The mattering of African contemporary art: value and valuation from the studio to the collection

 

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dc.contributor.advisor Pirie, Gordon
dc.contributor.author Gurney, Kim Janette
dc.date.accessioned 2019-07-31T08:10:09Z
dc.date.available 2019-07-31T08:10:09Z
dc.date.issued 2019
dc.identifier.citation Gurney, K. 2019. The mattering of African contemporary art: value and valuation from the studio to the collection. en_ZA
dc.identifier.uri http://hdl.handle.net/11427/30352
dc.description.abstract This interdisciplinary research bridging geography and fine art (‘geo-aesthetics’) follows contemporary artwork journeys from the studio into the public domain to discover how notions of value shift as the artwork travels. It seeks transfigurative nodes and their catalysts to explore how art matters: firstly how it becomes matter in the studio, and then how it comes to matter beyond the studio door. Two case studies at key moments of revaluation, a buy-out and a buy-in, both reveal responses to uncertainty that stress different kinds of collectivity. The first case study follows artistic practice and process in four studios in a Johannesburg atelier to investigate intrinsic value and finds ‘artistic thinking’. The second case study follows the assemblage of a private art collection managed from Cape Town, initially as an art fund, to investigate extrinsic valuation and finds ‘structural thinking’. These different modalities in the production and consumption circuitry of the artworld have unexpected correlations including shared artists and three linking concepts, namely, uncertainty, mobility, and the web. These in turn inform three observations: nested capacity, derivative value, and art as a public good. Two key findings emerge: contemporary art is itself a vector of value that performs meaning as it moves; and public interest is a central characteristic from which other valuations flow. The research uses repeat interviews, site visits and visual methods, which are triangulated with artwork trajectories to surface linkages between space and imagination. It offers a performative theory of value that speaks to an expanded new materialism. Applying an ecological framework allows a final transfiguration for an artworld ecosystem that (re)values contemporary art as part of an undercommons.
dc.subject contemporary art
dc.subject value
dc.subject studio
dc.subject collections
dc.subject new materialism
dc.subject performativity
dc.subject commons
dc.title The mattering of African contemporary art: value and valuation from the studio to the collection
dc.type Doctoral Thesis
dc.date.updated 2019-07-31T07:59:21Z
dc.language.rfc3066 eng
dc.publisher.faculty Faculty of Humanities
dc.publisher.department Department of Environmental and Geographical Studies
dc.type.qualificationlevel Doctoral
dc.type.qualificationname PhD
dc.identifier.apacitation Gurney, K. J. (2019). <i>The mattering of African contemporary art: value and valuation from the studio to the collection</i>. (). ,Faculty of Humanities ,Department of Environmental and Geographical Studies. Retrieved from http://hdl.handle.net/11427/30352 en_ZA
dc.identifier.chicagocitation Gurney, Kim Janette. <i>"The mattering of African contemporary art: value and valuation from the studio to the collection."</i> ., ,Faculty of Humanities ,Department of Environmental and Geographical Studies, 2019. http://hdl.handle.net/11427/30352 en_ZA
dc.identifier.vancouvercitation Gurney KJ. The mattering of African contemporary art: value and valuation from the studio to the collection. []. ,Faculty of Humanities ,Department of Environmental and Geographical Studies, 2019 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/30352 en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Gurney, Kim Janette AB - This interdisciplinary research bridging geography and fine art (‘geo-aesthetics’) follows contemporary artwork journeys from the studio into the public domain to discover how notions of value shift as the artwork travels. It seeks transfigurative nodes and their catalysts to explore how art matters: firstly how it becomes matter in the studio, and then how it comes to matter beyond the studio door. Two case studies at key moments of revaluation, a buy-out and a buy-in, both reveal responses to uncertainty that stress different kinds of collectivity. The first case study follows artistic practice and process in four studios in a Johannesburg atelier to investigate intrinsic value and finds ‘artistic thinking’. The second case study follows the assemblage of a private art collection managed from Cape Town, initially as an art fund, to investigate extrinsic valuation and finds ‘structural thinking’. These different modalities in the production and consumption circuitry of the artworld have unexpected correlations including shared artists and three linking concepts, namely, uncertainty, mobility, and the web. These in turn inform three observations: nested capacity, derivative value, and art as a public good. Two key findings emerge: contemporary art is itself a vector of value that performs meaning as it moves; and public interest is a central characteristic from which other valuations flow. The research uses repeat interviews, site visits and visual methods, which are triangulated with artwork trajectories to surface linkages between space and imagination. It offers a performative theory of value that speaks to an expanded new materialism. Applying an ecological framework allows a final transfiguration for an artworld ecosystem that (re)values contemporary art as part of an undercommons. DA - 2019 DB - OpenUCT DP - University of Cape Town KW - contemporary art KW - value KW - studio KW - collections KW - new materialism KW - performativity KW - commons LK - https://open.uct.ac.za PY - 2019 T1 - The mattering of African contemporary art: value and valuation from the studio to the collection TI - The mattering of African contemporary art: value and valuation from the studio to the collection UR - http://hdl.handle.net/11427/30352 ER - en_ZA


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