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The term disability poetics is often used to describe poetry that is simply about disability. Drawing from the concepts of against-access and cripping the arts, the present article explores the current limitations of disability poetics and suggests the implementation of visual arts accessibility practices as one path towards expanding the notion of what disability poetics can encapsulate. The article then introduces an excerpt from the author's book Hardly Creatures (Tin House, 2025), a collection of poems that uses the metaphorical form of an accessible art gallery to make its own attempt at translating the aforementioned visual arts accessibility practices across disciplines into poetic practice. [ABSTRACT FROM AUTHOR]

In 1828 preparations were being made for the opening of the first public museum in Spain: the Royal Prado Museum. Along with the placement of the works of art and the control of their security, visitors were an essential part of the organisation of the establishment. Although the valued role of museums as democratisers of culture has been emphasised, more recent studies have observed that the first visitors to European museums were not from all social strata. This article aims to analyse the public museum as an arena of sociability and to investigate the involvement of social elites in both the control of access and the imposition of behavioural models within these "temples of the arts.” For this reason, this paper approaches the debate around the concept of citizenship. On the one hand, it explores the gradual opening of museums to all social classes and the social debates surrounding it. On the other hand, it analyses the use of the museum as a space of symbolic battle for the appropriation of these scenarios and the creation of exclusion dynamics to limit interactions between social classes. Therefore, the text analyses, among other sources of analysis, the body language of visitors. An object of study that has been understudied but which can offer us interesting answers.

IntroductionThis study investigates the relationship between ceiling height and emotional responses in art galleries, using editable 360-degree VR panoramic scenes. Prior research has explored the influence of spatial dimensions on general emotions, but the specific impact of ceiling height in art gallery settings, particularly on discrete emotions, remains understudied.MethodsThe study utilized 360-degree panoramic photo scene modeling to modify ceiling heights within virtual art galleries, assessing emotional responses through self-report measures. Participants were presented with virtual art gallery environments featuring varying ceiling heights. Two studies were conducted: Study 1 involved absolute emotion rating across different ceiling heights, and Study 2 focused on selecting ceiling heights based on assigned emotions.ResultsThe data revealed that ceiling height significantly impacts specific emotions, notably disgust and joy. Lower ceiling heights generally evoked higher levels of fear and anger, while higher ceiling heights were associated with increased joy. The impact on other emotions like sadness, surprise, and disgust was more nuanced and varied across different ceiling heights.DiscussionThe findings highlight a complex relationship between ceiling height and emotional responses in art galleries. The study demonstrates the efficacy of using editable 360-degree VR panoramic scenes in environmental psychology and architecture research, offering insights into how spatial dimensions influence emotional experiences in architectural settings.

Wilhelm Bode and the Art Market: Connoisseurship, Networking and Control of the Marketplace brings together an introduction and nine essays on the life, activities and impact of German art historian and museum curator Wilhelm [von] Bode (1845-1929). Building on the discussions held at a 2018 conference, these papers broaden the analysis of Bode’s work beyond the usual geographical and artistic foci, contributing to a deeper understanding of his relationships with a wide network of dealers, museum professionals, collectors and intermediaries.

Copyright of Zarqa Journal for Research & Studies in Humanities is the property of Zarqa Journal for Research & Studies in Humanities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

While emerging literature explores how organizations engage with the past, investigations of how complex relationships to the past influence mobilizing multiple forms of historical representation in practice remain scarce. The current study examines different relationships to the past to shed light on how their complex and at times contradictory connotations relates to the use of multimodal historical cues in organizational practices, based on a qualitative study of art galleries in downtown Tehran, Iran. We describe how fondness for, aversion to and conflicted relationships with the past coexist, and how and why actors use diverse historical cues to express these diverse relationships in practice. We add to current understandings of organizational uses of the past by offering insights into how and why organizations actively evoke and manage positive, negative, and conflicted relationships to the past, and how these relationships draw upon diverse discursive and non-discursive supports to organizational practices aiming at different yet complementary goals. [ABSTRACT FROM AUTHOR]

Activists in Los Angeles’ Boyle Heights neighborhood have targeted art galleries as a way to protest the area’s gentrification, while Detroit artist Tyree Guyton has drawn praise for his use of connections with local art galleries to broaden the economic impact of his Heidelberg Project. Why were art galleries criticized for their role in gentrifying Los Angeles, while an arts organization in Detroit was lauded for the way it directed capital investment into a disinvested area of the city? To fully understand the relationship between art and capital in an urban context, one must analyze the specific ways in which art brings capital into a neighborhood within the context of the historic, economic, and the policies that shape neighborhood dynamics. Art is often a metonym for capital, and these case studies demonstrate how the symbolic function of the arts can obscure the precise relationships between art and real estate investment.

Activists in Los Angeles’ Boyle Heights neighborhood have targeted art galleries as a way to protest the area’s gentrification, while Detroit artist Tyree Guyton has drawn praise for his use of connections with local art galleries to broaden the economic impact of his Heidelberg Project. Why were art galleries criticized for their role in gentrifying Los Angeles, while an arts organization in Detroit was lauded for the way it directed capital investment into a disinvested area of the city? To fully understand the relationship between art and capital in an urban context, one must analyze the specific ways in which art brings capital into a neighborhood within the context of the historic, economic, and the policies that shape neighborhood dynamics. Art is often a metonym for capital, and these case studies demonstrate how the symbolic function of the arts can obscure the precise relationships between art and real estate investment. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In her research about the museum ecosystem, Jung (2011) explored the links between art galleries and the wider society they aim to serve. However, this ecosystem theory did not delve into notions of power or authority within the museum institution. Whilst scholars have investigated the nature of museums as a source of power/knowledge, there is no similar in-depth analysis of the impact of this social power on curatorial practices. This special issue aims to shed light on the often overlooked but significant power dynamics taking place within the walls of the museum, with a focus on the British art institutional context. Through a series of case studies, the contributors investigate and deconstruct the relationship between curators and their institutions in a range of periods, art forms, circumstances and locations within the UK. Together, the articles offer a critical analysis of the strategies put in place by curators within their institutional structures, shaping their interactions with artists, colleagues, critics, connoisseurs, private collectors, commercial art galleries and public funders. The contributions move away from the opposition between an artistic centre and a periphery, to instead consider the constellation of practices making up the British curatorial scene and its intersection with a globalised art world. [ABSTRACT FROM AUTHOR]

Arts and journalism enterprises may serve as effective economic development tools for small cities and neighborhoods. The author demonstrates how a new, for-profit, weekly newspaper serving a Minnesota city of 12,000 residents in a county of 36,000 has diversified and energized a depopulated downtown and surrounding region. Through powerful investigative reporting and by investing in and hosting exhibits by area artists, the newspaper has attracted new businesses into adjacent unoccupied retail spaces. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cultural tourism is a fast growing sector in Africa, with many museums and art galleries offering cultural experiences. South Africa, with a large array of cultural products, is actively promoting cultural tourism due to its ability to foster local economic growth and job creation. One such locality in dire need of economic growth is Limpopo Province. Thereupon, it is argued that Greater Polokwane should leverage its significant cultural landmarks and landscapes to promote this form of tourism. However, currently, the size and shape of the cultural and heritage tourism sector in this geographical area is unknown, as scholarly attention has focussed on the wildlife and hunting tourism sectors in this province of South Africa. Ergo, this study outlines the nature of the cultural and heritage tourism industry in Greater Polokwane. This study firstly created a database of cultural organisations and then gathered data by conducting in-depth, semi-structured interviews with the managers and employees. It was found that all the cultural organisations are privately operated, although some are located on State owned-land. The findings indicate that the museums and art galleries generate jobs and foster local economic development; however, they lack the resources to expand and consequently operate below capacity. This has important implications for the viability, growth, and sustainability of cultural and heritage tourism in South Africa.

This study aimed to explore the experiences of a group of adults with a history of substance misuse taking part in a novel, multi-centre cultural intervention: Creative Conversations, including the impact of the project on participants' mental health. A qualitative approach was used including a Visual Matrix and observation in order to explore the experiences of 10 participants recruited from drug and alcohol services. The results indicated positive impacts on mental health including a growing sense of competence, engagement, social integration and a sense that the project provided therapeutic support that translated into integrating creative activities into their everyday habits. Cultural interventions like Creative Conversations demonstrate positive impacts on mental health, engaging individuals who may find it difficult to access services such as those with substance misuse issues, and play an important role in sustaining and promoting mental wellbeing in the community. Despite positive findings, projects such as this require adequate staff training and sustained funding in order to provide wider benefits to those with mental health problems. [ABSTRACT FROM AUTHOR]

The South Side Community Art Center (SSCAC) is a cultural hub, meeting place, and gallery on the South Side of Chicago. The only surviving Works Progress Administration (WPA) community art center, it functions as a space for African American art, intergenerational dialogue, and as an institution for community education in the arts. In this interview with Natalie Battles, artist, activist, and former employee at the SSCAC, we learn about the center's history and its connections with social and cultural movements, her work there, and what it is like to be a young artist involved with a long-standing institution of African American art. [ABSTRACT FROM AUTHOR]

Art clusters in cities are welcomed by planners, residents and business. In respect to an urban economy, art clusters are viewed as beneficial because of their contribution to neighbourhood ambience in ways likely to attract young professionals who possess, it is said, higher propensity for innovation and creativity. Clusters of art activity are also seen as place-makers that enhance liveability, an important asset in the contemporary spatial economy. Yet there is little empirical work which examines the forces that drive the location of these places of art and their connection to the urban economy. This paper takes art galleries in Sydney, Australia, as a case study. Using data from a comprehensive survey, interviews and direct observation, the study finds a peculiar story of art clustering. Sydney's galleries are found to be concentrated in exclusive locations. The study finds powerful agglomeration forces, including opportunities for stable property tenure, adjacency to the city's cultural institutions, input of government funding and the presence of wealthy buyers among local residents. Certainly, the agglomerations identified meet criteria for recognition as cultural districts, yet in ways different to the images of edgy neighbourhoods presented in the literature as the substance of art in a post-industrial city. [ABSTRACT FROM AUTHOR]

Museums and art galleries may benefit from creating an image of environmentally responsible organizations using green marketing messages. However, the effectiveness of these messages often depends on how they are framed, an aspect that may impact message recipients' perception of and intentions toward such organizations. The present research addresses this issue with an experiment that assessed how recipients react to a negatively- versus positively-framed message from the Italian National Gallery of Modern and Contemporary Arts. We found that using a positively-framed green marketing message may adversely impact the gallery's perceived reputation. However, reputation exerts a positive effect on the intention to spread positive word of mouth about such an organization. Notably, the effect of message framing on reputation holds only for recipients who are less concerned about the environment. [ABSTRACT FROM AUTHOR]

This article explores the complex, “contact zone” nature of museums within the context of the current environmental crisis threatening our planet. Historically and even today, museums have engaged in a practice of “monocultural” thinking which is mired in a pretext to neutrality that has advanced the patriarchal capitalist neoliberal status quo and maintained a vision of a human/non-human binary of power, dominance, and control. However, there is also growing evidence that museums are shifting their approaches. Focusing on examples from Canada, we discuss how museums are using exhibitions and pedagogical and community outreach strategies to render visible deeply problematic and global “technofossil” practices, encourage activism through aesthetic engagement, encourage dialogue between community and industry as well as engage in imaginative decolonising initiatives that remap our understandings of who we are and where we need to go. We argue that in taking up environmental issues in politically intentional ways, museums create “oppositional views” that act as pedagogical sites of resistance.

Copyright of Studies in Adult Education & Learning / Andragoška Spoznanja is the property of Andragoska Spoznanja and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cultural tourism is a fast growing sector in Africa, with many museums and art galleries offering cultural experiences. South Africa, with a large array of cultural products, is actively promoting cultural tourism due to its ability to foster local economic growth and job creation. One such locality in dire need of economic growth is Limpopo Province. Thereupon, it is argued that Greater Polokwane should leverage its significant cultural landmarks and landscapes to promote this form of tourism. However, currently, the size and shape of the cultural and heritage tourism sector in this geographical area is unknown, as scholarly attention has focussed on the wildlife and hunting tourism sectors in this province of South Africa. Ergo, this study outlines the nature of the cultural and heritage tourism industry in Greater Polokwane. This study firstly created a database of cultural organisations and then gathered data by conducting in-depth, semi-structured interviews with the managers and employees. It was found that all the cultural organisations are privately operated, although some are located on State owned-land. The findings indicate that the museums and art galleries generate jobs and foster local economic development; however, they lack the resources to expand and consequently operate below capacity. This has important implications for the viability, growth, and sustainability of cultural and heritage tourism in South Africa. [ABSTRACT FROM AUTHOR]

In this article, we discuss the relationship between art and natural objects such as stuffed animals, skins, bones, dried plants or minerals and their aesthetical value from their position as artworks or elements of an artwork. In Cluj, between 2017 and 2019, artworks and exhibitions which integrate this type of practices and natural history materiality flourished. We aim to compose an inventory that could contribute to the archive of local art events, artworks, and artists in order to serve further analysis of local specificity, which could eventually find relevance in the theoretic approaches of art. In conclusion, we underline some of the theoretical approaches of the dynamics of natural object's values and of the procedures established by organizations such as museums and galleries. [ABSTRACT FROM AUTHOR]

The present article discusses the evolution and the recognition of the School of Painting established after the year 2000 within the University of Art and Design in Cluj-Napoca, with an activity involving both private initiatives and the relations between cultural and artistic educational institutions. It also highlights the various developments occurred inside and outside the university, namely cultural initiatives involving museums, private galleries, art portals, biennales and art fairs, teams of curators, and art historians, which continuously brought their contribution to the establishment and recognition of this school of painting, quite unique in Eastern Europe. Generations of painters asserted themselves in the framework of Cluj artistic higher education, their names being recognized internationally on the art market, in private museum collections, or in the great galleries of the world. Their success, on the one hand, maintained the reputation of this school of painting, and on the other, generated a gradual construction, based on concrete institutional actions, which outlined some acknowledged directions in contemporary art. Cultural hegemony is generally applied to the construction of the mechanisms that contribute to the formation of the hybrid pictorial styles required by the Cluj School of Painting. From this perspective, the hegemony of art education significantly determines the formation of a series of recognizable artistic profiles. Besides, painting as a phenomenon becomes an ever complex entity, constantly reinventing itself and living its own history in the digitalized era of mechanical re-production. [ABSTRACT FROM AUTHOR]

Independent art spaces not only play an important role in exploring frontiers in the visual arts but are often also pioneers discovering new artistic territories within cities. Due to their subordinate position in the field of art, they often occupy marginal spaces in terms of their location within the urban structure and/or in terms of their physical visibility within the built environment. Their location outside the established artistic cores reflects, at the same time, their weaker economic standing and wish to distinguish themselves from previous generations of cultural producers. Post-socialist cities offer the opportunity to study the spatial history of independent art spaces under different political and economic systems. In this paper, I have used a detailed database of private art galleries in the period from the 1970s to 2019 and content analysis of press and internet texts about them to uncover the stages of development of independent art venues in Krakow, Poland, an example of a post-socialist city with a rich cultural heritage. They included periods of dispersion within the wider inner-city followed by cycles of concentration in rather neglected quarters that were emerging as epicentres of alternative artistic life only to dissipate due to unfavourable economic conditions and the appearance of the next generations of artists who wanted to mark their distinctive presence both in the art world and in the urban space. I also discuss how independent art spaces were using their usually marginal, temporary and fluid sites in their artistic practices and the accumulation of symbolic capital in the field of art.

Compared to other consumer goods markets, art galleries have long been reluctant to innovate through digitisation. However, the global outbreak of COVID-19 forces art galleries to reconsider the role of digital channels. This study aims to provide a better understanding of the art gallery business model and its related difficulties of integrating digital channels into marketing, communication, and sales. Twenty interviews with gallery owners and managers in Vienna and Salzburg were conducted. They were asked about their attitudes towards, opinions on, and experiences with digital channels, and how they reacted to the restrictions caused by COVID-19. The findings verify that COVID-19 has led galleries of any type to reconsider their digital strategy. We identified limitations with respect to digital channels: plain presentation of information online; lacking or distanced personal interaction; online anonymity that disconnects from the social art environment; increased information and price transparency; a more commercial appearance; limited resources for digital adaptations. Galleries striving to integrate digital channels into their business model should pay attention to ensuring that analogue, as well as digital, channels are integrated into a coherent system where personal contact and the physical location remain the core of the business.

Copyright of Australasian Marketing Journal is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article considers a project that used the Social Return on Investment (SROI) methodology to describe and measure the social impact of Turner Contemporary art gallery in Margate, a coastal town in the South East of England. The article details the reasons why the methodology was chosen by the gallery, setting this in the context of the wider debate around evaluation and social impact reporting. A section of the research and analysis, which was carried out by COaST, a consultancy and research centre based within Canterbury Christ Church University, is described in detail, allowing the reader to understand the processes involved in this type of project and the kinds of outcomes that can be delivered using this method. Finally, an account is given of the impact the work had on the management of the gallery, and the ways in which the final report was used. [ABSTRACT FROM AUTHOR]

This article introduces the opportunities for innovation adoption in art galleries. It provides systematised information on innovation processes and innovations used in business models of art galleries. The empirical research conducted has revealed the attitude of art galleries towards innovations, as well as the benefits and opportunities to realise them. The first part of the article distinguishes the stages of innovation process and management. The following part describes the factors that influence the management of innovation process. The final part of the article analyses the application of innovations for the improvement of a business model, with Business Model Canvas by Alexander Osterwalder and Yves Pigneur selected as the starting point for analysis and, finally, the outcomes of empirical research are provided.

The United States’ sanctions on Iran have limited the Iranian art market’s connections with the international art network. Galleries try to compensate for such limitations through online marketing and exhibition. Thus, the sanctions not only impact the form of marketing exerted by dealers but also directly influence the type of artistic production. Such changes also reshape the art market in the Arab states. The transition from tangible to intangible has become a strategy for the regional market to bypass the sanctions and develop business with the global collectors and institutions. A quantitative analysis was used to demonstrate the impact of the sanctions on the art market in Iran and the United Arab Emirates. This analysis examined all exhibitions in 12 commercial galleries in Tehran and Dubai from 2009 to 2019, statistically assessing the index of changes over this period and calculating the variations, particularly during the years of intensified sanctions. The study indicates how the propensity of galleries for a digitally networked economy is becoming a solution to reduce the impacts of the sanctions in order for the galleries to maintain their clientele of international collectors and dealers.

Since the French sociologist Raymonde Moulin developed her pioneering research in the 1960s, the art market has been continuously studied by social scientists. For several years now, art market studies have rapidly proliferated. Collectors and collections, though, have tended to draw more attention than professionals and dealers, which remain less analyzed. In this article, we intend to study the impact of the national factor on the gallery sector by using a ranking of the leading contemporary art galleries in the world that we ourselves developed. Having analyzed the construction of the most significant rankings in the art world that all focus entirely or partly on artists, we decided to create one for contemporary art galleries. The methodology that we used will be presented in the first part of the article. In its second part, we will analyze the territorial/national dimension that can be identified in the most important art fair in the world, Art Basel. We will comment on what is revealed by our ranking in terms of countries of origin associated with their share and diverse positions in the ranking. Finally, we will address the contribution that our ranking brings to the knowledge of so-called globalization.

This paper looks at the places of art and art galleries from a spatial point of view and in relation to contemporary urban dynamics. Presenting prospective reflections about the spatialities of places where transactions are financial and symbolic, as well as the data and methods used for empirical research, this paper introduces an ongoing project dealing with the Parisian gallery landscape since the contemporary art boom, in relation to the production of urban space. I argue that ‘visibility’ is a useful notion to interrogate the geography and dynamics associated with art galleries. It can either describe their presence and environment within the city and from the street, or the ‘visibilisation’ of portions of the city in relation to the dynamics of urban renewal. Based on quantitative and qualitative data, the project will offer insights into the causes and impacts of the spatial structuration of the Parisian art market on different scales. Therefore, the project enhances existing research concerning the influence of art-related activities upon the transformations of urban space, but also anchors the analysis of the geography of art galleries and its recent history in a wider socio-economical perspective.