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In the 1970s, Richard Lowenberg embarked upon the first in a series of experimental artworks that were conceptualized as part of a lifelong body of works addressing aspects of our information environment as ecosystem. Creative works during this period were influenced by information theory and cybernetics, the electromagnetic spectrum, the nature of signal, feedback, sensing-communicating, language and emerging media technologies. Artistic milestones included video-audio synthesis, NASA arts collaborations, interactions with Koko the gorilla, creation of sequences for the Secret Life of Plants film and EEG-EMGEKG biotelemetric performances ("Bio-Dis-Plays"). Real life offered a number of unexpected opportunities and distractions that enriched this work and helped set a course for development and realization of subsequent projects along an intended ecocultural path. [ABSTRACT FROM AUTHOR]

"Albeit democratic, their coat of arms has pride of place". Thus Romualdo Nogués defined, in 1890, Spanish collectors of bourgeois origin who had joined the ranks of the aristocracy. A few years later, in 1924, the Duke of Alba's maiden speech at the Academia de Bellas Artes de San Fernando justified his personal artistic worthiness on the basis of his ancestors' collecting activities and the artworks they had amassed. These two examples set the scene for the research questions studied in this monographic issue. The present introduction offers a bird's eye view of the phenomenon and continues with a few remarks about the House of Osuna which, as is well known, occupied a pivotal position in Spanish nobility during the whole of the second half of the nineteenth century. [ABSTRACT FROM AUTHOR]

The article focuses on Holocaust Expropriated Art Recovery Act of 2016 which purports to extend the statute of limitations for actions to recover a large group of items, principally art, stolen during the Holocaust. It mentions functions of statutes of limitations, adverse possession, and prescription and impact on the resolution of Holocaust art disputes. It also mentions major collector is more likely to keep records than someone who has only a few artworks.

An intrinsic characteristic of cultural goods is the unpredictability of their economic success. Arts goods in particular share characteristics with credence, inspection, and experience goods. Accordingly, art collectors rely on the experience and the reputation of art galleries when investing in artwork. Some qualitative sociological studies have found that only a few very successful galleries represent the bulk of the most visible and most successful artists (e.g., Crane in The transformation of the avant-garde: the New York art world, 1940-1985. The University of Chicago Press, Chicago, ; Currid in The Warhol economy: How fashion, art and music drive New York City. Princeton University Press, Princeton, ). This paper investigates the success of art galleries in a dynamic model, which elaborates different statistical processes that allow us to analyze the development of different types of success distributions in the market for art galleries. Instead of applying standard economic analysis only, we employ methods from statistical physics to construct a model of gallery investment and competition. Our model entails information, competition, and innovation effects. Subsequently, art market data are used to test which version of the model fits best. We find that the lognormal distribution provides the best fit and conclude that the data generating process is compatible with the version of the model, which entails an inhomogeneous geometric Brownian motion. Hence, the success of art galleries depends strongly on information and innovation effects, but is hardly affected by competition effects. We argue that the superstar effect in the case of art galleries can be understood as an appropriation of search and entrance costs, which emerge whenever consumption requires special knowledge and social inclusion. [ABSTRACT FROM AUTHOR]

The article offers information on artist Anne Sassoon who painted sets at the Alexander Theatre in Braamfontein. Topics include examines that her artwork series of four works in the Constitutional Court Art Collection, Ishmael and Isaac, was made in Jerusalem in 2001 and shown that year at Gallery Westland Place, London.

Postmodernism has permeated modern Nigerian and because it is a violation of the norms of modernism, critics and art commentators have expressed their worries over the negative impacts, as a result of its various paradigms - techno art, conceptual art, installation art, video art and performance art. In their own opinions, it is empty, ephemeral, highfalutin and redundant and will affect the commercial value of artwork created in this genre or category. They also raised the issue of identity, provenance, creative colonization, as well as the relevance of its historic and anthropological legacies. Based on this, they are considering the future of art and artists creating postmodernist artwork. For intervention, the study examines postmodernist art in the Nsukka School and demonstrates its positive impacts and contributions to art development in Nigeria. Data for the study were collected from extant literatures and internet sources. The data were historically analyzed using technical and stylistic methods. The study found that postmodernist artwork not only exposes practicing artists to the global art spaces through art exhibitions but also enriches them through sales by some notable auction houses. Again, the works are acquired by some notable galleries and art collectors and have attracted significant attention in the media, the simple reasons this article argues are more than enough to show that postmodernism has impacted positively, therefore, lays to rest the politics of postmodernism, substantially. [ABSTRACT FROM AUTHOR]

The purpose of the article is to research and analyse the development of marketing technologies in the fine art market from the ancient times to the beginning of the 21st century. The research methodology consists in the application of comparative, empirical, and theoretical methods. This methodological approach allows analysis of the formation process and the history of the development of fine art marketing, conducting a research of marketing processes during the promotion of works of art on the art market at different periods of human history. The scientific novelty consists in expanding ideas about the fine art market. The article explores for the first time marketing processes on the art market from the ancient times to the beginning of the 21st century. The article analyses for the first time the problems that were formed and overcome during the history of the emergence and development of marketing in the field of culture and art. Besides, for the first time, the theoretical foundations of fine art marketing and the ways of their practical implementation are analysed. Conclusions. The conducted analysis allowed us to determine that even before the emergence of the modern art market as an element of the general capitalist market, the movement of works of fine art already thousands of years ago, in the ancient times contained elements of marketing approaches and technologies. This movement was caused by the processes of sale and purchasing, exchanging, and collecting works of art. In particular, we are talking about the precursors of marketing approaches and technologies aimed at a kind of satisfaction of the demand for works of fine art in society; organisation of classification and collection of works of fine art; examination of their quality and originality; determining the methods of works of art promotion in society. All these methods were already available at that time. In general, we can talk about the existence before the emergence of the modern art market of works of fine art, the so-called «wild market», which in a certain way "regulated" the processes of the movement of works of art in society. [ABSTRACT FROM AUTHOR]

What makes art valuable? Why in times of crisis do people buy contemporary art? This Paper discusses whether or not investment in art can ever be seen as rational, and explores how the contemporary art market is expanding to include not just works of art, but art as a form of cultural practice. Audiences are no longer content simply to visit museums, galleries, and other cultural institutions. They want to participate, but why are art fairs, biennials, and museum events so popular? The contemporary art market has always been segmented, and reputation and display have been important motivators for rich collectors and for those who set the prices and assign value. However, the vast majority of participants in the expanded market for art are not purchasers and their relation to value is rather different. [ABSTRACT FROM AUTHOR]

While previous researchers have attempted to explain the uncertain quality of visual arts with reference to branding theory, they have overlooked the role of art fairs. Socio-cultural approaches to branding allow us to explore the function of intermediaries in valuing contemporary arts. This article aims to analyze the role of art fairs in the process of branding young and emerging artists. In particular, a prestigious art fair, Frieze London, serves as an instrumental case study for developing a systematic understanding of art fairs in terms of valuing and branding contemporary art. [ABSTRACT FROM AUTHOR]

Examines the art market in Hamburg, Germany and its influences on Northern and Central Europe. Importance of art auctions as a form of art supply for collectors; Pattern of collecting in Hamburg; Role of imports of paintings and local art production in market growth.