Kunst und Preise

Beckert, Jens; Rössel, Jörg

doi:10.1007/s11577-004-0002-7

Cited by 76 publications

(10 citation statements)

References 35 publications

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“…This quote is also an important illustration of the idea that many art dealers focus on "making stars" as a central business practice (Beckert & Rössel, 2004;Velthius, 2011).…”

Section: Dealing As Competitive Social Practicementioning

confidence: 98%

Art dealers as competitors and community builders: Understanding the overlapping social logics of the contemporary art world

Rojas

Torre

2023

Sociology Compass

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Art dealers are often described as gatekeepers who are focused on their own position as well as the status of their artists and collectors. We argue that this is an incomplete account of art dealing. The goal of this article is to explain how art dealing is a “toolkit” that does not exclusively focus on status building and social capital, but also includes behavior associated with accessing the visual arts field and community development. First, art dealers often have a background that has strong social ties to art, which provides them with intimate knowledge of the art world and social connections with artists, collectors, and other art world actors. For that reason, entry into art dealing reflects intimate knowledge of art practices, what we call “proximate connoisseurship.” Second, art dealerships reflect both competitive and communal factors. Art dealers may choose to work with artists based on their ability to generate income, social capital, and prestige (“competitive logic”), but art dealers may also employ a “communal logic” focused on friendships and creating community. This theory of art dealers is illustrated with excerpts from interviews with 34 dealers randomly selected from the rosters of international art fairs such as Art Basel Miami, EXPO Chicago, Aqua, and the New Art Dealers Alliance show.

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“…This quote is also an important illustration of the idea that many art dealers focus on "making stars" as a central business practice (Beckert & Rössel, 2004;Velthius, 2011).…”

Section: Dealing As Competitive Social Practicementioning

confidence: 98%

Art dealers as competitors and community builders: Understanding the overlapping social logics of the contemporary art world

Rojas

Torre

2023

Sociology Compass

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“…Contemporary art galleries usually keep artworks of living artists they represent on consignment for the duration of an exhibition and, once an artwork is sold, the artist receives a pre-defined share of the sales price (Velthuis 2011a). Especially for younger artists entering the market, there is a great deal of uncertainty regarding their reputation, value, and market development (Beckert and Rössel 2004;Yogev 2009). Art dealers on the secondary market either take artworks from collectors on consignment or buy art and try to resell it at a profit (Velthuis 2011a).…”

Section: The Art Market and The Role Of Galleriesmentioning

confidence: 99%

Art Galleries in Transformation: Is COVID-19 Driving Digitisation?

Habelsberger

Bhansing

2021

Arts

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Compared to other consumer goods markets, art galleries have long been reluctant to innovate through digitisation. However, the global outbreak of COVID-19 forces art galleries to reconsider the role of digital channels. This study aims to provide a better understanding of the art gallery business model and its related difficulties of integrating digital channels into marketing, communication, and sales. Twenty interviews with gallery owners and managers in Vienna and Salzburg were conducted. They were asked about their attitudes towards, opinions on, and experiences with digital channels, and how they reacted to the restrictions caused by COVID-19. The findings verify that COVID-19 has led galleries of any type to reconsider their digital strategy. We identified limitations with respect to digital channels: plain presentation of information online; lacking or distanced personal interaction; online anonymity that disconnects from the social art environment; increased information and price transparency; a more commercial appearance; limited resources for digital adaptations. Galleries striving to integrate digital channels into their business model should pay attention to ensuring that analogue, as well as digital, channels are integrated into a coherent system where personal contact and the physical location remain the core of the business.

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“…Even if empirical changes have taken place since the mid-19th century (e.g. Beckert and Rössel, 2004; Crane, 2009; Graw, 2010; Zahner, 2006; Wuggenig and Rudolph, 2013), studies asking for such shifts start with a pre-supposed differentiation between cultural and economic values, and only then argue for opposition, congruence or blending. Researching multiple worldviews could show how symbolic and artistic value, and its respective economies, is actually perceived inside the arts from various standpoints.…”

Section: Implications For Research On Rankings and The Sociology Of The Artsmentioning

confidence: 99%

Ranking Art: Paradigmatic Worldviews in the Quantification and Evaluation of Contemporary Art

Buckermann

2020

Theory, Culture & Society

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While numerous studies have shown diverse effects of rankings, rather little is known about their production. This article contributes to a broader understanding of rankings in society, and does so by focusing on underlying worldviews. I argue that the existence of a ranking and its concrete methodology can be explained by the producer’s paradigmatic assumptions about a world-to-be-ranked. Referring to the sociology of knowledge and studies on commensuration, comparisons, quantification and valuation, I provide a general heuristic to analyze this relation between underlying worldviews and observational regimes through which order is constructed systematically. Presenting empirical results on a ranking for the most famous artists in the world, I show how the review device’s initial problem and its construction of order derive from consistent assumptions about contemporary art, its symbolic structures and its social embeddedness. These findings have implications for both research on rankings and sociology of the arts.

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Kunst und Preise

Cited by 76 publications

References 35 publications

Art dealers as competitors and community builders: Understanding the overlapping social logics of the contemporary art world

Art dealers as competitors and community builders: Understanding the overlapping social logics of the contemporary art world

Art Galleries in Transformation: Is COVID-19 Driving Digitisation?

Ranking Art: Paradigmatic Worldviews in the Quantification and Evaluation of Contemporary Art

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