The art world and the market have traditionally been the domain of the elites and have thrived on exclusivity. However, the art world has arguably become much more democratic in recent years thanks to the digital revolution, the inclusion of emerging economies in the world art market system, and the vastly improved access to art and information. The price histories of works of art can nowadays easily be reconstructed using online databases; the threshold for art buying is significantly lowered by online sales platforms; and new buyers in emerging economies are making the art market much less Western-oriented. Moreover, an ever broader range of artworks in different price categories has put (fine) art within reach of the middle classes across the globe. At the same time, art institutions such as museums are under tremendous pressure to be less exclusive. Some of these democratizing tendencies are of course not new. For instance, publishing houses in Europe started disseminating prints on a massive scale already in the sixteenth century, thereby enabling larger segments of the population to acquire images. Continue reading “CFP: Art for the People? Questioning the Democratization of the Art Market – Second TIAMSA Conference (Vienna, 27-29 Sept, 18)”→
DARK SIDE OF THE BOOM THE EXCESSES OF THE ART MARKET IN THE 21ST CENTURY
by Georgina Adam
TIAMSA Members receive a 20% discount at check out – see the related post in the MEMBERS ONLY area.
From the author of the bestselling Big Bucks: The Explosion of the Art Market in the 21st Century
This sequel volume focuses on the negative impact of the contemporary art market’s rapid boom
A timely investigation into the excesses at the top of the art market in the wake of the Panama Papers revelations
This book lifts the lid on some of the excesses that the 21st-century explosion of the contemporary art market brought in its wake, notably at its very top end. The buying of art as an investment, temptations to forgery, tax evasion, money laundering and pressure to produce more and more art all form part of this story, as do issues over authentication and the impact of the enhanced use of financial instruments on art transactions.
June 15, 2018
Deadline: Feb 28, 2018
This symposium investigates the impact of art markets on museum collecting and contemporary curatorial practices. As sponsorship deals and commercial interests increasingly shape the global footprint of museum ‘brands’ and determine the budget for exhibitions, new questions arise as to the social responsibilities of public art institutions, their independence, and the evolving narratives proposed by their collections. In the wake of cuts to state funding for the arts, have public museums become reliant on the financial support and, hence, personal tastes of private donors? To what extent do exhibition practices track the market activities of auction houses and private galleries and with what impact on institutional diversity and the career prospects of individual artists? Are privately owned spaces and commercial venues supplanting state-funded museums? Has increasing public interest in the spectacle of the art market altered expectations about the kinds of experience that should be promoted by museums? Proposals for 20 minute papers are welcome that debate intersections between local or global art market forces and museum collecting in the twenty-first century. We welcome proposals that address cases from around the world.
Please send proposals (250 words max and a short biography) to Kathryn Brown firstname.lastname@example.org by no later than 28 February, 2018.
This symposium is sponsored by the Museums, Markets, and Critical Heritage Research Group of Loughborough University.
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.
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!