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This edited collection offers an in-depth analysis of the complex
and changing relationship between the arts and their markets.
Highly relevant to almost any sociological exploration of the arts,
this interaction has long been approached and studied. However,
rapid and far-reaching economic changes have recently occurred.
Through a number of new empirical case studies across multiple
artistic, historic and geographical settings, this volume
illuminates the developments of various art markets, and their
sociological analyses. The contributions include chapters on
artistic recognition and exclusion, integration and
self-representation in the art market, sociocultural changes, the
role of the gallery owner, and collectives, rankings, and
constraints across the cultural industries. Drawing on research
from Japan, Switzerland, France, Italy, China, the US, UK, and
more, this rich and global perspective challenges current debates
surrounding art and markets, and will be an important reference
point for scholars and students across the sociology of arts,
cultural sociology and culture economy.
This edited collection offers an in-depth analysis of the complex
and changing relationship between the arts and their markets.
Highly relevant to almost any sociological exploration of the arts,
this interaction has long been approached and studied. However,
rapid and far-reaching economic changes have recently occurred.
Through a number of new empirical case studies across multiple
artistic, historic and geographical settings, this volume
illuminates the developments of various art markets, and their
sociological analyses. The contributions include chapters on
artistic recognition and exclusion, integration and
self-representation in the art market, sociocultural changes, the
role of the gallery owner, and collectives, rankings, and
constraints across the cultural industries. Drawing on research
from Japan, Switzerland, France, Italy, China, the US, UK, and
more, this rich and global perspective challenges current debates
surrounding art and markets, and will be an important reference
point for scholars and students across the sociology of arts,
cultural sociology and culture economy.
More high-rise residential buildings have been built in the last
two decades than at any other time before. Even in Europe, where
historically a typical city's most prominent vertical accents came
from chimneys and church steeples, towering buildings are
increasingly shaping the urban landscape. In Vertical Europe,
Andrea Glauser looks at new architectural trends in London, Paris,
and Vienna, as well as the promises, desires, and fears associated
with them in the minds of these cities' residents. Her book is the
first full-length sociological examination of the recent skyward
growth in urban Europe, bringing together debates on high-rise
architecture from fields including urban planning, geography, and
art history. She contextualizes this vertical construction as an
area wrought with tensions between these European cities' desire to
keep pace with global competition while still retaining the
specific architectural qualities that have defined them for
centuries.
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