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Journal of Cultural Economics

, Volume 34, Issue 2, pp 155–158 | Cite as

David Galenson, Conceptual revolutions in twentieth-century art

Cambridge University Press, 2009, ISBN-13: 978-0521129091
  • Michael HutterEmail author
Book Review

When Galenson’s Painting outside the lines appeared in 2001, it stirred up considerable debate. For the first time, bibliometric data were used to test a hypothesis that linked a change in market structure to a shift in the characteristics of successful innovations in the Visual Arts. Eight years later, Galenson has published more than a dozen papers and three further books around the same matter, Conceptual Revolutions being the last in the series. One might expect, then, to find an expanded version of the quantitative approach, and a finely tuned variation of the original distinction between conceptual-intellectual and experimental-aesthetic innovations.

The book provides a detailed analysis of the features which characterized the major conceptual innovations in twentieth-century painting. Seven of the 16 chapters are dedicated to brief explorations of these features: the experimentation with new media, versatility in style, artistic tricks, proxy production, co-authoring, insertions...

References

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  3. Ginsburgh, V., & Weyers, S. (2006). Creativity and life cycles of artists. Journal of Cultural Economics, 30(2), 91–107.CrossRefGoogle Scholar
  4. Varnedoe, K. (1989). A fine disregard: What makes modern art modern?. London: Thames & Hudson.Google Scholar
  5. Walther, I. (Ed.). (2005). Art of the 20th century. Cologne: Taschen.Google Scholar

Copyright information

© Springer Science+Business Media, LLC. 2010

Authors and Affiliations

  1. 1.Social Science Research CenterBerlinGermany

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