The Australian Art World: Aesthetics in a Global Market

Front Cover
Allen & Unwin, 2005 - Art - 276 pages
0 Reviews
This history of the Australian art market combines an understanding of the work of professional Australian artists with a detailed analysis of the forces that drive the markets in which their work is sold.
 

What people are saying - Write a review

We haven't found any reviews in the usual places.

Contents

The role of art auctions
9
The formation of the Australian market
40
Changes in the audience for art
70
What is a good reputation worth?
92
State and national galleries
118
Australian artspolicy and funding
147
National and global transactions
179
Global Change
204
Select bibliography
226
Notes
235
Copyright

Common terms and phrases

Popular passages

Page 1 - Art worlds consist of all the people whose activities are necessary to the production of the characteristic works which that world, and perhaps others as well, define as art. Members of art worlds coordinate the activities by which work is produced by referring to a body of conventional understandings embodied in common practice and in frequently used artifacts.
Page 205 - ... into social life, thus creating powerful movements for social change. Now, however, it is no longer a matter of specially endowed (charismatic) individuals, injecting the imagination where it does not belong. Ordinary people have begun to deploy their imaginations in the practice of their everyday lives.
Page 175 - The regulatory framework consists of two major agreements; the General Agreement on Tariffs and Trade (GATT) and the General Agreement on Trade in Services (GATS).
Page 205 - Those who wish to move, those who have moved, those who wish to return, and those who choose to stay rarely formulate their plans outside the sphere of radio and television, cassettes and videos, newsprint and telephone. For migrants, both the politics of adaptation to new environments and the stimulus to move or return are deeply affected by a mass-mediated imaginary that frequently transcends national space The second distinction is between unagination and fantasy.
Page 228 - Foreword' in Caroline Turner (ed), Tradition and Change: Contemporary Art of Asia and the Pacific, University of Queensland Press. 1993.
Page 127 - Power Professor of Contemporary Art and Director of the Power Institute of Fine Arts at the University of Sydney.
Page 228 - The Cultural Industries Policy Apparatus," in The Cultural Industries in Canada: Problems, Policies, and Prospects, ed. Michael Dorland (Toronto: Lorimer, 1996), 328-346. 120 Sam Wendt, "Canadian Films and the American Market," in Selling It: The Marketing of Canadian Feature Films, ed.
Page 234 - The Audience for American Art Museums. National Endowment for the Arts Research Division Report No. 23. Washington, DC, 1991. Smith, Jeffrey K., and Lisa F.Wolff. "Museum Visitor Preferences and Intentions in Constructing Artistic Experiences.
Page 228 - Pierre Bourdieu, Outline of a Theory of Practice, Cambridge University Press, Cambridge, 1977, pp.
Page 51 - The relationship between the artist and dealer is usually close, and the dealer is respected for his or her artistic judgment. The second type of gallery assesses the potential marketability of the artists through exposure to the shows provided by this first type. From this set of artists, and not from the larger artistic community, those artists who are seen as having the most potential are drawn. They are then heavily promoted. As might be expected, the first type of gallery has closer ties with...

References to this book

About the author (2005)

Annette Van den Bosch has worked as an artist, an art critic, and in arts administration and policy. She is a lecturer in the school of literary, visual, and performance studies at Monash University.

Bibliographic information