Pricing the Priceless: Art, Artists, and Economics.

Clarke, Rosemary

doi:10.2307/2234323

Cited by 9 publications

(10 citation statements)

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“…De même, la séparation stricte entre les marchés de l'art, lieux économiques détachés de considérations patrimoniales et les musées, lieux hors économie détachés des considérations monétaires, a été déconstruite par la recherche (aussi bien des sciences économiques que muséales et patrimoniales, notamment en économie de la culture. [Grampp, 1989 ;Weil, 1983 ;Benhamou, 2003 ;Feldstein, 1991 ;Mercillon, 1977 ;Peacock et Godfrey, 1997 ;Pommerehne et Frey, 1980 ;Tobelem, 1990Tobelem, , 2010.…”

Section: L'art Et L'argentunclassified

Musées et marchés. Ethnographie d’une relation à valeur ajoutée

Doyen¹

2023

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Le 15 avril 1931, ce sont dix rounds de trois minutes qui scellent le destin de la mission Dakar-Djibouti : devant des mécènes tels que Pablo Picasso ou Charles de Noailles, Al Brown « boxe pour la science » – comme le précise le nom de cette soirée de gala. Celle-ci permet aux organisateurs de boucler le budget de la première mission ethnographique française qui rapporte plus de 3 500 objets au Musée d’ethnographie du Trocadéro. L’évènement, soutenu par de nombreux marchands de l’époque, est un exemple frappant des liens entre musées et argent. Pourtant, malgré des relations connues et reconnues entre ces deux sphères, la question financière reste souvent marginale dans les discussions et analyses portant sur les musées. Sur la base d’une enquête de terrain intensive, cet ouvrage s’attache à comprendre ces relations à l’aune du cas sensible de l’ethnographie. À l’heure des grands débats sur les restitutions, il importe en effet de revenir sur les processus, aussi bien financiers que patrimoniaux, de catégorisation, d’évaluation et de valorisation de tels objets. La réintégration des aspects économiques et le ré-ancrage des musées dans le contexte capitaliste auquel ils appartiennent permettent de questionner les « projets muséaux » ethnographiques actuels, mais aussi de comprendre comment marchés et musées ont consacré ensemble la valeur des « objets des Autres » et participé ainsi, à leur échelle, à la construction d’une certaine (re)présentation de l’altérité.

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Section: L'art Et L'argentunclassified

Musées et marchés. Ethnographie d’une relation à valeur ajoutée

Doyen¹

2023

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“…Yet, many visitors still treat artifacts, such as the Magna Carta, the Rosetta Stone, or the original copy of Beowulf, as sacred (Chidester & Linenthal, 1995). Violating or destroying these significant cultural objects or putting a price on them feels categorically wrong (Bourdieu, 1996;Grampp, 1989;Velthuis, 2005). Similarly, nonreligious people often treat the spiritual and religious symbols exhibited in churches, synagogues, and temples as sacred, even though they are nonbelievers, and therefore do not personally find the objects self-transcendent (Kollareth & Russell, 2019).…”

Section: Shaping the Sacredmentioning

confidence: 99%

Collective transcendence beliefs shape the sacredness of objects: The case of art.

Chen¹,

Ruttan²,

Feinberg³

2023

Journal of Personality and Social Psychology

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Many objects are viewed as sacred even though few people have a strong personal connection to them. To explain this phenomenon, we used art as a case study to develop and test a theory wherein collective transcendence beliefs-beliefs that an object links the collective to something larger and more important than the self, spanning space and time-are a key determinant of the sacredness of objects. Initial inductive studies pointed to perceptions of collective spirituality, collective meaning, and historical significance to humanity as the primary collective transcendence beliefs underlying the sacredness of art (Study 1), and subsequent exploration indicated that collective meaning was a mechanism by which collective spirituality and historical significance to humanity influenced sacredness judgments (Study 2). In support of this, six experimental studies demonstrated that heightening the collective spirituality and historical significance of an artwork resulted in participants viewing the artwork as more collectively meaningful, and subsequently more sacred (Studies 3-6), worthy of protection from the profane (Studies 3c and 6), and eliciting moral outrage in the face of desecration (Study 5). In all, across these studies (N = 5,304), we found converging evidence that collective transcendence beliefs elevate various forms of art (sculpture, music, and painting) to be held as sacred, even an amateur sketch done by the first author. Our findings uncover a novel mechanism underlying sacredness judgments, theoretically advancing our understanding of the sacred while pointing to a number of important real-world implications.

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“…In the field of arts philanthropy, previous research also illustrates that corporations supported the arts only to advance their own interests. Moreover, they may manipulate cultural consciousness and censor any alternative views through their control over the media (Grampp, 1989). Thus, private foundations may be supportive of democratic aims only if they operate in the mode of “discovery” with a vehicle for social policy innovations and experiments (Reich, 2018, p. 169).…”

Section: Literature Reviewmentioning

confidence: 99%

High art down net: Conceptualizing a citizen arts philanthropy with ethical codes and a digital system

Chen

2023

Journal of Philanthropy and Marketing

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This research aims to offer a new perspective of art philanthropy, different than the traditional one, that focuses on citizen's desire for and support to art as one of the most important, collective heritage of human society. It conceptually proposes the citizen arts philanthropy (CAP) system, as well as its application in the form of a digital platform. The research proposition is based on a cross‐disciplinary review of literature on the history of arts, patronage and philanthropy, arts and philanthropy ethics, participatory philanthropy, evolution of stakeholders in the art world, and a digital citizen governance process. Analysis of the existing literature leads to the CAP conceptualization with the subsystem of artistic creation; financial, social, and practical engagement; and collective activities. Each subsystem sets its ethical codes to assure the ethics of arts philanthropy. The CAP system may be realized with a digital platform with registration, art and art philanthropy ethics setting, art selection and art philanthropy action. The digital platform is conceptualized as a collective design with citizen governance, including actors, domain, and process and includes the platform registration, art and art philanthropy ethics setting, art selection and art philanthropy action. The overall design of the CAP system offers a direct engagement of citizens in arts and arts philanthropy and assures that citizens have equalized rights and responsibilities regarding art selection and creation. It further contributes to a new ethics of arts and arts philanthropy and the ecosystem of the art world.

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Pricing the Priceless: Art, Artists, and Economics.

Cited by 9 publications

References 0 publications

Musées et marchés. Ethnographie d’une relation à valeur ajoutée

Musées et marchés. Ethnographie d’une relation à valeur ajoutée

Collective transcendence beliefs shape the sacredness of objects: The case of art.

High art down net: Conceptualizing a citizen arts philanthropy with ethical codes and a digital system

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