Esta dissertação se propõe a examinar e contextualizar a SP-Arte no mercado brasileiro de arte, compreendendo seus efeitos em termos de circulação, produção, preços e promoção da arte, com o objetivo de avaliar o seu impacto no mercado brasileiro de arte. Trata-se de um estudo exploratório, com adoção de levantamento teórico e documental e também de pesquisa qualitativa, com o uso da técnica de entrevistas em profundidade, para investigar a percepção dos diferentes agentes do sistema brasileiro de arte contemporânea, a saber: organizadores, artistas, galeristas, curadores e críticos de arte, compradores e colecionadores, conservadores e diretores de instituições de arte. Notamos que a SP-Arte tem se destacado no mercado de arte, com a realização de onze edições sucessivas, completadas em 2015. A SP-Arte tem apresentado sucesso crescente, tanto em volume e valor de vendas quanto no número de participantes, entre os quais galerias, artistas e visitantes. Os entrevistados destacaram como pontos favoráveis: organização, otimização do espaço de exposição, qualidade dos participantes (galerias, artistas, curadores, organizadores etc.), participação de expositores internacionais, qualidade das atividades paralelas, e, ainda, nível de vendas em relação a outras feiras brasileiras. Enfatizaram ainda a redução de tributos na aquisição de obras de arte durante a feira, possibilitada pela administração pública, que favorece a comercialização de arte, seja ela de origem nacional ou estrangeira, embora o público comprador que frequenta a SP-Arte ainda seja predominantemente local. Além disso, os entrevistados destacaram o fato da feira ter se tornado um evento importante na agenda cultural paulistana, atraindo turistas de negócios e lazer. Há alguns elementos que ainda podem ser aperfeiçoados, tais como: a infraestrutura no acesso (trânsito e falta de estacionamento); o fomento a parcerias com escolas e instituições no âmbito educacional; a reavaliação da política ou da comunicação de preços da feira, no sentido de atenuar a imagem de altos custos para galeristas (e potenciais expositores) e de preços demasiadamente elevados das obras de arte (em relação a outros canais de venda); e, finalmente, a eficiência da comunicação do evento no exterior para aumentar a visitação de compradores estrangeiros. Tais mudanças podem ajudar a colocar a SP-Arte no mesmo patamar das grandes feiras de arte internacionais consideradas como imperdíveis, principalmente por galerias e colecionadores. / This paper aims to examine and contextualize the art fair SP-Arte in the Brazilian art market, including its effects in terms of circulation, production, prices and promotion of art, in order to assess the impact of the fair on the Brazilian art market. It is an exploratory study, for which we chose, first, to perform secondary research of existing theories and data; followed by a qualitative research study, using the in-depth interview technique to investigate the perception of the different agents in the Brazilian Contemporary Art system, namely, organizers, artists, gallery owners, curators and art critics, buyers and collectors, museum conservators and directors of art institutions. We note that SP-Arte has excelled in the art market, with the completion of eleven successive editions, completed this year, 2015. SP-Arte has shown increasing success, both in volume and value sales, as well as in the number of participating galleries, artists and visitors. Respondents to our survey highlighted as positive points: organization, optimization of the exhibition space, quality of participants (galleries, artists, curators, organizers, etc.), participation of international exhibitors, quality of the complementary activities, and also the level of sales in relation to other Brazilian art fairs. They additionally stressed the reduction of taxes on the purchase of art works during the fair, made possible by the state government, which favors the sales of art, be it of domestic or foreign origin, although the people who attend SP-Arte are mainly local. In addition, respondents highlighted the fact that the fair has become an important event in Sao Paulos cultural calendar, attracting business and leisure travelers. There are some elements that can still be improved, such as infrastructure access (traffic and lack of parking); fostering partnerships with schools and other organizations in the education sector; a reassessment of the price policy or a more effective communication strategy concerning it, to mitigate the image of a high cost event for gallery owners (and potential exhibitors) and higher priced artworks, when compared to other art sales channels; and, finally an international communication strategy, to increase the number of foreign collectors visiting the fair. These changes could elevate SP-Arte to the same level of major international art fairs, which are considered not to be missed, especially for galleries and art collectors.

La création artistique de l’entre-deux-guerres en France est transformée par l’internationalisation du marché de l’art, la vitalité des avant-gardes et la diffusion sans précédent des revues d’art. La galerie d’art, par l’action de galeristes engagés et professionnels, s’impose alors comme un lieu central du marché de l’art moderne. Vouée au commerce des œuvres, elle se dote d’une identité nouvelle en faisant de son espace un lieu de socialisation et de débats intellectuels. Cette conjoncture explique en partie la naissance d’un nouveau mode de communication de la galerie d’art : la revue de galerie. Cet outil de promotion a pour principale mission de diffuser l’actualité des expositions et des artistes liés à la galerie. Mais il cherche également à être une tribune ouverte, un lieu d’expression et de dialogues où se rencontrent théories artistiques et synthèses du marché de l’art contemporain, règlements de comptes et pamphlets, littérature et poésie. Au-delà de sa dimension promotionnelle, la revue de galerie, objet sociologique, tisse des liens entre les différents acteurs d’un même cercle socio-culturel. Les principales revues de galerie de l’entre-deux-guerres (Les Arts à Paris, 1918-1935 ; le Bulletin de la vie artistique, 1919-1926 ; le Bulletin de la galerie B. Weill, 1923-1935 ; le Bulletin de l’Effort moderne, 1924-1927) mettent ainsi en place des modèles éditoriaux durables, qui perdureront tout au long du XXe siècle. Il s’agit d’un phénomène culturel international, de sorte que le contexte parisien ne peut être compris que par comparaison, notamment avec celui des Etats-Unis (revue 291), de la Belgique (Le Centaure) ou de l’Allemagne (Der Querschnitt), qui développent leurs propres spécificités. / Art production in France is changed in the interwar years by the globalization of the art market, the vitality of the avant-gardes and the unprecedented diffusion of art periodicals. The art gallery, through the actions of socially and politically committed art dealers, is becoming a major place for the modern art market. Dedicated to the trade of artworks, it acquires a new identity by encouraging socialization and intellectual debates. This context creates new communication means for art galleries: the art gallery magazine. As a promotion tool, the main mission of the periodical is to spread news about exhibitions and artists related to the gallery. Sustained by the ideals of their editors, they offer an open platform, an utopian space of free speech and dialogue, where art theories and contemporary art market analysis, score settling and satirical tracts, literature and poetry meet. Beyond its promotional function, the art gallery magazine, as a sociological object, also establishes links between the various players of a social and cultural group. The main gallery magazines of the 20th Century (Les Arts à Paris, 1918-1935; le Bulletin de la vie artistique, 1919-1926; le Bulletin de la galerie B. Weill, 1923-1935; le Bulletin de l’Effort moderne, 1924-1927) invent lasting editorial references that will last throughout the 20th century. Operating in Paris, art gallery magazines fall within an international cultural context, as demonstrated by the presence of such magazines in the United States (291), Belgium (Le Centaure) or Germany (Der Querschnitt), all developing their own specificities.

The purposes of this thesis are probing into the change of Chinese Oil Painting in art market. By means of this study, we will able to understand the development processes of the art markets in China, on the other hand, to gather the data from the auction market of different age artists and analysis them. Furthermore, it¡¦s the way to clarify how strong the art market in China is, or just the strategy to sensationalize the whole market to get high attention. But, it¡¦s obvious to find out that the environment affects the artists¡¦ creation a lot, but the works in the art market will go by chance. Therefore, to conclude that the Chinese art market is immature because the position of Chinese oil paintings is not fixed by Chinese government, Chinese artists and Chinese art market, but the art market in the world. Consequently, the Chinese art market needs to connect with the international art market.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Baigiamajame magistro darbe nagrinėjamos internetinių aukcionų pritaikymo galimybės tarptautinei prekybai dailės kūriniais. Nagrinėjami pagrindiniai teoriniai principai, kuriais remiantis nustatomos internetinių aukcionų pritaikymo galimybės tarptautinei prekybai dailės kūriniais: dailės kūrinių specifika, teikiama nauda, rinkos dalyviai, internetinių aukcionų sistemos ypatumai, interneto tinklalapio elementų ir kultūrinių skirtumų įtaka tarptautinei prekybai. Pateiktas internetinių aukcionų efektyvumo ir pritaikymo tarptautinei rinkai vertinimo klausimynas, atlikta lyginamoji analizė Lietuvoje ir užsienyje plėtojamų internetinių aukcionų bei internetinių aukcionų pritaikymo tarptautinei prekybai dailės kūriniais perspektyvų analizė. Atsižvelgiant į literatūros šaltinių, statistikos analizę ir atliktus tyrimus, parengiami strateginiai sprendimai, skirti internetiniams aukcionams pritaikyti tarptautinei prekybai dailės kūriniais. Darbo pabaigoje pateikiamos apibendrinamos išvados ir pasiūlymai. / The final master thesis deals with online auction application possibilities of international trade in art works. To the main theoretical principles used to define online auctions range of possibilities of international trade in art works: the specificity of works of art, benefits, market participants, on-line auction system features, web site elements and cultural differences on international trade. There is submitted on-line auction efficiency and adaptation to international market assessment questionnaire, performed a comparative analysis of Lithuania and abroad evolving online auctions and a prospective analysis of online auctions for the international trade in art works. Then, using literary sources, statistical analysis and studies, strategic solutions is being presented, which would improve the online auctions possibilities and orientation of the international trade in art works. Finally the conclusions and suggestions are proposed.

The thesis investigates the interaction that developed between a major art dealer, Thos. Agnew and Sons (Agnews), and a principal public collection, the London National Gallery, from 1855 to 1928. Agnews played a crucial role in the life of the National Gallery and greatly facilitated the museum accession of important paintings, such as the Madonna Ansidei by Raphael, the Rokeby Venus by Velazquez, the Portrait of Doge Vincenzo Morosini by Tintoretto, and many others. In turn, collaborating with the National Gallery allowed Agnews to penetrate the international Old Masters market and reach for higher social standing. Through the analysis of ten case studies of acquisitions, which are supported by new archival evidence and are contextualised within a broader historical and theoretical framework, this thesis charts the emergence, development and decline of the rapport between the two organisations. It analyses how Agnews and the National Gallery began as two unconnected entities in the mid-nineteenth century, explores how their distinct trajectories turned into a close, collaborative rapport during the 1880s, and finally examines how in the third decade of the twentieth century they separated and initiated a newly detached professional relationship. Appropriating sociological theories by Pierre Bourdieu, Bruno Latour, Viviana Zelizer and others, this study investigates museum acquisitions as resulting from complex interplays of cultural and commercial forces within the field of cultural production. Acquisitions are further enlightened by the analysis of the networks that underpin them, which provide additional evidence on how economic factors are embedded within broader social constructs. By detailing and locating these processes and relationships within the historical context of a broad shift towards commercialisation, yet demonstrating that cultural elements are part of the dealers activities and that commercial values are an intrinsic component of the museum, this study provides an insight into the historical origins of modern-day relationships between museums and art dealers.

The dissertation explores how quality-judgments on works of art are created within the contemporary art world. The research starts with the examination of modernist art theories supported by the museum, and continues with the exploration of the impact of the art market on quality-judgments. Although the art market had already distorted the idea of quality, further contradictions and difficulties have risen within judgment-making after the 1960s due to the dematerialisation of the work of art. Art criticism should have been able to deal with this complexity, but it is demonstrated that art criticism is a subjective field and even if there is a universal theory on quality, it often fails when applied to the particular work of art. Throughout the dissertation it is demonstrated that although ‘good art’ is a subjective, power- and discourse-dependent concept, all art professionals seek something that is an inherent quality of the artwork. However, regardless of the existence of such inherent value, judgments on quality are constructed by and subjected to power-struggle. / Art History, Visual Arts and Musicology / M.A. (Art History)

No description available.

This research in the field of History, Theory and Criticism of Art with an emphasis on Art and Technology, aims a theoretical and practical study of virtual galleries from contemporary art to cyberspace. It aims to understand the functions of the galleries and the role of the gallerist as entrepreneur / strategist for the art market. In this study are selected six art galleries - all Brazilian and distinct characteristics - which can contribute to the recognition methods to choose exclusively online environment or act between physical and virtual environments. According to the data found, all virtual galleries seek legitimacy through the interested public, collectors, and other art dealers are made up of expository and informative environments, but only a few follow with e-commerce. / Esta pesquisa no campo da História, Teoria e Crítica da Arte, com ênfase em Arte e Tecnologia, tem como objetivo um estudo teórico das galerias virtuais, a partir de questões pertinentes à arte contemporânea e ao ciberespaço. Visa compreender as funções das galerias e o papel do galerista enquanto empreendedor/estrategista para o mercado da arte. Neste estudo são selecionadas seis galerias de arte todas brasileiras e com características distintas que podem contribuir para o reconhecimento das estratégias dos galeristas que optam por trabalhar em ambiente exclusivamente online ou atuar simultaneamente em ambientes físicos e virtuais. De acordo com os dados encontrados, todas as galerias virtuais buscam legitimação através do público interessado, dos colecionadores e dos demais galeristas, estão constituídas de ambientes expositivo e informativo, mas apenas algumas seguem com e-commerce.

Esta dissertação se propõe a examinar e contextualizar a SP-Arte no mercado brasileiro de arte, compreendendo seus efeitos em termos de circulação, produção, preços e promoção da arte, com o objetivo de avaliar o seu impacto no mercado brasileiro de arte. Trata-se de um estudo exploratório, com adoção de levantamento teórico e documental e também de pesquisa qualitativa, com o uso da técnica de entrevistas em profundidade, para investigar a percepção dos diferentes agentes do sistema brasileiro de arte contemporânea, a saber: organizadores, artistas, galeristas, curadores e críticos de arte, compradores e colecionadores, conservadores e diretores de instituições de arte. Notamos que a SP-Arte tem se destacado no mercado de arte, com a realização de onze edições sucessivas, completadas em 2015. A SP-Arte tem apresentado sucesso crescente, tanto em volume e valor de vendas quanto no número de participantes, entre os quais galerias, artistas e visitantes. Os entrevistados destacaram como pontos favoráveis: organização, otimização do espaço de exposição, qualidade dos participantes (galerias, artistas, curadores, organizadores etc.), participação de expositores internacionais, qualidade das atividades paralelas, e, ainda, nível de vendas em relação a outras feiras brasileiras. Enfatizaram ainda a redução de tributos na aquisição de obras de arte durante a feira, possibilitada pela administração pública, que favorece a comercialização de arte, seja ela de origem nacional ou estrangeira, embora o público comprador que frequenta a SP-Arte ainda seja predominantemente local. Além disso, os entrevistados destacaram o fato da feira ter se tornado um evento importante na agenda cultural paulistana, atraindo turistas de negócios e lazer. Há alguns elementos que ainda podem ser aperfeiçoados, tais como: a infraestrutura no acesso (trânsito e falta de estacionamento); o fomento a parcerias com escolas e instituições no âmbito educacional; a reavaliação da política ou da comunicação de preços da feira, no sentido de atenuar a imagem de altos custos para galeristas (e potenciais expositores) e de preços demasiadamente elevados das obras de arte (em relação a outros canais de venda); e, finalmente, a eficiência da comunicação do evento no exterior para aumentar a visitação de compradores estrangeiros. Tais mudanças podem ajudar a colocar a SP-Arte no mesmo patamar das grandes feiras de arte internacionais consideradas como imperdíveis, principalmente por galerias e colecionadores. / This paper aims to examine and contextualize the art fair SP-Arte in the Brazilian art market, including its effects in terms of circulation, production, prices and promotion of art, in order to assess the impact of the fair on the Brazilian art market. It is an exploratory study, for which we chose, first, to perform secondary research of existing theories and data; followed by a qualitative research study, using the in-depth interview technique to investigate the perception of the different agents in the Brazilian Contemporary Art system, namely, organizers, artists, gallery owners, curators and art critics, buyers and collectors, museum conservators and directors of art institutions. We note that SP-Arte has excelled in the art market, with the completion of eleven successive editions, completed this year, 2015. SP-Arte has shown increasing success, both in volume and value sales, as well as in the number of participating galleries, artists and visitors. Respondents to our survey highlighted as positive points: organization, optimization of the exhibition space, quality of participants (galleries, artists, curators, organizers, etc.), participation of international exhibitors, quality of the complementary activities, and also the level of sales in relation to other Brazilian art fairs. They additionally stressed the reduction of taxes on the purchase of art works during the fair, made possible by the state government, which favors the sales of art, be it of domestic or foreign origin, although the people who attend SP-Arte are mainly local. In addition, respondents highlighted the fact that the fair has become an important event in Sao Paulos cultural calendar, attracting business and leisure travelers. There are some elements that can still be improved, such as infrastructure access (traffic and lack of parking); fostering partnerships with schools and other organizations in the education sector; a reassessment of the price policy or a more effective communication strategy concerning it, to mitigate the image of a high cost event for gallery owners (and potential exhibitors) and higher priced artworks, when compared to other art sales channels; and, finally an international communication strategy, to increase the number of foreign collectors visiting the fair. These changes could elevate SP-Arte to the same level of major international art fairs, which are considered not to be missed, especially for galleries and art collectors.