CFP: Galka Scheyer: eine juedische Kunsthaendlerin (Braunschweig, 26-28 Nov 19)


Galka Scheyer at Kings Road, circa 1931. (From Life at Kings Road As It Was 1920-1940 by Robert Sweeney, p. 108 in the 2001 MOCA exhibition catalog The Architecture of R. M. Schindler).

Braunschweig, 26. – 28.11.2019
Deadline: Apr 30, 2019

[English below]

Die Malerin, Kunsthändlerin und –sammlerin Galka Scheyer, geboren 1889 als Emilie Esther Scheyer, stammte aus einer Braunschweiger Unternehmerfamilie, der die seinerzeit größte Konservenfabrik der Stadt gehörte. Für ein jüdisches Mädchen aus gutbürgerlichem Haus ist ihre Biographie überraschend. Ihr Weg führte sie bis in die USA, wo sie seit 1924 lebte und 1945 in Hollywood starb. Eine allgemeine Bekanntschaft erlangte sie nicht, wohl aber die „Blaue Vier“, die sie gemeinsam mit vier anerkannten Künstlern des Weimarer Bauhauses gründete: Paul Klee, Wassily Kandinsky, Lyonel Feininger und Alexej von Jawlensky.

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ANN: ART AND LAW: CURRENT DEVELOPMENTS IN TURBULENT TIMES | 20 March 2019 | NH Hotel Maastricht

ART AND LAW: CURRENT DEVELOPMENTS IN TURBULENT TIMES WORKSHOP: MAASTRICHT 20th MARCH 2019
NH Hotel Maastricht

The TEFAF period in Maastricht is an excellent occasion to discuss recent developments in the area of art and law. Therefore, it has meanwhile become a tradition to organise a workshop during this period in order to exchange with experts from various jurisdictions current developments, new legislative initiatives and relevant case law.

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ANN: The Art Basel and UBS Global Art Market Report 2019

The third edition of the annual report reveals a 6% increase in global art sales worldwide, with active buying by millennials and growing appetite for online sales.

5 Key Insights:

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Student Blog: TIAMSA Conference 2018 – Section 3: “Elites and the People” by Theresa Auer

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.

Stoyan Sgourev (ESSEC Paris) presenting ‘The Bifurcation of the Art Market. Precedents and Consequences’ at the 2018 TIAMSA Conference in Vienna
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CFP: Art as Commodities / Commodities as Art (York, 14 Jun 19)

University of York, June 14, 2019
Deadline: Mar 29, 2019

When art makes the headlines, it is usually about money. In 2017, Leonardo da Vinci’s Salvator Mundi sold for over $450 million at Christie’s New York. Just how can a painting be worth more than a penthouse on Fifth Avenue?

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ANN: Upcoming Lecture at The Frick Collection: “Provenance: Can You Bank on It?” Tuesday, April 2nd at 4 p.m

The Frick is pleased to announce their forthcoming lecture “Provenance: Can You Bank On It?” presented at The Frick Collection by Dr. Lynn Rother, Senior Provenance Specialist at The Museum of Modern Art, New York. In the first part of her presentation, Dr. Rother will examine one of the biggest art deals of the Nazi era: the purchase of 4,401 works of art for the Berlin museums by the Prussian Finance Minister. The second section of her lecture will outline the challenges of Nazi-era provenance research.

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ANN: Seminar: THE MARKET FOR MUNCH, Monday 11th 17:00-18:00, The Courtauld Institute of Art, London

Frances Carey – Independant scholar

Organised by Dr Klara Kemp- Welch – The Courtauld Institute of Art

Over a fifty-year period from 1894, Munch produced some 850 different printed compositions with as many as 30,000 impressions. His prints were exhibited on at least 268 occasions between 1895 and 1942 and a catalogue raisonné had been published by the end of 1907. Who was his audience and what capital, cultural as well as financial, did the work require?

The seminar anticipates the British Museum’s print exhibition (in association with the Munchmuseet in Oslo): Edvard Munch: Love and Angst from 11 April – 21 July 2019.

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