Making Markets Global

Velthuis, Olav; Curioni, Stefano Baia

doi:10.1093/acprof:oso/9780198717744.003.0001

Cited by 18 publications

(12 citation statements)

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“…Yet the viewing and purchasing of art in India remained limited to a closed world of affluent art lovers and patrons. Until the 1980s, fewer than a dozen galleries in the entire country displayed and sold art (Velthuis and Curioni, 2015). While determining the current number of galleries in India is difficult, since some galleries operate informally or to an invitation-only clientele, it is safe to say that well over 100 galleries are currently in operation.…”

Section: Literature Reviewmentioning

confidence: 99%

“…Velthuis and Curioni (2015) see similarities in the growth patterns of the Indian and Western art markets, with each receiving cues from commercial galleries, which in turn promote artists via solo shows and cultivate collectors and the media. Given the above, galleries in countries wishing to participate in Western fairs must conform to the international art model, including the type of art to be marketed, how it is marketed and the discourse used in its marketing (Sooudi, 2015).…”

Section: Literature Reviewmentioning

confidence: 99%

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India’s Kochi Biennale: sponsorship, patronage, and art’s resistance

Joy

Belk

2019

AAM

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Purpose The purpose of this paper is to examine the meaning, in both local and international context, of the Kochi-Muziris Biennale (KMB), the first international exhibit of contemporary art in India. Kochi Biennale Foundation (KBF), which administers the KMB, identifies art as a means for transforming society, with a mission to bring global contemporary art to India and to present India’s modern art to the world. The authors further investigate the role of government sponsorship and corporate patronage in funding the KMB, and investigate how resistance through art is key to the KMB’s identity. Design/methodology/approach This study focuses primarily on published materials relating to the KMB. One of the authors attended the 2016 KMB and interviewed fellow attendees. Additionally, the authors reviewed and assessed social media postings regarding the 2016 KMB. Findings The authors argue that government sponsorship and corporate patronage are never solely about political or financial power. Rather, a generalized reciprocity among the three entities – corporations, the government and the artists – allows the KMB to flourish. For the artists involved, the KMB, co-founded by activist artists, sustains interest in and awareness of resistance. Originality/value Extant literature on biennales is sparse on ways in which these exhibits extend their impact beyond the art world. The authors examine issues such as India expanding its position on the world stage through art, and the implications of political resistance embraced by Indian artists on future directions for the KMB, that have heretofore been unaddressed.

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Section: Literature Reviewmentioning

confidence: 99%

Section: Literature Reviewmentioning

confidence: 99%

India’s Kochi Biennale: sponsorship, patronage, and art’s resistance

Joy

Belk

2019

AAM

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“…There are “gift” auctions that operate throughout China; these rely on the “artificial” inflation of works of art that have been presented to “collectors” on the understanding that they will recycle the “gift” in auction in order to realise a “bribe” value. The markets for traditional brush painting, calligraphy and antiques are subject to opaque and unsystematic assessment and attribution, which result in a great volume of the trade in works of art conducted behind closed doors. Export art ( Chu kou yi shu pin 出口艺术品): analysis of the China art market tends to emphasise the presumed global ambitions of China (Pitt, 2015) or else the local impediments to its global cultural ambitions (Velthuis and Baia Curioni, 2015). Neither approach readily concedes that China may not have global cultural ambitions or that its political system fundamentally inhibits such an evolution.…”

Section: China: Multivariate Modelmentioning

confidence: 99%

“…Export art ( Chu kou yi shu pin 出口艺术品): analysis of the China art market tends to emphasise the presumed global ambitions of China (Pitt, 2015) or else the local impediments to its global cultural ambitions (Velthuis and Baia Curioni, 2015). Neither approach readily concedes that China may not have global cultural ambitions or that its political system fundamentally inhibits such an evolution.…”

Section: China: Multivariate Modelmentioning

confidence: 99%

A comparative study of the influence of political systems on the art markets of East Asia and China

Robertson¹

2018

AAM

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Purpose The purpose of this paper is to define and characterise the precise nature of these cultural systems and their resulting impact on the respective art and artists of each territory, by ascertaining the impact on those systems of their respective government and governance. Design/methodology/approach This paper is based on three approaches to art market modelling. All three are based on political ideologies. The first, which typifies the art markets of Western Europe and the USA, is predicated on a Pluralist and Neo-Liberal ideology. The others correspond to the systems of government in China, Taiwan, South Korea and Japan. Findings It has been shown in this paper that political systems and their accompanying ideology, born of cultural preferences, have impacted on the art markets of China, Taiwan, South Korea and Japan. It has been demonstrated that all four markets are employing variants of the international norm. Research limitations/implications The art that is exported from East Asia will only be accepted by East Asian national markets when East Asian art markets exercise a majority influence on emerging and transitional markets. It is not the intention of this paper to pursue this thought beyond the possibility that it may occur. Practical implications The ineluctable conclusion is, therefore, that the global art market is moving towards a bipolar affair. Social implications This paper also suggests the disengagement of East Asian and Chinese “culture” and art from a global (western) norm and production and consumption of national culture in East Asia by East Asians. Originality/value The paper looks (for the first time) at the direct (and subliminal) influence of political systems on art markets and the consequential effects of political ideology on the art markets of East Asia and China. The paper arrives at a series of precise definitions for the way that these art markets operate.

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“…Indeed, online trading of art is not a new phenomenon as many websites were founded during the “dot.com boom” era in the 1990s (Adam, 2014, p. 121). However, the majority of these sites have disappeared because trading artworks requires “proximity and physical, tactile interactions” between consumers and artworks (Velthuis and Curioni, 2015, p. 18). Moreover, at that time, the aesthetic experience of users was often disturbed by technical difficulties (Horowitz, 2012).…”

Section: Introductionmentioning

confidence: 99%

User participation and valuation in digital art platforms: the case of Saatchi Art

Lee

2019

EJM

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Purpose -The purpose of this paper is to examine the impact of digital platforms on the contemporary visual art market. Drawing on the theoretical insights of the technology acceptance model (TAM), the meaning transfer model (MTM), and arts marketing literature, we conceptualise the role of user participation in creating the meaning and value of contemporary artworks in the online art market.Design/methodology/approach -We conduct a qualitative study of Saatchi Art as an instrumental case for theorising. It is an online platform for trading visual artworks created by young and emerging artists. The data for this study were collected through direct observation and documentary reviews as well as user comments and buyer reviews from Saatchi Art. We reviewed 319 buyer comments and 30 user comments. The collected data are supplemented with various secondary sources such as newspapers, magazines, social media texts, and videos.Findings -The growth of digital art platforms such as Saatchi Art provides efficiency and accessibility of information to users, while helping them overcome the impediments of physical galleries such as geographical constraints and intimidating psychological atmosphere, thereby attracting novice collectors. However, users' involvement in the process of valuing artworks is limited and still guided by curatorial direction.Originality/value -User participation in the online art market is guided by curatorial direction rather than social influence. This confirms re-intermediation of marketing relationships, highlighting the role of new intermediaries such as digital platforms in arts marketing.

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Making Markets Global

Cited by 18 publications

References 0 publications

India’s Kochi Biennale: sponsorship, patronage, and art’s resistance

India’s Kochi Biennale: sponsorship, patronage, and art’s resistance

A comparative study of the influence of political systems on the art markets of East Asia and China

User participation and valuation in digital art platforms: the case of Saatchi Art

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