We are delighted, after the two very successful workshops in Ljubljana and Paris and the recent publication of our first book Researching Art Markets: Past, Present and Tools for the Future to invite you to submit your proposals for contributions to our second book Law and Finance in International Art Markets: Past and Present.
Submission deadline: 15 April 2022
The international art market has developed as a complex and varied set of interconnected practices and players, involving artists, collectors and patrons, museum curators, critics and intermediaries, such as dealers, auction houses, fairs, online platforms, etc. As such, the art market acts as a microcosm characterised by the economic, cultural, social and political norms of its own time. Art works bear both tangible and intangible value, and their circulation is affected by two highly interconnected dimensions, namely regulations and financial structures, which can be specific to the art market or, instead, be more general, set within local, national and international contexts.
Notably, the art market has had the reputation of being an opaque market. Therefore, a better understanding of its financial and regulatory stakes can crucially benefit from both historical and geographical perspectives. This book applies such perspectives to a multi-level analysis that highlights the ways in which the rules governing the art market have emerged and consolidated and might possibly evolve. Contemporary developments and innovations are thus set into a broader picture, providing tools for researchers to analyse and interpret contemporary art worlds.
GUIDELINES FOR AUTHORS
Essays are invited that frame such questions from an interdisciplinary viewpoint and within both historic and contemporary frameworks, thus setting different approaches in a comparative way. We encourage qualitative as well as quantitative essays that reflect on the ways by which art market practices were and are influenced and shaped by the mechanisms of finance and law and how, in turn, actors on the market exploit, use and even contribute to the evolution of these mechanisms in different countries. From a methodological perspective, we aim to gather a compilation of essays that bring out different views by applying relevant methodological approaches to understand and interpret art markets, rather than narratives of particular research.
Proposals should address one of the two topics elaborated below.
1 Financial structures and practices on the art market
The art market is a highly entrepreneurial and peripheral market, and the banking, funding and support strategies deployed or relied upon by the diverse actors of this art market have given rise to complex transactions, investments, and interest protections that have underpinned the art market throughout history. We are interested in the historical and contemporary financial strategies of the art market through a wider variety of essays that explore different approaches and cover the many facets of the topic. Examples include (but are not limited to):
- How national or international financial structures influence the ability to purchase, produce or sell
- The financial strategies of major market agents (e.g., auction houses, insurance companies, corporations, fairs), their evolution, and how they have also underpinned the ways in which works of art are valued and sold
- The financial implications of art donations, whether corporate or private
- The roles of taxation and government policies in influencing the ways in which the art market functions, versus the differing private public models for financing artists, cultural institutions
- Innovative financial mechanisms, such as blockchain and crowdfunding as well as digital marketing tools and social media that manipulate financial decision-making of consumers
- Reactions to changing financing practices from artists
- How agents of the market try to shape and to influence the financial rules they are submitted to
2 The role of legislation and legal regulators in the art market
The relationship between law and art can be traced back at least to the Middle Ages, when the workshop and apprenticeship rules and guild statutes regulated production, to ensure quality and enable fair marketing and dissemination. Since the Early Modern Period, estate law has defined inheritance and ownership of artworks. With the rise of auction houses from the 17th century onwards, governments have tried to control auctioneering practices and increase transparency. Similar considerations apply nowadays for on-line trade and digitisation of artworks, transactions and consumption. The Early Modern Period also saw the origins of copyright law. Throughout the nineteenth century, copyright regulations were still nationally oriented. Since the 20th century, we have witnessed the internationalisation and globalisation of laws, which are still in progress. Essays are invited that consider, among others, the following topics:
- The impact of apprenticeship rules and guild statutes on artists’ practices and the changing regulations introduced by governments
- The importance of artists’ copyright in both historic and contemporary legislation
- The export of works of art and the protection of national heritage
- Case studies in the history of the art market that demonstrate the effects of legal structures (e.g., in the Napoleonic period, dealers who circumvented national laws, which in turn generated laws to protect national heritage)
- The preservation of national heritage and looting andsmuggling prevention by international laws play major roles in government policy
- State regulations that encourage corporations to collect and provide protection for galleries supporting emerging artist
- Free ports and the art market
- Attempts to regulate the on-line trade and digitisation of artworks, transactions and consumption, including cryptocurrencies, blockchain and NFTs
Please send a proposal of ca 500 words by 15 April 2022, including:
- Introduction: Problem definition, research gap, objective and original contribution
- Theoretical foundation
- Methodology / empirical research context
- Expected findings/results
- Main implications for art market research and practice
Please address your proposal to firstname.lastname@example.org copied to email@example.com and firstname.lastname@example.org. Proposals will be reviewed by the editorial panel and a final selection will be made by 15 June 2022 and contributors will be notified then. Notified contributors will be expected to submit their draft chapters by 15 November 2022.
- Elisabetta Lazzaro, Professor of Creative and Cultural Industries Management, Business School for the Creative Industries, University for the Creative Arts, United Kingdom
- Nathalie Moureau, Professor of Economics, University Paul Valéry Montpellier 3, France
- Adriana Turpin, independent author and Professor of Art History, IESA-Institut d’Études Superiéures des Arts, Paris, France
- Paolo Coen, Associate Professor of Art History, University of Teramo, Italy
- Tim Fry, Honorary Professor of Econometrics, RMIT, Melbourne, Australia
- Michael Hutter, Cultural Economist, WZB Berlin Social Science Center, Germany and Book Review Editor, International Journal of Cultural Economics, Springer
- Alicja Jagielska-Burduk, UNESCO Chair on Cultural Property Law, University of Opole, Poland
- Renata Komić Marn, Research Fellow, ZRC SAZU, France Stele Institute of Art History, Ljubljana, Slovenia
- Tina Košak, Research Fellow and Assistant Professor, ZRC SAZU, France Stele Institute of Art History and University of Maribor, Ljubljana, Slovenia
- Bénédicte Miyamoto, Associate Professor of Art History, Université Sorbonne Nouvelle Paris 3, Paris, France
- Luc Renneboog, Professor of Corporate Finance, Tilburg University, Netherlands
- Philippe Van Cauteren, Artistic Director of S.M.A.K., Ghent, Belgium
- Dorothée Wimmer, Director of the Centre for Art Market Studies, Technische Universität Berlin, Germany