Tag: Connoisseurship

CFP: Provenance Research as a Method of Connoisseurship?, CAA 2018

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Provenance Research as a Method of Connoisseurship?
Call for Papers, CAA 2018

Chairs:
Christian Huemer (Getty Research Institute, CHuemer@getty.edu),
Valérie Kobi (Universität Bielefeld, valerie.kobi@uni-bielefeld.de),
Valentina Locatelli (Kunstmuseum Bern, valentina.locatelli@gmail.com)

This session will explore the intersections between provenance research and connoisseurship with regard to the early modern period. In order to go beyond today’s dominant understanding of provenance research as a practice exclusively related to Nazi-looted art and questions of restitutions, the panel will deliberately focus on topics from the late fifteenth to the eighteenth centuries. By setting this alternative chronological limit, we will delve into the historical role of provenance research, its tools and significations, and its relation to connoisseurship and collecting practices. What influence did the biography of an artwork exert on the opinion of some of the greatest connoisseurs of the past? How did the documented (or suspected) provenance of a work of art impact its attribution and authentication process? Which strategies were employed in the mentioning of provenance information in sale catalogues or, sometimes, directly on the artworks themselves? Did the development of art historical knowledge change the practice of provenance research over time? And finally, how can we call attention to these questions in contemporary museum practice and reassess provenance research as a tool of connoisseurship? In addition to addressing the history as well as the strategies of provenance research, this session will be an opportunity to question its relationship to other domains as well as to bring it closer to core problems of art history and museology. We invite contributions that introduce new historical and methodological approaches. Proposals which go beyond the case study are especially encouraged.

For submission guidelines:
http://www.collegeart.org/pdf/call-for-participation.pdf

Paper proposals are due August 14. Please email your proposal to both chairs.

CFP: Hucksters or Connoisseurs? CAA 2018

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Hucksters or Connoisseurs?
The Role of Intermediary Agents in Art Economies
Call for Papers, CAA 2018

Chairs:
Titia Hulst, Purchase College, New York, titiahulst@gmail.com;
Anne Helmreich, Texas Christian University, alhelmreich@gmail.com

The roles of art dealers in the creation of art economies and the circulatory exchange of goods have come to increasing attention of late. However, much work remains to be done to counter the long history of the hagiographic treatment of dealers, which owes a great deal to the fact that histories of dealers were largely authored by dealers eager to write themselves into the history of art.

For this session, we seek to bring a critical and historical perspective to the role of intermediary agents in the primary and secondary markets. We seek papers that will examine dealers who mediated between the artist as producer and the consumer, whether conceived as an individual patron or broadly configured audiences.

We also seek papers that identify strategies developed by these intermediary figures in response to changing social-historical as well as geographical conditions. Relatedly, what role did dealers play in the emergence of art history as a discipline and the construction of its narratives given the vested interest of these agents in knowledge formation and collection building?

Since histories of art dealers have long been dominated by narratives drawn from the Western market, we are particularly interested in papers that examine the role of this figure in non- western art economies as well as topics that help us test and question standard models derived from the early modern and modern Western context. We encourage analysis of historically grounded strategies and practices, as opposed to anecdotal heroic narratives.

Paper proposals are due August 14. Please email your proposal to both chairs.

 

CFP: Changing Hands: When Art History Meets the Art Market, TIAMSA CAA 2018

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CALL FOR PAPERS
Changing Hands: When Art History Meets the Art Market
TIAMSA @CAA 2018

Through case studies, this session proposes to consider how the art market has adapted, expanded and at times significantly clashed with modern and contemporary art practices as artworks have changed hands.  Papers should illuminate how issues relating to fabrication, re-fabrication and conservation have challenged traditional conceptions of authenticity and authorship, redefined connoisseurship and set precedents for both institutional and private collectors.
We hope that papers will also attempt to assess how the art market may have affected these issues.

  • Under what conditions have artists disavowed works, for example Donald Judd’s renunciation of works fabricated by Giuseppe Panza, Cady Noland’s disavowal of Cowboys Milking and Log Cabin and Bruce Connor’s disavowal and subsequent reinstatement of CHILD?
  • Conversely, how have artists maintained authorship over multiple versions or remakes of their work as they have been sold? How has the unprecedented presence of living artists in the market changed and challenged the marketplace?

This session encourages papers reflecting a variety of perspectives, including but not limited to art historians, conservators, visual arts lawyers, collectors, dealers, curators and artists. It will also provide a forum for discussion of the intersection of theory and practice, as disconnects between them are often illuminated as art changes hands.

See the call for participation (.pdf).

Your proposal should be emailed to Véronique Chagnon-Burke (VChagnon-Burke(at)christies.edu) and Julie Reiss (JReiss(at)christies.edu)
Papers are due by August 14, 2017.

Visual Resources, Volume XXXIII, Nos. 1-2, 2017

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The latest number of the journal Visual Resources, published by Routledge/Taylor and Francis, presents a Special Issue Guest-Edited by MEAGHAN CLARKE and FRANCESCO VENTRELLA (University of Sussex), entitled ‘Women’s Expertise and the Culture of Connoisseurship’.
This issue has many articles that may interest the historian of the art market (especially appealing for those concerned with the linkages between the market and art historiography), such as ‘Mrs. Berenson, Mrs. Gardner and Miss Toplady: Connoisseurship, Collecting and Commerce in London (1898–1905)‘ by MACHTELT ISRAELS, and  ‘“This Feminine Scholar”: Belle da Costa Greene and the Shaping of J.P. Morgan’s Legacy‘, by art market scholar FLAMINIA GENNARI SANTORI.

Visual Resources Vol. 33 Continue reading “Visual Resources, Volume XXXIII, Nos. 1-2, 2017” →

Drawing for the Market? Zeichnung für den Markt?, 16-18 June, Göttingen

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Drawing for the Market?

Drawings and their Reproductions between artistic content, art trade and connoisseurship

16 -18 June, Göttingen

Find the programme here

Zeichnung für den Markt?

Die Handzeichnung und ihre Reproduktion zwischen künstlerischem Ausdruck, Handelspraxis und Kennerschaft

Seit einigen Jahren nimmt die Diskussion um Begriffe wie Original, Kopie, Reproduktion, Fälschung und Authentizität stetig zu. Wichtige Stationen zum aktuellen Diskurs über Kunst lagen im 18. Jahrhundert, wesentliche Entwicklungen, so der Kunstmarkt, die Vervielfältigung und Reproduktion sowie die Entstehung von Kennerschaft, Beurteilungskriterien, Bewertungs- und Beschreibungsmethoden lassen sich an den graphischen Künsten, der Zeichnung und Methoden ihrer Reproduktion beobachten. Spezialisierungstendenzen des Mediums und Entwicklung der Bewertungskriterien, Beschreibungsmethoden und Erprobung graphischer Reproduktion von Zeichnungen stehen im Zentrum der Tagung, die zwei gemeinsam mit Studierenden erarbeitete Ausstellungs- und Katalogprojekte begleitet, zu Adam von Bartsch, der Entwicklung von Kennerschaft und Zeichnungsreproduktion und zur Architekturzeichnung in der Zeit von Gilly, Weinbrenner und Schinkel.

Continue reading “Drawing for the Market? Zeichnung für den Markt?, 16-18 June, Göttingen” →

RECENTLY: Drawing for the Market? Zeichnung für den Markt?, 16-18 June, Göttingen

Published on by Art Market Studies

Drawing for the Market?

Drawings and their Reproductions between artistic content, art trade and connoisseurship

16 -18 June, Göttingen

Find the programme here

Zeichnung für den Markt?

Die Handzeichnung und ihre Reproduktion zwischen künstlerischem Ausdruck, Handelspraxis und Kennerschaft

Seit einigen Jahren nimmt die Diskussion um Begriffe wie Original, Kopie, Reproduktion, Fälschung und Authentizität stetig zu. Wichtige Stationen zum aktuellen Diskurs über Kunst lagen im 18. Jahrhundert, wesentliche Entwicklungen, so der Kunstmarkt, die Vervielfältigung und Reproduktion sowie die Entstehung von Kennerschaft, Beurteilungskriterien, Bewertungs- und Beschreibungsmethoden lassen sich an den graphischen Künsten, der Zeichnung und Methoden ihrer Reproduktion beobachten. Spezialisierungstendenzen des Mediums und Entwicklung der Bewertungskriterien, Beschreibungsmethoden und Erprobung graphischer Reproduktion von Zeichnungen stehen im Zentrum der Tagung, die zwei gemeinsam mit Studierenden erarbeitete Ausstellungs- und Katalogprojekte begleitet, zu Adam von Bartsch, der Entwicklung von Kennerschaft und Zeichnungsreproduktion und zur Architekturzeichnung in der Zeit von Gilly, Weinbrenner und Schinkel.

Continue reading “RECENTLY: Drawing for the Market? Zeichnung für den Markt?, 16-18 June, Göttingen” →

L: Antoinette Friedenthal, Edme-François Gersaint’s work on his „Catalogue raisonné de toutes les pièces qui forment l’œuvre de Rembrandt“, 17 June, Göttingen

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This lecture will take a closer look at the Paris dealer Edme-François Gersaint’s (1694-1750) procedures in establishing his celebrated catalogue of Rembrandt’s prints published posthumously in 1751. The lecture will be held in the context of a conference entitled “Zeichnung für den Markt? – Die Handzeichnung und ihre Reproduktion zwischen künstlerischem Ausdruck, Handelspraxis und Kennerschaft“ organized in conjunction with an exhibition on Adam von Bartsch at the University of Göttingen (17 April – 11 September 2016).