Student Blog: TIAMSA Conference 2018 – Section 5: Launching TIAMSA Legal by Kirsten Pilling

The classical pathway of most art history students leads from learning the basics about architecture and iconography, to the study of the Italian Renaissance, to the confrontation with the avant-garde movements and contemporary art. However, most students never reach the point at which they actually deal with questions of the art market, and in particular its legal challenges – a situation which is particularly surprising given the fact that many of them have ended up, or will end up, in workplaces like galleries, auction houses or other institutions dealing with the more commercial side of art. Therefore, logically, it is usually only a matter of time until one is confronted with a situation in which a certain level of instinct for legal matters is helpful or even actual knowledge is required.

The fact that the second TIAMSA Conference dedicated a whole section to the legal aspects of the art market, and also has a newly founded sub-committee “TIAMSA Legal”, consisting of practitioners as well as academics involved in the art law, responds exactly to that gap and need for transdisciplinary action and information. Altogether four speakers presented and discussed legal challenges and existing initiatives currently present in the art market:

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ANN: The Art Basel and UBS Global Art Market Report 2019

The third edition of the annual report reveals a 6% increase in global art sales worldwide, with active buying by millennials and growing appetite for online sales.

5 Key Insights:

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CFP: Art as Commodities / Commodities as Art (York, 14 Jun 19)

University of York, June 14, 2019
Deadline: Mar 29, 2019

When art makes the headlines, it is usually about money. In 2017, Leonardo da Vinci’s Salvator Mundi sold for over $450 million at Christie’s New York. Just how can a painting be worth more than a penthouse on Fifth Avenue?

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ANN: Seminar: THE MARKET FOR MUNCH, Monday 11th 17:00-18:00, The Courtauld Institute of Art, London

Frances Carey – Independant scholar

Organised by Dr Klara Kemp- Welch – The Courtauld Institute of Art

Over a fifty-year period from 1894, Munch produced some 850 different printed compositions with as many as 30,000 impressions. His prints were exhibited on at least 268 occasions between 1895 and 1942 and a catalogue raisonné had been published by the end of 1907. Who was his audience and what capital, cultural as well as financial, did the work require?

The seminar anticipates the British Museum’s print exhibition (in association with the Munchmuseet in Oslo): Edvard Munch: Love and Angst from 11 April – 21 July 2019.

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CFP: Le marche de l’art dans la seconde moitie du XVIIIe siecle (Paris, 5 Jun 19)

Institut National d’Histoire de l’Art, Paris, June 05, 2019
Deadline: Apr 5, 2019

Appel à communication : “Le marché de l’art dans la seconde moitié du XVIIIe siècle : expertises, négociations et controverses”

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CONF: Antwerpen – Bilderfabrik Europas. Jahrestagung des Forums BildDruckPapier / Antwerp as a European print factory – Antwerpen 2nd-4th June, 2019

Forum BildDruckPapier in Kooperation mit Rubenianum, Antwerpen; Ruusbroecgenootschap, Universität Antwerpen
02.06.2019-04.06.2019, Antwerpen
Deadline: 08.04.2019

Antwerpen entwickelte sich seit dem Mittelalter zu einer florierenden Metropole und wurde zu einem wichtigen Zentrum für Wirtschaft, Handel, Kunst und Kultur. Nicht zuletzt die zahlreichen Druckereien und Verlage wie auch die vielen Künstler hatten Anteil daran, dass die belgische Hafenstadt an der Schelde national wie international stetig an Bedeutung gewann. Welche Spuren haben sie in Antwerpen hinterlassen? Und wie äußerte sich der Einfluss Antwerpens auf die Bilderwelt Europas? Diesen Fragen möchte die diesjährige Tagung des Forums BildDruckPapier nachgehen und lädt ein zu Diskussion und Austausch in der “Bilderfabrik Europas”.
Das vollständige Programm und das Anmeldeformular finden Sie auf folgenden Internetseiten:
http://www.stadtmuseum-dresden.de/forum-bilddruckpapier
https://www.uantwerpen.be/forum
https://www.rubenianum.be/en

Since the Middle Ages Antwerp developed into a flourishing metropolis and became an important center for economy, trade, culture and art. The multitude of printers and publishers, and the numerous artists contributed significantly to the importance of this Belgian port on the river Scheldt, both nationally and internationally. What traces have they left in Antwerp? And how did Antwerp’s influence affect the world of images in Europe? These questions will be explored during this year’s conference of the Forum BildDruckPapier, and participants will be challenged to discuss these topics and exchange their ideas in Antwerp, the “European print factory”.
The programme and the registration form can be found on the following websites:
https://www.uantwerpen.be/forum
https://www.rubenianum.be/en
http://www.stadtmuseum-dresden.de/forum-bilddruckpapier

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PUB: “The effect of experts’ opinion on prices of art works: The case of Peter Brueghel the Younger” by Victor Ginsburgh (ECARES Université libre de Bruxelles) ; Anne-Sophie Radermecker (Université libre de Bruxelles) ; Denni Tommasi (Monash University)

Journal: Journal of Economic Behavior & Organization, Volume 159, March 2019, Pages 36-50

Continue reading “PUB: “The effect of experts’ opinion on prices of art works: The case of Peter Brueghel the Younger” by Victor Ginsburgh (ECARES Université libre de Bruxelles) ; Anne-Sophie Radermecker (Université libre de Bruxelles) ; Denni Tommasi (Monash University)”