By Jonathan Harris
Paintings, funds, events is a suite of essays in response to papers given at a convention of an analogous identify held at Tate Liverpool in November 2002. It units out to explain and evaluation the advance of latest sorts of artwork patronage and exhibit obvious in such recurrent occasions as biennials, 'cultural sector' tasks for city regeneration, novel galleries of up to date paintings, and creation sponsors (such because the Saatchi Gallery and the Baltic). The scope of the gathering is foreign and its target is to map and consider the globalisation of art's political-economy. individuals: Jeremy Valentine (Queen Elizabeth collage, Edinburgh), Andrew Brighton (Tate Modern), Sadie Coles (Gallery owner), Rory Francis (Manchester Metropolitan University), Paul Usherwood (University of Northumbria), Stewart domestic (artist and writer), Lewis Biggs (ex-Director, Tate Liverpool), and Jonathan Harris (University of Liverpool).
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Additional info for Art, money, parties: new institutions in the political economy of contemporary art
Kaye (Indianapolis, 1988). 35 Pocock, Virtue, Commerce, and History, 37– 50; Shelley Burtt, Virtue Transformed: Political Argument in England, 1688 –1740 (Cambridge, 1992); Wyger R. E. Velema, “Ancient and Modern Virtue Compared: De Beaufort and Van Effen on Republican Citizenship,” Eighteenth-Century Studies 30, no. 4 (1997): 437– 48. Commerce, Finance, and the Luxury Debate 23 commerce and virtue were compatible, luxury and virtue were not: luxury destroyed moeurs. This view was disputed by Enlightenment moralists who extolled the social and cultural beneﬁts of luxury.
Margaret Schabas and Carl Wennerlind (New York, 2006). 24 The Political Economy of Virtue volume, “Of Luxury,” articulated a powerful justiﬁcation of luxury as the foundation of productivity, power, and civil virtues. The core of Hume’s defense of luxury was that ages of luxury are also the most virtuous because a highly developed commercial economy provides conditions for the diffusion of knowledge, the enlivening of sociability, and the reﬁnement of manners. ”41 By the time Hume’s essay appeared in France, however, disquiet about luxury was reemerging.
One meets in their homes the whole French aristocracy. ” Radix de Sainte-Foy, a trésorier général de la Marine from 1764 to 1771, owned houses in Paris and Neuilly that the salon gossip Bachaumont appraised at two million livres; he was said to keep forty horses for his equipages. 84 Such conspicuous displays of wealth by the very rich had long been regarded as scandalous, and they helped catalyze a resurgence in criticisms of luxury around mid-century. A critique of the baneful effects of luxury which doubled as an attack on the political inﬂuence of ﬁnanciers, Étienne de La Font de SaintYenne’s Réﬂexions sur quelques causes de l’état présent de la peinture en France excited considerable public interest when it was published in 1747.