Tuition fee EU nationals (2026/2027)
Tuition fee non-EU nationals (2026/2027)
Programme Structure for 2026/2027
| Curricular Courses | Credits | |
|---|---|---|
| 1st Year | ||
|
Art Law
4.0 ECTS
|
Scholar Group > Mandatory Courses | 4.0 |
|
Art Market: Structure and Dynamics
6.0 ECTS
|
Scholar Group > Mandatory Courses | 6.0 |
|
Interdisciplinary Research Methods & Approaches
6.0 ECTS
|
Scholar Group > Mandatory Courses | 6.0 |
|
Interdisciplinary Research Methods & Approaches
6.0 ECTS
|
Scholar Group > Mandatory Courses | 6.0 |
|
Management Foundations
6.0 ECTS
|
Scholar Group > Mandatory Courses | 6.0 |
|
History of Collecting
4.0 ECTS
|
Scholar Group > Mandatory Courses | 4.0 |
|
Cultural Entrepreneurship
6.0 ECTS
|
Scholar Group > Mandatory Courses | 6.0 |
|
Project Methodology - Art Markets
4.0 ECTS
|
Scholar Group > Mandatory Courses | 4.0 |
|
Cultures of Collecting - Collecting Cultures
10.0 ECTS
|
Scholar Group > Mandatory Courses | 10.0 |
|
Cultures of Collecting - Collecting Cultures
10.0 ECTS
|
Scholar Group > Mandatory Courses | 10.0 |
|
Financial Investments in Works of Art
6.0 ECTS
|
Scholar Group > Optional Courses > Optional Course Lisbon | 6.0 |
|
Arts Fundraising
6.0 ECTS
|
Scholar Group > Optional Courses > Optional Course Lisbon | 6.0 |
|
Marketing in Art Markets
6.0 ECTS
|
Scholar Group > Optional Courses > Optional Course Lisbon | 6.0 |
|
Accountability and Finance Foundation
6.0 ECTS
|
Scholar Group > Optional Courses > Optional Course Lisbon | 6.0 |
|
Corporate Social Responsibility and Cultural Heritage
4.0 ECTS
|
Scholar Group > Optional Courses > Optional Course Paris > Conditional Optional | 4.0 |
|
Digitalisation of the Art World
4.0 ECTS
|
Scholar Group > Optional Courses > Optional Course Paris > Conditional Optional | 4.0 |
|
MAGMA Optional Course
4.0 ECTS
|
Scholar Group > Optional Courses > Optional Course Paris > Free Optional | 4.0 |
| 2nd Year | ||
|
Cultural Economics: Theory
5.0 ECTS
|
Scholar Group > Mandatory Courses | 5.0 |
|
Provenance and Restitution
10.0 ECTS
|
Scholar Group > Mandatory Courses | 10.0 |
|
Cultural Economics: Empirical Research
5.0 ECTS
|
Scholar Group > Mandatory Courses | 5.0 |
|
Economics of Cultural Heritage
5.0 ECTS
|
Scholar Group > Optional Courses > Optional Course Rotterdam > Conditional Optional | 5.0 |
|
Economics of Cultural Tourism
5.0 ECTS
|
Scholar Group > Optional Courses > Optional Course Rotterdam > Conditional Optional | 5.0 |
|
Dissertation in Managing Art and Cultural Heritage in Global Markets
30.0 ECTS
|
Final Work | 30.0 |
Art Law
At the end of this learning unit's term, the student must be able to:
LG1= Understand the obligations/liabilities of the different actors of the art markets (primary and secondary markets).
LG2= Understand how States are protecting their heritage
LG3= Critically discuss the evolutions of the art market from a legal perspective, with questions such as 'who own street art?' or 'how to regulate NFTs?
I. Regulation of the market : the French example
II. Protection against illicit trade at the international level
III. Regulation of International transfer of work of art
IV. Disputes regarding ownership of works of art
V. Prevention of the disputes regarding ownership of works of art
VI. Intellectual property law
Assessment consists of: 1) a series of short tests during the lectures (30%); 2) a personal final project encompassing all the key legal elements studied in this CU (50%); 3) participation and assiduity (20%).
BibliographyReadings will be provided during classes
French civil code and Heritage code. EU treaties. UNESCO conventions. ICOM Code of ethics
Art Market: Structure and Dynamics
At the end of this learning unit's term, the student must be able to:
LG1= Understand the basic structure of the art markets (primary and secondary markets).
LG2= Understand the functioning process of the art markets (interaction between all the components of the system).
LG3= Critically discuss the structure and functioning of the art markets.
I. Introduction to the art markets.
II. Art markets history.
III. The creators.
IV. The artistic goods.
V. Offer.
VI. Demand.
VII. Cannons and conventions.
VIII. The institutionalizers.
IX. Ethics, law and crime.
X. Art markets trends.
Assessment consists of 3 elements: 1) a test with several development questions encompassing the program (40%); 2) a commented synthesis of a book related to this CU (40%); 3) participation and assiduity (20%).
BibliographyZORLONI, Alessia, 2013. The Economics of Contemporary Art: Markets, strategies, and stardom, Berlim, Springer.
THORNTON, Sarah, 2010. Sete Dias no Mundo da Arte, Lisboa, Arcádia.
THOMPSON, Don, 2008. The $12 Million Stuffed Shark. The curious economics of contemporary art and auction houses, Londres, Aurun Press.
SCHMITT, Jean-Marie, 2008. Le Marché de l'Art, Paris, La Documentation Française.
ROBERTSON, Iain, 2016. Understanding Art Markets. Inside the world of art and business, Londres, Routledge
POLI, Francesco, 2006. Il sistema dell'arte contemporanea, Roma, Laterza (1ª ed. 1999).
MELO, Alexandre, 2012. Sistema da Arte Contemporânea, Lisboa, Documenta.
HARRIS, Jonathan, 2017. The Global Contemporary Art World, Oxford, Wiley Blackwell.
FERNANDES, Alexandra; AFONSO, Luís, 2012 (eds.). Os Leilões e o Mercado da Arte em Portugal. Estrutura, história, tendências, Lisboa, Scribe.
ADAM, Georgina, 2014. Bib Bucks. The explosion of the art market in the 21st century, Farnham, Lund Humphries.
WITTMAN, Robert, 2011. O Mundo Secreto da Arte Roubada, Lisboa, Círculo de Leitores.
WATSON, Peter; TODESCHINI, Cecilia, 2006. The Medici Conspiracy. The illicit journey of looted antiquities. From Italy's tomb raiders to the world's greatest museums, Nova Iorque, Public Affairs.
VELTHUIS, Olav, 2007. Talking Prices. Symbolic meanings of prices on the market for contemporary art, Princeton e Oxford, Princeton University Press (1ª ed. 2005).
VADI, Valentina; SCHNEIDER, Hildegard, (eds.), 2014. Art, Cultural Heritage, and the Market. Ethical and legal issues, Berlim, Springer.
STOURTON, J., 2007. Great Collectors of Our Time. Art collections since 1945, Londres, Scala.
SIMÕES, Pedro, 2016. O Mercado da Arte Moderna e Contemporânea em Portugal (2005-2013). Doutoramento em História, especialização em História da Arte, FLUL.
SHINNER, Larry, 2004. La Invención del Arte. Una historia cultural, Madrid, Paidós.
ROBERTSON, Iain (ed.), 2005. Understanding International Art Markets and Management, Londres, Routledge.
ROBERTSON, Iain, 2011. A New Art from Emerging Markets, Farnham, Lund Humphries.
PROWDA, Judith, 2013. Visual Arts and the Law. A handbook for professionals, Farnham, Lund Humphries.
POLSKI, Richard, 2011. The Art Prophets: The Artists, Dealers, and Tastemakers Who Shook the Art World, Nova Iorque, Other Press.
NAIRNE, Sandy, 2011. Art Theft and the Case of the Stolen Turners, Londres, Reaktion Books.
MOUREAU, Nathalie e Dominique SAGOT-DUVAUROUX, 2006. Le marché de l'art contemporain, Paris, Découverte.
MOULIN, R., 1997. L'artiste, l'institution et le marché, Paris, Flammarion (1ª ed. 1992).
MONCADA, Miguel Cabral de, 2006. Peritagem e Identificação de Obras de Arte, s.l., Civilização Editora.
MELO, Alexandre, 1999. Arte e Mercado em Portugal: Inquérito às Galerias e Uma Carreira de Artista, Lisboa, Observatório das Actividades Culturais.
________, 2010 (ed.). Fine Art and High Finance. Expert advice on the economics of ownership, Nova Iorque, Bloomberg Press.
McANDREW, Clare, 2007. The Art Economy. An investor's guide to the art market, Dublin, The Liffey Press.
LINDEMANN, Adam, 2006. Collecting Contemporary, Colónia, Taschen.
LENAIN, Thierry, 2011. Art Forgery. The history of a modern obsession, Londres, Reaktion Books.
HOROWITZ, Noah, 2011. Art of the Deal: Contemporary Art in a Global Financial Market, Princeton, Princeton University Press.
HEINICH, Nathalie, 2014. Le paradigme de l'art contemporain. Structures d'une révolution artistique, Gallimard.
HARGREAVES, Manuela, 2013. Colecionismo e Mercado da Arte em Portugal. O território e o mapa, Porto, Afrontamento
HACKFORTH-JONES, Jos; ROBERTSON, Iain (eds.), 2016. Art Business Today. 20 key topics, Farnham, Lund Humphries.
GRAMPP, William, 1989. Pricing the Priceless. Art, artists and economics, Nova Iorque, Basic Books.
GOODWIN, James, 2008. The International Art Markets. The essential guide for collectors and investors, Londres e Filadélfia, Kogan Page.
GINSBURGH, Victor; WEYERS, Sheila, 2008. "On the contemporaneousness of Roger de Piles' Balance des peintres'", in J. Amariglio et al. (eds.), Sublime economy: on the intersection of art and economics, Londres, Routledge, pp. 112-123.
FERNANDES, Alexandra; AFONSO, Luís U., 2014. "Joana Vasconcelos: managing an artist's studio in the early 21st century", International Journal of Arts Management, vol. 17, n. 1, 2014, pp. 54-64.
ELSNER, J.; CARDINAL, R. (eds.), 1994. The Cultures of Collecting, Londres, Reaktion Books.
DUARTE, Adelaide, 2016. Da coleção ao museu. O colecionismo privado de arte moderna e contemporânea em Portugal, Casal de Cambra, Caleidoscópio.
DICKIE, George, 1997. The Art Circle. A theory of art, Evanston, Chicago Spectrum Press.
DANTO, A. C., 1964. "The artworld", Journal of Philosophy, 61, pp. 571-584.
DE MARCHI, Neil; MIEGROET, Hans, 2006. "The history of art markets", Victor Ginsburgh e David Throsby (eds.), Handbook of the Economics of Art and Culture, vol. I, North-Holland / Elsvier, pp. 69-122.
CLUNAS, Craig, 2004. Superfluous Things. Material culture and social status in Early Modern China, Honolulu, University of Hawai'i Press.
CHARNEY, Noah (ed.), 2009. Art and Crime: Exploring the Dark Side of the Art World, Santa Barbara, Greenwood Press.
CARROL, Nöel (ed.). Theories of Art Today, Madison, University of Wisconsin Press, 2000.
BUCK, Louisa; GREER, Judith, 2006. Owning Art. The contemporary art collector's handbook, Londres, Thames & Hudson.
BOURDIEU, Pierre; DARBEL, Alain, 1997. L'amour de l'art. Les musées d'art européens et leur public, Paris, Minuit (1ª ed. 1969).
BOURDIEU, P., 1996. La distinction. Critique sociale du jugement, Paris, Minuit (1ª ed. 1979).
BOLL, Dirk, 2011. Art for sale. A candid view of the art market, Ostfildern, Hatje Cantz Verlag.
BECKER, Howard, 1982. Art Worlds, Berkeley, University of California Press.
BAUDRILLARD, Jean, 2006. O Sistema dos Objetos, São Paulo, Perspectiva (1ª ed. 1968).
ATWOOD, Roger, 2004. Stealing History: Tomb Raiders, Smugglers, and the Looting of the Ancient World, Nova Iorque, St Martin's Press.
APPLEYARD, Charlotte; SALZMANN, James, 2012. Corporate Art Collections. A handbook to corporate buying, Farnham, Lund Humphries.
ALFORD, Kenneth, 2011. Allied Looting in World War II: Thefts of Art, Manuscripts, Stamps and Jewelry in Europe, McFarland & Co Inc.
AFONSO, Luís, 2015. "A China e o mercado da arte português na atualidade". In L. F. Barreto e V. Serrão (eds.). Património Cultural Chinês em Portugal, CCCM/Fundação Jorge Álvares, pp. 215-226.
Interdisciplinary Research Methods & Approaches
At the end of this learning unit's term, the student must be able to: LG1 = Understand and evaluate a diverse range of key research methodologies and employ relevant approaches in their own work. LG2 = Analyse and critique the strengths, weaknesses and potential of these approaches and methods and their application in their own work. LG3 = Apply practical skills involved in the practice and presentation of advanced research. LG4 = Communicate and debate effectively and using correct terminology, in written and oral form, on the range of methodological issues covered by the course.
ProgramThis is a team-taught course that aims to introduce key methodological approaches that the students will encounter in the Programme but which might not be directly anchored in their core specialisation. These diverse methodological approaches provide a rigorous critical and theoretical underpinning to postgraduate study and foster practical research skills. The main objective of this course is to familiarise students with the diversity of approaches used in the context of art and cultural heritage from the art history, art and cultural management, markets and economics perspective.
Evaluation processLectures, discussions based on articles & Case Study Analysis
BibliographyGail Feigenbaum and Inge Reist, Provenance: An Alternate History of Art, Getty Research Institute, Los Angeles, 2012
Reesa Greenberg, Bruce W. Ferguson, and Sandy Nairne (eds.), Thinking about exhibitions, London, 1996.
Jane Milosch, Nick Pearce (eds.), Collecting and Provenance: A Multidisciplinary Approach,Rowman and Littlefield, New York, 2019
Salvador Munoz Vinas, Contemporary Theory of Conservation, London, 2005
Studies in Europe: Transnational Discourses and National Frameworks, Leiden; Boston, 2019
Beverley Serrell, Exhibit Labels: an interpretative approach, London, 2015
Interdisciplinary Research Methods & Approaches
At the end of this learning unit's term, the student must be able to: LG1 = Understand and evaluate a diverse range of key research methodologies and employ relevant approaches in their own work. LG2 = Analyse and critique the strengths, weaknesses and potential of these approaches and methods and their application in their own work. LG3 = Apply practical skills involved in the practice and presentation of advanced research. LG4 = Communicate and debate effectively and using correct terminology, in written and oral form, on the range of methodological issues covered by the course.
ProgramThis is a team-taught course that aims to introduce key methodological approaches that the students will encounter in the Programme but which might not be directly anchored in their core specialisation. These diverse methodological approaches provide a rigorous critical and theoretical underpinning to postgraduate study and foster practical research skills. The main objective of this course is to familiarise students with the diversity of approaches used in the context of art and cultural heritage from the art history, art and cultural management, markets and economics perspective.
Evaluation processLectures, discussions based on articles & Case Study Analysis
BibliographyGail Feigenbaum and Inge Reist, Provenance: An Alternate History of Art, Getty Research Institute, Los Angeles, 2012
Reesa Greenberg, Bruce W. Ferguson, and Sandy Nairne (eds.), Thinking about exhibitions, London, 1996.
Jane Milosch, Nick Pearce (eds.), Collecting and Provenance: A Multidisciplinary Approach,Rowman and Littlefield, New York, 2019
Salvador Munoz Vinas, Contemporary Theory of Conservation, London, 2005
Studies in Europe: Transnational Discourses and National Frameworks, Leiden; Boston, 2019
Beverley Serrell, Exhibit Labels: an interpretative approach, London, 2015
Management Foundations
At the end of this learning units term, the student must be able to:
1. Identify the models of management (or theories) and their contexts: rational goal models, bureaucratic models (internal process models), human relations models and open system models.
2. Explain and describe the beginning and development of the main theories.
3. Identify and describe organizations? Environmental components.
4. Analyze and describe the main concepts and theories in the context of the management process: Planning and decision making, Organizing, Leading, Controlling and Social Responsibility.
1. Managing in organizations
2. Models of Management
3. Organization Contexts
4. Planning
5. Decision Making
6. Organization Structure
7. Influence and Power
8. Motivation
9. Performance Measurement and Control
10. Corporate Responsibility
Evaluation may be continuous or final.
Continuous evaluation entails the instruments:
Class participation and attendance - 10%
Work - 20%
Final test - 70% (the test mark must be at least 8).
Students may opt for a final written exam (two dates) at the end of the semester.
BODDY, David (2016). Management, an Introduction, 7th Edition ( Prentice Hall)
-
History of Collecting
At the end of this learning unit's term, the student must be able to:
LG1= Understand the history behind the formation of private collections
LG2= Understand the connections between collecting and art markets
LG3= Critically examine and discuss the motives and influences on private collectors
LG4= To critically examine and discuss the relevance of private collections to local and global audiences
1. Introduction to European eighteenth-century Enlightment collections; key collections in France and England 1720-1780
2.The impact of the French Revolution; Private collections after the French Revolution; seminar on changes in collecting tastes 1780-1830 3. Collectors of contemporary art; investing in art; seminar on the creation of city museums Private collectors and the rise of avant garde art: c1880-1920.
4. The formation of house museums; the rise of art dealers and their influence on collecting; case studies of private collections in Europeand the US 1880-1950
5. American collectors and the establishment of museums of contemporary art 1920 to 1950. European collectors of contemporary art
6. The Collector in the global art market
Lectures, seminars based on individual research & Case Study Analysis
BibliographyLAZZARO, Elisabetta et al., 2021 (eds.). Researching Art Markets. Past, present, and tools for the future, London, Routledge.
HULST, Titia, 2017 (ed.). A History of the Western Art Market. A sourcebook of writings on artists, dealers, and markets, Oakland, University of California Press.
HOROWITZ, Noah, 2011. Art of the Deal. Contemporary art in a global financial market, Princeton, Princeton University Press.
HARRIS, Jonathan, 2017. The Global Contemporary Art World, Oxford, Wiley Blackwell.
CHOY, Bo et al. (eds.), 2021. Art and its worlds. Exhibitions, institutions and art becoming public, London, Afterall.
Cultural Entrepreneurship
LO1 - Develop a business project for-profit/non-profit
LO2 - Know the contextual and personal characteristics that favor innovation and entrepreneurship.
LO3 – Apply the Business Model Canvas methodology and create value propositions
LO4 - Know how to prepare the business plan for your business project (including market analysis, competition analysis, business strategy, marketing plan, financial projections)
LO5 - Know how to present the business plan to obtain financing/support
PC1 - The context and the entrepreneur:
PC1.1: Contextualization of the current environment for starting business projects in the field of cultural/creative industries
PC1.2: The profile of the entrepreneur and cultural entrepreneurship
PC2: Business models – Introduction, examples, and case studies
PC3: Business Model Canvas
PC4: Create value propositions (presentation and discussion of value propositions prepared in groups)
PC5: Business plan – structure (market segments, competition analysis, marketing plan, financial plan)
PC6: Presentation and discussion of business projects (pitch)
There are two evaluation methods:
(1) Assessment throughout the semester (recommended assessment method)
Throughout the semester, the following assessment instruments will be used:
- Attendance and participation - (20%) – Attendance of at least 66% of classes required
- Business plan (group project): final presentation - (30%) - All group members must participate in the presentation
- Business plan (group project): written report - (50%)
(2) Assessment by written exam (100%)
Osterwalder, A. & Pigneur, Y. (2010). Business Model Generation. New Jersey: J. Wiley & Sons. https://catalogo.biblioteca.iscte-iul.pt/cgi-bin/koha/opac-detail.pl?biblionumber=88421
Osterwalder, A., Pigneur, Y., Bernarda, G., Smith, A. & Papadakos, P. (2014). Value Proposition Design. New Jersey: J. Wiley & Sons.
Gehman, J., & Soublière, J-F. (2017). Cultural entrepreneurship: from making culture to cultural making. Innovation 19 (1), 61-73. DOI:10.1080/14479338.2016.1268521
Barringer, B.R. and Ireland, R.D. (2016). Entrepreneurship: Successfully Launching New Ventures, Pearson Prentice-Hall, Upper Saddle River, NJ.
Andrews, R. (2019). Arts Entrepreneurship: Creating a New Venture in the Arts. London: Routledge
Bock, A. J., & George, G. (2018). The Business Model Book. Harlow: Pearson Education Limited.
Naudin, A. (2019). Cultural Entrepreneurship: The Cultural Worker’s Experience of Entrepreneurship. London: Routledge
Project Methodology - Art Markets
At the end of this learning unit's term, the student must be able to:
LG1- Understand the key principles of curating and organising an event
LG2- Create and present a curatorial statement
LG3- Understand the key principles of promoting and financing a cultural event
LG4 -Effectively organise and manage an event in a practical setting LG5-Understand the workings of the Art Market and its participants
LG6-Understand the historical context of the Art market and significance on and connection to the contemporary art market today
LG7-Understand the nature of collecting and collectors in the past relative to the present
LG8-Be able to present the activity and its outcomes coherently and professionally both in a written report and before a panel
I. Introduction to the project
II. Developing a theme
III. Identifying the physical venues and collaborative partners
IV. Meetings with potential art market participants
V. Meetings with potential art market participants
VI. Constructing a curatorial statement
VII. Principles of communicating an event
VIII. Establishing a marketing plan
IX. Strategising the market plan
X. Preparing a budget
XI. Preparing a budget
XII. Crowdfunding and Fundraising
XIII.Presentation
XIV.Communication and press releases 1
XV. Communication and press releases 2
XVI. Production and logistics of the actual event 1
XVII. Production and logistics of the actual event 2
XVIII. Production and logistics of the actual event 3
XIX.Administration and Financial summaries
XX. A.ssessing the outcome of the event and going forward
Assessment consists of 1)participation in workshops and meetings 50% 2) a written report 50%. The presentation of the project is a key part of the exam for the IESA diploma
BibliographyDonald Getz, Event Studies: Theory, Research and Policy for Planned Events (Events Management), Routledge, 2019
Sally Brown, Fiona Campbell, Phil Race, Alison Robinson, Essential Tips for Organizing Conferences & Events, Routledge, 2003
Glenn A. J. Bowdin, Johnny Allen, Rob Harris, Leo Jago, William O'Toole, Ian McDonnell, Events Management , 4th Ed. Routledge, 2023
Cultures of Collecting - Collecting Cultures
No final do período desta unidade curricular, o aluno deve ser capaz de: LG1 = Demonstrar compreensão dos motores e mecanismos que regeram o colecionismo de arte e artefactos enquanto fenómeno global durante os períodos abrangidos, através do envolvimento crítico com fontes relevantes; LG2 = Identificar e caracterizar a forma como as mudanças sociais e económicas nos países de 'demanda' e 'fonte' criaram oportunidades e um mercado para bens; LG3 = Aplicar e avaliar uma gama de abordagens teóricas e conceituais da história do colecionismo; LG4 = Analisar e refletir sobre as evidências visuais e textuais estudadas para construir argumentos fundamentados na forma oral e escrita.
Program"I. Introdução: O Colecionismo e suas Instituições
II. Colecionismo e colonialismo
III. Descolonizando coleções e desconstruindo instituições ocidentais
IV. Colecionando o Moderno
V. O Museu Sem Paredes: Democratização e Crítica Institucional
VI. Património Cultural em Crise
VII. O Museu Visível: Comunidade, Coleções e Acesso
VIII. Queering a coleção
IX. Coletando as coleções digitais e digitalizando
X. Simpósio de Alunos: O Futuro das Coleções"
A avaliação consiste em 2 elementos: 1. Dissertação de 3500 palavras (70%), com uma lista de questões dissertativas e o prazo de entrega a fornecer na página Moodle da turma. 2. Apresentação da aula (15 minutos) (30%)
BibliographyAcquiring Cultures: Histories of World Art on Western Markets, De Gruyter
Collecting and Provenance: A Multidisciplinary Approach, Rowman and Littlefield
Keeping Their Marbles, Oxford University Press
Provenance: An Alternate History of Art, Getty Research Institute, 2012.
Cultures of Collecting - Collecting Cultures
No final do período desta unidade curricular, o aluno deve ser capaz de: LG1 = Demonstrar compreensão dos motores e mecanismos que regeram o colecionismo de arte e artefactos enquanto fenómeno global durante os períodos abrangidos, através do envolvimento crítico com fontes relevantes; LG2 = Identificar e caracterizar a forma como as mudanças sociais e económicas nos países de 'demanda' e 'fonte' criaram oportunidades e um mercado para bens; LG3 = Aplicar e avaliar uma gama de abordagens teóricas e conceituais da história do colecionismo; LG4 = Analisar e refletir sobre as evidências visuais e textuais estudadas para construir argumentos fundamentados na forma oral e escrita.
Program"I. Introdução: O Colecionismo e suas Instituições
II. Colecionismo e colonialismo
III. Descolonizando coleções e desconstruindo instituições ocidentais
IV. Colecionando o Moderno
V. O Museu Sem Paredes: Democratização e Crítica Institucional
VI. Património Cultural em Crise
VII. O Museu Visível: Comunidade, Coleções e Acesso
VIII. Queering a coleção
IX. Coletando as coleções digitais e digitalizando
X. Simpósio de Alunos: O Futuro das Coleções"
A avaliação consiste em 2 elementos: 1. Dissertação de 3500 palavras (70%), com uma lista de questões dissertativas e o prazo de entrega a fornecer na página Moodle da turma. 2. Apresentação da aula (15 minutos) (30%)
BibliographyAcquiring Cultures: Histories of World Art on Western Markets, De Gruyter
Collecting and Provenance: A Multidisciplinary Approach, Rowman and Littlefield
Keeping Their Marbles, Oxford University Press
Provenance: An Alternate History of Art, Getty Research Institute, 2012.
Financial Investments in Works of Art
At the end of this learning unit's term, the student must be able to:
LG1= Identify and understand the main traditional financial investments.
LG2= Explain the use of works of art as alternative financial investments.
LG3= Understand and critically discuss the main models for studying the risk and financial return in works of art
I. Financial investments: basic concepts. Risk and return.
II: Traditional financial investments: deposits, bonds, stocks.
III. Other financial investments: futures, options, forwards.
IV: Principal studies on art as a financial investment.
V. Financial investments in works of art. Isolated investments (direct investment). Art investment funds (indirect investment).
VI. Principal existing models for the study of financial return on works of art: advantages and disadvantages. Repeat sales model (Mei-Moses Index). Hedonic regression model (Artprice Index).
VII. Art as an asset and store of value: review of historic cases. Art as loan collateral. Art and wealth management.
VIII. Risk analysis for investments in art.
IX: The importance of information: data bases, algorithms, speculation, arbitrage, and bubbles in the art market.
X: The arguments for art market regulation.
Test (60%), individual essay 30%) on a topic of the program and attendance and participation (10%).
BibliographyZORLONI, Alessia (ed.), 2016. Art Wealth Management. Managing private art collections, Cham (Suíça), Springer
ZORLONI, Alessia, 2013. The Economics of Contemporary Art: Markets, strategies, and stardom, Berlim, Springer.
VELTHUIS, Olav, 2007. Talking Prices. Symbolic meanings of prices on the market for contemporary art, Princeton e Oxford, Princeton University Press (1ª ed. 2005).
ROBERTSON, Iain, 2016. Understanding Art Markets. Inside the world of art and business, Londres, Routledge.
HARRIS, Jonathan, 2017. The Global Contemporary Art World, Oxford, Wiley Blackwell.
GERLIS, Melanie, 2014. Art as an Investment? A survey of comparative assets, Farnham, Lund Humphries.
VELTHUIS, Olav; COSLOR, Erica, 2012. The Financialization of Art. In Knorr Cetina, K., & Preda, A. (Eds) The Oxford Handbook of the Sociology of Finance (pp. 471-487), Oxford, Oxford University Press.
THOMPSON, Don, 2018. The Orange Balloon Dog. London, Aurum Press.
SIMÕES, Pedro, 2015. O Mercado da Arte Moderna e Contemporânea em Portugal (2005-2013). Tese de Doutoramento em História, especialização em História da Arte, apresentada à Universidade de Lisboa.
RUSH, Richard, 1961. Art as an Investment, Englewood Cliffs, Prentice-Hall.
ROZEL, Mary, 2014. The Art Collector?s Handbook. A guide to art collection and care, Farnham, Lund Humphries.
ROBERTSON, Iain; CHONG, Derek (eds.), 2008. The Art Business, Londres, Routledge.
REITLINGER, Gerald, 1964. The Economics of Taste. The rise and fall of the picture market. 1760-1960, Nova Iorque, Holt, Reinhart & Winston (1ª ed. Londres, 1961).
MOUSTAIRA, Elina, 2015. Art Collections, Private and Public: a comparative legal study, Cham (Suíça), Springer.
MELO, Alexandre, 2012. Sistema da Arte Contemporânea, Lisboa, Documenta.
McNULTY, Tom, 2014. Art Market Research: a guide to methods and sources, Jefferson (N. Carolina), McFarland & Company.
________, 2010 (ed.). Fine Art and High Finance. Expert advice on the economics of ownership, Nova Iorque, Bloomberg Press.
McANDREW, Clare, 2007. The Art Economy. An investor?s guide to the art market, Dublin, The Liffey Press.
MARTORELLA, Rosana, 1990. Corporate Art, New Brunswick, Rutgers University Press.
MEI, Jianping; MOSES, Michael, 2002. Art as an Investment and the Underperformance of Masterpieces. American Economic Review, 92(5), pp. 1656-1668.
MANDEL, Benjamin, 2009. Art as an Investment and Conspicuous Consumption Good. American Economic Review, 99(4), pp.1653-1663.
KRÄUSSL, Roman; LEHNERT, Thorsten; MARTELIN, Nicolas, 2016. Is there a bubble in the art market? Journal of Empirical Finance, 35, pp. 99-109
HOROWITZ, Noah, 2011. Art of the Deal: Contemporary Art in a Global Financial Market, Princeton, Princeton University Press
HARRIS, Jonathan, 2017. The Global Contemporary Art World, Oxford, Wiley Blackwell.
HACKFORTH-JONES, Jos; ROBERTSON, Iain (eds.), 2016. Art Business Today. 20 key topics, Farnham, Lund Humphries.
GRAMPP, William, 1989. Pricing the Priceless. Art, artists and economics, Nova Iorque, Basic Books.
GOETZMANN, William; Renneboog, Luc; Spaenjers, Christophe, 2011. Art and Money. American Economic Review: Papers and Proceedings, 101(3), pp. 222?226.
GOETZMANN, William, 1993. Accounting for Taste: Art and the Financial Markets Over Three Centuries. American Economic Review, 83(5), pp. 1370?76.
FREY, Bruno; POMMEREHNE, Werner, 1989, Art Investment: An Empirical Inquiry. Southern Economic Journal, 56, pp. 396-409.
FREY, Bruno; EICHENBERGER, Reiner, 1995. On the Rate of Return in the Art Market: Survey and Evaluation. European Economic Review, 39, pp. 528-537.
FREY, Bruno; CUENI, Reto, 2013. ?Why invest in art??, The Economists? Voice, 10 (1), pp. 1-6.
FERNANDES, Alexandra; AFONSO, Luís U. (eds.), 2012. Os Leilões e o Mercado da Arte. Estrutura, história, tendências, Lisboa, Scribe.
FERNANDES, Alexandra; AFONSO, Luís U., 2014. ?Joana Vasconcelos: managing an artist?s studio in the 21st century?, International Journal of Arts Management, 17 (1), pp. 54-64.
DEMPSTER, Anna (ed.), 2014. Risk and Uncertainty in the Art World. London, Bloomsbury Publishing.
CAMPBELL, R.A.J, 2008. Art as a Financial Investment. The Journal of Alternative Investments, 10, pp. 64-81.
BOLL, Dirk, 2011. Art for sale. A candid view of the art market, Ostfildern, Hatje Cantz Verlag.
BAUMOL, William J., 1986. Unnatural Value: or Art Investment as Floating Crap Game. The American Economic Review, 76, pp. 10-14.
ASHENFELTER, Orley; GRADDY, Kathryn, 2003. Auctions and the Price of Art. Journal of Economic Literature, 41(3), pp. 763-787.
APPLEYARD, Charlotte; SALZMANN, James, 2012. Corporate Art Collections. A handbook to corporate buying, Farnham, Lund Humphries.
_______, 2017. Dark Side of the Boom: The excesses of the art market in the 21st century, London, Lund Humphries.
ADAM, Georgina, 2014. Big Bucks. The explosion of the art market in the 21st century, Farnham, Lund Humphries.
Arts Fundraising
By successfully completing this unit the student will be able to:
LG1 - Recognize the major elements, concepts and strategies in fundraising.
LG2 - Understand the motivation of donors, and why attracting all types of support from fundraising is essential to the long-term sustainability of artistic projects and organizations.
LG3 - Identify the main challenges and opportunities for arts fundraising in the Portuguese context and compare it to the international scene.
LG4 - Distinguish when to apply the different types of fundraising.
LG5 - To acquire skills that will enable students to develop a compelling case to raise money, to identify potential donors, to cultivate them , to implement a multilevel fundraising plan and evaluate.
LG6 - Develop alternative models in fundraising.
1. INTRODUCTION TO THE COURSE AND DEMYSTIFING FUNDRAISING.
2. THE PORTUGUESE VS THE INTERNATIONAL CONTEXT. CHALLENGES AND OPPORTUNITIES.
3. SPONSORSHIP AND DONATIONS, FUNDRAISING FOR NON-PROFITS AND FOR THE FOR-PROFIT ART MARKETS SECTOR.
4. SOURCES AND STRATEGIES IN FUNDRAISING
5. THE FUNDRAISING CYCLE:
- Research, strategy and planning;
- Identification and donor cultivation;
- Defining the right form of support (major gifts, capital campaigns, in kind contributions, partnerships, year end giving);
- Soliciting and the asking process (creating a compelling case, grant proposal writing, online fundraising);
- Implementation. (Counterparts and visibility for sponsors, limits and ethics in fundraising, the sponsor’s organigram and nomenclature);
- Stewardship and evaluation;
6. THE FUTURE OF FUNDRAISING AND PHILANTHROPIC SUPPORT FOR THE ARTS
The evaluation will be based on three elements with a classification from 0 to 20 with a weight of 100%:
1st Assiduity, oral participation and readings (30%.);
2nd Essay on a case presented in class (30 %);
3rd Fundraising proposal for an institution/project/artistic company (20%), presentation of the fundraising proposal (20%)
Fredrick, L. The Ask: How to Ask for Support for Your Nonprofit Cause, Creative Project, or Business Venture. Wiley, 2010. ISBN-13: 978-0470480946, ISBN-10: 0470480947 Sargeant, A., Shang. J. Fundraising: Principles and Practice. 2nd ed., Wiley, 2017. ISBN-13: 978-1119196495, ISBN-10: 1119196493 VanHuis, M.,+A51 Pubols, H. (ed.). Essentials for Fundraising and Development: A Collection of Best Practices, Ideas, and Strategies. s.e., 2021. ISBN-13 979-8597578743
Greer. L., Kostoff,L. Philanthropy Revolution: How to Inspire Donors, Build Relationships and Make a Difference, HarperCollins, 2020, ISBN-10 0008381585 , ISBN-13 978-0008381585 Karsh, E., Fox, A. The Only Grant-Writing Book You'll Ever Need. 5th ed., Basic+A42 Books, 2019. ISBN-10 1541617819 , ISBN-13 978-1541617810 Kihlstedt, A. Capital Campaigns: Strategies that Work. 4th ed, Jones & Bartlett Learning, 2016. ISBN-10 1284069230, ISBN-13 978-1284069235 Klein, K., Yogi, S. Fundraising for Social Change. 8th ed. Wiley, 2022. ISBN-10 1119845289, ISBN-13 978-1119845287 Vallely, P. Philanthropy, from Aristotle to Zuckerberg. Bloomsbury Continuum, 2020. ISBN-10 1472920120, ISBN-13 978-1472920126
Marketing in Art Markets
At the end of this learning unit's term, the student must be able to:
LG1= Understand the concept, importance and fundamentals of Cultural Marketing.
LG2= Understand the functioning process of the art markets (interaction between all the components of the system).
LG3= Critically discuss the functioning of Marketing in the art markets.
I. Cultural and artistic marketing
II. Popular art and erudite art: History and differentiating elements
III. Offer Identification- Art and Artists
IV. Identification of the target according to the type of art
V. Cultural Brand Construction
VI. Cultural Marketing: State vs. Private Companies
VII. Art markets trends
VIII. Portugal as a cultural destination
Assessment consists in 3 elements: 1) a test with several development questions encompassing all the program (40%); 2) a commented synthesis of a book related with this CU (40%); 3) participation and assiduity (20%).
BibliographyS Botti - International Journal of Arts Management, 2000. What role for marketing in the arts? An analysis of arts consumption and artist
Robertson, Iain, 2016. Understanding Art Markets. Inside the world of art and business, Londres, Routledge
JN Kapferer - Business Horizons, 2014. The artification of luxury: From artisans to artists
J Lagier, B Godey - International Journal of Arts Management,2007.A scale for measuring aesthetic style in the field of luxury and art products
Harris, Jonathan,2017. The Global Contemporary Art World, Oxford, Wiley Blackwell.
F Colbert, Y St?James-Psychology & Marketing,2014.Research in arts marketing: evolution and future directions
F Colbert,2009.Marketing Culture and the Arts, Chair in Arts Management
Fernandes, Alexandra; AFONSO, Luís,2012 (eds.).Os Leilões e o Mercado da Arte em Portugal.Estrutura, história, tendências, Lisboa, Scribe.
Adam, Georgina,2014.Bib Bucks.The explosion of the art market in the 21st century, Farnham, Lund Humphries.
WITTMAN, Robert, 2011. O Mundo Secreto da Arte Roubada, Lisboa, Círculo de Leitores.
WATSON, Peter; TODESCHINI, Cecilia, 2006. The Medici Conspiracy. The illicit journey of looted antiquities. From Italy?s tomb raiders to the world?s greatest museums, Nova Iorque, Public Affairs.
VELTHUIS, Olav, 2007. Talking Prices. Symbolic meanings of prices on the market for contemporary art, Princeton e Oxford, Princeton University Press (1ª ed. 2005).
VADI, Valentina; SCHNEIDER, Hildegard, (eds.), 2014. Art, Cultural Heritage, and the Market. Ethical and legal issues, Berlim, Springer.
STOURTON, J., 2007. Great Collectors of Our Time. Art collections since 1945, Londres, Scala.
SIMÕES, Pedro, 2016. O Mercado da Arte Moderna e Contemporânea em Portugal (2005-2013). Doutoramento em História, especialização em História da Arte, FLUL.
SHINNER, Larry, 2004. La Invención del Arte. Una historia cultural, Madrid, Paidós.
ROBERTSON, Iain (ed.), 2005. Understanding International Art Markets and Management, Londres, Routledge.
ROBERTSON, Iain, 2011. A New Art from Emerging Markets, Farnham, Lund Humphries.
PROWDA, Judith, 2013. Visual Arts and the Law. A handbook for professionals, Farnham, Lund Humphries.
POLSKI, Richard, 2011. The Art Prophets: The Artists, Dealers, and Tastemakers Who Shook the Art World, Nova Iorque, Other Press.
NAIRNE, Sandy, 2011. Art Theft and the Case of the Stolen Turners, Londres, Reaktion Books.
MOUREAU, Nathalie e Dominique SAGOT-DUVAUROUX, 2006. Le marché de l?art contemporain, Paris, Découverte.
MOULIN, R., 1997. L?artiste, l?institution et le marché, Paris, Flammarion (1ª ed. 1992).
MONCADA, Miguel Cabral de, 2006. Peritagem e Identificação de Obras de Arte, s.l., Civilização Editora.
MELO, Alexandre, 1999. Arte e Mercado em Portugal: Inquérito às Galerias e Uma Carreira de Artista, Lisboa, Observatório das Actividades Culturais.
________, 2010 (ed.). Fine Art and High Finance. Expert advice on the economics of ownership, Nova Iorque, Bloomberg Press.
McANDREW, Clare, 2007. The Art Economy. An investor?s guide to the art market, Dublin, The Liffey Press.
LINDEMANN, Adam, 2006. Collecting Contemporary, Colónia, Taschen.
LENAIN, Thierry, 2011. Art Forgery. The history of a modern obsession, Londres, Reaktion Books.
HOROWITZ, Noah, 2011. Art of the Deal: Contemporary Art in a Global Financial Market, Princeton, Princeton University Press.
HEINICH, Nathalie, 2014. Le paradigme de l?art contemporain. Structures d?une révolution artistique, Gallimard.
HARGREAVES, Manuela, 2013. Colecionismo e Mercado da Arte em Portugal. O território e o mapa, Porto, Afrontamento
HACKFORTH-JONES, Jos; ROBERTSON, Iain (eds.), 2016. Art Business Today. 20 key topics, Farnham, Lund Humphries.
GRAMPP, William, 1989. Pricing the Priceless. Art, artists and economics, Nova Iorque, Basic Books.
GOODWIN, James, 2008. The International Art Markets. The essential guide for collectors and investors, Londres e Filadélfia, Kogan Page.
GINSBURGH, Victor; WEYERS, Sheila, 2008. ?On the contemporaneousness of Roger de Piles? Balance des peintres??, in J. Amariglio et al. (eds.), Sublime economy: on the intersection of art and economics, Londres, Routledge, pp. 112-123.
FERNANDES, Alexandra; AFONSO, Luís U., 2014. ?Joana Vasconcelos: managing an artist?s studio in the early 21st century?, International Journal of Arts Management, vol. 17, n. 1, 2014, pp. 54-64.
ELSNER, J.; CARDINAL, R. (eds.), 1994. The Cultures of Collecting, Londres, Reaktion Books.
DUARTE, Adelaide, 2016. Da coleção ao museu. O colecionismo privado de arte moderna e contemporânea em Portugal, Casal de Cambra, Caleidoscópio.
DICKIE, George, 1997. The Art Circle. A theory of art, Evanston, Chicago Spectrum Press.
DANTO, A. C., 1964. ?The artworld?, Journal of Philosophy, 61, pp. 571-584.
DE MARCHI, Neil; MIEGROET, Hans, 2006. ?The history of art markets?, Victor Ginsburgh e David Throsby (eds.), Handbook of the Economics of Art and Culture, vol. I, North-Holland / Elsvier, pp. 69-122.
CLUNAS, Craig, 2004. Superfluous Things. Material culture and social status in Early Modern China, Honolulu, University of Hawai?i Press.
CHARNEY, Noah (ed.), 2009. Art and Crime: Exploring the Dark Side of the Art World, Santa Barbara, Greenwood Press.
CARROL, Nöel (ed.). Theories of Art Today, Madison, University of Wisconsin Press, 2000.
BUCK, Louisa; GREER, Judith, 2006. Owning Art. The contemporary art collector?s handbook, Londres, Thames & Hudson.
BOURDIEU, Pierre; DARBEL, Alain, 1997. L?amour de l?art. Les musées d?art européens et leur public, Paris, Minuit (1ª ed. 1969).
BOURDIEU, P., 1996. La distinction. Critique sociale du jugement, Paris, Minuit (1ª ed. 1979).
BOLL, Dirk, 2011. Art for sale. A candid view of the art market, Ostfildern, Hatje Cantz Verlag.
BECKER, Howard, 1982. Art Worlds, Berkeley, University of California Press.
BAUDRILLARD, Jean, 2006. O Sistema dos Objetos, São Paulo, Perspectiva (1ª ed. 1968).
ATWOOD, Roger, 2004. Stealing History: Tomb Raiders, Smugglers, and the Looting of the Ancient World, Nova Iorque, St Martin?s Press.
APPLEYARD, Charlotte; SALZMANN, James, 2012. Corporate Art Collections. A handbook to corporate buying, Farnham, Lund Humphries.
ALFORD, Kenneth, 2011. Allied Looting in World War II: Thefts of Art, Manuscripts, Stamps and Jewelry in Europe, McFarland & Co Inc.
AFONSO, Luís, 2015. ?A China e o mercado da arte português na atualidade?. In L. F. Barreto e V. Serrão (eds.). Património Cultural Chinês em Portugal, CCCM/Fundação Jorge Álvares, pp. 215-226.
Accountability and Finance Foundation
At the end of this course, students should be able to:
LO1. Define the objective of financial accounting and the basic accounting equation.
LO2. Explain the effect of decisions and business transactions on the accounting equation.
LO3. Explain the concepts of direct and indirect costs, relevant and irrelevant costs, and incremental profits and costs.
LO4. Explain the concepts of profitability, working capital and solvency.
Chapter 1. Investing and financing decisions
1.1. Overview of accounting concepts: Assets, liabilities and equity
1.2. How to analyze the balance
Chapter 2. Operating decisions
2.1. Basic concepts: Costs, revenues, profit and loss
2.2. How to analyze the income statement
Chapter 3 - Costs and decision-making
3.1. Direct and indirect costs
3.2. Allocation of indirect costs
3.3. Fixed and variable costs
3.4. Relevant and irrelevant costs
3.5. Incremental costs and profits
3.6. Opportunity costs
Chapter 4 - Fundamentals of finance
4.1. Profitability
4.2. Working capital
4.3. Solvency
There are two different processes of evaluation:
1. Assessment throughout the semester:
- Group work assignment (40%)
- Individual assessment test (60%)
Requirements:
- At least 70% class attendance
- Completion of the group work assignment
- Access to the final exam requires a minimum of 10 points in the group work assignment.
- Minimum grade of 8 points in the individual assessment test.
2. Final sitting exam (100%)
A minimum score of 10 points on the exam is required for approval.
Drury. C. and Tayles, M., Management and Cost Accounting, 2023, 12th Edition, Cengage Learning,
Fraser, L. and Ormiston, A., Understanding Financial Statements, 2023, 12th Edition, Pearson,
Libby, R, Libby, P. and Hodge, F., Financial Accounting - International Edition, 2022, Eleventh Edition, McGraw Hill,
Miller-Nobles, T. and Matisson, B., Horngren’s Accounting, 2024, 14th Edition, Pearson,
Garrison, R., Noreen, E. and Brewer, P., Managerial Accounting, 2023, 18th Edition, McGraw-Hill,
Corporate Social Responsibility and Cultural Heritage
On successful completion of this module, students should be able to:.
LG1: Critically analyze ethical dilemmas in organizations
LG2: Evaluate the CSR strategy of a company
LG3: Recognize the benefits and challenges of implementing CSR initiatives.
LG4: Propose an action plan to improve the CSR of a company or organization
1 : Introduction to CSR: Business ethics; Sustainability; Responsibility of organizations; (Un)sustainability in Art
2: Responsible decision making: Ethical theories; CSR in practice; Personal ethics
3: Corporate cultural management : Strategic Thinking in Business; Responsible marketing; Strategic Thinking in Arts and Cultural Organizations
4: Common challenges for cultural and commercial sectors:Digitalization in arts and culture; Diversity management
5.Creating a culture of Sustainability: Team Presentations
6. Seminar on Role of CSR in cultural heritage 1 8: Seminar on Role of CSR in cultural heritage 2
9. Seminar on Role of CSR in cultural heritage 3
Continuous assessment in class will count for 50% of the total grade and will consist of the team presentation and a poster preparation. The assessment will require students to link CSR with the cultural management environment and comment on the interaction between businesses and culture from the perspective of business ethics.
Final assessment counts for the other 50% of the grade. It will consist of an individual report where students evaluate the CSR programme of an organization and propose a business plan for its improvement.
-Chung, T.L., Marcketti, S., and Fiore, A.M. Use of social networking services for marketing art museums. Museum Management and Curatorship, 29, 2 (2014), 188–205.
- Bakhshi, H. and Throsby, D. New technologies in cultural institutions: Theory, evidence and policy implications. International Journal of Cultural Policy, 18, 2 (2012), 205–222.
- Friedman, M., (1970), The Social Responsibility of Business is to Increase its Profits, The New York Times Magazine
- Patricia E. Norris; Paul B. Thompson (2021), Sustainability : what everyone needs to know, Oxford University Press
- Foster, Kenneth. Arts and Cultural Leadership. (2nd edition). Taylor & Francis, 2022. Journal articles:
- Crane, A. and Matten, D. (2019), Business Ethics (5th edition). Oxford, UK: Oxford University Press
Digitalisation of the Art World
LG: Students will learn how to identify new platforms and innovative developments within the global and local structures of the art world and its market.
LG1: Students will be able to identify key market players and their role in relation to technology.
LG2: They will be able to examine criticially different issues that are topical in the art world and have disrupted the traditional way that the art ecosystem operates such as authorship, ownership, transparency and privacy.
LG3: Students will learn to analyse and question new business models in the art world, especially considedring the overlap of art, technology, education & entertainment today.
LG4: The students will be able to identify and analyse key technology trends and innovations in the art world.
1: Introduction: The Digital Move of the Art world and its Market
• Digital experiences and rethinking face to face transactions
• Digitalisation vs Digitisation
• “The internet” & its challenges
2 : Technology and art: an overview
• The structures of Web and the impact in the art market structures
• New Business Models: mixing art, technology, education & entertainment
• Thermometer of the art market: taking a pulse to the art market and its trends3: Technologies & its applications Part I
• AR & VR
• Applications (artist, collector, institutions, art fairs)
4: Technologies & its applications Part II
• Blockchain and NFTs
• Applications (artist, collector, institutions, art fairs)
5: Technologies & its applications Part III
• AI, Machine Learning & Generative Art
• Applications (artist, collector, institutions, art fairs)
6: Challenges of the Virtual Space
• Construction of the virtual space
• Virtual Curating
• Engagement & Accessibility
• Metaverse
Assessment consists on 2 elements: 1) Participation in seminars & readings (50%); 2) Final presentation (50%);
BibliographyArtworld Prestige: Arguing Cultural Value. Oxford University Press, Oxford
Anna Dempster (Ed.) (2014) Risk and Uncertainty in the Art World, Bloomsbury, London Timothy van Laar & Leonard Diepeveen (2013)
Clare McAndrew (Ed.) (2010) Fine Art and High Finance: Expert Advice on the Economics of Ownership, Bloomberg Press, New York
Isabelle Graw (2009), High Price: Art Between the Market and Celebrity Culture, Sternberg Press, Berlin, New York
Georgina Adam, (2017) Dark Side of the Boom: The Excesses Of The Art Market In The 21st Century, Lund Humphries, London
Melanie Gerlis (2014) Art as an Investment? A Survey of Comparative Assets, Lund Humphries, London
Omar Kholeif (Ed.) (2014) You Are Here: Art After the Internet, Cornerhouse Publications and SPACE, London
Michael J. Casey & Paul Vigna (2018) The Truth Machine: The Blockchain and the Future of Everything Harper Collins, London.
MAGMA Optional Course
Cultural Economics: Theory
The aim of this course is to help students better understand the foundations of economics in general. Students will develop an overview of the main themes in cultural economics. We encourage a critical, but constructive approach to the application of economics for decisionmaking in the cultural sector. Usually, the question is not whether economics is perfect but whether there is a superior alternative for a specific purpose, for instance to structure your thoughts, to interpret empirical evidence and to prepare your own empirical research or to convince others.
ProgramI. Fundamental aspects of applied economics and an overview of cultural economics. II. Price Theory
III. Welfare Economics
IV. Public Goods and Institutional Economics
V. Intrinsic Motivation, Crowding out, Crowding in
VI. Incomplete information, quality uncertainty and taste formation
VII. Superstars, Inequality and Attention
VIII. Entrepreneurial Theory and Cultural Economics
Assessment consists of 2 assignments: 1) Short essay (30%); 2) Long essay (70%).
BibliographyProvenance and Restitution
At the end of this learning unit's term, the student must be able to: LG1 = critically evaluate the implications of provenance research for cultural history; LG2 = explain the consequences of incomplete, inaccurate or false provenance of works for the art trade and for museums; LG3 = explain how provenance research can help remove impediments arising from lack of information or pollution of information in the art trade; LG4 = demonstrate an understanding of how curatorial, archaeological and legal contexts affect provenance research; LG5 = build, review, consolidate and extend their own knowledge and understanding through the use of primary sources of information on the topics covered; and LG6= initiate and carry out provenance research based on evidence sourced in a wide variety of places, including online sources, taking due account of legal and ethical standards covered in the course.
ProgramI. Introduction
II. Provenance: Development and History of a Vexing Question
III. The Practice and Method of Provenance Research in Context: The ‘How’IV. Provenance Research: What Standards?
V. Tutorial
VI. Class Presentations
VII. Class Presentations (contd.)
VIII. Standards (contd.): State Ownership Law (Cambodia, Turkey, India, Nepal etc.)IX. Nazi Era
X. Colonial Era.
Lectures, discussions based on legal materials and secondary sources of law, ethics, art history, archaeology; case studies.
BibliographyGail Feigenbaum and Inge Reist, Provenance: An Alternate History of Art, Getty Research Institute, 2012;
Directive 2014/60/EU of the European Parliament and of the Council of 15 May 2014 on the Return of Cultural Objects Unlawfully Removed from the Territory of a Member State and amending Regulation (EU) No 1024/2012 (Recast) OJ EU L159/1, 28.5.2014 ; UNIDROIT (1995). ‘UNIDROIT
Convention on Stolen or Illegally Exported Cultural Objects’; Christa Roodt, ‘Article 4 of the UNIDROIT Convention’ in Ana Vrdoljak, Andrzej Jakubowski, Alessandro Chechi (eds.), Oxford Commentary on the 1970 UNESCO and 1995 UNIDROIT Conventions, 2023;
Susan M. Crennan, Review: Asian Art Provenance Project (National Gallery of Australia, September 23, 2015)
Cultural Economics: Empirical Research
The aim of the course is to offer advanced training in the application of cultural economics to specific areas of the cultural and creative industries. The seminar builds on the Cultural Economics: Theory course in Term 1. The aim is to enable students to select areas of special interest and to become familiar on how empirical research is done by scholars in the field of the cultural and creative industries and to learn to evaluate it.
ProgramI. Introduction
II. Empirical studies of demand
III. The market: gatekeeping and success
IV. Evaluation
V. Cultural Policies
VI. Cultural Heritage
VII. Cultural Tourism
VIII. Conclusions
Assessment consists of 2 elements: 1) Group presentation (40%); 2) Essay (60%).
Bibliography• Falk, M., & Katz-Gerro, T. (2016). Cultural participation in Europe: Can we identify common determinants?. Journal of Cultural Economics, 40(2), 127-162. doi: 10.1007/s10824-015-9242-9
• Ateca-Amestoy, V. (2008). Determining heterogeneous behavior for theater attendance. Journal of Cultural Economics, 32(2), 127. doi: 10.1007/s10824-008-9065-z
• Rosen, H.S., Gayer, T., & Civan, A. (2014), Tools of positive analysis, Public Finance, 18-32.
• Ginsburgh, V. and D. Throsby (2014) Introduction and overview. IN: V. Ginsburgh and D. Throsby (eds.) Handbook of the Economics ofArt and Culture, Volume 2. Elsevier B.V. ISSN 1574-0676.
• Coate, B., & Hoffmann, R. (2021). The behavioural economics of culture. Journal of Cultural Economics, 1-24.
Economics of Cultural Heritage
After completing the course, students should have a wide-ranging knowledge and critical understanding of the cultural economic perspective on cultural heritage. They will be aware of the relevance of economic concepts and management issues related to cultural heritage and sites as well as of the main policy dilemmas arising in this field. The course gives specific attention to the connection between theory and practice referring to several case studies.
ProgramI. The Evolution of the notion of cultural heritage
II. The Economic analysis of cultural heritage
III. Cultural heritage policies - The World Heritage List
IV. Tourism and Cultural Heritage
V. Cultural heritage development and sustainability: challenges and opportunities
VI. An economic analysis of industrial heritage
VII. The economics of craft
VIII. Recap
A evaluation is comprised of 3 elements:
Participation (10%); 2) Presentation (30%); 3) Writing (60%).
• Mignosa, A. (2016). Theory and practice of cultural heritage policy. In Rizzo, R. and Towse R. (eds.) The Artful Economist (pp. 227-244).Springer, Cham.
• Frey, B., & Steiner, L. (2013). World Heritage List. in Rizzo, I. and A. Mignosa (eds.) 2013. A handbook on the economics of culturalheritage. Edward Elgar.
• Towse, R. (2010), A Textbook of Cultural Economics, Cambridge University Press, chapter 9, pp.237-262.
• Benhamou, F. (2020). Heritage. In Handbook of Cultural Economics, Third Edition. Edward Elgar Publishing.
• Rizzo, I. and Mignosa A. (eds.) 2013. A handbook on the economics of cultural heritage. Edward Elgar. Preface
• Cuccia, T. (2020). Intangible cultural heritage. In Handbook of Cultural Economics, Third Edition. Edward Elgar Publishing, pp. 294-303
• Council of Europe (2005) Council of Europe Framework Convention on the Value of Cultural Heritage for Society * Faro, 27.X.2005 -Council of Europe Treaty Series - No. 199.
Economics of Cultural Tourism
The aim of this course is to teach students the main concepts from the economics of tourism, considering the evolution and development of the sector through time, focusing in particularly on the niche of cultural tourism. Based on a critical engagement with the fundamental theories and empirical literature, students are challenged to identify and comment the effects, opportunities and challenges related to cultural tourism. Students will improve their presentation and writing skills by doing presentations in class and writing a final essay.
ProgramI. The economic approach to tourism/cultural tourism
II. Economics of Tourism - Definitions, the state of the arts
III. Economics of Cultural tourism
IV. Organisation and management of the tourism sector
V. Cultural heritage and tourism - Rural Tourism - Cities and tourism - Events
VI. Cultural tourism and development
VII. Culture, tourism and sustainability
VIII. Possible future scenarios - Recap
Assessment consists of 2 elements:
1) Presentation (30%); 2) Essay (70%).
.•Assaf, a. and R. Scuderi (2020). COVID-19 and the recovery of the tourism industry, Editorial, Volume: 26 issue: 5, page(s): 731-733
• Frey, B. and A. Briviba (2021). A policy proposal to deal with excessive cultural tourism, European Planning Studies, 29:4, 601-618.•
• Bramwell, B., Higham, J., Lane, B., & Miller, G. (2017). Twenty-five years of sustainable tourism and the Journal of Sustainable Tourism: looking back and moving forward.
• Sharpley, R., & Harrison, D. (2019). Introduction: tourism and development–towards a research agenda. In A Research Agenda forTourism and Development. Edward Elgar Publishing.
• Sharpley, R. (2019). Tourism, development and the consumption of tourism. In A Research Agenda for Tourism and Development.Edward Elgar Publishing.
• Ioannides, D., & Gyimóthy, S. (2020). The COVID-19 crisis as an opportunity for escaping the unsustainable global tourism path. TourismGeographies, 1-9.
Dissertation in Managing Art and Cultural Heritage in Global Markets
By the end of this course students will be able to:
• Define, plan and execute a sustained, focused, coherent and original research project in an area relevant to their subject area;
• Source, select and critically evaluate appropriate primary and secondary material for their chosen subject area and use this materialeffectively in the final dissertation;
• Work independently and maintain professional conduct in relation to any internal or external institutions or partners involved in theproject (if relevant);
• Apply appropriate academic conventions with regard to referencing and provision of bibliographic information;
• Execute a substantial piece of written work in clear and appropriate academic English, and which demonstrates detailed first-handknowledge of their chosen area of investigation.
1. Writing the introduction and abstract
2. Definition of a research problem
3. Definition of research goals
4. Literature review
5. Defining hypothesis
6. Data collection methods
7. Data analysis methods
8. Writing conclusions and defining new research paths
The dissertation is an independent piece of work focused upon a particular art or cultural heritage issue or problem. It encourages the application of acquired research skills working with primary and secondary material in an informed and critical manner, demonstrating both original research and a good understanding of the field of study.
Bibliography