TIAMSA Blog: CAA 2019 TIAMSA Panel “The Studio as Market” abstracts ed. Julie Codell

At the College Art Association conference in New York City, Feb 13-16, 2019, TIAMSA, recently granted CAA-affiliate status, was allotted a 1½ hour panel session.  The organization’s committee selected the panel, “The Studio as Market” for 2019. The session was well-attended by 35-40 attendees.  This blog contains the abstracts for the panel itself and for each of the four papers presented on Feb 13.

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CFP: Collecting impressionism (Rouen, 25-26 Jun 20)

Rouen, H2o auditorium, June 25 – 26, 2020
Deadline: Jun 20, 2019

An international symposium organised by the Paris Nanterre University Foundation in partnership with the Labex “Les Passés dans le Présent” , and the University of Rouen Normandy, with support from the Contrat Normandie-Paris Île-de-France: destination impressionnisme

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CONF: Terezín Declaration – Ten Years Later

On June 18 – 19, 2019 the 7th International Conference on Nazi-looted cultural assets organized by the Documentation Centre of Property Transfers of the Cultural Assets of WW II Victims will be held in Prague.

The title of the conference reflects its goals of commemorating the tenth anniversary of the Terezín Declaration and evaluating Nazi-looted in matters concerning cultural assets spoliated during the Second World War. The conference will also compare differing approaches to property restitution by different countries, as well as explore ways of strengthening international cooperation in provenance research.

The Conference program (PDF):

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CFP: Contributions to Art Market Dictionary

The Art Market Dictionary (AMD) is the first reference work providing encompassing information on commercial art galleries, dealers, auction houses, fairs and advisers in Europe, the USA and Canada in the 20th and 21st centuries. Its c. 5,000 entries present basic data, overviews of company / individual histories and networks, information about artists exhibited / represented, bibliographies and archival information. Due to appear in 2020, the AMD will be published as an online searchable database and in print.

Written by an established international network of hundreds of authors, the AMD is edited by Dr. Johannes Nathan together with a team of international Section Editors and dedicated editorial staff at De Gruyter Publishers, Berlin. The AMD is also supported by a distinguished international advisory board and a number of specialized institutions such as the Getty Research Institute, the Zentralinstitut für Kunstgeschichte, or the Archives of American Art.

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CFP: Material and Consumer Culture Network, European Social Science History Conference – Leiden 03/20

The International Institute of Social History will organize the Thirteenth European Social Science History conference, March 18 to 21, 2020 at Leiden University, The Netherlands

MATERIAL AND CONSUMER CULTURE NETWORK CALL FOR PAPERS:
“MATERIALITY, TIME AND SPACE”

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PUB: Caterina Caputo, Collezionismo e mercato. La London Gallery e la diffusione dell’arte surrealista, Florence: Pontecorboli, 2018.

Research on the art market related to the avant-garde remains still largely unexplored today. The author of the present book aims to contribute to this field through a study of collecting, art market strategies, and networks that fostered and sustained Surrealism in the interwar and post-war periods in Britain. The volume focuses on the London Gallery, the only Surrealist gallery to be active in England since the end of the 1930s. It was managed by two Surrealist artists who were also collectors: the Belgian E.L.T. Mesens and the British Roland Penrose. The London Gallery opened in 1938, two years after the significant International Surrealist Exhibition held at the New Burlington Galleries in London, an exhibition followed by the foundation of the Surrealist British group.

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CONF: Christie’s Education Symposium – Women Art Dealers (1940-1990) curated by Véronique Chagnon-Burke and Caterina Toschi, May 17-18, 2019

The symposium analyzes the central role played by women art dealers in the creation and development of the art market between the 1940s and the 1980s. It examines the work of those women who promoted art between different countries and continents, thus developing an international market that anticipated the current global model. The two-day conference is divided into three sessions: the promotion of Modern art by women gallerists after World War II, thus establishing its estate in Neo-Avantgarde research; the women art dealers’ contribution to the birth of new markets, creating a fortune of new artistic languages like architectural drawings and video art; finally, the gradual establishment of a women art dealers’ global network which supplanted the male-dominated market’s geography.

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