Defining Art. From the Brancusi Trial to the Economics of Artistic Semiotic Goods

Définir l'art. Du procès Brancusi à l'économie des biens artistiques sémiotiques

Christian Barrère () and Walter Santagata
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Christian Barrère: REGARDS - Recherches en Économie Gestion AgroRessources Durabilité Santé- EA 6292 - URCA - Université de Reims Champagne-Ardenne - MSH-URCA - Maison des Sciences Humaines de Champagne-Ardenne - URCA - Université de Reims Champagne-Ardenne
Walter Santagata: CRG - Centre de recherche en gestion - X - École polytechnique - IP Paris - Institut Polytechnique de Paris - CNRS - Centre National de la Recherche Scientifique

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Abstract: The special nature of the artistic and cultural goods is commonly stressed in inquiries into the art market failure. Though the artistic goods are not quite defined, their special character is used as a rationale for art policies. The paper try to theoretically found them. In the first section we introduce the concept of artistic goods as a class of the semiotic goods, that is goods bearers of an aesthetic sign acknowledged in a specific cultural context. The second section relates the semiotic nature of art to three models of organization and regulation of the artistic field, namely the model based on institutions and hierarchies, the gift model and the market model.

Keywords: Semiotic Goods; Artistic Goods; Models of Artistic Field (search for similar items in EconPapers)
Date: 1999
Note: View the original document on HAL open archive server: https://hal.science/hal-02615557v1
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Published in International Journal of Arts Management, 1999, vol. 1 (n°2 Winter 1999), pp.28-40

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Persistent link: https://EconPapers.repec.org/RePEc:hal:journl:hal-02615557

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