The evolving nature of commercial art fairs

Du Cros, HL

The evolving nature of commercial art fairs

Du Cros, HL

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Publisher:: Routledge
Publication Type:: Chapter
Citation:: Exhibitions, Trade Fairs and Industrial Events, 2018
Issue Date:: 2018

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Field	Value	Language
dc.contributor.author	Du Cros, HL https://orcid.org/0000-0002-4448-6095	en_US
dc.date.issued	2018	en_US
dc.identifier.citation	Exhibitions, Trade Fairs and Industrial Events, 2018	en_US
dc.identifier.isbn	1315415275	en_US
dc.identifier.isbn	9781315415277	en_US
dc.identifier.uri	http://hdl.handle.net/10453/133697
dc.description.abstract	Art fairs belong to the commercial side of visual arts, which offers high quality art for sale and viewing. Unlike auctions, the general public can see the art for the cost of a ticket. However, for the visual arts, the proliferation of international contemporary art fairs is the clearest evidence of the increasing importance of market structures in the art world. For city authorities, they are useful for attracting art tourists and others to a particular place. Originating in the 1960s, these fairs are becoming the commercial rivals of the great periodic exhibitions, such as the Venice Biennale International Art Exhibition. Accordingly, it has been found that private-sector arts events continue to evolve. A case study approach is applied in this chapter to highlight changes as the Hong Kong International Art Fair became Art Basel Hong Kong in 2013 and afterwards. This evolution is investigated in detail; for example, the event experience offered, the use made of public lectures, and industry networking and cross-cultural discussions, whilst ascertaining whether there is a role for an associated digital event to play in building the event’s popularity and selling art.	en_US
dc.publisher	Routledge	en_US
dc.relation.ispartof	Exhibitions, Trade Fairs and Industrial Events	en_US
dc.title	The evolving nature of commercial art fairs	en_US
dc.type	Chapter
utslib.location	UK	en_US
utslib.for	1905 Visual Arts and Crafts	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Business
utslib.copyright.status	closed_access
pubs.consider-herdc	true	en_US
pubs.place-of-publication	UK	en_US
pubs.publication-status	Published	en_US

Abstract:

Art fairs belong to the commercial side of visual arts, which offers high quality art for sale and viewing. Unlike auctions, the general public can see the art for the cost of a ticket. However, for the visual arts, the proliferation of international contemporary art fairs is the clearest evidence of the increasing importance of market structures in the art world. For city authorities, they are useful for attracting art tourists and others to a particular place. Originating in the 1960s, these fairs are becoming the commercial rivals of the great periodic exhibitions, such as the Venice Biennale International Art Exhibition. Accordingly, it has been found that private-sector arts events continue to evolve. A case study approach is applied in this chapter to highlight changes as the Hong Kong International Art Fair became Art Basel Hong Kong in 2013 and afterwards. This evolution is investigated in detail; for example, the event experience offered, the use made of public lectures, and industry networking and cross-cultural discussions, whilst ascertaining whether there is a role for an associated digital event to play in building the event’s popularity and selling art.

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http://hdl.handle.net/10453/133697