Reactions, reactivity, rampant reductions. On self-fulfilling prophecies, the Matthew effect, and global potentials of a new gallery ranking

Buckermann, Paul

doi:10.1080/17510694.2018.1434363

Cited by 5 publications

(5 citation statements)

References 9 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…The numbers are decontextualized, depersonalized (Espeland and Sauder 2007, p. 18), and can easily be communicated in all kinds of media. They may become self-fulfilling prophecies that reinforce their own consequences via reactivity and adaptation (Espeland and Sauder 2007;Buckermann 2018;Moureau 2020). Nevertheless, a positive side effect of rankings is that they enable scrutinizing the rankings for information that is otherwise difficult to obtain.…”

Section: Descriptive Statistics Of the Power 100 Rankingsmentioning

confidence: 99%

“…'Perceived power ranking' may become self-enforcing (Magee and Galinsky 2008) over time in the ArtReview votings. The caveats of Espeland and Sauder (2007), and in particular of Buckermann (2018) and Moureau (2020), concerning the reactivity and commensuration triggered by rankings, must be taken seriously. The endogeneity problem therefore limits the scope of analysis in this paper.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

The concentration of power in the market for contemporary art: an empirical analysis of ArtReview’s “Power 100”

Prinz

2022

SN Bus Econ

View full text Add to dashboard Cite

Art experts and intermediaries play a crucial role in art markets. Artworks are goods whose quality is difficult to determine. Therefore, it seems necessary to restrict competition in the market for art experts to a certain extent, but not too much, in order to provide high-quality know-how. This paper contains an empirical analysis of the extent to which the market for art experts is concentrated. To this end, different methods for measuring the market concentration are applied, with an emphasis on the determination of the distribution function of a newly defined Power Index. The annual Power 100 ranking in the magazine ArtReview from 2002 to 2019 is used to study concentration in the art expert market. The results reveal not only several indications of a hierarchically tiered, but also highly concentrated market power in this market. First, the selection of nationalities of the so-called power members is biased, given that particularly Americans and western Europeans are overrepresented in relation to their world population shares, in contrast to underrepresented Asians, Africans, and Latin Americans. Second, although there is considerable variability in the low tiers of the ranking, the top positions in the rankings are very stable, as shown by the Power Dominance Index. Third, the main empirical result of this paper is that the Top 99 ranking positions follow an extreme value Fréchet distribution with a fat tail. This is interpreted as an indication of excessive concentration on the highest tier of art experts. Liberalizing the art expert market to a certain extent may provide more diversity and less dominance in high-end art markets.

show abstract

Section: Descriptive Statistics Of the Power 100 Rankingsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

The concentration of power in the market for contemporary art: an empirical analysis of ArtReview’s “Power 100”

Prinz

2022

SN Bus Econ

View full text Add to dashboard Cite

show abstract

Section: Defining Hypercanonizationmentioning

confidence: 99%

“…In other words, it is an instrument that accumulates symbolic capital and performs a legitimizing function. That is why, beyond the specific market services for which it has been conceived, it deserves some kind of consideration as an "epistemic tool" to the extent that it contingently produces comparisons, as has been proposed by Paul Buckerman [33] in a very recent article, but also as an agent of axiological production, since the ranking constitutes a valuation system in itself that builds specific notions of relevance. The rhetoric of algorithm objectivity, understood as a mathematical formula that operates on a comprehensive set of evidences, can make us lose sight of the fact that an algorithm implies a conceptual and mathematical formalization, and that it is in this formalization where we must look for the notions of value and relevance that are being managed and proposed as a "gold standard."…”

Section: Defining Hypercanonizationmentioning

confidence: 99%

Canon, Value, and Cultural Heritage: New Processes of Assigning Value in the Postdigital Realm

Ortega

2018

MTI

View full text Add to dashboard Cite

The range of modes through which the new conditions of the postdigital society is leading to a redefinition of the processes of assigning value, and the values themselves, which have hitherto prevailed in the comprehension of cultural heritage, are diverse and broad. Within this framework of critical inquiry, this paper discusses the mechanisms of canon-formation in the context of the web as the new laboratory of cultural production. It is argued that the main dynamics observed can be elucidated under the form of a triad: hypercanonization, socialdecanonization, and transcanonization. These three processes operate simultaneously interlaced and unfold in dialectical tension between the rise of the new (practices, actors, values, ideas), and the maintenance of the old (those structures that already exist). This paper delves into the paths through which such interlace dynamics and tension might reshape the principles by which canonicity develops, as well as poses open questions about the challenges facing us, which should be discussed in further studies and approaches to the problem.

show abstract

“…mer noch, vgl Buckermann (2018). für Alain Quemins Ranking über kommerzielle Galerien für zeitgenössische Kunst in Frankreich, welches 2016 passend zur FIAC in Paris veröffentlicht wurde.…”

unclassified

Die Vermessung der Kunstwelt

Buckermann¹

2019

Self Cite

View full text Add to dashboard Cite

Wie sind quantifizierende Ordnungen zeitgenössischer Kunst möglich, wenn Grundsemantiken autonomer Kunst in einem Widerspruch zu quantifizierenden Messungen und Vergleichen stehen? Obwohl sich Kunst, abgesehen von Marktanalysen, der vermeintlich umfassenden Quantifizierung der Gesellschaft zu entziehen scheint, sind zahlenbasierte Verfahren entstanden, die gerade kunstspezifische Kriterien ernst nehmen wollen. Die vorliegende Studie fragt nach der inneren Logik von solchen Rankings und institutionellen Evaluationen und ihrer Rolle für Stabilität und Wandel der Kunst. Damit werden Fälle behandelt, die aus der Kunstwelt heraus als symbolischer Grenzübertritt kritisiert werden. Hinter diese Auseinandersetzungen um adäquate oder absurde Beobachtungsweisen tritt der Autor aber zurück, um für eine systematische Annäherung an plurale Vorstellungen über Kunst in der Kunst zu argumentieren. Einerseits rekonstruiert er so empirisch an einer Künstler/innenrangliste und an Erfolgsmessungen in Kunstmuseen das paradigmatische Wissen und die konkreten Beobachtungsarchitekturen als konsistente Ordnungsweisen. Andererseits entwickelt er kunstsoziologische Theorien (Becker, Bourdieu, Luhmann) weiter durch die bewertungs- und vergleichssoziologische Einsicht, nach der jede kommunizierte Ordnung eine Welt nicht einfach darstellt, sondern eine eigene Realität selektiv herstellt und potenziell in Gesellschaft zurückwirkt. Auch wenn somit jeder Ordnungsversuch unabhängig von Zahlengebrauch analytisch gleich absurd ist, kommt den Innensichten der Kunst eine zentrale Rolle in der sozialen Selbstorganisation der Künste zu. Ausgehend von umstrittenen Ordnungsversuchen zeigt die Studie, wie Kunst sich heute vermehrt selbst als soziales Phänomen beobachtet, um Navigation durch das vermeintliche Chaos zeitgenössischer Kunst zu ermöglichen

show abstract

Reactions, reactivity, rampant reductions. On self-fulfilling prophecies, the Matthew effect, and global potentials of a new gallery ranking

Cited by 5 publications

References 9 publications

The concentration of power in the market for contemporary art: an empirical analysis of ArtReview’s “Power 100”

The concentration of power in the market for contemporary art: an empirical analysis of ArtReview’s “Power 100”

Canon, Value, and Cultural Heritage: New Processes of Assigning Value in the Postdigital Realm

Die Vermessung der Kunstwelt

Contact Info

Product

Resources

About