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1.
The Careers of Modern Artists   总被引：1，自引：1，他引：0  
Using transactions from fine art auctionsfor 42 leading American contemporary artists Iestimate the relationship between the value of apainting and the artist's age at the date of itsexecution. The econometric estimates show that artistsborn before 1920 were likely to have produced theirmost valuable work late in their careers, whereasartists born in the 1920s and '30s were more likely tohave done their most valuable work at an early age.Comparison of these results to evidence drawn from arthistory textbooks and retrospective exhibitionsfurthermore indicates that these artists' mostvaluable work has also been that most highly regardedby scholars. I argue that the shift across generationsin the shape of these artists' age-price profiles wasa result of the evolution of modern painting and agrowth in the demand for contemporary American artduring the 1950s and '60s.  相似文献   

2.
We analyse determinants of prices for contemporary art with the help of quantitative data. The focus is on gallery rather than auction prices in the Netherlands. We model the determinants of prices on three different levels: the work of art (size, material), the artist (age, sex, place of residence, institutional recognition), and the gallery (location, institutional affiliation, age). Our main findings are that the size and material of works of art, and the age and place of residence of the artist are strong predictors of price; that differences in size and materials partly ``mask' price differences between artists; and that the variance in prices across galleries is largely explained by characteristics of the artists they represent.  相似文献   

3.
The droit de suite, or resale royalty right, entitles an artist to a percentage of either the price received when her works are resold by their owners. This paper analyzes the effect of this law on the artist's production when early and late works are either substitutes or complements. By giving the artist an interest in the resale price of early works, the royalty provides a credible incentive to maintain value when later production decisions are made. Since the initial sales price capitalizes the stream of future values, the benefit of higher resale prices accrues to the artist.  相似文献   

4.
The paper deals with the relationship between direct public support for artists and the economic situation of artists. The empirical findings stem from a research project on the situation of artists in Finland. Some problems connected with obtaining relevant data on artists' economic situation are presented. The effects of direct financial support granted to individual artists on their income level and income discrepancies are illustrated with different patterns of impact. A brief presentation of the goals and measures of public policy towards artists in Finland is given, and the relationship with policy objectives and income effects of direct artists support is discussed. Two issues relevant for evaluating artist policy are raised: the need to account for the fundamental differences between art fields and artistic occupations, and the need to study the actual functions grant income has for the artists.  相似文献   

5.
In this paper we investigate the dynamics of chartsuccess in the U.K. pre-recorded popular music industryover the period 1980 to 1993 using the British albumchart listings. We find that the incidence of chartsuccess is substantially skewed to the right, whethermeasured by total weeks spent per artist, averageweeks spent per album, or the total number of albumslisted per artist. We subsequently investigatepossible determinants of the length of chart survivalof albums in order to determine what may be drivingthe observed skewness. Our results indicate that thetype of album, seasonal demand, and initial popularityplay an important role in ensuring continued chartlisting of an album.  相似文献   

6.
The artist Jordi Teixidor is one of the leading exponents of twentieth century Spanish abstract art. In recent years, he has used a synthetic polymer as a support for his art work, namely polypropylene. The behaviour of this material in combination with layers of oil paint has not been studied until now. One of the objectives of this study was to chemically characterise the material present in Jordi Teixidor's work, using FT-IR spectroscopy, in order to be able to examine the behaviour of this set of materials after undergoing cycles of accelerated aging. After subjecting the samples to temperature and relative humidity cycles and ultraviolet radiation, their physico-mechanical behaviour was determined via tensile and bend tests, with the results being processed further by means of spectroscopic techniques and colour measurements. It was found that the possible migration of the additives present in the PP support and the gradual degradation of the materials could affect the adherence between the paint layers in the future.  相似文献   

7.
Art museum output changes away from collection maintenance to display events and to the sale of add-on goods. What is the driving force? A series of theoretical explanations are tested: technological changes which favor new input combinations and thus arrive at a changed output; changes in the relative price structure; income flows and their relation to the productivity of the different museum output segments. It will be claimed that changes in the ability of art museums to become productive as part of a communication network are the major driving force of the output change.  相似文献   

8.
Legislation creating or reinforcing resale royalties for visual artists retains substantial political popularity – particularly in the European Union – despite the often skeptical attitude toward those rights in the economics literature. In this essay, we probe more deeply the affirmative arguments that can be made for a resale royalty right, in either a mandatory or a discretionary form. We also compare the rationale for visual artists' resale royalties with the potential rationales for the now-well-established systems of royalty rights for authors and composers. This comparison has particular interest both because some of the principal arguments made against visual artists' resale royalties also apply to authors' royalties, and because the economic rationale for compensating authors with royalties has itself not been well explored. We also discuss briefly the related subject of display rights for visual artists. We conclude with some general implications for policy.  相似文献   

9.
In this note, 30,227 paintings by fifty well-known modern and contemporary Australian artists sold at auction over the period 1973–2003 are used to construct a hedonic price index. The attributes included in the hedonic regression model include the name, age and living status of the artist, the number of works sold, the size and medium of the painting, and the auction house, month and year in which the painting was sold. The results indicate that returns on Australian modern and contemporary art averaged nearly five percent over the period with a standard deviation of sixteen percent. The results also show that a ten percent increase in the Australian stock market is associated with a 3.4 percent increase in the art market. Generally, artworks by artists deceased at the time of auction, larger works, works executed in oils, and those auctioned by Sotheby's or Christies in July or August are associated with higher prices.  相似文献   

10.
This paper deals with the scientific survey of Remo Brindisi's painting “Ragazzo seduto” (Seated boy), made at the end of the 1950s, that is a symbolic figure of both his personal artistic solitude and the crisis of values determined by the economic boom in the post-war period. In a period of great changes and economic regrowth, the need to find a new style that could be the most authentic and personal as possible pressed the artist to experiment innovative products, including non-conventional support. Photographic and analytical techniques demonstrated the use of innovative products as an experimentation tendency, that pressed the artist to use non-conventional support, industrially treated with plasticized PVC and primed with acrylate polymers and to paint with traditional and industrial pigments mixed with an oil-modified alkyd resin. In the span of a few years, an unexpected and extended degradation on the whole surface of the painting took place, with the consequent formation of lifting and detachment of the paint film. The detected alteration is mainly due to the fast ageing of the employed polymeric materials, actually responsible of the impermanence of many contemporary works of arts. Clarifying the unknown aspects of the Remo Brindisi's stylistic choices together with the deterioration processes of the employed painting materials, this paper highlights the general problems related to the conservation of contemporary art, a neglected area of research in Italy, where more efforts are committed to the enormous and more ancient cultural heritage.  相似文献   

11.
Past studies on art investment generally have found that returns are low and risk is high. In this study we find that the return to art investment is more in line with traditional investments and thus the cost for consumption associated with art seems fairly small. Employing a large sample of paintings by 66 American artists sold at auction between 1971–1992, average returns are found to be over 9 per cent and 3 per cent in nominal and real terms, respectively. The model employs a log linear price regression estimated by pooled cross section and time series data, and allows rates of return as well as hedonic values for various painting and auction attributes to be estimated. These include size, media, age of execution, authenticity of the work, and auction month and house. In addition, rates of return are differentiated by artist, time period of investment, price range and genre of the painting. The findings indicate significant sensitivity of rates of return to these data stratifications.This paper was presented at the 9th international conference of the Association for Cultural Economics, held in Boston, May 8–11, 1996.  相似文献   

12.
This paper contributes to theorizing contemporary art collaborations in the context of the mediatory labour required of artists, and the complexity of the collaborative contexts in which aesthetic production is now enmeshed. In order to account for this complexity without reducing its analysis to ‘structured fields’ or ‘systems’, we use elements of assemblage theory in a quite specific way: drawing on DeLanda's work on social and organizational forms; and Law's ‘method assemblage’ to analyse the specificity of working interfaces that craft new boundaries and working relations. We develop a case study of C3West, an Australian initiative encompassing arts institutions, businesses, and communities. The analysis traces assemblage processes that generate dispersed working arrangements (partnerships, intersectoral, and interdisciplinary working interfaces) across apparently incommensurable domains, yet without forming overarching structures or requiring common rationales for cooperation. To demonstrate the work of assemblage, we discuss the practices of French artist Sylvie Blocher and the multidisciplinary collective, Campement Urbain, who employ aesthetic and performative means to forge new institutional practices and alliances for intervening in urban planning processes in regional Sydney.  相似文献   

13.
In the exhibition ‘One-Way Ticket (2015)’, New York’s Museum of Modern Art (MoMA) presented African-American artist Jacob Lawrence’s series Migration (1941). However, despite a curatorial intention to do otherwise, MoMA’s exhibition diminished Lawrence as an artist and his Migration series as art by defining Lawrence as an African-American ‘painterly-historian’, rather than an American artist looking to an international art scene. This article examines ‘One-Way Ticket’ and compares Migration with exhibitions of Otto Dix’s 1924 Der Krieg series to demonstrate the racial bias undergirding even an honest attempt to pay homage to an artist outside of a white modernist mainstream. With the acknowledgement of profound differences in impact and scale, this article contends that there is a parallel between MoMA’s ‘One-Way Ticket’ and the consistent assumption of African-American otherness to a white norm undergirding today’s climate of racial unrest.  相似文献   

14.
The painting Proas Iluminadas (Illuminated Bows) by Benito Quinquela Martín is studied by Raman spectroscopy in order to analyse the technique and the pigments employed by the artist: ultramarine blue, carbon black, cadmium-sulphure based compounds for the hue of yellow, orange and red; also zinc white, barium yellow, massicot yellow and viridian were observed. The importance of using different excitation laser lines in the analysis of mixtures of pigments is highlighted. The Raman mapping analysis of cross section samples shows the way the artist composed the ground layer: a lead white stratum over a calcite one. It also allows distinguishing between a mixture of components and strata superposition, both presenting the same appearance under an optical microscope. This paper provides information about the materials and techniques used in a period of Argentine art not studied before from this point of view.  相似文献   

15.
Superstar museums are characterized by (1) great prominence among tourists and world fame among the general population; (2) a large number of visitors; (3) a collection of generally known painters and individual paintings; (4) an exceptional architecture; and (5) a large role of commercialization, including a substantial impact on the local economy. The superstar phenomenon is caused by factors both on the demand and the supply side of the market. Superstar museums are forced to offer total experience to the visitors; they have to relate to events in history, technology, politics, films and TV, and they have to provide for everything from education, food, gifts, shopping to entertainment. The development of superstar status strongly affects museum policy. The strategic orientation emphasizes visitors' demands; the organization has to be decentralized into processes each devoted to particular segments of visitors, to special exhibitions or support activities. There are also major consequences for human resource management, in particular, relating to flexibility and staff composition of paid employees and volunteers.  相似文献   

16.
胡新谷 《文化交流》2009,(10):53-56
浙江兰溪籍著名烫画家胡海明已入选《中国非物质文化遗产通览》一书,他的烫画通过各种形式的展览和交流,已饮誉神州大地及世界。迈入“知天命”之年的胡海明,在人生和艺术的道路上已走出了不同寻常的轨迹,令业内外人士赞叹不已。  相似文献   

17.
晓柒 《文化交流》2014,(1):54-57
翻开中国刺绣的编年史,江南民间刺绣,无疑是其中最重要的一页。 清道光年间,寓居无锡的刺绣名家丁佩在《绣谱》里说：“刺绣以针代笔,以绢素为纸,以丝线为朱墨、铅黄。”“取材极约、而用甚广”,为“闺阁中之翰墨。”  相似文献   

18.
Are Multiple Art Markets Rational?   总被引：1，自引：1，他引：0  
We advance and subsequently test the proposition thatmarkets for fine art are rational, namely, that, inthe determination of price, traders make use of allrelevant art historical and critical information, asrevealed by hedonic content analysis, as well as allinformation on authenticity of the works offered forsale. If true, the proposition has consequences forpublic policy. Museums optimize choices among art historicallysignificant authentic paintings distributed asstochastic rare events in the tertiary market for art. Such paintings have few, if any, art historicallyequivalent substitutes, causing the demand for suchworks of art to be extremely inelastic. Museums tendto buy at the top of the information curve; payingprices which exceed market averages for similar art. As a result, society pays the cost of institutionalrisk aversion. In contrast, collectors often purchaseart before all art historical information is complete,and often earn a reward for assuming a risk due toincomplete information (Singer, 1991; Pomerhene, 1994).Collectors who can borrow to accumulate the highestcategory art can consume the services of their artcollection at zero cost. Stochastic transferfunctions fitted to time series of sales volume at thetwo top international auction houses confirm thehypothesis that the highest category of art is a quasisubstitute for financial instruments (liquid wealth).  相似文献   

19.
Estimate bias and no-sales are investigated in the context of Latin American Art auctions conducted in New York between 1977 and 1996. We find that, using a new method for calculating bias, both Sotheby's and Christie's overestimated art (oil-on-canvas pieces) by 2.7 percent. The inclusion of no-sales raises that proportion to a full one-third of the art traded. Utilizing a binomial probit analysis, moreover, we find that the estimate window is negatively and significantly related to the likelihood of a no sale at auction.  相似文献   

20.
著名油画家顾盼的代表作《1975·5·3》,是一幅前后经历29年,最终于2006年才完成油画作品,其问有这样一段情结。1977年,当时任浙江省美术家协会秘书长的朱琦负责选送浙江美术作品参加全国美展。若干年中,省里没有重大题材的优秀作品可选送晋京,他就找到当年在《工农兵画报》社负责领袖形象修改、加工的顾盼,在那个“政治氛围”极浓的年代里,自然考虑到当时最热门的话题一一毛主席批“四人帮”。  相似文献   

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