This book examines the art markets of the Global South while questioning, based on the heterogeneity of the selected contributions, the very idea of its existence in the context of the global art market. Gathering new research by recognized scholars, you will discover different markets from the so-called Global South, their structure, the external determinants affecting their behavior, their role in the art system’s development, and how they articulate with other agents at the local, regional, and international level. In this publication, an important wealth of research on various African countries stands out, providing an unprecedented overview of the markets in that region. This volume originates from the TIAMSA conference The Art Market and the Global South: New Perspectives and Plural Approaches, held in Lisbon in 2019.

How global contemporary art reanimates the past as a resource for the present, combating modern art's legacy of Eurocentrism. If European modernism was premised on the new—on surpassing the past, often by assigning it to the “traditional” societies of the Global South—global contemporary art reanimates the past as a resource for the present. In this account of what globalization means for contemporary art, David Joselit argues that the creative use of tradition by artists from around the world serves as a means of combatting modern art's legacy of Eurocentrism. Modernism claimed to live in the future and relegated the rest of the world to the past. Global contemporary art shatters this myth by reactivating various forms of heritage—from literati ink painting in China to Aboriginal painting in Australia—in order to propose new and different futures. Joselit analyzes not only how heritage becomes contemporary through the practice of individual artists but also how a cultural infrastructure of museums, biennials, and art fairs worldwide has emerged as a means of generating economic value, attracting capital and tourist dollars. Joselit traces three distinct forms of modernism that developed outside the West, in opposition to Euro-American modernism: postcolonial, socialist realism, and the underground. He argues that these modern genealogies are synchronized with one another and with Western modernism to produce global contemporary art. Joselit discusses curation and what he terms “the curatorial episteme,” which, through its acts of framing or curating, can become a means of recalibrating hierarchies of knowledge—and can contribute to the dual projects of decolonization and deimperialization.

This book brings together from four years of study on Nigerian contemporary art's internationalization. The monograph integrates voices of African (Nigerian) artists and art market players into the growing discourse on the emerging art markets in the global South. It explores the logic of competition and dynamics of power relations in the global markets, focusing on the internationalization of contemporary art forms from peripheral regions. The book confirms that the internationalization of contemporary art form from Nigeria is limited due to systematic marginalization in the artistic field, which in this case based on postcolonialism, and debilitating socio-economic factors such as outmoded art education, unstructured support system and weak mechanism for local validation, and an inefficient political framework for art governance. It will therefore be useful to students and researchers in the sociology of art, art market studies, art history and culture polity.

The 'Global South' has largely supplanted the 'Third World' in discussions of development studies, postcolonial studies, world literature and comparative literature respectively. The concept registers a new set of relationships between nations of the once colonized world as their connections to nations of the North diminish in significance. Such relationships register particularly clearly in contemporary cultural theory and literary production. The Global South and Literature explores the historical, cultural and literary applications of the term for twenty-first-century flows of transnational cultural influence, tracing their manifestations across the Global Southern traditions of Africa, Asia and Latin America. This collection of interdisciplinary contributions examines the origins, development and applications of this emergent term, employed at the nexus of the critical social sciences and developments in literary humanities and cultural studies. This book will be a key resource for students, graduates and researchers working in the field of postcolonial studies and world literature.

Since the late 1990s, contemporary art markets have emerged rapidly outside of Europe and the United States. China is now the world's second largest art market. In counties as diverse as Brazil, Turkey and India, modern and contemporary art has been recognized as a source of status, or a potential investment tool among the new middle classes. At art auctions in the US, London and Hong Kong, new buyers from emerging economies have driven up prices to record levels. The result of these changes has been an increase in complexity, interconnectedness, stratification and differentiation of contemporary art markets. Our understanding of them is still in its early stages and empirical research in the field of globalization of high arts is still scarce. This book brings together recent, multidisciplinary, cutting edge research on the globalization of art markets. Focusing on different regions, including China, Russia, India and Japan, as well as different institutions and organizations, the chapters in this volume study the extent to which art markets indeed become global. They show the various barriers to, and the effects of, globalization on the art market's organizational dynamics and the everyday narratives of people working within the art industry. In doing so, they recognize the coexistence of various ecologies of contemporary art exchange, and sketch the presence of resilient local networks of actors and organizations. Some chapters show Europe and the US continue to dominate, especially when taking art market rankings and the most powerful events such as Art Basel into account. However, other chapters argue that things such as art fairs are truly global events and that the 'architecture of the art market' which has originally been developed in Europe and the US from the 19th century onwards, is increasingly adopted across the world.

The art market is worth billions globally, despite the effects of the Covid-19 health pandemic. This book brings together a strong cast of contributors to explore contemporary and historical themes. Readers of the book will gain awareness of how historical foundations of arts markets continue to impact on contemporary global developments, while transformational digital technology shakes up the art world. With new insights into emerging arts markets, the book also covers themes and phenomena such as NFTs, secrecy, platforms, and financialization in the arts. The result is a book that will prove valuable reading for scholars involved in art markets studies.

This book presents the first detailed study of the place of contemporary art galleries and gallerists, especially within the art markets of Europe and the United States. Based on the author's field research carried out for over a decade, and combining ethnographic material with quantitative data, the book reveals the major role galleries play in the creation of art value. Despite being pillars of the art market, there has been very little in-depth research on galleries, especially when compared with the analysis of artists, critics, and dealers. Written by a sociologist who has spent a decade as an art critic, the book builds on work conducted by art historian and sociologist Raymonde Moulin from the 1960s to the 1990s. Drawing on ethnographic observations and interviews with those working in the field today, it provides a thorough and up-to-date analysis of what contemporary art galleries really are: the spaces they occupy both physically and online; their position within gallery 'districts'; their relation to art fairs and biennials; and how friendship with clients is built and trends within the business, in turn illuminating the hierarchized structure of the sector. The book concludes by addressing a significant gap in data on the art market by providing a sociological ranking of international contemporary art galleries. Offering a detailed analysis to a topic that has never been fully studied, The Social World of Galleries is essential reading for scholars and students of art sociology, art history and art business, as well as gallerists, collectors or art lovers, and artists themselves.

Art and the Global Economy analyzes major changes in the global art world that have emerged in the last twenty years including structural shifts in the global art market; the proliferation of international art fairs, biennials and blockbuster exhibitions; and the internationalization of the scope of contemporary art. John Zarobell explores the economic and social transformations in the cultural sphere, the results of greater access to information about art, exhibitions, and markets around the world, as well as the increasing interpenetration of formerly distinct geographical domains. By considering a variety of locations—both long-standing art capitals and up-and-coming centers of the future—Art and the Global Economy facilitates a deeper understanding of how globalization affects the domain of the visual arts in the twenty-first century. With contributions by Lucia Cantero, Mariana David, Valentin Diaconov, Kai Lossgott, Grace Murray, Chhoti Rao, Emma Rogers and Michelle Wong.

Since the late 1990s, contemporary art markets have emerged rapidly outside of Europe and the United States. China is r s1the world's second largest art market. In counties as diverse as Brazil, Turkey and India, modern and contemporary art has been recognized as a source of status, or a potential investment tool among the new middle classes. At art auctions in the US, London and Hong Kong, new buyers from emerging economies have driven up prices to record levels. The result of these changes has been an increase in complexity, interconnectedness, stratification and differentiation of contemporary art markets. Our understanding of them is still in its early stages and empirical research in the field of globalization of high arts is still scarce. This book brings together recent, multidisciplinary, cutting edge research on the globalization of art markets. Focusing on different regions, including China, Russia, India and Japan, as well as different institutions and organizations, the chapters in this volume study the extent to which art markets indeed become global. They show the various barriers to, and the effects of, globalization on the art market's organizational dynamics and the everyday narratives of people working within the art industry. In doing so, they recognize the coexistence of various ecologies of contemporary art exchange, and sketch the presence of resilient local networks of actors and organizations. Some chapters show Europe and the US continue to dominate, especially when taking art market rankings and the most powerful events such as Art Basel into account. However, other chapters argue that things such as art fairs are truly global events and that the 'architecture of the art market' which has originally been developed in Europe and the US from the 19th century onwards, is increasingly adopted across the world.

This collection offers a response to the view that migration disrupts national heritage. Investigating the mediation provided by migrant art, it asks how we can rethink art history in a way that uproots its reliance on space and place as stable definitions of style. Beginning with an invaluable overview of migration studies terminology and concepts, Art and migration opens dialogues between academics of art history and migrations studies through a series of essays and interviews. It also re-evaluates the cultural understanding of borders and revisits the contours of the art world – a supposedly globalised community re-assessed here as structurally bordered by art market dynamics, career constraints, gatekeeping and patronage networks.