EXH : Los Angeles to New York: Dwan Gallery, 1959–1971, Sept 30 – Jan 29, 2017

Virginia Dawn, Franz Kline painting, 1962 by Dennis Hooper. Source: Pinterest
Virginia Dawn, Franz Kline painting, 1962 by Dennis Hooper. Source: Pinterest

The remarkable career of gallerist and patron Virginia Dwan will be featured front and center for the first time in an exhibition of some 100 works, featuring highlights from Dwan’s promised gift of her extraordinary personal collection to the National Gallery of Art. Founded by Dwan in a storefront in Los Angeles in 1959, Dwan’s West Coast enterprise was a leading avant-garde space in the early 1960s, presenting works by abstract expressionists, neo-dadaists, pop artists, and nouveaux réalistes, including Philip Guston, Franz Kline, Ad Reinhardt, Robert Rauschenberg, Claes Oldenburg, Edward Kienholz, Yves Klein, Arman, Martial Raysse, Niki de Sant Phalle, and Jean Tinguely. In 1965, Dwan established a gallery in New York where she presented groundbreaking exhibitions of such new tendencies as minimalism, conceptual art, and land art, featuring works by Carl Andre, Walter de Maria, Dan Flavin, Michael Heizer, Robert Morris, Sol LeWitt, Agnes Martin, Charles Ross, Robert Ryman, and Robert Smithson, among others. Dwan emerged as a leading patron of earth works during this period, sponsoring Heizer’s monumental sculptures Double Negative (1969) and City (begun 1972); Smithson’s masterpiece Spiral Jetty (1970); the first version of Walter de Maria’s Lightning Field (1974); and Ross’s Star Axis (begun 1971). The exhibition will trace Dwan’s activities and the emergence of an avant-garde gallery in an age of mobility, when air travel and the interstate highway system linked the two coasts and transformed the making of art and the sites of its exhibition.

Organization: Organized by National Gallery of Art, Washington

Other Venues: Los Angeles County Museum of Art, March 19–September 10, 2017

Source : National Gallery of Art, Washington

Header Image (random): Virginia Dwan standing in the Language III installation (May 24–June 18, 1969). Detail. Photo courtesy Dwan Archive

CFP : Bankers and merchants as actors in North-Eastern Europe

Money, prestige and responsibility: Bankers and merchants as actors in economic, political and cultural networks in North-Eastern Europe 16th-20th century

[Abbreviated English summary, full German version here]

International conference organised by the Nordost-Institut (IKGN e. V.), Lüneburg, and the Institute of Art History, Ludwig-Maximilians-University Munich, 28-30 September 2017

The merchant-banker of North-Eastern Europe has received relatively little attention as a pivotal figure in cultural history. Although the status of the banker has been studied in the history of economics and in socio-historical terms, the focus has mostly been on banks as institutions or on the bourgeois origin of bankers. The geographic or socio-political characteristics of the North-Eastern European regions have often been disregarded. Divided into three sections, this call for papers also looks for investigations of bankers as promoters of arts and culture.

CONF: The Art Market, Collectors and Agents: Then and Now, Paris, 20 & 21 OCTOBER, 2016

Paris, Institut National d’Histoire de l’Art, Salle Vasari, INHA, 2 rue Vivienne, 75002 Paris

The focus of the conference is to explore the changing and complex nature of the role of agent in the art market during the Early Modern Period. Papers will explore shifts in the dynamics of the market, the changing taste of collectors and the importance of writers, critics, museum curators and dealers in influencing these changes. The papers demonstrate how examining the role of agents through their correspondence with clients, day books or private records, bring new insights into the workings of the art world through the detailed evidence of how transactions were negotiated.

PROGRAMME

9.30     Registration

10.00    Welcome

10.10     Introduction

james thornhill standing self portrait
Sir James Thornhill – Self portrait

10.45 Session one: The artist and writer as agents

10.45 Tamsin Foulkes, PhD Candidate, University of Nottingham : James Thornhill as an agent-collector in early eighteenth-century Paris

11:15  Dr. Corina Meyer, Institute of Art History, University of Stuttgart : ‘To see once again the glorious picture by Moretto before it is forever lost for Rome’: Johann David Passavant’s (1787-1861) recommendations and selection of paintings

Continue reading “CONF: The Art Market, Collectors and Agents: Then and Now, Paris, 20 & 21 OCTOBER, 2016”

STIP: APPLY BY OCT 17, 2016: Getty Library Research Grants (Los Angeles)

ertinger-lib-bm
Franz Ertinger, Interior of a library

Applications for the 2017 Getty Library Research Grants at the Getty Research Institute Library are now available onlineApplication deadline: Oct 17, 2016.

Getty Library Research Grants provide partial, short-term support to researchers of all nationalities whose projects demonstrate a compelling need to use Getty Research Institute materials, and whose place of residence is more than 80 miles from the Getty Center in Los Angeles.

Please contact GRI Library Reference with any questions: reference@getty.edu.

Reference / Quellennachweis: STIP: Getty Library Research Grants (Los Angeles). In: H-ArtHist, Sep 9, 2016. <http://arthist.net/archive/13603>.

CONF : All the Beauty in the World, Berlin, 13-15 Oct 2016

poster_all-the-beauty-of-the-worldAll the Beauty of the World. The Western Market for non-European. Artefacts (18th-20th century)

Bauakademie am Schinkelplatz, 10117 Berlin, October 13 – 15, 2016

In the wake of the Western expansion, a fast growing number of non-European artefacts entered the European market. They initially made their way into princely cabinets of curiosities. Made possible by the forced opening and exploitation of more and more parts of the world and pushed by social and technological changes of the time, the 18th century brought a boom of the market of non-European artefacts in Europe. This came along with the emergence of a broader collecting culture and the development of a rich museumscape.

This market and its development between 18th and 20th century in terms of actors and networks involved, methods and places of exchange and monetary and ideological value of the objects are in the focus of an international symposium organized by the Institute for Art History in cooperation with the Center for Art Market Studies at Technical University Berlin, the Institut d’histoire moderne et contemporaine (CNRS) and the Labex TransferS (PSL) in Paris.

Convenors: Prof. Dr. Bénédicte Savoy, Dr. Christine Howald (Technische Universität Berlin), Dr. Charlotte Guichard (Institut d’histoire moderne et contemporaine/CNRS, Paris)

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CFP: Rivista MDCCC 1800 n. 6 – Arts on display: the 19th century international expositions

Call for Papers: International on-line scientific peer reviewed journal MDCCC 1800 [Italian text below]

Deadline for abstracts: 12 October 2016.

Deadline for submission of papers: 30 December 2016.

Arts on display: the 19th century international expositions.

The international online peer reviewed journal MDCCC1800 wishes to celebrate the 150th anniversary of the Exposition universelle held in Paris in 1867 with an issue dedicated to the phenomenon of the international exhibitions set up during the 19th century. We welcome original, unpublished articles offering in-depth analysis of the developments, significance and legacy of this phenomenon starting from the Universal Exhibition of London (1851).

Contributors are free to propose any topic related to the general theme, such as the study of single national participations, the impact of the events on public opinion, the display architectures, the diffusion of decorative arts and photography etc.

A list of suggested topics, by no means exhaustive, includes:

  • The national participation to the events (committees, single artists, works of art)
  • The art market: private collectors and museum acquisitions
  • The divulgation of the arts: publicity, magazines, exhibitions catalogues
  • The social and pedagogical role of international exhibitions
  • Architecture, outfitting, national pavilions
  • The use of decorative arts and photography at the events
  • Colonialism and the influence and reception of non-European cultures
  • Literature and the arts: the narration of the exhibitions
  • Correspondence (relationships among artists, architects, art critics etc)
  • The role played by the Antiquities at the exhibitions (as models for inspiring artists; means for showing prestige; physical emblems for the building of identity; political propaganda etc)

Continue reading “CFP: Rivista MDCCC 1800 n. 6 – Arts on display: the 19th century international expositions”