The Art Institution in a Globalizing World

Gielen, Pascal

doi:10.1080/10632921.2010.525065

Cited by 9 publications

(15 citation statements)

References 2 publications

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“…Regarding the domestic domain, firstly, we may infer that the classical, protective institution consists of the nuclear family (Adams, 1971;Bott, 1957;Weeda, 1995). Our research (Gielen, 2010;Gielen & Laermans, 2004;Gielen & Volont, 2014) has shown how the family structure is crucial during the first professional years of creative individuals. Older artists readily admit that during the first five or ten years of their career they were sustained by the income of their partners and received their mental support during the developmental phases of their creative labour.…”

Section: Institutional Security and Marketizationmentioning

confidence: 80%

“…Regarding the peer domain, secondly, we argue that reflection, praxis, social time and evaluation with other creatives is protected by the institutions of (art) academies and universities (Gielen, 2010;Gielen, 2013aGielen, , 2013b. These institutions, however, pressurized by international competition, have grown in scale over the past ten years.…”

Section: Institutional Security and Marketizationmentioning

confidence: 91%

“…In short, any public or semi-INTRODUCTION: SAFEGUARDING SUSTAINABLE CREATIVITY 1 public space that displays creative work or argues that the work is interesting for some reason, innovative or has social relevance, is regarded as valuable. In order to bring this wide-ranging spectrum of empirical interpretations into analytical focus, four separate domains have been distinguished in which these requirements can be categorized in an ideal-typical manner (see also Gielen, 2009Gielen, , 2010. The four domains of the artistic biotope differ in terms of (1) social relations, (2) professional behaviour, (3) use and experience of time and, finally, (4) the appreciation or assignment of values.…”

Section: The Artistic Biotopementioning

confidence: 99%

“…Although there are plentiful examples of exceptionally successful people working in the arts and creative industries, many (emerging) artists or other creative professionals find it difficult to establish and maintain themselves in creative work (Gielen, 2009;2010;2013a, 2013bGill & Pratt, 2008;Van Winkel, Gielen & Zwaan, 2012). This raises the question of what it takes to build a career -especially a sustainable one -within these professions.…”

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confidence: 99%

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Creatividad bajo presión: Los efectos de la des-institucionalización y la mercantilización sobre el trabajo creativo

Gielen¹,

Volont²,

Andel³

2018

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Aunque hay abundantes ejemplos de personas excepcionalmente exitosas que trabajan en las artes, muchos artistas encuentran difícil establecerse y mantenerse en el trabajo creativo. Este artículo analiza la creatividad sostenible a través de la lente del llamado biotopo artístico. Propone que la creatividad sostenible en las artes requiere un equilibrio entre las diferentes esferas del biotopo artístico: el dominio doméstico, el dominio de los pares, el dominio civil y el dominio del mercado. Sin embargo, hoy en día los artistas y profesionales creativos experimentan cada vez más presiones del dominio del mercado, ya que su lógica de cuantificación se entromete en las esferas doméstica, educativa y civil del biotopo. De ahí la pregunta central de este documento: ¿cuáles son las consecuencias de una protección institucional decreciente y una creciente mercantilización del biotopo artístico? Se buscan respuestas a través de una encuesta electrónica en la que participaron 1.591 artistas y profesionales creativos de Europa Occidental. Se argumenta que un mercado que impone su lógica a otras esferas -en este caso en el biotopo artístico- consecuentemente comenzará a transformarse. Estas consecuencias se describen en términos de “retroalimentación”: (1) desequilibrio trabajo-vida, (2) isomorfismo y (3) monopolización. Although there are plentiful examples of exceptionally successful people working in the arts, many artists find it difficult to establish and maintain themselves in creative labour. This paper analyses sustainable creativity through the lens of the so-called artistic biotope. It proposes that sustainable creativity in the arts requires a balance between the different spheres of the artistic biotope: the domestic domain, the peer domain, the civil domain and the market domain. Yet, artists and creative professionals experience increasing pressures from the market domain nowadays, as its quantifying logic intrudes upon the domestic, educational and civil spheres of the biotope. Hence the central question of this paper: what are the consequences of such decreasing institutional protection and increasing marketization of the artistic biotope? Answersare sought via an e-survey in which 1.591 artists and creative professionals in Western Europe participated. It is argued that a market that imposes its logic onto other spheres—in this case in the artistic biotope—will consequently begin to transform itself. These consequences are described in terms of ‘feedback’: (1) work-life-imbalance, (2) isomorphism, and (3) monopolization

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Section: Institutional Security and Marketizationmentioning

confidence: 80%

Section: Institutional Security and Marketizationmentioning

confidence: 91%

Section: The Artistic Biotopementioning

confidence: 99%

mentioning

confidence: 99%

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Creatividad bajo presión: Los efectos de la des-institucionalización y la mercantilización sobre el trabajo creativo

Gielen¹,

Volont²,

Andel³

2018

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“…Similar statements were uttered by other dealers, like Anne Lahumière from Paris: "Basel is the fair where the best orientation of the art market is given"; or Annely Juda from Annely Juda Fine Art, London, who stated that "the Art Basel is of the highest significance in contrast to all other fairs" (cited in "30 Jahre Art Basel -Umfrage: Stammgast auf der Messe" 1999). The network-like embedding is very present in these comments, which highlight the outstanding value of the fair in contrast or comparison to other fairs, its quality of providing a unique point of reference, and its quality as a focal point in a global network (see also Gielen 2010).…”

Section: Network As Coping Devices In Turbulent Art Marketsmentioning

confidence: 96%

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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The Triumph of Serious Art

Abbing¹

2019

The Changing Social Economy of Art

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The Art Institution in a Globalizing World

Cited by 9 publications

References 2 publications

Creatividad bajo presión: Los efectos de la des-institucionalización y la mercantilización sobre el trabajo creativo

Creatividad bajo presión: Los efectos de la des-institucionalización y la mercantilización sobre el trabajo creativo

The Art Fair as Network

The Triumph of Serious Art

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