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|a Women art dealers
|b creating markets for modern art, 1940-1990
|c edited by Véronique Chagnon-Burke ; Caterina Toschi
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|a London
|a New York
|a Oxford
|a New Delhi
|a Sydney
|b Bloomsbury Visual Arts
|c 2024
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| 264 |
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|c ©2024
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| 300 |
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|a 1 online resource (333 pages)
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|a Text
|b txt
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|a Contextualizing Art Markets
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|a Description based on publisher supplied metadata and other sources
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|a Introduction. Women Art Dealers: Creating Markets for Modern Art, 1940-90 -- Prolegomenon. The Ideology of the Gaze in Photography: Canons and Anti-canons of Women Art Dealers' Portraits (1924-2013) -- Part One The Promotion of Modern Art in the Aftermath of the Second World War -- Chapter 1 The Girl with the Gallery: Edith Halpert in the Mid-Twentieth-Century New York Art Market (A. Deirdre Robson) -- Chapter 2 Simone Kahn Collinet: From Member to Promoter of Surrealism (Alice Ensabella) -- Chapter 3 Nelly van Doesburg and Peggy Guggenheim: Their Role in Establishing the Reputation of Theo van Doesburg and De Stij -- Chapter 4 The Konstsalongen Samlaren of Agnes Widlund in Stockholm (Christina Brandberg) -- Chapter 5 Galerie Gmurzynska in the Cold War Period (Elena Korowin) -- Part Two The Rise of New Markets -- Chapter 6 Bertha Schaefer: "A Case of Ambidexterity." Bringing Modern Art into American Homes (Antonella Camarda) -- Chapter 7 Gabriella Cardazzo at Galleria del Cavallino in Venice (Lisa Parolo) -- Chapter 8 Constructing a Photography Market between New York and Paris: The Role of the Zabriskie Gallery (1970s-90s) (Isabel -- Chapter 9 Linda Givon, the Goodman Gallery, and the Politics of the Contemporary Art Market in South Africa, 1966-90 (Federic -- Chapter 10 Mapping the Impact of Women Art Dealers in Los Angeles: A Few Case Studies (Pietro Rigolo) -- Chapter 11 "The Boom in Boone": Mary Boone in SoHo in the Early 1980s (Carlotta Castellani) -- Part Three Latin Galleries between Italy and Portugal -- Chapter 12 From Fashion Journalism to Art Dealing: Irene Brin and L'Obelisco Gallery (Ilaria Schiaffini).
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|a "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"--
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|a Women art dealers
|2 DLC
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|a Art galleries, Commercial
|x History
|y 20th century
|2 DLC
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| 650 |
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|a Art, Modern
|x Economic aspects
|2 DLC
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| 650 |
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|a Art, Modern
|x Marketing
|2 DLC
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