Featured

The Art Fair: TIAMSA 2017 Conference (London, 13-15 July, 17)


Registration now open

The Art Fair
The 2017 TIAMSA Conference
London, 13-15 July, 2017

Get your ticket here
https://tiamsaartfairconference2017.eventbrite.com

Conference Dinner for speakers and participants – tickets online
https://tiamsadinner.eventbrite.com

TIAMSA_Conference_Programme (pdf., 868 KB)

NB: Unless otherwise stated, all events will take place at
Sotheby’s Institute of Art
30 Bedford Square,
Bloomsbury,
London WC1B 3EE

Conference Pre-Programme and Private Tours

Thursday 13 July

‘Historic’ Option
The National Gallery, Trafalgar Square, London WC2N 5DN, UK

2.30pm – 3.30pm
Agnew’s stock books, The National Gallery Archive, with Alan Crookham, TIAMSA Founding Member and Head of the National Gallery Research Centre

To book a place you have to be a member of TIAMSA.
This tour has a maximum capacity of 20 participants.
Book your place here: https://tiamsaagnewsstockbooks.eventbrite.com
Further information is on your ticket

3.40pm – 4.30pm (parallel to Ropac tour)
Guided Tour with Highlights of the National Gallery’s Collection History, with Susanna Avery-Quash, TIAMSA Board Member and National Gallery Senior Research Curator (History of Collecting)

To book a place you have to be a member of TIAMSA.
This tour has a maximum capacity of 20 participants.
Book your place here: https://tiamsangtour.eventbrite.com
Further information is on your ticket 

Contemporary’ Option
Galerie Thaddaeus Ropac, Ely House, 37 Dover St., London W1S 4NJ

2.30pm – 4.15pm (parallel to National Gallery tour)
Inside Tour of Thaddaeus Ropac’s new London gallery, with Polly Gaer, Gallery Director, and Jonathan Woolfson, TIAMSA Board Member and Deputy Director of Sotheby’s Institute of Art, London

To book a place you have to be a member of TIAMSA.
This tour has a maximum capacity of 25 participants.
Book your place here: https://tiamsaropactour.eventbrite.com
Further information is on your ticket

*****

5.00pm – 6.00pm
TIAMSA Annual General Meeting (AGM)
for TIAMSA members only; see separate invitation

*****


6.30pm – Keynote lecture 1
Sophie Raux, Université Lumière – Lyon 2 (FR)
Fairs in the Southern Netherlands and the Development of the Early Modern Art Market (15th-17th centuries)

7.30pm – Reception

*****

 

Friday 14 July

9.00am – Registration

9.30am – Welcome and Introduction
Jos Hackforth-Jones, CEO and Director of Sotheby’s Institute of Art, London
Johannes Nathan, TIAMSA Chair

Session 1 (plenary): Mapping the Art Fair I
Chair: Olav Velthuis, University of Amsterdam (NL)

9.45am – Sofia Evangelou and Rachel A. J. Pownall, Maastricht University, Maastricht (NL), Art Fairs in the 21st Century and Their Role in the Global Art Market Scene

10.15am – Nadine Oberste-Hetbleck, University of Cologne (GER)
Art Cologne: The First Art Fair for Modern and Contemporary Art Between Globalisation and Localisation

10.45am – Coffee

11.15am – Daniela Stocco, Erasmus University, Rotterdam (NL), The Art Fairs in Rio de Janeiro and Sao Paulo: Access to Art as a Marketing Strategy

11.45am – Hua Shuo, University of Hong Kong (CN), When Art Meets New Money: Chinese Participation in Art Fairs in Hong Kong since the 1990s

12.15pm – Concluding Discussion (c. 15 mins.)

*****

12.30pm – Buffet Lunch (provided)

*****

Session 2 (parallel with Session 3): Standards of Quality and Vetting

Chair: Susanna Avery-Quash, National Gallery London (UK)

2.00pm – Deborah Schultz, Regent’s University London (UK), The Art Fair as Curated Event

2.30pm – Erica H. Coslor, University of Melbourne, Melbourne (AU) and Yuval Millo, Warwick Business School (UK), Price or Prize? Art Fairs as Valuation Devices

3.00pm – Coffee

3.30pm – Yasmin Railton, Sotheby’s Institute of Art, London (UK), The Expert Eye: The Reputational Marketing of Scientific Research in Fair Vetting

4.00pm – Gareth Fletcher, Sotheby’s Institute of Art, London (UK)
The Utility of Trust: A Comparative Analysis of the Presentation and Impact of Provenance Information in Establishing Consumer Confidence within the Art Fair

4.30pm – Stephanie Dieckvoss, Central St. Martin’s, London (UK)
The Artist and the Art Fair: Changes in Agency?

5.00pm – Concluding Discussion (c. 15 mins.)


Session 3 (parallel with Session 2): Historical & Geographical Contexts
Chair: Johannes Nathan, Nathan Fine Art / TU Berlin (DE)

2.00pm – Filip Vermeylen, Erasmus University, Rotterdam (NL), The Origins of Art Fairs: Early Examples from Antwerp

2.30pm – Stoyan Sgourev, ESSEC Business School, Paris (FR), Salons, Secessions and Fairs: Historical Links and Benefits

3.00pm – Coffee

3.30pm – Simeng Chang and Marilena Vecco, Erasmus University, Rotterdam (NL) and Roberto Zanola, Universita’ degli Studi del Piemonte Orientale, Alessandria (ITA)
Strategies of Art Fairs: How to Merge in Mainland China?

4.00pm – Linzhi Zhang, University of Cambridge (UK), From Beijing to Basel: Chinese Galleries in Art Fairs

4.30pm – Adelaide Duarte, Universidade Nova de Lisboa (PT), From Global to Local: ARCOmadrid – ARCOlisboa

5.00pm – Concluding Discussion (c. 15 mins.)

5.15pm – Interval

6.00pm – Keynote lecture 2
Noah Horowitz, Director Americas / Member of the Executive Committee, Art Basel (USA) in Conversation with Olav Velthuis, University of Amsterdam (NL)

7.15pm – Conference Dinner
open to all, advance booking required, paid for individually; booking information available soon on artmarketstudies.org

*****

Saturday 15 July

9.15am – Registration

Session 3 (plenary): Mapping the Art Fair II
Chair: Kim Oosterlinck, Université Libre de Bruxelles (BE)

9.45am – Tina Haisch, University of Applied Sciences Northwestern Switzerland, Basle (CH) and Max-Peter Menzel, University of Bayreuth (GER)
Constructions of Local and Global Markets at Three Art Fairs in Basel

10.15am – Karen Van den Berg, Zeppelin University Friedrichshafen (GER)
Self-Questioning as Currency: Public Talks and the Art Fair’s Corporate Identity

10.45am – Coffee

11.15am – David Bellingham, Sotheby’s Institute of Art, London (UK)
‘The Best of The Best’: MASTERPIECE London and the Art Fair as a Lifestyle Event

11.45am – Elisabetta Lazzaro, HKU University of the Arts, Utrecht (NL) and Nathalie Moureau, Université Paul-Valéry, Montpellier (FR), Mapping Diversity in the Contemporary Art Market

12.15pm – Concluding Discussion (c. 15 mins.)

*****

12.30pm – Buffet Lunch (provided)

1.00pm – Sub-Committee Meetings

*****

Session 5 (parallel with Session 6): Experimentation
Chair: Jonathan Woolfson, Sotheby’s Institute of Art, London (UK)

2.00pm – Meike Hopp, Zentralinstitut für Kunstgeschichte Munich (DE), The Art Fair in Frankfurt am Main and Its Auctions, 1920 and 1921

 2.30pm – Norma Ladewig, Freie Universität Berlin, Berlin (DE), The 1960s and 1970s West German Art Fairs as Laboratories of Democracy

3.00pm – Coffee

3.30pm – Martin Hartung, ETH Zurich (CH), Politics of the Art Fair, 1967-1973

4.00pm – Ronit Milano, Ben-Gurion University of the Negev (IL), The “Online” Economy of the Art Fair: The Case of Artspace Website

4.30pm – Concluding Discussion (c. 15 mins.)

*****

Session 6 (parallel with Session 5): Biennales and Nascent Fairs
Chair: Veronika Korbei, Independent Art Historian, Vienna (AT)

2.00pm – Clarissa Ricci, IUAV University, Venice (IT), At the Origins of Art Fairs: The Venice Sales Department after WWII

2.30pm – Diego Mantoan, Università Ca’Foscari, Venice (IT), Artworks for the Biennale or for the Art Fair: A Few Notes on Shifting Aesthetic Paradigms in 20th Century Art

3.00pm – Coffee

3.30pm – I-Yi Hsieh, New York University Shanghai (CN), Inside-Out of the Biennale: the 2016 Shanghai Biennale and Its Fair Economy

4.00pm – Marta Pérez Ibáñez, Universidad Nebrija, Madrid, and Isidro López Aparicio, Universidad de Granada (ES), Art and Resilience: The Artist’s Survival in the Spanish Art Market. Independent Artists’ Art Fairs in Spain – A Case Study

4.30pm – Concluding Discussion (c. 15 mins.)

*****

4.45pm (ends. c. 5.15pm)
Final Plenary Session: TIAMSA Looking Ahead

*****

Tickets
TIAMSA Members £ 70 / Non-members £ 100
TIAMSA Concessionary members £ 40 / Concessions and Students: £ 50

Online registration is now open:
https://tiamsaartfairconference2017.eventbrite.com
Online registration closes on 10 July, 2017

On the day – Tickets
£ 120 – provided there is room
£ 70 concessionary – provided there is room
On the day CASH ONLY

Conference Committee:
Susanna Avery-Quash (National Gallery, London); Antoinette Friedenthal (Independent, Berlin); Veronika Korbei (Independent, Vienna); Johannes Nathan (Nathan Fine Art, Zurich / Potsdam); Kim Oosterlinck (Université libre de Bruxelles); Olav Velthuis (Universiteit Amsterdam); Jonathan Woolfson (Sotheby’s Institute of Art, London)

Progamme (.pdf, 127kB)
The Art Fair The TIAMSA 2017 Conference Programme

Helpful Information

Exh: Between Definite and Dubious, Liebieghaus, Frankfurt a.M., until 27 Aug 2017

THE EXHIBITION

TICKETS

This spring, the Liebieghaus Skulpturensammlung will take a look back at a chapter in its history that has rarely been a focus of attention to date: the Nazi period and the acquisitions made during those years. With the aid of twelve selected objects, the exhibition will offer insights into the history of the museum in the years 1933 to 1945 and tell the stories of the people intimately linked with the twelve works. Since 2001, the Städel Museum has been examining its collections with regard to artworks whose owners were deprived of them in connection with Nazi persecution. It was thus one of the first museums in Germany to embark on this task.

In the spring of 2015, its provenance research activities were expanded through the addition of a comprehensive project supported by the German Lost Art Foundation and the city of Frankfurt am Main: the systematic examination of the Liebieghaus Skulpturensammlung holdings. The special exhibition will now present this initiative’s current research results by way of a tour through the sculpture collection’s three main departments – Antiquity, Middle Ages and Renaissance to Neoclassicism. Continue reading “Exh: Between Definite and Dubious, Liebieghaus, Frankfurt a.M., until 27 Aug 2017”

First meeting of TIAMSA’s Berlin sub-committee

Berlin, 3 July 2017, 7.00pm

Christine Howald and Anne Luther proudly announce the launch of TIAMSA’s Berlin sub-committee and cordially invite to the first meeting on

July 2017, 7.00pm
Centre for Art Market Studies
Technische Universität Berlin

Straße des 17. Juni 150/152 (corner of March-Straße)
10623 Berlin  
Room AF083

The TIAMSA Berlin sub-committee welcomes members who are based in Berlin or nearby and who would like to contribute to a lively and scholarly discourse on art and its markets. Our first casual meet-and-greet is hosted by the Centre for Art Market Studies at the Technische Universität Berlin and is also open to those who consider joining TIAMSA.
– 
The sub-committee will organize visits to sites relevant for the study of the art market (galleries, archives, libraries, museums, etc.) and mobilize our members coming from both academia and the art market to meet on a regular basis. It aims to uncover relationships between historical research, contemporary art markets as well as institutions and businesses. Members will introduce their know-how and are invited to host discussion groups, talks, round tables and visits at their sites with a topic of their choice related to their field of expertise. Please let us know if you would like to attend, we are very much looking forward to seeing you.​ 

Herzliche Grüße! Anne Luther and Christine Howald


Dr. Christine Howald is Research Associate  and Teaching Fellow at Technische Universität Berlin, Institut für Kunstwissenschaft und Historische Urbanistik (Research Area “Art Market and Provenance”).

Dr. Anne Luther is a researcher at Technische Universität Berlin, and arts manager and software developer with focus on the contemporary art market and data visualization in qualitative research.

ANN: Julius Meier-Graefe (1867-1935) – Grenzgänger der Künste

Literaturhaus Berlin, 22.06. – 16.07.2017

Peers praised the highly successful books of the art critic and critic Julius Meier-Graefe as a “new school of seeing”. In his writings, he focused on modern painting, sensitized the aesthetic re-evaluation and literary verve of the German public for French art of the nineteenth century and decisively shaped the canon of today’s art history.
Continue reading “ANN: Julius Meier-Graefe (1867-1935) – Grenzgänger der Künste”

CFP: PREP Exchange Program for Provenance Research

Berlin, 01.01.2018
Deadline: Sep 15, 2017

The German-American exchange program ‘Provenance Research Program for Museum Professionals’ (PREP) has been running since the beginning of 2017. The three-year program is aimed at provenance researchers, curators, archivists, and other museum experts. Anyone interested in the 2018 program can apply until 15. September 2017.

Organising institutions
Stiftung Preußischer Kulturbesitz (Zentralarchiv der Staatlichen Museen zu Berlin)
Smithsonian Institution, Washington, USA (Smithsonian Provenance Research Initiative)

Project partners
Staatliche Kunstsammlungen Dresden
Zentralinstitut für Kunstgeschichte München
Metropolitan Museum of Art, New York
Getty Research Institute, Los Angeles
Deutsches Zentrum Kulturgutverluste (Beratender Teilnehmer)

US PREP Page of the Smithsonian Institute

German PREP Page of the Zentralarchiv, Staatliche Museen zu Berlin

Reference:
ANN: Call for Applications für PREP Austauschprogramm zur Provenienzforschung. In: H-ArtHist, Jun 15, 2017 (accessed Jun 20, 2017).

 

CFP: The Limits of Art in the Museum (Madrid, 28-30 Nov 17)

Madrid, Spain, November 28 – 30, 2017
Deadline: Jul 30, 2017

The Interuniversity Consortium MUSACCES (UCM-UNED-UAM) invites the scientific community to submit contributions, as oral communications or posters, to the International Conference “The Limits of Art in the Museum” which will be held in Madrid between 28th-30th November 2017. The aim of this conference is to create an open space for the dialogue and interdisciplinary encounter among museum managers, educators, researchers, artists, students and other professionals of the cultural world. We expect to reflect about the permeability of the conceptual frontiers in the art, mainly when it affects its museological materalisation. Hans Belting, Mieke Bal, Georgios Alexopoulos, Javier Arnaldo, José Manuel Cruz Valdovinos, Almudena Domínguez, Nicole Gesché-Koning, Matteo Mancini, Alice Semedo or Esme Ward and other academic authorities will contribute with their expertise.

Continue reading “CFP: The Limits of Art in the Museum (Madrid, 28-30 Nov 17)”

CFP: 4th Workshop on Computational History, Singapur, 6 Nov, 17

HistoInformatics2017
06.11.2017, Singapur, Pan Pacific Singapore

Held in conjunction with the 26th ACM International Conference on Information and Knowledge Management (CIKM 2017), 6-10 November, Singapore.

Mohammed Hasanuzzaman, ADAPT Centre: The Global Centre of Excellence for Digital Content and Media Innovation, Ireland; Adam Jatowt, Kyoto University, Japan; Gäel Dias, University of Caen Normandie, France; Marten Düring, Luxembourg Centre for Digital and Contemporary History (C2DH), Luxemburg; Antal van Den Bosch, Meertens Institute, Amsterdam, the Netherlands.

http://histoinformatics2017.adaptcentre.ie/

The HistoInformatics workshop series brings together researchers in the historical disciplines, computer science and associated disciplines as well as the cultural heritage sector. Historians, like other humanists show keen interests in computational approaches to the study and processing of digitized sources (usually text, images, audio). In computer science, experimental tools and methods stand the challenge to be validated regarding their relevance for real-world questions and applications. The HistoInformatics workshop series is designed to bring researchers in both fields together, to discuss best practices as well as possible future collaborations.

Traditionally, historical research is based on the hermeneutic investigation of preserved records and artefacts to provide a reliable account of the past and to discuss different hypotheses. Alongside this hermeneutic approach historians have always been interested to translate primary sources into data and used methods, often borrowed from the social sciences, to analyze them. A new wealth of digitized historical documents have however opened up completely new challenges for the computer-assisted analysis of e.g. large text or image corpora. Historians can greatly benefit from the advances of computer and information sciences which are dedicated to the processing, organization and analysis of such data. New computational techniques can be applied to help verify and validate historical assumptions. We call this approach HistoInformatics, analogous to Bioinformatics and ChemoInformatics which have respectively proposed new research trends in biology and chemistry. The main topics of the workshop are:

  1. support for historical research and analysis in general through the application of Computer Science theories or technologies,
  2. analysis and re-use of historical texts,
  3. analysis of collective memories,
  4. visualizations of historical data,
  5. access to large wealth of accumulated historical knowledge.

HistoInformatics workshops took place thrice in the past. The first one (http://www.dl.kuis.kyoto-u.ac.jp/histoinformatics2013/) was held in conjunction with the 5th International Conference on Social Informatics in Kyoto, Japan in 2013. The second workshop (http://www.dl.kuis.kyoto-u.ac.jp/histoinformatics2014/) took place at the same conference in the following year in Barcelona. The third workshop (http://www.dl.kuis.kyoto-u.ac.jp/histoinformatics2016/) was held on July 2016 in Krakow, Poland in conjunction with ADHO’s 2016 Digital Humanities conference.

For Histoinformatics2017, we are interested in a wide range of topics which are of relevance for history, the cultural heritage sector and the humanities in general. Topics of interest include (but are not limited to):

  • Natural language processing and text analytics applied to historical documents
  • Analysis of longitudinal document collections
  • Search and retrieval in document archives and historical collections, associative search
  • Causal relationship discovery based on historical resources
  • Named entity recognition and disambiguation
  • Entity relationship extraction, detecting and resolving historical references in text
  • Finding analogical entities over time
  • Computational linguistics for old texts
  • Analysis of language change over time
  • Digitizing and archiving
  • Modeling evolution of entities and relationships over time
  • Automatic multimedia document dating
  • Applications of Artificial Intelligence techniques to History
  • Simulating and recreating the past course of actions, social relations, motivations, figurations
  • Handling uncertain and fragmentary text and image data
  • Automatic biography generation
  • Mining Wikipedia for historical data
  • OCR and transcription of old texts
  • Effective interfaces for searching, browsing or visualizing historical data collections
  • Studies on collective memory
  • Studying and modeling forgetting and remembering processes
  • Estimating credibility of historical findings
  • Probing the limits of Histoinformatics
  • Epistemologies in the Humanities and Computer Science

Practical Matters continue here

CAA-GETTY INTERNATIONAL PROGRAM

The CAA-Getty International Program, generously supported by the Getty Foundation, provides funding to between fifteen and twenty art historians, museum curators, and artists who teach art history to attend CAA’s Annual Conferences. The goal of the project is to increase international participation in CAA, to diversify the association’s membership, and to foster collaborations between North American art historians, artists, and curators and their international colleagues.

Since it began in 2012, the program has brought ninety scholars to the conferences, from forty-one countries located in Central and Eastern Europe, Russia, Asia, Southeast Asia, Africa, the Caribbean, and South America. Each year, a preconference colloquium on international topics in art history inaugurates the week, kicking off four days of conference sessions, meetings with new colleagues, and visits to museums and galleries. Subsequent to these events, the program has generated many scholarly collaborations, including publications, conferences, and exhibitions. Continue reading “CAA-GETTY INTERNATIONAL PROGRAM”