Monday, 15/05/2017
Dr. Anne Luther, New York/Berlin
Collecting Contemporary Art: Data Visualization in Qualitative Research
The lecture begins at 18:15 and is held in Room A 111, Architecture Building
of the TU, Straße des 17. Juni 150/152, 10623 Berlin.
Collecting Ancient and Medieval art attracts both academic and public curiosity because the objects (and structures) in question are not only often extremely rare, but also have fascinating histories. The ability to possess a piece of our past has allowed collectors throughout the centuries to create a continuity between that past and their present. This conference will explore the history of Ancient, Byzantine and Medieval collections, how they were originally formed, how objects survive and in what contexts, and how certain collections themselves live on. It will also address how the collections of the past may be reflected in the way that we approach collecting today, the theoretical and the historical framework of collections, how they are currently presented, as well as some of the controversies in the field. Equally, the problems and issues underlying the collecting of Ancient and Medieval art, and the knowledge required to authenticate them will be discussed.
LOCATION
Christie’s Education London
153 Great Titchfied Street
London, W1W 5BD
TICKETS
Adult Ticket Price: £22
Student Ticket Price: £11
Click here to purchase conference tickets
Call for papers for the Southeastern College Art Conference http://www.secacart.org/conference
The Columbus College of Art & Design (CCAD) in Columbus, Ohio, is hosting the 73rd annual SECAC Conference, October 25-28, 2017.
The call for paper proposals is available. The deadline is April 20 at midnight EDT.
In his 1899 book, Theory of the Leisure Class, economist Thorstein Veblen coined the still-useful phrase, “conspicuous consumption,” meaning the pursuit of status via goods such as art works. More recently, Pierre Bourdieu argued that taste is inextricably linked to social standing. Most often one must possess wealth to amass noteworthy collections, but is collecting more complicated than status seeking or gaining cultural capital? What if the consumer creates a museum with his or her art collection, such as Isabella Stewart Gardner, Henry and Arabella Huntington, and more recently, Eli Broad has done? Is this primarily creating institutions to solidify and enhance their cultural capital? Should others with great collections feel obligated to share them with the public or is it acceptable to keep them hidden until they are ready to sell? To what degree is a collection left to the public conspicuous consumption, philanthropy, or something else altogether? This panel seeks perspectives on collecting practices, past or present. Who is or was collecting and why? What aspects of collecting motivate one to share a collection with strangers (or not)? How should museum-goers react to private-turned-public collections?
Contact: Dr. Leanne Zalewski
Transatlantic Exchange: Ireland and the United States in the 20th Century
This panel seeks papers that focus on transatlantic cultural exchange between Ireland and the United States during the twentieth century. Americans who traveled to Ireland, many compelled by familial connections, developed rich relationships with Irish artists that led to cultural exchange between the two countries, while tumultuous political circumstances in Ireland prompted Irish artists to leave their homeland. For example, Irish painter John Yeats and Irish American art collector John Quinn facilitated cultural exchange during the early decades of the twentieth century, particularly in that Yeats was the father of three of the most influential cultural figures in Ireland: writer W.B. Yeats; Ireland’s celebrated painter Jack Yeats; and textile designer Lily Yeats. After solidifying his connection with Quinn, Yeats went on to establish close ties to American artists John Sloan and Robert Henri.
This panel seeks to explore these and other examples of Irish/American transatlantic cultural exchange.
These are but a few questions that we hope to answer on this panel.
Session Chairs: Cynthia Fowler, Emmanuel College; James Swensen, Brigham Young University
Contact: fowlecy@emmanuel.edu ; james_swensen@byu.edu
For more information:
https://secac.memberclicks.net/assets/documents/secac/conference/secac-2017-call-for-papers.pdf
Source: 2 Panels/Sessions at SECAC 2017 (Columbus, 25-28 Oct 17). In: H-ArtHist, Feb 20, 2017.
The Art Market, Collectors and Agents: Then and Now
19-20 October 2016 at the INHA, Paris
The purpose of our October conference is to develop further the initial conference in July. Papers concentrate on the later period of collecting, from the eighteenth to twentieth centuries, in particular considering how the agent has gradually become the consultant/dealer in the modern art market. Thus the conference should allow for a fascinating juxtaposition of historic and contemporary practice. It should also offer a deeper understanding of the private and often hidden side of the market, one that is not represented through the study of auctions alone. Continue reading “CONF: The Art Market, Collectors and Agents: Then and Now, Part II, 19-20 Oct, Paris”
Christie’s Education Conference 2016
Celebrating 250 years of Christie’s, 14-15 July 2016
To commemorate the anniversary of the foundation of Christie’s auction house in 1766 a two-day conference will be held at Christie’s King Street, St James’s. Organised by Christie’s Education, and celebrating 30 years of the Christie’s Education Trust, the theme of ‘Creating Markets, Collecting Art’ has been chosen to reflect a progressive, collaborative and cross-disciplinary approach to the study of works of art. The conference is designed to explore the interrelationship between commerce, collecting and the idea of the ‘academy’ and how this has evolved over time.
Confirmed keynote speakers at the Conference include Professor Craig Clunas, University of Oxford and Dr Inge Reist, Director of the Center for the History of Collecting, The Frick Collection and Frick Art Reference Library.
Continue reading “CONF: Creating Markets, Collecting Art, 14-15 July, London”
London, The Warburg Institute, July 13, 2016
Studies of the art market have paid great attention to the rise of auctions and the subsequent opening of the art market. However, there was another, equally important part of the art market in the early modern period, namely the agent, who discovered, bought and sold works of art to many of the most important collectors of the day. Agents not only acted as advisors; they set up networks across Europe and even beyond to acquire works of art; they negotiated with sellers and acted as intermediaries for buyers. At a time when prices were negotiable, the agent was often the person who created the true value of a work of art.
