WWW: New Art Historical Resources on the Web

Online-Präsentation der Bestände des Museums für Islamische Kunst in Berlin / Collection of the Museum für Islamische Kunst in Berlin now published online

Contact:
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”

TOC: Journal for Art Market Studies, Vol. 2, No. 2 (2018)

The new issue of the Journal for Art Market Studies explores the multi-faceted
historical role of the art market in the displacement of cultural assets.

Based on a detail from George Cruickshank, The Elgin Marbles! or John Bull buying stones at the time his numerous family want bread!! (engraving, 1816). Cover design: Amichai Green Grafik.

ISSN: 2511-7602

Continue reading “TOC: Journal for Art Market Studies, Vol. 2, No. 2 (2018)”

Mapping Museums: UK museum closures, 1960-2017

Mapping Museums: Preliminary results on UK museum closure, 1960-2017

Mapping Museums is a University blog researching  the history and geography of the UK independent sector 1960-2020.

Jamie Larkin is a researcher at Birkbeck College, University of London, and has recently posted this interesting article in the College’s blog.

http://blogs.bbk.ac.uk/mapping-museums/2018/02/23/museum-closure-pre-findings/

“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….”

Continue here

 

 

 

TOC: Visual Resources, “Art in the Age of Financial Crisis”

Visual Resources: an International Journal on Images
and their Uses

A print and online journal published by Routledge/Taylor and Francis, founded 1980
Editor: BARBARA PEZZINI

Special Issue: Art in the Age of Financial Crisis
Guest Editors: MARISA LERER & CONOR MCGARRIGLE

https://www.tandfonline.com/toc/gvir20/current

LigoranoReese, Main Street Meltdown: Economy (2008). Ice, 6m x 1.5m (20 x 5 ft).New York. Photograph by Nora Ligorano, 2008. Image: Courtesy of the artists.

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.

Introduction

Art in the Age of Financial Crisis, by MARISA LERER & CONOR MCGARRIGLE
DOI: 10.1080/01973762.2018.1455355

Articles

The Works Progress Administration Federal Art Project Reconsidered, by JILLIAN RUSSO
DOI: 10.1080/01973762.2018.1436800 Continue reading “TOC: Visual Resources, “Art in the Age of Financial Crisis””

Art Market Talk, “Global Business Models”, Art Basel Miami 2017

December 8, 2017, Art Basel Miami Beach

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

Online resource: Artists in Paris: Mapping the 18th-century Art World

Artists in Paris: Mapping the 18th-Century Art World

Zoomed-in results around the Louvre for the year 1774; screen shot by Veronika Korbei from Hannah Williams and Chris Sparks, Artists in Paris: Mapping the 18th-Century Art World, www.artistsinparis.org (accessed 3 April 2018). As noted in the FAQs for the site, “there are 10,915 addresses in the database,” with coverage for “a total of 471 artists,” that is, for “every artist admitted to the Academy between 1675 and 1793.” Useful site details are available with the ‘settings’ tab.

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.

Introduction
Paris is a city renowned for its artistic communities. Neighbourhoods like Montmartre and Montparnasse in the nineteenth and twentieth centuries are familiar spaces of artistic activity and sociability. But when it comes to earlier generations of artists, we know strikingly little about how they inhabited the city. Continue reading “Online resource: Artists in Paris: Mapping the 18th-century Art World”

Seminar, ‘The Art Market Dictionary’ (Vienna, 19 April, 2018)

Seminar on the ‘Art Market Dictionary’

with TIAMSA Board Members Christian Huemer and Johannes Nathan,
Belvedere Research Center, Rennweg 4, 1030 Vienna (in German)

Vienna, 19 April 2018, 10am-12noon

Das „Art Market Dictionary (AMD)“ ist das erste Nachschlagewerk zum internationalen Kunsthandel im 20. und 21. Jahrhundert. Es entsteht derzeit unter Mitwirkung von fünfzehn “Section Editors”, mehr als dreihundert AutorInnen und einem renommierten internationalen Fachbeirat im de Gruyter Verlag, Berlin. Partnerinstitutionen sind u.a. das Getty Research Institute, das Zentralinstitut für Kunstgeschichte, das Forum Kunst und Markt an der TU Berlin und das Belvedere Research Center. Eine Vernetzung mit dem Lexikon der Österreichischen Provenienzforschung (LÖPF) ist vorgesehen. Das AMD wird ab 2019 erscheinen. – Im Zuge der Bearbeitung der Einträge zu Österreich laden wir zu einem Seminar, bei dem Besonderheiten des österreichischen Kunstmarkts und die Herausforderungen bei dessen Erforschung erörtert werden sollen. Das Seminar richtet sich nicht nur an AMD-AutorInnen, sondern ebenso an Interessierte ForscherInnen und Studierende im Bereich Kunstmarkt- und Provenienzforschung, die sich ein genaueres Bild von der Arbeit am Art Market Dictionary machen möchten. Besondere Beachtung werden wir den vorhandenen Informationsquellen und den Möglichkeiten ihrer Auswertung schenken. Das Seminar wird von Dr. Christian Huemer, Leiter des Belvedere Research Center und “Section Editor” des Art Market Dictionary, sowie Dr. Johannes Nathan, Herausgeber des Art Market Dictionary, abgehalten.

Aufgrund begrenzter Teilnehmerzahl wird um Anmeldung per E-Mail gebeten: j.aufreiter@belvedere.at