A Discount Code for this second book in the HCAM series is available to all TIAMSA members.
Please log in and find the Discount Code for Brill post in the Members’ Only Section.
Wadsworth Atheneum Museum of Art, Hartford, CT, November 10 – 11, 2017
J. Pierpont Morgan (1837–1913) spent over twenty years travelling the globe to amass the largest collection of art and cultural artifacts of his time. Estimated to have exceeded 20,000 works of art, Morgan’s collections represent a broad historical and geographic range of art and cultural artifacts. Acting on his father’s wishes, J.P. Morgan’s son, Jack, donated more than 1,350 works collected by his father to the Wadsworth Atheneum in his native Hartford. In fall 2017, the Wadsworth Atheneum will mark the centennial anniversary of Morgan’s gift and its historical impact with an exhibition, Morgan: Mind of the Collector.
The Wadsworth Atheneum will host an international symposium in conjunction with the exhibition to reexamine and showcase the latest research about Morgan’s collection and how he shaped the identity of the collector in the modern age. Continue reading “CONF: Morgan: Mind of the Collector (Hartford, 10-11 Nov 17)”
DAVID CHALLIS (University of Melbourne) and DIANA J KOSTYRKO (Australian National University)
Submit proposals to: David Martin Challis email@example.com
It is a remarkable fact that of the thirty-seven paintings representing one of Paul Cézanne’s most iconic motifs, Mont Sainte-Victoire – also one of France’s most recognisable natural geographic features – only one painting from the series can be found in France today. The others are scattered among public and private collections in locations as diverse as Buenos Aires, Amsterdam, Zurich, Tokyo, Moscow, New York and Edinburgh. This is an example of how radically art can be removed from its natural and spiritual ‘home’ and it introduces a raft of considerations, one being: does art acculturate as it travels outwards, or might it otherwise be absorbed into an existing canon and even re-contextualized? This session is principally concerned with the dynamics of the modern art market in the interwar period; therefore we invite papers which tackle the phenomenon of the wholesale shifting of artworks out of Europe, for instance, and whether this was driven by entrepreneurial art dealers, auction houses and collectors, for self-interested purposes, or whether there were greater economic, aesthetic or political forces at work. We welcome papers which present case-studies where fashion has dictated collecting practices; when art coming to market has set new trends in acquisition; or instances where an artwork’s reputation has suffered or gained from changing hands, particularly in moving between public and private sectors.
The deadline for proposals is Monday 14 August 2017.
See the AAANZ guidelines here (.pdf)
The roles of art dealers in the creation of art economies and the circulatory exchange of goods have come to increasing attention of late. However, much work remains to be done to counter the long history of the hagiographic treatment of dealers, which owes a great deal to the fact that histories of dealers were largely authored by dealers eager to write themselves into the history of art.
For this session, we seek to bring a critical and historical perspective to the role of intermediary agents in the primary and secondary markets. We seek papers that will examine dealers who mediated between the artist as producer and the consumer, whether conceived as an individual patron or broadly configured audiences.
We also seek papers that identify strategies developed by these intermediary figures in response to changing social-historical as well as geographical conditions. Relatedly, what role did dealers play in the emergence of art history as a discipline and the construction of its narratives given the vested interest of these agents in knowledge formation and collection building?
Since histories of art dealers have long been dominated by narratives drawn from the Western market, we are particularly interested in papers that examine the role of this figure in non- western art economies as well as topics that help us test and question standard models derived from the early modern and modern Western context. We encourage analysis of historically grounded strategies and practices, as opposed to anecdotal heroic narratives.
Paper proposals are due August 14. Please email your proposal to both chairs.
The Promo Code can be found in the Members’ Only section of TIAMSA’s website after login.
The 2017 symposium has been convened and will be moderated by Christel Hollevoet-Force, PhD, Associate Research Curator in Modern and Contemporary Art at the Metropolitan Museum of Art. This two-day event will be organized and hosted by Veronique Chagnon-Burke, PhD, Academic Director at Christie’s Education New York. It will comprise 11 talks, including opportunities for Q&As and open discussions. Sessions will look at seminal dealers such as Durand-Ruel and Kahnweiler, artists like Cézanne and Picasso, and names still active in the art market, such as Gimpel and Lefevre.
Johannes Nathan (Nathan Fine Art / TU Berlin) : « The Art Market Dictionary – Reflections on the Mapping of a Complex Field »
The Art Market Dictionary (AMD) is the first encompassing reference work on the art market and its historical development. It will provide key information on central agents such as auction houses, commercial galleries, art dealers, and advisers. Each entry will give brief business histories or biographies followed by notes on areas of specialization, artists represented, principal exhibitions and publications as well as significant transactions. The AMD will also list resources with additional information including archives, museums, libraries, databases, and scholarly literature. Where available, it will include relevant illustrations. The project’s first phase covers Europe and North America in the twentieth and twenty-first centuries. Developed in collaboration with a highly qualified international team of Section Editors, the AMD will feature contributions from specialists worldwide. De Gruyter, the AMD’s publisher, is a Berlin-based academic publisher. Among the databases published by de Gruyter is the Allgemeines Künstlerlexikon (AKL) the world’s most encompassing database on artists.
Free and public lecture
GREMA – Group de recherche sur le marche d’art – lectures and program
Time: 5 – 7pm
Centre Malher de l’Université de Paris 1 Panthéon-Sorbonne
(M° Saint-Paul, 9 rue Malher, salle 106)
Edited by Susanna Avery-Quash and Barbara Pezzini
Call for Book Chapters; Deadline: Feb 1, 2017
We are soliciting chapter abstracts for an edited collection with the provisional title of: A Worldwide Market for Old Masters between the Napoleonic Era and the Great Depression. The volume will be an edited collection of around 15 essays, each of 6-7,000 words plus footnotes with up to 5 illustrations. It is envisaged that the collection will be part of the Oxford University Press series on the History of Collecting, edited by Christina Anderson and Peter Stewart.