ANN: TIAMSA Session „The Studio as Market” at CAA New York, 13 February 2019

New York City, 13 February 2019, 8:30-10:00am – The Studio as Market (Chaired by Julie Codell, Arizona State University) – TIAMSA-Session at the CAA (College Art Association) Conference; Location: New York Hilton Midtown, 3rd floor, Grand Ballroom West

Gustave-Courbet-The-Artists-Studio-1855-Musée-dOrsay

Artists’ studios have been the site of workshops, collaboration, promotion, mystery, and myth, at times considered a hallowed space, at other times a disreputable one. They have also been the places of social, political, and economic transactions that shape aesthetic values. In the studio artists self-fashioned their social status and promoted their works. They invited critics, dealers, and patrons into their studios, turning the latter into sites that combined a presumed mysterious creative energy with economic exchange while purposely misapprehending economic considerations. This session will explore how artists – facing dwindling church and aristocratic patronage from the eighteenth century on – strategically entered the “free” market by using their studios to promote and sell works in conjunction with creating marketable public identities to engage buyers and generate symbolic capital for their name and their work.

Julie Codell, Arizona State UniversityThe Studio as Market. Victorian Artists’ Studios as Public Spaces

Andrew Stephenson, Independent ScholarFrancis Bacon’ s London Studios – Before and After 1930

Sasha Davis, The Renee & Chaim Gross Foundation Designed to Impress: Chaim Gross and the Studio at 526 LaGuardia Place

Di Wang, University of Oxford Lunch at the Artist’ s Studio

Abstracts can be found at https://www.artmarketstudies.org/wp-content/uploads/2018/09/TIAMSA-panel-for-CAA-2019-NYC.pdf

Please note that you will have to purchase access to the 2019 CAA Conference in order to attend.

CFP: Volume: Art and Science of Collecting in 18th Cent. Europe

Deadline: Jan 30, 2019

Call for Essays:

“The Art and Science of Collecting in Eighteenth-Century Europe”
Edited by Dr. Arlene Leis and Dr. Kacie Wills

We are inviting chapter abstracts for a collection of essays designed for academics, specialists and enthusiasts interested in the interrelations between art, science and collecting in Europe during the long 18th century. Considering a broad range of collections, (objects) and ideas, our volume will discuss the topic of art, science and collecting in diverse theoretical contexts, such as art historical, feminist, social, gendered, colonial, archival, literary and cultural ones. To accompany our existing contributions, we welcome essays that take a global and material approach, and are particularly keen on research that makes use of new archival resources. We encourage interdisciplinary perspectives and are especially interested in essays that reveal the way in which women participated in art, science, and collecting in some capacity.

The compendium will consist of around 15 essays 6000 words each (including footnotes), with up to four illustrations. In addition to these more traditional essays, we are looking for shorter (circa 1,000 words) case studies on material objects pertaining to collections/collectors from that period, and the subject of art, science and collecting will also be central to these contributions. These smaller pieces will each include one illustration.

The following topics/case studies are particularly desired:
– Women’s collecting interests
– Histories and methodologies of collecting, taxonomies, cataloging, arrangement, and modes of display
– Cabinets of curiosities/Wunderkammer
– Catalogues
– Collections housed in art and/or science institutions
– The boundaries between the natural and the artificial
– Scientific and artistic tools and instruments
– Seriality vs. rare objects
– Transitional objects
– Conservation
– Collecting networks
– The artist collector
– The scientist collector
– Science, art and collecting in domestic spaces
– Antiquarian collections
– Print culture

All inquiries should be addressed to Arlene Leis, aleis914@gmail.com or Kacie Wills, kacie.wills@gmail.com

Essay abstracts of 500 words and 300 word abstracts for smaller case studies are due January 30, 2019 and should be sent along with a short bio to: artsciencecollecting@gmail.com

Finished case studies will be due July 30, 2019, and due date for long essays will be September 30, 2019.


CFP: A Matter of Access – Collections and their Visibility, London & Munich 22-25 June 2019

Organisers: Susan Bracken, Andrea M. Gáldy, Adriana Turpin (International Forum Collecting & Display)

Since its foundation in 2004, the international forum Collecting & Display has investigated numerous aspects of both collections and collectors. Such activity has taken place at regular seminars and at our conferences and has resulted in a number of publications. For June 2019 we plan an international conference at two venues: Munich (22.06.2019) and London (24 and 25.06.2019). Speakers and attendees are welcome to book either part of the conference separately or both as a package.

This conference aims to extend the discussion of the nature and pertinence of collections by focusing on the spaces in which they were displayed and how access to those spaces was controlled. By examining how collections were displayed, used and presented and who had access to these spaces, we hope to develop a deeper understanding of the meaning of collections to their owners and of their significance to contemporaries. Topics to be discussed across the three conference days are the visibility and non-visibility of collections and how these – together with diverse modes of access – may have enhanced interest in collections.

We invite proposals that address the following issues:

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JOB: Chair in Art Gallery & Museum Studies, Manchester

University of Manchester, September 01, 2019
Application deadline: Jan 29, 2019

The School of Arts, Languages and Cultures at the University of Manchester invites applications for a permanent, full-time chair in Art Gallery and Museum Studies tenable from 1 September 2019. The School seeks an exceptional individual who will provide leadership and excellence in research, teaching and learning in the department of Art History and Cultural Practices, with a focus on curatorial and museological practices in the arts and their relationship to the broader creative economy.

You will have an outstanding record of academic publication in art gallery and museum studies, art curating and/or related professional practice, compatible with inclusion in the university’s submission to REF 2021. You will have a proven track record in attracting external sources of research funding, and in providing research leadership, and will have a clear plan for future bids for external research funding. You will lead the development of an expanded offer for undergraduate and postgraduate studies within AHCP in art gallery and museums studies, the art market, curatorial practice, contemporary arts practice, and the cultural and creative industries. These activities will form part of an ambitious and timely expansion at Manchester of teaching, learning and research in subjects related to the creative economy, with the aim of providing significant research impact, knowledge exchange, public engagement and professional development opportunities through engagement in, with and for the arts and the cultural and creative sectors.

For more information and to apply, please go to:
https://www.jobs.manchester.ac.uk/displayjob.aspx?jobid=16503.

CFP: The Formation and Development of New Markets (Workshop 3), London.

International Workshop Series

Tools for the Future: Researching Art Market Practices from Past to Present

We are pleased to invite you to participate in the third of our International Workshop son the formation and development of new and emerging markets organised in London. This workshop is part of the International Workshops Series “Tools for the Future: Researching Art Market Practices from Past to Present”, jointly organised by ART-Dev University Paul Valéry Montpellier 3, Creative Economy-HKU University of the Arts Utrecht and IESA & Institute of Historical Research, London. Through individual presentations followed by group discussions, the series aims at bringing together scholars from different disciplines and areas of study of the art market to confront key issues and related methodologies that can be used to analyse the structures and principals of the art market. Previous workshops were, respectively, on art collectors and the artist as an entrepreneur.

As the art market has developed worldwide, there have been many instances where new areas of producing, trading, collecting and valuating art have emerged onto the market, very often reaching record-breaking prices. This workshop focuses on examples of new paradigms and new ways that art markets function, whether in the primary or secondary sector, the aim being to analyse and understand the mechanisms by which a particular ‘product’ enters the art market, considering who are the main players of such changes, collectors, institutions, dealers or other agents. Equally, it would be interesting to explore market types that have not succeeded or gained a foothold. There are many well-known and well studied areas of innovation in the market, among which can be cited the 17th century imports of Chinese and Japanese ceramics, lacquers and textiles, the development of a market for 17th century Dutch and Flemish paintings in Paris and London during the 18th century, or the rise of the Barbizon school in 19th-century Paris, while we have seen the emergence of photography and street art as important areas of contemporary collecting, or even African art. New art forms such as digital and video art raise questions as to whether existing models of agency are still appropriate and thus, whether new technology is fundamentally changing the creation, trade, consumption and validation of art.

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CONF: Sammeln und Ausstellen global? (Duesseldorf, 1 Feb 19)

Ein Studientag anlässlich der Ausstellung Museum global. Mikrogeschichten einer ex-zentrischen Moderne

Seit seiner Entstehung im 18. Jahrhundert ist das Museum ein Ort permanenter Neu- und Umordnungen. Sammlungen haben den Anspruch von Dauer. Gleichwohl ist der Umgang mit ihnen – ihre Präsentation, Erforschung und Vermittlung – immer wieder durch Perspektivwechsel bestimmt. Unter den Vorzeichen postkolonialer Theoriebildung und den geopolitischen Veränderungen seit Ende des Kalten Krieges setzte in den letzten Jahrzehnten ein grundlegendes Umdenken ein. Was bedeutet Sammeln und Ausstellen in einem globalen Rahmen, insbesondere für ein Museum wie die Kunstsammlung Nordrhein-Westfalen, deren Sammlung maßgeblich durch das europäisch-nordamerikanische Narrativ der Moderne geprägt ist?  

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ANN: Gulbenkian Symposium – Collecting: modus operandi, 1900-1950, 15-16 February 2019, Lisbon


Calouste Gulbenkian residence. Avenue d’Iéna, Paris. Library, c. 1956-57 Source: https://gulbenkian.pt/museu/en/evento/collecting-modus-operandi-1900-1950/

In 2019 the Calouste Gulbenkian Museum and the Art Library will have been open for 50 years. Gulbenkian was known as ‘Mr. 5%’, who wanted ‘only the best’, but this conference seeks to go beyond the biographical, or the anecdotic, and to consider Gulbenkian in the light of a wider context, with papers that reflect new research into the ways in which collectors worked, their networks, and their relationship with their collection, its accessibility and its future, and that go beyond single-case studies of individual owners, seeking instead more transversal studies into how collectors worked and how they mirrored the period in which they lived. The questions of the role played by museums, by art agents and intermediaries, as well as by the markets, will also be addressed.

Free admission subject to previous registration: collecting@gulbenkian.pt
Places: 134 

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