The market and museums: the increasing power of collectors and private galleries in the contemporary art world

Q1 Arts and Humanities

Journal of Visual Art Practice Pub Date : 2020-07-02 DOI:10.1080/14702029.2020.1804705

Alain Quemin

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引用次数: 6

Abstract

ABSTRACT This article reveals different ways in which actors in the art market – both prominent collectors and high end galleries – manage to intervene in museum institutions’ choices and, thus, strengthen their weight in the creation of art value. While in the 1960s and 1990s, the French sociologist Raymonde Moulin argued that the value of art is constituted at the junction of the market and the museum, but tended towards the pre-eminence of institutions, the market has considerably strengthened its role in the creation of artistic value since that time. The example of the French case, central in this article, illustrates a development where leading collectors – Bernard Arnault, CEO of the luxury group LVMH and François Pinault, CEO of the Kering group and owner of the auction house Christie’s – compete with museums through the institutions that they control and can influence the choices of public institutions. A similar trend is examined in the context of high end galleries which now have the financial means and personnel to offer exhibitions capable of competing with museums.

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市场和博物馆:收藏家和私人画廊在当代艺术界日益增长的力量

本文揭示了艺术市场的参与者——知名收藏家和高端画廊——如何设法干预博物馆机构的选择，从而加强他们在艺术价值创造中的分量。虽然在20世纪60年代和90年代，法国社会学家Raymonde Moulin认为艺术的价值是在市场和博物馆的交汇处构成的，但却倾向于机构的卓越地位，从那时起，市场在创造艺术价值方面的作用大大加强了。本文主要以法国为例，说明了一种发展趋势:奢侈品集团LVMH的首席执行官伯纳德•阿尔诺(Bernard Arnault)和开云集团(Kering group)首席执行官兼佳士得拍卖行(Christie’s)的老板弗朗索瓦•皮诺(francois Pinault)等主要收藏家通过他们控制的机构与博物馆竞争，并能影响公共机构的选择。在高端画廊的背景下，也有类似的趋势，这些画廊现在有财政手段和人员来提供能够与博物馆竞争的展览。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Journal of Visual Art Practice Arts and Humanities-Visual Arts and Performing Arts

CiteScore

0.80

自引率

0.00%

发文量

期刊介绍： The Journal of Visual Art Practice (JVAP) is a forum of debate and inquiry for research in art. JVAP is concerned with visual art practice including the social, economic, political and cultural frames within which the formal concerns of art and visual art practice are located. The journal is concerned with research engaged in these disciplines, and with the contested ideas of knowledge formed through that research. JVAP welcomes submissions that explore new theories of research and practice and work on the practical and educational impact of visual arts research. JVAP recognises the diversity of research in art and visual arts, and as such, we encourage contributions from scholarly and pure research, as well as developmental, applied and pedagogical research. In addition to established scholars, we welcome and are supportive of submissions from new contributors including doctoral researchers. We seek contributions engaged with, but not limited to, these themes: -Art, visual art and research into practitioners'' methods and methodologies -Art , visual art, big data, technology, and social change -Art, visual art, and urban planning -Art, visual art, ethics and the public sphere -Art, visual art, representations and translation -Art, visual art, and philosophy -Art, visual art, methods, histories and beliefs -Art, visual art, neuroscience and the social brain -Art, visual art, and economics -Art, visual art, politics and power -Art, visual art, vision and visuality -Art, visual art, and social practice -Art, visual art, and the methodology of arts based research