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Keywords = Sotheby’s Dubai

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20 pages, 1725 KiB  
Article
Global Art Market in the Aftermath of COVID-19: A Case Study on the United Arab Emirates
by Eve Grinstead
Arts 2021, 10(3), 59; https://doi.org/10.3390/arts10030059 - 30 Aug 2021
Cited by 3 | Viewed by 6933
Abstract
How has COVID-19 affected the global art market? This virus interrupted 2020 in unforeseen ways globally, including the cancellation of the most important art events of the year. Through a close chronological study of the Emirati art scene’s response, both in commercial and [...] Read more.
How has COVID-19 affected the global art market? This virus interrupted 2020 in unforeseen ways globally, including the cancellation of the most important art events of the year. Through a close chronological study of the Emirati art scene’s response, both in commercial and noncommercial venues, this essay explains how, and why, the UAE’s art scene was able to react quickly and perhaps more effectively than that of other nations, and what that means for its future. Based on fieldwork and press articles, this article posits that the Emirati art scene evolved from being virtually non-existent to a thriving contemporary art hub in a matter of decades because it has always had to adapt to challenges such as nonexistent art infrastructure or the 2008 financial crisis. By studying the UAE, we find examples of exhibitions that quickly moved from being in situ to online, a rare instance of galleries and art auction house collaborating, government and institutional structures stepping up to support artists and galleries, and the renaissance of Art Dubai taking place in person in 2021 after being abruptly cancelled in 2020. This knowledge provides insight into how the global art market is changing to face the consequences of COVID-19. Full article
(This article belongs to the Special Issue Global Art Market in the Aftermath of COVID-19)
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15 pages, 218 KiB  
Article
The Emergence of an Auction Category: Iranian Art at Christie’s Dubai, 2006–2016
by Leili Sreberny-Mohammadi
Arts 2021, 10(2), 35; https://doi.org/10.3390/arts10020035 - 27 May 2021
Viewed by 3256
Abstract
The expansion of the British auction houses Christie’s, Sotheby’s and Bonhams to markets in the Middle East has played a crucial role in building an international market for art from the region. They have also been essential in providing an international platform for [...] Read more.
The expansion of the British auction houses Christie’s, Sotheby’s and Bonhams to markets in the Middle East has played a crucial role in building an international market for art from the region. They have also been essential in providing an international platform for the sale of art from Iran, a country whose economy is otherwise isolated from global markets. In this paper, I address the growth of the market for Iranian art specifically via Christie’s auctions in Dubai. Through close analysis of auction catalogs, ethnographic data drawn from live auctions and interviews with key staff members, I document the emergence of Iranian art into the international arena and the solidification of both Iranian and Middle Eastern art as a distinct category of sales. In particular, I explore the notion of “seeing with the other eye”, a way that auction specialists nudge local collectors into the arena of “international” taste. Through analysis of the particular tropes used to narrate artist biographies in auction catalogs, I demonstrate how artists are painted as interpreters and translators of “local” and “global” aesthetic registers. Full article
(This article belongs to the Special Issue The Contemporary Art Market)
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