| Art History Information Exchange - Calls for Papers, Posters and Proposals | |
People, committees and even
acronyms are all out there seeking valuable input from you. Each time
a pertinent Call for Papers crosses my inbox, it will be posted here, the most
recent request being placed first.
If you are in charge of posting a Call of interest to art historians,
please contact
me with your information. I will be happy to post your notice, verbatim,
right here. Please note: in consideration of potential
presenters, I will not post any CFP if its stated deadline is less than two
weeks from the time it was submitted to me.
Posted: 11/01/09
The Graduate Art History Joint Program of Case Western Reserve University and the Cleveland Museum of Art announce the 36th Annual Cleveland Symposium:
"The Art of Exchange: Cross-Cultural Ideas in a Visual World"
Friday, February 26, 2010
Cleveland Museum of Art
Cleveland, Ohio
The 2010 Cleveland Symposium invites graduate submissions exploring cross-cultural influences throughout the history of art. The exchange of ideas across local, regional, national, and continental borders has been one of the major vehicles by which art changes over time. We are seeking papers using all methodologies that explore these convergences. Examples include cases of artists influenced by other artists, places, time, culture, history, and any other relationships that are ultimately expressed in visual and material culture. We welcome submissions from graduate students in all stages of their studies and from all fields of art history including Ancient, Medieval, Early Modern, Contemporary and Non-Western. A monetary prize will be awarded to the speaker who presents the most innovative research in the most successfully delivered paper. Please send abstracts of no more than 300 words, along with a curriculum vitae, to clevelandsymposium@gmail.com by December 11, 2009. Selected presenters will be notified by January 1, 2010.
Posted: 11/01/09
Call for Paper Proposals
Women, Bourgeois Femininity, and Public Space in 19th-century European Visual Culture
Temma Balducci and Heather Belnap Jensen, editors
We invite proposals for a collection that considers representations of bourgeois women in public spaces/roles over the long nineteenth century in Europe.
It is tantamount to scripture that nineteenth-century women, particularly of the middle and upper classes, were associated with the interior spaces of the home. Art historical accounts of such women have codified the notion of the "Angel in the House" and focused on the visual culture representing domesticity and private life. While the recent volume The Invisible Flâneuse: Gender, Public Space and Visual Culture in Nineteenth-century Paris (Manchester 2006) has gone some way toward challenging such conventional assumptions, our volume is premised on the notion that the descriptor "flâneuse" does not adequately capture the myriad positions available to European women vis-à-vis the public sphere. There remains much to be said on the topic.
This project is spurred by Janet Wolff's admonition that rather than theorizing the "impossible" flâneuse, scholars should instead focus on researching women's actual lives in the city, along with revisionist scholarship that challenges traditional assumptions regarding the public/private divide. To that end, the editors seek submissions that engage with the concrete details of bourgeois women's activities outside the home across the spectrum of nineteenth-century European culture and as registered in visual culture. What venues and mechanisms facilitated women's participation in the shaping of public culture? In what ways do their activities help to alter longstanding conventional notions of public space? Of modernity? Of femininity? Of masculinity? From a historiographic standpoint, what is the continued lure of the separate spheres ideology for art historians, feminist or otherwise?
We encourage and wish to present multiple theoretical frameworks and perspectives. Please send a 400-word proposal and a CV as electronic attachments in MS-word to
Temma Balducci (tbalducci@astate.edu) and Heather Belnap Jensen (heather_jensen@byu.edu)
by January 31, 2010.
The deadline for completed essays will be August 31, 2010.
Posted: 10/25/09
CALL FOR PAPERS
Rethinking Early Modern Print Culture
An international and interdisciplinary conference at
The Centre for Reformation and Renaissance Studies
Victoria University in the University of Toronto, Toronto, Canada
15-17 October 2010
The view that early modernity saw the transformation of European societies into cultures of print has been widely influential in literary, historical, philosophical, and bibliographical studies of the period. The concept of print culture has provided scholars with a powerful tool for analyzing and theorizing new (or seemingly new) regimens of knowledge and networks of information transmission as well as developments in the worlds of literature, theatre, music, and the visual arts. However, more recently the concept has been reexamined and destabilized, as critics have pointed out the continuing existence of cultures of manuscript, queried the privileging of technological advances over other cultural forces, and identified the presence of many of the supposed innovations of print in pre-print societies.
This multi-disciplinary conference aims to refine and redefine our understanding of early modern print cultures (from the fifteenth to the end of the seventeenth century). We invite papers seeking to explore questions of production and reception that have always been at the core of the historiography of print, developing a more refined sense of the complex roles played by various agents and institutions.
But we especially encourage submissions that probe the boundaries of our subject, both chronologically and conceptually: did print culture have a clear beginning? How is the idea of a culture of print complicated by the continued importance of manuscript circulation (as a private and commercial phenomenon)? How did print reshape or reconfigure audiences? And what was the place of orality in a world supposedly dominated by print textuality? What new forms of chirography and spoken, live performances did print enable, if any?
Other possible topics might include:
* Ownership of texts and plagiarism; authorship; "piracy"
* Booksellers and printers, and their local, national, and international networks
* Readers and their material and interpretative practices
* Libraries, both personal and institutional
* Beyond the book: ephemeral forms of print and manuscript
* Text and illustration, print and visuality
* Typography, mise en page, binding, and technological advances in book-production
We invite proposals for conference papers of 20 minutes and encourage group-proposals for panels of three papers. Alternative formats such as workshops and roundtables will also be considered. Abstracts of 250 words can be submitted electronically on the conference website,
http://www.crrs.ca/events/conferences/print/
The deadline for submissions is 15 December 2009.
All questions ought to be addressed to the conference organizers, Grégoire Holtz (French, University of Toronto) and Holger Schott Syme (English, University of Toronto), at printconference@gmail.com.
Posted: 10/25/09
CFP: Out of Sight: Looking Beyond Seeing
The Graduate Union of the Students of Art is pleased to announce this year's annual graduate symposium, Out of Sight: Looking Beyond Seeing.
The symposium will be held at the University of Toronto Art Centre from Thursday, January 21 to Friday, January 22, 2010. Graduate students from all disciplines are invited to submit abstracts for presentations of twenty minutes. Several exceptional papers will have the opportunity for publication in the University of Toronto Art Journal.
This year's symposium explores visual culture through the non-visual.
Papers may address memory, touch, taste, smell, hearing, intuition, and other non-visual aspects in the broadest sense. Approaches to the non-visual may include, but are not restricted to: reception and experience; creative processes; aesthetics; sight as a secondary sense; evocation of the visual through the non-visual.
Posted: 10/25/09
Is the History of Art About Art?
The Cornell University Department of the History of Art Annual Graduate Symposium
March 2010
Art has long been a language that can cross boundaries of the subjective and objective. It builds upon various disciplines and interacts with changes due to factors from upcoming or failing economies to newly prominent global cultural formations. Artists have been able to re-imagine their roles and possibilities amidst an international flow and exchange of cultures, media, and contexts.
The questions now become:
- Can the discipline of the History of Art provide a language to respond to these new challenges?
- How can art historians at least respond to this new global order?
- As the art market becomes increasingly global, what is the role of established canons and the canonized conceptual, spatial, and temporal boundaries within Art History?
- How can we understand the social implications of the constructed master narratives created through art historical discourse?
- As work across the humanities becomes increasingly interdisciplinary, what is the role of Art History as a distinct discipline?
- Have recent changes within the field of Art History opened up more possibilities or have they created new boundaries to identify and surpass?
This Graduate Symposium takes its title from an upcoming talk by Cornell professor Susan Buck-Morss and it will focus on the multiple narratives resulting from the intersection of the History of Art with other disciplines, including but not limited to Literature, Architecture, Urban Planning, Anthropology, History, Studio Art, Curatorial Studies, Africana Studies, Asian Studies, Latino Studies, Native American Studies, and Gender Studies. Moreover, it will examine and question the current borders that exist within History of Art, both in the university's classification of the discipline as well as the accepted conceptual, spatial, and temporal boundaries that structure the field. This reexamination is particularly important for graduate students as future scholars engaged in re-imagining the field.
We welcome papers from all disciplines, areas, and time periods by graduate students. Abstracts of 300 words or less should be submitted along with the presenter's CV to jhp222@cornell.edu by December 7, 2009.
Posted: 10/18/09
We are pleased to announce a call for papers and/or visual presentations for the following forthcoming international conference:
Imaging History
Photography after the fact
18 february 2010, Hogeschool Sint Lukas, Brussels, Belgium
Within the framework of the artistic research project "(in)site, site- specific photography revised, applied to the archaeological site Sagalassos" an international conference is organised, aiming to explore the relationship between photography and history. How do photographers visualize heritage or, broader, history? What is the importance of place, particularly the place that remains after events took place. A related topic, central in the theory of photography and photography itself, is time. This conference also focuses on how photographers depict the past, when time has become past time. The theme Imaging History, photography after the fact offers an opportunity to explore, both on a theoretic and artistic level, how history can be captured.
CALL FOR PAPERS AND/OR VISUAL PRESENTATIONS
Original papers are invited to consider subject areas including the following themes:
Imaging history: objective or subjective, factual or critical?
Early photographic explorations to Egypt and Palestina Rephotography Photography and archaeology Photography and place Photography and time Photography and memory ....
Please submit your 300-word abstract (in English), including a title and full contact details (see below) as an electronic file to bruno.vandermeulen@arts.kuleuven.be as soon as possible but no later than 31 December 2009.
For further details on the conference at a later stage please visit www.insitephotography.be
SUBMISSION DETAILS
Papers or presentations are expected to make an original contribution to the field of history and photography. People who are interested in presenting a paper should send an abstract for refereeing. Paper proposals will be selected by the partners of the artistic research project and the scientific committee to cover different areas, methods, approaches and positions.
Abstracts should be maximum 300 words. Each entry should incorporate the following information:
Author‚s(s‚) full name(s), (+gender (M/F), in brackets) Title Position Institution Address for correspondence Telephone Fax E-mail Theme of the paper/presentation Title of the paper/presentation Abstract of the paper/presentation
Abstracts and later paper submissions should be sent by e-mail as a Microsoft Word or RTF document, double-spaced on A4. Preferred typeface is 12pt Times new Roman.
The official language of the conference is English.
Publication opportunity: A selection of papers accepted for the conference will be published as a separate volume of the Lieven Gevaert Series, University Press Leuven (www.lievengevaertcentre.be)
The partners of the project are: University of Leuven, Faculty of Arts; Hogeschool Sint-Lukas; Sagalassos Archaeological Research Project; Lieven Gevaert Research Centre for Photography and Visual Studies; FotoMuseum Provincie Antwerpen, City of Leuven and IvOK, Institute for Practice-based Research in the Arts.
Posted: 10/18/09
ON NOT LOOKING:
Essays on Images and Viewers
Call for Papers
Submissions are invited for an edited book with the working title On Not Looking: Essays on Images and Viewers. Contemporary experience presents us with a contradiction: while we are at a historical moment when images have never been so readily available and circulated, we increasingly "don't look" at images. The collection will explore the myriad ways that not looking at images - as opposed to not seeing - is manifest in our burgeoning image culture today.
Contributions are sought that address practices and representations of "not looking," "turning away," and other manifestations of physical and mental distraction from material images. Our relationship to the glut of images that saturate the world is characterized by an ever- expanding contemporary form of iconoclasm. Again and again, while documentary images are touted as a reliable form of visible evidence, or as commensurate with the every day life they depict - due to their apparent mimeticism and their potential to be seen simultaneous with the event - we don't trust them, we question them, we continually go back to written words as a way of understanding and confirming what we have seen. This scepticism involves a looking away from the image. Even as the means of production become increasingly available, even as images are exhibited, published, seen and watched everywhere, we are either discouraged to turn away, or we are unable, or unwilling to look at what is pictured before us.
Not looking often comes as a result of privileging the other senses. Thus, we are directed to listen where we might want to look:in museums and art galleries, institutions apparently devoted to the idolatory of images, we are continually coaxed away from looking: we are enticed into following the audio guide, reading the texts on the wall, believing the written catalogue at the bookstore. Our eyes are constantly distracted from the supposed purpose of our visit: to look.
Alternatively, looking with the eyes is devalued in the world of virtual reality: touching, hearing, smelling, even tasting challenge visual perception as the measure of our bodily experience of the visual world. In another example, never before have the images that document the modern battlefield been so abundant and readily available - on television, the World Wide Web, Instant Messaging and so on. Yet, again and again these images are censored, prohibited, manipulated and disguised in an effort to quell their power and blind their audience. Like the turn away from the deceptive documentary image as evidence, the press and the powers they represent force us to look elsewhere for the truth.
Despite the wont to "not look," to look away, to look elsewhere, scholarship in the more traditional disciplines of art history, cinema and media studies, and the relatively recent interdisciplinary fields of visual and image studies have focussed on discussions of "practices of looking" "how we see," and, for example, the precision of vision in modernity. Within the fields of philosophy, psychoanalysis, and other critical studies, scholarship tends to understand iconoclasm as a form of blindness or metaphysical distraction, not seeing when we look.
Artists and imagemakers today, however, continue the preoccupation with the habit of "not looking" "looking away," "turning elsewhere" in analogue and digital media. On Not Looking will bring the concerns of critics and philosophers together with those of artists and imagemakers: the essays will reinstate the image to its position of primacy in an interrogation of the contemporary tendency to look away. As such, the anthology will contribute to ongoing debates about the politics and aesthetics of looking, and better assess the role of images, and our relationship to them, within contemporary history and culture more generally.
The collection will be divided into a number of sections with essays from different theoretical perspectives that focus on the image, and our relationship to it, as sites of 'not looking". Potential areas to be discussed might include: Politics of institutional exhibition and perception of images (including museums, schools, prisons, and so on); Censored, repressed, and banned images; Transformations to practices of not looking as a result of new media interventions; The image in history and memory; Not looking at images of bodies and cultures on the margins; Religious and cultural prohibitions about looking at certain types of images; Responses to images of trauma; Images in everyday life (eg. Reality TV, the role of the image in travel and tourism, YouTube interventions; advertising, home movies and family photo albums); Embodied vision and visceral imagery (e.g. acts of violence and the mutilated body); Political interventions (including public protest, Photojournalism, ecological imagery, and so on).
Submissions that focus on a variety of material images are welcome. These will include but are not limited to: painting, architecture, film, photography, video, television, museum exhibitions, the World Wide Web, cell phone images and the printed press. Essays that explore contemporary images that follow our habit of not looking, as well as the way older works have been revised and displayed within the contemporary moment are sought.
All inquiries, and/or 400-500 word abstract, and current CV can be sent to Frances Guerin: fjguerin@gmail.com by December 15, 2009. Full essays of 5,000-7,500 words will be due September 30, 2010.
Posted: 10/18/09
ELECTRONIC VISUALISATION AND THE ARTS
EVA London 2010
Monday 5th - Wednesday 7th July 2010
CALL FOR PROPOSALS
Deadline: 15th January 2010
http://www.eva-conferences.com/eva_london/
*Visualising*
ideas and concepts in culture, heritage and the arts: digital arts, sound, music, film and animation, 2D and 3D imaging, European projects, archaeology, architecture, social media for museums, heritage and fine art photography, computer arts
OFFERS OF PAPERS, DEMONSTRATIONS AND WORKSHOPS by 15 January 2010
We invite proposals of papers, demonstrations or short performances, workshops or panel discussions. Only a summary of the proposal on not more than one page is required for the selection process. this must be submitted electronically according to the instructions on the EVA London website, http://www.eva-conferences.com/eva_london/.
Proposals may be on any aspect of EVA London's focus on visualisation for the arts and culture, broadly interpreted, including technology, use and users, creative, visual and performing arts and music and visualisation for museums, historic sites and architecture. Papers are peer reviewed and may be edited. They will be published as hard copy and online. Other presentations may be published as summaries or as papers.
If your proposal is a case study, we will be looking for discussions of wider principles or applications using the case study as an example.
Bursaries to attend EVA London will again be available if you don't have access to grants.
***********************************************************
EVA London's conference themes will include, but are not limited to:
* Digital and computational fine art and photography
* Reconstructive archaeology and architecture
* Visualising ideas and concepts
* Moving and still images in museums and galleries
* Digital art
* Digital performance
* Historic sites and buildings
* Immersive environments
* Web 2.0 technologies in art and culture
* Visualisation in museums and historic sites
* Sound, music, film and animation
* Technologies of digitisation, 2D and 3D imaging
* Virtual and augmented worlds
For further information see
http://www.eva-conferences.com/eva_london/
Posted: 10/11/09
Living on the Edge: Perceptions of Liminality in Classical Antiquity
Graduate Student Conference
Ph.D. Program in Classics
The Graduate Center of the City University of New York
365 Fifth Avenue, New York City
Saturday, April 10, 2010
This graduate student conference seeks papers examining manifestations of liminality in the classical world. Just as liminal settings bring together disparate aspects and entities, we invite submissions that use material, artistic, historical, literary, or other types of evidence to address situations exhibiting ambiguity and transcendence. Moreover, submissions may discuss forms of liminality arising in both abstract and concrete spheres. To the former end, participants are encouraged to reflect upon subjects that appear to blur or erode traditional conceptual demarcations and theoretical distinctions. Such issues may evoke conditions in which normally accepted intellectual categories or social conventions begin to dissolve, or circumstances in which people straddle lines (real or figurative) between existential or experiential states (e.g. along lines of gender, sexuality, race, ethnicity, social status, religion, culture). Papers may consider figurative boundaries such as those associated with rites of passage, varying states of sobriety and inebriation, the dynamic interactions between author (or performer) and audience, and figures (literary or historical) who function as intermediaries. One may also choose to investigate more tangible expressions of liminality by exploring the actual borders, crossroads, and geo-political frontiers in antiquity, including margins or limits within states, cities, the home, and other spheres. Whether looking at doorways or definitions, both literal and figurative approaches to the topic may encompass themes dealing with boundaries, limitations, transitions, fluidity, dichotomy, indeterminacy, and syncretism. Papers that introduce ideas which stand on the threshold of new areas of interpretation or fields of inquiry relevant to classical studies are also welcome.
In keeping with the inclusive and convergent nature of the topic, graduate students both within and outside the discipline of classics are invited to submit abstracts focusing upon any period(s) of antiquity in the ancient Mediterranean world (compartments of history and geography whose definitions are also open to be questioned). By involving participants from diverse backgrounds, this conference aims to promote interdisciplinary study, thus mirroring the phenomenon of liminality itself while fostering dialogue about perceptions of liminal subjects pertaining to classical antiquity. Graduate students interested in presenting a paper of 15 minutes should submit an abstract of 300 words or less to colloquiuminlimine@gmail.com. On your abstract please include your name, institution, city and state (country if not USA), email address and phone number. Email your abstract as a Word file by December 11, 2009. Notifications will be sent in January. Questions may be addressed to conference chair Michael Goyette at colloquiuminlimine@gmail.com.
Posted: 10/11/09
INTERSPACES
Art + Architectural Exchanges from East to West
An international conference to be held at the University of Melbourne on 20, 21 and 22 August 2010, investigating modern crossovers between art and architecture in Europe, North America, Asia & Oceania.
Keynote speakers:
Mabel Berezin, Cornell University
Romy Golan, City University of New York
Recent developments in the historiography of art and architecture have seen scholars look increasingly at exchanges and encounters between disciplines, styles, centuries, nations and cultures. The conference invites contributions towards furthering this exploration by looking beyond existing binary frameworks such as Architecture versus Art or East versus West. This approach allows new aspects of inter-disciplinarity between art, architecture and design within their intersecting social, political, cultural and economic contexts to come forth. Innovative approaches and tools from a broad range of disciplines are welcomed as part of a larger project to: situate art within architecture (or architecture within art), stimulate multi-disciplinary exchange and re-situate non-western art and architecture within a global canon.
The conference will consist of keynote addresses, sessions of 30-minute papers and round table discussions where presenters from different disciplines and backgrounds will be asked to engage with the following interdisciplinary themes:
Shifting Boundaries
East-West Exchange
Social Engagement
Technological Innovation
Selected papers will be published in a fully refereed conference proceedings.
Papers are invited on aspects of the relationship between art and architecture in Eastern or Western Europe, North or South America, Asia or Oceania from the late 18th century to the present. Proposed papers may deal with any form of this relationship, including:
- The influence of art on architecture and vice versa
- Architectural decoration and ornament
- Mural painting and graffiti
- Public art and its role in contemporary urban environment
- Exhibition and museum design
- Installation art and/or environments
- Imagined or actual syntheses of architecture and art
A particular invitation is extended to proposals that explore identities and relationships between East and West either as geographical, stylistic or conceptual entities and how these have been expressed in art and architecture.
Please send conference paper abstracts of 250 words and a 100 word biographical statement with your name and email address to the convenors by close of business, December 31, 2009.
Anthony White: a.white@unimelb.edu.au
Flavia Marcello: flaviam@unimelb.edu.au
Posted: 10/11/09
Call for Papers
CHRIST ON THE CROSS
Croch Saithir: Envisioning Christ on the Cross in the Early Medieval West
29th 30th March 2010, University College Cork
As far as the medieval world was concerned, Ireland represented the very ends of the earth. The peripheral lands were perceived to be irregular in their practice and unorthodox in their faith. Despite this, there were certain constants of universal significance across the Christian world. One such constant was Christ's crucifixion, which represented a defining moment central to every branch of Christian theology. Yet even this was interpreted in ways divergent enough to cause controversy and the image of Christ on the cross was represented by variant groups accordingly.
The Passion is the moment when Christ's divinity and his humanity are fully realised, and the synthesis of salvation and sacrifice is achieved. Christ in glory resonatesthrough text and image across the early medieval West; less well documented is the hardship of the cross, the croch saithir. This conference invites new responses to depictions of Christ's Passion in a variety of texts and images during the early medieval period from both centre and periphery, including Rome, the Carolingian Empire, the Iberian Peninsula and the Insular world.
TOPICS THAT MIGHT BE ADDRESSED
€ Liturgical responses to the rituals of Holy Week
€ Texts and their accompanying manuscript images
€ Audience, response and participation
€ Blending of traditions
€ Devotional piety
€ Public and private spheres
€ Performance
Abstracts of 500 words should be sent by 1st December 2009 to:
medievalirishchrist[at]gmail.com
Presentations should be 20 minutes in length and it is expected that selected papers will be published in an edited volume of conference proceedings.
KEYNOTE SPEAKERS:
€ Dr Jennifer O'Reilly
€ (UNIVERSITY COLLEGE CORK)
€ Professor Celia Chazelle
€ (THE COLLEGE OF NEW JERSEY)
€ Professor Louis van Tongeren
€ (TILBURG UNIVERSITY)
Posted: 10/11/09
CFP: AAH Annual Conference 2010
THE YEAR 2010 MARKS THE BEGINNING OF A NEW DECADE in 21st-century art historical investigation and an ideal moment for a reassessment of historical objects, issues, and methods, as well as an acknowledgement of newer works of art and criticism developed across disciplines, periods, media and practice boundaries. We trust that the sessions here announced will encourage that process of reassessment. Papers that address or employ new methods and issues are welcome, but equally important will be state-of-the-discipline investigations and critical assessments that may be uni- or multi-disciplinary, object-based, pedagogical, interrogative, theoretical, or performative.
-----
Full list of sessions:
http://aah.org.uk/photos/Annual%20Conference%202010.pdf
- Atrocity Exhibitions: RE/Reading RE/Search
- Images of Corporal Mortification and Corruption, Martyrdom and Mercy: 1250-1550
-"The Rules of (Collective) Art": Interpretation, Social Engagement and Authorship in Contemporary Community-based Art
- Re-assessing National Romanticism
- New Perspectives on the Art of the Middle East: From Ancient History to the Contemporary
- Heidegger and the Work of Art History
- Objects, Art History and Display
- Exhibitions as Research: Theory, Practice, Problems
- The Artist at Work in Early Modern Italy (c. 1450–1700): Methods, Materials, Models, Mimesis
- Art in the Public Sphere, Public Spheres In Art: Middle Ages and Renaissance
- Visual Culture of the Medieval Middle East: Islamic Art History Now?
- Art, Philosophy and Revolution in Mid-Twentieth-Century European Art
- Materiality and Waste: Poetics of the Concrete in Modern Life
- Supplementary Conflicts: Domesticities and Life Histories in Wartime
- The Modernist Turn: Counter/Other/Alter/Meta Modernisms in Art History and Practice
- Medieval Art/Postcolonial Questions
- Many Hands Make Light Work: The Division, Status and Valuation of Artistic Labour in 16th- and 17th-Century Northern European Art
- Dada and Surrealism in Play
- The Relic and the City
- China and the West: The Reception of Chinese Art across Cultures from the 19th Century to the Present
- Reading to Attention
- Picturing the Sensorium in Art from Antiquity to 1800
- Digital Continuities: From the History of Digital Art to Contemporary Transmedial Practices
- Rethinking Celtic Revivals
- Insular Preconceptions? The Arts of Iberia and Latin America and their Reception in Britain
- Untitled': What’s in a Name? (AAH Student Session)
- Anxious Dwelling / Postwar Spaces
- Imperial Tensions: Visual Cultures of Coercion, Silence and Display
- Hogarth and the Vernacular Renaissance in Eighteenth-Century Britain
- Intervisuality in Medieval Art
- The Discursive Space of Artists' Films
- Mapping the Practice and Profession of Sculpture: The Influence of Context and Collaboration in Sculptural Practice from the 18th Century to the Present
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If you would like to offer a paper, please contact the session convenor(s) directly, providing an abstract of your proposed paper in no more than 250 words, your name and institutional affiliation (if any). Please do not send paper proposals to the conference convenor.
Deadline for submission of papers: 9 November 2009.
For further details, please visit http://www.aah.org.uk
Posted: 10/11/09
'Imperial tensions: visual cultures of coercion, silence and display'
Session at the annual conference of the Association of Art Historians, Glasgow, 2010:
Barringer and Flynn's 'Colonialism and the object' (1998) applied developments in new museology and post-colonial theory to analyze the impact of ideology on the collection and display of colonial objects. At the heart of this and other related cultural studies has been a critique of projects that sought to construct funds of knowledge via educational and scientific pedagogies whilst simultaneously enacting imperial control. Keeping in view more recent shifts in museum ethnography and indigenous studies, which enable institutional silences to be apprehended productively, a key question
emerges: how representative of the violence of imperialism and colonialism were these displays? In broaching this topic art historians may actively engender new multi-disciplinary formations, to invoke research in visuality, materiality, spatiality and temporality that contest existing epistemologies.
Which objects are most representative of colonial coercion? Do national and universal museums generate cultures of silence around such objects? Were objects of imperial violence admissible for public display during the imperial heyday, or was there an obligation to sanitise history and obscure evidence of conflict? How did the metropolitan visualisation of coercion function within popular cultures of imperialism? In raising these questions, the panel seeks not only to identify the way objects were created and/or collected in colonial contexts and the visual history of empire between c.1750 and c.1950, but also to assess how such cultures of display were received amongst imperial interest groups, journalists, artistic communities and the wider public of empire.
Proposals for papers for this session are now invited and would be gratefully received by November 9th 2009. Please submit your proposals by email to Dr Matthew Potter, Department of History of Art and Film, University of Leicester, mcp20@le.ac.uk or Dr Daniel Rycroft, School of World Art Studies, UEA, Norwich, D.Rycroft@uea.ac.uk.
Posted: 10/04/09
Making Connections: Interdisciplinary Approaches to Cultural Diversity, a national journal published by the Pennsylvania State System of Higher Education and the Frederick Douglass Institute Collaborative, welcomes the submission of academic essays from any discipline, poetry, fiction, and creative non-fiction essays that explore cultural diversity issues for our spring 2010 issue. The deadline for this "general topic" issue is December 1, 2009. See our website at http://organizations.bloomu.edu/connect/ for more information about the journal and for recent issues. We prefer electronic submissions at connect@bloomu.edu. Manuscripts should conform to citation methods as described in the current MLA Handbook. Manuscripts will be peer-reviewed, and authors will be notified in two to three months.
Posted: 09/27/09
45th Annual Comparative Literature Conference
California State University, Long Beach
"Visual Culture & Global Practices"
March 4-6, 2010
Plenary Speaker:
W. J. T. Mitchell, Prof. of English & Art History, University of Chicago
The contemporary situation in humanities and social sciences is often characterized by the so called "visual turn", or the increasing emphasis of theory on the power and scope of the visual in everyday life, science, literature, media and the arts. Visual Culture as well as the formation of the field of Visual Studies stems from this renewed focus upon pictoriality and the power of the image, and its expression through various linguistic, visual and media forms.
"Visual Culture & Global Practices" seeks to examine literature (across time periods and languages), images, visual objects and mechanisms, and events from diverse cultures, across national boundaries, and within global contexts. Among the questions to be explored are:
- What are the visual codes of cultural works?
- What is the relationship between these works and their conditions of consumption, production and reception?
- How do images function within political, social, and economic forces?
- What is the cultural work that images do?
- How do we theorize visual culture?
- How do we read images?
The conference will take place at California State University, Long Beach, March 4-6, 2010.
Plenary Speaker is renowned Visual Culture scholar W. J. T. Mitchell, Professor of English and Art History at the University of Chicago, whose works Iconology (1986), Picture Theory (1994), and What Do Pictures Want? (2005) focus on media theory and visual culture.
We invite proposals for papers that deal with the power and role of the image and its relationship to literature and other disciplines and methodologies. Participants from different fields-literary theory and philosophy, aesthetics, film studies, art history and theory, theater, fine arts, graphic design, culture studies, visual and media studies, digital media and electronic arts, sociology, psychology, and cognitive science are invited to submit an abstract.
Given the topic of this conference, you can also or alternatively represent your work in a poster session.
Posters are graphic and textual representations of research. This format, more typical in the sciences than in the humanities, allows for research to be presented to audiences in visual formats throughout the conference rather than at single sessions. Posters are welcomed and encouraged on any aspect of visual cultural study or practice.
To propose a PAPER, please send an electronic 250-word abstract along with an attached c.v. no later than November 16, 2009 to Prof. Nhora Serrano (nserrano@csulb.edu).
To propose a POSTER, please send an electronic 250-word abstract along with an attached c.v. and /or work sample (in digital format) no later than November 16, 2009 to Prof. Nhora Serrano (nserrano@csulb.edu).
Posted: 09/27/09
Call For Papers:
Association of Art Historians Conference 2010 University of Glasgow
15 - 17 APRIL 2010
Charlotte Ashby, Birkbeck College, University of London Sabine Wieber, Roehampton University, London
Re-Assessing National Romanticism
"Until this powerful movement is recognized and demystified, we will not fully understand the intellectual and cultural climate of turn-of-the-century Europe."
Michelle Facos, Nationalism and the Nordic Imagination: Swedish Art of the 1890s, Berkley and Los Angeles, 1998, 2-3.
Although linked to the re-evaluation of the legacy of Art Nouveau in the 1960s and 1970s, the term National Romanticism came into wider art historical use in the 1980s and 1990s in relation to growing interest in the cultures of the so-called 'peripheral' nations of Europe; first in the Nordic region and then the post-Eastern Bloc countries. In this context, National Romanticism facilitated the integration of these new regions into the sphere of Western art history, but its continued currency can now be seen to limit the scope of understanding of these cultures in a larger pan-European context. This session intends to provide an international platform for a critical re-assessment of National Romanticism that challenges some of the art historical assumptions and expectations called up by this term. At the turn of the last century, artists and designers crossed boundaries between disciplines and between social, political and aesthetic concerns, making it difficult to maintain ideological and formal categories and posing a real challenge to the historian of this period. And yet, the works and objects understood as National Romantic and their relationship to the wider culture of the period offer an intriguing challenge to the lingering influence of a Modernist emphasis on a linear, progressive reading of history.
Deadline for proposals, with a copy to both convenors: 9 November 2009
Further details of the conference can be found at www.aah.org.uk
Posted: 09/13/09
'Glorious Technicolor, Breathtaking CinemaScope':
The Spectacle of Technology in Screen Media
A one-day interdisciplinary conference
Saturday 27th February 2010
University of Warwick
Coventry, UK
Call for Papers:
This inter- and multi-disciplinary conference seeks to explore ways in which particular screen technologies and media are displayed and spectacularised – that is, instances in which attention is drawn to the medium or technology itself rather than simply to its content.
Technological spectacle is not a new phenomenon of the digital age but has occurred throughout the history of the screen arts, perhaps especially upon the introduction of new technologies. This conference will investigate technological spectacle as a possible source of historical continuity and/or site for difference – thus working towards a more synthesised, complete and interdisciplinary understanding of the long history of screen arts, and the processes of technological change which periodically intervene in or develop out of that history.
Papers (20 minutes long) are welcomed which explore any aspect or case of technological spectacle in any screen medium. 'Screen', 'medium' and 'technology' are meant in the broadest possible senses, encompassing any historical or current apparatus related to cinema, television, video/DVD, computer programs/games, pre-cinematic forms such as the magic lantern, museum displays, avant-garde forms/uses, etc.
Confirmed speakers include:
• Dr. Alison Griffiths (Department of Communication Studies, Baruch College, New York)
• Dr. William Boddy ( Department of Communication Studies, Baruch College, New York)
• Dr. Helen Wheatley (Department of Film and Television Studies, University of Warwick)
Please send abstracts of 250-300 words, plus short biographical note, to Anna Sloan:
a.c.sloan@warwick.ac.uk
Deadline: Friday 18th December 2009
Posted: 09/13/09
On the occasion of the AAH (Association of Art Historians) Annual Conference, 15-17 April 2010, University of Glasgow, a session on the following topic will be held:
ART IN THE PUBLIC SPHERE, PUBLIC SPHERES IN ART. MIDDLE AGES AND RENAISSANCE
Art has helped to define spaces for communication in the public sphere since the middle ages, and its own basic concepts have been shaped by these processes. Correspondingly, genres and themes, methods and tasks have had constantly to be adapted to changing habits of communication in the political communities of European cities. Our aim is to address art in the public sphere from ca. 1200 to ca. 1600 with a focus on visual discourse and aesthetic experience. We are interested in papers that address the impact of political discourse on the community's self-fashioning; stylistic norms and social distinction through art; the creation and negotiation of spaces for art and for visual communication; as well as visual communication shaped and restricted by public regulation. We are also interested in the spacial and intellectual frameworks in which works of art were beheld, discussed, and made accessible to different audiences. Last but not least, we are interested in how these issues are visually reflected or subverted in the works themselves. We especially invite contributions that go beyond the established text-based readings of political iconography.
If you would like to submit a paper, please send a 250 word abstract to the two session convenors (e-mail addresses as below) before 9 November 2009.
Your name and your institutional affiliation with full contact details should also be included in the abstract. Contributions will be limited to ca
25 minutes in length.
Wolfgang Brückle
Department of Art History and Theory
University of Essex
Wivenhoe Park
UK Colchester CO4 3SQ
wbruckle@essex.ac.uk
Jules Lubbock
Department of Art History and Theory
University of Essex
Wivenhoe Park
UK Colchester CO4 3SQ
lubbj@essex.ac.uk
Posted: 09/06/09
University of Cambridge Graduate Student Conference in the History of Art 2010
Laughing at Art: The Study of Humour in the Visual Arts
The University of Cambridge Graduate Student Conference in the History of Art will be held on 30 April 2010 at the University of Cambridge. The conference will provide a forum for graduate students in all academic disciplines to present and discuss their research on the theme of humour in visual culture. We encourage submissions on a broad range of subjects - political, philosophical, historical, social, literary, art historical - that investigate humour, satire, and irony in visual media. Possible paper topics may include, but are not limited to, caricature and cartooning, vaudeville, humour in performance art, propaganda, and children's book illustrations.
Each presentation will be 20 minutes long with 10 minutes reserved for questions and discussion. The sessions of the conference will be chaired by senior scholars within the Cambridge History of Art department, and will feature a keynote address by Dr. Robin Simon, editor of 'The British Art Journal' and author of 'Hogarth, France & British Art'.
Additionally, Dr. Dean Mobbs, a post-doctoral fellow in Cognitive and Behavioural Neuroscience at the University of Cambridge, will present an introductory lecture on how the mind processes humour and laughter.
Please submit a 300-word abstract and CV as Word document attachments, to CambridgeArtHistoryConference@googlemail.com by 20 November, 2009.
If you have any questions, please contact Susanna Berger or Galina Mardilovich at CambridgeArtHistoryConference@googlemail.com.
Posted: 09/06/09
Call for Papers:
Sir Hans Sloane, The Greatest Physician-Naturalist of His Era
An International Conference
Commemorating the 350th Anniversary of His Birth To be held at the British Library
7-8 June 2010
Deadline: 15 December 2009
The year 2010 marks the 350th anniversary of the birth of the physician Sir Hans Sloane (1660-1753). Well-known as one of the greatest collectors of his age, he was also President of the Royal Society and the Royal College of Physicians, the major patron of the Chelsea Physic Garden, a physician to Queen Anne, George I and George II, and had many other connections throughout British society, leaving his name to the prestigious Sloane Square in London. His enormous network of acquaintances and correspondents throughout the world established him as probably the single most influential British 'scientist' between Isaac Newton and Joseph Banks. After his death, Parliament purchased his collections, which laid the foundation for what are now three institutions: the British Library, British Museum, and Natural History Museum.
A project has been generously funded by the Wellcome Trust to electronically re-create the bulk of Sloane's voluminous but now dispersed library, led by Alison Walker with the assistance of Shauna Barrett and the direction of Prof Hal Cook. It is now online and being continuously updated at www.bl.uk/catalogues/sloane. The project's two host institutions, The British Library and The Wellcome Trust Centre for the History of Medicine at UCL, are sponsoring a two-day conference on Sloane and his collections.
We invite proposals on any aspect of the history and significance of Sloane and his activities, such as: his medical practice and career; his role in medical and scientific institutions; his travel and links to the West Indies; his botanical and zoological collecting; his ethnographic and antiquarian collecting; his prints, drawings and fine art; his books and manuscripts; his links to global trade networks across and beyond the British Empire. Papers on the development of the Sloane collections after his lifetime will also be considered. Preference will be given to studies that make use of the new online catalogue. Those attending the conference will be responsible for organising their own travel and accommodation.
Please send your proposal by no later than 15 December 2009, which should be no more than one page in length, to Lauren Cracknell at The Wellcome Trust Centre for the History of Medicine at UCL, 183 Euston Rd., London NW1 2BE, UK, or emailed to l.cracknell@ucl.ac.uk. Inquiries may be directed to Hal Cook, via Lauren Cracknell, or to Alison Walker alison.walker@bl.uk
Submitted by Hal Cook, Professor and Director, Wellcome Trust Centre for the History of Medicine at UCL (h.cook@ucl.ac.uk)
Posted: 09/06/09
Call For Papers
Photography in Revolution
Deadline for submissions: July 31, 2010.
The following panel will be part of an international symposium, "Cuba Futures: Past and Present," hosted by the Cuba Project at the Bildner Center for Western Hemisphere Studies. The symposium will be held at The Graduate Center, City University of New York from March 31-April 2, 2011.
For more information visit http://web.gc.cuny.edu/bildnercenter/cuba/events.shtml.
Photography in Revolution
In 1959, the story goes, Fidel Castro brandished a copy of Henry Luce's "Life" magazine in front of his collaborators, explaining "I want something like this." The "this" to which Castro referred, and which he got in the form of publications like "Revolución," was much more than a new means for the circulation of the revolution's epic photographs. It was, as Luce had envisioned it, a new means "to see." To quote Luce from the illustrated magazine's 1936 prospectus: "To see life; to see the world, to eyewitness great events; to watch the faces of the poor and the gestures of the proud. To see, and to show is the mission now undertaken by LIFE." In Cuba, in 1959, "to see," of course, took on a very specific meaning, as many of the nation's new vanguard were illiterate. In conjunction with the revolution's literacy campaign, Castro honed a medium more legible than the alphabet. He honed photography.
Despite the acknowledged importance of photography to the documentation and representation of the revolution and its heroes, historians of the revolution have paid scant attention to photography's role as a tool in the revolution. What, for example, are the implications of Castro's decision to appropriate the mouthpiece of the "American Century," a term coined by Luce to mark the advent of America's global hegemony? What does it mean to propose or invent a new "way of seeing"? "Photography in Revolution" seeks to bring together scholars interested in attending to these questions to the role photography played in shaping, selling, and disseminating the revolution.
Though framed by events in the 1960s, "Photography and Revolution" seeks to do more than provide a forum for examining the role photography and mass media played in Cuba's past. Responding to the conference's interest in addressing Cuba's future, this panel also welcomes scholars interested in attending to the role the media still plays in shaping Cuban history, culture, and society. For example, how does the prominence given to new media-digital photography, the Internet, and video-in shaping our understanding of our current wars and revolutions impact our understanding of the events of the 1960s? Since the crisis of the 1990s, Cuban artists-both on and off the island-have begun to address the revolution's status as a media event. "Photography and Revolution" welcomes papers attending to these developments in contemporary Cuban artistic practices. How do we understand the renewed interest in photography in the 1990s, as well as the turn away from the epic gestures of the 1960s? Today's artists are not only interested in attending to how history was "told" and documented, but in creating new histories and media events. In short, "Photography in Revolution" seeks to create a forum for addressing the relationship between media and revolution, a forum for exploring how the various and dynamic ways in which the revolution has been mediated are in revolution.
Please send abstracts of proposed papers (500 words) and a cover letter with the author's professional affiliation, a biographical sketch, and contact information to cubaproject@gc.cuny.edu. Proposals will receive preliminary assessment as they arrive. The final deadline for submissions is July 31, 2010.
Posted: 09/06/09
Call for Articles: Edited Volume
Women's Creativity around 1800
Abstracts (500 words) due November 15, 2009 to Angela Borchert (borchert@uwo.ca), Linda Dietrick (l.dietrick@uwinnipeg.ca) and Birte Giesler (birte.giesler@usyd.edu.au).
Completed articles in English or in German due no later than March 15, 2010.
Growing out of a successful workshop in Ottawa in May 2009, this edited volume will focus on creativity, or related contemporary concepts such as Genie and Schöpfungskraft, as reflected by German-speaking women and their creative works around 1800. Contributions will explore the relationship between late-18th-century understanding(s) of female creativity and the cultural practices of women in the period. We welcome submissions from different disciplines such as literary criticism, history, philosophy, art, and music, as well as interdisciplinary perspectives, but all should address explicitly the theoretical question of creativity and gender in German-speaking Europe around 1800 with reference to specific texts or other cultural artifacts.
Possible topics might include:
1. Contemporary concepts of creativity such as Originalität, Genie, Talent, or Schöpfungskraft and their relationship to gender
· sources of female creativity, e.g. inspiration vs. conscious making, madness and disease, etc.
· male vs. female concepts and models
· relationships between discourses on creativity in aesthetics, theology, biology, anthropology, etc.
· paradigm shifts in the understanding of creativity
· connections with specific historical events, trends and cultural movements such as the Sturm und Drang or Romanticism
2. (Self-)representations of female creativity or the female creative process, including:
· models/prototypes (schöne Seele, Weibergenie, Sappho) in male and female discourse or in dominant and resistant discourse
· creative constructions of self; performativity
· creativity as strategy or strategic position
· the (self)marketing of female creativity
· habitus, ritual, fashion
3. Place/milieu of female creativity
· city, country, court, salon, travel etc. as Handlungsspielräume
· theater, music-theater, ballet and other milieus of social performance
· periphery vs. centre, interior vs. exterior, private vs. public
· intermediality
· intersections with class, race, religion, nationality, etc.
· cultural practices such as contests, collaborations, publishing and other forms of circulation
4. Female creativity in relationship to the creative work and its reception
· gender and medium or genre
· creative process vs. autonomous work
· imitation/copying, adaptation, translation
· techné, performance, improvisation
· professionalization, dilettantism, virtuosity
· pseudonymity/anonymity as masquerade
· representations of female creativity as self-reference and metacriticism
General guidelines for submissions:
The text of the article should not exceed 48,000 characters (including blanks, endnotes and abstract). English articles should include an abstract of approx. 120 words in German. Black-and-white-images can be included. However, copyright needs to be arranged by the author.
Posted: 08/30/09
AAH 2010
The 36th Association of Art Historians Conference
Session Proposal
Co-Chairs
Robin Baillie MA(Hons), HDip (Fine Art)
Senior Outreach Officer, The National Galleries of Scotland
Dr Ken Neil, MA(Hons), MFA, PhD
Head of Historical and Critical Studies, The Glasgow School of Art
'The Rules of (Collective) Art'
Social Engagement and Collaboration in Contemporary Art
Deadline: 9 November 2009.
The dramatic development of the field of socially engaged art over recent decades demands that new critical methods are developed to evaluate the status of art produced in this way. We are looking for papers which both reflect these changes and challenge current artistic practice and its theoretical basis.
This session will build a frame of reference around such artworks by calling for papers from art historians, art critics, theorists, artists and educationalists involved in this field. The session will seek to map out the shifting boundaries of classification and meaning which arise from contemporary art production in collaboration with communities.
We are interested in papers which make reference to new approaches to critical evaluation in this area that may be influenced by social geography, cultural sociology and social anthropology, as well as by contemporary developments in art theory. This can be an opportunity to reappraise the pedagogical basis of art school training and the implications of the economic and social realities of art based careers related to regeneration agendas.
At stake in socially engaged artistic processes is the 'consecrated value' of the art object (modernist and postmodernist) and the definition of the authorship of contemporary artworks produced through community collaboration. The work of Pierre Bourdieu, for example, specifically his examination of 19th Century literary modernism in The Rules of Art, 1996 Les regles de l'art, 1992; Eng. Rules of Art: Genesis and Structure of the Literary Field, Stanford University Press, 1996., has led to challenges to traditional modernist notions of the work of art, its intention and its audience.
Ultimately these artworks and the processes out of which they are made require a reappraisal of the concepts and methods available to art historians in assessing their impact and artistic value. This session will help further that investigation and we welcome all contributions.
Please send an abstract of your proposal, which should be 250 words describing a 30 minute paper to -
Robin Baillie
Senior Outreach Officer
National Galleries of Scotland
Baden Powell House
3 Victoria Terrace
Edinburgh EH1 2JL.
rbaillie@nationalgalleries.org
and
Ken Neil
Head of Historical and Critical Studies
The Glasgow School of Art
167 Renfrew Street
Glasgow G3 6RQ.
k.neil@gsa.ac.uk
Posted: 08/16/09
AAH Annual Conference
15-17 April 2010, University of Glasgow
call for papers: Materiality and Waste: Poetics of the Concrete in Modern Life
convenors:
Jaimey Hamilton, Department of Art and Art History, University of Hawaii
jaimeyh@hawaii.edu
Maura Coughlin, Department of Literary and Cultural Studies, Bryant University
mcoughli@bryant.edu
DEADLINE: 10 November 2009
This panel invites interdisciplinary visual culture studies approaches to the mundane, concrete, local, overlooked and discarded materials of modern and contemporary life. While the abstract “deterritorialization” processes and increasingly global commodity cycles of production and obsolescence often seem to characterize this long epoch, this panel explores the importance of understanding the local specificity material objects and concrete experiences.
Along with Henri Lefebvre, Michel de Certeau, and other philosophers of the everyday, cultural anthropologist Tim Dant suggests that we form lived and embodied relationships with material objects; can we discuss these relationships without necessarily dismissing them as framed by nostalgia, imposed from outside authority, or generalized by international or global culture? What is or can be considered “material” in our modern life? In what ways do messages and meanings of art and other aspects of visual culture invoke materiality? How do they depend upon both the concreteness of physical matter and the multivalence of their histories, uses, metaphors, allegories, etc.?
How can materialist methodologies help us to understand the interaction between people and things – and articulate the power, politics, and poetics of a phenomenological basis of subjectivity in material culture?
Papers could offer methodologies applied to visual culture, specific artistic approaches, or topics that include, but are not limited to representations or use of waste, filth, trash, obsolescence, commodities, the discarded, junk, thrift, bricolage and the material basis of subjectivity.
Posted: 07/26/09
Terra Foundation for American Art International Essay Prize
The Terra Foundation for American Art International Essay Prize recognizes excellent scholarship by a non-U.S. scholar in the field of historical American art (circa 1500-1980). The winning manuscript submission should advance understanding of American art and demonstrate new findings and original perspectives. It will be translated and published in American Art, the Smithsonian American Art Museum's scholarly journal, which will also cover the cost of image rights and reproductions, and the winner will receive a $500 award. The length of the essay (including endnotes) shall not exceed 8,000 words with approximately 12 illustrations. Manuscripts submitted in foreign languages should be accompanied by a detailed abstract in English. Six copies of the essay must be received by January 15, 2010, at: American Art journal, Research and Scholars Center, Smithsonian American Art Museum, Box 37012, MRC 970, Washington D.C. 20013-7012. For additional guidelines, please visit www.americanart.si.edu/research/awards/terra
Posted: 07/12/09
AAH Annual Conference
15-17 April 2010, University of Glasgow
call for papers: session on Intervisuality in Medieval Art
convenor: Debra Higgs Strickland, University of Glasgow
DEADLINE: 10 November 2009
Of current interest in the critical analysis of medieval art, intervisuality or interpictoriality has been conceived as the visual counterpart to intertextuality. Simply defined as pictorial references to other pictures, studies by Michael Camille, Madeline Caviness, Cynthia Hahn, and Mitchell Merback, among others, have shown that the process or concept itself is anything but simple, that it can generate multiple and often complex meanings that serve particular contemporary cultural agendas. We can speak of intervisuality, among other ways, in relation to the redeployment of earlier iconographical formulae in new contexts, to pictorial references across different artistic media, to visual correspondences across visual genres (such as from dramatic performance to static works of art, or vice versa). This session invites papers that address any aspect of intervisuality with a focus on one or more works of medieval art, one or more iconographical themes, or that compare and/or contrast the processes of intervisuality to those of intertextuality. The papers may incidentally address one or more of the following questions: Is intervisuality a concept or a process? Is it the creation of medieval artists or audiences? How does intervisuality generate meaning? What types of cultural work did intervisuality perform during the Middle Ages?
250-word abstracts for 30-minute papers should be submitted via email to Debra Strickland (D.Strickland@arts.gla.ac.uk).
DEADLINE: 10 November 2009
Posted: 06/28/09
Call for Papers:
The Artist at Work in Early Modern Italy (c. 1450-1700): Methods, Materials, Models, Mimesis
Association of Art Historians Annual conference, Glasgow, April 15-17 2010.
Jill Burke, University of Edinburgh (Jill.Burke@ed.ac.uk)
Genevieve Warwick, University of Glasgow (G.Warwick@arthist.arts.gla.ac.uk)
We invite proposals of up to 250 words on the following area by 9 November 2009. Thanks to the generosity of the Leverhulme Trust, some funding is available for speakers' travel costs where institutional funding is not possible.
This session will examine the figure of the artist at work through a plurality of perspectives to probe issues of artistic labour in Renaissance and Baroque Italy. The period threw up competing models through which to constitute the artist's working environment: as workshop, studio, academy for teaching, and cultural space for the production of artist-patron relations. Artistic practice was contingent on changing techniques and technologies, methods and materials, yoked to theories of imitation and invention. This intersection between working tools such as mirrors and lenses and an early modern theorisation of art as mimesis, may be traced through preparatory works as the residue of practice. The changing deployment and rendering of the artist's model bears witness to this history. Portraits of artists also embody these developments in their changing occlusion or display of the artist's studio, models, and working tools. The session convenors would welcome papers in any of the following areas:
- Institutions: The Workshop, the Studio, the Academy
- Materials and Methods
- Techniques and Technologies: Tradition and Innovation
- Preparatory Methods: drawings, sketches, bozzetti, modelli
- The Artist's Model
- Artists' Portraits
- Imitation: Theories and Practices
- Invention: Art and Science.
Posted: 06/14/09
ATROCITY EXHIBITIONS: RE/Reading RE/Search
2010 Association of Art Historians Conference Session - Call for Papers (Glasgow, 15-17 April 2010)
The avant-garde journal RE/Search, edited by V. Vale and published in San Francisco since 1980, has consistently explored the limits of cultural practices in relation to theories and traditions of artistic expression.
Developing out of dada and surrealism and based on the surrealist call to explore the 'irrational shadow of official culture', RE/Search addresses contested and subversive aesthetic practices and cultural interventions.
Its range of thematic and theoretical concerns (from Angry Women to Industrial Culture) defines the parameters of contemporary conceptions of the acceptable, the permissible and the desirable; its constant willingness to challenge conventions has made it a major feature of the theoretical landscape of contemporary art practice. RE/Search has furthermore been instrumental in promoting and analysing work by major contemporary artists and writers, including William Burroughs, Genesis P. Orridge, Gee Vaucher, Annie Sprinkle, Russ Meyer, Valie Export, and J. G. Ballard.
This session will mark the 30th anniversary of RE/Search and invites papers addressing and re-reading pertinent concerns and aspects of / related to the journal. These may include, but are not restricted to:
- artistic and cultural precursors and inheritors of RE/Search
- RE/Search in contexts: San Francisco, contemporary and avant-garde art movements, alternative cultures
- how RE/Search facilitates or emphasises particular practices, theories and modes of analysis, interaction and engagement
- the contributions of key figures to the RE/Search project
- special issues of RE/ Search and their influence on contemporary artistic and cultural practices
- RE/Search and interdisciplinary, inter-media and inter-art practices
- contributions on individual RE/Search articles and themes, from youth cultures to body art, industrial cultures to cut-ups, incredibly strange music to incredibly strange films and beyond.
Please submit 250 word proposals to the session convenors, Patricia Allmer and John Sears, at P.Allmer@mmu.ac.uk and J.Sears@mmu.ac.uk before 09 November 2009.
Dr Patricia Allmer
MIRIAD, Manchester Metropolitan University Righton Building, Cavendish Street Manchester M15 6BG
Dr John Sears
Dept of Interdisciplinary Studies, MMU Cheshire Crewe Green Road Crewe, Cheshire CW1 5DU
Posted: 05/31/09
AAH (Association of Art Historians) Annual Conference, University of Glasgow
15-17 April 2010
Deadline for applications: 9 November 2009
PICTURING THE SENSORIUM IN ART FROM ANTIQUITY TO 1800
In recent years, scholarship has become increasingly sensitised to the fact that historical human interaction with the material world, as it still does today, engaged not only the visual, but also the spectrum of the sensory and affective. The result has been a raft of histories of tasting, smelling, touching and hearing all of which, directly or indirectly, work with and extend Baxandall¹s concept of the ³period eye². Then, as now, these oral, aural, visual, olfactory and haptic practices were not only culturally determined but also often communicated without written explanation or in transitory form. We welcome papers that explore the performance of the senses in art from Antiquity to 1800 (for example hearing music, touching sculpture, smelling flowers, stroking animals, tasting food) as well as affective responses, such as pleasure or disgust.
Papers might discuss sensorial engagement with art and/or its materials in contexts such as the artist¹s studio, domestic interior or gallery/ museum.
They could also consider how art reflects the contingent medical and social contexts of the senses or how artistic media, for example tapestries or objects to be handled, were viewed in times when contagion was feared.
Equally, contributions could relate to the inhibition or loss of the senses, such as the depiction of blindness or the deterioration of an artist¹s own faculties of sight and/or colour as revealed in his/her writings or work. This panel welcomes contributions that provide fresh interpretations of existing knowledge, or presentations of new material emerging from research, conservation, or archival discoveries.
Contributions will be limited to ca 25 minutes in length.
To submit a paper, please send a 250 word abstract to the two session convenors (e-mail addresses as below) before 9 November 2009. Your name, your institutional affiliation and full contact details should also be included in the abstract.
Rachel King
Art History and Visual Studies
The University of Manchester, U.K.
r.king@cantab.net
Christopher Plumb
Centre for Museology and CHSTM (Centre for the History of Science, Technology and Medicine)
The University of Manchester, U.K.
christopherplumb@gmail.com
Posted: 05/24/09
Association of Art Historians Annual Conference, 15-17 April 2010, University of Glasgow.
Session:
Images of Corporal Mortification and Corruption, Martyrdom and Mercy:
1250-1550.
"The psychological implications of the new religiosity with which the devotional image was in accord are just as complex as the social conditions from which the religious individual developed his self-awareness. What took place in the thirteenth century was one of the most comprehensive transformations European society ever underwent.
While the symptoms were often only visible in images at a later date, the impulses to modify images reach back to the thirteenth century."
Hans Belting (trans. M. Bartusis and R. Meyer), The Image and Its Public in the Middle Ages: Form and Function of Early Paintings of the Passion (New Rochelle, New York: 1990), p. 7.
This session will explore images which illustrate the mortification of the flesh, bodily corruption, disfigurement, disease, decay, physical degradation and death. Such images have been used to convey messages of strength, the triumph of faith over fear and pain, the incorruptibility of the spirit, salvation, celebration and optimism. Images of suffering are often coupled with those of compassion and protection. Issues surrounding the role of gender within images of martyrdom and mercy will be investigated. Papers are invited which engage with related imagery (e.g. depictions of justice, punishment, vengeance, restraint and clemency) from both religious and secular contexts and which explore the relationship between text and image. We encourage submissions illustrating examples from a wide range of media (panel and wall painting, manuscript illumination, sculpture, architectural structures and contexts, decorated household, religious and civic objects and textiles) and originating from a variety of geographical locations.
Session convenors: Emily Jane Anderson (University of Glasgow) and Robert Gibbs (University of Glasgow).
E.Anderson.1@research.gla.ac.uk
R.Gibbs@arthist.arts.gla.ac.uk
Posted: 04/26/09
Article call for "American Periodicals and Visual Culture"
In Fall 2010 American Periodicals will be publishing a special issue on 'American Periodicals and Visual Culture', guest edited by Janice Simon (Art History, University of Georgia) with Jared Gardner and Steve Fink.
Although periodical scholarship has traditionally tended to emphasize the word, visual imagery of all sorts has been an important component of periodicals, even before our post-modern visual deluge. We are calling for essays that will address any aspect of visual culture in American periodicals from the colonial period through WW II, including but not limited to the intersections and ironies of text and image juxtapositions; the meaning of visual ephemera?frontispiece or margin illustrations, headings, advertisements, magazine covers, cartoons, photographic inserts; the role of a specific art editor, director, or reviewer; studies of periodicals devoted to the visual arts; the importance of the photographic or illustrated essay.
For consideration for the Special Issue on American Periodicals and Visual Culture, please submit your essay by January 1, 2010 to amper@osu.edu. For more information about the journal, including submission guidelines and style sheet, please see our website at: http://americanperiodicals.osu.edu
