Join us at the 2019 Universities Art Association of Canada (UAAC) in Quebec City, from October 24-28, 2019!Continue reading “CFP: Exhibiting Animals in the Long Nineteenth Century”
Séminaire « Patrimoine spolié pendant la période du Nazisme (1933-1945) – Recherche de provenance à l’échelle internationale »
La découverte de la collection rassemblée par le marchand d’art allemand Hildebrand Gurlitt (1895-1956) a suscité une évaluation critique des principes de Washington énoncés en 1998 sur la restitution des œuvres spoliées. Après l’acceptation du legs Gurlitt par le musée des Beaux-Arts de Berne en 2014, la Suisse a dû affronter une phase de questionnements. Les demandes de transparence par rapport à l’origine et au parcours des œuvres se sont accrues. La recherche de provenance au sein du musée des Beaux-Arts de Berne associe recherche sur l’objet même et étude du contexte historique afin de reconstruire le parcours de ces œuvres. La conservatrice Nikola Doll, responsable de la recherche de provenance au musée des Beaux-Arts de Berne, témoigne du travail mené par cette institution dans le cadre spécifique de l’affaire Gurlitt.
- Nikola Doll ( Responsable de la recherche de provenance au musée des Beaux-Arts de Berne, Suisse)
On the 13th February, through the auspices of Louisa Woodbury, Head of Research, The Frick Art Reference Library, and Ellen Prokop,
Royal Academy London and School of the Arts, Kingston University, May 30- 31, 2019. Registration deadline: May 28, 2019.
Tools for the Future: The Formation and Development of New Markets
As the art market in Europe has developed, there have been many instances where new areas of collecting have emerged onto the market, very often reaching record-breaking prices. This workshop focuses on examples of this type of new market, whether in the primary or secondary sector, the aim being to analyse and understand the mechanisms by which a particular ‘product’ enters the market, gains authority and thus becomes collectable. In studying the evolution of these markets, the complex relationships between the different agents interacting with each other to create, support and sustain the taste or fashion for these works provide evidence of how art markets function, whether today or in the past. Papers examine the processes by which new markets are validated and question whether this is a necessary part of acceptance and stability, or whether in the contemporary art market, this is no longer necessary; another question that links past and present markets is the question of investment and whether it a factor in creating new markets. Underpinning many of these questions lies the issue of information and how important is accessibility to that information in the market.
Location: Maurice Turnor Gardner LLP in London
The event will cover the legal aspects relating to the movement of art: buying and selling across international borders, international loans, the role of handlers and agents… and the possible implications of Brexit. Speakers will include:
- Geoffrey Bennett, Institute of Art & Law
- Jennifer Emms, Maurice Turnor Gardner LLP
- Nickos Gogolos, Victoria & Albert Museum
- Emily Gould, Institute of Art & Law
- Luke Harris, Barrister, 5 Stone Buildings
- Ed Powles, Partner, Maurice Turnor Gardner LLP
- Anastasia Tennant, Arts Council England
Medieval Encounters 25, nos. 1-2 (March, 2019), Special Issue: The Medieval Iberian Treasury in the Context of Cultural Interchange, ed. Therese Martin.
Call for manuscripts
Brill’s “Studies in the History of Collecting & Art Markets” is a peer-reviewed book series dedicated to original scholarship on the social, cultural, and economic mechanisms underlying the circulation of art. Over the last two decades interest in the formation, display, and dissolution of art collections increased tremendously; art markets, trade routes, and dealer networks became a rich field of interdisciplinary inquiry. Scholarship brought forth a lot of information about the flamboyant personalities to whom the possession of art was a lifestyle; regarding the “social life of things”, i.e. the provenance of individual artworks, many research gaps could be closed.
This shift in scholarly attention from the production side to the consumption side of the art world is also reflected in the emergence of specialized post-graduate courses offered by a number of institutions internationally, as well as an ever-increasing stream of exhibitions, conferences, and publications devoted to the subject. Brill’s book series accommodates scholarly monographs, collections of essays, conference proceedings, and works of reference that engage in the broadly defined topic of art markets and collecting practices throughout history.
Editor-in-Chief: Christian Huemer (Belvedere Research Center, Vienna)