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.
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 digital projects using catalogues: exhibition catalogues, sales catalogues, catalogue raisonnés, museum catalogues, – and of course library catalogues. All seem to focus on different and complementary data, but the step of interoperability and sharing remains a horizon. How to ensure the interoperability of these databases? Whatever the languages and writings?
Our workshop aims at exploring ways to propose a common solution that will allow these corpora to dialogue, especially as far as exhibition and auction catalogues are concerned. Researchers must be able to exchange and compare their data, regardless of the structure of their catalogue databases, and regardless of the digital solutions adopted to build them (database, semantic web, TEI). The workshop aims at defining the steps that will lead to a connected ecosystem of arts-related catalogues.
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
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
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)”.
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.