Art: financial aspects Books
Skyhorse Publishing The Business of Being an Artist
Book SynopsisYou've got the artistic talent; now learn how to make a career out of it!Fine artists are taught many things about the history, theory, and craft of art in art schools and university art programs, but rarely do they learn much, if anything, about how to make a career of their talents. The Business of Being an Artist, now in its sixth edition, contains information on how artists may develop a presence in the art world that leads to sales. The book contains information on how artists can learn to sell their work directly to the public with an understanding of the principles of marketing and sales as they're applicable to works of art. Artists will also learn how to find a suitable gallery that will arrange sales and commissions and how to set up a contractual relationship with the dealer that is both equitable and profitable.Among the topics covered in The Business of Being an Artist are: the range of exhibition opportunities for emerging and mid-career artists; how to set prices for artwork; when or if artists should pay to advance their careers; how artists may communicate with the public; applying for loans, grants, and fellowships; areas of the law that concern artists; using art materials safely; online sales and marketing, and much more. In addition to all of this priceless information, The Business of Being an Artist includes a unique discussion of some of the emotional issues that face artists throughout their careers, such as working alone, confronting stereotypes, handling criticisms and rejection, the glare of publicity, and the absence of attention. Without a doubt, The Business of Being an Artist is a must-have book for every artist ready to turn their talent into a successful business.
£14.24
Permuted Press From the Front Row: Reflections of a Major League
Book SynopsisIn his honest, engaging, and revealing new memoir, entrepreneur Jeffrey Loria lifts the curtain on two of the most mysterious, high-stakes, and high-profile businesses today: Major League Baseball and modern art.Before he wrote a memoir, Jeffrey Loria was the author of one of America’s most remarkable professional careers. He began as a very private modern art dealer, and ultimately became a very public Major League Baseball team owner and World Series champion. Welcome to his unique and thrilling world. How are great artists like great athletes? How can one recognize great art or great athletic talent? And most of all, who were the amazing artists who changed our visual interpretation of the twentieth century and the talented athletes who are transforming our national pastime? Go inside fascinating artists’ studios and high-energy baseball clubhouses and dugouts as Loria shares his keen eye and front-row seat. From achieving a coveted World Series championship to helping build world-class art collections, which have found their way into many major museums and private holdings, Loria relies on a special mix of perseverance, professionalism, and passion. From the Front Row offers a rare glimpse into the life of a private, sometimes provocative, and highly successful entrepreneur, who has never shied away from taking big risks to achieve big dreams.Trade Review"A love and understanding of both art and sport…is possibly unique, nonetheless, in the life of Jeffrey Loria, the two interests seem entirely natural. While in his early twenties, Jeffrey made a visit to Henry Moore’s home and studios…their initial meeting began a friendship that continued for the next twenty-five years." -- David Mitchinson, Head of Collections and Exhibitions (1968-2010), The Henry Moore Foundation"I've worked for and with many owners in my long career, but none better than Jeffrey. He knew when to give strategic advice, and when to let Managers do their job. That delicate balance isn't easily achieved, but he struck it perfectly. It's a huge reason why we won a World Series, and I'll always be grateful for his friendship." -- Jack McKeon, Marlins Baseball Manager, 2003 World Series Champion"This book is a powerful remedy for the jaded; a marvelous story of one man joyfully enlivened through his encounters with remarkable people. Avidly following twin passions for art and baseball, Jeffrey Loria celebrates friendships in both worlds. The thrill of stepping over the threshold where art is made is recounted with imaginative ardor as he discovered some of the most notable artists of our time who became his friends – a compelling tale of discovering a wondrous, kaleidoscopic world, in which Loria has come to be known. This is a beautifully written book that sparkles with Loria’s joie de vivre, vividly conveying the creative skills of exceptionally gifted fellow human beings who are likewise driven to achieve excellence, all the while relishing the sheer pleasure of participating fully in the game of life." -- Sheena Wagstaff, Chair (2012-22), Modern and Contemporary Art, The Metropolitan Museum of Art"Jeffrey has a deep appreciation for the artistry of baseball. His love, enthusiasm, and respect for all aspects of the game began on the Little League sandlots of New York City and culminated as the owner of the World Series Champion Marlins. As he writes, “Great baseball players have much in common with great artists.” Baseball has been truly fortunate to share in Jeffrey’s passion, caring, and commitment to our sport." -- Rob Manfred, Commissioner, Major League Baseball
£25.50
David Zwirner Seen in the Mirror: Things from the Cartin
Book SynopsisAn exciting, unexpected, and beautiful encounter with one collector’s deeply personal assemblage of works. Since the 1980s, Mickey Cartin has assembled a remarkable collection of objects and art—Renaissance and modernist paintings, master prints, sculptures, illuminated manuscripts, and more. Exploring the theory behind collecting art and how Cartin’s approach to collecting diverges from common practices, this publication offers a unique perspective on an intimate practice. Unconcerned with hewing to specific categories, time periods, or media, Cartin’s collection—which includes the likes of Josef Albers, Sol Lewitt, and Forrest Bess—creates active combinations and disrupts homogeneity, privileging the drive of curiosity. A documentation of the celebrated exhibition Seen in the Mirror: Things from the Cartin Collection at David Zwirner, New York, in 202, this catalogue includes additional artworks from Cartin’s trove along with views of his home, conveying how he lives with these various types of work. Cartin selected each work in the exhibition and catalogue as a reflection of his deep connections with the many artists represented therein. The conversation between Cartin and David Leiber illuminates the tensions between study and instinct, reading versus experiencing, as well as the influences and figures that inform his personal, curatorial practice. With an introduction by the curator of the Cartin Collection, Steven Holmes, and a text from the art historian Luke Syson, this inspiring volume is a spirited investigation of a very different method of and approach to collecting.
£41.25
WW Norton & Co That Photo Makes Me Hungry: Photographing Food
Book SynopsisAndrew Scrivani, food photographer for The New York Times, is one of the most respected names in the business. He is also a teacher of the craft, advising food porn obsessives, bloggers, photographers ready for the next step and anyone who loves to shoot and eat how to: see the light (craft and shape it the way you want); embrace the maths (calculate ISO, aperture, shutter speed and white balance); consider visual storytelling (single vs. multiple image narratives); master tricks for shooting in restaurants (window, bounce cards); be a control freak (shop, prep, cook, style and shoot) and turn passion into profit (work and get paid). Part straight-forward practical advice, part stories from the field with many of Scrivani’s signature pictures, this book really will make you hungry.
£18.99
Fulcrum Inc.,US Be The Artist: The Interactive Guide to a Lasting
Book SynopsisThis go-to guide can be your handbook as you enter the art world and navigate the nuances of becoming self-sufficient. Instead of feeding you new techniques, it will provide you with insights to help you make decisions based on your specific situation and goals. By the end of this book, you will have a set of guidelines for scenarios that range from taking on commission work and conducting negotiations to dealing with rejection and improving your organization. Be the Artist is designed to help up-and-coming creatives educate themselves on essential yet seldom-discussed strategies, learn about new and relevant artists, and gather the resources they need to build their business.Trade Review"Freelance can be a difficult career path. the best resource artists have is each other to share their experiences and to get their advice, informed by trial and error, in an ever-changing job market. This is what makes the artist handbook so essential. It captures the invaluable resource of our community." Birdcap, Muralist
£17.95
Morgan James Publishing llc Gallery Ready: A Creative Blueprint for Visual
Book SynopsisDo you desire to show your art in a gallery, yet do not know where to begin? Gallery Ready shares best practices for visual artists, from emerging to midcareer, so they can experience optimum results in making, showing and selling their art. As an artist, you will learn what you can do to attract the attention of a gallery director. Gallery Owner, Franceska Alexander shows artists: How to make their art stand out from the crowd How to be fully prepared to meet with a important gallery decision makers How to keep their artwork fresh and collectors excited about the art Gallery Ready, A Creative Blueprint for Visual Artists, clearly illustrates what artists can do to make their art, gallery ready!
£10.44
Warm Snow Publishers Make Money with Wood Crafts: How to Sell on Etsy,
Book Synopsis
£13.29
Cultureshock Media Ltd Art Thinking
£33.75
Backstage Books ROBIN BANKSY
Book Synopsis
£13.50
Douglas & McIntyre Me Artsy
Book SynopsisThere are a few questions that professional artists get asked regularly: Where do you get your ideas? How did you get started? And be honest—are you really in it for the money?Following the highly successful Me Funny and Me Sexy anthologies, Me Artsy answers these eternal questions and more. With essays from fourteen First Nations artists from a variety of disciplines, the collection provides insight into the paths that led each artist to pursue and develop his or her craft. The essays explore many common themes around the role of art in First Nations communities, including the importance of art for creating social change, the role of art in representing Native culture and the fusion of traditional and contemporary techniques. On a more personal level, the essays describe the significance of art in the lives of the contributors, along with their sometimes unlikely journeys to success, stories which are often touched with humour and humility.Chef David Wolfman describes gruelling years of prep work in the kitchens of the exclusive National Club; filmmaker Zacharias Kunuk discusses leaping into his first feature film without knowing how to finance it; fashion designer Kim Picard describes making a dress inspired by coffee beans; and playwright Drew Hayden Taylor tells the story of putting a bullet through his first play and burying it in his yard. Other contributors include actor/playwright Monique Mojica, painter Marianne Nicolson, painter Maxine Noel, blues pianist Murray Porter, scholar Karyn Recollet, dancer/choreographer Santee Smith, director/actor Rose Stella, drummer Steve Teekens, writer Richard Van Camp and manga artist Michael Nicholl Yahgulanaas.
£15.19
Goose Lane Editions Generations: The Sobey Family and Canadian Art
Book SynopsisOver three generations, the Sobey family of Nova Scotia has demonstrated their discerning and enthusiastic commitment to Canadian art. Accompanying a major exhibition at the McMichael Canadian Art Collection and timed to coincide with the 20th anniversary of the prestigious Sobey Art Award, Generations tells the story of a visionary family and their engagement with Canadian and Indigenous art.This sweeping survey encompasses works by the beloved leaders of Canadian 20th-century art — the Group of Seven, Tom Thomson, David Milne, and Emily Carr — as well as offering a rich display of works by Cornelius Krieghoff, the Quebec Impressionists, Automatiste painters Jean Paul Riopelle and Paul-Émile Borduas, and Ukrainian Canadian artist William Kurelek, before moving onward to showcase leading contemporary artists. Among them are international artist Peter Doig, whose works draw on the legacies of Canadian art, and Indigenous artists Brenda Draney, Ursula Johnson, Kent Monkman, and Brian Jungen.Featuring more than 200 full-colour images, Generations includes an introduction by McMichael Chief Curator Sarah Milroy, essays by McMichael Executive Director Ian A.C. Dejardin, art historians Jocelyn Anderson, John Geoghegan, and Michèle Grandbois, and an interview with contemporary artist Kent Monkman.Trade Review“Generations: The Sobey Family and Canadian Art is a gorgeous book, suitable for bookshelf display, exploring the prominent Nova Scotia grocer family’s commitment to its Canadian and Indigenous art collection. It catalogues and complements the exhibition that inspired it.” -- Jeffery D. Muzzerall * AtlanticBooks.ca *“A beautifully produced coffee-table style volume, each individual work of art is flawless reproduced and is accompanied by an instructive commentary providing an informative context for the painting and the artist. Of particular interest to art students, academia, and non-specialist general readers with an interest in Canadian Art History, Generations: The Sobey Family and Canadian Art is an especially recommended addition to personal, professional, community, college, and university library Art History collections and supplemental curriculum studies lists.” -- James A. Cox * Midwest Book Review *
£34.39
Octopus Publishing Group What They Didn't Teach You in Art School: What
Book SynopsisYou have the artistic talent, but do you know how to make a success of it? Turning your passion into a career in the fiercely competitive art world means becoming your own finance, business, and marketing manager - as well as a researcher, curator and administrator. From writing your first proposal to gaining gallery representation and dealing with the pressures of commercial success, this enlightening, no-nonsense book is your guide, providing all the advice, real-world experience, and inspiration you need to survive and thrive as a working artist.
£14.39
Intellect Books The Artist as Culture Producer: Living and
Book SynopsisWhen Living and Sustaining a Creative Life was published in 2013, it became an immediate sensation. Edited by Sharon Louden, the book brought together forty essays by working artists, each sharing their own story of how to sustain a creative practice that contributes to the ongoing dialogue in contemporary art. The book struck a nerve – how do artists really make it in the world today? Louden took the book on a sixty-two-stop book tour, selling thousands of copies, and building a movement along the way. Now, Louden returns with a sequel: forty more essays from artists who have successfully expanded their practice beyond the studio and become change agents in their communities. There is a misconception that artists are invisible and hidden, but the essays here demonstrate the truth – artists make a measurable and innovative economic impact in the non-profit sector, in education and in corporate environments. The Artist as Culture Producer illustrates how today's contemporary artists add to creative economies through out-of-the-box thinking while also generously contributing to the well-being of others. By turns humorous, heartbreaking and instructive, the testimonies of these forty diverse working artists will inspire and encourage every reader – from the art student to the established artist. With a foreword by Hyperallergic co-founder and editor-in-chief Hrag Vartanian, The Artist as Culture Producer is set to make an indelible mark on the art world – redefining how we see and support contemporary artists. Louden's worldwide book tour begins in March 2017. More information and tour dates can be found online at www.livesustain.org.Trade ReviewLibrary Journal “The Artist as Culture Producer is a welcome alternative to so much of the general interest writing on art and artists’ lives, which tends to focus on attention-grabbing topics such as multimillion-dollar auction sales, celebrity gossip, or tragedy. The essays steer clear of literary flourishes and artspeak, offering straightforward descriptions of each individual’s struggles as they navigated life and career paths. Recommended for students and aspiring artists who hunger for this kind of real-life experience, advice, and wisdom, and for those in organizations that work with them.” Public Art Review “The Artist as Culture Producer describes not only how to maintain a creative life, but how to make the creative work produced meaningful to a wider community. With essays from forty artists, Louden’s collection testifies to the impactful, vital community contributions made by contemporary artists.” Glasstire “The emphasis on artistic citizenship is often scarce at institutions of higher education, and this book may be the answer for understanding that there’s no direct route to guaranteed success in the art world. Louden has picked artists from the obvious U.S. cities that have a density of museums and galleries, but she’s also careful to show us those who have made their life in places like Detroit, Baltimore, San Francisco, and Oregon. Artists need not always be at the center of the art universe to forge a sustainable creative practice. While the measures of what it means to be a successful artist might differ radically for each of the artists included in Louden’s book, they are all decentralizing the image of success—away from the mainstream picture of going to the most reputable MFA programs, being represented by a mega-gallery, living in an art hub like New York or Los Angeles or London, and living on sales of works to major collections and museums. The book posits that networking and strategizing for success don’t always carry the same longterm power that sincere relationships do, and the collective narrative that emerges is one of how these artists’ plans diverged in the face of feeling the need to respond to their peers and surrounding community.” American Craft Magazine “The Artist as Culture Producer contains forty wonderfully plainspoken stories of artistic life. Together, the first-person essays comprise a sort of accidental manual for finding a foothold and making a living while creating art that makes a difference in the larger community.” CAA Reviews “Both frank and richly detailed, Sharon Louden’s broad collection contains forty concrete accounts, fascinating autobiographies in miniature, from artists describing the various ingenious means by which they strive to sustain ‘a creative life.’ There are vital insights here.” Adam D. Weinberg, Alice Pratt Brown Director, Whitney Museum of American Art “This manual is a testimony to the belief that art can, does, and must have an existence that goes beyond the reach of the art market. These intimate essays have a disarming frankness, disclosing the lives of artists from the inside out rather than the outside in. they reveal how social action derives from self-reflection, and such artists turn personal hardships and financial difficulties into new practical models.” Ben White, Chief Economic Correspondent at Politico “This fascinating set of essays reminds us that artists are not mysterious figures cloistered in studios but vital cultural contributors working right alongside the rest of us to bring beauty, truth, joy and economic value to a society that needs all of these things more than ever.” Valerie Cassel Oliver, Senior Curator, Contemporary Arts Museum Houston “This book not only demystifies the illusion of what it means to be an artist but also positions the artist as a catalyst for productive change in our contemporary society. Insightful and inspiring, these artists align their talents with ideals of citizenship, rejecting isolationism in favor of engagement.” Jonathan T.S. Neil, Director, Sotheby’s Institute of Art & the Center for Management in the Creative Industries, Claremont Graduate University “This brilliant collection of personal stories about what it means to be an artist in the twenty first century should finally shred that sepia-toned and nostalgic image of the solitary, studio-bound outsider with chisel or paintbrush in hand. The ingenuity and perseverance on display here is simply awe inspiring.” Wassan Al-Khudhairi, Hugh Kaul Curator of Modern and Contemporary Art, Birmingham Museum of Art “The Artist as Culture Producer is a collection of stories that creates transparency into artists’ lives today, inspiring audiences to challenge their ideas of the impact artists can make in our communities.” Steven J. Tepper, Dean, Herberger Institute of Design and the Arts at Arizona State University “Sharon Louden is our modern day Giogio Vasari. With her second collection of artist essays, she has become one of our most important chroniclers of the lives and experiences of artists working in the twenty first century. Louden has brought us an amazing group of working artists who are imagination partners, creative entrepreneurs and exemplars of the new ways artists are working in the world.”Table of ContentsPREFACE Sharon Louden FOREWORD Hrag Vartanian ESSAYS Alec Soth Alison Wong Andrea Zittel Austin Thomas Billy Dufala and Steven Dufala Brett Wallace Caitlin Masley Cara Ober Carrie Moyer Carron Little Chloë Bass Duncan MacKenzie Edgar Arceneaux Euan Gray Faina Lerman and Graem Whyte Jane South Jayme McLellan Jean Shin Julia Kunin Kat Kiernan Khaled Sabsabi Lenka Clayton Mark Tribe Martina Geccelli Matthew Deleget Michael Scoggins Morehshin Allahyari Norberto Roldan Paul Henry Ramirez Robert Yoder Sharon Butler Shinique Smith Stephanie Syjuco Steve Lambert Tim Doud and Zoë Charlton Wendy Red Star William Powhida CONCLUSION Chen Tamir Courtney Fink Deana Haggag ACKNOWLEDGMENTS
£31.30
Peter Lang Ltd Experiencia Popular, Ciudad e Identidad en el
Book SynopsisExiste una zona de la interrogación cultural contemporánea desde el sur que puede encontrar en el barullo histórico del movimiento Tupac Amaru de Jujuy (Argentina) caminos para repensar los modos de subjetivación político-cultural de ciertos sectores populares latinoamericanos. Es así como se interpelan las complejidades actuales del lazo social en estas latitudes. De antemano, no se puede pautar lo que este clímax popular institucionaliza o ramifica hacia el futuro, pero se procura explorar este acontecimiento como ruptura histórica regional. El movimiento social Tupac Amaru se presenta como controversia que puede al fin devenir en captura hacia la ignominia o hacia el mito, de una u otra manera reificado. Es concebible también que su mera existencia, desarrollo y libertad signifiquen una anomalía histórica, inclusive inadvertida para los marcos progresistas que la engendraron, más aún para quienes hoy procuran desintegrarla y erradicarla. Los conceptos que inauguran la temática de este libro operan como un carril amplio por el que se buscan recorrer procesos observables que se vivieron en los últimos años en América Latina, en Argentina y, específicamente, en Jujuy. Con sus intensidades y matices, las instancias de difícil traductibilidad e inteligibilidad desde la crítica académica se manifiestan en el entorno social circundante en un abierto rechazo. El presente trabajo expone la plenitud de una escena hoy crepuscular. Deja su testimonio abierto al porvenir.
£51.12
Intellect Books Creative Infrastructures: Artists, Money and
Book SynopsisCreative Infrastructures is a new collection of connected essays that examines the relationships between art, innovation, entrepreneurship and money. Essig uses her extensive knowledge of the field of arts entrepreneurship and puts it to broader practical use and greater impact by offering a theory for arts entrepreneurship that places more emphasis on means over ends. Essig uses illustrative case studies to show how her theoretical framework explains a number of innovative efforts in culturally and racially diverse communities. The Ouroboros, the serpent eating its own tail, is a visual metaphor deployed by Essig in the opening essay to shift commonly held perspectives on, especially, the relationship between art and money. Art is the head; money is the tail, feeding and nourishing the head in a cycle that enables the organism to not only survive but also thrive. Between the art and the money is the body: innovation and entrepreneurship. Innovation is understood to be a novel idea that is implemented and has impact on a domain. For that is what the artist does: create something new and unique that has impact. Entrepreneurship is conceived of as the discovery or creation of a mediating structure that can convert the artistic innovation into capital (financial and other types) that can be re-invested in the artist and the making of more art. This book endeavours to untie the knotty relationships between artists and entrepreneurship in order to answer the question 'How can artists make work and thrive in our late-capitalist society?' Other essays in the collection consider a range of topics including how aesthetic and cultural value are transmitted from the artist to the audience; the complexity of the tension between what art fundamentally is and the reproduction of that work and the recent foregrounding of the idea that art can produce positive social change – through current and late-twentieth-century trends in 'social impact art' or 'art for change'. As in sports, business and other sectors, the star artists, the top 1 per cent, have disproportionately influenced the public expectations for what 'a successful artist' means. It isn’t necessary to retell the stories of the one per cent of arts entrepreneurs; instead Essig looks instead at the quotidian artist, at what they do and why, not what they make. All too often, artists who are attentive to the 'business' of their creative practice are accused of 'selling out'. But for many working artists, that attention to business is what enables an artist to not just survive, but to thrive. When artists follow their mission, Essig contends that they don’t sell out, they spiral up by keeping mission at the forefront. The closing essay is a work of speculative fiction, based in all that comes before, both in the preceding essays and in Essig’s work as an artist, arts advocate and scholar of cultural policy. Returning to the symbol of the Ouroboros, it connects the head (art) to the tail (not money specifically, but resources), and back again. It is a 'future imaginary', in which she profiles three fictional artists in the year 2050. The field of arts entrepreneurship is growing – thanks in large part to the work of Linda Essig. The case studies in the book are US-based, but the issues addressed are universal. This book is ideal for use in training programmes for arts administrators and advocates; policy analysts and business schools that are looking to add in arts programmes. It will be of great interest and significance to people working in the cultural industries in the United Kingdom and Europe, especially Germany, where there has also been some recent research interest on similar topics. It is also relevant to the many artists who participate in training and professional development programmes in their community, as well as those who are just starting out. Trade Review'I heartily welcome Essig’s thinking and her willingness to push back on our inclination to see entrepreneurial action as the answer to support production and distribution of art, and the careers of artists. Her questions and observations enrich the conversation as artists and arts organizations shape a post-pandemic future in a changed environment. These essays provide an important opportunity to apply a critical lens to our willingness to embrace entrepreneurial structures at the cost of nurturing alternatives.' -- Claudia Bach, American Journal of Arts Management'[An] intellectual delight for scholars, teachers, and artists who want to develop a systemic and comprehensive understanding of arts entrepreneurship as an academic field; a social, economic, and cultural phenomenon; or simply a term full of controversies and possibilities. For scholars interested in contributing to the scholarly work of arts entrepreneurship, this book can be viewed as a compass of the most significant conversations and theoretical constructs. For educators, this book clarifies the theoretical rationales and practical pathways for curriculum and pedagogical development of arts entrepreneurship as a specialized field connected to but fundamentally different from theentrepreneurship training of business schools. [...] Essig’s insightful piece of work is a bold reimagination of non-capitalist ways of living, creating, and influencing for artists.' -- Wen Guo, Artivate: A Journal of Entrepreneurship in the ArtsTable of ContentsPrologue Essay One: An Ouroboros of self-sustainability Essay Two: Motivation, symbolic meaning, and social impact Essay Three: Art, capitalism, and its discontents Essay Four: Novelty, uniqueness, originality Essay Five: Making way for impact Essay Six: The nature of (arts) entrepreneurial action Essay Seven: Being an entrepreneurial artist Essay Eight: Eschewing scarcity and finding abundance Essay Nine: Buying up, not selling out Epilogue: A future imaginary Bibliography
£25.65
Archaeopress Ancient Art and its Commerce in Early
Book SynopsisAt the beginning of the 20th century, changes in taste and expectations of the public led private museums in Europe and North America to embark on large-scale acquisition of archaeological objects from the Mediterranean and the Near East. John Marshall (1862-1928) was an antiquities expert hired by the Metropolitan Museum of New York as purchasing agent in Europe on behalf of its Department of Classical Art in between 1906 and 1928. His mission was to secure for the Metropolitan a comprehensive collection of antiquities of high aesthetic standards and historical significance. During his agency, John Marshall was an attentive observer of the antiquities trade. Photographs and annotations on more than a thousand ancient objects circulating on the art market at that time have survived in his personal archive, later bequeathed to the British School at Rome and the Ashmolean Library at Oxford. This unpublished and very valuable resource shines light on the secretive world of art dealing and provides information on the history of many masterpieces of ancient and post-ancient art now in the largest museums of Europe and North America. Using information gathered by John Marshall, this book delineates how the trade of art and archaeological objects has impacted the perception of the Classical past in the modern Western world.Trade Review'The more I use the archive, the greater my appreciation for the care that has gone into creating and structuring it. The same is true of the accompanying volume, edited by Guido Petruccioli. The book introduces readers to Marshall, framing him and his activity within social, legal, and scholarly historical contexts. Readers will emerge well-prepared to engage with the Marshall Archive for their own research, but many chapters are valuable stand-alone contributions, including Francesca de Tomasi’s examination of the complex network of laws and regulations that governed the Italian antiquities market at the turn of the century (Chapter 10) and Vinnie Nørskov’s wide-ranging discussion of the use of different types of photography, from casual snapshots to painstakingly staged studio photographs, by collectors and scholars during the period (Chapter 3).' – Erin L. Thompson (2023): Bryn Mawr Classical ReviewTable of ContentsIntroduction – Guido Petruccioli ; Chapter 1 John Marshall – A Biographical Essay – Stephen Dyson ; Chapter 2 Collectors and the Agents of Ancient Art in Rome – Mette Moltesen ; Chapter 3 The Photographs in John Marshall’s Archive – Vinnie Nørskov ; Chapter 4 John Marshall, The Met and the Historiography of ‘Greek Sculpture’ – Guido Petruccioli ; Chapter 5 Faces in Stone: A Case Study of Marble Portrait Sculptures of Roman Date Purchased by The Metropolitan Museum of Art, New York via John Marshall – Susan Walker ; Chapter 6 The Bronzes in the John Marshall Archive – Beryl Barr-Sharrar ; Chapter 7 John Marshall’s Dealings with Vases and Terracottas – Vinnie Nørskov ; Chapter 8 ‘Non-antique’ Objects in the John Marshall Archive – Roberto Cobianchi ; Chapter 9 John Marshall’s Trading Network – Guido Petruccioli ; Chapter 10 Cultural Heritage Preservation during John Marshall’s Time: The Export of Antiquities from the Unification of Italy to the 1909 Law – Francesca de Tomasi ; Plates ; Abbreviations and Bibliography
£56.05
Collective Ink Scene Change: Why Today’s Nonprofit Arts
Book SynopsisNonprofit arts organizations have to place nonprofit ahead of arts in order to thrive in these pre-post-pandemic days. Most currently don’t. Scene change is a phrase tied to the arts when discussing a literal change from one scene in a play to another, eliciting a new time, place, and situation. Here, however, it refers to actions made at this pivotal moment within the entire sector, where the rules that went into play over half a century ago can no longer apply for the arts to serve their nonprofit purpose. That charitable purpose -- to help those who need the help -- cannot exist in an environment of privilege, exclusivity, and the subjective concept of excellence. Excellence does not put food on a hungry person’s table, if they even have a table. In his brilliantly unpretentious, snarky, and hilarious style, Alan Harrison pulls no punches. He identifies and addresses elitism, defines and defuses toxicity, and provides outlines for success, including a hopeful prediction for the future. This book also provides context for the pinball journeys of a 30-year adventure, leading nonprofit arts organizations in America -- warts and all.
£18.04
Renard Press Ltd The Decorative Arts Their Relation to Modern Life
Book SynopsisThe second in the Morris's Manifestos series, The Decorative Arts is a passionate argument against the homogenisation of production, and a cry for art to make itself seen in design art will make our streets as beautiful as the woods, as elevating as the mountainsides.'
£6.50
The Lilliput Press Ltd Hugh Lane 1875-1915
Book SynopsisAvailable for the first time in paperback, Robert O’Byrne’s landmark biography of Hugh Lane remains the essential work on this enigmatic art dealer and patron. From his birth in Cork in 1875, to London, South Africa and Dublin, Hugh Lane is primarily remembered for establishing Dublin’s Municipal Gallery of Modern Art, the first known public gallery of modern art in the world. He never married and, though rumoured to have been homosexual, never had a documented relationship with a man. He was also a person of great social energy who befriended and sometimes crossed swords with the leading cultural figures of his day: Yeats, Gregory, Orpen, Augustus John, Rodin, Beerbohm, and many others. Robert O’Byrne writes with clarity and insight about a man who, since his untimely death on R.M.S. Lusitania in 1915, has been something of a mystery.Trade Review‘The essential book about the brief but extraordinary life of a legendary Edwardian art dealer and philanthropist, his determination to establish a gallery of modern art in Dublin, and its bitterly contested outcome. Writing with authority and verve, Robert O’Byrne has plumbed a rich vein of social history and connoisseurship, to draw a striking portrait of a complex, brilliant and contradictory personality.’ RF Foster, Emeritus Professor of Irish History, University of Oxford‘The essential book about the brief but extraordinary life of a legendary Edwardian art dealer and philanthropist, his determination to establish a gallery of modern art in Dublin, and its bitterly contested outcome. Writing with authority and verve, Robert O’Byrne has plumbed a rich vein of social history and connoisseurship, to draw a striking portrait of a complex, brilliant and contradictory personality.’ RF Foster, Emeritus Professor of Irish History, University of Oxford
£21.38
Liverpool University Press Pablo Picasso: The Interaction between
Book SynopsisThis book explores the interaction between collectors, dealers and exhibitions in Pablo Picassos entire career. The former two often played a determining role in which artworks were included in expositions as well as their availability and value in the art market. The term collector/dealer must often be used in combination since the distinction between both is often unclear; Heinz Berggruen, for instance, identified himself primarily as a collector, although he also sold quite a few Picassos through his Paris gallery. On the whole, however, dealers bought more often than collectors; and they bought works by artists they were already involved with. While some dealers were above all professional gallery owners; most were mainly collectors who sporadically sold items from their collection. Picassos first known dealer was Pere Manyach, whom he met as he travelled to Paris in 1900 when he was only 19 years old. As his representative, Manyach went about setting up exhibitions of his works at galleries in the French capital, such as Bethe Weills and Ambroise Vollards. Picassos first major exhibition took place in 1901 at Vollards. Daniel-Henry Kahnweiler and Leonce Rosenberg came in after Vollard lost interest during the Cubist period, as they had a manifest preference for the new style. Like Vollard, later dealers often preferred the more conventional Neoclassical phase in Picasso. This was the case with Leonces brother, Paul Rosenberg. The book is organized chronologically and discusses the interaction between Picassos collectors, dealers and exhibitions as they take place. Once collectors acquired an artwork, their willingness to lend them to exhibitions or their necessity to submit them to auction had a direct impact on Picassos prominence in the art world.
£32.50
Berghahn Books Between Tradition and Modernity: Aby Warburg and
Book Synopsis Aby Warburg (1866-1929), founder of the Warburg Institute, was one of the most influential cultural historians of the twentieth century. Focusing on the period 1896-1918, this is the first in-depth, book-length study of his response to German political, social and cultural modernism. It analyses Warburg's response to the effects of these phenomena through a study of his involvement with the creation of some of the most important public artworks in Germany. Using a wide array of archival sources, including many of his unpublished working papers and much of his correspondence, the author demonstrates that Warburg's thinking on contemporary art was the product of two important influences: his engagement with Hamburg's civic affairs and his affinity with influential reform movements seeking a greater role for the middle classes in the political, social and cultural leadership of the nation. Thus a lively picture of Hamburg’s cultural life emerges as it responded to artistic modernism, animated by private initiative and public discourse, and charged with debate.Trade Review “Russell clearly succeeds in erasing historically one-dimensional views of Hamburg’s late entry into shaping Germany’s larger cultural and intellectual discourse.” · German Studies Review “...a valuable scholarly contribution, serving as a useful reminder of the broad spectrum of political views and levels of engagement to be found in the complex confrontations with modernity in later imperial Germany.” · The American Historical Review “… a compelling and needed nuance to overly simplified assumptions about Wilhelmine history. [Russell) offers instead a Hamburg that used its public art both to understand its unique history and to embrace a new path for the future…Russell's writing is clear and readable.. he is able to add a significant contribution to the scholarship on Hamburg by moving beyond its role as a commercial hub within the empire and adding to its credence as a center of shaping the definition of a Kulturstadt.” · H-Net “This scholarly and highly nuanced book will be an invaluable source for art historians as well as those studying twentieth-century Germany and its political, cultural, intellectual and emotional history.” · Notable Book Reviews "This is real interdisciplinary work of the highest quality." · Jonathan Steinberg, Walter H. Annenberg Professor of Modern European History, University of PennsylvaniaTable of Contents List of Illustrations Preface Acknowledgments Introduction Chapter 1. The Life and Work of Aby Warburg in its Hamburg Context Chapter 2. Aby Warburg’s “Hamburg Comedy”: The Personal Concerns and Professional Ambitions of a Young Scholar Chapter 3. Political Symbolism and Cultural Monumentalism: Hamburg’s Bismarck Memorial, 1898–1906 Chapter 4. Collective Memory Failure: The Mural Decoration of Hamburg’s City Hall, 1898–1909 Chapter 5. A Moment of Calm in the Chaos of War: Willy von Beckerath’s "Eternal Wave," 1913–1918 Conclusion Bibliography Index
£89.10
Lund Humphries Publishers Ltd Chinese Antiquities: An Introduction to the Art
Book SynopsisChinese Antiquities: An Introduction to the Art Market provides an essential guide to the growing market for Chinese antiquities, encompassing all sectors of the market, from Classical Chinese paintings and calligraphy to ceramics, jade, bronze and ritual sculpture.The different Western and Chinese perceptions of Chinese art are examined in detail throughout the book to provide an understanding of how the market for Chinese antiquities has developed over the last century. An historical analysis of the issues surrounding the infamous Yuanmingyuan incident of 1860, in which foreign troops plundered cartloads of Imperial Chinese treasures and shipped them to Europe, sets the scene for the current trend in China for patriotic art investments and the repatriation of national treasures. The rise of the Chinese auction houses, and the growing prominence of Chinese art as one of the top commodities in the international art market, are also examined, bringing into question whether this recent phenomenon is merely a short-lived trend or a long-term fixture of the twenty-first century art market.Aimed at current and aspiring collectors, investors and galleries interested in Chinese antiquities, the book sets out to demystify the process of buying and selling in the Asian context, highlighting Asia-specific issues that market-players might encounter and making this category of art more accessible to newcomers to the market.Trade Review'The publication of Chinese Antiquities... has filled a gap in the literature and established the Chinese art market as a global historical phenomenon worthy of study in its own right... this book would be an ideal introduction to anyone wishing to pursue a career in the market for Chinese art.' The Art NewspaperTable of ContentsContents: Foreword; Introduction; Chronology of China; Part One - A Global Trade: Chapter 1: Geopolitical Issues for the PRC in the 21st Century; Chapter 2: Historical Trade in Chinese Material Culture; Chapter 3: The Global Market Today; Part Two - Chinese Art Market Sectors: Chapter 4: The Market for Traditional Painting and Calligraphy; Chapter 5: The Market for Ceramics; Chapter 6: The Market for Decorative Works of Art; Part Three - The Structure of the Market: Chapter 7: Museums & Public Collections; Chapter 8: Collectors and the Art of Collecting Chinese Antiquities; Chapter 9: Chinese Art & Antique Dealers; Chapter 10: Chinese Art Auctions; Conclusion; Notes; Bibliography; Appendix A: Museums and Collections with Chinese Art; Appendix B: Dealers of Chinese Art; Index.
£27.00
Lund Humphries Publishers Ltd The Rise and Rise of the Private Art Museum
Book SynopsisThe private collector’s museum has become a phenomenon of the 21st century. There are some 400 of them around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies’, the picture is far more complex and nuanced, as art-market journalist Georgina Adam (author of best-selling Big Bucks and Dark Side of the Boom) shows in her compelling new book. Georgina Adam’s investigation into this extraordinary proliferation, based on her recent visits to over 50 private spaces across the US, Europe, China and elsewhere, delves into the reasons behind this boom, the different motivations of collectors to display their art in public, and the various ways in which the institutions are financed. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Should private museums step in to fill a gap left by declining public investment in culture, and what are the implications for society and the arts? At a time of crisis in the museums sector, this book is an essential and thought-provoking read.Table of ContentsAcknowledgements; Introduction; 1. What is a private museum?; 2. The founders and their motivations; 3. Financing the private museum; 4. What explains the Chinese museum boom?; 5. From private to public - partnerships; 6. Legacy, sustainability, and why private museums sometimes die; Conclusion; Notes; Bibliography; Index
£18.99
Lund Humphries Publishers Ltd The Art Collector's Handbook: The Definitive
Book SynopsisWith the rapid and unprecedented global expansion of the art market, new collectors are emerging every day. This new edition of Mary Rozell's definitive handbook is required reading for new and experienced collectors alike, as well as for anyone aspiring to a professional career within today's art market. Fully revised since its first publication in 2014 to reflect the many changes which have taken place in the art market, in art law, and in the practice of collecting, it now includes a completely new chapter on private museums.Mary Rozell draws on her long experience as an art collection professional and an art lawyer to illuminate some of the myriad issues that arise when owning an art collection. Covering acquisition, inventory management, the insurance, security, storage and conservation of collections, art financing and investing, and the sharing and de-accessioning of artworks, this meticulously researched but accessible book is an essential guide to the fascinating business of collecting.Trade Review'Rozell's book is a superb resource for art collectors to have on hand, covering all aspects of planning, management and care. It is exhaustively researched and extremely well-presented and is a must for any art professional to have in their library.' – Agnes Gund, President Emerita, Museum of Modern Art'a must have how-to book for collectors ... As a single volume covering all aspects of collecting, it certainly merits a place on any bookshelf.' -- Georgina Adam * The Art Newspaper *'a must have how-to book for collectors ... As a single volume covering all aspects of collecting, it certainly merits a place on any bookshelf.' -- Georgina Adam * The Art Newspaper *Table of ContentsAcknowledgments; Foreword; Preface; Part One: Collection Building: Chapter 1: Acquisition; Part Two: Establishing the Scope and Value of a Collection: Chapter 2: Inventory Management; Chapter 3: Valuation; Part Three: Collection Management: Chapter 4: Insurance; Chapter 5: Shipping, Storage, Framing, and Installation; Chapter 6: Conservation and Collection Care; Part Four: The Public and Private Worth of Collections: Chapter 7: Art Investing and Finance; Chapter 8: Sharing Collections: Display, Loans, and Publishing; Chapter 9: Private Foundations and Museums; Part Five: Parting from Collections: Chapter 9: Deaccessioning, Gifting, and Estate Planning; Conclusion; Notes; Bibliography; Index; Image Credits
£23.74
Lund Humphries Publishers Ltd Curating Art Now
Book SynopsisCurating Art Now is a timely reflection on the practice of curating and the role of the art curator during a period of rapid change. Curating has a pivotal position in the art world: it is embedded in the identity and expertise of the museum and plays an ever-increasing role in the commercial art sector too. Current curatorial practice encompasses a wide range of activities, from the care of collections in museums to the presentation of large-scale contemporary biennials, and from collaboration with artists to presentations of work on digital platforms. Curating has grown substantially in the last decades, and in the early 2020s is undergoing a significant period of transition as it grapples with some fundamental questions. How diverse and inclusive is curating as a profession, and how does that inform the art and artists who come to prominence? How possible is it to conduct exploratory and inclusive curatorial work in the challenging economic climate of the early 2020s? What is the extent of a curator’s autonomy within the various institutions and structures in which they work, and what power dynamics are at work between artists and curators? Finally, how might digital art and exhibition-making give way to hybrid forms of practice, and even challenge the face of traditional curating? Lilian Cameron’s lively review addresses all of these issues, and considers the future landscape of curating in an uncertain world.Trade Review'Curating Art Now is a bold and engaging attempt to examine the fundamental contradictions and pressures faced by the field of curating in an increasingly fractured post-truth world. It is a balanced and nuanced take on the current curatorial landscape, with equal parts pragmatism and idealism.' - Sebastian Goldspink, Artist Profile, February 2023Table of ContentsForeword; Acknowledgements; Prologue: Interesting Times; Chapter 1: Knowledge and Access; Chapter 2: Changing Worlds; Chapter 3: Back Home to the Museum; Chapter 4: Artists' Takeover; Chapter 5: Digital (R)evolutions; Epilogue: Opportunity; Notes; Select Bibliography
£18.99
Lund Humphries Publishers Ltd How Not to Exclude Artist Mothers (and other
Book SynopsisFor too long, artists have been told that they can't have both motherhood and a successful career. In this polemical volume, critic and campaigner Hettie Judah argues that a paradigm shift is needed within the art world to take account of the needs of artist mothers (and other parents: artist fathers, parents who don't identify with the term 'mother', and parents in other sectors of the art world). Drawing on interviews with artists internationally, the book highlights some of the success stories that offer models for the future, from alternative support networks and residency models, to studio complexes with onsite childcare, and galleries with family-friendly policies. Some artists have described motherhood as providing them with renewed focus, a new direction in their work, and even inspiration for a complete change of career. Other artists choose to keep their domestic and creative lives compartmentalised. All are placed at a disadvantage by the art world as it is currently structured. This book argues that by making changes and becoming more sensitive to the needs of artist parents, the art world has much to gain.Trade Review'Hettie Judah’s How Not to Exclude Artist Mothers and Other Parents is a manifesto for change at every level, from art schools to studios to institutions and beyond.' – Rhiannon Lucy Cosslett, The Guardian‘Judah’s important book examines the current climate of discrimination against parents who are also artists and points to the impediments of motherhood as symptomatic of wilder societal ills. She makes a valid point in her conclusion, arguing an art world that “does not include artist mothers fails to engage with life in full.”’ – Debra Brehmer, HyperallergicTable of ContentsForeword; Acknowledgements; Introduction; 1. The Culture; 2. Art School; 3. The Studio; 4. Residencies; 5. The Commercial Gallery; 6. Institutions; Conclusion: Love, Celebration and the Road Ahead; Notes; Further Resources; Index
£18.99
Lund Humphries Publishers Ltd Philanthropy in the Arts: A Game of Give and Take
Book SynopsisArts philanthropy is at a crucial moment: many arts organisations are facing a financial crisis, the 2020-21 Covid-19 pandemic exposed the fragility of existing funding structures, and various social initiatives and causes have thrown renewed focus on how the arts are funded. Around the world, a new generation of philanthropists is emerging with different motivations and priorities. This book offers an open and wide-ranging exploration of philanthropy in the arts from the perspectives of both the donors and the recipients, seeking to improve understanding on both sides, and asks what the future holds for arts philanthropy given the rapidly changing landscape. It provides an essential guide for collectors, philanthropists and patrons, as well as art-market and museum professionals, on the peculiarities of giving and taking in the arts sector.Table of ContentsForeword; Acknowledgements; Introduction; 1 Giving; 2 Taking; 3 Barriers to Arts Philanthropy; 4 New Perspectives, New Models; Conclusion; Notes; Further Reading; Index
£18.99
Lund Humphries Publishers Ltd Commercial Galleries: Bricks, Clicks and the
Book SynopsisWritten by an art advisor and former gallerist with an insider’s perspective, this book provides a timely overview of the commercial-gallery sector at a moment of rapid change and expansion. More than any participant in the art market, galleries are seen as mysterious actors with an opaque code of conduct. This book offers a fascinating view of the gallery ecosystem, presenting a systematic diagnosis of key challenges and opportunities facing the sector today. Henry Little discusses the integration of bricks and clicks, addressing the tension between a gallery’s physical premises and its online presence, further asking how the world’s largest galleries have pulled so far ahead both in terms of their physical expansion and their digital offering. In an industry which increasingly rewards consolidation and brand recognition, the book asks how small and mid-tier galleries can hold their own and whether the traditional gallery model may be under threat in an increasingly digital future.Table of ContentsForeword; Acknowledgements; Introduction; 1: Origins and Workings of a Gallery System; 2: The Space: Architecture, Location and Identity; 3: The Digital Promise; 4: Tough at the Top: The Gallery Plus; 5: Consolidation, Collaboration, Continuation; Conclusion; Notes; Further Reading; Index
£18.99
Lund Humphries Publishers Ltd Art Auctions
Book SynopsisThis accessible new book offers a fresh view of art auctions, exploring their multifaceted role in today's international art market and their transformation into spectacular theatres of the contemporary art world. From glittering black-tie events to the anonymity of the digital realm, auctions stage the creation of value and can make or break artists' careers. They are a strange phenomenon: relics from the 18th century which remain at the heart of the art market. And yet art auctions have undergone huge change in the past decades, adapting to online formats, encroaching on territory which was once the preserve of galleries, and expanding ruthlessly into new regions and categories. Kathryn Brown's incisive new survey assesses the ongoing relevance of auctions to contemporary art markets and discusses the opportunities, controversies and conflicts of value to which they give rise.
£18.99
Lund Humphries Publishers Ltd Art in Saudi Arabia: A New Creative Economy?
Book SynopsisArt in Saudi Arabia spotlights the role that contemporary art will play in the country’s new push for sweeping internal reform and cultural diplomacy. As the Kingdom mobilizes its vast resources behind the economic and social priorities of its Vision 2030 strategy and simultaneously seeks new terms of engagement with the international community, art is set to take centre stage and a barrage of planned events, installations, public projects, biennales and museum openings is beginning to draw in many from the international art community. This book looks at both the historic and contemporary contexts for this recent state-led focus on art in the Kingdom; at how its planned events and programs stand apart, in resource, scale and ambition, from seemingly similar initiatives coming from that region; and at both the opportunities and pitfalls, not just for the burgeoning art world of Saudi Arabia, but for practitioners and professionals around the world.Table of ContentsForeword; Introduction: Art as a Catalyst for Social Change in Saudi Arabia; 1 From Past to Present: The Sources of Saudi Arabia’s Culture Drive; 2 A New Saudi Arabia: Art on the Frontlines of Social Transformation; 3 Culture Wars in the Gulf and the Unique Case of Saudi Arabia; 4 A Delicate Balancing Act: Art Creation Amid Unpredictability of the State; 5 State-Controlled Cultural Production, Art World Infrastructures and A Nascent Private Sector; 6 Engaging with Saudi Arabia’s New Arts Playing Field: Opportunities and New Perspectives; Conclusion: Saudi Arabia's New Creative Economy; Further Reading; Index
£18.99
Lund Humphries Publishers Ltd Climate Action in the Art World
Book SynopsisAnnabel Keenan's timely and urgent book reviews the work that has been undertaken to date to create a more sustainable art world and proposes the next steps in system-wide change. It identifies the main sustainability issues for the art industry, arguing that artists and art activists have led the way in creating awareness of climate change, and evaluates progress to date on climate-action commitments by the various sectors of the art world, offering examples of best practice. Uncompromising in its messages, Climate Action in the Art World is essential reading for all art professionals, from artists to curators to art handlers, as well as for anyone seeking an accessible entry-point to a topic which is unfortunately only getting (literally) hotter.
£18.99
Tate Publishing The Turner Prize and British Art
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£20.62
National Gallery Company Ltd Art for the Nation: The Eastlakes and the
Book SynopsisAs prominent members of the Victorian cultural and artistic world, Sir Charles and Lady Elizabeth Eastlake, along with their nephew Charles Locke Eastlake, enjoyed the friendship and support of influential figures including Prince Albert, Sir Thomas Lawrence, J. M. W. Turner, and Sir Robert Peel. This fascinating original biography brings the unique personality of each of the Eastlakes into sharp focus while also exploring their important contributions during the early days of the National Gallery. Charles Eastlake, an artist and connoisseur, was chosen to be not only the President of the Royal Academy from 1850, but also the National Gallery's first Director in 1855. With his capable wife, a literary critic and art historian in her own right, he traveled throughout Europe acquiring significant paintings for the Gallery and implementing important changes to their display and description. Nephew Charles, an architect and popularizer of the Arts and Crafts style, was Keeper at the National Gallery from 1878 to 1898. Art for the Nation tells the remarkable story of the Eastlake family's devotion to art and to the National Gallery during its crucial formative years.Published by National Gallery Company / Distributed by Yale University PressExhibition Schedule:National Gallery, London(07/27/11-10/30/11)Trade ReviewShortlisted for the 2013 Historians of British Art Book Prize in the Multi-Author category, given by the Historians of British Art. -- 2013 Historians of British Art Short List in the Multi-Author category * Historians of British Art *
£28.50
Archetype Publications Ltd Textiles in Trust
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£56.36
Bancroft Press Art of Acquiring: A Portrait of Etta & Claribel
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£30.59
Giles de la Mare Publishers Duchess of Cork Street: The Autobiography of an
Book SynopsisDuchess of Cork Street is the autobiography of a remarkable woman who, educated in the culturally unsophisticated milieu of South Africa, managed by charm, determination and good judgment to establish herself as a doyenne of the London art world between about 1950 and the late 1970s. Although Lillian Browse had originally had ambitions to become a ballet-dancer, she joined the staff of the well known Leger Gallery in the early 1930s, and in 1945 she set up a new art gallery called Roland, Browse and Delbanco in Cork Street in the west end of London together with two fellow art dealers, thus coming to know through her varied experiences many of the most distinguished people of her time as clients and friends. She had worked with Sir Kenneth Clark on planning exhibitions in the National Gallery during the war. Her gallery soon acquired a reputation for quality and integrity and, with her distinctive and influential taste, she pioneered the study of important French and English painters and sculptors, among them Degas, Rodin, Sickert, William Nicholson and Augustus John, and she also gave consistent support to an expanding group of living artists. She was active in the world of art-dealing for over fifty years. During that period the character of the profession changed out of all recognition. Although the spotlight has now moved from London to New York for a variety of reasons, she is by no means despairing of the future. The number of galleries is growing fast, especially away from central London. Above all, there is a much wider interest in art and appreciation of living artists in Britain than ever before. She played a significant role in helping to bring that about. Lillian Browse, who was awarded the CBE in 1998, remains a popular and revered personality in the art world. Her book has been eagerly awaited.Trade Review'...an absorbing story, told with zest and great candour, so that it is entirely fitting that Browse's name should still adorn the facade of No.19 [Cork Street].' Evelyn Joll in The SpectatorTable of ContentsPart 1 South Africa: my family; being a child in South Africa; dancing days. Part 2 London in the 30th -ballet and art dealing: the most austere of disciplines; the death of my mother; new movements in ballet; my introduction to art and artists; the Leger Gallery - old masters; meeting painters and critics; Paris; more exhibitions at the Leger Gallery; prologue to war. Part 3 The war years: the National Gallery in wartime - "Browse's Academy"; exhibitions and monographs - Sickert and others; the Hugh Walpole estate; Linden Gardens; "Degas Dancers". Part 4 Settling down after the war: forming a partnership; Roland, Browse and Delbanco in Cork Street; early exhibitions and gallery artists; ballet again, from the front of the house; "in sickness and in health". Part 5 Roland, Browse and Delbanco: the rise and fall of London as art centre; Roland, Browse and Delbanco and the avant-garde; discoveries and revivals - O'Conor, Rodin, etc.; "Balzac" at Hemel Hempstead; Sickert again; Scottish artists at the gallery; a variety of exhibitions; Forain and the monograph; change at Cork Street - the opening of Browse and Darby.
£15.29
Bene Factum Publishing Ltd Heart in Art: A Life In Paintings
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£22.49
Ridinghouse Unconcealed: The International Network of
Book Synopsis"The book is an impressive work of scholarship" – Studio International "Richard set about to produce a study of distribution networks, and achieved this through immaculate and thorough research. It is no criticism of the book to say that there are many questions left unexplored ... As scholars of the future think through these and other questions, they will remain grateful to Richard’s extraordinary and meticulous scholarship." – Mark Godfrey, Frieze Emerging in the late 1960s, conceptual art was spurred by a network of artists, dealers, curators and critics. These little-known connections are detailed for the first time in this highly significant volume. By focusing on 15 artists – including Marcel Broodthaers, Richard Long, Lawrence Weiner, Hanne Darboven and Daniel Buren – and a specific network of dealer-galleries, private and public institutions and collectors around them, author Sophie Richard documents the role of art dealers in the development of conceptual art – which ultimately led to the structure of today's art world. We learn how conceptual artworks entered private collections and public institutions, how value was conferred to them, and the distribution networks that drove these artists' success. A detailed account of artistic activity in the decade 1967–77 is accompanied by extensive and previously unpublished data, charting the exhibitions and sales of conceptual works. The relationships, support structures and strategies of dealer-galleries – such as Konrad Fischer, Wide White Space and Lisson Gallery – are revealed and make fascinating reading. Including numerous interviews with key figures of the period, 'Unconcealed' exposes the new dealing, curatorial, collecting and teaching methods formed in this decade that continue to be critical to today’s art world.
£40.50
Ridinghouse The Curator's Egg: The evolution of the museum
Book SynopsisFrom the opening of The Louvre to the launch of Tate Modern and beyond, this accessible and succinct publication traces the development of the museum concept – encompassing curatorial, scholarly, political and cultural spheres – and its evolving role within society. In the first section, Schubert looks at the complex history of the museum in specific cities at critical moments, for instance New York between 1930 and 1950 as the Metropolitan Museum of Art expanded and the Museum of Modern Art was founded. The second section focuses on the success and unprecedented development of the museum in the 1980s and 1990s in Europe and the United States, highlighting the need for cities and institutions to revise their programmes in response to a surge of interest in the arts. The final section looks at the museum’s predicament nearly a decade after The Curator’s Egg was originally published in 2000, exploring the museum's evolution in a post-9/11 environment.
£18.00
Daunt Books Duveen
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£9.49
Third Millennium Publishing An Auctioneer’s Lot: Triumphs and Disasters at
Book SynopsisLord Hindlip presided over London's auction house Christie's during a time of great excitement in the art world. The 1960s, 70s and early 80s saw the wholesale denuding of country houses and ransacking of attics right across the country - yielding genuine treasures and fakes (both cunning and clumsy) in equal measure. Both memoir and art book, An Auctioneer's Lot recounts Lord Hindlip's career through the major works of art that have passed through his hands over the last fifty years. His story charts such extraordinary highs as the sale of Van Gogh's Sunflowers for a then world-record sum, as well as the often hilarious lows, including a wild goose chase across the badlands of rural America which led him to a gun-toting recluse and a cherished pile of tat masquerading as Old Master paintings. This lavishly produced book is generously illustrated with photographs of all the works of art that came to define Lord Hindlip's tenure as chairman of Christie's.
£25.50
Ridinghouse Room 225-6: A Novel
Book SynopsisRecounting an art dealer’s recuperation from major surgery in the famous Claridge’s Hotel in London, this idiosyncratic (and semi-autobiographical) novel interweaves reality with fantasy. Room 225–6 follows the author-character ‘The Protagonist’ – accompanied by his beloved terrier ‘The Bitch’ – around London’s Mayfair as he hosts endless art world gatherings and tea parties for twenty, and visits a multitude of local galleries and shops. Incorporating multi-layered voices and devices, the distinctive narrative introduces the reader to a memorable host of characters – from the ‘The Political Prisoner’ to ‘The Little Mondrian’ – in a tale filled with humour of observation and incident. Bringing to life this frightening yet extraordinary period in one man’s life, it is at once honest, satirical, idiotic and bold. Room 225-6 is sold to benefit the Oracle Cancer Trust (oraclecancertrust.org), the UK’s leading national charity dedicated to funding head and neck cancer research.
£14.36
Libri Publishing Who Runs the Artworld: Money, Power and Ethics
Book SynopsisWho Runs the Artworld: Money, Power and Ethics examines the economics and mythologies of today’s global artworld. It unmasks the complex web of relationships that now exist among high-profile curators, collectors, museum trustees and corporate sponsors, and the historic and ongoing complicity between the art and money markets. The book examines alternative models being deployed by curators and artists influenced by the 2008 global financial crisis and the international socio-political Occupy movement, with a particular focus on a renewed activism by artists. This activism is coupled with an institutional and social critique led by groups such as Liberate Tate, the Precarious Workers Brigade and Strike Debt. Who Runs the Artworld: Money, Power and Ethics brings together a diverse range of thinkers who draw on the disciplines of art theory, social sciences and cultural economics, and curatorship and the lived experience of artists. The contributors to this book are, in their respective contexts, working at the forefront of these compelling issues.
£23.75
Bloomsbury Publishing PLC The Artist's Guide to Selling Work
Book SynopsisA one-stop resource containing everything artists need to know to sell their work. This best-selling guide provides all the advice you need to sell your work in today's competitive market. This fantastic new edition has been updated with essential advice on how to make full use of digital opportunities for selling your work, such as social networking and e-marketing. It contains information and suggestions about: - Selecting and approaching galleries - Pricing and payments - Royalty rates and financial management - Sample contracts and other legal considerations - Creating a website and maximising hits - Mastering social media to increase your visibility - Managing sales via online stores such as Etsy, Folksy or eBay - Printing your own reproductions and marketing them With a foreword by Mary Ann Rogers, one of Britain's most acclaimed watercolour painters who was awarded 'Best Selling Published Artist' by the Fine Art Trade Guild in 2009.Trade ReviewI was very impressed a while back by the companion volumes to this, aimed at craftspeople. The same detail and rigour appear in this volume, which has been updated to take account of the growing importance of the internet and of social networking websites … [T]his is an authoritative and informative guide … The advice given is practical, understandable and above all reliable, making this an essential tool for anyone seeking to make an income from their work on anything other than the most casual basis. * Art Book Review *This small book is easy to flip through to the sections of interest [...] whether you want to check up on one or two points, or want to work through the whole book, it is approachable and accessible. * Saskatchewan Craft Council *Table of ContentsForeword Introduction 1. The business side of being an artist 2. The different types of art business 3. Selecting the right business 4. How businesses find artists 5. Making an approach 6. Pricing original work 7. Terms and conditions between artists and galleries 8. Case studies: agreements between artists and galleries 9. Selling direct 10. How to make exhibitions work 11. Agents 12. Copyright and reproduction rights 13. Working with publishers and licensing work 14. Contracts between artists and publishers or licensees 15. Printing your own work 16. Case studies Index
£18.00
University of Westminster Press Cultural Crowdfunding: Platform Capitalism,
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£18.99
Unicorn Publishing Group Memories of a London Fine Art Dealer
Book SynopsisMemories of a London Art Dealer is the distillation of a lifetime’s experience and expertise in the art world. Neither an autobiography nor a traditional memoir, the book consists of reflections, anecdotes, telling conversations, encounters, touches of humour and a choice selection of the triumphs and disasters, heroes and villains encountered by an accidental art dealer. Trade Review"Reading the book is like being seated in a leather wingback chair at a club, listening to an affable chap recount his favourite anecdotes. . . . This is an enjoyable canter through a veteran dealer's memories, light on details and warmly diverting." * Alexander Adams Art *
£25.50
Unicorn Publishing Group Two Women Patrons of the Russian Avant-Garde:
Book SynopsisIn early 1910s, two pioneering women entrepreneurs, Nadezhda Dobychina in St Petersburg and Klavdia Mikhailova in Moscow set up two of the first art galleries in Russia. Skilfully balancing current art market trends and daring avant-garde experimentations, Dobychina and Mikhailova soon transformed their establishments into vibrant centres of Russian artistic life. Their exhibitions of well-established national and international artists attracted enthusiastic crowds and won acclaim from leading art critics. They did not hesitate to engage in more provocative ventures, including the controversial Goncharova retrospectives in 1914, which for the first time put on view over 500 cutting-edge avant-garde works, and the famous 0.10 exhibition of 1915 at Dobychina’s Art Bureau in St. Petersburg, where Malevich’s famous Black Square was displayed for the very first time. Based on previously unpublished archival materials and illustrations, this book will tell the story of the lives and adventures of these two remarkable women. Operating in a predominantly man’s world, they focussed on discovering and promoting those Russian artists who later went on to become major figures in the history of world modernism.
£28.50
Aurora Metro Publications The Contemporary Artists' Guide to Art Galleries
Book SynopsisThe Contemporary Artists' Guide to Art Galleries provides the information that every artist needs to be able to market their artwork in today's fast-changing world. With detailed contact information for hundreds of art galleries around the world, this is an essential handbook for those starting to sell their work, or those wanting to reach out to new galleries for sales or exhibitions. Useful tips and advice with an introduction by the author, an artist who has successfully marketed her work internationally.Trade Review"Wahey, a guide without any waffle! A straight listing of galleries sorted by countries and, thankfully, UK-centric, a short description of each one including their specific focus and followed by all..." - Anne McCormick, NetGalley reviewer
£14.24
