CONFERENCE PROGRAM - also available as a pdf here.
(may be subject to change)
For any queries in connection with the conference (general information, overseas booking), please contact conference.imj@gmail.com. Registration document available here.
For more information - see conference website: http://www.imj.org.il/provenance/
Tickets for the full or partial program, and for Edmund de Waal's keynote speech may be purchased here: http://ticketing.imj.org.il/?culture=en-US
Please note that some sessions and workshops run in parallel!
Day 1 Sunday, November 13th, 2016
1-2pm Welcome and registration at the Israel Museum
2-2.30pm Highlight tour at the Israel Museum
4-5pm WORKSHOPS: Run in parallel, please register for one of the following options:
5-5.30pm Coffee Break
3.30-7.30pm Opening Lecture
Opening Statements - The Provenance of Angelus Novus: a Timeless Case-Study, Mira
Lapidot (The Israel Museum, Jerusalem)
Opening Remarks and Welcome, Andrea M. Gáldy (International Forum Collecting &
Display)
Prof. Dror Wahrman (Dean of Humanities, The Hebrew University of Jerusalem)
9:30-8pm Conference Dinner (reserved for speakers)
Day 2 Monday, November 14th, 2016
9-9.45am EARLY-BIRD WORKSHOP
Sivan Eran-Levian (The Israel Museum, Jerusalem) – The Harry Rosenthal Collection at
The Israel Museum, Jerusalem
10-11.30AM Morning Panel
PROVENANCE AND ARCHAEOLOGY
Patrick Hunt (Stanford University, California) – Provenance, Probity, and Legal Challenges
in Archaeology and Art
Eran Arie (The Israel Museum, Jerusalem) – Thirty Years Later: The Dayan Collection at
The Israel Museum, Jerusalem
Gerald Finkielsztejn (Israel Antiquities Authority) – Looting, Provenance Research,
Forgery,and Connoisseurship vs. Technology: Hellenistic Levantine Scale Weights as a
Case-study
11.30am-12 noon Coffee Break
12 noon-1.30pm Late-Morning Panel Run in parallel, please register for one of the following options:
PROVENANCE STUDIES AND METHODOLOGY
Sara Angel (University of Toronto, Canada) – Redefining the Rules of Nazi-Era Art:
Restitution: Methodologies of Provenance Studies in the Max Stern Recoveries Case
COLLECTING & DISPLAY
Christel H. Force (Metropolitan Museum of Art, New York) – Expanding the scope of
provenance research
Avraham Weber (Ministry of Social Equality, Israel) – Non-binding Best Practice:
Guidelines: Stock-taking from the Washington Principles to our Day
METHODOLOGY: FROM THEORY TO PRACTICE
Mary Kate Cleary and Alice Farren-Bradley (Art Recovery Group, New York and London) –
Teaching the Practice of Provenance Research
Humphrey Wine (National Gallery, London) – “Data! Data! Data! I cannot make bricks
without clay.” (Sherlock Holmes, The Adventure of the Copper Beeches, 1892)
Stephan Klingen, Meike Hopp, Christian Fuhrmeister (Zentralinstitut für Kunstgeschichte,
Munich) – Private Collections: The Hidden Obstacle
1.30-2.30pm Lunch Break
2.45-4pm WORKSHOPS: Run in parallel, please register for one of the following:
Miriam Malachi (The Israel Museum, Jerusalem) – Negotiating the Other: Changing
Approaches Towards Japanese Prints in the Israel Museum Collections
Ariel Tishby (The Israel Museum, Jerusalem) – Claudio Duchetti’s Rare Map of the Holy
Land, 1572/1602
Gioia Perugia and Efrat Assaf-Shapira (The Israel Museum, Jerusalem) The Personal and
the Historical in the Collection of the Wing for Jewish Art and Life
Orna Granot (The Israel Museum, Jerusalem, Bezalel Academy of Art and Design,
Jerusalem, and Shenkar College of Engineering and Design, Ramat Gan) – The
Provenance of Childhood Objects
4-4.30pm Coffee Break
4.30-6.15pm Afternoon Panel
THE IMPACT OF PROVENANCE ON MUSEUMS AND WWII RESTITUTION
Shlomit Steinberg (The Israel Museum, Jerusalem) – The Ultimate Nazi Wishlist:
Otto Kümmel and the Kümmel report (1939-1941)
Daniel Dratwa (Jewish Museum of Belgium, Brussels) – Looted Art and Provenance
Research: An Unfinished Journey in Belgium
Miriam Apfeldorf and Ruth Apter Gabriel (The Israel Museum, Jerusalem) – Provenance
Research on Looted Art at The Israel Museum, Jerusalem
Iris Schmeisser (Städel Museum, Frankfurt) – The Städel Museum in Frankfurt and its
Collection and Acquisitions during the Nazi Era
Day 3 Tuesday, November 15th, 2016
9-9.50am EARLY-BIRD WORKSHOP
Dorit Shafir (The Israel Museum, Jerusalem), Marion Melk-Koch (Ethnographic State
Collections of Saxonia), Hermione Waterfield (Independent Consultant in Traditional Art
of Africa and Oceania) – Provenance Matters in African and Oceanic Art
10-11.30am Morning Panel
PROVENANCE, PERCEPTION, AND RECEPTION OF ART
Jennifer McComas (Sidney and Lois Eskenazi Museum of Art, Indiana University) –
Rediscovering Lost Histories: The Role of Provenance Research in the Study of German
Art’s American Reception
Inês Fialho Brandão (National University of Ireland, Maynooth) – Karl Buchholz and the
Introduction of Entartete Kunst in Portugal
Meike Hoffmann (Free University of Berlin) – The Intersection of Degenerate Art / Looted
Art: A Double Challenge for Provenance Research
Shalom Sabar (The Hebrew University of Jerusalem) – From Barcelona to Sarajevo: The
Curious Fate and Wanderings of the Sarajevo Haggadah over Six Centuries
11.30-12 noon Coffee Break
12 – 1.30pm Late Morning Panels: Run in parallel, please register for one of the following:
PROVENANCE, RESTITUTION AND THE LAW
Imke Gielen (von Trott zu Solz Lammek Law Firm, Berlin) – Restitution of Looted Art: Law,
Reality, and the Need for a Global Restitution Law
Guiora Debel (Hacohen-Debel-Sparber Law Firm, Jerusalem) – Provenance and the Will
of the Artist – Franz Kafka
Stephen Kellner and Sebastian Peters (Bavarian State Library, Munich) – Searching for
Looted Books at the Bavarian State Library, Munich: The Karl Süßheim Collection
(1878– 1947)
THE ECONOMICS OF PROVENANCE
Hadas Kedar (Bezalel Academy of Art and Design, Jerusalem) – Offshore Companies:
A Challenge to the 21st-century Art World
Lynn Rother (Museum of Modern Art, New York) – Provenance: Can You Bank on It? Art
as Collateral
Roni Amir (Bezalel Academy of Art and Design, Jerusalem) – Blood Antiquities
1.30-2.30pm Lunch Break
2.45-4pm Afternoon Panel, Run in parallel, please register for one of the following:
AUTHORSHIP AND AUTHENTICITY I
Noam Gal (The Israel Museum, Jerusalem, and The Hebrew University, Jerusalem) –
Uncomfortable with Sherrie Levine: Anxiety Disorders in Contemporary Art History
Tamar Mayer (University of Chicago, Illinois) – Fragonard’s Fake Drawings: Provenance,
Connoisseurship, and Consertion Tools
Daniel Unger (Ben-Gurion University of the Negev, Israel) – An Unknown St. John the
Baptist by Guercino
PROVENANCE AND CONNOISSEURSHIP
Jeremy Wood (University of Nottingham) – Connoisseurship, Portraiture, and the Early
Collecting of Drawings: The Case of Jonathan Richardson and Rubens
Jochai Rosen (University of Haifa, Israel) – The Fictitious 17th-century Dutch Painter Jan
le Ducq and the Untying of his Vast Oeuvre
Jane Milosch and Jeffery Smith (Smithsonian Institution, Washington DC) – The Asian Art
Provenance Connections Project: Provenance as Process, from Research and Data to
Public Access and Collaboration
4-4.30pm Coffee Break
4.30-6pm Late Afternoon Panel
AUTHORSHIP AND AUTHENTICITY II
Ido Litmanovitch (Van Leer Insitute, Jerusalem) – “Send these, the homeless,
tempest-tossed to me”
Shmuel Meiri (Bezalel Academy of Art and Design, Jerusalem) – Dinosaur Collections and
Displays: Provenance and Authenticity
Emily D. Bilski (Independent researcher and curator, Israel and Germany) – “Only
Culture?”: The Pringsheim Collection of Munich
Ruth Direktor (Tel Aviv Museum of Art) – Provenance as Incriminating Evidence: The Case
of a Bunch of Asparagus
6.30-8.30pm Evening Lecture
KEYNOTE
Introduction and Closing Statements, Gal Ventura (Hebrew University of Jerusalem)
Edmund de Waal, author of The Hare with Amber Eyes
Day 4 Wednesday, November 16th, 2016
Tour of Jerusalem (please sign up in the registration form)
More details TBA
Organisers' Text: (see pdf original here)
Provenance research forms an important part of the regular aspects of museum curators’ work. In the context of documenting their collections, museums need to confirm the status of every object as an original artwork as well as validating the artist’s identity – information that typically relies on provenance research. Moreover, when lending a work of art, museums must know the details of its history in order to avoid claims of ownership while the work of art is exhibited outside their precincts.
In theory-based contemporary art-historical research, however, provenance seems to have lost its importance and standing. Despite the prominence of this subject in twentieth-century catalogues, books and exhibitions, today’s students are often unaware of its significance. They no longer attempt to establish attributions for art objects that are still to be categorised. Therefore, this meticulous gathering of information has largely turned into a lost art.
The main objective of this conference is to highlight the enduring significance of provenance and its implications for historians and art historians, as well as for students and researchers engaged in museum studies. It also offers an opportunity to demonstrate its relevance to other fields of expertise, such as conservation, visual culture studies, aesthetics, authentication, and connoisseurship versus technology as a means of establishing attributions and detecting forgeries. Provenance is still vitally important to jurisdiction concerning property law and ownership and it remains topical because of the on-going debate over looted art in the 1930s and 1940s and over the illicit trade in antiquities conducted from Iraq and Syria by terrorist groups.
The conference will take place at the Israel Museum, Jerusalem. Founded in 1965, the Museum holds encyclopaedic collections based on those of its predecessor, the Bezalel National Museum; it hosts works of art brought into the country by refugees and immigrants from Europe in the early twentieth century. It is, therefore, the ideal venue to explore the many aspects of provenance research – historical and contemporary – and to highlight its vital importance to collections and collectors today.
We welcome proposals on any aspect of the conference theme, particularly (but not limited to) the following:
The organisers of this conference invite proposals from scholars of the history of collecting as well as museum staff (curators, art historians, librarians, administrators, scientists). Please send proposals of approximately 250 words and a one-paragraph bio blurb in English to Dr Andrea Gáldy collecting_display@hotmail.com, Dr Gal Ventura gal.ventura@mail.huji.ac.il and Ronit Sorek ronitso@imj.org.il by 31 February 2016.
Tags: collections, museums, curators, art trade, Art Loss Register, looted art, theft, donations, sources, provenance
Preliminary conference outline (subject to change):
Sunday 13/11/16 - registration of speakers and delegates, exhibition tours and evening reception, The Israel Museum, Jerusalem, keynote speech
Monday 14/11/16 - academic sessions, conference dinner
Tuesday 15/11/16 academic sessions
Wednesday 16/11/16 - morning: visits: guided tours in the Old City of Jerusalem, afternoon: academic sessions
Website: www.collectinganddisplay.com ― email: collecting_display@hotmail.com