The art market is in crisis, and the art fairs are largely to blame, says Olav Velthuis.
“Now that the new art season has begun, one question on everyone’s mind is: How many more galleries will close by next summer? In the past five years, notices of galleries shutting their doors have become as commonplace as announcements of new exhibitions…”
Olav Velthuis is TIAMSA’s President and Professor at the Department of Sociology of the University of Amsterdam. At the department, he is director of the program group Cultural Sociology. His research interests include the valuation and pricing of contemporary art and the globalization of art markets. He has recently studied the emergence and development of art markets in the BRIC-countries (Brazil, Russia, India and China). His best known book on the art market is called Talking Prices. Symbolic Meanings of Prices on the Market for Contemporary Art (Princeton University Press, 2005).
The British, American and French Photobook: Commitment, Memory, Materiality and the Art Market (1900-2019)
Maison Française d’Oxford
2-10 Norham Road
Oxford OX2 6SE
March 14 – 16, 2019
Deadline: Nov 15, 2018
The Maison Française conference committee invites proposals on the social history of the British, American or French photobook from 1900 to the present. Papers will address: commitment or explicit political engagement; memory, commemoration and the writing of history; materiality (whether real or virtual), and how material form affects circulation, handling, critical responses and the social life of the photobook. We invite contributors to analyse these topics with respect to the growth of the market for the photobook as a commodity and an object of bibliophilic attention. Proposals focusing on contemporary productions are particularly welcome.
Recent illustrated anthologies in the vein of The Photobook: A History (Gerry Badger and Martin Parr, 2004, 2006, 2014) have established three things: firstly, the photobook-photographer is an editor and an author, or auteur (in the cinematographic sense, but applied to “directing” the production of a book); secondly, the photobook is an autonomous work of art, and a collectible object of connoisseurship; thirdly, the photobook “art world” now exists and can be studied. Continue reading “CFP: The Photobook (Oxford, 14-16 Mar 19)”→
German/American Provenance Research Exchange Program for Museum Professionals
(PREP) – PUBLIC PROGRAM IN MUNICH
Zentralinstitut für Kunstgeschichte, München, October 8 – 12, 2018
PREP brings together, for the first time, museum professionals from Germany and the United States who specialize in World War II-era provenance projects for a 3-year systematic exchange of methods and practices with which both countries have approached the issues pertaining to Holocaust-era art looting. Through its rapidly-expanding research network, support of technological advances to record and share data, and mentoring a new generation of provenance researchers, PREP facilitates and speeds up this research. It also widens the scope of WWII-era provenance research, which to date has prioritized painting, sculpture, and Judaica, by including Asian art, decorative arts, antiquities, and works on paper.
PREP is primarily funded by the German Program for Transatlantic Encounters, and by the Federal Government Commissioner for Culture and the Media and the Smithsonian Women’s Committee. Co-organized by the Smithsonian Institution and the Stiftung Preußischer Kulturbesitz/Staatliche Museen zu Berlin, PREP’s partners are The Metropolitan Museum of Art, New York, the Getty Research Institute, Los Angeles, the Staatliche Kunstsammlungen Dresden and the Zentralinstitut für Kunstgeschichte Munich. The Deutsches Zentrum Kulturgutverluste (German Lost Art Foundation) is an advisory consultant.
The Malevich Society is pleased to announce its call for 2018 grant applications.
Based in New York, the Malevich Society is a not-for-profit organization dedicated to advancing the knowledge about the Russian artist Kazimir Malevich and his work.
In the belief that Malevich was a pioneer of modern art who should be recognized for his key contributions to the history of Modernism, the Society awards grants to encourage research, writing, and other activities related to his history and memory.
The Society welcomes applications from scholars of any nationality and at various stages of their career. Graduate students are welcome to apply after completing at least one year of dissertation research. Proposed projects should increase the understanding of Malevich and his work, or augment historical, biographical, or artistic information about Malevich and/or his artistic legacy. The Society also supports translations and the publication of relevant texts.
A photo-historical course organized by the Bibliotheca Hertziana (Max Planck Institute for Art History) Rome and the Folkwang Universität der Künste Essen
Deadline: October 22, 2018
Photography has always been a powerful tool of communication and has developed into an instrument of our everyday experience: Through photographs we are able to communicate quickly and easily with each other. As a medium of social interaction, photographic images are used as a handy alternative to language, supplementing or even replacing it. They transport us to sites and individuals, connecting the distant and the temporally remote. This far-reaching development is increasingly driven by the digitization of our everyday culture. Photography is both part of this process, and its most visible expression. Continue reading “CFP: Circulating Photographs: Materials, Practices, Institutions (Rome, Bibliotheca Hertziana, March 18–22, 2019)”→
Kunst ist ein bisschen undemokratisch und vertritt nur einen Standpunkt
Dürfen ein toter Haifisch in einer mit Formalin gefüllten Theke von Damien Hirst oder die Skulptur eines enormen Luftballonhündchens von Jeff Koons als Kunst verstanden werden? Liegen Denk- und Handlungsweisen in der heutigenKunstwelt jenen des Aktienmarkts näher, oder entsprechen sie den gesellschaftlichen Vorstellungen, also einer zugänglichen Kunst? Gibt es noch Künstler*innen, die einen demokratischeren oder partizipatorischen Weg planen? Welchen Sinn für Ästhetik schafft zeitgenössische Kunst in ihren mannigfaltigen Erscheinungen und wie werden dadurch Machtrelationen bzw. soziale Bedingungen geprägt? Der Essay geht diesen Fragen nach und bewegt sich an der Schnittstelle von Ästhetik, Kunstgeschichte, Soziologie und Wirtschaftslehre, um auch anhand von Beispielen die facettierte Beschaffenheit der heutigen Kunstwelt kritisch zu durchdenken. Der Kunstraum wird dabei als politisches Schlachtfeld verstanden, wo Kunstsinn und Autoritätsvergabe auf dem Spiel stehen.
Fiona Candlin and Alex Poulovassilis of Birkbeck College just added a new blog to their website Mapping Museums
“How do researchers manage when they have missing data? One of the initial aims of the Mapping Museums project was to establish an authoritative dataset of all the museums open between 1960 and 2020, and to record information on their location, governance, accreditation status, subject matter, opening and closing dates, and visitor numbers. Having this material would provide the first step in constructing a nuanced, evidence-based history of the development of the museum sector during the period, and so the research team began to compile information from numerous sources: surveys conducted by government bodies, by the Association of Independent Museums, and the Museums Association; lists of museums held by the national organisations for the arts; guidebooks; and websites…..”