Münster (Westfalen), 30.03.2019
Registration deadline: Mar 15, 2019
Die nächste Tagung des Arbeitskreises Werkverzeichnis steht bevor. Interessierte sind herzlich eingeladen, daran teilzunehmen. Alles Weitere entnehmen Sie bitte dem nachfolgenden Programm.
Continue reading “CONF: 2. Tagung vom Arbeitskreis Werkverzeichnis (Muenster, 30 Mar 19)”
University of Exeter, College of Humanities, UK
29th August – 1st September
Proposal deadline: March 1st, 2019
The radical imagination and global influence of surrealism continue to inspire and resonate in our contemporary moment across geo-political, disciplinary, and medium-specific boundaries. As a collaborative practice, a subject of scholarly research, and a form of adventurous play, surrealism bridges the fields of art history, literature, creative writing, film studies, performance, dramatic arts, philosophy, critical theory, and popular culture.
Continue reading “CONF: SURREALISMS: 2nd Annual Conference of the International Society for the Study of Surrealism (ISSS) 2019”
Institut français, Bonn (20.02.), Käte Hamburger Kolleg „Recht als Kultur“, Bonn (21.02.), 20. – 21.02.2019
Registration deadline: Feb 12, 2019
NS-Kunstraub: Provenienzforschung und Restitutionspraxis in Deutschland und Frankreich
MITTWOCH, 20. FEBRUAR 2019
Erster Tag des Workshops: Institut français Bonn
Adenauerallee 35 · 53113 Bonn · Konferenzraum
Paris, Ecole normale supérieure, February 05, 2019
Symposium: Digital Catalogues. Towards Interoperability
Organizers: Béatrice Joyeux-Prunel, ENS-PSL, and Nuria Rodríguez-Ortega, University of Málaga.
Over the past ten years, there has been an increasing number of
Our workshop aims at exploring ways to propose a common solution
Sessions will be open to all.
Contact: Béatrice Joyeux-Prunel (beatrice.joyeux-prunel@ens.fr)
New York City, 15 February 2019, 12:30-1:30pm – Share and Connect: Databases for Art Market Studies; TIAMSA session at the College Art Association (CAA) Conference (Chaired by Clarissa Ricci, Iuav University of Venice and Sandra van Ginhoven, Getty Research Institute); Location: New York Hilton Midtown, 2nd floor, ‘Nassau East’
Databases and digital techniques frequently challenge current approaches to research, not least through the introduction of a new vocabulary. While this opens some exciting perspectives, the use of such tools requires careful consideration and modelling of key concepts and relationships. This ‘Share and Connect’ meeting is open both to TIAMSA scholars and other colleagues interested in the use of databases and digital techniques for art market studies who wish to share their different methodological approaches, questions and insights. The aim of the meeting is to form an international group around the use of databases in art market studies in order to expand our field of inquiry. The discussion will be based on the input from the following brief presentations:
Fiene Leunissen, Research Scholar, Duke Art, Law & Markets Initiative, Duke University: Teaching Art Markets: Data Limitations & Alternative Metrics in the South Korean Auction Market
Nadine Oberste-Hetbleck, Junior Professor for Art History and Art Market, University of Cologne: ART | GALLERY GIS | COLOGNE – A Digital Mapping Project on the ART COLOGNE (1967– 1997)
Jeffrey Taylor, MGES Program Grosland Director, Western Colorado University: Measuring the US Art Market Using Labor and Tax Data
The session is open to all visitors of the CAA conference. Please note that you will not have to purchase access to the 2019 CAA Conference in order to attend!
New York City, 13 February 2019, 8:30-10:00am – The Studio as Market (Chaired by Julie Codell, Arizona State University) – TIAMSA-Session at the CAA (College Art Association) Conference; Location: New York Hilton Midtown, 3rd floor, Grand Ballroom West
Artists’ studios have been the site of workshops, collaboration, promotion, mystery, and myth, at times considered a hallowed space, at other times a disreputable one. They have also been the places of social, political, and economic transactions that shape aesthetic values. In the studio artists self-fashioned their social status and promoted their works. They invited critics, dealers, and patrons into their studios, turning the latter into sites that combined a presumed mysterious creative energy with economic exchange while purposely misapprehending economic considerations. This session will explore how artists – facing dwindling church and aristocratic patronage from the eighteenth century on – strategically entered the “free” market by using their studios to promote and sell works in conjunction with creating marketable public identities to engage buyers and generate symbolic capital for their name and their work.
Julie Codell, Arizona State UniversityThe Studio as Market. Victorian Artists’ Studios as Public Spaces
Andrew Stephenson, Independent ScholarFrancis Bacon’ s London Studios – Before and After 1930
Sasha Davis, The Renee & Chaim Gross Foundation Designed to Impress: Chaim Gross and the Studio at 526 LaGuardia Place
Di Wang, University of Oxford Lunch at the Artist’ s Studio
Abstracts can be found at https://www.artmarketstudies.org/wp-content/uploads/2018/09/TIAMSA-panel-for-CAA-2019-NYC.pdf
Please note that you will have to purchase access to the 2019 CAA Conference in order to attend.
CIMA – Center for Italian Modern Art, February 12, 2019
CIMA – the Center for Italian Modern Art (NYC) is organizing the conference:
“Methodologies of Exchange: MoMA’s Twentieth-century Italian Art (1949)”.
The conference uses the 1949 Museum of Modern Art exhibition “Twentieth-century Italian Art” as a case study to examine the various methodologies or approaches taken in recent years to explore the artistic exchange between the United States and Italy in the twentieth century. By examining the history of this exhibition and the traveling exhibitions that it spawned, we will explore the reception of Italian art and artists in the US, the growth of networks and collaborations between US dealers and artists, and the role that Italy played in the idea of art-making among American postwar artists. This particular subject allows for other questions as well: How did an important institution like MoMA shape the narrative of American modernism? How did Italy help Alfred Barr and MoMA rethink a Franco-centric vision of modern art after the war? How did the American art world deal with the problematic legacy of Fascist Modernism?
This Study Day will be held at CIMA in connection with the 107th meeting of the College Art Association and the 70th anniversary of the MoMA exhibition.
Continue reading “CONF: MoMA’s Twentieth-century Italian Art (New York, 12 Feb 19)”