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Topic: Artworld Economics

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	Artworld Economics - Wikipedia, the free encyclopedia
		Artworld Economics is a relatively unexplored area of financial exchange that exists at the edges of the regular financial industry.
		In the case of contemporary artists it is the interest of collectors and therefore dealers to ensure a tightly controlled line of supply.
		The intricacies of Artworld Economics were exposed by the court case against Marlborough Fine Art brought by the family of Mark Rothko during the 1970s.
	en.wikipedia.org /wiki/Artworld_Economics (169 words)

	The Mind's Construction: Reviews: Venice Biennale 2003 (Site not responding. Last check: 2007-10-17)
		One sacrifices innocence, integrity and sobriety for the bacchanalian overflow of false-consciousness and free drink that is an essential part of the vernissage.
		For in Venice, where virtually everyone was part of the art scene, one could sense the lack of that which usually gives them definition: that is, the indignation, the philistine indifference, and the cooing bemusement of the general public.
		This is, of course, how the artworld is funded, with museum representatives wandering around with their purses bursting with the money of their patrons and, indeed, the taxpayer.
	www.noblesavage.info /reviews/biennale.htm (876 words)

	Amsterdam Maastricht Summer University
		We will accomplish this task primarily by focusing on the way economic theorising (particularly about art and culture) might be transformed by, but can also influence art theory and practice, anthropology, cultural studies, philosophy, the "new rhetoric," and the postmodern critique of orthodox economic thinking.
		She has become well-known for her work in economic history and caused a stir in the world of economics by claiming that economics is rhetorical.
		JUDITH MEHTA is Lecturer in Economics at the Open University, and Visiting Fellow in the School of Economic and Social Studies at the University of East Anglia.
	www.amsu.edu /archive/courses/social/eco2.htm (1358 words)

	Economics and Copyright in Works of Artistic Craftsmanship
		A third result from the economic analysis of copyright is that the optimal amount of copyright protection will be less the greater the degree to which creators draw on the works of others to form new works.
		There are two aspects of the economics of trademark law that will be relevant to the discussion of works of artistic craftsmanship, even though the analysis of artistic craftsmanship will be confined to the way that it should be handled by copyright law.
		In the economic analysis presented earlier in the paper, it was noted that the more expensive it is for potential copiers to make a copy acceptable to the market, relative to what it would cost the original creator to make copies, the less necessary is copyright protection.
	www.law.ed.ac.uk /script/newscript/rushton.htm (7297 words)

	[No title]
		The artworld is not noted for conceptual finesse anymore, so the circumstance of some distinction having disappeared there is no indication of its discursive status.
		But if political action and cultural performance are no longer distinguishable, to the artworld at least, then art cannot be told from activism, of course, and any singular embodying of meaning will seem incidental now to whatever sort of activism art becomes.
		But the antinomian energies of the postmodernist seemed to dissipate entirely as the artworld subsided, at the close of the last century, into the perfect aesthetic entropy which supposedly brings the historical career of art to an end; and with that its political agency finally evaporates, leaving practice free to embody meaning anyhow.
	www.hinduonnet.com /thehindu/thscrip/print.pl?file=20040227001508100.htm&date=fl2104/&prd=fline& (1887 words)

	Contingent Valuation and the Public Interest in
		There is a substantial literature in the field of cultural economics on the ways in which there is potentially a public interest in art and therefore a rationale for public funding of the creation and exhibition of art.
		The concept is central to his critique of welfare economics as usually practiced.
		Throsby (2001) draws the distinction between what he calls "economic value" – what people are willing to pay for, and "cultural value" – all of the aspects of a work that cause us to say it is in some sense valuable: aesthetic, spiritual, social, historical, and so on.
	culturalpolicy.uchicago.edu /CVMpapers/Rushton.html (4581 words)

	Art, Economics, the Art Market (Site not responding. Last check: 2007-10-17)
		Benjamin's expansion of materialist philosophy of art goes beyond simplistic "commodity fetishism" theory to an analysis of the role of the art object--theory of aura, uniqueness and authenticity, disruption of photo-reproduction technologies, commodification of images and not simply objects [see The Work of Art in the Age of Mechanical Reproduction].
		Most of the discourse is academic, maintaining ironic detachment from the world of actual economics and the business of the various arts sectors.
		Necessity of disavowal and negation of the economic, appearing disinterested to accumulate symbolic capital.
	www.georgetown.edu /faculty/irvinem/visualarts/ArtMarket/ArtMarketEconomics.html (755 words)

	Art Theory Intro
		Question of the "state of the arts today" is largely overdetermined and generated through an institutional context and a universe of discourse used to pose questions and posit answers.
		Economics: art market expands with growth in demographics in artworld players and growth of commercial art market.
		Economics: art market expansion meets decline in recession of the early 90s.
	www.georgetown.edu /faculty/irvinem/visualarts/art-theory-intro.html (1132 words)

	Art Economics
		Art objects are not exchangeable one for the other like other commodities: art economics based on scarcity of unique objects.
		Economic variations in funding of art around the world--state sponsorships, grants, public spaces, free art school tuition and conditions of the commercial art market, business of galleries and museums.
		Artist works to get established with artworld credentials (art school, insertion of work/medium/materials in artworld context, dealer and curator attention, media attention in artworld context, grants, first shows).
	georgetown.edu /faculty/irvinem/CCTP738/modules/ArtMarketModule.html (885 words)

	david barrett: collected articles: eyestorm: shanghai biennale
		Chinese economic barriers may have gradually been removed over the last decade, but Communist state officials have, up until now, been reluctant to allow foreign cultural influences into the museums.
		There is a difference between economics and politics, and under the Communist Party culture has been firmly tied to politics, and hence rigidly controlled.
		Of course China is the most populous country in the world, containing well over 1 billion people, and it is widely regarded as having the potential to dominate the 21st Century in the way that the US dominated the 20th.
	www.royaljellyfactory.com /davidbarrett/articles/eyestorm/eye-shanghai-intro.htm (705 words)

	Communication, Culture & Technology Program - Georgetown University (Site not responding. Last check: 2007-10-17)
		The visual arts have always been about contexts, and the arts are always being repositioned according to developments in institutional contexts, social and economic forces in the international artworld, uses and inclusions of new technologies, and shifting priorities in artistic media.
		We will work toward developing a big picture of the contemporary artworld by looking at work being produced today in the context of recent art history, the artistic and social contexts of contemporary art in the museum and gallery system, and the business and economics of the art industry.
		The seminar will also be developed in real time with the participation of seminar members (see outline in the course Web syllabus), and include art exhibitions that we can study currently in Washington museums and galleries.
	cct.georgetown.edu /coursesChooseSection.cfm?courseID=986 (350 words)

	RSC Wales (Site not responding. Last check: 2007-10-17)
		Artworld is a resource offering art images from around the world, free of charge for educational use.
		Although the teaching modules on the site have been designed for higher education, there are many items on the site that could be used at other levels for art and design courses or simply as a source of striking and high quality images.
		Artworld, which grew out of a JISC project, is based on collections at the Sainsbury Centre for Visual Arts, University of East Anglia and the Oriental Museum at Durham University.
	www.rsc-wales.ac.uk /english/resources/row.shtml (5572 words)

	Modern Kicks: Michael Montias
		At the end of Gary Schwartz's most recent column - itself a remembrance of a former colleague in the Dutch artworld - comes the news (to me) that Michael Montias has died after his long fight against cancer.
		If I am not mistaken, the first table of digested economic data concerning Dutch painting was not printed until 1978, in an article on artists in Delft by the American economist John Michael Montias (born 1928) in the English-language Dutch journal Simiolus.
		Once Montias began publishing on the economics of Dutch art in the 1970s, it was impossible for anyone else to work in the field without referring to him.
	modernkicks.typepad.com /modern_kicks/2005/07/michael_montias.html (778 words)

	..:.:..:NAVA:..:..:: (Site not responding. Last check: 2007-10-17)
		Throsby is internationally known for his work in the economics of the arts and culture.
		His book The Economics of the Performing Arts, co-authored with Glenn Withers, first published in 1979 and reissued in 1993, has become a standard reference work in the field.
		In addition to the performing arts, his research and writing has covered the economic role of artists, the economics of public intervention in arts markets, cultural development, cultural policy, heritage issues, and sustainability of cultural processes.
	www.visualarts.net.au /bobby/nava/nava_supporters.asp (1045 words)

	[No title] (Site not responding. Last check: 2007-10-17)
		On the other hand, artistic work touches on so many of the core issues in sociology that to ignore artists or their work because of the inherent methodological difficulties is to lose a rich source of insight.
		The artworld, supposedly, is a meritocracy in this sense, with great art receiving the recognition it deserves in the long run.
		The major stumbling block in researching artists and their economic condition is their typically complex work lives.
	faculty.frostburg.edu /soci/rmoore/Article1.htm (3240 words)

	[No title] (Site not responding. Last check: 2007-10-17)
		The traditions and conventions of practice are respected by individual practitioners as knowledge of the field The conceptual framework: identifies the functional and intentional relations of the artist, artwork, world and audience as the agencies of the artworld.
		The agencies of the artworld are described as : robust and elastic concepts, the intentional nets of relations they generate set the boundaries for a working or functional concept of art.
		Artworks may be thought of as configurations of previous texts that mimic, appropriate and reinterpret other ideas in art to reveal paradoxical and hidden assumptions about what art is. artists as challengers of the prevailing views about what is of value in art, and who use parody, irony and satire to expose power assumptions.
	www.curriculumsupport.nsw.edu.au /getFile.cfm?i=530&t=4&d=csdCreativeArts (2234 words)

	eyestorm - article - Shanghai Biennale 2000
		The first really negative criticism of the biennale came from Wang Nan Ming, who argued that the Western artworld was forcing Chinese art to fit its own image, and that so-called contemporary Chinese art was nothing but entertainment for tourists and the Western art market.
		He finished with the bold statement that the new Shanghai Art Museum (in which he was standing) should 'first of all be concerned with Chinese art and not the Western marketplace.' His brave speech was met with loud applause.
		Perhaps they do hate the biennale, but they can't hate what it stands for too much because they are welcoming the international artworld to their exhibition.
	www.eyestorm.com /feature/ED2n_article.asp?article_id=170 (6674 words)

	Independent, The (London): Portrait of the artist: angry, alienated or Existential sexbomb?
		Movies about art and the artworld are a mystery to most artists.
		In the 1985 thriller, To Live and Die in LA, the villain, played by Willem Dafoe, is a modern-day grim, fl-clad painter of anguished figure scenes (the paintings provided by German artist, Rainer Fetting), who earns a living on the side as a counterfeiter and murderer.
		This is unfortunate, considering the intelligence of the rest of the writing, the way it cleverly exposes the psychology of the artworld - the way envy works, and the problems that can arise for an artist when they achieve success at an early age.
	www.findarticles.com /p/articles/mi_qn4158/is_19970327/ai_n14096224 (988 words)

	Small Reference For Economics -
		Full text of the article, 'Small business job creation: the findings and their critics' from Business Economics, a publication in the field of Business & Finance, is provided free of charge by LookSmart's FindArticles service.
		Artworld Economics is a relatively unexplored area of financial...Find thousands of free online definitions and reference guides at TheFreeDictionary.com.
		Macroeconomics is a study of economics in terms of whole systems especially with reference to general levels of output...
	reference.fqup.com /index.php?k=small-reference-for-economics (1096 words)

	Interactivist Info Exchange \| Brian Holmes, "Revenge of the Concept" (Site not responding. Last check: 2007-10-17)
		But what they portray is more like an "economization of culture." In fact their network theory draws no significant distinction between contemporary protest groups and the most advanced forms of capitalist organization.
		Unhappily, the economic pattern associated with conceptual art is remarkably similar to that of other artistic movements: to purchase a work cheap and resell it at a high price.
		Mauss is universally acknowledged to be the founder of economic anthropology and he did it with one essay of less than a hundred pages, The Gift, published in the mid-1920s.
	info.interactivist.net /analysis/03/01/24/1340201.shtml (6222 words)

	[No title]
		He simply looked at what is now often called the “artworld”—the social and economic facts, the institutional arrangements, and the ideological underpinnings of the dominant artistic culture.
		Breathing the fire of his anti-hedonic morality, Tolstoy blames the evil folly of false art, first, on the secular lassitude and lasciviousness of “upper class life,” and, second, on the ascending modernist aesthetics of adventurous formalism that he found utterly incomprehensible.
		But he also proves himself to be a thought-provoking observer of the social effects of art, a perceptive student of the modern synergistic commercial artworld, a cautionary voice against the aestheticism that blithely allows lives to be “led astray by art,” and a prescient critic of modern popular culture.
	www.newcriterion.com /archive/17/dec98/tolstoy.htm (2570 words)

	Copyright Opinions and Aesthetic Theory (Site not responding. Last check: 2007-10-17)
		Essential to our understanding of any culture is a grasp of the various forms of activity that it manifests, and of distinctions that are most significant to the members of the society that has that culture.
		This artworld is comprised of artists and viewers who participate in a traditional social practice of creating, presenting, and appreciating art.
		This means that objects become art when someone who believes that he is a member of the artworld invites others to view the object aesthetically.
	www2.bc.edu /~yen/aesthetics.html (22146 words)

	Year Zero One Forum: News, Reviews, Views - Issue 1
		Gopnik claims that art educators have the arduous task of convincing audiences about the powerful effects of art and that such experiences are truly valuable.
		A book he recommended, The Economics of Taste by G. Reitlinger, tracked the highest and lowest rate of return of auction house paintings from 1639-1969.
		Dr. Conrad cited another book, Muses and Market: Explorations in the Economics of the Arts, by Bruno S. Frey and Werner W. Pommerehne, which further advanced his thesis that experts can forecast a lot of things, but taste is not one of them.
	www.year01.com /forum/issue1.htm (2102 words)

	Machine in the Studio is available from Bestprices.com Books!
		Taking a fresh look at the artworld of the 1960s, Caroline Jones explores pervasive imagery of the American artist at work and the implications of those images for understandings of their art.
		Far from the countercultural stance associated with the decade, Jones argues that the artists examined here, including Stella, Warhol, and Smithson, identified their work with postwar industry and corporate culture--and revealed the anxieties of this identification through the slippages and darker implications of their art.
		Drawing on extensive interviews with artists and assistants as well as close readings of the artworks, Jones explains that the pathbreaking work of the 1960s was transformative precisely because it was "mainstream"--central to the visual and economic culture of its time.
	bestprices.com /cgi-bin/vlink/0226406482BT.html (404 words)

	ECON 3050: The Economics of Art, Entertainment and Culture
		It is impossible in a single term to cover in depth all the interesting economic aspects of art, entertainment and culture, and so choices must be made at the outset (thus providing us with an early example of a key aspect of economic thinking: making choices when our wants exceed our resources).
		William J. Baumol “Children of Performing Arts, The Economic Dilemma: The Climbing Costs of Health Care and Education” Journal of Cultural Economics 20(3) 1996: 183-206.
		The Copyright Term Extension Act of 1998: An Economic Analysis” AEI-Brookings Joint Center for Regulatory Studies, Brief 02-1 (May 2002).
	aysps.gsu.edu /academics/courses/syllabi/econ3050_fall03_rushton.htm (783 words)

	spark>> e_society>> art
		One of the most iconoclastic artworks of the 20th century was Marcel Duchamp 's Fountain of 1917[1], a time-bomb waiting to blow the artworld to smithereens.
		The concept of art, and the course of art history, was irreversibly changed as a consequence.
		And touching on the connotations of the title itself: Was Duchamp alluding to Fountain pissing on the artworld, the reverse of the artworld pissing into it, in the sense of biting the hand of high art that feeds it?
	www.spark-online.com /november99/esociety/art/podstolski.html (1155 words)

	noboru tsubaki, genre jumping, Japanese hybrid culture (Site not responding. Last check: 2007-10-17)
		The artworld's Big, dislocation and five video screens to Nowhere: Meaghan Kent reports from
		This is at the same time use of the art object as the subject in itself and a critique on art world economics.
		Lawler is best known for Ciba-chromes of artwork in situ -- artworks that are hung and tagged on museum walls, blending into a collector's home or Ancient Greek statuary crated in storage.
	www.art-themagazine.com /pages/newyrk04.htm (1020 words)

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