Art and Value

Art's Economic Exceptionalism in Classical, Neoclassical and Marxist Economics
Erscheinungsjahr 2015
ISBN: 978-90-04-28814-0
Verlag: Brill

Buch, Englisch, Band 94, 392 Seiten, Format (B × H): 163 mm x 239 mm, Gewicht: 748 g

Reihe: Historical Materialism Book Series

Art and Value is the first comprehensive analysis of art's political economy throughout classical, neoclassical and Marxist economics. It provides a critical-historical survey of the theories of art's economic exceptionalism, of art as a merit good, and of the theories of art's commodification, the culture industry and real subsumption.
Key debates on the economics of art, from the high prices artworks fetch at auction, to the controversies over public subsidy of the arts, the 'cost disease' of artistic production, and neoliberal and post-Marxist theories of art's incorporation into capitalism, are examined in detail.
Subjecting mainstream and Marxist theories of art's economics to an exacting critique, the book concludes with a new Marxist theory of art's economic exceptionalism.

Autoren/Hrsg.

Beech, Dave

Fachgebiete

• Geisteswissenschaften Kunst Kunst, allgemein Kunsttheorie, Kunstphilosophie
• Geisteswissenschaften Kunst Kunst, allgemein Kunstförderung, Mäzenatentum, Auktionen
• Geisteswissenschaften Kunst Kunstgeschichte
• Wirtschaftswissenschaften Wirtschaftswissenschaften Wirtschaftsgeschichte
• Geisteswissenschaften Geschichtswissenschaft Geschichtliche Themen Wirtschaftsgeschichte

Inhaltsverzeichnis

Acknowledgements
Introduction

PART ONE
1. Art, Value and Economics
2. Art and Exceptionalism in Classical Economics
3. Art and Exceptionalism in Neoclassical Economics
4. Exceptionalism After 1945
5. Exceptionalism After 1966
6. Exceptionalism Reassessed

PART TWO
7. On the Absence of a Marxist Economics of Art
8. Art and Productive Capital
9. Art and Merchant Capital
10. Art and Finance Capital
11. Art and Post-Fordism

Conclusion
Bibliography
Index

Über Autor(innen)

Dave Beech is an artist in the collective Freee and teaches Fine Art at Chelsea College of Art. His work has been exhibited at the Liverpool Biennial (2010) and the Istanbul Biennial (2013). He has co-authored The Philistine Controversy (Verso, 2002), edited Beauty (MIT/Whitechapel, 2009), contributed essays to Locating the Producers (Valiz, 2011), and Curating and the Educational Turn (Open Editions, 2010).