This article examines the symbolic, financial, and visual qualities of spectacular, multi-site, online art auctions staged by Sotheby’s and Christie’s during the COVID-19 pandemic It is argued that these events adopted visual techniques drawn from television gameshows and popular cinema culture to create a distinctive screen-based reality for the transaction of art assets Much of the rhetoric employed by the auction houses to publicise online auctions suggested a utopian conception of technology capable of encouraging artistic innovation and broadening access to art markets In contrast to the idea that these online formats constitute democratic change in the artworld, this article argues that the control of new technological infrastructures represents an extension of institutional power and maintains the socio-cultural elitism of urban centres in which physical art auctions at the top end of the market have traditionally been conducted [ABSTRACT FROM AUTHOR] Copyright of Visual Studies is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission However, users may print, download, or email articles for individual use This abstract may be abridged No warranty is given about the accuracy of the copy Users should refer to the original published version of the material for the full abstract (Copyright applies to all Abstracts )
Screen culture, online auctions, and art market spectacle