Tag: Art Market

Lecture: The Art Market in the 20th and 21st Centuries (Lisbon, 19-20 Oct, 17)

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The Art Market in the 20th and 21st Centuries: Mapping a still unwritten history

Lecture by TIAMSA Co-Chair Johannes Nathan at the Palácio do Correio Velho, Lisbon, Friday, 20 October, 6pm

Beginning with a brief overview of the speaker’s family history, this lecture will outline the development of the art market in the 20th century and the changing role of different business models. In view of the recent attention to provenance research, it will then turn to the growing importance of the study of art market history. The lecture will conclude by pointing to the challenges that still face students of this subject – and how they might be overcome.

The lecture will be preceded by a workshop on „The Art Market Dictionary – The Challenge of Raw Data“ for the students of Mercados da Arte Contemporânea no Mundo Global at the Instituto de História da Arte, Universidade Nova de Lisboa on 19 October 2017, 6pm to 9pm

These are the kick-off events of the “Art Market and Collecting in the European Southern Countries and Brazil”, a new TIAMSA sub-committee, whose first meeting will take place on 19 October in Lisbon.

TIAMSA London Art Market

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The London Art Market – a new TIAMSA Sub-Committee

Harry Dougall, Courtauld Institute of Art Alumnus; Elizabeth Pergam, Lecturer, Sotheby’s Institute of Art, New York; Barbara Pezzini, Editor-in-Chief, Visual Resources.


Statement: London has been a principal centre of the art market since at least the seventeenth century and its record-breaking sales still make headlines in the present day. It is a rich and versatile market. Antiques, furniture, sculpture, old master paintings, modern art and works on paper: the secondary market sustains principal sales in all these categories and many more. In addition, a fertile art scene fuels a healthy and lively primary market. Undoubtedly the London art market, both in its current state and historic development, presents an apt theme for investigation by TIAMSA members. We have thus started a thematic sub-committee on the theme of the London art market, to explore the nature of this complex phenomenon in its entirety. This sub-committee is not confined to a specific period, it incorporates both fine and decorative arts, exploring relationships between historical and contemporary London art markets, as well as institutions and businesses. While the focus is on London it welcomes opportunities to situate London’s markets in relation to other regions in the UK or internationally. Through organised visits (including galleries, museums, libraries, archives etc.), informal meetings and study days/seminars it aims to provide an opportunity for members to network/exchange information and encourage research on the London art market. Please contact us if you would like to join the group and news on our first event will be coming soon!

CONF: Objects of Exchange: Art and Economic Encounters (Paris, 7-8 Sep 17)

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International Symposium
Institut National d’Histoire de l’art (INHA)
Paris, 07. – 08.09.2017

Org. Alexander Alberro (Columbia University), Sophie Cras (Université Paris 1 Panthéon-Sorbonne)

Exchange is classically described by economists as a phenomenon of equalization of values within a given system. When heterogeneous orders of economic rationalities meet, material objects and practices come to embody the paradoxes of dissonant exchange. This symposium aims to explore how artifacts and artistic practices have materialized ruptures within, and encounters between, economic systems in the modern and contemporary period.

PROGRAM

7 September 2017

2.oo pm / Introduction, Alexander Alberro (Columbia University) & Sophie Cras (Université Paris 1 Panthéon-Sorbonne) Continue reading “CONF: Objects of Exchange: Art and Economic Encounters (Paris, 7-8 Sep 17)” →

CFP: New Voices 2017-18: Art and Movement (Birmingham, 11 Jan 18)

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Call for Papers
Art and Movement

University of Birmingham, January 11, 2018
Association for Art History
Deadline: September 4, 2017

Keynote speaker: Professor Khadija von Zinnenburg Carroll

Whether moved by force, trade or choice, art and artists rarely remain static. In the twentieth and twenty-first centuries in particular, globalised systems of travel, communication, and trade have meant that art and the art world, including artists, curators and dealers, are perceptively more mobile. Yet, artists have always moved in response to the availability of work and materials, or for cultural and educational opportunities. Artists have also long depicted people or objects in movement, from paintings of the flight into Egypt to contemporary installations of the belongings of refugees.

‘New Voices: Art and Movement’ will give postgraduate and doctoral researchers an opportunity to discuss the topic of art and movement and to address persistent historical, contextual, and conceptual questions.

  • How did art participate in or resist the creation of our globalised world, and how has that system impacted the creation and reception of art?
  • How can the development of systems and networks for the circulation of art be traced historically?
  • What can the movement of art tell us about specific works of art or cultural, political, economic and social contexts?
  • In what way does the form of an object reflect its movements or movability?
  • How and why has movement been represented through the ages?

The time has perhaps never been more apt to question the way art travels and moves, or the way movement influences the production, curation and reception of art. We welcome contributions from all periods that address the theme. Topics may include but are not limited to:

  • Representations of movement or its impact on a work of art’s function and form
  • The lives and work of artists abroad, including immigrants, expatriates and refugees
  • Networks of trade and circulation
  • The impact of globalisation on the production of art, its curation and the art market
  • The restitution of art and cultural objects
  • Non-movement, i.e. art or artists that resist or are denied movement

Please submit abstracts of no more than 250 words for 20-minute papers along with a 150-word biographical note to artmovement2018@gmail.com by 4 September 2017. The submission of abstracts is open to postgraduate researchers (master’s and doctoral) of all related disciplines; attendance is open to all.
For more details, see: www.forarthistory.org.uk

For this year’s New Voices we have affiliated with a related conference at the University of Birmingham. This conference, entitled ‘Art on the Move – Mobility in the Long Nineteenth Century‘, will be held over two days following New Voices. Attendees and contributors to New Voices are encouraged to attend, although they are separate events and admission is charged separately. For more information please visit: https://artonthemove19.wordpress.com/

Source: CFP: New Voices 2017-18: Art and Movement (Birmingham, 11 Jan 18). In: H-ArtHist, Jul 11, 2017.

CFP: Women Artists Shows.Salons.Societies (Paris, 8-9 Dec 17)

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Call for Papers
Women Artists Shows.Salons.Societies (Paris, 8-9 Dec 17)
Group Exhibitions of Women Artists 1876-1976

Paris, Auditorium Jeu de Paume, December 8 – 09, 2017
Deadline: Sep 15, 2017

In partnership with the Artl@s project, AWARE introduces WAS (Women Artists Shows.Salons.Societies), a research project focusing on group exhibitions of women artists. Our ambition is to build a descriptive and analytical catalogue of these exhibitions from the end of the 19th to the end of the 20th century and to start reflecting on their specific history, through the study of the evolution of the social, cultural, and institutional conditions that permitted or made them necessary through the analysis of the various levels of mediation and organisation at work in these shows, or also through the examination of their symbolical functioning and critical response.

This first symposium, which will launch the program, considers a moment when the chronology of women group shows is less known (the more recent period will be the subject of a later symposium). Continue reading “CFP: Women Artists Shows.Salons.Societies (Paris, 8-9 Dec 17)” →

Apply Now: 5 Scholarships, ZEGK Heidelberg

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The interdisciplinary doctoral research group “Art, Culture and Markets –History of European Culture from the 18th Century to the Present” of the Center for European History and Cultural Studies (ZEGK) at the University of Heidelberg is funded by the Landesgraduiertenförderung and delighted to grant five scholarships starting from October 2017 that may be held for up to three years. Consisting of a monthly stipend of 1.000€, the scholarships additionally encompass a lump sum payment of 110€ per month for material and travel expenses and, if necessary, a family allowance (all payments are in accordance with the Landesgraduiertenförderungsgesetz of 23rd July 2008).

The doctoral research group will examine the interweavings of culture and economy in Europe in a diachronic perspective via referring to the examples of markets for art, music, and religion. It will be supported by the professorships for Economic and Social History, Public History, History of the Early Modern Period, Early Modern and Contemporary Art History, Musicology, and for Religious Studies. The group’s interdisciplinary shaped projects will be supervised by two professors of the respective disciplines and will discuss three central research questions:

  • How are ideas and concepts of the relationship of culture and market shaped?
  • Which historical manifestation of cultural industry might be detected?
  • Are there reciprocal impacts between economic practices and artistic-cultural production discernible, and if so, how are these intertwinings carved out?

An accompanying study program will support the scientific qualification of the scholarship holders and help them to get their bearings at the beginning of their academic careers. The development and implementation of the projects will crop up in an interdisciplinary environment.

In addition to the usual application documents in English or German, a proof of an above-average final degree (M.A. or equivalents) in one of the subjects engaged, a short proposal of the interdisciplinary PhD-Project (max. 5.000 characters without spaces) and certificated language skills in all required languages as well as in English are expected. The elected scholars will necessarily have to live on-site in order to participate in the study program.

The applications shall be submitted online via a joint PDF-file to the spokepersons of the doctoral research group Prof. Dr. Katja Patzel-Mattern and Prof. Dr. Cord Arendes, att. Mr. Nils Steffen (email: nils.steffen@zegk.uni-heidelberg.de).

The application deadline is 10th August 2017. Subsequently, interviews will take place at the end of August, probably at 24th August.

In areas where women are underrepresented, the University of Heidelberg is striving to increase the proportion of women and therefore strongly encourages qualified women to participate in the application process. Disabled persons with corresponding aptitude for the positions will be favoured.

———

Kontakt/Contact

Prof. Dr. Katja Patzel-Mattern, Prof. Dr. Cord Arendes
Ruprecht-Karls-Universität Heidelberg
Zentrum für Europäische Geschichts- und Kulturwissenschaft

Mail
katja.patzel-mattern@zegk.uni-heidelberg.de
cord.arendes@zegk.uni-heidelberg.de

Reference: STIP: 5 Promotionsstipendien, ZEGK Heidelberg. In: H-ArtHist, Jul 5, 2017.

CFP: The Art Market Dictionary

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The Art Market Dictionary

http://www.artmarketdictionary.com/

The Art Market Dictionary (AMD) is the first reference work providing encompassing information on commercial art galleries, dealers, auction houses, fairs and advisers in Europe, the USA and Canada in the 20th and 21st centuries. Its c. 5,000 entries present basic data, overviews of company / individual histories and networks, information about artists exhibited / represented, bibliographies and archival information. Due to appear in 2019, the AMD will be published as an online searchable database and in print.

Written by an established international network of hundreds of authors, the AMD is edited by Johannes Nathan together with fourteen international Section Editors and a dedicated editorial team at De Gruyter Publishers, Berlin. The AMD is also supported by a distinguished international advisory board and a number of specialized institutions such as the Getty Research Institute, the Zentralinstitut für Kunstgeschichte, or the Archives of American Art.

Thanks to fantastic support from authors and institutions worldwide, we will soon accomplish the remaining steps and are now calling scholars and students who may have been unaware of the AMD. We are currently particularly focused on North American, Italian, French, Netherlandish, and Belgian subjects. However, authors with expertise in other areas are also welcome to send inquiries as a few further entries are still unassigned. We are also keen to get in contact with authors who may be willing to write several entries on selected areas.

Authors’ remuneration depends on the number of entries they write. If you would like to request more information or to contribute, please visit the AMD’s website at artmarketdictionary.info or contact Emily Evans, AMD Editor: e.evans@artmarketdictionary.info