Alain Quemin, Les stars de l’art contemporain. Notoriété et consécration artistiques dans les arts visuels

Quem é artista? Mulheres negras na arte contemporânea brasileira

“…Assim, a despeito de, na norma culta brasileira, as palavras, quando tomadas em sentidos universalizantes, serem colocadas no masculino, creio que não seria exagero dizer que, como visto nesse verbete, o termo artista é deveras atrelado à figura de homens cisgêneros, o que se comprova se olharmos, por exemplo, rankings de artistas tomados(as/es) como mais influentes no campo da arte. Na Figura 2, feita a partir do ranking Artfacts, entre os principais do mundo e um dos focos das pesquisas de Alain Quemin (2013Quemin ( , 2016, vemos que entre artistas vivos(as/es) os dez primeiros são, em sua maioria, homens, sendo apenas três mulheres. o termo coincidência, posto que não creio se tratar de obra do acaso, mas sim de um projeto de sociedade, constituído em tempos coloniais de construção da modernidade e do capitalismo, que tem como princípio a atribuição de privilégios a pessoas brancas.…”

Institutional policies and individual decision-making in artistic migrations: the case of Spanish artists and art mediators in the European Union

“…Participation in competitions is, for individuals, a way to test their chances and consequently adjust their career strategy over time (Menger 1989). Strong inequalities between the stars at the top of the success pyramid and those at its base are not only tolerated but celebrated, a mechanism of cumulative advantages ensuring that those at the top thrive exponentially (Menger 2009;Quemin 2013).…”

“…Although it has been stated that globalisation has opened the art world to artists, artworks and mediators from more regions, thus allegedly becoming more equal and decentred, several studies show that centre-periphery dynamics persist (Buchholz 2018). The international art world continues to be marked by long-established hierarchies shaped by territorial factors, as illustrates the overrepresentation of artists from a selective group of countries in biennials and international events (van Hest 2012) and rankings (Behnke et al 2015;Quemin 2006Quemin , 2013Quemin , 2015. Moreover, the city of principal residence seems to impact the reputation of artists and art world gatekeepers, regardless of nationality (van Hest 2012;Quemin 2013Quemin , 2015.…”

“…The international art world continues to be marked by long-established hierarchies shaped by territorial factors, as illustrates the overrepresentation of artists from a selective group of countries in biennials and international events (van Hest 2012) and rankings (Behnke et al 2015;Quemin 2006Quemin , 2013Quemin , 2015. Moreover, the city of principal residence seems to impact the reputation of artists and art world gatekeepers, regardless of nationality (van Hest 2012;Quemin 2013Quemin , 2015. Especially artists and art professionals coming from peripheral and semi-peripheral regions improve their chances of an international career by moving to countries and cities considered more central in the global art world (Duester 2015;Rodríguez Morató 1996).…”