Art: financial aspects Books

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

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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

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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

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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

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Book Synopsis

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Book Synopsis

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Book Synopsis

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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

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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

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