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
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)”→
Arte Fiera was the first art fair of its kind in Italy (1974) and one of the first in Europe. A vibrant cultural and artistic community attends the event. The 2018 edition is the ideal opportunity for artists, critics, editors to re-unite and discuss a recent and growing phenomenon, the hybridization between exhibitions and fairs, which are tending to overlap more frequently. A topic which, despite growing interest, is covered very little by scholars. This is perhaps due to the discomfort between the association of art to the market.
With today’s art market coming under increasing pressure to self-reflect and adapt to new challenges, the Responsible Art Market Initiative (RAM) continues to foster the dialogue on responsible art market practices.
For its second edition, RAM will be launching its “Art Transaction Due Diligence Toolkit” and discussing the importance of due diligence and the place of technology in modern-day art transactions. What opportunities and threats do they present for art professionals and collectors ?