Publication Type: Conference Paper/Unpublished Manuscript
Abstract: Recent sociological studies on art market and art world showed the importance of genres, status, and identity of galleries in both domains. Based on recent ecological approach and economic sociology on markets, I examined the following question on the New York fine art photography-based galleries. First, what are the distribution of genres in New York art galleries that include photography in their portfolio? Second, what are the pattern of diversification of galleries in terms of genres? Also, what are the proportion of generalists and specialists organizations among these galleries? Third, what are the relationship between organizational characteristics such as organizational age or region and the diversification of galleries? Fourth, what is a longitudinal pattern of diversification? Have non-photography galleries initiated their diversification into photography or have photography galleries moved first towards other genres? What are the driving forces of diversification of photography galleries? Finally, what are the relationship between status and niche width? Is there a positive or negative correlation? What is the logic behind such correlations? In the analysis, I showed that there was a substantial degree of cross-pollination between different genres such as photography, paintings, and sculpture. Also, the New York art galleries presented a strong relationship between geographical location of galleries and their characteristics in the level and nature of genre diversification. Using a MDS analysis of affiliation networks of galleries and genres respectively, I investigated relative distances between genres and the distribution of generalist galleries with a wide scope of genres and specialist galleries. I also discussed the factors that would result in mixing or cross pollination between photography and other genres through galleries’ strategies. As such factors, I presented the collective enhancement of the status of fine art photography within contemporary art world, corresponding interests of collectors from other contemporary art genres, the multi-medium orientation of contemporary artists, and, finally, the rise of photography art auctions and art fairs as a new type of markets for photography.

Publication Type: Conference Paper/Unpublished Manuscript
Abstract: Although tattoos now are often viewed as art, the potential negative implications of the general public’s acceptance of tattoos as art have not been addressed. Observations, interviews, and my experience are examined to develop an understanding of how non-tattooed members of the public interact with people with tattoos. The study reveals that non-tattooed people who view tattoos as fine art often do not acknowledge the living body on which the body art is placed.

Publication Type: Traditional Presentation
Abstract: The International Crane Foundation’s Children's International Art Exchange education program helps promote understanding among students of different cultures, and shares the beauty of cranes and the value of healthy ecosystems needed to sustain people and wildlife.

Publication Type: Conference Paper/Unpublished Manuscript
Review Method: Peer Reviewed
Abstract: The internationalization of contemporary art is not new; what is new is the constitution of a global or worldwide art market, which is organized with two poles: the USA and Europe (mainly Germany, but also Great Britain, Italy, Switzerland and France at a minor level). Considering the art market, the artistic capitals are New York and London for auctions, but also, for art fairs, Basel and, at a minor level, New York, Chicago, Berlin, Cologne, Paris, and Madrid. On one hand, there is thus, at the international level, a high degree of centralization, and on the other hand, a diversity of art worlds and a fragmentation of the art market. The articulation of largely national artistic field (in terms of notoriety or symbolic capital), the art market (economic capital) and the networks (social capital) is becoming more complex. The internationalization of art is based on both the international network of cultural institutions (museums, biennals, etc.) and the international network of galleries and auction houses (Christie's and Sotheby's, international fairs). In our paper, we will analyze the development and function of the international fairs during the last twenty-five years, and we will study more specifically the "strategies of internationalization" of American, Canadian and French contemporary art galleries, and their participation to international art fairs.

Publication Type: Conference Paper/Unpublished Manuscript
Review Method: Peer Reviewed
Abstract: Arts and culture are powerful tools in the economic and cultural development of public spaces. Numerous economic impact studies have shown that the arts can have a strong positive influence on the development and revitalization of downtown areas, as well as contributing to the tax revenue base, the public image of an area and the business and cultural diversity in a community. Consequently, an economic impact evaluation is an important tool for highlighting the continued success and positive effects of the arts in any given area. This study represents information from 34 cultural organizations located in Duval County, Florida. The results were collected from March 2003 through July 2003 and represent each organization’s most recently completed fiscal year