An Evaluative Biography of Cynical Realism and Political Pop

Kharchenkova, Svetlana; Velthuis, Olav

doi:10.1093/acprof:oso/9780198702504.003.0006

Cited by 9 publications

(7 citation statements)

References 9 publications

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“…Local contemporary art developed after information about 20 th -century artistic developments in Europe and the USA started reaching China in the late 1970s, after a period of state control of art production (Andrews and Shen, 2012). Chinese contemporary artists were first appreciated and consecrated by foreign buyers and art institutions (Kharchenkova and Velthuis, 2015). Some foreign individuals shaped China's art market by being the first to found commercial galleries and to purchase Chinese contemporary art.…”

Section: How Did This Metaphor Come About?mentioning

confidence: 99%

The market metaphors: Making sense of the emerging market for contemporary art in China

Kharchenkova

2018

Poetics

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This article proposes a novel approach to studying markets through metaphor. Unlike other sociological studies of market emergence, it focuses on emic perceptions and their consequences for actions in an emerging peripheral market. By analysing a guiding conceptual metaphor for the contemporary art market in China it investigates how market actors make sense of their market and its global position. It draws on 125 in-depth interviews and observations conducted in Beijing in 2012-2014. The market is conceptualised as an organism and juxtaposed to "mature" Western markets. This metaphor enables China's market actors to (a) describe the market, (b) justify illegitimate behaviours, and (c) see the future and the possible ways of action. This study contributes to the sociology of markets as it suggests applying metaphor analysis to markets, as well as theorising non-agentic elements of market construction and focusing on the time dimension of market emergence. It contributes to globalisation literature as it discusses the perception of globalisation in a peripheral market, and suggests that this market's participants do not self-Orientalise.

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Section: How Did This Metaphor Come About?mentioning

confidence: 99%

The market metaphors: Making sense of the emerging market for contemporary art in China

Kharchenkova

2018

Poetics

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“…This exhibition was jointly curated by Li Xianting and Johnson Chang. Chang is an American trained Hong Kong art dealer, with wide connections in the art world both in China and overseas (Kharchenkova and Velthuis, 2015). The joint transnational networks of Chang and Li were critical in enabling them to ''export'' the exhibitions of their endorsed Chinese artists, especially those from Beijing, globally.…”

Section: -1999: Emerging Urban Art Enclaves and Offshoring Of Chinese Contemporary Artmentioning

confidence: 99%

“…The timing and title of the Post-1989 show, however, easily directed the international audiences to (mis)interpret these works politically. The (imagined) political connotation of these works was highly praised by the Western gatekeepers and added significantly to their deemed cultural and artistic value (Kharchenkova and Velthuis, 2015).…”

Section: -1999: Emerging Urban Art Enclaves and Offshoring Of Chinese Contemporary Artmentioning

confidence: 99%

“…Foreign critics, dealers, and curators came to rely heavily on authoritative Chinese gatekeepers such as Li and Chang to make their selection of Chinese artists. In 1992, together with Li Xianting, Achille Bonito Oliva, the curator of 45th Venice Biennale (1993), prepared a list of 14 Chinese artists for the forthcoming Biennale, all associated with either Political Pop or Cynical Realism (Kharchenkova and Velthuis, 2015). For Western audiences, Cynical Realism and Political Pop, other than their political connotations, were a reconciliation of two artistic traditions-oriental and occidental, striking the right balance between exoticism and familiarity.…”

Section: -1999: Emerging Urban Art Enclaves and Offshoring Of Chinese Contemporary Artmentioning

confidence: 99%

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Commodifying art, Chinese style: The making of China’s visual art market

Zhang

2017

Environ Plan A

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The economic value of art to cities and regions has recently been vigorously pursued and actively studied. The rapid ascendance of China as a superpower in the global art market and associated transformation of China’s art space, however, are yet poorly understood. This paper develops a Polanyian framework to interpret the spatial and institutional evolution of China’s art market, seeing the (de)commodification of art as a cumulative process embedded in geo-historical interplays of triple logics—cultural, capital, and political, unfolding within, and reshaping in turn, historically inherited spatial structures.

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“…Focusing on ways that judgement of publishability is made, this study contributes to the growing field of valuation studies (Helgesson and Muniesa, 2013; Lamont, 2012; Muniesa, 2011; Zuckerman, 2012), which has not covered self-publishing before. The article specifically contributes to studies of evaluations involving products and producers in the creative industries (Beckert and Rössel, 2013; Hutter, 2011; Karpik, 2010; Kharchenkova and Velthuis, 2015; Menger, 2014; Strandvad, 2014). The study also illuminates the state of self-publishing where computerisation and the internet have become major aspects of new ways of producing, consuming, and evaluating cultural goods such as self-published works.…”

Section: Introductionmentioning

confidence: 99%

Subordination and Legitimation of Self-Publishing: Shifting the Basis for Evaluation of Cultural Goods

Fürst

2019

Cultural Sociology

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A do-it-yourself culture and amateur production are significant features of creative industries. Selfpublishing is an eloquent expression of these features. Self-publishers invest in and make decisions to publish their creative goods without the involvement of an established and external production company or publishing house. In creative industries, claims are made about the inferior quality of self-published works, creating a stigma for self-publishing. This article investigates the ways in which aspiring writers who are considering self-publishing as an option to publish, handle the tension between their aspiration to publish a book and the possible stigma of self-publishing. The study draws on an analysis of interviews with 59 writers who are considering self-publishing as an option or who have self-published a book. The aspiring writers are aware of the subordinate status of such publications and while some avoid self-publishing, others seek ways to establish and legitimise the quality of their work to avoid the stigma. Legitimisation is produced through the perception of a transitioning author role and by shifting the basis of evaluation of publishability to the consumer side in creative industries, to non-professional judgement, and to the experience of being published. The outcome of the decision to self-publish, and the underpinning culture for making such assessments, has consequences for how books and other cultural goods are currently produced and the type of cultural goods that reach consumers. The assessment of self-publishing as an option among writers exposes tensions and transformations in the evaluation of cultural goods in contemporary creative industries.

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An Evaluative Biography of Cynical Realism and Political Pop

Cited by 9 publications

References 9 publications

The market metaphors: Making sense of the emerging market for contemporary art in China

The market metaphors: Making sense of the emerging market for contemporary art in China

Commodifying art, Chinese style: The making of China’s visual art market

Subordination and Legitimation of Self-Publishing: Shifting the Basis for Evaluation of Cultural Goods

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