Art Market Talk, “Global Business Models”, Art Basel Miami 2017

December 8, 2017, Art Basel Miami Beach

Moderator: Josh Baer, Advisor and Publisher, Baer Faxt, New York

This panel addresses the way in which museums and galleries are responding to the increasing pressures of the global art world and whether they are choosing similar expansion models or different options for going global. The funding required for public institutions to mount high-quality exhibitions is becoming increasingly scarce. At the same time, major galleries are more often in a strong enough financial position to do so. Is the trend of museum curators crossing over to galleries a symptom of this shift? In the long run, is this shift good for artists and estates? What are the implications for the integrity of art history if it is being written and re-written in the commercial context? As privatization of the art field increases, are galleries becoming the new museums?

Thaddaeus Ropac, Founder, Galerie Thaddaeus Ropac, London/Paris/Salzburg; Juan A. Gaitán, Director, Museo Tamayo Arte Contemporaneo, Mexico City; John Zarobell, Associate Professor of International Studies, University of San Francisco, San Francisco

CFP: Art Markets and the Future of Collecting (Loughborough, 15 Jun 18)

Loughborough University
June 15, 2018
Deadline: Feb 28, 2018

This symposium investigates the impact of art markets on museum collecting and contemporary curatorial practices. As sponsorship deals and commercial interests increasingly shape the global footprint of museum ‘brands’ and determine the budget for exhibitions, new questions arise as to the social responsibilities of public art institutions, their independence, and the evolving narratives proposed by their collections. In the wake of cuts to state funding for the arts, have public museums become reliant on the financial support and, hence, personal tastes of private donors? To what extent do exhibition practices track the market activities of auction houses and private galleries and with what impact on institutional diversity and the career prospects of individual artists? Are privately owned spaces and commercial venues supplanting state-funded museums? Has increasing public interest in the spectacle of the art market altered expectations about the kinds of experience that should be promoted by museums? Proposals for 20 minute papers are welcome that debate intersections between local or global art market forces and museum collecting in the twenty-first century. We welcome proposals that address cases from around the world.

Please send proposals (250 words max and a short biography) to Kathryn Brown k.j.brown@lboro.ac.uk by no later than 28 February, 2018.

This symposium is sponsored by the Museums, Markets, and Critical Heritage Research Group of Loughborough University.

Reference: CFP: Art Markets and the Future of Collecting (Loughborough, 15 Jun 18). In: ArtHist.net, Jan 9, 2018. <https://arthist.net/archive/17029>.