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Large, bold, and colorful, indigenous Australian art-sometimes known as Aboriginal art-has made an indelible impression on the contemporary art scene. But it is controversial, dividing the artists, purveyors, and collectors from those who smell a scam. Whether the artists are victims or victors, there is no denying the impact of their work in the media, on art collectors and the art world at large, and on our global imagination. How did Australian art become the most successful indigenous form in the world? How did its artists escape the ethnographic and souvenir markets to become players in an art market to which they had historically been denied access? Beautifully illustrated, this full stunning account not only offers a comprehensive introduction to this rich artistic tradition, but also makes us question everything we have been taught about contemporary art.

The purpose of this paper is to determine whether there is an incipient market in China strong enough to replace the global market for Chinese contemporary art. The (informal) market I have identified supports traditional methods of transaction and practice. It charts a course twixt slavish emulation of the past and unqualified acceptance of the present. To demonstrate the contemporary application of this trend, I introduce three case studies, which examine the attitude and behaviour of three Chinese artists active between 2005 and 2015. This period marks the transformation of China from an aspirant economic power to a self-confident advocate of Chinese values. The premise of this paper is that the China market today is moving towards a harmonious ideal rooted in Chinese thought. In the nineteenth-century art movement known as the Shanghai School, I have found a precedent for the evolutionary transformation of Chinese art from the traditional to the modern. This study will reveal how the Shanghai School market might be an exemplar for today’s Chinese contemporary art market. I will refer to this historical model to show how conventional methods of creation, distribution and consumption can effectively be modernised. Another effort to culturally transform China was attempted a generation later in the southern city of Guangzhou. The movement, known as the Lingnan School, attempted to fuse Western-style realism with Chinese techniques and media. I argue that these two early attempts to amalgamate the traditional with the modern failed to metamorphose into a consolidated Chinese contemporary art market model. They have, instead, resulted in the co-existence of two corrupted models; the one, a diffident fusion of the past and the modern world, and the other a concerted alliance of nationalism and globalism.

Since its publication in 1964, Australians have used the title of Donald Horne’s book, The Lucky Country, as a term of self-reflective endearment to express the social and economic benefits afforded to the population by the country’s wealth of geographical and environmental advantages. These same advantages, combined with strict border closures, have proven invaluable in protecting Australia from the ravages of the global COVID-19 pandemic, in comparison to many other countries. However, elements of Australia’s arts sector have not been so fortunate. The financial damage of pandemic-driven closures of exhibitions, art events, museums, and art businesses has been compounded by complex government stimulus packages that have excluded many contracted arts workers. Contrarily, a booming fine art auction market and commercial gallery sector driven by stay-at-home local collectors demonstrated remarkable resilience considering the extraordinary circumstances. Nonetheless, this resilience must be contextualised against a decade of underperformance in the Australian art market, fed by the negative impact of national taxation policies and a dearth of Federal government support for the visual arts sector. This paper examines the complex and contradictory landscape of the art market in Australia during the global pandemic, including the extension of pre-pandemic trends towards digitalisation and internationalisation. Drawing on qualitative and quantitative analysis, the paper concludes that Australia is indeed a ‘lucky country’, and that whilst lockdowns have driven stay-at-home collectors to kick-start the local art market, an overdue digital pivot also offers future opportunities in the aftermath of the pandemic for national and international growth.

This article examines the impact of the coronavirus pandemic on a provincial art market to shed light on how gallerists, auctioneers, and antique dealers have coped with this exogenous event. Provincial intermediaries, active in the lower ends of the art market, are characterized by economic properties that differ from those of the upper-end markets. Their location at the periphery of metropolitan centers, combined with the characteristics of supply and demand, are likely to affect their ability to face a global crisis. Based on 15 semi-structured interviews with provincial intermediaries, this research reveals the unexpected performance of local auction houses and antique dealers active in the secondary art market. We attribute this performance to the use value of lowbrow cultural goods, the willingness of local auction houses to embrace the benefits of online two-sided markets, and their ability to offset a pent-up demand, especially among Generation Y. Recommendations to prompt provincial art market players to sustain the positive externalities of the crisis in the long run are provided.

This paper investigates the impact of equity markets and top incomes on art prices. Using a newly constructed art market index, we demonstrate that equity market returns have had a significant impact on the price level in the art market over the last two centuries. We also find evidence that an increase in income inequality may lead to higher prices for art. Finally, the results of Johansen's cointegration tests strongly suggest the existence of a long-run relation between top incomes and art prices.

Fluorine compounds function in different industries primarily due to their ability to resist chemical exposure while maintaining durability and providing protection which led to their use in both art marketing strategies and art consumption. The Chinese art market may adopt fluorine-based materials as a means to lengthen and improve the attractiveness of artwork. Public safety and environmental worries continue to exist regarding the use of fluorinated art products in marketing as well as the consumption patterns of these artistic items by society. Objective: The research evaluates fluoride usage in Chinese art promotion techniques and their effect on marketplace art purchasing activities. The research looks at how these substances affect art promotion methods and public well-being together with their environmental effects during usage. Methods: The researchers systematically reviewed existing literature about fluoride compounds applied to artworks with information regarding their impact on marketing practices and consumer buying behavior. The research incorporated an evaluation of fluorine-based substances that preserve artworks and present them to the market in addition to examining their impact on user health. Results: Fluoride compounds utilized in art products create more durable and visually appealing products that marketers find attractive to promote. Consumer exposure to fluorine compounds throughout time leads to increasing health-related worries. This review establishes that sufficient research has not been conducted regarding the long-term fluoride impact on health when art is consumed. Conclusion: Progressive artists rely on fluoride compounds to improve the commercial appeal and longevity of their creations in the Chinese art market but health and ecological consequences of their use must be assessed thoroughly. The research emphasizes that the art industry needs to develop both safer additives and sustainable practices for fluoride compounds to ensure better protection of consumers and environmental responsibility.

The Evolution of Taste in American Collecting is a new critical translation of René Brimo's classic study of eighteenth- and nineteenth-century patronage and art collecting in the United States. Originally published in French in 1938, Brimo's foundational text is a detailed examination of collecting in America from colonial times to the end of World War I, when American collectors came to dominate the European art market. This work helped shape the then-fledgling field of American art history by explaining larger cultural transformations as manifested in the collecting habits of American elites. It remains the most substantive account of the history of collecting in the United States. In his introduction, Kenneth Haltman provides a biographical study of the author and his social and intellectual milieu in France and the United States. He also explores how Brimo's work formed a turning point and initiated a new area of academic study: the history of art collecting. Making accessible a text that has until now only been available in French, Haltman's elegant translation of The Evolution of Taste in American Collecting sheds new critical light on the essential work of this extraordinary but overlooked scholar.

Among the most peculiar representations depicted on 'Sasanian' silverware is the scene illustrating what is interpreted as the chariot of the Moon God Mah, the apotheosis of Chosroe, or Chosroe's mechanical clock (henceforth the 'lunar chariot'). In fact, outside the numerous attestations of royal hunting scenes, this iconographic theme is found, with stylistic differences and slight iconographic variations, on six silver plates likely made in the Eastern Iranian world and dating to the late or post-Sasanian periods (7th-9th centuries). The occurrence of this scene on such a consistent group of silver plates, along with the puzzling diverging solutions adopted, constitute an interesting art historical case that stimulated considerable interest among scholars.2With these premises, and especially because of the recent publication, in 2020 and 2022, of two previously unknown specimens owned by private collectors, this paper was intended to encompass the acquisition histories of each plate. In fact, considering the relevance of previous studies dealing with this iconographic theme and its possible meanings, the initial aim of this paper was to re-examine the circumstances of discovery and to reconstruct the modern vicissitudes associated to these plates, in relation to the different phases of connoisseurship and reception of this class of art objects from the Persianate world. The decision to shift the attention to one plate in particular, i.e., what I will refer to as the 'Rashy plate', came about in the process after it began to emerge that its authenticity was highly questionable. Doubts about the authenticity of several 'Sasanian' silver vessels are admittedly legitimate in a consistent number of cases.Timing, in fact, has been a central component in the scholarly research on this class of objects, and so it will be in the analysis of the Rashy plate and its history. This article will indeed confront this object with the historical and scholarly context in which it surfaced, trying to reconstruct the dynamics that facilitated its introduction in both the art market and the scholarly debate.However, before entering this analysis, it is worth providing some information on another silver plate, i.e. the Klimova plate, as it will be functional for understanding how the fabrication of the Rashy plate might have been conceived. The other four plates of the series are briefly discussed in the appendix at the end of this paper.

Objective: The objective of this study is to investigate the role of customer-perceived value in the contemporary art distribution chain and its impact on value co-creation behavior, with the aim of how customer-perceived value affects the transaction and market value of artworks from creation to final sale.   Theoretical Framework: In this topic, the main concepts and theories that underpin the research are presented. Customer Perceived Value Theory, Value Co-Creation Behavior, Consumer Purchase Decision Theory, and factors influencing Customer Value Judgments stand out, providing a solid basis for understanding the context of the investigation.   Method: The methodology adopted for this research involves a qualitative research approach, focusing on the exploration of customer perceived value in various aspects of art distribution and the mechanisms influencing value co-creation behaviors. The study selected ten industry insiders, including six primary market practitioners and four young artists. Through in-depth interviews, key information was summarized to clarify the mediating role of customers' perceived value in value co-creation behaviors and artwork prices. This qualitative method allows for a deeper understanding of the specific context of the contemporary art market, generating rich qualitative data to comprehend and explain the mediating role of customer perceived value. Its flexibility and adaptability enable the adjustment of research direction and focus based on findings, thus responding to the art market and investment strategies' variability.   Results and Discussion: The results obtained revealed that customer perceived value plays a crucial role in every segment of the contemporary art market's circulation, from the artist's creation to the final sale and collection of the artwork. The act of collecting and holding artworks by collectors is an acknowledgment of the art's value, reflecting the positive impact of customer perceived value on value co-creation behavior. The study also indicates that customer perceived value is continuously enhanced through the process of value co-creation, thereby positively affecting customer value co-creation behavior. As more people recognize an artwork, its value correspondingly increases, suggesting that customer value co-creation behavior has a positive impact on the price of artwork, with customer perceived value serving as a mediating role. Furthermore, the possession of artworks by collectors with refined aesthetics and relative professionalism is itself a form of value co-creation behavior, enhancing public recognition of the artwork's value. When value co-creativity improves customer perceived value and promotes the artwork's appreciation, this behavior also positively influences value co-creativity. These conclusions unveil the interconnectedness between customer perceived value, value co-creation behavior, and market dynamics, providing insights into how contemporary artworks gain recognition and value through collective appreciation and engagement.In the discussion section, these results are contextualized in light of the theoretical framework, highlighting the implications and relationships identified. Possible discrepancies and limitations of the study are also considered in this section.   Research Implications: The practical and theoretical implications of this research are discussed, providing insights into how the results can be applied or influence practices in the field of contemporary art market and art valuation. These implications could encompass art market dynamics, artist and gallery practices, art investment strategies, and collector behavior.   Originality/Value: This study contributes to the literature by exploring the intricate relationship between customer perceived value, value co-creation behavior, and their impacts on art market pricing and art collection value through a qualitative approach. It offers a unique perspective on how digitalization and globalization are reshaping the contemporary art market, highlighting the dynamic interplay between these factors. The relevance and value of this research are evidenced by providing actionable insights for artists, galleries, and collectors on leveraging customer perceived value and co-creation practices to enhance the economic and cultural value of artworks. Additionally, it offers a framework for understanding the evolving dynamics of the art market, potentially guiding future policies and strategies in art management and valuation.