Call for Papers: Re-presenting the Art Market

The artistic process and the world that forms around it have often been subjects of artistic production; self-reflexivity has a long tradition in the art world. In addition to internally produced representations of the art market, this issue seeks to explore cultural representations of the art market produced outside the realm of fine (visual) art, such as feature films (including documentaries), television (including reality shows), literature (including comic books and graphic novels), and other cultural artefacts (including board games). What do these “insider” and “outsider” accounts tell us about the status of the art market in the popular imagination, about how art and markets are understood in different times and places?

We welcome submissions from all fields and across all historical periods. Andrew McClellan’s “Watteau's Dealer: Gersaint and the Marketing of Art in Eighteenth-Century Paris” (The Art Bulletin, Vol. 78, No. 3 [Sep., 1996], pp. 439-453) and Sarah Tribout-Joseph’s “The Art Market in Proust: A Comparative Study of the Treatment of Rembrandt and the Salon Painter Gleyre” are two examples of scholarly work that have inspired this issue, as have recent films like The Price of Everything and Velvet Buzzsaw and US television shows like The Art of More and Art Breakers. But we’re also interested in how the art market is represented when it’s not the primary narrative focus (e.g., in Charlotte York Goldenblatt’s storylines in Sex and the City and Edina Monsoon’s visit to a gallery in the “Death” episode of Absolutely Fabulous’ second season). Literature also has a long tradition of plotlines centred around the art market, from reflections around the subject of forgeries in William Gaddis and Donna Tartt to popular thrillers from Frank Macdonald's Provenance (1979) to Thomas Hoving's Masterpiece (1986). The possibilities are legion! We look forward to creating a truly interdisciplinary dialogue with this issue.