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 onwards, the Venice venture openly acknowledged its function as a market of international contemporary art, so much so that its . . . → 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
 De Gruyter is seeking to appoint Section Editors to work on the Art Market Dictionary (AMD). The Section Editors are invited to contribute to the project’s conception, and each will work on a specific country or geographic area to complete the entries list and suggest/locate authors for these entries. They will receive a small yearly compensation and appear as Co-Editors of the final publication.The AMD is the first encompassing reference work on the art market and its historical development. The forthcoming first part (approximately 3 volumes) will encompass Europe and North America in the twentieth and twenty-first centuries. The guiding principle is to . . . → En lire plus
http://isecs2015.wordpress.com/registration/submit-a-paper-for-a-panel-session/ Alternative Markets and Visual Culture in Eighteenth-Century France (3.18) Academic artistic practice in the eighteenth century was at odds with the growing commercial culture of the period. From its foundation, the Royal Academy prohibited its members from dealing in art, an offense that was deemed cause for expulsion by 1777. Critics similarly looked down on painting for profit. In 1747, La Font de Saint Yenne had harsh words for artists who chose the more financially lucrative practice of portraiture . . . → En lire plus
Centre allemand d’histoire de l’art, Paris, November 7 – 08, 2014 « Le monde au temps des surréalistes » Centres, périphéries et itinéraires du marché de l’art surréaliste Paris, Centre allemand d’histoire de l’art, 7–8 novembre 2014 Atelier de recherche du Centre allemand d’histoire de l’art et de l’Institut d’histoire de l’art de l’Université de Leipzig. Cet atelier de recherche prélude un projet de recherche, en cours de préparation, consacré aux rapports entre surréalisme et marché de l’art. Intitulé « Le monde au temps des surréalistes. Centres, périphéries et itinéraires du marché de l’art surréaliste, 1925–1947 », il se donne pour objectif la réalisation d’un répertoire exhaustif des expositions surréalistes . . . → En lire plus
Enterprises & Entrepreneurs in Baroque Times (Seville, 10-12 Nov 14) Sevilla, Fundación Focus-Abengoa Hospital de los Venerables Plaza de los Venerables, 8 41004 Sevilla. España, November 10 – 12, 2014 Baroque School, Focus-Abengoa Foundation Enterprises and Entrepreneurs in the Baroque Times Objectives The Focus Abengoa Foundation Baroque School, November OMNQ, offers an innovative vision on the role of entrepreneurs and enterprises in the “first globalization” of the markets according to the latest historiography and economic literature. It will also introduce the role and the relation of these economic agents with the art market under European capitalism principles in the XVII and XVIII centuries. The Baroque School aims at assessing, from a broad and complete perspective, the interrelationship established between entrepreneurial . . . → En lire plus
The independent academic publisher De Gruyter can look back at a history of over 260 years. The De Gruyter Group, which includes the publishing houses of De Gruyter Akademie Forschung, Birkhäuser, De Gruyter Mouton, De Gruyter Oldenbourg, De Gruyter Saur, and De Gruyter Open, publishes over 1,300 new titles each year in the humanities, medicine, natural sciences, and law, more than 650 journals, and a variety of digital media. The company is headquartered in Berlin, Germany. De Gruyter is targeting aggressive growth through sales of new product types and innovative business models, especially in international markets. http://www.degruyter.com We are currently seeking applicants for a two-year fixed term (renewable), . . . → En lire plus
Brill’s « Studies in the History of Collecting & Art Markets » is a peer-reviewed book series dedicated to original scholarship on the social, cultural, and economic mechanisms underlying the circulation of art. Over the last two decades interest in the formation, display, and dissolution of art collections increased tremendously; art markets, trade routes, and dealer networks became a rich field of interdisciplinary inquiry. Scholarship brought forth a lot of information about the flamboyant personalities to whom the possession of art was a lifestyle; regarding the « social life of things », i.e. the provenance of individual artworks, many research gaps could be closed. This shift in scholarly attention . . . → En lire plus
London, October 31, 2014 Deadline: Jun 30, 2014 A one-day conference on relations between the art market in history and the art market today, organized by Sotheby’s Institute of Art –London and The Burlington Magazine, to be held at Sotheby’s Institute of Art – London on Friday 31 October 2014. The aim of this joint conference is to explore critically what the history of the art market can teach us about the behaviour of the art market today, and vice versa. We hope to bring together historians of the art market working on a wide range of historical periods and places, and utilising varying methodologies, and to engage them in . . . → En lire plus
L’observation de la galerie comme champ interdisciplinaire, . . . → En lire plus
Appel à communication : The Business of Art in the “Third Reich” (23-27 septembre 2013, Los Angeles)
Art Crossing Borders: The Birth of an Integrated Art Market in the Age of Nation States (Europe, ca. 1780-1914)
Deadline: 20 April 2013 During the long nineteenth century continuing improvements in the road and transportation infrastructure ensured that the local art markets in Europe became connected like never before, both in the proverbial and literal sense of the word. Ever more paintings, art lovers and artistic information crossed regional and national boundaries, culminating in a truly integrated European art market. Paintings increasingly found . . . → En lire plus
Présentation par Christian Huemer du Getty Provenance Index® : état des lieux, intérêt scientifique, perspectives Participants : Christian Huemer, historien de l’art, responsable du Getty Provenance Index®. Patrick Michel, professeur d’histoire de l’art moderne, université de Lille 3. Bénédicte Myamoto, Maître de conférence en civilisation . . . → En lire plus
London and the Emergence of a European Art Market (c. 1780-1820) The National Gallery, London, June 21 – 22, 2013 Deadline: Feb 15, 2013 The French Revolution and the ensuing Napoleonic Wars with occupations of Italy, Spain and the Low Countries, instigated a sweeping redistribution of art. At the same time, the Papacy’s loss of temporal power undermined the enforcement of export laws in the Papal States. This convergence of events ensured that large volumes of paintings—often entire collections, from European monasteries, churches, and private palaces—were widely dispersed via auction and private treaty sales in a true diaspora of art. Current scholarship posits that amidst these large-scale market transformations London . . . → En lire plus
|
|
||||
