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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.