Art Market

A special issue of Arts (ISSN 2076-0752).

Deadline for manuscript submissions: 31 July 2025 | Viewed by 1481

Special Issue Editor


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Guest Editor
School of Creative Arts, University of Hertfordshire, Hatfield AL10 9AA, UK
Interests: the art market in early nineteenth century France; the art market's relation to the formation of modernist conceptions of art

Special Issue Information

Dear Colleagues,

We are looking to publish a special issue on the art market in from the early modern period to the present. The publication explores all aspects of the production, circulation distribution and consumption of works of art over the period. Submissions might explore but are not limited to the rise of capitalism in the early modern period and its impact on the arts, the role of museums in the valorization of works of art, the instrumentalism of galleries and museums, building on concepts of art’s loss of what Pierre Bourdieu termed ‘legitimacy’, the idea that in the past work of art fulfilled an identifiable function, and the formative role of art dealers on the market in the modern and early modern period. Art’s aestheticization and the role of the market is a key theme. Similarly, we are particularly interested in exploring colonialism and arts’ appropriation by the west, and ways in which non-occidental forms of culture were accommodated into colonial and post-colonial cultural networks. The special edition also aims to explore ways in which conflict in from the early modern period to the present has problematized our understanding of cultural value at once injecting stocks of cultural goods into an international market and while prompting a renewed interest in cultural heritage. Not least, the publication pays particular attention to artists’ networks and interventions that have offered resistance to the idea that art might have a commercial or political imperative, and not least to art’s role in addressing climate emergency and the politicization. Contributions should be between 5-6000 words and conform the stylesheet attached. 

Dr. Steven Adams
Guest Editor

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Arts is an international peer-reviewed open access semimonthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1400 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • art
  • market
  • commodification
  • cultural heritage
  • resistance
  • globalism
  • aestheticization
  • early modern
  • modernism

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Published Papers (1 paper)

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Research

15 pages, 4528 KiB  
Article
Freeport as a Hub in the Art Market: Shanghai Art Freeport
by Fanyu Zhang
Arts 2024, 13(3), 100; https://doi.org/10.3390/arts13030100 - 31 May 2024
Viewed by 1055
Abstract
With the soaring interest in art as an alternative investment approach and an asset class, there has been a remarkable rise in the volume of artwork transactions globally. However, trading in the art market differs from the traditional financial market; the cost of [...] Read more.
With the soaring interest in art as an alternative investment approach and an asset class, there has been a remarkable rise in the volume of artwork transactions globally. However, trading in the art market differs from the traditional financial market; the cost of taxes, logistics, storage, and other transaction services is enormous for collectors, stimulating the emergence of related businesses, such as warehousing, bonded exhibitions, and art financial services. As an exceptional area serving the offshore economy, art freeports have become an essential venue for art trading and a ‘one-stop-shop’ centre that converges all art market participants. This article critically analyses the current literature and conducts empirical research on Shanghai FTZ International Culture Investment and Development Co., Ltd. (FTZART). It can be concluded that the current research on art freeports is limited and excludes FTZART from those that specialise in storing artworks, overlooking its potential influence in the Asian market. The art freeport has distinctive features that differ from traditional freeport models, and the context, business model, and operations of FTZART match these characteristics. Therefore, as a hub in the art market, the global art freeport agenda should not overlook FTZART, and it is essential to complement this gap in knowledge. Full article
(This article belongs to the Special Issue Art Market)
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