CFP: Women Art Dealers (1940-1990)

Celebrating Female Agency in the Arts
Christie’s Education Academic Conference, New York, June 2018

Call for Papers
Women Art Dealers (1940-1990)
Session Chair: Caterina Toschi

The session analyzes the central role played by women art dealers in the creation and development of art market between the 1940s and the 1980s. The panel examines the work of those women who promoted art between different countries and continents thus developing an international form of market that anticipated the current global model. Paula Cooper, Peggy Guggenheim, Beatrice Monti della Corte, Betty Parsons, Martha Jackson, Denise René, Lia Rumma, Ileana Sonnabend are just some of the protagonists of an intense period of artistic promotion characterised by renewed marketing strategies and new uses of gallery space. Without advocating an alternative history of market, the session aims to consider women art dealers’ diverse contributions to arts addressing the following topics:

  • International networks of women art dealers in both the United States and Europe
  • Women art dealers’ role in the birth of global art market
  • History of exhibitions: new forms of exhibition design
  • Gender solidarity in art promotion
  • The importance of female economic autonomy and purchasing power in affirming feminist culture
  • Mapping women art dealers’ archives
  • Female editorial projects and graphics (catalogues, artist books, posters and invitations)
  • Women art dealers and men colleagues
  • Aspects of the role of women art dealers in art fairs and biennales
  • Women art dealers and art collecting.

Paper proposals should be sent by email to Caterina Toschi ( by December 22, 2017. Proposals should include:

Abstract (500 words) with short bibliography and a biography (250 words).

Authors will be notified of acceptance by January 12, 2018.
Speakers will be asked to submit an advanced draft of their final paper by April 27, 2018.

Photo: Beatrice Monti della Corte, Galleria dell’Ariete. Photo: Ugo Mulas.

CFP: World Fairs and International Exhibitions 1851-1940 (Amsterdam 03/18)

World Fairs and International Exhibitions: National Self-Profiling in an International Context, 1851-1940

Study Platform on Interlocking Nationalisms, University of Amsterdam; Leiden University

08.03.2018-09.03.2018, Amsterdam
Deadline: 30.11.2017

Probably the most important global stage for learning how to represent a national identity was the world fair. These grandiose international exhibitions emerged during the decades of post-1848 nationalism – which also saw the rise of mass tourism – and formed part of the panoramatic “spectacle of modernity” that dominatedall mass-oriented representations of landscapes and societies in these decades. At the first Great Exhibition of the Works of Industry of All Nations in 1851 all participating countries had their own section in London’s Crystal Palace to show their contribution to human progress. However, it was difficult to be distinctive with machines, inventions and fine arts, which look quite similar everywhere. Therefore, at the Paris Exposition Universelle of 1867 each participating country was invited to also erect a pavilion in a characteristic national style to exhibit its own “authentic” culture. These national pavilions became an integral part of subsequent international exhibitions, and world fairs became an international platform for showcasing a country’s distinctive characteristics.

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New Book out now: Markt und Macht. Der Kunsthandel im »Dritten Reich«

Markt und Macht. Der Kunsthandel im »Dritten Reich«

Ed. Fleckner, Uwe; Gaehtgens, Thomas W. and Huemer, Christian
Series: Schriften der Forschungsstelle “Entartete Kunst” 12
xvi, 434 pages
Language: German, English

Buy the book here – Markt und Macht

Die Geschichte des Kunsthandels im “Dritten Reich” zu schreiben, steht nicht nur aufgrund einer schwierigen Quellenlage vor besonderen Herausforderungen. Zwischen Komplizenschaft und Sabotage verstrickt sich das Handeln der Akteure in eklatante Widersprüche. Vom Alltagsgeschäft der Kunsthändler bis zum Widerstand gegen restriktive Vorschriften reicht das Themenspektrum, vom Auktionshandel bis zum Schwarz- und Schattenmarkt, von zahllosen Verbrechen nicht nur an jüdischen Sammlern und Händlern bis zum Kunstraub in den von deutschen Truppen besetzten Ländern. Kunst- und Wirtschaftshistoriker untersuchen in diesem Buch den Kunstmarkt und seine Mechanismen im Nationalsozialismus, die Rolle der Raubkunst sowie insbesondere moderner und “entarteter” Werke auf dem Kunstmarkt im “Dritten Reich”.

Now open: The Wildenstein Plattner Institute

Beginning this Thursday, September 7, 2017, the Wildenstein Plattner Institute, Inc., will begin accepting online requests for archival research, including requests for inclusion to the forthcoming digital catalogue raisonnés for the following artists:

Jean Béraud
Paul Gauguin
Camille Pissarro
Odilon Redon
Pierre-Auguste Renoir
Édouard Manet
Albert Marquet
Claude Monet
Berthe Morisot
Kees Van Dongen
Maurice de Vlaminck
Édouard Vuillard

To submit a request, please visit the website at and go to the “Submissions” tab, where you will find information on the requirements and processing fees.

Please note that you must register for an account before submitting a request to the WPI. WPI will only process requests transmitted through the website.


About The Wildenstein Plattner Institute

The Wildenstein Plattner Institute, Inc. (WPI) is a 501c3 private foundation dedicated to the study of art history and to foster the cataloguing, digitization, and access to archival materials that support critical research in the field. Through the development of significant research projects, catalogue raisonnés, and public programs, the WPI advances scholarship and broadens access to crucial primary sources.

The WPI was co-founded in 2016 by Guy Wildenstein, president of Wildenstein & Company, and Hasso Plattner, a leading entrepreneur in digital technology and international benefactor of arts and education. The foundation is based in New York, with an office in Paris. For more information, please contact

Apply now: Francis Haskell Memorial Fund

Francis Haskell Memorial Fund
The Burlington Magazine Foundation
2017 Scholarships

Apply by 6th October 2017

Grants of up to £2000 will be awarded from the Francis Haskell Memorial Fund this year to enable scholars to spend time in libraries or archives carrying out advanced research in the history of western art. Preference may be given to candidates in the early stages of their careers; to subjects related to the commissioning, collecting or interpretation of works of art made before 1914; and to research carried out outside the applicant’s country of residence. Scholars from any country may apply. An additional award may be made by the Trustees of The Burlington Magazine Foundation in conjunction with the Francis Haskell Trustees.

Applications, including a two-page proposal, a C.V. and a budget, should be sent by email to by 6th October 2017 – please label all attachments with surname of applicant. There is no application form. Applicants should ask two referees to write separately to the same email address by the same deadline in support of their proposals.
Awards will be made by 8th December 2017.

Haskell 2017 ad

Source: Caroline Elam

Conf: Täuschend echt. Falschmeldungen und Fakes, 1835-1938 (Cologne, 21-22 Sept 17)

Universität zu Köln, Raum 3.229
21.-22. September 2017

PD Dr. Volker Barth; Dr. Michael Homberg

Much has been written about the genesis, meaning and spreading news in the 19th and 20th century, especially in the area of ​​media studies. And although numerous studies about different types of media during the turn of the century are available,
studies on the origin, function and effect of false reports and
fake news remain a desideratum. While the establishment of a journalistic codex for reliable news content are always mentioned as a central element of the development
of modern journalism, fake news have for the longest time been dismissed as negligible moments of failure.

The starting point of this conference will be to address the media’s prerequisites, socio-economic conditions and work-related production processes of false reports and fake news. The aim is to investigate the value and importance of such news for the formation of modern communications. The period investigated starts with the first mass pages and the Illustrated Press to the beginnings of the film and the radio – from Edgar Allan Poe’s “Hoaxes” of the 1830s to Orson Welles’ 1938 radio play “War of the Worlds”.

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