Drawing on both qualitative and quantitative data, this article explores the extent to which Western art markets are globalized by focusing on the nationality of contemporary artists represented by art galleries in Amsterdam and Berlin. Far from the borderless world presupposed in the globalization literature as well as by art dealers themselves, galleries in both countries show a strong home bias, whilst American artists dominate in Amsterdam and Berlin galleries. The article explains this home bias by focusing on widely diffused organizational practices, business conventions and role models within market settings, which are the outcome of cultural globalization, but also pose barriers to art dealers' global aspirations.

Globalization of markets for contemporary art: why local ties remain dominant in Amsterdam and Berlin

http://jah.oxfordjournals.org/content/93/3/960.full.pdf

Roots Too: White Ethnic Revival in Post—Civil Rights America

https://link.springer.com/content/pdf/10.1057/palgrave.lst.8600068.pdf

“¡Mi Raza Primero!” (My People First!): Nationalism, Identity, and Insurgency in the Chicano Movement in Los Angeles, 1966–1978

The paper studies how local contexts contribute to the emergence of markets. In particular, it explains how potential entrepreneurs are motivated to become active in establishing new markets. Empirically, the focus is on contemporary art markets in two emerging countries: India and Russia. The paper draws upon qualitative interviews with 65 contemporary art dealers conducted in New Delhi, Mumbai, Moscow and Saint Petersburg. We show how different socio-cultural contexts function as activation mechanisms: in India, family backgrounds predominantly structure the decision-making processes, among others through the economic, social and cultural capital which these families provide. In Russia, by contrast, such family background is non-existent. Instead, the socio-economic turmoil of 1990s and 2000s as well as the strong involvement of the state function as activation mechanisms. We suggest that these different activation mechanisms contribute to explaining the diverging market performance in both coun...

https://www.tandfonline.com/doi/pdf/10.1080/10253866.2017.1284065

Local contexts as activation mechanisms of market development: contemporary art in emerging markets

Rural areas in Japan are usually associated with depopulation, aging and stagnation. In order to tackle the widening gap between booming urban and distressed rural areas in Japan, novel revitalisation policies need to be examined. Contemporary art has untested potential as a vehicle for regional revitalization. To illustrate this potential, the Echigo-Tsumari Art Triennial has been chosen as a case study since it constitutes a new type of revitalization with its emphasis on human exchange and interaction of heterogeneous players in a rural setting. Three Triennial projects will be introduced; in each of them, the extent of artists’ involvement on site with residents, local perceptions of the artwork as well as non-local impressions will be analyzed. Discussing both emic and etic perspectives, the focus of this study is the ‘soft’ impact of the festival, i.e. how locals have perceived encounters during the Triennial, how cooperation between artists and locals took place, whether the project gave r...

Contemporary art and regional revitalisation: selected artworks in the Echigo-Tsumari Art Triennial 2000–6

Charlotte Bydler, The Global Art World Inc : On the Globalization of Contemporary Art, Acta Universitatis Upsaliensis, Figura Nova Series 32, Uppsala 2004, 346 s

Frida Kahlo's Abortions : With Reflections from a Gender Perspective on Sexual Education in Mexico

This article departs from the huge art-curating project Pacific Standard Time: Art in L.A., 1945­–1980, a Getty funded initiative running in Southern California from October 2011 to April 2012 with ...

/pdf/the-pst-project-willie-herron-s-street-mural-asco-east-of-no-49ljbn0lq8.pdf

The PST Project, Willie Herrón’s Street Mural Asco East of No West (2011) and the Mural Remix Tour: Power Relations on the Los Angeles Art Scene

Från redaktionen

This article investigates contemporary visual art in the USA by Chicanas/os in which the U.S.-Mexico border is the common denominator. The aims of the investigation are: (1) how references to the border are expressed in different ways, (2) how different kinds of references to the border imply expressions that transcend conceptions of the U.S.-Mexico border as a dividing barrier, and (3) how various conceptualizations of the border bring forth understandings of a binational/transcultural heritage that reach across the border and into its both sides. By applying a combination of content analysis, visual semiotics, and social semiotics and drawing from border history and the concept borderlands, a found selection of 30 artworks in different materials and techniques is organized into five thematic clusters. These clusters of visual themes and conceptualizations of the border reveal that: (1) a continuity with the past is created through polyvalent visual signs and symbols that adjust themselves to the theme of any composition and (2) temporal and spatial links between colonial pasts, U.S.-Mexico border history, and present conditions in the borderlands bring forth visual expressions of a binational/transcultural heritage that transcend and challenge the U.S.-Mexico border as a national barrier of cultural heritage.

Eva Zetterman

Papers

Charlotte Bydler, The Global Art World Inc : On the Globalization of Contemporary Art, Acta Universitatis Upsaliensis, Figura Nova Series 32, Uppsala 2004, 346 s

Frida Kahlo's Abortions : With Reflections from a Gender Perspective on Sexual Education in Mexico

The PST Project, Willie Herrón’s Street Mural Asco East of No West (2011) and the Mural Remix Tour: Power Relations on the Los Angeles Art Scene

Från redaktionen

The U.S.-Mexico Border in Visual Art by Chicanas/os: Transcending National Barriers of Cultural Heritage