Search results

The purpose of this paper is to examine the branding of the Cynical Realist and Political Pop contemporary art movements in China. The trajectory this brand has taken over the past 25 years reveals some of the power discourses that operate within the international visual arts market and how these are constructed, distributed and consumed.

A review of avant-garde art in China and its dissemination is undertaken through analysis of historical data and ethnographic data collected in Beijing, Shanghai and Hong Kong.

The analysis exposes the ideological framework within which the art market operates and how this affects the art that is produced within it. In the case of Cynical Realism and Political Pop, the art was framed and packaged by the art world to reflect Western liberal political thinking in terms of personal expression thereby implicitly justifying Western democratic, capitalist values.

As an exploratory study, findings contribute to macro-marketing research by demonstrating how certain sociopolitical ideas develop and become naturalised through branding discourses in a market system.

A socio-cultural branding approach to the art market provides a macro-perspective in terms of the limitations and barriers for artists in taking their work to market.

While there have been various studies of branding in the art market, this study reveals the power discourses at work in the contemporary visual arts market in terms of the work that is promoted as “hot” by the art world. Branding here is shown to reflect politics by circulating and promoting certain sociocultural and political ideas.

The purpose of this paper is to define and characterise the precise nature of these cultural systems and their resulting impact on the respective art and artists of each territory, by ascertaining the impact on those systems of their respective government and governance.

This paper is based on three approaches to art market modelling. All three are based on political ideologies. The first, which typifies the art markets of Western Europe and the USA, is predicated on a Pluralist and Neo-Liberal ideology. The others correspond to the systems of government in China, Taiwan, South Korea and Japan.

It has been shown in this paper that political systems and their accompanying ideology, born of cultural preferences, have impacted on the art markets of China, Taiwan, South Korea and Japan. It has been demonstrated that all four markets are employing variants of the international norm.

The art that is exported from East Asia will only be accepted by East Asian national markets when East Asian art markets exercise a majority influence on emerging and transitional markets. It is not the intention of this paper to pursue this thought beyond the possibility that it may occur.

The ineluctable conclusion is, therefore, that the global art market is moving towards a bipolar affair.

This paper also suggests the disengagement of East Asian and Chinese “culture” and art from a global (western) norm and production and consumption of national culture in East Asia by East Asians.

The paper looks (for the first time) at the direct (and subliminal) influence of political systems on art markets and the consequential effects of political ideology on the art markets of East Asia and China. The paper arrives at a series of precise definitions for the way that these art markets operate.

This paper aims to summarize the conditions under which participatory art museums and local commercial traditions can have positive and sustained interactions.

The methods include studying the quantity and content of exhibitions in the four cities of the Bay Area, Guangzhou, Shenzhen, Hong Kong and Shunde, to compare their academic positioning and influence on local commercial production. Through interviewing curators, artists and university scholars who are active in the Bay Area and are invited by the museums on a regular basis, it will let us understand the attitudes from the government, public and capital towards the regional art museums and how these attitudes influence the choice of theme in the participatory art museum practice.

To summarize the findings, the author concludes that a participatory art gallery with commercial production in the Bay Area requires the following: a long tradition of local business and wealth accumulation; a local area is of a size where the community of acquaintances can interact on a regular basis; continued interest of a diverse local elite, including a mix of businessmen and gentry, government officials and various sectors of the public; and museums serving as intermediaries to coordinate the effective integration of the commercial and traditional resources.

Participatory approaches and their impacts are a shared area of interest across urban planning, heritage studies and the creative arts. Crucially, solely relying on either the Latin bottom-up community-oriented approach (Barnes, 2003) or the British top-down policy-oriented approach (Heijnen, 2010) did not maximize benefits, though these distinctive two approaches were convinced that museums should play a larger role in becoming agents of contemporary social change. By contrast, in focusing on Chinese Art Museums, this study will explore participatory practice in the Asian context. In doing so, it will not only diversify the emerging literature on the social and economic impacts of arts and heritage organizations but also challenge the Western lens through which participatory approaches are viewed in the interdisciplinary literature. As Lefebvre acknowledged his lack of non-Western regions in his research, this study will offer new perspectives on museology and its contributions to the Production of Space.

The purpose of this paper is to assess the recent emergence of contemporary art in Asia from a macro, sociocultural perspective.

This commentary is based on secondary research and recent visits to contemporary art centres in major cities across Asia.

The author argues that contemporary art in Asia emerges by extension of the Western contemporary art world and suggests that more must be done if Asia is to create a contemporary art world that is both internationally recognised and distinct from its Western precedent.

This commentary debunks the hyperbole surrounding contemporary art in Asia as a regional phenomenon and provides a critical examination of the global (power) dynamics at play.

The purpose of this paper is to identify and analyze the influence that globalization has had on the development of the contemporary Japanese art production. The study also aims to expand the global narrative of Japanese art by introducing concepts behind festivals for revitalization that have been occurring in Japan in recent years.

Guided by Culture Theorist Nira Yuval-Davies’ approach to the politics of belonging, the paper is situated within cultural studies and considers the development of contemporary art in Japan in relation to the power structures present within the global art market. This analysis draws heavily from the research of art historians Reiko Tomii, Adrian Favell, and Gennifer Weisenfeld, and is complemented by investigative research into the life of Art Director Kitagawa Fram, as well as observational analyses formed by on-site study of the Setouchi Triennale in 2015 and 2016.

The paper provides historical insight to the ways that the politics of belonging to the western world has created a limited benchmark for critical discussion about contemporary Japanese art. It suggests that festivals for revitalization in Japan not only are a good source of diversification, but also evidences criticism therein.

Due to the brevity of this text, readers are encouraged to further investigate the source material for more in-depth understanding of the topics.

The paper implies that art historiography should take a multilateral approach to avoid a western hegemony in the field.

This paper fulfills a need to reflect on the limited global reception to Japanese art, while also identifying one movement that art historians and theorists may take into account in the future when considering a Japanese art discourse.

In this chapter, we focus on the three examples of ‘destructive’ art by contemporary artists Ai Weiwei, Michael Landy and Banksy to unpack issues of dematerialisation. By adopting the lens of object-oriented ontology, we reveal the hidden agency of artworks as objects. We find that artworks are charismatic objects that are alive to infinite possibilities and interpretations. As this meaning changes over time, we argue that any attempt at measuring or pinpointing cultural value is bound to fail. Instead, we suggest a need for further consideration of how art can operate as a hypo-object, presenting us with new perspectives on the world.

The first parts of this chapter trace the history of the Chinese national minority Uyghurs, the origins of their ethnic identity and their early art. It then describes the recent government's repression of Uyghurs and their attempts to resist the state oppression and forced assimilation through art.

Wangjing is a large residential cluster located at the intersection of the Fourth Ring Road and the airport expressway in the northeast part of Beijing. The area is a “suburb” according to official statistics and academic accounts, which often classify urban areas beyond the historical old city as suburbs. Due to its proximity to the airport and major expressways, Wangjing has developed quickly since the late 1990s. As more high-rise luxury apartment buildings get built, the area's population has reached 150,000 as of 2010, including more than 30,000 foreign expatriates living here amid Chinese urban professionals. Across the airport expressway from Wangjing is the 798 Factory, a hip arts quarter developed within a former electronics factory built in the 1950s. Looking for large studio space, a few artists moved into the Bauhaus-style workshops here in the late 1990s, and quickly bookstores, coffee shops, and galleries followed suit. By 2005, the 798 Factory had become the center of the contemporary Chinese art scene and home to many prestigious international galleries. Outside the factory compound is a working-class neighborhood developed in the 1950s to house workers at the nearby factories and their families. The living conditions here have not changed much for decades, with some families still sharing common kitchens and bathrooms with their neighbors in dilapidated apartment buildings. To the west side of Wangjing, after about a 15-minute drive along the Fourth Ring Road, one reaches the Olympic Park, a brand-new area of parks, stadiums, five-star hotels, golf courses, and exclusive gated communities of villas – all developed in the short period before the 2008 Beijing Olympics. Beyond the Fifth Ring Road, one can see many “urban villages,” former agricultural villages that have become populated by migrant workers with low-paid jobs – taxi drivers, construction workers, waiters, nannies, security guards, and street vendors. Unable to afford to live in the central city, migrant workers rent rooms from local peasants at the city's edge. Many of these villages are to be demolished soon to make space for commercial property development, and the migrant worker tenants will have to move to another village farther away from the city.

The role of art in a portfolio of investments is examined using Sotheby's art index as & proxy for returns on art investments. Historical data for portfolios of artwork and other financial securities over the period 1981 to 1990 are used to construct the optimal mean‐variance portfolio. The art investment receives over 36% of this portfolio. This large percentage can be traced in part to the low correlation of art returns to the returns of other financial securities. Clearly investments in art deserve the serious consideration of mean‐variance investors

The purpose of this paper is threefold. First, it reviews the background to, and development of the special issue call for papers on the topic of “Visual arts marketing in East Asia”; second, it introduces the four papers and commentary in the issue; and third, it considers some of the key areas with a rich potential for future directions of research.

The papers in this special issue comprise of both qualitative (e.g. interviews, observation, case studies) and quantitative (surveys) as well as conceptual issues for policy and artists. Moreover, the articles are interdisciplinary, drawing from art history, cultural studies, philosophy and international relations as well as marketing.

Findings and insights relate to topics such as the structure of the visual arts markets of East Asia, political influences on these arts markets, alternative spaces such as art festivals, ambiance and audience experience in museums and new media initiatives.

The authors believe that all of the papers have implications for future thinking, research, scholarship and practice in the area of arts marketing, particularly for scholars, cultural institutions and artists working in Asia.

As far as the editors are aware, this is the first ever journal special issue on arts marketing in East Asia. In particular, the authors offer some new ideas in thinking about visual arts marketing in Asia as part of this editorial essay, particularly in considering the difficulties for both artists, arts organisations and academics in creating from the “periphery”.