CFP: The Collector and Cultural Narratives, SECAC (Birmingham, AL, 17-20 Oct, 2018)

The Collector and Cultural Narratives, 1845-1918

Birmingham, Alabama, United States, October 17-20, 2018
http://www.secacart.org/
SECAC Sessions (pdf)

 

Session Chair
Julie Codell, Arizona State University

From mid-19th century, a new kind of art history narrative about private collectors appeared in Europe and the US, e.g., Anna Jameson’s Companion to the Most Celebrated Private Galleries…,1844, Gustav Waagen’s Treasures of Art in Great Britain, 1854-57; Dumesnil’s multi-volume Histoire des plus célèbres amateurs…, 1853-1860; the Gazette de Beaux-Arts‘s series on “amateurs,” 1850s; F. G. Stephens’s 90 Athenaeum articles on British collectors, 1873-84; Edward Strahan’s (pseud. Earl Shinn) The Art Treasures of America (1879-1882); Continue reading “CFP: The Collector and Cultural Narratives, SECAC (Birmingham, AL, 17-20 Oct, 2018)”

CFP: Art for the People? Second TIAMSA Conference (Vienna, 27-29 Sept, 18)

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

(c) Pablo Helguera, http://openengagement.info/36-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? Second TIAMSA Conference (Vienna, 27-29 Sept, 18)”

More Art Market Sessions at CAA, Los Angeles

See the full schedule here

“FLORENCE, BERLIN, AND BEYOND: SOCIAL NETWORK AND THE LATE NINETEENTH-CENTURY ART MARKET, PART I”

FRIDAY: 02/23/2018: 8:30AM–10:00AM
Location: Room 404A

Chair: Lynn Catterson, Columbia University

“Florence and Paris: The Italian Acquisitions of Edouard and Nélie Jacquemart-André”
Giancarla Cilmi, École Pratique des Hautes Étude École du Louvre

“The Power of Connections: Difficult Artworks and the Agency of Social Networks in Collecting”
Joanna Smalcerz , Getty Research Institute

“Art for Sale: Acquisitions for Germany Collections at the “sale of the century””
Paola Cordera, Politecnico di Milano, School of Design

“Wilhelm von Bode and Alessandro Contini Bonacossi”
Fulvia Zaninelli, University of Edinburgh

Continue reading “More Art Market Sessions at CAA, Los Angeles”

Reminder: TIAMSA at the CAA Los Angeles

Dear TIAMSA Members,

we would like to remind you of upcoming events during the CAA conference in Los Angeles:

Wednesday, 21 Feb 2018, 6:30pm-8:30pm – Christie’s welcomes TIAMSA Members for a Lecture on Street Art by Lizy Dastin, followed by a Reception

Those who attended last year’s memorable TIAMSA CAA reception at Christie’s New York will not want to miss this event: Christie’s welcomes TIAMSA members for a lecture on “Street Art in Los Angeles: Controversy and Ethical Slippages” by Lizy Dastin (Christie’s Education alumna). The lecture will be followed by a reception. Address: Christie’s, 336 N Camden Drive, Beverly Hills, CA 90210.

Thursday, 22 Feb 2018, 2:00pm-3:30pm – TIAMSA Session at the CAA Conference (Los Angeles Convention Center, Room 404B)

TIAMSA recently joined the College Art Association (CAA, collegeart.org) as an affiliated society, entitling us to a session at the CAA conference. Our members Véronique Chagnon-Burke and Julie Reiss (both Christie’s Education, New York) will convene a session entitled ‘Changing Hands: When Art History Meets the Art Market’. The session will be followed by our trip to the Getty Center (see below). You need to register for the CAA conference in order to attend this session.

Thursday, 22 Feb 2018, 4.30pm-c.8.30pm – TIAMSA Visit to the Getty Archive and Provenance Index (by registration only)

On the occasion of the CAA Conference in Los Angeles 2018 TIAMSA is offering a two hours program with Gail Feigenbaum (Associate Director of the Getty Research Institute – GRI), Sally McKay (Head of Special Collections Services at the GRI), and Sandra van Ginhoven (Research Associate at the GRI) who will kindly host our members for a special tour of dealers’ archives, as well as the Getty Provenance Index and the Project for the Study of Collecting and Provenance at the Getty Research Center. At 7pm our group will join the CAA VIP reception in the Getty Museum Lobby.

Only two tickets left:
https://www.eventbrite.com/e/tiamsa-tour-and-reception-at-the-getty-tickets-41842741767?aff=eac2

Friday, 23 Feb 2018, 12.30pm-1.30pm – TIAMSA ‘Business Meeting’ at the CAA Conference (Los Angeles Convention Center, Room 410)

Our ‘business meeting’ during the CAA conference will not be a somber affair! Open to TIAMSA members and those interested in our association, this friendly gathering will be organized to share and discuss with you the plans for the year and to listen to your ideas and concerns. You need not register for the CAA conference in order to join this business meeting.

We look forward to welcoming members for a promising week in LA!

All the best,

Veronika, Johannes & Gretchen

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.

ProvResearchPublProg

L: Caroline Flick, Hochpreisphase (Fokum Berlin, 12 Feb, 18)

Room A 111 Architecture Building  TU
Straße ddes 17. Juni 150/152
10623 Berlin

6.15 pm

www.fokum.org

Hochpreisphase.
Das Berliner Auktionshaus Hans W. Lange 1940-1943

Abstract: Am 11. August 1937 ging das Berliner Auktionshaus Paul Graupe an den langjährigen Mitarbeiter Hans W. Lange (1904–1945) über, per Vertrag von Graupe in der Schweiz gegengezeichnet. Für Lange begann damit zu Zeiten des Nationalsozialismus eine Laufbahn, die 35 Auktionen unter seinem Namen umfasste. Als Beitrag zu den Fragen an das Kunstmarktgeschehen im Nationalsozialismus, die den Bedarf sowohl an empirischen Daten als auch an historischer Analyse zeigen, erprobt der Vortrag eine „detaillierte Auseinandersetzung mit verschiedenen Faktoren“, wie sie etwa Fuhrmeister/Hopp unlängst forderten. Empirische Grundlage des Vortrages ist eine quantitative Übersicht zu den Preisen, die von der Firma Hans W. Lange in diesen Auktionen erzielt wurden. Das Verhältnis der Erlöse zu den Schätzungen zeigt hierbei, dass seit Ende 1940 eine Hochpreisphase zu erkennen ist. Anhand qualitativer Stichproben – wer kauft wann was warum? – wird im Vortrag das Käuferverhalten unter die Lupe genommen. Es kann dabei gezeigt werden, wie sich nicht nur die Nachfrage nach Sujets, die Distribution durch den Handel sowie divergierende und potente Privatsammlerinteressen auf das Auktionsergebnis auswirkten, sondern auch offensichtlich instrumentierte Preisfiktionen, Machtgefüge und die Aktivitäten ehrgeiziger, gut ausgestatteter weiterer „Player“ sowie ein unkoordinierter Einsatz der Staats- und Parteimittel die Preisbildung beeinflussten.

Dr. Caroline Flick

Caroline Flick studierte Geschichte und Literaturwissenschaft in Marburg und Berlin und promovierte 2003 über den Kritiker Werner Hegemann (1881-1936) an der Freien Universität Berlin. Sie arbeitet als unabhängige Wissenschaftlerin in Berlin, wo sie seit 2006 Material zum Auktionshaus Hans W. Lange (1937-1945) sammelt. Grundsätzliches Interesse an Verfahren der Entziehung sowie der Sozialgeschichte der Akteure führte zu einer intensiveren Beschäftigung mit dem Kunsthandel, mit der Reichskunstkammer und den Bedingungen und Wechselwirkungen am Kunstmarkt, wozu sie mehrfach publiziert hat. Seit April 2017 ist Flick Vorstandsmitglied im Arbeitskreis Provenienzforschung.

 

Conference Discount for TIAMSA members (Geneva, 2 Feb, 2018)

TIAMSA members receive a discount on the registration fee when signing up to
The Responsible Art Market Initiative Conference

Building an Art Market 2.0

Geneva, 2 February 2018

See our related post here

Interested members please contact the office of The Responsible Art Market Initiative directly.

http://responsibleartmarket.org/