Mason Archival Repository Service

“Art is Money-Sexy”: The Corporatization of Contemporary Art

Show simple item record

dc.contributor.advisor Kaufmann, David Gorman, Ellen
dc.creator Gorman, Ellen 2012-04-26 2013-02-12T17:57:42Z NO_RESTRICTION en_US 2013-02-12T17:57:42Z 2013-02-12
dc.description.abstract Thomas Hoving’s description in the title of the function of contemporary art in the Sixties in New York is emblematic of the shift in its valuation in the last sixty years. In the dissertation, the author focuses on this shift and interrogates the ways in which works of art have been completely transformed into commodities by corporatized entities that see them as useful only in terms of exchange value. The author argues that the neoliberal financialization of various sectors of society and commodities, including the art market, has resulted in a current state in which works of contemporary art, such as a Hirst dot painting, now exist as money capital alone. Contemporary art has been demystified in order to take on its role in the market and in this way exchange value has completely overtaken use value. Individual chapters zero in on actors in the art world, including the artist, dealer, collector, and auction house, in addition to various market indices and analysis, art world discourse and criticism, and a brief survey of the history of the art market from the 1950s to the present juncture.
dc.language.iso en en_US
dc.subject art en_US
dc.subject contemporary en_US
dc.subject market en_US
dc.subject value en_US
dc.subject commodification en_US
dc.subject aesthetic en_US
dc.title “Art is Money-Sexy”: The Corporatization of Contemporary Art en_US
dc.type Dissertation en PhD in Cultural Studies en_US Doctoral en Cultural Studies en George Mason University en

Files in this item

This item appears in the following Collection(s)

Show simple item record

Search MARS


My Account