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Contemporary art and financialization: Two approaches

Published online by Cambridge University Press:  09 November 2023

Victoria Ivanova
Victoria Ivanova*
Affiliation:
Goldsmiths, University of London, UK
*
Corresponding author: Victoria Ivanova, 134C Drakefell Road, London SE14 5SQ, UK. Email: v.ivanova@gold.ac.uk
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Abstract

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This essay identifies two approaches to theorizing the relationship between financialization and contemporary art. The first departs from an analysis of how market logics in non-financial spheres are being transformed to facilitate financial circulation; the other considers valuation practices in financial markets (and those related to derivative instruments in particular) from a socio-cultural perspective. According to the first approach, the contemporary art market is in theory a hostile environment for financialization, although new practices are emerging that are increasing its integration with the financial sphere. The second approach identifies socio-cultural similarities between the logics by which value is extracted, amplified, and distributed through derivative instruments and contemporary art. The two approaches present a discrepancy: on the one hand, contemporary art functions as an impediment to outright financialization because of market opacity; on the other, contemporary art represents a socio-cultural analog to derivative instruments. The essay concludes by setting out the terms for a more holistic understanding of contemporary art's relationship to financialization, which would enable an integration of its economic and socio-cultural dimensions.

Keywords

Art marketcontemporary artderivativesfinancializationopacity
Type
Essay
Information
Finance and Society , Volume 2 , Issue 2: Art and finance , 2016 , pp. 127 - 137
Creative Commons
Creative Common License - CCCreative Common License - BYCreative Common License - NCCreative Common License - ND
This is an Open Access article, distributed under the terms of the Creative Commons Attribution-NonCommercial-No Derivatives licence (http://creativecommons.org/licenses/by-nc-nd/4.0/), which permits noncommercial re-use, distribution, and reproduction in any medium, provided the original work is unaltered and is properly cited. The written permission of Cambridge University Press must be obtained for commercial re-use or in order to create a derivative work.
Copyright
© 2016 The Author(s)

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