TOOLS FOR THE FUTURE
Workshop 3
The Formation and Development of New Art Markets
Art in Emergin... more TOOLS FOR THE FUTURE Workshop 3 The Formation and Development of New Art Markets
Art in Emerging Markets: The Case of India
India’s art market is not new (as there is a long tradition of collecting), but certainly an emerging one: Art Tactic’s recent report recorded a 7.7% increase in the South Asian art market and an increase in gallery sales of 9.1%. Along with the growth the art infrastructure is being built gradually: new biennales (Kochi-Muziris, Chennai Photo Biennale) and – with the lack of government support – new private and corporate museums (Piramal Museum of Art, Museum of Art and Photography, etc.) are being established, as well as new models of philanthropy (e.g. crowdfunding) are being adopted within the last 5 to 10 years. The ongoing research project aims to investigate the distinctive characteristics of the Indian art market, and to understand the dynamics behind its current, rapid evolution – with special regards to the role of education (a new generation of professionals to contribute to the arts ecosystem and of collectors); the increasing importance of the so-called social media influencers, as well as the interior designers as tastemakers; and the challenges of entering the international market. The empirical context of the research is the India Art Fair 2019, the biggest and most significant platform of the primary market for modern and contemporary art in the South Asian region. In-depth interviews have been conducted with 12 professionals working at the Indian art scene, such as gallerists, artists, museum directors, and private collectors. Based on this preliminary research a questionnaire has been constructed and sent out to the 75 exhibitors of the fair: modern and contemporary, Indian and international galleries, as well as non-profit institutions. The data collected will be subject to further analysis.
The Journal of Arts Management, Law, and Society, 2021
In a post-pandemic world, museums open and close continuously;meanwhile, the lack of visitors res... more In a post-pandemic world, museums open and close continuously;meanwhile, the lack of visitors results in deaccession or layoffs (at least this is the case with many private institutions). The author is highly knowledgeable and active in the field: prior to this book, she has already published I Global Trends in Museum Diplomacy Post-Guggenheim Developments i (Grincheva [1]), which dealt with the issues of offline museum diplomacy, and which I have been lucky enough to review previously. The book opens the discourse concerning digital museum diplomacy and illustrates that the online spaces of museums can be regarded as new platforms for cultural diplomacy. [Extracted from the article] Copyright of Journal of Arts Management, Law & Society is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for i...
Global Trends in Museum Diplomacy traces the transformation of museums from publicly or privately... more Global Trends in Museum Diplomacy traces the transformation of museums from publicly or privately funded heritage institutions into active players in the economic sector of culture. Exploring how this transformation reconfigured cultural diplomacy, the book argues that museums have become autonomous diplomatic players on the world stage. Offering a comparative analysis across a range of case studies in order to demonstrate that museums have gone global in the era of neoliberal globalisation. Grincheva focuses first on the Solomon R. Guggenheim Foundation, which is well known for its bold revolutionising strategies of global expansion: museum franchising and global corporatisation. She then goes on to explore how these strategies were adopted across museums around the world and analyses two cases of post-Guggenheim developments in China and Russia: the K11 Art Mall in Hong Kong and the International Network of Foundations of the State Hermitage Museum in Russia. These cases from more authoritarian political regimes evidence the emergence of alternative avenues of museum diplomacy that no longer depend on government commissions to serve immediate geo-political interests. Global Trends in Museum Diplomacy will be a valuable resource for students, scholars and practitioners of contemporary museology and cultural diplomacy. Documenting new developments in museum diplomacy, the book will be particularly interesting to museum and heritage practitioners and policymakers involved in international exchanges or official programs of cultural diplomacy.
TOOLS FOR THE FUTURE
Workshop 3
The Formation and Development of New Art Markets
Art in Emergin... more TOOLS FOR THE FUTURE Workshop 3 The Formation and Development of New Art Markets
Art in Emerging Markets: The Case of India
India’s art market is not new (as there is a long tradition of collecting), but certainly an emerging one: Art Tactic’s recent report recorded a 7.7% increase in the South Asian art market and an increase in gallery sales of 9.1%. Along with the growth the art infrastructure is being built gradually: new biennales (Kochi-Muziris, Chennai Photo Biennale) and – with the lack of government support – new private and corporate museums (Piramal Museum of Art, Museum of Art and Photography, etc.) are being established, as well as new models of philanthropy (e.g. crowdfunding) are being adopted within the last 5 to 10 years. The ongoing research project aims to investigate the distinctive characteristics of the Indian art market, and to understand the dynamics behind its current, rapid evolution – with special regards to the role of education (a new generation of professionals to contribute to the arts ecosystem and of collectors); the increasing importance of the so-called social media influencers, as well as the interior designers as tastemakers; and the challenges of entering the international market. The empirical context of the research is the India Art Fair 2019, the biggest and most significant platform of the primary market for modern and contemporary art in the South Asian region. In-depth interviews have been conducted with 12 professionals working at the Indian art scene, such as gallerists, artists, museum directors, and private collectors. Based on this preliminary research a questionnaire has been constructed and sent out to the 75 exhibitors of the fair: modern and contemporary, Indian and international galleries, as well as non-profit institutions. The data collected will be subject to further analysis.
The Journal of Arts Management, Law, and Society, 2021
In a post-pandemic world, museums open and close continuously;meanwhile, the lack of visitors res... more In a post-pandemic world, museums open and close continuously;meanwhile, the lack of visitors results in deaccession or layoffs (at least this is the case with many private institutions). The author is highly knowledgeable and active in the field: prior to this book, she has already published I Global Trends in Museum Diplomacy Post-Guggenheim Developments i (Grincheva [1]), which dealt with the issues of offline museum diplomacy, and which I have been lucky enough to review previously. The book opens the discourse concerning digital museum diplomacy and illustrates that the online spaces of museums can be regarded as new platforms for cultural diplomacy. [Extracted from the article] Copyright of Journal of Arts Management, Law & Society is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for i...
Global Trends in Museum Diplomacy traces the transformation of museums from publicly or privately... more Global Trends in Museum Diplomacy traces the transformation of museums from publicly or privately funded heritage institutions into active players in the economic sector of culture. Exploring how this transformation reconfigured cultural diplomacy, the book argues that museums have become autonomous diplomatic players on the world stage. Offering a comparative analysis across a range of case studies in order to demonstrate that museums have gone global in the era of neoliberal globalisation. Grincheva focuses first on the Solomon R. Guggenheim Foundation, which is well known for its bold revolutionising strategies of global expansion: museum franchising and global corporatisation. She then goes on to explore how these strategies were adopted across museums around the world and analyses two cases of post-Guggenheim developments in China and Russia: the K11 Art Mall in Hong Kong and the International Network of Foundations of the State Hermitage Museum in Russia. These cases from more authoritarian political regimes evidence the emergence of alternative avenues of museum diplomacy that no longer depend on government commissions to serve immediate geo-political interests. Global Trends in Museum Diplomacy will be a valuable resource for students, scholars and practitioners of contemporary museology and cultural diplomacy. Documenting new developments in museum diplomacy, the book will be particularly interesting to museum and heritage practitioners and policymakers involved in international exchanges or official programs of cultural diplomacy.
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Workshop 3
The Formation and Development of New Art Markets
Art in Emerging Markets: The Case of India
India’s art market is not new (as there is a long tradition of collecting), but certainly an emerging one: Art Tactic’s recent report recorded a 7.7% increase in the South Asian art market and an increase in gallery sales of 9.1%. Along with the growth the art infrastructure is being built gradually: new biennales (Kochi-Muziris, Chennai Photo Biennale) and – with the lack of government support – new private and corporate museums (Piramal Museum of Art, Museum of Art and Photography, etc.) are being established, as well as new models of philanthropy (e.g. crowdfunding) are being adopted within the last 5 to 10 years.
The ongoing research project aims to investigate the distinctive characteristics of the Indian art market, and to understand the dynamics behind its current, rapid evolution – with special regards to the role of education (a new generation of professionals to contribute to the arts ecosystem and of collectors); the increasing importance of the so-called social media influencers, as well as the interior designers as tastemakers; and the challenges of entering the international market.
The empirical context of the research is the India Art Fair 2019, the biggest and most significant platform of the primary market for modern and contemporary art in the South Asian region. In-depth interviews have been conducted with 12 professionals working at the Indian art scene, such as gallerists, artists, museum directors, and private collectors. Based on this preliminary research a questionnaire has been constructed and sent out to the 75 exhibitors of the fair: modern and contemporary, Indian and international galleries, as well as non-profit institutions. The data collected will be subject to further analysis.
Workshop 3
The Formation and Development of New Art Markets
Art in Emerging Markets: The Case of India
India’s art market is not new (as there is a long tradition of collecting), but certainly an emerging one: Art Tactic’s recent report recorded a 7.7% increase in the South Asian art market and an increase in gallery sales of 9.1%. Along with the growth the art infrastructure is being built gradually: new biennales (Kochi-Muziris, Chennai Photo Biennale) and – with the lack of government support – new private and corporate museums (Piramal Museum of Art, Museum of Art and Photography, etc.) are being established, as well as new models of philanthropy (e.g. crowdfunding) are being adopted within the last 5 to 10 years.
The ongoing research project aims to investigate the distinctive characteristics of the Indian art market, and to understand the dynamics behind its current, rapid evolution – with special regards to the role of education (a new generation of professionals to contribute to the arts ecosystem and of collectors); the increasing importance of the so-called social media influencers, as well as the interior designers as tastemakers; and the challenges of entering the international market.
The empirical context of the research is the India Art Fair 2019, the biggest and most significant platform of the primary market for modern and contemporary art in the South Asian region. In-depth interviews have been conducted with 12 professionals working at the Indian art scene, such as gallerists, artists, museum directors, and private collectors. Based on this preliminary research a questionnaire has been constructed and sent out to the 75 exhibitors of the fair: modern and contemporary, Indian and international galleries, as well as non-profit institutions. The data collected will be subject to further analysis.