جستجوی مقالات مرتبط با کلیدواژه « اقتصاد هنر » در نشریات گروه « هنر و معماری »

Art has a special place and plays a significant and practical role in the development of cultural societies. Hence, the economics of art, especially fine arts, is one of the main drivers of artistic activities. The studied topic (art economy) is basically a young and new topic that has been raised in our country; therefore, it is necessary to deal with it comprehensively and to identify its capacities and to implement its results. Although less money is spent in the production of visual arts, they still command high and sometimes unbelievable amounts in the art market. This is one of the issues that shows the economy of this type of art more than other art fields. However, several elements are involved in valuing an artwork, such as the historical identity, reputation, style, and nationality of the artist, but if we want to ignore the author in this category as art criticism, we can point to other options such as critics, brokers, consultants and galleries. In the meantime, we cannot ignore the effect of the passage of time, because sometimes the time gap makes the work better seen. Since the structural characteristics of art make it indirectly related to the economy, the price of a painting or sculpture cannot be estimated in any of the production stages. Sometimes, according to people like Marcel Duchamp, it fights against the commercialization and reproduction of art in order to preserve its independent nature. The structural nature of art, despite all the changes and evolutions of styles in the visual arts, seems to be constant, and the modernization and post modernization of art have not been able to transform it, because according to the systemic theory, the structure determines the function and the structure of art always has an expectation which is the continuation of the life of art. Expectation is the same function that does not allow a work of art to become an economic commodity by maintaining the exceptional aspects of the economy of art, and this happens more than anything in the economy of visual arts. The present study while seeking to develop an active and functional relationship between art and economy, studies the research questions in terms of the economic situation of visual artists in Golestan province and after pathology, seeks and proposes solutions to improve it. The research method was mixed (qualitative and quantitative). The current research was conducted using a library and field method. The necessary data were collected from library and internet databases and in the field method through questionnaires and interviews. The statistical population of the present study included 3 categories: a) experts in the field of economics and entrepreneurship; b) Famous and skilled artists in the field of visual arts (painting, graphics, calligraphy and painting); c) Policymakers in the field of art. To do this, 10 people are selectively selected from each of the first, second and the third categories; a total of 30 people were considered. Delphi technique was used to analyze the data in the qualitative part to identify the damages and solutions to improve them. In the quantitative part, according to the opinion of experts and using the AHP technique, the prioritization of damages and solutions for their improvement were discussed. The geographical scope of the current research was Golestan province and the research timespan was 2018 to 2019. Findings showed that among the damages of art economy in Golestan province, factors of government, artists, media, society and economic activists are from the first to the fifth place. Sub-cases of each factor show that for artists the factor of decline in the quality level of art due to commercialization, for the government the factor of insufficient government support and incentive policies, for economic actors the factor of the absence of art guilds and financial dependence on the government, for the media the factor of lack of the spread of culture and art, for the society absence of art in the society's basket of expenses, and for the economic activists the absence of art guilds and financial dependence on the government are in the first place. In the continuation, the strategies for improving the damages of art economy were identified from the point of view of experts and the relevant institution for the implementation of that strategy was also identified. As a result, encouraging artists to create works that are relevant and appropriate to the needs and cultural and climatic dimensions of the society, improving the literacy of artists in the field of economic components of art; creating bazaars and cultural and art fairs and holding provincial auctions at the national and international levels; and the implementation of the plan to purchase and order cultural and artistic works and goods in government institutions are among the important strategies to improve the conditions of the art economy in Golestan province.

The Tehran auction is one of the most important events related to Iran's art economy. In this research, in order to achieve a suitable and practical model for artists and art investors, the characteristics of the works and artists present in the 15th Tehran auction have been analyzed. This research is based on the purpose of the applied-practical type and the method is the descriptive-analytical type. By classifying the data, which included 72 works from 56 artists, ten main factors were investigated. These factors include the age of the artist, whether he is still alive, his signature, dimensions, shape, materials, context of the work, year of production and previous history of the work and its sale price based on the estimate of the auction organizers. The result is that the majority of the artists of the Tehran auction are veterans, and out of 56 artists, only 29 are alive and 27 have died. According to the statistics, 39 of the 72 works have had a brilliant previous history. The ideal dimensions of the works are 50 to 200 cm, and the predominant work field is fabric and rectangular canvases. The works of oil paint and mixed materials are the most numerous, and the works of multi-layers are limited. Also, all the works have signatures and 78% of the works were sold within the estimated price range from the Tehran auction and the remaining 22% of them were sold above the estimated auction price.

In recent economic years, the category of "art economy" has a special and cultural place in studies that hold that economy and art can coexist and that art economy considers art with economic results. This research aimed to study the development of art economics (with an emphasis on performing arts) through a descriptive-analytical and library method. The findings show that, in today's highly competitive cultural world, arts can maintain and develop their survival, and have positive effects and are profitable, though they face many challenges. The most important challenges facing the economy of art were identified to be (a) fanatical idealistic view of art and artist in culture and society and architect from managing the economy in the field of art, (b) government intervention in the economy of art, (c) concern about the instrumentalist view of art, and (d) material valuation of works of art. Moreover, concerning the specific factors that affect the development of the economy of art, especially in the theater, the findings show that these factors have an effect on the economy of art including: Special attention to artistic products (primary material), attention to production costs, attention to the distribution and type of audience, attracting private investment, and attention to the presence of the government.

In the sociology of art, by looking at artworks from the outside important aspects of their production, distribution and reception are revealed. In the other hand, one of the best methods to study various subjects related to cultural productions is to study how they are represented in the media and cinema. Cinema is the most important art of the contemporary world that in which the reflections of many cultural and social issues can be studied. Thus, by studying the method of reflecting the sociological dimensions of the Persian carpet phenomenon in the art of cinema, it is possible to achieve a true recognition of the situation and status of handmade carpets in the cultural and social spheres of contemporary Iran. The purpose of this paper is to study how the sociological dimensions of handmade carpets were represented in the movie "Persian Carpet", which was made in 2006 as a collection of 15 short films by 15 prominent Iranian filmmakers. The main purpose of this research was to know the image and composition that was reflected in the sociological dimensions of Persian handmade carpets in the film "Iranian Carpet" as an outstanding film in this field. Research is based on theoretical opinions of Victoria Alexander (Cultural Diamond) and Nathalie Heinich (Mediation) and the methods of data collection were observing the mentioned film, and studying the printed texts and also Internet. The type of research is descriptive-analytical and the method of analysis is qualitative. The results obtained in this study showed that the sociological aspects of hand-woven carpets were not adequately represented in this film and only in four of the 15 episodes, a good emphasis was observed on this field.  In contrast, there was observed a lot of attention to the aesthetical attractions as well as cultural and identity dimensions of handmade carpets. Moreover, in four films focusing on sociological issues, while all four elements including production, mediation, distribution and consumption have received necessary emphasis, more attention was paid to the field of production and mediation, and less attention was paid to the field of distribution and consumption. Finally, in the field of consumption, the focus was on global consumption.

In this survey the position of figurative painting in Iran’s contemporary art economy is studied with statistical population of Tehran’s auction. Despite the fact that the economy of art has always been denied by the artists, patronage is the most contributing factor that forms and maintains all the art movements through ages. On the other hand, figurative painting in Persian contemporary art has always competed with abstract paintings, calligraphy and miniatures to find purchasers as the foreign purchasers are more interested to buy calligraphy and miniatures. In this research, we have tried to find out how is the figurative painting’s position in the art economy with the case study of financial transactions in the national market, how they worth aesthetically and in which way are they created to satisfy the market or serve the needs of aesthetic. The main reason of conducting this documentary research is to discover the influence of the national market on the Persian figurative painting movement. The result is, according to accumulated data, among all 841 artworks which were sold in Tehran’s auction, only 60 of them are included as figurative paintings with aforementioned defined features in this survey, it is noteworthy to mention that only 10 percent of all transactions are allocated to such paintings. The highest sales were in December 2016 with total amount of 879 million IRR.  Finally it is concluded that figurative paintings occupy only 10 percent of the whole volume of financial transactions so it can be said that the figurative painting’s place is not secured in the national market. We should mention that in early auctions most of the artworks which were chosen, had the features of market’s values but gradually it improved and due to governmental subsidization it is anticipated that the quality of sold artworks in national market will have a significant impact on the maintenance  of figurative painting in future. Supplementary to this, the most expensive sold artworks have no market oriented features; this means that those artworks which have academically aesthetic values attract more purchasers so their market value is higher. This is a sign of the increasing tendency to this form of art. Despite this, the figurative painting has only 2 percent share in all transactions and according to abundance they are only 10 percent of all sold works of art. This indicates that, figurative painting has not yet secured its place in economic transactions. Figurative painting of Iran has already been surveyed by many researchers but its economic position which is the main purpose of this research, has never been studied before. The subject-related essays are “The mechanism of artworks pricing and determining pricing group in Tehran auction” by Mohammadjavad Mohammadi and  Mohammadreza,Moridi in A symposium of Iran’s art economy book, “Contributing factors in evolution of art economy process” by Samaneh Mohammadi in Pajoheshe-Honar research journal, “Processes, trends and perspectives of art economy” by Lotfali Agheli in A symposium of Iran’s art economy book and “An Introduction to the structure and logic of the visual arts” by Hamidreza Sheshjavani. Another research which is related to contemporary art is “A comparison of the viws of Ziapour and Greenberg of the concept of modern painting” conducted by Reza Rafie Rad and Alireza Akrami Hasan Kiyadeh in Alzahra research journal of graphic arts and painting. The research method is analytical and resources used were documentary. Statistical population was Tehran auction with the target group of sold artworks since 1978 by non-random and judgmental sampling approach.  The way of data analyzing was inductive reasoning.

In the process of creating and presenting artworks, the economy of art has been always a challenging issue. In this respect, some advocate the idea of marketing artworks which is more commonly known as art expos. Playing the role of the link between artists and clients (or patrons), art auctions both give credit to the quality of the artworks presented and make sure the clients of buying an artistically valuable artwork. In this regard, Tehran Art Expo is one of the best in Iran. Nevertheless, the extent to which Tehran Art Expo has had any impact on the Iranian artists is an issue which has not been studied in detail. In fact, what impact have the art auctions had on the Iranian artist and to what extent have they been motivated by holding national art expos are the main questions of the present study. Moridi and his colleagues (2009) showed in a research entitled the effective factors on the price of paintings presented in Tehran Art Galleries that, in terms of prices of the artworks being influenced, there is a significant relationship between aesthetic factors (such as style, technique, visual effects, etc.) and non-aesthetic factors (such as painters’ age and gender and the physical specifications of the artwork like size and the likes). Similarly, Ebrahimi and his colleagues (2015) in an investigation entitled the art economy and the weak points of Tehran Art Expo concluded that holding art expos, galleries and auctions helps the promotion of art economy considerably. Likewise, in a study entitled the influence of economy, culture and art on the Iranian contemporary paintings, Mobini and his colleagues (2015) showed that Tehran Art Expo’s focusing on visual arts has attracted investors in this field. Given that in the mentioned studies the factors motivating the artists, irrespective of the issue that the amateur artists are able to present their artworks in such expos/galleries/ auctions as well as the artists’ attitude towards the auctions, has not been examined. The present study aimed to examine the mentioned factors and to inspect the influence of holding auctions on the art economy.

Iranian painters had a closed and uncertain market in the late 1370’s, and the social conditions were not satisfying for emergence of an active art –however, after a while these conditions changed and improved. As the result, from Ordibehest 1384 ,big institutions such as Christies and Sotheby's established branches in the Middle East (Dubai) which paved the way for the Iranian and Arab artists. Iranian artists did well in this local market and got their position in international markets as well. This was the first huge step for the modern art of Iran. Certainly, Iranian artists’ participation in international markets in the early 21 century was significant, mainly in terms of sales. This auction has had a brilliant effect on the fate of Iranian artists and has linked them to international markets. Following that the presence of Iranian artists in the Middle East auctions began. Artists cannot easily participate in auctions, unless they have achieved the minimum requirements and the conditions for participation in the auctions. Individuals and institutions such as gallery owners and collectors, consultants, auction specialists, as well as other factors are to allow the works of art to be auctioned and give credit and role to artists. Therefore, economy and trade of the works of Iranian artists became an issue for governors. It is very important to pay attention to the questions such as: what are the causes of the success of Iranian artists in auctions? Which organizations and individuals were responsible for this participation and how? The purpose of this paper is to study the process of participation of Iranian contemporary painters in auctions. In this study the reasons for the Iranian artists’ success in terms of sales as well as the influence of people on this achievement (individuals and organizations (were explored. The descriptive and analytical methods have been used and data are collected from discovering interviews. The results show that artists participating in auctions were affected by four factors: cultural capital, social capital, economic capital and symbolic capital. These four factors can play different roles together and could make wealth in different combinations, but the best combination that could save the artists at the auction, gives them credit. It is first to know the cultural capital of the artist (for example, artist's background, creativity, intelligence and artistry, quality and variety in the artist's works), and the artist's social capital is absorbed (for example, the permanent and continuous presence of the artist in the art world, the artist's communication networks, the artist's character, the press attention, the taste of the agents of the auction, ...), then turn into symbolic capital (reputation). Finally, the combination of these capitals created economic capital. This kind of combination is a natural and correct process for participation in auctions. Artists can earn other combinations to achieve easier economic capital, but these capitals make a disproportionate combination which leads to the artist's failure in the next auction. Of course it may be that in a short period of time, obtaining the unreasonable emotional record of an auction, but that will not be permanent. Eight important groups considerably affect the cycle of art marketing: artists, inland gallery, dealer, inland counselors, external specialist, auction, external gallery and buyers. The most popular kind of participation of artists and artworks in auctions is through six categories of: artists, inland gallery, inland counselors, external specialist, auction and buyers.
The Iranian artists take part in sales events in two ways:1-Direct participating which is too difficult and lacks the guarantees.
2-Indirect participating that provides the guarantees and almost permanent participation. In the indirect participation method, there are many ways to get the artist's work to an auction, so that the artist himself may be unaware of his exposure to the auction. In this article, 17 types of participation are discussed. One of them is direct participation and the other 16 are indirect participation types. Of course, there are other paths that remain outside the scope of this article. Among these 17 indirect contributors to the auction, one is more conventional and well-known than the rest. In this research, the aim is to study the status and trends of the artist's presence from the first stage of production to selling it at auctions and determine what the current trend is and what is really going on

Tourists are somehow interested in traveling to witness events in mysterious lands. Event tourism has a central part in financial development of several cultures. Urban and folk musical events take place in various regions of Iran. However, the audiences of those events are mostly local people. In order to provide possibility of turning the local events to tourist attractions, several steps need to be taken. Every event tourism consists of three main essentials: time, place and audience. Designing and managing every package for event tourism is very much related to those three features. To have a successful event management we need first to look at the destination and its event from the point of view of visitors. It looks simple from first glance but the management of the details entailed in such events make every project a daunting task until the point that it is realized into action. That is why huge festivals need to be practiced on small scales before they take place on a larger scope. Activities that tourists expect to attend in music events are hugely varied. Some of the common activities music events include: attending concerts and musical performances, visiting with musicians, singers and bands, attending traditional workshops and ateliers of luthiers while they are making musical instruments, visiting the birth place of great musicians, visiting the graveyard of great musicians, visiting music museums, visiting houses and living places of great musicians, attending workshops and lectures of musicians, and participating in performing music and dance sessions with local musicians. Music events must meet several standards in order to succeed and have the chance of repeating such ideas in other occasions. Some of the most important essentials in such standards are: 1. Cooperation among various parts of city managements such as transports, hospitals and emergency centers, police
2. Managing dates in accordance to climate and national holidays
3. Providing audio visual packages of information and advertising the events in details
4. Designing additional attractions like bazaars and other side attractions for tourists
5. Considering a variety of preferences for tourists in regards to designing the events and programs in both the nature of performances and duration of events
6. Considering human rights and tourists’ rights
7. Considering the rights of artists and performers
8. Considering rights of residents and locals
9. Respecting the environment and nature of the destination
10. Respecting the families and children
11. Insurance for safety of visitors and locals
12. Accessing the information in a proper time and condition
13. Providing the facilities of feedbacks and comments.
Since the national state TV does not support music performances and showing musical instruments are prohibited in television programs, music tourism may open a new opportunity for Iranian people to attend musical events. Moreover, Iranians usually choose to travel around using their own cars. This habit provides a possibility of easily accessing any corner of the country and discovering musical events in any part of the country. Since the 1979 Islamic revolution, many of the country’s youths have had little of watching live musical events. Event tourism may provide a chance for relinking the younger generation to their musical and artistic aspects of their culture.

Economy and art are important parts of culture and civilization. Economic and artistic discourses encompass the similar components, such as rationality, creativity, technique and intuition. But, their priority is different. In the modern society is important their functional independence. Functional differentiation of systems is the nature of the modern society. Economic motivations are prevail over any other human activity, but artistic activities are an exception. Artist motivation is inner. Therefore, econmic motivation can not take effect in him/her. For this reason art economics is an exceptional economy. That's mean can not be estimated that how much has earnings an artist. This feature is found in visual arts as well. Prices in visual arts are dependent on several factors such as the name, style, historical identity and nationality of artists on one hand, and critics and dealars on the other hand, and most importantly sometims passing of time can be the most important factor. Sometimes interval can be the greatest of chance to broaden its aesthetic experience from an artwork as we have seen in Pollock’s works. The buyer of art is other than its audience. Then, a buyer enjoyed from its economic value but an audience enjoyed from artistic values. Of course artistic value can raise economic value, for example the discovery of fractal patterns Pollock’s works. However, one can not estimate in any stage of production of a paintinr or sculpture because it is that art structural features require that art dont put its hands in the hands of economy directly. The relationship maintains the independence of art. Art has always been to maintain its longtime respect is fought by artists such as Duchamp that created some of works against the commercialization and mechanical reproduction. Despite all the changes art system has not changed its nature of structural. The sturcture of art dont have a goal unless maintaining of the continuity of its life. Now persistence of exceptional aspects of the art economy does not allow an artwork becomes an economic object, and this more is realized in the exceptional economy of visual arts. This paper tries to express the conditions of encounter of art and economy in visual arts and their similaries and differences. There is growing international interest in the potential of the cultural and creative industries to drive sustainable development and create inclusive job opportunities. In these conditionsif art to be removed, then a large number of people get jobless. This means that art and economy are equally importatnt for society. The method of this research is description and analysis data that finaly show cultural productions can be defined as those whose major outputs have some symbolic value – such as fine arts, film and craft – but also possibly including jewellery design, publishing, advertising and fashion Cultural industries can be defined as those whose major outputs have some symbolic value – such as fine arts, film and craft – but also possibly including jewellery design, publishing and fashion which play an important economic role but not entirely subdued economy.