7th Annual Conference of The International Art Market Studies Association, The University of Melbourne, Australia
11th – 13th July 2024
CALL FOR PAPERS
MULTIPLE ART MARKETS IN AN EXPANDING WORLD
ARTISTS, AGENTS, NETWORKS, EXCHANGE
Convenors:
Associate Professor Christopher R. Marshall
Associate Professor of Art History and Museum Studies, the University of Melbourne, Australia
Email: crmars@unimelb.edu.au
Dr Georgina S. Walker
Teaching Associate in Art History and Curatorship, the University of Melbourne, Australia
Email: walker.g@unimelb.edu.au
Introduction and Overview
From 11th – 13th July 2024, the University of Melbourne, Australia, will host the seventh annual conference of The International Art Market Studies Association
(TIAMSA), and its third in-person gathering since the COVID-19 pandemic. TIAMSA is an international professional/academic organisation dedicated to the study of art markets of all regions and periods and to developing an infrastructure which supports both research and networking among art market professionals and scholars working in the area. Its membership comprises both individual members (collectors, art world professionals, scholars and students from across a wide range of disciplines), as well as corporate members, institutional, and association members.
The Melbourne 2024 conference will adopt a hybrid mode of delivery, permitting either in person presentations or paper delivery via zoom. Building on the success of previous conferences held in Brussels, Berlin, Edinburgh, Lisbon, Vienna and London, the 2024 Melbourne TIAMSA conference invites proposals on a broad range of topics related to the art market in its various incarnations.
Deadline for submission of proposals: 1st November 2023
Conference Objectives and Scope
As the first iteration of TIAMSA to be staged outside Europe, the 2024 Melbourne TIAMSA conference aims to engage with current and emerging perspectives on the
art market with a particular focus on the implications and challenges created by the continuously evolving and expanding diversified world art markets of the 21st
century.
While focusing on targeted case studies from both historical and contemporary perspectives, the conference also aims to engage directly with such broad and
overarching topic areas as:
➢ Multiple art markets across an expanded field of diverse geographic regions:
East and Southeast Asia; the Middle East and North Africa; Australia, New
Zealand and the Pacific
➢ First Nations art markets
➢ Art and value; the value of art
➢ Changing museum models (private and public) and the art market (including
Global South case studies and other geographic regions)
➢ Collectors, donors, philanthropists: The art market and shifting notions of
gifting and philanthropy
➢ Clashing cultures: war, political uncertainty, climate catastrophe and world art
markets
➢ Art, commerce, politics: artists’ rights, activism and political agency in
contemporary art markets, Feminism, LGBTQI+, cultural identity, artistic
reputation and professional visibility in world art markets
➢ Provenance, collecting, museums and the art market
➢ Professional ethics, arts law, intellectual property and cultural heritage in the
art market
➢ Actors, agents and self-determination: Artists, dealers, gallerists, consultants,
and curators operating in shifting artworlds
➢ The internet, AI and other digital art markets and platforms
➢ Economic and historical developments in the art market
➢ Biennales, art fairs and the circulation of art across art world networks
The conference convenors and organising committee welcome a diverse range of perspectives from artists, scholars, museum and industry professionals, arts law and cultural policy makers, and all others with an interest in the area. While specifically targeting papers on the topics given above, the convenors and conference
committee will also welcome paper and panel suggestions in other areas and will also aim to include at least one open session to allow for maximum flexibility and
inclusion of potential speakers in the 2024 Melbourne conference.
To submit a proposal, please send an abstract (300-500 words) and a brief biography to Associate Professor Christopher Marshall and Dr Georgina Walker, at:
2024melbourneconference@artmarketstudies.org
A presenter may submit one paper abstract for consideration for TIAMSA Melbourne 2024. Please include the following in your submission:
• paper title (15-word maximum)
• paper abstract (300-500 word maximum)
• full name, current affiliation, and email address.
• CV (pdf or doc upload)
• PhD or other terminal degree completion year (past or expected)
• Deadline for submission of proposals 1st November 2023
• Date of response from the committee 8th December 2023
Please indicate if you are a PhD candidate and/or early career researcher in order to be considered for a TIAMSA travel stipend to support the costs involved in travelling to attend the conference.
Please also note your preference to present at Melbourne TIAMSA 2024 in person or via zoom.
Convenors’ Biographies
Dr Christopher R. Marshall is Associate Professor in Art History and Museum Studies at the University of Melbourne. His publications on museums and curatorship include Sculpture and the Museum (Ashgate, 2011) and contributions to Museum Making; Making Art History and Reshaping Museum Space (Routledge, 2005, 2007 and 2012), together with articles in Journal of Curatorial Studies, Journal of the Inclusive Museum etc. His publications on Neapolitan Baroque art, collecting and the art market include Baroque Naples and the Industry of Painting (Yale University Press, 2016), chapter contributions to The Economic Lives of Seventeenth-Century Italian Painters (Yale University Press, 2010); Davanti al naturale (Officina Libreria, 2017); Mapping Markets in Europe and the New World (Brepols: 2006); and The Art Market in Italy (Pannini: 2002). His forthcoming monograph, Artemisia Gentileschi and the Business of Art will be published by Princeton University Press in June 2024.
Dr Georgina S. Walker is a Teaching Associate in Art History and Curatorship at the University of Melbourne. She has developed a significant academic profile in the
emerging field of private art museums and cultural philanthropy at the University of Melbourne, Australia and internationally with an innovative specialisation in private and public museums, historical and contemporary museology, curatorial and art market studies. Her monograph The Private Collector’s Museum: Public Good Versus Private Gain (Routledge 2019) is the first study to connect the rising popularity of private museums with new models of philanthropy, collecting and
complex inter-relationships between private and public museums. Walker has two books under contract with the Routledge Research in Museum Studies series that will examine the emergence of the private museum in parts of Asia and the Arabian Peninsula. Other publications include the co-authored bibliographic resource for
Oxford Bibliographies in Art History, “Museums in Australia”, Oxford University Press, 2019 and an article with The International Journal of the Inclusive Museum, “A Twenty-First Century Wunderkammer: Museum of Old and New Art (MONA) Hobart, Tasmania, Australia” (2016).