語系:
繁體中文
English
說明(常見問題)
回圖書館首頁
手機版館藏查詢
登入
回首頁
切換:
標籤
|
MARC模式
|
ISBD
FindBook
Google Book
Amazon
博客來
Value Creation Mechanisms in the Contemporary Art Market.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
Value Creation Mechanisms in the Contemporary Art Market./
作者:
Goel, Niharika.
出版者:
Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:
111 p.
附註:
Source: Dissertations Abstracts International, Volume: 83-12, Section: A.
Contained By:
Dissertations Abstracts International83-12A.
標題:
Fine arts. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28770622
ISBN:
9798819357941
Value Creation Mechanisms in the Contemporary Art Market.
Goel, Niharika.
Value Creation Mechanisms in the Contemporary Art Market.
- Ann Arbor : ProQuest Dissertations & Theses, 2021 - 111 p.
Source: Dissertations Abstracts International, Volume: 83-12, Section: A.
Thesis (Ph.D.)--University of South Carolina, 2021.
This item must not be sold to any third party vendors.
As marketing theory has evolved, value co-creation has taken center stage in exchange processes. The goal of this dissertation, situated at the intersection of market systems and the visual art market, is to generate a deeper understand of the fundamentals of value co-creation at the level of practice, in part because the visual art world is organized as a Bourdieusian field of cultural production with its own set of rules, narratives, individuals and institutions. While individuals can effectively position themselves in this field to accumulate social capital, they are inextricably linked to others. Hence, it is imperative to understand the relationship between them. In fact, sociologist Howard Becker's famous definition of the "art world" is premised on it being a network of people whose cooperative activity and joint knowledge produces art. That is, art is more than just paint on canvass. (I use the terms "art market" and "art field" in this dissertation similarly to Becker's notion of the art world.) The art market might look disorganized and disconnected from the real world to the uninitiated. However, extensive research by renowned scholars indicates that just like any other social field, artwork is produced and distributed via a network of interacting actors that share joint conventional knowledge. The interaction between actors follows processes (also called mechanisms) and defined logics, leading to the co-creation of value. In this study, I focus on value co-creation mechanisms between the two most important actors in terms of their social legitimacy: artists and gallerists. I further analyze the mechanisms at the level of practice-routinized ways of understanding the world-to parse the motives that exist in the art market. When examined from an institutional approach (as in the past), these motives appear to be bifurcated into creating arts for art's sake versus creating art for commercial success. When examined from a practice-level approach (as in this study), there appear to be a wider array of motives that provide structure to artist-gallery relationships. In Part I of the study, I look at these motives and the relationship types in developing markets, where gallerists and artists can generally command similar prices. The relationship types are as follows: (1) "Artist's Agent" relationships are indicative of high-status and act as taste makers in the art market; (2) "Real Estate Agent" relationships follow the practices typical of profit maximizers; and (3) "Low-end Specialty" relationships deal with low-status actors at low price points. Interestingly, it is not just the mix of value creation mechanisms that is different across relationship types. Each relationship type implements the constituent practices differently, even when the basic value creation mechanisms (e.g., credentialing, reputation-building) are the same. In Part II of the study, I look at which of the relationship types are robust to the exogenous shock of COVID-19. I find that Artist's Agents emerge as the most successful relationship type. Also, artists in the Low-end Specialty relationship type experience a surge in demand for commissions directly from customers. Most galleries in the Real Estate Agent and Low-end Specialty relationship types shut doors.
ISBN: 9798819357941Subjects--Topical Terms:
2122690
Fine arts.
Subjects--Index Terms:
Artist-gallery relationship
Value Creation Mechanisms in the Contemporary Art Market.
LDR
:04519nmm a2200397 4500
001
2348912
005
20220920134620.5
008
241004s2021 ||||||||||||||||| ||eng d
020
$a
9798819357941
035
$a
(MiAaPQ)AAI28770622
035
$a
AAI28770622
040
$a
MiAaPQ
$c
MiAaPQ
100
1
$a
Goel, Niharika.
$3
3688296
245
1 0
$a
Value Creation Mechanisms in the Contemporary Art Market.
260
1
$a
Ann Arbor :
$b
ProQuest Dissertations & Theses,
$c
2021
300
$a
111 p.
500
$a
Source: Dissertations Abstracts International, Volume: 83-12, Section: A.
500
$a
Advisor: Crockett, David.
502
$a
Thesis (Ph.D.)--University of South Carolina, 2021.
506
$a
This item must not be sold to any third party vendors.
520
$a
As marketing theory has evolved, value co-creation has taken center stage in exchange processes. The goal of this dissertation, situated at the intersection of market systems and the visual art market, is to generate a deeper understand of the fundamentals of value co-creation at the level of practice, in part because the visual art world is organized as a Bourdieusian field of cultural production with its own set of rules, narratives, individuals and institutions. While individuals can effectively position themselves in this field to accumulate social capital, they are inextricably linked to others. Hence, it is imperative to understand the relationship between them. In fact, sociologist Howard Becker's famous definition of the "art world" is premised on it being a network of people whose cooperative activity and joint knowledge produces art. That is, art is more than just paint on canvass. (I use the terms "art market" and "art field" in this dissertation similarly to Becker's notion of the art world.) The art market might look disorganized and disconnected from the real world to the uninitiated. However, extensive research by renowned scholars indicates that just like any other social field, artwork is produced and distributed via a network of interacting actors that share joint conventional knowledge. The interaction between actors follows processes (also called mechanisms) and defined logics, leading to the co-creation of value. In this study, I focus on value co-creation mechanisms between the two most important actors in terms of their social legitimacy: artists and gallerists. I further analyze the mechanisms at the level of practice-routinized ways of understanding the world-to parse the motives that exist in the art market. When examined from an institutional approach (as in the past), these motives appear to be bifurcated into creating arts for art's sake versus creating art for commercial success. When examined from a practice-level approach (as in this study), there appear to be a wider array of motives that provide structure to artist-gallery relationships. In Part I of the study, I look at these motives and the relationship types in developing markets, where gallerists and artists can generally command similar prices. The relationship types are as follows: (1) "Artist's Agent" relationships are indicative of high-status and act as taste makers in the art market; (2) "Real Estate Agent" relationships follow the practices typical of profit maximizers; and (3) "Low-end Specialty" relationships deal with low-status actors at low price points. Interestingly, it is not just the mix of value creation mechanisms that is different across relationship types. Each relationship type implements the constituent practices differently, even when the basic value creation mechanisms (e.g., credentialing, reputation-building) are the same. In Part II of the study, I look at which of the relationship types are robust to the exogenous shock of COVID-19. I find that Artist's Agents emerge as the most successful relationship type. Also, artists in the Low-end Specialty relationship type experience a surge in demand for commissions directly from customers. Most galleries in the Real Estate Agent and Low-end Specialty relationship types shut doors.
590
$a
School code: 0202.
650
4
$a
Fine arts.
$3
2122690
653
$a
Artist-gallery relationship
653
$a
Contemporary art market
653
$a
Developing market
653
$a
Practice theory
653
$a
Value creation
653
$a
Visual art market
690
$a
0511
690
$a
0357
690
$a
0338
690
$a
0501
710
2
$a
University of South Carolina.
$b
Business Administration.
$3
1057417
773
0
$t
Dissertations Abstracts International
$g
83-12A.
790
$a
0202
791
$a
Ph.D.
792
$a
2021
793
$a
English
856
4 0
$u
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28770622
筆 0 讀者評論
館藏地:
全部
電子資源
出版年:
卷號:
館藏
1 筆 • 頁數 1 •
1
條碼號
典藏地名稱
館藏流通類別
資料類型
索書號
使用類型
借閱狀態
預約狀態
備註欄
附件
W9471350
電子資源
11.線上閱覽_V
電子書
EB
一般使用(Normal)
在架
0
1 筆 • 頁數 1 •
1
多媒體
評論
新增評論
分享你的心得
Export
取書館
處理中
...
變更密碼
登入