This series presents new, original research that reconceives the scope and function of art markets throughout history by examining them in the context of broader institutional practices, knowledge networks, social structures, collecting activities, and creative strategies. In many cases, art market activities have been studied in isolation from broader themes within art history, a trend that has tended to stifle exchange across disciplinary boundaries. Contextualizing Art Markets seeks to foster increased dialogue between art historians, artists, curators, economists, gallerists, and other market professionals by contextualizing art markets around the world within wider art historical discourses and institutional practices.The series has been developed in the belief that the reciprocal relation between art and finance is undergoing a period of change: artists are adopting innovative strategies for the commercial promotion of their work, auction houses are expanding their educational programmes, art fairs are attracting unprecedented audience numbers, museums are becoming global brands, private galleries are showing increasingly 'curated' exhibitions, and collectors are establishing new exhibition spaces. As the divide between public and private practices narrows, questions about the social and ethical impact of market activities on the production, collection, and reception of art have become newly pertinent. By combining trends within the broader discipline of art history with investigations of marketplace dynamics, Contextualizing Art Markets explores the imbrication of art and economics as a driving force behind the aesthetic and social development of the art world. We welcome proposals that debate these issues across a range of historical periods and geographies.' Contextualizing Art Markets , directed and edited by Kathryn Brown, is a major new series at Bloomsbury Academic examining the confluences of markets, monetization, institutional practices, gender politics, colonialist practices, and the parallel pursuit of aesthetic values.

' - Dix-Neuf (Taylor & Francis), 2023 Editorial Board: Véronique Chagnon-Burke, Women Art Dealers Digital Archives (co-founder) , USA Christel H. Force, independent scholar, previously curator, the Metropolitan Museum of Art, NY, USA Charlotte Galloway, Australian National University, Australia Mel Jordan, Royal College of Art, UK Alain Quemin, Université Paris-8, France Mark Westgarth, University of Leeds, UK.