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Description: The Artist as Economist: Art and Capitalism in the 1960s
~This book has benefited from the support and goodwill of so many people and institutions that it would be futile to even try to name them all.
PublisherYale University Press
PublisherTerra Foundation for American Art
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Acknowledgments
This book has benefited from the support and goodwill of so many people and institutions that it would be futile to even try to name them all.
I feel very lucky that this book, initially published in French by Les presses du réel in partnership with the German Center for Art History, is now accessible to a wider English-speaking audience in this new, revised and expanded edition. For this, I thank very warmly my publisher, Yale University Press, and especially Amy Canonico for her trust, and for accompanying me at every step of this project. Malcolm DeBevoise proved to be the most dedicated, meticulous, and talented translator any writer could hope to have. None of this would have been possible without the financial support of the Terra Foundation for American Art (Translation Grant), the Cultural Services of the French Embassy (Acquisition of Right Grant and French Voices Award, in partnership with the PEN American Center, with the support of the Florence Gould Foundation and the Andrew W. Mellon Foundation), as well as of the Doctoral School of Art History at the Université Paris 1–Panthéon-Sorbonne.
I would like to express my gratitude to the artists, or representatives from their estates, who agreed to meet with me, gave me access to documentation and artworks, graciously permitted the images in this book to be reproduced, and facilitated my research and publication: Mara Devereux, Maria Gilissen, Dan Graham, Les Levine, Larry Miller, Robert Morris, Peter Saul, Klaus Staeck, Ben Vautier, Bernar Venet and his studio, William Wilson, the Robert Filliou Estate (Peter Freeman, Inc.), Ray Johnson Estate (Richard L. Feigen and Co. and president Frances F. L. Beatty), Edward Kienholz Estate (L.A. Louver), Archives Yves Klein, Yayoi Kusama Studio, and Lee Lozano Estate (Hauser and Wirth). I owe special thanks to Liliana Dematteis (Archivio Gallizio) and Amy Plumb Oppenheim (Oppenheim Estate and Studio/Archive) for their time and generosity.
This study would not have been possible without the allowances, scholarships, and residencies I received, which allowed me to travel and work under exceptional conditions. I would therefore especially like to thank the institutions that have offered me their support: the Université Paris 1–Panthéon-Sorbonne, École Normale Supérieure, Remarque Institute at New York University, Terra Foundation for American Art, Smithsonian American Art Museum, Alliance Franco-Néerlandaise, École française de Rome, and German Center for Art History.
I am deeply indebted to the museum curators, librarians, archivists, collectors, and dealers who have generously given me access to works or archives and shared their knowledge and experiences in their field. I would particularly like to thank: Tobias Bäumer (Michael Werner Gallery), Claire Cauchy (Musée d’art moderne de Saint-Étienne), Anita Duquette (Whitney Museum of American Art), Baptiste Essevaz-Roulet, the late Joni Gordon (Newspace Gallery), Nicholas Martin (Fales Library, New York University), Mirjam Meisen (Bonnefantenmuseum), Ghislain Mollet-Viéville, Chiara Parisi, Claudia Pasko (Konrad Fischer Gallery), Michael Sampson (Secret Services, Washington, D.C.), Arturo Schwarz, Aimee Soubier (Hirshhorn Museum and Sculpture Garden), Gonçalo Sousa Pinto and Ursula Trieloff (Kunsthalle Hamburg), Franco Stella (Biblioteca d’arte della Fondazione Torino musei), Hana Streicher and Maik Schult (Staatliche Museen, Neue Nationalgalerie, Berlin), Matt Wrbican (Andy Warhol Museum), Michael Zakian (Frederick R. Weisman Museum of Art), the teams at the Archives of American Art, the Kandinsky Library, the Prints Department of the Bibliothèque nationale de France, the Nelson-Freeman Gallery, the Philadelphia Museum of Art, the Stedelijk Museum and its library, and the Getty Research Institute.
I would like to thank very warmly the colleagues and research groups who followed and supported this work as it developed. My gratitude goes to Philippe Dagen, my PhD advisor, as well as to the members of my jury, Laurence Bertrand Dorléac, Luc Boltanski, Evelyne Toussaint, and Jean-Marie Schaeffer. I also thank Ken Allan, Julia Bryan-Wilson, Benoît Buquet, Maggie Cao, Cathleen Chaffee, Loïc Charles and Yann Giraud (and the “History of Economics as Culture” group), Pauline Chevalier, Tony Côme, Larisa Dryansky, Vincent Duchaussoy (and the Historical Mission of the Banque de France), Jacopo Galimberti, Anne Goodyear, Charlotte Guichard, Arthur Jatteau and Simon Bittman (and the seminar “Multidisciplinary Approaches to the Economy”), Étienne Jollet, Déborah Laks, Patrice Maniglier (and all the participants of the “Art/Value” seminar), Julien Pénasse, Denys Riout, Rachel Stella, Alex Taylor, Erik Verhagen, all the fellows of the Smithsonian American Art Museum, of the Terra Foundation Summer Residency in Giverny, of the École française de Rome, and of the German Center for Art History, as well as my colleagues and students from the Université Paris 1–Panthéon-Sorbonne. My special thanks go to Trevor Merrill, Kaira Cabañas, Emmanuel Guy (and the participants of the “Sixties” seminar), Béatrice Joyeux-Prunel (and the Artlas team), Veerle Thielemans (and the entire team of the Terra Foundation in Paris), Cécile Whiting, Natalie Adamson, and the colleagues and friends who gave their time to review various stages of this work: Laurine Célarier, Charles Davoine, Morgan Labar, Maxime Morel, Constance Moréteau, Camille Paulhan, and Hélène Valance.
Finally, I would like to thank all my family and friends, as well as Eric and Noé.
Parts of this book have appeared in somewhat different form in journals in several countries. My discussion of Yves Klein in chapter 1 draws on my article “De la valeur de l’œuvre au prix du marché: Yves Klein à l’épreuve de la pensée économique,” in Marges, no. 11 (November 2011): 30–45; in chapter 2, concerning Larry Rivers, see “Larry Rivers, de la Banque française,” in Les cahiers du Musée national d’art moderne, no. 133 (Autumn 2015): 52–63; in chapter 3, with regard to Dennis Oppenheim, see “Dennis Oppenheim und das Ende des ticker tapes,” in Archiv fuer Mediengeschichte 17 (2017): 126–39; also in chapter 3, my treatment of the financial aspects of art draws on “Art as an Investment and Artistic Shareholding Experiments,” in American Art 37, no. 1 (Spring 2013): 2–23.
Additionally, the opening section of chapter 2 devoted to Andy Warhol is based on a translation of the original French text by Trevor Merrill, corrected and extensively revised by Malcolm DeBevoise.
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