How Galleries Open The Market To Disruptive Art - The case of Arte Povera (original) (raw)

Cultural and creative environments have evolved their open-mind and fertile essences thanks to progression in art ecosystems since notably mid of 20th century. Modernism in visual arts is not just art produced during a specific time frame and specific techniques or mediums, since the 1940s emerging artists have been supplying many disruptive aesthetics and meanings. However, disruptive arts had become a brave voice of artists, who obviously would have liked to do changes in cognizance of the arts field. This fact has been a milestone of contemporary arts and cultures, and also growth in the commercial art gallery business due to the specific needs of emerging artists. As far as artistic productions have been starting to prove social and cultural commentaries, countercultural impacts also become recognizable between artworks, which resonated disruptive manners in arts. Unavoidably, after the 1950s American and European countercultural arts influenced each other with different artistic movements, they but also put some barriers due to their internal conflicts in tastes, unproportioned representations, demands, and supports. Even though commercial art galleries’ intermediating character and physical opportunities have already been defined by American dealers for abstract arts, in the 1960s European art field with disruptive productions had to show progress to solve the boundary problems. In the post-war period, promising advancements in the Italian and European art world and market refers to the cutting-edges in visual arts and its market; the variety of mediums, the importance placed onto the art object, and conceptual principles with metaphors of lyricisms of cultures, traditions, and societal facts was supporting disruptiveness of Arte Povera, which raised in Italy. Since its market entrances, Arte Povera's works led pervasion in the market, while further art movements developed aesthetic and conceptual ideas directly and indirectly inspired by that post-war movement. Thus, this thesis is specific to one of the most influential artistic movements of Arte Povera. Experiences of Arte Pover’s local and regional galleries have been a source for the research. Research results put forward to the decency of disruptiveness of Arte Povera and developments in art business practices by commercial art galleries under certain aims, motivations, and appraisals. Galleries' expositions on their comprehensive perspectives for artistic values of works and their constant support with instrumental values provided accumulations of qualitative evidence and observations thanks to interviews and archival observations for participant galleries. Hence, these commercial galleries’ identities, methods tactics, and results about marketplace build-ups were analyzed with contributions of previous studies about the art market and organizational strategies. So that, Italian and European Arte Povera represent or galleries’ strategic approaches were done inferences and these were explained under well-structured and efficient strategic management model. This model proposition put forwards disruptive artistic movement of Arte Povera’s assimilations by art galleries’ objectives, strategic choices in organizational and promotional levels together with success definitions, meanwhile, the environmental enablers and obstacles in the post-war primary art market were attentively allocated by insights of strategies. Overall, the rational path of strategic management shows social, symbolic capital formations and their economic transformations by activities of Arte Povera galleries. Finally, the study shows panoramic supports on artistic and instrumental value with details of gallery-artist collaborations and concerns on accessibility and concentrations engagements with cultural territories and reads of patterns. In this way, artworks’ sales have constituted patterns and targets of possible collector profiles. Since cultural valuations were fundamentality includes tangible and intangible returns on artistic movement and gallery as well, and it was carrying circuits of renovations and reformations in the art world and markets practice. Hence, the proposed strategic management model for Arte Povera’s market openings aims to show definitive connections between evolvements in gallery business and disruptive arts marketplace’s pungent effects in changeover in art market dynamics since the beginning of years in the art field, especially in European art ecosystems. Moreover, the study enlightens subsequent investigations on galleries' marketplace sustainability.