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Connecting Art And The Public Through Digital Marketing And Brand Collaboration – Co-Art, A New Art Marketing Agency, Qing Su
MA Projects
Traditional art marketing often focuses on physical exhibitions, in-person networking, and the endorsement of the art world “gatekeepers.” The making of a “star” artist relies not only on the quality of the art itself, but also on how galleries (the art marketers) orchestrate the complex power dynamics in the art industry – critics, curators, institutions, and collectors. This long-lasting mechanism leads to the elitization of the art world and disconnection with the mass public as it targets only a niche number of audiences that might make an influence on an artist’s career, price, and portfolio. COART is an agency that …
Relational Accountability In The Art Business : A Study Of Ethics, Theodore Soliman
Relational Accountability In The Art Business : A Study Of Ethics, Theodore Soliman
MA Theses
The artworld's unethical practices are ubiquitous amongst its stakeholders, with a lack of moral responsibility that allows for continuous sexual, emotional, and racial abuse. As an industry that is unregulated and resistant to change, these issues have been passed down from one generation to the next, forming a vicious cycle of predatory behavior. By investigating various stakeholders' roles, this study critiques the handling of these moral injustices and proposes relational accountability as a solution. The art world’s traditional understanding of accountability only focuses on the aftermath without challenging the agreed-upon ethical standards that stakeholders hold each other to.
Re-Thinking Risk Management Of Auction House Guarantees And Third-Party Irrevocable Bids, Nathan Krasnick
Re-Thinking Risk Management Of Auction House Guarantees And Third-Party Irrevocable Bids, Nathan Krasnick
MA Theses
This paper addresses the question of how deviations between expected and actual art auction results impact the auction guarantees made within an artist’s market and among multiple artists, and whether those impacts can be identified and quantified. To do so, I use a theoretical pricing model based on datasets of historical auction records going back to the earliest available date for a specific artist but no further than 2010. I find that, in comparing the model’s expected and actual results to empirical price deviations at auction, we can identify and quantify the impact of those deviations on guarantees.