Business Artists. Strategische Vermarkter im Kunstbetrieb:
Andy Warhol – Damien Hirst – Jeff Koons – Takashi Murakami
“Since not many decades a new type of artist has evolved, whose sole existence can be understood as another symptom of a total economisation of all areas of life: the business artist. He is an entrepreneur and manager, art director and designer. He organizes his production highly economic and delegates all work to his numerous assistants. He has become a global brand and strategically controls all marketing efforts. As an Art Star he stages his image and merges with global luxury brands.
In this tradition of Andy Warhol, Damien Hirst, Jeff Koons and Takashi Murakami are the three most successful business artists of our time are chosen, who represent this type of artist at best within the actual discourse.”
Thomas Steinruck (*1977) is a Graduate of the University of Heidelberg with a degree in History of Art, Musicology and Public Law. After practical experiences in the Marketing Department of an internationally well-known museum and a Gallery for Contemporary Art, he has been working in the Fine Art Insurance sector since 2009. He works and lives in Zurich.
Steinruck, Thomas: Business Artists. Strategische Vermarkter im Kunstbetrieb: Andy Warhol – Damien Hirst – Jeff Koons – Takashi Murakami, Heidelberg: arthistoricum.net, 2018. DOI:10.11588/arthistoricum.230.303
This work is licensed under a Creative Commons License 4.0
(CC BY-SA 4.0) .
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It’s a rare and secret profession, comprising a few dozen people around the world equipped with a mysterious mixture of knowledge and innate sensibility. Summoned to Swiss bank vaults, Fifth Avenue apartments, and Tokyo storerooms, they are entrusted by collectors, dealers, and museums to decide if a coveted picture is real or fake and to determine if it was painted by Leonardo da Vinci or Raphael. Continue reading “Book out now: Philippe Costamagna, The Eye (New Vessel Press 2018)”
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TIAMSA member John Zarobell is author of Art and the Global Economy (UC Press, 2017). This publication analyzes major changes in the global art world that have emerged in the last twenty years including structural shifts in the global art market Continue reading “Book out now: John Zarobell, Art and the Global Economy”
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Studies in the History of Collecting and Art Markets series (HCAM 4)
Author: Sophie Raux
Lotteries, Art Markets, and Visual Culture in the Low Countries, 15th-17th Centuries
Lotteries, Art Markets, and Visual Culture examines lotteries as devices for distributing images and art objects, and constructing their value in the former Low Countries. Alongside the fairs and before specialist auction sales were established, they were an atypical but popular and large-scale form of the art trade. As part of a growing entrepreneurial sensibility based on speculation and a sense of risk, they lay behind many innovations. This study looks at their actors, networks and strategies. It considers the objects at stake, their value, and the forms of visual communication intended to boost an appetite for ownership. Ultimately, it contemplates how the lottery culture impacted notions of Fortune and Vanitas in the visual arts.
- Publication Date: 19 February 2018
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Rother, Lynn: Kunst durch Kredit. Die Berliner Museen und ihre Erwerbungen von der Dresdner Bank 1935
Berlin: De Gruyter 2017
Rezensiert für H-Soz-Kult von: Anja Heuß, Staatsgalerie Stuttgart
Die vorliegende Studie rekonstruiert erstmals umfassend den Verkauf eines großen Konvolutes von Kunstwerken durch die Dresdner Bank an das Land Preußen im August 1935. Es handelte sich dabei um den “größte[n] Kunstdeal während der Zeit des Nationalsozialismus” (S. 1). Für 7,5 Millionen RM wurden 4.401 Objekte vom Land Preußen erworben und an verschiedene Berliner Museen überwiesen. Quantitativ erhielt das Schlossmuseum die meisten Objekte, gefolgt von der Skulpturen-Abteilung, der Nationalgalerie und der Gemäldegalerie. Gemessen an den Ankaufspreisen erhielten jedoch die Gemäldegalerie und das Schlossmuseum die wertvollsten Konvolute. Heute befinden sich immerhin noch mindestens 1.600 Werke im Besitz der Staatlichen Museen zu Berlin; die Verluste gehen einerseits auf Verkäufe noch in der Zeit des Nationalsozialismus, andererseits wohl auf Zerstörungen während des Zweiten Weltkrieges zurück. Die Verkäufe zwischen 1935 und 1945, vor allem die Auktion von fast 800 Objekten über den Münchner Kunsthändler Julius Böhler 1937, werden von der Autorin ausführlich behandelt. Continue reading “Review. NS: L. Rother: Kunst durch Kredit 1935”
DARK SIDE OF THE BOOM
THE EXCESSES OF THE ART MARKET IN THE 21ST CENTURY
by Georgina Adam
TIAMSA Members receive a 20% discount at check out – see the related post in the MEMBERS ONLY area.
- From the author of the bestselling Big Bucks: The Explosion of the Art Market in the 21st Century
- This sequel volume focuses on the negative impact of the contemporary art market’s rapid boom
- A timely investigation into the excesses at the top of the art market in the wake of the Panama Papers revelations
This book lifts the lid on some of the excesses that the 21st-century explosion of the contemporary art market brought in its wake, notably at its very top end. The buying of art as an investment, temptations to forgery, tax evasion, money laundering and pressure to produce more and more art all form part of this story, as do issues over authentication and the impact of the enhanced use of financial instruments on art transactions.
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The Value of Taste
Auction Prices and the Evolution of Taste in Dutch and
Flemish Golden Age Painting (1642–2011)
by Peter Carpreau
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Collectors and Dealers Series (HMCD 3)
approx. 295 p., 82 b/w tables, 220 x 280 mm, 2017
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Retail price: EUR 110,00 excl. tax
Taste is a well known but largely underestimated phenomenon. Yet it is one of the factors that has shaped our knowledge and view of art. Why is Rembrandt van Rijn today considered to be one of the greatest painters in European art while Gerard de Lairesse, Rembrandt’s younger contemporary and one of the best-selling painters of his day, is now forgotten?
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