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Friday 12 and Saturday 13 January 2018, Barber Institute, University of Birmingham
Conference Organisers: Kate Nichols (Birmingham) and Barbara Pezzini (Manchester)
Keynote Speakers: Pamela Fletcher and Tapati Guha Thakurta
In the nineteenth century the circulation of works of art developed into its recognisably modern form. The forces of increasingly globalized capitalism, imperial routes and new means of transport, coupled with the growing reach of advertising and the press caused an unprecedented movement of artists, goods and materials. Larger audiences for art in newly founded museums and galleries across the world also contributed to, and benefitted from, this increased mobility of art.
Nineteenth-century mobility still awaits a thorough art historical investigation. This two-day conference aims to map, examine and problematize this emerging field. What is distinctive about the nineteenth-century circulation of art objects? How does mobility impact upon the modes of art production? Does it engender new subjects and materials? How important is the mobility of art to nineteenth-century art history? What impact does such transnational exchange have on national narratives of art? How are imbalances of power involved and developed through the mobility of art? How do the different networks of mobility – social, commercial and cultural – intersect? Which methodological approaches are best suited to this area of investigation?
The conference will be divided into principal thematic sessions, and we invite paper proposals of case studies or broader analyses that address some aspects of these interlinked beams:
Potential topics may include: Visualising mobility and networks, mobility of people/objects, reproduction, replication and mobility, the ethics of mobility, enforced mobility, the role of art markets, refusal to move, and methodological approaches to mobility.
The conference will coincide with an exhibition dedicated to the works of Birmingham born engraver, miniature portraitist and photographer Thomas Bock (c.1793 – 1855) at the Ikon Gallery, Birmingham. In 1823 Bock was found guilty of “administering concoctions of certain herbs … with the intent to cause miscarriage” and was transported to the Australian penal colony of Van Diemens Land, where he was pressed into service as a convict artist. Bock’s artistic output includes portraits of Tasmanian Aborigines, his fellow criminals as well as free settlers in Hobart Town. Many of these images returned to Britain, although Bock himself remained in Australia until his death in 1855. This is the first exhibition dedicated to Bock’s work to be held in Britain. An evening reception will be held at Ikon, with a private view of the exhibition and curatorial reflections on exhibiting the circulation of artists and their work.
Please send paper proposals of a maximum length of 250 words, accompanied by a 150 words biography, by Friday 31 March 2017 to email@example.com
galerie frank elbaz is pleased to announce the exhibition Art Galleries in
Paris under the Occupation – A Story from the History of Art, which will run from
4 February to 11 March 2017, and is curated by the historian Emmanuelle Polack.
This unique project features a large number of private and public archives, along-
side film extracts, showing the vicissitudes of gallery life under the Occupation.
Inspired by Frank Elbaz’ interest in the activities of art dealers during this dark
period of history, the exhibition attempts to contextualize and shed some light
on the art market in occupied Paris.
The art market is one of the driving forces behind international cultural
exchange. For the most part, it is the dealers, the intermediaries, the enthusiasts
and the collectors, who are responsible for the exchange and the transfer of the
ownership of works of art. It is through them that a work of art becomes part of
a private collection, or is put at the service of a power and its representation, and
thus ultimately becomes a coveted object on the market. It is an undeniable fact
that the art market in Paris during the time of the Occupation was flourishing. All
the traditional channels of selling art, the galleries and public auction houses,
were gripped by euphoria. Yet, the sale, the trafficking and the exchange of art
objects at extremely inflated prices were not without consequence for the
destinies of works that belonged to Jews. It is worth recalling here that certain
market players, because they were stigmatised as belonging to the “Jewish race”
by the anti-Semitic legislation of the 1940s (whether it came from the Germans
or the Vichy government), were directly and severely affected by these shameful
laws. The careers of several art dealers, on display at the exhibition, make this
An examination of this particular art market and its underlying patterns reveals
unknown aspects about the history of art of this period. We look forward to
welcoming you to the exhibition.
Read more [FAZ article in German by Bettina Wohlfarth/Paris]:
Rome, May 19 – 20, 2017
Deadline: Jan 15, 2017
The international conference travelling objects will focus on the material aspects of cultural transfers: the exchange of paintings, designs/drawings, sculptures or books. Our specific interest is in the movement of these inherently ambassadorial objects between Italy and the Habsburg Monarchy during the 17th and 18th centuries, and their reception and role in the transmission of information and ideas between the North and the South. Special attention will be given to the agents of the exchange, who promoted, organized or mediated the exchange.