Art: financial aspects Books
Pennsylvania State University Press Inventing the Art Collection
Book SynopsisThe pace and scale of the exchange of cultural goods of all sorts increased sharply in 19th century Spain, and new institutions and practices for exhibiting art were soon formed. Vazquez maps this cultural landscape.Trade Review“An extremely important contribution to our understanding of the nineteenth century in general, to our knowledge of Spain, and to our understanding of the phenomena of patronage, collecting, and public support for the arts.”—Marcus B. Burke,Curator of Paintings, Hispanic Society of America
£96.86
Yale University Press John Talman
Book SynopsisOffers a study of John Talman, the first director of the Society of Antiquaries and one of the most influential collectors of drawings in early 18th-century Britain. This book discusses the history of Talman's acquisitions, shedding light on the competitive nature, social practices, and aesthetic ideas of connoisseurship in England and abroad.
£42.75
Yale University Press Becoming Venetian Immigrants and the Arts in
Book SynopsisFew, if any, early modern European cities boasted a population as racially, ethnically and religiously diverse as Renaissance Venice, from German merchants living in the Fondaco dei Tedeschi to the Jewish inhabitants of the Ghetto. This book focuses on the wealthy elite of that immigrant population.
£49.50
Yale University Press Collector without Walls
Book SynopsisThe American art collector Norton Simon assembled his collection of more than 8,000 artworks in just thirty-five years. In 1966, with no permanent home for the growing collection, Simon created his 'museum without walls' programme - lending works to American museums. This book tells the history of Simon's art collection.Trade Review". . . an interesting addition to the growing body of work on private collections and collectors. Recommended."—K.E. Staab, Choice -- K.E. Staab * Choice *
£45.00
Yale University Press The English Prize
Book SynopsisLaden with works of art acquired by young British travellers on the Grand Tour in Italy, the British merchant ship Westmorland sailed from the Italian port of Livorno before being captured by French naval vessels and escorted to Malaga in southern Spain. This book tells the story of the ship's capture and the disposition of its artistic contents.Trade Review“Part adventure tale, part detective story, and completely engaging . . . a visual treat . . . illuminating.”—The Magazine Antiques * The Magazine Antiques *Winner of the 2013 Historians of British Art Book Prize for the Multi-authored category. -- Historians of British Art Book Prize * Historians of British Art *
£58.50
Yale University Press The Flemish Merchant of Venice
Book SynopsisTrade ReviewOne of Christie's 11 best art books of 2015; 'It's rare for a work of scholarship to lay bare an entire episode from the history of art, let alone an important one, but that is what Christina M. Anderson achieves in The Flemish Merchant of Venice, her spry, at times thriller-like retelling of the Gonzaga sale, in which the ducal family of Mantua sold works by Titian, Raphael, Caravaggio, among others, to the court of Charles I.'--Leo Robson; 'This biography of Daniel Nijs, the man who made King Charles I's greatest art purchase possible, reads almost like a Hogarthian moral tale... Anderson has produced a more rounded picture of a dealer, connoisseur, go-between and deviser of visionary schemes.'--James Yorke, Art Newspaper.
£49.50
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 Art of the Deal
Book SynopsisArt today is defined by its relationship to money as never before. Prices have been driven to unprecedented heights, conventional boundaries within the art world have collapsed, and artists think ever more strategically about how to advance their careers. Art is no longer simply made, but packaged, sold, and branded. In Art of the Deal, Noah HorowiTrade Review"Art of the Deal is a crucial book on art and finance."--Blake Gopnik, Daily Beast "[T]he precision and lucidity with which Mr. Horowitz describes the commercialization of art should garner appeal for his book across a broad swath of market participants. For the rest of us, it is an enjoyable glimpse into the opaque corners of the art community."--Benjamin R. Mandel, Journal of Cultural Economics "Horowitz has provided readers with a very thorough and wide-ranging analysis of the contemporary art market that brings an unprecedented complexity to this discussion. His synthesis of the literature on the topic is sophisticated yet lucid and the book is exceptionally well researched, supported by countless citations."--John Zarobell, Tabula Quarterly "I thoroughly enjoyed this critical account of the global contemporary art economy; Noah Horowitz has a real understanding of the inner workings of the market. The fact that he chose to focus on video and experiential art renders his account unique and gives even the seasoned reader interesting insights."--Thaddaeus Ropac, Art Newspaper "One welcome aspect of the book is that its avoids to a degree but not entirely the usual cast and plot lines because of its focus on the relative undermined areas on 'immaterial' art genres in the first two essays. The book's discussion of video and experiential art is interesting. The discussion of the minutiae of this world of performances, installations, action and social interaction and their ancillary elements, content ownership and the rise of the collector's box will add greatly to the reader's ability to appear learned on a suitable social occasion."--Satyajit Das, naked capitalismTable of ContentsList of Illustrations xi Preface xiii Acknowledgments xix Notes on Sources xxi Introduction 1 Chapter 1: Video Art 26 Chapter 2: Experiential Art 87 Chapter 3: Art Investment Funds 143 Conclusion 188 Postscript to the Paperback Edition 215 Appendix A: Record Prices for Video Art at Auction, December 2009 229 Appendix B: The Film and Video Collections of Tate and the Whitney Museum of American Art 232 Appendix C: Art Investment Fund Universe 271 Notes 295 Selected Bibliography 347 Index 365
£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
Rlpg/Galleys Fundraising for Small Museums
Book SynopsisThis clear, accessible manual is designed specifically for people running the thousands of small museums, historic houses, and historic sites across the U.S. and Canada. Typically, these smaller institutions lack endowments and are under-funded. They also tend to be understaffed, so that their administrators wear many hats: curator, researcher, building manager, accountant, and fundraiser, to name a few. This guide will help small-museum administrators performs their jobs more efficiently by teaching them how to secure funding for their programs and institutions.Trade ReviewFor many years, fundraising has become an increasingly important function at small museums. Usually reliant on small staffs and volunteers who have to perform multiple tasks, and too poor to afford development personnel, these institutions have struggled in their efforts to raise money effectively. Until now there have been few resources available for small museums to turn to for help. Sal Cilella's new book is exactly what has been needed for a long time. Written by one of the most successful fundraisers in our profession, this book provides invaluable insights into the challenges of fundraising today, and gives its readers a practical, common sense approach to how to do it well. This is a book that belongs on the bookshelves of every small museum in the country. For that matter, museums of any size would benefit from Cilella's wise counsel. -- Charles F. Bryan, Jr., Bryan & Jordan Consulting, LLCAfraid of fundraising? Don't be! Salvatore Cilella takes the fear out of raising money not only for small museums, but also for medium size museums, students of museum studies, and staff at any not-for-profit organization. Cilella provides the essential and common sense steps to enable any organization to maximize their fundraising potential. Fundraising for Small Museums describes an integrated planning process that goes far beyond grant writing to incorporate everything from basic board giving to cultivating transformational gifts. A veteran museum director with decades of experience and a sense of humor, Cilella offers helpful hints and encouragement throughout that make you feel that he is your personal fundraising consultant. The book's illustrations reflect the author's background as a historian and also suggest that not only is successful fundraising key to a museum's success, when done well, it can also be great fun! -- Gretchen Sullivan Sorin, Cooperstown Graduate ProgramTable of ContentsChapter 1 Preface Chapter 1. Philanthropy and the non-profit world Chapter 2. The Universe of Fundraising Chapter 3. Stewardship: Managing the Donor Relationship, or The Continuity of Approach Chapter 4. Methods of Solicitation: Asking for the Order Chapter 5. Membership, Annual Appeal, and Special Events Chapter 6. Managing a Capital Campaign Chapter 7. Grantsmanship Chapter 8. Major Gifts, Transformational Gifts and Deferred or Planned Giving: Concepts for the Advanced Institution Chapter 9. Concepts for the Advanced Institution Bibliography
£38.70
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
John Wiley & Sons Spaces and Places for Art Making Art
Book SynopsisA pioneering study of art museums in western Canada and their relationship to federal cultural institutions.Trade Review"Spaces and Places for Art is a fascinating read. I recommend it to anyone interested in the development of museums and galleries and the evolution of cultural policy in Canada." Joyce Zemans, York University
£34.20
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
£25.19
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
Council Oak Books The Art of Showing Art
Book Synopsis
£14.20
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
Peter Lang Publishing Inc The Mourning News
Book SynopsisA conventional wisdom in media studies is that when it bleeds it leads. The media love violence and from the newsroom perspective, negative news is good news. Violent death often makes it to the headlines, and mass violent death events often become media events that receive immediate continuous attention worldwide. However, reporting violent death is not only about sending information, but also about the maintenance of society. News about violent death functions as media rituals which elicit grief and inform a sense of care and belonging. Accordingly, this book takes a broader sociological and anthropological approach to considering the role of death and the media in organising social life in a global age. Based on literature on solidarity and social cohesion, death rituals, media rituals, and journalism studies, this book examines whether and how the performance of the media at the occurrence of mass violent death events informs solidarity and interconnectedness on a cosmopolitan lTrade Review“The Mourning News is an original study that guides us through the complexities of witnessing mass death under conditions of mediatisation. As major broadcasters continue to play a key role in the reporting of distant disasters, Tal Morse’s book reminds us that these broadcasters do not simply report on mass death but profoundly shape the ways our communities mourn together. More than this, it compellingly demonstrates that mediatised death does not only unite but also divides us. Rather than honouring our common humanity, it creates its own hierarchies of humanity by subtly proposing whose life matters and whose does not, in the global village.”—Lilie Chouliaraki, Professor, Department of Media and Communications, The London School of Economics and Political Science“Do we grieve for the deaths of strangers, and if so, by what means? Are all strangers made equal in this grief by the representation of their deaths in contemporary media? And can media representations of the deaths of strangers create and sustain a cosmopolitan framework of ethical care that transcends national boundaries and global power asymmetries? These are the urgent moral, political and communicative questions posed with interpretative acuity in Tal Morse’s comparative exploration of television news coverage of mass-death events—the 2011 Norway Attacks, the 2008–2009 Gaza War, and the 2010 Haitian Earthquake. Insightful and profound, The Mourning News casts a powerful new light on how media shape the terrain of global moral concern.”—Paul Frosh, Professor, Department of Communication and Journalism, The Hebrew University of JerusalemTable of ContentsList of Illustrations – Acknowledgments – Introduction – Solidarity, Rituals and the Media – The Mediatisation of Death – Global Crisis Reporting and Cosmopolitanism – Towards the Analytics of Grievability – Empathising Grief—The Case of the 2011 Norway Attacks – Judicial Grief and Condemnator – Moving Grief—The Case of the 2010 Haiti Earthquake – Mediatised Grief and the Fallacy and Promise of Cosmopolitanism – Conclusion – Appendix A – Appendix B – Index.
£41.76
