Art has always been central to moments of great social change. From the avant-garde to the ages of revolution, the act of rebellious creation has been crucial to bringing people and ideas together. However, in an increasingly fractured world characterised by upheaval and crisis, what role can art play in ushering in transformation?

Malcolm Miles offers a guide to contemporary art and activism, setting it firmly within the context of the avant garde and its legacies in the postwar period. He explores the rise of direct action to replace representational politics in organizations like Occupy and Extinction Rebellion, and in the movements to destroy or remove statues of slavers, and finds parallels in anti-institutional art practices. By engaging with the significant theoretical innovations of the last 50 years - modernism, postmodernism and contemporary critical thinking - Miles provides both an overview of political aesthetics and an introduction to how art activism works in its most memorable moments in history.

Art Rebellion argues that beauty is radically other to the dominant society; that power relations can be transformed; that protest cultures and contemporary art grow together; and that art has a crucial interruptive role in forming new, more equal and just, realities.

Recent decades have witnessed concerns over representation, inclusion, and social justice move from the margins to the centre of museum practice. While a growing number of institutions seek to reflect the diversity of their communities in exhibition-making, gaps remain in understanding applied approaches and practices. This book presents the inclusion of new voices and perspectives into the museum via "inclusive curating," a facilitated process empowering a wide demographic of people to become curators. Grounded in a case study, this book offers guidance in putting inclusive curating into action alongside a range of practical resources and key debates. Curating is often considered an exclusive job for a privileged few. But, by breaking it down using methods demonstrated throughout this book, not only does curating become more usable for more people, it also contributes to understanding the process and practices by which our cultural spaces can become democratized.

Why do people go to exhibitions, and what do they hope to gain from the experience? What would happen if people were encouraged to move freely through exhibition spaces, take photographs and be playful?

In this book, Inge Daniels explores what might happen if people and objects were freed from the regulations currently associated with going to an exhibition. Traditional understandings of exhibitions place the viewers in a one-way communication form, where the exhibition and those behind its creation inform their audiences. However, motivations behind exhibition-going are multiple and complex and frequently the intentions of curators do not match the expectations of their visitors.

Based on an in-depth ethnographic examination of the processes involved in the making and reception of one particular exhibition-experiment as well as a study that follows 'freed' objects into their new homes, this publication will not only shed light on what exhibitions are, but also what they could become in the future.
Featuring over 175 colour illustrations and using practical examples, this is an important contribution for students and scholars of anthropology, museum studies, photography, design and architecture.

Artists, are you not tired of having an imago of a struggling person who, according to "society”, should look for a "real job”?

Sadly our collective memory is still obsessed with the romantic/rebellious idea of a broke artist isolated in his studio, creating groundbreaking work that will go completely unnoticed until after his death. Then the works will be discovered, he/she will be hailed as an art genius and selling for trillions of pennies.
Sounds nice but this conception of an artist is outdated, unrealistic and unsuccessful.
With today’s information technologies, artists can empower themselves and manage a growing economic and fulfilling atistic career.

Respect for Art is the first book to grapple with issues of visual arts management and administration in China and the United States. A collaboration between two professors of arts administration, one in Beijing and one in New York City, it focuses on four areas: museums, non-profit spaces, the art market (including commercial galleries, expositions and auction houses), and public art.



The book identifies areas which seem similar mechanisms for becoming a non-profit organization, tax laws regarding arts institutions - but which have substantial differences in history, culture and understanding; areas where both countries struggle with rapid change the market for contemporary Chinese artists the escalation of the auction house, the social relevance of public art; and concerns for the future cultural and intellectual property, cultural policy, accessibility, art education, and the myriad of skills, sensitivity, theory and practice to sustain a healthy respect for art.


Language: English and Chinese.

Chinese Intellectual Property Publishing House, 2007

First Guide for Buying & Selling World's Most Expensive Art

KunstAM GmbH, Austria released Skate's Art Investment Handbook, an unbiased investment guide to buying and selling the world's most expensive art, in October 2006. The book was first released in Russia with sponsorship from Deutsche Bank in 2005 after being written as a guide for Russia's newly wealthy, who are currently among the art world's most significant buyers. After selling out within six months of publication there, it was expanded to serve a broader international market.

Skate's Art Investment Handbook demystifies the process of art investing and suggests an approach as to how rational investment strategies can be employed, as well as cases when such strategies for various reasons do not work. Using a combination of proprietary editorial and aggregated statistical data, Skate's Art Investment Handbook describes a rational approach to investing in art with valuation drivers and market statistics, an analysis of how the art market compares to other investment markets, and a special supplement carrying the ratings of the worlds 1000 most expensive artworks and 50 most valuable artists.

How do dealers price contemporary art in a world where objective criteria seem absent? Talking Prices is the first book to examine this question from a sociological perspective. On the basis of a wide range of qualitative and quantitative data, including interviews with art dealers in New York and Amsterdam, Olav Velthuis shows how contemporary art galleries juggle the contradictory logics of art and economics. In doing so, they rely on a highly ritualized business repertoire. For instance, a sharp distinction between a gallery's museumlike front space and its businesslike back space safeguards the separation of art from commerce.

Velthuis shows that prices, far from being abstract numbers, convey rich meanings to trading partners that extend well beyond the works of art. A high price may indicate not only the quality of a work but also the identity of collectors who bought it before the artist's reputation was established. Such meanings are far from unequivocal. For some, a high price may be a symbol of status; for others, it is a symbol of fraud.

Whereas sociological thought has long viewed prices as reducing qualities to quantities, this pathbreaking and engagingly written book reveals the rich world behind these numerical values. Art dealers distinguish different types of prices and attach moral significance to them. Thus the price mechanism constitutes a symbolic system akin to language.

Hardcover: 288 pages

Publisher: Princeton University Press (July 5, 2005)

This ground-breaking text brings together experts in the field of visual art markets to answer some fundamental questions:


Is art a good investment?
Why is the art market dominated by America and Western Europe?
Where are the key emerging markets and what are the next good buys in art?


Providing readers with an understanding of the challenges facing art market 'makers' (dealers, auctioneers, collectors and artists) and the decision-making process experienced by market 'players' and investors, this exciting text merges the key theories with examples of practice in a highly accessible style.



Written by an international array of experts from the US, the UK and China, this book is essential reading for all those studying or interested in art markets and management.



Contents:

1. Introduction 2. A Hybrid Discipline: International arts management Eric Moody 3. Religion, History, Money Iain Robertson 4. The International Art Market Iain Robertson 5. Tax Matters Renee Pfsiter 6. Putting a Price to Art Iain Robertson 7. The American Art Market Joan Jeffri 8. Emerging Art Markets Iain Robertson 9. World Taste in Chinese Art James Spencer 10. International and National Control of the Illicit Trade in Works of Art and Antiquities Patrick Boylan 11. Current Concerns in the Art Market and Arts Management Iain Robertson 12. Business and Network Models Employed to Explain the Art Market Derrick Chong 13. Conclusion


Iain Roberston is a lecturer in arts policy and management at City University. He is a member of The National Art Collections Fund and Association Internationale des Critique d'Art. He is an adviser to the Asia Art Archive and responsible for information on Asian art developments in London.


Paperback: 280 pages

Publisher: Routledge (July 1, 2005)

An ancient sculpture decorating a secluded courtyard, a Renaissance masterpiece revered in the serenity of a church, a Modern painting exhibited in a crowded museum: each of these exemplifies the power of placement to confer meaning on an artwork. In this absorbing study, author Victoria Newhouse examines the charged zone where spectator and art object meet. Long neglected by art books and museum catalogs, the link between presentation and art is critical to the understanding of such objects.
Whether in a museum of a commercial gallery, a royal palace or a modest home, the place and manner of display can bestow a meaning that is religious, political, educational, or decorative, and can even affect aesthetic and commercial values. Newhouse tackles a collection of fascinating case studies, including the Winged Victorys tortuous route from the Sanctuary of the Great Gods in Samothrace to the Louvres monumental stairway, three interpretations of an assortment of Egyptian antiquities, and various installations of Jackson Pollocks mural-sized paintings. She concludes with an overview of how presentation has affected some of the great icons of art historyfrom Velázquezs Jester to Picassos Demoiselles dAvignonand a discussion of approaches to the exhibition of decorative art and architecture.

Past and present alike inform the authors investigation of the intricacies of presenting art. Famed historic displaysthe studiolo and cabinet of curiosities, the Paris Salons, and the attention-getting blockbustersprovide points of comparison with recent exhibitions at the Metropolitan Museum of Art and the Museum of Modern Art in New York, the Pulitzer Foundation in St. Louis, the Tate Modern and the Tate Britain in London, the Musée dOrsay in Paris, the Prado in Madrid, the Guggenheim Bilbao, and numerous other venues. A thorough and wide-ranging inquiry, Art and the Power of Placement elucidates an essential aspect of the art experience.


Hardcover: 304 pages

Publisher: Monacelli (May 9, 2005)

Where To Seek Job Opportunities and Funding Sources For Your Work,
If you're an artist, you intuit it. Art is there within you. This book is for those who on some level know what they truly are -- either you are trying to learn how to do this artistic life better, or you are trying to decide whether or not to do it at all. How can you take this vague idea of being an artist and make it a reality? Get clear and make a plan.
How will this book help? By pointing you in some directions, showing you where to get information you may need. By giving you the experience of others who have gone before you who may have done something you can benefit from, and who have been gracious enough to pass it on. By helping you to see what kind of a plan you need. By helping you make a plan. Bottom line, as an artist you have an even greater need to make long-term plans than other folks. Income will likely come at irregular intervals. You'll have to save money whenever you can, get good credit, maintain a fuel-efficient vehicle, and find the way to do your art. Yet we all must budget for rent, food, telephone, transportation, clothing, health insurance, gas and electric - the stuff of day-to-day living.

Inside this book are practical suggestions and ideas to help you cope with artist's life including: Housing, Telephone, Home Office, Car, Health Insurance, Finances, The Internet, Legal Assistance, Grants, MFA Programs, Theatre Companies and Artist Retreats, Working Overseas, Putting Together Your Artist Portfolio.

Art That Pays will give you ideas and practical, concrete suggestions. If you are an artist and you have decided to pursue it, this thing you are embarked upon is noble. We hope to give you some encouragement because you can never have too much support. And we hope, perhaps, to make you smile at least once or twice, if not in amusement, at least in recognition of the absurdity, joy and wonder that is this life we have.



About the Author

Adele Slaughter has written for various publications including "USAToday.com", "Ms. Magazine" and "Written By".

In 2003 she was awarded a national journalism prize for her coverage of multiple sclerosis. In 1903 the White House Commission on Presidential Scholars named her a Distinguished Teacher.

She received her M.F.A. in poetry from Columbia University. Slaughter's first book of poems, "What The Body Remembers", was published by Story Line Press in 1994.
Jeff Kober has appeared extensively on stage, in films and on television. Most recently he was seen in "Defying Gravity" at the Rubicon Theatre in Ventura, California. Kober worked with John Ritter and Jenny Sullivan for several years helping to develop Jenny Sullivan's autobiographical play, "J for J".

His film credits include "A Man Apart with Vin Diesel", "Enough", Directed by Michael Apted, "Elmore Leonard's Gold Coast" and "The First Power". Kober was a regular on the series "China Beach", and has guest starred on many TV shows, most recently "ER" and "The Guardian". Kober was a student of the late Ed Kaye-Martin and is currently studing acting with Candace Silvers.


Paperback: 361 pages

Publisher: National Network for Artist Placement (Dec 2004)

The book takes the reader through the various steps and processes needed to develop an effective business plan and to operate a subsequently successful company. The workbook features allow readers to take notes and to develop raw material needed to put together their individual plans. AE is written in easy to read, understandable terms that take the mystery out of the often arcane language of the usual textbook.


United Press Services, Inc.

Bloomingdale, Illinois, 2004

Produced in a time of great change in the arts funding world, this book is the arts fundraiser's anchor. This comprehensive guide gives evrything the arts fundraiser needs to know about UK sources of funding - for all artforms, arts organisations and arts events. Clearly written and comprehensively indexed, it is a must for anyone looking to raise money for the arts. It covers the full range of public and private support, including:



* the four national Arts Councils, the Film Council and their Lottery funding

* the new regional arrangements in England for the arts, film, museums, galleries and archives, plus other regional bodies

* other governmental agencies and Lottery distributors making arts-related grants

* business advice/support for the arts and cultural industries

* European Union funding and international exchanges

* over 100 major companies and their arts interests, plus details of Arts & Business and its New Partners programme

* detailed analysis of the arts grantmaking by more than 300 charitable trusts.


Also includes:


* a new introduction by 'brandbuilder', helping organisations to look afresh at their identity and how they present themselves

* articles about approaching local authorities, companies and trusts.


Comments on the last edition of the Arts Funding Guide

'The Arts Funding Guide has established itself as THE book to have.'
[ALGAO]


'Wide-ranging, clear, helpful - don't leave home without it.'
[Sounding Board]

Conceived, organized and edited by Gail and Barry Lord, contributors include leading museum professionals from the UK, continental Europe, the US and Canada. The Manual of Museum Exhibitions is a practical hands-on and comprehensive guide to the entire process of planning, designing, producing and evaluating exhibitions for museums of all kinds.


This guide seeks to analyze and systematize the process of exhibition development and implementation for all kinds of museums from the perspective of management. The editors present the material in a step- by-step manner, proceeding from the conceptualization and evaluation of the exhibit, and continuing with discussions of planning and design, types of galleries, gallery facilities and equipment, financial planning, curatorship, exhibition texts, construction and installation, lighting, the role of the project manager, and exhibition retail. Each of the above topics is accompanied by one or more case studies, showing the application of principles in real life. (Books news)

Thoroughly updated and expanded, this classic handbook teaches emerging artists all the strategies they need to know for selling artwork on their own or through dealers.

The book's new sections target today's vital issues: creating a web site; obtaining copyright/trademark protection on the Internet; coping with censorship of controversial art; and dealing with the new realities of funding sources. Additional chapters tell how to find galleries, arrange exhibitions, apply for grants, land survival jobs doing custom decorative art or teaching, and other relevant topics.


Daniel Grant is a contributing editor of American Artist magazine. A former art critic for Newsday (Long Island, New York) and The Commercial-Appeal (Memphis, Tennessee), he was editor of Art & Artists from 1978 to 1984. He has authored The Artist's Resource Handbook, The Business of Being an Artist, The Fine Artist's Career Guide, How to Start and Succeed as an Artist, and The Writer's Resource Handbook (all published by Allworth Press). His articles and essays have appeared in such publications as ARTnews, Art in America, New York Times, Washington Post, Christian Science Monitor, Boston Globe, Chicago Tribune, Miami Herald, Philadelphia Inquirer, Newsday, The Nation, New York, Art & Auction, and Art & Antiques. He has also taught courses in, and lectured on, career issues for visual artists. He lives in Amherst, Massachusetts.

The second edition of this definitive guide is for gallery owners, dealers, and artists' reps who want to understand the law and successfully tackle the business and legal issues they face every day in their field. Written by an esteemed arts lawyer and lecturer, the book covers all legal aspects of a gallery businessúfrom trademarks and copyright to contracts, consignments, taxes, product liability, advertising, catalog sales, and customer relationsúsaving the reader thousands of dollars in attorney's fees. The author also advises how to find a good lawyer if one is needed.

In The Gallery Management Manual Zella Jackson teaches you management as it relates to successful sales programs. Zella stresses that successful sales management in a gallery setting involves the administration of three essential elements Personnel, Planning and Persistence. They are the keys to increased sales and profits. Planning, Personnel and Persistence are factors applicable to private dealers, small galleries, and multilocation dealers. Complete with sample forms and scripts, this manual is an essential reference work for gallery directors and sales managers.


Paperback: 126 pages

Publisher: Novasearch Pub (July 1, 1998)

The Artist's Guide to New Markets reveals how emerging and established artists can build and expand their careers beyond the gallery setting. This is a completely original guide to the rapidly multiplying possibilities available to artists, from new government programs to selling to magazines to placing art in public places and online galleries. Included are real-life success stories and seasoned advice from dozens who have successfully ventured into new markets or have created their own from scratch. Among the dazzling array of opportunities most artists never consider are: art fairs and conventions, model homes and apartments, private commissions, airports, public transit systems, city buildings and large public spaces, country, swimming, and field clubs, senior citizens and nursing homes, local framing shops, restaurants, professional offices, furniture showrooms, and much more.

The book provides tested advice for devising a solid marketing plan and writing winning proposals. Chapters cover working with art consultants, corporate art collectors, and licensing agents, as well as how to take advantage of the Web, Foundation Center libraries, and other valuable resources for artists. Whether a student, professional, or even a hobbyist, The Artist's Guide to New Markets helps artists at all levels to find exciting ways to get their work out into the world and discover lucrative new markets.

Editorial Review


The Artist's Guide to New Markets is an invaluable reference for artists who want to expand their markets and gain some savvy business advice." ----Ingrid Fox, Curator, Pfizer Art Collection

Peggy Hadden is an artist and author who has written a monthly column focusing on artists' career issues for Art Calendar magazine and has presented numerous workshops on the subject, including a course at Pratt Institute in New York City.

This manual is a guide for both artists and gallery personnel. Artists and dealers often fall into the trap of believing that all that is required to sell fine art is the mounting of an exhibition. But the "field of dreams theory", "Exhibit it and it will sell." doesn't work! Many artists and dealers have not been taught how to focus their energy and limited resources in developing successful marketing plans. "Marketing" and "sales" are words which are often used interchangeably but have dramatically different meanings. Marketing consists of the steps that lead up to and results in sales. Well planned and executed marketing leads to multiple opportunities to make sales. The author, Marcia Layton, a marketing specialist, has brought together all of the ingredients of art marketing, including positioning, pricing, distribution, and promotion. Replete with specific examples, this guide assists artists and gallery personnel to develop a specific plan which will lead to increased sales and success. Successful Fine Art Marketing is not a generalized marketing manual - it is focused on art, artists, and galleries.