The art world and the market have traditionally been the domain of the elites and have thrived on exclusivity. However, the art world has arguably become much more democratic in recent years thanks to the digital revolution, the inclusion of emerging economies in the world art market system, and the vastly improved access to art and information. The price histories of works of art can nowadays easily be reconstructed using online databases; the threshold for art buying is significantly lowered by online sales platforms; and new buyers in emerging economies are making the art market much less Western-oriented. Moreover, an ever broader range of artworks in different price categories has put (fine) art within reach of the middle classes across the globe. At the same time, art institutions such as museums are under tremendous pressure to be less exclusive. Some of these democratizing tendencies are of course not new. For instance, publishing houses in Europe started disseminating prints on a massive scale already in the sixteenth century, thereby enabling larger segments of the population to acquire images. Continue reading “CFP: Art for the People? Questioning the Democratization of the Art Market – Second TIAMSA Conference (Vienna, 27-29 Sept, 18)”→
Cologne and its Journey towards an Arts Capital – Between Protest and Progressivity in the 60s and 70s
Opening on 20 July 2017, 6.00 p.m.
Universität zu Köln
Universität- und Stadtbibliothek
By launching the Kunstmarkt Köln, today’s Art Cologne, as the first art fair for Modern and Contemporary art in 1967, the city of Cologne experienced a major impulse on its way to becoming an arts capital. Therefore, this exhibition’s focus is both on the art fair itself as well as on the events and happenings, which stood in direct opposition to the fair and were even triggered by it. The “Straßenaktion der Organisation für Direkte Demokratie durch Volksabstimmung” (see cover photo), initiated in 1970 by Joseph Beuys, Hans Peter Alvermann, Wolf Vostell, Klaus Staeck and gallery owner Helmut Rywelski, can be seen as a prominent example for this. In addition, selected protagonists from the prosperous gallery and art trade scene of the late 60s were examined: what happened over the course of the democratization of art in those years, which were shaped by vigor, progressivity and protest?
The exhibition was curated by students in conjunction with Günter Herzog and Nadine Oberste-Hetbleck.
The exhibits are shown in dialogue with the video-text portrait “Helga Müller – ein Fragment” by video artist Sabine Bürger.
Universität zu Köln
Jun.-Prof. Dr. Nadine Oberste-Hetbleck
50923 Köln Blog: https://amskoeln.hypotheses.org