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Seven Days in the Art World

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Review

“A field guide to the nomadic tribes of the contemporary art world. The book was reported and written in a heated art market, but it is poised to endure as a work of sociology.” - New York Times Book Review“The best book yet written about the modern-art boom…a Robert Altmanesque panorama of the most important cultural phenomenon of the last ten years.” - Sunday Times [London]“Seven Days in the Art World…seems destined to outlive its moment…Thornton offers an indelible portrait of a peculiar society, simultaneously cutthroat and curious…glamorous yet filled with people who would have been unpopular in high school.” - Leslie Camhi, Vogue“An entertaining and lucid account of the mysterious ways of contemporary art…[Thornton] does well to resist the temptation to draw any glib, overarching conclusions. There is more than enough in her rigorous, precise reportage…for the reader to make his or her own connections.” - Peter Aspden, Financial Times“[An] intelligently written…refreshingly open-minded exploration.” - Washington Post“A terrific book―detailed, gossipy, and insightful…By the end of the book, you almost understand how [Steve] Cohen could shell out $8 million for a rotting 14-foot shark pickled in formaldehyde.” - BusinessWeek“A one-stop tutorial on an often insular subculture…light-hearted but sociologically acute.” - Time“Finely wrought and thoroughly researched…[with] an ingenious structure…and spot-on characterizations…the author draws readers into the experience…[with her] infectious curiosity and meticulous reporting.” - Annie Buckley, Artweek

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About the Author

Sarah Thornton's Seven Days in the Art World was named one of the best art books of the year by the New York Times and is available in sixteen languages. She was the chief writer on contemporary art for the Economist. She holds a BA in art history and a PhD in sociology.

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Product details

Paperback: 320 pages

Publisher: W. W. Norton & Company; 1 edition (November 2, 2009)

Language: English

ISBN-10: 039333712X

ISBN-13: 978-0393337129

Product Dimensions:

5.5 x 0.8 x 8.3 inches

Shipping Weight: 12 ounces (View shipping rates and policies)

Average Customer Review:

4.2 out of 5 stars

168 customer reviews

Amazon Best Sellers Rank:

#52,966 in Books (See Top 100 in Books)

A disappointing book. The "interviews" don't sound real. Real people just don't talk the way the subjects are portrayed as talking - with ready made canned philosophies that happen to coincide with the author's own (self satisfied and uncritical) view. Sometimes they even coincidentally use the same hacky phrases the author uses in her own faux-thoughtful ponderings. The prose style is nearly unreadable too. Very high school paper-ish.It's a really good idea for a book though. It would be nice to see it re-done in the hands of a more honest and less artless author.And it's not like there isn't a lot of interesting stuff in the book. I just don't trust it - and it's a slog.

This book helps us understand how confused the elitist tendencies of the art establishment have made the world of art. But it is also misleading - because the topic is NOT the "Art World". Ms. Thornton covers only that segment of art that she enjoys - then claims it’s exceptionally important. She also fails to be a neutral writer or ethnographer.This book is not ethnography. Ethnography involves a disinterested observer (or observer with a pre-existing opinion taking an intentionally neutral position) and going into an environment with people to study their interactions. First, and foremost, to be valid ethnography it requires that the writer describe how the specific population segment they study relates to other populations.It’s also not ethnography in that it’s mostly record of interviews - interviews that don’t add much. That it’s reporting isn’t surprising - her career has been spent reporting. But the claim to be much more is specious.Ms. Thornton does admit in her afterword to the later edition to being an enthusiast for contemporary art - and seems incapable of understanding or explaining where contemporaray fits up against a much, much larger world of art and set of artists. (I suppose it was a great sales tactic though for hyping up the book and getting it bought by a publisher.)She also fails to sort out how to observe neutrally - no matter her opinion. Many of the characters she’s with assume persona’s of "edgy" while truly being pretty mundane - a fact she misses. She also fails to see (apparently) that they are rehashing essentially the same things that have been made for nearly 70 years...that little of the theories postulated by the collectors, critics, or artists are “new”.The writing covering the first two days is quite compelling and I enjoyed those parts (tho’ frustrated by her inability to be an ethnographer). The remaining 5 days were pretty dull writing - but I wanted to make sure I read through each of the events. I suppose her “studio visit” was most hilariously odd. It wasn’t a visit to a studio - but to a factory with the tour given by the CEO. Yet rather than search ethnographically to understand and give insight to this variation, she wholeheartedly embraces the CEO.As a last thought, she is fascinated by art that has the approval of this elite crowd - it’s the art she embraces. What strikes me is that she seems to lack the interest and enthusiasm for art that doesn’t have that approval - art which probes the depths of the human and expresses what’s essentially human. Certainly we could all argue about what makes something to be art and never resolve that question - because everyone answers the question differently. But this fact is what is so sadly missing from this book - the only important question in the true world of art.

This book was just okay...nothing terribly interesting about it. Overall, I enjoyed the chapter about the Christie's auction the most, as it seemed like a very entertaining "show". The chapter called "The Magazine" was so boring and esoteric that it was virtually unreadable. The rest of the chapters were alright, with a mix of interesting and mind-numbingly dull sections....(a bit how I feel going to a modern-art gallery itself). I did expect to learn more about the art world than I did in this book, so it ended up being fairly disappointing in that respect. The saddest aspect of all is that I had a suspicion confirmed...the art world at this level is controlled by the rich and elite, so it's just another big corporate business! (Just read the chapter about the "artist" Murakami and you'll see what I mean).

This book is an ethnography (the writer as participant/observer) about the art world. Its message about art as a commodity and the art scene as a performance piece in itself came as no surprise to me as my husband is an artist. At one time we lived in New York and he was represented by a New York Gallery. When you read this book you will understand why we moved back to Alaska. Being an artist in the art world is like wearing a sign on your back that says 'hit me' or else feeling like you're some kind of wind-up toy that must perform in a set way.The book is divided into seven chapters, each elucidating one specific aspect of the art world. These chapters are:The Auction - About a Christie's big-time auction in New YorkThe Crit - About an art criticism class at CalArtsThe Fair - The Basel Art Fair in SwitzerlandThe Prize - The in's and out's of the Turner prize, awarded by Britain's Tate MuseumThe Magazine - About Artforum, an art magazineThe Studio Visit - Takeshi Murakami's studio and his work as an artist and entrepreneurThe Biennale - The Venice Biennale (or Studio 54 revisited)The commodification of art along with the hierarchy of dealers, collectors, curators and artists is in place all along the art feeding chain. While it was no surprise to me, it edified the sad state of the affairs in the art world. This book was written during the economic and art boom so the situation has likely changed along with the expendable money available to hedge fund founders and the general public.I was amazed to find out that one can not just buy art. Dealers like to choose who they will sell art to - they want art to go to an A-list collector and often collectors get on line to buy a piece of art by a particular artist. Production often does not meet the needs of consumption.If you are interested in details of the art world, you might enjoy this book. If you're easily jaded or have a weak stomach, I'd skip it. It goes into all the gory details of every aspect of art, from the artist who produces the work on up (or is it down)

LOVED this book, could not put it down. I am an artist and bought this based upon the other reviews and I am glad I did. I learned more about the art world and how it works. This book is like an insider's view of how the art world works, how galleries work and what each player in the game does. Very good information that you can use to educate yourself about the art world game in order to become more successful.

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