Journal for Art Market Studies
Asian Art: Markets, Provenance, History Volume 2, Number 3, 2018
Guest Editors: Christine Howald and Alexander Hofmann
We are delighted to present the fifth issue of the peer-reviewed open-access Journal for Art Market Studies, published by Forum Kunst und Markt/Centre for Art Market Studies at Technische Universität Berlin.
“Asian Art: Markets, Provenance, History” traces the circumstances and the paths taken by East Asian objects through the art market towards Western collections, be it the porcelain collection of Augustus the Strong, the looting of the Chinese imperial summer palace, or the current market for contemporary art.
Online-Präsentation der Bestände des Museums für Islamische Kunst in Berlin / Collection of the Museum für Islamische Kunst in Berlin now published online
Miriam Kühn M.Kuehn@smb.spk-berlin.de
The Museum für Islamische Kunst in Berlin now provides access to more than 11.000 objects online on its website. This is a fundamental milestone in the accessibility of the museum collection and would not have been possible without the generosity of Yousef Jameel, Hon. LHD, a private supporter of the arts, education, and research. Continue reading “WWW: New Art Historical Resources on the Web”→
“The museums sector generally concentrates on current practice and developments; it does not keep longitudinal data that would enable academics and museum professionals to trace patterns over time.
The result is that commentary on closure is focussed on the very recent past and lacks a broader perspective that could add insight to contemporary analyses of this phenomenon. As part of the Mapping Museums project we have built a dataset charting the development of UK museums since 1960, and we have used this to draw the first substantive picture of museum closures over time.
At the outset there are two important points to address relating to museum closure that we’ve encountered while building the dataset.
The first concerns data collection. Given the historical focus of the project, a great difficulty has been finding information regarding precise years of closure. Recent closures and closure of well-established museums are fairly well documented. The real difficulty has been tracking down information for smaller, grassroots, regional museums – particularly those that closed 15, 20, or 25 years ago….”
OFFER:Routledge / Taylor and Francis offer TIAMSA Members a Special offer of subscription of £37 per calendar year. Please head to the Members’ Only area and find the post ‘Routledge / T&F Offer’ for T&C’s.
Art in the Age of Financial Crisis, by MARISA LERER & CONOR MCGARRIGLE
Moderator: Josh Baer, Advisor and Publisher, Baer Faxt, New York
This panel addresses the way in which museums and galleries are responding to the increasing pressures of the global art world and whether they are choosing similar expansion models or different options for going global. The funding required for public institutions to mount high-quality exhibitions is becoming increasingly scarce. At the same time, major galleries are more often in a strong enough financial position to do so. Is the trend of museum curators crossing over to galleries a symptom of this shift? In the long run, is this shift good for artists and estates? What are the implications for the integrity of art history if it is being written and re-written in the commercial context? As privatization of the art field increases, are galleries becoming the new museums?
Thaddaeus Ropac, Founder, Galerie Thaddaeus Ropac, London/Paris/Salzburg; Juan A. Gaitán, Director, Museo Tamayo Arte Contemporaneo, Mexico City; John Zarobell, Associate Professor of International Studies, University of San Francisco, San Francisco
Artists in Paris is an open-access digital art history project funded by The Leverhulme Trust and supported by Queen Mary University of London. The Principal Investigator of the project is Dr Hannah Williams. The website was designed and built by Dr Chris Sparks.