Iain Robertson - Böcker

This groundbreaking 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.

This groundbreaking 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.

By the time you read this book, the art world may have witnessed the sale of its first $500 million painting. Whilst for some people money is anathema to art this is clearly a wealthy international industry, and a market with its own conventions and pressures. Drawing on the vast experience of Sotheby’s Institute of Art, The Art Business exposes the realities of the commercial trade in fine art and antiques. Attention is devoted to the role of auction houses, commercial galleries and art museums as key institutions, with the text divided into four thematic sections covering: technical and structural elements of the art marketcultural policy and management in art businessregulatory legal and ethical issues in the art worldthe views, through interviews, of leading art market experts.This book provides a thorough examination of contemporary issues in the art business, and the mechanisms and influences which underpin its evolution. It is essential reading for students of art history or international business, or anyone with an interest in pursuing a career in this area.

By the time you read this book, the art world may have witnessed the sale of its first $500 million painting. Whilst for some people money is anathema to art this is clearly a wealthy international industry, and a market with its own conventions and pressures. Drawing on the vast experience of Sotheby’s Institute of Art, The Art Business exposes the realities of the commercial trade in fine art and antiques. Attention is devoted to the role of auction houses, commercial galleries and art museums as key institutions, with the text divided into four thematic sections covering: technical and structural elements of the art marketcultural policy and management in art businessregulatory legal and ethical issues in the art worldthe views, through interviews, of leading art market experts.This book provides a thorough examination of contemporary issues in the art business, and the mechanisms and influences which underpin its evolution. It is essential reading for students of art history or international business, or anyone with an interest in pursuing a career in this area.

The global art market has recently been valued at close to $50bn - a rise of over 60% since the global financial crisis. These figures are driven by demand from China and other emerging markets, as well as the growing phenomenon of the artist bypassing dealers as a market force in his/her own right.This new textbook integrates, updates and enhances the popular aspects of two well-regarded texts - Understanding International Arts Markets and The Art Business. Topics covered include:Emerging markets in China,East Asian, South East Asian, Brazilian, Russian, Islamic and Indian art,Art valuation and investment,Museums and the cultural sector.This revitalized new textbook will continue to be essential reading for students on courses such as arts management, arts marketing, arts business, cultural economics, the sociology of arts, and cultural policy.

The global art market has recently been valued at close to $50bn - a rise of over 60% since the global financial crisis. These figures are driven by demand from China and other emerging markets, as well as the growing phenomenon of the artist bypassing dealers as a market force in his/her own right.This new textbook integrates, updates and enhances the popular aspects of two well-regarded texts - Understanding International Arts Markets and The Art Business. Topics covered include:Emerging markets in China,East Asian, South East Asian, Brazilian, Russian, Islamic and Indian art,Art valuation and investment,Museums and the cultural sector.This revitalized new textbook will continue to be essential reading for students on courses such as arts management, arts marketing, arts business, cultural economics, the sociology of arts, and cultural policy.

This book investigates the selection process of heritagisation to understand what specific pasts are being selected or rejected for representation, who is selecting them, how and to whom they are being represented and why they are being presented, or dismissed, in the ways that they are. Some aspects of our pasts are venerated and memorialised for a variety of reasons, while others are forgotten or even hidden. This volume, thus, provides examples from across a spectrum. Some phenomena are well-suited to heritagisation, such as animals memorialised for their bravery, long past agricultural techniques and implements, and impressive landscapes. However, this book also deals with products (e.g. tobacco), historical periods (e.g. the Third Reich) and scientific techniques (e.g. genetic modification) with negative connotations that extend beyond their heritage attributes. This volume considers how the actors in the heritage industry admit, valorise, prioritise and rationalise historic resources as heritage products. These findings provide practical examples of how heritage institutions privilege, frame and/or exclude a wide range of heritage items. They also contrast the invocations of sectional (local, national or class based) and more cosmopolitan heritages and consider the extent to which innovation and change are or can be acknowledged within the heritage discourse.

This book investigates the selection process of heritagisation to understand what specific pasts are being selected or rejected for representation, who is selecting them, how and to whom they are being represented and why they are being presented, or dismissed, in the ways that they are. Some aspects of our pasts are venerated and memorialised for a variety of reasons, while others are forgotten or even hidden. This volume, thus, provides examples from across a spectrum. Some phenomena are well-suited to heritagisation, such as animals memorialised for their bravery, long past agricultural techniques and implements, and impressive landscapes. However, this book also deals with products (e.g. tobacco), historical periods (e.g. the Third Reich) and scientific techniques (e.g. genetic modification) with negative connotations that extend beyond their heritage attributes. This volume considers how the actors in the heritage industry admit, valorise, prioritise and rationalise historic resources as heritage products. These findings provide practical examples of how heritage institutions privilege, frame and/or exclude a wide range of heritage items. They also contrast the invocations of sectional (local, national or class based) and more cosmopolitan heritages and consider the extent to which innovation and change are or can be acknowledged within the heritage discourse.

The art market is worth billions globally, despite the effects of the Covid-19 health pandemic. This book brings together a strong cast of contributors to explore contemporary and historical themes.Readers of the book will gain awareness of how historical foundations of arts markets continue to impact on contemporary global developments, while transformational digital technology shakes up the art world. With new insights into emerging arts markets, the book also covers themes and phenomena such as NFTs, secrecy, platforms, and financialization in the arts.The result is a book that will prove valuable reading for scholars involved in art markets studies.

A rich and playful resource for fostering creativity in the classroomThe product of over three decades of teaching design studios and creativity seminars primarily at the University of Washington, Cultivating Creativity offers firsthand, on-the-ground accounts of encouraging creative expression in the classroom. In this lively book, course instructors will find a wealth of creativity-awakening exercises and strategies that can be adapted to suit a variety of disciplines. More than a practical guide, this book uses a combination of playful design, full-color illustrations, participant reflections, and pedagogical reflection to encourage innovation. Readers can turn to the "Who, What, Where, How, and Why" chapters for guidance on developing exercises of their own, or flip to any page for a dose of inspiration before their next creative project. Today's world is filled with nations, businesses, venture capitalists, and institutions of higher education in hot pursuit of "innovation." Cultivating Creativity offers up new strategies for finding it and invites each reader to continue their search in a way only they can.

*THE MUST-READ BOOK FOR THE UPCOMING OASIS REUNION TOUR*'Deserves to stay on the bestseller lists for a long time to come' - Caitlin Moran'Brilliant' - NMEOasis were a band like bands used to be. Hard-drinking and substance abusing. If they liked you, they loved you. If they didn't, you had to be prepared for confrontation.Iain Robertson is used to tough jobs - after retiring from the Parachute Regiment, he took on jobs guarding George Harrison, Gary Moore and Johnny Rotten. But keeping Oasis on the rails after debut album Definitely Maybe ignited their rise toward global superstardom would be the toughest gig of them all. Oasis would explode into public consciousness and have the world at their feet in the wake of their epic first album and a huge world tour. Iain was side-by-side as their road manager and minder, twenty-four hours a day, eight days a week, as they took on the world and won. No one was closer. Now updated with new unpublished material to celebrate the thirty year anniversary of Definitely Maybe and ahead of their upcoming reunion tour, this story is the defining chronicle of life on tour with Oasis.