Art: financial aspects Books

Book SynopsisBreakfast at Sotheby''s is a wry, intimate, truly revealing exploration of how art acquires its financial value, from Philip Hook, a senior director at Sotheby''s''Reading it is like participating in a hugely enjoyable personal tutorial given by a cultured, witty, clear-eyed, world teacher with a fully functioning sense of humour. A real delight'' - Spectator ''Hook''s view of the art world is that of the professional auctioneer. In an A-Z format, it is an entire art education contained in under 350 pages. Wry, dry and completely beguiling'' - William Boyd, Guardian, Books of the Year ''How to nail the mad, bad, crazy contemporary art world in print? Sotheby''s senior director Hook draws on 35 years'' experience in this informal memoir. He unravels, with humour, piquancy and erudition, what drives the economics of taste'' - Financial Times, Books of the Year ''It''s very hard to write an amusing book about art that has some serious things to say. But Philip Hook has done it'' - Sunday Times, Books of the Year ''An auctioneer''s alphabet of quirky reflections and off-beat lists such as ''middle-brow artists'' and ''fictional artists'': an ideal volume for the art-lover''s bedside'' - Martin Gayford, Spectator, Books of the Year ''His delightful Breakfast at Sotheby''s is a house sale of a book, a chance for him to clear out 35 years of memories as an art dealer and auctioneer, first at Christie''s and then Sotheby''s, a rival auction house'' - Economist Philip Hook is a director and senior paintings specialist at Sotheby''s. He has worked in the art world for thirty-five years during which time he has also been a director of Christie''s and an international art dealer. He is the author of five novels and two works of art history, including The Ultimate Trophy, a history of the Impressionist Painting. Hook has appeared regularly on television, from 1978-2003 on the BBC''s Antiques Roadshow.Trade ReviewHook's view of the art world is that of the professional auctioneer. In an A-Z format, it is an entire art education contained in under 350 pages. Wry, dry and completely beguiling -- William Boyd * Guardian, Books of the Year 2013 *An auctioneer's alphabet of quirky reflections and off-beat lists such as 'middle-brow artists' and 'fictional artists': an ideal volume for the art-lover's bedside -- Martin Gayford * Spectator, Books of the Year *How to nail the mad, bad, crazy contemporary art world in print? Sotheby's senior director Hook draws on 35 years' experience in this informal memoir. He unravels, with humour, piquancy and erudition, what drives the economics of taste * Financial Times, Books of the Year *It's very hard to write an amusing book about art that has some serious things to say. But Philip Hook has done it. It's more a kind of Lonely Planet guide, written from the perspective of an auctioneer. In places it's a hoot, but it's also very wise here and there, and refreshingly irreverent. Sir William Russell Flint, for example, "painted like Augustus John commissioned by Playboy magazine" * Sunday Times, Books of the Year *Reading it is like participating in a hugely enjoyable personal tutorial given by a cultured, witty, clear-eyed, world teacher with a fully functioning sense of humour. A real delight -- William Boyd * Spectator *

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Book SynopsisBy the turn of the 20th century, Paris was the capital of the art world. While this is usually understood to mean that Paris was the center of art production and trading, this book examines a phenomenon that has received little attention thus far: Paris-based dealers relied on an ever-expanding international network of peers. Many of the city''s galleries capitalized on foreign collectors'' interest by expanding globally and proactively cultivating transnational alliances. If the French capital drew artists from around the worldfrom Cassatt to Picassothe contemporary-art market was international in scope. Art dealers deliberately tapped into a growing pool of discerning collectors in northern and eastern Europe, the UK, and the USA. International trade was rendered not just desirable but necessary by the devastating effects of wars, revolutions, currency devaluation, and market crashes which stalled collecting in Europe.Pioneers of the Global Art Market assembles original scholaTrade ReviewWithout losing touch with the intimate, collaborative relationship of artist and dealer, Pioneers of the Global Art Market dissects the market for modern art to reveal the complex transactional networks that spanned the globe from the middle of the nineteenth century to the middle of the twentieth. In a series of authoritative studies, authors address central players in the market for contemporary European art, such as Paul Durand-Ruel and Daniel-Henry Kahnweiler, as well as less well-known figures like Paul Guillaume, whose cultivation of ties with French colonial officials opened markets for African art in Europe and America. * Michael FitzGerald, Professor of Fine Arts, Trinity College, USA *Through its emphasis on dealers’ strategies, working in cooperation across national borders, this wide-ranging collection of essays makes an original and significant contribution to our knowledge of the processes through which art from France came to dominate the international canon of modern art. * Malcolm Gee, Visiting Fellow, Department of Arts, Northumbria University, UK *Drawing together an international team of scholars working across an impressive range of archival materials, this volume offers fresh and compelling analyses of the role of the art dealer in fostering the market for contemporary art produced in Paris c. 1850-1950, as well as the arts of Africa prized by modernists, revealing how dealers wove a transnational web of relations to create and sustain demand and value for this new art. For anyone interested in the fate of modernist art or strategies that have powered the global art market, this book is a must read. * Anne Helmreich, Associate Director, Getty Foundation, USA *The art market is not only driven by visionary dealers, it also relies on highly active networks that evolved in the course of an increasingly international exchange. Contrary to widespread assumptions, such networks are not a recent phenomenon: Pioneers of the Global Art Market unites a superb selection of engrossing case studies on how, between 1850 and 1950, dealers and other players in the art world forged and strengthened increasingly far-reaching personal and business connections. The volume’s intelligent focus on Paris—then the pre-eminent hub for the trade in avant-garde art—leads to particularly revealing insights into the market’s complex nervous system. As such, this highly stimulating book provides an excellent point of departure for a deeper understanding of the history of globalization. * Johannes Nathan, Chair, The International Art Market Studies Association (TIAMSA) *Dealer-centered, [this book] places diminished emphasis on overarching historical, national, social and critical structures that frame and inform the context of modern art. * Giovanna L. Costantini, Leonardo Reviews *[Pioneers of the Global Art Market] places a fresh emphasis on pragmatic, tactical, sometimes ad hoc cooperation between dealers, in particular across national borders. * Marie Tavinor, Review, The Society for the History of Collecting *Table of ContentsList of Plates List of Figures Series Editor’s Introduction Acknowledgements 1. Introduction: Pioneers of the Global Art Market: Paris-Based Dealer Networks, 1850-1950, Christel H. Force (The Metropolitan Museum of Art, USA) 2. Parisian Dealers and the American Market, 1860–1920, Paolo Serafini (Sapienza Universita di Roma, Italy), translated by Angelica Modabber 3. Old and New Worlds: Durand-Ruel and the International Market for Impressionism, Jennifer A. Thompson (Philadelphia Museum of Art, USA) 4. Moving Mountains: Paris-Based Dealers and the Economics of Translocation, David M. Challis (Melbourne University, Australia) 5. Daniel-Henry Kahnweiler’s International Partnerships, 1907-1937, Vérane Tasseau (Independent Scholar, France), translated by Celia Abele 6. Promoting Modernism in the 1920s: The Art Journals of Paul Guillaume, Léonce Rosenberg, and Alfred Flechtheim, Ambre Gauthier (Marc Chagall Foundation, Paris, France) 7. Paul Guillaume, Marius de Zayas and African Arts: A Transatlantic Partnership, 1914–1923, Yaëlle Biro (The Metropolitan Museum of Art, USA) 8. The Thannhauser Galleries: Forming International Alliances in an Era of Change, Valerie Nikola Ender (University of Cologne, Germany) 9. “A Viking sailing over the savage sea, far, far to the north”: Walther Halvorsen, Christel H. Force (The Metropolitan Museum of Art, USA) 10. When French Dealers “Turned their Eyes Towards Scandinavia”: The Svensk-Franska Konstgalleriet in Stockholm, Christina Brandberg (University of Loughborough, UK) 11. The Galerie Paul Rosenberg and the American Market in the Interwar Era, MaryKate Cleary (New York University, USA) 12. International Dealer Networks and the Market for Impressionism in London and Glasgow: Etienne Bignou, A.J. McNeill Reid, and Ernest Lefèvre, Frances Fowle (University of Edinburgh, UK) 13. Etienne Bignou: The Gallery as Antechamber of the Museum, Christel H. Force (The Metropolitan Museum of Art, USA) 14. Capricious Cohorts: René Gimpel’s Associates, Rivals, and Patrons Diana J. Kostyrko (Australian National University, Australia) 15. Valentine Dudensing and the Valentine Gallery: Selling the US on the School of Paris, Julia May Boddewyn (Independent Scholar, USA) 16. Conclusion, Veronique Chagnon-Burke (Christie’s Education, New York, USA) Author Biographies Index

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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 SynopsisAnthony Speelman is the doyen of English art dealers specializing in Dutch Golden Age art. Vividly written and handsomely illustrated, his memoirs offer fascinating insight into the sometimes secretive world of Old Masters. This book will appeal not only to dealers, collectors and others in the fine art world, but also to would-be collectors eager for a glimpse behind the curtain.These memoirs cover a lifetime of dealing in Old Masters at the very highest level. Speelman’s career started under the guidance of his father Edward, whose own biography has much to tell. Over the years, Speelman has sold paintings to many of the world’s greatest collectors, including Norton Simon, Paul Mellon, Baron Thyssen, Harold Samuel, Charles Clore and the Wrightsmans in New York, along with world renowned museums such as the Getty, the Louvre and the National Gallery, London, among many others. He writes about his encounters with these eminent bodies in a light-hearted style, sometimes amusing, always extremely interesting – including an anecdote about a recent meeting with a Chinese billionaire with a penchant for fine wine.The two monkeys in the title refer to two paintings of a monkey holding a peach by George Stubbs, the outstanding English animal painter. Anthony describes how he discovered one of these masterpieces as a ‘sleeper’ in a Sotheby’s sale. Early in his career Anthony’s rooms in Piccadilly were broken into and a number of paintings stolen, including a George Stubbs painting of a spaniel. An intriguing tale follows, ending with the paintings recovered some eighteen months later after a failed blackmail attempt on the part of the thieves.Amongst his accomplishments, Speelman was for many years chairman of the vetting committee at the annual Maastricht art fair. He describes the working of the committees which ensure that all works exhibited are correctly described. Still active in the art world, he is currently chairman of the vetting committee of the prestigious annual Masterpiece art fair in London.Other chapters detail Speelman’s travels to California, New York and Paris, his interest in gastronomy and his thrilling adventures in the world of horseracing. The book is beautifully illustrated with examples of works that have passed through the author’s hands. The wide range of illustrations is not limited to Dutch art and includes works by Canaletto, Stubbs, Raphael, Tiepolo, Melendez and other Old Masters.Trade ReviewThe joy Speelman expresses in connecting collector with work is unmistakable. Handsomely produced, this title deserves a place in every art library. * The New Criterion *Decades of dealing in paintings from the Dutch Golden Age has left Speelman with a fund of anecdotes about the Old Masters trade, as well as a wealth of insights about the world's greatest private collectors and its most important public museums. * Apollo, Off the Shelf 15/12/2022 *

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Book SynopsisThe first book to fully and candidly address the art of collecting fine art.Trade Review"A must read for anyone that is just starting their collecting journey!"—BMW Art Guide by Independent Collector's blog, 'Collector's Corner' "Impressive... captur[es] the thrill of collecting."—Aesthetica "Embraces the thrills, ups, downs and of course, advantageous aspects of collecting art... Thea and Ethan Wagner are your authors and amidst entertaining anecdotes and experiences they've had as huge art collectors for three decades, they explain how to navigate the art market and access the world of galleries, auction houses, art fairs and biennales... Definitely worth getting a copy... A great read for those interested in art in all forms."—BeautifulCrime.com "Comprehensive... Rich with anecdotes... A more diverting read than might be expected of a vade mecum to the art market... Written in a conversational tone that suggests the authors are experienced in putting others at their ease... The authors are to be applauded for their efforts to demystify the process... Reassuring to any readers making their first steps towards buying art."— The Art Newspaper, Frieze New York Daily Edition "New York-based art advisers Thea Westreich Wagner and Ethan Wagner have made a career out of cutting through the hype... They've penned a comprehensive new book that looks at every facet of collecting from the adrenaline rush of discovery to the challenges of figuring out [what] will still be valuable in 2025."—The Wall Street Journal " A how-to book... from two of the sharpest eyes in contemporary art... It would be hard to imagine two better-qualified guides for these choppy, sometimes disgusting, often ecstatic waters."—Jerry Saltz for New York Magazine "On one hand, a lively and accessible history of art collecting... On the other, it's something of a best practices guide for budding collectors."—Art in America "Wife-and-husband art advisers... offer an insider-y view of high-stakes art collecting and what motivates great collectors. Informal and chatty writing adds appeal."—Traditional Home "Provides intelligent, useful insight for art lovers, artists, and anyone curious about contemporary art and the art market... Through provocative, compelling photographs of contemporary art, art spaces, curators, and collectors, and descriptions of international art fairs, intimate gatherings with artists and curators and various ways to approach collecting... This smartly designed book gives readers a taste of the competition, passion, pitfalls, and glamour of the art world as experienced through a collector's unique viewpoint."—Publishers Weekly

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Book SynopsisLeigh Claire La Berge shows how socially engaged art responds to and critiques what she calls decommodified laborthe slow diminishment of wages alongside an increase of demands of workas a way to work toward social justice and economic equality.Trade Review“This highly original work of Marxist aesthetic theory is a must-read for anyone interested in art and capitalism. Leigh Claire La Berge's thought experiment on how labor might go unpaid and still in a nontrivial way remain labor intersects in fascinating ways with arguments about reproductive labor made by feminists and brilliantly cleaves through mainstream academic culture's increasingly entrenched alternatives of using either ‘biopolitics’ and ‘real subsumption’ to understand our contemporary economy. I learned so much from this book and it still keeps me thinking.” -- Sianne Ngai, author of * Our Aesthetic Categories: Zany, Cute, Interesting *“In elaborating a concept of ‘decommodified labor,’ Leigh Claire La Berge offers a fresh and provocative frame that changes how we understand the dynamics of art, labor, and social change. Marshalling a range of case studies on both established and emerging artists, Wages against Artwork is a fantastic contribution to an ongoing dialogue on the arts, on economics, and on how we define the social in socially engaged art.” -- Shannon Jackson, author of * Social Works: Performing Art, Supporting Publics *“The biggest contribution of this book is to put economic and aesthetic theory together, to see what happens when the aesthetic is subjected to a Marxist analysis.... La Berge’s well-reasoned, engaging, and thorough book is a wonderful addition to the fields of Marxism, aesthetics, and performance.” -- Joseph Richards * Houston Review of Books *Table of ContentsPreface: The Argument ix Acknowledgments xi Introduction: Socially Engaged Art and Decommodified Labor 1 1. Art Student, Art Worker: The Decommodified Labor of Studentdom 34 2. Institutions as Art: The Collective Forms of Decommodified Labor 75 3. Art Worker Animal: Animals as Socially Engaged Artists in a Post-Labor Era 118 4. The Artwork of Children's Labor: Socially Engaged Art and the Future of Work 157 Epilogue: Liberal Arts 198 Notes 205 Bibliography 239 Index 249

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Book SynopsisBetween 1900 and 1950 the British state amassed a huge collection of over 800 historic buildings, monuments and historic sites and opened them to the public. This book explains why the collecting frenzy took place. It locates it in the fragile and nostalgic atmosphere of the interwar years, dominated by neo-romanticism and cultural protectionism.Trade Review'State ownership makes conservation political and Thurley knows his cannot help but be a political book- Rosemary Hill, Sunday Telegraph. -- Rosemary Hill * Sunday Telegraph *'In this absorbing book, the chief executive of English Heritage explores how, between 1900 and 1950, the British state amassed more than 800 buildings, monuments and historic sites and gave the public access to them. Thurley is a well-placed guide to the characters who enabled this collecting spree and to the challenges that they faced; he tells a vivid story of how the country successfully established a vast open-air museum'– Apollo Magazine * Apollo Magazine *'. . .[This] is a timely book documenting the long and passionate struggle for preserving historic buildings and sites.'—R. C. Richardson, THES -- R. C. Richardson * THES *‘Thurley’s text [is] knowledgeable, subtle, supple, by turns celebratory and sardonic.’—David Lowenthal, TLS -- David Lowenthal * TLS *‘How and why we got into this strenuously nostalgic frame of mind is the subject of English Heritage boss Simon Thurley’s engrossing book.’—Richard Morrison, The Times -- Richard Morrison * The Times *

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Book SynopsisJaponisme, the 19th-century fascination for Japanese art, has generated an enormous body of scholarship since the beginning of the 21st-first century, but most of it neglects the women who acquired objects from the Far East and sold them to clients or displayed them in their homes before bequeathing them to museums. The stories of women shopkeepers, collectors, and artists rarely appear in memoirs left by those associated with the japoniste movement. This volume brings to light the culturally important, yet largely forgotten activities of women such as Clémence d'Ennery (182398), who began collecting Japanese and Chinese chimeras in the 1840s, built and decorated a house for them in the 1870s, and bequeathed the Musée d'Ennery to the state as a free public museum in 1893. A friend of the Goncourt brothers and a 50-year patron of Parisian dealers of Asian art, d'Ennery's struggles to gain recognition as a collector and curator serve as a lens through which to examine the collecting anTrade ReviewAs Japonisme studies grow, Elizabeth Emery’s Reframing Japonisme will gain adherents owing to the meticulous way the author has researched the field to open new insights on women’s role in promoting Japanese art and culture. Her detailed detective work demonstrates that women increased the availability of Japanese objects as they established collections and museums. This pioneering book will be used for years to come by those involved in expanding the parameters of the Japonisme movement in France. * Gabriel P. Weisberg, Professor Emeritus, University of Minnesota, USA and Managing Editor, Journal of Japonisme *Emery unearths references new even to specialist scholars and her analysis of familiar images and texts reveals new, and completely compelling, insights. This book will fundamentally change the study of Japonisme. It is a huge accomplishment. * Christopher Reed, The Pennsylvania State University, USA and author of Bachelor Japanists: Japanese Aesthetics and Western Masculinities *Reframing Japonisme’s aim is to credit Gisette for her considerable, if unusual, success as a collector and thereby revitalize the story of japonisme and Japanese art collecting in the 19th century. Its tight storytelling and dissection of myopic narratives embedded in historical canons make the truism that “women’s history is just history” apply just as much to the art world as anywhere else. * Asian Review of Books *“Through inexhaustible detective work […] Emery brings new perspectives to light that convincingly allow her to reframe Japonisme and the nature of the Asian art market in nineteenth-century France [in] an important and eye-opening contribution to the history of Japonisme and gender studies.” * Helena Kåberg, Journal of Design History *Table of ContentsList of Illustrations Acknowledgments Series Editor’s Introduction Introduction 1. “Come on up and see my Monsters”: Chinoiseries, Japonaiseries, and the Musée d’Ennery 2. The Market for Asian Collectibles in Nineteenth-Century Paris: From Department Store to Museum 3. Vitrines: From Drawing Room to Exhibit Hall and Museum 4. The Musée d’Ennery: The Reception of a Woman’s Museum in the Parisian Press (1893–1908) Conclusion Bibliography Index

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Book SynopsisSimon Kelly is Curator and Head of Department of Modern and Contemporary Art, The Saint Louis Art Museum, USA.Trade ReviewSimon Kelly’s consummate study of Théodore Rousseau draws the reader deeply into the complex lived experience of this adventurous, under-examined painter of the French landscape, bringing to light as never before an entire world of making, selling and viewing art in mid-nineteenth-century France, just as the stage was set for the avant-gardes to come. * Thomas Crow, Rosalie Solow Professor of Modern Art, Institute of Fine Arts, New York University, USA *Kelly’s book makes an important contribution, both to the history of French landscape painting and to recent scholarship on the modern art market. Far from being le grand refusé, Rousseau emerges as one of the most commercially shrewd artists of his generation, who used pioneering tactics to promote his often challenging and experimental style of painting. Unorthodox and independent-minded, he became an art market innovator, anticipating some of the strategies employed by the Impressionists. Written with a sensitive and curatorial eye, this fascinating book is based on extensive archival research and includes extracts from stockbooks and procès-verbaux, as well as letters from Rousseau to his patrons, dealers, critics and fellow artists. * Frances Fowle, Chair of Nineteenth-Century Art, University of Edinburgh and Senior Curator of French Art, National Galleries of Scotland, UK *This is an excellent book and makes a very substantial contribution to our understanding of Rousseau's work...the book must emerge as a primary point of reference for scholars of 19th-century French painting, changes in the art market, and Rousseau's role within them. * Steven Adams, H-France (University of Hertfordshire, UK) *Table of ContentsList of Plates List of Figures Series Editor’s Introduction Acknowledgments List of Abbreviations Introduction 1. “The Outlaw”: Rousseau at the Salon 2. Alternative Spaces: Artists’ Societies to the Cercle de L’Union Artistique 3. “A Small Number of the Privileged”: The Patrons 4. The Art Dealers: Adolphe Beugniet to Paul Durand-Ruel 5. “This Dangerous Game”: The Auction Sale 6. The Reproduction Industry: From Etching to Photography Rousseau’s Legacy Appendix 1 Appendix 2 Appendix 3 Select Bibliography Index

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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 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 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 SynopsisArt in Saudi Arabia spotlights the role that contemporary art will play in the country’s new push for sweeping internal reform and cultural diplomacy. As the Kingdom mobilizes its vast resources behind the economic and social priorities of its Vision 2030 strategy and simultaneously seeks new terms of engagement with the international community, art is set to take centre stage and a barrage of planned events, installations, public projects, biennales and museum openings is beginning to draw in many from the international art community. This book looks at both the historic and contemporary contexts for this recent state-led focus on art in the Kingdom; at how its planned events and programs stand apart, in resource, scale and ambition, from seemingly similar initiatives coming from that region; and at both the opportunities and pitfalls, not just for the burgeoning art world of Saudi Arabia, but for practitioners and professionals around the world.Table of ContentsForeword; Introduction: Art as a Catalyst for Social Change in Saudi Arabia; 1 From Past to Present: The Sources of Saudi Arabia’s Culture Drive; 2 A New Saudi Arabia: Art on the Frontlines of Social Transformation; 3 Culture Wars in the Gulf and the Unique Case of Saudi Arabia; 4 A Delicate Balancing Act: Art Creation Amid Unpredictability of the State; 5 State-Controlled Cultural Production, Art World Infrastructures and A Nascent Private Sector; 6 Engaging with Saudi Arabia’s New Arts Playing Field: Opportunities and New Perspectives; Conclusion: Saudi Arabia's New Creative Economy; Further Reading; Index

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Book SynopsisA one-stop resource containing everything artists need to know to sell their work. This best-selling guide provides all the advice you need to sell your work in today's competitive market. This fantastic new edition has been updated with essential advice on how to make full use of digital opportunities for selling your work, such as social networking and e-marketing. It contains information and suggestions about: - Selecting and approaching galleries - Pricing and payments - Royalty rates and financial management - Sample contracts and other legal considerations - Creating a website and maximising hits - Mastering social media to increase your visibility - Managing sales via online stores such as Etsy, Folksy or eBay - Printing your own reproductions and marketing them With a foreword by Mary Ann Rogers, one of Britain's most acclaimed watercolour painters who was awarded 'Best Selling Published Artist' by the Fine Art Trade Guild in 2009.Trade ReviewI was very impressed a while back by the companion volumes to this, aimed at craftspeople. The same detail and rigour appear in this volume, which has been updated to take account of the growing importance of the internet and of social networking websites … [T]his is an authoritative and informative guide … The advice given is practical, understandable and above all reliable, making this an essential tool for anyone seeking to make an income from their work on anything other than the most casual basis. * Art Book Review *This small book is easy to flip through to the sections of interest [...] whether you want to check up on one or two points, or want to work through the whole book, it is approachable and accessible. * Saskatchewan Craft Council *Table of ContentsForeword Introduction 1. The business side of being an artist 2. The different types of art business 3. Selecting the right business 4. How businesses find artists 5. Making an approach 6. Pricing original work 7. Terms and conditions between artists and galleries 8. Case studies: agreements between artists and galleries 9. Selling direct 10. How to make exhibitions work 11. Agents 12. Copyright and reproduction rights 13. Working with publishers and licensing work 14. Contracts between artists and publishers or licensees 15. Printing your own work 16. Case studies Index

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Book SynopsisExplores the impact of digital technologies on the logic of cultural capitalismTrade Review'Chanan's rich historical investigations of the evolving technologies of artistic production provide a fascinating new basis for a politics of culture' -- Michael Hardt, author of 'The Subversive 70s''Drawing on nearly fifty years of writing and teaching about the media and making films, Michael Chanan presents us with a series overlapping histories of different media technologies, which is both authoritative and original' -- Julian Petley, Honorary and Emeritus Professor of Journalism at Brunel University, London'Michael Chanan's brilliant synthesis, replete with fascinating detail, both boggles the mind and deeply educates' -- Claudia Gorbman, Professor Emerita of Film Studies at the University of Washington TacomaTable of ContentsSeries Preface Preface 1. Autonomy of the Aesthetic 2. The Changing Logic of Artistic Production 3. Cultural Commodification 4. Countercurrents 5. From Analog to Digital 6. Creativity Reconsidered Bibliography Notes

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Book SynopsisAn illuminating new biography of the connoisseur who changed the art world and the way we see artTrade Review"A highly sympathetic and graceful portrait of Bernard Berenson, the art connoisseur and dealer who remade himself into a work of art, priced and priceless, which he protected, cultivated, and even at times bartered: Rachel Cohen's Bernard Berenson is an illuminating tale of this self-transformation, its successes and pitfalls, told with stalwart compassion."--Brenda Wineapple, author of Ecstatic Nation: Confidence, Crisis, and Compromise, 1848-1877 -- Brenda Wineapple"An insightful, richly detailed account of Bernard Berenson’s brilliant transformation from an immigrant Jew and son of a tin peddler into a connoisseur of Italian Renaissance painting and a dealer in secret partnership with Joseph Duveen. With the keen gaze that Berenson brought to a picture, Rachel Cohen analyzes his high-wire act of self-invention against the glittering, aristocratic, anti-Semitic world of art collecting."--Cynthia Saltzman -- Cynthia Saltzman"Cohen draws a psychological portrait of a man guided by passionate aesthetic ideals and tortured by the compromises in the world of commerce that he felt compelled to make. . . . If you live in an American city, there's a good chance that you can go to a museum today and see an exquisite Sienese Madonna, or a Venetian Holy Family, or a Florentine portrait. You have Berenson—and his collector-acolytes—to thank."—Hugh Eakin, Wall Street Journal -- Hugh Eakin * Wall Street Journal *"The most dynamic biography yet of the groundbreaking art historian Bernard Berenson...Cohen investigates Berenson’s contradictions, metamorphoses, and dramatically unconventional life with vivacious authority. . . . Cohen deftly channels the sweeping intensity of Berenson’s aesthetic ecstasy, hard-won expertise, surprising adventures, and vital legacy.”—Booklist, Starred Review * Booklist, Starred Review *"In her remarkable biography, Cohen approaches Berenson's life as a panorama full of artifice and profundity, whose brilliant flashes of color are inextricable from its substrates of shadow. The book leaves an indelible impression, not merely in the way it catalogues Berenson's accomplishments and failings, but also in its dissection of the struggle between desire and alienation that characterizes American art—and life—to this day."—Thomas Micchelli, Bookforum -- Thomas Micchelli * Bookforum *Book of the Week“[As] Rachel Cohen, the author of this elegantly written biography. . . .nicely puts it, Berenson was ‘a person whose capacity for metamorphosis approached that of a moth.’”—Martin Gayford, The Sunday Telegraph -- Martin Gayford * The Sunday Telegraph *“Rachel Cohen’s unobtrusively and thoroughly well written short volume skilfully negotiates the contradictory sides of Berenson’s character – the aesthete and the huckster; the man who lived only for art and the man who very much liked to surround himself with the appurtenances of wealth.”—Sam Leith, The Spectator -- Sam Leith * The Spectator *“Rachel Cohen has written an admirable short life...[and] a touching portrait”—James Stourton, Literary Review -- James Stourton * Literary Review *"Berenson's extraordinary and colorful life—from his humble birth in Lithuania, to Harvard and thence to his august and influential position as a critic and art historian, to the renowned splendor of his Florentine villa I Tatti—makes a rich and compelling subject. Ms. Cohen's remarkable book affords the occasion also for rumination upon self-invention and authenticity, upon the making of the man, and of taste, too."—Claire Messud, Wall Street Journal -- Claire Messud * Wall Street Journal *“Rachel Cohen who has written an extremely thoughtful and readable biography of Berenson”—Charles Saumarez-Smith, Apollo Magazine -- Charles Saumarez-Smith * Apollo Magazine *Chosen as a highly recommended book by the Boston Authors Club in 2014. -- Honorable Mention * Boston Authors Club *"An absorbing new biography."—Jewish Daily Forward * Jewish Daily Forward *‘This book proves to be a remarkably balanced treatment of a profoundly complicated and compelling life.’—Robert Simon, Burlington Magazine -- Robert Simon * Burlington Magazine *"An irresistibly readable and accessible account of this complicated character, who could be by turns brilliant and petty, generous toward others and scornful of himself, an inveterate philanderer and a staunch husband."—Ann Landl, ARTnews -- Ann Landl * ARTnews *Shortlisted for the 2015 Jewish Quarterly Wingate Prize 2014 -- Wingate Prize * Jewish Quarterly *

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Book SynopsisWhy would a smart New York investment banker pay $12 million for the decaying, stuffed carcass of a shark? By what alchemy does Jackson Pollock''s drip painting No. 5, 1948 sell for $140 million? Intriguing and entertaining, The $12 Million Stuffed Shark is a Freakonomics approach to the economics and psychology of the contemporary art world. Why were record prices achieved at auction for works by 131 contemporary artists in 2006 alone, with astonishing new heights reached in 2007? Don Thompson explores the money, lust, and self-aggrandizement of the art world in an attempt to determine what makes a particular work valuable while others are ignored.This book is the first to look at the economics and the marketing strategies that enable the modern art market to generate such astronomical prices. Drawing on interviews with past and present executives of auction houses and art dealerships, artists, and the buyers who move the market, Thompson

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Book SynopsisThis book scrutinizes the excesses and extravagances that the 21st-century explosion of the contemporary art market brought in its wake. The buying of art as an investment, temptations to forgery and fraud, tax evasion, money laundering and pressure to produce more and more art all form part of this story, as do the upheavals in auction houses and the impact of the enhanced use of financial instruments on art transactions. Drawing on a series of tenaciously wrought interviews with artists, collectors, lawyers, bankers and convicted artist forgers, the author charts the voracious commodification of artists and art objects, and art's position in the clandestine puzzle of the highest echelons of global capital. Adam's revelations appear even more timely in the wake of the Panama Papers revelations, for example incorporating examples of the way tax havens have been used to stash art transactions - and ownership - away from public scrutiny. With the same captivating style of her bestselling Big Bucks: The Explosion of the Art Market in the 21st Century, Georgina Adam casts her judicious glance over a section of the art market whose controversies and intrigues will be of eye-opening interest to both art-world players and observers.Trade Review'A "must-read" for anyone with an interest in the relationship between art and money.' Daily TelegraphTable of ContentsIntroduction; Prologue; Part One: Sustaining the "Big Bucks" Market; Chapter One: Supply; Chapter Two: Demand; Part Two: Price, Authenticity and Forgery; Chapter Three: Price; Chapter Four: Authenticity; Chapter Five: Fakes and Forgery; Part Three: Money, Money, Money; Chapter Six: Investment; Chapter Seven: Speculation; Chapter Eight: The Dark Side; Epilogue; Appendix; Notes; Bibliography; Index

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Book SynopsisThis book charts a geography of the art market and the art museum in the early 20th century through the legacy of one influential dealer. Born in Ireland, Hugh Lane (18751915) established himself in London in the 1890s. With little formal education or training, he orchestrated high-profile sales of paintings by the likes of Holbein, Titian, and Velázquez and described his life's work as selling pictures by old painters to buy pictures by living painters. Lane assembled a collection of modern art for the Johannesburg Art Gallery, amassed a collection of Dutch and Flemish paintings for Cape Town, and gave his own collection of modern art to the National Gallery in London. He also donated paintings to the National Gallery of Ireland, where he was named director in 1914. Each chapter in this revelatory study focuses on an important city in Lane's practice as a dealer to understand the interrelationship of event and place. Published in association with the Paul Mellon Centre for Studies in British ArtTrade Review“Excellent questions are posed” —Robert O'Byrne, Apollo Magazine“A major appeal of the book lies in the parallels O'Neill draws between Lane's time and the present day, demonstrating how certain core questions that preoccupied him and his contemporaries remain important, especially because the overlaps between commerce and art history are becoming ever more pronounced.”— Susanna Avery-Quash, Burlington MagazineLong listed for the Historians of British Art Book Prize

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Book SynopsisArt in Hong Kong is a fascinating analysis of the history, current status and possible future of Hong Kong as an international art hub, written by a local journalist who has reported on the city?s cultural landscape for many years. Enid Tsui presents a balanced and insightful picture of recent changes in the city which was once the poster-child of artistic freedom in Asia as well as the undisputed leader of the region''s booming contemporary-art market. Some of Hong Kong''s traditional advantages now look precarious following new laws imposed by China curbing freedom of expression and the city''s long period of isolation during the Covid-19 pandemic. Yet despite the exodus of talent from Hong Kong and growing uncertainties over the ''red lines'' of censorship, there are more world-class art institutions in the city than ever before and the market has proved resilient, with international auction houses and galleries continuing to expand their presence there.This book lifts the lid on a diverse art scene in a city of fascinating contradictions: a former British colony where artists have long been inspired by the interplay between east and west, and where the new M+ museum and other venues have to tread a tightrope between celebrating a distinct and vibrant culture based on different influences and abiding by the new national security regime.

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Book SynopsisMost artists earn very little. Nevertheless, there is no shortage of aspiring young artists. Do they give to the arts willingly or unknowingly? Governments and other institutions also give to the arts, to raise the low incomes. But their support is ineffective: subsidies only increase the artists’ poverty.The economy of the arts is exceptional. Although the arts operate successfully in the marketplace, their natural affinity is with gift-giving, rather than with commercial exchange. People believe that artists are selflessly dedicated to art, that price does not reflect quality, and that the arts are free. But is it true?This unconventional multidisciplinary analysis explains the exceptional economy of the arts. Insightful illustrations from the practice of a visual artist support the analysis.Read a sample chapter (Pdf.)Table of ContentsTable of Contents - 6 Preface - 12 1 Sacred Art: Who Has the Power to Define Art? - 18 2 The Denial of the Economy: Why Are Gifts to the Arts Praised, While Market Incomes Remain Suspect? - 35 3 Economic Value Versus Aesthetic Value: Is There Any Financial Reward for Quality? - 53 4 The Selflessly Devoted Artist: Are Artists Reward-Oriented? - 79 5 Money for the Artist: Are Artists Just Ill-Informed Gamblers? - 104 6 Structural Poverty: Do Subsidies and Donations Increase Poverty? - 125 7 The Cost Disease: Do Rising Costs in the Arts Make Subsidization - 153 8 The Power and the Duty to Give: Why Give to the Arts? - 182 9 The Government Serves Art: Do Art Subsidies Serve the Public Interest - 204 10 Art Serves the Government: How Symbiotic Is the Relationship between Art - 233 11 Informal Barriers Structure the Arts: How Free or Monopolized Are the Arts? - 260 12 Conclusion: a Cruel Economy: Why Is the Exceptional Economy of the Arts - 281 Epilogue: the Future Economy of the Arts - 296 Notes - 312 Literature - 350 Index of Names - 362

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Book SynopsisWhy did collectors seek out posters and collect ephemera during the late-nineteenth and the twentieth centuries? How have such materials been integrated into institutional collections today? What inspired collectors to build significant holdings of works from cultures other than their own? And what are the issues facing curators and collectors of digital ephemera today? These are among the questions tackled in this volumethe first to examine the practices of collecting prints, posters, and ephemera during the modern and contemporary periods. A wide range of case studies feature collections of printed materials from the United States, Latin America, France, Germany, Great Britain, China, Japan, Russia, Iran, and Cuba. Fourteen essays and one roundtable discussion, all specially commissioned from art historians, curators, and collectors for this volume, explore key issues such as the roles of class, politics, and gender, and address historical contexts, social roles, value, and national Trade ReviewRemarkable for its global scope and historical range, Collecting Prints, Posters, and Ephemera is a vital contribution to our understanding of printed images in all their variety and an indispensable guide to how collecting practices have shaped their meaning. * Richard Taws, University College London, UK *Table of ContentsList of Figures Series Editor’s Introduction Introduction Ruth E. Iskin and Britany Salsbury Part I Collecting Prints Introduction, Part I: Collecting Modern and Contemporary Prints Britany Salsbury 1. Henrietta Louisa Koenen’s (1830–81) Amsterdam Collection of Women Printmakers Madeleine C. Viljoen 2. Loys Delteil (1869–1927): Community and Contemporary Print Collecting in Fin-de-Siècle Paris Britany Salsbury 3. Women Collectors of Japanese Prints: The 1909–14 Paris Expositions des estampes japonaises at the Musée des Arts Décoratifs Elizabeth Emery 4. Collecting Ukiyo-e Prints in Japan during the Nineteenth and Twentieth Centuries Shigeru Oikawa 5. Building Hemispheric Unity to Serve Corporate Identity: IBM’s Collection of Prints from the Americas Rachel Kaplan Part II Collecting Posters and Ephemera Introduction, Part II: Collecting Posters and Other Ephemera: From Modernity to the Digital Era Ruth E. Iskin 6. From Commune to Commerce: Ernest Maindron’s Collecting Ephemera and Posters, Late 1850s–Early 1900s Ruth E. Iskin 7. The Maurice Rickards Collection of Ephemera Michael Twyman 8. Hans Sachs: The Most Dedicated Collector of Posters in Germany Kathleen Chapman 9. To Possess is to Belong: Carlos Monsiváis’s Collection of Ephemera and Popular Culture in Mexico City Liliana Chávez Díaz 10. The David King Collection of Russian and Soviet Ephemera at Tate: Expanding the Museum Narrative with Ephemera Sofia Gurevich 11. Collecting Chinese Propaganda Posters Stefan Landsberger 12. The Cuba Poster Project: Collecting for People, not Profit Lincoln Cushing 13. Collecting Pre- and Post-Revolution Iranian Movie Posters in the United States and in Iran Hamid Naficy 14. The Challenge of Collecting Digital Posters and Graphics from the Web: A Roundtable Discussion Anisa Hawes Author Biographies Index

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Book SynopsisFrom Montana award-winning author Jill Trevelyan comes the first biography of Peter McLeavey, the charismatic, pioneering art dealer who since the 1960s has shaped - even transformed - New Zealand art. McLeavey''s personal story is remarkable, but his contemporaries will recognise common themes: the religious upbringing, the struggle to be bohemian in repressive mid-century small town New Zealand, the challenges of marriage and fatherhood, the dilemma of whether to stay or leave New Zealand, and the need to make a mark. Through exclusive access to McLeavey''s extensive and hitherto untapped archive of letters, diaries, exhibition files and more, this book offers insights into the artists McLeavey has represented across half a century. Here, in their own words - lively, salty, and often heart-breaking - are Colin McCahon, Toss Woollaston, Len Lye, Milan Mrkusich, Bill Hammond, Gordon Walters, Michael Illingworth, Robin White, Richard Killeen, John Reynolds, Yvonne Todd and many more. Far more than a simple biography, this is the big story of contemporary New Zealand art itself, in a period of massive change and growth, and Trevelyan offers an utterly fresh and compelling historical account of the birth of the modern art market and the status of art today. A must-read for anyone interested in New Zealand''s art, culture or recent history.

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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 SynopsisUntil recently still a blank spot on the world map of art, China today occupies one of the top positions in the rankings of the global art market and has moved into the center of the speculations and the covetousness of its protagonists. But what is really happening on the spot, beyond the ethnocentric distortions of the Western viewpoint? What social representations and uses of art can be identified? A research team from the University of St. Gallen has taken up such questions in an ethnographical field research project which enables the actors in this emergent and nonetheless already market-dominated art field to have their say.

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Book SynopsisArt is a prerequisite for the progress of society. Corporate Art Initiatives contribute to this progression. Based on extensive research, Viviane Mörmann presents 21 promising corporate art initiatives (CAIs). She introduces different types of art initiatives and provides a standardized scheme to evaluate them. This volume features CAIs from the classic corporate art space to the public art challenge, and the virtual museum. It draws attention to the subject of CAIs to broaden the reader's knowledge and to mediate access to current CAIs. The Corporate Art Index thus addresses art lovers, artists, curators, business and marketing professionals, architects and designers, art historians, art fair organizers and journalists.Table of ContentsAim; The Corporate Art Index What Is It All About?; Historical Reflexion; Screening of Corporate Art Initiatives; The Corporate Art Index Rating of the Corporate Art Initiatives (CAIs); Results of the Rating; The 21 Most Interesting CAIs; Art Space; Art Competition; Digital Art; Art Marketing; Have a Drink; Problem Reduction; Struggle for Objectivity; The Power of Art in CAIs; Bottom Line; Conclusions; Plan of Action; References.

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Book SynopsisAn intellectual history of contrasting ideas around the power of the arts to bring about personal and societal change - for better and worse. A fascinating account of the value and functions of the arts in society, in both the private sphere of individual emotions and self-development and public sphere of politics and social distinction.Trade Review'The Social Impact of the Arts: An Intellectual History starts with today's heated public debate about the 'intrinsic' and the 'instrumental' in the arts, and then locates this debate within a history of ideas that goes back over two thousand years to classical Greece Plato's Republic and Aristotle on catharsis. In tracing this history and revealing that there is nothing new under the sun in arguments about the arts, the authors show how the meanings of some key concepts among them, "the transforming power of the arts", "art for art's sake", "the arts are good for you", "the arts and cultural identities" have evolved over time, as parts of a very long-standing argument. The aims of this book are ambitious: to nourish public debate, to reconnect us all with a rich tradition of thinking, to show how certain ideas turned into commonplace beliefs, and in the end to encourage "a more nuanced understanding of how the arts can affect people". This is a much-needed study, believe me, and a timely one as well: an examination of what lies behind the rhetoric, it fills a surprising gap in the fast-expanding literature on cultural policy.' - Sir Christopher Frayling, Chairman, Arts Council England, and Rector, Royal College of Art 'This short book is a great read, full of fascinating material, which will provide incendiary matter for debates about the arts in society.' - Mark O'Neill, Cultural Trends 'Those new to the field will find this an enormously helpful introduction, while those who are not will often be refreshed, sometimes stimulated, and occasionally irritated. What more could one ask?' - Gary Day, THES 'Its great strength is to challenge readers to question their own beliefs and the necessarily ideological construction of debates about art and its value.' - Francois Matarasso, Arts Professional 'Belfiore and Bennett have produced an insightful study that illuminates not only what lies behind the cultural policy rhetoric, but also what connects twenty-first century cultural policy debates to two millenia of intellectual ideas.' - Nicola Goc, Media International Australia 'It is...a pity that the humanities did not take earlier and more confident steps to marshal the wide range of research already carried out into claims made for the social use of the arts into comprehensive surveys like the present, superlative, "intellectual history" by Eleanora Belfiore and Oliver Bennett... The book's compass and ambition is nothing short of humbling, ranging as it does from Plato to postmodernism, across a range of performative, literary and fine arts, both "high" and "low", and responding to a variety of claims that have been made against, as well as for, the arts... This is managed with exemplary, jargon-free clarity that sacrifices nothing of the sophistication of thought and makes the book an excellent choice for students... One hopes that undergraduate courses in all branches of historical cultural enquiry are able to find room to accommodate such wide-angle approaches to their subjects... Highly recommended to all undergraduate students of the arts." - Chris Jones, THE Textbook GuideTable of ContentsIntroduction Towards a new approach to researching the social impacts of the arts Corruption and distraction Catharsis Personal well-being Education and Self-development Moral improvement and civilization Political instrument Social stratification and identity construction Autonomy of the art and rejection of instrumentality Conclusions References Index

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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