价格的象征性意义：阿姆斯特丹跟纽约美术馆当代艺术的价值构成资料.docVIP

价格的象征性意义：阿姆斯特丹和纽约美术馆当代艺术的价值构成 OLAV VELTHUIS 德国康斯坦茨大学 摘要：本文探索了一种当代艺术品市场价格机制的社会分析方法。基于与纽约和阿姆斯特丹的艺术品经销商的深度访谈，笔者确定了两个价格标准：一个标准阻止了艺术品经销商降低价格；另一个标准导致他们通过艺术品画幅的大小确定价格。为了解释这两个价格标准，笔者认为价格形成并不仅仅是经济的而且是一个象征性的活动：尽管他们有着非人格化特点和以及有条理的内涵，市场中的行动者依然设法通过艺术品的价格表达一些认知和文化的意义。之前，价格的意义被认为经济意义下的信号。但是，这些意义是受到利润条件所限制的。通过人文学科以及对比，价格的意义受到不好的和腐朽意义的限制。笔者从一个社会学视角发现价格、价格区别和价格变化传达诸如艺术家声誉，经销商社会地位和流通的艺术品质量的多重意义。 在过去的二十多年里，经济社会学的兴起导致了一大批社会学现象的出现，比如市场、金融机构、公司、工作、产业、消费和金钱 1. For review articles of recent literature in economic sociology, see Neil J. Smelser 1. For review articles of recent literature in economic sociology, see Neil J. Smelser and Richard Swedberg, ‘‘The Sociological Perspective on the Economy,’’ in Neil J.Smelser and Richard Swedberg, editors, Handbook of Economic Sociology (Prince-ton: Princeton University Press, 1994); Geo?rey Ingham, ‘‘Some Recent Changesin the Relationship Between Economics and Sociology,’’ Cambridge Journal ofEconomics 20 (1996): 243^275; Richard Swedberg, ‘‘New Economic Sociology:What Has Been Accomplished,What Is Ahead,’’Acta Sociologica 40 (1997): 161^182; Bruce G. Carruthers and Brian Uzzi, ‘‘Economic Sociology in the New Mil-lennium,’’ Contemporary Sociology 29/3 (2000): 486^494. 本文的研究是基于对阿姆斯特丹和纽约艺术品经销商的访谈而获得的定性数据 Between April 1998 and March 2001, I conducted 18 semi-structured, in depth Between April 1998 and March 2001, I conducted 18 semi-structured, in depth interviews with art dealers in Amsterdam, and 19 interviews with art dealers in NewYork. In both cities, the same questionnaire was used.The interviews lasted 45 minutes to an hour on average. The selection of galleries was made on the basis of two factors: first, diversity in terms of age and location of the galleries is maxi-mized; second, the sample is partially based on a snowball method, because inter-views with some dealers were made on the basis of recommendations of gallery owners I had already interviewed. Transcripts of the interviews have been coded (in the text (NL) refers to Amsterdam a