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