We are very happy to let you know about this publication by Svetlana Kharchenkova & Olav Velthuis!
This article studies the role of judgment devices in the emergence of markets for singularities. In particular, it seeks to understand how specific judgment devices become dominant in resolving uncertainty within these markets. Building on Karpik’s seminal theory, we argue that institutional environments (e.g. government regulations, political-economic factors, the level of informality within business environments) as well as the level of expertise of consumers, co-determine which devices come to be used in new markets. Empirically, we focus on the emerging market for contemporary art in China. While auctions and auction prices are widely used in valuing contemporary art in China, this is highly illegitimate in international art markets. We argue that auctions act as a judgment device in China because of strong government backing, because other validating organizations, such as museums and art critics, are seen as untrustworthy, and because auctions send strong, easily interpretable signals to novice collectors.
The paper studies how local contexts contribute to the emergence of markets. In particular, it explains how potential entrepreneurs are motivated to become active in establishing new markets. Empirically, the focus is on contemporary art markets in two emerging countries: India and Russia. The paper draws upon qualitative interviews with 65 contemporary art dealers conducted in New Delhi, Mumbai, Moscow and Saint Petersburg. We show how different socio-cultural contexts function as activation mechanisms: in India, family backgrounds predominantly structure the decision-making processes, among others through the economic, social and cultural capital which these families provide. In Russia, by contrast, such family background is non-existent. Instead, the socio-economic turmoil of 1990s and 2000s as well as the strong involvement of the state function as activation mechanisms. We suggest that these different activation mechanisms contribute to explaining the diverging market performance in both countries.
Join TIAMSA New York for inside views of the Frick Center for the History of Collecting, New York City, 8th February 2019, 3:00-5:00pm
Please join TIAMSA members and staff of the Frick Center for the History of Collecting for a tour of the Frick Art Reference Library and the extensive Frick photo archive (1.2 million photographic reproductions of works of art from the fourth to the mid-twentieth century). We look forward to an exciting event which will convey insights into the fantastic resources and the activities of the Frick’s Center for the History of Collecting. RSVP required.
Date: Friday, 8th February 2019, 3:00-5:00pm.
Address: Center for the History of Collecting, Frick Art Reference Library, 10 East 71 Street, New York, NY 10021
To celebrate the annual conference of the College Art Association held in New York City this year, Christie’s Education and The International Art Market Studies Association (TIAMSA) cordially invite you to a reception on Thursday, February 14th 2019, from 5:30 pm to 7:30 pm.
TIAMSA supports the understanding and study of art markets of all periods and geographic areas and encourages research by providing a platform for networking, gatherings and information exchange open to scholars, students and professionals alike.
New York City, 15 February 2019, 12:30-1:30pm – Share and Connect: Databases for Art Market Studies; TIAMSA session at the College Art Association (CAA) Conference (Chaired by Clarissa Ricci, Iuav University of Venice and Sandra van Ginhoven, Getty Research Institute); Location: New York Hilton Midtown, 2nd floor, ‘Nassau East’
Databases and digital techniques frequently challenge current approaches to research, not least through the introduction of a new vocabulary. While this opens some exciting perspectives, the use of such tools requires careful consideration and modelling of key concepts and relationships. This ‘Share and Connect’ meeting is open both to TIAMSA scholars and other colleagues interested in the use of databases and digital techniques for art market studies who wish to share their different methodological approaches, questions and insights. The aim of the meeting is to form an international group around the use of databases in art market studies in order to expand our field of inquiry. The discussion will be based on the input from the following brief presentations:
Fiene Leunissen, Research Scholar, Duke Art, Law & Markets Initiative, Duke University: Teaching Art Markets: Data Limitations & Alternative Metrics in the South Korean Auction Market
Nadine Oberste-Hetbleck, Junior Professor for Art History and Art Market, University of Cologne: ART | GALLERY GIS | COLOGNE – A Digital Mapping Project on the ART COLOGNE (1967– 1997)
Jeffrey Taylor, MGES Program Grosland Director, Western Colorado University: Measuring the US Art Market Using Labor and Tax Data
The session is open to all visitors of the CAA conference. Please note that you will not have to purchase access to the 2019 CAA Conference in order to attend!
New York City, 13 February 2019, 8:30-10:00am – The Studio as Market (Chaired by Julie Codell, Arizona State University) – TIAMSA-Session at the CAA (College Art Association) Conference; Location: New York Hilton Midtown, 3rd floor, Grand Ballroom West
have been the site of workshops, collaboration, promotion, mystery, and
myth, at times considered a hallowed space, at other times a
disreputable one. They have also been the places of social, political,
and economic transactions that shape aesthetic values. In the studio
artists self-fashioned their social status and promoted their works.
They invited critics, dealers, and patrons into their studios, turning
the latter into sites that combined a presumed mysterious creative
energy with economic exchange while purposely misapprehending economic
considerations. This session will explore how artists – facing dwindling
church and aristocratic patronage from the eighteenth century on –
strategically entered the “free” market by using their studios to
promote and sell works in conjunction with creating marketable public
identities to engage buyers and generate symbolic capital for their name
and their work.
Julie Codell, Arizona State UniversityThe Studio as Market. Victorian Artists’ Studios as Public Spaces
Andrew Stephenson, Independent ScholarFrancis Bacon’ s London Studios – Before and After 1930
Sasha Davis, The Renee & Chaim Gross Foundation Designed to Impress: Chaim Gross and the Studio at 526 LaGuardia Place
Di Wang, University of Oxford Lunch at the Artist’ s Studio