This study of the ways in which Flemish painting between 1550 and 1650 reflected the burgeoning capitalism of Antwerp, focuses not only on the market-scene paintings, but also on the interaction between painters and markets as it was influenced by merchants, governments and consumers.

Many mistakenly believe an artist can succeed with artistic talent alone. But Eric Rhoads knows that there are many brilliant artists who will never be discovered and never sell any artwork. Eric Rhoads is an outdoor (plein air) landscape painter, a portrait artist, and the world's foremost art marketing expert, having guided thousands of artists to success. He has founded numerous companies, and marketed both products and art. Eric is publisher and founder of several influential and nationally distributed art magazines and newsletters, as well as popular conferences and events.Many of today's most brilliant artists remain unknown. Their plight is not new. Today, Vincent Van Gogh's works are in incredibly high demand; in fact, his portrait of Doctor Gachet recently sold for $82.5 million. But in his lifetime Van Gogh sold only two of his 2,000 works of art. Van Gogh truly was a starving artist.Ending the stereotype of the starving artist is this book's essential purpose. It is Eric Rhoads' mission that artists no longer suffer this fate. This book will unleash your inner marketer. Under Eric's guidance, you will learn timeless marketing techniques that will allow you to live your dreams, no matter how lofty and unobtainable you think they may be.

This is the first sourcebook to trace the emergence and evolution of art markets in the Western economy, framing them within the larger narrative of the ascendancy of capitalist markets. Selected writings from across academic disciplines present compelling evidence of art's inherent commercial dimension and show how artists, dealers, and collectors have interacted over time, from the city-states of Quattrocento Italy to the high-stakes markets of postmillennial New York and Beijing. This approach casts a startling new light on the traditional concerns of art history and aesthetics, revealing much that is provocative, profound, and occasionally even comic. This volume's unique historical perspective makes it appropriate for use in college courses and postgraduate and professional programs, as well as for professionals working in art-related environments such as museums, galleries, and auction houses. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 2017. This is the first sourcebook to trace the emergence and evolution of art markets in the Western economy, framing them within the larger narrative of the ascendancy of capitalist markets. Selected writings from across academic disciplines present compellin

"The Contractor Fight" is what HGTV host and best-selling author Tom Reber calls the battle between your ears. We all have stories and experiences that have formed us into who we are. We are what we think, and the battleground is our mind. The Fight is not with the people you think are "cheap customers." It's not with the unlicensed competitors or the "illegals," as many contractors think. The Fight is with yourself. Sadly, most of the struggles contractors have are self-imposed. It's friendly fire. The negative ways we think about ourselves and our worth... friendly fire. The growing debt, working too much, small bank account... friendly fire. Winning the Fight is a choice. You're noble and full of integrity. You bend over backward to serve your family and clients. You have taken it on the chin more times than you can count. Now, it's time to get yours. Earn what you're worth. Create a business that serves you and energizes you, instead of one that beats you down. Choose to own your crap and get better today.

The meteoric rise of the largest unregulated financial market in the world-for contemporary art-is driven by a few passionate, guileful, and very hard-nosed dealers. They can make and break careers and fortunes. The contemporary art market is an international juggernaut, throwing off multimillion-dollar deals as wealthy buyers move from fair to fair, auction to auction, party to glittering party. But none of it would happen without the dealers-the tastemakers who back emerging artists and steer them to success, often to see them picked off by a rival. Dealers operate within a private world of handshake agreements, negotiating for the highest commissions. Michael Shnayerson, a longtime contributing editor to Vanity Fair, writes the first ever definitive history of their activities. He has spoken to all of today's so-called mega dealers-Larry Gagosian, David Zwirner, Arne and Marc Glimcher, and Iwan Wirth-along with dozens of other dealers-from Irving Blum to Gavin Brown-who worked with the greatest artists of their times: Jackson Pollock, Andy Warhol, Cy Twombly, and more. This kaleidoscopic history begins in the mid-1940s in genteel poverty with a scattering of galleries in midtown Manhattan, takes us through the ramshackle 1950s studios of Coenties Slip, the hipster locations in SoHo and Chelsea, London's Bond Street, and across the terraces of Art Basel until today. Now, dealers and auctioneers are seeking the first billion-dollar painting. It hasn't happened yet, but they are confident they can push the price there soon.

Learn how to repair, refinish and clean up flea market finds, and to then transform them by adding beautiful handpainted designs and chic finishes.

Much evidence suggests that a fundamental reordering of artistic production and a transformation of the art field are about to take place. Heated debates have been sparked over new forms of work, public subsidies, and the expanding impact of the creative industries. Independent education programs, self-organized urban planning, artistic practices in the outer field of scientific research, and similar initiatives have unfolded over the last few years. This publication addresses this wide field, focusing on theoretical reflections and exemplary insights into alternative artistic working models. The anthology assembles expert studies and artist interviews, in order to reflect on new forms of practices that have been established beyond the exhibition-gallery nexus and hegemonic market activity. These strategies in particular are investigated concerning their self-images, organizational structures, networks, and economies, and the potential for usurpation.