Art: financial aspects Books

Book SynopsisThis guide by notable painter and entrepreneur Amira Rahim helps artists learn how to approach their art both modernly and holistically, empower their creativity, and build thriving art careers. Maybe you're a self-taught artist and just getting started with turning your art hobby into a career, but you're struggling to get your first sale. Or maybe you've got an art degree and years of experience, but you want to grow your business so it's stable and sustainable. Amira's philosophy guides both beginner and experienced artists to approach art in a fresh waywith an emphasis on using mindfulness, emotion, color, expression, and compositionto unlock their creativity and build a successful art career. More than a step-by-step manual, this book will help readers maintain a fulfilling painting practice and consistently create high-value art that sells.

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Book Synopsis''The very best book on the subject ever published'' Bernard Ewell, Personal Property Journal (the trade publication of the American Society of Appraisers)The art world can appear impenetrable to the beginner. This classic book, in print since 1990, is an invaluable primer that will help anyone to penetrate the thickets of inscrutable ''insider info'' and esoteric jargon. Updated for today''s art market, including online buying, The Art of Buying Art is without a doubt the most accessible book on how to research, evaluate, price and buy artworks - for anyone who wants to buy art. No previous knowledgeof art or the art business is necessary. Topics include: how to research and evaluate art prices like the professionals how to build a quality collection how to spot fakes and forgeries how to buy art at auctions and directly from artists how to negotiate prices Trade ReviewThe very best book on the subject ever published -- Bernard Ewell * Personal Property Journal (the trade publication of the American Society of Appraisers) *A no-brainer for art collectors and art professionals . . . [that] . . . explains many of the mysteries of the art world -- Bernard Ewell, senior member of the American Society of Appraisers

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Book SynopsisIn equal parts a fascinating glimpse behind the scenes of some of our best-loved institutions and a guide on how governing boards should work - HRDirectorThroughout the world, thousands of people give their time, skill and energy to serving on a board. From local councils to international corporations boards play a critical role in the running and success of any organisation, large and small.In On Board John Tusa brings us behind the closed doors of the boardroom to provide an insight into the inner-working of boards. From personal squabbles to financial crises, Tusa shares his experiences serving on a wide variety of international boards such as the British Museum and American Public Radio. These lively life-stories unveil how boards overcome deep-set divisions, appoint new members and survive in times of chaos. Through these stories, Tusa provides lessons and tips on how to effectively operate in cooperative business environments. TusaTrade Review'On Board' is a serious story lightly told, with numerous hints and tips along the way on how boards behave and how they should. Every board member should read it... and learn. -- Joan Bakewell, broadcaster, writer and President of Birkbeck, University of LondonJohn Tusa is one of the bravest and most thoughtful public servants of a generation, and one of the people I admire most in British public life. -- Rory StewartJohn Tusa deals with the great and seldom asked questions: why do chairs and chief executives not get on? Why do boards make the wrong appointments? What does a great board look like? His answers – based on huge experience – are vital reading for chairs and trustees everywhere. This is a book on an important subject full of insight and interest: essential reading! -- Lord Tony Hall of Birkenhead CBE, Chairman of the National Gallery and former Director-General of the BBCPart primer, part memoir, part history, laced with psychology and social anthropology, On Board is an arresting and enlightening survival guide for anyone who aspires to sit on a not-for-profit board. It makes an eloquent case for the public value of the independent and good governance of our intellectual and cultural institutions – and the inherent obstacles to achieving it. John Tusa’s case studies, from the many distinguished boards on which he has served and chaired, provide a serious and authoritative analysis of the tenets of institutional governance. This is also a riveting and, at times, excruciatingly candid account of personal learning painfully acquired in what he describes as one of “the most demanding complex and taxing activities in the world of public life”. On Board charts the perilous navigation between the Scylla and Charybdis of personal rivalries and collective prevarication on which so many boards can come to grief. Anyone who has served as a Trustee will recognise his description of boards’ capacities for resilience and dysfunctionality, and, at their centre, the delicate chemistry of the CEO/Chair relationship. Anyone asked to join such a board will be well advised to learn from Tusa how codes, management theory and mission statements cannot substitute for decency, humanity and rigour, so much more difficult to achieve than to proscribe. In the end, good governance depends on good behaviour. -- Tim Gardam, Chief Executive, Nuffield Foundation, former Principal of St Anne's College Oxford and former Chair, Ofcom Content BoardFor anyone considering joining a board, especially one in the arts, this is an excellent guide for what awaits them. It gives a clear sense of how the complex issues and relationships are handled from someone who was there, and lessons in good governance have rarely been so fluently expressed. And for those interested in many leading characters of the London arts scene over the past 20 years, this is a hugely entertaining read. -- Sir Andrew Likierman, Professor and former Dean, London Business SchoolWith outstanding insight, John weaves his way elegantly through misunderstandings, personal ambition, indecision, and incompetence to illustrate with clarity, the consequences of flawed Chairmanship, board composition, mistaken beliefs, and finally the privilege and honour of being part of a Board that gets it right. -- Lady Alison Myners, Chair of Royal Academy TrustOne of the truly great and good, John Tusa has led many of Britain's cultural institutions and led them brilliantly. This book explains, modestly but straight-forwardly, how he has dealt with boards of trustees as helmsman, nanny, confessor, policeman, plotter, and Scout leader. Necessary reading for anyone involved in schools, arts organisations or other non-profits. -- Richard Sennett, Chairman of Trustees, Theatrum Mundi

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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 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 SynopsisAs an undergraduate at Brown University, Tyler Denmead founded New Urban Arts, a nationally recognized arts and humanities program primarily for young people of color in Providence, Rhode Island. Along with its positive impact, New Urban Arts, under his leadership, became entangled in Providence''s urban renewal efforts that harmed the very youth it served. As in many deindustrialized cities, Providence''s leaders viewed arts, culture, and creativity as a means to drive property development and attract young, educated, and affluent white people, such as Denmead, to economically and culturally kick-start the city. In The Creative Underclass, Denmead critically examines how New Urban Arts and similar organizations can become enmeshed in circumstances where young people, including himself, become visible once the city can leverage their creativity to benefit economic revitalization and gentrification. He points to the creative cultural practices that young people of color from low-Trade Review“Tyler Denmead offers a far-reaching look into the complexities of creative communities, implicating factors involving labor, economics, race, the arts, education, urban planning, and politics, all while joyfully, lovingly, and thoughtfully describing stories from young people's lives. Denmead describes these multiple perspectives and what young people taught him and his change of perception with humility. His book's credibility and power are even more compelling because of his capacity to comprehend and critique an institution he himself constructed. I'm in awe of all the intricacies and implications that Denmead has revealed.” -- Rebekah Modrak, author of * Reframing Photography: Theory and Practice *"Since the early 2000s we have regarded the creative class as those with the greatest access to capital, technology, and robust economic environments. Tyler Denmead reveals a portion of the creative class that is dynamic and generative and forgotten—low-income youth in underserved communities. This is a must-read for reimagining the creative talents of today's urban youth." -- Gloria Ladson-Billings, Professor Emerita, University of Wisconsin–Madison"[This] book is written in a personal, engaging style and peppered with conversations between Denmead and the youth who offer a sense of hope through their clever, observant and deeply cognizant understandings of structural injustice. . . . It is important reading for those working with youth, in urban centers and within the context of the 'creative industry.'" -- Darlene E. Clover * International Review of Education *“For those who are interested in cultural policy and youth programmes, this book is an important awakening for those who uncritically accept the discourse of creativity as a force for good. This study destabilizes the taken-for-granted assumption about arts activities as ‘positive activities’ through which young people can ‘better themselves’. This book is a timely reminder that youth development programmes do not solve economic problems.” -- Frances Howard * Cultural Sociology *“The Creative Underclass is a compelling example of how we can write about recent educational history without a detachment from the struggles of an author’s conscience…. For historians of education this book reminds us of the tensions and contradictions of philanthropic work across the past two centuries.” -- Lottie Hoare * History of Education *"The relationship between gentrification and culture is a fraught and complicated one, and there is no easy path. But through engaging with the creative strategies of the youth that Denmead profiles in The Creative Underclass, we might begin to envision a future city that enables the creativity of all, not ‘creativity’ as a luxury consumer product. This volume highlights the lived experiences of youth living through the challenges of gentrification. Planners and policymakers may find it to be an important corollary to more revenue-oriented visions of the ‘creative city’, exposing a deep rift between the experiences of Florida’s ‘creative class’ and Denmead’s ‘creative underclass’. Those in the education sector, too, will find its exploration of inequality valuable, especially in considering the ways that even well-meaning arts programmes can replicate systems of race- and class-based inequalities in the face of gentrification." -- Kevin Ritter * LSE Review of Books *“The Creative Underclass is appropriate reading for undergraduate courses in Sociology, Geography, Urban Planning, Urban Studies, and Political Science.... The book is well organized and easy to follow.” -- Evelyn Ravuri * Journal of Urban Affairs *“Within the literature on urban renewal and gentrification, Denmead’s contribution is important for the personal dimension of his analysis as well as for its consideration of how creativity, a perceived innately human ability, can be channeled and managed by economic elites to serve the end goal of gentrification.” -- Arthur Ivan Bravo * Exertions *Table of ContentsAcknowledgment ix Introduction 1 1. Troublemaking 30 2. The Hot Mess 45 3. Chillaxing 76 4. Why the Creative Underclass Doesn't Get Creative-Class Jobs 96 5. Autoethnography of a "Gentrifying Force" 118 6. "Is This Really What White People Do" in the Creative Capital? 133 Conclusion 155 Notes 173 Biography 185 Index 197

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Book SynopsisArlene Dávila draws on numerous interviews with artists, dealers, and curators to explore how and why the contemporary international art market continues to overlook, devalue, and marginalize Latinx art and artists.Trade Review“In this current moment of national rupture surrounding the Latino immigrant it is ironic that the new focus on Latinx artists and communities should come to the forefront as a powerful cultural movement. Arlene Dávila’s new work on Latinx art is a timely examination of the complex issues of cultural definition, art markets, race and representation, and geopolitical reference points. In the embattled world of diverse art and artists Dávila's book provides a map of clarity.” -- Amalia Mesa-Bains, MacArthur fellow and coauthor of * Homegrown: Engaged Cultural Criticism *“Kudos to Arlene Dávila, founding director of the Latinx Project at New York University, and the only person who could have written this groundbreaking new book! First, identifying Latinx, perhaps most importantly, as a political constituency and as a market for art historical appreciation and consumption, Dávila makes the case for a singular recognition and consideration of a massive (and rapidly growing) part of American culture. While highlighting intersectionality in her exploration of Latinx identity, she is an astute documentarian of shared experiences in the American landscape. Yet, this book is a must-have primer for those concerned with trends in international contemporary art.” -- Franklin Sirmans, Director, Pérez Art Museum Miami"An indispensable text that considers the plights of Latinx artists through the lens of race and class disparities in both North and South America. . . . Dávila’s text is a vital resource on Latinx art, complete with a supplemented 'non-comprehensive list of artists everyone should know' and recommendations of Latinx Instagram accounts to follow." -- Valentina Di Liscia * Hyperallergic *"The marketing of modern and contemporary art from Latin America is one of the success stories of the globalist decades, giving a once-niche interest a presence in big North American museums. Exactly the opposite is true of Latinx art, loosely defined as work made by artists of Latin American birth or descent who live primarily in the United States. That lack of institutional support is dictated by the politics of class, economics and race, the cultural anthropologist Arlene Dávila argues in this important broadside of a book." -- Holland Cotter * New York Times *"An outstanding contribution to the field of Latinx art, this book addresses the defining traits of the art category and its place in the contemporary art world. . . . The wide range of Latinx art experts she interviews, from artists, curators, writers, critics and gallerists, draw the contours of a remarkably vibrant cultural field that is still undervalued. Her analysis not only dissects the conditions of Latinx artistic invisibility; it also proposes a path of action to overcome them and to create a more equitable art system." -- Taína Caragol * Smithsonian Magazine *"With deep research and details about the ways in which the market continues to overlook and undervalue the work of Latinx artists, Arlene Dávila’s Latinx Art is one of this year’s most important contributions to the art world as a whole. . . . That this book exists is itself an important milestone in the struggle for equity in the art world." -- Maximilíano Durón * ARTnews *"Arlene Dávila advances a groundbreaking analysis of Latinx art in the way she centers on matters of race, class, and nationality as primordial to understanding this category. . . . As a scholar independent of the art world’s social circuit, Dávila describes in great detail the ingrained power dynamics that deny institutional access to Latinx artists. In doing so, she delivers an unprecedented service to the field, considering the silencing force exerted by hierarchical structures that traverse the art world, and the artists’ reliance on good relations with gatekeepers in order to have any shot at exhibition and market spaces." -- Taína Caragol * Latin American and Latinx Visual Culture *“Latinx Art is appropriate for new and nonacademic audiences, because Dávila is one of the most accessible scholarly authors. . . . A must-read for Latinx studies students and scholars and beyond.” -- Karen Mary Davalos * Latino Studies *Table of ContentsAcknowledgments & Reader Instructions vii Introduction. Making Latinx Art 1 1. What Is Latinx Art? Lessons from Chicanx and Diasporican Artists 23 2. Exhibiting Latinx Art: On Critics, Curators, and Going "Beyond the Formula" 48 3. Nationalism and the Currency of Categories 79 4. On Markets and the Need for Cheerleaders 104 5. Whitewashing at Work, and Some Ways Out 138 Conclusion: At the Vanguard of Arts and Museum Activism in the Twenty-First Century 168 Appendix A: Noncomprehensive List of Artists Everyone Should Know 177 Appendix B: Additional Resources 185 Notes 189 References 203 Index 223

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Book SynopsisArlene Dávila draws on numerous interviews with artists, dealers, and curators to explore how and why the contemporary international art market continues to overlook, devalue, and marginalize Latinx art and artists.Trade Review“In this current moment of national rupture surrounding the Latino immigrant it is ironic that the new focus on Latinx artists and communities should come to the forefront as a powerful cultural movement. Arlene Dávila’s new work on Latinx art is a timely examination of the complex issues of cultural definition, art markets, race and representation, and geopolitical reference points. In the embattled world of diverse art and artists Dávila's book provides a map of clarity.” -- Amalia Mesa-Bains, MacArthur fellow and coauthor of * Homegrown: Engaged Cultural Criticism *“Kudos to Arlene Dávila, founding director of the Latinx Project at New York University, and the only person who could have written this groundbreaking new book! First, identifying Latinx, perhaps most importantly, as a political constituency and as a market for art historical appreciation and consumption, Dávila makes the case for a singular recognition and consideration of a massive (and rapidly growing) part of American culture. While highlighting intersectionality in her exploration of Latinx identity, she is an astute documentarian of shared experiences in the American landscape. Yet, this book is a must-have primer for those concerned with trends in international contemporary art.” -- Franklin Sirmans, Director, Pérez Art Museum Miami"An indispensable text that considers the plights of Latinx artists through the lens of race and class disparities in both North and South America. . . . Dávila’s text is a vital resource on Latinx art, complete with a supplemented 'non-comprehensive list of artists everyone should know' and recommendations of Latinx Instagram accounts to follow." -- Valentina Di Liscia * Hyperallergic *"The marketing of modern and contemporary art from Latin America is one of the success stories of the globalist decades, giving a once-niche interest a presence in big North American museums. Exactly the opposite is true of Latinx art, loosely defined as work made by artists of Latin American birth or descent who live primarily in the United States. That lack of institutional support is dictated by the politics of class, economics and race, the cultural anthropologist Arlene Dávila argues in this important broadside of a book." -- Holland Cotter * New York Times *"An outstanding contribution to the field of Latinx art, this book addresses the defining traits of the art category and its place in the contemporary art world. . . . The wide range of Latinx art experts she interviews, from artists, curators, writers, critics and gallerists, draw the contours of a remarkably vibrant cultural field that is still undervalued. Her analysis not only dissects the conditions of Latinx artistic invisibility; it also proposes a path of action to overcome them and to create a more equitable art system." -- Taína Caragol * Smithsonian Magazine *"With deep research and details about the ways in which the market continues to overlook and undervalue the work of Latinx artists, Arlene Dávila’s Latinx Art is one of this year’s most important contributions to the art world as a whole. . . . That this book exists is itself an important milestone in the struggle for equity in the art world." -- Maximilíano Durón * ARTnews *"Arlene Dávila advances a groundbreaking analysis of Latinx art in the way she centers on matters of race, class, and nationality as primordial to understanding this category. . . . As a scholar independent of the art world’s social circuit, Dávila describes in great detail the ingrained power dynamics that deny institutional access to Latinx artists. In doing so, she delivers an unprecedented service to the field, considering the silencing force exerted by hierarchical structures that traverse the art world, and the artists’ reliance on good relations with gatekeepers in order to have any shot at exhibition and market spaces." -- Taína Caragol * Latin American and Latinx Visual Culture *“Latinx Art is appropriate for new and nonacademic audiences, because Dávila is one of the most accessible scholarly authors. . . . A must-read for Latinx studies students and scholars and beyond.” -- Karen Mary Davalos * Latino Studies *Table of ContentsAcknowledgments & Reader Instructions vii Introduction. Making Latinx Art 1 1. What Is Latinx Art? Lessons from Chicanx and Diasporican Artists 23 2. Exhibiting Latinx Art: On Critics, Curators, and Going "Beyond the Formula" 48 3. Nationalism and the Currency of Categories 79 4. On Markets and the Need for Cheerleaders 104 5. Whitewashing at Work, and Some Ways Out 138 Conclusion: At the Vanguard of Arts and Museum Activism in the Twenty-First Century 168 Appendix A: Noncomprehensive List of Artists Everyone Should Know 177 Appendix B: Additional Resources 185 Notes 189 References 203 Index 223

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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 ReviewLoosely connected and wide-ranging, the 14 scholarly essays in this volume consider collecting prints, posters, and ephemera and their value and preservation ... Iskin and Salsbury include essays on diverse topics, including traditional and contemporary print collecting, corporate and individual collecting, women print makers and collectors, and Japanese prints. * CHOICE *Remarkable 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 *Collecting Prints, Posters, and Ephemera is essential reading. Its essays discuss a broad range of printed matter from high art to ephemera, works originally intended for vastly different purposes and audiences. The authors provide a global context that expands our understanding of both print history, gender history, and the history of collections. * Patricia Mainardi, Graduate Center of the City University of New York, USA *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 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 SynopsisDr. Leanne Zalewski has published articles on art collections, participated in numerous conferences on early Gilded Age art collecting, and received support for her research from the Getty Research Institute, Huntington Library, Center for the History of Collecting in America at the Frick Art Collection, and the American Association of University Professors.Trade ReviewThis book is the definitive account of the passionate love affair between the opulent collectors of America’s ‘gilded age’ and the dazzling art made by 19th-century French academic painters. Richly textured, thoroughly researched, lavishly documented and vividly written; it is a real treat for readers. * Jan Dirk Baetens, Assistant Professor of 19th-Century Art History, Radboud University, Nijmegen, The Netherlands *Leanne Zalewski's thoroughly researched book surveys relations among wealthy American collectors of French Academic art and international art dealers in the period between Paris's 1867 Universal Exposition and Chicago's 1893 Columbian Exposition. Analyzing auction catalogs, media, markets, private collections, and dealers' stock books, Zalewski presents a fascinating, innovative contribution to studies of art collecting and the art market. * Julie Codell, Professor of Art History, Arizona State University, USA *The famed ‘Gilded Age Picture Rush’ spurred the creation of renowned American private and public collections. Examining this pivotal moment, Zalewski provides a thoughtful and theoretically significant contribution to the History of the American Art Market. * Agnès Penot, PhD, Independent Researcher, USA *With impeccable research that evokes the temper of the times, Leanne Zalewski has produced an essential study on what she has coined as ‘the Gilded Age Picture Rush’, a cultural moment when American collectors were finding their way in the international art market and defining their roles as cultural leaders. In doing so, she offers a wealth of detail through specific examples that illuminate marketing, dealing, and exhibition practices, while never losing sight of the overarching theme of the book which promotes the view that American collectors embraced a uniquely philanthropic approach to their collecting, aiming to have their collections benefit the general public through the institutionalization of art collections for the benefit of many. This is a much needed and significant contribution to the literature on the history of collecting in the United States. * Inge Reist, Director Emerita of the Center for the History of Collecting, The Frick Collection and Frick Art Reference Library, USA *Zalewski’s engaging narrative of America’s cultural coming of age after the Civil War comprises a cast of privileged collectors, astute dealers, salon artists and diverse publications — some well known today, most less so — who transformed American taste from the provincial to the worldly. The 'Gilded Age picture rush' introduced contemporary French academic art as a standard for artistic excellence, starting from the Paris Exposition of 1867. Ironically, that important chapter in French art began to lose its critical favor by Chicago’s Columbian Exposition of 1893, a judgment that is only now being redressed. Zalewski describes in fascinating detail an important, if often overlooked, period in American art history. * J. David Farmer, Director of Exhibitions, Dahesh Museum of Art, USA *In her richly detailed study, Zalewski demonstrates that a turn towards French academic and Barbizon school painting exemplified the ‘Gilded Age picture rush’ from 1867 to 1893, in a welcome contribution to the scholarship of collecting, art markets, and the institutionalization of artistic culture in the United States in the later 19th century. * Catherine B. Scallen, Andrew W. Mellon Professor Emerita in the Humanities, Case Western Reserve University, USA *Table of ContentsList of Illustrations Series Editor's Introduction Acknowledgments Preface Foreword 1. Introduction 2. Paris’s Guiding Light: The Universal Exposition of 1867 3. “Paris is for Sale” and Americans are Buying 3. Purchasing Ideologies: Seven New York Collections 5. Marketing the Collections: Loans, Periodicals, Books, and Prints 6. From Private Collection to Public Good: The Metropolitan Museum of Art 7. Conclusion: The World’s Columbian Exposition of 1893 Bibliography Index

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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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