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Value in the Age of Austerity


Saturday, December 1, 2012 from 4:30 PM to 6:00 PM (PST)

Value in the Age of Austerity

Ticket Information

Ticket Type Sales End Price Fee Quantity
AICA mem / concessions Ended £2.29 £1.05
Standard Ended £4.24 £1.10

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Event Details

This discussion will investigate the philosophical notion of intrinsic value as opposed to an economic notion of material value. In Keith Coventry’s exhibition, these two apparently conflicting positions co-exist. The panel will consider how these complex and interdependent notions of value impact on our reading and understanding of the role of art in contemporary society.

Organised in association with AICA


Colin Gleadell is the saleroom correspondent for Art Monthly and the Daily Telegraph. He has written for most art magazines that cover the market, and has been an art market consultant to Channel 4 news and the BBC.

Sacha Craddock is a Critic and Curator and was responsible for curating Bloomberg Space until 2011. She is currently Director of Programme at Max Wigram Gallery and Chair of New Contemporaries.

Nick Zangwill is Professor of Philosophy at Durham University. He is the author of The Metaphysics of Beauty (Cornell 2001) and Aesthetic Creation (Oxford 2007) and he is the co-editor of Scruton's Aesthetics (Palgrave 2011).  He is also the author of many papers on moral philosophy and the philosophy of mind.

Andrew Brighton is a contributing editor to Critical Quarterly and is currently working on a graphic novel with Catherine Brighton. He was formally Senior Curator: Public Events at Tate Modern and has taught both art history and practice in various art schools including the Royal College of Art and Goldsmiths’ College. His publications include studies of the economic situation of visual artists, Francis Bacon, Ana Maria Pacheco, Picasso and David Hockney’s early prints, he has written and edited critical anthologies on cultural policy and management discourse and his articles and reviews have appeared in Art in America, Studio International, New Art Examiner, London Review of Books, Art Monthly and the Guardian.


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