{"id":3350,"date":"2017-08-07T13:12:29","date_gmt":"2017-08-07T11:12:29","guid":{"rendered":"https:\/\/www.fokum.org\/?page_id=3350"},"modified":"2024-01-12T11:42:41","modified_gmt":"2024-01-12T10:42:41","slug":"journal-for-art-market-studies-archive","status":"publish","type":"page","link":"https:\/\/fokum.org\/en\/journal-for-art-market-studies-archive\/","title":{"rendered":"Archive of Journal for Art Market Studies"},"content":{"rendered":"<h1>Journal for Art Market Studies (JAMS) Archive<\/h1>\n<p style=\"text-align: justify;\">The Journal for Art Market Studies (JAMS) is a peer-reviewed open-access journal for current international research on the art market of all periods. The articles are published in English.<\/p>\n<p style=\"text-align: justify;\">Published by<br \/>Forum Kunst und Markt \/ Centre for Art Market Studies<br \/><a href=\"http:\/\/www.fokum-jams.org\" target=\"_blank\" rel=\"noopener noreferrer\">www.fokum-jams.org<\/a><\/p>\n<hr style=\"margin: 0 0 0 0;\">\n<p><a name=\"btnde\"><\/a><\/p>\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile\" style=\"grid-template-columns:15% auto\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"707\" src=\"https:\/\/fokum.org\/wp-content\/uploads\/2023\/12\/cover_issue_16_en_US.jpg\" alt=\"\" class=\"wp-image-10838 size-full\" srcset=\"https:\/\/fokum.org\/wp-content\/uploads\/2023\/12\/cover_issue_16_en_US.jpg 500w, https:\/\/fokum.org\/wp-content\/uploads\/2023\/12\/cover_issue_16_en_US-212x300.jpg 212w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\"><a href=\"https:\/\/fokum.org\/journal-for-art-market-studies-13\/\" data-type=\"page\" data-id=\"10894\">Collecting Latin America<\/a><br>Volume 7, Number 1, 2023<br>Guest Editor: Martin Berger<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile\" style=\"grid-template-columns:15% auto\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"707\" src=\"https:\/\/fokum.org\/wp-content\/uploads\/2022\/09\/cover_issue_15_en_US.jpg\" alt=\"\" class=\"wp-image-9839 size-full\" srcset=\"https:\/\/fokum.org\/wp-content\/uploads\/2022\/09\/cover_issue_15_en_US.jpg 500w, https:\/\/fokum.org\/wp-content\/uploads\/2022\/09\/cover_issue_15_en_US-212x300.jpg 212w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\"><a href=\"https:\/\/fokum.org\/journal-for-art-market-studies-12\/\" target=\"_blank\" rel=\"noreferrer noopener\">Museums Trading on the Art Market<\/a><br>Volume 6, Number 1, 2022<br>Guest Editor: Helene Tello<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile is-vertically-aligned-top\" style=\"grid-template-columns:15% auto\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"595\" height=\"841\" src=\"https:\/\/fokum.org\/wp-content\/uploads\/2021\/07\/JAMS11_0_cover_final.png\" alt=\"\" class=\"wp-image-8640 size-full\" srcset=\"https:\/\/fokum.org\/wp-content\/uploads\/2021\/07\/JAMS11_0_cover_final.png 595w, https:\/\/fokum.org\/wp-content\/uploads\/2021\/07\/JAMS11_0_cover_final-212x300.png 212w\" sizes=\"auto, (max-width: 595px) 100vw, 595px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"wp-block-paragraph\" id=\"block-2f4cff06-898c-439b-b0e8-02c29c6c9a39\" style=\"font-size:14px\"><a href=\"https:\/\/fokum.org\/journal-for-art-market-studies-11\/\">Re-presenting the Art Market<\/a><br>Volume 5, Number 1, 2021<br>Guest Editor: Paul Melton<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile is-vertically-aligned-top\" style=\"grid-template-columns:15% auto\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"707\" src=\"https:\/\/fokum.org\/wp-content\/uploads\/2020\/12\/cover_issue_13_en_US.jpg\" alt=\"\" class=\"wp-image-8062 size-full\" srcset=\"https:\/\/fokum.org\/wp-content\/uploads\/2020\/12\/cover_issue_13_en_US.jpg 500w, https:\/\/fokum.org\/wp-content\/uploads\/2020\/12\/cover_issue_13_en_US-212x300.jpg 212w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\"><a href=\"https:\/\/fokum.org\/journal-for-art-market-studies-10\/\" data-type=\"URL\" data-id=\"https:\/\/fokum.org\/journal-for-art-market-studies-10\/\" target=\"_blank\" rel=\"noreferrer noopener\">Asian Art: The Formation of Collections<\/a><br>Volume 4, Number 2, 2020<br>Guest Editors: Alexander Hofmann, Christine Howald, Nick Pearce<\/p>\n\n\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile is-vertically-aligned-top\" style=\"grid-template-columns:15% auto\"><figure class=\"wp-block-media-text__media\"><a href=\"https:\/\/fokum.org\/journal-for-art-market-studies-9\/\"><img loading=\"lazy\" decoding=\"async\" width=\"724\" height=\"1024\" src=\"https:\/\/fokum.org\/wp-content\/uploads\/2020\/10\/JAMS8_0_cover_Africa_FINAL-724x1024.jpg\" alt=\"\" class=\"wp-image-7776 size-full\" srcset=\"https:\/\/fokum.org\/wp-content\/uploads\/2020\/10\/JAMS8_0_cover_Africa_FINAL-724x1024.jpg 724w, https:\/\/fokum.org\/wp-content\/uploads\/2020\/10\/JAMS8_0_cover_Africa_FINAL-212x300.jpg 212w, https:\/\/fokum.org\/wp-content\/uploads\/2020\/10\/JAMS8_0_cover_Africa_FINAL-600x849.jpg 600w, https:\/\/fokum.org\/wp-content\/uploads\/2020\/10\/JAMS8_0_cover_Africa_FINAL-1086x1536.jpg 1086w, https:\/\/fokum.org\/wp-content\/uploads\/2020\/10\/JAMS8_0_cover_Africa_FINAL-1448x2048.jpg 1448w, https:\/\/fokum.org\/wp-content\/uploads\/2020\/10\/JAMS8_0_cover_Africa_FINAL-624x883.jpg 624w, https:\/\/fokum.org\/wp-content\/uploads\/2020\/10\/JAMS8_0_cover_Africa_FINAL.jpg 1653w\" sizes=\"auto, (max-width: 724px) 100vw, 724px\" \/><\/a><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\"><a rel=\"noreferrer noopener\" href=\"https:\/\/fokum.org\/journal-for-art-market-studies-9\/\" data-type=\"page\" data-id=\"8052\" target=\"_blank\">Africa: Trade, Traffic and Collections<\/a><br>Volume 4, Number 1, 2020<br>Guest Editor: Felicity Bodenstein<\/p>\n\n\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile\" style=\"grid-template-columns:15% auto\"><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" src=\"https:\/\/www.fokum.org\/wp-content\/uploads\/2019\/12\/JAMS8_0_cover_Spain.jpg\" alt=\"\" class=\"wp-image-6818 size-full\"\/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\"><a rel=\"noreferrer noopener\" href=\"https:\/\/fokum.org\/en\/journal-for-art-market-studies-8\/\" target=\"_blank\">The Global Art Market under the Spanish Empire 1500-1800<\/a><br>Volume 3, Number 2, 2019<br>Guest Editor: Pilar Diez del Corral<\/p>\n\n\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile\" style=\"grid-template-columns:15% auto\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"707\" src=\"https:\/\/www.fokum.org\/wp-content\/uploads\/2019\/05\/cover_issue_10_en_US.jpg\" alt=\"\" class=\"wp-image-5973 size-full\" srcset=\"https:\/\/fokum.org\/wp-content\/uploads\/2019\/05\/cover_issue_10_en_US.jpg 500w, https:\/\/fokum.org\/wp-content\/uploads\/2019\/05\/cover_issue_10_en_US-212x300.jpg 212w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\"><a rel=\"noreferrer noopener\" href=\"https:\/\/www.fokum.org\/en\/journal-for-art-market-studies-7\/\" target=\"_blank\">Politics<\/a><br>Volume 3, Number 1, 2019<br>Guest Editor: Kathryn Brown<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile is-vertically-aligned-top\" style=\"grid-template-columns:15% auto\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"707\" src=\"https:\/\/www.fokum.org\/wp-content\/uploads\/2019\/02\/cover_issue_8_en_US.jpg\" alt=\"\" class=\"wp-image-5554 size-full\" srcset=\"https:\/\/fokum.org\/wp-content\/uploads\/2019\/02\/cover_issue_8_en_US.jpg 500w, https:\/\/fokum.org\/wp-content\/uploads\/2019\/02\/cover_issue_8_en_US-212x300.jpg 212w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\"><a rel=\"noreferrer noopener\" href=\"https:\/\/www.fokum.org\/en\/journal-for-art-market-studies-6\/\" target=\"_blank\">Artists on the Market<\/a><br>Volume 2, Number 4, 2018<br>Guest Editor: Sarah Salomon<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile\" style=\"grid-template-columns:15% auto\"><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" src=\"https:\/\/www.fokum.org\/wp-content\/uploads\/2018\/07\/JAMS5_0_cover_Asian.jpg\" alt=\"\" class=\"wp-image-4835 size-full\"\/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\"><a rel=\"noreferrer noopener\" href=\"https:\/\/www.fokum.org\/en\/journal-for-art-market-studies-5\/\" target=\"_blank\">Asian Art: Markets, Provenance, History<\/a><br>Volume 2, Number 3, 2018<br>Guest Editors: Christine Howald, Alexander Hofmann<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile is-vertically-aligned-top\" style=\"grid-template-columns:15% auto\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"707\" src=\"https:\/\/www.fokum.org\/wp-content\/uploads\/2014\/08\/JAMS_cover_Translocations-upload.jpg\" alt=\"\" class=\"wp-image-4298 size-full\" srcset=\"https:\/\/fokum.org\/wp-content\/uploads\/2014\/08\/JAMS_cover_Translocations-upload.jpg 500w, https:\/\/fokum.org\/wp-content\/uploads\/2014\/08\/JAMS_cover_Translocations-upload-212x300.jpg 212w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\"><a rel=\"noreferrer noopener\" href=\"https:\/\/www.fokum.org\/en\/journal-for-art-market-studies-4\/\" target=\"_blank\">Translocations and the Art Market<\/a><br>Volume 2, Number 2, 2018<br>Guest Editor: B\u00e9n\u00e9dicte Savoy<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile is-vertically-aligned-top\" style=\"grid-template-columns:15% auto\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"707\" src=\"https:\/\/www.fokum.org\/wp-content\/uploads\/2014\/07\/cover_issue_5_en_US.jpg\" alt=\"\" class=\"wp-image-3854 size-full\" srcset=\"https:\/\/fokum.org\/wp-content\/uploads\/2014\/07\/cover_issue_5_en_US.jpg 500w, https:\/\/fokum.org\/wp-content\/uploads\/2014\/07\/cover_issue_5_en_US-212x300.jpg 212w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\"><a rel=\"noreferrer noopener\" href=\"https:\/\/www.fokum.org\/journal-for-art-market-studies-3\/\" target=\"_blank\">Exhibiting Art for Sale<\/a><br>Volume 2, Number 1, 2018<br>Guest Editor: Andrea Meyer<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile is-vertically-aligned-top\" style=\"grid-template-columns:15% auto\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"595\" height=\"842\" src=\"https:\/\/www.fokum.org\/wp-content\/uploads\/2014\/08\/Journal-for-Art-Market-Studies_2017_FINAL_01.jpg\" alt=\"\" class=\"wp-image-3309 size-full\" srcset=\"https:\/\/fokum.org\/wp-content\/uploads\/2014\/08\/Journal-for-Art-Market-Studies_2017_FINAL_01.jpg 595w, https:\/\/fokum.org\/wp-content\/uploads\/2014\/08\/Journal-for-Art-Market-Studies_2017_FINAL_01-212x300.jpg 212w\" sizes=\"auto, (max-width: 595px) 100vw, 595px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\"><a rel=\"noreferrer noopener\" href=\"https:\/\/www.fokum.org\/journal-for-art-market-studies-2\/\" target=\"_blank\">Theories of the Art Market: Data \u2013 Value \u2013 History<\/a><br>Volume 1, Number 2, 2017<br>Guest Editors: Lukas Fuchsgruber, Thomas Skowronek<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile is-vertically-aligned-top\" style=\"grid-template-columns:15% auto\"><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" src=\"https:\/\/www.fokum.org\/wp-content\/uploads\/2017\/01\/Journal-for-Art-Market-Studies-FINAL_2017.jpg\" alt=\"\" class=\"wp-image-2889 size-full\"\/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\"><a rel=\"noreferrer noopener\" href=\"https:\/\/www.fokum.org\/journal-for-art-market-studies-1\/\" target=\"_blank\">The Pricing of Art: Makers \u2013 Markets \u2013 Museums<\/a><br>Volume 1, Number 1, 2017<br>Guest Editor: Dorothee Wimmer<\/p>\n<\/div><\/div>\n\n\n","protected":false},"excerpt":{"rendered":"<p>Journal for Art Market Studies (JAMS) Archive The Journal for Art Market Studies (JAMS) is a peer-reviewed open-access journal for current international research on the art market of all periods. The articles are published in English. Published byForum Kunst und Markt \/ Centre for Art Market Studieswww.fokum-jams.org Collecting Latin AmericaVolume 7, Number 1, 2023Guest Editor: [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3350","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/3350","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/comments?post=3350"}],"version-history":[{"count":106,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/3350\/revisions"}],"predecessor-version":[{"id":10912,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/3350\/revisions\/10912"}],"wp:attachment":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/media?parent=3350"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}