University of Manchester, September 01, 2019 Application deadline: Jan 29, 2019
The School of Arts, Languages and Cultures at the University of Manchester invites applications for a permanent, full-time chair in Art Gallery and Museum Studies tenable from 1 September 2019. The School seeks an exceptional individual who will provide leadership and excellence in research, teaching and learning in the department of Art History and Cultural Practices, with a focus on curatorial and museological practices in the arts and their relationship to the broader creative economy.
You will have an outstanding record of
academic publication in art gallery and museum studies, art curating
and/or related professional practice, compatible with inclusion in the
university’s submission to REF 2021. You will have a proven track record
in attracting external sources of research funding, and in providing
research leadership, and will have a clear plan for future bids for
external research funding. You will lead the development of an expanded
offer for undergraduate and postgraduate studies within AHCP in art
gallery and museums studies, the art market, curatorial practice,
contemporary arts practice, and the cultural and creative industries.
These activities will form part of an ambitious and timely expansion at
Manchester of teaching, learning and research in subjects related to the
creative economy, with the aim of providing significant research
impact, knowledge exchange, public engagement and professional
development opportunities through engagement in, with and for the arts
and the cultural and creative sectors.
We are very pleased to offer TIAMSA Members 25% discount on this wonderful publication – for details and further information, please log into your TIAMSA Members Area!
Recent interest in the economic aspects of the history of art havetaken traditional studies into new areas of enquiry. Going well beyond provenances or prices of individual objects, our understanding of the arts has been advanced by research into the demands, intermediaries and clients in the market. Eighteenth-century Rome offers a privileged view of such activities, given the continuity of remarkable investments by the local ruling class, combined with the decisive impact of external agents, largely linked to the Grand Tour. This book, the result of collaboration between international specialists, brings back into the spotlight protagonists, facts and dynamics that have remained unexplored for many years.
Tools for the Future: Researching Art Market Practices from Past to Present
We are pleased to invite you to participate in the third of our International Workshop son the formation and development of new and emerging markets organised in London. This workshop is part of the International Workshops Series “Tools for the Future: Researching Art Market Practices from Past to Present”, jointly organised by ART-Dev University Paul Valéry Montpellier 3, Creative Economy-HKU University of the Arts Utrecht and IESA & Institute of Historical Research, London. Through individual presentations followed by group discussions, the series aims at bringing together scholars from different disciplines and areas of study of the art market to confront key issues and related methodologies that can be used to analyse the structures and principals of the art market. Previous workshops were, respectively, on art collectors and the artist as an entrepreneur.
As the art market has developed worldwide, there have been many instances where new areas of producing, trading, collecting and valuating art have emerged onto the market, very often reaching record-breaking prices. This workshop focuses on examples of new paradigms and new ways that art markets function, whether in the primary or secondary sector, the aim being to analyse and understand the mechanisms by which a particular ‘product’ enters the art market, considering who are the main players of such changes, collectors, institutions, dealers or other agents. Equally, it would be interesting to explore market types that have not succeeded or gained a foothold. There are many well-known and well studied areas of innovation in the market, among which can be cited the 17th century imports of Chinese and Japanese ceramics, lacquers and textiles, the development of a market for 17th century Dutch and Flemish paintings in Paris and London during the 18th century, or the rise of the Barbizon school in 19th-century Paris, while we have seen the emergence of photography and street art as important areas of contemporary collecting, or even African art. New art forms such as digital and video art raise questions as to whether existing models of agency are still appropriate and thus, whether new technology is fundamentally changing the creation, trade, consumption and validation of art.
Ein Studientag anlässlich der Ausstellung Museum global. Mikrogeschichten einer ex-zentrischen Moderne
seiner Entstehung im 18. Jahrhundert ist das Museum ein Ort permanenter
Neu- und Umordnungen. Sammlungen haben den Anspruch von Dauer.
Gleichwohl ist der Umgang mit ihnen – ihre Präsentation, Erforschung und
Vermittlung – immer wieder durch Perspektivwechsel bestimmt. Unter den
Vorzeichen postkolonialer Theoriebildung und den geopolitischen
Veränderungen seit Ende des Kalten Krieges setzte in den letzten
Jahrzehnten ein grundlegendes Umdenken ein. Was bedeutet Sammeln und
Ausstellen in einem globalen Rahmen, insbesondere für ein Museum wie die
Kunstsammlung Nordrhein-Westfalen, deren Sammlung maßgeblich durch das
europäisch-nordamerikanische Narrativ der Moderne geprägt ist?
In 2019 the Calouste Gulbenkian Museum and the Art Library will have been open for 50 years. Gulbenkian was known as ‘Mr. 5%’, who wanted ‘only the best’, but this conference seeks to go beyond the biographical, or the anecdotic, and to consider Gulbenkian in the light of a wider context, with papers that reflect new research into the ways in which collectors worked, their networks, and their relationship with their collection, its accessibility and its future, and that go beyond single-case studies of individual owners, seeking instead more transversal studies into how collectors worked and how they mirrored the period in which they lived. The questions of the role played by museums, by art agents and intermediaries, as well as by the markets, will also be addressed.
Evangelische Akademie Tutzing, 08. – 10.02.2019 Registration deadline: Feb 1, 2019
Raubkunst, Kulturgut, nationales Eigentum? Objekte zwischen Recht und Moral
Jahre nach der „Washingtoner Erklärung“ bleiben noch immer viele Fälle
von NS-Raub- bzw. Beutekunst ungeklärt. Gleichzeitig hat sich das Feld
der Provenienzforschung in den letzten Jahren über den
Nationalsozialismus und Zweiten Weltkrieg hinaus sukzessive ausgedehnt.
Unter einem großen Fragezeichen steht aktuell vor allem der moralisch
korrekte Umgang mit dem sogenannten kolonialen Erbe. Wie kann es
For the final phases of preparation of the Art Market Dictionary book and database project at De Gruyter publishers in Berlin, we are seeking a freelancer to assist with editorial tasks in our office. The ideal candidate will have a background in art history and editorial work, with interest in the history of the art market, and at least two days per week available to work on the project. Tasks include author communication, manuscript management via our content management system, author acquisition, and other editorial tasks. The publication is in English, but other languages, especially German, French, and Italian, would also be useful. Candidates must have a valid work permit in Germany. The Editor-in-Chief of the AMD is Dr. Johannes Nathan, and this first volume covers 1900 to the present in Europe and North America.