Contemporary Art Market: towards a critical sociology.
The relationships between the actors involved in the management and participation of the Art Market have been able to account for a series of practices that result from this interaction with others: Naturalized Practices, based on strongly rooted traditionalisms of the art field, founders of concept...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | Artículo revista |
| Lenguaje: | Español |
| Publicado: |
Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba.
2018
|
| Materias: | |
| Acceso en línea: | https://revistas.unc.edu.ar/index.php/ART/article/view/21063 |
| Aporte de: |
| Sumario: | The relationships between the actors involved in the management and participation of the Art Market have been able to account for a series of practices that result from this interaction with others: Naturalized Practices, based on strongly rooted traditionalisms of the art field, founders of concepts and values that define and predetermine artistic projects. The Directed Practices, those that aim towards particular objectives and entail specific and controlled responses. The Survival Practices, which appear in order to maintain positions and ensure roles within the event, avoiding being left out by being rejected. The Overflow Practices, caused by leaking conflicts through fissures within the organization of the event. The Dialogical Practices result from the interaction between art professionals what contributes to establish ties and extend business and labor contacts.This paper analyzes such practices. |
|---|