Art is for sale and is sold as a commodity by commercial mediators whose role differs from the museums as the cultural mediators that create cultural values for the art world. Despite the peculiar features of the art market that is considered to be characterized by private values, idiosyncratic tastes, and non-pecuniary benefits of ownership and display, the global art market is booming. According to the TEFAF (European Fine Art Foundation) Art Market Report 2014, the Global Art Market with a focus on the US and China shows that total sales in the international art and antiques market reached €47.4 billion in 2013, an increase of 8% on the previous . . . → En lire plus
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Le 26 mai 2016, Christian Huemer donnera une conférence (en anglais) intitulée Explorer les marchés de l’art du passé : outils et méthodes à l’ère du big data. Cette manifestation est organisée dans le cadre du programme de recherche Sciences et Cultures du Visuel, et bénéficie du soutien du CNRS et de l’ Université de Lille.
The University of Buckingham A one-year MA offered by the University of Buckingham and the National Gallery in association with Waddesdon Manor (Rothschild Collections). Investigating American and European art markets and cultures of collecting from the Renaissance to the present day, it is taught by staff from the University of Buckingham, the National Gallery and Waddesdon Manor. A unique MA A unique feature of the course will be access to two of the greatest surviving art dealers’ archives: Agnew’s, acquired by the National Gallery in 2014, and Colnaghi’s, housed since . . . → En lire plus
The National Gallery, in association with the University of Manchester, presents a two-day international conference on the interactions between art dealers and museums (1-2 April 2016 – London, National Gallery, Sainsbury Wing, Lecture Theatre) An array of experienced professionals, established scholars, and emerging researchers explore the complex, complementary and conflicting associations between art dealers and museums. The conference has its origins in the acquisition of the Thos. Agnew & Sons archive by the National Gallery. Although focused on the London and British art market in the late 19th century, papers are spread across a range of geographical areas and extend to the present time, establishing connections and . . . → En lire plus  In the wake of the Western expansion, a fast growing number of non-European artefacts entered the European market. They initially made their way into princely cabinets of curiosities. Enabled by the forced opening and exploitation of more and more parts of the world and pushed by social and technological changes of the time, the 18th century brought a boom of the market of non-European artefacts in Europe. This came along with the emergence of a broader collecting culture and the development of a rich museumscape. This market and its development in terms of methods and places of exchange and monetary and ideological value of the objects are in the focus of an . . . → En lire plus
Congrès de l’Association Française d’Histoire Economique (AFHE) 2016 Art et économie, une histoire partagée AFHE/FRAMESPA Toulouse, 18 et 19 novembre 2016 Si la valeur marchande de l’art est depuis longtemps au centre des interrogations, l’étude des rapports entre histoire, économie, esthétique a renouvelé le questionnement. Dans un contexte d’essor des prix sur les marchés de l’art (re-)devenus . . . → En lire plus
En créant cet espace, notre objectif est d’impliquer les jeunes chercheurs dans une série de discussions autour des préoccupations conceptuelles et économiques de l’art actuel, mais également de montrer en quoi les professionnels actuels (artistes, galeristes, commissaires d’expositions, chargés des publics) sont à l’origine de nouvelles propositions, de nouveaux modèles économiques, de nouvelles façons d’envisager et de faire l’art d’aujourd’hui et de demain. Qu’il soit question de contribuer à la production, à la monstration ou à . . . → En lire plus
Deadline: Dec 7, 2015 2016 Conference: Creating Markets, Collecting Art Celebrating 250 years of Christie’s Collectors of Contemporary Art: Tastemakers or Market Makers? Contact: vchagnon-burke@christies.edu Every summer for the last 24 years, ArtNews has published the ranking of the top two hundred collectors; a quick glance at the list reveals that a large number of these collectors are focusing either on modern and contemporary art or increasingly solely on contemporary art. If we understand the art world as a microcosm or a network of dependencies between a set of players who range from artists and critics . . . → En lire plus
Après cette période estivale, c’est avec grand plaisir que nous vous invitons à la reprise de notre cycle d’entretien 1960-1990. Les voix de la photographie lancé par le chantier de recherche Import/Export. Aux sources du langage sur la photographie. Il se tiendra le lundi 28 septembre à l’INHA. Rendez-vous le lundi 28 septembre, 18h30-20h30, INHA, 2 rue Vivienne 75002 Paris NB : La salle sera communiquée dans le courant de la semaine prochaine. A l’occasion de cette sixième séance du cycle d’entretiens publics, nous aurons le plaisir de recevoir Agathe . . . → En lire plus
What are the conditions of work that artists have established by setting up production bases such as the artist’s studio, the . . . → En lire plus
Collecting and Display Conference The Art Market, Collectors and Agents: Then and Now 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 . . . → En lire plus
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 . . . → En lire plus
The National Gallery, London, April 1 – 02, 2016 Deadline: Sep 18, 2015 Negotiating Art: Dealers and Museums. This two-day conference on the relations between art dealers and museums, organised by the National Gallery in collaboration with the University of Manchester and the University of Liverpool, will be held at the National Gallery, London. This joint conference, which has its origins in the acquisition of the Thos. Agnew & Sons archive by the National Gallery, aims to explore the relationship between art dealers and museums, in the UK and worldwide, and across a wide chronological period. Although there will be a focus on the London and British art market in the . . . → En lire plus
London, February 4 – 05, 2016 Deadline: Jun 21, 2015 The Venice Biennale and the Art Market, the Venice Biennale as an Art Market: Anatomy of a Complex Relationship Over its history, the strategic positioning of the Venice Biennale has seemingly oscillated between a pure exhibition platform and a hybrid exhibition/exchange platform. At its inception in 1895, the venture strongly pushed forward an aim of aesthetic experimentation (laboratorio della modernità) whilst emphasising its scorn of mercantile concerns (prosaicità mercantile). However the 1899 Catalogue of the Biennale blatantly belied such initial aim when it signalled the presence of a sales bureau at the heart of the exhibition palace. From then . . . → En lire plus
Registration deadline: May 5, 2015 Friend or foe: Art and the Market in the Nineteenth Century The attitude towards art dealers in the nineteenth century are rather diverse. Vincent van Gogh loathed the ‘art buyer’ while other artists built enduring relationships with them. However different these positions, most artists seem to have agreed that the impact of dealers on the art world was undeniable and had to be negotiated in one way or another. Most narratives of the history of the nineteenth-century art market have assigned dealers the role of stage-managers and even puppet masters, controlling the entire artistic life-cycle of . . . → En lire plus
Christie’s Education is known for its collaborative and cross-disciplinary approach to the study of works of art through its Master’s programmes in the History of Art and its Markets, Art-world Practice and Art, Law and Business internationally. This conference hopes to explore this cross-disciplinary area, looking at the interrelationship of commerce, collecting and the academy. Proposals are invited for Academic Sessions. Sessions should engage with current scholarship on any aspect of the art market, in . . . → En lire plus
Cet atelier évoquera le métier de galeriste dans le secteur artistique contemporain et du commissariat d’exposition. L’atelier commencera par la présentation de l’association Hist’Art ; puis nous animerons une discussion en compagnie de Ziqi Peng, doctorante en histoire de l’art, gérante d’entreprise, commissaire d’exposition et galeriste. L’entretien sera suivi de la visite de l’exposition Young Chinese Artists. Made in China ? par Ziqi Peng, commissaire de l’exposition. . . . → En lire plus
Faculté des Sciences humaines et arts – Hôtel Fumé salle des Actes – 8 rue René-Descartes – Bât. E15 19 mars 2015 – 10h / 17h Ouvert à tous – Entrée libre Renseignements : http://sha.univ-poitiers.fr/ Contact : catherine.male@univ-poitiers.fr PROGRAMME • 10h : Éric Palazzo, professeur en Histoire de l’art (CESCM, Université de Poitiers / Institut universitaire de France) Les catalogues de manuscrits enluminés
• 11h . . . → En lire plus
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