Как продать за $12 миллионов чучело акулы. Скандальная правда о современном искусстве и аукционных домах
Шрифт:
Дэмиен Херст и его акула
Barnbrook J.Damien Hirst: Pictures From the Charles Saatchi Collection. New York: Harry Abrams / Booth Clibborn, 2001.
Hirst D., Violette R.(eds). I Want to Spend the Rest of My Life Everywhere, With Everyone, One to One, Always, Forever, Now. London: Booth Clibbom Editions, 1997.
Saltz J.‘The Emperor’s New Paintings’. Artnet Magazine. 6 April 2005.
Уорхол,
Bockris V.Warhol: The Biography. London: Muller, 1989.
Howe J.‘The Two Faces of Takashi Murakami’. Wired, November 2003.
Rosenblum R.The Jeff Koons Handbook. London: Thames and HudsonlAnthony d’Offay Gallery, 1992.
Shnayerson M.‘Judging Andy’. Vanity Fair. November 2003.
Thomas K.D.‘The Selling of Jeff Koons’. ARTnews. May 2005.
Чарльз Саатчи: брендовый коллекционер
Hatton R., Walker J.A.Supercollector: A Critique of Charles Saatchi. Hong Kong: Ellipsis, 2000.
Urban A.Manipulation and the Contemporary Art Market: An Examination of Charles Saatchi. London: Sotheby’s Institute, 2003.
Выбирая аукциониста
Alexandre F.Exploring Different Ways Branding is Used in the Art World. London: Sotheby’s Institute, 2000.
Benhamou-Huet J.The Worth of Art: Pricing the Priceless. New York: Assouline Publishing, 2001.
Kirwan-Taylor H.‘Horror of the Hammer’. Financial Times Weekend Magazine, 8—9 (July 2000).
Lacey R.Sotheby’s: Bidding for Class. London: Little, Brown, 1998.
Mason C.The Art of the Steal: Inside the Sotheby’s — Christie’s Auction House Scandal. New York: G.P. Putnam’s Sons, 2004.
Психология аукциона
Alilee H., Malmendier U.‘Biases in the Market: The Case of Overbidding In Auctions’. Graduate School of Business. Stanford University Working Paper no. 9, 2006.
Grampp W.Pricing the Priceless: Art, Artists and Economics. New York: Basic Books, 1989.
Hildesley C.H.The Compete Guide to Buying and Selling at Auction. New York: W.W. Norton, 1997.
Perkins H.Hammering the Estimate: An Examination of Consumer Behaviour at Auction. London: Sotheby’s Institute of Art, 2000.
Идеальный портрет Фрэнсиса Бэкона
Peppiatt
Sylvester D.Looking Back at Francis Bacon. London: Thames and Hudson, 2000.
Аукционные дома против дилеров
Bevan R.‘The Changed Contemporary Art Market: Have Auction Houses Tried To Become Dealers Either By Buying Them Or By Behaving Like Them?’ The Art Newspaper (2002), available at theartnewspaper.com
Художественные ярмарки: последний рубеж
McIntyre М.Н.Taste Buds. How to Cultivate the Art Market. London: Arts Council UK, 2004.
Smith L.Fair Trade: Art Fairs as a Competitive Strategy for Dealers. London: Sotheby’s Institute, 2005.
Watson P.From Manet to Manhattan: The Rise of the Modern Art Market. New York: Random House, 1992.
Искусство и деньги
Rand Corporation.Gifts of the Muse. Reframing the Debate About The Benefits of the Arts. New York: Wallace Foundation, 2005.
Siegel K., Mattick P.Money. London: Thames and Hudson, 2004.
Warhol A.The Philosophy of Andy Warhol: from A to В and Back Again. New York, 1975.
Арт-критики
Galenson D.Painting Outside the Lines. Princeton, NJ: Princeton University Press, 2006.
Galenson D.Who are the Greatest Living Artists? The View from the Auction Market. Cambridge: National Bureau of Economic Research, September 2005.
Музеи
Altschuler В.(ed.). Collecting the New: Museums and Contemporary Art. Princeton, NJ: Princeton University Press. 2005.
Twitchell J.Branded Nation: The Marketing of Megachurch. College Inc. and Museumworld. New York: Simon & Schuster, 2004.
Оценка произведений современного искусства
Benhamou-Huet J.The Worth of Art: Pricing the Priceless (Translated by Charles Penwarden). New York: Assouline, 2001.
Buck L.Market Matters. London: Arts Council England, 2004.
Velthuis O.Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art. Princeton, NJ: Princeton University Press, 2005.