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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.

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JOB: Chair in Art Gallery & Museum Studies, Manchester

University of Manchester, September 01, 2019
Application deadline: Jan 29, 2019

The School of Arts, Languages and Cultures at the University of Manchester invites applications for a permanent, full-time chair in Art Gallery and Museum Studies tenable from 1 September 2019. The School seeks an exceptional individual who will provide leadership and excellence in research, teaching and learning in the department of Art History and Cultural Practices, with a focus on curatorial and museological practices in the arts and their relationship to the broader creative economy.

You will have an outstanding record of academic publication in art gallery and museum studies, art curating and/or related professional practice, compatible with inclusion in the university’s submission to REF 2021. You will have a proven track record in attracting external sources of research funding, and in providing research leadership, and will have a clear plan for future bids for external research funding. You will lead the development of an expanded offer for undergraduate and postgraduate studies within AHCP in art gallery and museums studies, the art market, curatorial practice, contemporary arts practice, and the cultural and creative industries. These activities will form part of an ambitious and timely expansion at Manchester of teaching, learning and research in subjects related to the creative economy, with the aim of providing significant research impact, knowledge exchange, public engagement and professional development opportunities through engagement in, with and for the arts and the cultural and creative sectors.

For more information and to apply, please go to:
https://www.jobs.manchester.ac.uk/displayjob.aspx?jobid=16503.

PUB: ‘Studies in the History of Collecting and Art Markets – A Study in the Social History of Art’ (Vol. 5) by Paolo Coen

We are very pleased to offer TIAMSA Members 25% discount on this wonderful publication – for details and further information, please log into your TIAMSA Members Area!

Recent interest in the economic aspects of the history of art have taken traditional studies into new areas of enquiry. Going well beyond provenances or prices of individual objects, our understanding of the arts has been advanced by research into the demands, intermediaries and clients in the market.
Eighteenth-century Rome offers a privileged view of such activities, given the continuity of remarkable investments by the local ruling class, combined with the decisive impact of external agents, largely linked to the Grand Tour. This book, the result of collaboration between international specialists, brings back into the spotlight protagonists, facts and dynamics that have remained unexplored for many years.

For more information click here

Happy Reading!

CFP: The Formation and Development of New Markets (Workshop 3), London.

International Workshop Series

Tools for the Future: Researching Art Market Practices from Past to Present

We are pleased to invite you to participate in the third of our International Workshop son the formation and development of new and emerging markets organised in London. This workshop is 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. Through individual presentations followed by group discussions, the series aims at bringing together scholars from different disciplines and areas of study of the art market to confront key issues and related methodologies that can be used to analyse the structures and principals of the art market. Previous workshops were, respectively, on art collectors and the artist as an entrepreneur.

As the art market has developed worldwide, there have been many instances where new areas of producing, trading, collecting and valuating art have emerged onto the market, very often reaching record-breaking prices. This workshop focuses on examples of new paradigms and new ways that art markets function, whether in the primary or secondary sector, the aim being to analyse and understand the mechanisms by which a particular ‘product’ enters the art market, considering who are the main players of such changes, collectors, institutions, dealers or other agents. Equally, it would be interesting to explore market types that have not succeeded or gained a foothold. There are many well-known and well studied areas of innovation in the market, among which can be cited the 17th century imports of Chinese and Japanese ceramics, lacquers and textiles, the development of a market for 17th century Dutch and Flemish paintings in Paris and London during the 18th century, or the rise of the Barbizon school in 19th-century Paris, while we have seen the emergence of photography and street art as important areas of contemporary collecting, or even African art. New art forms such as digital and video art raise questions as to whether existing models of agency are still appropriate and thus, whether new technology is fundamentally changing the creation, trade, consumption and validation of art.

Continue reading “CFP: The Formation and Development of New Markets (Workshop 3), London.”

CONF: Sammeln und Ausstellen global? (Duesseldorf, 1 Feb 19)

Ein Studientag anlässlich der Ausstellung Museum global. Mikrogeschichten einer ex-zentrischen Moderne

Seit seiner Entstehung im 18. Jahrhundert ist das Museum ein Ort permanenter Neu- und Umordnungen. Sammlungen haben den Anspruch von Dauer. Gleichwohl ist der Umgang mit ihnen – ihre Präsentation, Erforschung und Vermittlung – immer wieder durch Perspektivwechsel bestimmt. Unter den Vorzeichen postkolonialer Theoriebildung und den geopolitischen Veränderungen seit Ende des Kalten Krieges setzte in den letzten Jahrzehnten ein grundlegendes Umdenken ein. Was bedeutet Sammeln und Ausstellen in einem globalen Rahmen, insbesondere für ein Museum wie die Kunstsammlung Nordrhein-Westfalen, deren Sammlung maßgeblich durch das europäisch-nordamerikanische Narrativ der Moderne geprägt ist?  

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ANN: Gulbenkian Symposium – Collecting: modus operandi, 1900-1950, 15-16 February 2019, Lisbon


Calouste Gulbenkian residence. Avenue d’Iéna, Paris. Library, c. 1956-57 Source: https://gulbenkian.pt/museu/en/evento/collecting-modus-operandi-1900-1950/

In 2019 the Calouste Gulbenkian Museum and the Art Library will have been open for 50 years. Gulbenkian was known as ‘Mr. 5%’, who wanted ‘only the best’, but this conference seeks to go beyond the biographical, or the anecdotic, and to consider Gulbenkian in the light of a wider context, with papers that reflect new research into the ways in which collectors worked, their networks, and their relationship with their collection, its accessibility and its future, and that go beyond single-case studies of individual owners, seeking instead more transversal studies into how collectors worked and how they mirrored the period in which they lived. The questions of the role played by museums, by art agents and intermediaries, as well as by the markets, will also be addressed.

Free admission subject to previous registration: collecting@gulbenkian.pt
Places: 134 

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CONF: Raubkunst, Kulturgut, nationales Eigentum? (Tutzing, 8-10 Feb 19)

Evangelische Akademie Tutzing, 08. – 10.02.2019
Registration deadline: Feb 1, 2019

Raubkunst, Kulturgut, nationales Eigentum? Objekte zwischen Recht und Moral

20 Jahre nach der „Washingtoner Erklärung“ bleiben noch immer viele Fälle von NS-Raub- bzw. Beutekunst ungeklärt. Gleichzeitig hat sich das Feld der Provenienzforschung in den letzten Jahren über den Nationalsozialismus und Zweiten Weltkrieg hinaus sukzessive ausgedehnt. Unter einem großen Fragezeichen steht aktuell vor allem der moralisch korrekte Umgang mit dem sogenannten kolonialen Erbe. Wie kann es weitergehen?

PROGRAMM

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JOB: Freelancer for the Art Market Dictionary, Berlin

For the final phases of preparation of the Art Market Dictionary book and database project at De Gruyter publishers in Berlin, we are seeking a freelancer to assist with editorial tasks in our office. The ideal candidate will have a background in art history and editorial work, with interest in the history of the art market, and at least two days per week available to work on the project. Tasks include author communication, manuscript management via our content management system, author acquisition, and other editorial tasks. The publication is in English, but other languages, especially German, French, and Italian, would also be useful. Candidates must have a valid work permit in Germany. The Editor-in-Chief of the AMD is Dr. Johannes Nathan, and this first volume covers 1900 to the present in Europe and North America.

More information about the project can be found here: www.artmarketdictionary.com
To apply, please send a cover letter and CV to AMD Editor Dr. Sarah Goodrum at sarah.goodrum@degruyter.com