eBook downloads, eBook resources & eBook authors
Presents a look at the economics and psychology of the contemporary art market and examines the dominant role of a few auction houses and high-end galleries in setting its prices.
Acquiring contemporary art is about passion and lust, but it is also about branding, about the back story that comes with the art, about the relationship of money and status, and, sometimes, about celebrity. The Supermodel and the Brillo Box follows Don Thompson's 2008 bestseller The $12 Million Stuffed Shark and offers a further journey of discovery into what the Crash of 2008 did to the art market and the changing methods that the major auction houses and dealerships have implemented since then. It describes what happened to that market after the economic implosion following the collapse of Lehman Brothers and offers insights and art-world tales from dealers, auction houses, and former executives of each, from New York and London to Abu Dhabi and Beijing. It begins with the story of a wax, trophy-style, nude upper-body sculpture of supermodel Stephanie Seymour by Italian artist Maurizio Cattelan, which sold for $2.4 million to New York über-collector and private dealer Jose Mugrabi, and recounts the story of a wooden Brillo box that sold for $722,500. The Supermodel and the Brillo Box looks at the increasing dominance of Christie's, Sotheby's, and a few über dealers; the hundreds of millions of new museums coming up in cities like Dubai, Abu Dhabi, and Beijing; the growing importance of the digital art world; and the shrinking role of the mainstream gallery.
Since 2010 “curation” has become a marketing buzzword. Wrenched from its traditional home in the world of high art, everything from food to bed linens to dog toys now finds itself subject to this formerly rarified activity. Most of the time the term curation is being inaccurately used to refer to the democratization of choice – an inevitable development and side effect of the economics of long tail distribution. However, as any true curator will tell you – curation is so much more than choosing – it relies upon human intelligence, agency, evaluation and carefully considered criteria – an accurate, if utopian definition of the much-abused and overused term. Television on Demand examines what happens when curation becomes the primary way in which media users or viewers engage with mass media such as journalism, music, cinema, and, most specifically, television. Mass media's economic model is based on mass audiences – not a cornucopia of endless options from which individuals can customize their intake. The rise of a curatorial culture where viewers create their own entertainment packages and select from a buffet of viewing options and venues has caused a seismic shift for the post-network television industry – one whose ultimate effects and outcomes remain unknown. Curatorial culture is a revolutionary new consumption ecology – one that the post-network television producers and distributors have not yet figured out how to monetize, as they remain in what anthropologists call a “liminal” state of a rite of passage – no longer what they used to be, but not yet what they will become. How does an advertiser-supported medium find leave alone quantify viewers who DVR This is Us but fast-forward through the commercials; have a season pass to The Walking Dead via iTunes to watch on their daily commutes; are a season behind on Grey's Anatomy via Amazon Prime but record the current season to watch after they're caught up; binge watched Orange is the New Black the day it dropped on Netflix; are watching new-to-them episodes of Downton Abbey on pbs.org; never miss PewDiePie's latest video on YouTube, graze on Law & Order: SVU on Hulu and/or TNT and religiously watch Jimmy Fallon on The Tonight Show via digital rabbit ears? While audiences clamor for more story-driven and scripted entertainment, their transformed viewing habits undermine the dominant economic structures that fund quality episodic series. Legacy broadcasters are producing more scripted content than ever before and experimenting with new models of distribution – CBS will premiere its new Star Trek series on broadcast television but require fans to subscribe to its AllAccess app to continue their viewing. NBC's original Will & Grace is experiencing a syndication renaissance as a limited-run season of new episodes are scheduled for fall 2017. At the same time, new producing entities such as Amazon Studios, Netflix and soon Apple TV compete with high-budget “television” programs that stream around traditional distribution models, industrial structures and international licensing agreements. Television on Demand: Curatorial Culture and the Transformation of TV explains and theorizes curatorial culture; examines the response of the “industry,” its regulators, its traditional audience quantifiers, and new digital entrants to the ecosystem of the empowered viewer; and considers the viable future(s) of this crucial culture industry.
The final installment in the critically-acclaimed trilogy on globalization and art explores the growing dominance of Asian centers of art This book takes readers on a fascinating journey around five Asian centers of contemporary art and its myriad institutions, agents, forms, materials, and languages, while posing vital questions about the political economy of culture and the power of visual art in a multi-polar world. He analyzes the financial powerhouse of Art Basel Hong Kong, new media art in South Korea, the place of the Kochi Biennale within contemporary art in India, transnational art and art education in China, and the geo-politics of art patronage in Palestine, and he develops a highly original synthesis of theoretical perspectives and empirical research. Drawing on detailed case studies and personal insights gained from his extensive experience of the contemporary art scene in Asia, Professor Harris examines the evolving relationship between the western centers of art practice, collection, and validation and the emerging “peripheries” of Asian Tiger societies with burgeoning art centers. And he arrives at the somewhat controversial conclusion that dominance of the art world is rapidly slipping away from Europe and North America. The Global Contemporary Art World is essential reading for undergraduates and postgraduate students in modern and contemporary art, art history, art theory and criticism, cultural studies, the sociology of culture, and globalization studies. It is also a vital resource for research students, academics, and professionals in the art world.
Why would a smart New York investment banker pay $12 million for the decaying, stuffed carcass of a shark? By what alchemy does Jackson Pollock's drip painting No. 5, 1948 sell for $140 million? Intriguing and entertaining, The $12 Million Stuffed Shark is a Freakonomics approach to the economics and psychology of the contemporary art world. Why were record prices achieved at auction for works by 131 contemporary artists in 2006 alone, with astonishing new heights reached in 2007? Don Thompson explores the money, lust, and self-aggrandizement of the art world in an attempt to determine what makes a particular work valuable while others are ignored. This book is the first to look at the economics and the marketing strategies that enable the modern art market to generate such astronomical prices. Drawing on interviews with past and present executives of auction houses and art dealerships, artists, and the buyers who move the market, Thompson launches the reader on a journey of discovery through the peculiar world of modern art. Surprising, passionate, gossipy, revelatory, The $12 Million Stuffed Shark reveals a great deal that even experienced auction purchasers do not know.
"Really good. Highly recommended." Andrew Marr, Radio 4: Start the Week From the author of the internationally bestselling The $12 Million Stuffed Shark comes a fresh and provocative look at the high-end art market and whether it is a bubble about to burst. Within forty-eight hours in the autumn of 2014, buyers in the Sotheby’s and Christie’s New York auction houses spent $1.7 billion on contemporary art. Economist and bestselling author Don Thompson cites this and other fascinating examples to explore the sometimes baffling activities of the high-end contemporary art market, examining what is at play in the exchange of vast amounts of money and what nudges buyers, even on the subconscious level, to imbue a creation with such high commercial value. Thompson analyses the behaviours of buyers and sellers and delves into the competitions that define and alter the value of art in today’s international market, from New York to London, Singapore to Beijing. Take heed if your fortunes are tied up in stainless steel balloon dogs – Thompson also warns of a looming bust of the contemporary art price balloon. A fascinating explanation, through the field of behavioural economics, for the phenomena that is behind the incredible value of contemporary art.
Imagine, if you can, the world of business - without corporate strategy. Remarkably, fifty years ago that's the way it was. Businesses made plans, certainly, but without understanding the underlying dynamics of competition, costs, and customers. It was like trying to design a large-scale engineering project without knowing the laws of physics. But in the 1960s, four mavericks and their posses instigated a profound shift in thinking that turbocharged business as never before, with implications far beyond what even they imagined. In The Lords of Strategy, renowned business journalist and editor Walter Kiechel tells, for the first time, the story of the four men who invented corporate strategy as we know it and set in motion the modern, multibillion-dollar consulting industry: Bruce Henderson, founder of Boston Consulting Group Bill Bain, creator of Bain & Company Fred Gluck, longtime Managing Director of McKinsey & Company Michael Porter, Harvard Business School professor Providing a window into how to think about strategy today, Kiechel tells their story with novelistic flair. At times inspiring, at times nearly terrifying, this book is a revealing account of how these iconoclasts and the organizations they led revolutionized the way we think about business, changed the very soul of the corporation, and transformed the way we work.
Fashion is a very popular subject among young people. Any course with fashion as a prefix attracts lots of students. Despite this, many prospective students and people have little idea what jobs in the fashion industry entail. Fashion Styling is one of the least well researched areas in fashion colleges. The emphasis is put on the end result, i.e. visual imagery, rather than the process of creating it. This 'how to' book provides an insight into the processes you have to follow to work in this area, be it editorial, commercial or show styling. It includes an eight-week introductory programme to the subject and projects whereby students can simulate professional practice and learn the techniques and skills necessary for a career in styling. At the end of the book there is a source directory, a glossary of terms, and a bibliography which provide reference points for further research and study.
What starts out as a pilgrimage to a women’s conference turns into an unexpected journey toward self-awareness for four dynamic, sexy women. Jackie confronts her vulnerability as she falls for a handsome lawyer, while Hazel makes the toughest confession of her life. Lourdes stands up to her conservative mother, and Irena faces her demons. As they make their way from town to town, laughing, fighting, crying, and bonding, they learn more about one another, and themselves, than they ever bargained for–and turn plenty of heads along the way. . . .
