strategies for negotiation, gives information to help with further action, contains many sample legal forms and contracts, and shows how to locate artists' groups and Volunteer Lawyers for the Arts organizations.Legal Guide for the Visual Artist is a must-have for any visual artist hoping to share, sell, display, or publish their art.

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Book SynopsisYou've got the artistic talent; now learn how to make a career out of it!Fine artists are taught many things about the history, theory, and craft of art in art schools and university art programs, but rarely do they learn much, if anything, about how to make a career of their talents. The Business of Being an Artist, now in its sixth edition, contains information on how artists may develop a presence in the art world that leads to sales. The book contains information on how artists can learn to sell their work directly to the public with an understanding of the principles of marketing and sales as they're applicable to works of art. Artists will also learn how to find a suitable gallery that will arrange sales and commissions and how to set up a contractual relationship with the dealer that is both equitable and profitable.Among the topics covered in The Business of Being an Artist are: the range of exhibition opportunities for emerging and mid-career artists; how to set prices for artwork; when or if artists should pay to advance their careers; how artists may communicate with the public; applying for loans, grants, and fellowships; areas of the law that concern artists; using art materials safely; online sales and marketing, and much more. In addition to all of this priceless information, The Business of Being an Artist includes a unique discussion of some of the emotional issues that face artists throughout their careers, such as working alone, confronting stereotypes, handling criticisms and rejection, the glare of publicity, and the absence of attention. Without a doubt, The Business of Being an Artist is a must-have book for every artist ready to turn their talent into a successful business.

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Book SynopsisIn his honest, engaging, and revealing new memoir, entrepreneur Jeffrey Loria lifts the curtain on two of the most mysterious, high-stakes, and high-profile businesses today: Major League Baseball and modern art.Before he wrote a memoir, Jeffrey Loria was the author of one of America’s most remarkable professional careers. He began as a very private modern art dealer, and ultimately became a very public Major League Baseball team owner and World Series champion. Welcome to his unique and thrilling world. How are great artists like great athletes? How can one recognize great art or great athletic talent? And most of all, who were the amazing artists who changed our visual interpretation of the twentieth century and the talented athletes who are transforming our national pastime? Go inside fascinating artists’ studios and high-energy baseball clubhouses and dugouts as Loria shares his keen eye and front-row seat. From achieving a coveted World Series championship to helping build world-class art collections, which have found their way into many major museums and private holdings, Loria relies on a special mix of perseverance, professionalism, and passion. From the Front Row offers a rare glimpse into the life of a private, sometimes provocative, and highly successful entrepreneur, who has never shied away from taking big risks to achieve big dreams.Trade Review"A love and understanding of both art and sport…is possibly unique, nonetheless, in the life of Jeffrey Loria, the two interests seem entirely natural. While in his early twenties, Jeffrey made a visit to Henry Moore’s home and studios…their initial meeting began a friendship that continued for the next twenty-five years." -- David Mitchinson, Head of Collections and Exhibitions (1968-2010), The Henry Moore Foundation"I've worked for and with many owners in my long career, but none better than Jeffrey. He knew when to give strategic advice, and when to let Managers do their job. That delicate balance isn't easily achieved, but he struck it perfectly. It's a huge reason why we won a World Series, and I'll always be grateful for his friendship." -- Jack McKeon, Marlins Baseball Manager, 2003 World Series Champion"This book is a powerful remedy for the jaded; a marvelous story of one man joyfully enlivened through his encounters with remarkable people. Avidly following twin passions for art and baseball, Jeffrey Loria celebrates friendships in both worlds. The thrill of stepping over the threshold where art is made is recounted with imaginative ardor as he discovered some of the most notable artists of our time who became his friends – a compelling tale of discovering a wondrous, kaleidoscopic world, in which Loria has come to be known. This is a beautifully written book that sparkles with Loria’s joie de vivre, vividly conveying the creative skills of exceptionally gifted fellow human beings who are likewise driven to achieve excellence, all the while relishing the sheer pleasure of participating fully in the game of life." -- Sheena Wagstaff, Chair (2012-22), Modern and Contemporary Art, The Metropolitan Museum of Art"Jeffrey has a deep appreciation for the artistry of baseball. His love, enthusiasm, and respect for all aspects of the game began on the Little League sandlots of New York City and culminated as the owner of the World Series Champion Marlins. As he writes, “Great baseball players have much in common with great artists.” Baseball has been truly fortunate to share in Jeffrey’s passion, caring, and commitment to our sport." -- Rob Manfred, Commissioner, Major League Baseball

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Book SynopsisAn exciting, unexpected, and beautiful encounter with one collector’s deeply personal assemblage of works. Since the 1980s, Mickey Cartin has assembled a remarkable collection of objects and art—Renaissance and modernist paintings, master prints, sculptures, illuminated manuscripts, and more. Exploring the theory behind collecting art and how Cartin’s approach to collecting diverges from common practices, this publication offers a unique perspective on an intimate practice. Unconcerned with hewing to specific categories, time periods, or media, Cartin’s collection—which includes the likes of Josef Albers, Sol Lewitt, and Forrest Bess—creates active combinations and disrupts homogeneity, privileging the drive of curiosity. A documentation of the celebrated exhibition Seen in the Mirror: Things from the Cartin Collection at David Zwirner, New York, in 202, this catalogue includes additional artworks from Cartin’s trove along with views of his home, conveying how he lives with these various types of work. Cartin selected each work in the exhibition and catalogue as a reflection of his deep connections with the many artists represented therein. The conversation between Cartin and David Leiber illuminates the tensions between study and instinct, reading versus experiencing, as well as the influences and figures that inform his personal, curatorial practice. With an introduction by the curator of the Cartin Collection, Steven Holmes, and a text from the art historian Luke Syson, this inspiring volume is a spirited investigation of a very different method of and approach to collecting.

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Book SynopsisAndrew Scrivani, food photographer for The New York Times, is one of the most respected names in the business. He is also a teacher of the craft, advising food porn obsessives, bloggers, photographers ready for the next step and anyone who loves to shoot and eat how to: see the light (craft and shape it the way you want); embrace the maths (calculate ISO, aperture, shutter speed and white balance); consider visual storytelling (single vs. multiple image narratives); master tricks for shooting in restaurants (window, bounce cards); be a control freak (shop, prep, cook, style and shoot) and turn passion into profit (work and get paid). Part straight-forward practical advice, part stories from the field with many of Scrivani’s signature pictures, this book really will make you hungry.

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Book SynopsisThis go-to guide can be your handbook as you enter the art world and navigate the nuances of becoming self-sufficient. Instead of feeding you new techniques, it will provide you with insights to help you make decisions based on your specific situation and goals. By the end of this book, you will have a set of guidelines for scenarios that range from taking on commission work and conducting negotiations to dealing with rejection and improving your organization. Be the Artist is designed to help up-and-coming creatives educate themselves on essential yet seldom-discussed strategies, learn about new and relevant artists, and gather the resources they need to build their business.Trade Review"Freelance can be a difficult career path. the best resource artists have is each other to share their experiences and to get their advice, informed by trial and error, in an ever-changing job market. This is what makes the artist handbook so essential. It captures the invaluable resource of our community." Birdcap, Muralist

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Book SynopsisOver three generations, the Sobey family of Nova Scotia has demonstrated their discerning and enthusiastic commitment to Canadian art. Accompanying a major exhibition at the McMichael Canadian Art Collection and timed to coincide with the 20th anniversary of the prestigious Sobey Art Award, Generations tells the story of a visionary family and their engagement with Canadian and Indigenous art.This sweeping survey encompasses works by the beloved leaders of Canadian 20th-century art — the Group of Seven, Tom Thomson, David Milne, and Emily Carr — as well as offering a rich display of works by Cornelius Krieghoff, the Quebec Impressionists, Automatiste painters Jean Paul Riopelle and Paul-Émile Borduas, and Ukrainian Canadian artist William Kurelek, before moving onward to showcase leading contemporary artists. Among them are international artist Peter Doig, whose works draw on the legacies of Canadian art, and Indigenous artists Brenda Draney, Ursula Johnson, Kent Monkman, and Brian Jungen.Featuring more than 200 full-colour images, Generations includes an introduction by McMichael Chief Curator Sarah Milroy, essays by McMichael Executive Director Ian A.C. Dejardin, art historians Jocelyn Anderson, John Geoghegan, and Michèle Grandbois, and an interview with contemporary artist Kent Monkman.Trade Review“Generations: The Sobey Family and Canadian Art is a gorgeous book, suitable for bookshelf display, exploring the prominent Nova Scotia grocer family’s commitment to its Canadian and Indigenous art collection. It catalogues and complements the exhibition that inspired it.” -- Jeffery D. Muzzerall * AtlanticBooks.ca *“A beautifully produced coffee-table style volume, each individual work of art is flawless reproduced and is accompanied by an instructive commentary providing an informative context for the painting and the artist. Of particular interest to art students, academia, and non-specialist general readers with an interest in Canadian Art History, Generations: The Sobey Family and Canadian Art is an especially recommended addition to personal, professional, community, college, and university library Art History collections and supplemental curriculum studies lists.” -- James A. Cox * Midwest Book Review *

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Book SynopsisYou have the artistic talent, but do you know how to make a success of it? Turning your passion into a career in the fiercely competitive art world means becoming your own finance, business, and marketing manager - as well as a researcher, curator and administrator. From writing your first proposal to gaining gallery representation and dealing with the pressures of commercial success, this enlightening, no-nonsense book is your guide, providing all the advice, real-world experience, and inspiration you need to survive and thrive as a working artist.

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Book SynopsisCreative Infrastructures is a new collection of connected essays that examines the relationships between art, innovation, entrepreneurship and money. Essig uses her extensive knowledge of the field of arts entrepreneurship and puts it to broader practical use and greater impact by offering a theory for arts entrepreneurship that places more emphasis on means over ends. Essig uses illustrative case studies to show how her theoretical framework explains a number of innovative efforts in culturally and racially diverse communities. The Ouroboros, the serpent eating its own tail, is a visual metaphor deployed by Essig in the opening essay to shift commonly held perspectives on, especially, the relationship between art and money. Art is the head; money is the tail, feeding and nourishing the head in a cycle that enables the organism to not only survive but also thrive. Between the art and the money is the body: innovation and entrepreneurship. Innovation is understood to be a novel idea that is implemented and has impact on a domain. For that is what the artist does: create something new and unique that has impact. Entrepreneurship is conceived of as the discovery or creation of a mediating structure that can convert the artistic innovation into capital (financial and other types) that can be re-invested in the artist and the making of more art. This book endeavours to untie the knotty relationships between artists and entrepreneurship in order to answer the question 'How can artists make work and thrive in our late-capitalist society?' Other essays in the collection consider a range of topics including how aesthetic and cultural value are transmitted from the artist to the audience; the complexity of the tension between what art fundamentally is and the reproduction of that work and the recent foregrounding of the idea that art can produce positive social change – through current and late-twentieth-century trends in 'social impact art' or 'art for change'. As in sports, business and other sectors, the star artists, the top 1 per cent, have disproportionately influenced the public expectations for what 'a successful artist' means. It isn’t necessary to retell the stories of the one per cent of arts entrepreneurs; instead Essig looks instead at the quotidian artist, at what they do and why, not what they make. All too often, artists who are attentive to the 'business' of their creative practice are accused of 'selling out'. But for many working artists, that attention to business is what enables an artist to not just survive, but to thrive. When artists follow their mission, Essig contends that they don’t sell out, they spiral up by keeping mission at the forefront. The closing essay is a work of speculative fiction, based in all that comes before, both in the preceding essays and in Essig’s work as an artist, arts advocate and scholar of cultural policy. Returning to the symbol of the Ouroboros, it connects the head (art) to the tail (not money specifically, but resources), and back again. It is a 'future imaginary', in which she profiles three fictional artists in the year 2050. The field of arts entrepreneurship is growing – thanks in large part to the work of Linda Essig. The case studies in the book are US-based, but the issues addressed are universal. This book is ideal for use in training programmes for arts administrators and advocates; policy analysts and business schools that are looking to add in arts programmes. It will be of great interest and significance to people working in the cultural industries in the United Kingdom and Europe, especially Germany, where there has also been some recent research interest on similar topics. It is also relevant to the many artists who participate in training and professional development programmes in their community, as well as those who are just starting out. Trade Review'I heartily welcome Essig’s thinking and her willingness to push back on our inclination to see entrepreneurial action as the answer to support production and distribution of art, and the careers of artists. Her questions and observations enrich the conversation as artists and arts organizations shape a post-pandemic future in a changed environment. These essays provide an important opportunity to apply a critical lens to our willingness to embrace entrepreneurial structures at the cost of nurturing alternatives.' -- Claudia Bach, American Journal of Arts Management'[An] intellectual delight for scholars, teachers, and artists who want to develop a systemic and comprehensive understanding of arts entrepreneurship as an academic field; a social, economic, and cultural phenomenon; or simply a term full of controversies and possibilities. For scholars interested in contributing to the scholarly work of arts entrepreneurship, this book can be viewed as a compass of the most significant conversations and theoretical constructs. For educators, this book clarifies the theoretical rationales and practical pathways for curriculum and pedagogical development of arts entrepreneurship as a specialized field connected to but fundamentally different from theentrepreneurship training of business schools. [...] Essig’s insightful piece of work is a bold reimagination of non-capitalist ways of living, creating, and influencing for artists.' -- Wen Guo, Artivate: A Journal of Entrepreneurship in the ArtsTable of ContentsPrologue Essay One: An Ouroboros of self-sustainability Essay Two: Motivation, symbolic meaning, and social impact Essay Three: Art, capitalism, and its discontents Essay Four: Novelty, uniqueness, originality Essay Five: Making way for impact Essay Six: The nature of (arts) entrepreneurial action Essay Seven: Being an entrepreneurial artist Essay Eight: Eschewing scarcity and finding abundance Essay Nine: Buying up, not selling out Epilogue: A future imaginary Bibliography

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Book SynopsisAt the beginning of the 20th century, changes in taste and expectations of the public led private museums in Europe and North America to embark on large-scale acquisition of archaeological objects from the Mediterranean and the Near East. John Marshall (1862-1928) was an antiquities expert hired by the Metropolitan Museum of New York as purchasing agent in Europe on behalf of its Department of Classical Art in between 1906 and 1928. His mission was to secure for the Metropolitan a comprehensive collection of antiquities of high aesthetic standards and historical significance. During his agency, John Marshall was an attentive observer of the antiquities trade. Photographs and annotations on more than a thousand ancient objects circulating on the art market at that time have survived in his personal archive, later bequeathed to the British School at Rome and the Ashmolean Library at Oxford. This unpublished and very valuable resource shines light on the secretive world of art dealing and provides information on the history of many masterpieces of ancient and post-ancient art now in the largest museums of Europe and North America. Using information gathered by John Marshall, this book delineates how the trade of art and archaeological objects has impacted the perception of the Classical past in the modern Western world.Trade Review'The more I use the archive, the greater my appreciation for the care that has gone into creating and structuring it. The same is true of the accompanying volume, edited by Guido Petruccioli. The book introduces readers to Marshall, framing him and his activity within social, legal, and scholarly historical contexts. Readers will emerge well-prepared to engage with the Marshall Archive for their own research, but many chapters are valuable stand-alone contributions, including Francesca de Tomasi’s examination of the complex network of laws and regulations that governed the Italian antiquities market at the turn of the century (Chapter 10) and Vinnie Nørskov’s wide-ranging discussion of the use of different types of photography, from casual snapshots to painstakingly staged studio photographs, by collectors and scholars during the period (Chapter 3).' – Erin L. Thompson (2023): Bryn Mawr Classical ReviewTable of ContentsIntroduction – Guido Petruccioli ; Chapter 1 John Marshall – A Biographical Essay – Stephen Dyson ; Chapter 2 Collectors and the Agents of Ancient Art in Rome – Mette Moltesen ; Chapter 3 The Photographs in John Marshall’s Archive – Vinnie Nørskov ; Chapter 4 John Marshall, The Met and the Historiography of ‘Greek Sculpture’ – Guido Petruccioli ; Chapter 5 Faces in Stone: A Case Study of Marble Portrait Sculptures of Roman Date Purchased by The Metropolitan Museum of Art, New York via John Marshall – Susan Walker ; Chapter 6 The Bronzes in the John Marshall Archive – Beryl Barr-Sharrar ; Chapter 7 ­John Marshall’s Dealings with Vases and Terracottas – Vinnie Nørskov ; Chapter 8 ‘Non-antique’ Objects in the John Marshall Archive – Roberto Cobianchi ; Chapter 9 John Marshall’s Trading Network – Guido Petruccioli ; Chapter 10 Cultural Heritage Preservation during John Marshall’s Time: The Export of Antiquities from the Unification of Italy to the 1909 Law – Francesca de Tomasi ; Plates ; Abbreviations and Bibliography

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Book SynopsisNonprofit arts organizations have to place nonprofit ahead of arts in order to thrive in these pre-post-pandemic days. Most currently don’t. Scene change is a phrase tied to the arts when discussing a literal change from one scene in a play to another, eliciting a new time, place, and situation. Here, however, it refers to actions made at this pivotal moment within the entire sector, where the rules that went into play over half a century ago can no longer apply for the arts to serve their nonprofit purpose. That charitable purpose -- to help those who need the help -- cannot exist in an environment of privilege, exclusivity, and the subjective concept of excellence. Excellence does not put food on a hungry person’s table, if they even have a table. In his brilliantly unpretentious, snarky, and hilarious style, Alan Harrison pulls no punches. He identifies and addresses elitism, defines and defuses toxicity, and provides outlines for success, including a hopeful prediction for the future. This book also provides context for the pinball journeys of a 30-year adventure, leading nonprofit arts organizations in America -- warts and all.

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Book SynopsisThe second in the Morris's Manifestos series, The Decorative Arts is a passionate argument against the homogenisation of production, and a cry for art to make itself seen in design art will make our streets as beautiful as the woods, as elevating as the mountainsides.'

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Book SynopsisAvailable for the first time in paperback, Robert O’Byrne’s landmark biography of Hugh Lane remains the essential work on this enigmatic art dealer and patron. From his birth in Cork in 1875, to London, South Africa and Dublin, Hugh Lane is primarily remembered for establishing Dublin’s Municipal Gallery of Modern Art, the first known public gallery of modern art in the world. He never married and, though rumoured to have been homosexual, never had a documented relationship with a man. He was also a person of great social energy who befriended and sometimes crossed swords with the leading cultural figures of his day: Yeats, Gregory, Orpen, Augustus John, Rodin, Beerbohm, and many others. Robert O’Byrne writes with clarity and insight about a man who, since his untimely death on R.M.S. Lusitania in 1915, has been something of a mystery.Trade Review‘The essential book about the brief but extraordinary life of a legendary Edwardian art dealer and philanthropist, his determination to establish a gallery of modern art in Dublin, and its bitterly contested outcome. Writing with authority and verve, Robert O’Byrne has plumbed a rich vein of social history and connoisseurship, to draw a striking portrait of a complex, brilliant and contradictory personality.’ RF Foster, Emeritus Professor of Irish History, University of Oxford‘The essential book about the brief but extraordinary life of a legendary Edwardian art dealer and philanthropist, his determination to establish a gallery of modern art in Dublin, and its bitterly contested outcome. Writing with authority and verve, Robert O’Byrne has plumbed a rich vein of social history and connoisseurship, to draw a striking portrait of a complex, brilliant and contradictory personality.’ RF Foster, Emeritus Professor of Irish History, University of Oxford

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Book SynopsisThis book explores the interaction between collectors, dealers and exhibitions in Pablo Picassos entire career. The former two often played a determining role in which artworks were included in expositions as well as their availability and value in the art market. The term collector/dealer must often be used in combination since the distinction between both is often unclear; Heinz Berggruen, for instance, identified himself primarily as a collector, although he also sold quite a few Picassos through his Paris gallery. On the whole, however, dealers bought more often than collectors; and they bought works by artists they were already involved with. While some dealers were above all professional gallery owners; most were mainly collectors who sporadically sold items from their collection. Picassos first known dealer was Pere Manyach, whom he met as he travelled to Paris in 1900 when he was only 19 years old. As his representative, Manyach went about setting up exhibitions of his works at galleries in the French capital, such as Bethe Weills and Ambroise Vollards. Picassos first major exhibition took place in 1901 at Vollards. Daniel-Henry Kahnweiler and Leonce Rosenberg came in after Vollard lost interest during the Cubist period, as they had a manifest preference for the new style. Like Vollard, later dealers often preferred the more conventional Neoclassical phase in Picasso. This was the case with Leonces brother, Paul Rosenberg. The book is organized chronologically and discusses the interaction between Picassos collectors, dealers and exhibitions as they take place. Once collectors acquired an artwork, their willingness to lend them to exhibitions or their necessity to submit them to auction had a direct impact on Picassos prominence in the art world.

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Book SynopsisThe private collector’s museum has become a phenomenon of the 21st century. There are some 400 of them around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies’, the picture is far more complex and nuanced, as art-market journalist Georgina Adam (author of best-selling Big Bucks and Dark Side of the Boom) shows in her compelling new book. Georgina Adam’s investigation into this extraordinary proliferation, based on her recent visits to over 50 private spaces across the US, Europe, China and elsewhere, delves into the reasons behind this boom, the different motivations of collectors to display their art in public, and the various ways in which the institutions are financed. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Should private museums step in to fill a gap left by declining public investment in culture, and what are the implications for society and the arts? At a time of crisis in the museums sector, this book is an essential and thought-provoking read.Table of ContentsAcknowledgements; Introduction; 1. What is a private museum?; 2. The founders and their motivations; 3. Financing the private museum; 4. What explains the Chinese museum boom?; 5. From private to public - partnerships; 6. Legacy, sustainability, and why private museums sometimes die; Conclusion; Notes; Bibliography; Index

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Book SynopsisWith the rapid and unprecedented global expansion of the art market, new collectors are emerging every day. This new edition of Mary Rozell's definitive handbook is required reading for new and experienced collectors alike, as well as for anyone aspiring to a professional career within today's art market. Fully revised since its first publication in 2014 to reflect the many changes which have taken place in the art market, in art law, and in the practice of collecting, it now includes a completely new chapter on private museums.Mary Rozell draws on her long experience as an art collection professional and an art lawyer to illuminate some of the myriad issues that arise when owning an art collection. Covering acquisition, inventory management, the insurance, security, storage and conservation of collections, art financing and investing, and the sharing and de-accessioning of artworks, this meticulously researched but accessible book is an essential guide to the fascinating business of collecting.Trade Review'Rozell's book is a superb resource for art collectors to have on hand, covering all aspects of planning, management and care. It is exhaustively researched and extremely well-presented and is a must for any art professional to have in their library.' – Agnes Gund, President Emerita, Museum of Modern Art'a must have how-to book for collectors ... As a single volume covering all aspects of collecting, it certainly merits a place on any bookshelf.' -- Georgina Adam * The Art Newspaper *'a must have how-to book for collectors ... As a single volume covering all aspects of collecting, it certainly merits a place on any bookshelf.' -- Georgina Adam * The Art Newspaper *Table of ContentsAcknowledgments; Foreword; Preface; Part One: Collection Building: Chapter 1: Acquisition; Part Two: Establishing the Scope and Value of a Collection: Chapter 2: Inventory Management; Chapter 3: Valuation; Part Three: Collection Management: Chapter 4: Insurance; Chapter 5: Shipping, Storage, Framing, and Installation; Chapter 6: Conservation and Collection Care; Part Four: The Public and Private Worth of Collections: Chapter 7: Art Investing and Finance; Chapter 8: Sharing Collections: Display, Loans, and Publishing; Chapter 9: Private Foundations and Museums; Part Five: Parting from Collections: Chapter 9: Deaccessioning, Gifting, and Estate Planning; Conclusion; Notes; Bibliography; Index; Image Credits

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Book SynopsisCurating Art Now is a timely reflection on the practice of curating and the role of the art curator during a period of rapid change. Curating has a pivotal position in the art world: it is embedded in the identity and expertise of the museum and plays an ever-increasing role in the commercial art sector too. Current curatorial practice encompasses a wide range of activities, from the care of collections in museums to the presentation of large-scale contemporary biennials, and from collaboration with artists to presentations of work on digital platforms. Curating has grown substantially in the last decades, and in the early 2020s is undergoing a significant period of transition as it grapples with some fundamental questions. How diverse and inclusive is curating as a profession, and how does that inform the art and artists who come to prominence? How possible is it to conduct exploratory and inclusive curatorial work in the challenging economic climate of the early 2020s? What is the extent of a curator’s autonomy within the various institutions and structures in which they work, and what power dynamics are at work between artists and curators? Finally, how might digital art and exhibition-making give way to hybrid forms of practice, and even challenge the face of traditional curating? Lilian Cameron’s lively review addresses all of these issues, and considers the future landscape of curating in an uncertain world.Trade Review'Curating Art Now is a bold and engaging attempt to examine the fundamental contradictions and pressures faced by the field of curating in an increasingly fractured post-truth world. It is a balanced and nuanced take on the current curatorial landscape, with equal parts pragmatism and idealism.' - Sebastian Goldspink, Artist Profile, February 2023Table of ContentsForeword; Acknowledgements; Prologue: Interesting Times; Chapter 1: Knowledge and Access; Chapter 2: Changing Worlds; Chapter 3: Back Home to the Museum; Chapter 4: Artists' Takeover; Chapter 5: Digital (R)evolutions; Epilogue: Opportunity; Notes; Select Bibliography

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Book SynopsisArts philanthropy is at a crucial moment: many arts organisations are facing a financial crisis, the 2020-21 Covid-19 pandemic exposed the fragility of existing funding structures, and various social initiatives and causes have thrown renewed focus on how the arts are funded. Around the world, a new generation of philanthropists is emerging with different motivations and priorities. This book offers an open and wide-ranging exploration of philanthropy in the arts from the perspectives of both the donors and the recipients, seeking to improve understanding on both sides, and asks what the future holds for arts philanthropy given the rapidly changing landscape. It provides an essential guide for collectors, philanthropists and patrons, as well as art-market and museum professionals, on the peculiarities of giving and taking in the arts sector.Table of ContentsForeword; Acknowledgements; Introduction; 1 Giving; 2 Taking; 3 Barriers to Arts Philanthropy; 4 New Perspectives, New Models; Conclusion; Notes; Further Reading; Index

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Book SynopsisWritten by an art advisor and former gallerist with an insider’s perspective, this book provides a timely overview of the commercial-gallery sector at a moment of rapid change and expansion. More than any participant in the art market, galleries are seen as mysterious actors with an opaque code of conduct. This book offers a fascinating view of the gallery ecosystem, presenting a systematic diagnosis of key challenges and opportunities facing the sector today. Henry Little discusses the integration of bricks and clicks, addressing the tension between a gallery’s physical premises and its online presence, further asking how the world’s largest galleries have pulled so far ahead both in terms of their physical expansion and their digital offering. In an industry which increasingly rewards consolidation and brand recognition, the book asks how small and mid-tier galleries can hold their own and whether the traditional gallery model may be under threat in an increasingly digital future.Table of ContentsForeword; Acknowledgements; Introduction; 1: Origins and Workings of a Gallery System; 2: The Space: Architecture, Location and Identity; 3: The Digital Promise; 4: Tough at the Top: The Gallery Plus; 5: Consolidation, Collaboration, Continuation; Conclusion; Notes; Further Reading; Index

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Book SynopsisThis accessible new book offers a fresh view of art auctions, exploring their multifaceted role in today's international art market and their transformation into spectacular theatres of the contemporary art world. From glittering black-tie events to the anonymity of the digital realm, auctions stage the creation of value and can make or break artists' careers. They are a strange phenomenon: relics from the 18th century which remain at the heart of the art market. And yet art auctions have undergone huge change in the past decades, adapting to online formats, encroaching on territory which was once the preserve of galleries, and expanding ruthlessly into new regions and categories. Kathryn Brown's incisive new survey assesses the ongoing relevance of auctions to contemporary art markets and discusses the opportunities, controversies and conflicts of value to which they give rise.

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Book SynopsisAnnabel Keenan's timely and urgent book reviews the work that has been undertaken to date to create a more sustainable art world and proposes the next steps in system-wide change. It identifies the main sustainability issues for the art industry, arguing that artists and art activists have led the way in creating awareness of climate change, and evaluates progress to date on climate-action commitments by the various sectors of the art world, offering examples of best practice. Uncompromising in its messages, Climate Action in the Art World is essential reading for all art professionals, from artists to curators to art handlers, as well as for anyone seeking an accessible entry-point to a topic which is unfortunately only getting (literally) hotter.

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Book Synopsis

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Book Synopsis

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