I am a professor of International Studies and a former museum curator. This combination provides me with a unique perspective not only on the inner workings of the art world, but the way that those practices map on to broader social, political, and economic transformations that occur as a result of globalization. This leads me, for example, to an assessment of how free-trade zones affect the art market. In past research, I have focused on colonialism and French art in the nineteenth century, so I am attuned to power imbalances between the center and the periphery and I am fascinated to see how these are shifting in the present.
This book was the first to bring together a group of international artists, curators, and scholars to discuss and engage the changing nature of the art world, as a result of globalization.
The project was launched at the Center for Media and Art (ZKM) in Karlsrühe, Germany in 2006 with a series of conferences that turned into a series of books over time and an exhibition in 2013.
No other book considers so many new manifestations of the museum in the twenty-first century, illuminating new opportunities for the reader to explore distant lands vicariously and also to discover how many different ways institutions are being developed in cities around the world.
This is the second publication from the ongoing research series, Global Art and the Museum (GAM), which was initiated in 2001 by German art historian Hans Belting and artist, writer and curator Peter Weibel at the ZKM Center for Art and Media in Karlsruhe, Germany. The last 20 years have seen a rapid globalization of the art world, resulting in geographic decentralization and a shift away from a primarily Western perspective. GAM's aim is to analyze the effect of these changes on the art market, museums and art criticism. This volume comprises a collection of essays by experts--such as Claude…
This book provides a primer on the global art market from scholars around the world.
The issues addressed include economic integration of multiple circuits/regional markets, the rise of markets in Asia, online marketplaces, and the importance of galleries and collectives to propel artists to success. The biggest advantage to this work is that it is the first book to consider global art markets from divergent perspectives.
While there remains a real center to the art world analyzed in this volume, you can start to see how new regions and countries are charging forward, transforming the domain of contemporary art in the twenty-first century by making it far more diverse and global.
Since the late 1990s, contemporary art markets have emerged rapidly outside of Europe and the United States. China is r s1the world's second largest art market. In counties as diverse as Brazil, Turkey and India, modern and contemporary art has been recognized as a source of status, or a potential investment tool among the new middle classes. At art auctions in the US, London and Hong Kong, new buyers from emerging economies have driven up prices to record levels. The result of these changes has been an increase in complexity, interconnectedness, stratification and differentiation of contemporary art markets. Our understanding…
Adam is one of the foremost reporters to cover the art market and has worked for the Financial Times and the Art Newspaper. In her second book on the art market, she dives into the unsightly domain of the global art world, including speculation, forgery, art as an asset class, and freeports, the secret offshore warehouses where the rich stash their treasures tax-free. Her unique approach, focusing on classic categories such as supply, demand, and price among others brings a refreshing approach to the changing nature of the art market.
This 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…
This book tears the lid off the globalization conversation because, before this book, nobody had considered all of the ways that the tools of globalization, like transnational shipping and the geographical distribution of labor, could be used to commit international crimes.
According to the authors, globalization’s shadow hides in plain sight, whether we are discussing transnational Mexican cartels, the Dark Web, human trafficking through Eastern Europe, or wildlife smuggling.
One of the morals of this book is that there is always a dark side to success stories and also that the more we generate regulations to prevent unwanted activities, the more money someone is going to make by providing those services.
This collection of essays introduces the thriving illicit industries and activities within the global economy whose growth challenges traditional notions of wealth, power, and progress. Through essays contributed by leading experts and scholars, "Deviant Globalization" argues that far from being marginal, illicit activities are a fundamental part of globalization. Narcotrafficking, human trafficking, the organ trade, computer malware, transnational gangs are just as much artifacts of globalization as are CNN and McDonald's, free trade and capital mobility, accessible air travel and container shipping. In fact, almost every technology, process, and regulation that enables mainstream globalization is an enabler of deviant globalization.…
This book chronicles the first major European biennial to be organized by an art collective from the Global South, ruangrupa.
Not only does this handbook catalogue all of the art collectives and artists they invited to participate in this global exhibition, it explains in clear terms what it meant for a collective from Jakarta to move to Germany and take on one of the biggest organizational projects in the art world.
The show proved controversial, for the wrong reasons, but the self-description of the organizers as aliens landing in Kässel to promote an alternative vision of contemporary art (not driven by capitalist relations) is quite provocative.
documenta fifteen is no ordinary art exhibition. Envisioned under the guiding concept of lumbung, the Indonesian collective ruangrupa is less concerned with individual works than with models of collaborative practice. The Handbook offers insights and orientation to the processes that evolved in the creation of the exhibition. A comprehensive resource both for visitors of documenta in Kassel as well as people interested in collective practices, this Handbook presents all documenta fifteen collectives and artists through profiles by international authors familiar with their different artistic practices and cultural contexts. Using the pivotal question of "what is lumbung?" as a vantage point,…
Art and the Global Economy analyzes major changes in the art world that have emerged in the last thirty years including structural shifts in the global art market and the increasing internationalization of the scope of contemporary art. Emerging from ten years of experience as a museum curator, this project considers broad transformations in the systems of production and consumption of art as well as the exponential growth and increased recognition of the “creative economy” in local and global policy debates. It examines economic and social transformations in the cultural sphere as a result of globalization, including increased access to information about art, exhibitions, and markets around the world, as well as the increasing interpenetration of formerly distinct geographical domains.
I come by my interest in history and the years before, during, and after the Second World War honestly. For one thing, both my father and my father-in-law served as pilots in the war, my father a P-38 pilot in North Africa and my father-in-law a B-17 bomber pilot in England. Their histories connect me with a period I think we can still almost reach with our fingertips and one that has had a momentous impact on our lives today. I have taken that interest and passion to discover and write true life stories of the war—focusing on the untold and unheard stories often of the “Average Joe.”
October 24, 1944, is not a day of national remembrance. Yet, more Americans serving in World War II perished on that day than on any other single day of the war.
The narrative of No Average Day proceeds hour by hour and incident by incident while focusing its attention on ordinary individuals—clerks, radio operators, cooks, sailors, machinist mates, riflemen, and pilots and their air crews. All were men who chose to serve their country and soon found themselves in a terrifying and otherworldly place.
No Average Day reveals the vastness of the war as it reaches past the beaches in…
October 24, 1944, is not a day of national remembrance. Yet, more Americans serving in World War II perished on that day than on December 7, 1941, when the Japanese attacked Pearl Harbor, or on June 6, 1944, when the Allies stormed the beaches of Normandy, or on any other single day of the war. In its telling of the events of October 24, No Average Day proceeds hour by hour and incident by incident. The book begins with Army Private First-Class Paul Miller's pre-dawn demise in the Sendai #6B Japanese prisoner of war camp. It concludes with the death…
