New York, June 26 - 27, 2018
This conference celebrates the significant roles women have played and continue to play in the arts and their markets.
Sixteen sessions over two days explore women’s diverse contributions to the arts from a transnational and transhistorical perspective, reflecting global and historical diversity. Not advocating for a separate nor alternative history of art and its markets, the conference looks at the central role played by women in the creation, development, support and preservation of the arts and how their contribution has changed over time.
Sessions focus on women as artists, patrons and collectors of art and architecture, dealers and brokers, art historians and art critics as well as curators and preservers of culture. Including the presence of women in emerging and established art centers, historical aristocratic patronage, and the medieval period, the sessions will investigate a diverse range of topics.
The conference will take place at Christie’s, 20 Rockefeller Plaza in New York. Details of ticket payment, contacts and further information can be found below.
For a limited time we are offering an early-bird discount on tickets purchased before March 31, 2018. Please enter CONFERENCE18 at checkout to receive the discount.
Mapping the Void: Agency of Women within Dynastic Strategies Between the Thirteen and Sixteenth Centuries
Chairs: Claudia Daniotti, Ph.D., Associate Lecturer, Bath Spa University and Andrea Mattiello, Ph.D., School for Advanced Studies Ca’ Foscari/IUAV, Venice; Centre for Byzantine, Ottoman and Modern Greek Studies, University of Birmingham and Maria Alessia Rossi, Ph.D., Samuel H. Kress Postdoctoral Researcher at the Index of Christian Art in the Department of Art & Archaeology, Princeton University
Speaker: Lana Sloutsky, Ph.D.
Patronage Practices of Women, 1830-1930
Chair: Sarah Mills, Ph.D. Candidate, CUNY, Adjunct Faculty at Christie’s Education NY
Speakers: Leanne Zalewski, Ph.D. Associate Professor of Art History, Central Connecticut State University and Emily Haraldson, Art History Instructor, Glendale Community College and Elodie Baillot, Ph.D. Candidate, Université Paris 1 Panthéon-Sorbonne and Kimberly Morse Jones, Ph.D., Associate Professor of Art History, Sweet Briar College
Visionary Agency: Grandma Moses, Agnes Pelton, Jay DeFeo and Twentieth-Century American Art
Chair: Erika Doss, Ph.D., Professor American Studies, University of Notre Dame
Speakers: Elizabeth Ferrell, Ph.D., Assistant Professor, Arcadia University and Katherine Jentleson, Ph.D., Merrie and Erika Doss, Ph.D., Professor American Studies, University of Notre Dame and Dan Boone Curator of Folk & Self-Taught Art, High Museum of Art, Atlanta
Distant Bodies: Gender, Performance and Power
Chair: Agnes Berecz, Ph.D., Associate Professor Christie’s Education, NY
Speakers: Nicola Foster, Ph.D., Research Associate in the History of Art, Open University and Susan Lee, Ph.D., Associate Professor, Concordia College and Anja Foerschner, Ph.D., Research Specialist, Getty Research Institute and Julie Ostwald, University of Salzburg
The Place of Women in Global Contemporary Art
Chair: Cecily Hennessy, Director of Studies, Christie’s Education, London
Speakers: Erika Zerwes, Museum of Contemporary Art, University of São Paulo, Georgina Bexon and Tugce Karatas
Chair: Eleanor Heartney, Contributing Editor Art in America and Artpress
Speakers: Helaine Posner, Chief Curator, Neuberger Museum of Art, Purchase College and Nancy Pricethal, Sue Scott, Independent curator and writer
Public Agency in Private Spaces: Politics, Painting and Patronage in the Long Eighteenth Century
Chairs: Laurel O. Peterson, Ph.D. Candidate, Yale University and Paris Spies-Gans, Ph.D. Candidate, Princeton University
Speakers: Lynda McLeod, Christie's, London, Amy Lim, University of Oxford and Tate, Maura Gleeson, Ph.D., University of Florida, and Marina Kliger, Ph.D., Institute of Fine Arts (NYU)
Transnational Belonging and Subjectivity-in-Process: Contemporary Women Artists' Encounters with Space
Chairs: Catherine Dormor, Ph.D., Head of Research Programmes, Royal College of Art and Basia Sliwinska, Ph.D., Senior Lecturer, Critical & Historical Studies, London College of Fashion
Speakers: Kathy Battista, Sotheby's Institute of Art, Jane Chin Davidson, California State University, and Aliza Edelman, Independent Curator
Against All Odds: Women Curators and Directors in Art Museums Before 1960
Chair: Christel Hollevoet-Force Ph.D., Associate Research Curator, Modern and Contemporary Art, The Metropolitan Museum of Art
Speakers: Dr. Yao-Fen You, Associate Curator of European Sculpture and Decorative Arts at the Detroit Institute of Art; Prof. Dr. Rainer Stamm, Director, and Gloria Köpnick, M.A., Scientific Assistant, Landesmuseum für Kunst und Kulturgeschichte Oldenburg; Dr. Wiebke Gronemeyer, Curator and Researcher, Hamburg; and Dr. Adrian Sudhalter, Art Historian and Curator, New York.
Daughters of Hypatia: Women as Art Critics, Historians, Teachers and Theorists
Chair: Julia Dabbs, Ph.D., Associate Professor of Art History, University of Minnesota
Speakers: Maria Alambritis, Birkbeck, University of London and the National Gallery, London, Laura Brandon, Carleton University, Ottawa, Canada, Sally Deskins, Exhibits Coordinator for West Virginia University Libraries, Grace Aneiza Ali, Independent Curator, NYU, Tisch School of the Arts, New York
Women Art Dealers 1940-80
Chair: Caterina Toschi, Ph.D., Professor of Contemporary Art, University of Cassino and Southern Lazio
Speakers: Deirdre Robson, Ph.D. University of West London, Pietro Rigolo, Ph.D. Special Collections Archivist, The Getty Research Institute, Ilaria Schiaffini, Ph.D. Vice President of MLAC of Sapienza University, and Isabella Seniuta, Ph.D. University Paris 1 Panthéon-Sorbonne
Women in the Art World: The Future is Bright?
Chair: Marta Gnyp, Ph.D., International Art Advisor, Author and Art Collector
Princely Patronage in Late Medieval and Early Modern Italy and Portugal
Chair: Ana Maria S. A. Rodrigues, Centre of History, University of Lisbon
Speaker: Adelina Modesti, Ph.D. Honorary Associate in Art History, La Trobe University, Maria Barreto Dávila, Ph.D. Post-Doctoral Fellow at CHAM, Cnetre for Humanities, and Carla Alferes Pinto, Ph.D. Post-Doctoral Fellow at CHAm, Centre for Humanities
Women Collectors in Britain and America c. 1880-1939
Chair: Dr. Frances Fowle, Ph.D., Reader in History of Art and International Director of Edinburgh College of Art, University of Edinburgh; Senior Curator of French Art at the Scottish National Gallery
Speakers: MaryKate Cleary, Art Historian and Lecturer, Dr Margaret R. Laster, Ph.D. Independent Curator, and Genevieve Westerby, Research Associate, European Painting and Sculpture, Art Institute of Chicago
Widowhood: A Key to a Growing agency in the Arts? Widows Selling, buying and Giving Art in Twentieth-Century Paris
Chair: Julie Verlaine, Ph.D., Associate Professor, History Department, University Paris 1 Panthéon-Sorbonne
From Bluestockings to the Guerrilla Girls - and Beyond: Mapping Female Associational Life in the Visual Arts
Chair: Kathryn Brown, Ph.D., Loughborough University, United Kingdom
Speakers: B. Kathleen Gallagher, Ph.D., Assistant Professor, Arts Management and Arts Entrepreneurship, Meadows School of the Arts, Southern Methodist University and Sarah Nathan, Associate Director, Public Programs; Adjunct Faculty Member IU Lilly Family School of Philanthropy, Ruth E. Iskin, Ben-Gurion University of the Negev, Elizabeth Emery, Montclair State University, and Joanna Gardner-Huggett, DePaul University
© Christie's Images Ltd.
Ticket Price: $235
Date: June 26 - 27, 2018
Time: 9.30am - 5pm
Venue: Christie's New York
20 Rockefeller Plaza
New York, NY 10020
Join in on the conversation using #femaleagencyinart
Your Career in the Art World Starts with Us
Christie’s Education provides students with the opportunity to study works first-hand at Christie’s salerooms, as well as in public and private collections where students meet art world professionals including dealers, art advisors, and museum staff. All of the programmes provide a unique insight into the art market, as well as a cultural and art historical framework for object-based learning.