The Production of Belief

Kapitel in diesem Buch

1. Frontmatter I
2. CONTENTS VII
3. A NOTE TO READERS XV
4. INTRODUCTION 1
5. 1. ART IN A COMMERCIAL WORLD
6. I. ART IN SOCIETY
7. Illusions of Disinterest 14
8. Marx on Ideology and Art 19
9. Avant-Garde and Kitsch 24
10. The Artworld 27
11. Culture Industry Reconsidered 30
12. II. THE VALUE OF ART
13. The Cultural Biography ofThings 32
14. Aura 38
15. Varieties of Artistic Value in Contemporary Aesthetics 40
16. The Production of Belief 42
17. The Paradox of Rarity: Photography 47
18. Symbolic Meanings of Prices 51
19. Art. . . Contemporary of Itself 54
20. 2. ARTISTS AND COLLECTORS IN THE MARKET FOR ART
21. I. THE SUPPLY OF AND DEMAND FOR WORKS OF ART
22. Two Paradigms of Artistic Activity 58
23. Arts Markets 60
24. II. THE NATURE OF THE DEMAND FOR WORKS OF ART
25. The Synchronization of Social Change in Europe 65
26. Economic Value as the Objectification of Subjective Values 70
27. Conspicuous Consumption and Pecuniary Canons of Taste 71
28. Collectors and Collecting 75
29. Connoisseurs and Experts 78
30. III. THE ARTIST: HOMO ECONOMICUS / FEMINA ECONOMICA
31. Art, Honor, and Excellence 81
32. Determining Value on the Art Market in the Golden Age 86
33. Reference, Deference and Difference 89
34. The Trademark Tracey Emin 91
35. Notes on the Mythic Being l - lll 95
36. Whose Image Is It? 96
37. IV. THE ART MARKET
38. Property and Exhibition Rights 98
39. Informational Efficiency of the Art Market 103
40. The Market for Modern Prints 106
41. 3. THE ITALIAN CITY-STATES
42. The Culture of Consumption 111
43. Conditions of Trade 116
44. Italian Artists in Sixteenth-Century England 118
45. Leonardo and Leonardism 120
46. Marketing 124
47. The Market for Paintings in Italy 127
48. The Gender and Internationalism of Rosalba Camera 130
49. Letters to Isabella Stewart Gardner 134
50. 4. ANTWERP
51. The Business of Art: Patrons, Clients, and Markets 137
52. Marketing Art in Antwerp 139
53. Pieter Aertsen's Meat Stall as Contemporary Art 142
54. Second Bosch 145
55. A Sixteenth-Century Master-Pupil Contract 148
56. Exporting Art across the Globe 149
57. Trade and Art in Seventeenth-Century Antwerp 152
58. Rubens's Studio Practice 154
59. 5. AMSTERDAM
60. On Brabant Rubbish, Economic Competition, Artistic Rivalry, and the Growth of the Market for Paintings 158
61. Cost and Value in Dutch Art 162
62. Art Dealers in the Netherlands 166
63. Italian Paintings in Holland 169
64. Freedom, Art, and Money 172
65. Letters to Constantijn Huygens, ca. 1639 176
66. Attributions in Auction Catalogs 179
67. The Solliciteur-Culturel 181
68. 6. GERMANY AND SPAIN
69. I. GERMANY
70. The Reformation and the Decline of German Art 186
71. Art Auctions in Germany during the Eighteenth Century 189
72. II. SPAIN
73. Painting in Spain, 1500-1700 194
74. Exploring Markets in Spain and Nueva España 198
75. Spanish Art and Global Discourse 202
76. 7. LONDON
77. Picture Consumption in London 205
78. The Art Market 208
79. England and the Netherlands Compared 212
80. Engraving 217
81. Hogarth 220
82. Portrait Painting as a Business Enterprise 221
83. Christie's Auction House 224
84. Art Collecting and Victorian Middle-Class Taste 229
85. David Thomson and the Goupil Gallery 233
86. Whistler and the English Print Market 238
87. Roger Fry's Commercial Exhibitions 243
88. 8. PARIS
89. Gersaint and the Marketing of Art 248
90. David and the "Exposition Payante" 252
91. Noising Things Abroad 253
92. An Italian Patron of French Neo-Classic Art 256
93. Circuits of Production, Circuits of Consumption 258
94. Dealing in Temperaments 260
95. Courbet's Landscapes and Their Market 262
96. The Retrospective Exhibition 266
97. Entrepreneurial Patronage in Nineteenth-Century France 269
98. Ambroise Vollard Correspondence 272
99. Vollard's Bronzes 276
100. La Peau de I'Ours and Galerie Berthe Weill 277
101. The Steins'Early Years in Paris 280
102. The Avant-Garde, Order, and the Art Market 284
103. Galeries Georges Petit 288
104. Painting as a Safe Investment 290
105. 9. ART CONSUMPTION IN INDUSTRIAL AMERICA
106. Touching Pictures by William Harnett 293
107. Winslow Homer as Entrepreneur 297
108. J. P. Morgan's Renaissance Bronzes 300
109. The Armory Show 304
110. Alfred Stieglitz 307
111. Diary of an Art Dealer 310
112. Vollard 312
113. Press Release, Art ofThis Century 312
114. The Exhibitions at Art of This Century 313
115. 10. NEW YORK
116. Artists and Dealers 317
117. Mark Rothko 320
118. The New York Art Market ca.1960 324
119. Clement Greenberg 327
120. Mike Wallace Interviews Marcel Duchamp 329
121. The Leo Castelli Gallery 332
122. Mr. Andy Warhol 333
123. The Gutman Letter 335
124. Unpublished Notes 337
125. Land Artists and Art Markets 342
126. Unpackaging Simulationism 346
127. 11. THE GLOBAL ART MARKET
128. The Art Market in the 1980s 353
129. Video Art 357
130. Money Is No Object 362
131. The Internationalization of the Contemporary Art World 366
132. Neo-modernity, Neo-biennalism, Neo-fairism 371
133. ACKNOWLEDGMENTS 375
134. BIBLIOGRAPHY 377
135. INDEX 389