Myth and Pattern in the Lives of Artists

Gaertner, Johannes A.

doi:10.1080/00043249.1970.10792871

Cited by 4 publications

(2 citation statements)

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“…The YBA narrative focused on the misbehaviour of the artists involved, their identity as part of the working class and their references to 'low' culture. This got them noticed, fitting with the allowable myths of the 'artist as eccentric' and 'rags-to-riches' (Gaertner, 1970). Certainly, Hirst's persona is one of a working-class chancer who made it big.…”

Section: Value Elementsmentioning

confidence: 93%

Framing the work: the composition of value in the visual arts

Preece

Kerrigan²,

O’Reilly

2016

EJM

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Purpose This paper aims to contribute to the literature on value creation by examining value within the visual arts market and arguing for a broader, socio-culturally informed view of value creation. Design/methodology/approach The authors develop an original conceptual framework to model the value co-creation process through which art is legitimised. An illustrative case study of artist Damien Hirst demonstrates the application of this framework. Findings The findings illustrate how value is co-constructed in the visual arts market, demonstrating a need to understand social relationships as value is dispersed, situational and in-flux. Research limitations/implications The authors problematise the view that value emerges as a result of operant resources “producing effects” through working on operand resources. Rather, adopting the socio-cultural approach, the authors demonstrate how value emerges and is co-constructed, negotiated and circulated. The authors establish the need to reconceptualise value as created collaboratively with other actors within industry sectors. The locus of control is, therefore, dispersed. Moreover, power dynamics at play mean that “consumers” are not homogenous; some are more important than others in the valuation process. Practical implications This more distributed notion of value blurs boundaries between product and service, producer and consumer, offering a more unified perspective on value co-creation, which can be used in strategic decision-making. Originality/value This paper illustrates that value co-creation must be understood in relation to understanding patterns of hierarchy that influence this process.

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Section: Value Elementsmentioning

confidence: 93%

Framing the work: the composition of value in the visual arts

Preece

Kerrigan²,

O’Reilly

2016

EJM

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“…How the artist is perceived is therefore key to the value of the work they create. Gaertner's (1970) study of recurrent patterns in artists' biographies suggests certain myths get picked up; the most popular of these is the artist as 'bohemian', living in opposition to society. He argues that this pattern has become so persuasive that artists have sometimes adopted it consciously.…”

Section: Temporal Brand Narrativementioning

confidence: 99%

Multi-stakeholder brand narratives: an analysis of the construction of artistic brands

Preece

Kerrigan

2015

Journal of Marketing Management

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In the case of visual artists, the product they create is inextricably linked to their identities, personalities and career histories in terms of how the art is produced, presented, consumed and positioned and valued in the market. Although artists' branding initiatives are considered relevant to branding and marketing theory, identifying how these are constructed and managed and identity negotiated through this process is an area that needs further development. This research therefore uses a multi-stakeholder approach to branding theory to examine contemporary artists' careers to understand how value is added to their 'product'. Qualitative analysis of artists' biographies and career histories in the London art market illustrates how value is co-constructed through relationships in a temporal manner that must be strategically managed.Finola Kerrigan is a senior lecturer in marketing at the University of Birmingham, where she teaches and researches marketing and consumption, specifically in relation to arts and culture.

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“All, Very Fast—and going to the Very Dogs!”

Fedders¹

2004

Winterthur Portfolio

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Myth and Pattern in the Lives of Artists

Cited by 4 publications

References 0 publications

Framing the work: the composition of value in the visual arts

Framing the work: the composition of value in the visual arts

Multi-stakeholder brand narratives: an analysis of the construction of artistic brands

“All, Very Fast—and going to the Very Dogs!”

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