Network Dynamics and Market Structure: The Case of Art Fairs

Yogev, Tamar; Grund, Thomas

doi:10.1080/00380237.2012.630846

Cited by 23 publications

(10 citation statements)

References 38 publications

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“…Consequently, the art fair was not simply a gathering of art galleries and their represented artists, but a homophilebased network of similar galleries (cf. Yogev and Grund 2012). The participation of galleries with similar profiles and similar artists, however, was not a repetition of the same.…”

Section: The Global Extension and Differentiation Of Art Fairsmentioning

confidence: 89%

“…In doing so, these studies have acknowledged the usefulness of Becker's idea of the "network" in their respective fields. Although some research (Corrado and Boari 2007;Thompson 2011;Yogev and Grund 2012) has pointed to the application of network theory to art fairs and thereby on less direct forms of cooperation, even including forms of competition and larger institutional settings (in contrast to Becker's more interaction-based approach), none of these attempts has encouraged a discussion or research of art fairs with regard to the concept of the network. The absence is worth noting, as this notion is almost common sense among art dealers.…”

Section: Introductionmentioning

confidence: 96%

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The Art Fair as Network

Morgner

2014

The Journal of Arts Management, Law, and Society

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Although Howard Becker defines art worlds as networks of cooperating people and a broad range of studies has applied this idea of the network to art markets, research on fairs remains a neglected issue. This article aims to advance the idea of the network and the art fair with regard to the art fair boom, the differentiation of art fairs and their interlinking, and the role of networks with regard to the participating galleries and their interlinking within art fairs. Quantitative and qualitative data are brought forward to shed some light on these issues, including statistical information, along with interviews.

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Section: The Global Extension and Differentiation Of Art Fairsmentioning

confidence: 89%

Section: Introductionmentioning

confidence: 96%

The Art Fair as Network

Morgner

2014

The Journal of Arts Management, Law, and Society

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“…ArtFacts. Net data has been widely used as a measure of performance in the management science literature (Ertug et al, 2016) and cultural sociology (Velthuis, 2013;Yogev & Grund, 2012). We use individual rankings 5 based on 2016 public art exhibitions and artists' 7-year average ranking for 2010-2016.…”

Section: Datamentioning

confidence: 99%

The promise of potential: A study on the effectiveness of jury selection to a prestigious visual arts program

Kackovic

Hartog

Ophem

et al. 2022

Kyklos

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We analyze 11 years of admission decisions to a highly selective post‐graduate visual arts program. Our unique, longitudinal data includes detailed information about the selection procedures as well as the later artistic and economic achievements for both accepted and rejected applicants (n = 8,557). Regarding the predictive value of the selection procedures on later performance, our analyses show that the largest gain made is in the first, more cursory, pre‐selection round. We find that weeding out less promising applicants is easier than identifying later top‐performers, in terms of ex‐ante expectations. The subsequent or final selection round is resource intensive and consists of several interviews with multiple jury members. Here we uncover an implicit structure of criterion variables that helps explain the ex‐post admission decisions. Our simulations show that actual selection during the final round is slightly better than alternative decision rules (including a decision by lottery) in identifying applicants' potential. Nevertheless, measured by future performance, the gain from rigorous jury assessments relative to modest and cheaper selection methods is minimal. Our conclusions are maintained under several robustness checks.

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“…Adoption of the network lens views the artist as creator away from the centre of attention in recognising the involvement of other interested stakeholders involved in the collaboration, including the social shaping of the production and consumption of the work and its critique. Yogev and Grund (2012) made use of art fair data (and qualitative interviews with the various actors in the art market) in order to study the development of the art fair network over three years. They note that annual art fairs are a major part of the contemporary art market, enabling exposure of and relationship building by the artists, with key actors in the global art market.…”

Section: Literature Reviewmentioning

confidence: 99%

Defining the art product: a network perspective

Wickham

Lehman

Fillis

2020

AAM

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PurposeThis paper explores the nature of art as a product through a network perspective, accounting for key contributing stakeholders in shaping its essence.Design/methodology/approachThis study adopted a qualitative data collection and analysis design and is centred on a series of face-to-face interviews with established Australian visual artists.FindingsResults support the notion of an art product shaped by interconnections and interdependencies of actors in the art market. In particular, attention is paid to the roles of actors in conceptual, production and distribution networks.Research limitations/implicationsAlthough there are idiosyncrasies that (in part) define the Australian art market context, the issues identified here are nonetheless useful in determining the nature of the interconnectedness of the art market in other similar Western contexts. Many Australian artists have achieved similar recognition and status to other established artists elsewhere. Future cross-cultural comparative research should be carried out in order to assess this relationship in the longer term.Practical implicationsArtists at different stages of their careers can transfer the findings of this research into the development of a series of relevant strategies and tactics for developing their art and culture products more effectively.Originality/valueAlthough philosophical assessments of art as a product have been carried out elsewhere, there is a lack of evaluation from an art versus marketplace lens in considering the perspectives of interested stakeholders

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Network Dynamics and Market Structure: The Case of Art Fairs

Cited by 23 publications

References 38 publications

The Art Fair as Network

The Art Fair as Network

The promise of potential: A study on the effectiveness of jury selection to a prestigious visual arts program

Defining the art product: a network perspective

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