You are cordially invited to the fourth Hugo Helbing Lecture: Exploring the Art Market on May 8th, 2019 in Munich, whose the speaker, Prof. Michael Kauffmann (Director Emeritus, Courtauld Institute of Art) will be introduced by Prof. Dr. Mirjam Zadoff (Director NS-Dokumentationszentrum Munich), PD Dr. Christian Fuhrmeister (Zentralinstitut für Kunstgeschichte, München) and TIAMSA Chair Dr. Johannes Nathan. The Lecture will be held at the NS-Dokumentationszentrum Munich, followed by Drinks at the nearby Zentralinstitut für Kunstgeschichte.
Abstract: This lecture will centre on about ten individuals who were friends and colleagues of the speaker’s father, Arthur Kauffmann. Formerly director of the Frankfurt branch of the auction house Hugo Helbing, Kauffmann emigrated with his family to London in 1938. England was also the chosen destination of Kauffmann’s colleagues such as Grete Ring, Alfred Scharf, Franz Drey, Herbert Bier and Robert Frank. In discussing the effects of emigration on their biographies, the talk will draw upon personal memory as well as knowledge of these individuals’ careers.
At the same time, the lecture will also reflect on the impact of refugee dealers on the art market in England. The London dealers were indeed very welcoming to the new arrivals at the time, a fact which greatly helped the latter – who considered themselves as refugees rather than exiles – to take root.
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.
This article, based on recently discovered material in several archives, tells the story of the bronze doors of the Morgan Library. It narrates the travel of the allegedly Renaissance bronze doors from their acquisition in Florence in 1901, to their brief sojourn in London before arriving in New York to adorn the principal façade of McKim, Mead & White’s building. This case study also addresses the attribution of the work to Thomas Waldo Story (1855–1915) and analyzes his position within the complex social microcosm of the art market in which the acquisition of J. Pierpont Morgan’s doors took place.
The classical pathway of most art history students leads from learning the basics about architecture and iconography, to the study of the Italian Renaissance, to the confrontation with the avant-garde movements and contemporary art. However, most students never reach the point at which they actually deal with questions of the art market, and in particular its legal challenges – a situation which is particularly surprising given the fact that many of them have ended up, or will end up, in workplaces like galleries, auction houses or other institutions dealing with the more commercial side of art. Therefore, logically, it is usually only a matter of time until one is confronted with a situation in which a certain level of instinct for legal matters is helpful or even actual knowledge is required.
The fact that
the second TIAMSA Conference dedicated a whole section to the legal aspects of
the art market, and also has a newly founded sub-committee “TIAMSA Legal”,
consisting of practitioners as well as academics involved in the art law,
responds exactly to that gap and need for transdisciplinary action and
information. Altogether four speakers presented and discussed legal challenges
and existing initiatives currently present in the art market:
The last panel on the second day of the 2018 TIAMSA conference addressed
a very promising topic: “Elites and the people” in relation to the contemporary
art market. Even though Friday’s schedule was tight and demanding, the audience
still seemed passionate to follow a very interesting discussion.
The Blickle Kino at the Museum Belvedere 21, located in immediate proximity to the prestigious Schloss Belvedere, hosted the second of the three-day TIAMSA conference. Belvedere 21 was originally built as the Austrian Pavilion for the 1958 World Fair in Brussels and was later transferred to its present location where it opened as a museum for contemporary art in 1962.
All in all there were 12 talks on this day. What follows is a summary of the first section of that day’s talks, entitled “Transformations”, chaired by Christian Huemer, Director of the Belvedere Research Center.
Following the inaugural TIAMSA conference in London in 2017, TIAMSA members met in Vienna, an equally rich city in art and culture, in late September 2018, for the second TIAMSA conference provocatively titled “ART FOR THE PEOPLE? QUESTIONING THE DEMOCRATIZATION OF THE ART MARKET”
The first of the three conference locations were the halls of Vienna’s annual contemporary art fair – viennacontemporary, which hosted TIAMSA’s opening public lecture “The Art Market and the Internet”. The Roundtable discussion featured five distinguished panellists: Marek Claassen (Founder and CEO, ArtFacts.Net), Kristina Kulakova (Head of Digital and PR, viennacontemporary), Sophie Neuendorf (Vice President – Strategic Partnerships, artnet Worldwide Corp.), Olav Velthuis (Professor of Sociology, University of Amsterdam/ TIAMSA President), and Johannes Nathan (Chair of TIAMSA / Co-founder of the Centre for Art Market Studies, TU Berlin).
Since the rise of the internet its impact on our society has grown to such an extent in recent years that it is hard to imagine a life without it. The music and film industries, for example, have been revolutionised by streaming services – so what is the situation in art, especially in the art market, and what changes are still ahead of us?