Nathalie Moureau

Opening the Black Box of the White Cube: a survey of French contemporary art galleries at the turn of the millenium

Abstract This paper is based on the findings of a study carried out for the French Ministry of Culture on the economics of contemporary art galleries. The study was conducted in 1998 and concerned the whole set of art galleries in Paris, and also a sample of galleries in other locations in France and in four foreign countries (the USA, the UK, Switzerland, and Germany). The survey included quantitative and qualitative data. The paper emphasizes the organizational characteristics of the Parisian galleries. It stresses their financial weakness. Galleries are particularly vulnerable to the vagaries of the market and they generally depend on a small number of buyers. The paper also shows that economic performance is not linked to aesthetic choices.

From Ivory Towers to Museums Open to the Community: changes and developments in France's cultural policy

If we were to choose a single verb to characterize French policy in the museum sector since the 1980s, we would be tempted to choose ‘to build’. The building fever has not been unique to France; it can be seen in many countries. It has gone hand in hand with several other developments: attempts to adapt its remit to changes in public demand which is seeking both educational and entertaining content, the quest for training appropriate to these changes, and also the use of museums as tools for local development. However, the human and financial resources made available to museums are not sufficient to meet requirements for maintaining the buildings, enriching the collections and general operation. Museums are consequently obliged to establish priorities and make choices by ‘inventing’ evaluation criteria.

Le capital social, l’art contemporain et les carrières

Depuis les travaux de Mark Granovetter sur le marche du travail, le role joue par les reseaux et le capital social a maintes fois ete souligne, notamment dans le domaine culturel. Selon Blaug (1985), les trois S, i.e. skilling, screening et socialisation, sont aussi importants pour les activites artistiques que les trois Rs pour les secteurs traditionnels. Acquerir des competences, evaluer ses capacites et obtenir des recommandations de professionnels reconnus contribuent a favoriser la carriere des artistes. En nous appuyant sur une enquete conduite dans la region Languedoc Roussillon autour du parcours d’une vingtaine d’artistes plasticiens (entretiens semi directifs), nous analysons comment le capital social intervient en debut de parcours (differences dans les dotations initiales individuelles) puis au cours de la carriere.