Brill’s “Studies in the History of Collecting & Art Markets” is a peer-reviewed book series dedicated to original scholarship on the social, cultural, and economic mechanisms underlying the circulation of art. Over the last two decades interest in the formation, display, and dissolution of art collections increased tremendously; art markets, trade routes, and dealer networks became a rich field of interdisciplinary inquiry. Scholarship brought forth a lot of information about the flamboyant personalities to whom the possession of art was a lifestyle; regarding the “social life of things”, i.e. the provenance of individual artworks, many research gaps could be closed. This shift in scholarly attention from the production side to the consumption side of the art world is also reflected in the emergence of specialized post-graduate courses offered by a number of institutions internationally, as well as an ever-increasing stream of exhibitions, conferences, and publications devoted to the subject. Brill’s book series accommodates scholarly monographs, collections of essays, conference proceedings, and works of reference that engage in the broadly defined topic of art markets and collecting practices throughout history.
Editor-in-Chief: Christian Huemer (Belvedere Research Center, Vienna)
On the occasion of its 20th birthday the MEK – Museum Europäischer Kulturen – Staatliche Museen zu Berlin hosts the conference “What’s Missing? Collecting and Exhibiting Europe”. The conference focuses on blank spots: Which objects, narratives, methods and actors have not been paid any (or enough) attention to and are missing in our museum reflections on contemporary daily lives and societies in Europe? Numerous European collections and museums with objects of everyday life are going through processes of transformation – from historical folklore, national and sometimes ethnically oriented to contemporary, European and transculturally designed institutions. In this process, the historical collections are both a blessing and a curse: They form the basis of existence for these museum types – but the collections themselves and/or their ‘traditional’ narrative framings do not sufficiently represent current social developments or complex pasts. How can these museums adequately account for new sociopolitical contexts, especially against the background of present theoretical debates, which conceptualize things, actors, spaces and routes as closely entangled? In addition, the political “European project” is being increasingly called into question and conflicting ideas about European identity/identities and cultural heritage are being strongly communicated in many arenas. What social role do museums – and especially the (former) folklore museums – want to play in these debates of Europe in transition? How can a reinterpretation and contemporization of collections and exhibitions through (post-)migratory, queer, decolonial, fugitive, dis/abled or other marginalized lenses be established in mainstream museum work?
Philadelphia Museum of Art, Philadelphia, April 12 – 14, 2019
“IMPRESSIONISM AROUND THE WORLD” 10TH ANNUAL ANNE d’HARNONCOURT SYMPOSIUM 2019
Philadelphia Museum of Art, Perelman Auditorium
organized by André Dombrowski (University of Pennsylvania), Kathleen Foster and Jennifer Thompson (Philadelphia Museum of Art)
How did a quintessentially French art movement like Impressionism become an international phenomenon and global success around the year 1900? Why were its attempts to condense representation so completely into the here and now, into an experiential moment, a flicker of light, and the material conditions of painting such a favorite with audiences of highly disparate nationalities, traditions, religions, political regimes, and imperial ambitions? Leading scholars explore Impressionism’s global reach at the turn of the twentieth century, focusing on the style’s infatuation with speed and commodity culture, mass travel, the telegraph, the moving image, and thus the complete re-organization of modern global time and space these innovations set in motion.
Art Crossing Borders offers a thought-provoking analysis of the internationalisation of the art market during the long nineteenth century. Twelve experts, dealing with a wide variety of geographical, temporal, and commercial contexts, explore how the gradual integration of art markets structurally depended on the simultaneous rise of nationalist modes of thinking, in unexpected and ambiguous ways. By presenting a radically international research perspective Art Crossing Borders offers a crucial contribution to the field of art market studies.
This publication is open access and can be freely downloaded directly from the Brill website here.
The Diploma in Intellectual Property and Collections will run over three days in London from 24 to 26 June 2019 and in Sydney from 17 to 19 July 2019 . This course will teach you everything you need to know about IP in the context of art and collections management.