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Talking prices
How do dealers price contemporary art in a world where objective criteria seem absent?Talking Pricesis the first book to examine this question from a sociological perspective. On the basis of a wide range of qualitative and quantitative data, including interviews with art dealers in New York and Amsterdam, Olav Velthuis shows how contemporary art galleries juggle the contradictory logics of art and economics. In doing so, they rely on a highly ritualized business repertoire. For instance, a sharp distinction between a gallery's museumlike front space and its businesslike back space safeguards the separation of art from commerce.
Velthuis shows that prices, far from being abstract numbers, convey rich meanings to trading partners that extend well beyond the works of art. A high price may indicate not only the quality of a work but also the identity of collectors who bought it before the artist's reputation was established. Such meanings are far from unequivocal. For some, a high price may be a symbol of status; for others, it is a symbol of fraud.
Whereas sociological thought has long viewed prices as reducing qualities to quantities, this pathbreaking and engagingly written book reveals the rich world behind these numerical values. Art dealers distinguish different types of prices and attach moral significance to them. Thus the price mechanism constitutes a symbolic system akin to language.
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Facts and Artefacts - Art in the Islamic World
In this impressive collection honouring the German scholar of Islamic art Jens Kröger on his 65th birthday, Avinoam Shalem and Annette Hagedorn bring together twenty-five contributions from a highly distinguished group of experts on Islamic art and specialists of central and south Asian art. Unpublished artefacts and new interpretations are presented in this book.
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Conservation: principles, dilemmas and uncomfortable truths
'Conservation: Principles, Dilemmas, and Uncomfortable Truths' presents multi-perspective critical analyses of the ethics and principles that guide the conservation of works of art and design, archaeological artefacts, buildings, monuments, and heritage sites on behalf of society. Contributors from the fields of philosophy, sociology, history, art and design history, museology, conservation, architecture, and planning and public policy address a wide range of conservation principles, practices, and theories from the US, Canada, Europe, Australia and New Zealand, encouraging the reader to make comparisons across subjects and disciplines. By wrestling with and offering ways of disentangling the ethical dilemmas confronting those who maintain and sustain cultural heritage for today and tomorrow, 'Conservation: Principles, Dilemmas, and Uncomfortable Truths' provides an essential reference text for conservation professionals, museum and heritage professionals, art and cultural historians, lecturers and students, and all others invested in cultural heritage theories and practices.Alison Richmond, as a Senior Conservator in the Victoria and Albert Museum and Deputy Head of the Conservation Department at the Royal College of Art, maintains teaching and research roles in conservation theory, principles and ethics, and has developed decision-making tools for conservators. She is an Accredited Conservator-Restorer (ACR), a Fellow of the International Institute for Conservation (FIIC), and a Trustee of the UK's Institute of Conservation (Icon) since 2005.Alison Bracker received her PhD in the History of Art from the University of Leeds, and manages the Events & Lectures programme at the Royal Academy of Arts in London. As co-founder of Bracker Fiske Consultants, she advises on the presentation, description, documentation, and care of artworks comprising modern media, and lectures and publishes widely on the theoretical and practical issues arising from the conservation of non-traditional and impermanent materials in contemporary works of art.
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Image and Audience
There have been many accounts of prehistoric ‘art’, but nearly all of them begin by assuming that the concept is a useful one. In this extensively illustrated study, Richard Bradley asks why ancient objects were created and when and how they were used. He considers how the first definitions of prehistoric artworks were made, and the ways in which they might be related to practices in the visual arts today. Extended case studies of two immensely popular and much-visited sites illustrate his argument: one considers the megalithic tombs of Western Europe, whilst the other investigates the decorated metalwork and rock carvings of Bronze Age Scandinavia.
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The Thing and Art
On the grounds of the interpretation of Rainer Maria Rilke's poetry and Paul Cézanne's paintings the book attempts to approach the work of art as a thing. This lets to overcome a one-sided aesthetical interpretation of the origin of the work of art and to indicate its place in the cosmos of uncreated, i.e. not hominized things. So, the second fundamental issue raised is a try to point out a metaphysical difference between a hominized and not hominized (natural) thing. Such a non-aesthetical point of view is called ontotopy by the author and is opposed to traditional ontology and the philosophy of art.
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The Acquisition and Exhibition of Classical Antiquities
Cultural property and its stewardship have long been concerns of museums, archaeologists, art historians, and nations, but recently the legal and political consequences of collecting antiquities have also attracted broad media attention. This has been the result, in part, of several high-profile trials, as well as demands by various governments for the return of antiquities to their countries of origin. These circumstances call out for public discussion that moves beyond the rather clear-cut moral response to looting, to consider the implications of buying, selling, and exhibiting antiquities. To whom should they belong? What constitutes legal ownership of antiquities? What laws govern their importation into the United States, for instance? What circumstances, if any, demand the return of those antiquities to their countries of origin? Is there a consensus among archaeologists and museum directors about these issues? These and other pertinent issues are addressed in the essays and responses collected in this volume. Delivered at a 2007 symposium by eminent museum directors and curators, legal scholars, archaeologists, and historians and practitioners of art and architecture, these papers comprise a rich and nuanced reference work.
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Permissions, a survival guide
If a picture is worth a thousand words, then it's a good bet that at least half of those words relate to the picture's copyright status. Art historians, artists, and anyone who wants to use the images of others will find themselves awash in byzantine legal terms, constantly evolving copyright law, varying interpretations by museums and estates, and despair over the complexity of the whole situation. Here, on a white—not a high—horse, Susan Bielstein offers her decades of experience as an editor working with illustrated books. In doing so, she unsnarls the threads of permissions that have ensnared scholars, critics, and artists for years. Organized as a series of “takes” that range from short sidebars to extended discussions, Permissions, A Survival Guide explores intellectual property law as it pertains to visual imagery. How can you determine whether an artwork is copyrighted? How do you procure a high-quality reproduction of an image? What does “fair use” really mean? Is it ever legitimate to use the work of an artist without permission? Bielstein discusses the many uncertainties that plague writers who work with images in this highly visual age, and she does so based on her years navigating precisely these issues. As an editor who has hired a photographer to shoot an incredibly obscure work in the Italian mountains (a plan that backfired hilariously), who has tried to reason with artists' estates in languages she doesn't speak, and who has spent her time in the archival trenches, she offers a snappy and humane guide to this difficult terrain. Filled with anecdotes, asides, and real courage, Permissions, A Survival Guide is a unique handbook that anyone working in the visual arts will find invaluable, if not indispensable.
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Book as Artefact
The Book as Artefact Books do not just contain texts: books themselves are cultural artefacts, which convey many meanings in their own right, meanings which interact with the texts they contain. Awareness of the many significances of books as cultural and textual objects reshapes the traditional disciplines of textual theory, analytic bibliography, codicology and palaeography, while the advent of electronic books, and digital methods for representing print books, is introducing a new dimension to our understanding. Seven essays in this volume, ranging over medieval Portuguese and Swedish manuscripts, eighteenth-century Icelandic editions, Australian playtexts, Thackeray and Anita Brookner, and Stefan George, consider these questions from the broad perspective of textual scholarship. Text and Border Texts may exist on the borderland of word and not-word; or they may spring from borderlands of nation or culture; or they may be considered from the margins of neighbouring disciplines. So readers must set the texts within contexts, to see the play of text against border. Essays in this volume explore different texts against varying backgrounds Pounds Cantos , Joyces Ulysses , Trollopes An Eye for an Eye , Woolfs The Waves while essays by McGann and Lernout argue the dimensionality of text on the intersection of print and digital media.Implicit in all these essays is the contention, that textual scholarship must influence literary interpretation. Two final essays focus directly on this, in the cases of Melvilles Moby-Dick and Emily Dickinsons late fragments. An extensive reviews section completes this volume.
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