The art industry consists of several markets that can be categorised using two different methods, the industrial approach and the sociological approach.
Within the industrial network we find the following markets:
- Classical contemporary or Blanded art market: Works by strong brand name artists on a international level, often sold/controlled by well resourced secondary market firms.
- Avant-garde: Art that is recognized as avant-garde is aligned with the non-profit sector and the exchange of goods can be cultural as well as financial.
- Alternative art: Similar to avant-garde, but at a smaller and more local/national level were the critics and gallerists often decide what’s included.
- Junk art: Art whose function is primarily decorative and often not considered as legitimate, the prices for these works are often low.
Within the sociological network we have the following markets following the characteristics of Solhjell og Øien:
- Exclusive: Artistic autonomy, consists of an elite group of artists and agents, has a high symbolic capital entry but has open access to the commercial markets.
- Inclusive: Democratic artistic goals, closed circuit separate from the commercial markets.
- Commercial: Prioritizes commercial and economic goals/growth.
and from Bourdieu and Velthuis:
- Traditional: Large scale production directed at a existing demand.
- Avant-garde (recognized): Small scale productions produced for the ‘’insiders’’ in the art community. Recognized and financially rewarded.
- Avant-garde (unrecognized): Small scale productions, unrecognized and not financially rewarded.
Each market comes with its own set of issues, the media tends to only focus on the elite of the art world, whether that be artists, galleries or collectors, giving little attention to local or smaller actors that also could be of interest. An example of this is the recent debate involving the Fredriksen sisters, were Nasjonalmuseet is interested in borrowing their art-collection. Debates like these mainly fall under the Exclusive, Avant-garde (recognized) and classical contemporary markets.
Other markets such as Junk art, commercial art and avant-garde (unrecognized) doesn’t get as much attention and isn’t discussed as much in the media, this might relate to the ’’Superstar’’ theory were the elite is dominating and making it extremely difficult for anyone who isn’t a part of it to contribute at a profitable level. This is currently leading to some financial issues amongst the mainstream art communities, coupled with an excessive growth in supply, leading to a lack of demand, and the lack of financial support from public institutions that are also contributing to a dangerously low income level amongst unrecognized artists and galleries.
The differences between the recognized and the unrecognized markets are creating a one-sided discussion in the media were the recognized become even more recognized, meanwhile the unrecognized is left out. This huge separation that’s been created is also making it difficult to start shedding light on the unrecognized artforms now, seeing as the lack of previous exposure has lead to a lack of knowledge and possibly interest about these markets amongst the general population.
-By username468
Making sense of art and design industries 