What Type of Visual Art Is There in Rhone Alpes
periodical commodity
International Periodical of Arts Management
, pp. 16-33 (18 pages)
Published Past: HEC - Montréal - Chair of Arts Management
https://www. jstor .org/stable/41064939
Based on research in the field of cultural economics, principally the institutionalist stream, the author explores the dynamics of the entry of visual artists into the gimmicky fine art market in France using a comprehensive approach. Thirty immature artists were interviewed over a catamenia of three years. Their entry into the art market relates to an result frequently debated in the field of literature: the determination of artistic quality. The writer concludes that the qualification of artists and their work relies on social activity with regard to specific procedures: creative tests. In French republic these tests take various forms, from exhibitions to the securing of grants to the sale of art works. The author uses the interview data to identify the artistic tests that correspond to the first phase of the artists' process of professionalization. Two cardinal tests in the French art market emerged from the study: grants from the DRAC, and exhibiting work in Paris. The writer argues that the gimmicky fine art market is structured by these tests, which together form a network. Through the career paths of the sample of young artists, the author identifies and analyses the network of tests that define entry and integration into the French fine art world. A partir de différents travaux d'Économie de la culture, et principalement ceux issus du courant institutionnaliste, nous avons centré notre analyse sur la dynamique d'insertion des artistes plasticiens sur le marché de l'art contemporain, en France. Nous avons construit une base de données à partir d'entretiens avec une cohorte de 30 jeunes artistes français, sur une période de trois ans. L'insertion des artistes sur le marché de l'art relève d'une problématique plus débattue au sein de la littérature : la détermination de la qualité artistique. Nous suggérons ici que la qualification des artistes tout autant que de leurs œuvres relèvent d'une activité sociale et s'appuient sur des procédures spécifiques : Les épreuves artistiques. Ces épreuves artistiques prennent, en France, différents formats : de fifty'exposition à fifty'acquisition en passant par l'octroi des aides publiques. Nous avons, au travers de notre enquête d'insertion, identifié les épreuves artistiques qui correspondent à la première stage de professionnalisation des artistes plasticiens. Fifty'étude des trajectoires individuelles des plasticiens de notre échantillon nous permet ainsi d'identifier et d'analyser le réseau d'épreuves artistiques qui décrit la dynamique d'insertion artistique française. Inspirándonos en diferentes estudios en el área de la Economía de la Cultura, prinápalmente en aquellos que surgen de la corriente institucionalita, centramos nuestro análisis en la dinámica de inserción de los artistas plásticos en el mercado del arte contemporáneo en Franca. Estableamos una base de datos a partir de encuentros, llevados a cabo durante un período de iii años, con una cohorte de xxx artistas franceses jóvenes. La inserción de los artistas en el mercado del arte se ubica dentro de una problemática sobre la cual se ha debatido abundantemente: la determinación de la calidad artística. A nuestro parecer, la calificación de los artistas así como la de sus obras es producto de una actividad sodai con procedimientos específicos, como lo son las pruebas artísticas. En Francia, éstas adquieren diversas formas: de la exposición a la adquisición, pasando por la ayuda pública. Mediante nuestras encuestas sobre la campaign de los artistas plásticos al mercado, logramos identificar las pruebas artísticas que correspondan a la primera fase de profesionalización de los mismos. El estudio de trayectorias individuales nos permitió también identificar y analizar el sistema de pruebas artísticas que define la dinámica de inserción artística francesa.
INTERNATIONAL Periodical OF ARTS MANGEMENT • offers insight into direction processes, and the ways in which arts organizations operate within the diverse disciplines of direction, including marketing, homo resources, finance, accounting, production and performance processes, and administration; • identifies and encourages the development of all-time practices in the management of culture and the arts, and promotes their use through the publication of case studies and analyses; • addresses current issues of central relevance to cultural and arts organizations in a rigorous and detailed way; • presents studies, measurements, and other empirical enquiry in the field of arts and cultural management; • provides a forum for challenging and debating coherent theories and models, as well equally their application in cultural and arts practice.
The Chair in Arts Management, created in 1991 thanks to a grant from the Department of Communications Canada, will henceforth be known as the Carmelle and Rémi Marcoux Chair in Arts Management, in recognition of a joint donation of $one one thousand thousand by Carmelle and Rémi Marcoux and Groupe Transcontinental. Professor François Colbert is founder and holder of the Chair. The Chair contributes to the advancement of knowledge in arts direction past conducting research on a wide spectrum of topics related to this field of study and presenting the results of these studies in its publications. In this way, the Chair helps to draw attention to the specific challenges raised by the management of the arts and cultural industries. In keeping with its ongoing aim of meeting the cognition needs of cultural managers, the Chair decided, in 1998, to launch the International Journal of Arts Management (IJAM).
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International Journal of Arts Direction © 2007 HEC - Montréal - Chair of Arts Direction
Source: https://www.jstor.org/stable/41064939
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