In this blog, our member Dr. Anne Luther, a researcher and software developer at The Center for Data Arts at The New School and for Professor Boris Groys at NYU, questions some of the recent practices by speculating collectors looking to make quick profits from the market of contemporary art. A similar call to blacklist so-called flippers was recently made by Thaddaus Ropac at the Barcelona Talking Galleries Conference (16-17 January 2017).
A plea for a more sustainable art market
by Anne Luther
New York is the center of the international contemporary art market. [footnote 1] Local actors are tightly interconnected, and one can understand strategies and mechanisms of the market in a much more traceable way than in anywhere else. The city has major museums and institutions; the significant auction houses host their ‘record auctions’ here; the most successful galleries are surrounded by an unparalleled density of galleries; and art fairs, art magazines, and art schools are abundant. The network of people working in this local art world is therefore incomparable to other cities: artists, artist assistants, art handlers, writers, art advisors, curators, gallerists and their staff are part of a tightly knit and highly social network that spans art production and collecting. Private collectors have a major influence in this network and have changed the art market in the past five years significantly.
The following will describe the most notable mechanisms responsible for a change in art production in this time period. I will use the term emerging to point to actors in the art world that, in the past five to eight years, appeared for the first time in institutional presentations, art fairs, auctions, and art magazines. Emerging therefore indicates a performance or realization within the art market and is shaped by the network that produces sales, reviews, and institutional recognition of the produced artworks. Continue reading “Anne Luther: A Plea for a More Sustainable Art Market”→
Denise Vernerey-Laplace (EHESS): ‘Denise René and the Fight for Abstraction. Promoting Abstract Aesthetics (1944-2012)’, 8 March, Paris.
In 1944, a young women called Denise René opened a gallery in her apartment-boutique, rue La Boétie. Little did she know then that her engagement in political and intellectual debates would lead her to vigorously support abstraction and cinetism for fifty years. Her ‘Operation Klar Form’, first organized for Liège in 1951, would over the course of its stations in European capitals take abstraction to the art market, setting the path for the abstract aesthetics of Vasarely, Calder, Tinguely, Agam, Bury, Soto, Schoeffer, as well as widening the spectrum of the kinetic arts in Germany, Venezuela, Argentina, and Spain.
Denise René died at the age of 99, on 9 July 2013. She was active until the very last days of her life. A verbally outspoken person, she hoisted the flag for abstract aesthetics and Op Art with her galleries at rue La Boétie, the Marais, and Saint-Germain.
Venue: GREMA – Groupe de recherche sur le marché de l’art 8 March 2017 5-7pm
Centre Malher de l’Université de Paris 1 Panthéon-Sorbonne
9 rue Malher, salle 106
TIAMSA proudly announces Noah Horowitz as keynote speaker at its upcoming ART FAIRS conference
Noah Horowitz directs the Art Basel Miami Beach show, one of the most successful art fairs worldwide. His keynote speech will greatly enrich our conference that will explore the theme of art fairs in historical and contemporary perspective.
Venue: London, Sotheby’s Institute of Art, 14/15 July 2017.
Submit your proposal to our Call for Papers, closing on March 12th.
After the Conference WORKING ON THINGS in November 2016 researcher Nicola Kritzinger here presents her paper The Journey of a man with a fish here in a YouTube Video.
‘An unassuming, seemingly rudimentary ceramic figure sits in storage for years, surrounded by innumerable objects also relegated to containers. Even in its apparent silence and obscurity, thepresence and displacement of this object reveals something of an expansive history; various social histories, including a number political eras from the imperial, to the colonial, and eventual democracy; and relates something of the construction of value systems for art, objects and museums across these periods. It hints at the work implicit in every museum object.’
For this issue the editors invite submissions pertaining to any theme related to public art. As with each issue, we aim to offer a lively mix of different features. The wide range of submission types typical of the journal (such as scholarly articles, artists’ projects, critical essays, interviews and book reviews), is both welcomed and encouraged here.
Public Art Dialogue is accepting scholarly articles, artists’ projects and critical essays for its Fall 2017 issue. Public Art Dialogue is a scholarly journal, welcoming of new and experimental modes of inquiry and production. It is the journal of the College Art Association affiliate group of the same name, and is overseen by co-editors assisted by an international editorial board, which reflects the diversity and cross-disciplinarity of the public art field.
International Workshop The Transfer of Jewish-owned Cultural Objects in the Italian Alpe Adria Region
20th – 21st September 2017 at the IMT School for Advanced Studies Lucca, Italy
The first International Workshop of TransCultAA will take place at the IMT School for Advanced Studies Lucca on 20th-21st September 2017.
The workshop will focus on the Jewish-owned cultural property in the Italian Alpe Adria region.
Scholars and researchers (either attached to universities, museums, cultural heritage institutions, authorities, or working independently as
freelancers) are invited to submit proposals for a Poster Session and a Paper Session. Deadline for submission is March 15, 2017.