隨著金融市場自由化、國際化腳步的加快，新金融商品不斷推陳出新。然而，屬於非傳統性資產的「藝術投資」卻往往被人們所忽略。2006年，以目前世界最高價格成交的藝術品—美國抽象表現主義大師波洛克(Jackson Pollock)的作品《No.5, 1948》，以大約新台幣46億元成交。一幅畫比一棟世界最頂級的豪宅還昂貴，令人側目。據統計，全世界約有5兆美元投入藝術市場，每年成交量220億美元。但在台灣，這樣龐大的產業卻不像金融市場，至今猶未能發展出完整的理論架構。無論何種投資，成功投資的關鍵必須掌握四大金律：一是懂理論，二是懂歷史，三是懂心理，四是懂交易。本研究亦希望涵蓋藝術投資的這四個面向。 藝術品評價困難：不似一般商品，藝術品的價格並無所謂公定價，也不似股票淨值或共同基金有淨資產價值(NAV)可以計算。究詰其故，至少有下列九個原因：1、傳統評價模型難以直接應用2、藝術品與private equity皆有兩個特色：有liquidity risk、無市價，評價上較為困難3、流動性差4、透明度低5、炒作6、非理性驅動力7、專家偏誤8、市場風險9、其它變數。

L’économie a toujours fait partie des productions artistiques. En effet, que ce soit par les commandes des mécènes, par les coûts des matériaux utilisés ou encore par la mise en vente des œuvres, l’art et l’argent sont deux entités inséparables. Toutefois, les artistes qui représentent et qui s’entretiennent de l’argent et de l’économie dans leurs œuvres se font plus rares. Des représentations du commerce adviennent avant le modernisme. Toutefois, ce n’est que récemment que les artistes se sont mis à s’intéresser aux manifestations de l’économie en les intégrant dans leur pratique. Existe-t-il actuellement une place dans le monde de l’art pour ce type particulier de production conceptuelle qui réfléchit à des questions économiques ? Notre recherche tourne autour de cette réflexion et explore la vente des productions artistiques à caractère économique sur le marché. C’est sous les termes d’économies imaginaires que nous retrouverons ces productions tout au long de ce mémoire. Nous nous pencherons plus spécifiquement sur la définition de cette pratique particulière, ainsi que sur sa vente dans les galeries et maisons de vente aux enchères. / Economy has always been a part of artistic productions. Indeed, whether it be through patronage or by the cost and worth of the materials employed, or even by the selling of the artworks, art and money have always been two inseparable entities. However, artists who represent and deal with money and economy in their work are still quite scarce. We are able to find some representations of trading in ancient artworks, but it is only recently that the artists began to address the various expressions of economy by integrating them into their practice. Is there currently a place in the art world for this particular type of conceptual production that reflects on economic issues? Our research is guided by this topic and explores the sales of this type of artistic productions on the markets. This type of production will be referred to as “imaginary economics” throughout this master’s thesis. We will explore its definition as well as its sales in galleries and auction houses.

O presente trabalho levanta questões sobre algumas formas particulares de estruturação de um sistema profissional de produção cultural para as artes plásticas no eixo Rio de Janeiro São Paulo no período que coincide com um momento de florescimento político e econômico e se fortalece a partir da segunda metade dos anos 1940 e ao longo das décadas de 1950/1960. No que concerne especialmente aos museus de arte moderna, observou-se um fortalecimento institucional em torno do qual o sistema artístico brasileiro se estruturou. Para se chegar a essa conclusão foram analisados os aspectos estruturais (econômicos e políticos) centrados no eixo Rio de Janeiro São Paulo, e conjunturais, a partir das particularidades do fenômeno da arte da vanguarda construtiva brasileira. Foram consideradas as visões dos artistas nacionais em relação tanto à questão da arte de vanguarda como na sua relação com o museu. Consideramos, também, a Bienal como instituição, seu vínculo com os artistas e com o próprio MAM/SP no processo de divulgação da arte. Avaliamos a ação artística, peculiar pela presença das vanguardas construtivas, que envolvia grande participação dos artistas no cotidiano museológico. Além disso, consideramos o estreito diálogo que havia com os críticos que atuavam em veículos de comunicação. Como parte fundamental do estabelecimento de um sistema profissional de produção cultural, avaliamos a consolidação de um mercado de arte com base na atuação de marchands e na criação de galerias privadas em uma ação ainda não muito distinta daquela dos museus. Os movimentos concreto e neoconcreto, na medida em que se caracterizam como vanguardas artísticas e sua atuação permitiu a mobilização do suposto sistema em torno das discussões sobre suas novas propostas éticas e estéticas, foram considerados pontualmente. / This thesis raises issues on some specific ways of structuring a professional system of cultural production for the arts in the circuit Rio de Janeiro São Paulo coincident to a moment of political and economical emergence that gets stronger from the middle of the 1940s and during the 1950/1960 decades. Regarding in special the museums of modern art, it was observed an institutional strengthening around which the Brazilian artistic system was structured. To reach that conclusion structural aspects the economics and politics in the circuit Rio de Janeiro São Paulo as well as situational ones were considered on the specificities of the phenomenon of the Brazilian constructive vanguard art. We also considered the vision of the national artists on the art of vanguard and its relation to the museum. Also, we considered the Bienal and its relation with the artists and with the Museum of Modern Art of São Paulo itself in the process of divulging the art. We evaluate the artistic action, peculiar because of the presence of the constructive vanguards, and that involved a great participation of the artists on the museum day-to-day. Besides that we consider as well the close dialogue with the critics who worked on the vehicles of mass communication. As a fundamental part of the establishing of a professional system of cultural production, we evaluate the consolidation of an art market based on the activities of the dealers and the creation of private galleries in one action not yet very much distinct from that of the museums. The concrete and neoconcrete movements were specially considered because as artistic vanguard, their performances enabled the mobilization of the supposed system around the discussions on its new ethical and aesthetic proposals.

Vingt-cinq ans après la ratification de la Convention de l'Unesco de 1970 et un an après celle de la Convention d'Unidroit de 1995 par l’État colombien, il est pertinent de réaliser un état des lieux du droit du patrimoine culturel colombien et de son appréhension des problématiques liées à la circulation des biens archéologiques et à leur transfert de propriété. Si ces vestiges appartiennent incontestablement à la Nation depuis 1991, leur protection constitutionnelle ne suffit pas à satisfaire la politique nationaliste que ce pays-source souhaiterait mener. Le questionnement est donc double : d'une part, celui du régime juridique auquel les biens archéologiques sont soumis sur le territoire national et, d'autre part, celui des possibilités d'application de ce dispositif protecteur lorsqu'ils se trouvent à l'étranger. Il s'agit donc de s'interroger sur la clarté et la précision du régime juridique auquel ces vestiges sont soumis en droit colombien pour permettre à l’État de fonder des demandes en restitution ou de retour susceptibles de réussir et, aussi, de définir dans quelle mesure ce dispositif national peut être appliqué par les autorités et les tribunaux étrangers. Par ailleurs, les traités internationaux spécialement adoptés en la matière depuis la seconde moitié du XXe siècle semblent insuffisants en vue de répondre aux attentes colombiennes de restitution et de retour de ses biens archéologiques. La pratique a démontré que la lutte internationale contre le trafic illicite reste étroitement liée aux législations nationales, tant celle de l’État requérant que celle de l’État requis. Les stratégies contentieuses susceptibles d'être mises en œuvre devant les autorités et les tribunaux français ont été étudiées à titre d'exemple. Plusieurs acteurs sont au centre de ces disputes : les États, les peuples autochtones, les marchands d'art et les musées. La diversité de leurs intérêts révèle la complexité des rapports qui peuvent se tisser autour de ces vestiges considérés, selon les différents points de vue, comme des objets identitaires, sacrés, artistiques ou scientifiques.Enfin, au regard de l'évolution récente du droit du patrimoine culturel colombien, les conditions semblent présentes pour revisiter le rapport que ce pays entretient vis-à-vis des vestiges archéologiques d'origine colombienne qui se trouvent à l'étranger. / It has been more than twenty-five years since Colombia State ratified the 1970 Unesco Convention and one year later it ratified the 1995 Unidroit Convention. It is now relevant to evaluate Colombia’s cultural heritage law and its perception of the issues surrounding the international trade of archaeological objects and ownership transfer. If archaeological antiquities belong unmistakably to the Nation since 1991, their constitutional protection does not satisfy the nationalistic policy this source country would like to lead.The evaluation of cultural heritage law is a double issue. On the one hand, there is the problem of how the domestic laws are applied to archaeological objects within the national territory. On the other hand, there is the difficulty of implementing domestic legislation when the antiquities are abroad. It is therefore a question of assessing if Colombia’s cultural heritage legislation has a framework that is clear and precise enough to allow the State to succeed in its claims and of defining to what extent it can be reinforced by foreign authorities and courts.Furthermore, international treaties adopted in this field since the second half of the twentieth century seem insufficient to meet Colombia´s concerns. Practice has shown that the international fight against illicit trade is closely bound to domestic laws, either that of the requesting State or of the requested State. The litigation strategies that can be brought before French authorities and courts have been studied as an example.These conflicts concern several actors: States, indigenous people, art dealers and museums. Their different level of interests reveal the complexity of the relationships that can be built among these antiquities considered, according to the stakeholders’ point of view, as identity, sacred, artistic or scientific objects.Finally, the recent development of Colombia’s cultural heritage legislation seems to challenge the country’s relation with its archaeological objects abroad.

O presente trabalho levanta questões sobre algumas formas particulares de estruturação de um sistema profissional de produção cultural para as artes plásticas no eixo Rio de Janeiro São Paulo no período que coincide com um momento de florescimento político e econômico e se fortalece a partir da segunda metade dos anos 1940 e ao longo das décadas de 1950/1960. No que concerne especialmente aos museus de arte moderna, observou-se um fortalecimento institucional em torno do qual o sistema artístico brasileiro se estruturou. Para se chegar a essa conclusão foram analisados os aspectos estruturais (econômicos e políticos) centrados no eixo Rio de Janeiro São Paulo, e conjunturais, a partir das particularidades do fenômeno da arte da vanguarda construtiva brasileira. Foram consideradas as visões dos artistas nacionais em relação tanto à questão da arte de vanguarda como na sua relação com o museu. Consideramos, também, a Bienal como instituição, seu vínculo com os artistas e com o próprio MAM/SP no processo de divulgação da arte. Avaliamos a ação artística, peculiar pela presença das vanguardas construtivas, que envolvia grande participação dos artistas no cotidiano museológico. Além disso, consideramos o estreito diálogo que havia com os críticos que atuavam em veículos de comunicação. Como parte fundamental do estabelecimento de um sistema profissional de produção cultural, avaliamos a consolidação de um mercado de arte com base na atuação de marchands e na criação de galerias privadas em uma ação ainda não muito distinta daquela dos museus. Os movimentos concreto e neoconcreto, na medida em que se caracterizam como vanguardas artísticas e sua atuação permitiu a mobilização do suposto sistema em torno das discussões sobre suas novas propostas éticas e estéticas, foram considerados pontualmente. / This thesis raises issues on some specific ways of structuring a professional system of cultural production for the arts in the circuit Rio de Janeiro São Paulo coincident to a moment of political and economical emergence that gets stronger from the middle of the 1940s and during the 1950/1960 decades. Regarding in special the museums of modern art, it was observed an institutional strengthening around which the Brazilian artistic system was structured. To reach that conclusion structural aspects the economics and politics in the circuit Rio de Janeiro São Paulo as well as situational ones were considered on the specificities of the phenomenon of the Brazilian constructive vanguard art. We also considered the vision of the national artists on the art of vanguard and its relation to the museum. Also, we considered the Bienal and its relation with the artists and with the Museum of Modern Art of São Paulo itself in the process of divulging the art. We evaluate the artistic action, peculiar because of the presence of the constructive vanguards, and that involved a great participation of the artists on the museum day-to-day. Besides that we consider as well the close dialogue with the critics who worked on the vehicles of mass communication. As a fundamental part of the establishing of a professional system of cultural production, we evaluate the consolidation of an art market based on the activities of the dealers and the creation of private galleries in one action not yet very much distinct from that of the museums. The concrete and neoconcrete movements were specially considered because as artistic vanguard, their performances enabled the mobilization of the supposed system around the discussions on its new ethical and aesthetic proposals.

Miwa Yanagi’s Elevator Girls series, a collection of glossy photographs featuring groups of similarly clad women lingering in expansive, empty arcades, made its international debut in 1996. While the pieces garnered positive reactions, Yanagi found that most Western viewers read her work as predominantly “Oriental”—confirming stereotypes of a highly polished techno-topic Japan that was still negotiating gender equality. In this thesis, I explore alternative ways of reading Yanagi’s Elevator Girls series, which, I argue, call attention to myopic views of commercialism and identity in order to provide an alternative reading of these women as agents of transgression and ideological transcendence. Whereas many viewed Yanagi’s works as a comment on capitalist machinations, where consumerism has produced soulless, vapid feminine identities, I focus on the ways in which these women exercise agency without relying on notions of an individualized, unique ego.

For the most recent contemporary art no art historical or price records exist that can testify of its value. However, the market for contemporary art is enormous and the art historical interest in it is equally important. If we can find out how to evaluate contemporary art, it will further the art historical understanding, the market transparence and the sales of contemporary art thus having an influence also on the creation of art (William Grampp). The art historical verdict and the market verdict are linked. This has been proven by a number of economists (Frey, Galenson, Grampp). The question is how they are linked. Basically, both art history and the market contribute to the creation of value in art. What is it that makes art valuable? What are the criteria used in art history and in the market to evaluate art? The focus is on European and US American art between 1970 and today. Evaluation, be it aesthetic or financial, is a process of decision making. Decisions are based on criteria that must be conscious at least after the decision is made (Clement Greenberg). In the art world, certain decision makers are more influential than others. Therefore the dissertation analyzes the most influential positions in art theory and in the art market and distills the essential criteria used. The dissertation seeks to advance the research on this fundamental question of the evaluation of art through a more comprehensive and interdisciplinary study than those previously undertaken. It presents a model that integrates the most important criteria from both sides and allows a more reliable evaluation of contemporary art. The 3C Model explains the ensemble of Quality-Value-Price through three criteria: Change, Connectivity and Context (Time, Space, People). The 3C Model can be used as a general basis in the discourse on value and quality. It is a structural method that can be applied to almost any art from any period. The model is exercised here using Gerhard Richter, François Morellet, Julian Schnabel, Jeff Koons, Sophie Calle and Pipilotti Rist as examples. / text

No description available.

This thesis in two volumes is a study of the paintings of David ill Ryckaert (1612- 1661 ). Ryckaert grew up in a family of artists, and painted within a close community of fellow artists. According to several twentieth-century critics, Ryckaert was no more than a minor imitator of other Flemish painters. Underlying such relegation of Ryckaert is an uncritical and distinctly Modernist glorification of originality, or merely novelty. The chief argument of this thesis is that a careful reconstruction of the socio-cultural circumstances ofRyckaert's work calls into question the destructive employment of originality as a criterion of artistic greatness. Much of the vocabulary of Flemish art of the time was established. Artists thus proved their excellence both to fellow painters and a public fully conversant with the artistic traditions of subject and style, if such pictorial conventions were notably refmed or treated with a remarkable grace. Embracing the criteria of personal style and the beauty of the work, this environment is clearly averse to the blank veneration of new or original art. I argue that the term originality is itself dangerous therefore and that to neglect Ryckaert's work as that of a minor imitator is invalid and unhelpful. A careful examination of Ryckaert's known oeuvre reveals that his work is distinguished by a fine modelling, harmonious composition and a warm palette with colourful highlights. Although he relied on an established iconographic repertory, he maintained creative variation, thereby ensuring a steady demand. Ryckaert's imitation of other artists' work requires us to adjust twentieth-century criteria which tend to be pejorative of those who borrow from fellow artists. In fact Ryckaert could be said to have refmed his individuality as a painter through the testing creative encounter with and imitation of other artists. / Art / D.Litt. et Phil. (History of Art)

Cette thèse a pour principal objectif d’étudier la nouvelle configuration de la valeur de l’art moderne et contemporain du Moyen-Orient, et plus précisément la perception qui s’est fait jour à partir du milieu des années 2000, où Dubaï serait devenu le lieu de fixation de la valeur économique et de diffusion de l’art à différents niveaux : national, régional et international. L’art visuel du Moyen-Orient, jusqu’alors limité aux scènes nationales et négligé sur la scène internationale, connaît une évolution locale ainsi qu’un rayonnement international inédit. La mutation innovante du monde de l’art de cette zone géographique repose, en général, sur l’implantation de maisons de vente et sur la formation d’un marché international pour l’art du Moyen-Orient à Dubaï. Ce nouveau dispositif a influencé non seulement l’écosystème du monde national de l’art, mais aussi le choix d’artistes, des commissaires d’exposition autant que des conservateurs des musées internationaux. L’accroissement de champ du marché est l’objet principal de cette étude, et l’ajustement du champ artistique un objet secondaire. En retraçant l’histoire des pays étudiés par une approche sociologique de l’art, il s’agira, d’abord, de cerner l’évolution quantitative et qualitative des galeries d’art visuel, après les avoir identifiées en tant qu’acteur multifonction du monde de l’art, en ce qui concerne trois pays emblématiques de l’art de la région : l’Iran, le Liban et les Émirats Arabes Unis ; ensuite, il s’agira d’analyser leurs activités internationales ainsi que leur rayonnement à la fois régional et international, avant la formation du marché de l’art de Dubaï en 2006 et jusqu’à 2015. La méthodologie employée pour ce travail sollicitera un certain nombre d’outils propres aux sciences sociales et humaines : l’entretien compréhensif, l’enquête quantitative, l’analyse typologique, l’étude documentaire et l’enquête de terrain : l’immersion et l’observation participante. / The main objective of the present doctoral thesis is to study the configuration of the value of Middle Eastern modern and contemporary art. More precisely, we look at how Dubai has emerged in international perceptions as the center for art appraisal and diffusion nationally, regionally and internationally. Middle Eastern visual arts, mainly limited to their national settings, have been overlooked on an international level. Today, we are witnessing their unprecedented emergence and appreciation on the international scene. The innovative mutation of the art world within this geographical zone is mainly due to the implantation of auction houses and the creation of an international market for Middle Eastern art in Dubai. These new measures have not only influenced the ecosystem of the art milieu on a national level, but have also impacted the choice of artists, exhibition commissioners and curators of international museums. The development of this market is the principal object of the present study and as a secondary object, we look at the adjustments made by the art world to adapt to this new art scene. Through the Sociology of Art approach, we retrace the history of three emblematic countries (Iran, Lebanon and the United Arab Emirates) with the aim of understanding the quantitative and qualitative evolution of their visual art galleries identified as multifunctional actors of the art world. We then analyze their international activities as well as their expansion, regionally and internationally, before the creation of the art market of Dubai between 2006 and 2015. Our methodology is based on the research methods of the social sciences: comprehensive interviews, quantitative investigations, typological analyses, documentation review and field work through immersion and participatory observation.