Arts and the Market最新文献

{"title":"Contemporary Japanese art: between globalization and localization","authors":"Eimi Tagore-Erwin","doi":"10.1108/AAM-04-2017-0008","DOIUrl":"https://doi.org/10.1108/AAM-04-2017-0008","url":null,"abstract":"\u0000Purpose\u0000The purpose of this paper is to identify and analyze the influence that globalization has had on the development of the contemporary Japanese art production. The study also aims to expand the global narrative of Japanese art by introducing concepts behind festivals for revitalization that have been occurring in Japan in recent years.\u0000\u0000\u0000Design/methodology/approach\u0000Guided by Culture Theorist Nira Yuval-Davies’ approach to the politics of belonging, the paper is situated within cultural studies and considers the development of contemporary art in Japan in relation to the power structures present within the global art market. This analysis draws heavily from the research of art historians Reiko Tomii, Adrian Favell, and Gennifer Weisenfeld, and is complemented by investigative research into the life of Art Director Kitagawa Fram, as well as observational analyses formed by on-site study of the Setouchi Triennale in 2015 and 2016.\u0000\u0000\u0000Findings\u0000The paper provides historical insight to the ways that the politics of belonging to the western world has created a limited benchmark for critical discussion about contemporary Japanese art. It suggests that festivals for revitalization in Japan not only are a good source of diversification, but also evidences criticism therein.\u0000\u0000\u0000Research limitations/implications\u0000Due to the brevity of this text, readers are encouraged to further investigate the source material for more in-depth understanding of the topics.\u0000\u0000\u0000Practical implications\u0000The paper implies that art historiography should take a multilateral approach to avoid a western hegemony in the field.\u0000\u0000\u0000Originality/value\u0000This paper fulfills a need to reflect on the limited global reception to Japanese art, while also identifying one movement that art historians and theorists may take into account in the future when considering a Japanese art discourse.\u0000","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2018-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/AAM-04-2017-0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42430768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A comparative study of the influence of political systems on the art markets of East Asia and China","authors":"Iain Robertson","doi":"10.1108/AAM-05-2017-0009","DOIUrl":"https://doi.org/10.1108/AAM-05-2017-0009","url":null,"abstract":"\u0000Purpose\u0000The 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.\u0000\u0000\u0000Design/methodology/approach\u0000This 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.\u0000\u0000\u0000Findings\u0000It 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.\u0000\u0000\u0000Research limitations/implications\u0000The 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.\u0000\u0000\u0000Practical implications\u0000The ineluctable conclusion is, therefore, that the global art market is moving towards a bipolar affair.\u0000\u0000\u0000Social implications\u0000This 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.\u0000\u0000\u0000Originality/value\u0000The 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.\u0000","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2018-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/AAM-05-2017-0009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48602579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}