ABSTRACT

Drawing upon ethnographic moments recorded at two of the most prominent art world institutions, the Venice Biennale and the auction house Christie's at its New York headquarters, this article reflects on what it means to investigate the global art world ethnographically and interrogates some of the current trends within the anthropology of art. In particular, the article shows the potential of re–focusing the attention on the interconnectedness of art-world actors, institutions and objects in time and space in order to produce expansive narratives on the art world which reflect not only how art is produced in the present and in the past but also its circulation and commerce. Moreover, by challenging the anthropology of art's focus on the anthropologist–artist dyad, their practice and collaborations, the article shows how a renewed engagement with the art world as an ethnographic field site brings about possibilities for a renewal of anthropology itself.

摘要

借助在威尼斯艺术双年展和纽约佳士得拍卖行这两个最杰出的艺术世界机构中记录的民族志时刻，本文反映了以民族志调查全球艺术界并审视某些当前趋势的意义。在艺术人类学中。特别是，该文章显示了重新将注意力重新集中在艺术世界的参与者，机构和物体在时间和空间上的相互联系的潜力，以便在艺术世界上产生广泛的叙事，这些叙事不仅反映了艺术在世界上的生产方式。现在和过去，还有它的流通和商业。此外，通过挑战艺术人类学对人类学家-艺术家二分法，他们的实践和合作的关注，