[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-147500-en":3,"doc-seo-147500-105":30,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":11,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":14,"update_tm":28,"read_time":29},147500,549768064778,"Felix Montgomery","https://ap-avatar.wpscdn.com/davatar_6f874abed73319feea01a86fa6f0fab8",2,"Literature","The Value In Things - The Exhibition Essay Series - 2023","Exhibition writing exploring how contemporary studio glass and ceramics acquire cultural significance beyond decorative “things”. The text contrasts market, cost, functional, aesthetic, cultural, symbolic and sentimental value, noting that artworks are difficult to value absolutely. It follows objects from studio to gallery and into public and private collections, emphasizing qualities that move collectors: psychological and physical appeal. Emphasis falls on ownership, collection, preservation, and the transformative craft of material expertise shaping future-relevant objects.","The Value In Things  \n2023  \nTHE VALUE IN THINGS CROMWELLPLACE.COM  \nby Brian Kennedy, Curator  \nThe title, ‘The Value in Things’, is meant to be provocative. Too often the contemporary object is dismissed as being decorative, slight, insubstantial, merely a ‘thing’. The exhibition challenges this perception and asserts that these contemporary objects have significant cultural value and deserve serious consideration and collection. Both Ting Ying and Vessel Gallery represent some of the most exciting, innovative and important artists across the fields of contemporary studio glass and ceramics. Each of these galleries has a distinct voice and my task is to ensure the exhibition represents both their similarities, differences and make for a cohesive and harmonious whole.  \nA series of commissioned essays by eminent writers in this field, looks atthe journey these objects take from the studio, through the gallery and into collections, both institutional and private. These essays address what sets these ‘things’ apart from the ordinary. What makes owning them relevant? What their value is within the broader cultural landscape? What makes them collectable?  \nOne of the great advantages of showing at Cromwell Place is that it is so close to the Victoria & Albert Museum. This is ‘our’ museum, the place where the histories and values that support and underpin the work in this exhibition are held. Many of the artists in ‘The Value in Things’ already have work included in this most venerable of institutions and these purchases have often been facilitated through these galleries.  \nThe objects in this exhibition are culturally important and significant, bear scrutiny and have a relevancy to the time and place where they were made. Objects of the present with importance for the future.  \nSet over three galleries at Cromwell Place ‘The Value in Things’ gives the visitors an opportunity to see wonderful works, understand their stories, appreciate their power and debate their value. In these times where we are all rightly questioning meaningless consumption, this exhibition addresses the issues of ownership and the importance of collecting, the joy that these objects can bring in the now while caring and preserving them for the future.  \nThe Value In Things 03  \nGalleries working with Museum Curators 09  \nGlass art in Britain, 2023 15  \nThe state of British Ceramics today 21  \nAlice Walton 27  \nBaldwin and Guggisberg 33  \n01 / 02  \nFront Cover: Left-XU Shiyuan, Blue Vein No.14 . Right-Karin Mørch, Flow Grey Blue | Above: Cromwell Place illustration  \nTING-YING.COM VESSELGALLERY.COM  \nTHE VALUE IN THINGS  \nThe Value In Things  \nSu Xianzhong | Paper No.1  \nTING-YING.COM  \nCROMWELLPLACE.COM  \nby Emma Crichton Miller  \nScreeds have been devoted to the philosophical idea of value. We understand that market value is generated in the gap between supply and demand and that cost value can be calculated by adding together man-hours, and, in the case of objects, the costs of materials, processing, packaging, marketing and transport. We know, in addition, that objects can have many other different kinds of value: functional, aesthetic, cultural, symbolic and sentimental just to think of five. There can be huge discrepancies between these different values. The art object, in particular, is notoriously difficult to value in any absolute sense. Imaginative power, expressive force and political or social resonance are hard to quantify; while public reputation, the swirling forces of art market status, mediated by museums, galleries, auction houses and the press, or the simple arrival of a few passionate collectors on the scene, can each differently add value to an object not made for use. As we know, it is also entirely possible to have an art work that is not an object at all. And there is some virtue in that. As the American proto-Conceptualist Douglas Huebler announced in 1969:“The world is full of objects, more or less interesting; I do not wish to add ","cbCaiiC00mlC0Avg","https://ap.wps.com/l/cbCaiiC00mlC0Avg","pdf",2419681,1,21,"English","en",105,"# The Value in Things\n## commissioned essays and curatorial purpose\n## value frameworks and difficulties in valuation\n## craft, transformation, and material expertise\n## collection, ownership, and cultural relevance","[{\"question\":\"What is the exhibition “The Value in Things” arguing about objects?\",\"answer\":\"It challenges the dismissal of contemporary objects as decorative or insubstantial, asserting they hold significant cultural value deserving serious consideration and collection.\"},{\"question\":\"How does the text distinguish market value from other kinds of value?\",\"answer\":\"Market value is linked to supply and demand, cost value to man-hours and material-related expenses, while objects can also have functional, aesthetic, cultural, symbolic and sentimental value.\"},{\"question\":\"Why is the art object described as hard to value in an absolute sense?\",\"answer\":\"Because influential factors such as expressive force, imaginative power, political/social resonance, reputation, and art market status are difficult to quantify and can affect value differently.\"}]","The Value In Things - 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