Anne-Sophie Radermecker and Kim Oosterlinck just published a paper in the new issue of the Journal of Cultural Economics (JCE)
Kim Oosterlinck
“The Master of …”: creating names for art history and the art market
The value of a painting is influenced above all by the artist who created it and his reputation. Painters nowadays are easy to identify and are used to signing their artworks. But what about those whose names have not survived the test of time? Based on hedonic regressions and price indexes, this paper focuses on a particular subset of anonymous artists labelled with so-called provisional names (“The Master of …”), and contributes to the understanding of art valuation and art brands on the auction market. »
ART MARKET AND ART COLLECTING FROM 1900 TO THE PRESENT IN GERMANY AND FRANCE
German-French Research Programme
Berlin, Germany, 8–10 November 2018
Paris, France, 11–13 March 2019
Deadline: Sep 14, 2018
Refugee crises, trade wars, migration debates: within the context of global geopolitical, economic and cultural-political upheavals, Europe is presently undergoing a process of transformation. At the same time, European territorial occupations and colonial rule of the past are coming increasingly into the focus of national and transnational scholarship and the politics underlying it.
The 2018–2019 German-French Research Programme organised by the Forum Kunst und Markt/Centre for Art Market Studies of the Technische Universität Berlin and the Centre Georg Simmel of the Paris-based École des Hautes Études en Sciences Sociales in cooperation with the Deutsches Forum für Kunstgeschichte Paris responds to these dynamics. Continue reading “CFP: Art Market and Art Collecting (Berlin/Paris, Nov 18/Mar 19)”→
REGISTRATION
Please note that you have to register for this conference: a link for the general registration is at the bottom of this page, links for special events (to be booked separately) are embedded in the programme. TIAMSA members go free!
THURSDAY 27 SEPTEMBER 2018
SPECIAL TOURS
15:00-17:00 – Tour of viennacontemporary Austria’s International Art Fair (conference participants receive a complimentary pass)
Meeting Point: viennacontemporary, Marx Halle, Karl-Farkas-Gasse 19, 1030 Vienna
15:00-17:00 – Dealer Archives and Provenance Research at the Belvedere An Insiders’ Tour with Christian Huemer and Monika Mayer (Belvedere Research Center)
Meeting Point: Belvedere Research Center, Rennweg 4, 1030 Vienna
ROUND TABLE
17:30-19:00 – The Art Market and the Internet Venue: viennacontemporary, Marx Halle, Karl-Farkas-Gasse 19, 1030 Vienna [access included in your conference ticket]
On the Podium:
Marek Claaßen (Founder and CEO, ArtFacts.Net) Kristina Kulakova (Head of Digital and PR, viennacontemporary)
Sophie Neuendorf (Vice President – Strategic Partnerships, artnet Worldwide Corp.)
Olav Velthuis (Professor of Sociology, University of Amsterdam)
Moderator: Johannes Nathan (Chair of TIAMSA / Co-founder of the Centre for Art Market Studies, TU Berlin)
CONFERENCE DINNER 19:15 at the nearby ‘Paul and the Monkeys’, Maria-Jacobi-Gasse 1, 1030 Wien
FRIDAY 28 SEPTEMBER 2018 Belvedere 21, Blickle Kino, Arsenalstraße 1, 1030 Wien
SECTION 1 – Transformations Chair: Christian Huemer (Belvedere Research Center)
09:40 – Filip Vermeylen (Erasmus University Rotterdam): A Mass Market for Art? Collecting Paintings in the Low Countries during the Sixteenth and Seventeenth Centuries
10:05 – Lukas Fuchsgruber (Technische Universität Berlin): The Auction House as an Urban Space in 19th Century Paris
10:30 – Long Coffee Break (30 mins.)
11:00 – Clarissa Ricci (Università Iuav Venezia): The Production of Art in the Age of Political Practice. Venice Biennale 1970
11:25 – Ronit Milano (Ben Gurion University of the Negev): Moralizing the Art Market. A Socio-Economic Perspective on Online-Auctions
11:50 – Concluding Discussion
12:05 – Lunch Break; you will also have the opportunity to visit the exhibitions at Belvedere21
SECTION 2 – Circulation of Information and Expertise Chair: Sebastian Schütze (University of Vienna)
14:00 – Leanne Zalewski (Central Connecticut State University): The “Dealer-Expert” in Late Nineteenth-Century New York
14:25 – Michaela Jenisova (Charles University Prague): Wilhelm von Bode and Rudolf Kann. The Importance of the Advisor-Collector Relationship in the Late 19th-Century Art Market
14:50 – Short Coffee Break (15 mins.)
15:05 – Anne-Sophie Radermecker (Université libre de Bruxelles): Selling ‚Knowledge‘? The Market Reception of New Connoisseurship
15:30 – Jack Roberts (Independent, UK): Is the Age of the Dealer Drawing to a Close or Is It More Important than Ever?
15:55 – Concluding Discussion
16:10 – Long Coffee Break (30 mins.)
SECTION 3 – Elites and the People
Chair: Veronika Korbei (TIAMSA)
16:40 – Santiago González Villajos (Universidad Autónoma de Madrid): Street Art and Market Practices in the Mural Art Series: From a People’s Art to Intermurals and Beyond
17:05 – Dorothee Wimmer (Technische Universität Berlin): Has the Art Market’s Democratization Caused a Boom in Private Museums?
17:30 – Stoyan Sgourev (ESSEC Paris): The Bifurcation of the Art Market. Precedents and Consequences
17:55 – Concluding Discussion
18:10 – Evening Break (35 mins.)
KEYNOTE LECTURE
18:45 – Payal Arora (Erasmus University Rotterdam): Automating Culture. How Digital Platforms are Shaping the Art World
followed by
DRINKS RECEPTION
**********************
SATURDAY 29 SEPTEMBER 2018
Palais Dorotheum, Auktionssaal (2nd floor)
09:00 – Doors open, Coffee
09:30 – WELCOME: Felicitas Thurn (Dorotheum) / Sebastian Schütze (University of Vienna)
09:40 – Luís Urbano Afonso (Universidade de Lisboa): Collecting, Displaying and Using African Ivories in 16th Century Western Europe
10:05 – Stephanie Dieckvoss (Kingston University London): The Musée d’Art Contemporain Africain Al Maaden in Marrakech: How to Democratize the art World as a Private Collector in Emerging Markets
10:30 – Long Coffee Break (30 mins.)
11:00 – Malvika Maheswari (Ashoka University): ‚Everybody Loves a Good Attack?‘ Violence by the ‚People‘ as a Variable in Art Markets and Lessons from India Today
11:25 – Olav Velthuis (University of Amsterdam): Drawing National Boundaries. How Contemporary Artists from Emerging Regions Get Integrated into Global Art Markets
11:50 – Concluding Discussion
12:05 – Lunch Break
13:00 – TIAMSA Groups Chairs: Filip Vermeylen (Erasmus University Rotterdam), Veronika Korbei (TIAMSA), Johannes Nathan (TIAMSA)
SECTION 5: Launching TIAMSA Legal Chairs: Philipp Nuernberger (Attorney at Law, NY / London) and Alicja Jagielska-Burduk (University of Opole)
13:45 – Philipp Nuernberger and Alicja Jagielska-Burduk: Welcome and Introduction to TIAMSA Legal, ‘Art Market – Legal challenges and pitfalls’
14:00 – Justine Ferland (Art-Law Centre, Université de Genève): Art market due diligence and the Responsible Art Market (RAM) Initiative
14:10 – Thomas Steinruck (Fine Art Insurance, Zurich): Self-Regulatory Frameworks: The Art Basel Art Market Principles and Best Practices
14:20 – Dr. Saskia Hufnagel: Preventing, investigating and prosecuting money-laundering in the art market
14:30 – Fernando Loureiro Bastos (Universidade de Lisboa) and Prof. Marcílio Franca (Federal University of Paraíba): Legal implications of street art as a “democratized” / “open” form of art
14:40 – Discussion
15:10 – Short Coffee Break (20 mins.)
15:30 – ANNUAL GENERAL MEETING of TIAMSA, The International Art Market Studies Association
16:15 – TIAMSA LOOKING AHEAD: An open discussion with our members on the future of our association (all welcome)
17:00 – Conference ends
SCIENTIFIC COMMITTEE
Christian Huemer (Belvedere Research Center)
Veronika Korbei (TIAMSA)
Johannes Nathan (TIAMSA / TU Berlin)
Sebastian Schütze (University of Vienna)
Felicitas Thurn (Dorotheum)
Olav Velthuis (University of Amsterdam)
Filip Vermeylen (Erasmus University, Rotterdam)
THIS CONFERENCE IS GENEROUSLY SUPPORTED BY Belvedere, Vienna (belvedere.at) Dorotheum, Vienna (dorotheum.com) Vienna Contemporary, Austria’s International Art Fair (viennacontemporary.at) Swiss Art Trading Association (khvs.ch)
In recent years the field of art research has become wider and polymorphous. There are at least two reasons for this. The first concerns the development and strengthening of artistic research in art academies since the late 1990’s. Today artistic research has become an umbrella term that covers all kinds of art research, especially research that concerns contemporary art.
The other reason is a consequence of structural changes in the universities and their curricula. Through these changes traditional disciplines have been merged into one another, transformed or constituted together with nearby disciplines. At the same time, practically-oriented and specific study programs that serve working life, for example curatorial studies, have become more general and increased in numbers within universities. Amongst these developments there have also appeared changes in methodologies and theoretical apparatus. Continue reading “CFP: Connoisseurship in Contemporary Art Research (Helsinki, 29-30 Nov 18)”→
Call for papers
[Please scroll down for French version]
Paris, INHA, October 27, 2018 Deadline: Jun 11, 2018
Marges n°29
In recent times, the traditional distinction between “high” and “low” art forms appears to be quite old fashioned. One has the impression, however, that some implicit hierarchies remain, regarding the division between “authentic” art and the rest —even when artistic merits’ scales are contested in different contexts. It has to do, among other things, with the common understanding of the notion of “art” itself, seen in laudatory terms (Schaeffer; 1996), a quality that enhances ordinary artefacts and rescues them from their usual and trivial aspect. Indeed, some “professionals”—aestheticians or art critics— have often the task of classifying art products, following the idea that they should or should not be called art. The question of merit, regarding the arts, has to do with the promulgation of aesthetic or artistic judgments, as well as moral ones. At the same time, specialists don’t seem to decide or deliberate solely over philosophical discussions; their activity has also consequences, directly or indirectly, on the repartition of “precious resources” of all kinds (Becker; 1982): concert halls, museum spaces, funding, grants, positions, etc. Continue reading “CFP: High & Low (Paris, 27 Oct 2018)”→
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)”→
