Science Journal of Business and Management

| Peer-Reviewed |

Value Chain in the Visual Arts Market

Received: Dec. 11, 2018    Accepted: Dec. 17, 2019    Published: Dec. 31, 2019
Views:       Downloads:

Share This Article

Abstract

The added value allows an asset or a service to meet a specific need. The value chain represents all those activities properly organized, which create these assets and services to make them available for final consumers. Documentary review has revealed that in the visual arts market these roles are not always adequately defined and often, the agents involved are unaware of their functions and responsibilities, generating aesthetic and financial distortions or imbalances that hinder this economic activity. This article aims to reveal this value chain as a way of legitimizing a piece of art as well as the benefits that some of these links have brought recently, given the new relationship between art and people. Such is the case of museums, especially the Guggenheim in Bilbao, with its positive impact on the economies of the communities that house them; art fairs, in the globalization of artists, works and aesthetic tendencies and art critics who influence the behavior of consumers and markets.

DOI 10.11648/j.sjbm.20190706.15
Published in Science Journal of Business and Management ( Volume 7, Issue 6, December 2019 )
Page(s) 164-172
Creative Commons

This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.

Copyright

Copyright © The Author(s), 2024. Published by Science Publishing Group

Keywords

Visual Arts Market, Piece of Art, Added Value, Value Chain, Legitimacy

References
[1] Consejo Nacional de la Cultura y las Artes. Gobierno de Chile. (2012). Glosario de Artes Visuales y Nuevos Medios. Valparaíso. Retrieved from http://www.estaciondelasartes.com/wp-content/uploads/2014/04/Glosario-Artes-Visuales-y-Nuevos-Medios.pdf.
[2] Rosenberg, J. M. (1992). Diccionario de administración y finanzas. Grupo Editorial Océano. Barcelona.
[3] Porter, Michael E. (1987). Ventaja Competitiva: Creación y Sostenimiento de un Desempeño Superior. 1era. edición. México. CECSA.
[4] Azpiroz, R. (2014). El coleccionista de arte más importante de América Latina Retrieved from http://www.forbes.com.mx/el-coleccionista-de-arte-mas-importante-de-america-latina/.
[5] Artprice. (2019). The art market in 2018. Retrieved from artprice.com.
[6] Pavlosky, E. y De Brassi, J. C. Lo Grupal. Devenires. Historia. Galerna-Búsqueda de Ayllu. Retrieved from https://books.google.es/books?id=oUmE30K_KygC&pg=PA57&dq=concepto+de+rol&hl=es-419&sa=X&ved=0CDsQ6AEwBWoVChMI9dv5vZDZxwIV07geCh3IoQ6e#v=onepage&q=concepto%20de%20rol&f=false.
[7] Cruz D., Carlos (2015). Me duele profundamente que en mi obra se despidan del país. Dolar Today, Retrieved from https://cloud-1420216451-cache.cdn-max.com/carlos-cruz-diez-duele-profundamente-que-en-mi-obra-se-despidan-del-pais/.
[8] AMMA & Artprice. (2018). The Art Market Report in 2018. Retrieved from https://www.artprice.com/artprice-reports/the-art-market-in-2018.
[9] Artprice. (2013). El mercado del arte Contemporáneo. (Informe anual Art Price 2013). Lyon. Artprice. Retrieved from http://imgpublic.artprice.com/pdf/artprice-contemporary-2012-2013-es.pdf.
[10] Suazo, Félix (2013). Umbrales de la museología. 1era. edición. Caracas. El Ane.xo.
[11] Lipovetsky, G. (2018). El mercado del arte se ha convertido en un lugar de especulación. Retrieved from https://www.abc.es/cultura/abci-gilles-lipovetsky-mercado-arte-convertido-lugar-especulacion-201805200216_noticia.html#ns_campaign=rrss-inducido&ns_mchannel=abc-es&ns_source=wh&ns_linkname=noticia.entrevista&ns_fee=0.
[12] Gilardoni, M. (2019). Dos Monet, un Modigliani y un Pisarro. Trastiendaplus. Buenos Aires, Argentina. Retrieved from http://trastiendaplus.com/dos-monet-un-modigliani-y-un-pisarro-provenientes-de-coleccion-argentina-se-vendieron-el-miercoles-pasado-en-66-millones-de-dolares/.
[13] Lasso, S. (a). Las 10 ferias de arte más importantes del mundo. Retrieved from http://arte.about.com/od/Exposiciones-Y-Eventos/tp/Las-Ferias-De-Arte-Mas-Importantes-Del-Mundo.htm.
[14] Burton, K., D. Art criticism. Retrieved from https://www.britannica.com/art/art-criticism.
[15] El Nacional. (March, 2019) En el arte del mercado del arte, el arte es factor y la crítica soslayo. Retrieved from www.el-nacional.com/noticias/papel-literario/arte-del-mercado-del-arte-arte-factor-critica-soslayo_275818 7/11.
[16] Real Academia Española. Diccionario de la lengua española (Drae). 22 edicion. Retrieved from http://lema.rae.es/drae/?val=legitimo.
[17] Suazo, F. (Feb., 2019). Crítica y mercado (algunas consideraciones aplican). Trafico Visual. Caracas, Venezuela. Retrieved from https://www.traficovisual.com/2019/04/14/critica-y-mercado-algunas-consideraciones-aplican-por-felix-suazo/.
[18] Samuelson, P.; Nordhaus, W. (2002). Economía. 10ma. Edición. Madrid. McGraw- Hill/Interamericana de España, S. A. U.
[19] Guash, A. M. (2000). Los manifiestos del arte postmoderno. Textos de exposiciones 1980-1995. Ediciones Akal, S. A. Retrieved from https://books.google.es/books?id=9fT_sAFZBcEC&pg=PA251&dq=la+cadena+de+valor+en+el+mercado+del+arte&hl=es-419&sa=X&ved=0CE4Q6AEwBjgeahUKEwj-huOGo93HAhWDmR4KHTtQBI8#v=onepage&q=la%20cadena%20de%20valor%20en%20el%20mercado%20del%20arte&f=false.
[20] Núñez, S., C. F. y Alias, G., J. A. (2014). Estética: entre lo bello, lo feo y lo útil. Grupo Editorial Planeta Alvi, Ltda. San Juan. Retrieved from https://books.google.es/books?id=NbWsCQAAQBAJ&pg=PA185&dq=la+cadena+de+valor+en+el+mercado+del+arte&hl=es-419&sa=X&ved=0CFgQ6AEwCDgeahUKEwjt1_zf5uTHAhXMJh4KHXJmD9c#v=onepage&q=la%20cadena%20de%20valor%20en%20el%20mercado%20del%20arte&f=false.
[21] Huls, T. (2017). A History of the Western Art Market: A Sourcebook of Writings on Artists, Dealers and Markets. California University Press. California, USA. ISBN 9780520290631.
[22] Peraza, M. Iturbe, J. (1998). El arte del mercado en arte. Universidad iberoamericana. Mexico. Retrieved from https://books.google.es/books?id=NKVml4WXR-cC&pg=PA13&dq=el+valor+dentro+del+mercado+del+arte&hl=es-419&sa=X&ved=0CC4Q6AEwAWoVChMIorTTqqbdxwIVBKceCh0mhA RT#v=onepage&q=el%20valor%20dentro%20del%20mercado%20 del%20arte&f=false.
[23] Piamo, R. (2015, 12 de abril). Gustavo Silva Núñez. Cuadros con vida propia. Revista Paréntesis. Edición aniversario. Diario El Carabobeño. Valencia.
[24] Lasso, S. (b). Anuncio original de la serie Caprichos de Goya. Retrieved from http://arte.about.com/od/Como-Comprar-Arte/fl/Anuncio-original-de-la-serie-Caprichos-de-Goya.htm.
[25] Velthuis, O. (2014, June, 15). El mercado de arte contemporáneo entre el estancamiento y el cambio. Denken pensé Thought Mysl. Servicio informativo del pensamiento cultural europeo.
Cite This Article
  • APA Style

    Elio Amilcar Farfan Torrelles. (2019). Value Chain in the Visual Arts Market. Science Journal of Business and Management, 7(6), 164-172. https://doi.org/10.11648/j.sjbm.20190706.15

    Copy | Download

    ACS Style

    Elio Amilcar Farfan Torrelles. Value Chain in the Visual Arts Market. Sci. J. Bus. Manag. 2019, 7(6), 164-172. doi: 10.11648/j.sjbm.20190706.15

    Copy | Download

    AMA Style

    Elio Amilcar Farfan Torrelles. Value Chain in the Visual Arts Market. Sci J Bus Manag. 2019;7(6):164-172. doi: 10.11648/j.sjbm.20190706.15

    Copy | Download

  • @article{10.11648/j.sjbm.20190706.15,
      author = {Elio Amilcar Farfan Torrelles},
      title = {Value Chain in the Visual Arts Market},
      journal = {Science Journal of Business and Management},
      volume = {7},
      number = {6},
      pages = {164-172},
      doi = {10.11648/j.sjbm.20190706.15},
      url = {https://doi.org/10.11648/j.sjbm.20190706.15},
      eprint = {https://download.sciencepg.com/pdf/10.11648.j.sjbm.20190706.15},
      abstract = {The added value allows an asset or a service to meet a specific need. The value chain represents all those activities properly organized, which create these assets and services to make them available for final consumers. Documentary review has revealed that in the visual arts market these roles are not always adequately defined and often, the agents involved are unaware of their functions and responsibilities, generating aesthetic and financial distortions or imbalances that hinder this economic activity. This article aims to reveal this value chain as a way of legitimizing a piece of art as well as the benefits that some of these links have brought recently, given the new relationship between art and people. Such is the case of museums, especially the Guggenheim in Bilbao, with its positive impact on the economies of the communities that house them; art fairs, in the globalization of artists, works and aesthetic tendencies and art critics who influence the behavior of consumers and markets.},
     year = {2019}
    }
    

    Copy | Download

  • TY  - JOUR
    T1  - Value Chain in the Visual Arts Market
    AU  - Elio Amilcar Farfan Torrelles
    Y1  - 2019/12/31
    PY  - 2019
    N1  - https://doi.org/10.11648/j.sjbm.20190706.15
    DO  - 10.11648/j.sjbm.20190706.15
    T2  - Science Journal of Business and Management
    JF  - Science Journal of Business and Management
    JO  - Science Journal of Business and Management
    SP  - 164
    EP  - 172
    PB  - Science Publishing Group
    SN  - 2331-0634
    UR  - https://doi.org/10.11648/j.sjbm.20190706.15
    AB  - The added value allows an asset or a service to meet a specific need. The value chain represents all those activities properly organized, which create these assets and services to make them available for final consumers. Documentary review has revealed that in the visual arts market these roles are not always adequately defined and often, the agents involved are unaware of their functions and responsibilities, generating aesthetic and financial distortions or imbalances that hinder this economic activity. This article aims to reveal this value chain as a way of legitimizing a piece of art as well as the benefits that some of these links have brought recently, given the new relationship between art and people. Such is the case of museums, especially the Guggenheim in Bilbao, with its positive impact on the economies of the communities that house them; art fairs, in the globalization of artists, works and aesthetic tendencies and art critics who influence the behavior of consumers and markets.
    VL  - 7
    IS  - 6
    ER  - 

    Copy | Download

Author Information
  • Faculty of Economic and Social Sciences, University of Carabobo, Valencia, Venezuela

  • Section