Aphrodite Conceiving Zeus Exploring its Attribution to Gustav Klimt oeuvre

This paper explores the hypothetical attribution of a painting titled ‘AphroditeConceiving Zeus’ to Gustav Klimt, a painting discovered in Romania in 2022,focusing on two main inquiries: first, the potential placement of the work withinKlimt’s established oeuvre, and second, the estimation of its fair market value,assuming the painting’s authenticity. While the authentication of the painting iscritical for determining its historical and financial significance, this study primarilyoperates under the assumption of authenticity, enabling a focused analysis of‘Aphrodite Conceiving Zeus’ within the context of Klimt’s known works from two ofhis artistic periods: (1) Historicist (1883–1897) and (2) post-Golden (1914–1918).Nevertheless, the research engages with the discussion surrounding the possibility of the painting being otherwise attributed and discusses the implications of its current documentation. This approach enables a comprehensive exploration of the painting’s stylistic, thematic, and compositional features while critically addressing the complexities and challenges inherent in art attribution. Moreover, this studyundertakes a detailed valuation exercise informed by auction results, market trends, and the economic behaviours associated with Klimt’s artworks. By adopting a multidisciplinary approach that bridges art history and financial analysis, this research provides insights into the implications of attribution and valuation within the contemporary art market. Furthermore, this thesis addresses necessary procedures for the authentication and verification of artworks, laying the groundwork for future inquiries into provenance research and technical analysis. This study serves as both an art historical investigation and an economic study, highlighting the intricate relationship between artistic legacy and market dynamics

Art is an Upcoming Financial Vehicle, Why is The Legislation Not Catching Up?

The art market has historically been riddled with scandal and fraudulent activities. As art has increasingly become an investment vehicle the issue has worsened as there are more routes to commit fraud. This thesis examines the parallels between the art and financial markets to understand why the art market remains largely unregulated and how this impacts stakeholders. Through case studies, the research explores unethical practices within the art market and their broader consequences. It also investigates historical developments in both markets and evaluates potential regulatory measures to enhance transparency and accountability. Focusing on the United States, this study reviews existing literature and fraud cases to propose practical recommendations for reforming the art market. By addressing issues such as transparency, advisory roles versus dealer responsibilities, and regulatory limitations, this research seeks to provide actionable insights for creating a robust framework that benefits all market participants while preserving the integrity of the art world

Art Access

Art Access is a forward-thinking platform designed to transform the way people engage with art. By addressing financial and logistical barriers, Art Access makes high-quality, contemporary art accessible to a broader audience through its rental-to-purchase model. The platform not only provides a low-risk entry point for individuals and corporate clients to experience and own art but also creates new revenue streams and visibility for emerging and mid-career artists. Operating out of New York, a hub for the global art market, Art Access leverages innovative technology, such as augmented reality and AI-driven recommendations, to deliver a seamless and personalized user experience. Its diverse revenue streams—from rentals and sales commissions to corporate subscriptions—ensure a sustainable financial foundation while supporting its mission to democratize art access and empower creators. With a scalable business model, a commitment to sustainability, and plans for geographic and technological expansion, Art Access is poised to become a leader in the growing art rental market. This proposal outlines the platform’s vision, strategy, and financial projections, demonstrating its potential to redefine the art market and make a meaningful impact on artists and collectors alike

Female Photographers’ Practices and Markets: A Three-Part Case Study

This thesis explores the intertwined histories of artistic legacy, cultural impact, and market reception of female photographers, who have often been decentered in art history and overshadowed by male contemporaries. While photography has historically been more inclusive to women than other art forms, women photographers have nonetheless faced marginalization in the canon of photography history and the art market. Building on efforts to reclaim and elevate the contributions of women photographers, this research integrates art historical and market analyses to provide a holistic understanding of their careers and legacies. Through detailed case studies, this thesis examines the artistic practices, biographical contexts, and symbolic contributions of three female photographers – an immigrant portraitist, a New York street photographer, and a nomadic documentary photographer. By analyzing their artistic output alongside their market performance, including auction results, retail trends, and institutional support, this study highlights both their cultural importance and the persistent undervaluation of their work in the broader market. The research also identifies key barriers, such as limited historical sales records, lack of comprehensive institutional visibility, and biases against women’s contributions to the medium. Ultimately, this thesis aims to fill gaps in existing scholarship by offering a nuanced perspective on the dual legacies of these women as artists and market players. By recentering their work in both art historical and market narratives, this research contributes to the ongoing effort to correct historical imbalances and recognize women’s vital role in shaping the history of photography

The Knead Art Collective Business Plan

The Knead Art Collective is a nomadic multi-disciplinary creative collective that supports visual artists, performers, writers, designers, musicians, and cultural innovators. We recognize that Black creativity extends beyond the fine arts and into music, fashion, literature, film, performance, and digital media. By embracing a cross-disciplinary approach, The Knead fosters a dynamic ecosystem where creatives from different backgrounds collaborate, experiment, and push the boundaries of artistic expression

“INTERARTY”: A BUSINESS PLAN FOR AGENCY REPRESENTS CHINESE CONTEMPORARY ARTISTS

In the past decades, geographical border and travel restrictions are no longer the primary barrier that prevents people from communications and cooperation. People from different regions are influencing one another in fields like politics and economics. However, in the field of art, the market is still dominated by the Western artists in major art-trading cities such as New York, London and Paris. Especially, New York has the highest turnover in art-related transactions. Many art movements in contemporary era like Abstract Impressionism and Pop Art originated here, making it a lucrative and prestigious place for artists to gain exposure. InterArty is based in New York City and is guided by the mission of changing the status quo. We aim to bridge the information gap for mid-career Chinese artists who practice in contemporary fields, helping them reach a broader audience in the Western art market. InterArty employs various methods in career planning, providing services including negotiation representation, marketing and exhibitions consultation to achieve this goal. InterArty has advantages over traditional galleries in many ways. Our pricing model is more flexible. The artists are welcomed to choose their services within their budgets. Moreover, the contracts terms between InterArty and artists are less restrictive, enabling them to explore the overseas market more freely at lower costs. Our business focuses on building solid client base in the first few years. As a nontraditional role in art industry, our artist agency aims to challenge the dominance of galleries in art business field by demonstrating our expertise and competence to potential clients. InterArty is operated by a group of experts with deep insight into both the art and business fields in the United States and China. Our knowledge and networks in both locations ensure that we provide clients with valuable advice for their career success. InterArty requires an initial capital 200,000 USD to cover company registration and operations during the first two years. It is projected to reach breakeven point starting the third year

Building for Change: Margarete Schütte-Lihotzky’s Architectural Legacy In Social Housing, Gender Equality, and Ergonomics

This thesis examines the works by Austrian architect Margarete Schütte-Lihotzky through the lens of social change, highlighting her pioneering role in 20th-century social housing projects. It analyzes how her designs for functional, affordable domestic spaces embodied principles of social equality. Her dedication to addressing the specific needs of housing women, eliminating household burdens, and designing kindergartens to provide dependable child care showcases her as a feminist architect within the modernist movement. The research also explores her groundbreaking work on the Frankfurt Kitchen, tracing its lasting impact on contemporary ergonomics and modern domestic architecture. Finally, this thesis examines her personal life, contextualizing her contributions to early socialist and feminist ideals and revealing how her architectural philosophy and activism sought to empower individuals and influence European housing policies. This thesis explores Margarete Schütte-Lihotzky’s pivotal role in early 20th-century architecture by examining political environments, housing conditions, educational background, and innovative designs. Through her work in social housing and feminist design, Schütte-Lihotzky transformed domestic spaces to support working women’s independence. Her efforts advanced modernist housing reform and feminist principles by prioritizing efficiency, affordability, and community-centered space

Art Haus

In an era of instant and constant communication, one of the key challenges is that“disinformation travels faster than the truth can be verified, creating a breeding ground for confusion and mistrust.”1 However, unlike the viral spread of disinformation, the process of uncovering the truth is often slow and laborious, an unattractive characteristic for the fast-moving media and content-based businesses of the world today. Citizens’ mistrust of basic facts in the digital landscape, it seems, has been stolen by the spread of propaganda. The only way to solve an issue of trust in the digital marketplace is to provide consumers with fact-basedcontent. However simply stated, to counter an issue of this magnitude demands meticulous verification and careful investigation. There is no such industry polluted by the spread of fake, false, and even fraudulent digital information as the art world. But the art world – historically opaque – has long benefited a tiny elite of collectors, gallerists, and artists. The “culture of secrecy” – as The New York Times calls it – has proliferated for decades. Stories of forgeries, fakes, fraud, theft, money laundering, and secret sales have dominated headlines and dominated book and movie scripts. Older paintings authored by long-dead artists are notoriously present in the underworld of black market sales. Due to the dubious heritage of many of these works, they cannot be verifiable as originals without what we call accurate “provenance,” the art word’s form of a receipt that details the history and movement of a work. Normally, specialists attempt to reconstruct the chain of ownership, documenting how a work passed among collectors and galleries over the centuries.6 This can take days, months, or even years and often involves searching dusty library shelves, flipping through crusted pamphlets, and tracking down incomplete archival auction records. But without this confirmation, a valuable piece may remain worthless unless some other verification of its authenticity can be made. As David Ignatius writes in The Washington Post, “The idea is simple: An art buyer should want to know that the painting attributed to, say, Leonardo da Vinci was created by him.” Art Haus attempts to solve the issue of transparency in the art world through the proliferation of fact-checked digital content. Through the use of freely available primary and secondary sources from educational institutions, Art Haus hopes to build a digital media empire with massive content production abilities. The company will use new artificial intelligence (AI) tools to help research and generate potential stories and to properly cite them for publication on our website, app, and across our social media channels. In doing so, Art Haus hopes to give art collectors, art world professionals, financial professionals with art-focused investments and clients, educational institutions, and curious members of the public more clarity in researching, purchasing, investing, and learning about art. In doing so, Art Haus hopes to inspire education and clarity in all sectors by offering a successful media company framework. We detail our plans for the new company, below

Antique Guqin Collecting ：Collector Behavior and Current Antique Qin Collecting Market in China

Antique Guqin collecting activity have been long existed in China. This dissertation traces back to the history of antique guqin collecting activity and presents an analysis of today’s market of antique Guqin and collector behavior in China. Please note that the data gathered and used for this dissertation only includes market analysis in mainland China. Antique Qin refers to Guqin that made prior to Republican Period

“The entire art movement has become an enormous business venture” Financing the American Art Museum

This thesis examines the intricate relationship between financial operations and the public function of American art museums. The distinctive American nonprofit model relies heavily on private funds for its survival and success. The thesis traces the historical development of this model, and then analyzes the contemporary state of American art museums, with a specific focus on two prominent institutions: MoMA PS1 and the Yale University Art Gallery. The analysis highlights the significant influence of board members\u27 financial contributions and their business expertise on museum operations. Moreover, the thesis argues that the museum world has undergone rapid financialization in the twenty-first century. Ultimately, the thesis concludes that the American art museum landscape is undergoing a profound transformation driven by financial and operational considerations and argues that museums must navigate the complex terrain of financialization while remaining true to their mission of preserving and presenting art for the public