STIP: History of Venice Biennale, Universita Ca’ Foscari Venezia

Università Ca’ Foscari Venezia (Venice, Italy)
Department of Humanities
Creative arts, cultural heritage and digital humanities Cultural heritage

1 grant for a Junior researcher (Young Talent Fellowship)

Application deadline: Mar 30, 2018

Eligible applicants are researchers affiliated with foreign universities, of any nationality with 2–12 years of post-doctoral experience.

These candidates can apply for a Visiting Scholar fellowship lasting 3 months.

The history of the Venice Biennale (Esposizione Biennale Internazionale d’Arte) allows to investigate its complex events that can be articulated according to different angles: from the historical and political dynamics of the various National Pavilions to the promotion of international tourism, emerging art and international artistic currents to the fundamental issue of governance and curatorship. This event, introduced in 1895, is indeed the first and the longest in the Art Biennale – a phenomenon that is currently at the heart of a fervent world interest, to the point of influencing what is called the “biennalization” of exhibitions and that currently has about 150 biennial events in various countries, from Havana to Beijng, Odessa to Yokohama. The relevance and breadth of perspective of this theme gives way to analyzing a dense network of international relations, which includes not only artists, art galleries, critics and art experts, but also politicians, intellectuals, journalists, as well as understanding the main artistic development lines, and – through auditing sales office data and works of art loans – the impact on public and private collections. Its relevance is therefore strategic for both a city like Venice, which is the birth of the Biennale for a strategic choice of public management (the study of these issues thus becomes an excellent case study of reference), which to establish relationships with universities and scholars Internationally, because – thanks to the wide spectrum of study opportunities that can be drawn on the history of the Biennale – a large number of scholars are currently interested in investigating the history of the Pavilions, the events of international artists, the reciprocal influences between nations, connecting profitable results to our archives with what they can implement in those of their countries.

Pursued research topic has to be specified in a motivation letter – as suggested in the application form – including objectives and expected outcomes of the research activity.

Candidates must submit their applications by 30th March 2018, 12:00 pm.

Application form:

STIP: History of Venice Biennale, Università Ca’ Foscari Venezia. In:, Feb 18, 2018. <>.

Call for Papers: SECAC: Collecting and the Trade of Antiquities (Birmingham, AL, Oct 17-20, 2018)

Collecting and the Trade of Antiquities

Deadline: April 20th 2018

Birmingham, Alabama, United States, October 17-20, 2018

Session Chairs:
Louise Arizzoli (University of Mississippi)
Evie Terrono (Randolph-Macon College)

Both acquiring and collecting antiquities are now strictly regulated. This is one result of the development of the science of archaeology, the increased recognition of the significance of the context of finds and the stricter enforcement of legislation forbidding the export of antiquities from their countries of origin. This panel is interested in research dealing with the trade of antiquities and its development with a specific focus on the nineteenth century and twentieth century, before the UNESCO convention of 1970. We would seek contributions about antiquities collectors: what they bought and when, how they displayed these treasures in their homes and what was the impulse that led them to buy ancient art. We also would be interested in dealers of ancient art and how the antiquities art market functioned. Finally, we would also welcome papers about antiquities collectors and their relationship with museums, as well as museums’ acquisition agenda regarding ancient art in the nineteenth century.

CFP: Art for the People? Questioning the Democratization of the Art Market – Second TIAMSA Conference (Vienna, 27-29 Sept, 18)

 Art for the People?
Questioning the Democratization of the Art Market

(c) Pablo Helguera,, 2014

2nd Conference
TIAMSA ­­– The International Art Market Studies Association
Vienna, 27-29 September 2018

In Cooperation with:
Belvedere Research Center, Vienna University – Department of Art History, and Dorotheum

Apply by April 15, 2018

The art world and the market have traditionally been the domain of the elites and have thrived on exclusivity. However, the art world has arguably become much more democratic in recent years thanks to the digital revolution, the inclusion of emerging economies in the world art market system, and the vastly improved access to art and information. The price histories of works of art can nowadays easily be reconstructed using online databases; the threshold for art buying is significantly lowered by online sales platforms; and new buyers in emerging economies are making the art market much less Western-oriented. Moreover, an ever broader range of artworks in different price categories has put (fine) art within reach of the middle classes across the globe. At the same time, art institutions such as museums are under tremendous pressure to be less exclusive. Some of these democratizing tendencies are of course not new. For instance, publishing houses in Europe started disseminating prints on a massive scale already in the sixteenth century, thereby enabling larger segments of the population to acquire images. Continue reading “CFP: Art for the People? Questioning the Democratization of the Art Market – Second TIAMSA Conference (Vienna, 27-29 Sept, 18)”

GRI Public Program: Provenance Research – A Personal Concern (Los Angeles, March 1, 2018)

The Getty Research Institute will host a public program, Provenance Research – A Personal Concern,  in conjunction with the 3rd exchange of the German/American Provenance Research Exchange Program (PREP) for Museum Professionals on Thursday, March 1st. GRI Director Thomas W. Gaehtgens will join Stephanie Barron (Los Angeles County Museum of Art), Simon Goodman (author of The Orpheus Clock), and James Welu (Director Emeritus of the Worcester Art Museum) to discuss their motivations for and experiences with conducting provenance research.

Tickets can be reserved here.
A video of the program will be available on The Getty website in the weeks following the event.

From February 25th – March 2nd The Getty Research Institute will host 26 German and American experts in art museum provenance for a week of discussions and workshops on methodologies of WWII-era research in museums, archives, and research institutions.  The PREP Exchanges are designed to increase mutual understanding of the academic, legal, museological, and cultural/historical systems which determine the research practices in both countries.


Job: PhD or Postdoc position, Rome

Rom, Bibliotheca Hertziana
Deadline: Feb 28, 2018

The Department of Prof. Dr. Tristan Weddigen at the Bibliotheca Hertziana – Max Planck Institute for Art History, Rome, seeks applications for

a doctoral or a postdoctoral position

in the framework of the research initiative “Rome Contemporary”.

Applicants from art history and related disciplines, such as history, exhibition history, digital art history, architectural history, urban history, gender studies, art market studies, film studies, theater studies, and cultural studies, are welcome. Continue reading “Job: PhD or Postdoc position, Rome”

STIP: PhD Studentship, Art Markets and Museum Collections, Loughborough

Loughborough University, October 01, 2018
Application deadline: Feb 28, 2018

Art Markets and Museum Collections: Curating Futures

Funded full-time PhD studentship in the School of the Arts, English and Drama
Loughborough University, United Kingdom

The Museums, Markets, and Critical Heritage research group at Loughborough University welcomes proposals for a funded PhD studentship that investigates intersections between art markets, curatorial practices, and the development of museum collections. As the 2017 auction sale of Leonardo’s Salvator Mundi has shown, interest in the art market as a space of both commerce and public spectacle has reached a peak. At a time when eye-catching transactions have become a driving force within the global art world, this studentship invites consideration of the extent to which art market activity, art fairs, biennials, and private initiatives are shaping the futures of museums and their audiences. Continue reading “STIP: PhD Studentship, Art Markets and Museum Collections, Loughborough”

CFP: Session in the 18th WEHC on “The globalization of the waves”

“The globalization of the waves: shipping and its role in promoting global markets for goods, services, capital, labor, and ideas, c. 1800—2000”


Stig Tenold, Norwegian School of Economics; Jari Ojala and Pirita Frigren, University of Jyvaskyla, Finland; Jelle van Lottum, Huygens Institute for the History of the Netherlands
29.07.2018 – 03.08.2018
Deadline 01.02.2018
By definition, international seaborne transport is an activity that crosses borders, where the factors of production have always been extremely mobile. Ships and seamen are employed all over the world, so the link to the “home country” is often very limited. Consequently, shipping has sometimes been referred to as “the world’s first globalized industry”. Moreover, shipping is an activity that promotes globalization of other markets, by integrating agents that are geographically dispersed. The aim of our sessions is to analyze these two dimensions – both the globalized and the globalizing aspects of shipping – and how they have developed across time. Improvements in shipping tied the continents together and facilitated the establishment and growth of the international economy.

Continue reading “CFP: Session in the 18th WEHC on “The globalization of the waves””