CFP: Art for the People? Questioning the Democratization of the Art Market – Second TIAMSA Conference (Vienna, 27-29 Sept, 18)

 Art for the People?
Questioning the Democratization of the Art Market

(c) Pablo Helguera, http://openengagement.info/36-pablo-helguera/, 2014

2nd Conference
TIAMSA ­­– The International Art Market Studies Association
Vienna, 27-29 September 2018

In Cooperation with:
Belvedere Research Center, Vienna University – Department of Art History, and Dorotheum

Apply by April 15, 2018

The art world and the market have traditionally been the domain of the elites and have thrived on exclusivity. However, the art world has arguably become much more democratic in recent years thanks to the digital revolution, the inclusion of emerging economies in the world art market system, and the vastly improved access to art and information. The price histories of works of art can nowadays easily be reconstructed using online databases; the threshold for art buying is significantly lowered by online sales platforms; and new buyers in emerging economies are making the art market much less Western-oriented. Moreover, an ever broader range of artworks in different price categories has put (fine) art within reach of the middle classes across the globe. At the same time, art institutions such as museums are under tremendous pressure to be less exclusive. Some of these democratizing tendencies are of course not new. For instance, publishing houses in Europe started disseminating prints on a massive scale already in the sixteenth century, thereby enabling larger segments of the population to acquire images. Continue reading “CFP: Art for the People? Questioning the Democratization of the Art Market – Second TIAMSA Conference (Vienna, 27-29 Sept, 18)”

TOC: Journal of the History of Collections, Vol. 30, No. 1

Journal of the History of Collections


Volume 30, Issue 1


Seventeenth-century plant lists and herbarium collections: a case study from the Oxford Physic Garden
Stephen A Harris

Natural history collections and the book: Hans Sloane’s A Voyage to Jamaica (1707–1725) and his Jamaican plants
Edwin D Rose

Provenance and identity of a large bronze statue currently in the Metropolitan Museum of Art, New York
Paul N Pearson

Van Dyck paintings in Stuart royal inventories, 1639–1688
Erin Griffey

Negotiating an art deal in eighteenth-century Europe: Guido Reni’s Dispute and its acquisition by Sir Robert Walpole in 1731
Mattia Biffis

Provenance as a history of change: from Caliari in Scotland to Tintoretto in America: the commercial and connoisseurial trajectories of a Venetian portrait
Barbara Pezzini and Michael G Brennan

Pietro Tacca’s Fontane dei Mostri Marini: collecting copies at the end of the Gilded Age
Steven F Ostrow

St Michael defeating the Devil by Lorenzo Vaccaro: a sculpture to intercede for the souls of several important owners
Gloria Martínez Leiva

Vanity affairs: two collectors of Cypriot and Aegean antiquities examined
Luca Bombardieri

A skewed balance?: Examining the display and research history of the medieval collection at the Museum of Cultural History, University of Oslo
Bettina Ebert

Collecting and exhibiting ‘Austria’: a museological perspective on collections from the House of Habsburg to a ‘House of Austrian History’
Bernadette Biedermann

Landscape and the architecture of light: John Constable’s clouds at the Yale Center for British Art
Nina Amstutz


Jan van Kessel I (1626–79). Crafting a natural history of art in early modern Antwerp
Peter Mason

Collecting the World. The Life and Curiosity of Hans Sloane
Arthur MacGregor

Before Boas. The Genesis of Ethnography and Ethnology in the German Enlightenment
Jozien J Driessen van het Reve

Les Rothschild, une dynastie de mécènes en France
Tom Stammers

Reference: TOC: Journal of the History of Collections, Vol. 30, No. 1. In: ArtHist.net, Mar 21, 2018. <https://arthist.net/archive/17656>.

Workshop: “The Art Collector” (Montpellier, June 8-9, 2018)

International Workshop Series
Tools for the future: Researching art market practices from past to present

Call for papers
CFP_The Art Collector (pdf)

We are pleased to invite you to participate in the First International Workshop The Art Collector, organised by University Paul Valéry Montpellier 3 on June 8-9, 2018 and part of the International Workshops Series “Tools for the Future: Researching Art Market Practices from Past to Present”, jointly organised by ART-Dev University Paul Valéry Montpellier 3, Creative Economy-HKU University of the Arts Utrecht and IESA & Institute of Historical Research, London.

This is the first of a series of three international workshops aimed at bringing together scholars from different disciplines and areas of study of the art market, to confront issues in the history of the art market with those of contemporary practice, and to shed light on common patterns and differences, with a focus on their strategic impact on the market. The next two workshops will be on the emerging art market, and entrepreneurship and new business models in the art market respectively.

Please submit your abstract proposal of about 300 words, plus your bio, to nathalie.moureau@univ-montp3.fr by April 1, 2018. Notification of acceptance will be sent by April 15, 2018.

CFP_The Art Collector (pdf.)

Review. NS: L. Rother: Kunst durch Kredit 1935

Review of

Rother, Lynn: Kunst durch Kredit. Die Berliner Museen und ihre Erwerbungen von der Dresdner Bank 1935
Berlin: De Gruyter 2017
ISBN 978-3-11-049452-5
492 S.
EUR 49,95

Rezensiert für H-Soz-Kult von: Anja Heuß, Staatsgalerie Stuttgart

Die vorliegende Studie rekonstruiert erstmals umfassend den Verkauf eines großen Konvolutes von Kunstwerken durch die Dresdner Bank an das Land Preußen im August 1935. Es handelte sich dabei um den “größte[n] Kunstdeal während der Zeit des Nationalsozialismus” (S. 1). Für 7,5 Millionen RM wurden 4.401 Objekte vom Land Preußen erworben und an verschiedene Berliner Museen überwiesen. Quantitativ erhielt das Schlossmuseum die meisten Objekte, gefolgt von der Skulpturen-Abteilung, der Nationalgalerie und der Gemäldegalerie. Gemessen an den Ankaufspreisen erhielten jedoch die Gemäldegalerie und das Schlossmuseum die wertvollsten Konvolute. Heute befinden sich immerhin noch mindestens 1.600 Werke im Besitz der Staatlichen Museen zu Berlin; die Verluste gehen einerseits auf Verkäufe noch in der Zeit des Nationalsozialismus, andererseits wohl auf Zerstörungen während des Zweiten Weltkrieges zurück. Die Verkäufe zwischen 1935 und 1945, vor allem die Auktion von fast 800 Objekten über den Münchner Kunsthändler Julius Böhler 1937, werden von der Autorin ausführlich behandelt. Continue reading “Review. NS: L. Rother: Kunst durch Kredit 1935”

CONF: Artistic Trade: Spain & its Viceroyalties 1500-1800 (Cambridge, 22 Jun 18)

Keynes Hall
King’s College
University of Cambridge, Cambridge
June 22, 2018

Artistic Trade between Spain and its Viceroyalties from 1500 to 1800

This is the first conference in the United Kingdom devoted to artistic trade between Spain and its viceroyalties. Referring to Cambridge’s Spanish and colonial art collections and with the indispensable support of the King’s College Nigel Glendinning studentship, this conference brings together scholars specialized in the art from the Spanish Viceroyalties. The speakers will trace the artworks from their production, their movement with the help of agents and their collection and display at their destination. Such approach avoids setting an epicentre and periphery but establishes an equalitarian platform on the movement of art within the Spanish Empire.

PROGRAMME Continue reading “CONF: Artistic Trade: Spain & its Viceroyalties 1500-1800 (Cambridge, 22 Jun 18)”

CFP: Economics at the museum (Paris, 5 Jun 18)

Economics at the museum: A material history of economics on display
(19th-21st centuries)

Deadline: Apr 1, 2018

Today’s dematerialization of currencies and transactions makes economics appear as an essentially abstract system of valorization, circulation and allocation of resources. It may come as a surprise, therefore, that museums of economics are now proliferating throughout the world. The opening of the Bank of France’s Cité de l’Economie et de la Monnaie, planned for 2018, is a typical example. How has the museum, the privileged space of visual experience, come to host economics, a discipline seemingly quite foreign to sensory, let alone aesthetic, concerns? What has been the role of exhibiting economics on a scientific, ideological, but also artistic and museographic level? From the pavilions devoted to economics during the 19th century World Fairs, to the interactive museums increasingly popular today, the visualization and exhibition of economics has contributed to popularize and legitimize the discipline and its practices. It has also encouraged the production of original visual, didactic and spatial forms, stemming from collaborations between economists and artists, graphic designers and photographs. Continue reading “CFP: Economics at the museum (Paris, 5 Jun 18)”

Summer Academy in Salzburg, Austria

Salzburg, July 16 – August 25, 2018
Application deadline: Apr 3, 2018

Summer Academy Curating and Writing About Art

apply now for grants

Curatorial theory and practice will be taught this summer by renowned curators: Diana Campbell Betancourt and Ruth Noack. Art critic Martin Herbert will instruct participants on writing about art. And Sabrina Steinek and Sabine B. Vogel will teach a blogging course.

The Summer Academy awards many grants for participation in one of the 18 courses. The deadline for application is 3 April 2018. Applications to: http://www.summeracademy.at/Grants_94.html

COURSE PROGRAM Continue reading “Summer Academy in Salzburg, Austria”

Job Opportunity: Terra Foundation Collection Research Fellow at Museum Ludwig, Cologne, Germany

Terra Foundation Collection Research Fellow in American Art in Museum Ludwig, City of Cologne, Germany

The position will become available earliest on May 1st, 2018

Please send your complete and informative application in German including cover letter, CV and certificates with indication of the code number 202/18-09 before 11 April 2018

The Museum Ludwig—a museum of the City of Cologne, Germany—is one of the most important museums of modern and contemporary art in Europe. Collection strengths include pop art, classical Modernism, Russian Avant-garde, the art of Pablo Picasso, and important works of contemporary art and photography by U.S. artists.

Funded by the Terra Foundation for American Art, the Museum Ludwig in Cologne offers a two-year Fellowship for the study/research of Museum Ludwig’s collection of American Art made before 1980. This is a research grant from the Terra Foundation for American Art, based in Chicago and Paris, which supports the study and understanding of American art world wide.

The Fellow will research the Museum’s collection of pre-1980 American art, exploring archives in and outside the museum. The orientation of the research should ideally be focused on issues from postcolonial, gender, and/or queer studies, and the outcomes are to be developed so that they are accessible to the general public. Results of the research will be presented in a blog, which is intended to enhance an ongoing dialogue about post-war American art in Europe. In addition, the Fellow will organize a symposium to provide a forum for international scholarly exchange. Finally, in consultation and collaboration with the museum’s curators, the Fellow will participate in the elaboration of an altered presentation of the permanent collection on the basis of archival material and research results.

The Fellow will be considered a professional member of the museum’s curatorial staff with ready access to curators, conservators, and other museum departments.

Continue reading “Job Opportunity: Terra Foundation Collection Research Fellow at Museum Ludwig, Cologne, Germany”