Currículo

Marketing em Mercados da Arte MMA

Contextos

ECTS

6.0 (para cálculo da média)

Objectivos

No final do período curricular desta UC, o aluno deverá: OA1= Compreender o conceito, a importância e os fundamentos do Marketing das Artes. OA2= Compreender o processo de funcionamento dos mercados da arte (interação entre todas as componentes do sistema). OA3= Discutir criticamente o funcionamento do Marketing nos mercados de arte.

Programa

I. Marketing Cultural e artístico II. Arte popular e arte erudita: História e elementos diferenciadores III. Identificação da oferta- Arte e artistas IV. Identificação do Publico alvo conforme o tipo de arte V. Construção Marca Cultural VI. Marketing de Arte: Estado vs Empresas privadas VII. Tendências dos mercados da arte. VIII. Portugal enquanto destino Cultural

Método de Avaliação

A avaliação consiste em três elementos: 1) teste presencial com várias perguntas de desenvolvimento abrangendo toda a matéria lecionada (40%); 2) resumo comentado de um livro relacionado com o tema da UC (40%); 3) participação oral e assiduidade (20%).

Carga Horária

Bibliografia

Principal

• 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. :

Secundária

• 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. :

Disciplinas de Execução

2025/2026 - 1º Semestre

2024/2025 - 1º Semestre