{"id":9966,"date":"2022-12-05T09:54:55","date_gmt":"2022-12-05T08:54:55","guid":{"rendered":"https:\/\/fokum.org\/?page_id=9966"},"modified":"2022-12-05T09:59:14","modified_gmt":"2022-12-05T08:59:14","slug":"konferenz-2022","status":"publish","type":"page","link":"https:\/\/fokum.org\/en\/konferenz-2022\/","title":{"rendered":"TIAMSA Conference Berlin 2022"},"content":{"rendered":"\n

The Image of the Art Market.\u00a0Just What Is It that Makes the Art Trade Look so Different, so Alarming?<\/h2>\n
\"\"

Titian, Portrait of Jacopo Strada, 1566; Vienna, Kunsthistorisches Museum.<\/p><\/div>\n

Date:<\/strong> 12\/09\/22
Venue:<\/strong> Technische Universit\u00e4t Berlin (Hauptgeb\u00e4ude, Stra\u00dfe des 17. Juni 135, 10623 Berlin)<\/p>\n

Date:<\/strong> Liebermann Villa\u00a0(Colomierstr. 3, 14109 Berlin)
Venue<\/strong>\u00a013\/09\/22<\/p>\n

Programme TIAMSA 2022<\/a>
Abstracts TIAMSA 2022<\/a><\/p>\n

++Titles are written in the respective language of presentation.++<\/p>\n

The art trade has always been viewed with great fascination, but also with scepticism and even suspicion. Although its worldwide turnover is relatively modest in comparison with most other markets for\u00a0luxury goods, the art market\u2019s mechanisms, its peak prices and its scandals, attract a seemingly disproportionate amount of public attention. This attention comes not only from the press and (social)\u00a0media, but also from film and fiction, where extravagant art trade settings speak of passion and money while dealers are variously cast as educated, smart, eccentric or untrustworthy.<\/p>\n

The art trade\u2019s flirtations with the limelight and dealers\u2019 careful self-fashioning of their image have a long history. For time immemorial, collecting art has been an essential part of public and private\u00a0representation and the trade\u2019s role in this system becomes increasingly evident today. Again and again, art market players have operated with glamorous gatherings and media-rich appearances at fairs,\u00a0auctions and special events. Art dealers have also promoted their business by polishing their expertise, networks and appearance, thus underscoring the social functions of art. Generations of dealers,\u00a0even across dynasties, have maintained their position in the international marketplace by socializing with celebrities, politicians, museum professionals and scholars. Indeed some of them, such as Pierre\u00a0Jean Mariette, John Smith, or Frits Lugt, were distinguished scholars themselves.<\/p>\n

Scientific expertise, connoisseurship and institutional clout thus sometimes appear as odd bedfellows of commercial acumen. Similarly, calls for transparency regularly clash with the players\u2019 wish for\u00a0discretion, while due diligence \u2013 also with regard to the origin of objects \u2013 sometimes assumes a secondary role when overshadowed by deft marketing strategies or even manipulative operations. Indeed,\u00a0the often contradictory magnetic fields at work in this market may be fundamental to its high flying public profile. The TIAMSA Conference 2022, organized in cooperation with Technische Universit\u00e4t\u00a0Berlin and the Liebermann Villa Berlin, aims to shed light on the hitherto rarely studied image of the art market, its players and their self-fashioning.<\/p>\n

PROGRAMME<\/h3>\n

Monday 12 September 2022 \u2013 Technische Universit\u00e4t Berlin<\/strong>
(Hauptgeb\u00e4ude, Stra\u00dfe des 17. Juni 135, 10623 Berlin, Room H 3005)\u00a0<\/p>\n

09:00 Registration<\/p>\n

09:30 Welcome \/ Introduction
Meike Hopp (Technische Universit\u00e4t Berlin, DE)
Johannes Nathan (TIAMSA)<\/p>\n

Session 1 \u2013 The Larger Picture<\/strong>
Chair: Veronika Korbei (TIAMSA)<\/p>\n

10:00 Sarah Bakkali (Ch\u00e2teau de Versailles, FR)
\u201cArt dealers\u201d in Search of Legitimacy: The Shady Image of Art Market Players in Paris at the End of the Eighteenth Century<\/p>\n

10:30 Joy Cador (Ecole Normale Sup\u00e9rieure)
Making Value from Ancient Cities to Victorian London: Lawrence Alma-Tadema\u2019s Painting as an Image of the Victorian Art Market<\/p>\n

11:00 Coffee Break<\/p>\n

11:30 Temenuga Trifonova (York University, Toronto, CA)
The Art Market in Cinema<\/p>\n

12:00 Astrid Mania (Hochschule f\u00fcr Bildende K\u00fcnste, Hamburg, DE)
Self-Fulfilling Prophecies: Contemporary Artworks Performing the Art Market<\/p>\n

12:30 Discussion<\/p>\n

13:00 Lunch Break<\/p>\n

Session 2 \u2013 Portrait and Image<\/strong>
Chair: Christian Huemer (Belvedere Research Center, Vienna, AT)<\/p>\n

14:30 Babette Claassen (Independent Dealer and Consultant, NL)
Between Connoisseurship and Commerce: The Image of the Dutch Art Dealer in Contemporary Art between 1850 and 1917<\/p>\n

15:00 Marie Tavinor (Royal Academy, London, UK)
The Maecenas who Sold the Trove: Duveen\u2019s Image in the Press, 1920s and 1930s<\/p>\n

15:30 Coffee Break<\/p>\n

16:00 Gitta Ho (Ministry of Culture, Paris, FR)
\u201cI posed a number of times.\u201d The Portraits of the Parisian Art Dealer Ambroise Vollard<\/p>\n

16:30 Natasha Degen (FIT \u2013 State University, New York, USA)
Being Involved: The Image of Pop Art Collectors in the 1960s<\/p>\n

17:00 Discussion<\/p>\n

18:00 Round Table: Walking on a Tightrope? How the Market deals with its Image
Nikolaus Bernau (Free Journalist, Berlin)
Katharina Garbers-von Boehm (B\u00fcsing M\u00fcffelmann Theye Attorneys at Law, Berlin)
Meike Hopp (Technische Universit\u00e4t Berlin)
Michael Hutter (Berlin Social Science Center)
Wolfgang Wittrock (Art Dealer, Berlin)
Moderator: Johannes Nathan (TIAMSA)<\/p>\n

20:00 Dinner (self-paid)<\/p>\n

Tuesday 13 September 2022 \u2013 Liebermann Villa am Wannsee<\/strong>
(Colomierstr. 3, 14109 Berlin)<\/p>\n

09:15 Registration<\/p>\n

Session 3 \u2013 Tools and Devices<\/strong>
Chair: Marie Tavinor (Royal Academy, London, UK)<\/p>\n

09:30 Diana Davis (Independent, UK)
A Glimpse of Immortality: Dealers and the Cult of the Catalogue, 1880-1920<\/p>\n

10:00 Biancalucia Maglione (University of Florence, IT)
\u201cEven the intellect has its rights\u201d. The \u00abBollettino della Galleria del Milione\u00bb as a tool for Ghiringhellis\u2019 self-representation and market declarations, between controversy and innovation (1932-1941)<\/p>\n

10:30 Coffee Break<\/p>\n

11:00 Alycen Mitchell (Queen Mary University of London, UK)
Sotheby\u2019s \u2018PB84\u2019: A Blueprint for Capitalising on the New Market for Collectibles 1968-1982<\/p>\n

11:30 Anita Archer (University of Melbourne, AU)
Nationalism, tears and pedagogy: how Sotheby\u2019s and Christie\u2019s leverage image to dominate the global fine art market<\/p>\n

12:00 Discussion\u00a0<\/p>\n

12:30 Lunch Break<\/p>\n

Session 4 \u2013 Pulling the Strings<\/strong>
Chair: Kim Oosterlinck (Universit\u00e9 libre de Bruxelles, BE)<\/p>\n

14:00 Joshua Eversfield Jenkins (University of Edinburgh, UK)
Nineteenth-century Complaints about Speculative Investment in Contemporary Art in Comparison to Today\u00a0<\/p>\n

14:30 Patrizia Cappellini (Independent, IT)
The Image of the Art Dealer Between Private and Public: the Case of Elia Volpi, Merchant, Patron-Entrepreneur and sui generis Connoisseur<\/p>\n

15:00 Coffee Break\u00a0<\/p>\n

15:30 Dorothee Wimmer and Gabriele Z\u00f6llner (Forum Kunst und Markt, TU Berlin, DE)
\u201cRembrandt Glamour\u201d in Germany: Provenances, Markets, and Museums around 1900<\/p>\n

16:00 Catherine B. Scallen (Case Western Reserve University, Cleveland, USA)
Loan Exhibitions at the Detroit Institute of Arts: Joseph Duveen behind the Scenes<\/p>\n

16:30 Final Discussion<\/p>\n

17:00 Conference End

18:00 TIAMSA Annual General Meeting, followed by dinner (self-paid)<\/p>\n

Conference Registration<\/h3>\n
    \n
  • The conference is open to all but registration is required. The conference will be held in a hybrid format.<\/li>\n
  • Please register by sending an e-mail to\u00a0inna.schill@artmarketstudies.org, indicating if you would like to attend online or in person. Please register by 10 September 2022.<\/li>\n
  • Attendance is free for TIAMSA members. Non-members who would like to attend are kindly invited to join TIAMSA (regular \u00a320 \/ concessions \u00a310 per annum) via the following link:\u00a0https:\/\/www.artmarketstudies.org\/join\/register\/\u00a0With your TIAMSA membership you support a thriving art market studies hub with currently more than 400 members worldwide.<\/li>\n<\/ul>\n

    Conference Committee<\/h3>\n

    Susanna Avery-Quash, National Gallery London, UK
    Meike Hopp, Technische Universit\u00e4t Berlin, DE
    Veronika Korbei, Independent, Vienna, AT
    Johannes Nathan, Nathan Fine Art \/ TU Berlin, DE
    Olav Velthuis, Universiteit van Amsterdam, NL
    Lucy Wasensteiner, Liebermann Villa, Berlin, DE<\/p>\n

    Conference Managers<\/h3>\n

    Sharon Dowley, TIAMSA Coordinator
    Inna Schill, TIAMSA Coordinator<\/p>\n

    Conference Venues<\/h3>\n
      \n
    • 12 September: Technische Universit\u00e4t Berlin, Hauptgeb\u00e4ude, Stra\u00dfe des 17. Juni 135, 10623 Berlin<\/li>\n
    • 13 September: Liebermann Villa am Wannsee, Colomierstr. 3, 14109 Berlin<\/li>\n<\/ul>\n

      For questions please contact Inna Schill (inna.schill@artmarketstudies.org)<\/p>\n

      Partners<\/h3>\n

      \"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

      The Image of the Art Market.\u00a0Just What Is It that Makes the Art Trade Look so Different, so Alarming? Date: 12\/09\/22Venue: Technische Universit\u00e4t Berlin (Hauptgeb\u00e4ude, Stra\u00dfe des 17. Juni 135, 10623 Berlin) Date: Liebermann Villa\u00a0(Colomierstr. 3, 14109 Berlin)Venue\u00a013\/09\/22 Programme TIAMSA 2022Abstracts TIAMSA 2022 ++Titles are written in the respective language of presentation.++ The art trade […]<\/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-9966","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/9966","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=9966"}],"version-history":[{"count":6,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/9966\/revisions"}],"predecessor-version":[{"id":9973,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/9966\/revisions\/9973"}],"wp:attachment":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/media?parent=9966"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}