Charles Saumarez Smith, Secretary and Chief Executive, Royal Academy of Arts
“Anna Dempster has brought the classical economic perspective on risk and uncertainty to the art market in this unique and valuable collection of essays.” Orley Ashenfelter, Joseph Douglas Green 1895 Professor of Economics, Princeton University
“Risk and Uncertainty in the Art World paints in vivid detail the amazing art market landscape. It is a must read for art collectors and investors.” Jianping Mei, Professor of Finance, Cheung Kong Graduate School of Business; Founder of the Mei Moses® Fine Art Index
“As the art market is transformed by new types of participant and technology, assessment of risk in the art world remains undeveloped. Anna Dempster performs a valuable service bringing together expert, thought-provoking views on this emerging subject area.” Nicholas Dunbar, author of The Devil’s Derivatives
Professor Frank Fabozzi, EDHEC Business School and Editor, Journal of Portfolio Management
www.bloomsbury.com
Cover image © Guido Mieth/Getty
EDITED BY
“This timely collection of essays illustrates the multitude of uncertainties that pervade the art world. Like the financial markets, art markets are widely varied and have a long and venerable history. This fascinating volume shows that the two markets have much in common and can learn from each other. For the uninitiated, the book provides a unique and informative view into the mechanics and peculiarities of a little understood world. For practitioners of any background, including finance, it clearly demonstrates that there is much to learn from the art world about coping with uncertainty and managing risk.”
ANNA M. DEMPSTER
Anna M. Dempster is Senior Lecturer (Associate Professor) in Art Business at Sotheby’s Institute of Art, London where she leads the Art Business and Research Methods units including strategic management, finance and entrepreneurship - all specially tailored for the art world. She holds a BA and MPhil in History from the University of Cambridge and a PhD from the Judge Business School, Cambridge. She has research and teaching experience in London Business School, Rotterdam School of Management and the University of the Arts, London, where she was Research Director of the Creative Industries Observatory, a government funded project supporting creative organizations in the UK, India and China. She regularly works with artists and has a long standing interest in Russian art. Prior to joining Sotheby’s Institute she held a Lectureship at Birkbeck College, University of London, where she was founding Programme Director of the MSc/MA in Creative Industries. Her current research focuses on the creative industries and visual arts and she is fascinated with the role of risk and uncertainty as represented in this volume.
RISK AND UNCERTAINTY IN THE ART WORLD
“With the rise of a global market and its increasing use as a vehicle for investment, it is not surprising that the sale of art is the subject of an increasingly sophisticated secondary literature. Risk and Uncertainty in the Art World is an admirably comprehensive set of essays analysing all aspects of the operation of the contemporary art market from different intellectual perspectives.”
RISK AND UNCERTAINTY IN THE ART WORLD EDITED BY
ANNA M. DEMPSTER
Not since the Dutch golden age has art been such big business; the art market has become increasingly accessible and continues to grow. But with this growth comes new forms of uncertainty, volatility and risk for the art world and its participants. Alongside century-old ways of doing things, the art world has recently witnessed the emergence of new consumers, new business models and new modes of production. Risk and Uncertainty in the Art World offers the first complete overview of risk in the art market: its sources, consequences, participants, structures and dynamics. Compiled and edited by Anna M. Dempster, this book includes chapters written by leading international practitioners and scholars in the fields of art, business and economics. These contributors investigate the specific types of uncertainty that exist in the art market, as well as the dominant models used to manage the risks, offering a snapshot of some of the most exciting developments both in the world of art and in research in risk and uncertainty. Essential reading for art world practitioners as well as scholars and students, Risk and Uncertainty in the Art World illustrates the dynamics and unique qualities of the art market as well as developing insights relevant to other sectors, including sociology, business and management, economics and finance.
First published in Great Britain 2014 Editor’s Introduction and Chapter 1 Copyright © Anna M. Dempster, 2014 Chapter 2 Copyright © Tom Christopherson, 2014 Chapter 3 Copyright © Anders Petterson, 2014 Chapter 4 Copyright © Olav Velthuis, 2014 Chapter 5 Copyright © Tom Flynn, 2014 Chapter 6 Copyright © Neil De Marchi & Hans J. Van Miegroet, 2014 Chapter 7 Copyright © Marina Bianchi, 2014 Chapter 8 Copyright © Rachel A. J. Pownall, 2014 Chapter 9 Copyright © Steve Satchell & Nandini Srivastava, 2014 Chapter 10 Copyright © Elroy Dimson & Christophe Spaenjers, 2014 Chapter 11 Copyright © Laurent Noël, 2014 Chapter 12 Copyright © Arjo Klamer, 2014 Bloomsbury Publishing Plc 50 Bedford Square London WC1B 3DP www.bloomsbury.com Bloomsbury Publishing London, New Delhi, New York and Sydney All rights reserved; no part of this publication may be reproduced, stored in a retrieval system, or transmitted by any means, electronic, mechanical, photocopying or otherwise, without the prior written permission of the Publisher. No responsibility for loss caused to any individual or organisation acting or refraining from action as a result of the material in this publication can be accepted by Bloomsbury Publishing or the authors. A CIP record for this book is available from the British Library. ISBN: 9-781-4729-0290-0 Design by Fiona Pike, Pike Design, Winchester Typeset by Hewer Text UK Ltd, Edinburgh Printed in the United Kingdom by CPI Group (UK) Ltd, Croydon CR0 4YY
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Editor’s introduction Discussions of risk and uncertainty are completely pervasive in today’s society. Every day we are inundated with information which summarises what we don’t know and the risks associated with each event. Risk, and the nature of underlying uncertainties, are critical because they are linked with the decisions we make. Decisions lead to actions and actions to consequences. Many decisions are critical because they affect us and our communities; some have immediate impacts and others have longterm consequences. What is certain is that these decisions will affect our future: what we have, what we can (and can’t) do and how happy we are. So understanding risk and uncertainty, whether you are an art and antiques dealer or an equities trader, is central to modern life. When trying to unpack the different dimensions of risk and uncertainty, the story of the Tower of Babel comes to mind. It is as if, in our attempt to tame the natural forces of uncertainty, we have built a great city of debate with a tower of knowledge that reaches up to the heavens. The punishment for this ambition is the emergence of many different perspectives with their own dialects and discussions – the engineer, the scientist, the economist, the historian and the artist each have their take on the topic – which ultimately confounds and confuses the conversation, making communication difficult and a common understanding nearly impossible. This book attempts to bridge the divide across disciplines, not by imposing a universal language, nor even by asking everyone to speak the same language, but simply by narrowing the scope of the conversation and focusing attention on one field of study – the art world. In this book the economist is represented alongside the sociologist and art historian, the art practitioner alongside the academic. All are drawing on their own knowledge to contribute to a conversation which aims to understand risk and uncertainty specifically in the art world: its sources, consequences, participants, structures and dynamics.
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2 Risk and Uncertainty in the Art World
In compiling the chapters for this book, I have tried to provide a snapshot of some of the most exciting developments both in the world of art and in research in risk and uncertainty. As with all edited volumes, the choice of what content to include is a very difficult one. The aim is to strike a balance between the academic (theory) and practice (application); in terms of level (introductory or advanced); content (perspectives from consumers, producers and intermediaries); and style (formal and informal). In spite of the sophisticated nature of the material and an ambition to present content of the highest quality and novelty, the book is written in a readable and accessible way. From the perspective of the art world, an explosion has taken place in participation and interest, contributing to the breadth, depth and diversity of activities. Alongside century-old ways of doing things, the art world has recently witnessed the emergence of new consumers, new business models and new modes of production. People are looking further afield for ideas and examples of best practice, and there is room to learn from areas where the management of risk is more sophisticated and systematic. By the same token, the scholarly disciplines and existing practices of risk management are ripe for re-invention. The recent financial and economic crisis has underlined the dangers of over-reliance on a small number of models, an unquestioning faith in dominant methods and an over-homogeneous management culture. As existing attitudes to risk have been questioned, there is room to learn from the unexplored terrain of the arts and culture. The timing of this book coincides with these developments and provides opportunities for cross-fertilisation and learning. The content included here has lessons for the risk manager working in a bank as much as for the dealer based in a gallery. I hope this book will encourage an exchange of ideas; that practitioners will learn from relevant and cutting-edge academic research, while academics will learn from the applied work that makes use of real-world examples and experiences in the field. This book should be of interest to both the general public and the seasoned professional or research specialist, with a balance of rigour and relevance. Hopefully, any reader with even a passing interest in the arts will become more engaged by this world’s diversity and richness, and want to explore it further. To be read not as a recipe book, but as a collection of ideas, I hope that the chapters presented here will inspire
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Editor’s introduction 3
readers and provide a rich selection from which individuals can pick and choose, given their own interests and needs. Although much of the cutting-edge work on risk management and decision-making under uncertainty is highly technical, because this is ultimately a book about the art world, the non-quantitative reader will still find much that is accessible and useful. All the contributions presented here aim to provide an intuitive and understandable introduction to key concepts and ideas. Although some of the chapters are based on advanced techniques and theory, the reader should not be daunted by the occasional appearance of mathematical formulas; they should be read in the context of a wider story! The art world does indeed present a remarkable story of change and growth. Profound socio-economic and cultural developments internationally have fuelled the art world’s transformation in modern times. From the dramatic fall of the Berlin Wall in 1989 to the revolutionary protests of the Arab Spring in 2010, region after region has witnessed a remarkable opening-up of its borders and a re-assessment of its values and beliefs. If the great sociologist Emile Durkheim was right, it is precisely such periods of revolt and upheaval that provide the perfect conditions for artists to do their greatest work and for art to prosper. As the shackles of a dominant system are overthrown, experimentation and a search for alternatives can begin. The extraordinary transformation witnessed in the art world is undoubtedly linked to changes in global society. Over the past three decades shifts in the balance of power – socio-economic and cultural – have given rise to the much discussed ‘Asian Tigers’1 and then the ‘BRIC’ countries.2 The growing importance of natural resources has seen attention shift to the oil-rich countries of Southwest Asia and the Middle East3 and the less-noted but increasingly prosperous postSoviet Central Asian countries or ‘-stans’.4 Together, they provide ample alternatives to a view of art and culture dominated by Anglo-Saxon, Eurocentric or Western perspectives and practices. Importantly, developments in these regions have created significant new opportunities for trade, cultural exchange and innovation. We certainly live in interesting times!
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4 Risk and Uncertainty in the Art World
In spite of a historical lack of transparency and significant difficulties in obtaining reliable economic and financial data, there is ample evidence to suggest that since at least the 1980s the art market has witnessed a period of substantial expansion and resilience. Of course, the ‘art market’ really consists of many smaller markets and any detailed analysis differentiates between fundamentally different sectors – such as Old Masters, Impressionist or Contemporary art – and across geographic areas. Nonetheless, aggregate estimates for the asset size of the art market hover around €50 billion, with the market doubling in size in the 25 years to 2011 and growing over 575 per cent from its lowest point during this period in 1991 to its highest in 2007.5 The volume of transactions in the global art market has seen significant year-on-year increases, with implications for liquidity, global trade and the balance of imports and exports. Although the art market took almost a decade to recover from the recession of the early 1990s, the contraction of 2009, which went hand in hand with the global financial crisis of the same period, has been remarkably short-lived, with art and antiquities out-performing many traditional asset classes. As well as connoisseurs and collectors, a new breed of investors has taken note of these developments. But this is not just a story of economic growth and the marketplace. As profound changes in society have affected the art world, they have in turn left a deep impression on communities – with an increasing number of people taking part at the local level, as well as the international one. This includes a fuller spectrum of consumers, from those who enjoy Picasso in the world’s growing number of public and private museums, to those who buy Picasso for their home; all types of buyers and sellers, overlapping across many styles of art, antiquities and collectibles; as well as people employed in the art world and those studying in the hope of one day becoming a part of it. Estimates of employment generated by the art trade, for example, now range from 2 to 3 million globally and must take into account not only the direct jobs created but also the many part-time, event-based and volunteer workers, as well as those in ancillary services and external support services. There are more art schools than ever, graduating ever more artists. Alongside their traditional counterparts in subjects like curatorial practices, restoration, archival and museum studies, there are now
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Editor’s introduction 5
educational options focused on commerce, including art business, law and finance with the education market also witnessing unprecedented growth. With these developments, the art world has been subject to fundamental structural changes. Across all the players whose interactions shape this world, no set of relationships has been left unaffected. What was previously largely a cottage industry, with many small, often family-run firms catering predominately to trade, specialists and connoisseurs, has now become a global industry with the rise of major retail spaces and super-brands. Galleries like Gagosian and White Cube secure market dominance through global operations embedded in the highest levels of international trade and society. Celebrity artists, who have captured the popular imagination enough to become household names, command both press column inches and extravagant prices in a world that often seems obsessed with ‘stars’ and is characterised by an economics of ‘the best and the rest’. Traditional distinctions between intermediaries have blurred as auction houses increasingly carve into dealers’ territories by conducting private sales and sourcing art directly from artists as in the (in)famous Sotheby’s 2008 auction of Damien Hirst’s works, entitled Beautiful Inside My Head Forever. At times, the forces of change seem to pull the art world in competing directions. As the feared power of the expert art critique has waned, the influence of mass-market media, online recommendations and search engines, enabled by information technology, has arguably democratised the art world and encouraged access. The unprecedented amount of information available online about objects and transactions has revolutionised the way business is done and who can do it. At the same time, ever-escalating prices and the economic power of those who can pay the winning bid have made the art world more exclusive by raising the stakes and the barriers to entry and access to objects for both people and institutions, including museums. As old gatekeepers lose their influence, new gatekeepers, such as art fairs and websites, have grown in importance. The art world’s client base has also become more diverse and geographically dispersed as wealth from ‘emerging’ economies and new industries, such as finance and high-tech, enable oligarchs to compete with entrepreneurs and hedge-fund managers for the most fashionable objects. As consumer demographics change, a younger,
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6 Risk and Uncertainty in the Art World
more international clientele with omnivorous tastes and an army of advisors are happy to place antiquities alongside contemporary artworks in their homes, their foundations and private museums around the world. In terms of the style and structure of this book, we have not tried to achieve uniformity across chapters but rather to introduce key topics in a lucid and engaging way. The book aims to address both the most fundamental (and long-lasting) questions facing the art world as well as more recent ones – as chosen by specialists and based on their evidence and expertise. It is not a textbook in the traditional sense in that it does not provide a (seemingly) comprehensive list of topics in a standardised format. It is rather an organic and intuitive exploration which I believe, over the volume as whole, covers a full spectrum of issues facing the art world today. Moreover, we believe, these are the issues which will be critical going forward. Important topics include (although not exhaustively) the role, function and impact of: • • • • • • • • • • • • • •
consumers (e.g. collector or investor) producers (e.g. artist) intermediaries (e.g. the auction house or dealer) networks, social institutions, relationships globalisation and international trade authenticity and reproduction legal and taxation frameworks technology and virtual environments collectibles and luxury goods and services fashions, fads and conspicuous consumption reputation, cultural and social capital emotion, personal preference and taste structure and dynamics of markets regulation and policy
The co-ordination and consolidation of diverse information from a range of scholarly disciplines and practical perspectives is no easy task. It would not be remotely possible without the deeply informed and imaginative approach taken by the authors represented here. All of the contributors are actively engaged in the art world, whether as consumers (in both the public and private spheres), consultants, practitioners
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Editor’s introduction 7
or policy-makers. They are thought-leaders in their fields with longstanding engagement in the arts, who are also involved in leading academic institutions around the world helping to inform students and shape tomorrow’s practitioners. Given the expertise of the contributing authors, they have been given free reign to choose the topics they feel are most relevant, today and in the future. Drawing on their own interests and in-depth knowledge, they have woven a tapestry of ideas which reflects the subtleties and complexities of individual and organisational life in the art world. The result has been to cover a broad range of issues while providing an original and nuanced view of the linkages, interdependencies and dynamics which shape this world. None of the chapters published in this book has been published elsewhere. Although they represent in many cases the synthesis of a great deal of prior research, they are novel contributions and are likely to lead to further research and analysis. The link with practice is entirely clear in some cases and implied in others. This is not a ‘how to’ book in the sense of providing a pre-determined recipe for solving specific problems. Because the art world is so dynamic, ever-changing and unpredictable, such a book would be out of date before it was published. Rather this is a ‘how to’ book in which the authors have attempted to bring to the fore and illuminate key issues of which managers should be aware and to offer unobvious, counter-intuitive solutions. Individual chapters provide alternative ways of thinking about a problem which involves asking a different set of questions that ultimately enable a novel set of answers. As such, the book is both a culmination of efforts and the beginning of new concerns; a reassessment of the situation and an initiation of new discussions and debates. Ultimately the contents aim to provide suggestions for solutions to managerial and real-world problems. The structure of the book broadly moves from a general introduction to the topic, across macro perspectives towards more micro approaches and ends once again with an overview which mirrors the beginning. The first five chapters set the scene, both from the perspective of the intellectual history of risk and uncertainty (Chapter 1) to mapping out a typology of key risks (Chapter 2) and a summary of the critical players
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8 Risk and Uncertainty in the Art World
who interact and structure the landscape (Chapter 3). This is followed by a discussion of the location and context of risks and uncertainties, in terms of space, place and geography, not just physical but also virtual and technological (Chapter 4) and the implications and challenges of cultural differences and cross-border trade, including their impact on individual artists and their practices (Chapter 5). In the second half of the book we move into specifics. A historical example provides an important reminder that many aspects of the art world with which we associate contemporary practices, including manipulation of markets, have, in fact, historical precedent (Chapter 6). A detailed exploration of consumption, fads and fashions (Chapter 7) and what drives different types of consumers in the art world including emotional engagement (Chapter 8) highlights the idiosyncratic nature of art and its markets. The complementarities on the one hand and differences on the other between related fields, including luxury goods, are explored (Chapter 9), while comparisons between art and other collectibles are made in detail (Chapter 10). In a case study of the Art Deco market, the entire life-cycle of a particular segment of the art world and its marketplace is explored (Chapter 11) with lessons for understanding the critical role of uncertainty in all art markets and their implications for both policy-makers and practitioners outlined (Chapter 12). Below, I provide a more detailed summary of the various chapters, highlighting aspects of their content, inter-relationships and relevance for practitioners, scholars and students. As noted above, attempts to understand the role and impact of uncertainty and associated concerns with the management of risk, its structure and behaviour, are undoubtedly one of the core concerns of modern society. In the first chapter, I provide a brief introduction to the extensive literature on risk and uncertainty in an attempt to sketch an overview of the intellectual foundations of these ideas. The chapter summarises a number of perspectives on risk which range from negative views focused on its minimisation and eradication, through to more balanced perspectives concerned with the trade-off between risk and return. In this chapter, I suggest the existence of a third perspective uncommon to the risk management literature, but one which is highly
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appropriate to the arts and cultural spheres. Here uncertainty is conceptualised positively, as critical to creative endeavour, and risk-taking is seen as necessary for the creative process. The chapter is designed to provide an introduction to key concepts in risk management and also to suggest a novel approach to understanding, treating and managing risk informed by what is done in the arts. As such, it aims to be of relevance both to students of risk and practitioners in the art world who must understand it. In a unique insider’s view of the world of art and auctions, the second chapter by Tom Christopherson provides a comprehensive overview and guide to the key risks in art markets. Based on a wealth of experience at the heart of the art world, Christopherson provides a categorisation of the main types of risk and underlying uncertainties present in the business of buying and selling art. He gives guidance as to how systematic in-house risk management might be structured, as well as outlining the importance of rapid response and necessity for adaptation in a landscape which is not only highly complex but constantly evolving, demanding successful players change with it. Christopherson highlights the international nature of the art market, the balance of local and global concerns and the need for co-ordination across many different legal and regulatory regimes as well as for sensitivity to national and cultural standards. Specifically, he discusses in detail three broad categories of risk to which art market participants are exposed: property risk, legal and regulatory risk, and financial and market risk. The chapter provides a coherent overview for the newcomer as well as a comprehensive framework against which the seasoned professional can check their own risk management strategies. In Chapter 3, Anders Petterson describes and discusses the contemporary art market and explains what determines which artists are successful and why. Petterson argues that economic value (including price) is generated and reinforced by social relationships and structures determined by key players. He suggests that to be able to navigate this space and manage the risks inherent in this market, it is critical to understand the dynamic interplay between key people, organisations and institutions. Petterson provides a schematic of both who the different players are and how they interact. Only with a holistic perspective, he argues, can the market’s dynamics be understood and managed. The
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balance of players, he suggests, is best appreciated as an ecosystem in which there is a need for diversity in order to create resilience in the face of change and uncertainty. Throughout his discussion, Petterson details the role of the taste-maker and the process of endorsement which allows for identification, selection and retention of some artists above others. A novel perspective on Damien Hirst is presented as a case study to illustrate these dynamics. The chapter provides invaluable insight into key players from the viewpoint of someone who has been actively involved and witnessed the growth and development of the contemporary art market from a cottage industry into a global player. Olav Velthuis explains how globalisation has fundamentally transformed the art world in Chapter 4. He discusses the impact on traditional businesses models and existing players, including art galleries and dealers. Changes which he outlines include the emergence of new contexts for the viewing, consumption and trade of art, and in particular two very important developments – the international art fair and online forums. The highly socialised and tangible experience of the international fair presents a setting where collectors, commentators and other art world players rub shoulders to browse the specially selected stock of carefully vetted dealers. This is in contrast to the virtual experience of a broad range of online offers which facilitate an intangible, yet highly accessible, experience of objects via the Internet. Building on extensive prior research as well as new findings, Velthuis provides insight into how gallery spaces are intricately tied up with a dealer’s identity and what this means as commercial practices migrate to other highly symbolic spaces such as fairs and websites. In the context of an art world that is highly international, indeed increasingly global in its structure, Velthuis discusses the opportunities ‘in a market without borders’ and the new set of risks for consumers, producers and intermediaries that have been introduced as a consequence of the changing business landscape. In Chapter 5, Tom Flynn explores contrasting cultural attitudes towards the notions of authenticity and originality in a rapidly globalising art world and considers the risks – moral and financial – associated with this development. In what is often seen as the ‘dark side’ of a globalised art market, the issue of unauthorised copying of artworks is discussed with implications for both the original artist and the
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craft-based system of reproduction. Avoiding the pitfalls of moral judgement, the chapter shows how different attitudes to copying and reproduction persist and suggests that while this introduces significant uncertainty into the system, attitudes and value systems can be conceptualised both in terms of the risks and opportunities they provide. In either case, this is part of a new art world reality and must be taken into account. To illustrate his main points, Flynn refers to a recent and important case involving the unauthorised copying by Chinese artisans of a number of large-scale contemporary sculptures by living American artists. The case shows how the international art market is increasingly required to negotiate cultural differences and reassess the core concepts upon which the Western art market has traditionally relied and which have hitherto allowed investors and other market participants to assess risk and return. In a departure from the contemporary setting, in Chapter 6, Neil De Marchi and Hans J. Van Miegroet present an historical study of a dealer ring operating in Paris in the 1780s. They provide evidence for how prominent dealers colluded, by agreeing not to outbid each other in the context of public art auctions, in order to squeeze out lesser dealers and private buyers and to raise prices on selected lots. While bidding on art in the context of escalating prices might be seen as highly risky (speculative) behaviour, this study argues that the case in fact presents an example of a way in which dealers attempted to manage the uncertainty of art auctions and their exposure to risk. By guaranteeing higher and higher prices through their dominance of auctions and actively courting new (amateur) collectors, members of the ring were able to control prices and actually eliminate risk. Dealers were also able to engage in purchases abroad for resale at enhanced prices at home: riskless arbitrage. This historical example has some fascinating parallels with the contemporary art world, given widespread speculation in the public domain that prices in some contemporary art markets have been fuelled by the co-ordinated activity of a few dealers and/or artists and that the public auction setting is not free from market manipulation or vested interests. The case is also a stark reminder that there is significant historical precedent for treating art as an asset class with a focus on its economic value, especially when the risks of trade can be effectively managed. Although history does not exactly repeat itself, such cases
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hold important clues to understanding the current market while providing lessons for the future. Chapter 7 by Marina Bianchi treats art from the consumer perspective by considering the impact of demand uncertainty and what drives consumer choice of creative goods. The chapter analyses the importance of fashions and longer-term trends as well as fads and shorterterm changes and how they impact the formation of collective tastes and market value. Along with other authors in this volume, Bianchi argues that uncertainty is inextricably linked to art, which she innovatively characterises as depending on the core factors of novelty, variety and complexity – each discussed in detail here. She draws on recent research in economics and consumer behaviour as well as in the dynamics of aesthetic preferences from experimental psychology to provide a new theoretical framework for understanding what art is in relation to how it is consumed. Given that extremely uncertain demand is one of the key challenges facing all participants of the art world, this chapter provides important insights into the sources and structure of consumer decision-making with implications for how uncertainty, and its risks, might be managed. This is relevant for a range of art world consumers, from investors who are systematically trying to manage their risk exposure, to collectors who are more interested in the intrinsic pleasures of the artwork itself. In Chapter 8, Rachel A. J. Pownall considers the spectrum of people who are engaged in the art world and the variety of reasons for their acquiring and owning art, ranging from investment-driven ‘rational’ reasons to aesthetic or ‘emotional’ ones. While drawing on real-world practices, the chapter provides a theory and formal economic model of the trade-offs experienced by different types of consumers – including holding art in a diversified portfolio of assets as opposed to outright ownership of works, for example in the context of a collection. The chapter explains in detail the specifics of what can be termed ‘emotional assets’, of which art is a prime example. It draws upon psychology and marketing literature as well as cutting-edge research in economics and finance which analyses non-standard assets. Pownall elucidates how assets such as art have particular qualities which distinguish them from many other goods and commodities. She aims to provide a framework in which the emotional or affective
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Editor’s introduction 13
value of such assets can be understood and appreciated and the risks associated with holding such assets can be managed. As well as implications for risk management, the chapter has some interesting lessons regarding the needs of different consumers and how these can be balanced. Steve Satchell and Nandini Srivastava in Chapter 9 discuss the link between art and risk through a conceptualisation of art as a luxury good. Using the principle of decreasing absolute risk aversion, they argue that art, like other luxury goods, is demanded by rich individuals whose wealth corresponds to high risk tolerance, and they explain how and why this is the case. Luxury goods are described using microeconomic theory by considering how demand for these goods changes with respect to changes in income. This provides insight into the type of ‘conspicuous consumption’ which is often associated with art and high-net-worth individuals. The increasing commercialisation of the art world and convergence of the art and luxury sectors has been a widely debated phenomenon of recent decades and this chapter presents a rare and novel theoretical and empirical treatment of the topic using microeconomic methods and systematic modelling. The theory that art is a luxury good is tested using UK art auction data with the results providing support for their propositions and the existence of wealth effects in art markets. In an interesting extension to the art world discussion, Elroy Dimson and Christophe Spaenjers assess, compare and contrast a number of collectible sectors, including stamps, violins, wines and jewels, with art in Chapter 10. They explain what makes collectibles, including art, particularly attractive as investments and discuss the unique risk characteristics, including price volatility, which exist in different markets. Dimson and Spaenjers also provide useful comparisons on performance with other (more common financial) assets including Treasury bills, government bonds and equities. They argue that when choosing an investment horizon, one needs to trade off high transaction costs and the risk of short-term underperformance on the one hand, with the risk of longer-run shifts in the tastes of the dominant collectors and investors, on the other. The chapter makes an important contribution to the ongoing performance debate, including measuring returns for different assets over different time periods. It is relevant from an
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investor perspective, but also provides insight into the dynamics of collectible markets which can have idiosyncratic qualities including limited supply of goods, high transaction costs and lower liquidity. This is relevant to anyone interested in collectible objects. In Chapter 11, Laurent NoÍl presents a comprehensive study of the Art Deco style and its marketplace, which emerged in the early 20th century. By considering the entire life cycle of this sector, from birth through development and into maturity, NoÍl is able to illustrate, using a realworld example, the complicated interplay of individuals, events and institutions that shape a market and determine its structure and dynamics. He argues that the evidence suggests that markets for art present a challenge to traditional neo-classical economists’ models since few of the conditions of perfect competition are respected in them. For example, the lack of transparency and information can hinder and even prevent transactions. This study also illustrates the relationship between various actors at different levels, including artists, dealers, auctioneers, experts, collectors and museums, each with their specific role in the social construction of this marketplace. Relations between actors are complex and ambiguous. Their actions can be in competition or complementary and they may act independently or co-operate. The case highlights how a range of uncertainties must be managed to enable the market to operate as efficiently as possible. The chapter has clear implications for the management of risk and understanding of uncertainty as an ongoing process in the context of a complex set of interactions. This is highly relevant for different art markets today and in the future. In the final chapter (Chapter 12), Arjo Klamer proposes the axiom that without uncertainty there is no art market and returns to the big picture with a discussion of the general principles that should guide any investigation of risk and uncertainty in the art world. This contribution mirrors Chapter 1 and brings together themes recurrent throughout the book. It warns of the dangers of an overly narrow interpretation of risk and of the misapplication of classical (economic or other) theory without due consideration of the idiosyncrasies and specific qualities of culture and the arts. Klamer argues that any assessment must take into account social relations and cultural values intrinsic to this sphere. He makes the case that we need not only a tailored toolkit but also an
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appropriate mindset and a distinct vocabulary or ‘language’. These can impact the generation of meanings which in turn has consequences for the way in which the art world is understood, treated and ultimately performs. Uncertainties in the art world and their associated risks have to be understood in their own terms. The chapter provides some realworld examples relevant to policy-makers as well as practitioners. Critically, Klamer argues that we should put what people do at the heart of any analysis. The dialogue should include the analysis of organisations, institutions and markets but also an assessment of the actual people involved – the artists themselves – without whom there would be no art, and therefore, no art world.
Acknowledgements My personal and passionate interest in risk and uncertainty in the arts, culture and creative industries dates back to the mid-2000s and was developed in a number of journal articles, conference papers and presentations over the years. The current volume builds directly on a conference entitled Exploring Risk and Uncertainty: Metaphors from the Art Market which was held in 2011 at Sotheby’s Institute of Art, London, in collaboration with the Centre for Risk Studies at the Judge Business School, University of Cambridge.6 The conference would not have been possible without the generous support of the Centre for Risk Studies and Sotheby’s Institute, both of which made a significant departure from their standard activities. During this time the Centre for Risk Studies benefited from a new Executive Director, Michelle Tuveson, whose enthusiasm and inclusiveness attracted many people and ideas. The thought that it might be fun to bring together risk managers and art dealers took shape over a series of meetings in Cambridge. Like many good ideas it seemed a little offbeat to start with but ended up spot-on by tapping into contemporary concerns of both risk professionals and art people. The initial idea may never have matured into a full-fledged event were it not for Michelle’s organisational talents and practical, as well as passionate, approach. A big thank you to her for the time and energy she contributed. Thank you also to the Centre for Risk Studies Directors, Daniel
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Ralph and Andrew Coburn, for giving us the freedom to give the idea a try and the generous financial support to make it a reality. A warm thank you must go to Jos Hackforth-Jones, Director, and Megan Aldrich, Academic Director, of Sotheby’s Institute of Art London for making it such an inspiring and engaging place to work and for co-sponsoring the conference. My thanks too to colleagues at Sotheby’s Institute and my alma mater, Cambridge University, with whom I’ve shared ideas and made plans and especially colleagues in Art Business, David Bellingham and Laura Harris, who are consistently open to and supportive of new and risky initiatives like this one. Thank you also to our New York colleagues at the Cambridge Information Group, David Levy, Michael Chung and Jonathan Friedlander, for their support of the conference and this book project and for stimulating exchanges on topics of art, culture and education. Given the many things competing for one’s attention in London, I would like to thank everyone who participated in the original conference leading to this work and to the speakers who gave up their time to contribute cutting-edge ideas to the discussion and debate. Alongside the authors in this volume, they include: Payal Arora (Erasmus Universiteit Rotterdam), Richard Bronk (London School of Economics), D’Maris Coffmann (University of Cambridge), Jeremy Eckstein (ArtBanc International), Margaret Iversen (University of Essex), Michael Jacobides (London Business School), Joseph Lampel (Cass Business School), Clare McAndrew (Arts Economics), Phanish Puranam (INSEAD), Mary Rozell (Sotheby’s Institute of Art) and Filip Vermeylen (Erasmus Universiteit Rotterdam). The significant efforts made and the time given by a number of anonymous subject-specialist reviewers, who so generously read, commented and provided detailed feedback for chapters of this book, are amply reflected in this volume – for which I thank them. This book would not have been possible without the kind introduction of Stephen Rutt, considerate support of Alana Clogan and the exemplary efforts of the team at Bloomsbury Publishing. I would like to thank my dear friends in London, Cambridge and abroad – old university friends as well as recent graduates, many accomplished writers, historians, art historians, business people and of course, artists
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– who continually provide intellectually challenging conversations. A final and enormous thanks goes to my parents and dear husband, who provide the continued and unwavering support which makes multitasking possible. The dialogues associated with our investigations in this project and the book itself would not have been possible without a great many people taking a big risk; it required of them a ‘leap of faith’ in time, energy and enthusiasm in exchange for a highly uncertain reward. I hope that their efforts have, in terms of friendships forged, fun had, ideas exchanged, and new avenues created, paid off at least in some small way. Finally, I hope this book will herald the start of a continued and broader debate on risk and uncertainty which will create a more rewarding experience for all those who love the art world. Anna M. Dempster Cambridge, UK 9 September 2013
1 Hong Kong, Singapore, South Korea and Taiwan. 2 Brazil, Russia, India and China. 3 Including Iran, Iraq, Syria, Kuwait, Saudi Arabia, Bahrain, Qatar, United Arab Emirates (UAE), Oman and Yemen. 4 Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan and Uzbekistan. 5 See TEFAF Report 2011: McAndrew, C. (2011), The International Art Market in 2011: Observations on the Trade over 25 Years, for more details. 6 For details on the conference see: http://www.risk.jbs.cam.ac.uk/news/events/other/2011/110923_ sothebys.html
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About the Authors Marina Bianchi Marina Bianchi is Professor of Economics at the University of Cassino, where she teaches Industrial Economics, and a course on The Creative Economy. She has written on topics related to the theory of the firm and consumer theory, with a specific focus on the problems of change, learning and the emergence of social rules. In a number of articles and two edited books (The Active Consumer: Novelty and Surprise in Consumer Choice, 1998, and The Evolution of Consumption: theories and practices,2007) she has analysed the characteristics of creative goods and the limits of the traditional economic framework in explaining choices concerning goods and activities of this type. More recently, her interests have focused on the role of curiosity and exploratory behaviour in shaping aesthetic preferences. Tom Christopherson Tom Christopherson shares his working time between the Sotheby’s Institute of Art in London as Head of Art and Law Studies, and Sotheby’s auctioneers as Senior Director, Special Projects and Business Education. Tom is a solicitor specialising in art law and was Sotheby’s European General Counsel for over a decade, having been a commercial lawyer at the international law firm Freshfields beforehand. In his time at Sotheby’s, Tom has dealt with a wide range of legal and ethical issues surrounding the art market in Europe and Asia, and served for several years on the Committee of the British Art Market Federation and the Society of Fine Art Auctioneers and Valuers, of which he is now an Honorary Associate. Tom is the current Renter Warden and a Charitable Trustee for the City of London Company of Arts Scholars. Anna M. Dempster Anna M. Dempster is Senior Lecturer (Associate Professor) in Art Business at Sotheby’s Institute of Art, London where she leads the Art
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Business and Research Methods Units and teaches strategic management, finance and entrepreneurship, all specially tailored for the art world. She was previously Director of Research at the Creative Industries Observatory, University of the Arts, London and the founding director of the MSc/MA in Creative Industries at Birkbeck College, University of London. She holds a BA and MPhil in History, and a PhD in Management Studies from the Judge Business School, University of Cambridge. She has published widely and her current research interests focus on the creative industries and visual arts. She has had a long-standing fascination with the role of risk and uncertainty in human endeavour and their effects on decision-making, organisational behaviour and – as represented in this volume – creative markets. Neil De Marchi Neil De Marchi is Professor of Economics at Duke University, where he teaches a course on The Contemporary Art Market. His early research interests were in the areas of economic methodology and history of economics, though for the past two decades he has focused on the history and functioning of art markets. His current focus is on experts, especially auction house experts, and the role of pre-sale estimates. He splits his time between Durham, North Carolina and Rome. Elroy Dimson Elroy Dimson holds a professorial appointment at Cambridge Judge Business School where he co-directs the Centre for Endowment Asset Management. He is also Emeritus Professor at London Business School. His publications include Triumph of the Optimists, the Global Investment Returns Yearbook and Endowment Asset Management, and articles in scholarly and professional journals in finance. A co-designer of the FTSE 100 index, Elroy is past president of the European Finance Association, and Honorary Fellow of the Institute of Actuaries and the CFA Society of the UK (FSIP). His research focuses on long-term investment strategy, endowment asset management and financial market history. Tom Flynn Dr Tom Flynn is Senior Lecturer (Associate Professor) at Kingston University, London where he is director of the RICS-Accredited Masters
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About the Authors 21
course in Art Appraisal and Professional Practice. A Fellow of the Royal Institution of Chartered Surveyors, he holds degrees in art history, design history and a doctorate in the history of sculpture from the University of Sussex. A former auctioneer, he has held senior board positions in art data and print-retailing companies and writes and lectures widely on Art & Business, cultural heritage and art crime. His books include The Body in Sculpture (1997); Colonialism and the Object: Empire, Material Culture and the Museum (1998, co-edited with Tim Barringer) as well as a number of monographs on contemporary sculptors. Arjo Klamer Arjo Klamer is Professor of Cultural Economics at the Erasmus University and Professor of Social Innovation at Fontys in Tilburg. Prior to that and after acquiring his PhD at Duke University, he taught for many years at several universities in the US, including Wellesley College and George Washington University. His research focuses on the relationship between culture (including the arts) and the economy. He is developing a cultural monitor to provide an evaluation of the artistic and social impacts of artistic organisations. With former students he is running the Atelier in Creativity and Cultural Entrepreneurship. The objective of this organisation is to assist cultural organisations in their adaptation to new circumstances. Furthermore, he conducts workshops on his value-based approach to cultural economics all over the world. Laurent Noël Laurent Noël is Associate Professor of Cultural Economics at Audencia Nantes School of Management. He received his PhD in Economics from Paris 13 University and holds an MA in Art History and Business from the Institut d’Etudes Supérieures des Arts in Paris. At Audencia Nantes, Noël is responsible for two programmes: a major in cultural management and an artistic project incubator. His research focuses on the art market. Prior to his academic career, he worked for five years as a financial analyst at Dexia Bank before spending 10 years working in the art market, firstly with the Ader auction house and then as an art dealer.
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Anders Petterson Anders Petterson is the founder and Managing Director of ArtTactic Ltd, a London-based art market research and analysis company set up in 2001. ArtTactic has been a pioneer in using crowd-sourcing techniques for gathering and processing intelligence on the art market. Petterson previously worked at JP Morgan and was responsible for debt capital market and structured products for banks and corporates. He also worked as an independent research and evaluation consultant for Arts & Business in London between 2002 and 2007, and has been involved in a number of large research and evaluation projects in the cultural sector. Anders Petterson is lecturing on the topic of ‘Art as an asset class’ for CASS Business School and Sotheby’s Institute in London. He is a board member of Professional Advisors to the International Art Market (PAIAM) – www.paiam.org. Rachel A. J. Pownall Rachel works as an Associate Professor at the University of Maastricht and TiasNimbas Business School. Her work covers the areas of behavioural finance, risk management, and sustainability, and is published in a number of leading international journals. She completed her PhD at Erasmus University, Rotterdam in 2001. Her research interests broadly cover the realm of understanding investor behaviour. Rachel has a particular focus on art markets and assets with an emotional attachment and is interested in the behavioural issues of how emotions and psychology influence individuals’ financial decision-making involving risk. Her passion for research stems from a belief that through a better understanding of how individuals make risky decisions and how incorporating non-pecuniary returns to investment into decision-making will help promote a society that makes more sustainable investment decisions in future. Steve Satchell Steve Satchell is an academic and advisor in the broad area of quantitative asset management; he has numerous interests in books and journals and has published extensively. He was born in Dunedin, New Zealand which he left at a young age. He has academic posts at Trinity College, Cambridge, Royal Holloway, University of London and is a Professor of Finance at Sydney University. He has PhDs from the
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About the Authors 23
London School of Economics and the University of Cambridge. He has published approximately 200 articles and 12 books. He is very proud of his 43 PhD students. Christophe Spaenjers Christophe Spaenjers is an Assistant Professor of Finance at HEC Paris. He received his PhD from Tilburg University in 2011. His research interests include alternative investments, investor behaviour, international finance and financial history. He has published in journals such as the Journal of Financial Economics, American Economic Review (Papers and Proceedings), and Management Science. He teaches in the MBA programmes at HEC Paris. Nandini Srivastava Nandini Srivastava completed her PhD at the Faculty of Economics, University of Cambridge in 2013 and is now an Associate at Global Asset Allocation Research at JP Morgan, London. Her role involves analysing the impact of macroeconomic and financial developments across a range of asset classes and develop strategies towards portfolio allocation. She has been a referee at the Journal of Asset Management and Journal of Hedge Funds and Derivatives. She continues to research the econometrics of the art market. Hans J. Van Miegroet Hans J. Van Miegroet is a Professor in Arts & Markets at Duke University, Chair of Art, Art History & Visual Studies, Media Arts & Sciences, and heads the Duke Art, Law and Markets Initiative (DALMI). With Neil De Marchi, he has adopted a scientific collaborative model to conducting research on emerging art markets, legal questions related to market constraints and media culture as a commercial pursuit. This approach has made it possible to create, and sustain, a variety of new research initiatives, strategies and modes of interpretation, attractive to a new type of hybrid scholar working at the interface of humanities, the sciences, law and the social sciences.
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Olav Velthuis Olav Velthuis is Associate Professor at the Department of Sociology and Anthropology at the University of Amsterdam. Before, he worked for several years as a Staff Reporter Globalization for the Dutch daily de Volkskrant. He is currently studying the emergence and development of art markets in the BRIC-countries (Brazil, Russia, India and China). Velthuis is the author of among others Imaginary Economics (NAi Publishers, 2005) and Talking Prices, Symbolic Meanings of Prices on the Market for Contemporary Art (Princeton University Press, 2005) and co-edited the volume Contemporary Art and Its Commercial Markets (Sternberg Press, 2012).
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RISK AND UNCERTAINTY IN THE ART WORLD Edited by Anna M. Dempster Global Publication Spring 2014 Available for pre-order now: