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.
Do you really understand what business value is? Information technology can and should deliver business value. But the Agile literature has paid scant attention to what business value means—and how to know whether or not you are delivering it. This problem becomes ever more critical as you push value delivery toward autonomous teams and away from requirements “tossed over the wall” by business stakeholders. An empowered team needs to understand its goal! Playful and thought-provoking, The Art of Business Value explores what business value means, why it matters, and how it should affect your software development and delivery practices. More than any other IT delivery approach, DevOps (and Agile thinking in general) makes business value a central concern. This book examines the role of business value in software and makes a compelling case for why a clear understanding of business value will change the way you deliver software. This book will make you think deeply about not only what it means to deliver value but also the relationship of the IT organization to the rest of the enterprise. It will give you the language to discuss value with the business, methods to cut through bureaucracy, and strategies for incorporating Agile teams and culture into the enterprise. Most of all, this book will startle you into new ways of thinking about the cutting-edge of Agile practice and where it may lead.
This book provides a new history of the changing relationship between art, craft and industry focusing and a new political theory of the categories of aesthetic labour, attractive labour, alienated labour, nonalienated labour and unwaged labour.
Art and Value focuses on the questions of history, methods, and nature of art theories, and on the value and evaluation of art. It serves as a valuable primer to aesthetics, as well as a summary and extension of Dickie's contribution to the field.
Financial markets are noisy and full of half-baked opinions, innuendo, and misinformation. With deep insights about investor psychology, Book of Value shows how to apply tools of business analysis to sort through the deceptions and self-deceptions in financial markets. Anurag Sharma joins philosophy with practical know-how to launch an integrated approach to building high-performance stock portfolios. Investors at all skill levels should learn to be mindful of their psychological biases so they may better frame investment choices. Book of Value teaches novices that investing is not a game of luck but a skill—and it teaches the emotional and analytical tools necessary to play it well. Intermediate investors learn how to effectively control emotions when investing and think strategically about their investment program. Advanced investors see the formalization of what they already know intuitively: that the philosopher's methods for seeking truth can be profitably applied to make smart investments. A groundbreaking guide full of lasting value, Book of Value should be on the shelf of anyone who takes investing seriously.
On the tenth anniversary of its publication, this upated edition of a work ARTNews hailed as “one of the best books ever published on the art world” features new material on the latest art deals, reflections on race and culture, the impact of the pandemic on the art world, and more. Internationally renowned dealer and market expert Michael Findlay offers a lively and authoritative look at the financial and emotional value of art throughout history. In this newly revised, updated, and generously illustrated edition Findlay draws on a half-century in the business and a passion for great art to question and redefine what we mean by “value,” addressing developments in this conversation since the book was first published in 2012: the rise of NFTs and digital art; the auction house as theatre; the pressing relationship between art and society’s fraught political landscape; and the impact of the pandemic. With style and wry wit, Findlay demystifies how art is bought and sold while also constantly looking beyond sales figures to emphasize the primacy of art’s essential, noncommercial worth. Coloring his account with wise advice, insider anecdotes involving scoundrels and scams, stories of celebrity collectors, and remarkable discoveries, Findlay has distilled a lifetime’s experience in this indispensable guide, now updated for today’s sophisticated and discerning audience.
Art historian Henry M. Sayre traces the origins of the term “value” in art criticism, revealing the politics that define Manet’s art. How did art critics come to speak of light and dark as, respectively, “high in value” and “low in value”? Henry M. Sayre traces the origin of this usage to one of art history’s most famous and racially charged paintings, Édouard Manet’s Olympia. Art critics once described light and dark in painting in terms of musical metaphor—higher and lower tones, notes, and scales. Sayre shows that it was Émile Zola who introduced the new “law of values” in an 1867 essay on Manet. Unpacking the intricate contexts of Zola’s essay and of several related paintings by Manet, Sayre argues that Zola’s usage of value was intentionally double coded—an economic metaphor for the political economy of slavery. In Manet’s painting, Olympia and her maid represent objects of exchange, a commentary on the French Empire’s complicity in the ongoing slave trade in the Americas. Expertly researched and argued, this bold study reveals the extraordinary weight of history and politics that Manet’s painting bears. Locating the presence of slavery at modernism’s roots, Value in Art is a surprising and necessary intervention in our understanding of art history.
Essays, conversations, and artist portfolios confront questions at the intersection of race, institutional life, and representation. Controversies involving race and the art world are often discussed in terms of diversity and representation—as if having the right representative from a group or a larger plurality of embodied difference would absolve art institutions from historic forms of exclusion. This book offers another approach, taking into account not only questions of racial representation but also issues of structural change and the redistribution of resources. In essays, conversations, discussions, and artist portfolios, contributors confront in new ways questions at the intersection of art, race, and representation. The book uses saturation as an organizing concept, in part to suggest that current paradigms cannot encompass the complex realities of race. Saturation provides avenues to situate race as it relates to perception, science, aesthetics, the corporeal, and the sonic. In color theory, saturation is understood in terms of the degree to which a color differs from whiteness. In science, saturation points describe not only the moment in which race exceeds legibility, but also how diversity operates for institutions. Contributors consider how racialization, globalization, and the production and consumption of art converge in the art market, engaging such topics as racial capitalism, the aesthetics of colonialism, and disability cultures. They examine methods for theorizing race and representation, including “aboutness,” which interprets artworks by racialized subjects as being “about” race; modes of unruly, decolonized, and queer visual practices that resist disciplinary boundaries; and a model by which to think with and alongside blackness and indigeneity. Copublished with the New Museum
Says Bill Ackman of Pershing Square Capital Management about The Art of Value Investing: "I learned the investment business largely from the work and thinking of other investors. The Art of Value Investing is a thoughtfully organized compilation of some of the best investment insights I have ever read. Read this book with care. It will be one of the highest-return investments you will ever make." Based on interviews with the world's most-successful value investors, The Art of Value Investing offers a comprehensive set of answers to the questions every equity money manager should have thought through clearly before holding himself or herself out as a worthy steward of other people's money. What market inefficiencies will I try to exploit? How will I generate ideas? What will be my geographic focus? What analytical edge will I hope to have? What valuation methodologies will I use? What time horizon will I typically employ? How many stocks will I own? How specifically will I decide to buy or sell? Will I hedge, and how? How will I keep my emotions from getting the best of me? Who should read The Art of Value Investing? It is as vital a resource for the just starting out investor as for the sophisticated professional one. The former will find a comprehensive guidebook for defining a sound investment strategy from A-to-Z; the latter will find all aspects of his or her existing practice challenged or reconfirmed by the provocative thinking of their most-successful peers. It also is a must read for any investor – institutional or individual – charged with choosing the best managers for the money they are allocating to equities. Choosing the right managers requires knowing all the right questions to ask as well as the answers worthy of respect and attention – both of which are delivered in The Art of Value Investing.
This book offers a range of views on spolia and appropriation in art and architecture from fourth-century Rome to the late twentieth century. Using case studies from different historical moments and cultures, contributors test the limits of spolia as a critical category and seek to define its specific character in relation to other forms of artistic appropriation. Several authors explore the ethical issues raised by spoliation and their implications for the evaluation and interpretation of new work made with spolia. The contemporary fascination with spolia is part of a larger cultural preoccupation with reuse, recycling, appropriation and re-presentation in the Western world. All of these practices speak to a desire to make use of pre-existing artifacts (objects, images, expressions) for contemporary purposes. Several essays in this volume focus on the distinction between spolia and other forms of reused objects. While some authors prefer to elide such distinctions, others insist that spolia entail some form of taking, often violent, and a diminution of the source from which they are removed. The book opens with an essay by the scholar most responsible for the popularity of spolia studies in the later twentieth century, Arnold Esch, whose seminal article 'Spolien' was published in 1969. Subsequent essays treat late Roman antiquity, the Eastern Mediterranean and the Western Middle Ages, medieval and modern attitudes to spolia in Southern Asia, the Italian Renaissance, the European Enlightenment, modern America, and contemporary architecture and visual culture.
