Walt Whitman: Gallerist in New York by Tatiana D. Venediktova

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Inside and Outside the Market for Contemporary Art in Brazil, through the Experience of Artists and Gallerists by Amanda Brandellero

“…For this purpose, I draw on over 50 interviews with art gallerists, independent art spaces and visual artists represented by them, living in São Paulo and Rio de Janeiro, the two largest clusters of the contemporary art market in Brazil, at a time of market expansion and internationalisation. …”
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Carmen Benedet: The Case of a Pioneer Art Gallerist in the Spanish Art Circuit of the 1960s by Juan Carlos Aparicio Vega

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Trading Modernity. Female gallerists at work for the art of their time in the first half of the 20th Century by Burcu Dogramaci

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External Shocks in the Art Markets: How Did the Portuguese, the Spanish and the Brazilian Art Markets React to COVID-19 Global Pandemic? Data Analysis and Strategies to Overcome th... by Adelaide Duarte, Ana Letícia Fialho, Marta Pérez-Ibáñez

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“La Cava. International outdoor show of plastic arts”. Exhibiting Art and Architecture in Monterinaldi, 1955 by Stefano Setti

“…International outdoor show of plastic arts” was an exhibition hosted at Leonardo Ricci’s studio-house in Monterinaldi in 1955 by the gallerist Fiamma Vigo and Ricci himself. According to the organizers, this event advocates of the search for a communion between the arts with architecture by presenting itself as an isolated experience within the Italian art scene. …”
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Dennis Hopper, Photographs 1961-1967, Dennis Hopper and Tony Shafrazi (eds) by Joanna Elena Batsakis

“…In collaboration between The Hopper Art Trust, gallerist Tony Shafrazi, and Dennis Hopper, this original volume was massive in size: with 544 pages, its hardcover measured 30 centimetres in height by 33 centimetres in length and weighed 5.5 kilograms.…”
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Breve storia dell'Ufficio Vendite de la Biennale di Venezia 1895-1972. Origini, funzionamento e declino by Clarissa Ricci

“…Aiming to shed light on its role as a predecessor and pioneer, the paper offers an overview of how sales were managed, investigating the decades following WWII, when the Sales Department was directed by the dealer and gallerist owner Ettore Gian Ferrari. The Sales Department was part of the Venice Biennale from the very first day (1895) until the institutional Reform of 1973; although many mistakenly believe that it was closed after student protests in 1968. …”
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“Irrigated Neither by the Seine Nor by the Thames”: Jack B. Yeats’s Reception in London by Nathan O'Donnell

“…This article examines the cross-currents of cultural diplomacy and wartime bureaucracy that led to the 1942 exhibition but also looks beyond them, at Yeats’s relationships within the London art world, including his connection to a network of artists and cultural figures who had supported him through the preceding decades: in particular, a dealer and gallerist whose name has not, to date, figured in the scholarship surrounding Yeats’s work, Lillian Browse. …”
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Hybrid Sculpture of the 1960s by John J. Curley

“…This object was the result of gathering and tabulating the artistic preferences of over 130 critics, collectors, curators, and gallerists, mostly in New York and London. Considering Hybrid's international scope, its origin as dematerialized data, and its participation in the mid-1960s penchant for confusing notions of painting and sculpture, it questions the very parameters implied by the term “British Sculpture”.…”
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Art & Copyright, by Simon Stokes by Tarik Sabry

“…The second limitation is that the book is not, whether intentionally or otherwise, directed at artists, art professionals, museum curators, gallerists and the like, but rather at lawyers who have dealings with such persons. …”
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Time and perceptibility in Agnes Martin’s mature paintings by Salvador Jiménez-Donaire Martínez

“…In order to do so, Martin’s own notes and writings, as well as interviews transcriptions and memories by close gallerists and critics are analyzed here. Ultimately, this article poses the perceptive and temporal experiences as decisive factors in Martin’s pictorial proposals, which demand the attentive, slow gaze to be fully grasped. …”
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Finding a Voice and a Place in the Contemporary Indigenous Art World by Coral Neave

“…Taking a casestudy approach, or what might be termed micro-ethnography, my research has involved interviewing artists, arts coordinators, commercial and public gallerists and buyers. I have examined the role of intercultural exchange in these relationships. …”
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Finding a Voice and a Place in the Contemporary Indigenous Art World by Coral Neave

“…Taking a case study approach, or what might be termed micro-ethnography, my research has involved interviewing artists, arts coordinators, commercial and public gallerists and buyers. I have examined the role of intercultural exchange in these relationships. …”
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Reconstructing Histories: Analyzing Exhibition Photographs with Computational Methods by Sabine Lang, Björn Ommer

“…Displays of art in public or private spaces have long been of interest to curators, gallerists, artists and art historians. The emergence of gallery paintings at the beginning of the seventeenth century and the photographic documentation of (modern) exhibitions testify to that. …”
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The Periphery Is Beautiful: The Rise of the Portuguese Contemporary Art Market in the 21st Century by Adelaide Duarte

“…The first relates to the efforts made by the gallery sector to raise the international profile of its artists, giving them sought-after widespread recognition, which encompasses a historical perspective on the situation and a prominent role for the younger generation of gallerists. The second intends to observe the role played by private collectors and their contributions towards boosting the art scene, assembling their contemporary art collections and making them available to the public. …”
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On the price of priceless goods. Sociological Observations on and around Art Basel by Franz Schultheis

“…A research group took the question on pricing to a particularly prominent institution of the art market, Art Basel, using a variety of methodological approaches such as qualitative interviews with gallerists, artists, Art Basel staff, curators, art advisors, art critics etc. …”
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O mercado, os artistas, os colecionadores e as instituições by Ana Letícia Fialho

“…In this process, the active development of the market and the interests that were mobilized by its agents (artists, gallerists and collectors) have seemingly been decisive. …”
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Reviving cosmopolitan Beirut : a case study of three modernist art spaces by Maamari, Daniella Samira.

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