The Globalization of the Art Market: A Cross-Cultural Perspective Where Local Features Meet Global Circuits
Background literature and market flow data show evidence of an increasingly global art market. In turn, the global art market, instead of being a single, defined entity appears to be made of various local and diverse art markets. These various markets are progressively converging and integrating thanks to logistic and communication circuits. Key actors and organizations in the art market (e.g. auction houses or leader-dealers) see managers and marketers increasingly encountering cultural diversity alongside with economic heterogeneity. This chapter takes into account the not-yet-conceptualized framework of the art market in cross-cultural context. In so doing the author specifically identifies divergences and convergences concerning consumer behavior and art goods in a global economy. The results support the notion that in the current art market cultural diversity influences consumer attitudes. Such evidence may have specific managerial implications for practitioners and may stimulate further empirical studies to enforce this theoretical claim. 
User participation and valuation in digital art platforms: the case of Saatchi Art
The purpose of this paper is to examine the impact of digital platforms on the contemporary visual art market. Drawing on the theoretical insights of the technology acceptance model, the meaning transfer model and arts marketing literature, the authors conceptualise the role of user participation in creating the meaning and value of contemporary artworks in the online art market.
The authors conduct a qualitative study of Saatchi Art as an instrumental case for theorising. It is an online platform for trading visual artworks created by young and emerging artists. The data for this study were collected through direct observation and documentary reviews, as well as user comments and buyer reviews from Saatchi Art. The authors reviewed 319 buyer comments Art and 30 user comments. The collected data are supplemented with various secondary sources such as newspapers, magazines, social media texts and videos.
The growth of digital art platforms such as Saatchi Art provides efficiency and accessibility of information to users while helping them overcome the impediments of physical galleries such as geographical constraints and intimidating psychological environments, thereby attracting novice collectors. However, users’ involvement in the process of valuing artworks is limited and still guided by curatorial direction.
The first limitation of this research is that the data in this research cannot capture interactions between users, though users’ intention to use Saatchi Art is affected by the social influence of other users. Second, this research has not examined artists as users of digital art platforms and their interactions with other types of users. Artists’ intention to use the online platform might be underlined by enhancing their status in the peer group or seeking legitimacy in the field by following other artists and getting recommendations from important referents.
The outcomes of this research suggest that newcomers in the online art market should acknowledge that users’ intention to use the online art platform is determined by not only technological usefulness of the website but also the symbolic capital of the information provider.
User participation in the online art market is guided by curatorial direction rather than social influence. This confirms re-intermediation of marketing relationships, highlighting the role of new intermediaries such as digital platforms in arts marketing. 
Works of art and culture are sold by many means. These include transactions between dealers and their customers, auctions with open outcry, internet auctions, and even, occasionally, sealed bid auctions. However, the standard procedure for establishing art valuations for the most expensive works is still most commonly the English auction, where prices ascend in open bidding. This paper describes how art auctions really work, along with the state of competition between auction houses. For expensive art, competition is dominated by the duopoly of Christie’s and Sotheby’s. The paper proceeds to describe various interesting features of art auctions, including the declining price anomaly, whether or not auctioneers provide accurate information, and anchoring effects in art auctions. The public auction system provides a valuable method for setting and determining values; it is probable that the inability of auctioneers to capture a significant part of the benefits of the information they produce leads to less use of the auction system than is optimal for society.
The influence of genetics on contemporary art
Contemporary visual artists are incorporating genetic concepts into their work, and this work has become prominently featured in numerous museum and gallery exhibitions. Such art uses visual images that represent the language of genomics, the values affected by genetic understanding of the body and the implications of bioengineering. Here, we present various examples of how artists depict aspects of genetics as cultural icons and symbols; in particular, their focus on DNA as information and on the commercialization of genetics research material. 
The Youth and Contemporary Art in Ghana
This study looked at Ghanaian youth and contemporary art vis a vis perception and challenges involved in contemporary art practices in Ghana. The current practice of contemporary art by Ghanaian youth has come under scrutiny, with many questioning the place of art in their practice and exhibitions. Using a triangulation of interviews, observation and survey, the study revealed that Ghanaian youth are actively embracing contemporary art and have developed an interest in exhibitions despite challenges of accepting the expanded media, processes and forms it could take. Despite the misunderstanding of what contemporary art should be and what should not, contemporary art is gradually gaining grounds and recognition in Ghana and placing the Ghanaian art on the international art scene. Although the youth have no privileged routes and a weak infrastructure for art making, recent teachings, coupled with a passion to train independent artists, commitment and collaborative efforts by the youth have made recent exhibitions trailblazers on the continent. Through more experimental projects, critique sessions and exhibitions, the Gown would surely get to Town. The passion for more experimental approaches to art making and exhibition signal greater and emancipated future for art in Ghana. 
 Codignola, F., 2019. The Globalization of the art market: A cross-cultural perspective where local features meet global circuits. In Brand Culture and Identity: Concepts, Methodologies, Tools, and Applications (pp. 1327-1345). IGI Global. (Web Link)
 Lee, J.W. and Lee, S.H., 2019. User participation and valuation in digital art platforms: the case of Saatchi Art. European Journal of Marketing. (Web Link)
 Graddy, K. and Ashenfelter, O., 2019. Art auctions. (Web Link)
 The influence of genetics on contemporary art
Nature Reviews Geneticsvolume 3, pages967–971 (2002) (Web Link)
 Nortey, S., K. Bodjawah, E. and Ampratwum, G. (2018) “The Youth and Contemporary Art in Ghana”, Asian Research Journal of Arts & Social Sciences, 7(1), pp. 1-13. doi: 10.9734/ARJASS/2018/42995. (Web Link)