Art and its market / Dirk Boll.

Format:

Book

Author/Creator:

Boll, Dirk, 1970- author.

Language:

English

Subjects (All):

Art--Economic aspects.

Art.

Art--Marketing.

Physical Description:

1 online resource (450 pages)

Edition:

First edition.

Place of Publication:

Berlin : Hatje Cantz Verlag, [2024]

Summary:

The ultimate reference on the global art market now available as a newly revised six-volume box set.The art market is undergoing a transformation: Digitalization, new market structures, and the evolving role of museums and critics have profoundly changed the art world.

Contents:

Cover

ART AND ITS MARKET: A Manual - VOLUME 1 - Foreword &amp

History

Halftitle

Titlepage

CONTENTS

FOREWORD

HISTORY

INTRODUCTION

1.1 THE ART MARKETS

1.2 THE HISTORY OF THE ART MARKETS

1.2.1 The Beginnings

1.2.2 The Market of the Early Modern Era

1.2.3 Early Expertise

1.2.4 The Modern Art Market

1.2.5 Post-War Developments

1.2.6 Boom and Disillusionment

1.2.7 Crises and Cartels

1.2.8 The Twenty-First Century

1.2.9 Pandemic Reforms

NOTES

ART AND ITS MARKET: A Manual - VOLUME 2 - Actors

ACTORS

THE STRUCTURE OF THE ART MARKET

2.1 COMMERICAL ART INTERMEDIARIES

2.1.1 The Art Trade

2.1.2 The Auction

2.1.3 A Hybrid between Art Trade and Auction

2.1.4 Art Consultants and Private Investigators

2.2 INSTITUTIONS AS ART INTERMEDIARIES

2.2.1 Museums

2.2.1.1 The Missions of Museums

2.2.1.2 Deaccessioning

2.2.2 Art Criticism

2.2.2.1 Canonization by Art Critics and Institutions

2.2.2.2 Influencers as Digital Art Critics?

2.3 COLLECTORS AS CLIENTS

2.3.1 Corporate Collections

2.3.2 Dealer-Collectors

2.3.3 Communication with Collectors

2.3.4 Demand and Growth

2.3.4.1 The Next Generation

2.3.4.2 Collectors from New Regions

2.3.5 Regionalization and Decentralization

2.4 ETHICAL CHALLENGES TO MARKET STRUCTURES

2.4.1 Racism

2.4.2 Gender Equality

2.4.3 Colonislism is Out, as is Postcolonialism

2.4.4 Reform Measures of Art Market Enterprises

2.5 SUSTAINABILITY

2.5.1 Emissions and Their Offsetting

2.5.2 Reduction Meassures

2.5.3 Non-Fungible Tokens as a Sustainability Risk

2.6 CONCLUSION

ART AND ITS MARKET: A Manual - VOLUME 3 - Foundations

FOUNDATIONS

FOUNDATIONS AND LEGAL FRAMEWORKS

3.1 ORGANIZATIONAL FOUNDATIONS.

3.1.1 Distribution Channels

3.1.2 English Auctions

3.1.3 Transparency

3.2 ART AS COMMODITY

3.2.1 On the Value of Art

3.2.2 On the Utility of Buying Art

3.2.3 Bundled Buying Motives

3.2.4 Market Art vs. Institiutional Art

3.2.5 Art Consumption and Interior Decorating

3.2.6 The Tradition of Value Analysis

3.2.7 Artworks as Investment Goods

3.2.7.1 Structural Conditions of Art Investments

3.2.7.2 Fractionalization

3.3 LEGAL FRAMEWORKS

3.3.1 Customs Duty and Tax

3.3.2 Taxation of NFTs

3.3.3 National Heritage Protection and Export Regulations

3.3.4 Droit de Suite, or Artist's Resale Right

3.3.4.1 Scope

3.3.4.2 Enforcing the Artist Resale Right

3.3.4.3 Artist Resale Right in Works of Appropriation Art and AI-Generated Work

3.3.5 Internation Conventions on Biodiversity

3.3.6 Laws Governing Art Markets: The Example of Germany

3.3.7 Legal Basis of Internet Distribution

3.3.8 Protections Against Money Laundering

3.3.9 Illegal Practices

3.3.9.1 The Mock Auction

3.3.9.2 Auction Rings

3.3.9.3 Accumulated Auctions

3.4 CONCLUSION

ART AND ITS MARKET: A Manual - VOLUME 4 - Commodities

COMMODITIES

ART AS A COMMODITY

4.1 PRODUCT ATTRIBUTES

4.1.1 Authenticity

4.1.2 Scarcity

4.1.3 Market Freshness

4.1.4 Provenance

4.1.5 Museum Documentation

4.2 CLASSICAL AREAS OF COLLECTING

4.2.1 Paintings

4.2.2 Art after 1945

4.2.3 Art on Paper

4.2.4 Sculpture

4.2.5 Applied or Decorative Arts

4.2.6 Design

4.2.7 Old Asian Art

4.2.8 Non-European Old Art

4.2.9 The Expansion of Existing Market Areas

4.3 NEW BUSINESS AREAS

4.3.1 Market Contraction and New Trends

4.3.2 Crossover between Fashion and Art

4.3.3 New Areas of Fine Art

4.3.3.1 Photography

4.3.3.2 Installations.

4.3.3.3 Performance

4.3.3.4 Art of the New Media

4.3.3.5 Non-Fungible Tokens

4.3.3.5.1 A Look Back over a Brief History

4.3.3.5.2 Intersection between Technology and Art

4.3.3.5.3 Art Auctions as a Form of Distribution

4.3.3.5.4 Challenges of the NFT -Art Trade

4.3.3.5.5 Implementation Difficulties

4.3.3.5.6 Analog versus Digital Transactions

4.3.3.5.7 Digital Canonization

4.3.3.5.8 Attempt at a Positive Appraisal

4.3.3.6 Works of Artificial Intelligence

4.3.4 Lifestyle Collecting Areas

4.3.5 The Democratized Market of Industrial Luxury Goods

4.4 LOOTED ART AS COMMODITY

4.4.1 Looting and Reparations

4.4.2 Legal Foundations

4.4.3 Impacts on the Art Market

4.5 ART FORGERS

4.5.1 Forms of Art Forgery

4.5.2 Sale of Forgeries

4.5.3 Proof of Forgeries

4.5.4 Relevance for Art Market Systems

4.6 CONCLUSION

ART AND ITS MARKET: A Manual - VOLUME 5 - Procurement

PROCUREMENT

THE PROCUREMENT MARKET

5.1 THE ART MARKET AS SCARCITY MANAGEMENT

5.2 COMPETITION ON THE PROCUREMENT MARKET

5.3 CLIENT CONTACTS ON THE PROCUREMENT MARKET

5.3.1 Trade

5.3.1.1 Communication Politics

5.3.1.2 Collaborations

5.3.1.3 The Line between Primary and Secondary Markets

5.3.2 Auction Houses

5.3.2.1 Valuations and Reference Policy

5.3.2.2 Financial Services as "Slow Disruptors"

5.3.2.2.1 Guarantees

5.3.2.2.2 Guarantees by Third Parties

5.3.2.2.3 Other Financial Services

5.3.2.3 The Network

5.4 CONCLUSION

ART AND ITS MARKET: A Manual - VOLUME 6 - Summary &amp

Conclusion

SALES

THE SALES MARKET

6.1 ART TRADE AND GALLERIES

6.1.1 Physical Sites of Sale

6.1.1.1 The Art Dealer and the White Cube

6.1.1.2 The Location

6.1.2 Galleries' Online Viewing Rooms.

6.1.2.1 Visibility in Digital Space

6.1.2.2 Presentation in Digital Space

6.1.2.3 How to Design Digital Spaces

6.1.3 Metaverses

6.1.4 Art Fairs

6.1.4.1 The World's Leading Art Fairs

6.1.4.2 Online Viewing Rooms at Art Fairs

6.1.5 Contact with Clientele on the Sales Market

6.1.5.1 Catalogues

6.1.5.2 Lectures and Openings

6.1.5.3 Special Promotions and Gallery Festivals

6.1.6 Customer Service

6.1.7 The Art Trade in the Digital World

6.2 THE AUCTION MARKET

6.2.1 The Hall Auction

6.2.1.1 The Catalogue for the Live Auction

6.2.1.1.1 Art Fair and Auction Catalogues as Printed Editions

6.2.1.1.2 Electronic Catalogues

6.2.1.2 The Preview

6.2.1.3 How an Auction is Run

6.2.1.4 The Atmosphere

6.2.2 Online-only Auctions

6.2.3 Private Sales

6.2.4 The Struggle for the Mid-Segment Market

6.2.5 Client Contacts on the Sales Market

6.2.6 Client Services

6.2.6.1 Valuations and Advice

6.2.6.2 Organizational Assistance and Financial Services

6.2.6.3 Other Services

6.2.7 Industrial Structures: Large Versus Small

6.3 CONCLUSION

SUMMARY AND CONCLUSION

II.1 AN APPRAISAL OF MARKET CHANGES

II.2 TRAJECTORIES FOR FURTHER DEVELOPMENT

II.2.1 Structural Developments of the Distribution Systems

II.2.2 The End of -Isms

II.2.3 The Expansion of the Notion of Restitution

II.2.4 The Special Case of NFT-certified Art

II.2.5 Digitalization of the Documentation of Transactions

II.2.6 Artificial Intelligence

II.2.7 Personnel Structures

II.2.8 AI on the Demand Side

II.2.9 Metaverse

II.2.10 Attempt at a Summary

About the Author

Credit

COLOPHON.

Notes:

Description based on publisher supplied metadata and other sources.

Description based on print version record.

ISBN:

9783775757942

3775757945

OCLC:

1424792424