Adding Value to Innovation: Impressionism and the Transformation of the Selection System in Visual Arts

By Nachoem M. Wijnberg, Gerda Gemser. 2000

226 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Urban Studies, Visual Arts and Performing Arts

View Paper: https://www.semanticscholar.org/paper/d7a4ab47c90b3fb9ea207a2f54e250a25fd30898

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Citations in the corpus

Why Some Awards Are More Effective Signals of Quality Than Others: A Study of Movie Awards† (2008, background): “Expert evaluators, for example, often have reputation-based incentives to reward innovativeness (Priem, 2007; Wijnberg & Gemser, 2000), and whenever these expert evaluators strongly guide consumers’ product selection, investing in innovation may be an effective strategy.”
“Cultural Industries” in Sweden: An Assessment of their Place in the Swedish Economy* (2002, background): “Third, the complex nature of the “value” and valuation of cultural products demands more critical attention than was possible in the context of this article (see, for instance, Björkegren 1992, 1996; Brosio 1994; Lampel, Lant, and Shamsie 2000; Lewis 1990; Wijnberg and Gemser 2000).”
Wisdom or Madness? Comparing Crowds with Expert Evaluation in Funding the Arts (2016, unknown): “These differences in tastes are important, as selection contexts that apply different preferences in funding projects can result in the support of very different forms of art (Wijnberg & Gemser, 2000) and alter the sorts of ideas that are ultimately funded and pursued throughout the economy.”
Managing in the creative industries: Managing the motley crew (2009, background): “Wijnberg and Gemser (2000) illustrate the shifting institutional factors affecting the relative balance of the French Academy and independent agents and collectors leading to Impressionist painting achieving artistic status.”
Insights and New Directions from Demand-Side Approaches to Technology Innovation, Entrepreneurship, and Strategic Management Research (2012, background): “Wijnberg and Gemser (2000), for example, explained how the then-new Impressionist movement was stymied when artistic value was judged by “peers” in an academy of established artists who favored the status quo.”
Seeing More and Seeing Differently: Sensemaking, Mindfulness, and the Workarts (2010, background): “Art pieces that curators, critics, and gallery owners regard as powerful in this regard gain value and become the preferred stock of art museums and private collections (Wijnberg and Gemser 2000).”