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State of the Art Archives ZADIK, basis wien, Institut für moderne Kunst (Eds. / Hrsg.) Proceedings of the Conference International Conference on Archives Documenting Modern and Contemporary Art State of the Art Archives Internationale Konferenz für Archive zur Dokumentation moderner und zeitgenössischer Kunst Tagungsband zur Konferenz State of the Art Archives Edited by / Herausgegeben von ZADIK, basis wien, Institut für moderne Kunst Proceedings of the Conference International Conference on Archives Documenting Modern and Contemporary Art State of the Art Archives Internationale Konferenz für Archive zur Dokumentation moderner und zeitgenössischer Kunst Tagungsband zur Konferenz Diese Publikation erscheint anlässlich von: State of the Art Archives. Internationale Konferenz für Archive zur Dokumentation moderner und zeitgenössischer Kunst, Berlin, Stiftung Branden burger Tor, Max Liebermann Haus, 21.–23.9.2017. Published on the occasion of: State of the Art Archives. International Conference on Archives Documenting Modern and Contemporary Art, Berlin, Stiftung Brandenburger Tor, Max Lieber mann Haus, 21.–23.9.2017. Redaktion: Kathrin Mayer, Sophia Rösch Übersetzungen: Kelly Bescherer, Ciara Brophy, Jan Junglas, Lukas Valtin Transkriptionen: Sigrid Schüßler Cover: Jasmin Trabichler Fotos: Hannu Aaltonen, Andrea Avezzù, David Campos, Robert Gruber, Dóra Halasi, Markus Hoffmann, Markus Krottendorfer, Jan Kuntoš, Kitmin Lee, Laurie Lembrecht, Alexey Narodnitzkiy, Erhard Och, Hervé Véronèse www.stateoftheartarchives.com Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. This book is published under the Creative Commons Attribution 4.0 License (CC-BY-SA 4.0). The cover is subject to the Creative Commons License CC-BY-ND 4.0. Published at arthistoricum.net, Heidelberg University Library 2019. The electronic open access version of this work is permanently available on the website of arthistoricum.net https://www.arthistoricum.net urn: urn:nbn:de:bsz:16-ahn-artbook-426-7 doi: https://doi.org/10.11588/arthistoricum.426 Text © 2019, by the authors. ISBN 978-3-947449-21-7 (Softcover) ISBN 978-3-947449-20-0 (PDF) INHALTSVERZEICHNIS Monika Grütters A MESSAGE FROM PROFESSOR MONIKA GRÜTTERS Minister of State and Federal Government Commissioner for Culture and the Media 9 GRUSSWORT VON PROFESSORIN MONIKA GRÜTTERS Staatsministerin, Beauftragte der Bundesregierung für Kultur und Medien 13 Pascal Decker WELCOME ADDRESS Stiftung Brandenburger Tor, Berlin 17 GRUSSWORT Stiftung Brandenburger Tor, Berlin 20 Klaus Gerrit Friese OPENING SPEECH Chairman of ZADIK 23 ERÖFFNUNGSREDE Vorstandsvorsitzender des ZADIK 25 Chris Stolwijk KEYNOTE General Director of RKD – The Netherlands Institute for Art History, The Hague 27 KEYNOTE Generaldirektor des RKD – Nederlands Instituut voor Kunstgeschiedenis, Den Haag 39 Marije Vellekoop BOOK PRESENTATION The Thannhauser Gallery: Marketing Van Gogh 53 BUCHPRÄSENTATION Die Galerie Thannhauser: Van Gogh wird zur Marke 56 5 Günter Herzog GERMANY / COLOGNE ZADIK – Central Archive for German and International Art Market Studies 59 DEUTSCHLAND / KÖLN ZADIK – Zentralarchiv für deutsche und internationale Kunstmarktforschung 66 Helene Baur AUSTRIA / VIENNA basis wien – Documentation Centre for Contemporary Art 75 ÖSTERREICH / WIEN basis wien – Dokumentationszentrum für zeitgenössische Kunst 80 Kathrin Mayer GERMANY / NUREMBERG Institute of Modern Art 87 DEUTSCHLAND / NÜRNBERG Institut für moderne Kunst 95 Andrea Neidhöfer EUROPE EAN – European-art.net 105 EUROPA EAN – European-art.net 112 Hanna-Leena Paloposki FINLAND / HELSINKI The Finnish National Gallery Archive Collections 121 FINNLAND / HELSINKI Die Archivsammlungen der Finnischen Nationalgalerie 128 Júlia Klaniczay / Anne Thurmann-Jajes HUNGARY / BUDAPEST Artpool Art Research Center 137 UNGARN / BUDAPEST Artpool Art Research Center 146 Michelle Harvey USA / NEW YORK The Museum of Modern Art Archives 157 USA / NEW YORK Die Archive des Museum of Modern Art 164 6 Anita Hopmans NETHERLANDS / THE HAGUE RKD – The Netherlands Institute for Art History 173 NIEDERLANDE / DEN HAAG RKD – Nederlands Instituut voor Kunstgeschiedenis 180 Kate Haw USA / WASHINGTON, D.C. Archives of American Art, Smithsonian Institution 189 USA / WASHINGTON, D.C. Archives of American Art, Smithsonian Institution 196 Laurie A. Stein USA / WASHINGTON, D.C. Provenance Resources at Archives of American Art 204 USA / WASHINGTON, D.C. Provenienzforschung am Archives of American Art 206 Marcia Reed USA / LOS ANGELES Getty Research Institute 209 USA / LOS ANGELES Getty Research Institute 218 Didier Schulmann FRANCE / PARIS Kandinsky Library, Centre Pompidou 229 FRANKREICH / PARIS Bibliothèque Kandinsky, Centre Pompidou 235 Sandra Klopper SOUTH AFRICA / CAPE TOWN The African Archive Viewed from the Distant South: Contestation and Privatisation in Cape Town and Beyond 241 SÜDAFRIKA / KAPSTADT Afrikanische Archive aus Sicht des fernen Südens: Kontroversen und Privatisierung in Kapstadt und anderswo 247 Debora Rossi ITALY / VENICE The Historical Archive of Contemporary Arts (ASAC) 255 ITALIEN / VENEDIG Archivio Storico delle Arti Contemporanee (ASAC) 262 7 Barbora Špičáková / Irena Lehkoživová CZECH REPUBLIC / PRAGUE The Fine Art Archive 271 TSCHECHISCHE REPUBLIK / PRAG Archiv výtvarného umění 276 Marta Vega SPAIN / BARCELONA Museu d’Art Contemporani de Barcelona (MACBA) 283 SPANIEN / BARCELONA Museu d’Art Contemporani de Barcelona (MACBA) 291 Anthony Yung CHINA / HONG KONG Asia Art Archive (AAA) 301 CHINA / HONGKONG Asia Art Archive (AAA) 308 Anastasia Tarasova RUSSIA / MOSCOW Garage Museum of Contemporary Art 317 RUSSLAND / MOSKAU Garage Museum für zeitgenössische Kunst 319 Nadine Oberste-Hetbleck / Konstanze Rudert WORKSHOP (Part 1) Qualitative Art Market Studies 321 WORKSHOP (Teil 1) Qualitative Kunstmarktforschung 323 Christian Huemer / Maximilian Schich WORKSHOP (Part 2) Quantitative Art Market Studies 325 WORKSHOP (Teil 2) Quantitative Kunstmarktforschung 327 SPEAKERS / VORTRAGENDE 331 8 A MESSAGE FROM PROFESSOR MONIKA GRÜTTERS Minister of State and Federal Government Commissioner for Culture and the Media State of the Art Archives, Berlin 2017, Monika Grütters © Photo: Robert Gruber “The search for the lost archive”: That was the headline of an article pub- lished in the Frankfurter Allgemeine Zeitung newspaper a few years ago marking the publication of a work documenting Paul Cassirer's legendary Berlin art salon. I am sure that some of you will be familiar with the two volumes of this work published so far, celebrated in the broadsheets as “a sensation in art history writing” (Der Tagesspiegel). It is not just the impressive content and the richness of the 1,100 colour illustrations of major works shown in the gallery that are remarkable—the history of the publication itself is quite exceptional. A large part of the salon's archives were lost after 1933. This included its exhibition catalogues as well as its business files. As a result, the story of this gallery, which contributed greatly to Berlin's development as a global arts capital at the beginning of the 20th century, remained unwritten for decades. This changed only when art dealer Walter Feilchenfeldt and literary scholar Bernhard Echte began searching for alternative sources for their 2011 publication. For ten 9 Monika Grütters years, they painstakingly researched the arts sections of the daily news- papers of Cassirer’s time, searching for reviews and descriptions of exhibitions in order to reconstruct the salon's shows. With its retrospective view of the salon’s history, this work yet again highlights the immense loss that the disappearance of huge numbers of records after the National Socialists seized power represents: this material, which has disappeared forever, would have clearly illustrated the pioneering work of Berlin art dealers before 1933. It is impossible to overstate the significance of this work, which established Berlin as the hub of the art world, bringing “young” European art to the German capital (providing a platform for Max Liebermann, no less, the former owner of this house). Galleries and art dealers still serve as intermediaries between artists and art lovers today and they are at the forefront of shaping popular perception of contemporary art. Fortunately it is no longer necessary to “search for the lost archive” or to laboriously compile newspaper articles to record this pioneering work for posterity. Present and future research in art history can access the contents of art archives. Thanks to your work, ladies and gentlemen, we no longer need worry about losses such as those recounted in the documentation of the Cassirer art salon. Archives do not usually receive much attention for their role in provi- ding a record of the art scene. For this reason alone I am very pleased that the State of the Art Archives Conference is putting the achievements of German and international art archives in the public eye, for three days at least. I would like to thank Klaus Gerrit Friese for the invitation. My thanks also to ZADIK—the Central Archive for German and International Art Market Studies and its partners the Department of Art History at the University of Cologne, the Institute of Modern Art Nuremberg, and the basis wien—Documentation Centre for Contemporary Art, for organizing this conference. The conference provides a forum for national and inter- national
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