February 20, 2024
WHY THE IMPRESSIONISTS DID NOT CREATE IMPRESSIONISM
October 3, 2023
LIFE AFTER DEATH – THE EFFECTS OF ARTIST’S DEATH ON EXHIBITIONS AND AUCTIONS
June 5, 2023
BUSINESS MODELS OF CONTEMPORARY ART GALLERIES AND ART FAIR INFLUENCE: A THEMATIC SYNTHESIS OF THE LITERATURE
April 25, 2023
RISKY TRADE? APPROPRIATION ART, COPYRIGHT AND SECONDARY MARKET EFFECTS
April 4, 2023
THE GENDER PAY GAP IN THE MARKET FOR VISUAL ART IN GERMANY: INSIGHTS FROM AN EMPIRICAL STUDY
November 23, 2021
ANONYMOUS ART AT AUCTION: LOOKING AT THE “UNBRANDED” AND THE “OUTDATED”
September 29, 2020
TOOLS FOR THE FUTURE IN LJUBLJANA, RESEARCHING ART MARKETS AND GLOBAL SCIENTIFIC “ONLINE” TURMOIL
June 2, 2020
POLICING ART CRIME
January 21, 2020
THE ROLE OF ART INVESTMENT AS A HEDGE OR SAFE HAVEN
October 15, 2019
THE CHANGING SOCIAL ECONOMY OF ART, ARE THE ARTS BECOMING LESS EXCLUSIVE?
September 3, 2019
LEONARDO IN LIMBO: AN ECONOMIC EVALUATION
June 18, 2019
DOES BELONGING TO AN ARTISTIC MOVEMENT MAKE BETTER-SELLING ARTISTS?
January 1, 2019
IS THERE A ROLE FOR THE ARTIST IN THE FORMATION OF VALUE?
October 9, 2018
THE PRICE OF A NAME: ART MARKET VALUATION OF PROVISIONAL NAMES (“THE MASTER OF …”)
January 16, 2018
ARE THEY ALL THE SAME? A CASE STUDY OF THREE AUSTRALIAN INDIGENOUS ARTISTS
November 21, 2017