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"A brief overview of the global art market precedes an analysis of the various sales venues (auction, commercial gallery, etc.). Library research is reviewed and advanced methods explored. Methods for assigning values are explored, and sources of price data, both in print and online, are identified and described in detail. Provenance and art law are discussed"--

Art --- Art --- Art literature

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Comment rencontrer l'art, aujourd'hui, dans notre monde en mutation et dont le sens échappe à la raison ? La pensée logique traditionnelle devient insuffisante. Le goût, le style, l'invention, la créativité...restent des notions vaines, inadéquates. Une autre pensée se cherche à travers l'expérience de l'artiste créateur. Il s'agit d'une migration dans un ailleurs irrationnel qui remet en cause la notion d' " Art contemporain", ce dont témoigne abondamment l'exposition Van Gogh/Artaud, au musée d'Orsay, en 2014.

Art --- Philosophy --- Art - Philosophy

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This book is a compilation of the 77 posts Annie Abrahams wrote for her (e)stranger website between April and August 2014. Some of these are personal, others go back to literature, art works or are more theoretical. Abrahams plays creatively with ideas of what it means to be an (e)stranger. She researches its possibilities, beyond it's handicapping proprieties and touches upon themes as different as the use of Latin in church to questions about the relation between code and emotions. PastMono, research, collage, bricolage, assemblage. An (e)stranger is invisible, exotic, unidentifiable, rude, hybrid, blurry, deformed, subversive, incomprehensible, complex, pliable, lonely, abject, harder and more fragile at the same time ...they are more resilient, more inventive, know how to protect themselves, are good observers, look around a lot, see and ask questions about things that seem to be self-evident .

Art vidéo --- Art numérique

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Hegel gave lecture series on aesthetics or the philosophy of art in various university terms, but never published a book of his own on this topic. His student, H. G. Hotho, compiled auditors' transcripts from these separate lecture series and produced from them the three volumes on aesthetics in the standard edition of Hegel's collected works. Annemarie Gethmann-Siefert has now published one of these transcripts, the Hotho transcript of the 1823 lecture series, and accompanied it with a very extensive introductory essay treating many issues pertinent to a proper understanding of Hegel's views on art. She persuasively argues that the evidence shows Hegel never finalized his views on the philosophy of art, but modified them in significant ways from one lecture series to the next. In addition, she makes the case that Hotho's compilation not only concealed this circumstance, by the harmony he created out of diverse source materials, but also imposed some of his own views on aesthetics, views that differ from Hegel's and that the ongoing interpretation of the aesthetics part of Hegel's philosophy has unfortunately taken to be Hegel's own. This translation of the German volume, which contains the first publication of the Hotho transcript and Gethmann-Siefert's essay, makes these important materials accessible to the English reader, materials that should put the English-speaking world's future understanding and interpretation of Hegel's philosophy of art on a sounder footing.

Aesthetics --- Art --- Philosophy --- Art - Philosophy

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Mon mémoire, consiste dans un premier temps en une analyse historique (à partir des années 1980) des modalités de l'art contestataire et des raisons de son échec, voir de sa récupération intéressée, à l'époque, par l'économie capitaliste de services. De ce postulat, s'opère une tentative d'articuler les mutations de l'économie capitaliste depuis la fin des années 1990 jusqu'à l'analyse de la part de divers sociologues et philosophes tels que Yann Moulier Boutang ou Maurizio Lazzarato de l'avènement du capitalisme "cognitif" dont la ressource économique principale demeure la connaissance et la capacité à créer. De ce changement de paradigme s'opère une "virtualisation" de l'économie - qui ne jure désormais plus que par l'investissement dans le savoir "en puissance", réactualisant sans cesse le présent - , et avec elle la "virtualisation" voir la "déshumanisation" progressive de l'être humain. Enfin, je me propose d'analyser la démarche des artistes Goldin+Senneby et Julien Prévieux, à travers trois oeuvres, par le prisme du Drame, à la fois Aristotélicien et Brechtien. En effet, je tente de démontrer que leur pratique de "dramatisation" des structures économiques et autres mécanismes biopolitiques, s'apparente à une nouvelle stratégie à la fois d'adaptation et de résistance à ce capitalisme cognitif.

Politique et art --- Art militant