Christie's and Sotheby's auction houses have adapted their way of working to a digitally progressive and globally expanding market, where the Internet, during the past two decades, has become an increasingly integral part of almost every aspect of current western culture. This thesis examines and demonstrates how, and why, the two auction houses have adapted their work to be published through their digital and physical channels. This thesis also examines and analyzes how Christie’s and Sotheby’s have customized their way of presenting their auction lots to potential costumers, and how they use technological innovations to visualize materiality. Intermediate presentations of four auction lots, available through Christie's and Sotheby's Instagram accounts, websites and physical auction catalogs, are the main focus of this thesis. The historical and contextual information, on an increasingly technologically innovative and digitally focused art and auction market, together with predominantly Roland Barthe’s semiotic theoretical framework regarding picture’s denoted and connoted messages, are being analyzed with Anne D’Alleva’s formal and contextual methodology for pictorial analysis.
| Identifer | oai:union.ndltd.org:UPSALLA1/oai:DiVA.org:uu-436870 |
| Date | January 2018 |
| Creators | Widlund Crisman, Johanna |
| Publisher | Uppsala universitet, Konstvetenskapliga institutionen |
| Source Sets | DiVA Archive at Upsalla University |
| Language | Swedish |
| Detected Language | English |
| Type | Student thesis, info:eu-repo/semantics/bachelorThesis, text |
| Format | application/pdf |
| Rights | info:eu-repo/semantics/openAccess |
Page generated in 0.0027 seconds