CFP: Artifacts, Images and Forms in Global Circulation (Paris, 13-14 Jun 19)

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Artifacts, Images and Forms in Global Circulation
A Digital Approach of Visual Semantics

Co-organizers :
Ecole Normale supérieure, Université de Grenoble-Alpes/Laboratoire de Recherche Historique Rhône-Alpes, Purdue College of Liberal Arts.

Chairs :
Béatrice Joyeux-Prunel, Paula Barreiro-Lopez, Catherine Dossin.

As part of the 10th anniversary of the Artl@s project, Artl@s are organizing an international conference on the digital approach to the circulation of images and forms.

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Apply Now: “Currents and Currency. Cultural Circulations in the Mediterranean and Beyond.” June 13-15, 2019, Antalya

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We invite abstract submissions for the 3-day workshop ‘Currents and Currency. Cultural Circulations in the Mediterranean and Beyond’, to be held in Antalya, Turkey, at the Koç University Suna & İnan Kıraç Center for Mediterranean Civilizations (AKMED) on June 13-15, 2019. Antalya is a Mediterranean inlet, with an overlapping archive of historical legacies, and Turkeyʼs gateway to its southern Mediterranean shores.

The current emphasis on migrations and cultural circulations in humanities corresponds to a re-turn to theMediterranean in literary and cultural studies.Currents and Currency: Cultural Circulations in the Mediterranean and Beyondaims to bring togethercultural works that constitute alternative archives of the Mediterraneanin order toreassessthe current geographical divides that shape typical understandingsof the Mediterranean and beyond. It thusopens upcomparative paradigms that suggestnewperspectives on translation, circulation, migration, art, and literature.What can circulation and currency tell us about current Mediterranean cultural productions? How do they travel? Do they leave traces?

​We encourage submissions engaging with diverse Mediterranean cultural and artistic productions from the 19th to the 21st century, including, but not limitedto:literature,photography,artistic productions, travel narratives, cinema, and documentaries, as well as TV series.

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ANN: Registration open – Responsible Art Market Initiative 3rd edition (Geneva, 1st February 2019)

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Registrationare now open for the 3rdResponsible Art Market Initiative event, Geneva, 1st February here: www.responsibleartmarket.org/event-registration. Programme available here:

A Responsible Art Market in Practice – ProgramDownload

For its third conference, the Responsible Art Market Initiative (RAM) will focus on “responsible art market measures in practice”, with workshops built around the “RAM Transaction Due Diligence Toolkit”. These workshops will illustrate how RAM’s toolkit, with its risk-based approach to client, artwork and transaction due diligence, can help art professionals and businesses navigate difficult situations and answer challenging questions. This conference will also consider the impact of the 5th European Anti-Money Laundering Directive on the Swiss and European art markets.

Confirmed speakers so far include Georgina Adam (Financial Times and The Art Newspaper, London), Philippe Davet (Blondeau & Cie, Geneva), Aude Lemogne (Link Management, Luxembourg), Jean-Bernard Schmid (Ochsner & Associés, Geneva) and Roland Foord (Stephenson Harwood, London). The conference program and registration details will be available shortly.

The Central Collecting Point in Munich: A New Beginning for the Restitution and Protection of Art | Institute of English Studies

Published on by Nirmalie Mulloli

Hollywood has told the story of how Monuments Men retrieved artworks that had been looted by Nazis. Newly discovered archival information brings to life the untold story of what they did next at the U.S. Army’s Office of Military Government at the Central Collecting Point (CCP) in Munich. How did the so-called ‘Monuments Men’ transform the war-damaged former Nazi Party headquarters in Munich into the largest ‘museum’ and greatest art history project that had ever been undertaken? How did they create the incredible expertise to identify the artworks? How did they build the infrastructure to restitute the objects? And, as millennia of priceless treasures of European cultural heritage were being gathered under one war-damaged roof, who could be trusted?

Dr Iris Lauterbach presents her new research on the events, people, and intrigue of the Munich CCP in the crucial years 1945–1949. Based on previously unpublished records, archives, and photographs, she uncovers the stories of the people who worked there at a time of lingering political suspicions. In this talk, she narrates the fascinating knowledge-building, conservation, and restitution processes. It is also the remarkable story of the foundation of Germany’s Central Institute for Art History: the library that powered the CCP’s knowledge base has grown into the one of the world’s largest art history reference libraries, where she is a researcher.

Events

29 January 2019: Lecture and Book Launch

The lecture will take place on 29 January 2019, 6-7pm, followed by a reception for the UK book launch of Iris Lauterbach’s The Central Collecting Point in Munich: A New Beginning for the Restitution and Protection of Art, translated by Fiona Elliott, with an introduction by James J. Sheehan (Getty Publications, 2018). The respondent is Dr Johannes von Müller (Warburg Institute). The convener is Dr Elizabeth Savage (Institute of English Studies).

Free, all welcome, RSVP here. 

PUB: Acquiring Cultures. Histories of World Art on Western Markets, De Gruyter

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Bookcover – Acquiring Cultures (2018)

As more parts of the world became accessible to the West, a fast-growing number of exotic artefacts entered European markets from the 18th century. Facilitated by social and technological changes, the markets for such objects thrived, while a collecting culture and museums emerged. This book focuses on methods and places of exchange, monetary and ideological value, actors and networks, transfer and transport, prices and expertise, while exploring 300 years and four continents.  Based on a symposium in Berlin, the publication will include contributions by Felicity Bodenstein, Ting Chang, Manuel Charpy, Nélia Dias, Natasha Eaton, Noëmie Etienne, Jonathan Fine, Christine Howald, Philip Jones, Sylvester Okwunodu Ogbechie, Ying-chen Peng, Léa Saint-Raymond and Élodie Vaudry, and Masako Yamamoto.

For more information click here

JOB: Associate Professor, MA Program in Art, Law and Business at Christies, New York

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We are delighted to announce that Christie’s Education, New York is looking to add an Associate Professor to their team!

The ideal candidate would have an eclectic mix of art market professional and/or academic experience and interests.  The responsibilities are many but generally include the following:

·        Teaching:  Assist to further develop and implement educational multidisciplinary art business curriculum

·        Advising: Act in educational and professional advisory capacity for MA students including course work, thesis research and professional development

·        Public Speaking:  Through active public engagement, expand the footprint and visibility of the Art Law and Business MA program

·        Publishing: Engage in creative art market related research

Emphasizing practice over theory, the MA program introduces students to the foundational tools, skills and concepts of art business and art law.

Further information can be found here

Deadline for applications is February 24th, 2019

PUB: ‘Petrus Mariette. Iconum mercator Parisiis’ – A Newly Discovered Portrait of Pierre I Mariette (c. 1603-1657)

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Portrait Pierre I Mariette

The French periodical ‚Nouvelles de l’estampe‘ has just gone open access with a new issue including an article by Antoinette Friedenthal presenting the discovery of a portrait of Pierre I Mariette (c. 1603-1657), the founder of the Mariette dynasty of print and book dealers. Hidden unrecognized in the encompassing print collection which the Mariette assembled for Prince Eugene of Savoy from c. 1717 onwards (much of which survives in the Albertina in Vienna), the portrait was etched by Pierre I’s grandson Jean Mariette (1660-1742) and inscribed ‘Petrus Mariette. Iconum mercator Parisiis’ by the sitter’s great-grandson Pierre-Jean Mariette (1694-1774), the last art dealer of the family known as one of the foremost connoisseurs of prints and drawings of the 18th century. The article is available both in French and in English.

TIAMSA is always happy to disseminate news of recent publications by its members! Please let us know if you would like us to post information on an art market related article or book by writing to office@artmarketstudies.org

LINK: http://nouvellesdelestampe.fr/nouvelles-de-lestampe/publi-en-ligne/