Introduction : measuring the economy of the arts -- Museums in flux -- The exhibitionary complex -- Art and the global marketplace -- Conclusion : non-profits and artist collectives as market alternatives

Our interactive world can take a creative product, such as a Hollywood film, Bollywood song, or Latin American telenovela, and transform it into a source of cultural anxiety. What does this artwork say about the artist or the world she works in? How will these artworks evolve in the global market? Film, music, television, and the performing arts enter the same networks of exchange as other industries, and the anxiety they produce informs a fascinating area of study for art, culture, and global politics. Focusing on the confrontation between global politics and symbolic creative expression, J. P. Singh shows how, by integrating themselves into international markets, entertainment industries give rise to far-reaching cultural anxieties and politics. With examples from Hollywood, Bollywood, French grand opera, Latin American television, West African music, postcolonial literature, and even the Thai sex trade, Singh cites not only the attempt to address cultural discomfort but also the effort to deny entertainment acts as cultural. He connects creative expression to clashes between national identities, and he details the effect of cultural policies, such as institutional patronage and economic incentives, on the making and incorporation of art into the global market. Ultimately, Singh shows how these issues affect the debates on cultural trade being waged by the World Trade Organization, UNESCO, and the developing world.

The book examines the contemporary art system with a broad and systematic approach, through the application of models of microeconomics and industrial organizations. By breaking down the traditional barriers between different academic disciplines such as art and economics, this book offers a unique opportunity to grasp the complexities of the contemporary art world and provides the tools to conduct a structural analysis of that market. The result is an in-depth analysis of the contemporary art market from an interdisciplinary perspective. While it is not a textbook in the strictest sense, the book offers a concise and effective overview of all actors in the art system, and provides supporting data and valuable information, both conceptual and practical. It is therefore a text that can be used by students wishing to better understand the complex dynamics that govern the contemporary art market, but also by cultural managers, collectors, potential art investors or simply art lovers who need a quick reference.​

In a series of newly commissioned essays by both established and emerging scholars, Globalization and Contemporary Art probes the effects of internationalist culture and politics on art across a variety of media. Globalization and Contemporary Art is the first anthology to consider the role and impact of art and artist in an increasingly borderless world. First major anthology of essays concerned with the impact of globalization on contemporary art Extensive bibliography and a full index designed to enable the reader to broaden knowledge of art and its relationship to globalization Unique analysis of the contemporary art market and its operation in a globalized economy

It's the Political Economy, Stupid brings together internationally acclaimed artists and thinkers, including Slavoj Žižek, David Graeber, Judith Butler and Brian Holmes, to focus on the current economic crisis in a sustained and critical manner. Following a unique format, images and text are integrated in a visually stunning bespoke production by activist designer Noel Douglas. What emerges is a powerful critique of the current capitalist crisis through an analytical and theoretical response and an aesthetic-cultural rejoinder. By combining artistic responses with the analysis of leading radical theorists, the book expands the boundaries of critique beyond the usual discourse. It's the Political Economy, Stupid argues that it is time to push back against the dictates of the capitalist logic and, by use of both theoretical and artistic means, launch a rescue of the very notion of the social.

From the Weimar Republic, to the United States, to the Soviet Union: Between 1919 and 1939, the visual arts of these three great powers suddenly developed along similar lines.In its exhibition Constructing the World, the Kunsthalle Mannheim presents the diverse facets of critical realism and New Objectivity for the first time in an international comparison. In it, both the artistic traces and the temporary stabilization between the World Wars are made perceptible as well as the renewed chaos that was triggered by the global economic crisis in 1929.The richly illustrated, scholarly exhibition catalogue documents this fascinating time and visualizes the explosive influence of the economy on the art of this era.Accompanies the exhibition Constructing the World: Art and Economy, 12 Oct 2018 - 3 Feb 2019, Kunsthalle Mannheim, Germany.

Mapping the new geography of the visual arts, from the explosion of biennials to the emerging art markets in Asia and the Middle East. The geography of the visual arts changed with the end of the Cold War. Contemporary art was no longer defined, exhibited, interpreted, and acquired according to a blueprint drawn up in New York, London, Paris, or Berlin. The art world distributed itself into art worlds. With the emergence of new art scenes in Asia and the Middle East and the explosion of biennials, the visual arts have become globalized as surely as the world economy has. This book offers a new map of contemporary art's new worlds. The Global Contemporary and the Rise of New Art Worlds documents the globalization of the visual arts and the rise of the contemporary over the last twenty years. Lavishly illustrated, with color throughout, it tracks developments ranging from exhibition histories and the rise of new art spaces to art's branding in such emerging markets as Hong Kong and the Gulf States. Essays treat such subjects as curating after the global turn; art and the migration of pictures; the end of the canon; and new strategies of representation.