Tag: art market studies

TIAMSA New York: Visit to Relative Values with Elizabeth Cleland, Friday, October 26, 4:00 PM

Published on by Nirmalie Mulloli
Join Elizabeth Cleland (Associate Curator, European Sculpture and Decorative Arts) for a tour of Relative Values: The Cost of Art in the Northern Renaissance. Bringing together 62 masterpieces of northern European art, the exhibition revolves around questions of historical worth, exploring relative value systems in the Renaissance era. The objects on view—tapestry, stained and vessel glass, sculpture, paintings, precious metal-work, and enamels—are juxtaposed with pricing data from sixteenth-century documents.
TIAMSA members will meet at 3:45 PM at the central information desk in the Great Hall. Also note that the Met is open until 9:00 PM on Fridays. 

Call for Papers: Arts Special Issue — Art Markets and Digital Histories

Published on by Gretchen Simms

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” →

CFP: Connoisseurship in Contemporary Art Research (Helsinki, 29-30 Nov 18)

Published on by Art Market Studies

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)” →

Application Open – CSAAM Leeds, United Kingdom

Published on by Gretchen Simms

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” →

The Art Fair: TIAMSA 2017 Conference (London, 13-15 July, 17)

Published on by Art Market Studies4 Comments


Registration has now closed
The Art Fair
The 2017 TIAMSA Conference
London, 13-15 July, 2017

Get your ticket here
https://tiamsaartfairconference2017.eventbrite.com

Conference Dinner for speakers and participants – tickets online
https://tiamsadinner.eventbrite.com

TIAMSA_Conference_Programme (pdf., 868 KB)

NB: Unless otherwise stated, all events will take place at
Sotheby’s Institute of Art
30 Bedford Square,
Bloomsbury,
London WC1B 3EE

Conference Pre-Programme and Private Tours

Thursday 13 July

‘Historic’ Option
The National Gallery, Trafalgar Square, London WC2N 5DN, UK

2.30pm – 3.30pm
Agnew’s stock books, The National Gallery Archive, with Alan Crookham, TIAMSA Founding Member and Head of the National Gallery Research Centre

To book a place you have to be a member of TIAMSA.
This tour has a maximum capacity of 20 participants.
Book your place here: https://tiamsaagnewsstockbooks.eventbrite.com
Further information is on your ticket

3.40pm – 4.30pm (parallel to Ropac tour)
Guided Tour with Highlights of the National Gallery’s Collection History, with Susanna Avery-Quash, TIAMSA Board Member and National Gallery Senior Research Curator (History of Collecting)

To book a place you have to be a member of TIAMSA.
This tour has a maximum capacity of 20 participants.
Book your place here: https://tiamsangtour.eventbrite.com
Further information is on your ticket 

‘Contemporary’ Option
Galerie Thaddaeus Ropac, Ely House, 37 Dover St., London W1S 4NJ

2.30pm – 4.15pm (parallel to National Gallery tour)
Inside Tour of Thaddaeus Ropac’s new London gallery, with Polly Gaer, Gallery Director, and Jonathan Woolfson, TIAMSA Board Member and Deputy Director of Sotheby’s Institute of Art, London

To book a place you have to be a member of TIAMSA.
This tour has a maximum capacity of 25 participants.
Book your place here: https://tiamsaropactour.eventbrite.com
Further information is on your ticket

*****

5.00pm – 6.00pm
TIAMSA Annual General Meeting (AGM)
for TIAMSA members only; see separate invitation

*****


6.30pm – Keynote lecture 1
Sophie Raux, Université Lumière – Lyon 2 (FR)
Fairs in the Southern Netherlands and the Development of the Early Modern Art Market (15th-17th centuries)

7.30pm – Reception

*****

 

Friday 14 July

9.00am – Registration

9.30am – Welcome and Introduction
Jos Hackforth-Jones, CEO and Director of Sotheby’s Institute of Art, London
Johannes Nathan, TIAMSA Chair

Session 1 (plenary): Mapping the Art Fair I
Chair: Olav Velthuis, University of Amsterdam (NL)

9.45am – Sofia Evangelou and Rachel A. J. Pownall, Maastricht University, Maastricht (NL), Art Fairs in the 21st Century and Their Role in the Global Art Market Scene

10.15am – Nadine Oberste-Hetbleck, University of Cologne (GER)
Art Cologne: The First Art Fair for Modern and Contemporary Art Between Globalisation and Localisation

10.45am – Coffee

11.15am – Daniela Stocco, Erasmus University, Rotterdam (NL), The Art Fairs in Rio de Janeiro and Sao Paulo: Access to Art as a Marketing Strategy

11.45am – Hua Shuo, University of Hong Kong (CN), When Art Meets New Money: Chinese Participation in Art Fairs in Hong Kong since the 1990s

12.15pm – Concluding Discussion (c. 15 mins.)

*****

12.30pm – Buffet Lunch (provided)

*****

Session 2 (parallel with Session 3): Standards of Quality and Vetting

Chair: Susanna Avery-Quash, National Gallery London (UK)

2.00pm – Deborah Schultz, Regent’s University London (UK), The Art Fair as Curated Event

2.30pm – Erica H. Coslor, University of Melbourne, Melbourne (AU) and Yuval Millo, Warwick Business School (UK), Price or Prize? Art Fairs as Valuation Devices

3.00pm – Coffee

3.30pm – Yasmin Railton, Sotheby’s Institute of Art, London (UK), The Expert Eye: The Reputational Marketing of Scientific Research in Fair Vetting

4.00pm – Gareth Fletcher, Sotheby’s Institute of Art, London (UK)
The Utility of Trust: A Comparative Analysis of the Presentation and Impact of Provenance Information in Establishing Consumer Confidence within the Art Fair

4.30pm – Stephanie Dieckvoss, Central St. Martin’s, London (UK)
The Artist and the Art Fair: Changes in Agency?

5.00pm – Concluding Discussion (c. 15 mins.)


Session 3 (parallel with Session 2): Historical & Geographical Contexts
Chair: Johannes Nathan, Nathan Fine Art / TU Berlin (DE)

2.00pm – Filip Vermeylen, Erasmus University, Rotterdam (NL), The Origins of Art Fairs: Early Examples from Antwerp

2.30pm – Stoyan Sgourev, ESSEC Business School, Paris (FR), Salons, Secessions and Fairs: Historical Links and Benefits

3.00pm – Coffee

3.30pm – Simeng Chang and Marilena Vecco, Erasmus University, Rotterdam (NL) and Roberto Zanola, Universita’ degli Studi del Piemonte Orientale, Alessandria (ITA)
Strategies of Art Fairs: How to Merge in Mainland China?

4.00pm – Linzhi Zhang, University of Cambridge (UK), From Beijing to Basel: Chinese Galleries in Art Fairs

4.30pm – Adelaide Duarte, Universidade Nova de Lisboa (PT), From Global to Local: ARCOmadrid – ARCOlisboa

5.00pm – Concluding Discussion (c. 15 mins.)

5.15pm – Interval

6.00pm – Keynote lecture 2
Noah Horowitz, Director Americas / Member of the Executive Committee, Art Basel (USA) in Conversation with Olav Velthuis, University of Amsterdam (NL)

7.15pm – Conference Dinner
open to all, advance booking required, paid for individually; booking information available soon on artmarketstudies.org

*****

Saturday 15 July

9.15am – Registration

Session 3 (plenary): Mapping the Art Fair II
Chair: Kim Oosterlinck, Université Libre de Bruxelles (BE)

9.45am – Tina Haisch, University of Applied Sciences Northwestern Switzerland, Basle (CH) and Max-Peter Menzel, University of Bayreuth (GER)
Constructions of Local and Global Markets at Three Art Fairs in Basel

10.15am – Karen Van den Berg, Zeppelin University Friedrichshafen (GER)
Self-Questioning as Currency: Public Talks and the Art Fair’s Corporate Identity

10.45am – Coffee

11.15am – David Bellingham, Sotheby’s Institute of Art, London (UK)
‘The Best of The Best’: MASTERPIECE London and the Art Fair as a Lifestyle Event

11.45am – Elisabetta Lazzaro, HKU University of the Arts, Utrecht (NL) and Nathalie Moureau, Université Paul-Valéry, Montpellier (FR), Mapping Diversity in the Contemporary Art Market

12.15pm – Concluding Discussion (c. 15 mins.)

*****

12.30pm – Buffet Lunch (provided)

1.00pm – Sub-Committee Meetings

*****

Session 5 (parallel with Session 6): Experimentation
Chair: Jonathan Woolfson, Sotheby’s Institute of Art, London (UK)

2.00pm – Meike Hopp, Zentralinstitut für Kunstgeschichte Munich (DE), The Art Fair in Frankfurt am Main and Its Auctions, 1920 and 1921

 2.30pm – Norma Ladewig, Freie Universität Berlin, Berlin (DE), The 1960s and 1970s West German Art Fairs as Laboratories of Democracy

3.00pm – Coffee

3.30pm – Martin Hartung, ETH Zurich (CH), Politics of the Art Fair, 1967-1973

4.00pm – Ronit Milano, Ben-Gurion University of the Negev (IL), The “Online” Economy of the Art Fair: The Case of Artspace Website

4.30pm – Concluding Discussion (c. 15 mins.)

*****

Session 6 (parallel with Session 5): Biennales and Nascent Fairs
Chair: Veronika Korbei, Independent Art Historian, Vienna (AT)

2.00pm – Clarissa Ricci, IUAV University, Venice (IT), At the Origins of Art Fairs: The Venice Sales Department after WWII

2.30pm – Diego Mantoan, Università Ca’Foscari, Venice (IT), Artworks for the Biennale or for the Art Fair: A Few Notes on Shifting Aesthetic Paradigms in 20th Century Art

3.00pm – Coffee

3.30pm – I-Yi Hsieh, New York University Shanghai (CN), Inside-Out of the Biennale: the 2016 Shanghai Biennale and Its Fair Economy

4.00pm – Marta Pérez Ibáñez, Universidad Nebrija, Madrid, and Isidro López Aparicio, Universidad de Granada (ES), Art and Resilience: The Artist’s Survival in the Spanish Art Market. Independent Artists’ Art Fairs in Spain – A Case Study

4.30pm – Concluding Discussion (c. 15 mins.)

*****

4.45pm (ends. c. 5.15pm)
Final Plenary Session: TIAMSA Looking Ahead

*****

Tickets
TIAMSA Members £ 70 / Non-members £ 100
TIAMSA Concessionary members £ 40 / Concessions and Students: £ 50

Online registration is now open:
https://tiamsaartfairconference2017.eventbrite.com
Online registration closes on 10 July, 2017

On the day – Tickets
£ 120 – provided there is room
£ 70 concessionary – provided there is room
On the day CASH ONLY

Conference Committee:
Susanna Avery-Quash (National Gallery, London); Antoinette Friedenthal (Independent, Berlin); Veronika Korbei (Independent, Vienna); Johannes Nathan (Nathan Fine Art, Zurich / Potsdam); Kim Oosterlinck (Université libre de Bruxelles); Olav Velthuis (Universiteit Amsterdam); Jonathan Woolfson (Sotheby’s Institute of Art, London)

Progamme (.pdf, 127kB)
The Art Fair The TIAMSA 2017 Conference Programme

Helpful Information

Accepting applications for Fall 2017: Executive Master in Art Market Studies, UZH

Published on by Art Market Studies

Executive Master in Art Market Studies
University of Zurich

Application

The application process for the next program, which will take place from September 2017 to June 2019, is now open.

The program is primarily designed for university graduates (PDF, 1499 KB) or equivalent who are active in the art market or who intending to be. Professional experience will be considered. There is no art history prerequisite.

Courses are held on Fridays and Saturdays in Zurich and are taught entirely in English.

To apply, please fill out the application form (PDF, 155 KB) and return it to the address mentioned in the form.

All suitably qualified applicants will be interviewed by the Course of Study Committee. If you have any questions regarding the application process, please do not hesitate to contact UZH.

UZH Program Video

Reference: University of Zurich [last access April 3, 2017]