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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.
Kunst steht im Zentrum der Offentlichkeit. Im stadtischen Raum
ausgestellte und diskutierte Skulpturen, Installationen und
Aktionen, existierende oder nur geplante prestigetrachtige Kunst-
und Kulturhauser wie Museen, Stadttheater oder Bibliotheken,
offentliche Debatten um Globalisierung und/oder die Vermarktung von
Werken und KunstlerInnen, Diskurse um Kunst und Kultur als mogliche
AkteurInnen, aber auch AussenseiterInnen der virtuellen Revolution,
Kunstwerke und Institutionen als Trager oder Projektionsflache von
Erwartungen um Demokratisierung, soziale Koharenz oder politischen
Intentionen: Kunst wird heute vielleicht mehr denn je offentlich
ausgestellt, exponiert, diskutiert, kritisiert, auch idealisiert,
im realen wie auch zunehmend im virtuellen, digitalen offentlichen
Raum.Die Beitrage dieses Bandes untersuchen diesen Wandel anhand
von Analysen einer ganzen Reihe von Kunstsparten und -bereichen
(bildende Kunst, Performances und Kunstaktionen, Museen, Theater,
Tanz, Musik, Literatur, Film usw.), neuer bzw. werdender
Kunstformen (Street Art usw.) sowie von Aspekten wie Kunst und
Kunstkritik in den Medien und der (Fach-) Presse, Kunst im Netz
sowie werksoziologischen Auseinandersetzungen ."
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