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2019
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an a ten-foot-tall balloon animal possibly be worth $58.4 million? In November 2013 at Christie’s in New York, someone clearly thought so, coughing up that exact amount for Jeff Koons’s 1990s-era sculpture Balloon Dog (Orange) (Tully). The sale marked a watershed moment for the contemporary art scene, setting what was then the record for the most expensive work of a living artist ever sold (Tully). Not only did it catapult Koons even further into the most-famousartist-around status that he had arguably occupied for the previous three decades, but it also subjected him and his work to vigorous controversy about how art merits—or doesn’t merit—its worth. The Balloon Dog itself fits none of the admittedly subjective criteria for “great art” in a traditional sense, being neither poignant, nor incisive, nor meaningful in any readily apparent way (Gemtou). As a result, its high monetary value strikes some viewers as undeserved or even disgraceful. Koons’s sculpture is—quite literally—a gi...
For a moment, let's look at the work of Jeff Koons in its artistic and cultural context, separating it from issues having to do with production, financing, promotion, and reception-for the latter have received ample attention in the wake of the artist's retrospective at the Whitney Museum of American Art. What matters in the end is the work. What is it about, and what has been achieved through it? Koons and his work unleash passionate reactions, and because of that, not enough effort is directed toward making sense of the actual artworks as embodiments of ideas and sensations, and as systems of forms in space.
Aesthetics and Affects of Cuteness, 2017
This paper investigates Jeff Koons’s intervention in "cuteness" as an aesthetic category in contemporary art, taking as a particular test case his stainless steel sculptures based on clowns’ balloon creatures. The ten foot tall Balloon Dog (1994-2000) might be the equestrian monument of balloon animals. Here Koons’s “cute” work is considered with respect to the theoretical impasse that it seems to generate, Arguably, Koons has created a peculiarly cute version of critical theory, a kind of self-invalidating theory that generates a critical stalemate. Situated in its various theoretical and artworld contexts, and Koons's own writing, Balloon Dog seems to propose a aesthetic that supplements the contemporary minor aesthetics proposed by Sianne Ngai: a hybridized aestehtic of the cute sublime.
courtauld.ac.uk
It is an old point, but consider how alike are art and money. And how more alike they are becoming. Recently, both have tended to dematerialise, to shed their physical form. Both have greatly increased the speed at which they circulate, and have made thoroughly international the scope of that circulation. Both are also increasingly switched into and out of for their short-term yield. So these ever more weightless artefacts are blown this way and that by the gales of fashion and opinion. A sympathy seems to exist between objects which have very nearly no use (works of art) and those which have nearly every use (banknotes). Art and money represent an almost pure form of exchange: in the opposition between use value and exchange value (to grasp the difference, consider how much use a bottle of water is to someone after a long walk in the heat, and how much they are likely to have to pay in exchange for it), 1 their weight is on the side of exchange. In the pricing of art, exchange value is tied above all to aesthetic judgement. The association is so familiar that it has developed the power of truism; if people say an artist's work is undervalued, they generally mean that it is a good investment prospect. People rarely say that some body of work is fine, but the market does not recognise this and, what is more, never will. This is not to say that money and art have no use value, but it is marginal and tends to be redeemed only in extreme circumstances. Duchamp's famous quip about using a Rembrandt as an ironing board makes the point that works of art can have use value if they are no longer looked on as works of art; likewise, money can be burned to provide warmth, or used to write poems or make drawings upon. 2 But when things swing along happily, as they do at the moment in Britain, with only average suffering,
The visual art field presents itself as a highly differentiated sphere internally-a characteristic that it shares with other fields of cultural production. Social scientists typically differentiate between four sub-segments of a cultural field, each with its own relative autonomous logic. These are sometimes grouped into dichotomies, and sometimes further internally differentiated according to the principle of Chinese boxes. 1 a) The denial of the economy in the field theory model
2020
The text presents some features of the contemporary art market and a few specific issues related to the valuation and circulation of works of art. The specificity of the art market, the role of experts and intermediaries, difficulties in valuing works of modern art, have an impact on the scope and content of the protection of moral and material interests resulting from artistic production, the scope and content of freedom of artistic creativity. Processes of valuing artworks bring questions on the necessity of the introduction of regulatory mechanisms to increase the transparency of transactions, in order to protect the value of works of art and the freedom of artistic creativity. 2 https://www.artsy.net/article/artsy-editorial-what-you-need-to-know-about-theemerging-art-market-right-now (17.05.2020). Among others: Y. Bouvier, the famous owner of the gallery, inflates the prices of works in an unauthorized way, see:
Published together with a text by Nicole Demby, "Art and the Freedom Fetish: Some thoughts on art and the state after 1945," http://www.metamute.org/editorial/articles/art-value-and-freedom-fetish-0, May 28, 2015.
The Trouble with Value: Art and Its Modes of Valuation, 2020
Introduction in the publication The Trouble with Value: Art and Its Modes of Valuation Published on the occasion of The Trouble with Value exhibitions at Bunkier Sztuki Gallery of Contemporary Art, Kraków (15.12.2017–21.3.2018) and Onomatopee, Eindhoven (21.4.–27.7.2018). The Trouble with Value discusses the symbolic and economic value that a work of art holds, being a product of its maker’s labour. The dynamic compilation of theoretical texts, essays and artistic contributions provides insight into current notions of value and value systems, and considers everything from the role of language to the circulation of art, and how it’s aided by the infrastructure of institutions. Along the way, The Trouble with Value tackles the historical legacies of de-/valuation in art, the value of artistic labour, and art’s capacity to tell stories beyond mainstream channels of dissemination. Published by Onomatopee 2020 ISBN 978-94-93148-20-8 Edited by Kris Dittel Contributing authors: Benera and Estefán, Rachel Carey, Kris Dittel, Fokus Grupa, gerlach en koop, Sława Harasymowicz, Monique Hendriksen, Femke Herregraven, Arnoud Holleman, Maria Hussakowska- Szyszko, Anthony Iles and Marina Vishmidt, Kornel Janczy, Aleksandra Janus and Karolina Grzywnowicz, Kra Kra Intelligence Cooperative, Gert Jan Kocken, Sarah van Lamsweerde, Ewa Partum, Arkadiusz Półtorak, Krzysztof Siatka, Mladen Stilinović, Maciej Toporowicz Copy editor: Clementine Edwards Design: Agata Biskup
“Absurd art”: its symbolic and economic value formation in Dutch galleries. A study on the relationship between symbolism and price of contemporary art., 2020
Due to the freedom of expression contemporary art allows for, the symbolic value of art becomes more prominent and prevails over aesthetics at times. The valuation process of contemporary art in the primary market appears to be challenging due to the subjective judgments of contemporary art, especially of the most extreme genres of abstraction or conceptualism. The academic literature lacks research on the value formation of such art pieces, which this research pronounces as “absurd art”. “Absurd art” is an established for this research contemporary art movement, which is on edge between art and non-art due to the symbolism prevailing over aesthetic values, and its visual characteristics that may seem too irrational and abstruse from the first sight. This research aims to shine a light over a question: To what extent does the symbolic value of “absurd art” influence the economic value in the exchange setting of the Netherlands’ art galleries as the primary market? The theoretical framework of this study formulates the evident theories and academic gaps in connection to art pricing, as well as symbolic value and its value formation. The empirical part serves as a reliable source of practical findings through a qualitative study. Six in-depth interviews with art gallerists of the Netherlands have been conducted as a research method for this review. Finally, the collected data has been interpreted utilizing thematic analysis, which has resulted in a coherent discovery and discussion of this research. Both the literature review and the research findings show that it is indeed problematic to establish a direct relationship between symbolic value and economic value. Interview results have confirmed that the societal acknowledgment and shared subjectivity influence the price formation greatly. The symbolic value becomes more demanded in the contemporary art era but cannot be considered a factor of value judgment of art. Furthermore, the term “absurd art” has appeared to be a socially constructed phenomenon instead of an art movement, as it would only make sense for those who fail to relate to a particular artwork.
2004
This thesis examines how Marcel Duchamp's artwork Fountain has been reproduced and evaluated over time. The original piece was made in 1917 and was lost soon after it was created. Fountain has become renowned through its representations, descriptions, and copies and replicas of various scale; consequently, any later artistic critique was directed at the reproductions, rather than the original piece. Considering the fact that the original no longer exists, Fountain's reproductions somewhat reflect the artistic aura of the original, especially when Duchamp was personally involved in their creation. Fountain's reproductions may be viewed as originally (re-)produced artworks on their own. This thesis studies the processes of artistic evaluation applied to Fountain's reproductions. Fountain is a special example for the following reasons: When it first appeared in 1917, it openly posed the question of whether objects mass-produced by manufacture can be given artistic value. Moreover, since Fountain's artistic evaluation has been attributed to the reproductions, Fountain extends the question of attributing artistic value to reproduced objects, to artistic value attributed to reproduced art, in turn also raising questions about the relationship between original and copy. Finally, the artistic evaluation of Fountain has changed radically over time, further 'bourgeois' art and 'intellectual' art, between 'traditional' art and 'avant-garde' art." 3 Bourdieu discerns that despite the changing of the art world, artistic standards may still be directed by art's institutional agents. Mechanisms of abandonment of the exclusive relationship between art and aristocracy and in its release toward the broader audience of the masses. Such power of art has proliferated over the circulation within the media networks. Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction,"
The aim of this paper is to analyze the phenomenon of dematerialization of art, which is increasingly evident. This phenomenon of increasing abstraction is emerging in complex evolutionary systems of communication in multiple forms (from the presumed real economy to finance, from human resources management to the expansion of intellectual capital formalized in trademarks, patents, licenses, copyrights, etc.,). The abstraction of contemporary art reflects a complex phenomenon that can be defined as hypercitizenship in the sense that the levels of observational and operational expertise required for a system to evolve autopoietically are increasingly sophisticated in terms of the four characteristics featuring hypercitizenship: cosmopolitanism, entrepreneurship, scientificity and social autonomy, as compared to the specifics of the art system.
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