The Spectacle of Valuation
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I Beste Sendetid
I beste sendetid En analyse av musealisert praksis i tv-programmet Antiques Roadshow Andreas Skauen Pedersen MUSE4990 - Masteroppgave i museologi 60 Studiepoeng Høst 2014 Institutt for kulturstudier og orientalske språk, Universitetet i Oslo I II I beste sendetid En analyse av musealisert praksis i tv-programmet Antiques Roadshow III © Andreas Skauen Pedersen 2014 I beste sendetid – En analyse av musealisert praksis i tv-programmet Antiques Roadshow Andreas Skauen Pedersen http://www.duo.uio.no Trykk: Allkopi Sarpsborg IV Sammendrag I beste sendetid – En analyse av musealisert praksis i tv-programmet Antiques Roadshow, tar for seg de hva mediet har å si for formidlingen. Oppgaven er delt i to hoveddeler: en analyse av tv-programmet Antiques Roadshow (BBC) fulgt av en museologisk drøfting av programmets virkemidler. Analysematerialet består av to feltstudier ved innspilling av Antiques Roadshow i Skottland og av programmet Antikrundan i Sverige. Hovedvekten legges på besøket til Skottland, og oppgaven går derfor dypt inn i skotsk kontekst. Drøftingen identifiserer tre hovedtemaer som går igjen i programmets virkemidler: steder, gjenstander og formidling. Gjennom analyse av disse virkemidlene gjøres det et forsøk på å identifisere programmets stil, og slik blir formidling via nye medier blir satt i sammenheng med tradisjonell museumsformidling. Oppgaven vil bidra til en ny forståelse av gjenstandsbasert historieformidling på museum i ett nytt, digitalt medielandskap. V VI Figur 1 "There will be no miracles here" av den skotske kunstneren Nathan Coley. Skulpturen var plassert utenfor The Scottish National Gallery of Modern Art under innspillingen av Antiques Roadshow på samme sted, sommeren 2013. VII Forord Takk til veileder Arne Bugge Amundsen for gode innspill underveis i arbeidet med oppgaven. -
Editorial Note: Valuation Studies and the Spectacle of Valuation
Valuation Studies 1(2) 2013: 119–123 Editorial note Valuation Studies and the Spectacle of Valuation Fabian Muniesa and Claes-Fredrik Helgesson The making of valuations is not only an activity cherished by scholars engaging with this journal. The performance of valuations is at times furthermore something devoured as a public spectacle. Calling something a “spectacle” might sound defamatory, especially if one relies on the rather daunting turn the word took after Guy Debord’s 1967 La Société du Spectacle (Debord 1994), but it can sound positive too if emphasis is put on the collective enjoyment, on the memorable performance and, in short, on culture. In this editorial introduction we want to use the notion of spectacle to point to an interesting topic for valuation studies in general and for Valuation Studies (i.e. this journal) in particular. Valuation is not only something that is done, it is in addition something that people may watch, as a spectacle. It is this aspect of valuation that we aim to begin exploring here. When we say that people watch the performance of valuations as a spectacle, we are to begin with thinking of television. Classic televised game-shows like The Price is Right (!rst aired in the United-States on NBC in 1956) or The Dating Game (on ABC in 1965) are landmarks in the global culture of assessment-qua-entertainment. They further constitute, we presume, critical ingredients of the education of hundreds of millions of persons. Antiques Roadshow is an example of a contemporary show where the multifaceted valuation of (preferably vintage) objects is the main attraction. -
The Quantification and Marketization of the Swedish Art World for Contemporary Art
Organizational Aesthetics 3(1): 19-41 © The Author(s) 2014 www.organizationalaesthetics.org Selling by Numbers: The Quantification and Marketization of the Swedish Art World for Contemporary Art Erik Wikberg Stockholm School of Economics Lars Strannegård Stockholm School of Economics Abstract This article describes and analyzes the role of market practices and its impact on the organization of the Swedish Art world between 1981 and 2011. Drawing on a sprawling set of empirical data, we show how the Swedish Art world for contemporary art has had an increasing number of market places of different types, and how these are culturally infused with values and narratives. We propose that the re-organization of the Swedish Art world for contemporary art can be summarized in three new orders: 1) in a move towards the ideal type of a market, 2) in a turn towards quantification and commensuration, and 3) in the organization of new market places as a reaction to marketization. Keywords: Art worlds, marketization, quantification, commensuration. 20 Wikberg and Strannegård Selling by Numbers: The Quantification and Marketization of the Swedish Art World for Contemporary Art Art is more than meets the eye. As the founding father of the concept of the Art world, Arthur Danto (1964, p. 580), put it: “To see something as art requires something the eye cannot descry – an atmosphere of artistic theory, a knowledge of the history of art: an art world”. Dickie (1974) and Becker (1982) developed the concept of the Art world by emphasizing “institutions” and “networks” instead of “a theory of art”. In revised forms, Art worlds later received considerable attention through Pierre Bourdieu (1984, 1996) and groundbreaking other scholars such as Paul DiMaggio (1987, 1991) and Niklas Luhmann (2000). -
Cultural Heritage Crime – the Nordic Dimension
Cultural Heritage Crime – the Nordic Dimension REPORT 2006:2 This report can be ordered through: Fritzes Kundservice, SE-106 47 Stockholm Phone +46 8-690 91 90. Fax +46 8 690 91 91 E-mail [email protected] Internet www.fritzes.se Production: The Swedish National Council for Crime Prevention, Information and Publication P.O.B. 1386, SE-111 93 Stockholm, Sweden Phone +46 8 401 87 00. Fax +46 8 411 90 75 E-mail [email protected] Internet www.bra.se ISSN 1100–6676, ISBN 91–38–32254–4 Authors: Lars Korsell, Göran Hedlund, Sofia Elwér, Daniel Vesterhav, Anita Heber Translation: Interverbum Cover: Britton & Britton Cover illustration: Map of the Nordic countries about 1570. Original in the Military Archives of Sweden Print: Edita Norstedts Tryckeri AB, Stockholm 2006 © Brottsförebyggande rådet 2006 Contents PREFACE 5 SUMMARY 7 INTRODUCTION 14 Purpose and questions 15 Implementation 15 METHOD 17 Nordic questionnaire 17 The interview study 19 The Internet Study 21 THEORIES AND RESEARCH ON CULTURAL HERITAGE CRIME 22 The model as a description of a cultural field 23 Analysis model 23 Cultural heritage legislation and its application 54 CULTURAL HERITAGE CRIME IN THE NORDIC REGION – RESULTS OF THE STUDY 62 Illicit removal 80 Opportunity 96 Motives 119 Service functions 124 Target based summaries of illicit removal and security section 125 Legal market for cultural objects 133 Grey zone 148 Illegal market 158 Summary of the results 160 MEASURES TO PREVENT CULTURAL HERITAGE CRIME 165 Measures to prevent the theft of cultural objects 165 Measures to prevent the illegal movement, export and import of cultural objects 170 Measures to prevent illegal trade in cultural objects 178 Measures to facilitate recovery of illicitly removed cultural objects 181 Crime preventive conclusions: knowledge, prioritisation and control 184 REFERENCES 187 APPENDIX 192 Appendix 1. -
In Good Condition the Discourse of Patina As Seen in Interactions Between Experts and Laymen in the Antiques Trade
In Good Condition The Discourse of Patina as seen in Interactions between Experts and Laymen in the Antiques Trade By Karin Wagner Abstract This article examines how notions of patina are conveyed by experts in the anti- ques trade. How do antiques experts convey perceptions of patina to their clients and audience? How do they explain, persuade, and put forward their standards of condition? Three examples are analysed, a conversation about a sundial from the Swedish Antiques Roadshow, a conversation about a toy car from the British Antiques Roadshow and a vintage watches collecting guide from Christie’s auc- tion house. Different persuasive strategies and styles used by the experts to convey their norms are identified. A change towards higher appreciation of patina can be discerned. Furthermore, the article analyses patina in regard to the relationship between surface and core of an object and in regard to use and usefulness. It is suggested that objects with patina are popular because we as humans feel an affi- nity with them. If things have a life trajectory, it will also involve ageing, and by surrounding ourselves with old, imperfect things we can come to terms with our own ageing process. Keywords: patina, antiques, discourse analysis, consumption, antiques trade, Antiques Roadshow Wagner, Karin: “In Good Condition: The Discourse of Patina as seen in Interactions between Experts and Laymen in the Antiqes Trade”, Culture Unbound, Volume 11, issue 2, 2019: 252–274. Published by Linköping University Electronic Press: http:// www.cultureunbound.ep.liu.se Culture Unbound Journal of Current Cultural Research Introduction Old things carry a story.