Between the market and noncommercial art institutions: Early career strategies of contemporary artists in emerging art scenes

Komarova, Nataliya

doi:10.1016/j.poetic.2018.11.004

Cited by 6 publications

(6 citation statements)

References 27 publications

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“…Being in a gallery was sometimes experienced as tainting the work, leading artists to start producing art for the market, rather than having the freedom to experiment and try out new ideas (e.g., p. 48, p. 24, p. 20). Yet rarely did I hear of artists purposefully or explicitly stating that they were changing their work to fit better in a particular market or niche, as has appeared in other studies (Komarova 2018)-though the exhibition schedule, be it in the gallery or at institutions did set the pace of artistic production. In this domain, there was also appreciation for the "management" role gallerists took on; by setting a timeline for exhibitions, they help artists structure their work, keeping them focused on producing art (p. 12; also p. 36).…”

Section: Being In and Out Of The Marketmentioning

confidence: 98%

“…Research on the Indian art market has shown how gallerists remedy a perceived institutional void through "makeshift practices", adaptive and improvised measures such as weekly late night gallery openings and art weekends (Sooudi 2016) to patron and promote artists and their production and generate a buzz in the art scene in support of market development. Meanwhile, in Russian art markets, we see how, in the presence of strong non-commercial institutions, such as art foundations supporting artistic talent, may hamper market development altogether-opening up the possibility of understanding art worlds as more complex rather than bi-polar fields structured along a market/art divide (Komarova 2018).…”

Section: Introductionmentioning

confidence: 99%

“…These studies have helped to complexify our appreciation of how localized and emerging art markets function and develop (Sooudi 2016;Kharchenkova 2018;Komarova and Velthuis 2018), paying due attention to local contexts and institutional affordances. This allows for a more fine-grained understanding of the experience of market emergence, in a way that treats it not as a homogenizing process but rather one where specific local contexts, challenges and opportunities are revealed (see also Komarova 2018).…”

Section: Introductionmentioning

confidence: 99%

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Inside and Outside the Market for Contemporary Art in Brazil, through the Experience of Artists and Gallerists

Brandellero

2020

Arts

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In this paper, I seek to extend our understanding of global art markets by focusing on the relationships between different art world agents and their perceived responsibilities and roles in a market considered locally ‘incipient’ and emergent on the global scene. For this purpose, I draw on over 50 interviews with art gallerists, independent art spaces and visual artists represented by them, living in São Paulo and Rio de Janeiro, the two largest clusters of the contemporary art market in Brazil, at a time of market expansion and internationalisation. In an incipient market, two main functions are considered important: Developing the commercial circuit and opening up the market, and; enhancing the value of art in society. Such functions occur against the backdrop of a large and complex country, where the ‘eixo’ (axis) of the main cities offers greater opportunities for visibility and valorization. The findings help to elucidate the perceptions of responsibility and roles in a context of market development, as well as the emerging boundaries between culture and the market. Moreover, the paper explores the emerging dynamics and strategies of art world development as they are enacted, offering insights into how art market actors perceive their roles and responsibilities, as well as the strategies available to them to support market consolidation.

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Section: Being In and Out Of The Marketmentioning

confidence: 98%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Inside and Outside the Market for Contemporary Art in Brazil, through the Experience of Artists and Gallerists

Brandellero

2020

Arts

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“…In addition, a small number of comparative studies have been reached among developing countries. Komarova (2018) discussed the career development of artists in two emerging art markets (Russia and India). Another qualitative study using in-depth interviews with the contemporary art dealers in these two cultures pointed out that in India, the family element had a decisive role in the decision-making process (Komarova and Velthius, 2018).…”

Section: The Situation Of Art Marketing In Developing Countriesmentioning

confidence: 99%

Art marketing as an emerging area in an emerging market

Gürşen

2020

AAM

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PurposeIn this study, art is considered as a product subjected to marketing activities. In this context, this study aims to present a conceptual framework covering the research areas related to art marketing, the relation of art product with brand and consumer and how internet technologies can transform the art market. Finally, the situation of art marketing and its progressing process in a developing country and its potential horizons was discussed.Design/methodology/approachThis study uses a literature review to present a conceptual framework about art marketing activities and their potential horizons in an emerging country.FindingsGlobalization, digitalization, democratization of access to art products, art becoming a subject for marketing, open up new horizons for western markets as well as for developing countries. Developing countries constitute a new market segment for the art market. Addressing the changes and the transformations in art market in terms of these markets will provide important opportunities for marketing researchers and practitioners.Originality/valueThis study elaborates the art marketing concept in a developing country. The marketing of art is a subject studied and elaborated mostly in western countries. It is thought that this study is differentiated in terms of addressing these dynamics from a developing country point of view.

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“…They claim that these collaborations have an effect on all stakeholders: they exert an influence on the image of commercial brands as well as on artistic brands. For artistic brands, which are smaller as a rule, a creative partnership with a brand can have a greater impact on image-making and reputation, especially if we talk about the early stages of their artistic career (Komarova, 2018). A strategic approach should be implemented while selecting a companion for partnership.…”

Section: Problem Statementmentioning

confidence: 99%