Call for Papers
The seminar series was established as part of the Wallace Collection’s commitment to the research and study of the history of collections and collecting, especially in the eighteenth and nineteenth centuries in Paris and London. In 2019, as in previous years, we plan to organise a series of 10 seminars.
We are keen to encourage contributions covering all aspects of the history of collecting, including:
- Formation and dispersal of collections
- Dealers, auctioneers and the art market
- Inventory work
- Research resources
The seminars, which are normally held on the last Monday of every month during the calendar year, excluding August and December, act as a forum for the presentation and discussion of new research into the history of collecting. Seminars are open to curators, academics, historians, archivists and all those with an interest in the subject. Papers are generally 45-60 minutes long and all the seminars take place at the Wallace Collection between 5.30 and 7pm.
If interested, please send a short text (500-750 words), including a brief CV, indicating any months when you would not be available to speak, by Friday 7 September 2018.
For more information and to submit a proposal, please contact:
New Book: The Shift: Art and the Rise of Power of Contemporary Collectors by Marta Gnyp, Art and Theory Publishing, Stockholm. 2018.
This discussion of the art market and the role of the collector today provides an excellent overview of the different aspects of the contemporary art market. Based on Gnyp’s PhD thesis and combined with her professional experience as a consultant in Berlin, this book connects the collector with his world: the art fairs, auctions, art advisors and dealers. It also considers the sometimes vexed and hotly debated topic of the growing importance of financial investment in the art market. In this as in other areas, although information is taken directly from the players, through interviews and case studies, it is difficult to go below the surface. It is difficult to break certain myths, for example that the collector buys for love and with his/her heart, that he/she doesn’t sell except for very good reasons. Gnyp tries and some of her interviews honestly assess the market- one collector describes the art fair as not selling art but selling a commodity or an artist describes the dilemma when his collectors sell his works, in spite of promises to keep them forever, because they have become too valuable. The study of the Columbian artist, Oscar Murillo and his rapid rise to international stardom is interesting, particularly when Gnyp discusses the comments by collectors on his work. The book is an excellent coverage of the main aspects of the contemporary art market; the introduction is a model summary of what someone entering the study of the art market should consider. As the book proceeds, it gives a detached and measured account of the art market today and the increasingly important role the collector is playing in determining the success of an artist.
Review by Adriana Turpin, IESA and Society for the History of Collecting
Presenting the new issue of JAMS – Journal for art market studies
Kunstbibliothek Staatliche Museen zu Berlin and forum kunst markt TU Berlin
cordially invite you to a
Panel discussion & Finissage of
‘German Sales 1901-1929’
5 September 2018, 6pm
Matthäikirchplatz 6, 10785 Berlin
Mo 14 – 20 Uhr, Di – Fr 9 – 20 Uhr, Sa + So 11 – 18 Uhr
German Sales 1901 – 1929
5. Juli – 5. September 2018
Eine Sonderpräsentation der Kunstbibliothek – Staatliche Museen zu Berlin im Rahmen des Forschungsprojekts „Kunst – Auktionen – Provenienzen. Der deutsche Kunsthandel im Spiegel der Auktionskataloge der Jahre 1901 bis 1929“ in Kooperation mit der Universitätsbibliothek Heidelberg und dem Getty Research Institute, Los Angeles
Kunstversteigerungen etablierten sich in Deutschland, Österreich und der Schweiz ab der Mitte des 19. Jahrhunderts. Hochwertige Kunstwerke trafen auf internationale Käufer und erzielten Preise, die mit Pariser, Londoner und Amsterdamer Versteigerungsresultaten konkurrieren konnten. In der Sonderpräsentation „German Sales 1901 – 1929“ werden im Foyer der Kunstbibliothek erste Ergebnisse des von der Deutschen Forschungsgemeinschaft (DFG) geförderten Forschungs- und Digitalisierungsprojekts „Kunst – Auktionen – Provenienzen. Der deutsche Kunsthandel im Spiegel der Auktionskataloge der Jahre 1901 bis 1929“ vorgestellt.
Continue reading “Exh: German Sales 1901 – 1929 (Berlin, 5 Sept, 2018)”
Das Schweizerische Institut für Kunstwissenschaft (SIK-ISEA) hat 2017 einen Ratgeber zum Umgang mit Künstlernachlässen herausgegeben. Darin werden Strategien der Bewertung und Vermittlung, die Werkdokumentation und -konservierung, der Umgang mit dokumentarischen Nachlässen und rechtliche Normen erklärt und illustriert.
Nun rücken Erfahrungen im Umgang mit verschiedenen künstlerischen Nachlässen in den Blickpunkt. An wechselnden Standorten in allen Sprachregionen der Schweiz wird solches Wissen im Rahmen von Gesprächsabenden mit einem breiten Publikum geteilt. Ob Erben, zukünftige Erblasser, Nachlassverwalter oder Interessierte: Vor welchen Herausforderungen und Auflagen stehen sie, wie organisieren sie sich? Was bewährt sich und was nicht? Continue reading “Vom Umgang mit Künstler*innen-Nachlässen – Erfahrungsberichte zum künstlerischen Nachlass von Jakob Strasser (1896–1978) (Rheinfelden, Sept 14, 2018)”
Call for Applications
The organizing and partnering institutions of the German/American Provenance Research Exchange Program (PREP) for Museum Professionals, 2017-2019, announce the third and final year of the interdisciplinary exchange program for German and US museum professionals engaged with Nazi-era art provenance research—curators, collections managers, archivists, researchers, lawyers, and IT experts museum professionals—to consider how best to facilitate and collaborate on international research projects, and increase the transparency of its resources and results.
This year, the third and final of PREP’s program, will feature two Exchanges:
- PREP-Dresden Exchange, hosted by the Dresden State Art Museums (March 17-22, 2019)
- PREP-Washington, DC Exchange, hosted by the Smithsonian Institution (October 20-26, 2019)
Applications for 2019 will be open through September 28, 2019. The program will cover travel, lodging, and meals for the 21 applicants whom PREP’s steering committee will select to participate in both Exchanges. Selection announcements will go out mid-November 2018.
PREP is co-organized by the Smithsonian Institution and the Stiftung Preußischer Kulturbesitz (Prussian Cultural Heritage Foundation/Berlin State Museums). Its five partner institutions are the Metropolitan Museum of Art in New York, The Getty Research Institute in LA, the Dresden State Art Collections, the Zentralinstitut für Kunstgeschichte (ZI) in Munich, and the German Center for Lost Art in Magdeburg.
PREP launched in 2017 with the 1st Exchange at the Met in New York, and the corresponding, 2nd Exchange was at the Berlin State Museums. The 3rd Exchange was at the Getty Research Institute in LA., and the 4th PREP Exchange will be at the Central Institute for Art History (ZI) in Munich, October 8-12, 2019.
Major support for PREP comes through a German government grant funded by the German Program for Transatlantic Encounters, with additional financial support from Germany’s Federal Commission for Culture and Media, the program’s six key partners, and the Smithsonian Women’s Committee.
For questions about the German/American Provenance Research Exchange Program or the application process, please contact firstname.lastname@example.org or PREP@hv.spk-berlin.de
HKU is pleased to invite you to participate to the Second International Workshop
The Artist as an Entrepreneur & Career Paths
organised by Creative Economy – HKU University of the Arts Utrecht on December 17-18 2018. 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 add knowledge and evidence about the structures and principals of the art market. The first workshop was on art collectors and the third one will be on the emerging art market. Continue reading “CFP: “The Artist as an Entrepreneur & Career Paths” (Utrecht, December 17-18, 2018)”