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

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.     

Kunst und Preise

How are prices established in the market for contemporary art? Buyers in this market are confronted with fundamental uncertainty since “quality” is only difficult to determine and the development of prices is non-predictable. Since the emergence of a market for contemporary art presupposes at least the possibility for intentional rational decision-making, this uncertainty must be reduced. We argue that the value of a piece of art or an artist is established in an intersubjective process of granting reputation by experts and institutions in the field of art. This is achieved primarily through the institutions of the art market and the training of artists, i.e. through galleries, curators, critics, art dealers, journalists, collectors, and art schools. They participate jointly in the making of artistic reputation of the artist’s work that provides, in turn, the basis for the determination of its economic value. For testing this hypothesis we assembled and analyzed two datasets with data on the biographies of artists and prices for their works.     

FROM PRINTS TO POSTERS: THE PRODUCTION OF ARTISTIC VALUE IN A POPULAR ART WORLD

The activity of a gallery in an art world is centered not only on the distribution of works, but also on the development of a clientele. This involves convincing potential customers that works have both artistic and economic value. The traditional path of valuation of works is through the gatekeepers of the high art world. There are, however, art worlds whose works have not passed through these high art gatekeepers, but which are nevertheless successful in maintaining a clientele. This article examines the process by which this popular art world establishes a positive value for its art when it has no access to the legitimating institutions of the high art world. Data were gathered primarily through interviews with gallery directors, employees, and artists, both from the popular and high-art worlds. The sample includes 18 popular galleries and 10 high art galleries in the Chicago area. “Popular galleries” are defined as those galleries located in the shopping districts of cities or in suburban shopping malls. Many are part of larger chains, and all carry prints by well-known artists, works of lesser known artists, and some posters.     

Art Markets,Sociology and the Emotional Art Object

In its current state the sociology of art markets is characterized by an externalist approach to the analysis of art value in which the art object is the repository of beliefs, judgements given to it by art market actors. However, a review of the literature on art museums poses a challenge to this externalist approach by focusing on the mutually constitutive relationship between the art object, its exhibition and museum context, and viewers. The article reviews this literature exploring the advantages of this line of research for a meaningful sociology of art markets. It will argue for the need to overcome its current externalist focus with studies of the emotional dimension of art market objects as well as of the practices of art market actors.     

Displayed Art and Performed Music: Selective Innovation and the Structure of Artistic Media*

Aesthetic innovation in symphony orchestras and art museums is strongly influenced by the fundamental structure of the art forms with which each institution is associated. Music depends on time, visual art on space; while music is ephemeral, painting and sculpture consist of concrete objects. These structural differences have implications for the organizations: costs, expectations of growth and patronage sources. Most important, just as museums are constrained to feature innovative works, performed music institutions are constrained to avoid them. Examining orchestras and art museums reveals the connections among specific art forms, organizational structures and aesthetic outcomes.     

THE EVERYDAY LIFE OF ART: VARIATION IN THE VALUATION OF ART WORKS IN A COMMUNITY ART MUSEUM*

This paper examines variation in the valuation of art works in a community art museum. It often is assumed that art objects collected and displayed by museums are treated as highly valued if not sacred objects. Research at a community art museum indicates that the value of art works varies. Frontstage at the museum, art works are treated with care by museum workers. Backstage, they may be destroyed, misplaced, lost, or stolen. In addition, when not engaged in playing the conventional role of museum visitor, visitors to the museum may disregard and even mistreat art objects. Data are based on observations and interviews conducted over a two-year period in a medium-sized community art museum.     

Symbolic meanings of prices: Constructing the value of contemporary art in Amsterdam and New York galleries

This article develops a sociological analysis of the price mechanism on the market for contemporary art. On the basis of in-depth interviews with art dealers in New York and Amsterdam, I address two pricing norms: one norm inhibits art dealers from decreasing prices; the other induces them to set prices according to size. To account for these pricing norms, I argue that price setting is not just an economic but also a signifying act: despite their impersonal, businesslike connotations, actors on markets manage to express a range of cognitive and cultural meanings through prices. Previously, meanings of prices have been recognized in signaling theories within economics. However, these meanings are restricted to profit opportunities. Within the humanities, by contrast, meanings of prices are restricted to contaminating or corrosive meanings. The sociological perspective I develop claims that prices, price differences, and price changes convey multiple meanings related to the reputation of artists, the social status of dealers, and the quality of the artworks that are traded.     

Art Criticism and its Power Over Women Artists - An Inquiry into the Sources of Gender Discrimination in Jewish Palestine/Israel, 1920-1960

Discrimination against women in the Western field of Visual Arts persists, even today. In this article I reflect upon the formative years of the field of Visual Arts in Jewish Palestine/Israel. I examine what role art critics took in the emergence of the systematic forms of artistic malestream domination. I also analyze which strategies allowed art critics to develop their position as the "knowers" of high art. While artistic malestream practices have not only held back female artists in the past, they also still affect women's artistic careers. Thus, the exposure of these concealed mechanisms can inform both academic scholarship and the artistic discourse.     

Art as Propaganda: Bringing Du Bois into the Sociology of Art

We examine WEB Du Bois's writings about the arts in the NAACP journal The Crisis from 1910–1934 in order to construct a Du Boisian social theory of the arts. The key elements of this theoretical framework are: artists, money, freedom, organization, truth, beauty, and propaganda. The most surprising element is propaganda, which for Du Bois meant that art needs to address racial politics. There is a strong sense in Du Bois's writings that art can and should have socially transformative effects. Comparing Du Bois's work to current theories from the sociology of art, we find that Du Bois emphasizes the role of art in social change, while current work treats art primarily as a tool for social reproduction. We argue for expanding the theoretical toolbox of the sociology of the arts through greater consideration of Du Bois's propaganda concept.     

The art museum in Africa – a utopia desired?

In this paper, I argue that museums in general are utopias, “no-places” in which categorisations of objects can be opened up for destabilisation. Following a discussion of the ways in which the categories “material culture” and “art” are reflected in museums, I argue that once the museum is transposed to Africa, its function as a space in which heritage is maintained through the conservation and preservation is thrown into disarray. I argue further that this is particularly the case with the most utopian of museums, the art museum. I argue that most African nation states do not have national art museums, and offer an argument about why they have museums of “arts and cultures” instead. I end with an analysis of the history and situation of art museums in South Africa and possibilities for alternative ways of conceiving the art museum as an inclusive rather than exclusive space.     

Reorientalism and globalisation: transnational artists from India and representations of the ‘other’

In this article, I discuss some artists who have emigrated from India to the United States and the United Kingdom whose more recent work contains ‘Orientalising’ imagery influenced by the conjoined forces of the art market, collectors, biennales, globalisation, the Internet, the rapid development of India’s economy and its impact on the global art scene. It seems that fame and fortune for some Indian artists living in the West entails capitulating to the desire for exotic, ornate, sexual and stereotypical representations associated with Indian culture and religion. In contrast, I consider the direction taken by other artists who remain in their country of origin and portray life lived there without being particularly attentive to being Indian, although they may concentrate on social and political issues.     

Aesthetes in the marketplace: Collectors in the gun business

Marketplaces can provide settings for the appreciation of beauty and the creation of community. The author examines how gun collectors who buy and sell guns continue to see themselves as aesthetes rather than dealers. Gun collector-dealers turn economic encounters at commercial gun shows into occasions for teaching others the symbolic uses of guns — as artifacts, curios, andobjets d'art. Economic relations can produce aesthetic value even when the objects exchanged are conventionally defined as symbols of violence and not beauty.     

Suburban landscape: Views of New Jersey artists 1

Suburban landscape predominates within New Jersey; people live in one suburb and drive to a job in another. Research on community ideologies suggests, however, that even suburban residents have vague images of suburbs. Vague images can mean, in turn, that the state's visual artists produce few images that incorporate the newly‐created suburban landscape that they see every day. Research on art worlds also suggests little encouragement for work that depicts the newer suburbs. Consistent with this, only a few of the visual artists living in New Jersey who have put slides in three large slide files include work that deals with the newer suburban landscape or with the process of creating suburbs. Instead, artists who depict New Jersey landscape concentrate on the state's “natural” landscape or on the state's older industrial suburbs. The privacy of newer suburbs no doubt also contributes to this pattern. In suburbs, even places designed for crowds, such as retail malls, are private.     

Network Dynamics and Market Structure: The Case of Art Fairs

Annual art fairs are a crucial element of the contemporary art market. Art galleries represent artists and exhibit their work at fairs all over the world. These fairs expose the gallery and its artists and create and maintain relationships with key actors in the global art market. Using data recording artists and galleries presenting at art fairs alongside qualitative interviews with different actors operating in the art market, we study the development of the art fair network over three years, 2005–2007. Our findings suggest significant network and homophily effects regarding the status and age of artists at fairs. However, the internationality of fairs and geographic distances between them do not seem to have any effect.     

RACIALIZED AUTHENTICATION: Constructing Representations of the Florida Highwaymen

This article explores how art world professionals and cultural publicists construct representations of a group of “rediscovered” black artists, who painted from the end of the Jim Crow era to the present. Examining their writings, statements from interviews, and their interactions with audiences at public events, I show how they represented the artists as both exotic self‐taught artists and achievers of the American Dream. I introduce the term “racialized authentication” to frame a branch of racial rhetoric through which the various actors draw from both traditional racial stereotypes and new racism ideology to construct authentic artists. In conclusion, I address how these findings have implications for the integration of contemporary research on race and sociological studies of art worlds.     

The Standpoint of Art/Criticism: Cindy Sherman as Feminist Artist?*

Feminist Standpoint Theory identifies knowledge as a social product developed from a specific social position. We apply this theory to explore the dominant standpoint informing the social organization of Western art via an institution we call art/criticism. We find that the assumptions, values, and analytic strategies informing mainstream art and art criticism express the standpoint of privileged men. As a test of our argument, we consider the case of an artist who is often hailed as a feminist artist and yet is one of the most successful woman artists today: Cindy Sherman. We find that while Sherman is working with some fertile possibilities for feminist analysis, her work ends up re‐directing this potential into a disempowering play with images. We conclude that rather than countering our argument, the celebration of Sherman’s work as feminist reveals the workings, as well as the limits, of the privileged male standpoint in art.     

The Makings of Political Art

Sociological work on how cultural objects are produced tends to neglect the politcal context of such production, whereas work on social movements and art neglects how movement artwork acquires its form and content. This article aims to fill these lacunae by analyzing the protest art of shantytown women against Pinochet. Artists, movement organizers, movement sponsors, and buyers interact to shape political art. The national and international political and economic contexts also play a part in that shaping. Ethnographic data from Chile and Europe, as well as a study of the art forms themselves, form the basis for the article's claims.     

Towards sociology from the arts: An epistemological turn

Over the past two decades, Howard Becker's Art Worlds and Pierre Bourdieu's The Rules of Art were guidelines for the dominant paradigms in sociology of art. Nevertheless, according to Bourdieu, sociology and art do not make a good match. To overcome this dilemma, the French sociologist Nathalie Heinich proposed a “sociology from art,” based on the uniqueness of artists and their works, but she neglected artworks as sociological subject. A realistic and persistent criticism against sociology from the arts claims that artworks are fictions created by artists, therefore epistemologically unacceptable as social realities. Is it possible the making of sociology from artworks? Through theoretical review and using the example of literature, I will argue in this paper that artworks are important heuristic resources and a legitimate subject of sociological research.