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International audience ; In March 1969, in an article for New York magazine, the art critic Barbara Rose developed what would remain for her, as well as for many subsequent authors, a major thesis in the interpretation of conceptual art. By dematerializing art, she claimed, conceptual artists were formulating an unprecedented critique of the art market and the economic system in general. Indeed, who would pay for a sheet of paper with scribbles on it? Who would readily purchase an idea that can be appropriated just by reading it? "Artists today," she wrote, "are virtually fleeing the art world and the political economy on which it rests." 1

International audience ; In March 1969, in an article for New York magazine, the art critic Barbara Rose developed what would remain for her, as well as for many subsequent authors, a major thesis in the interpretation of conceptual art. By dematerializing art, she claimed, conceptual artists were formulating an unprecedented critique of the art market and the economic system in general. Indeed, who would pay for a sheet of paper with scribbles on it? Who would readily purchase an idea that can be appropriated just by reading it? "Artists today," she wrote, "are virtually fleeing the art world and the political economy on which it rests." 1

"Bearing witness to the changing economic landscape amid the Cold War, artists in the 1960s created works that critiqued, reshaped, and sometimes reinforced the spirit of capitalism. At a time when currency and finance were becoming ever more abstracted-and the art market increasingly an arena for speculation-artists on both sides of the Atlantic turned to economic themes, often grounded in a human context. 'The Artist as Economist' examines artists who approached these issues in critical, imaginative, and humorous ways: Andy Warhol and Larry Rivers incorporated the iconography of printed currency into their paintings, while Ray Johnson sought to disrupt and reinvent circuits of commerce with his mail art collages. Yves Klein and Edward Kienholz critiqued conceptions of artistic and monetary value, as Lee Lozano and Dennis Oppenheim engaged directly with the New York Stock Exchange. Such examples, which author Sophie Cras insightfully situates within their historic economic context, reveal capitalism's visual dimension. As art and economics grow more entangled, this volume offers a timely consideration of art's capacity to reflect on and reimagine economic systems"--Publisher's description

International audience Connections between economics and art encompass far more than simply the art market. By looking beyond auction prices, artists' career trajectories, and marketing strategies, scholars can better engage with the economic significance of art objects in a range of social and discursive fields. This essay proposes that works of art are often the best material evidence of broader economic debates and conditions beyond the market economy, even beyond capitalism. Our claims are twofold. Although financial transactions are often considered abstract, we suggest that the economic sphere is populated with material objects that merit art-historical attention. Artworks, meanwhile, reveal the forces of a global market beyond the limits of the art world. They do not simply thematize or represent economic issues; they are also agents partaking in the economic debates of their time.