Art: financial aspects Books
Yale University Press Pietro Bembo and the Intellectual Pleasures of a
Book SynopsisOne of the most influential scholars of the Renaissance, Pietro Bembo (14701547) gained fame not only for his literary theory and poetry, but for his incredible collection of art and antiquities. Drawing on anecdotes from Bembo's letters and unpublished archival material, Susan Nalezyty analyzes how Bembo's collection functioned as a source of inspiration for artists like Titian and writers like Giovanni della Casa. As visitors to the collection marveled at the quality and variety of the displayed objects, Bembo encouraged investigations into the ways in which contemporary art compared with ancient objects. Often straddling the line between the visual and literary worlds, these critical discussions catalyzed artistic experiments that led to new modes of creative expression. This generously illustrated volume brings Bembo's collection to life and reveals its key role in the development of Renaissance artistic philosophy and historical study of the classical past. Trade Review‘Nalezyty’s analyses and many illustrations conjure a private museum which […] greatly enhances our understanding of Renaissance taste and collecting practice.’ — Sarah Blake McHam, Art Newspaper "Godere delle opere d’arte, discuterne con gli amici, trarne spunto per la scrittura, interagire con gli artisti: è un mondo che questo libro ci aiuta a ricostruire."— Lina Bolzoni, Il Sole 24 Ore"An accessible and beautifully-illustrated celebration of Renaissance material culture" – Martin T. Dinter, Journal of Roman Studies"[This book] provides a much needed, comprehensive study of an important Renaissance collection of antique and modern art and artifacts" – Joyce de Vries, Renaissance Quarterly “Susan Nalezyty has provided an accessible and beautifully-illustrated celebration of Renaissance material culture” —Martin T. Dinter, Journal of Roman StudiesWinner of the Outstanding Academic Title for 2018 award sponsored by Choice
£49.50
Yale University Press The Thannhauser Gallery
Book SynopsisWhile legend has it that Vincent van Gogh (1853-1890) sold only one work during his lifetime, it was not long after his death that sales of his paintings began to shatter auction house records. In this carefully researched book, leading Van Gogh scholars provide us with a glimpse into classified client files and illuminate the critical role that the Thannhauser Gallery occupied in cultivating and shaping an early clientele for the artist's works. Founded in Munich in 1909, the Thannhauser Gallery was Germany's preeminent promoter of the avant-garde in the decades before World War II. In other European cities and in New York, the business thrived, selling an impressive number of Van Gogh's oeuvre: roughly 110 works, including many masterpieces, now part of museum collections all over the world.Distributed for Mercatorfonds
£33.25
Hodder & Stoughton Sold to the Man With the Tin Leg
Book SynopsisMore tales of antiques, strangeness and charm from the country auctioneerTrade Review'Marvellous . . . forget about car boot sales and eBay: this is the real thing.' * Independent on AN AUCTIONEER'S LOT *'Philip Serrell's gentle tales are redolent of a vanishing, if not already vanished, way of life.' * Daily Express *
£10.44
Taylor & Francis Ltd Understanding Art Markets
The global art market has recently been valued at close to $50bn a rise of over 60 per cent since the global financial crisis. These figures are driven by demand from China and other emerging markets, as well as the growing phenomenon of the artist bypassing dealers as a market force in his/her own right. This new textbook integrates, updates and enhances the popular aspects of two well-regarded texts Understanding International Arts Markets and The Art Business. Topics covered include: Emerging markets in China East Asian, South East Asian, Brazilian, Russian, Islamic and Indian art Art valuation and investment Museums and the cultural sectorThis revitalized new textbook will continue to be essential reading for students on courses such as arts management, arts marketing, arts business, cultural economics, the sociology of arts, and cultural policy.
£52.24
Thames & Hudson Ltd A Year in the Art World
Book SynopsisA panoramic insider's account of the global art industry, revealing the fascinating but mysterious workings of the world of contemporary art.Trade Review'A tell-all book by the curator and art historian Matthew Israel takes readers on a year-long ride through the art world, from the heady heights of auction houses and art advisors to the practical matters of studios and shipping... A Year in the Art World will give some indication at least of what life was like in the fast lane of the pre-coronavirus art circus' - The Art Newspaper'Readers are introduced to curators, critics, gallerists and institutions across the globe' - Aesthetica'Israel is interested in why art matters now, and he chatted with some of today's premier artists, dealers, and curators to provide concise and comprehensible answers to complex questions' - Artnews'A must-read for anyone curious about the inner workings of the industry' - GalerieTable of ContentsPart I: WINTER – 1. A Studio Visit; 2. Fabricators; 3. Gallery Directors • PART II: SPRING – 4. Museum Directors; 5. Art Fairs; 6. Artist Estates; 7. Art Writers • PART III: SUMMER – 8. Curators; 9. Biennials; 10. Art Schools; 11. Art Online • PART IV: FALL – 12. Art Advisors; 13. Auctions; 14. Conservators; 15. Storage, Shipping and Handling
£16.96
Thames & Hudson The Practical Handbook for the Emerging Artist
Book Synopsis
£23.96
University of California Press Art and the Global Economy
Book SynopsisAnalyzes major changes in the global art world that have emerged in the last twenty years including structural shifts in the global art market; the proliferation of international art fairs, biennials and blockbuster exhibitions; and the internationalization of the scope of contemporary art.Trade Review"Anyone who cares about art or their community will gain insights for riding the tides of economic globalization from anywhere in the world." * YaleGlobal Online *Table of ContentsList of Illustrations Acknowledgments Introduction: Measuring the Economy of the Arts Emerging Art Center: Delhi Chhoti Rao PART ONE: MUSEUMS IN FLUX 1 * Museum Funding: Who Shapes Institutions? Emerging Art Center: Hong Kong Michelle Wong 2 * Museum Exhibitions in the Era of Globalization Emerging Art Center: Moscow Valentin Diaconov PART TWO: THE EXHIBITIONARY COMPLEX 3 * Biennials, or the New Terrains of Contemporary Art Emerging Art Center: Istanbul Emma Rogers 4 * The Art Fair: Cultural Tourism in a Pop-up Free-Trade Zone Emerging Art Center: Doha, Qatar Grace Murray PART THREE: ART AND THE GLOBAL MARKETPLACE 5 * The Global Gallerist: Eruptions in the Primary Market Emerging Art Center: Mexico City Mariana David 6 * Expansion and Diversification of Auction Houses Emerging Art City: Johannesburg Kai Lossgott 7 * The Art Market in the Margins Emerging Art Center The Contemporary Carioca Art Scene Lucia Cantero Conclusion: Collectivization and the New Geography of the Art World Works Cited Index
£21.25
Princeton University Press The Global Rules of Art
Book SynopsisTrade Review"Larissa Buchholz has written a magnificent account of the Global art market over the last half century. The book combines extensive, and highly nuanced, discussion of a wide range of relevant cultural theories, with an enormous amount of wonderfully researched data and studies of the Global art market and the relevant personnel including artists, curators, gallerists, art critics, art purchasers, and museum personnel. As a result, the book is an empirical and theoretical treasure."---David Halle, Social Forces"An amazingly rich study, with a high level of density, complexity, and nuance, a reference book for now and future generations."---Kitty Zijlmans, 21: Inquiries into Art, History, and the Visual
£25.50
Princeton University Press The Rare Art Traditions The History of Art
Book SynopsisTrade Review"This is a genuine and quirky book: It provokes ideas; it raises objections."---James R. Mellow, New York Times Book Review
£54.40
Princeton University Press Artemisia Gentileschi and the Business of Art
Book Synopsis
£49.50
Phaidon Press Ltd Collecting Art for Love Money and More
Book SynopsisThe first book to fully and candidly address the art of collecting fine art.Trade Review"A must read for anyone that is just starting their collecting journey!"—BMW Art Guide by Independent Collector's blog, 'Collector's Corner' "Impressive... captur[es] the thrill of collecting."—Aesthetica "Embraces the thrills, ups, downs and of course, advantageous aspects of collecting art... Thea and Ethan Wagner are your authors and amidst entertaining anecdotes and experiences they've had as huge art collectors for three decades, they explain how to navigate the art market and access the world of galleries, auction houses, art fairs and biennales... Definitely worth getting a copy... A great read for those interested in art in all forms."—BeautifulCrime.com "Comprehensive... Rich with anecdotes... A more diverting read than might be expected of a vade mecum to the art market... Written in a conversational tone that suggests the authors are experienced in putting others at their ease... The authors are to be applauded for their efforts to demystify the process... Reassuring to any readers making their first steps towards buying art."— The Art Newspaper, Frieze New York Daily Edition "New York-based art advisers Thea Westreich Wagner and Ethan Wagner have made a career out of cutting through the hype... They've penned a comprehensive new book that looks at every facet of collecting from the adrenaline rush of discovery to the challenges of figuring out [what] will still be valuable in 2025."—The Wall Street Journal " A how-to book... from two of the sharpest eyes in contemporary art... It would be hard to imagine two better-qualified guides for these choppy, sometimes disgusting, often ecstatic waters."—Jerry Saltz for New York Magazine "On one hand, a lively and accessible history of art collecting... On the other, it's something of a best practices guide for budding collectors."—Art in America "Wife-and-husband art advisers... offer an insider-y view of high-stakes art collecting and what motivates great collectors. Informal and chatty writing adds appeal."—Traditional Home "Provides intelligent, useful insight for art lovers, artists, and anyone curious about contemporary art and the art market... Through provocative, compelling photographs of contemporary art, art spaces, curators, and collectors, and descriptions of international art fairs, intimate gatherings with artists and curators and various ways to approach collecting... This smartly designed book gives readers a taste of the competition, passion, pitfalls, and glamour of the art world as experienced through a collector's unique viewpoint."—Publishers Weekly
£19.51
Penguin Books Ltd Breakfast at Sothebys
Book SynopsisBreakfast at Sotheby''s is a wry, intimate, truly revealing exploration of how art acquires its financial value, from Philip Hook, a senior director at Sotheby''s''Reading it is like participating in a hugely enjoyable personal tutorial given by a cultured, witty, clear-eyed, world teacher with a fully functioning sense of humour. A real delight'' - Spectator ''Hook''s view of the art world is that of the professional auctioneer. In an A-Z format, it is an entire art education contained in under 350 pages. Wry, dry and completely beguiling'' - William Boyd, Guardian, Books of the Year ''How to nail the mad, bad, crazy contemporary art world in print? Sotheby''s senior director Hook draws on 35 years'' experience in this informal memoir. He unravels, with humour, piquancy and erudition, what drives the economics of taste'' - Financial Times, Books of the Year ''It''s very hard to write an amusing book about art that has some serious things to say. But Philip Hook has done it'' - Sunday Times, Books of the Year ''An auctioneer''s alphabet of quirky reflections and off-beat lists such as ''middle-brow artists'' and ''fictional artists'': an ideal volume for the art-lover''s bedside'' - Martin Gayford, Spectator, Books of the Year ''His delightful Breakfast at Sotheby''s is a house sale of a book, a chance for him to clear out 35 years of memories as an art dealer and auctioneer, first at Christie''s and then Sotheby''s, a rival auction house'' - Economist Philip Hook is a director and senior paintings specialist at Sotheby''s. He has worked in the art world for thirty-five years during which time he has also been a director of Christie''s and an international art dealer. He is the author of five novels and two works of art history, including The Ultimate Trophy, a history of the Impressionist Painting. Hook has appeared regularly on television, from 1978-2003 on the BBC''s Antiques Roadshow.Trade ReviewHook's view of the art world is that of the professional auctioneer. In an A-Z format, it is an entire art education contained in under 350 pages. Wry, dry and completely beguiling -- William Boyd * Guardian, Books of the Year 2013 *An auctioneer's alphabet of quirky reflections and off-beat lists such as 'middle-brow artists' and 'fictional artists': an ideal volume for the art-lover's bedside -- Martin Gayford * Spectator, Books of the Year *How to nail the mad, bad, crazy contemporary art world in print? Sotheby's senior director Hook draws on 35 years' experience in this informal memoir. He unravels, with humour, piquancy and erudition, what drives the economics of taste * Financial Times, Books of the Year *It's very hard to write an amusing book about art that has some serious things to say. But Philip Hook has done it. It's more a kind of Lonely Planet guide, written from the perspective of an auctioneer. In places it's a hoot, but it's also very wise here and there, and refreshingly irreverent. Sir William Russell Flint, for example, "painted like Augustus John commissioned by Playboy magazine" * Sunday Times, Books of the Year *Reading it is like participating in a hugely enjoyable personal tutorial given by a cultured, witty, clear-eyed, world teacher with a fully functioning sense of humour. A real delight -- William Boyd * Spectator *
£10.44
Manchester University Press The Rise of the Modern Art Market in London
Book SynopsisThe first study of how the art market developed in London and made the city the capital of the international trade in art.Trade ReviewAndrew Stephenson contributes a gem of an essay, discussing the impact of social changes in the interwar period, the move of the prosperous middle classes into flats rather than houses, the rising demands of the newly independent single woman, and the way in which the art trade reacted to these demands.""This is an important book, distinguished both by its detailed scholarship and by the breadth of its contextual understanding.""Fletcher and Helmreich have opened many doors here, and one may hope that the art trade will join the currently favourite subject of Empire as a theme for fruitful academic research." -- .Table of ContentsIntroduction. The state of the field - Pamela Fletcher and Anne HelmreichI. Structures1. ‘Florid-looking speculators in Art and Virtu’: the London picture trade c.1850 - Mark Westgarth2. Shopping for art: the rise of the commercial art gallery, 1850s–90s - Pamela Fletcher3. The Goupil Gallery at the intersection between London, Continent and Empire - Anne Helmreich4. Marketing Post-Impressionism: Roger Fry’s commercial exhibitions - Anna Greutzner Robins5. Strategies of display and modes of consumption in London art galleries in the Inter-war years - Andrew StephensonII. Intersections6. The art press and the art market: the art of promotion - Julie F. Codell7. ‘The Call of Commerce’: The Studio magazine in the 1920s - Ysanne Holt8. Decorative politics and direct pictures: Hugh Lane and the global art market, 1900–15 - Morna O’Neill9. Matthew Smith, the Tate Gallery and the London art market - Alexandra MacGilpIII. Negotiations10. Millais in the marketplace: the crisis of the late Fifties - Malcolm Warner11. Branding the vision: William Holman Hunt and the Victorian art market -Brenda Rix12. Negotiating a reputation: J.M. Whistler, D.G. Rossetti and the art market 1860–1900 - Patricia de Montfort13. Home from home: some Australasian artists in London 1900–14 -Pamela Gerrish NunnBibliographyGlossaryIndex
£23.75
Pluto Press darkmatterartandpoliticsintheageofenterprisecultur
Book SynopsisShows that the elite of the art world are sustained by new forms and styles created by artists outside the mainstream.Trade Review'With great verve and urgency, Gregory Sholette explores the economics of contemporary art production in an era of neoliberalism, and outlines the promises and pitfalls of various tactics of resistance. Dark Matter is a salient call-to-arms to all cultural labourers.' -- Julia Bryan-Wilson, author of Art Workers: Radical Practice in the Vietnam War Era'The ultimate companion to contemporary activist art. In his exquisite and theoretically informed style Gregory Sholette investigates the problematic functions of art practices in the processes of neoliberal appropriation, but above all the wild, explosive and deterritorialising lines that are drawn in the dark matter between art and politics' -- Gerald Raunig is a philosopher and art theorist who lives in Vienna, Austria. He is the author of Art and Revolution'Masterfully illuminates the configurations, ideas, and behaviours of collectives dedicated to cultural resistance. Dark Matter is essential reading for anyone concerned with the fate of the avant-garde and the emergence of new possibilities in cultural production that suggest and create alternatives to global capitalism' -- Critical Art Ensemble'As both active participant and witness Greg Sholette sheds a welcome and overdue light on the dark matter of the so-called art world' -- Hans Haacke, artist'Focusing primarily on the anti-institutional, collective and politically critical artists that often willingly reject the light of the mainstream galleries and academies, Sholette both highlights a vast array of important contributors to art of the last decade and also challenges the ahistorical assumptions that ground the capitalist art market.' -- Paul B. Jaskot, Professor of Art History at DePaul University'An important and necessary intervention. Dark Matter is well placed to shift the debate on art's utility back within the domain of labour and value, where it has long been missing' -- Professor John Roberts, University of WolverhamptonTable of ContentsExordium: An Accidental Remainder Introduction: The Missing Mass 1. Art, Politics, Dark Matter: Nine Prologues 2. The Grin of the Archive 3. History That Disturbs the Present 4. Temporary Services 6. The Unnamable 7. Mockstitutions 8. Conclusions: Nights of Amateurs Notes Bibliography Appendix: Artists’ Groups Survey 2008 Index
£22.49
Pluto Press Dark Matter Art And Politics In The Age Of
Book SynopsisShows that the elite of the art world are sustained by new forms and styles created by artists outside the mainstream.Trade Review'With great verve and urgency, Gregory Sholette explores the economics of contemporary art production in an era of neoliberalism, and outlines the promises and pitfalls of various tactics of resistance. Dark Matter is a salient call-to-arms to all cultural labourers.' -- Julia Bryan-Wilson, author of Art Workers: Radical Practice in the Vietnam War Era'The ultimate companion to contemporary activist art. In his exquisite and theoretically informed style Gregory Sholette investigates the problematic functions of art practices in the processes of neoliberal appropriation, but above all the wild, explosive and deterritorialising lines that are drawn in the dark matter between art and politics' -- Gerald Raunig is a philosopher and art theorist who lives in Vienna, Austria. He is the author of Art and Revolution'Masterfully illuminates the configurations, ideas, and behaviours of collectives dedicated to cultural resistance. Dark Matter is essential reading for anyone concerned with the fate of the avant-garde and the emergence of new possibilities in cultural production that suggest and create alternatives to global capitalism' -- Critical Art Ensemble'As both active participant and witness Greg Sholette sheds a welcome and overdue light on the dark matter of the so-called art world' -- Hans Haacke, artist'Focusing primarily on the anti-institutional, collective and politically critical artists that often willingly reject the light of the mainstream galleries and academies, Sholette both highlights a vast array of important contributors to art of the last decade and also challenges the ahistorical assumptions that ground the capitalist art market.' -- Paul B. Jaskot, Professor of Art History at DePaul University'An important and necessary intervention. Dark Matter is well placed to shift the debate on art's utility back within the domain of labour and value, where it has long been missing' -- Professor John Roberts, University of WolverhamptonTable of ContentsExordium: An Accidental Remainder Introduction: The Missing Mass 1. Art, Politics, Dark Matter: Nine Prologues 2. The Grin of the Archive 3. History That Disturbs the Present 4. Temporary Services 6. The Unnamable 7. Mockstitutions 8. Conclusions: Nights of Amateurs Notes Bibliography Appendix: Artists’ Groups Survey 2008 Index
£68.00
Pluto Press From Printing to Streaming
Book SynopsisExplores the impact of digital technologies on the logic of cultural capitalismTrade Review'Chanan's rich historical investigations of the evolving technologies of artistic production provide a fascinating new basis for a politics of culture' -- Michael Hardt, author of 'The Subversive 70s''Drawing on nearly fifty years of writing and teaching about the media and making films, Michael Chanan presents us with a series overlapping histories of different media technologies, which is both authoritative and original' -- Julian Petley, Honorary and Emeritus Professor of Journalism at Brunel University, London'Michael Chanan's brilliant synthesis, replete with fascinating detail, both boggles the mind and deeply educates' -- Claudia Gorbman, Professor Emerita of Film Studies at the University of Washington TacomaTable of ContentsSeries Preface Preface 1. Autonomy of the Aesthetic 2. The Changing Logic of Artistic Production 3. Cultural Commodification 4. Countercurrents 5. From Analog to Digital 6. Creativity Reconsidered Bibliography Notes
£68.00
Pluto Press From Printing to Streaming
Book SynopsisExplores the impact of digital technologies on the logic of cultural capitalismTrade Review'Chanan's rich historical investigations of the evolving technologies of artistic production provide a fascinating new basis for a politics of culture' -- Michael Hardt, author of 'The Subversive 70s''Drawing on nearly fifty years of writing and teaching about the media and making films, Michael Chanan presents us with a series overlapping histories of different media technologies, which is both authoritative and original' -- Julian Petley, Honorary and Emeritus Professor of Journalism at Brunel University, London'Michael Chanan's brilliant synthesis, replete with fascinating detail, both boggles the mind and deeply educates' -- Claudia Gorbman, Professor Emerita of Film Studies at the University of Washington TacomaTable of ContentsSeries Preface Preface 1. Autonomy of the Aesthetic 2. The Changing Logic of Artistic Production 3. Cultural Commodification 4. Countercurrents 5. From Analog to Digital 6. Creativity Reconsidered Bibliography Notes
£17.99
University Press of America Ethical Theories and Moral Narratives in Art A
Book SynopsisThis book is a practical study of the forest industrial complex composed in analogical narratives of prosaic discourse and poetic themes presented in a gallery tour through the corporate moral forest. Its focus is on the changing of management by objectives policies to management by ethics philosophies and managing moralities.Trade ReviewFr. Richard H. Guerrette founded EquiPax Gallery and Retreat Center in Newport, Vermont. This gallery is devoted to works that promote an environmental sensitivity in a corporate industrial economy. -- Marci Whitney-Schenck, Founder and Editor of Christianity and the ArtsRichard Guerrette seems to be on the real cutting edge of helping the scholarly community redefine and understand a number of important issues in the area of corporate ethics. -- Christopher Reaske, associate dean of Yale Divinity School and associate director of Corporate and Foundation Relations, Yale UniversityTable of ContentsAesthetic Acknowledgements The Mission of the Equipax Art Gallery THE EQUIPAX GALLERY COLLECTION THE LOWER GALLERY THE UPPER GALLERY Academic Epilogue Appendix A: The God Who Planted Seeds Appendix B: The Woman Who Mourns For Trees and Ecological Immorality Appendix C: Archetypal Poetry and Architectural Literacy Appendix D: Sculptural Artistry and Mystical Poetry Conclusion: Sexuality and Eternal Ecstasies Personal Historical Epilogue: Liturgical Arts and Historical Memories Pastoral Historical Epilogue: An Artistic Model of the Paleontological Ministry Of References Gallery Artists’ Profiles Author and Artist Theme Index
£75.59
Schiffer Publishing Ltd Artists Write to Work
Book Synopsis
£14.39
University of British Columbia Press Incorporating Culture
Book SynopsisIncorporating Culture examines what happens when Indigenous people assert control over the commercialization of their art by instilling the market with their communities’ values.Trade Review[Incorporating Culture] will resonate with those interested in the confluence of Indigenous artware and tourist souvenir markets throughout the world. [...] All readers will benefit from time spent with this well-told story of cultural adaptation and change, particularly because it refutes notions of Indigenous erasure and, instead, emphasises Indigenous resiliency. -- Thomas McIlwraith * Anthropologica *Incorporating Culture: How Indigenous People are Reshapingthe Northwest Coast Art Industry takes a fresh look at Northwest Coast art through the exploration of economic, legal, and social issues. -- Carolyn Butler-Palmer * RACAR *Table of ContentsIntroduction: (Giving) Back to “the way it should be”1 A Controversial Industry2 Expansion | Protection3 Globalization | Localization4 Property and Contracts | Stewardship and Relationality5 Accumulation | RedistributionConclusion: Indigenous Sovereignty and the Sustainability of Culturally Modified CapitalismNotesBibliographyIndex
£570.93
Johns Hopkins University Press William and Henry Walters the Reticent Collectors
Book SynopsisRichly illustrated with black-and-white photographs and sixteen pages of full color, this book will fascinate anyone interested in Baltimore history, the history of museums and art collecting in America, and the art and culture of nineteenth-century America.Trade ReviewAn excellent portrait of the father and son who assembled the [Walters Art Gallery] collection and turned it over to the people of Baltimore and the world... Johnston skillfully handles both the complex business transactions of the Walters family and their varied interests in both the art of their day and in historical collecting. Highly recommended. Library JournalTable of ContentsList of IllustrationsPreface AcknowledgementsChapter 1. The Early Years, 1819–1861Chapter 2. The Years Abroad, 1861–1865Chapter 3. The Postwar Recovery, 1866–1884Chapter 4. The Years of Fruition, 1884–1894Chapter 5. The Son Succeeds His Father, 1894–1909Chapter 6. The Walters Gallery, 1909–1919Chapter 7. The Final Years, 1919–1931Chapter 8. PostscriptAppendixNotesIndex
£49.73
Getty Trust Publications The Index of Paintings Sold in the British Isles
Book SynopsisThis work, covering the years 1816-1820, makes the contents of some of the tens of thousands of sales catalogues published during the 19th century accessible to scholars. Information provided includes sales dates and lot numbers, prices and names of buyers and sellers, and locations of auctions.
£121.50
Te Papa Press Peter McLeavey The Life and Times of a New
Book SynopsisFrom Montana award-winning author Jill Trevelyan comes the first biography of Peter McLeavey, the charismatic, pioneering art dealer who since the 1960s has shaped - even transformed - New Zealand art. McLeavey''s personal story is remarkable, but his contemporaries will recognise common themes: the religious upbringing, the struggle to be bohemian in repressive mid-century small town New Zealand, the challenges of marriage and fatherhood, the dilemma of whether to stay or leave New Zealand, and the need to make a mark. Through exclusive access to McLeavey''s extensive and hitherto untapped archive of letters, diaries, exhibition files and more, this book offers insights into the artists McLeavey has represented across half a century. Here, in their own words - lively, salty, and often heart-breaking - are Colin McCahon, Toss Woollaston, Len Lye, Milan Mrkusich, Bill Hammond, Gordon Walters, Michael Illingworth, Robin White, Richard Killeen, John Reynolds, Yvonne Todd and many more. Far more than a simple biography, this is the big story of contemporary New Zealand art itself, in a period of massive change and growth, and Trevelyan offers an utterly fresh and compelling historical account of the birth of the modern art market and the status of art today. A must-read for anyone interested in New Zealand''s art, culture or recent history.
£37.49
£13.30
HENI Publishing Groovy Bob
Book SynopsisAcclaimed on first publication, 'Groovy Bob' is the cult biography of hedonistic gallery owner Robert Fraser and a dazzling evocation of 1960s culture and counter-culture. Taste-maker, heroin addict and promiscuous homosexual, Fraser astonished London with the artists he introduced, including Warhol, Blake, Haring, Oldenburg and Basquiat.Trade Review"A fascinating slice of social history." --Lucretia Stewart, "Los Angeles Times Book Review" "More than any other figure I can think of, Robert Fraser personifies the Sixties as I remember them." --Paul McCartney
£9.00
Edward Elgar Publishing Ltd Cases on Arts Entrepreneurship
Book SynopsisTrade Review‘Cases on Arts Entrepreneurship represents a significant and successful step in this emerging field’s curricular options. In addition to representing a variety of arts disciplines, Tonelli and Heise’s editorial efforts are first rate – as are the cases themselves. This is a book all arts entrepreneurship educators should use in the classroom. I certainly will.’ -- — Gary Beckman, North Carolina State University, USTable of ContentsContents: Foreword xii Acknowledgements xv Introduction to Cases on Arts Entrepreneurship xvi Mark Tonelli and Andrew Heise 1 Belltower Coffeehouse & Studio: negotiating hybrid value creation in a dual-mission arts venture 1 Josef Hanson 2 Fayetteville Roots 15 Adrienne Callander, Kristie Moergen, Rachel Sullivant, and Stacie Burley 3 Astrid von Ussar: a profile in dance innovation and evolution 28 Stacey Tirro 4 The Metropolitan Players: the search for a unique value proposition 44 Drew X. Coles 5 Margo Jones: bridging divides to craft a hybrid logic for theater in the US 56 Diane Ragsdale 6 Joe Von Battle and Joe’s Record Shop 80 Jeremy J. Peters 7 A normal southern boy: anything but … 100 Roger Bennett Riggle Jr 8 Beau Bledsoe: shifting revenue streams in a guitarist’s portfolio career 120 Diane R. Scott 9 A student-run media firm: learning from failures 133 Jessa Wilcoxen 10 Shelter Music Boston: a sustainable business model for community engagement work 147 Jeffrey Nytch 11 Beth Morrison Projects: ambitious vision urges opera forward 157 Hannah Grannemann 12 Jason Harrod, singer-songwriter: minding the motivational mix 179 Kathryn L. Brown 13 Michael Devine: acting like the police 194 Antoinette Doherty 14 Conclusion: a bird’s eye view of arts entrepreneurship cases 206 Mark Tonelli and Andrew Heise Index
£28.45
John Wiley & Sons Inc A Graphic Design Students Guide to Freelance
Book SynopsisA complete guide to freelance graphic design?created specifically for design students Why wait until you graduate? Freelancing is a great way to jumpstart your career in graphic design. It lets you apply what you''ve been learning in school, close the gaps in your education with real-world experience, enhance your portfolio?and make a little money at the same time. A Graphic Design Student''s Guide to Freelance: Practice Makes Perfect covers everything you need to know to begin successfully freelancing as a designer, including how to set up your business, deal with legal and financial issues, find clients, and work with them effectively. This full-color guide is divided into sections that correspond to your particular skill level as a student?beginner, intermediate, or advanced. These sections give you specific tasks and goals to help your freelance design work go smoothly as you progress from your very first professional job to gain experience witTable of ContentsAccessing Digital Files Online vii Preface ix Acknowledgments xiii GENERAL INFORMATION 1. INTRODUCTION 1 Filling in the Gaps in Your Education 2 What Is Freelance? 4 Don’t Wait until You Graduate 4 About This Book 6 2. WHY SHOULD YOU FREELANCE? 9 Balancing Creativity and Commerce 9 Escaping the Project Mode Mentality 10 Working for Money 18 Working for Trade. 23 Enhancing Your Portfolio 24 Learning to Fail 25 Experience the Thrill of Owning a Business 27 3. PLANNING YOUR BUSINESS 29 Writing a Business Plan 30 Performing a SWOT Analysis 31 Identifying External Factors 39 4. I HAVE A BUSINESS PLAN. NOW WHAT? 43 Choosing a Business Name 43 Talk to a CPA and Fill Out Your LLC Paperwork 49 Apply for an Employer Identifi cation Number 50 Opening a Business Checking Account 52 Getting a Business License 53 BEGINNER LEVEL 5. THERE’S A FIRST TIME FOR EVERYTHING 55 Goals for Beginning Freelancers 55 Equipment to Purchase 56 How Do You Find Your First Client? 60 What Type of Work Should You Do? 61 Writing a Contract 68 Understanding What’s in Your Contract 70 Meeting Your Client 76 Creating Sketches and Concepts 78 Showing Your Client Your Concepts 82 Delivering Your Proof 83 Delivering the Final Product 86 Sending an Invoice 88 Lather, Rinse, Repeat 88 INTERMEDIATE LEVEL 6. GAINING MOMENTUM 91 Goals for Intermediate Level Freelancers 91 Equipment to Purchase 92 How Do You Find Clients? 96 What Type of Work Should You Do? 109 Establishing an Internal Work-Flow System 116 Creating a Master Client List 116 Creating a Master Job Tracking List 117 Tracking Your Jobs 118 Archiving Your Work 120 Creating a Business Card 123 Working with Vendors 127 Managing Your Time 130 Documenting Your Process Work 131 Finding an Internship 137 Ethical Considerations 138 ADVANCED LEVEL 7. STRETCHING YOUR WINGS 145 Goals for Advanced Level Freelancers 145 Equipment to Purchase 146 Types of Clients You Should Work With 151 Creating a Web Presence for Your Company 156 Planning for What Comes After School 158 Choosing the Right Portfolio for the Job 159 Choosing the Right Portfolio Pieces 165 Creating a Monthly Budget 171 Creating a PDF Portfolio 173 Submitting a PDF Portfolio 174 What to Say in Your Letter of Interest 175 LANDING A JOB 8. MOVING FORWARD 181 Getting a Job 181 Writing a Resume 183 Preparing for an Interview 191 Negotiating an Offer 200 Tips from Professionals 202 EPILOGUE 9. EPILOGUE 211 Looking Back on Your Experience 211 Resources 215 Index 221
£56.00
Bloomsbury Publishing PLC Ellen Emmet Rand
Book SynopsisEllen Emmet Rand (1875-1941) was one of the most important and prolific portraitists in the United States in the first decades of the 20th century. She negotiated her career, reputation, family, and finances in modern and commercially savvy ways, revealing the complex negotiations needed to balance these competing pressures. Engaging with newly available archival documents and featuring scholars with radically different approaches to visual culture, this book not only seeks to interrogate the meaning of Rand's portraits and her career, but indeed to rethink gender, art, race, business, and modernism in the 20th century.Trade ReviewBoasting a stellar interdisciplinary lineup of scholars covering everything from body politics to market analysis, this collection brilliantly accomplishes its aim of ‘rewilding’ Rand into the art-historical landscape and doing full justice to the complexities of her art and life. * Sarah Burns, Professor Emeritus of Art History, Indiana University, Bloomington, USA *In this invaluable exploration of Rand’s art and career, Boylan and her co-contributors critically mine an array of archival material, while attending closely to her portraits. Situating her personal aesthetic and patronage in a broader socio-economic context, they reveal why Rand matters then and now. * Sylvia Yount, Lawrence A. Fleischman Curator In Charge of the American Wing, The Metropolitan Museum of Art, USA *Table of ContentsList of Plates List of Figures Series Editor’s Introduction Acknowledgements Introduction, The Rewilding of Ellen Emmet Rand, Alexis L. Boylan (University of Connecticut, USA) Part 1: Crafting a Career 1. Ellen Emmet Rand’s Self-Portrait: Picturing the Professional Body, Betsy Fahlman (Arizona State University, USA) 2. Among Women, between Men: Launching a Career, 1896-1900, Elizabeth Lee (Dickinson College, USA) 3. People, Places, Prizes, and Prices, Susan Spiggle (University of Connecticut, USA) Part 2: Working the Scene 4. The Power of Profile: Ellen Emmet Rand and Augustus Saint-Gaudens, Thayer Tolles (The Metropolitan Museum of Art, USA) 5. Work What You’ve Got: The Contrasting Careers of Tade Styka and Ellen Emmet Rand, William Ashley Harris (Franklin D. Roosevelt Presidential Library, USA) 6. Artist and Amazon: The Sporting Paintings of Ellen Emmet Rand, Claudia P. Pfeiffer (National Sporting Library & Museum, USA) Part 3: Shifting Bodies 7. Hide and Seek: Ellen Emmet Rand, Childhood and US Art Study in France, c. 1898, Emily C. Burns (Auburn University, USA) 8. Ellen Emmet Rand, Bourgeois Portraiture, and the Disruption of Ideological Fantasy, Christopher Vials (University of Connecticut, USA) 9. Painting the President: The Body Politics of Ellen Emmet Rand’s Franklin D. Roosevelt Portraits, Emily M. Mazzola (University of Pittsburgh, USA) Bibliography Author Biographies Index
£34.06
Bloomsbury Publishing PLC British Art of the Long 1980s
Book SynopsisThe sculptural history of the long 1980s has been dominated by New British Sculpture and Young British Artists. Arguing for a more expansive history of British sculpture and its supporting infrastructures, these twenty-three vivid and enthralling interviews with artists, curators, dealers and facilitators working then demonstrate the interconnected networks, diversity of ideas and practices, energy, imagination and determination that transformed British art from being marginal to internationally celebrated. With a substantial introduction, this timely volume provides valuable new insights into the education, work, careers, studios, infrastructures and exhibitions of the artists and facilitators, substantially enlarging our understanding of the era.Trade ReviewThrough twenty-three thoughtful interviews, Imogen Racz’s book surveys the legacies, wit, and energy of British art in the 1980s. The reflections of artists and producers narrate how this decade formed new networks and, importantly, how artists started to democratise art in Britain. * Lisa Le Feuvre, Executive Director, Holt/Smithson Foundation, USA *This immensely readable collection of interviews sheds light on an overlooked decade. Racz’s warm yet incisive questioning elicits enlightening responses, from astute analyses of individual practices to contextual reflections. A vibrant scene emerges, one fuelled by the actions of a wider network of protagonists than is often acknowledged. * Natalie Rudd, Senior Curator, Arts Council Collection, UK *This fascinating and important book re-examines and reframes the narrative of British sculpture in the 1980s, a decade that saw seismic changes as British artists began to be internationally recognised and exhibited. Racz’s interviewees include many of the leading artists, curators and facilitators of the time and their testimony is a vivid record of what it was like to live and work as an artist and of how this changed in the course of the decade and beyond. The difficulties faced by women artists, not only as a result of prejudice but also owing to complex debates about the representation of the female body, come through strongly. The book is particularly engaging when artists speak about their working methods, the sources of their ideas and the experience of making. For all the financial and other limitations of the decade, the reader has the impression that this was a time of freedom, the burgeoning of ideas and a joy in making. The book is essential reading for scholars of this period of art history and will also appeal to anyone interested in the development of art practice in the UK. * Patricia Townsend, artist, psychoanalytic psychotherapist and author of Creative States of Mind: Psychoanalysis and the Artist’s Process (2019) *Imogen Racz’s timely and important account of British Art of the Long 1980s unsettles easy narratives of an era recent enough to be part of living memory but long enough ago to enable reflective contemplation. Caught at a moment when the memory of this era threatens to disappear (two of her interviewees are no longer with us), Racz’s book is crafted around a series of vivid, enthralling and sometimes surprisingly candid interviews. By slightly lengthening the timespan and, most revealingly, talking to practitioners, curators, dealers and facilitators who were enmeshed in this history, Racz’s account allows a subtle realignment of the usual co-ordinates. Rather than explode the myths of “New British Sculpture” or the “YBAs”, she reveals underlying connections in the networks of the time and repositions sculpture and object-based practices allowing a more complexly connected history to be revealed. * Joy Sleeman, Professor of Art History and Theory, UCL Slade School of Fine Art, UK *Table of ContentsList of Illustrations Acknowledgements Introduction Rasheed Araeen, Artist, curator and writer Susan Hiller, Artist Robin Klassnik, Artist and Director of Matt’s Gallery Bill Woodrow, Artist Alison Wilding, Artist Jacqui Poncelet, Artist Richard Deacon, Artist Katherine Gili, Artist Nicholas Pope, Artist Roger Malbert, Art Officer at the Arts Council, then Head of Hayward Gallery Touring Jonathan Harvey, Co-founder and Chief Executive of Acme Studios Mikey Cuddihy, Artist Kate Blacker, Artist Richard Wilson, Artist Antonia Payne, Director of Ikon Gallery, 1981 to 1988 Hilary Gresty, Curator of Kettle’s Yard 1983 to 1989 Veronica Ryan, Artist Langlands & Bell (Ben Langlands and Nikki Bell), Artists Cathy de Monchaux, Artist Laura Ford, Artist James Lingwood, Curator, then Co-director of Artangel Karsten Schubert, Art Dealer Abigail Lane, Artist Afterword Index
£110.00
Bloomsbury Publishing PLC British Art of the Long 1980s
Book SynopsisThe sculptural history of the long 1980s has been dominated by New British Sculpture and Young British Artists. Arguing for a more expansive history of British sculpture and its supporting infrastructures, these twenty-three vivid and enthralling interviews with artists, curators, dealers and facilitators working then demonstrate the interconnected networks, diversity of ideas and practices, energy, imagination and determination that transformed British art from being marginal to internationally celebrated. With a substantial introduction, this timely volume provides valuable new insights into the education, work, careers, studios, infrastructures and exhibitions of the artists and facilitators, substantially enlarging our understanding of the era.Trade ReviewThrough twenty-three thoughtful interviews, Imogen Racz’s book surveys the legacies, wit, and energy of British art in the 1980s. The reflections of artists and producers narrate how this decade formed new networks and, importantly, how artists started to democratise art in Britain. * Lisa Le Feuvre, Executive Director, Holt/Smithson Foundation, USA *This immensely readable collection of interviews sheds light on an overlooked decade. Racz’s warm yet incisive questioning elicits enlightening responses, from astute analyses of individual practices to contextual reflections. A vibrant scene emerges, one fuelled by the actions of a wider network of protagonists than is often acknowledged. * Natalie Rudd, Senior Curator, Arts Council Collection, UK *This fascinating and important book re-examines and reframes the narrative of British sculpture in the 1980s, a decade that saw seismic changes as British artists began to be internationally recognised and exhibited. Racz’s interviewees include many of the leading artists, curators and facilitators of the time and their testimony is a vivid record of what it was like to live and work as an artist and of how this changed in the course of the decade and beyond. The difficulties faced by women artists, not only as a result of prejudice but also owing to complex debates about the representation of the female body, come through strongly. The book is particularly engaging when artists speak about their working methods, the sources of their ideas and the experience of making. For all the financial and other limitations of the decade, the reader has the impression that this was a time of freedom, the burgeoning of ideas and a joy in making. The book is essential reading for scholars of this period of art history and will also appeal to anyone interested in the development of art practice in the UK. * Patricia Townsend, artist, psychoanalytic psychotherapist and author of Creative States of Mind: Psychoanalysis and the Artist’s Process (2019) *Imogen Racz’s timely and important account of British Art of the Long 1980s unsettles easy narratives of an era recent enough to be part of living memory but long enough ago to enable reflective contemplation. Caught at a moment when the memory of this era threatens to disappear (two of her interviewees are no longer with us), Racz’s book is crafted around a series of vivid, enthralling and sometimes surprisingly candid interviews. By slightly lengthening the timespan and, most revealingly, talking to practitioners, curators, dealers and facilitators who were enmeshed in this history, Racz’s account allows a subtle realignment of the usual co-ordinates. Rather than explode the myths of “New British Sculpture” or the “YBAs”, she reveals underlying connections in the networks of the time and repositions sculpture and object-based practices allowing a more complexly connected history to be revealed. * Joy Sleeman, Professor of Art History and Theory, UCL Slade School of Fine Art, UK *Table of ContentsList of Illustrations Acknowledgements Introduction Rasheed Araeen, Artist, curator and writer Susan Hiller, Artist Robin Klassnik, Artist and Director of Matt’s Gallery Bill Woodrow, Artist Alison Wilding, Artist Jacqui Poncelet, Artist Richard Deacon, Artist Katherine Gili, Artist Nicholas Pope, Artist Roger Malbert, Art Officer at the Arts Council, then Head of Hayward Gallery Touring Jonathan Harvey, Co-founder and Chief Executive of Acme Studios Mikey Cuddihy, Artist Kate Blacker, Artist Richard Wilson, Artist Antonia Payne, Director of Ikon Gallery, 1981 to 1988 Hilary Gresty, Curator of Kettle’s Yard 1983 to 1989 Veronica Ryan, Artist Langlands & Bell (Ben Langlands and Nikki Bell), Artists Cathy de Monchaux, Artist Laura Ford, Artist James Lingwood, Curator, then Co-director of Artangel Karsten Schubert, Art Dealer Abigail Lane, Artist Afterword Index
£24.69
Bloomsbury Publishing PLC Material Literacy in 18thCentury Britain
Book SynopsisThe 18th century has been hailed for its revolution in consumer culture, but Material Literacy in Eighteenth-Century Britain repositions Britain as a nation of makers. It brings new attention to 18th-century craftswomen and men with its focus on the material knowledge possessed not only by professional artisans and amateur makers, but also by skilled consumers. This book gathers together a group of interdisciplinary scholars working in the fields of art history, history, literature and museum studies to unearth the tactile and tacit knowledge that underpinned fashion, tailoring and textile production. It invites us into the workshops, drawing rooms and backrooms of a broad range of creators, and uncovers how production and manual knowledge extended beyond the factories and machines which dominate industrial histories.This book illuminates, for the first time, the material literacies learnt, enacted and understood by British producers and consumers. The skills required for sewingTrade ReviewThis collection adds significant depth to consumer-focused histories of the eighteenth century, providing a valuable model of material literacy for future scholars. It challenges entrenched boundaries between producers and consumers, and moves our understanding of engagement with the material world beyond the shop counter to the varied and multiple spaces in which it might take place. This forms a vital step forward in histories of consumption, but the volume is of broader significance for scholars of the eighteenth century and beyond as it also speaks powerfully to gender and status hierarchies of knowledge, print culture, commerce, and colonial entanglements. * Cultural and Social History *This book has much to recommend to anyone interested in the material culture of the eighteenth century. Individual chapters and groups of chapters will also make fascinating reading for scholars interested in the place of reconstruction in academic work, the status of craft and craft knowledge in Britain (and elsewhere), the textile, clothing and furnishing trades, shopping, and visual culture. * Journal of Dress History *[Material Literacy in 18th-Century Britain] is a beautifully illustrated, multi-perspective volume that will be essential reading for anyone working on material culture. * Women's Studies Group *Material Literacy brings together a wealth of experienced and emerging talent that demonstrates the vitality and range of material culture studies and points to a vibrant future for further work […] That eighteenth-century Britain was a “nation of makers” is unquestionably demonstrated within this volume. […] With the range of essays and the diversity of expertise evident within them, Material Literacy will surely become a central and critical piece for readers and scholars at all levels who are interested in material culture studies. * Eighteenth-Century Fiction *Table of ContentsList of Figures List of Tables Notes on Contributors Acknowledgements 1. Introduction, Serena Dyer (De Montfort University, UK) and Chloe Wigston Smith (University of York, UK) 2. ‘Work’d pockets to my entire satisfaction’: Women and the Multiple Literacies of Making, Ariane Fennetaux (University of Paris, France) 3. Needlework Verse, Crystal B. Lake (Wright State University, USA) 4. Domestic Crafts at the School of Arts, Chloe Wigston Smith (University of York, UK) 5. ‘To Embroider what is Wanting’: Making, Consuming and Mending Textiles in the Lives of the Bluestockings, Nicole Pohl (Oxford Brookes University, UK) 6. Material Literacies of Home Comfort in Georgian England, Jon Stobart (Manchester Metropolitan University, UK) 7. Stitching and Shopping: The Material Literacy of the Consumer, Serena Dyer (De Montfort University, UK) 8. Stitching the It-Narrative in The History and Adventures of a Lady’s Slippers and Shoes, Alicia Kerfoot (SUNY Brockport, USA) 9. Making, Measuring and Selling in Hampshire: The Provincial Tailor’s Accounts of George and Benjamin Ferrey, Sarah Howard (Independent Scholar, UK) 10. Gendered Making and Material Knowledge: Tailors and Mantua-Makers, c. 1760–1820, Emily Taylor (National Museums Scotland, UK) 11. Dress and Dressmaking: Material Evolution in Regency Dress Construction, Hilary Davidson (University of Sydney, Australia) 12. Fancy Feathers: The Feather Trade in Britain and the Atlantic World, Elisabeth Gernerd (Historic Royal Palaces, UK) 13. Tomahawks and Scalping Knives: Manufacturing Savagery in Britain, Robbie Richardson (University of Kent, UK) 14. The Lady Vanishes: Madame Tussaud’s Self Portrait and Material Legacies, Laura Engel (Duquesne University, USA) 15. Learning to Craft, Beth Fowkes Tobin (University of Georgia, USA) Select Bibliography Index
£23.39
Bloomsbury Publishing PLC Reframing Japonisme
Book SynopsisJaponisme, the 19th-century fascination for Japanese art, has generated an enormous body of scholarship since the beginning of the 21st-first century, but most of it neglects the women who acquired objects from the Far East and sold them to clients or displayed them in their homes before bequeathing them to museums. The stories of women shopkeepers, collectors, and artists rarely appear in memoirs left by those associated with the japoniste movement. This volume brings to light the culturally important, yet largely forgotten activities of women such as Clémence d'Ennery (182398), who began collecting Japanese and Chinese chimeras in the 1840s, built and decorated a house for them in the 1870s, and bequeathed the Musée d'Ennery to the state as a free public museum in 1893. A friend of the Goncourt brothers and a 50-year patron of Parisian dealers of Asian art, d'Ennery's struggles to gain recognition as a collector and curator serve as a lens through which to examine the collecting anTrade ReviewAs Japonisme studies grow, Elizabeth Emery’s Reframing Japonisme will gain adherents owing to the meticulous way the author has researched the field to open new insights on women’s role in promoting Japanese art and culture. Her detailed detective work demonstrates that women increased the availability of Japanese objects as they established collections and museums. This pioneering book will be used for years to come by those involved in expanding the parameters of the Japonisme movement in France. * Gabriel P. Weisberg, Professor Emeritus, University of Minnesota, USA and Managing Editor, Journal of Japonisme *Emery unearths references new even to specialist scholars and her analysis of familiar images and texts reveals new, and completely compelling, insights. This book will fundamentally change the study of Japonisme. It is a huge accomplishment. * Christopher Reed, The Pennsylvania State University, USA and author of Bachelor Japanists: Japanese Aesthetics and Western Masculinities *Reframing Japonisme’s aim is to credit Gisette for her considerable, if unusual, success as a collector and thereby revitalize the story of japonisme and Japanese art collecting in the 19th century. Its tight storytelling and dissection of myopic narratives embedded in historical canons make the truism that “women’s history is just history” apply just as much to the art world as anywhere else. * Asian Review of Books *“Through inexhaustible detective work […] Emery brings new perspectives to light that convincingly allow her to reframe Japonisme and the nature of the Asian art market in nineteenth-century France [in] an important and eye-opening contribution to the history of Japonisme and gender studies.” * Helena Kåberg, Journal of Design History *Table of ContentsList of Illustrations Acknowledgments Series Editor’s Introduction Introduction 1. “Come on up and see my Monsters”: Chinoiseries, Japonaiseries, and the Musée d’Ennery 2. The Market for Asian Collectibles in Nineteenth-Century Paris: From Department Store to Museum 3. Vitrines: From Drawing Room to Exhibit Hall and Museum 4. The Musée d’Ennery: The Reception of a Woman’s Museum in the Parisian Press (1893–1908) Conclusion Bibliography Index
£24.69
Bloomsbury Publishing PLC Pioneers of the Global Art Market
Book SynopsisBy the turn of the 20th century, Paris was the capital of the art world. While this is usually understood to mean that Paris was the center of art production and trading, this book examines a phenomenon that has received little attention thus far: Paris-based dealers relied on an ever-expanding international network of peers. Many of the city''s galleries capitalized on foreign collectors'' interest by expanding globally and proactively cultivating transnational alliances. If the French capital drew artists from around the worldfrom Cassatt to Picassothe contemporary-art market was international in scope. Art dealers deliberately tapped into a growing pool of discerning collectors in northern and eastern Europe, the UK, and the USA. International trade was rendered not just desirable but necessary by the devastating effects of wars, revolutions, currency devaluation, and market crashes which stalled collecting in Europe.Pioneers of the Global Art Market assembles original scholaTrade ReviewWithout losing touch with the intimate, collaborative relationship of artist and dealer, Pioneers of the Global Art Market dissects the market for modern art to reveal the complex transactional networks that spanned the globe from the middle of the nineteenth century to the middle of the twentieth. In a series of authoritative studies, authors address central players in the market for contemporary European art, such as Paul Durand-Ruel and Daniel-Henry Kahnweiler, as well as less well-known figures like Paul Guillaume, whose cultivation of ties with French colonial officials opened markets for African art in Europe and America. * Michael FitzGerald, Professor of Fine Arts, Trinity College, USA *Through its emphasis on dealers’ strategies, working in cooperation across national borders, this wide-ranging collection of essays makes an original and significant contribution to our knowledge of the processes through which art from France came to dominate the international canon of modern art. * Malcolm Gee, Visiting Fellow, Department of Arts, Northumbria University, UK *Drawing together an international team of scholars working across an impressive range of archival materials, this volume offers fresh and compelling analyses of the role of the art dealer in fostering the market for contemporary art produced in Paris c. 1850-1950, as well as the arts of Africa prized by modernists, revealing how dealers wove a transnational web of relations to create and sustain demand and value for this new art. For anyone interested in the fate of modernist art or strategies that have powered the global art market, this book is a must read. * Anne Helmreich, Associate Director, Getty Foundation, USA *The art market is not only driven by visionary dealers, it also relies on highly active networks that evolved in the course of an increasingly international exchange. Contrary to widespread assumptions, such networks are not a recent phenomenon: Pioneers of the Global Art Market unites a superb selection of engrossing case studies on how, between 1850 and 1950, dealers and other players in the art world forged and strengthened increasingly far-reaching personal and business connections. The volume’s intelligent focus on Paris—then the pre-eminent hub for the trade in avant-garde art—leads to particularly revealing insights into the market’s complex nervous system. As such, this highly stimulating book provides an excellent point of departure for a deeper understanding of the history of globalization. * Johannes Nathan, Chair, The International Art Market Studies Association (TIAMSA) *Dealer-centered, [this book] places diminished emphasis on overarching historical, national, social and critical structures that frame and inform the context of modern art. * Giovanna L. Costantini, Leonardo Reviews *[Pioneers of the Global Art Market] places a fresh emphasis on pragmatic, tactical, sometimes ad hoc cooperation between dealers, in particular across national borders. * Marie Tavinor, Review, The Society for the History of Collecting *Table of ContentsList of Plates List of Figures Series Editor’s Introduction Acknowledgements 1. Introduction: Pioneers of the Global Art Market: Paris-Based Dealer Networks, 1850-1950, Christel H. Force (The Metropolitan Museum of Art, USA) 2. Parisian Dealers and the American Market, 1860–1920, Paolo Serafini (Sapienza Universita di Roma, Italy), translated by Angelica Modabber 3. Old and New Worlds: Durand-Ruel and the International Market for Impressionism, Jennifer A. Thompson (Philadelphia Museum of Art, USA) 4. Moving Mountains: Paris-Based Dealers and the Economics of Translocation, David M. Challis (Melbourne University, Australia) 5. Daniel-Henry Kahnweiler’s International Partnerships, 1907-1937, Vérane Tasseau (Independent Scholar, France), translated by Celia Abele 6. Promoting Modernism in the 1920s: The Art Journals of Paul Guillaume, Léonce Rosenberg, and Alfred Flechtheim, Ambre Gauthier (Marc Chagall Foundation, Paris, France) 7. Paul Guillaume, Marius de Zayas and African Arts: A Transatlantic Partnership, 1914–1923, Yaëlle Biro (The Metropolitan Museum of Art, USA) 8. The Thannhauser Galleries: Forming International Alliances in an Era of Change, Valerie Nikola Ender (University of Cologne, Germany) 9. “A Viking sailing over the savage sea, far, far to the north”: Walther Halvorsen, Christel H. Force (The Metropolitan Museum of Art, USA) 10. When French Dealers “Turned their Eyes Towards Scandinavia”: The Svensk-Franska Konstgalleriet in Stockholm, Christina Brandberg (University of Loughborough, UK) 11. The Galerie Paul Rosenberg and the American Market in the Interwar Era, MaryKate Cleary (New York University, USA) 12. International Dealer Networks and the Market for Impressionism in London and Glasgow: Etienne Bignou, A.J. McNeill Reid, and Ernest Lefèvre, Frances Fowle (University of Edinburgh, UK) 13. Etienne Bignou: The Gallery as Antechamber of the Museum, Christel H. Force (The Metropolitan Museum of Art, USA) 14. Capricious Cohorts: René Gimpel’s Associates, Rivals, and Patrons Diana J. Kostyrko (Australian National University, Australia) 15. Valentine Dudensing and the Valentine Gallery: Selling the US on the School of Paris, Julia May Boddewyn (Independent Scholar, USA) 16. Conclusion, Veronique Chagnon-Burke (Christie’s Education, New York, USA) Author Biographies Index
£24.69
Bloomsbury Publishing (UK) Women Art Dealers
Book SynopsisVéronique Chagnon-Burke is an art historian, co-founder of Women Art Dealers Digital Archives, co-chair of The International Art Market Studies Association, section editor for the Art Market Dictionary, and former Director of Christie's Education in New York (20022021).Caterina Toschi is Associate Professor of contemporary art history and history of photography at the University for Foreigners of Siena, Italy. She is co-founder of Women Art Dealers Digital Archives and Senzacornice, and Associate Director of the Santa Maddalena Foundation.
£22.49
Bloomsbury Publishing PLC Women Art Dealers
Book SynopsisWomen Art Dealers brings together fascinating case studies of galleries run by women between the 1940s and 1980s. It marks a departure from other work in the field of art markets, challenging male-dominated histories by analyzing the work of female dealers who anticipated the global model, worked to promote art across continents, and thus developed an international art market.Part 1 focuses on the women gallerists behind the promotion of modern art after World War II who participated in important research about the neo-Avant-Garde. Part 2 examines the contributions by women art dealers toward the birth of new markets through establishing the reputation of artistic genres, such as video art and photography, and working at the forefront of advancing contemporary art. Finally, Part 3 analyzes case studies from the southern European art scene, paying fresh attention to several under-researched markets in the region like Italy and Portugal.Each chapter study proviTrade ReviewThis insightful book provides us with 17 detailed portraits of daring and innovative women art dealers and modern art pioneers all around the world, crucially filling a gap in art-market history by focusing on female agency and risk-taking. * Julie Verlaine, Professor of Contemporary History, the University of Tours, France *At a moment when art worlds are finally addressing gender inequalities, this timely volume highlights the crucial role that women art dealers played in shaping modern art markets. * Olav Velthuis, Professor, Department of Sociology, University of Amsterdam, the Netherlands *With its 19 thoroughly researched case studies, this fascinating book makes an important contribution to the study of the achievements of women art dealers in the latter half of the 20th century, filling existing gaps in our understanding of the vital role women have played in the art market. * Nadine Oberste-Hetbleck, Director of ZADIK | Central Archive for German and International Art Market Studies, University of Cologne, Germany *Table of ContentsNotes on Contributors Acknowledgements Series Editor Preface Introduction, Women Art Dealers: Creating Markets for Modern Art, 1940–1990, Véronique Chagnon-Burke (WADDA/International Art market Studies Association, USA) Prolegomenon, The ideology of the Gaze in Photography: Canons and Anti-Canons of Women Art Dealers’ Portraits (1924–2013), Caterina Toschi (University for Foreigners of Siena, Italy) Part One: The Promotion of Modern Art in the Aftermath of World War Two 1. The Girl with the Gallery: Edith Halpert in the Mid-Twentieth Century New York Art Market, A. Deirdre Robson (University of West London, UK) 2. Simone Kahn Collinet: From Member to Promoter of Surrealism, Alice Ensabella (University of Grenoble, France) 3. Nelly van Doesburg and Peggy Guggenheim. Their Role in Establishing the Reputation of Theo van Doesburg and De Stijl, Doris Wintgens (formerly Museum De Lakenhal, The Netherlands) 4. The Konstsalongen Samlaren of Agnes Widlund in Stockholm, Christina Brandberg (University of Loughborough, UK) 5. Galerie Gmurzynska in the Cold War Period, Elena Korowin (Albrecht-Ludwigs-Universität Freiburg, Germany) Part Two: The Rise of New Markets 6. Bertha Schaefer: "A Case of Ambidexterity." Bringing Modern Art into American Homes, Antonella Camarda (University of Sassari, Italy) 7. Gabriella Cardazzo at Galleria del Cavallino in Venice, Lisa Parolo (University of Udine, Italy) 8. Constructing a Photography Market between New York and Paris: The Role of the Zabriskie Gallery (1970s–1990s), Isabella Seniuta (University Paris 1 Panthéon-Sorbonne, France) 9. Linda Givon, the Goodman Gallery, and the Politics of the Contemporary Art Market in South Africa, 1966–1990, Federico Freschi & Lara Koseff (University of Johannesburg, South Africa) 10. Mapping the Impact of Women Art Dealers in Los Angeles: A Few Case Studies, Pietro Rigolo (Getty Research Institute, USA) 11. "The Boom in Boone:" Mary Boone in SoHo in the Early 1980s, Carlotta Castellani (Center for Italian Modern Art, USA) Part Three: Latin Galleries Between Italy and Portugal 12. From Fashion Journalism to Art Dealing: Irene Brin and L'Obelisco Gallery, Ilaria Schiaffini (Sapienza University of Rome, Italy) 13. Topazia Alliata, Piero Manzoni and the Coincidence between Idea and Visual Language. The Case of Riducibili, Rome 1960, Carlotta Sylos Calò (University of Rome Tor Vergata, Italy) 14. Mara Coccia, a Gallery Owner in Rome, Francesca Gallo (Sapienza University of Rome, Italy) 15. Etheline Rosas: a Modern Art Conservator, an Art Dealer, and Museologist, Sofia Ponte (IADE-Universidade Europeia, Portugal) 16. Dulce D'Agro and Quadrum: A Modern Art Love Story in Lisbon, Adelaide Duarte (Universidade NOVA de Lisboa, Portugal) 17. Lia Rumma: Art as Conviviality, Luigia Lonardelli (MAXXI of Rome, Italy) Index
£85.50
Bloomsbury Publishing (UK) The Social World of Galleries
Book Synopsis
£104.50
Bloomsbury Publishing (UK) Lillie P. Bliss
Book Synopsis
£85.50
Union Square & Co. Paint to Prosper
Book SynopsisThis guide by notable painter and entrepreneur Amira Rahim helps artists learn how to approach their art both modernly and holistically, empower their creativity, and build thriving art careers. Maybe you're a self-taught artist and just getting started with turning your art hobby into a career, but you're struggling to get your first sale. Or maybe you've got an art degree and years of experience, but you want to grow your business so it's stable and sustainable. Amira's philosophy guides both beginner and experienced artists to approach art in a fresh waywith an emphasis on using mindfulness, emotion, color, expression, and compositionto unlock their creativity and build a successful art career. More than a step-by-step manual, this book will help readers maintain a fulfilling painting practice and consistently create high-value art that sells.
£15.29
Little, Brown Book Group The Art of Buying Art
Book Synopsis''The very best book on the subject ever published'' Bernard Ewell, Personal Property Journal (the trade publication of the American Society of Appraisers)The art world can appear impenetrable to the beginner. This classic book, in print since 1990, is an invaluable primer that will help anyone to penetrate the thickets of inscrutable ''insider info'' and esoteric jargon. Updated for today''s art market, including online buying, The Art of Buying Art is without a doubt the most accessible book on how to research, evaluate, price and buy artworks - for anyone who wants to buy art. No previous knowledgeof art or the art business is necessary. Topics include: how to research and evaluate art prices like the professionals how to build a quality collection how to spot fakes and forgeries how to buy art at auctions and directly from artists how to negotiate prices Trade ReviewThe very best book on the subject ever published -- Bernard Ewell * Personal Property Journal (the trade publication of the American Society of Appraisers) *A no-brainer for art collectors and art professionals . . . [that] . . . explains many of the mysteries of the art world -- Bernard Ewell, senior member of the American Society of Appraisers
£15.29
Bloomsbury Publishing PLC On Board
Book SynopsisIn equal parts a fascinating glimpse behind the scenes of some of our best-loved institutions and a guide on how governing boards should work - HRDirectorThroughout the world, thousands of people give their time, skill and energy to serving on a board. From local councils to international corporations boards play a critical role in the running and success of any organisation, large and small.In On Board John Tusa brings us behind the closed doors of the boardroom to provide an insight into the inner-working of boards. From personal squabbles to financial crises, Tusa shares his experiences serving on a wide variety of international boards such as the British Museum and American Public Radio. These lively life-stories unveil how boards overcome deep-set divisions, appoint new members and survive in times of chaos. Through these stories, Tusa provides lessons and tips on how to effectively operate in cooperative business environments. TusaTrade Review'On Board' is a serious story lightly told, with numerous hints and tips along the way on how boards behave and how they should. Every board member should read it... and learn. -- Joan Bakewell, broadcaster, writer and President of Birkbeck, University of LondonJohn Tusa is one of the bravest and most thoughtful public servants of a generation, and one of the people I admire most in British public life. -- Rory StewartJohn Tusa deals with the great and seldom asked questions: why do chairs and chief executives not get on? Why do boards make the wrong appointments? What does a great board look like? His answers – based on huge experience – are vital reading for chairs and trustees everywhere. This is a book on an important subject full of insight and interest: essential reading! -- Lord Tony Hall of Birkenhead CBE, Chairman of the National Gallery and former Director-General of the BBCPart primer, part memoir, part history, laced with psychology and social anthropology, On Board is an arresting and enlightening survival guide for anyone who aspires to sit on a not-for-profit board. It makes an eloquent case for the public value of the independent and good governance of our intellectual and cultural institutions – and the inherent obstacles to achieving it. John Tusa’s case studies, from the many distinguished boards on which he has served and chaired, provide a serious and authoritative analysis of the tenets of institutional governance. This is also a riveting and, at times, excruciatingly candid account of personal learning painfully acquired in what he describes as one of “the most demanding complex and taxing activities in the world of public life”. On Board charts the perilous navigation between the Scylla and Charybdis of personal rivalries and collective prevarication on which so many boards can come to grief. Anyone who has served as a Trustee will recognise his description of boards’ capacities for resilience and dysfunctionality, and, at their centre, the delicate chemistry of the CEO/Chair relationship. Anyone asked to join such a board will be well advised to learn from Tusa how codes, management theory and mission statements cannot substitute for decency, humanity and rigour, so much more difficult to achieve than to proscribe. In the end, good governance depends on good behaviour. -- Tim Gardam, Chief Executive, Nuffield Foundation, former Principal of St Anne's College Oxford and former Chair, Ofcom Content BoardFor anyone considering joining a board, especially one in the arts, this is an excellent guide for what awaits them. It gives a clear sense of how the complex issues and relationships are handled from someone who was there, and lessons in good governance have rarely been so fluently expressed. And for those interested in many leading characters of the London arts scene over the past 20 years, this is a hugely entertaining read. -- Sir Andrew Likierman, Professor and former Dean, London Business SchoolWith outstanding insight, John weaves his way elegantly through misunderstandings, personal ambition, indecision, and incompetence to illustrate with clarity, the consequences of flawed Chairmanship, board composition, mistaken beliefs, and finally the privilege and honour of being part of a Board that gets it right. -- Lady Alison Myners, Chair of Royal Academy TrustOne of the truly great and good, John Tusa has led many of Britain's cultural institutions and led them brilliantly. This book explains, modestly but straight-forwardly, how he has dealt with boards of trustees as helmsman, nanny, confessor, policeman, plotter, and Scout leader. Necessary reading for anyone involved in schools, arts organisations or other non-profits. -- Richard Sennett, Chairman of Trustees, Theatrum Mundi
£11.69
Duke University Press Wages Against Artwork
Book SynopsisLeigh Claire La Berge shows how socially engaged art responds to and critiques what she calls decommodified laborthe slow diminishment of wages alongside an increase of demands of workas a way to work toward social justice and economic equality.Trade Review“This highly original work of Marxist aesthetic theory is a must-read for anyone interested in art and capitalism. Leigh Claire La Berge's thought experiment on how labor might go unpaid and still in a nontrivial way remain labor intersects in fascinating ways with arguments about reproductive labor made by feminists and brilliantly cleaves through mainstream academic culture's increasingly entrenched alternatives of using either ‘biopolitics’ and ‘real subsumption’ to understand our contemporary economy. I learned so much from this book and it still keeps me thinking.” -- Sianne Ngai, author of * Our Aesthetic Categories: Zany, Cute, Interesting *“In elaborating a concept of ‘decommodified labor,’ Leigh Claire La Berge offers a fresh and provocative frame that changes how we understand the dynamics of art, labor, and social change. Marshalling a range of case studies on both established and emerging artists, Wages against Artwork is a fantastic contribution to an ongoing dialogue on the arts, on economics, and on how we define the social in socially engaged art.” -- Shannon Jackson, author of * Social Works: Performing Art, Supporting Publics *“The biggest contribution of this book is to put economic and aesthetic theory together, to see what happens when the aesthetic is subjected to a Marxist analysis.... La Berge’s well-reasoned, engaging, and thorough book is a wonderful addition to the fields of Marxism, aesthetics, and performance.” -- Joseph Richards * Houston Review of Books *Table of ContentsPreface: The Argument ix Acknowledgments xi Introduction: Socially Engaged Art and Decommodified Labor 1 1. Art Student, Art Worker: The Decommodified Labor of Studentdom 34 2. Institutions as Art: The Collective Forms of Decommodified Labor 75 3. Art Worker Animal: Animals as Socially Engaged Artists in a Post-Labor Era 118 4. The Artwork of Children's Labor: Socially Engaged Art and the Future of Work 157 Epilogue: Liberal Arts 198 Notes 205 Bibliography 239 Index 249
£72.25
Duke University Press Wages Against Artwork
Book SynopsisLeigh Claire La Berge shows how socially engaged art responds to and critiques what she calls decommodified laborthe slow diminishment of wages alongside an increase of demands of workas a way to work toward social justice and economic equality.Trade Review“This highly original work of Marxist aesthetic theory is a must-read for anyone interested in art and capitalism. Leigh Claire La Berge's thought experiment on how labor might go unpaid and still in a nontrivial way remain labor intersects in fascinating ways with arguments about reproductive labor made by feminists and brilliantly cleaves through mainstream academic culture's increasingly entrenched alternatives of using either ‘biopolitics’ and ‘real subsumption’ to understand our contemporary economy. I learned so much from this book and it still keeps me thinking.” -- Sianne Ngai, author of * Our Aesthetic Categories: Zany, Cute, Interesting *“In elaborating a concept of ‘decommodified labor,’ Leigh Claire La Berge offers a fresh and provocative frame that changes how we understand the dynamics of art, labor, and social change. Marshalling a range of case studies on both established and emerging artists, Wages against Artwork is a fantastic contribution to an ongoing dialogue on the arts, on economics, and on how we define the social in socially engaged art.” -- Shannon Jackson, author of * Social Works: Performing Art, Supporting Publics *“The biggest contribution of this book is to put economic and aesthetic theory together, to see what happens when the aesthetic is subjected to a Marxist analysis.... La Berge’s well-reasoned, engaging, and thorough book is a wonderful addition to the fields of Marxism, aesthetics, and performance.” -- Joseph Richards * Houston Review of Books *Table of ContentsPreface: The Argument ix Acknowledgments xi Introduction: Socially Engaged Art and Decommodified Labor 1 1. Art Student, Art Worker: The Decommodified Labor of Studentdom 34 2. Institutions as Art: The Collective Forms of Decommodified Labor 75 3. Art Worker Animal: Animals as Socially Engaged Artists in a Post-Labor Era 118 4. The Artwork of Children's Labor: Socially Engaged Art and the Future of Work 157 Epilogue: Liberal Arts 198 Notes 205 Bibliography 239 Index 249
£19.79
Duke University Press The Creative Underclass
Book SynopsisAs an undergraduate at Brown University, Tyler Denmead founded New Urban Arts, a nationally recognized arts and humanities program primarily for young people of color in Providence, Rhode Island. Along with its positive impact, New Urban Arts, under his leadership, became entangled in Providence''s urban renewal efforts that harmed the very youth it served. As in many deindustrialized cities, Providence''s leaders viewed arts, culture, and creativity as a means to drive property development and attract young, educated, and affluent white people, such as Denmead, to economically and culturally kick-start the city. In The Creative Underclass, Denmead critically examines how New Urban Arts and similar organizations can become enmeshed in circumstances where young people, including himself, become visible once the city can leverage their creativity to benefit economic revitalization and gentrification. He points to the creative cultural practices that young people of color from low-Trade Review“Tyler Denmead offers a far-reaching look into the complexities of creative communities, implicating factors involving labor, economics, race, the arts, education, urban planning, and politics, all while joyfully, lovingly, and thoughtfully describing stories from young people's lives. Denmead describes these multiple perspectives and what young people taught him and his change of perception with humility. His book's credibility and power are even more compelling because of his capacity to comprehend and critique an institution he himself constructed. I'm in awe of all the intricacies and implications that Denmead has revealed.” -- Rebekah Modrak, author of * Reframing Photography: Theory and Practice *"Since the early 2000s we have regarded the creative class as those with the greatest access to capital, technology, and robust economic environments. Tyler Denmead reveals a portion of the creative class that is dynamic and generative and forgotten—low-income youth in underserved communities. This is a must-read for reimagining the creative talents of today's urban youth." -- Gloria Ladson-Billings, Professor Emerita, University of Wisconsin–Madison"[This] book is written in a personal, engaging style and peppered with conversations between Denmead and the youth who offer a sense of hope through their clever, observant and deeply cognizant understandings of structural injustice. . . . It is important reading for those working with youth, in urban centers and within the context of the 'creative industry.'" -- Darlene E. Clover * International Review of Education *“For those who are interested in cultural policy and youth programmes, this book is an important awakening for those who uncritically accept the discourse of creativity as a force for good. This study destabilizes the taken-for-granted assumption about arts activities as ‘positive activities’ through which young people can ‘better themselves’. This book is a timely reminder that youth development programmes do not solve economic problems.” -- Frances Howard * Cultural Sociology *“The Creative Underclass is a compelling example of how we can write about recent educational history without a detachment from the struggles of an author’s conscience…. For historians of education this book reminds us of the tensions and contradictions of philanthropic work across the past two centuries.” -- Lottie Hoare * History of Education *"The relationship between gentrification and culture is a fraught and complicated one, and there is no easy path. But through engaging with the creative strategies of the youth that Denmead profiles in The Creative Underclass, we might begin to envision a future city that enables the creativity of all, not ‘creativity’ as a luxury consumer product. This volume highlights the lived experiences of youth living through the challenges of gentrification. Planners and policymakers may find it to be an important corollary to more revenue-oriented visions of the ‘creative city’, exposing a deep rift between the experiences of Florida’s ‘creative class’ and Denmead’s ‘creative underclass’. Those in the education sector, too, will find its exploration of inequality valuable, especially in considering the ways that even well-meaning arts programmes can replicate systems of race- and class-based inequalities in the face of gentrification." -- Kevin Ritter * LSE Review of Books *“The Creative Underclass is appropriate reading for undergraduate courses in Sociology, Geography, Urban Planning, Urban Studies, and Political Science.... The book is well organized and easy to follow.” -- Evelyn Ravuri * Journal of Urban Affairs *“Within the literature on urban renewal and gentrification, Denmead’s contribution is important for the personal dimension of his analysis as well as for its consideration of how creativity, a perceived innately human ability, can be channeled and managed by economic elites to serve the end goal of gentrification.” -- Arthur Ivan Bravo * Exertions *Table of ContentsAcknowledgment ix Introduction 1 1. Troublemaking 30 2. The Hot Mess 45 3. Chillaxing 76 4. Why the Creative Underclass Doesn't Get Creative-Class Jobs 96 5. Autoethnography of a "Gentrifying Force" 118 6. "Is This Really What White People Do" in the Creative Capital? 133 Conclusion 155 Notes 173 Biography 185 Index 197
£86.70
Duke University Press Latinx Art
Book SynopsisArlene Dávila draws on numerous interviews with artists, dealers, and curators to explore how and why the contemporary international art market continues to overlook, devalue, and marginalize Latinx art and artists.Trade Review“In this current moment of national rupture surrounding the Latino immigrant it is ironic that the new focus on Latinx artists and communities should come to the forefront as a powerful cultural movement. Arlene Dávila’s new work on Latinx art is a timely examination of the complex issues of cultural definition, art markets, race and representation, and geopolitical reference points. In the embattled world of diverse art and artists Dávila's book provides a map of clarity.” -- Amalia Mesa-Bains, MacArthur fellow and coauthor of * Homegrown: Engaged Cultural Criticism *“Kudos to Arlene Dávila, founding director of the Latinx Project at New York University, and the only person who could have written this groundbreaking new book! First, identifying Latinx, perhaps most importantly, as a political constituency and as a market for art historical appreciation and consumption, Dávila makes the case for a singular recognition and consideration of a massive (and rapidly growing) part of American culture. While highlighting intersectionality in her exploration of Latinx identity, she is an astute documentarian of shared experiences in the American landscape. Yet, this book is a must-have primer for those concerned with trends in international contemporary art.” -- Franklin Sirmans, Director, Pérez Art Museum Miami"An indispensable text that considers the plights of Latinx artists through the lens of race and class disparities in both North and South America. . . . Dávila’s text is a vital resource on Latinx art, complete with a supplemented 'non-comprehensive list of artists everyone should know' and recommendations of Latinx Instagram accounts to follow." -- Valentina Di Liscia * Hyperallergic *"The marketing of modern and contemporary art from Latin America is one of the success stories of the globalist decades, giving a once-niche interest a presence in big North American museums. Exactly the opposite is true of Latinx art, loosely defined as work made by artists of Latin American birth or descent who live primarily in the United States. That lack of institutional support is dictated by the politics of class, economics and race, the cultural anthropologist Arlene Dávila argues in this important broadside of a book." -- Holland Cotter * New York Times *"An outstanding contribution to the field of Latinx art, this book addresses the defining traits of the art category and its place in the contemporary art world. . . . The wide range of Latinx art experts she interviews, from artists, curators, writers, critics and gallerists, draw the contours of a remarkably vibrant cultural field that is still undervalued. Her analysis not only dissects the conditions of Latinx artistic invisibility; it also proposes a path of action to overcome them and to create a more equitable art system." -- Taína Caragol * Smithsonian Magazine *"With deep research and details about the ways in which the market continues to overlook and undervalue the work of Latinx artists, Arlene Dávila’s Latinx Art is one of this year’s most important contributions to the art world as a whole. . . . That this book exists is itself an important milestone in the struggle for equity in the art world." -- Maximilíano Durón * ARTnews *"Arlene Dávila advances a groundbreaking analysis of Latinx art in the way she centers on matters of race, class, and nationality as primordial to understanding this category. . . . As a scholar independent of the art world’s social circuit, Dávila describes in great detail the ingrained power dynamics that deny institutional access to Latinx artists. In doing so, she delivers an unprecedented service to the field, considering the silencing force exerted by hierarchical structures that traverse the art world, and the artists’ reliance on good relations with gatekeepers in order to have any shot at exhibition and market spaces." -- Taína Caragol * Latin American and Latinx Visual Culture *“Latinx Art is appropriate for new and nonacademic audiences, because Dávila is one of the most accessible scholarly authors. . . . A must-read for Latinx studies students and scholars and beyond.” -- Karen Mary Davalos * Latino Studies *Table of ContentsAcknowledgments & Reader Instructions vii Introduction. Making Latinx Art 1 1. What Is Latinx Art? Lessons from Chicanx and Diasporican Artists 23 2. Exhibiting Latinx Art: On Critics, Curators, and Going "Beyond the Formula" 48 3. Nationalism and the Currency of Categories 79 4. On Markets and the Need for Cheerleaders 104 5. Whitewashing at Work, and Some Ways Out 138 Conclusion: At the Vanguard of Arts and Museum Activism in the Twenty-First Century 168 Appendix A: Noncomprehensive List of Artists Everyone Should Know 177 Appendix B: Additional Resources 185 Notes 189 References 203 Index 223
£72.25
Duke University Press Latinx Art
Book SynopsisArlene Dávila draws on numerous interviews with artists, dealers, and curators to explore how and why the contemporary international art market continues to overlook, devalue, and marginalize Latinx art and artists.Trade Review“In this current moment of national rupture surrounding the Latino immigrant it is ironic that the new focus on Latinx artists and communities should come to the forefront as a powerful cultural movement. Arlene Dávila’s new work on Latinx art is a timely examination of the complex issues of cultural definition, art markets, race and representation, and geopolitical reference points. In the embattled world of diverse art and artists Dávila's book provides a map of clarity.” -- Amalia Mesa-Bains, MacArthur fellow and coauthor of * Homegrown: Engaged Cultural Criticism *“Kudos to Arlene Dávila, founding director of the Latinx Project at New York University, and the only person who could have written this groundbreaking new book! First, identifying Latinx, perhaps most importantly, as a political constituency and as a market for art historical appreciation and consumption, Dávila makes the case for a singular recognition and consideration of a massive (and rapidly growing) part of American culture. While highlighting intersectionality in her exploration of Latinx identity, she is an astute documentarian of shared experiences in the American landscape. Yet, this book is a must-have primer for those concerned with trends in international contemporary art.” -- Franklin Sirmans, Director, Pérez Art Museum Miami"An indispensable text that considers the plights of Latinx artists through the lens of race and class disparities in both North and South America. . . . Dávila’s text is a vital resource on Latinx art, complete with a supplemented 'non-comprehensive list of artists everyone should know' and recommendations of Latinx Instagram accounts to follow." -- Valentina Di Liscia * Hyperallergic *"The marketing of modern and contemporary art from Latin America is one of the success stories of the globalist decades, giving a once-niche interest a presence in big North American museums. Exactly the opposite is true of Latinx art, loosely defined as work made by artists of Latin American birth or descent who live primarily in the United States. That lack of institutional support is dictated by the politics of class, economics and race, the cultural anthropologist Arlene Dávila argues in this important broadside of a book." -- Holland Cotter * New York Times *"An outstanding contribution to the field of Latinx art, this book addresses the defining traits of the art category and its place in the contemporary art world. . . . The wide range of Latinx art experts she interviews, from artists, curators, writers, critics and gallerists, draw the contours of a remarkably vibrant cultural field that is still undervalued. Her analysis not only dissects the conditions of Latinx artistic invisibility; it also proposes a path of action to overcome them and to create a more equitable art system." -- Taína Caragol * Smithsonian Magazine *"With deep research and details about the ways in which the market continues to overlook and undervalue the work of Latinx artists, Arlene Dávila’s Latinx Art is one of this year’s most important contributions to the art world as a whole. . . . That this book exists is itself an important milestone in the struggle for equity in the art world." -- Maximilíano Durón * ARTnews *"Arlene Dávila advances a groundbreaking analysis of Latinx art in the way she centers on matters of race, class, and nationality as primordial to understanding this category. . . . As a scholar independent of the art world’s social circuit, Dávila describes in great detail the ingrained power dynamics that deny institutional access to Latinx artists. In doing so, she delivers an unprecedented service to the field, considering the silencing force exerted by hierarchical structures that traverse the art world, and the artists’ reliance on good relations with gatekeepers in order to have any shot at exhibition and market spaces." -- Taína Caragol * Latin American and Latinx Visual Culture *“Latinx Art is appropriate for new and nonacademic audiences, because Dávila is one of the most accessible scholarly authors. . . . A must-read for Latinx studies students and scholars and beyond.” -- Karen Mary Davalos * Latino Studies *Table of ContentsAcknowledgments & Reader Instructions vii Introduction. Making Latinx Art 1 1. What Is Latinx Art? Lessons from Chicanx and Diasporican Artists 23 2. Exhibiting Latinx Art: On Critics, Curators, and Going "Beyond the Formula" 48 3. Nationalism and the Currency of Categories 79 4. On Markets and the Need for Cheerleaders 104 5. Whitewashing at Work, and Some Ways Out 138 Conclusion: At the Vanguard of Arts and Museum Activism in the Twenty-First Century 168 Appendix A: Noncomprehensive List of Artists Everyone Should Know 177 Appendix B: Additional Resources 185 Notes 189 References 203 Index 223
£18.89
Bloomsbury Publishing PLC Collecting Prints Posters and Ephemera
Book SynopsisWhy did collectors seek out posters and collect ephemera during the late-nineteenth and the twentieth centuries? How have such materials been integrated into institutional collections today? What inspired collectors to build significant holdings of works from cultures other than their own? And what are the issues facing curators and collectors of digital ephemera today? These are among the questions tackled in this volumethe first to examine the practices of collecting prints, posters, and ephemera during the modern and contemporary periods. A wide range of case studies feature collections of printed materials from the United States, Latin America, France, Germany, Great Britain, China, Japan, Russia, Iran, and Cuba. Fourteen essays and one roundtable discussion, all specially commissioned from art historians, curators, and collectors for this volume, explore key issues such as the roles of class, politics, and gender, and address historical contexts, social roles, value, and national Trade ReviewLoosely connected and wide-ranging, the 14 scholarly essays in this volume consider collecting prints, posters, and ephemera and their value and preservation ... Iskin and Salsbury include essays on diverse topics, including traditional and contemporary print collecting, corporate and individual collecting, women print makers and collectors, and Japanese prints. * CHOICE *Remarkable for its global scope and historical range, Collecting Prints, Posters, and Ephemera is a vital contribution to our understanding of printed images in all their variety and an indispensable guide to how collecting practices have shaped their meaning. * Richard Taws, University College London, UK *Collecting Prints, Posters, and Ephemera is essential reading. Its essays discuss a broad range of printed matter from high art to ephemera, works originally intended for vastly different purposes and audiences. The authors provide a global context that expands our understanding of both print history, gender history, and the history of collections. * Patricia Mainardi, Graduate Center of the City University of New York, USA *Table of ContentsList of Figures Series Editor’s Introduction Introduction Ruth E. Iskin and Britany Salsbury Part I Collecting Prints Introduction, Part I: Collecting Modern and Contemporary Prints Britany Salsbury 1. Henrietta Louisa Koenen’s (1830–81) Amsterdam Collection of Women Printmakers Madeleine C. Viljoen 2. Loys Delteil (1869–1927): Community and Contemporary Print Collecting in Fin-de-Siècle Paris Britany Salsbury 3. Women Collectors of Japanese Prints: The 1909–14 Paris Expositions des estampes japonaises at the Musée des Arts Décoratifs Elizabeth Emery 4. Collecting Ukiyo-e Prints in Japan during the Nineteenth and Twentieth Centuries Shigeru Oikawa 5. Building Hemispheric Unity to Serve Corporate Identity: IBM’s Collection of Prints from the Americas Rachel Kaplan Part II Collecting Posters and Ephemera Introduction, Part II: Collecting Posters and Other Ephemera: From Modernity to the Digital Era Ruth E. Iskin 6. From Commune to Commerce: Ernest Maindron’s Collecting Ephemera and Posters, Late 1850s–Early 1900s Ruth E. Iskin 7. The Maurice Rickards Collection of Ephemera Michael Twyman 8. Hans Sachs: The Most Dedicated Collector of Posters in Germany Kathleen Chapman 9. To Possess is to Belong: Carlos Monsiváis’s Collection of Ephemera and Popular Culture in Mexico City Liliana Chávez Díaz 10. The David King Collection of Russian and Soviet Ephemera at Tate: Expanding the Museum Narrative with Ephemera Sofia Gurevich 11. Collecting Chinese Propaganda Posters Stefan Landsberger 12. The Cuba Poster Project: Collecting for People, not Profit Lincoln Cushing 13. Collecting Pre- and Post-Revolution Iranian Movie Posters in the United States and in Iran Hamid Naficy 14. The Challenge of Collecting Digital Posters and Graphics from the Web: A Roundtable Discussion Anisa Hawes Author Biographies Index
£123.50
Bloomsbury Publishing PLC Théodore Rousseau and the Rise of the Modern Art
Book SynopsisSimon Kelly is Curator and Head of Department of Modern and Contemporary Art, The Saint Louis Art Museum, USA.Trade ReviewSimon Kelly’s consummate study of Théodore Rousseau draws the reader deeply into the complex lived experience of this adventurous, under-examined painter of the French landscape, bringing to light as never before an entire world of making, selling and viewing art in mid-nineteenth-century France, just as the stage was set for the avant-gardes to come. * Thomas Crow, Rosalie Solow Professor of Modern Art, Institute of Fine Arts, New York University, USA *Kelly’s book makes an important contribution, both to the history of French landscape painting and to recent scholarship on the modern art market. Far from being le grand refusé, Rousseau emerges as one of the most commercially shrewd artists of his generation, who used pioneering tactics to promote his often challenging and experimental style of painting. Unorthodox and independent-minded, he became an art market innovator, anticipating some of the strategies employed by the Impressionists. Written with a sensitive and curatorial eye, this fascinating book is based on extensive archival research and includes extracts from stockbooks and procès-verbaux, as well as letters from Rousseau to his patrons, dealers, critics and fellow artists. * Frances Fowle, Chair of Nineteenth-Century Art, University of Edinburgh and Senior Curator of French Art, National Galleries of Scotland, UK *This is an excellent book and makes a very substantial contribution to our understanding of Rousseau's work...the book must emerge as a primary point of reference for scholars of 19th-century French painting, changes in the art market, and Rousseau's role within them. * Steven Adams, H-France (University of Hertfordshire, UK) *Table of ContentsList of Plates List of Figures Series Editor’s Introduction Acknowledgments List of Abbreviations Introduction 1. “The Outlaw”: Rousseau at the Salon 2. Alternative Spaces: Artists’ Societies to the Cercle de L’Union Artistique 3. “A Small Number of the Privileged”: The Patrons 4. The Art Dealers: Adolphe Beugniet to Paul Durand-Ruel 5. “This Dangerous Game”: The Auction Sale 6. The Reproduction Industry: From Etching to Photography Rousseau’s Legacy Appendix 1 Appendix 2 Appendix 3 Select Bibliography Index
£85.50
Bloomsbury Publishing PLC The New York Market for French Art in the Gilded
Book SynopsisDr. Leanne Zalewski has published articles on art collections, participated in numerous conferences on early Gilded Age art collecting, and received support for her research from the Getty Research Institute, Huntington Library, Center for the History of Collecting in America at the Frick Art Collection, and the American Association of University Professors.Trade ReviewThis book is the definitive account of the passionate love affair between the opulent collectors of America’s ‘gilded age’ and the dazzling art made by 19th-century French academic painters. Richly textured, thoroughly researched, lavishly documented and vividly written; it is a real treat for readers. * Jan Dirk Baetens, Assistant Professor of 19th-Century Art History, Radboud University, Nijmegen, The Netherlands *Leanne Zalewski's thoroughly researched book surveys relations among wealthy American collectors of French Academic art and international art dealers in the period between Paris's 1867 Universal Exposition and Chicago's 1893 Columbian Exposition. Analyzing auction catalogs, media, markets, private collections, and dealers' stock books, Zalewski presents a fascinating, innovative contribution to studies of art collecting and the art market. * Julie Codell, Professor of Art History, Arizona State University, USA *The famed ‘Gilded Age Picture Rush’ spurred the creation of renowned American private and public collections. Examining this pivotal moment, Zalewski provides a thoughtful and theoretically significant contribution to the History of the American Art Market. * Agnès Penot, PhD, Independent Researcher, USA *With impeccable research that evokes the temper of the times, Leanne Zalewski has produced an essential study on what she has coined as ‘the Gilded Age Picture Rush’, a cultural moment when American collectors were finding their way in the international art market and defining their roles as cultural leaders. In doing so, she offers a wealth of detail through specific examples that illuminate marketing, dealing, and exhibition practices, while never losing sight of the overarching theme of the book which promotes the view that American collectors embraced a uniquely philanthropic approach to their collecting, aiming to have their collections benefit the general public through the institutionalization of art collections for the benefit of many. This is a much needed and significant contribution to the literature on the history of collecting in the United States. * Inge Reist, Director Emerita of the Center for the History of Collecting, The Frick Collection and Frick Art Reference Library, USA *Zalewski’s engaging narrative of America’s cultural coming of age after the Civil War comprises a cast of privileged collectors, astute dealers, salon artists and diverse publications — some well known today, most less so — who transformed American taste from the provincial to the worldly. The 'Gilded Age picture rush' introduced contemporary French academic art as a standard for artistic excellence, starting from the Paris Exposition of 1867. Ironically, that important chapter in French art began to lose its critical favor by Chicago’s Columbian Exposition of 1893, a judgment that is only now being redressed. Zalewski describes in fascinating detail an important, if often overlooked, period in American art history. * J. David Farmer, Director of Exhibitions, Dahesh Museum of Art, USA *In her richly detailed study, Zalewski demonstrates that a turn towards French academic and Barbizon school painting exemplified the ‘Gilded Age picture rush’ from 1867 to 1893, in a welcome contribution to the scholarship of collecting, art markets, and the institutionalization of artistic culture in the United States in the later 19th century. * Catherine B. Scallen, Andrew W. Mellon Professor Emerita in the Humanities, Case Western Reserve University, USA *Table of ContentsList of Illustrations Series Editor's Introduction Acknowledgments Preface Foreword 1. Introduction 2. Paris’s Guiding Light: The Universal Exposition of 1867 3. “Paris is for Sale” and Americans are Buying 3. Purchasing Ideologies: Seven New York Collections 5. Marketing the Collections: Loans, Periodicals, Books, and Prints 6. From Private Collection to Public Good: The Metropolitan Museum of Art 7. Conclusion: The World’s Columbian Exposition of 1893 Bibliography Index
£72.00
