ECTS credits ECTS credits: 6
ECTS Hours Rules/Memories Student's work ECTS: 99 Hours of tutorials: 3 Expository Class: 24 Interactive Classroom: 24 Total: 150
Use languages Spanish, Galician, English
Type: Ordinary Degree Subject RD 1393/2007 - 822/2021
Departments: History of Art
Areas: History of Art
Center Faculty of Geography and History
Call: First Semester
Teaching: With teaching
Enrolment: Enrollable
- Understand the elements and ideas that go into assigning value to works of art.
- Understand and to be aware of the dynamics that since the nineteenth century affected the art market and the international collecting.
- Be aware of the changes of taste and its influence on the market.
- To know the key ideas that serve to give sense to a good art collection.
- To Know the main steps in the professional management of a collection.
- To know the current debates about the economic situation of cultural producers
PART 1: ART MARKET AND THE ECONOMY OF ART
1. What hides behind the price: value, surplus value, fetishism.
2. Galleries: its role in the evolution of the history of contemporary art .
3. The international art fairs.
4. Economy, art system and precarization of creative work.
PART 2: MANAGEMENT OF ART COLLECTIONS
5. Collecting art: history and the new models
6. Cultural institutions: public service and private interests.
ALBARR脕N, J., Disputas sobre lo contempor谩neo, Exit, Madrid, 2019.
ALIAGA, J. V.; NAVARRETE, C., Producci贸n art铆stica en tiempos de precariado laboral, Tierradenadie Ediciones, Madrid, 2017.
BOLTANSKI, L.; CHIAPELLO, E.: El nuevo esp铆ritu del capitalismo, Akal, 2002.
CARRILLO, J. (ed.), Desacuerdos: sobre arte, pol铆ticas y esfera p煤blica en el Estado espa帽ol, vols. 1, 2, 3, 4 y 8, 2004-2014.
MACBA / Arteleku / Universidad Internacional de Andaluc铆a, Barcelona, 2004.
COHEN-SOLAL, A., El galerista Leo Castelli y su c铆rculo, Turner, Madrid, 2011.
D脥AZ AMUN脕RRIZ, C., La gesti贸n de las galer铆as de arte, Agencia Espa帽ola de Cooperaci贸n Internacional para el desarrollo, Madrid, 2017. URL:
DUR脕N, J. M陋, Hacia una cr铆tica de la econom铆a pol铆tica del arte, Plaza y Vald茅s, Madrid, 2008.
FINDLAY, M., El valor del arte: dinero, poder, belleza, Fundaci贸 Gala-Salvador Dal铆, Figueres, 2013.
FREY, B.; POMMEREHNE, W., Musas e mercados. Exploraci贸ns na econom铆a da arte, Laiovento, Santiago, 1996.
GRAW, I., 驴Cu谩nto vale el arte? Mercado, especulaci贸n y cultura de la celebridad, Mardulce, Buenos Aires, 2015.
JIM脡NEZ-BLANCO, M. D.; MACK, C., Buscadores de belleza: historias de los grandes coleccionistas de arte, Arial, Barcelona, 2007.
LAZZARATO, M.: 鈥淟as desdichas de la 鈥榗r铆tica artista鈥 y del empleo cultural鈥, Instituto europeo para pol铆ticas culturales progresivas (2007). URL:
LINDEMANN, A., Coleccionar arte contempor谩neo, Taschen, Colonia, 2010.
LUCAS, A.; NAVARRO M., Soledad Lorenzo: una vida con el arte, Proyectos ut贸picos, Madrid, 2014.
McANDREW, C., El Mercado espa帽ol del arte en 2017. Cuadernos Arte y Mecenazgo, Fundaci贸n La Caixa. URL:
NORTH, M., Art and Commerce in the Dutch The Golden Age, Yale University Press, New Haven, 1997.
RODR脥GUEZ GONZ脕LEZ, M.A., Xesti贸n das galer铆as de arte, da materia Mercado da arte e xesti贸n de colecci贸ns. Colecci贸n Unidades did谩cticas, Universidade de Santiago de Compostela, 2015. URL: /omp/index.php/spic/catalog/book/804
ROSLER, M., Clase cultural. Arte y gentrificaci贸n, Buenos Aires, Caja Negra Editora, 2017.
ROWAN, J., Cultura libre de estado, Madrid, Traficantes de Sue帽os, 2016. URL:
THORNTON, S., Siete d铆as en el mundo del arte, Edhasa, Barcelona, 2010.
TRANSFORM: Producci贸n cultural y pr谩cticas instituyentes. L铆neas de ruptura en la cr铆tica institucional, Traficantes de sue帽os, Madrid, 2009.
VELTHUIS, O., 鈥淚ntroduction. The contemporary art market between stasis and flux鈥. In Maria Lind, Olav Velthuis (eds.): Contemporary Art and Its Commercial Markets: A Report on Current Conditions and Future Scenarios, Sternberg Press, Berl铆n, 2021.
VETTESE, A., Invertir en arte: producci贸n, promoci贸n, y mercado del arte contempor谩neo, Pir谩mide, Madrid, 2002.
WU, Chin-tao, Privatizar la cultura: la intervenci贸n empresarial en el mundo del arte desde la d茅cada de 1980. Madrid: Akal, 2007.
Students will be able to:
- Analyze and synthesize the knowledge acquired.
- To use the collection management tools.
- To develop critical analysis of development of collections by institutions.
- Getting involved in the protection and preservation of cultural heritage.
The development of the classes is always made from the contents of the program, and will consist in the following elements:
- Lectures, which through the teacher's explanations and analysis of texts, students can acquire the theoretical knowledge and they would discuss in class.
- Interactive, or seminary classes, in which students will perform and discuss, in groups, on art market or art collecting.
- Visits to collections or talks by professionals, through which students will be able to talk with specialists in this field. We will prepare (as long as there is a budget) to carry out field practices coordinated with other professors of 4 Degree, which will be compulsory and evaluable.
- Study visit coordinated with other courses (provided there is a budget for it), and they will have one of these options as their destination: a) Allariz, Xunqueira de Amb铆a, Santa Mari帽a de Augasantas, Celanova; b) Valen莽a, Tui, Oia, Baiona; c) Lugo, d) A Coru帽a; e) Pontevedra . The realization of a study visit will be compulsory and evaluable.
Assessment of the course will be held from the sum of the following items:
- Examination: it has 60% of the final grade.
- Attendance and participation in interactive classes: 20%
- Essay (in grup): 20% account.
To pass the course it is necessary to perform the tasks of practical classes and deliver the final work. Both the theoretical part (exam) and the practical (attendance and group work) must be passed, reaching 50% of the total in these two parts.
In cases of fraudulent performance of exercises or tests, the provisions of the Regulations for the evaluation of the university and the review of qualifications will be applied. The same will apply to proven cases of plagiarism in the works presented by the students.
OPPORTUNITY JULY:
Those students who had not performed the activities for interactive or not teaching had approved, they will have to answer in the July exam a Question higher, relative to those seen in the Interactive content. These contents will be available previously in the Virtual Classroom of the subject.
In case the students have not presented the final project on the scheduled date, they will have a second opportunity in July, with a project to be determined by the teacher. The percentages for the July evaluation will be maintained: theoretical part 60% and practical part 40%.
STUDENT CLASSROOM TIME: 51 HOURS
Doc. Expository .................................... 32
Doc. Interactive ................................... 16
personalized tutoring ...................... 3
STUDY TIME AND PERSONAL ACTIVITY: 99 HOURS
Study subject taught in the lectures: ........... 58 h
Recommended readings, library activities, etc: .................. 32 h.
Preparation of presentations, debates, etc ................................... 9 h.
- Consultation of recommended bibliography.
- Assistance to the interactive sessions, essential for passing the subject.
- Consultations with teacher in tutorial hours.
Miguel Anxo Rodriguez Gonzalez
Coordinador/a- Department
- History of Art
- Area
- History of Art
- Phone
- 881812601
- miguelanxo.rodriguez [at] usc.es
- Category
- Professor: University Lecturer
Xose Ramon Cisneros Perez
- Department
- History of Art
- Area
- History of Art
- xoseramon.cisneros.perez [at] usc.es
- Category
- Xunta Pre-doctoral Contract
| Wednesday | |||
|---|---|---|---|
| 09:00-11:00 | Grupo /CLE_01 | Spanish | Classroom 09 |
| Thursday | |||
| 09:00-11:00 | Grupo /CLE_01 | Spanish | Classroom 09 |
| 01.13.2025 18:30-21:00 | Grupo /CLE_01 | Classroom 12 |
| 06.18.2025 18:00-20:30 | Grupo /CLE_01 | Classroom 12 |