Sale Of Artworks Research Articles

Under the Watchful Eyes of the Supreme Leader: Iranian Politics and the Art Market

Abstract This article studies the relationship between politics and the art market. It adopts the Iranian model and analyzes how the political advancement of the Islamic Republic influenced aesthetics, art production, and the art market, to highlight how a conservatively religious model—governed by theocracy—impacts an otherwise prosperous and affluent culture. As such, this study also explores the correlation between art and moral virtues within a society. According to data, exportation of Iranian art was enjoying a far more lucrative climate the world over prior to the 1979 revolution. After the Islamic Revolution, artists, collectors, art galleries, and museums were forced to carve a confined space of existence and self-expression as a consequence of the endless limitations imposed. The political realm directly affected artists’ aesthetics, materiality, subject matter, and exposure. Artists were somewhat isolated from the global art scene, and their practice was defined by predetermined moral restrictions and boundaries. As for the art market, it became a hidden and unregulated market where the sale of artworks was muddled with money laundering and illegal exchange.

Contemporary Chinese art on WeChat and its utilisation to promote artists and their artworks

Abstract Social media are becoming increasingly popular in China. This trend is also observable in the art world. Besides specialised websites promoting art and artists, there are also many new ways of sharing information about artists, exhibitions, publications and the art world. Almost all Chinese artists use the WeChat application as a means of communication. There are also other social media outlets, such as Weibo and TikTok. This paper focuses on the use of WeChat by Chinese artists. Apart from its primary functionality, WeChat has become a vital medium for sharing information about recent exhibitions, articles or just to share artwork. WeChat allows artists to distribute and provide a space for new creative content. Artists and galleries can post photographs, links to articles, interviews and video promotions of exhibitions. The 798 Art Zone is an example of quite advanced promotion ranging from information about artists and exhibitions to even the sale of artworks. To illustrate the wide range of content on WeChat, this paper will look at visual artists such as Gu Wenda, Zhang Yu and the art critic Xia Kejun, and compare them with the public accounts of galleries and 798 Art zone (Beijing), the most famous art district in China.

Fifty shades of exploitation: Fan labor and "Fifty Shades of Grey"

This exploration of the debates that have taken place in fandom over the ethics of pulling fan fiction and publishing it as original work draws on the notion of the fannish gift economy, which postulates that gifts such as fan fiction and fan art have value in the fannish community because they are designed to create and cement its social structure. Tension exists between fans who subscribe to the notion of a fannish gift economy and those who exploit fandom by using it to sell their pulled-to-publish works. An examination of E. L. James's 2012 Fifty Shades trilogy (comprising the books Fifty Shades of Grey, Fifty Shades Darker, and Fifty Shades Freed), which began as Twilight fan fiction, in addition to Twilight fan art sold through sites such as Redbubble and Etsy, demonstrates a tension between the two modes of fan expression: sale of artworks appears to be an acceptable practice in fandom, but the commercial sale of fan fic, even when marketed as original fiction, is widely contested.

Art Pricing and the Nigerian Economy, 1960-2008; the Rising Profile of Modern Nigerian Art

The turbulent situation in the socio-political and economic terrain of Nigeriasince the 1960s and the chaotic years from the time of the incursion of themilitary in Nigerian politics from 1966 to 1999 signaled systemic regression. From the 1980s to 1990s, despite the negative factors prevalent as a result of corruption and mismanagement in the nation, sale of art works was favoured by an astronomical growth in local clientele.. Although Ben Enwonwu, Nigeria’s foremost modernist artist opined in 1966 (Ekwensi, 1966; 36) that for a piece of painting by a Nigerian artist to be priced for so much as five hundred guineas(about five hundred British pounds), then the artist should be much older with years of experience including the artist’s quality of training. The state of art pricing in modern Nigerian art has defiled such limitations. Many factors have come to influence the contemporary proclivic developments and this paper adopting the Marxist art historical approach of approach of the inter-relationship of art, power and economy in the society, examines the development.Key Words: Patronage, Art Commission, Expressionistic, Art Contracting,Road- side- art, Connoisseur

Perpetual options: revisiting historical returns on paintings

This paper applies a perpetual option-pricing model in examining historical returns on paintings. A key development of the paper is formalizing a structural relationship between rational investment decisions and historical returns to art ownership. In this regard the options’ framework yields choice-theoretic implications on the relationship among risk, convenience yields from art ownership, and investor ‘hurdle prices’—prices triggering the purchase and sale of artworks at auction. The methodology offers testable implications concerning the adjustment dynamics in the relationship between historical art returns and risk-free yields. The implications are examined in a case study of paintings of major art schools using error correction methodology. We find evidence of a long-run equilibrium relationship between painting types and risk-free bond yields, and some indication of buyers and sellers preferring exchange environments not prone to “speculative resales.”

Knowledge Management as Enterprise

Abstract Indigenous people have been for a long time deprived of financial benefit from their knowledge. Campaigns around the stolen wages and the “Pay the Rent” campaign highlight this. As does the endemic poverty and economic disenfranchisement experienced by many Indigenous people and communities in Australia. Recent enterprises developed by Indigenous people, such as the sale of art works, can be seen as examples of people receiving remuneration for tangible products deriving from their knowledge. Also, tourism involves the sale of selected knowledge in context. Information and Communication Technology (ICT) is a rich and expanding area of enterprise development which supports the development of knowledge and its use in enterprise. While such work depends on the owner’s, or in this case Indigenous, control of the knowledge, it can open up new avenues for enterprise development. Knowledge about local land can be included in children’s computer games, knowledge about successful projects can be shared between communities through the immediacy and multimedia format afforded by online environments, and government reports and statistics can be accessed and analysed by Indigenous groups, given tools that suit a community’s abilities and needs. In particular the way in which ICT can be adapted to individual requirements make such tools ideal for communities which form such a varied and complex environment. The author believes it is important that Indigenous communities not only benefit from ICT by taking control of the technology for their purposes, but are also part of its creation and design to suit their aspirations. ICT is a highly flexible technology which can be tailored to many different enterprises. This paper presents some of the projects being developed at the University of New South Wales and suggests how these can be extended.

Some Remarks on Visual Fine Art in the Age of Advanced Technology

The visual or plastic fine arts hold a relatively high place in Western culture. Considerable public and private funds are devoted to the making and sale of art works and to education for art appreciation. Yet, paradoxically, there is no general agreement as to what art is or what it is good for. This is causing an ever increasing uneasiness among artists and especially among art students. The incompatibility between values and instruction in traditional art education and the worlds of science and of technology is clearly evident [1]. Some of the essential factors that have led to this situation in art are the following: 1. New materials and techniques from science, industry and commerce are now available for artists to use. The best-known examples are cinema and television, pictorial techniques of social significance that are only slowly being used by artists. Only very few have come to realize that these media are suited not only for the transmission of information and of spectacles by performing artists but also for the contemplative fine arts. In addition, complicated equipment designed for technical and scientific applications is being introduced for the making of art, e.g. by the manipulation of electric light, by the polarization of light and by the use of lasers. The use of digital and analog computers for artistic purposes is also beginning to influence the adoption of new methods and ways of thinking about art. With the help of program-controlled output devices, black and white and colored, static and kinetic images on display devices can be produced [2-4]. The use of computers is important