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List of illustrations

  • Research at the Stedelijk
  • Still Life—Five Dollar Bill
  • Chèque Tzanck [Tzanck Check]
  • Receipt given to Jacques Kugel for purchase of Zone de sensibilité picturale immatérielle [Zone of Immaterial Pictorial Sensibility] no. 2, series no. 1
  • Yves Klein selling Zone de sensibilité picturale immatérielle [Zone of Immaterial Pictorial Sensibility] no. 1, series no. 4 to Michael Blankfort
  • Valeur or [Value Gold], (Monogold 22)
  • Advertisement (“Rente 3,5% à capital garanti sur l’or”) for the de Gaulle–Pinay public loan
  • Boîte à lingots [Ingot Box]
  • For $77.00
  • Opening of the exhibition "Ed Kienholz: Watercolors" at the Eugenia Butler Gallery, Los Angeles
  • The Commercial No. 3, Sort of a Commercial for Watercolors
  • Picture with caption from the monograph Pinot-Gallizio
  • Pictures from the monograph Pinot-Gallizio
  • Cartoon published on the occasion of Giuseppe Gallizio’s exhibit at the Galerie van de Loo, Munich, April–May 1959
  • Giuseppe Gallizio selling painting “by the meter” at the opening of his show at the Galerie van de Loo, Munich, April 1959
  • Models being fitted for painted dresses at Galleria Notizie in Turin, May 1958
  • Curtains used for Giuseppe Gallizio’s exhibition Une Caverne de l’anti-matière [A Cavern of Antimatter] at the Galerie René Drouin, Paris, in May 1959
  • La haute couture: Alla memoria di Christian Dior e del mondo borghese [Haute Couture: In Memory of Christian Dior and the Bourgeois World]
  • 200 One Dollar Bills
  • Untitled
  • One Dollar Bill
  • Dollar Sign
  • Printed Dollar #7
  • One Dollar Bill (Back)
  • One-dollar bill, obverse and reverse
  • Flatbed press (foreground) for printing on moistened paper, early 1950s; and rotary press for dry intaglio printing, late 1950s, at the Bureau of Engraving and Printing, Washington, DC
  • Two Dollar Bill (Front)
  • Two Dollar Bill (Back)
  • Two-dollar bill, obverse and reverse
  • French Money I
  • French Money II
  • 100 new francs (Bonaparte) banknote, obverse and reverse
  • Preparatory drawing for the 10,000 francs banknote
  • 10,000 francs (Bonaparte) banknote, obverse; 10,000 francs (Bonaparte) banknote, overprinted in red with equivalent value in new francs, obverse
  • 5,000 francs (French Empire) banknote, obverse
  • Bond issued by the Secret Army Organization, obverse and reverse
  • The Greatest Homosexual
  • General Bonaparte
  • Art Prices Versus Stock Market
  • Chart from Le tableau de peintre contemporain comme valeur du placement
  • Cartoon
  • Partial view of the installation of "Language III," an exhibition at the Dwan Gallery, New York, May 24–June 18, 1969
  • Waiting for a Breakthrough or Two
  • One Week of the Wall Street Journal
  • Inside the New York Stock Exchange Building
  • Lecture by Richard Cornfeld MD and James Rosenfeld, MBA
  • Removal Transplant—New York Stock Exchange
  • Dennis Oppenheim on rooftop, 381 Park Avenue South, New York
  • Removal Transplant—New York Stock Exchange, detail
  • The Anatomic Explosion Happening
  • Investment Piece
  • Income (Outflow) Piece
  • Profit Systems I
  • Money
  • 18-Carat Solid Gold Chewing Gum
  • Contact sheet
  • Documents collected in Art Workers' Coalition publication Documents I
  • Notebook write-ups
  • Twiggy with Dollar Bill
  • Oedipus (Elvis Presley #1)
  • My Career (Ray Johnson's artist's statement)
  • Marilyn Monroe Dollar Bill
  • Mz. 158 Das Kotsbild
  • Untitled (Play Money)
  • Ray Johnson telegram to Sam Wong
  • Joe Buck Dollar Bill
  • Advertisement for a runaway slave
  • Untitled (Duchamp wanted/prime rib)
  • Museum-Museum
  • Gedicht-Poem-Poème/Change-Exchange-Wechsel
  • Untitled drawings
  • Musée d’art moderne à vendre 1970–1971 pour cause de faillite [Museum of Modern Art for Sale 1970–1971 on Account of Bankruptcy]
  • La Banque, front and rear views
  • La Banque (1964)
  • La Banque et le Critique
  • Paysage d'automne [Autumn Landscape]
  • Three pages "En lisant La Lorelei" [While Reading "Lorelei"]
  • Je meurs trop [I Die Too Much]
Free
Description: The Artist as Economist: Art and Capitalism in the 1960s
Contents
PublisherYale University Press
PublisherTerra Foundation for American Art
Free
Description: The Artist as Economist: Art and Capitalism in the 1960s
~Just like the artist Robert Filliou, who plays a key role in her book, art historian Sophie Cras has professional training as an economist. While undertaking her advanced work in art history at the École Normale Supérieure (ENS), she completed a master’s degree in finance from the Paris Institute d’études politiques (Sciences...
PublisherYale University Press
PublisherTerra Foundation for American Art
Free
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
Description: The Artist as Economist: Art and Capitalism in the 1960s
~In 1966, in a short manifesto published in New York, the Franco-American artist Robert Filliou issued the following order to...
PublisherYale University Press
PublisherTerra Foundation for American Art
Related print edition pages: pp.1-14
https://doi.org/10.37862/aaeportal.00187.001

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Description: The Artist as Economist: Art and Capitalism in the 1960s
~The notion of value is at the heart of the relationship between art and economy. Determining the aesthetic value of artistic works and the economic...
PublisherYale University Press
PublisherTerra Foundation for American Art
Related print edition pages: pp.15-61
https://doi.org/10.37862/aaeportal.00187.002

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: The Artist as Economist: Art and Capitalism in the 1960s
~Long before Andy Warhol created his Dollar Bill series and Larry Rivers his French Money paintings, Walter Benjamin had perceived the importance of such works, albeit in a different form. “A descriptive analysis of banknotes is needed,” Benjamin wrote in 1928....
PublisherYale University Press
PublisherTerra Foundation for American Art
Related print edition pages: pp.62-99
https://doi.org/10.37862/aaeportal.00187.003

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: The Artist as Economist: Art and Capitalism in the 1960s
~In France, the art market entered into a prolonged slump toward the end of 1962. In the United States, by contrast, the 1960s were a time of almost uninterrupted prosperity and accelerating economic growth...
PublisherYale University Press
PublisherTerra Foundation for American Art
Related print edition pages: pp.100-147
https://doi.org/10.37862/aaeportal.00187.004

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: The Artist as Economist: Art and Capitalism in the 1960s
~By the early 1970s, artistic innovations were not solely responsible for changing the way artists thought about politics and the economy. The growth of international commerce, with the completion of the European Customs Union and the progressive enlargement of the European Community, went hand in hand with a geographical reconfiguration of the market for art in...
PublisherYale University Press
PublisherTerra Foundation for American Art
Related print edition pages: pp.148-192
https://doi.org/10.37862/aaeportal.00187.005

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Description: The Artist as Economist: Art and Capitalism in the 1960s
~Robert Filliou, who crossed paths directly or indirectly...
PublisherYale University Press
PublisherTerra Foundation for American Art
Related print edition pages: pp.193-198

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Free
Description: The Artist as Economist: Art and Capitalism in the 1960s
Index
PublisherYale University Press
PublisherTerra Foundation for American Art
Free
Description: The Artist as Economist: Art and Capitalism in the 1960s
Illustration Credits
PublisherYale University Press
PublisherTerra Foundation for American Art
The Artist as Economist: Art and Capitalism in the 1960s
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