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![]() ![]() In short, Crewdson’s production teams and set budgets are akin to those research has not yet answered the question of how theirfound in the film industry (Wolfe 2016). Taking his photographs demands teams of 40 people and more, including professionals in set design, lighting, makeup, hairstyling, and costume design. In Crewdson, the decisive moment is not spontaneous but staged, as in a tableau. Equipped with a camera and depending on natural light, Bresson mostly worked alone and looked for the “decisive moment” to take a photo (Arbaizar 2003). Although only a few decades separate the work of Cartier Bresson and Gregory Crewdson, the technical complexity of their photographs is quite different. Source : Instagram recent years, the contemporary art market has experienced a steady increase in the amount and type of dark intermediaries at the production level (Rodríguez Morató and Santana Acuña 2016). Despite the fact that dark intermediaries (e.g., photo laboratories, foundries, design studios, and engineering firms) are actively involved in contemporary art production and despite the fact that mainstream contemporary artists outsource more artworks to them (whether it is the complete execution of the artwork or parts of it), the question of how these intermediaries affect contemporary art pricing remains unexamined.ĭark intermediary (right) at Laumont Photographics in New York checks the artist’s work (left). Recently researchers (Becker, Faulkner, and Kirshenblatt-Gimblett 2006) have become interested in the different stages an artwork traverses during its production in order to be finished. Mainstream contemporary art has become so complex technically that professional art studios (e.g., those of Koons, Hirst, Wei Wei, Kusama, Eliasson, and Kapoor) hardly produce artworks in situ from start to finish. Professional art studios hardly produce artworks in situ from start to finish. This section examines their addition to four layers of value: technique, innovation, aura, and emotions. But dark intermediaries do matter in an increasingly globalized art market. Of course, the layer of added value is not the same for the artist as for the photo laboratory, the art insurance company, or the gallerist. My claim is that researchers need to take into account the growing influence of what I call dark intermediaries (assistants, art-making spaces and technicians, art consultants, logistics service providers, and corporate firms) over mainstream contemporary art prices, and not focus exclusively on star intermediaries, that is, art gallerists, dealers, and auctioneers (and their pricing scripts). Price formation is a multisite process, in which each actor and organization (not only dealers) involved in the production of a given work adds a layer of value to it. To read the first part of this essay, see here The Dark Intermediaries of the Art MarketĬontrary to the dominant trend in the culturally inflected economic sociology of art markets (Velthuis and Curioni 2015), prices are not just talked they are made.
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