This interdisciplinary collection ofessays probes the impact of
the market economy on art and science in the post-Berlin Wall
era.
"Part One: Science for Sale," A Dollar Green Science Scene,
focuses on new alliances of contemporary science and education with
commercial funding, and the commodification of knowledge. Among the
questions addressed here are: Does proximity to economic power
eclipse freedom of knowledge? When science and education become
businesses, what are the risks for a sell-out of patented
knowledge, an abuse of research for business purposes or a
commercialization of symbolic power?
"Part Two: Art for Sale, Buy Buy Art," elaborates on the
multifaceted and ambiguous relationship between art and capital.
Contemporary art claims to be autonomous, but art costs money and
artists cannot survive on their love for art alone. How do artists
respond to the rise of economic strictures in modern culture in
general and the art market in particular? When works of art become
investments, can art still be critical of economic injustice? What
role remains for the artist in a global, late-capitalist
society?
"Part Two: Art for Sale, Buy Buy Art," elaborates on the
multifaceted and ambiguous relationship between art and capital.
Contemporary art claims to be autonomous, but art costs money and
artists cannot survive on their love for art alone. How do artists
respond to the rise of economic strictures in modern culture in
general and the art market in particular? When works of art become
investments, can art still be critical of economic injustice? What
role remains for the artist in a global, late-capitalist
society?
"Part Two: Art for Sale, Buy Buy Art," elaborates on the
multifaceted and ambiguous relationship between art and capital.
Contemporary art claims to be autonomous, but art costs money and
artists cannot survive on their love for art alone. How do artists
respond to the rise of economic strictures in modern culture in
general and the art market in particular? When works of art become
investments, can art still be critical of economic injustice? What
role remains for the artist in a global, late-capitalist
society?
Part Two: Art for Sale, Buy Buy Art, elaborates on the
multifaceted and ambiguous relationship between art and capital.
Contemporary art claims to be autonomous, but art costs money and
artists cannot survive on their love for art alone. How do artists
respond to the rise of economic strictures in modern culture in
general and the art market in particular? When works of art become
investments, can art still be critical of economic injustice? What
role remains for the artist in a global, late-capitalist
society?
"Part Two: Art for Sale, Buy Buy Art," elaborates on the
multifaceted and ambiguous relationship between art and capital.
Contemporary art claims to be autonomous, but art costs money and
artists cannot survive on their love for art alone. How do artists
respond to the rise of economic strictures in modern culture in
general and the art market in particular? When works of art become
investments, can art still be critical of economic injustice? What
role remains for the artist in a global, late-capitalist
society?
"Part Two: Art for Sale, Buy Buy Art," elaborates on the
multifaceted and ambiguous relationship between art and capital.
Contemporary art claims to be autonomous, but art costs money and
artists cannot survive on their love for art alone. How do artists
respond to the rise of economic strictures in modern culture in
general and the art market in particular? When works of art become
investments, can art still be critical of economic injustice? What
role remains for the artist in a global, late-capitalist
society?
"Part Two: Art for Sale, Buy Buy Art," elaborates on the
multifaceted and ambiguous relationship between art and capital.
Contemporary art claims to be autonomous, but art costs money and
artists cannot survive on their love for art alone. How do artists
respond to the rise of economic strictures in modern culture in
general and the art market in particular? When works of art become
investments, can art still be critical of economic injustice? What
role remains for the artist in a global, late-capitalist
society?
Part Two: Art for Sale, Buy Buy Art, elaborates on the
multifaceted and ambiguous relationship between art and capital.
Contemporary art claims to be autonomous, but art costs money and
artists cannot survive on their love for art alone. How do artists
respond to the rise of economic strictures in modern culture in
general and the art market in particular? When works of art become
investments, can art still be critical of economic injustice? What
role remains for the artist in a global, late-capitalist
society?
"Part Two: Art for Sale, Buy Buy Art," elaborates on the
multifaceted and ambiguous relationship between art and capital.
Contemporary art claims to be autonomous, but art costs money and
artists cannot survive on their love for art alone. How do artists
respond to the rise of economic strictures in modern culture in
general and the art market in particular? When works of art become
investments, can art still be critical of economic injustice? What
role remains for the artist in a global, late-capitalist
society?
"Part Two: Art for Sale, Buy Buy Art," elaborates on the
multifaceted and ambiguous relationship between art and capital.
Contemporary art claims to be autonomous, but art costs money and
artists cannot survive on their love for art alone. How do artists
respond to the rise of economic strictures in modern culture in
general and the art market in particular? When works of art become
investments, can art still be critical of economic injustice? What
role remains for the artist in a global, late-capitalist
society?
"Part Two: Art for Sale, Buy Buy Art," elaborates on the
multifaceted and ambiguous relationship between art and capital.
Contemporary art claims to be autonomous, but
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