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

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 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.

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