Julie Codell, Arizona State University
From mid-19th century, a new kind of art history narrative about private collectors appeared in Europe and the US, e.g., Anna Jameson’s Companion to the Most Celebrated Private Galleries…,1844, Gustav Waagen’s Treasures of Art in Great Britain, 1854-57; Dumesnil’s multi-volume Histoire des plus célèbres amateurs…, 1853-1860; the Gazette de Beaux-Arts‘s series on “amateurs,” 1850s; F. G. Stephens’s 90 Athenaeum articles on British collectors, 1873-84; Edward Strahan’s (pseud. Earl Shinn) The Art Treasures of America (1879-1882); Continue reading “CFP: The Collector and Cultural Narratives, SECAC (Birmingham, AL, 17-20 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)”→
IL MERCATO DELL’ARTE IN ITALIA INTORNO AL 1900.
PROTAGONISTI, ARCHIVI, FOTOGRAFIE
Florence, Bologna, November 14 – 15, 2017
Study days promoted by Kunsthistorisches Institut in Florenz – Max-Planck-Institut and Federico Zeri Foundation.
The two study days, which will take place in Florence and Bologna respectively, aim to analyze the dynamics of the art market in Italy at the beginning of the twentieth century, intersecting the methods of the history of art, economic history and sociology.
In this fruitful research context, two particular aspects will be studied: the relationship between photographic practices and antique practices, the subject of the first day hosted by the Fototeca del Kunsthistorisches Institut, and the antiquarian world in the Savoy Rome, which will be studied on the second day at the Federico Zeri Foundation.
ASSOCIATION FOR ART HISTORY | 2018 ANNUAL CONFERENCE, LONDON, 5-7 APRIL 2018
2018 Annual Conference Courtauld Institute of Art & King’s College London 5 – 7 April 2018, London
The 2018 Annual Conference for art history and visual culture will be co-hosted by the Courtauld Institute of Art and King’s College London. Academic sessions that papers will respond to the idea of ‘looking outwards’. This international 3 day event will look at art history in the broadest sense, and will incorporate a diverse range of speakers and perspectives.
Call for Papers – deadline 6 November 2017 The 2018 Annual Conference for art history and visual culture will be co-hosted by the Courtauld Institute of Art and King’s College London. This international 3 day event will look at art history in the broadest sense, and will incorporate a diverse range of academic sessions, speakers and perspectives.
Call for Sessions Celebrating Female Agency in the Arts
Deadline July 15, 2017
Following the success of the 250-anniversary conference held in London in July 2016, Christie’s Education is organizing its second academic conference on the theme of women in the arts. The Conference will take place at Christie’s, 20 Rockefeller Plaza in New York on Tuesday June 26th and Wednesday June 27th 2018.
From Antiquity to today, women have always played a significant role in the arts and their markets. With this call for sessions, we welcome proposals coming from a wide range of disciplines that would consider women’s diverse contributions to the arts from a transnational and transhistorical perspective. We hope that the sessions will reflect the global and historical diversity of the issues at stake.
This conference is not advocating for a separate history nor an alternative history of art and its markets, but rather we want to look at the central role played by women in the creation, development, support and preservation of the arts and, also how their contribution has changed over time.
Sessions should consider globally and throughout history women as artists, patrons and collectors of art and architecture, dealers and brokers, art historians and art critics as well as curators and preservers of culture. From the presence of women in emerging and established art centers to historical aristocratic patronage and back in time to the medieval period and antiquity we hope that the sessions will investigate a diverse range of topics.
Deadline for Session Proposals: We encourage academics across disciplines and art professionals to submit proposals for individual sessions. Sessions will be 115 (4 x 20 minute papers) or 90 minutes (3 x 20 minute papers) in length. Please send a 250/300-word abstract to Dr. Cecily Hennessy (email@example.com) and Dr. Véronique Chagnon-Burke (firstname.lastname@example.org) by July 15th 2017. We look forward to receiving your proposal.
This monographic exhibition on Georges de La Tour’s „St. Joseph Carpenter“ also commemorates Percy Moore Turner (1877-1950), the British art dealer who advised Samuel Courtauld and donated this and several other important artworks to French museums.