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Women Art Dealers brings together fascinating case studies of galleries run by women between the 1940s and 1980s. It marks a departure from other work in the field of art markets, challenging male-dominated histories by analyzing the work of female dealers who anticipated the global model, worked to promote art across continents, and thus developed an international art market. Part 1 focuses on the women gallerists behind the promotion of modern art after World War II who participated in important research about the neo-Avant-Garde. Part 2 examines the contributions by women art dealers…mehr
Women Art Dealers brings together fascinating case studies of galleries run by women between the 1940s and 1980s. It marks a departure from other work in the field of art markets, challenging male-dominated histories by analyzing the work of female dealers who anticipated the global model, worked to promote art across continents, and thus developed an international art market.
Part 1 focuses on the women gallerists behind the promotion of modern art after World War II who participated in important research about the neo-Avant-Garde. Part 2 examines the contributions by women art dealers toward the birth of new markets - through establishing the reputation of artistic genres, such as video art and photography, and working at the forefront of advancing contemporary art. Finally, Part 3 analyzes case studies from the southern European art scene, paying fresh attention to several under-researched markets in the region like Italy and Portugal.
Each chapter study provides a historiographic profile of the gallery under discussion and critical analysis is supported with a wide range of visual material including portraits of the women art dealers, photographs of the exhibitions they managed, and printed documentation like catalogues, invitations, and posters that were often used to support artists on display in experimental ways.
Véronique Chagnon-Burke is an art historian, co-founder of Women Art Dealers Digital Archives, co-chair of The International Art Market Studies Association, section editor for the Art Market Dictionary, and former Director of Christie's Education in New York (2002-2021). Caterina Toschi is Associate Professor of contemporary art history and history of photography at the University for Foreigners of Siena, Italy. She is co-founder of Women Art Dealers Digital Archives and Senzacornice, and Associate Director of the Santa Maddalena Foundation.
Inhaltsangabe
Notes on Contributors Acknowledgements Series Editor Preface Introduction Women Art Dealers: Creating Markets for Modern Art 1940-1990 Véronique Chagnon-Burke (WADDA/International Art market Studies Association USA) Prolegomenon The ideology of the Gaze in Photography: Canons and Anti-Canons of Women Art Dealers' Portraits (1924-2013) Caterina Toschi (University for Foreigners of Siena Italy) Part One: The Promotion of Modern Art in the Aftermath of World War Two 1. The Girl with the Gallery: Edith Halpert in the Mid-Twentieth Century New York Art Market A. Deirdre Robson (University of West London UK) 2. Simone Kahn Collinet: From Member to Promoter of Surrealism Alice Ensabella (University of Grenoble France) 3. Nelly van Doesburg and Peggy Guggenheim. Their Role in Establishing the Reputation of Theo van Doesburg and De Stijl Doris Wintgens (formerly Museum De Lakenhal The Netherlands) 4. The Konstsalongen Samlaren of Agnes Widlund in Stockholm Christina Brandberg (University of Loughborough UK) 5. Galerie Gmurzynska in the Cold War Period Elena Korowin (Albrecht-Ludwigs-Universität Freiburg Germany) Part Two: The Rise of New Markets 6. Bertha Schaefer: "A Case of Ambidexterity." Bringing Modern Art into American Homes Antonella Camarda (University of Sassari Italy) 7. Gabriella Cardazzo at Galleria del Cavallino in Venice Lisa Parolo (University of Udine Italy) 8. Constructing a Photography Market between New York and Paris: The Role of the Zabriskie Gallery (1970s-1990s) Isabella Seniuta (University Paris 1 Panthéon-Sorbonne France) 9. Linda Givon the Goodman Gallery and the Politics of the Contemporary Art Market in South Africa 1966-1990 Federico Freschi & Lara Koseff (University of Johannesburg South Africa) 10. Mapping the Impact of Women Art Dealers in Los Angeles: A Few Case Studies Pietro Rigolo (Getty Research Institute USA) 11. "The Boom in Boone:" Mary Boone in SoHo in the Early 1980s Carlotta Castellani (Center for Italian Modern Art USA) Part Three: Latin Galleries Between Italy and Portugal 12. From Fashion Journalism to Art Dealing: Irene Brin and L'Obelisco Gallery Ilaria Schiaffini (Sapienza University of Rome Italy) 13. Topazia Alliata Piero Manzoni and the Coincidence between Idea and Visual Language. The Case of Riducibili Rome 1960 Carlotta Sylos Calò (University of Rome Tor Vergata Italy) 14. Mara Coccia a Gallery Owner in Rome Francesca Gallo (Sapienza University of Rome Italy) 15. Etheline Rosas: a Modern Art Conservator an Art Dealer and Museologist Sofia Ponte (IADE-Universidade Europeia Portugal) 16. Dulce D'Agro and Quadrum: A Modern Art Love Story in Lisbon Adelaide Duarte (Universidade NOVA de Lisboa Portugal) 17. Lia Rumma: Art as Conviviality Luigia Lonardelli (MAXXI of Rome Italy) Index
Notes on Contributors Acknowledgements Series Editor Preface Introduction Women Art Dealers: Creating Markets for Modern Art 1940-1990 Véronique Chagnon-Burke (WADDA/International Art market Studies Association USA) Prolegomenon The ideology of the Gaze in Photography: Canons and Anti-Canons of Women Art Dealers' Portraits (1924-2013) Caterina Toschi (University for Foreigners of Siena Italy) Part One: The Promotion of Modern Art in the Aftermath of World War Two 1. The Girl with the Gallery: Edith Halpert in the Mid-Twentieth Century New York Art Market A. Deirdre Robson (University of West London UK) 2. Simone Kahn Collinet: From Member to Promoter of Surrealism Alice Ensabella (University of Grenoble France) 3. Nelly van Doesburg and Peggy Guggenheim. Their Role in Establishing the Reputation of Theo van Doesburg and De Stijl Doris Wintgens (formerly Museum De Lakenhal The Netherlands) 4. The Konstsalongen Samlaren of Agnes Widlund in Stockholm Christina Brandberg (University of Loughborough UK) 5. Galerie Gmurzynska in the Cold War Period Elena Korowin (Albrecht-Ludwigs-Universität Freiburg Germany) Part Two: The Rise of New Markets 6. Bertha Schaefer: "A Case of Ambidexterity." Bringing Modern Art into American Homes Antonella Camarda (University of Sassari Italy) 7. Gabriella Cardazzo at Galleria del Cavallino in Venice Lisa Parolo (University of Udine Italy) 8. Constructing a Photography Market between New York and Paris: The Role of the Zabriskie Gallery (1970s-1990s) Isabella Seniuta (University Paris 1 Panthéon-Sorbonne France) 9. Linda Givon the Goodman Gallery and the Politics of the Contemporary Art Market in South Africa 1966-1990 Federico Freschi & Lara Koseff (University of Johannesburg South Africa) 10. Mapping the Impact of Women Art Dealers in Los Angeles: A Few Case Studies Pietro Rigolo (Getty Research Institute USA) 11. "The Boom in Boone:" Mary Boone in SoHo in the Early 1980s Carlotta Castellani (Center for Italian Modern Art USA) Part Three: Latin Galleries Between Italy and Portugal 12. From Fashion Journalism to Art Dealing: Irene Brin and L'Obelisco Gallery Ilaria Schiaffini (Sapienza University of Rome Italy) 13. Topazia Alliata Piero Manzoni and the Coincidence between Idea and Visual Language. The Case of Riducibili Rome 1960 Carlotta Sylos Calò (University of Rome Tor Vergata Italy) 14. Mara Coccia a Gallery Owner in Rome Francesca Gallo (Sapienza University of Rome Italy) 15. Etheline Rosas: a Modern Art Conservator an Art Dealer and Museologist Sofia Ponte (IADE-Universidade Europeia Portugal) 16. Dulce D'Agro and Quadrum: A Modern Art Love Story in Lisbon Adelaide Duarte (Universidade NOVA de Lisboa Portugal) 17. Lia Rumma: Art as Conviviality Luigia Lonardelli (MAXXI of Rome Italy) Index
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