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.

Mandatory

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,

Optional

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,

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%).

Mandatory

ZORLONI, 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.

Optional

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.

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%).

Mandatory

ZORLONI, 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.

Optional

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.

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.

Mandatory

BODDY, David (2016). Management, an Introduction, 7th Edition ( Prentice Hall)

Optional

-

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%).

Mandatory

S 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.

Optional

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.

I. Identification of Works of art: who, where and when the work of art was made - Typology. Style. Materials. Techniques. Quality. Use. Era (originals, replicas and revivalisms).
II. Appraisal of Works of art. Specialists and experts.
III. Valuation of Works of art. Specialists.
IV. Auxiliary sciences.

During the learning-teaching term, there will be the following grading instrument (of 0 to 20 points, with a weight of 100% in the final classification):
- Essay
This grade presupposes a student's attendance (and punctuality) of 80% or above.
The test mark must be at least 9,5.

Mandatory

MONCADA, Miguel Cabral - Peritagem e identificação de Obras de Arte. Porto: Civilização, 2006.
Marché de l?Art, l?Expert dans tous ses états ? Actes du colloque. Paris: Syndicat Français des Experts Professionnels en ?uvres d?Art et Objets de Collection, Groupe d?Études et de Recherches sur les Organisations Culturelles, Gestion des Institutions Culturelles Affaires Internationales, Université Paris-Dauphine, 2004.

FERNANDES, Alexandra; AFONSO, Luís Urbano ? Os Leilões e o Mercado da Arte em Portugal. Estrutura, história, tendências. Lisboa: Scribe, 2012.

BOLL, Dirk ? Art for Sale ? A Candid View of the Art Market. Ostfildern: Hatje Cantz Verlag, 2011.

Optional

Outros textos fornecidos pelo docente.

This unit will encompass the following themes:
I) Configuration of the main contemporary art collections in Portugal, which belong to museums, art centers, private foundations and banks.
II) An exam to the collections profiles: contexts of foundation, typologies and focus of interest, selection criteria and motivation, acquisition modalilities or incorporation of depositories; initiative and financing models; current status and future perspectives, amongst others.
III) Visiting the collections and getting to know the collectors / curators
IV) Recent history of curating and its pioneers
V) Questioning the inherent complexities of the curator´s role, based on theoretical and empirical data
VI) Mapping the existing contexts for curatorial practice and its institucionalization
VII) Contemporary challenges of curating

During the learning-teaching term, there will be the following grading instrument(of 0 to 20 points, with a weight of 100% in the final classification):
- Essay
This grade presupposes a student's attendance (and punctuality) of 80% or above.
The test mark must be at least 9,5.

Mandatory

OBRIST, Hans Ulrich. 2008. A Brief History of Curating. Zurique: JPR Ringier.
ALTSHULER, Bruce. 2013. Biennials and Beyond: Exhibitions that Made Art History: 1962-2002. Londres/Nova Iorque: Phaidon.

ALTSHULER, Bruce (ed.) 2005. Collecting the New, Museums and contemporary Art. Princeton: Princeton University Press.

Optional

TODOLÍ Vicente e João FERNANDES. 1999. ?Circa 1968: Em torno de uma ideia de museu e de colecção?, in Circa 1968. Porto: Fundação de Serralves.
SCHUBERT, Karsten. 2000. The Curator´s Egg, the evolutions of the museum concept from French Revolution to the present day. Londres: One-off Press.

O'NEILL, Paul, ed. 2006. Curating Subjects. Londres, Amesterdão: Open Editions/De Appel.

MELO, Alexandre. 2012. Sistema da Arte Contemporânea. Lisboa: Documenta.

LIND, Maria e VELTHUIS, Olav (eds.) 2012. Contemporary art and its comercial markets: a report on current conditions and future scenarios. Berlim: Sternberg Press.

HEINICH, Nathalie. 1995. Harald Szeemann, Un cas singulier: Entretien. Paris: L´Échoppe.

GROYS, Boris. 2008. ?On the Curatorship?. Art Power. Cambridge, Mass. e Londres: MIT Press. 43-52.

GREENBERG, Reesa, Bruce Ferguson e Sandy Nairne, eds. 2002. Thinking about exhibitions. Londres e Nova Iorque: Routledge.

FERREIRA, Ana Rita Francisco. 2006. «A via da diversidade: perspectivas e prospecções da actividade curatorial». Dissertação de mestrado. Lisboa: Faculdade de Belas-Artes da Universidade de Lisboa.

FERNANDES, João. 2009. ?Uma Colecção em construção?, Serralves, 2009, A colecção, Imagens: uma exposição em três partes e obras no parque. Porto: Fundação de Serralves.

ESPECIAL, Luísa. 2012. «Os curadores em exposição. Um grupo profissional no mundo da arte contemporânea». Dissertação de doutoramento em Sociologia. Lisboa: ISCTE.

DERIEUX, Florence ed. 2007. Harald Szeemann, Méthodologie individuelle. Zurique: Jpr/Ringer e Le Magasin ? Centre National d´Art Contemporain.

BEZZOLA, Tobia e Roman Kurzmeyer, eds. lits. 2007. Harald Szeemann with by through because towards despite: catalogue of all exhibitions, 1957-2005. Viena: Springer.

ALTSHULER, Bruce. 2008. Salon to Biennial, exhibitions that made Art History, volume I: 1863-1959. Nova Iorque, Londres: Phaidon.

ALVES, Isabel e José Miranda Justo, orgs. 1998. Ser moderno... em Portugal. Ernesto de Sousa. Lisboa: Assírio e Alvim.

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%)

Mandatory

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

Optional

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

I. Introduction to international art markets. Economy, globalization, geopolitics and culture. II. Identification and characterization of the main art markets consolidated today. Readjustments and challenges to the centrality of large Western capitals: New York, London, Paris. Volume of business. Ecosystems: cultural institutions; reference artists; reference agents; main fairs and biennials. III.The (re) emergence of Asia, the Arab world and the role of the southern hemisphere. Identification and characterization of the main emerging art markets today. The potential and conditions of the new centers: Beijing, Shanghai, Hong Kong, Persian Gulf monarchies (Qatar, Abu Dhabi, Dubai), São Paulo, Istanbul. Volume of business. Ecosystems: cultural institutions; reference artists; reference agents; main fairs and biennials. IV. Case studies Emerging markets case studies: China, Brazil, Indonesia and Southeast Asia in general

1. Attendance (minimum 66% of classes) and Participation in class debates and discussion of presentations: 20%.
2. Group presentation 40%: Each group of two students will deliver a 30-minute presentation on a pre-assigned book chapter (the quality of the delivery and the slides will be evaluated equally)
3. Individual test 40%: covers all main themes analyzed in class with a focus on chapters presented and discussed (closed book)

Mandatory

NB: complementar com relatórios temáticos de sites especializados (ex. Arttactic, Artprice) e notícias do The Art Newspaper para dados mais atualizados.
ZAROBELL, John (ed.), 2017. Art and the Global Economy, Oakland, University of California Press.

GOODWIN, James, 2008. The International Art Markets. The essential guide for collectors and investors, Londres e Filadélfia, Kogan Page.

ROBERTSON, Iain, 2018. New Art, New Markets, 2ª ed., Farnham, Lund Humphries.

McANDREW, Clare, 2020. The Art Market 2020, Basileia, Art Basel & UBS.

EHRMAN, Thierry (ed.), 2020. Artprice report: 2000-2020. 20 years of contemporary art auction history, St-Romain-au-Mont-d?Or, Artprice.

Optional

VOGEL, Sabine, 2010. Biennials. Art on a Global Scale, Viena, Springer.
THORNTON, Sarah, 2010. Sete Dias no Mundo da Arte, Lisboa, Arcádia (1ª ed. Londres, 2008).

THOMPSON, Don, 2008. The $12 Million Stuffed Shark. The curious economics of contemporary art and auction houses, Londres, Aurun Press.

ROBERTSON, Iain, 2016. Understanding Art Markets. Inside the world of art and business, Londres, Routledge.

JONES, Caroline, 2017. The Global Work of Art. World's Fairs, Biennials, and the Aesthetics of Experience, Chicago, University of Chicago Press.

HACKFORTH-JONES, Jos; ROBERTSON, Iain (eds.), 2016. Art Business Today. 20 key topics, Londres, Lund Humphries.

HARRIS, Jonathan, 2017. The Global Contemporary Art World, Oxford, Wiley Blackwell.

_____, 2020. ?Online sales and business model innovation in art markets: a case study?, Social Sciences, 9 (2), pp. 1-15.

FERNANDES, Alexandra; AFONSO, Luís, 2014. ?Joana Vasconcelos: managing an artist?s studio in the early 21st century?, International Journal of Arts Management, 17 (1), pp. 54-64.

BARRAGÁN, Paco, 2008. The Art Fair Age, Milão, Edizioni Charta.

ANDREWS, Julia; SHEN, Kuiyi (eds.), 1998. A Century in Crisis. Modernity and tradition in the art of twentieth-century China, Nova Iorque, Guggenheim Museum Publications.

AMIRSADEGHI, Hossein; MIKDADI, Salwa; SHABOUT, Nada (eds.), 2009. New Vision: Arab contemporary art in the 21st century, Londres, Transglobe Publishing.

_____, 2012. Contemporary Art Brazil, Londres, Thames & Hudson.

_____, 2010. Unleashed: Contemporary art from Turkey, Londres, Thames & Hudson.

AMIRSADEGHI, Hossein (ed.), 2009. Different Sames: New perspectives in contemporary Iranian art, Londres, Thames & Hudson.

AFONSO, Luís; FERNANDES, Alexandra, 2019. Mercados da Arte, Lisboa, Sílabo.

ADLER, Phoebe et al. (eds.), 2010. Contemporary Art at Latin America, Londres, Black Dog Publishing.

_____, 2017. Dark Side of the Boom. The excesses of the art market in the 21st century, Londres, Lund Humphries.

ADAM, Georgina, 2014. Big Bucks. The explosion of the art market in the 21st century, Farnham, Lund Humphries.

There is no program. Each dissertation demands specific theoretical frameworks and methods, whose definition is made by the tutor/s.

During the learning-teaching term, there will be the following grading instrument(of 0 to 20 points, with a weight of 100% in the final classification):
- Dissertation
The grade must be at least 10.

Mandatory

Não existe uma bibliografia específica. O aluno deverá recorrer à bibliografia utilizada nas diferentes UCs que frequentou na parte curricular do curso de mestrado, bem como a outra bibliografia indicada pelos orientadores de estágio.

Optional

The nature of the UC does not allow the definition of a program with concrete materials. More important than the transfer of foreground is to seek to apply the skills already acquired in order to achieve the final goal of completion of the training.
In this way, the UC is based on the work developed individually and presented during the orientation sessions planned in this CU both individually and in a group.
Notwithstanding the absence of a program in the traditional sense of the term, it should be noted that some of the subjects in the subject include the following competences:
PC1. Teamwork;
PC 2. Communication and interpersonal relationships in the work context;
PC 3. Conflict management and negotiation in the work environment;
PC 4. Ethical behavior and professional ethics;
PC 5. Participation in processes of reporting;

1)Op. of the trainee sup on the perform of the trainee:a)attendance and compliance with sched./deadl.;b) work capacity;team integr and rel with the hier.;c)tech knowledge; autonomy in research;
2)Consider. of the traineeship report.In particular:a)Ability to refl on the prof fut;b) Ability to problematize,theorize and analyze a given reality;c) Formulation appropriate to an academic work (lang and metalang,struct and style);d)Correct integr of the 2º literature in the developed argumentation.

Mandatory

Não existe uma bibliografia específica. O aluno deverá recorrer à bibliografia utilizada nas diferentes UCs que frequentou na parte curricular do curso de mestrado, bem como a outra bibliografia indicada pelos orientadores de estágio.

Optional

There is no program. Each Project Work demands specific theoretical frameworks and methods, whose definition is made by the tutor/s.

During the learning-teaching term, there will be the following grading instrument(of 0 to 20 points, with a weight of 100% in the final classification):
- Project Work
The grade must be at least 10.

Mandatory

A definir caso a caso, em função do tema de cada Trabalho de Projeto.

Optional