This edited collection offers an in-depth analysis of the complex and changing relationship between the arts and their markets. Highly relevant to almost any sociological exploration of the arts, this interaction has long been approached and studied. However, rapid and far-reaching economic changes have recently occurred.
Through a number of new empirical case studies across multiple artistic, historic and geographical settings, this volume illuminates the developments of various art markets, and their sociological analyses. The contributions include chapters on artistic recognition and exclusion, integration and self-representation in the art market, sociocultural changes, the role of the gallery owner, and collectives, rankings, and constraints across the cultural industries. Drawing on research from Japan, Switzerland, France, Italy, China, the US, UK, and more, this rich and global perspective challenges current debates surrounding art and markets, and will be an important reference point for scholars and students across the sociology of arts, cultural sociology and culture economy.
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1. Introduction; Andrea Glauser, Patricia Holder, Thomas Mazzurana, Olivier Moeschler, Valérie Rolle and Franz Schultheis.- Part 1. Creators in the Market: Artists between Aesthetics, Critique and Trade.- 2. Patrick Modiano, Between the Fields of Limited Production and Large-Scale Production; Clara Lévy.- 3. A Star Down-to-Earth: On Social Criticism in Popular Culture; Désirée Waibel and Robert Schäfer.- Part 2. Artistic Career Paths: Trajectories and Inequalities in the Market.- 4. Art Workers, Inequality and the Labour Market: Values, Norms, and Alienation Across Three Generations of Artists; Orian Brook, Dave O’Brien and Mark Taylor.- 5. Visual Artists’ Professional Situations and Trajectories Between Institutions and the Market; Pierre Bataille, Johannes M. Hedinger and Olivier Moeschler.- 6. The Art Market – Art’s Incomplete Mirror: Artistic Action’s Guiding Principle and their Consequences for the Art Market; Linda Dürkop-Henseling.- Part 3. The Economy of Idiosyncrasy: Art Dealers and the Commodification of Individuality.- 7. When Market Promotes Individuality: Arts in Early Modern Japan from the Macrosociological Perspective; Takemitsu Morikawa.- 8. The Art Market Facing New Connoisseurship: The Reception of Pieter Brueghel the Younger at Auction; Anne-Sophie Radermecker.- 9. Collective-Artists: Actors on the Margins of the Global Field of Contemporary Art; Séverine Marguin.- Part 4. Marketable Art: Galleries and Gallery Owners as Central Intermediaries.- 10. Hierarchies and Divisions in the Subfield of Gallery Owners: A Research on Art Galleries in Milan; Anna Uboldi.- 11. Mapping the Professional Self-Concepts of Gallery Owners: A Typology; Michael Gautier.- 12. The Diffusion of Galleries in China (1991-2016); Linzhi Zhang.- Part 5. Market Assessments: The Increasing Role of Art Rankings.- 13. Magic Index on the Wall: Who is the Most Valuable Artist of Them All?; Nathalie Moureau.- 14. Can Contemporary Art Galleries Be Ranked? A Sociological Attempt from the Paris Case; Alain Quemin.- Part 6. Features of the Art Market in Advanced Capitalism: From Established to New Patterns? – 15. The Art Fair Boom and its Contradictions; Erwin Single.- 16. Art Meets Capitalism: In Praise of Promising Potentialities; Denis Hänzi.- 17. The Art, the Markets, and Sociology: Concluding Remarks; Franz Schultheis.
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Andrea Glauser is Professor of Cultural Studies at the University of Music and Performing Arts Vienna, Austria.
Patricia Holder is a freelance researcher and curator, and was previously a research assistant at the University of St. Gallen, Switzerland.
Thomas Mazzurana is an innovation manager, and was previously a research assistant at the University of St. Gallen, Switzerland.
Olivier Moeschler is Senior Researcher at the University of Lausanne, Switzerland.
Valérie Rolle is Lecturer at the University of Nantes, France.
Franz Schultheis is Professor Emeritus of Sociology at Zeppelin University, Germany.
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