Save
Save chapter to my Bookmarks
Cite
Cite this chapter
Print this chapter
Share
Share a link to this chapter
Free
Index
Sophie Cras
Description: The Artist as Economist: Art and Capitalism in the 1960s
The Artist as Economist: Art and Capitalism in the 1960s
Index
Author
Sophie Cras
PublisherYale University Press
PublisherTerra Foundation for American Art
Copyright© 2019 by Yale University
Stable URL: https://aaeportal.com/?id=-19827
View chapters with similar subject tags
Chapter images ()
Loading image navigation...
No image index could be found for this publication.
Close this Panel
Show previous images Show next images
Index
 
abstract art: criticism of, 47
and economic thought, 4–5
Adorno, Theodor, 3
Aglietta, Michel, 161
Alba Laboratory, 41, 42, 193
Albee, Edward, 151
Alberro, Alexander, 101
Albers, Josef, 151
Algeria: independence from French occupation sought by, 92, 93–94
Alloway, Lawrence, 62, 112
Alpers, Svetlana, 4
American art: internationalization of, 12
Anderson, Robert B., 71
Andy Warhol Enterprises (exhibition), 68
anti-Communism: in the United States, 71, 74
Anti-Illusion: Procedures/Materials (exhibition), 135, 137
Antin, Eleanor, 162
Antonio, Emile de, 81
applicable art, 52
Applin, Jo, 145
Arce, Jesús Guzmán, 158
Arendt, Hannah, 22
Arman, 111
Accumulation, 102
art: as active force, 2
as commodity, 7, 64–65, 100, 103, 137, 182–83
devaluation of, 47–48
economistic terminology applied to, 107–8
and fashion design, 52–61
as hedge against inflation, 103, 104
intrinsic value of, 7, 21–23, 32–33
as investment, 13, 23, 102–8, 127–34, 136–37, 138, 141–47
Marxist theories of, 10
as medium of exchange, 155, 194
money and commerce as depicted in, 3–5, 8–9, 12, 13, 36–38, 62–65
and opposition to art as investment, 138–40
valuation of, 10, 12–13, 64–65. See also abstract art; conceptual art; industrial painting; value; and names of individual artists
art and economics: Filliou’s perspective on, 1–2, 193–95
and Gallizio’s industrial painting, 38–61
history of, 5–7
Klein’s theories relating to, 12–13, 18–38
as mutually exclusive, 4
tension between, 9, 196. See also commerce; conceptual art; currency and banknotes; investment; Rivers, Larry; value; Warhol, Andy
Art in America, 141
Art International: Rivers’s French Money paintings in, 87
art investment funds, 105–6, 137
art market: artists’ frustration with, 180–84, 188–90
Beuys’s critique of, 181–83
conceptual art as response to commercialism of, 100, 124–25, 136, 140–41
crisis in, 87
and financial speculation, 36–38, 46, 64–65, 180
geographical reconfiguration of, 148–49
and the global economy, 6–7, 148–49, 186
impact of inflation on, 160, 184
as microcosm of economic life, 9, 17, 46, 159–60, 186, 193
recession in, 184
and the social role of art, 46, 61
and supply and demand, 23–24, 180. See also Cologne Art Fair; Gallizio, Giuseppe; Kienholz, Edward; Klein, Yves; Rivers, Larry; value; Venet, Bernar; Warhol, Andy
Art Market Guide and Forecaster, 104, 105
Art of Money, The (exhibit), 102, 149
Art Work, No Commercial Value, 163
Art Workers’ Coalition (AWC), 138–40
artist’s signature: value of, 50
Ash, Robert, 111
Atchley, Dana, 156, 162
automation: and artistic practice, 41
avant-garde art: fashion design as antithetical to, 52–53
 
Baker, Josephine, 164, 166
Baldessari, John: Information Paintings Never Completed, 108
banknotes. See currency and banknotes
Barbon, Nicholas, 160–61
Bataille, Georges, 32
La part maudite, 50, 52, 196
Battcock, Gregory, 101
Baudrillard, Jean, 117, 179
Bauhaus movement, 41
Baxandall, Michael, 22
Baxter, Ingrid and Iain, 131–32
Benjamin, Walter, 11, 62, 65, 118, 197
Bennett, Charles, 71
Bernstein, Michèle, 46–48, 56
Bertin, Jacques, 112
Bertolino, Giorgina, 40
Besson, Christian, 115
Beuys, Joseph: as critic of the art market, 181–83
Bianchini, Paul, 144, 145
Bill, Max, 40–41
Black Mountain College, 151
Blankfort, Michael, 25
Block, René, 181
Blom, Ina, 155
blue pigment: Klein’s creation of, 18, 19–20, 23, 48
Boltanski, Luc, 2, 18, 132
Bonaparte, Napoleon: David’s paintings of, 95, 96, 98
as depicted in Rivers’s French Money paintings, 84, 85, 88
as shown on French banknotes, 89, 90, 91–92, 93
Bonnefoi, Geneviève, 17
Bosquet, Alain, 23
Bouguereau, William, 104
Bourdet, Claude, 28
Bourdon, David, 68, 131, 154
Bourgeois, Pierre, 189
Brecht, Bertolt, 115
Breton, André, 17
Bretton Woods agreement, 6, 28, 184
Broodthaers, Marcel, 3, 9, 161, 194
Au pied de la lettre, 189–90
La Banque, 177, 178, 179, 189, 191
La Banque et le Critique, 177, 177
and Joseph Beuys, 181–83
at the Cologne Art Fair, 169, 174–80, 181–82
La conquête de l’espace: Atlas à l’usage des artistes et des militaires, 190
drawings by, 175
En lisant “La Lorelei, ” 186, 187
films by, 169, 174, 176, 184, 188
Financial Section of his “Museum, ” 168–69, 175–80
Gedicht-Poem-Poème/Change-Exchange-Wechsel, 168, 172–73, 183, 186, 188, 190
gold ingot project proposed by, 174–75, 184–85
Jeter du poisson sur le marché de Cologne, 174
Ma collection, 179, 180
Musée d’art moderne à vendre 1970–1971 pour cause de faillite, 177, 180, 183
Museum-Museum, 168, 170–71, 175, 183, 184, 185, 186
Museum of Modern Art, Department of Eagles, 13, 168, 174, 175
Paysage d’automne, 175, 183–84, 185, 186
Brooker, Bill, 95
Bryant, Barry, 119
Buchloh, Benjamin, 68
Buffet, Bernard, 56, 103, 109
Bureau of Engraving and Printing, 74–75, 77
printing press used by, 76. See also dollar bill
Burnham, Jack, 131
Burton, Richard, 151
Bury, Pol, 186
Butler, Eugenia, 35
Butt, Gavin, 96
Buzzati, Dino, 20
 
Camnitzer, Luis, 191–92
capitalism: American model of, 11
during the Cold War, 2, 6–7
diverse perspectives on, 10–12
Filliou’s view of, 1, 6
and inflation, 77–78
during the 1960s, 10–11
and religious values, 75. See also currency and banknotes; stock exchange
capitalist economies: art and artists as valued in, 11–14
and artistic creativity, 2, 193
critiques of, 17, 18, 50–52, 196
Gallizio’s industrial painting as critique of, 46–50
and tensions with developing countries, 148, 191–92
Cassette Cartridge Corporation: stock shares as conceptual art project, 128–30, 131
Céline, Louis-Ferdinand, 98
Chase, Salmon P., 71
Chelsea Gallery: The Art of Money exhibit at, 102, 149
Ray Johnson’s work at, 149–51
Chiapello, Ève, 2, 132
Christo, 155
Chroniques de l’art vivant: Venet featured in, 109
Cladders, Johannes, 176
Clark, T. J., 5, 10, 52–53, 77
Clausewitz, Carl von, 149
Clert, Iris, 27, 38
Collins, Douglas: Stock Exchange Transplant, 119–23
Cologne Art Fair: Broodthaers’s Financial Section at, 174–80
in historical context, 180–84
Colpitt, Frances, 101
commerce: and the art market, 3–4, 148–49, 188–90, 191–92
circuits of, 149, 163, 167, 168
as depicted in art, 3–5
incommunicability as inherent in, 189–90
as source of conflict and exploitation, 188–90, 191–92, 194–95
as understood by artists, 13. See also art and economics; Broodthaers, Marcel; capitalism; currency and banknotes; Johnson, Ray; stock exchange
commodity: art as, 7, 64–65, 100, 103, 137, 168, 169–75
human beings as, 151, 163–67. See also Broodthaers, Marcel; value
Communism: fears associated with, 6, 13, 71, 74, 78, 98
Compton, Michael, 186, 188
conceptual art, 13
advent of, 100–101
and economic life of the late 1960s, 101–2, 124–25
by Kusama, 124–25, 126
by Oppenheim, 102, 108, 118–27
by Venet, 102, 108–18
Constable, Rosalind, 153
Contamine, Philippe, 22
Copley, Billy Bryant, 142
Crime à Cologne (Broodthaers film), 176
Crow, Thomas, 52–53, 68
Curley, John J., 68
currency and banknotes: as abstract concept, 63–64, 69, 99, 193
Walter Benjamin on, 62
as depicted in art, 3–5, 8–9, 12, 62–65, 162–63
designs of, 4, 65, 73–74, 79, 89–90, 93–94
exchange rates for, 6, 184
exchange value of, 64–65
instability of, 17, 27–29
Klein’s views on, 32
mail art as, 162–63
as objects of faith and trust, 64–65, 82, 99
as symbolic, 69, 81, 82–83
as used in Ray Johnson’s work, 151, 155–63
as used in Kienholz’s work, 36–38
as used in Rivers’s work, 9, 12, 13, 64, 65, 83–99, 193
as used in Warhol’s work, 9, 13, 62, 63, 64, 65–83, 193. See also dollar bill; franc, French
 
Daled, Herman, 141, 183
Daled, Nicole, 141
d’Alembert, Jean, 15
Dalí, Salvador, 56, 58
Darrow, Whitney, Jr., 107
David, Jacques-Louis: Le général Bonaparte, 98
Napoleon as depicted by, 95, 96, 98
Debord, Guy, 47, 50, 52, 58
and industrial painting, 39, 40–41, 42, 45, 48
de Duve, Thierry, 19
de Gaulle, Charles, 27, 30, 92, 93–94
de Knyff, Gilbert, 104–5
Dennis, Sandy, 151
De Salvo, Donna, 152
de Vree, Freddy, 181–82
Diderot, Denis, 15
Dillon, C. Douglas, 73, 74
Dior, Christian, 56–58
dollar bill: as depicted in Warhol’s art, 65–83
iconography of, 62
ideological implications of, in Warhol’s art, 68–69
“In God We Trust” on, 73, 74–75
silkscreens of, 73–74
as symbol, 71
value of, 77. See also inflation
Dowd, Robert, 62
Duchamp, Marcel, 151, 166
Chèque Tzanck, 8–9
economic metaphors used by, 7
fiduciary works by, 8–9
image of, as used in Ray Johnson’s mail art, 166–67
Dupuy, Jean-Pierre, 161
Dwan Gallery: Graham’s work at, 141
Lozano’s work at, 141
Venet’s work at, 109, 113
Dworshak, Henry, 78
Dylan, Bob, 142
 
economic behavior: as aspect of economic analysis, 116
economic thought: art as model for, 51–52
critiques of, 50–51, 124–25
of Friedman, 116
of Keynes, 146–47
Kienholz’s views on, 34–38
Klein’s views on, 12–13, 18–38. See also capitalist
economies economics: and artistic practice, 1–2, 7–9, 10–14
traditional schools of thought relating to, 31–32. See also art and economics; art market; capitalism; currency and banknotes
economy: multiple meanings of, 8. See also financial economy; stock exchange
Encyclopédie (Diderot and d’Alembert), 15
Esquerre, Arnaud, 18
European Community, 148
European Customs Union, 148
Évian Accords, 93
Experimental Laboratory of the Situationist International, 41
 
Factor, Monte, 34
fashion: and artistic creation, 55–56
and avant-garde art, 52–53
and Gallizio’s industrial painting, 53–61
as luxury, 53–56
Federal Reserve Notes, 78. See also dollar bill
Feigen, Richard, 149, 158
Filliou, Robert: as artist and economist, 1–2, 6, 17, 191, 193–95, 196, 197–98
background of, 1
Commemor, 191
Je meurs trop, 197, 198
principles of poetical economy as proposed by, 1–2, 195, 197–98
Research at the Stedelijk, 2, 194
financial analysis: as focus of Venet’s conceptual art, 13, 102, 108–18
financial economy: immateriality of, 101–2
as subject for conceptual art, 101–2, 127–28. See also Graham, Dan; Levine, Les; Lozano, Lee; Morris, Robert; Oppenheim, Dennis; stock exchange; Venet, Bernar
Findlay, Michael, 156, 158, 159, 160
Fiore, Robert, 136
Fischbach Gallery: Levine’s gold sculptures at, 134, 135
Flaubert, Gustave, 3
Fluxus, 1
Foucault, Michel, 117
Fourastié, Jean, 6
Fourier, Charles, 17
franc, French: designs of, 89–90, 93
fluctuating value of, 27–29, 30, 90–92
iconography of, 93–94
as subject of public debate, 90–92
as subject of Rivers’s French Money paintings, 65, 83–99
France: and decolonization, 92–93
financial crises in, 32
and internal conflict over war in Algeria, 92–94
monetary policy in, 27–31, 90–92
Friedman, Milton, 10, 116
 
Galerie Michael Werner: Broodthaers’s book published by, 174
Broodthaers’s film shown at, 169
Broodthaers’s work at, 175, 176, 180, 183
Galerie nationale du Jeu de paume: Broodthaers’s work at, 168
Galerie René Block, 181
Galerie René Drouin: Gallizio’s work at, 39, 41–42, 55, 58, 59
Galerie Rive Droite: Rivers’s work at, 83, 86, 91, 93, 95
Galerie van de Loo: Gallizio’s work at, 39, 46, 49, 59
Galerie Yvon Lambert, 183
Galleria Apollinaire: Klein’s work at, 19–21, 23, 36
Galleria Montenapoleone: Gallizio’s work at, 48
Galleria Notizie: Gallizio’s work at, 38–39, 54
gallery system, 50
Gallizio, Giorgio, 42, 45
Gallizio, Giuseppe, 3, 9
cartoon depicting, 45–46
Une Caverne de l’anti-matière, 55, 59–60
fashion as focus of, 53–61
Hommage à Dior, 56–58
industrial painting as conceived and executed by, 12–13, 38–61
Jorn as influence on, 40–41
manifesto of, 18, 53, 197
Primi esperimenti di pittura industriale, 38
on value in art, 51–52
women as used in works by, 58–61
Garnier, Germain, 16
Gassiot-Talabot, Gérald, 95
Geldzahler, Henry, 78, 81
general equilibrium, theory of, 16
Gernreich, Rudi, 35
Gibson, John, 127
Gibson, Susan, 127
Gilissen, Maria, 175, 185, 189
Gimpel, Charles, 98
Gimpel, Peter, 87
Gimpel Fils: Rivers’s work at, 86
Giorno, John, 134
Glueck, Grace, 137, 152–53
gold: as financial asset, 29–30, 184–85
as medium for Broodthaers’s art, 174–75, 184–85
as payment for Klein’s art, 3, 24–27, 29, 31
used as material in Klein’s works, 24–27, 33
“Golden Age of Growth, ” 6
Goldmann, Lucien, 17, 50, 51, 60
Goldwater, Barry, 78
Goux, Jean-Joseph: Les monnayeurs du langage, 4–5
Graham, Dan: Income (Outflow) Piece, 128, 130, 141–42
and the stock market as conceptual art, 13, 102, 140, 141–42, 146–47
Granahan, Kathryn O’Hay, 82
Greenberg, Clement, 86
Gruen, John, 153
Guevara, Ernesto (“Che”), 77
Gutman, Walter K., 158
Guy, Emmanuel, 59
 
Haberle, John, 4, 62
Hahn, Otto, 179, 186
Harnett, William Michael, 4, 62
Still Life—Five-Dollar Bill, 5
haute couture. See fashion Heerich, Erwin, 181
Hefferton, Phillip, 62
Hirshhorn, Joseph, 98
Hirshhorn Museum: Rivers’s work at, 85, 88, 97, 98
Hodgson, Geoffrey M., 11
Holtzclaw, Harry, 74
homosexuality: as suggested in Rivers’s images of Napoleon, 96–99
Hornby, Lesley. See Twiggy
human beings: commodification of, 151, 163–67
Hume, David, 195
Humphrey, George M., 81
 
Ibanès, Jean, 22
Ikegami, Hiroko, 12
Image Bank: and mail art as currency, 162–63
industrial design, 52
industrial painting: abandonment of, 39
and the artist’s signature, 50
as challenge to status quo, 39–40
as critique of capitalist economy, 46–50
and fashion, 53–55, 59–61
first experiments in, 41–42
Gallizio’s implementation of, 12–13, 38–61
pricing of, 48–50
principles and techniques applied in, 41–46
and Situationist International, 39, 40, 42, 45, 48, 50
inflation: art as hedge against, 103, 104
and the art market, 160, 184
as concern in France, 91
as concern in the United States, 77–78, 184
Information (exhibit at MoMA), 109
“In God We Trust”: as motto on U.S. currency, 71–73
International Klein Blue (IKB), 18, 48. See also blue pigment
international monetary system, 6
international trade: impact of, on the art market, 13–14
investment: art as, 13, 23, 102–8, 127–34, 136–37, 141–47. See also stock exchange
Isou, Isidore, 32
 
Jeanne-Claude, 155
Jefferson, Thomas, 81–82
Johns, Jasper, 100, 152
Johnson, Lyndon, 78
Johnson, Ray, 9, 13, 194
ambivalence of, regarding commercial success, 152–55, 190–91
art as currency in work by, 160–63, 191
on art collectors, 158–59
artist’s statement by, 154
background of, 151
collages of, 152–55
Dollar Bill collages of, 151, 155–60, 163, 164–66, 191
Joe Buck Dollar Bill, 164–66
mail art of, 151, 153–55, 161–63, 191
Marilyn Monroe Dollar Bill, 156–58
Oedipus (Elvis Presley #1), 152
press coverage of, 152–53
sale prices of work by, 156
Twiggy with Dollar Bill, 149–51, 155
and Andy Warhol, 158
Jorn, Asger, 17, 32, 56, 58, 193
Critique de la politique économique, 18, 50–52, 195
and industrial painting, 40, 41, 42, 45, 48
male chauvinism of, 59
and Situationist International, 50
just price: Klein’s concept of, 22–23, 32
 
Kaprow, Allan, 107, 121, 152, 195
Kennedy, John F., 71
Kennedy, Ted, 156
Keynes, John Maynard, 31, 146–47, 148, 196
Kienholz, Edward, 3, 12
The Commercial No. 3, Sort of a Commercial for “Watercolors, ” 36–38
Concept Tableaux, 34
economic experimentation by, 34–38
For $77.00, 35
Klein as influence on, 34, 36
Watercolors, 34, 35, 36–38
Kirkeby, Arnold, 103
Klein, Yves, 3, 9, 47, 48, 86, 193
blue revolution as articulated by, 18, 31–33, 52
Boîte à lingots, 30
Chelsea Hotel Manifesto of, 29
Le dépassement de la problématique de l’art, 52
economic thought of, as applied to art, 12–13, 18–38
gold as payment for works by, 3, 24–27, 29, 31
gold used as material in works by, 24–27, 33
identical blue paintings by, 19–21, 36
immaterial works by, 3, 9, 19, 23–25, 27, 29–31, 174–75
as influence on Kienholz, 34, 36
Monogold series, 26, 27, 31
on pictorial sensibility, 20, 21
Proposte monochrome, epoca blu, 19–20
Valeur or, 26, 31
Le vide, 38
Zones de sensibilité picturale immatérielle, 19, 23–24, 25, 27, 29, 31, 34
Konrad Fischer Galerie, 174
Kraushar, Leon, 107
Krauss, Rosalind, 5
Krieger, Martin, 111
Kugel, Jacques, 24
Kunstmuseum (Basel): Broodthaers’s work at, 168
Kusama, Yayoi: and “Naked Event outside the Stock Exchange, ” 124–25, 126
Untitled collage, 62, 64
 
Larcade, Jean, 83
Latow, Muriel, 69
Lawson, Thomas, 66
Lee, Gypsy Rose, 156
Lefebvre, Henri, 17
Leo Castelli Gallery: Warhol’s work at, 66
Letterist International, 40, 51
Leutze, Emanuel: Washington Crossing the Delaware, 95
Levine, Les: Disposables, 131
18-Carat Solid Gold Chewing-Gum, 134, 135
as experimental artist, 130–34
Museum of Mott Art, Inc., established by, 132–33
Profit Systems I, 128, 130, 131, 132, 134, 138, 144, 146
and the stock market as conceptual art, 9, 13, 102, 131–32, 146, 193
Lichtenstein, Roy, 62, 69
Limbour, Georges, 60
Lipman, Howard, 135–36, 141
Lipman, Jean H., 137, 141
Lippard, Lucy, 62, 100, 101, 109, 161
Lippi, Fra Filippo, 22
Lippold, Richard, 156
Livingston, Jane, 35
Lloyd, Frank, 87–88
Lonesome Cowboys (Warhol film), 164
Lotringer, Sylvère, 19
Lozano, Lee: Cash Piece, 143, 144
Dropout Piece, 146
experimental projects by, 143
Investment Piece, 128, 129, 141, 142–43, 144
and the stock market as conceptual art, 9, 13, 102, 140, 143–47
Withdrawal Piece, 146
write-ups by, 143–45
Lubelski, Abraham: Sculptural Daydream, 102
Lubliner, Malcolm, 35
Lukács, György, 17, 50
Lurcy, Georges, 103
luxury: fashion as, 53–56
as positive value, 12, 51, 52
 
machine: as symbol of capitalist technology, 40, 41, 51
Maison Joséphine (fashion house), 58
Malevich, Kazimir, 5
Mallarmé, Stéphane, 2–3, 191
Malraux, André, 92
Manzoni, Piero: Merda d’artista, 174
Mao Tse-tung, 142–43
Marcuse, Herbert, 17
Marie Claire: Gallizio featured in, 54–55, 56, 59
Marlborough Gallery: Rivers’s work at, 87–88
Marshall, Alfred, 148
Marx, Karl, 3, 10, 17, 23, 63, 196
Das Kapital, 50
Marxist theories: of art, 10
and industrial painting, 40
Masheck, Joseph, 115
Maxwell, Elsa, 153
McCarthy, Joseph, 71, 95
McCloskey, Deirdre, 10
McLuhan, Marshall, 8
Mendès-France, Pierre, 92
Messer, Thomas, 100
Meyer, Éric, 83
Meyer, Ursula, 101
Midnight Cowboy (film), 164, 166
Mill, John Stuart, 148
Millet, Catherine, 101
Miroglio, 53
Mondrian, Piet, 56
Mondzain, Marie-José, 8
money. See currency and banknotes; dollar bill; financial economy; franc, French
Monnet, Jean, 148
Monroe, Marilyn, 156–58
Monte, James, 135
Montesquieu, 148
Morgello, Clem, 112, 115
Morris, Michael, 162–63
Morris, Robert: Money, 128, 132, 134–38, 140–41, 146
on art as investment, 136–37
and the stock market as conceptual art, 13, 102, 134–38, 146–47
Mouvement international pour un Bauhaus imaginiste (MIBI), 41
Museum Haus Lange: Venet’s financial artwork at, 109
Museum of Modern Art: Rivers’s work at, 86
Venet’s installation at, 109
Myers, John, 86–87, 88
My Hustler (Warhol film), 164
 
Namuth, Hans, 121
National Gallery of Art: Warhol’s work at, 68
Newsweek: financial columns adapted as art by Venet, 108, 110, 112
New York Correspondence School (NYCS), 13, 153–55
demise of, 167
Johnson’s name for, 153
New York Stock Exchange, 11. See also stock exchange
New York Times: financial columns adapted as art by Venet, 108, 113
Nichols, Mike, 151
Nixon, Richard, 160
Norvell, Patricia, 140
Nouveau Réalisme, 10, 86
Nova Scotia College of Art and Design, 145
 
O’Hara, Frank, 156
Oldenberg, Claes: The Store, 69
Oppenheim, Dennis, 13
conceptual art by, 102, 108, 118–27
documentary film of conceptual art by, 119–23
Removal Transplant—New York Stock Exchange, 118–27
Orléan, André, 99, 161
 
Pacquement, Alfred, 168
Panofsky, Erwin, 194
paper money: American attitudes toward, 4
trompe-l’oeil depiction of, 4. See also currency and banknotes; dollar bill
Pareto, Vilfredo, 16
Pariat, Maurice: Le tableau de peintre contemporain comme valeur de placement, 106
Parinaud, André, 105
Paula Cooper Gallery: Venet’s financial artworks at, 109
peace: commerce as potentially contributing to, 148–49, 191
performance art, 108. See also conceptual art
Perreault, John, 134
Peto, John Frederick, 4, 62
Peynet, Raymond, 56
photographic enlargement: Venet’s use of, 110, 111, 112–13
Picasso, Pablo, 5, 56, 75–77
Piketty, Thomas, 14
Pinay, Antoine, 27, 28, 30
Pinot-Gallizio (monograph), 43, 44
Pistoi, Luciano, 38
Platschek, Hans, 58
Platschek, Josephine, 58
Plunkett, Edward M., 153
Poinsot, Jean-Marc, 155, 180
poisson est tenace, Le (Broodthaers film), 169, 174
Pollock, Jackson, 103, 121
pop art, 10, 65–66
popularity of, 100. See also Warhol, Andy
pop sensibility: and Warhol’s money portraits, 62
Porter, Sylvia, 104
portrait painting, 3
Potlatch Manifesto, 47
Preobrazhensky, E. A., 77–78
price (of art): as distinguished from value, 15–17, 18, 21–22
as moral issue, 22. See also Klein, Yves
Priest, Ivy Baker, 81
Projet pour un poisson (Projet pour un film) (Broodthaers film), 169, 174, 188
prostitution: as addressed in Ray Johnson’s work, 164–66
 
Quesnay, François: Tableau économique, 195
 
racial inequality: as addressed in Ray Johnson’s work, 163–67
Ragon, Michel, 47, 91, 186
Rauschenberg, Robert, 69, 93, 151, 152
Reinhardt, Ad, 103, 151
Reitlinger, Gerald: The Economics of Taste, 102, 105
Rendez-vous mit Jacques Offenbach (Broodthaers film), 184
reproducibility: as aspect of value, 20–21
Restany, Pierre, 47
Ricardo, David, 3, 16
Richard Feigen Gallery: Ray Johnson’s work at, 155
Ricke, Rolf, 145
Riout, Denys, 19, 20, 21, 27
Rivers, Clarice, 86
Rivers, Larry, 3, 36
Amel-Camel, 84
Cedar Bar Menu, 84
commercial success of, 87
French Money paintings, 65, 83–99, 102
Friendship of America and France (Kennedy and de Gaulle), 95
The Greatest Homosexual, 96–98
influences on, 84–86
money as depicted in works by, 9, 12, 13, 64, 65, 83–99
patriotic emblems in works by, 95
reviews of, and responses to, the French Money paintings, 94–99
Washington Crossing the Delaware, 86, 95
Roberts, Jennifer, 4
Rose, Barbara, 101, 102, 113
Rosenberg, Harold, 23
Rosenquist, James, 100
Rosenthal, Nan, 18
Rueff, Jacques, 10, 27–28, 29, 30, 32, 92
Ruscha, Ed, 156
Rush, Richard H., 138
Art as an Investment, 106
Ruskin, John, 4, 17
 
Saint Laurent, Yves, 56
Saint Phalle, Niki de, 42, 86, 93
Salan, Raoul, 94
Say, Jean-Baptiste, 16, 63
Schapiro, Meyer, 6–7
Schjeldahl, Peter, 134
Schlesinger, John, 164, 166
Schneider, Pierre, 84
Schups, Paul, 112
Schuyler, James, 96
Schwitters, Kurt, 158, 160
Mz. 158 Das Kotsbild, 161
Scull, Robert, 107, 140, 159
Secret Army Organization (France): bonds issued by, 94
Segal, George, 151
Serveau, Clément, 90, 93, 96
Sharp, Willoughby, 119
Shell, Marc, 5
Sherman, Frederic Fairchild, 141
Shonfield, Andrew, 11
Siegelaub, Seth, 101, 118, 181
silk-screening: as used in pop art, 69–70
Warhol’s use of, 69–71
Silver Certificates: as U.S. currency, 78–79, 81
Warhol’s depiction of, 72. See also dollar bill
Simmel, Georg, 10, 22, 63–64
Situationist International (SI), 12, 39, 40, 42, 45, 48, 50, 197
and Gallizio’s fashionas-art proposition, 55–58
journal of, 40. See also industrial painting
Smith, Adam, 16, 195
Smith, Elizabeth Rudel, 73, 74
Solomon, Horace, 127
Sonnabend, Ileana, 177
Stable Gallery: Warhol’s work at, 69
Staeck, Klaus, 181, 183
Stedelijk Museum, 2, 39, 194
Stern, Bert, 150
stock exchange: debris from, used as basis for conceptual art by Oppenheim, 13, 118–27
as medium for artistic experimentation, 127–47
theatrical dimension of, 113–15
transactions as medium for art by Venet, 13, 108–18
and the world of art, 13, 108. See also Graham, Dan; Kusama, Yayoi; Levine, Les; Lozano, Lee; Morris, Robert
Stünke, Hein, 180
Surrealist movement, 40
Swenson, Gene, 81
 
Taxes and Art, 104
Taylor, Elizabeth, 151
Tiber Press, 70
Tibor de Nagy Gallery: Rivers’s work at, 86, 87
Times-Sotheby’s Index, 106
Tinguely, Jean, 86, 95
Toscano, Alberto, 115
Trasov, Vincent, 162–63
Tremaine, Emily Hall, 81
“Trente Glorieuses, les, ” 6
Troy, Nancy J., 52
Couture Culture, 53
Tucker, Marcia, 135
Turgot, A. R. J., 195
Twiggy: Ray Johnson’s depiction of, 149–51
two-dollar bill: unpopularity of, 82–83
Twombly, Cy, 152
Tzanck, Daniel, 8
 
Ullman, Jack, 112
Ulm School of Design, 41, 52, 53
uniqueness: as aspect of value, 20–21, 23
Unruh, Allison, 68, 71
 
Valogne, Catherine, 23
value: as affected by economic conditions, 17, 23–24, 46–47
as ascribed to paper money, 4, 33, 99
as distinguished from price, 15–17, 18, 21–22
economic critiques of, 16–18, 60–61
factors affecting, 12–13, 15, 16, 18–19, 23–24, 31, 99
genealogy of, 19
intrinsic, 7, 16, 21–23, 32–33
Jorn’s essay on, 50–52
and luxury, 52
meanings of, 15–16, 50–51
as a process, 50–51
supply and demand as factor in, 23–24, 46–47, 180
as variation, 51–52. See also art and economics; art market; commerce; currency and banknotes; and names of individual artists
Vecchi, Floriano, 70
Venet, Bernar, 3, 12, 13, 193
conceptual art by, 102, 108–18
financial artworks and installations by, 108–18, 127
Language III, 109, 141
Lecture by Richard Cornfield, MD and James Rosenfeld, MBA, 116–17
science as preoccupation of, 111–12, 115–17
Waiting for a Breakthrough or Two, 110
Vivaldi, Antonio: Gloria, 119, 121
Vogl, Joseph, 11
 
Wall Street Journal: financial columns adapted as art by Venet, 108, 111, 113
Walras, Léon, 16, 31
Ward, Eleanor, 69, 82
Warhol, Andy, 3
attack on, 153, 166
Campbell’s Soup Cans, 62
Dollar Bill series, 65, 65–83, 102
Dollar Sign series, 66, 67, 69, 83
feelings of, regarding money, 79–80
films by, 164–66
financial anxiety experienced by, 78
and Ray Johnson, 158
money as depicted in works by, 9, 13, 63, 64, 65–83
One Dollar Bill, 66
One Dollar Bill (Back), 70, 72; 192
One Dollar Bills, 70
The Philosophy of Andy Warhol, 71, 75–77, 79
Printed Dollar #7, 70, 72
S&H Green Stamps, 70
silk-screening as used by, 69–70, 75–77
Two Dollar Bill paintings, 80–81
Warnod, André, 95
Washington, George: Rivers’s depiction of, 86, 95
Warhol’s depiction of, 73
Watts, Robert, 62
Weber, Max, 2
Weil, Stephen E., 135–36
Weiss, Wilfred, 49–50
Werner, Michael, 180, 183. See also Galerie Michael Werner
Whistler, James McNeil, 4
Whitney Museum of American Art, 145
Robert Morris’s attempt to act as investor for, 128, 134–38
Who’s Afraid of Virginia Woolf? (film), 151
Wide White Space Gallery: Broodthaers’s work at, 175, 177
Willard Gallery: Ray Johnson’s work at, 152–53
women: as artists, 12
marginalizing of, 60
as used in Gallizio’s fashion-related art, 58–60
Wood, Marcus: Blind Memory: Visual Representations of Slavery in England and America, 167
Woolf, Virginia, 149, 151
Wuerlich, Glauco, 42
 
Zelizer, Viviana, 69, 81, 149
Zola, Émile, 103
Zwirner, Rudolf, 180
Index
Next chapter