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Recent interest in the economic aspects of the history of art
Eighteenth-century Rome offers a privileged view of
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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 application process for our next program (September 2019 to June 2021) is now open.
University of Zurich’s Art Market Studies trains graduates who are currently active or pursuing a career related to the art market. We offer an independent and rigorous program designed by leading professionals and academics to meet today’s challenges.
The outstanding teaching staff includes more than 60 international art market specialists and scholars who share their knowledge, experience and network with our students.
Continue reading “ANN: Executive Master in Art Market Studies, University of Zurich accepting applications for fall 2019”Arts Special Issue: Art Markets and Digital Histories
Deadline: Jun 15, 2018
A Special Issue of Arts will investigate the promises and pitfalls of current digital methods in studying the history of art markets. New technologies are becoming integral to research in the humanities and social sciences and this invites a reflection on the use of these methods and techniques in art market studies. Our aim is to explore the different strategies that scholars employ to navigate and negotiate digital techniques and data sources, particularly when combining different datasets and types. Furthermore, the wealth of digitized historical data on objects and agents in art markets is rapidly expanding, and this data is increasingly published as Linked Open Data. Two recent historiographical trends make the use of Linked Data particularly relevant to art market studies.
First of all, the history of art markets has since long been studied through economic, social, and cultural lenses. While some scholars opt for the one or the other, others try to integrate them through the topics of, for instance, intermediaries, market mediation, and valuation processes. Open access to digital assets from art museums, archives, and libraries provide the opportunity, in the form of linked data and combined sources, to test cross-overs between research domains and thereby expand our understanding of art markets as socio-cultural as well as economic phenomena. But translating the promise of Linked Data into actual conceptual leaps in the field requires careful design of data models and methodologies.
The second trend also concerns the boundaries of the art market, but on a spatial level. The geographical reach of historical art market studies has been extended beyond Europe and the United States to include Latin America, Asia, the Middle East, and Australia. At the same time, scholars have developed increasing interest on themes such as cross-border trade and networks, global vs. national vs. local, and migration and mobility patterns. In theory, digitization and linked data provide excellent opportunities for advanced cross-border and comparative analyses, but in practice it has proven difficult to systematically link or compare data across borders and languages.
For this issue, we seek contributions that present a historical research question relevant to art market studies. We are particularly interested in contributions that reach out to other domains (be they time, place, or societal), and that place emphasis on combining and using multiple sources or data types (linked or not linked). There are no limitations as to place or time, as long as the papers are explicit on their research processes with regards to data, techniques and methods. Continue reading “Call for Papers: Arts Special Issue — Art Markets and Digital Histories”
Helsinki, Finland
November 29 – 30, 2018
Deadline: May 28, 2018
In recent years the field of art research has become wider and polymorphous. There are at least two reasons for this. The first concerns the development and strengthening of artistic research in art academies since the late 1990’s. Today artistic research has become an umbrella term that covers all kinds of art research, especially research that concerns contemporary art.
The other reason is a consequence of structural changes in the universities and their curricula. Through these changes traditional disciplines have been merged into one another, transformed or constituted together with nearby disciplines. At the same time, practically-oriented and specific study programs that serve working life, for example curatorial studies, have become more general and increased in numbers within universities. Amongst these developments there have also appeared changes in methodologies and theoretical apparatus. Continue reading “CFP: Connoisseurship in Contemporary Art Research (Helsinki, 29-30 Nov 18)”
AHRC Collaborative Doctoral Partnership PhD Studentship
Centre for the Study of the Art and Antiques Market
csaam.leeds.ac.uk
We are very pleased to announce a new fully funded AHRC CDP PhD studentship Applications are NOW OPEN
A Great Commerce in Curious Paintings: the role and practices of art dealers and agents in the reception and re-evaluation
Continue reading “Application Open – CSAAM Leeds, United Kingdom”
