Decision No. 2039 of January 26, 2018 by the Italian Supreme Court imposed joint and several liability on an art gallery and an artist for the sale of plagiarized works. The gallery’s role was characterized as a failure of due diligence and raises questions regarding the role of art dealers in perpetuating questionable art market practices. This decision and the recent Graham v. Prince case in New York have significant consequences for art market operators, setting a precedent of quasi-vicarious liability for artists’ unlawful acts. The importance of authenticity as a driving concept for these professionals is also explored, through a brief analysis of appropriation artists and applicable law.
What’s Mine is Yours: The Liability of Art Dealers for Artists’ Plagiarism According to Recent Developments in Italy and New York
By CLAUDIA S. Quiñones Vilá
The state of the art world is currently in flux and faces interesting challenges relating to the management and conception of what constitutes art. Globalization has resulted in greater access for artists and exhibition spaces to engage with audiences and obtain source material, as well as to challenge long-held assumptions of art as a singular process rather than a collaborative endeavor. Multiple players in the art market, such as art galleries and dealers, are gaining greater notoriety. But with fame comes responsibility – both ethical and legal. Continue reading “Claudia S. Quiñones Vilá: What’s Mine is Yours: The Liability of Art Dealers for Artists’ Plagiarism”→
Sotheby’s Institute of Art
12. – 15.07.2017
Bericht von Helene Bosecker, Berlin
Die erste Konferenz der 2016 gegründeten International Art Market Studies Association (TIAMSA) widmete sich der historischen und aktuellen Forschung zum Thema Kunstmesse. Dieser zentrale Schauplatz des Kunsthandels wurde im Rahmen der dreitägigen Veranstaltung aus verschiedenen Perspektiven beleuchtet, in seinen Strukturen untersucht, kritisch reflektiert und diskutiert.  Continue reading “REV-CONF: The Art Fair – The 2017 TIAMSA Conference”→
Sandra van Ginhoven, Connecting Art Markets. Guilliam Forchondt’s Dealership in Antwerp (c.1632–78) and the Overseas Paintings Trade, Studies in the History of Collecting & Art Markets I, Christian Huemer ed., Boston (Brill) 2017. ix, 288 pp., 71 full color ill. ISBN 9789004319745; E-ISBN 9789004334830
Sandra van Ginhoven’s Connecting Art Markets. Guilliam Forchondt’s Dealership in Antwerp (c.1632–78) and the Overseas Paintings Trade is an ambitious and valiant book. The result of doctoral dissertation research conducted at Duke University under the auspices of Hans J. Van Miegroet and Neil De Marchi, the study is a beautifully argued analysis of the commercial activities and strategies of pivotal Antwerp art entrepreneur Guilliam Forchondt (1608–1678) between about 1643 and 1678. It explores and explains the entrepreneurship of this chef d’enterprise in an unassuming, highly effective and pioneering manner. Continue reading “Brosens, Koenraad, review of Sandra Van Ginhoven’s ‘Connecting Art Markets’”→
Art & Market: Alienation or Emancipation? (St. Gallen, November 2016)
International congress organised by the Research committee Sociology of Arts and Culture (RC‐SAC) of the Swiss Sociological Association and the Institute of Sociology of the University of St. Gallen (Switzerland)
Organising committee: Andrea GLAUSER (UNILU), Olivier MOESCHLER (UNIL), Valérie ROLLE (LSE) and Franz SCHULTHEIS, Patricia HOLDER, Thomas MAZZURANA (UNISG) Scientific committee: the above‐mentioned persons and Jens KASTNER (Akademie der bildenden Künste, Vienna), Alain QUEMIN (University Paris VIII) and Ulf WUGGENIG (Leuphana University, Lüneburg).