A Study on the Career Development of an Artist: The Case of KAWS

미술가의 경력형성에 관한 연구 - 카우스(KAWS)를 중심으로 -

  • 이진우 (홍익대학교 일반대학원 문화예술경영학과)
  • Received : 2020.01.11
  • Accepted : 2020.02.23
  • Published : 2020.02.28

Abstract

This paper aims to understand the agents which have an impact upon artists' career development. By critically exploring previous research, this article conceptualizes the roles of intermediaries such as art schools, galleries, critics, and collectors in influencing the careers for artists. The qualitative case study is conducted by selecting KAWS as an intrinsic case. This study collects secondary data about the career trajectory of KAWS by various sources, which are analyzed according to the conceptual framework. The outcome of this research clarifies previous research from a sociological point of view in which highlights the significant importance of the art world's gallery, critics, media and collectors in developing the artist's career. In this paper, more importantly, the public attention to artists is construed as one of the agents influencing the career development of artists.

본 연구는 미술가 경력형성에 영향을 주는 주체 및 기관을 이해하는 것에 그 목적이 있다. 이에, 본고는 선행 연구를 바탕으로 예술학교, 갤러리, 비평가 및 미디어, 컬렉터 등 작가의 경력에 영향을 미치는 매개자의 역할을 이론적으로 검토하였다. 본 연구는 현대 미술가 카우스(KAWS)를 본질적 사례로 선정하고, 질적 사례연구를 수행하였다. 본 논문은 카우스의 경력 궤적(trajectory)과 연관된 다양한 출처의 이차자료를 수집하고, 이를 이론적 배경 안에서 분석하였다. 분석 결과, 사회학적 시각을 내포한 선행연구의 연장선에서 예술계를 구성하는 갤러리, 비평가 및 미디어, 컬렉터가 카우스 경력발전에 중요한 영향을 끼침을 명료화하였다. 한편, 본 연구는 선행연구에서 경시된 작가에 대한 대중의 관심을 미술가 경력형성의 측면에서 이해하는 것에 의의가 있다.

Keywords

References

  1. 그레이슨 페리(2019), 「미술관에 가면 머리가 하얘지는 사람들을 위한 동시대 미술 안내서」, Playing to the gallery (정지인 역), 서울: 원더박스.
  2. 김도은.이진우(2018), 미술가의 차별화 전략에 관한 연구: '예술계(Art World)' 개념과 장 미셀 바스키아(Jean-Michel Basquiat)사례를 중심으로, 「예술경영연구」, 47: 122-141.
  3. 김도은.이진우(2019), 일례를 통한 '보안된 문화 다이아몬드(Modified Cultural Diamond)' 모델의 이론적 쟁점화, 「예술경영연구」, 49: 177-200.
  4. 김혜인(2014), 「미술 분야 생태환경 개선방안 연구」, 문화체육관광부.
  5. 김혜인(2015), 「미술 작가 커리어형성 및 관리지원방안 연구」, 한국문화관광연구원.
  6. 도널드 톰슨(2010), 은밀한 갤러리, The $12 Million Stuffed Shark(김민주.송희령 역), 서울: 웅진 씽크빅.
  7. 다이아나 크레인(2012), 「아방가르드와 미술시장」, The Transformation of the Avant.Garde: The New York Art World, 1940~1985 (조근진 역), 성남: 북코리아.
  8. 로버트 스테이크(2000), 「질적 사례 연구」, The Art Of Case Study Research (홍용희.노경주.심종희 역), 서울: 창지사.
  9. 리타 해튼.존 워커(2011), 「슈퍼콜렉터사치」, Supercollector: A Critique of Charles Saatchi (조명계 역), 서울: 북 치는 마을.
  10. 문성림.안형준(2018), 미술시장에서의 블록체인 기술 응용에 대한 연구, 「예술경영연구」, 47: 65-92.
  11. 박지영(2014), 「아트비즈니스」, 파주: 아트북스.
  12. 방영덕(2018), "석촌호수에 둥둥 떠 있던 '카우스' 흥행 점수는", 「매일경제」, 8.22, https://www.mk.co.kr/
  13. 빅토리아 D. 알렉산더(2010), 「예술 사회학: 순수예술에서 대중예술까지」, Sociology of the arts: exploring fine and popular forms (최샛별.한준.김은하 역), 파주: 살림.
  14. 세라 손튼(2011), 「걸작의 뒷모습」, Seven Days in the Art World (이대형.배수희 역), 서울: 사이언스북스.
  15. 이지영(2014), 「아트마켓 바이블」, 파주: 미진사
  16. 정윤아(2019), '21세기 앤디워홀' 카우스-길거리 낙서 화가서 美 팝아트 '큰 별'로, 「매일경제」, 6.24. https://www.mk.co.kr/
  17. 존 크레스웰(2010), 「질적연구방법론」, Qualitative Inquiry and Research Design (조흥식.정선욱.김진숙.권지성 역), 서울: 학지사.
  18. 피에르 부르디외(1999), 「예술의 규칙」, (Les) regles de l'rt (하태환 역), 서울: 동문선.
  19. Alexander, V. D. & Bowler, A. E.(2014), Art at the crossroads: the arts in society and the sociology of art. Poetics, 43: 1-19. https://doi.org/10.1016/j.poetic.2014.02.003
  20. Alper, N. & Wassall, G.(2007). Artists' Careers and Their Labor Market, Boston: Boston University Press.
  21. Armstrong, A.(2019), $14.7 M. KAWS painting smashes auction record in Hong Kong, Artnews, http://www.artnews.com/2019/04/01/kaws-auction-record-14-7-million/
  22. Artprice.(2020), Information on Kaws, key figures and market trend (unpublished), https://www.artprice.com/artist/294388/kaws
  23. Becker, H. S.(1982), Art worlds, Berkeley, CA: University of California Press.
  24. Caves, R. E.(2000), Creative Industries: Contracts between Art and Commerce, London: Harvard University Press.
  25. Chong, D.(2009), Arts Management, London: Routledge.
  26. Crane, D.(2009), Reflections on the global art market: implications for the sociology of culture, Sociedade e Estado, 24(2), 331-362. https://doi.org/10.1590/S0102-69922009000200002
  27. Christie's(2019), 10 things to know about KAWS, Artists Guide, https://www.christies.com/features/KAWS-artist-guide-9756-1.aspx
  28. Danto, A. C.(1964), The artworld, The Journal of Philosophy, 61(19): 571-584. https://doi.org/10.2307/2022937
  29. Friedman, D.(2017), Why did a $200 toy crash the Musuem of Modern Art's website? Polygon, https://www.polygon.com/2017/5/26/15698056/kaws-companion-museum-of-modern-art
  30. Galenson, D., & Weinberg B.(2000), Age and the quality of work: The case of modern American painters, The Journal of Political Economy, 108(4), 761-777. https://doi.org/10.1086/316099
  31. Goodwin, J.(2008), The International Art Markets: The Essential Guide for Collectors and Investors, Kogan Page: London.
  32. Hellmanzik, C.(2009), Artistic styles: revisiting the analysis of modern artists' careers, Journal of Cultural Economics, 33(3): 201-232. https://doi.org/10.1007/s10824-009-9100-8
  33. Joy, A. & Sherry, JR.(2003), Disentangling the paradoxical alliances between art market and art world, Consumption Markets & Culture, 6(3): 155-181. https://doi.org/10.1080/1025386032000153759
  34. Kinsella, E.(2019), Inside the Craze for Kaws, Artnet news Intelligence Report, Spring: 20-27.
  35. Lehman, K. & Wickham, M.(2014), Marketing orientation and activities in the arts-marketing context: introducing a visual artists' marketing trajectory model, Journal of Marketing Management, 30(7-8): 664-696. https://doi.org/10.1080/0267257x.2013.838987
  36. Lee, C.(2009), Tag, this artist is definitely it, Los Angeles Times, February https://www.latimes.com/entertainment/arts/la-et-kaws21-2009feb21-story.html
  37. Lee, S. H., & Lee, J. W.(2016), Art fairs as a medium for branding young and emerging artists: the case of Frieze London, The Journal of Arts Management, Law, and Society, 46(3): 95-106. https://doi.org/10.1080/10632921.2016.1187232
  38. Lee, S. H., & Lee, J. W.(2017), "Marketing from the art world": a critical review of American research in arts marketing. The Journal of Arts Management, Law, and Society, 47(1): 17-33. https://doi.org/10.1080/10632921.2016.1274698
  39. Lee, S. H., & Lee, J. W.(2019), User participation and valuation in digital art platforms: the case of Saatchi Art, Europen Journal of Marketing, 53(6): 1125-1151. https://doi.org/10.1108/EJM-12-2016-0788
  40. Maguire, T.(2010), Kaws, Interview, 84-89.
  41. Mayring, P.(2000), Qualitative content analysis, Forum: Qualitative Social Research, 1(2).
  42. McCormick, C.(2004), KAWS, Juxtapoz, Summer Special.
  43. McIntyre, M. H.(2004), Taste Buds How to cultivate the art market, Arts Council England, London.
  44. MordenArt(2011), KAWS opening. Modern Art Museum of Fort Worth, https://www.themodern.org/programs/past/KAWS-Opening/1294
  45. Muniz, A. M., Norris, T., & Fine, G. A.(2014), Marketing artistic careers: Pablo Picasso as brand manager, European Journal of Marketing, 48(1/2): 68-88. https://doi.org/10.1108/EJM-01-2011-0019
  46. Nakamura, E.(2004), KAWS and EFFECT, Giant Robot, 32-38.
  47. Nelson, A.(2019), Generation XX: How Kaws Short-Circuited the Art World, GQ magazine, https://www.gq.com/story/kaws-profile-brian-donnelly-short-circuited-art-world
  48. Peterson, K.(1997), The distribution and dynamics of uncertainty in art galleries: A case study of new dealerships in the Parisian art market, 1985-1990. Poetics, 25: 241-263. https://doi.org/10.1016/S0304-422X(97)00016-8
  49. Pollack, B.(2009), Critic's Pick: Brian Donnelly, ARTnews, November: 128.
  50. Preece, C., & Kerrigan, F.(2015), Multi-stakeholder brand narratives: an analysis of the construction of artistic brands, Journal of Marketing Management, 31(11-12): 1207-1230. https://doi.org/10.1080/0267257X.2014.997272
  51. Preece, C., Kerrigan, F., & O'Reilly, D.(2016), Framing the work: the composition of value in the visual arts, European Journal of Marketing, 50(7/8): 1377-1398. https://doi.org/10.1108/EJM-12-2014-0756
  52. Robertson, I.(2005), The emerging art markets for contemporary art in East Asia, In I. Robertson (Ed.), Understanding international art markets and management (pp. 146-171). Abingdon, Oxon: Routledge.
  53. Rodner, V. L., & Thomson, E.(2013), The art machine: dynamics of a value generating mechanism for contemporary art, Arts Marketing: An International Journal, 3(1): 58-72. https://doi.org/10.1108/20442081311327165
  54. Samdanis, M., & Lee, S. H.(2019), Uncertainty, strategic sensemaking and organisational failure in the art market: What went wrong with LVMH's investment in Phillips auctioneers? Journal of Business Research, 98: 475-488. https://doi.org/10.1016/j.jbusres.2018.08.030
  55. Stohs, J.(1992), Career patterns and family status of women and men artists, Career Development Quarterly, 40: 223-233. https://doi.org/10.1002/j.2161-0045.1992.tb00328.x
  56. Velthuis, O.(2005), Talking prices: Symbolic Meanings of Prices on the Market for Contemporary Art, Princeton, NJ: Princeton University Press.
  57. Walker, R.(2008), An art entrepreneur makes his way into a new realm- the art world, NEW YORK TIMES MAGAZINE, 13.
  58. While, A.(2003), Locating art worlds: London and the making of Young British art, Area: Royal Geographical Society, 35(30): 251-263.
  59. Wijnberg, N. M., & Gemser, G.(2000), Adding value to innovation: Impressionism and the transformation of the selection system in visual arts, Organization Science, 11(3): 323-329. https://doi.org/10.1287/orsc.11.3.323.12499
  60. WKorea(2019), Kaws X W, 더불유 한국판, 12월호.