Globalisation of Contemporary Art: Critical Analysis of Western Art Market in Amsterdam and Berlin

This report critically analyses the globalisation of contemporary art, with a focus on the Western art market in Amsterdam and Berlin. The report discusses the traditional and modern markets of contemporary art and how it becomes globalised in a business environment. The report highlights the dominance of American and European artists in Amsterdam and Berlin galleries, and the importance of face-to-face interactions between artists and dealers in establishing trusting relationships. The report concludes that marketing of art in European art capitals is necessary for globalising art.

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Table of Contents
INTRODUCTION......................................................................................................................3
MAIN BODY.............................................................................................................................3
Critical analysis......................................................................................................................3
CONCLUSION..........................................................................................................................6
REFERENCES...........................................................................................................................7
Books and Journals:...............................................................................................................7

INTRODUCTION
Globalisation is the term that is related to the trade relationships between countries in
which countries are allowed to do trading not only in their home country but also in other
countries as well. This report aims to critically analyse the article on the globalisation of the
market for contemporary art. There will be a discussion of the Western art market which is
now globalized in Amsterdam and Berlin. It is found that localise remains dominant and
Amsterdam and Berlin. This critical analysis of the literature shows a strong bias toward both
Amsterdam and the burning gallery (Park, 2020). This critical analysis will be presented in
the form of an essay in which all the traditional and modern markets of contemporary art will
be discussed and how it becomes globalised in a business environment.
MAIN BODY
Critical analysis
It Becomes necessary to understand globalisation is increasing every day and that's
why the success and growth of organisations are increasing. It is necessary to understand that
the containers will obligation increase the chances of business which helps organisations to
increase the profitability and sales of the company (Lee, Fraser and Fillis, 2018). It is not
limited to goods and services but globalization is also increasing with contemporary art as
well. There is a case study which represents that how contemporary art is become globalised
and found to be a western ties dominant position in Amsterdam and Berlin. Contemporary art
is found to be important in the 21st century as it is the art of today that was produced in the
second half of the 20th century or 21st century. Today's contemporary artists are found to
work in the global economy and they are influenced globally by cultural diversity and
Technology advancement. Globalization is providing a direct or indirect impact on
contemporary art as it brings all the practices which have diverse cultural heritage, and social
and political contexts. It becomes difficult for sustaining the Western modernist notions of art
with the ideas of history and universal formal language. It is identified that there is a
discussion of an article that helps to show the Western art market which is now globalized in
Amsterdam and Berlin.
According to the article, the art gallery has a most outside of the traditional centres of
the art market in 1990 in the US and Europe. This was the time when global chromos in art is
found to become important. In that period, it is found that consumers, producers and
distributors have faced issues of physical distance. It is identified that there was a continuous

increase in cross-product traffic of art, institutions and artist not on them in traditional centres
but also peripheral reasons such as Latin America and Asia. There is a positive impact of
globalisation on art galleries. But it is found that the participation of art galleries is limited to
the international art fairs. The researcher used both quantitative as well as qualitative data for
the sister day which was found to be important and effective in order to get the right
information related to the globalisation of contemporary art.
The quantitative data which was collected by the researcher with the help of
artfacts.net, provided information about the artist and exhibitions including museums and
articles in all over 169 countries. The researcher uses this website because it contains all the
data related to The artist and exhibitions as it is a commercial data provider which was
established in 2001. It is analysed that this data becomes very beneficial for a researcher as
they are able to invest gate the art galleries and analyse which area is globalised for
contemporary art. If the researcher was not used any such type of website and how they will
collect the data related to the art institutions and art galleries (Whyte, 2020). There was a list
that was compiled of all art galleries of Amsterdam with the help of the artfacts.net website.
In the discussion of quantitative data, it is analysed that there was a dominance of
American artists in Berlin and Amsterdam. It is identified that America stands third in
Amsterdam and stands second in Berlin. It is found in Berlin that all countries are included in
the list of Organisation for Economic Co-operation and Development. There are very few
artists are found in Amsterdam and Berlin of Latic America and Africa. But Asia is found to
be in the second position after Europe.
In this article, there is a discussion of culture versus power differences. It is identified
that there is a discussion of two models of cultural globalisation which helps to explain the
dominance of a small number of Western countries in Amsterdam and Berlin. It is found that
the first model is the cultural affinity model which focused on the diffusion process of goods
and services. It is used that this model is depending on the cultural affinities between
consumers and producers of cultural goods (Bolaki, 2020). It is identified that this model is
used for the purpose of explaining American television series. Result cultural model is also
used in Hollywood movies in order to appreciate in the show the extent of non-Western
regions and Europe. As per this model, it is identified that non-Western regions are failed in
the selling of art in the West. It is identified that this model explains the strong presence of
diligent artists and galleries in Amsterdam.

The second model was a rival explanation that see a dominant position of European
and American artists in Berlin and Amsterdam galleries. It is analysed that cultural
globalisation is focused on Americanisation or westernization. This model explains why
American artist ranks third in second in Amsterdam and Berlin galleries.
It is identified that there is a home bias of Berlin and Amsterdam galleries. It is not
based on power differences in culture but it is found that this home business is based on
organisation practices, a role model of actors and institutional specificities within the market.
There are some barriers found in which the first barrier is related to search processes the
globalisation.
It is analysed that the art market is found to be another example in which globalisation
does not result in deterritorialization. It is identified in this article that physical distance is
important. It is argued that recent media represent the art market in which they show a multi-
million-dollar work of Indian and Chinese artists (Jacob, 2018). There are also found newly
rich collectors from Russia that put their at work the auction and established a western art
institution. The Western art institution’s name was the Louvre and the Guggenheim Museum.
It is identified that there is a discussion of nationality in contemporary art. It is identified that
Amsterdam and Berlin claimed this record nationality and that's why they need to focus on
quality when the selection of artists.
It is identified that starting a gallery is necessary that artists and dealers are not
inexperienced and they need to interact on the basis of stable routines. Trust is very important
between them and this can be possible with the help of face-to-face interactions. So in order
to establish a trusting relationship between artists and dealers, it is crucial to establish some
face to face interaction meetings (Sandu, 2021). This will help them to clear out all the
necessary doubts and information. Simply they need to make a small group or establish a
small group that includes some consecrated a dealer who is able to allocate the financial
resources and also focus on global networks of curators and collectors. It is analysed that this
is really helpful for establishing galleries that are able to actively participate in the global
market. It is analysed that for running a gallery, dealers and local support systems are playing
a very important role as they can select artists and make a trusting relationship between them
which helps to reduce or overcome the help barriers of global orientation.

CONCLUSION
It can be concluded from the discussion of this article that globalisation is increasing
in the contemporary art market as well. It is found that this study does not deny that non-
Western and western regions are greater extent in the global art world as it becoming an
important part. According to the quantitative and qualitative data from artfacts.net it is
suggested that this process becomes best only when the initial stage was effectively promoted
to the non-Western artist. It is also analysed that marketing of art in European art capital is
necessary then only they can globalise their art. It is identified that Amsterdam and bowling
art galleries are chosen for representing the artist who are born in Germany and the
Netherlands. This is research that was conducted for evaluating the extent to of non-Western
countries such as India, Russia China recently integrated their global art in the world.

REFERENCES
Books and Journals:
Bolaki, S., 2020. Contemporary Artists’ Books and the Intimate Aesthetics of
Illness. Journal of Medical Humanities, 41(1), pp.21-39.
Jacob, M.J., 2018. Dewey for artists. In Dewey for Artists. University of Chicago Press.
Lee, B., Fraser, I. and Fillis, I., 2018. Creative futures for new contemporary artists:
Opportunities and barriers. International Journal of Arts Management, pp.9-19.
Park, C., 2020. Art Is My Language: A Study of Artworks Created by Contemporary Artists
with Mental Conditions (Doctoral dissertation, California State University,
Fullerton).
Sandu, B.M., 2021. Discovery of the British popular culture through four contemporary
artists. CIVAE 2021, 2021(3rd), p.87.
Whyte, M., 2020. At the Addison, Contemporary Artists Push Back on Traditional
Mapmaking. Boston Globe, 17.