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CFP: The Art Market and the Global South: New Perspectives and Plural Approaches – TIAMSA Conference 2019 (Lisbon, 21-22 Nov, 2019)

Our 2019 conference  is co-organized by the Institute of Art History, Faculty of Social Sciences and Humanities, Universidade NOVA de Lisboa, TIAMSA – The International Art Market Studies Association and TIAMSA Portugal, Spain and Brazil, in collaboration with Universidad Nebrija (Madrid) and Universidade Federal do Rio Grande do Sul (Porto Alegre, Brazil).

This conference will discuss the developments, the disruptions and new perspectives that can be observed in the current art market as seen from the Global South – a term here used to refer to emerging economies of the southern hemisphere (South America, Africa, India, South-Eastern Asia, Southern Europe, but not limited to these geographical areas) – and their contribution to the development of art markets worldwide. We will explore the Global South as a thematic frame and through different disciplinary viewpoints in order to re-think the cross-cultural and economic flows and to investigate the various local practices of the art market. Furthermore, we wish to analyze the Global South as a set of spaces and players affected by the contemporary art trade. In doing so, we particularly intend to focus on the rise of new art markets in these regions and their impact on the global art system, its history, its changing processes and its networks – but also on the circulation of art.

We invite proposals from scholars and independent researchers that explore the following themes:
1. The Global South: the persistence, the contribution and the specificity of the local markets in relation to the dynamics of the global art market;
2. Southern markets, plural markets, new markets: institutional, commercial and independent structures that legitimize and give visibility to the circulation of the art work; power relationships between biennials and art fairs;
3. The collecting process: models of collecting, “new” collectors and new private museums (aesthetic tendencies, taste and tensions between private and public structures);
4. Agents in the art market: circulation and frictions in the art system; the art dealer, the curator and the artist as new agents;
5. The legal regime of the purchase and sale of works of art, due diligence and the rights of the artists (droit de suite and moral rights);
6. The crisis: impact and strategies adopted to overcome the art market’s economic crisis after 2008.

Submission guidelines
We welcome proposals for 20 minutes presentation in English, which should include:
1. Title of the proposal
2. Applicant’s identification (name, institutional affiliation, country and e-mail)
3. Abstract up to 300 words
4. Short curriculum vitae (up to 200 words)
Proposals must be sent in Word (.doc format) by e-mail to: conference.globalsouth@gmail.com

Deadline and selection process
Proposals must be submitted until 31 January 2019.
– The selection will be made by the Scientific Committee, through a double-blind review process. Note of acceptance will be given by April 2019.
– A selection of the presented papers will be later published in Revista de História da Arte, Série W, a peer-reviewed online journal.

Organizing Committee (ordered alphabetically by first name)
– Adelaide Duarte, Instituto de História da Arte, Departamento de História da Arte, Faculdade de Ciências Sociais e Humanas, Universidade NOVA de Lisboa; TIAMSA Subcommittee AMC_PSB
– Bruna Fetter, Universidade Federal do Rio Grande do Sul; TIAMSA Subcommittee AMC_PSB
– Fernando Loureiro Bastos, Universidade de Lisboa; TIAMSA Subcommittee AMC_PSB; TIAMSA Legal
– Marcílio Franca Filho,  Federal University of Paraiba, Brazil; TIAMSA Subcommittee AMC_PSB; TIAMSA Legal
– Maria Amélia Bulhões, Universidade Federal do Rio Grande do Sul; TIAMSA Subcommittee AMC_PSB
– Marta Perez Ibañez, Universidad Nebrija, Madrid, Spain; TIAMSA Subcommittee AMC_PSB
– Nei Vargas, Universidade Federal do Rio Grande do Sul; TIAMSA Subcommittee AMC_PSB
– Veronika Korbei, TIAMSA – The International Art Market Studies Association

Scientific Committee (ordered alphabetically by first name
– Alain Quemin, Professor of Sociology of Art at Université Paris-8, France
– Ana Letícia Fialho, Associated Researcher at Instituto de Estudos Brasileiros, Universidade de São Paulo, Brazil
– Dorothee Wimmer, Director, Centre for Art Market Studies at Technische Universität Berlin
– Emília Ferreira, Director National Museum of Contemporary Art – Museu do Chiado, Lisbon; IHA/NOVA FCSH, Universidade Nova de Lisboa
– Filip Vermeylen, Professor at Erasmus University Rotterdam
– George Kornis, Professor at Universidade Estadual do Rio de Janeiro, Brazil
– Isidro Lopez-Aparicio, Professor at Universidade de Granada, Artist and Curator
– Johannes Nathan, TIAMSA – The International Art Market Studies Association and TU Berlin
– Juan Arturo Rubio, School Director of Nebrija (tbc)
– Luís Urbano Afonso, Professor, Departamento de História/Artis – Instituto de História da Arte, Faculdade de Letras da Universidade de Lisboa
– Maria Lúcia Bueno, Universidade Federal Juíz de Fora (tbc)
– Nathalie Moureau, Université Paul Valery Montpellier (tbc)
– Olav Velthius, Professor at University of Amsterdam
– Paolo Serafini, Università La Sapienza, Roma
– Raquel Henriques da Silva, Professor at NOVA School of Social Sciences and Humanities, Universidade NOVA de Lisboa

Conference Website: Global South Conference

ANN: Registration open – Responsible Art Market Initiative 3rd edition (Geneva, 1st February 2019)

Registrationare now open for the 3rdResponsible Art Market Initiative event, Geneva, 1st February here: www.responsibleartmarket.org/event-registration. Programme available here:

For its third conference, the Responsible Art Market Initiative (RAM) will focus on “responsible art market measures in practice”, with workshops built around the “RAM Transaction Due Diligence Toolkit”. These workshops will illustrate how RAM’s toolkit, with its risk-based approach to client, artwork and transaction due diligence, can help art professionals and businesses navigate difficult situations and answer challenging questions. This conference will also consider the impact of the 5th European Anti-Money Laundering Directive on the Swiss and European art markets.

Confirmed speakers so far include Georgina Adam (Financial Times and The Art Newspaper, London), Philippe Davet (Blondeau & Cie, Geneva), Aude Lemogne (Link Management, Luxembourg), Jean-Bernard Schmid (Ochsner & Associés, Geneva) and Roland Foord (Stephenson Harwood, London). The conference program and registration details will be available shortly.

The Central Collecting Point in Munich: A New Beginning for the Restitution and Protection of Art | Institute of English Studies

Hollywood has told the story of how Monuments Men retrieved artworks that had been looted by Nazis. Newly discovered archival information brings to life the untold story of what they did next at the U.S. Army’s Office of Military Government at the Central Collecting Point (CCP) in Munich. How did the so-called ‘Monuments Men’ transform the war-damaged former Nazi Party headquarters in Munich into the largest ‘museum’ and greatest art history project that had ever been undertaken? How did they create the incredible expertise to identify the artworks? How did they build the infrastructure to restitute the objects? And, as millennia of priceless treasures of European cultural heritage were being gathered under one war-damaged roof, who could be trusted?

Dr Iris Lauterbach presents her new research on the events, people, and intrigue of the Munich CCP in the crucial years 1945–1949. Based on previously unpublished records, archives, and photographs, she uncovers the stories of the people who worked there at a time of lingering political suspicions. In this talk, she narrates the fascinating knowledge-building, conservation, and restitution processes. It is also the remarkable story of the foundation of Germany’s Central Institute for Art History: the library that powered the CCP’s knowledge base has grown into the one of the world’s largest art history reference libraries, where she is a researcher.

Events

29 January 2019: Lecture and Book Launch

The lecture will take place on 29 January 2019, 6-7pm, followed by a reception for the UK book launch of Iris Lauterbach’s The Central Collecting Point in Munich: A New Beginning for the Restitution and Protection of Art, translated by Fiona Elliott, with an introduction by James J. Sheehan (Getty Publications, 2018). The respondent is Dr Johannes von Müller (Warburg Institute). The convener is Dr Elizabeth Savage (Institute of English Studies).

Free, all welcome, RSVP here

PUB: Acquiring Cultures. Histories of World Art on Western Markets, De Gruyter

Bookcover – Acquiring Cultures (2018)

As more parts of the world became accessible to the West, a fast-growing number of exotic artefacts entered European markets from the 18th century. Facilitated by social and technological changes, the markets for such objects thrived, while a collecting culture and museums emerged. This book focuses on methods and places of exchange, monetary and ideological value, actors and networks, transfer and transport, prices and expertise, while exploring 300 years and four continents.  Based on a symposium in Berlin, the publication will include contributions by Felicity Bodenstein, Ting Chang, Manuel Charpy, Nélia Dias, Natasha Eaton, Noëmie Etienne, Jonathan Fine, Christine Howald, Philip Jones, Sylvester Okwunodu Ogbechie, Ying-chen Peng, Léa Saint-Raymond and Élodie Vaudry, and Masako Yamamoto.

For more information click here

JOB: Associate Professor, MA Program in Art, Law and Business at Christies, New York

We are delighted to announce that Christie’s Education, New York is looking to add an Associate Professor to their team!

The ideal candidate would have an eclectic mix of art market professional and/or academic experience and interests.  The responsibilities are many but generally include the following:

·        Teaching:  Assist to further develop and implement educational multidisciplinary art business curriculum

·        Advising: Act in educational and professional advisory capacity for MA students including course work, thesis research and professional development

·        Public Speaking:  Through active public engagement, expand the footprint and visibility of the Art Law and Business MA program

·        Publishing: Engage in creative art market related research

Emphasizing practice over theory, the MA program introduces students to the foundational tools, skills and concepts of art business and art law.

Further information can be found here

Deadline for applications is February 24th, 2019

PUB: ‘Petrus Mariette. Iconum mercator Parisiis’ – A Newly Discovered Portrait of Pierre I Mariette (c. 1603-1657)

Portrait Pierre I Mariette

The French periodical ‚Nouvelles de l’estampe‘ has just gone open access with a new issue including an article by Antoinette Friedenthal presenting the discovery of a portrait of Pierre I Mariette (c. 1603-1657), the founder of the Mariette dynasty of print and book dealers. Hidden unrecognized in the encompassing print collection which the Mariette assembled for Prince Eugene of Savoy from c. 1717 onwards (much of which survives in the Albertina in Vienna), the portrait was etched by Pierre I’s grandson Jean Mariette (1660-1742) and inscribed ‘Petrus Mariette. Iconum mercator Parisiis’ by the sitter’s great-grandson Pierre-Jean Mariette (1694-1774), the last art dealer of the family known as one of the foremost connoisseurs of prints and drawings of the 18th century. The article is available both in French and in English.

TIAMSA is always happy to disseminate news of recent publications by its members! Please let us know if you would like us to post information on an art market related article or book by writing to office@artmarketstudies.org

LINK: http://nouvellesdelestampe.fr/nouvelles-de-lestampe/publi-en-ligne/

ANN: “Provenienzforschung und ihre Folgen” | Hamburger Bahnhof – Museum für Gegenwart – Berlin, 10.1.2019

DIE WEGE DER BILDER PROVENIENZFORSCHUNG UND IHRE FOLGEN

Vortrag von Dr. Petra Winter, Leiterin Zentralarchiv & Provenienzforschung der Staatlichen Museen zu Berlin

Donnerstag, 10. Januar 2019, 18 Uhr
Hamburger Bahnhof – Museum für Gegenwart – Berlin 

Die Provenienzforschung stellt sich gewöhnlich die Frage: Wo kamen die Bilder her? Manchmal fragt sie sich aber auch: Wo gingen sie hin – und warum? Die Wege der Bilder ins Museum hinein und hinaus sind verschlungen, selten geradlinig und manchmal skurril. 
Der Vortrag zeichnet die Wege und Provenienzen von ausgewählten Werken der Nationalgalerie, Staatliche Museen zu Berlin nach: Werke von Malern wie Otto Mueller, Carl Mense und Horst Strempel, die aktuell in der Ausstellung MALER. MENTOR. MAGIER. Otto Mueller und sein Netzwerk in Breslau zu sehen sind. Der Vortrag gibt außerdem Einblicke in den Arbeitsalltag der Provenienzforschung.

Vortrag kostenfrei zzgl. Eintritt. Begrenzte Teilnehmerzahl. Anmeldung nicht erforderlich.

Continue reading “ANN: “Provenienzforschung und ihre Folgen” | Hamburger Bahnhof – Museum für Gegenwart – Berlin, 10.1.2019″

JOB: Leiter/in Provenienzforschung, Kunstmuseum Basel

Basel
Application deadline: Jan 31, 2019

Die einzigartige Geschichte der Öffentlichen Kunstsammlung Basel, die herausragende Qualität und internationale Ausrichtung ihrer Bestände verpflichtet das Kunstmuseum Basel zur Institutionalisierung einer Provenienzforschung, die dieser Bedeutung angemessenen ist. Das Haus sucht daher zum nächstmöglichen Zeitpunkt eine/n

Leiter/in Provenienzforschung (100%)

Continue reading “JOB: Leiter/in Provenienzforschung, Kunstmuseum Basel”