art market

Collecting Contemporary Art

Author(s)  
Lindemann, Adam
Publisher  
Cologne: Taschen
2006

Adam Lindemann’s second foray into authorship, and driven by his experience and passion for collecting, Collecting Contemporary Art seeks to provide the reader with a comprehensive look into every nook and cranny of the contemporary art market; from explaining the “ABC’s” of buying art in primary and secondary markets, auctions, and art fairs, as well as providing an overview of the world art scene and its social circles. Aside from its general introduction into all aspects of the contemporary art market, the book’s main body is comprised by a series of interviews made with individuals that Lindemann has singled out as the biggest players in the global art market. Each of the 40 interviews can be found within one of seven categories Lindemann has devised based on the role of the interviewee: The Artist (p 22), The Art Critic (p 24-26), The Art Dealer (p 30-118), The Art Consultant (p 122-148), The collector (p 152-212), The Auction House Expert (p 218-232) and The Museum Professional: Directors and Curators (p 238-266). Rounding up the book is a section called “More Useful Information”, meant to address the several dilemmas that will be faced by the reader in his role of “new collector”. The last section covers essential and practical information, such as explaining the difference between an art gallery, the auction house and the art fair; a calendar detailing the art world’s most important annual events, a glossary of terms, and a list of essential magazines and websites.

Magdalena Aleman

Creative Enterprise: Contemporary Art Between Museum and Marketplace

Author(s)  
Buskirk, Martha
Publisher  
The Continuum Int. Publishing Group, NY
2012

Buskirk examines the globalised contemporary art world of the twenty-first century and describes it as a veritable arts industry. The role of the artist and the curator has become professionalised, she suggests. Art production is challenged by its own ‘corrosive success,’ and it is difficult she explains, to distinguish the marketing and promotion, which can establish artists as brands, from the genuinely radical or subversive practices. Despite its commercial success, Buskirk identifies the contradiction when art still claims to be exceptional. Closely scrutinising art institutions reveals their expanded role as entertainer and spectacle-maker that complicates its dedication to education. She describes the generative practice of these institutions as ‘museum production’ as they increasingly encourage artists to create art within the walls of the museum. This may be achieved by a variety of practices; producing exhibitions, re-imagining collection displays, or producing a commissioned artwork for display. Using numerous examples of artworks, installations, exhibitions and spectacles, Buskirk illuminates the blurring lines between established art roles and practices. She not only explores trends of contemporary curating, collecting, and creative practices, but also offers a critical perspective and places it within historical context.

Shelby Lakins

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