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2015, caa.reviews
The GENEVA Papers on Risk …
Prices and Returns on Paintings: An Exercise on How to Price the Priceless1994 •
1999 •
2021 •
In the European tradition, markets have usually been represented as the place where the actual, live exchanges take place. The article therefore focuses on saleroom representations.These affect their own artistic value in two ways, leading to two questions: in a first move, the saleroom is an artistic device. How does the artist, or those who collaborate in creating anartwork, use references to a saleroom in order to put value into the work, to enrich it and thus contribute to its valorization? In a second move, spectators attribute value to the work, andthey assess its value in comparison with that of other, similar works, and they pay money to possess works. How do they react to the use of the saleroom, what part does it play in theirvaluation of a particular work? To explore these questions, three works were selected: Antoine Watteau’s Shopsign of the art dealer Gersaint is a fictitious version of the dealer’s showroom; Robert Altman’s film Vincent and Theo opens with the Christi...
In no other area of human activity is the relationship between production and money as perverse as in the art world. The peculiarity of this relationship may be responsible for the appreciative failure of much of contemporary art and in particular conceptual art. If value is attached to ‘intrinsic’ qualities of an object it would be hard to justify the high prices attached to contemporary artwork. This however raises interesting questions as to the extent to which it is possible to separate economic from other values in art. There have been numerous attempts to break the link between art and money - Roger Fry’s Omega Workshop experiment, offered participants a guaranteed minimum income to free them from economic pressure. Commencing with Art and Commerce in 1926 Fry explored this relationship in a series of publication. In 1971, the Art Workers’ Coalition produced a statement of demands which asked for a small measure of what Fry had offered artist fifty years earlier. In the 1960s and 70s, there was a proliferation of highly politicized work challenging the art/commerce relationship, focusing on the dematerialisation of the artwork as a decommodification strategy. In this paper I will explore these strategies, concentrating mainly on the work of three artist:- Lygia Clark, whose ephemeral artwork, made of easily available cheap material, questioned notions of value and the interaction between the object, the spectator and the artist: Hans Haacke whose 1971 exhibition highlighting the hidden relationship between the art world and commerce, was cancelled by the Guggenheim for fear of offending the museum’s patrons: and the auto destructive work of Gustav Metzger. I will analyze the success or failure of the strategies employed by these artists in light of the art world’s tendency to turn anything into a commodity.
2020 •
Forthcoming in A Cultural History of Money in the Modern Age, edited by David Pederson and Taylor Nelms. London: Bloomsbury 2017/18.
Money and Art: Six Artists, Two Crises (1973, 2008)2017 •
In this chapter, I describe one part of the strange and fateful symmetry between art and money, focusing on how this entanglement has evolved through the advance of financialization. I have selected the six works by radical artists from two key moments of crisis in the history of financialization: 1973 and 2008. All six directly engage with money, either as a tangible medium or as a prompt for artistic, political and cultural critique and invention. By critically examining this work, we can see how artists understand the broader economic conditions in which they find themselves, gain an understanding of those conditions, and trace the fate of money itself. Artists like these seize upon the contradiction with which I opened this chapter: under late capitalism money and art appear as sworn enemies but in fact share deep affinities. It is these affinities that give money-art, and especially radical money-art, its aesthetic and its critical heft. Such approaches are especially important today, in our moment of financialization.
Art and Value: Art’s Economic Exceptionalism in Classical, Neoclassical and Marxist Economics reveals the irreconcilable differences between the Marxist economic definition of the term ‘value’ and its other uses in relation to the art object. It corrects the faulty assumption that rare or historical objects bear intrinsic value, symptomatic of capitalist worldview. Beech’s analysis of art’s value-form is critical to unpacking the double ontological condition of art as both an object of collective symbolic value and a hoard of monetary value, since the two operate in mutually exclusive spheres, yet function to constitute one another. The book can help us understand the capitalist sleight of hand that allows art to flicker between two forms of being, making profit appear as value, and value appear as significance (and vice versa), the toggling between the two facilitating the transfer of commonly held symbolic value in support of the individual accumulation of wealth.
New Testament Studies
What Does it Mean to Read New Testament Texts 'Within Judaism'?2023 •
Jurnal Ilmiah Teknik Kimia
Optimasi Instalasi Pengolahan Air Limbah (IPAL) Pada Industri Minyak Kelapa Sawit Optimization Of Wastewater Treatment Installations In The Palm Oil Industry2023 •
Architectural Science Association
Experimental construction in a timber house2016 •
IEJ 67 (2017): 183 ff.
The Iron Age II S-Tombs at Samaria-Sebaste, Rediscovered2017 •
Pete Seeger: The Smithsonian Centennial Collection
Pete Seeger: The Smithsonian Centennial Collection2019 •
Bahan Ajar Hadis Tarbawi
Muammar_ Modul & Sap Hadis Tarbawi _ STAI DDI Pangkep2017 •
Jasa Pembuatan ptk Medan
0851.7541.1669, Jasa Pembuatan PTK SMA JambiProceedings of The 19th International Electronic Conference on Synthetic Organic Chemistry
Periodic mesoporous organosilica (PMO-ICS): a highly efficient nanocatalyst for the one-pot multicomponent reactions2015 •
2019 •
PLOS Neglected Tropical Diseases
Diagnostic accuracy cohort study and clinical value of the Histoplasma urine antigen (ALPHA Histoplasma EIA) for disseminated histoplasmosis among HIV infected patients: A multicenter study2018 •
2022 •