Tag: art markets

TIAMSA @ Art Basel Conversation, 15 June 2017

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Public/ Private | New Rules: Is the Artworld a Mature Industry?

Art Basel and TIAMSA are teaming up in one of their round tables known as ‘Conversation‘:

New Rules: Is the Artworld a Mature Industry?

TIAMSA will be represented by Olav Velthuis, TIAMSA president and Johannes Nathan, TIAMSA Chair.

This talk addresses the rapidly changing business environment of art. Across the artworld, established but opaque ways of doing business are increasingly seen as a hindrance, not an advantage. Governments are eager to enact regulations, investment-minded collectors and analysts are pressing for greater transparency. Information is flowing more freely: It is no longer a question of whether data becomes available, but when, where, and on whose terms. The institutional sector is also under scrutiny, as funders demand accountability and clarity about the role of private interests. How will the artworld keep up with these developments? What can be done to modernize and professionalize the market without stifling its dynamism? What are the new rules of the art economy to follow?

Lindsay Pollock, former Editor-in-Chief, Art in America, New York; Olav Velthuis, Professor, Department of Sociology at University of Amsterdam, and President, TIAMSA, Amsterdam; Adam Sheffer, Partner, Cheim & Read, and President, Art Dealers Association of America, New York; Pierre Valentin, Partner, Constantine Cannon LLP, London; Bob Rennie, Collector, Vancouver.

Moderator: András Szántó, Author and Cultural Consultant, New York.

CONF: Annual Third Year Postgraduate Symposium (London, 8-9 Jun 17)

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London, Kenneth Clark Lecture Theatre
The Courtauld Institute of Art
Somerset House, Strand, June 8 – 09, 2017
Registration deadline: Jun 7, 2017

The Courtauld’s New Research Symposium 2017 is a platform for third-year PhD candidates to present and exchange their research to their peers, the wider scholarly community and the public. Ranging from medieval England to contemporary Bosnia-Herzegovina via Renaissance Florence the conference will bring questions concerning materiality, identity and institutions to bear on art and politics. Whether performing a close analysis of a late-fifteenth-century altarpiece frame or a Marxist reading of photographic technologies after the 2008 financial crisis, what are the pressing methodological questions for the discipline? This conference provides a place to consider how the cohort has been collectively thinking through critical challenges and new directions for the History of Art.

Including a keynote by Lynda Nead (Pevsner Professor of History of Art, Birkbeck, University of London)

Free, all welcome, but booking required:

https://www.eventbrite.co.uk/e/annual-third-year-postgraduate-symposium-tickets-34656949870

Attendees are welcome to come to a single session if they wish.

PROGRAM for Part of Friday, June 9

11:30–12:25 Session 6: Modernisms, Materials, Markets

Giovanni Casini: ‘A Dealer’s “Dictatorship”? Giorgio de Chirico, Léonce Rosenberg and the Parisian Art Market in the late 1920s’

Rachel Mustalish: ‘Arthur Dove: Modernism through Materials’

12:30–13:25 Session 7: Collections and Canons

Naomi Speakman: The Virtuoso Appetite: The Medieval Antiquities of Ralph Bernal’

Imogen Tedbury: ‘After the “game of grab”: collecting, displaying and selling Sienese painting after the “Burlington Magazine wars” of 1903’

CFP: The Art Salon in the Arab Region (Beirut, 27-28 Oct 17)

Published on by Veronika Korbei

Beirut, October 27 – 28, 2017
Deadline: Jun 5, 2017

Contextualising the Art Salon in the Arab Region

The Orient-Institut Beirut and the Nicolas Ibrahim Sursock Museum are organizing a symposium on 27-28 October 2017 that aims to contextualize the art salon in the Arab region. The symposium, funded by the Volkswagen Foundation, brings together researchers and curators, artists and critics to discuss the emergence of the art salon in the region in the colonial and post-colonial context, reflect on knowledge circulations between Europe and the Middle East, and analyse the function of the art salon in relation to collecting practices and the public. To disseminate the research findings, a publication will be prepared to be published in time for the Sursock Museum’s next Salon d’Automne in November 2018.

Continue reading “CFP: The Art Salon in the Arab Region (Beirut, 27-28 Oct 17)” →

CFP: Session at RSA (New Orleans, 22-24 Mar 18)

Published on by Veronika Korbei
RSA New Orleans 2018
Northerners in Italy: Negotiating Style, Art Markets, and Comunità
Historians of Netherlandish Art (HNA) Sponsored Session

 

The lure of Italy enticed hundreds of northern European artists to cross the Alps during the early modern period in search of artistic inspiration and fame in centers such as Venice, Rome, and Florence. How these artists negotiated their new surroundings, however, depended upon economic and social factors specific to each particular center. Recent studies focused upon artistic migration, emerging art academies, and expanding art markets in Italy have highlighted how complex and mercurial this process could be. However, a broader study that identifies consistent patterns concerning artistic mobility is still needed. This session seeks to address this lacuna, probing further the process of acclimation for northern European artists in Italy and the effect of travel on artistic practice and theory.

We invite proposals that consider the following:
– The role of networks in Italy for supporting foreign artists; and how these networks may have shifted and changed over time and within particular regions.
– The significance of community between local and foreign, including institutions and organizations.
– The meaning and nature of acclimation processes, such as negotiation, synthesis, integration, and assimilation.
– The effect of travel on artistic production, including experimentation with new techniques, materials, and styles in various contexts and centers.
– The art markets in Italy, and the role of northern European artists in their expansion and professionalization.
– The relationship between travel, mobility, and artistic theory in northern Europe and Italy during the early modern period.
– Artistic identity and identity formation among foreign artists and communities.

Proposals should be for 20-minute papers and must include a title, abstract of no more than 150 words, keywords, a C.V. of 300 words (no prose), and a short bio. Speakers will need to be members of RSA at the time of the conference.

Please send your submission to Erin Downey (edowney1@swarthmore.edu) and Sophia Quach McCabe (sqmccabe@umail.ucsb.edu) by 22 May 2017. Applicants will be notified before 1 June.

Reference:
CFP: Session at RSA (New Orleans, 22-24 Mar 18). In: H-ArtHist, May 15, 2017 (accessed May 18, 2017).

The Art Fair: TIAMSA 2017 Conference (London, 13-15 July, 17)

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Registration now open
The Art Fair
The 2017 TIAMSA Conference
London, 13-15 July, 2017

Get your ticket here
https://tiamsaartfairconference2017.eventbrite.com

Conference Dinner for speakers and participants – tickets online
https://tiamsadinner.eventbrite.com

TIAMSA_Conference_Programme (pdf., 868 KB)

NB: Unless otherwise stated, all events will take place at
Sotheby’s Institute of Art
30 Bedford Square,
Bloomsbury,
London WC1B 3EE

Conference Pre-Programme and Private Tours

Thursday 13 July

‘Historic’ Option
The National Gallery, Trafalgar Square, London WC2N 5DN, UK

2.30pm – 3.30pm
Agnew’s stock books, The National Gallery Archive, with Alan Crookham, TIAMSA Founding Member and Head of the National Gallery Research Centre

To book a place you have to be a member of TIAMSA.
This tour has a maximum capacity of 20 participants.
Book your place here: https://tiamsaagnewsstockbooks.eventbrite.com
Further information is on your ticket

3.40pm – 4.30pm (parallel to Ropac tour)
Guided Tour with Highlights of the National Gallery’s Collection History, with Susanna Avery-Quash, TIAMSA Board Member and National Gallery Senior Research Curator (History of Collecting)

To book a place you have to be a member of TIAMSA.
This tour has a maximum capacity of 20 participants.
Book your place here: https://tiamsangtour.eventbrite.com
Further information is on your ticket 

‘Contemporary’ Option
Galerie Thaddaeus Ropac, Ely House, 37 Dover St., London W1S 4NJ

2.30pm – 4.15pm (parallel to National Gallery tour)
Inside Tour of Thaddaeus Ropac’s new London gallery, with Polly Gaer, Gallery Director, and Jonathan Woolfson, TIAMSA Board Member and Deputy Director of Sotheby’s Institute of Art, London

To book a place you have to be a member of TIAMSA.
This tour has a maximum capacity of 25 participants.
Book your place here: https://tiamsaropactour.eventbrite.com
Further information is on your ticket

*****

5.00pm – 6.00pm
TIAMSA Annual General Meeting (AGM)
for TIAMSA members only; see separate invitation

*****


6.30pm – Keynote lecture 1
Sophie Raux, Université Lumière – Lyon 2 (FR)
Fairs in the Southern Netherlands and the Development of the Early Modern Art Market (15th-17th centuries)

7.30pm – Reception

*****

 

Friday 14 July

9.00am – Registration

9.30am – Welcome and Introduction
Jos Hackforth-Jones, CEO and Director of Sotheby’s Institute of Art, London
Johannes Nathan, TIAMSA Chair

Session 1 (plenary): Mapping the Art Fair I
Chair: Olav Velthuis, University of Amsterdam (NL)

9.45am – Sofia Evangelou and Rachel A. J. Pownall, Maastricht University, Maastricht (NL), Art Fairs in the 21st Century and Their Role in the Global Art Market Scene

10.15am – Nadine Oberste-Hetbleck, University of Cologne (GER)
Art Cologne: The First Art Fair for Modern and Contemporary Art Between Globalisation and Localisation

10.45am – Coffee

11.15am – Daniela Stocco, Erasmus University, Rotterdam (NL), The Art Fairs in Rio de Janeiro and Sao Paulo: Access to Art as a Marketing Strategy

11.45am – Hua Shuo, University of Hong Kong (CN), When Art Meets New Money: Chinese Participation in Art Fairs in Hong Kong since the 1990s

12.15pm – Concluding Discussion (c. 15 mins.)

*****

12.30pm – Buffet Lunch (provided)

*****

Session 2 (parallel with Session 3): Standards of Quality and Vetting

Chair: Susanna Avery-Quash, National Gallery London (UK)

2.00pm – Deborah Schultz, Regent’s University London (UK), The Art Fair as Curated Event

2.30pm – Erica H. Coslor, University of Melbourne, Melbourne (AU) and Yuval Millo, Warwick Business School (UK), Price or Prize? Art Fairs as Valuation Devices

3.00pm – Coffee

3.30pm – Yasmin Railton, Sotheby’s Institute of Art, London (UK), The Expert Eye: The Reputational Marketing of Scientific Research in Fair Vetting

4.00pm – Gareth Fletcher, Sotheby’s Institute of Art, London (UK)
The Utility of Trust: A Comparative Analysis of the Presentation and Impact of Provenance Information in Establishing Consumer Confidence within the Art Fair

4.30pm – Stephanie Dieckvoss, Central St. Martin’s, London (UK)
The Artist and the Art Fair: Changes in Agency?

5.00pm – Concluding Discussion (c. 15 mins.)


Session 3 (parallel with Session 2): Historical & Geographical Contexts
Chair: Johannes Nathan, Nathan Fine Art / TU Berlin (DE)

2.00pm – Filip Vermeylen, Erasmus University, Rotterdam (NL), The Origins of Art Fairs: Early Examples from Antwerp

2.30pm – Stoyan Sgourev, ESSEC Business School, Paris (FR), Salons, Secessions and Fairs: Historical Links and Benefits

3.00pm – Coffee

3.30pm – Simeng Chang and Marilena Vecco, Erasmus University, Rotterdam (NL) and Roberto Zanola, Universita’ degli Studi del Piemonte Orientale, Alessandria (ITA)
Strategies of Art Fairs: How to Merge in Mainland China?

4.00pm – Linzhi Zhang, University of Cambridge (UK), From Beijing to Basel: Chinese Galleries in Art Fairs

4.30pm – Adelaide Duarte, Universidade Nova de Lisboa (PT), From Global to Local: ARCOmadrid – ARCOlisboa

5.00pm – Concluding Discussion (c. 15 mins.)

5.15pm – Interval

6.00pm – Keynote lecture 2
Noah Horowitz, Director Americas / Member of the Executive Committee, Art Basel (USA) in Conversation with Olav Velthuis, University of Amsterdam (NL)

7.15pm – Conference Dinner
open to all, advance booking required, paid for individually; booking information available soon on artmarketstudies.org

*****

Saturday 15 July

9.15am – Registration

Session 3 (plenary): Mapping the Art Fair II
Chair: Kim Oosterlinck, Université Libre de Bruxelles (BE)

9.45am – Tina Haisch, University of Applied Sciences Northwestern Switzerland, Basle (CH) and Max-Peter Menzel, University of Bayreuth (GER)
Constructions of Local and Global Markets at Three Art Fairs in Basel

10.15am – Karen Van den Berg, Zeppelin University Friedrichshafen (GER)
Self-Questioning as Currency: Public Talks and the Art Fair’s Corporate Identity

10.45am – Coffee

11.15am – David Bellingham, Sotheby’s Institute of Art, London (UK)
‘The Best of The Best’: MASTERPIECE London and the Art Fair as a Lifestyle Event

11.45am – Elisabetta Lazzaro, HKU University of the Arts, Utrecht (NL) and Nathalie Moureau, Université Paul-Valéry, Montpellier (FR), Mapping Diversity in the Contemporary Art Market

12.15pm – Concluding Discussion (c. 15 mins.)

*****

12.30pm – Buffet Lunch (provided)

1.00pm – Sub-Committee Meetings

*****

Session 5 (parallel with Session 6): Experimentation
Chair: Jonathan Woolfson, Sotheby’s Institute of Art, London (UK)

2.00pm – Meike Hopp, Zentralinstitut für Kunstgeschichte Munich (DE), The Art Fair in Frankfurt am Main and Its Auctions, 1920 and 1921

 2.30pm – Norma Ladewig, Freie Universität Berlin, Berlin (DE), The 1960s and 1970s West German Art Fairs as Laboratories of Democracy

3.00pm – Coffee

3.30pm – Martin Hartung, ETH Zurich (CH), Politics of the Art Fair, 1967-1973

4.00pm – Ronit Milano, Ben-Gurion University of the Negev (IL), The “Online” Economy of the Art Fair: The Case of Artspace Website

4.30pm – Concluding Discussion (c. 15 mins.)

*****

Session 6 (parallel with Session 5): Biennales and Nascent Fairs
Chair: Veronika Korbei, Independent Art Historian, Vienna (AT)

2.00pm – Clarissa Ricci, IUAV University, Venice (IT), At the Origins of Art Fairs: The Venice Sales Department after WWII

2.30pm – Diego Mantoan, Università Ca’Foscari, Venice (IT), Artworks for the Biennale or for the Art Fair: A Few Notes on Shifting Aesthetic Paradigms in 20th Century Art

3.00pm – Coffee

3.30pm – I-Yi Hsieh, New York University Shanghai (CN), Inside-Out of the Biennale: the 2016 Shanghai Biennale and Its Fair Economy

4.00pm – Marta Pérez Ibáñez, Universidad Nebrija, Madrid, and Isidro López Aparicio, Universidad de Granada (ES), Art and Resilience: The Artist’s Survival in the Spanish Art Market. Independent Artists’ Art Fairs in Spain – A Case Study

4.30pm – Concluding Discussion (c. 15 mins.)

*****

4.45pm (ends. c. 5.15pm)
Final Plenary Session: TIAMSA Looking Ahead

*****

Tickets
TIAMSA Members £ 70 / Non-members £ 100
TIAMSA Concessionary members £ 40 / Concessions and Students: £ 50

Online registration is now open:
https://tiamsaartfairconference2017.eventbrite.com
Online registration closes on 10 July, 2017

On the day – Tickets
£ 120 – provided there is room
£ 70 concessionary – provided there is room
On the day CASH ONLY

Conference Committee:
Susanna Avery-Quash (National Gallery, London); Antoinette Friedenthal (Independent, Berlin); Veronika Korbei (Independent, Vienna); Johannes Nathan (Nathan Fine Art, Zurich / Potsdam); Kim Oosterlinck (Université libre de Bruxelles); Olav Velthuis (Universiteit Amsterdam); Jonathan Woolfson (Sotheby’s Institute of Art, London)

Progamme (.pdf, 127kB)
The Art Fair The TIAMSA 2017 Conference Programme

Helpful Information

Hugo Helbing Lecture – Exploring the Art Market, Munich

Published on by Art Market Studies

The 2017 Hugo Helbing Lecture – Exploring the Art Market

Prof. Craig Clunas (University of Oxford): „Marketing Art in China
from Ming to Modernity“

26 April 2017, 7pm
Zentralinstitut für Kunstgeschichte, Munich
Großer Lesesaal

China is the site of what is the longest continuous art market tradition in the world, but that does not mean it is unchanged over time. This talk will focus on two particular moments of intense market activity in China, the early seventeenth century and the early twentieth century, to examine the continuities and differences between these two era. The diary of a late Ming ‘man of culture’, rich in the detail of an elite collector’s lifestyle, will be juxtaposed with the mass culture of newspaper advertisements placed by artists in Republican Shanghai; these texts, and the artworks they describes, will act as a focus for an investigation of the art market in China from Ming to modernity.

Hugo Helbing (1863–1938) was the founder and director of one of Germany’s foremost auction houses, the market leader in the German speaking countries between c. 1900 and 1935. At his headquarters in Munich, his branch offices in Frankfurt am Main and Berlin, as well as abroad, Helbing held more than 800 auctions, many of outstanding importance. His exquisite catalogues defined new standards in their exemplary assessment of objects and contributed significantly to Germany’s competitive position in the international art trade at the time. Helbing, who was honoured with many awards for his achievements and magnanimity, also published scholarly periodicals, among them the Monatsberichte über Kunstwissenschaft und Kunsthandel. Due to his Jewish origin Helbing was murdered in the wake of the ‘Reichspogromnacht’ in 1938.

The Hugo Helbing Lecture – Exploring the Art Market commemorates his achievements every year. It was first held in 2016 on the occasion of the donation of annotated auction catalogues from his firm to the Zentralinstitut für Kunstgeschichte, Munich.

For detailed information see:

http://www.zikg.eu/veranstaltungen/2017/the-hugo-helbing-lecture-exploring-the-art-market

Publ.: Agnès Penot, The Perils and Perks of Trading Art Overseas: Goupil’s New York Branch

Published on by Art Market Studies
Detail of Advertisement page, Collector and Art Critic 1, no. 1 (April 15, 1899): 16.

The peer reviewed online journal Nineteenth-Century Art Worldwide just published the article:
Agnès Penot, The Perils and Perks of Trading Art Overseas: Goupil’s New York Branch