A good professional reputation is in the eye of the beholder

Reputation is audience-specific, write Gokhan Ertug, Tamar Yogev, Yonghoon Lee and Peter Hedströ

The Art of Representation: How Reputation Affects Success with Different Audiences in the Contemporary Art Field

We study the effects of actors audience-specific reputations on their levels of success with different audiences in the same field. Extending recent work that has emphasized the presence of multiple audiences with different concerns, we demonstrate that considering audience specificity leads to an improved understanding of reputation effects. Using data on emerging artists in the field of contemporary art from 2001 to 2010, we investigate the manner in which artists audience-specific reputations affect their subsequent success with two distinct audiences: museums and galleries. Our findings suggest that audience-specific reputations have systematically different effects with respect to success with museums and galleries. Our findings also illuminate the extent to which audience-specific reputations are relevant for emerging research on the contingent effects of reputation. In particular, our findings support our predictions that audiences differ from one another in terms of the extent to which other signals (specifically, status and interaction with other audiences) enhance or reduce the value of audience-specific reputations. Our study thus advances theory by providing empirical evidence for the value of incorporating audience-specific reputations into the general study of reputation.Funding Agencies|Oxford University Centre for Corporate Reputation; European Research Council under the European Union [324233]; Riksbankens Jubileumsfond [DNR M12-0301:1]</p

The Art of Representation: How Reputation Affects Success with Different Audiences in the Contemporary Art Field

We study the effects of actors audience-specific reputations on their levels of success with different audiences in the same field. Extending recent work that has emphasized the presence of multiple audiences with different concerns, we demonstrate that considering audience specificity leads to an improved understanding of reputation effects. Using data on emerging artists in the field of contemporary art from 2001 to 2010, we investigate the manner in which artists audience-specific reputations affect their subsequent success with two distinct audiences: museums and galleries. Our findings suggest that audience-specific reputations have systematically different effects with respect to success with museums and galleries. Our findings also illuminate the extent to which audience-specific reputations are relevant for emerging research on the contingent effects of reputation. In particular, our findings support our predictions that audiences differ from one another in terms of the extent to which other signals (specifically, status and interaction with other audiences) enhance or reduce the value of audience-specific reputations. Our study thus advances theory by providing empirical evidence for the value of incorporating audience-specific reputations into the general study of reputation.Funding Agencies|Oxford University Centre for Corporate Reputation; European Research Council under the European Union [324233]; Riksbankens Jubileumsfond [DNR M12-0301:1]</p

The Social Construction of Quality: Status Dynamics in the Market for Contemporary Art

The association between quality assessment and status attainment is fundamental in the sociology of markets. However, past literature failed to explain status dynamics such as mobility in the status order where highly uncertain goods make quality hard to measure. This paper contributes to the understanding of this relationship by identifying various social mechanisms behind quality evaluation processes. It also explores why certain products are considered to be more valuable than others. The results demonstrate that only through exchange relations and active participation in the marketplace (what I call status actions) can actors affect the social definition of what are perceived as high-quality products. The results also provide evidence of two major market outcomes: conservativism and centralization. The findings improve the understanding of the evolution and dynamics of status in uncertain markets from both micro- and macro-sociology of markets. These processes are illustrated in a study of the art market in Israel

Drawing a fair picture : A study of the contemorary visual art market

EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Global and Local Flows in the Contemporary Art Market: The Growing Prevalence of Asia

Since the late 1990s, contemporary art markets have emerged rapidly outside of Europe and the United States. China is r s1the world's second largest art market. In counties as diverse as Brazil, Turkey and India, modern and contemporary art has been recognized as a source of status, or a potential investment tool among the new middle classes. At art auctions in the US, London and Hong Kong, new buyers from emerging economies have driven up prices to record levels. The result of these changes has been an increase in complexity, interconnectedness, stratification and differentiation of contemporary art markets. Our understanding of them is still in its early stages and empirical research in the field of globalization of high arts is still scarce. This book brings together recent, multidisciplinary, cutting edge research on the globalization of art markets. Focusing on different regions, including China, Russia, India and Japan, as well as different institutions and organizations, the chapters in this volume study the extent to which art markets indeed become global. They show the various barriers to, and the effects of, globalization on the art market's organizational dynamics and the everyday narratives of people working within the art industry. In doing so, they recognize the coexistence of various ecologies of contemporary art exchange, and sketch the presence of resilient local networks of actors and organizations. Some chapters show Europe and the US continue to dominate, especially when taking art market rankings and the most powerful events such as Art Basel into account. However, other chapters argue that things such as art fairs are truly global events and that the 'architecture of the art market' which has originally been developed in Europe and the US from the 19th century onwards, is increasingly adopted across the world