Enfilade

Exhibition | Precious Instruments, Distinguished Figures

Posted in exhibitions by Editor on July 17, 2018

Antonio Berti, Psaltery made for Maria Teresa Strozzi (1682–1748).

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Now on view at the Palace Venaria, near Turin:

Precious Instruments, Distinguished Figures: Music and Luthiery between the 17th and 20th Centuries in Europe
Venaria Reale, Torino, 31 May — 30 September 2018

Curated by Giovanni Accornero

The exhibition illustrates and compares four centuries of luthiery and collections, music and musicians, nobility and patronage.

Violins, violas, cellos, 5-course guitars, mandolins, lyre-guitar and psalteries made by master luthiers who were recognized and appreciated worldwide: Stradivari, Guarneri ‘del Gesù’, Amati, Guadagnini, Vinaccia, Fabricatore, Berti and Battaglia, Nadermann, Torres e Hauser—these were the fundamental Italian and European luthiers, an artistic craft that is inextricably connected the world over to the culture of ‘music making’. Precious musical instruments that on this ambitious stage move beyond craftsmanship to become genuine works of art.

It is a stimulating display that outlines a socio-cultural and artistic framework through a historical overview of around thirty musical instruments, most of which are exhibited for the first time since they are part of private collections. The instruments once belonged to famous figures: from exceptional musicians like Gaetano Pugnani, Niccolò Paganini, Charles Dancla, Yehudy Menuhin, Mauro Giuliani, Ramon Montoya, Andrés Segovia, Ida Presti, to major historical figures like the Emperor Leopold I of Habsburg, the Empress Maria Theresa of Naples and Sicily, princess Maria Teresa Strozzi, count Cozio di Salabue, countess Maria Beatrice Barbiano di Belgioioso Dal Pozzo della Cisterna, duchess Marie-Thérèse Charlotte of France, and queen Margherita of Savoy.

The exhibition is also an opportunity to familiarize the general public with the luthiery tradition of Turin that starting in the late 18th century, gained momentum (as the production in Cremona started to wane), and established itself on the European scene, a preeminence that remained unchanged for more than a century. It is a chance to rediscover the primacy of this region in yet another cultural sector.

Exhibition organized by: Consorzio Residenze Reali Sabaude in collaboration with the publishing house Edizioni Il Salabue

Exhibition | Furniture and Cabinetmakers at the Savoy Court

Posted in books, catalogues, exhibitions by Editor on July 17, 2018

Luigi Prinotto, Chest with four drawers, depicting stories of Saint Bruno and the foundation of the Carthusian Order, 1736
(Private Collection)

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The exhibition at the Palace Venaria, near Turin, closed in June, but the catalogue is available from ArtBooks.com:

Genius and Skill: Furniture and Cabinetmakers at the Court of Savoy
Venaria Reale, Torino, 17 March — 15 June 2018

The exhibition aims to better define the history of furniture making in Piedmont between the 18th and 19th centuries through a display of 130 exceptional pieces crafted by the finest cabinet-makers and sculptors of the time—Luigi Prinotto, Pietro Piffetti, Giuseppe Maria Bonzanigo, and Gabriele Capello known as ‘Il Moncalvo’—some of which will be presented for the first time thanks to loans from important Piedmontese and international museums and collections.

The purpose of the exhibition is to familiarize the public with precious cabinetmaking and inlay works, emphasizing their significance, use, and transformations with technical and scientific insights and multimedia installations. The exhibition tells the story of an elegant, cultivated, and complex craft that developed in Turin to cater to the needs of important royal and aristocratic patrons, in conjunction with other arts.

Special care has been adopted to design a display that is accessible to disabled visitors, including scale models, touch tablets, olfactory islands, and an Italian Sign Language video-guide. Moreover, description panels and labels are written in the EasyReading font, which is highly readable and facilitates reading for dyslexic persons.

Organizing and Scientific committee: Cesare Annibaldi, Roberto Antonetto, Clelia Arnaldi di Balme, Elisabetta Ballaira, Enrico Colle, Stefania De Blasi, Silvia Ghisotti, Luisa Papotti, Carla Enrica Spantigati

Coordinated by Carlo Callieri

Cesare Annibaldi, Roberto Antonetto, et al, Genio e Maestria: Mobili ed Ebanisti alla Corte Sabauda tra Settecento ed Ottocento (Turin: Allemandi, 2018), 304 pages, ISBN: 978-8842224594, $70.

AWA and Art Restoration in Florence

Posted in museums, on site by Editor on July 17, 2018
“The Lady Who Paints,” an 11-minute video produced by Bunker Films, addresses the work of Advancing Women Artists Foundation, focusing on the Virgin Mary Presents the Christ Child to Santa Maria Maddalena de’ Pazzi by Violante Siries Cerroti, located in the sacristy of the church of Santa Maria Maddalena de’ Pazzi in Florence. Severely damaged in the 1966 flood, the painting was restored by Nicoletta Fontani and Elizabeth Wicks in 2016. More information is available in this book available from the AWA Foundation: I. Ciseri, J. Fortune, P. Masse, and E. Wicks, The Lady Who Paints: Violante Siriès Cerroti (1709–1783) (Pisa: Pacini Editore, 2016), 106 pages, ISBN: 978-8869951145 (English and Italian), €20.

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CAA’s listserv newsletter from yesterday noted this ArtNet News article:

Kate Brown, “How a Female-Led Art Restoration Movement in Florence Is Reshaping the Canon,” ArtNet News (12 July 2018).

Sometimes, all it takes is for someone to ask the right question.

That is exactly what Jane Fortune did on a visit to Florence 12 years ago. While touring the Renaissance city’s exquisite museums and fresco-covered churches, the American philanthropist began to wonder, “Where are the women?” Her search for an answer set Fortune on a passionate quest to restore the lost legacies and artworks of Florence’s forgotten female artists, digging into museums’ archives and dusty deposits with her organization, Advancing Women Artists (AWA). . .

Since the foundation launched more than 10 years ago, AWA has restored some 53 artworks. By September, that number will jump to 58. The nonprofit has become the go-to for Florentine curators who want to research their own collections, which house many works by women (AWA has inventoried 2,000 so far) that have been unseen for centuries. “That’s half the population that’s not being heard,” Fortune says. “I want to give them a voice.”

AWA has some ground rules for museums that engage them for help: If the work in question comes out of storage, it doesn’t go back into storage. It goes on the wall. And if a work needs to be restored, the vast majority of projects are carried out by female conservators.

Linda Falcone, the director of AWA, explains that the majority of restorers in Florence are in fact women, but that it was not always this way. The shift was caused by a devastating flood that struck in 1966, which led to the loss or damage of millions of artworks and books, including many masterpieces. A group of scholars, art students, and other art experts dubbed the “Mud Angels” flocked to the city to help with the restoration effort, as did the so-called “Flood Ladies”—female artists who donated art to replace lost masterworks.

Art historians like Kirsten Aschengreen Piacenti, who came from Denmark, were eager to help. In turn, they established a female-led network of experts, many of whom are still active today. Piacenti went on to become the head of Florence’s Museum Stibbert until 2012, and she is among an impressive number of female curators who work in the city’s institutions.

“It was the first time women began wearing trousers in Florence,” Falcone says. “Women’s liberation in Florence is deeply linked to the art restoration effort.” . . .

The full article is available here»

New Book | Visual Typologies

Posted in books by Editor on July 16, 2018

From Routledge (and now on sale for $120) . . .

Tara Zanardi and Lynda Klich, eds., Visual Typologies from the Early Modern to the Contemporary: Local Contexts and Global Practices (New York: Routledge, 2019), 298 pages, ISBN: 978-1138200135, $150.

Visual Typologies from the Early Modern to the Contemporary investigates the pictorial representation of types from the sixteenth to the twenty-first century. Originating in longstanding visual traditions, including street crier prints and costume albums, these images share certain conventions as they seek to convey knowledge about different peoples. The genre of the type became widespread in the early modern period, developing into a global language of identity. The chapters explore diverse pictorial representations of types, customs, and dress in numerous media, including paintings, prints, postcards, photographs, and garments. Together, they reveal that the activation of typological strategies, including seriality, repetition, appropriation, and subversion has produced a universal and dynamic pictorial language. Typological images highlight the tensions between the local and the international, the specific and the communal, and similarity and difference inherent in the construction of identity. The first full- length study to treat these images as a broader genre, Visual Typologies gives voice to a marginalized form of representation. Together, the chapters debunk the classification of such images as unmediated and authentic representations, offering fresh methodological frameworks to consider their meanings locally and globally, and establishing common ground about the operations of objects that sought to shape, embody, or challenge individual and collective identities.

Tara Zanardi is Associate Professor of Art History, Hunter College, CUNY. Lynda Klich is Assistant Professor of Art History, Hunter College, CUNY.

C O N T E N T S

Contributors
Acknowledgements

Tara Zanardi and Lynda Klich, Introduction to Visual Typologies from the Early Modern to the Contemporary: Local Contexts and Global Practices

Repeating, Borrowing, and Serializing
• Heather A. Hughes, Fashion, Nation, and Morality in English Allegorical Costume Prints, ca. 1620–40
• Sarah E. Buck, Bodies of Work in the Ancien Régime: The Costumes Grotesques by Nicolas I de Larmessin
• Elisabeth Fraser, The Color of the Orient: On Ottoman Costume Albums, European Print Culture, and Cross-Cultural Exchange
• Vanesa Rodríguez-Galindo, On and off the Tram: Contemporary Types and Customs in Madrid’s Illustrated and Satirical Press, 1874–98

Staging Place
• Eugenia Paulicelli, Venice: City of Fashion and Power in Giacomo Franco’s Habiti d’huomini et donne venetiane, ca. 1610
• Yu-chih Lai, Costuming the Empire: A Study on the Production of Tributary Paintings at the Qianlong Court in Eighteenth-Century China
• Denise Birkhofer, Enrique Díaz’s Parade of Progress: Toward a Streamlined Mexican Future

Performing the Documentary
• Emily Kathryn Morgan, ‘True Types of the London Poor’: Street Life in London’s Transitional Typology
• Maya Jiménez, The Myth of the Baiana in Nineteenth-Century Portrait Photography
• Lynda Klich, Circulating lo mexicano in Mauricio Yáñez’s Postcards
• Deborah Dorotinsky, It Is Written in Their Faces: Seri Women and Facial Painting in Photography

Materials of Typologies
• Natalia Majluf, Fashioning a Nation: Military Dress in Peruvian Independence, 1821–22
• Tara Zanardi, From Global Traveler to Costumbrista Motif: The Mantón de Manila and the Appropriation of the Exotic
• Victoria L. Rovine, Cloth, Clothing, and Colonial Power: France and West Africa at the Expositions
• Charlene K. Lau, Against ‘Fashion-Time’: Bernhard Willhelm, Regional Folk Dress, and the Contemporary

Unmasking Stereotypes
• Ashley Bruckbauer, Ambassadors à la turc: Assimilation and Dissimulation in Eighteenth-Century Images of French-Ottoman Diplomacy
• Leyla Belkaïd-Neri, The Transmediterranean Routes of Fashion: Between Material Expression and Artistic Representation
• Teresa Eckmann, Julio Galán and the Type: Fashioning a ‘Border’ Aesthetic

 

New Book | The Enchanted Clock

Posted in books by Editor on July 15, 2018

From Columbia UP:

Julia Kristeva, The Enchanted Clock: A Novel, translated by Armine Kotin Mortimer (New York: Columbia University Press, 2018), 336 pages, ISBN: 978-0231180467, $30 / £24.

In the Palace of Versailles there is a fabulous golden clock, made for Louis XV by the king’s engineer, Claude-Siméon Passemant. The astronomical clock shows the phases of the moon and the movements of the planets, and it will tell time—hours, minutes, seconds, and even sixtieths of seconds—until the year 9999. Passemant’s clock brings the nature of time into sharp focus in Julia Kristeva’s intricate, poetic novel The Enchanted Clock.

Nivi Delisle, a psychoanalyst and magazine editor, nearly drowns while swimming off the Île de Ré; the astrophysicist Theo Passemant fishes her out of the water. They become lovers. While Theo wonders if he is descended from the clockmaker Passemant, Nivi’s son Stan, who suffers from occasional comas, develops a passion for the remarkable clock at Versailles. Soon Nivi is fixated on its maker. But then the clock is stolen, and when a young writer for Nivi’s magazine mysteriously dies, the clock is found near his body. The Enchanted Clock combines past and present, jumping back and forth between points of view and across eras from eighteenth-century Versailles to the present day. Its stylistically inventive narrative voices bring both immediacy and depth to our understanding of consciousness. Nivi’s life resembles her creator’s in many respects, coloring Kristeva’s customary erudition with autobiographical poignancy. Part detective mystery, part historical fiction, The Enchanted Clock is a philosophically and linguistically multifaceted novel, full of poetic ruminations on memory, love, and the transcendence of linear time. It is one of the most illuminating works of one of France’s great writers and thinkers.

Julia Kristeva is professor emerita of linguistics at the Université de Paris VII and author of many acclaimed works and novels. Her Columbia University Press books include Murder in Byzantium: A Novel (2005); Teresa, My Love: An Imagined Life of the Saint of Avila (2014); and, with Philippe Sollers, Marriage as a Fine Art (2016).

Armine Kotin Mortimer is professor emerita of French literature at the University of Illinois at Urbana-Champaign. Her contributions to French culture were recognized with the Palmes académiques distinction in 2009. She is the translator of two books by Philippe Sollers.

New Book | China’s Philological Turn

Posted in books by Editor on July 13, 2018

From Columbia UP:

Ori Sela, China’s Philological Turn: Scholars, Textualism, and the Dao in the Eighteenth Century (Columbia University Press, 2018), 328 pages, ISBN: 978-0231183826, $65 / £50.

In eighteenth-century China, a remarkable intellectual transformation took place, centered on the ascendance of philology. Its practitioners were preoccupied with the reliability of sources as evidence for restoring ancient texts and meanings and with the centrality of facts and truth to their scholarship and identity. With the power to construct the textual past, philology has the potential to shape both individual and collective identities, and its rise to prominence consequently deeply affected contemporaneous political, social, and cultural agendas.

Ori Sela foregrounds the polymath Qian Daxin (1728–1804), one of the most distinguished scholars of the Qing dynasty, to tell this story. China’s Philological Turn traces scholars’ social networks and the production of knowledge, considering the texts they studied along with their reading practices and the assumptions about knowledge, facts, and truth that came with them. The book considers fundamental issues of eighteenth-century intellectual life: the tension between antiquity’s elevated status and the question of what antiquity actually was; the status of scientific knowledge, especially astronomy, mathematics, and calendrical studies; and the relationship between learned debates and cultural anxieties, especially scholars’ self-characterization and collective identity. Sela brings to light manuscripts, biographies, letters, handwritten notes, epitaphs, and more to highlight the creativity and openness of his subjects. A pioneering book in the cultural history of intellectuals across disciplinary boundaries, China’s Philological Turn reconstructs the history of eighteenth-century Chinese learning and its long-lasting consequences.

Ori Sela is an associate professor in the Department of East Asian Studies at Tel Aviv University.

C O N T E N T S

Preface and Acknowledgments

Introduction: The Way and Its Crossroads

Part I | The Way of Man: Scholarly Networks and the Social History of Scholarship
1  Learning to Be a Scholar
2  Official Scholars and the Growing Philologists’ Networks
3  Private Scholars, Private Academies, and the Community of Knowledge

Part II | The Way of Antiquity: Searching for the True Way in the Past
4  The Way of Ancient Learning: Philology, Antiquity, and Ru Identity
5  Philology and the Message of the Sages: The Classics and the Four Books
6  Historical Philology: Navigating the Sources

Part III | The Way of Heaven and Earth: The Mandate of Scholarship and the Search for Order
7  Astronomy, Mathematics, and Calendar: Historical Perspective
8  Ancient Learning Encounters Western Learning: Scientific Knowledge and Its Cultural Baggage
9  Fate, Ritual, and Ordering All Under Heaven

Conclusion: The Consequences of the Eighteenth-Century Intellectual Turns

Appendix A: Selections from Qian Daxin’s 1754 Palace Examination Answer
Appendix B: Major Shuowen and Erya Studies of the Qian-Jia Period (and Related Works)
Appendix C: Qian Daxin’s Letter to Dai Zhen
Appendix D: Questions and Answers About Astronomy
Appendix E: Essay on the Value of Pi Π
Appendix F: Qian Daxin’s Writings on Mathematics, Astronomy, and Divination
Appendix G: On Saṃsāra
Appendix H: Sources for the Works of Qian Daxin

Note on Abbreviations and Citations
Notes
Selected Bibliography of Chinese and Japanese Titles
Index

 

Exhibition | What is Love? From Amor to Tinder

Posted in exhibitions by Editor on July 10, 2018

Nicolas de Largillière, Self Portrait of the Artist with His Family, 1704
(Kunsthalle Bremen)

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Press release (via Art Daily) for the exhibition now on view at the Kunsthalle Bremen; and yes, you read the poster correctly: it’s sponsored by Tinder:

What is Love? Von Amor bis Tinder
Kunsthalle Bremen, 7 July — 21 October 2018

Love is a topic that concerns everyone. The critical role that love plays in our lives is also reflected in art. The exhibition What is Love? From Amor to Tinder presents around 40 works from various eras from the collection of the Kunsthalle Bremen that focus on earthly love, lovers from mythology, narcissism, eroticism, and the idealisation of beauty. The selection is complemented by five works by contemporary artists who explore the phenomenon of online dating. These works will be exhibited for the first time in a museum.

According to a recent study, satisfactory relationships are an important source of personal happiness for most Germans.* Several surveys have discovered that singles have a fairly detailed idea of what a rewarding partnership should look like. Why then are more people single than ever before? Shouldn’t the internet make the search for a partner easier?

First of all, the internet has nothing to do with love. Nevertheless, it has had a major impact on how we view love, courtship, and relationships. What Cupid’s arrow accomplished in earlier times is done in the digital age by our fingers. They swipe right or left, searching for the perfect match—aiming straight at our heart. The internet is a new place to look for a partner and meet new people.

Since 2017 at the latest, ‘tindering’ has become part of common German language use and the term has been added to the latest edition of the Duden (the defining dictionary of the German language), referring to the use of the Tinder app. For contemporary artists, Tinder, along with other dating apps and portals, has provided a motivation to explore the topic further. A selection of five contemporary works focusing on online dating will be presented in this exhibition and contrasted with around 40 historical and modern works from the collection of the Kunsthalle Bremen. In five sections the exhibitions explores universal questions of love, incorporating philosophical, sociological and economic aspects.

Five Chapters: Prototypical Couples, Real Couples, Narcissism, Beauty, and Eroticism

The exhibition starts with prototypical couples that continue to define our idea of partnership in the Christian pictorial tradition, such as the story of Adam and Eve—which to this day remains a pivotal motif in art. Subsequently, the exhibition will examine real couples and examine how the invention of romantic love around 1800 changed ideas of relationships. Romantic love may have replaced politically or financially motivated marriages, but users of online dating platforms frequently reveal unromantic or even economically-motivated patterns of behaviour. The individual as such and the degree to which a happy relationship can be associated with one’s own personal development and the ability to love will also be examined. In addition, the exhibition takes a look at beauty since physical appearance plays a major role in online dating. In the final section, the exhibition cuts to the chase: sex. Whereas virginity was a status symbol in earlier times, sociologists today observe the opposite: sexual experience is desirable and makes people more attractive.

Artists on Display

A total of around 60 works of art will be included in the show. Forty objects from the collection of the Kunsthalle Bremen, ranging from the sixteenth century to the present day, will be on display. The paintings, photographs, works on paper and sculptures were created by Jean Baptiste Carpeaux, Carl Friedrich Demiani, Jean Baptiste Deshayes, Anselm Feuerbach, Gaetano Gandolfi, Nan Goldin, Hendrick Goltzius, Hermann Hahn, Adriaen Isenbrant, Giovanni Battista von Lampi the Elder, Aristide Maillol, Pierre Mignard, Edvard Munch, Pablo Picasso, Markus Theodor Rehbenitz, Douglas F. Robinson, Renée Sintenis, Adolph Steinhäuser, Carl Steinhäuser, Christiaen van Couwenbergh, Charles van Loo, Pieter Christoffel Wonder, and Tom Wood. The works that address online dating, were created by the Australian artist Tully Arnot, the Turkish photographer Eylül Aslan, the Bremen artist trio Katharina Dacrés/ Lena Heins/ Jakob Weth, the Indian illustrator Indu Harikumar, and the Dutch artist Dries Verhoeven.

Call for Papers | CAA 2019, New York

Posted in Calls for Papers by Editor on July 9, 2018

In the following list, I’ve maintained CAA’s ordering of the panels, but please pay close attention to the HECAA session on ‘The Versatile Artist’, chaired by Daniella Berman and Jessica Lynn Fripp, and to the ASECS session on ‘Anonymity in the Eighteenth Century’, chaired by Kee Il Choi and Sonia Coman. Also note, that for whatever reason, CAA’s employment of alphabetical order doesn’t disregard definite or indefinite articles: ‘A Global History of Early Modern Bronze’ thus appears under ‘A’ rather than ‘G’, and ‘The Anti-Black Interior?’ is listed under ‘T’ rather than ‘A’. No matter: there are compelling possibilities for 2019. CH

From the CFP:

107th Annual Conference of the College Art Association
New York Hilton Midtown, 13–16 February 2019

Proposals due by 6 August 2018

CAA seeks paper and/or project proposals for the Sessions Seeking Contributors listed below. The Sessions were selected by the CAA Annual Conference Committee from submissions by members. These sessions represent only a portion of the full conference content and do not include Complete and Composed Sessions.

Sessions are listed alphabetically by title. Affiliated Societies and CAA Professional Committees that have sessions included in the Call for Participation will have the names of their organizations listed in between the title of the session and the Chair’s name. Chairs develop sessions according to topics and themes in their abstracts. We encourage chairs to consider alternate, engaging formats other than consecutive readings of papers. All conference sessions are ninety minutes in length. For a traditional four-person panel, we recommend that each presenter not exceed fifteen minutes in order to allow time for questions and discussion.

Submission details are available here»

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A Global History of Early Modern Bronze
Chair: Sofia Gans, srg2149@columbia.edu

Despite great geographic and temporal diversity, artisans have long approached the material of bronze in similar ways. For instance, the makers of bronzes during the Chola dynasty in India employed lost-wax casting techniques similar to those used in the Meuse River valley. And yet, technical and material studies of bronze and copper alloy objects often center around the works of a particular artist or geographic region. In the early modern period in particular, studies of the processes of making bronze sculpture have been largely limited to the innovations of the Italian peninsula (see Stone on Antico and Severo da Ravenna, Sturman on Giambologna, Cole on Cellini, or Bewer on de Vries). This panel seeks not only to look beyond traditional studies of individual workshops’ approaches to making in bronze, but also to compare early modern approaches beyond an Italo-centric or western European framework. How did knowledge about casting travel? How might we interrogate the traditional distinctions between direct and indirect casting technology? How did shared approaches to casting develop? How might we place disparate traditions into dialogue with one another? The session will invite papers from art historians and conservators working on comparative approaches to early modern bronze casting, hoping to convene a panel
that engages non-western and western, northern and southern approaches to the material of bronze on a continuous spectrum. By doing so, we hope to reveal new avenues for the study of early modern bronze casting as a global phenomenon.

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Ancient Sculpture in Context 2: Reception
Chairs: Anne Hrychuk Kontokosta (New York University), anne.hrychuk@nyu.edu and Peter D. De Staebler (Pratt Institute), pdd201@nyu.edu

Some of the most celebrated sculptures from antiquity, such as the infamous Fonseca Bust, come to us “ungrounded” (Marlow 2013), with no secure provenience and lacking meaningful parameters for interpretation beyond academic discussions of style, date, workmanship, or identification. Building on a thought-provoking discussion held at CAA in 2017 (“Ancient Sculpture in Context”), this session will continue to direct vital attention toward the analysis of Greek and Roman sculpture with known find-spots, investigating how a secure archaeological origin can influence modern interpretations. This year, we seek to expand the discourse to include a wider range of chronological periods and associated methods by focusing on the later reception of ancient sculpture. Through this, we endeavor to assess how contextualization can shift over time and how these realizations can illuminate and transform our understanding of the social, historical, and economic values of ancient sculpture. This session will strive to update and redefine how we employ the facts surrounding ancient sculpture in light of current and rapidly changing views on archaeological methods, looting, and connoisseurship. Our hope is that these topics will, in turn, influence the ways that we approach teaching, research, and publication. We solicit discussions of the reception of freestanding and architectural sculpture from both original and re-use display contexts. Proposals with inter- and multidisciplinary approaches are especially welcome, and we encourage topics that apply innovative theoretical perspectives to the interpretation of ancient sculpture and its antique and post-antique reception.

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Anonymity in the Eighteenth Century (American Society for Eighteenth-Century Studies)
Chairs: Kee Il Choi, amiotscup@gmail.com and Sonia Coman (Columbia University), coman.sonia@gmail.com

The entry on ‘anonymous’ in the Encyclopédie begins by defining the term, etymologically, as that which has no name or whose name is not known. This definition alone highlights the semantic richness of the anonymous as ontological and epistemological category. In the early modern period, the notion of anonymity co-existed and overlapped with those of pseudonymy and of sociopolitical and/ or sociocultural visibility or lack thereof. Issues of intentionality and authenticity further complicated the early modern understandings of the anonymous and its constellation of norms and practices. The eighteenth century saw a creative tension between conservative self-effacement and an emerging authorial ambition, manifested in literature, the visual arts, and specific forms of cultural entrepreneurship such as the activities of artists’ workshops and of marchands-merciers. If we are to look at eighteenth-century visual and material culture broadly, we will quickly realize the extent to which anonymous artifacts, loosely defined, make up the fabric of it. And yet, art history privileges (re)known artists and works, relegating the un-named and those who had fallen into anonymity, as it were, to the periphery of research and intellectual inquiry. When we walk through our museums, we become aware that anonymous artists and artifacts drive featured narratives, while the majority of things we see on display are, in fact, anonymous. Against this backdrop, and given the resurgence of interest in material culture and the ‘decorative arts’, the eighteenth-century category of the anonymous warrants a fresh look.

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Art and Empathy
Chair: Shannon M. Lieberman, shannon.lieberman@gmail.com

In 2017, the Minneapolis Institute of Art opened the Center for Empathy and the Visual Arts, Devoted to exploring “how to spark and nurture empathy through the visual arts,” the center hopes that cultivating empathy through art will allow individuals and institutions to order to “contribute even more toward building a just and harmonious society.” This session seeks papers that consider how artists, curators, and art historians engender and elicit empathy in their work. Scholars are invited to submit papers addressing, but not limited to, the following questions: How might empathy engage with difference and function as a strategy that connects people in times of divisiveness? To what extent might empathy constitute a form of radical engagement and activism? What is the cost of such empathetic explorations, and what do they demand of artists, readers, writers, and viewers? How do we make, curate, and teach these works in the age of trigger warnings? What strategies are available for engendering empathetic responses to artwork from previous time periods, and what are the benefits and pitfalls of such an undertaking? Papers may address artwork, visual culture, exhibitions, and art historical writing and criticism in any medium and from any time period.

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Art and Financial Bubbles
Chair: Maggie M. Cao (University of North Carolina at Chapel Hill), mmcao@unc.edu

From the Tulipmania in seventeenth-century Holland to the very recent Bitcoin frenzy, bubbles have become a defining feature of modern economic life. This session seeks to explore the financial bubble as a window into the intersection of art and economics. Such events generated a wealth of visual and material culture that took critical, documentary, and mundane forms: satirical prints, genre paintings, and performance art as well as ticker tape, trade cards, and money itself. As well, bubbles and their attendant vocabulary engage questions of economic uncertainty using a notably visual rhetoric. Mania and delusion, phenomena long associated with such events, recall mainstay concerns of artistic practice: spectacle, Illusionism, and deception. Liquidity—often understood as the underlying cause of financial bubbles—metaphorically evokes material qualities and transformations that are central to many artistic processes. This session seeks papers that examine art and material culture that emerges out of bubble culture or engages with financial risks and failures. Since financial bubbles always have global reverberations despite local or national origins, papers exploring all geographic contexts are welcome.

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Art and Justice: New Pedagogical Approaches
Chairs: Courtney Skipton Long, long.courtney.s@gmail.com and Risa Puleo, risapuleo2022@u.northwestern.edu

Considering the intersections between visual culture and criminal justice, this panel seeks to address how scholars and artists can engage in questions of social justice and activism responsibly. As issues of policing, criminal justice, and mass incarceration reach unprecedented heights around the world, this panel foregrounds papers offering insights into how we as art historians, artists, critics, museum curators, and educators might intervene to affect change. What methodological and pedagogical shifts to our practices do we need to make in order to ensure that historical inequalities and prejudices are not replicated when engaging in issues of social justice and activism? How should we reflect on our positions within the academy, the museum, or the studio to dismantle internalized personal and disciplinary biases as a means to activate the frameworks of our disciplines to contribute different perspectives in the production of a new social landscape? What critical terms need to be established when art engages social justice? And, when do we fail in our attempts at activism? This interdisciplinary panel seeks to foster a conversation about visual culture and criminal justice to explore the various ways in which policing, prisons, prisoners, mass incarceration, and their visual and material culture have been represented, portrayed, studied, displayed, and collected. Papers presented by practitioners in all arenas of the arts will address how art historians, artists, critics, museum curators, and educators have consciously reframed their practices to encourage reflection, support dialogue, and respond to changes in judicial systems and social activism across time.

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Art and Materiality in the Age of Global Encounters, 1492–1800
Chairs: Maite Alvarez (J Paul Getty Museum), malvarez@getty.edu and Charlene Villaseñor Black, cvblack@humnet.ucla.edu

In a royal decree dated 1564, King Philip II of Spain ordered his viceroys in the Americas to “safely bring to the realms gold, silver and cochineal,” an order that heralded profound changes in the global economy and art world. These materials arrived via Spain’s far-reaching trade networks, which by the 1550s extended to Asia, sub-Saharan Africa, Patagonia, the Yucatan Peninsula, and Chesapeake Bay, as well as throughout mainland Europe. The arrival of ships loaded with rich finds such as indigo, cochineal, brazilwood, silver, pearls, and emeralds into European ports presaged innovative artistic developments. New pigments, types of wood, and other unusual materials such as shells and feathers immediately and forever altered the landscape of European art, giving artists and patrons new and varied material choices. How did these finds, the result of European imperialism, impact global artistic developments? How does attention to materiality change understanding of aesthetics? What are the most useful frameworks for theorizing these developments, exchanges, and networks? While this panel investigates the prima materia, the very materiality of objects, it also moves beyond aesthetics to technical processes, trade and global exchange, as well as to the multiple societies where these works were created and collected. We welcome various approaches, from research inspired by conservation science or archival documentation to decolonial methodologies, material semiotics, Renaissance futurism, or thinking through the anthropocene.

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Artistic Biography in Early Modern Europe (Renaissance Society of America)
Chairs: Babette Bohn, B.BOHN@tcu.edu and Jeffrey Chipps Smith, chipps@austin.utexas.edu

Early biographies provide crucial primary sources for our knowledge of early modern artists throughout Europe. Inspired by Pliny the Elder, regional loyalties, gifted artists, influential patrons, and each other, biographers from the mid-sixteenth through the eighteenth century produced a staggering variety of biographical collections—varied in terms of their approaches, criteria, scope, and artistic interests. Such authors as Neudörfer, Vasari, Van Mander, Sandrart, Houbraken, Malvasia, Baldinucci, and Palomino, among many others, produced biographical compendia that have supplied modern scholars with first-hand information on thousands of artists. In recent years, a growing number of scholars have reexamined these texts, publishing edited and translated editions as well as critical studies. This session proposes to investigate some of the concerns that have arisen in these studies, including but not limited to: biographers’ differing methods and criteria; questions of reliability and intentional misrepresentation; the role and significance of anecdotes; the uses of ekphrasis; prejudices concerning women, foreigners, and specific artistic specializations; the reliance on primary sources; the influence of local literary and artistic traditions; and the narrative structure, critical vocabulary, and authorial goals employed. We welcome papers that deal with these broader issues about biographical practices and how these have shaped the study of early modern artists.

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Ceramics and the Global Turn
Chair: Meghen Jones (NYS College of Ceramics at Alfred University), jonesmm@alfred.edu

Ubiquitous across world cultures, the medium of ceramics is intrinsically global. Well documented is the movement of ceramic objects, materials, and styles that traversed the Silk Road since its inception over 2000 years ago. For centuries, consumers in Europe, the Middle East, and Africa treasured Chinese porcelain for its beauty, status, and even poison detection. Later, Euro- American art potters found design inspiration in ceramics from a myriad of global sources. Contemporary ceramic art and design discourse is enmeshed in globalization, from individual potters’ cultural appropriation of value systems to industrial production outsourcing. At the same time, recent discourses of folk pottery and anachronistic studio pottery have tended to promote localism and insularity. What does the global turn mean for ceramic history and theory? How do interdisciplinary perspectives suggest new models for this medium-specific research? This session will consider ceramics and globalization from the early modern period to the present, focusing on ideologies, production systems, and networks of exchange. The study of the global flows of ceramics— as art, craft, and design—provides vivid access to currents of culture from the distant past to the present era of mass economic, social, and cultural globalization.

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Climate Change and British Art (Historians of British Art)
Chair: Jongwoo Jeremy Kim (University of Louisville), jongwoo.jeremy.kim@gmail.com

They say Britons obsess over the weather. Alexander Cozens, John Constable, and J. M. W. Turner certainly ruined any prospect of ever dislodging British visual legacy from meteorology. Yet, this centuries-old visual history of grappling with humankind’s relationship with nature seems unprecedentedly urgent at a time when climate change denial has become a tremendous political force affecting national and local elections. In response to the current global environmental crisis, Britain’s 2005 Turner Prize winner Simon Starling rode an electric bicycle through the Spanish desert. His vehicle burned no fossil fuels and produced no smoke. Instead, the contraption collected water. With the water sourced from this punishing human labor, Starling made a watercolor of a cactus like a Regency botanist. Similarly, the Liberate Tate group’s protest performances against the oil giant BP’s corporate sponsorship of art institutions remind us that our historical consciousness must reflect recent developments in art- based environmental activism. Spurred by artists like Starling and works like License to Spill, 2010 (“a miniature oil spill at the Tate’s summer gala”), the Historians of British Art invites papers that examine the relationship between climate change, sustainability, the Anthropocene, and British art on a global scale. Papers that draw on critical debates about art and the politics of ecology, representations of ecological vulnerability and resilience, and contemporary visuality responding to climate change and the global economy are particularly welcome. ‘British Art’ is broadly defined to include works by artists who actively engage in decolonization in the former British colonies.

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Design History / Design Heritage
Chairs: Rebecca D. Houze (Northern Illinois University), rhouze@niu.edu and Grace Lees-Maffei (University of Hertfordshire), g.lees-maffei@herts.ac.uk

This panel invites papers that examine the relationship between design history and heritage studies. At their intersection are questions of ownership and identity. How are sites and artifacts of cultural heritage claimed, defined, or constructed and to whom do they belong? How do we study intangible heritage, which is not located in objects or places, but rather in a worldview or a way of life? Whether tangible or intangible, heritage denotes something we inherit, a birthright provided to us through our inclusion in a given group, be it familial, national, ethnic, or by another marker of identity, such as the shared ‘world’ heritage designated by UNESCO. Diverse, wide-ranging examples of designed heritage include maps, guidebooks, illustrated encyclopedias; archives, databanks, digital resources; museums and exhibitions; architecture and landscape; furnishings, dress, and other aspects of material culture; performances, pageants, and rituals. Related to these topics are also activities that address heritage, for example, through legislation and international charters; preservation and conservation; cultural appropriation, looting, and repatriation. Definitions of heritage are tied to different, and competing, political agenda and ideologies. While some approaches to heritage are influenced by an academic Marxist-inspired ‘history from below’, of public engagement, public history, and social and cultural history, others derive from the heritage ‘industry’, a sub-branch of the tourist industry. In examining the interfaces of design and heritage therefore, this panel welcomes studies of design heritage from diverse points of view, methodological approaches, time periods, and cultural contexts.

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Ecocritical Approaches to Colonial Art History, 1600–1900
Chair: Cameron Christopher McKee, cmckee@u.northwestern.edu

A great deal of recent art historical scholarship on the colonial world addresses the visual production of natural science and its relationship to ecology. Scholars have pinpointed botanical, entomological, natural historical, and ethnographical imagery as crucial to understanding and classifying the natural world, beginning with New World colonization and intensi ed maritime trade in the fourteenth century. Increasing contact with non-European cultures resulted in a flood of new plants, animals, minerals, and artefacts into Europe from across the globe. European exploration and settlement subordinated (often violently) autochthonous knowledge of the natural world developed by indigenous peoples, slaves, and their descendants—in the East and West Indies as well as the Middle East and Asia, cultures with which Europe had long fostered contact. Visual representations of colonial ecologies proved to be a foundational means by which Europeans understood their increasingly interconnected world and asserted dominance over people, land, and resources. This panel asks: In what ways do art historical approaches informed, for example, by ecocriticism and new materialism, open on to new ways of understanding visual byproducts of colonialism? In what ways can a more capacious attention to colonial ecologies contribute to our understanding and analysis of the visual production of the non-European world? How did these ecologies shape the representation of Europe in return? This panel seeks proposals that examine the roles of science, art, and/ or environmental policy in an ecological approach to colonial art history, garden history, and visual histories of science.

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Empires of Pleasure across Eighteenth-Century Cultures
Chairs: Dipti Khera (New York University), dipti.khera@nyu.edu and Meredith S. Martin (New York University), msm240@nyu.edu

Now one of art history’s most vibrant subfields, the eighteenth century has played a key role in the discipline’s global turn and in re-thinking conventional histories of art, empire and Orientalism. By tracing the increased circulation of people and objects in different parts of the world, scholars working on this period have highlighted new conceptions of knowledge, aesthetics, power and sociability. Furthermore, they have ensured that formerly devalued concepts tied to eighteenth-century practices and patrons—among them luxury, pleasure, leisure, femininity, sensuality, wonder, hybridity, and consumption—be taken seriously. Yet while the physical exchanges of eighteenth-century artworks, peoples, and things from around the globe has been the subject of recent scholarly inquiry, less attention has been paid to conceptual affinities—notably a mutual emphasis on pleasure and decline – that existed between disparate geographical and cultural locales. For instance, how might we enrich or complicate the story of eighteenth-century art and culture by putting Indian or Chinese paintings of palace gardens in dialogue with French fêtes galantes? Our contention is that these kinds of global comparisons will not only yield a richer formal and conceptual understanding of each type of artwork, but will also enable us to ask larger theoretical and methodological questions related to the common grounds they share. By examining how intertwined histories of pleasure and power were mediated across local, trans-regional, or intercultural contexts, we hope also to contribute to scholarly debates beyond art history and to encourage new research projects and teaching agendas.

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Facing Death in Global Modernity, 1600–1900
Chairs: Camille Mathieu (University of Exeter), csmathieu@gmail.com and Kristopher Kersey (University of Richmond), kkersey@richmond.edu

The specter, threat, and image of death were powerful agents in the coalescence of global modernity. How and to what ends did artists put a face on a topic and a process they knew nothing of? What does it mean to confront death, visually? How were images used to find commensurability between distinct notions of the afterlife? This session will examine in depth the imagery of death itself: as a concrete figure, inevitable reality, process, or outcome.
This panel seeks papers that will scrutinize the intercultural or anachronic dimensions of the visual culture of mortality. Topics may include familiar subjects, such as death masks, mortuary icons in Buddhism, and photographs of the deceased, as well as more violent and visceral topics such as revolutionary propaganda prints, colonial imagery describing the mortal consequences of attacking colonizers, the economy of relics, and the circulation of lynching photography in the American South. This session invites papers with both a multi-national and a local scope in order to address the visualization of death in a period of unprecedented global contact. We are especially interested in the role of new visual technologies (as well as appropriated and revived technologies) in effecting, documenting, or transcending the violence of death at the margins of early modernities.

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Frenemies: Unlikely Cultural Exchange in the Pre- and Early Modern World (International Committee)
Chairs: Noa Turel (University of Alabama at Birmingham), noaturel@gmail.com and Russell Kelty (Art Gallery of South Australia), kelty.rusty@artgallery.sa.gov.au

Cultural exchange is often hailed as a marker of modern tolerance. Historically, however, the movement of ideas, objects, and customs around the globe has rarely been correlated with a cultivation of cultural sensitivity or inclusivity. In the late Middle Ages, for instance, while the kings of France and England were devising plans to revive the crusades in an attempt to block the rapid expansion of the Islamic empires, their subjects were trading in prized ‘Saracen’ cushions and the most popular medical treatise was Avicenna’s Cannon of Medicine (al-Qānūn fī al-Ṭibb). Similarly, during the seventeenth and eighteenth centuries, the appeal of Europeans was heightened by the Tokugawa shogunates’ attempts to control their perceived seditious influence. Having replaced the Portuguese with the Dutch, who “brought their trade and left their gods at home,” the shogunate sequestered them on a small artificial island off limits to the vast majority of the Japanese population. Nonetheless, the Dutchmen’s knowledge, particularly in medicine, painting, and printing, became highly valued by artists and scholars in eighteenth-century Edo. This session seeks to excavate instances of cultural exchange, adaptation, and appropriation between societies the relationships of which were characterized by antipathy rather than mutual admiration. How and why did people cultivate appreciation for the culture of societies regarded as inferior, sinful, or menacing? We are particularly interested in papers focused on case studies of such unlikely exchange before ca. 1800 that shed light on the intricacies of adaptation and the shaping of diverse material cultures around the globe.

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Global Missions and Artistic Exchange in the Early Modern World
Chairs: Katherine M. McAllen (UTRGV), katherinemcallen@gmail.com and Cristina C. González (Oklahoma State University), allccg@gmail.com

The movement of missionaries in the Early Modern world played a key role in the circulation of art objects between (and within) the Americas, Asia, Africa, and Europe. While this session welcomes papers that document the spread of European art within a missionary context, we are also interested in the mission as a spiritual, architectural, and geographical space that allowed for the local interpretation, importation, and production of objects. Missions themselves sometimes became distribution centers in a global world. How did the interaction between European and non-European populations give rise to complex artistic relationships within the mission enterprise, and how can we understand missionary art and architecture both within a colonial and global history of art? Proposals that offer compelling case studies or emphasize unexplored geographies and circuits of exchange are encouraged, as are papers that theorize the study of art-and-mission and engage with the historiography and recent scholarship on the subject. While we especially welcome work on the Spanish and Portuguese empires in the Americas, Africa, and Asia, papers exploring the visual culture of Dutch, French, and British missions will also be considered.

Clara Bargellini, a Professor and Senior Research Fellow at the Instituto de Investigaciones Estéticas at UNAM in Mexico City and a preeminent scholar in the field of colonial Latin American art and mission art history, has agreed to serve as discussant for this session and include reflections related to the exhibition she curated, The Arts of the Missions of Northern New Spain, 1600–1821.

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Go Public, Young Scholar
Chair: Amy B. Werbel (SUNY, FIT), amy_werbel@tnyc.edu

Higher education, the humanities, and liberal arts are under attack in the United States, and many believe their survival will depend on scholars who can successfully reach outside ‘the ivory tower’ and demonstrate the relevance of historical subjects to understanding contemporary issues. “Go Public, Young Scholar” will highlight opportunities, obstacles, and strategies for crafting and promoting public scholarship in the history of art. Papers are requested from scholars (at any career stage) who have made the leap outside the gates of academia and engaged broad audiences to understand contemporary issues through the lens of art, architecture, decorative arts, etc. from any geographical region, prior to World War II.

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Historic Libraries and the Historiography of Art
Chair: Jeanne-Marie Musto (Hofstra University), musto.jeannemarie@gmail.com

Historic libraries offer underutilized resources for understanding art history. This session explores the potential of such collections—whether intended explicitly for the study of art or not—to deepen and broaden our understanding of art historiography and its relationship to social, intellectual and geo-political currents. Libraries significant for these purposes include those of Count Leopoldo Cicognara and Johann Wolfgang von Goethe, which survive largely intact, and others that survive partially or in inventory form, such as those of John Ruskin or Stanisław Kostka Potocki. Count Cicognara’s library, for example, offers a view of the history and geography of art available to scholars at a key moment for shifting geopolitical conceptualizations of his country and Europe as a whole. President of the Venetian Academy of Art when Venice shifted from Napoleonic French to Habsburg Austrian control, Cicognara wished his library to contribute to Italy’s ability to compete with other nations for greatness through cultural eminence. For him, as for scholars throughout post- Napoleonic Europe, study of artistic heritage and shaping a future nation went hand in hand. But his collection, like others of its day, reflects more than patriotism. It underlines his effort to define an inchoate discipline through a wide spectrum of printed materials, including ephemera. It also demonstrates his active participation in art historical debates and connections with artists and arts administrators in Italy and beyond. Papers that examine any aspect of the historiography of art in relation to this or to other historic libraries will be welcomed.

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Japanese Material Culture in Ukiyo-E Art: Learning the Language of Objects
Chair: Elena Varshavskaya (Rhode Island School of Design), evarshav@risd.edu

For over two hundred years in the 17th–19th centuries, life of Japan’s city dwellers had been captured, in its entirety, in ukiyo-e images. The illustrated themes encompass all kinds of real-life experiences of townspeople as well as every aspect of their inner world—their cultural and political interests, attitudes and opinions. Not concerned with creating an illusion of reality in their compositions, ukiyo-e artists attached much importance to the precise rendering of objects specific for every situation. The artists’ expertise spanned all kinds of artifacts—fashionable attire of contemporary beauties and historic court garments, samurai arms and armor, ships, boats, and means of land transportation, architecture and interior decor, fans, smoking pipes, tobacco pouches, toys, and so on and so forth. At times, objects in ukiyo-e meant more than the eye met. Often, they were communication tools involved in the intellectual exchange, in mind games based on associations, hints and puns. The vastness of the thematic scope of ukiyo-e art, its verve, together with the remarkably wide-ranging knowledge base of ukiyo-e artists, make ukiyo-e legacy an inexhaustible visual source of information on early modern Japan. The current session invites papers that investigate any aspect of material culture present in ukiyo-e. Welcome are contributions focusing on objects related to distinct activities, seasonal celebrations, historic or legendary events, etc. Encouraged are specific examples helping a more nuanced understanding of Japan’s cultural codes across temporal and national borders.

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Linking Museum to Place
Chair: Alick M. McLean (Syracuse University In Italy), ammclean@me.com

The close viewing of objects that art museums provide runs the risk of disconnecting those same objects from their original contexts. We see the objects well, yet lose sight of the places and communities out of which and for which artists, workshops, and patrons brought them to life. Recent museums, particularly museums with holdings from their own communities and histories, have begun to address this challenge. The results, such as at Prato’s Museo Palazzo Pretorio, the Museo delle Terre Nuove at San Giovanni Valdarno, the Acropolis Museum in Athens, or the Gülhane Museum in Topkapı Palace, have shown how contextualizing brings new life to familiar objects, in turn attracting broader lay audiences to their museums, and thereby new, often unexpected supporters to art. Such diverse audiences are essential to sustain, even to enhance the voices of artists and scholars of art in the public sphere. This session seeks contributions from scholars, curators, museum administrators, museum architects, and gallery installation designers who have found ways to relink their objects to place, whether their original physical contexts, their historical communities, parallel contexts in the museum’s own locale, or otherwise. We welcome proposals documenting the localization practices of existing or projected museums.

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Looking East: Russian Orientalism in a Global Context (Society of Historians of East European, Eurasian, and Russian Art and Architecture)
Chairs: Maria Taroutina (Yale-NUS College), maria.taroutina@yale-nus.edu.sg and Allison Leigh (University of Louisiana at Lafayette), allison.leigh@louisiana.edu

Much like their Western contemporaries, Russian and East European artists were seduced by the exotic appeal of the ‘Orient’, especially the cultures of Central Asia and the Caucasus. However, Orientalist painting remained ambiguous in the Russian and East European context given their conflicted self-identification as neither fully European nor quintessentially Asian. Thus, the demarcations between ‘self’ and ‘other’ among these artists were much more porous than for their Western counterparts, resulting in an Orientalist mode that was prone to hybridity, syncretism, and even self-Orientalization. The present panel invites papers that reconsider the enduring relationship between Russia, Eastern Europe and their non-Western neighbors and the ways in which artists, architects, designers and performers engaged with this relationship throughout the centuries and into the present. What significance did Russia’s perception of its position on the periphery of the West and its simultaneous self-consciousness as a colonial power have on its artistic and cultural identity? In what ways did artists from a range of territories—spanning from Georgia and Armenia to Uzbekistan and Russia’s far east—interrogate, contest, and revise the seemingly stable categories of ‘East’ and ‘West’? To what extent did cultural practitioners participate in the discursive matrices that advanced Russia’s colonial machinery on the one hand and critiqued and challenged it on the other, especially in territories that were themselves on the fault lines between East and West? This panel invites papers from all historical periods and geographical contexts and welcomes investigations of a variety of different media.

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Material, Materiality, Materialism
Chairs: Deborah L. Krohn (Bard Graduate Center), deborah.krohn@bgc.bard.edu and Catherine L. Whalen (Bard Graduate Center), whalen@bgc.bard.edu

While the physical properties of matter have long been the domain of scientists, the words ‘material’ and its cognates ‘materiality’ and ‘materialisms’ have become ubiquitous in multiple elds across the humanities and social sciences, from history of art and design to literature and philosophy to anthropology and sociology. What does the ‘material turn’ mean for art and design historians? How do such discourses intersect with longstanding practices of object-centered studies, including archaeology, connoisseurship, and conservation? Building upon the session “Material Culture and Art History: A State of the Field(s) Panel Discussion” (sponsored by Association of Research Institutes in Art History) at last year’s conference in Los Angeles, we are interested in papers that consider, evaluate, and comment upon the ways in which the terms material, materiality and/or materialisms inform studies of art and design. Rather than case studies, we seek re ective perspectives.

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North American Landscapes and Counter-Histories
Chairs: Jocelyn Anderson, jocelynkristen@hotmail.com and Julia Lum, julia.lum@yale.edu

Histories of landscape art in North America in the late eighteenth and early nineteenth centuries have often been dominated by European aesthetic and stylistic narratives. In this period, the ‘picturesque’, the ‘romantic’, and the ‘sublime’ were codified in Europe; yet they also proved to be extraordinarily flexible in their applicability to diverse regions and topographies. At the same time, these categories are sometimes incongruent with the historical conditions to which they’ve been applied, or were fundamentally altered by artists’ negotiations with locality and place. This panel invites papers which seek to offer radical alternative readings of landscapes in the eighteenth and nineteenth centuries by prioritizing the relationship between artistic production and specific local and regional political, social, and environmental conditions. It invites papers with the potential to reorganize histories of landscape around hemispheric and transcultural approaches that illuminate the complex territorial, cultural and political developments of a period in which empires collided, nations took shape, and treaties were signed and broken. Papers addressing a range of media are welcome, and possible topics might include (but are not limited to) landscapes and counter- mapping, artistic negotiations with Indigenous sovereignties and stewardship, landscapes and the legal status of sites, the relationship between topographical landscapes and surveyors’ work, landscape views and military geographies, heritage and cultural memory, urban and rural economies of labor in art, and the circulation of landscape representations in personal and family circles.

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Not your Typical Residency: Artists and the Research Institute (Association of Research Institutes in Art History)
Chairs: Marie-Stephanie M. Delamaire (Winterthur Museum), sdelam@winterthur.org and Amelia A. Goerlitz (Smithsonian American Art Museum), goerlitza@si.edu

Research fellowships at museums, libraries, and academies are a standard offering for art historians who need access to primary materials and time for focused inquiry and writing. Artist residencies, on the other hand, usually provide studio or exhibition space and a stimulating environment where one can embark on a new creative project. What happens when these two models overlap? How and why have some research institutes chosen to support artistic investigation as well as academic scholarship? This panel invites contributions from artist-recipients and scholar-hosts who have participated in these unusual appointments. We welcome proposals for short presentations that consider the following questions: What is the role of artist-led research within what have traditionally been academically focused institutions? How can these institutions best respond to artists’ particular methods of investigation? How might artists help museums and libraries think afresh about their collections and art historical research? What can a library or museum offer a contemporary artist that a studio space cannot? What are the benefits and challenges of blending artists and scholars within a single program? What are the outcomes of such residency programs? By inviting artists into museums, libraries, and academies where they can delve into historical collections, access rare books and archives, and discuss their work with colleagues from various disciplines, are artists’ fellowships transforming academic research and/or artistic practice?

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Of Mutable Monuments and Changing Attitudes: Learning from the Long History of Altering, Appropriating, and Recontextualizing Italian Art
Chairs: Felicia M. Else (Gettysburg College), felse@gettysburg.edu and Roger Crum (Dayton University), rcrum1@udayton.edu

Conflicting sentiments have recently challenged the once seemingly inviolate nature of monuments in the public sphere. With this on-going debate in mind, the time is ripe to explore this topic within the longer tradition of Italian art. From ancient Rome to the present, Italian art has been shaped not just by its production but its recontextualization, appropriation, and care (or lack thereof), all acts that have arisen in response to changing historical, social, and political forces. This session seeks case studies in which Italian art becomes something other than what it once was or was intended to be, whether through intentional destruction, reworking, recontextualization, appropriation, restoration, or simply neglect to suit different, even conflicting purposes. Studies might address but are not limited to the transformations of viewing spaces, physical changes ranging from modest erasure to total elimination, or the dissemination of viewpoints, whether passing anecdotes or biting satires. Subjects from all chronological periods are welcome, and speakers are encouraged to consider not simply the motivations of historical actors involved but the opportunities, challenges, or obligations that contemporary scholars face in documenting and ‘fixing’ the various ‘histories’ of Italian art. Priority will be given to studies that present new approaches and strong historical evidence but also convey broader implications for the changing public conceptions of art and the problematics of ‘heritage’ in Italy and the world beyond.

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Open Session for Emerging Scholars of Latin American Art (Association for Latin American Art)
Chairs: Theresa Avila (California State University Channel Islands), sahibah@hotmail.com and Arden Decker, ardendecker@gmail.com

This session seeks to highlight the scholarship of advanced graduate and recent Ph.D. scholars. Papers may address any geographic region, theme, or temporal period (pre-Columbian, Colonial, Modern, and Contemporary) related to the study of Latin American, Caribbean, and Latinx art or art history.
The range of topics addressed may include, but is not limited to, the following:
1  Nation building and citizenship
2  Race, class or gender
3  Social justice and human rights
4  The visualization of revolution and war
5  The female body in visual culture
6  Artivism
7  Development and underdevelopment
8  The natural world and science
9  De ning and redefining public space
10  Politics of display in museums and galleries
Please note, Association for Latin American Art (ALAA) membership is not required at the time of paper proposal, but all speakers will be required to be active members at the time of the annual meeting.

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Painted Books of Pre-Hispanic Mexico: New Discoveries
Chair: Anne W. Cassidy (Carthage College), acassidy@carthage.edu

Painted books from Mexico’s pre-Hispanic past through the early colonial period constitute a rich body of art and an eloquent source for study of the interdependence of aesthetic, scientific,and philosophic activities in Mesoamerica. Recently there have been rapid advances on multiple fronts in understandings of the codices and their contexts. On the one hand, studies focusing on materiality are increasingly important, such as pigment analysis and changes in the surface from repainting or resurfacing. For example, work by Davide Domenici and his colleagues on the Mayan Codex Madrid, and work by Élodie Dupey Garcìa on central Mexican ritual calendars combine studies of the physical properties of the codices with archaeological and ethnohistoric data. On the other hand, interpretive studies that combine close iconographic analysis with astronomical and/or meterological and/ or historic events have also flourished in recent years, upending long accepted views of pre-Hispanic ritual calendars. Perhaps most importantly, scholars like Jansen and Pérez Jiménez have furthered interpretive work by examining “multiple intersections between cultural interpretive research and the still outstanding issues of decolonisation.” This session seeks studies of pre-Hispanic Mesoamerican manuscripts and colonial manuscripts in the native tradition from all areas of Mesoamerica. Interdisciplinary approaches are especially welcome, in particular approaches that shed light on the pre-Hispanic histories of the manuscripts.

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Paragone Open Session: Topics on the Past and Present of Rivalry in the Arts (Society for Paragone Studies)
Chair: Sarah J. Lippert (University of Michigan-Flint), sarjorlip@gmail.com

Papers in this session explore the history of rivalry in the arts. Topics are invited for an open session on an era of art history and from any geographical area or medium. Examples of rivalry in the arts include competition between speci c artists, patrons, nations, artistic media, critics, theorists, institutions, etc. Rivalry may be related to theories of the sister arts, iconodules/iconophobes, iconoclasm, ekphrasis, ut pictura poesis, or other theoretical and practical traditions. It may also take the form of competition for resources or prestige in arts organizations. Presentations from practicing artists on how competition has impacted their work are also welcome.

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Portraits of Power: Legitimacy, Symbolism, and Ideology in the Public Portrait Gallery
Chairs: Craig Reynolds, craigreynoldsphd@gmail.com and Emily C. Gerhold, emilygerhold@msn.com

The compiling of portrait collections and galleries of exemplary individuals to act as models for the public has long been a practice within the artistic traditions of Europe and the Americas. From sculptural images of Roman emperors housed in temples and inscribed with their lineages, honors, and achievements, to the ‘Windsor Beauties,’ Sir Peter Lely’s portraits of the most celebrated English noblewomen of the 1660s, to public portrait memorials commissioned to romanticize the Confederacy’s Lost Cause myth and erected throughout the American South during the Jim Crow era, public galleries and portrait collections offer clear lessons about the values and traits that were commended at the times and in the places they were composed. Recently, the unveiling of the portraits of Barack and Michelle Obama has sparked a new conversation around the role of the public portrait collection and invited consideration of the way that portrait galleries signified—and continue to signify—national identity, power, status, and legitimacy. While the many variations of the portraitive mode are well studied, a scholarly examination of the broader act of creating, maintaining, propagating, and contextualizing portrait collections and galleries is critically missing from the discourse. We welcome submissions addressing any aspect of the public display and diffusion of portrait collections from the ancient world to the contemporary. Possible topics for exploration might include: the gendered nature of portrait galleries; public response to the likenesses themselves; the location of portrait collections and controlled access; and didactic narratives written to accompany portrait galleries.

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Queen: Centering the Black Woman as the Subject of Beauty
Chair: Sarah A. Clunis, saclunis@xula.edu

In art history’s multiple manifestations the Black woman’s body continues to be a gure of political agency that in the process of her representation embodies often paradoxical attributes. Often signified as sexualized or asexual, fetishized or peripheral, aggressive or subservient the representation of Black women, on a global level, encompasses a myriad of attributes. But basic beauty issues of hair texture, skin shade, and body shape often designate Black beauty ideals in a way that is increasingly enforced in depictions of the Black female body. “Queen: Centering the Black Woman as the Subject of Beauty” explores various global and historical portrayals of Black women in the arts with particular emphasis on works that center the Black woman as beautiful. The session will explore how Black women’s beauty has been celebrated through a variety of art forms and the relevant visual culture both traditional and contemporary that works to transform the Black woman from either a neglected or demarcated body into a body that exists within the realm of the beautiful. Negotiations of hair texture, skin color and body shape along with considerations of gender expression, sexuality, age, and disabilities are all possible aspects of this conversation. How are these considerations evident in art history and how do they act as agents of social control, within a greater network of images prescribing beauty, that regulate our discussions of visual arts, performance, and popular culture and how these genres focus on formal as well as conceptual concerns relative to this subject matter?

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Race in the History of Design: Objects, Identity, Methodologies (Design Studies Forum)
Chair: Kristina F. Wilson (Clark University), krwilson@clarku.edu

Gender and class have been productive critical tools for design historians, but an analysis of the role of race in the study of objects, their makers, and their consumers has appeared in scholarship only in recent years. This session explores how methodologies associated with race—critical race studies, post- colonial theory, identity studies, place-consciousness—can be productively brought into design history. The history of design in the U.S. and Europe is often presumed to be racially neutral, but this is a consequence of scholarly blind spots rather than a historically accurate representation. How can discussions of race be brought to bear on objects which are mass produced, or on objects dispersed globally, across wide domains of consumers? How can we understand the role of race in the history of an object made in the past but still used in the present? How does race intersect with a global approach to design history, with histories of colonialism and imperialism? This session invites papers that examine these questions and the following: What role does race play in understanding the designer of an object? What role does race play in production and fabrication, especially when it is divorced from the design of an object? Is race relevant to understanding the marketing and consumption of design objects? Is it possible to interrogate the form of an object through the lenses of race? This panel seeks papers that explore the role of race in design history through case studies and through theoretical and methodological discussions.

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State of the Art (History): Engaging Difficult Topics in and out of the Classroom
Chair: Parme P. Giuntini (Otis College of Art and Design), pgiuntini@otis.edu

From introductory surveys to upper division courses, Art History classes are increasingly sites for discussion of ‘difficult topics’. Controversies around the removal of Confederate Monuments and the popular activism inspired by movements like #BlackLivesMatter, #MeToo, and #NeverAgain have called attention to inherent bias and systemic racism embedded within our cultural and academic institutions, and within our own disciplinary practices. Addressing these issues often involves projects and applied learning activities that encourage students to engage with the issues beyond the classroom, reinforcing the relevance of Art History to unpacking and critically analyzing the issues involved. Faculty teaching these topics must not only deal with the sensitivities and difficulties of raising controversial issues in the classroom, but also the pedagogical challenges that inevitably occur with a diversity of student positions and the need to be thoughtful and inclusive in order to foster authentic debate. We invite proposals for seven-minute lightning talks on courses, projects, pedagogies, and activities that offer strategies for engaging, fostering, and facilitating discussions on difficult topics at all levels of Art History instruction. The session will be facilitated by ArtHistoryTeachingResources.org (AHTR) in collaboration with Art History That.

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Teaching Art History in the Wake of #MeToo
Chairs: Cynthia S. Colburn (Pepperdine University), cynthia.colburn@pepperdine.edu and Ella Julian Gonzalez (Pepperdine University), ella.gonzalez@pepperdine.edu

College art history classes are often the first time students have exposure to a vast array of visual cultures through space and time. The canon of art historical works often covered in these classes is well trodden by professors, and includes many works that depict acts of violence against women including rape, abduction, and murder. The impressive formal qualities of such works are often highlighted in textbooks, and presumably by extension in some classrooms, often at the expense of in-depth discussion of the content and context of such works. This may have the effect of normalizing acts of violence against women in the eyes of our students, violence that, through the lens of art history, is seen to be global and span millennia. In the wake of the #MeToo movement with so many women coming forward about their experiences with sexual harassment and assault, it is crucial to reassess the way we teach and write about the art historically important works that portray violence against women and examine the role the discipline of art history may play in current social movements. This session welcomes papers from art historians who have been grappling with these issues in their writing and classrooms and have found ways to give voice to the women depicted in such works and open up the discussion of assault against women in these images in a meaningful way that empowers students.

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Textile Ecologies: Environmental Aesthetics and Transmaterial Dynamics of Cloth
Chairs: Sylvia Houghteling (Bryn Mawr College), sylvia.houghteling@gmail.com and Vera-Simone Schulz, vera-simone.schulz@khi.fi.it

Among the artifacts crafted by humankind, textiles have always held a uniquely interdependent relationship with the environment. Textiles derive from vegetal (linen, cotton), animal (wool, silk) and even mineral origins (as in the case of asbestos bers). The production of textiles has depended upon access to and the processing of raw materials, while cloth manufacturing has reshaped entire landscapes from the transplantation of mulberry trees for sericulture to the mounds of murex shells discarded after the extraction of purple dye. Textile patterns bloomed with imagery of flora and fauna, while fabrics pervaded myths and metaphors of the natural world, as when the translucency of a veil was likened to fog, and fields of flowers were said to evoke patterned carpets. Textiles have connected distant regions, but they have also been responsible for and complicit in the enslavement of human beings, the exploitation of agricultural, artisanal and industrial labor, and the despoliation of landscapes and water resources. Despite these historical ties, the ecological humanities have mostly neglected the textile realm. This panel welcomes papers that consider the relationship between textiles and the environment from any time period and geographic region and seeks scholars who grapple with the aesthetic dimensions and ecological conditions of cloth. We hope that our panel will aid in rethinking the notion of textility—the word for any phenomenon that has, at its root, the qualities of a textile—across media and materials, and throughout the natural, built and imagined world.

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The Anti-Black Interior? Enslavement and Refinement in Domestic Spaces
Chairs: Jennifer C. Van Horn (University of Delaware), jcv2a@virginia.edu and Maurie D. McInnis (University of Texas Austin), provost@utexas.edu

Traditional studies of eighteenth and nineteenth-century luxury goods ignore issues of race and enslavement. Yet, as many scholars have argued, the economic growth fueled by the sale of enslaved people and the labor they provided enabled Europeans and Americans to consume more objects of finer quality and thus to experience luxury. Whether the sugar that sweetened their tea, the cotton used in their clothing, or the mahogany furniture upon which they sat, upper and middle-class consumers benefited from slavery. More directly, many elites owned enslaved people and deployed their labor in domestic spaces. This panel traces enslavement’s penetration of the refined interior and the material and visual responses to slavery that could be found within bourgeois domestic environments. Whether portraits of enslaved attendants, ceramic representations of the four continents, wallpaper decorated with scenes of slavery, or andirons cast in the form of Africans, household objects made compelling arguments about racial identity. What strategies did elite and middling consumers in North America, Great Britain, Europe, and Latin America adopt to domesticate enslavement and how did these strategies manifest in artworks and objects? How did household artifacts negotiate tensions between refinement and brutality or bring these tensions to the fore? In what ways did abolitionists traffic in racialized imagery and artifacts to fight slavery? How might our understanding of eighteenth and nineteenth-century domestic art and objects shift if we bring anti-black concerns to the fore? Finally, what are the stakes for mobilizing these objects today, particularly in museums and historic sites?

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The Critical Voice in Art of the United States, 1776–1917
Chair: Janice Simon (University of Georgia), jsimon@uga.edu

The art of the United States found its identity shaped in part from the critical voices featured in newspapers, popular periodicals, specialty art magazines, and book length manuscripts addressing local and national exhibitions, the emergence of new artistic groups, the works of the individual artist, and the emerging history of a national art. The critical voice in American culture from the formation of the nation itself through the creation of national art academies like the National Academy of Design in 1825 through the development of the professional art critic at the turn of the twentieth century deserves reexamination for its contributions to American artistic production. Proposals are requested for examination of the role of critical discourse in the history of American art from the rise of a national consciousness to the year in which Camera Work ended publication. Papers may consider the role of a specific art periodical or critical reviews in popular magazines, or a specific authorial voice, or even a non-nationalistic point of view in the formation of key critical debates about the role, future, faults, and fears of art exhibited in the United States. Ideally, a full range of perspectives, artistic encounters, historical moments, and critical sources, whether professional or amateur, about a variety of art objects will compose the proposed session that addresses a period less examined than the twentieth and twentieth-first centuries for its contribution of a critical voice in American art.

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The Female Impact: Women and the Art Market in the Early Modern Era (Historians of Netherlandish Art)
Chairs: Judith Noorman, j.f.j.noorman@uva.nl and Frans Grijzenhout, f.grijzenhout@uva.nl

Gender studies in art history tend to focus on the role of the woman artist, on the representation of the female body, and the gendered reception of art, contemporary and historical. In this session, however, a different perspective is taken: what was the role of women in commissioning, buying and displaying art and architecture in the early modern era, particularly in the Netherlands? Was it always their husband, father, brother, or even son, who had a final say in the design of exterior and interior decoration, the selection of artists and subjects represented in commissioned works of art? This question is reasonably well explored in studies on early modern royal and princely mecenate, particularly unmarried or widowed princesses, like Amalia van Solms and Elisabeth of Bohemia. The same goes for that special branch of cultural production that is usually connected to the female sex: the luxurious dolls house, as owned by affluent women like Petronella Oortman. However, despite the fact that women from the urban middle class in the Northern and Southern Netherlands in this age are known to have been relatively independent and well cultured, we know very little about their position within the wider field of artistic production. Why not take a serious look at the commercial activities of Hendrickje who ran an art shop with Rembrandt’s son? We invite anyone working on the female impact on the artistic climate in the Early Modern era to contribute to this session, either by presenting a spoken contribution or poster.

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The Politics of Independence: European Neoclassicism and Latin American Identity
Chairs: Martina E. Meyer (Stanford University), me.meyer@alumni.utoronto.ca and Susan J. Douglas, sdouglas@uoguelph.ca

During the eighteenth-century, Europeans introduced the neoclassical style to their Latin American colonies through art schools, such as the Real Academia de Bellas Artes de San Carlos in imitation of the Royal Academies of France and Spain. These institutions normalized the distinction between civilized and primitive perpetuating a hierarchy of cultural dominance that favoured European aesthetics. However, after the wars of independence this relationship became increasingly problematic. Neoclassicism continued to be favoured by government-run art academies, although the style was often used to render indigenous themes. For example, in 1851 the Catalan artist Manuel Vilar portrayed Tlahuicol in plaster, in a style reminiscent of the Hellenistic Greek Laocoön group. Visual culture acts not as a mirror that re ects national identity, but rather a complex venue for its interpretation—a site through which populations come into consciousness as members of particular and discrete communities. How did French neo-classicism become an instrument of Latin American identity and a means of nation building post- independence ca.1820? How was this style appropriated and adapted for nationalist ends and in which specific contexts? In what ways did the style offer a point of resistance and subversion for post-colonial narratives? This panel seeks papers exploring questions of race, ethnicity and social hierarchy in the arts with a particular emphasis on how newly independent South American regions adopted and adapted European visual culture in ways that asserted their cultural, political, and national maturity at a time when Neoclassicism was dominating the humanities in Europe and Latin America.

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The Spectacle in Art from the Panorama to the Infinity Room
Chairs: Jason Rosenfeld (Marymount Manhattan College), jrosenfeld@mmm.edu and Timothy J. Barringer (Yale University), timothy.barringer@yale.edu

This session seeks to explore the evolution of ‘Spectacle Art’ from the creation of a broad public for viewing art in a novel format in the Panorama, first conceived by Robert Barker in Britain in 1787, to the phenomenal success of contemporary artists such as James Turrell, Christian Marclay, Yayoi Kusama, Kara Walker, Olafur Eliasson, and Random International, and their creation of collective, sharable, often immersive experiences. The panel aims to interrogate the idea of ‘spectacle’, and connotations of visual conspicuousness, collective memory, and conceptual extravagance. It privileges the new and the communal, in multiple formats and scales, from the panorama viewing platform to the enveloping spaces of installation art. A related theme is the emergence of popular audiences for art. Immersive displays offer alternative narratives to complement Tom Crow’s classic account of salon exhibitions as sites for the formation of a modern viewing public. We sketch a parallel history wherein art-as-spectacle generates a mass audience. Papers may focus on strategies of the spectacular in all media. A fundamental text for our discussion is Guy Debord’s The Society of the Spectacle, a predictive illumination of the tentacular reach of malevolent capitalism through media, art, celebrity, and experiential aspects in our now-global culture. This panel asks how art history, rather than media studies or media archaeology, can examine large-scale installations. We welcome a broad spectrum of papers engaging with the politics and poetics of modern and contemporary visual arts, performance, and media strategies that surround the viewer to spectacular effect.

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The Studio as Market (International Art Market Studies)
Chair: Julie F. Codell (Arizona State University), julie.codell@asu.edu

Artists’ studios have been the site of workshops, collaboration, promotion, mystery, and myth, at times considered a hallowed space, at other times a disreputable one. They have also been the places of social, political, and economic transactions that shape aesthetic values. In the studio artists self-fashioned their social status and promoted their works. They invited critics, dealers, and patrons into their studios turning studios into sites that combined a presumed mysterious creative energy with economic exchange while purposely misapprehending economic considerations. This session will explore how artists from the eighteenth century on under dwindling church and aristocratic patronage strategically entered the ‘free’ market by using their studios to promote and sell works in conjunction with creating marketable public identities to engage buyers and generate symbolic capital for their name and their work. Topics can include the nature and function of the studio in the free market, artists’ strategies to both engage in economic activities and misrecognize economics in the studio, the studio as a site of conflicts over agency in overlapping aesthetic and economic transactions or as an exhibitionary site to display the creative process itself, the studio’s combined production and reception functions, among other topics.

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The Versatile Artist (Historians of Eighteenth-Century Art and Architecture)
Chairs: Daniella Berman (New York University IFA), daniella.berman@nyu.edu and Jessica Lynn Fripp (Texas Christian University), j.fripp@tcu.edu

From Pier Leone Ghezzi’s exploration of caricature, to Angelica Kauffman’s and John Flaxmann’s collaborations with the Wedgewood manufactory, to Jacques-Louis David’s stylistic reactions to the uncertain politics of the French Revolution, artists throughout the long eighteenth century worked in a variety of media and across genres, regardless of established or perceived hierarchies. This panel proposes to explore the conditions—social, political, historical, economic—that inspired, rewarded, or demanded artistic versatility. We welcome papers that focus on individual artists or broader cultural movements in ways that bring to light the myriad forms of artistic versatility across the global eighteenth century (1680–1830) and interrogate the expectations surrounding artistic productivity and creativity. Paper topics might consider, but are not limited to, new constraints or opportunities created by:
• The changing conditions of the (art) market
• Historical/political contingency
• Social strictures and pressures
• Geographic displacements
• Religious transformations
• The role of intermediality

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The Visual Culture of Art History Teaching
Chair: Jean E. Robertson (Indiana University, Herron School of Art and Design), jerobert@iupui.edu

The teaching of art history has involved an evolving array of visual technologies over centuries, including drawings by people who could travel to see art in person, engraved reproductions of such drawings, black-and-white photographs, color photographs, lantern slides, 35mm slides, film and video documentation, digital slides, and the great array of computer-mediated tools available today. The nature of research and learning has been impacted by the ability to travel, access to illustrations and libraries of books and slides, and access to computer databases and sophisticated software. How do the media and databases used to teach art history condition methodologies, pedagogy, and curriculum? What is gained when the visual culture of art reproduction and illustration makes a substantial shift to new tools? What, if anything, is lost or lessened? What new or different questions and forms of interaction with art are enabled? How does a shift to new tools change how a ‘real’ experience of art connects to seeing it in reproduction? How is teaching keeping pace with changing mediums of making art? This session invites proposals for papers that reflect on any or all of these questions, considering technologies of art historical illustration from any period on any topic. Papers that draw on the presenter’s own experiences in teaching are welcome as long as the paper considers the social and cultural impact of various visual technologies, and/or addresses theories about the conditioning of art historical learning by the available visual culture.

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Transnationalism and Sculpture in the Long Nineteenth-Century, ca. 1785–1915 (Association of Historians of 19th-Century Art)
Chairs: Roberto C. Ferrari (Columbia University), rcf2123@columbia.edu and Tomas Macsotay (Universitat Pompeu Fabra), tomas.macsotay@gmail.com

The history of nineteenth-century art is frequently presented as the product of revolutions and socio-political changes. The Zeitgeist for nationalism and imperial expansion generated by these historic events inevitably fostered interest in national schools of art criticism and artistic practice. But rising interest in global studies has led to more and more evidence of the transnational as a major impact on artistic practice of the nineteenth century, speci cally in association with the creation and dissemination of narratives of national identity, and the interests of economic and colonial expansion. The transnational is defined as crossing national boundaries, but for this session transnationalism also refers to culturally blended nexuses of artistic creativity and engagement during the century. Evidence of this artistic practice is arguably best evident in the creation and display of sculpture, particularly public sculpture because it requires large studios with teams of workers to create, and it occupies spaces that force an encounter with the viewer. Examples of proposals for this session on transnationalism and sculpture in the long nineteenth century might include: sculptors’ studios in Rome dominated by Americans and Europeans, and their practiciens and pupils from other nation-states; monuments incorporating multi-cultural imagery; public statues of monarchs made by local artists in the colonies, potentially inscribed by the politics and hierarchies thereof; and the commingling of sculpture made by native and foreign artists at academies and international exhibitions. Papers on individual artists and works of art are welcome, but they should focus on the larger issue of transnationalism.

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Troubling Inheritances: Reworking Cultural Mythologies
Chairs: Letha C. Ch’ien (Sonoma State University), chienl@sonoma.edu and Jennifer L. Shaw (Sonoma State University), jennifer.shaw@sonoma.edu

We all find ourselves in possession of troubling inheritances. Conscious and unconscious thought structures, cultural stories, myth, religious beliefs, and history shape our understandings of the world. Mythic stories structure human experience, but myths themselves are not immutable or fixed. Embarking from Roland Barthes’s expansive definition of myth, this panel explores the ways artists and art historians trouble received ideas as they rework myth. Such reworking has taken on new urgency as mythologies about sexuality, gender, race and nation are troubled by #MeToo, LGBTQ movements, Black Lives Matter, Never Again, DACA, Refugees are Welcome Here, etc are debated and visualized. Images potently receive and create cultural mythologies, but simultaneously provide a site for active engagement and reworking. We are interested in how imagery of oppressive mythologies are radically reworked in the realm of visual arts. Examples of such profound reworkings include early modern representations of Judith and Holofernes, William Blake’s transformations of biblical, eddic and mythological stories in the Prophetic Books, Claude Cahun and Marcel Moore’s queer reimaginings of classical Greece, or Carrie Mae Weems’s Framed by Modernism and Mandingo. We encourage the submission of papers, artwork, or performances that trouble dominant mythologies from all global traditions, historical or contemporary, hybrid, mainstream or marginal.

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Using OERs for Teaching and Research
Chairs: K. Andrea Rusnock (I.U.S.B.), krusnock@iusb.edu and Rebecca Jeffrey Easby, easbyr@trinitydc.edu

Sponsored by CAA’s Education Committee, this session will look at current issues in the development, integration, and ongoing debate on the use of OERs (Open Education Resources) in the teaching of studio art, design, and art history. As more institutions consider the move toward OERs, Zero (or Reduced) Textbook Cost course policies, and funding initiatives that encourage faculty to develop open access content, instructors must ask new questions about how reliance on these materials might affect both their teaching practice and student learning in their classes. We seek presentations that will provide a broad overview of this topic from diverse perspectives including administrators, content-providers, librarians, students, and faculty in art and art history who have experience with OERs. Questions might include: What are the advantages and concerns surrounding the use of OERs? What materials (online textbooks, MOOCs, archival resources) exist and are being used? How are they accessed or vetted for quality and academic rigour? How should faculty development of OERs be compensated and positioned alongside institutional expectations for scholarly activity and publication? What evidence exists about their effectiveness, and their promise of greater accessibility to meet students’ needs? How might their use require or suggest changes in pedagogies of art, art history, and other related subjects? How might changes in net neutrality impact use of OERs in higher education? Our goal for this session is to increase awareness, stimulate discussion, and explore the implications of the growing body of OERs available for teaching and research in visual arts education.

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Visions of Mexico and the Iberian Peninsula (American Society for Hispanic Art Historical Studies)
Chair: Jeffrey A. Schrader, jeffrey.schrader@ucdenver.edu

In the quincentennial of the meeting of Moctezuma II and Hernán Cortés in Tenochtitlan, this panel seeks to assess the entwined histories of Mexico and the Iberian Peninsula. From the outset, the encounter of the American and European civilizations unfolded around the experience of art and architecture. The initial Spanish amazement at the wonders of Mexico served as the foundation for endeavors on the spectrum of exchange and engagement. Papers may examine a range of themes at any time in Ibero-Mexican relations. Prospective topics include the early circulation of artworks, the Spanish importation and display of images from the New World, the development of a common visual culture, court art, artists who made the transatlantic journey, and the global reach of the network formed by representatives of peninsular Spain and of Mexico. The objective of the panel is to consider the distinctive art historical legacy of these civilizations at a time when globalization has led to increasing contact among far-flung lands.

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Visualizing Scientific Thinking and Religion in the Early Modern Iberian World
Chairs: Brendan C. McMahon, bcmcmaho@umich.edu and Emily Floyd, emilycfloyd@gmail.com

In recent years, the consideration of visual and material sources has greatly enriched the study of a wide range of scientific practices in the early modern period. As scholars have moved away from characterizing ‘art’ and ‘science’ as discrete categories, they have increasingly turned to paintings, prints, and other forms of artistic production as a means to explore how early modern actors came to understand their experiences of the natural world. While the vast majority of these studies focus on the visual and material culture of Protestant Northern Europe, a small but growing number investigate similar trends in Spain and the Spanish Americas. Yet even as scholars have turned to instances where visual thinking formed a central component of scientific practices in this region, they have been more tentative to consider how religion, and particularly Catholicism, shaped such practices in this context. This session seeks papers that consider the intersections of visual production, scientific thinking, and religion in the early modern Iberian world, investigating such themes as:
• Material culture, techne, and artisanal epistemologies
• The mobilization of indigenous American and creole systems
of natural knowledge
• The Catholic Enlightenment
• Healing, disease, and visual production
• Visual and material culture, theology, and natural
philosophical argument
• Epistemic images in the early modern Iberian world

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What is American? Exploring Iberian Contact Zones in the ‘New World’
Chairs: Naomi Hood Slipp (Auburn University at Montgomery), nslipp@bu.edu and Mark Anthony Castro, markcast@gmail.com

Increasing scholarship has focused attention on the ways in which Iberian colonialization and trade in Latin America, South America, and Asia shaped works of art and material culture, thereby establishing a Spanish and Portuguese syncretic or hybridized aesthetic. In addition, the influence of Catholicism produced unique visual objects that were both indigenous and Iberian. In contrast, less work has been done to consider how Iberian exploration and colonization of North America—specifically the territories of present-day Canada, the United States, and the Caribbean—effected the arts and culture of those regions. This panel identifies these spaces as “contact zones,” which Mary Louise Pratt defines as “Social Spaces where cultures meet, clash, and grapple with each other, often in contexts of highly asymmetrical relations of power, such as colonialism, slavery, or their aftermaths” [Mary Louise Pratt, “Arts of the Contact Zone,” Profession 34 (1991): 33–40]. We therefore seek papers on works of art, architecture, or material and visual culture, that will illuminate the histories of Spanish and Portuguese colonialization in these territories, chart encounters between Iberian explorers, settlers, and indigenous residents, or consider trade networks with other colonial powers. We are particularly interested in projects that highlight a multiplicity of cultural viewpoints, such as those that consider encounters between indigenous communities and multiple colonial powers within one region, or address understudied regions: the Portuguese influence in Labrador and Newfoundland, the Spanish influence in Florida, Georgia, Alabama, and the Pacific Northwest, or contemporary work that grapples with these legacies.

Call for Papers | ASECS 2019, Denver

Posted in Calls for Papers by Editor on July 7, 2018

Frederic C. Hamilton Building, Denver Art Museum (Photo: Wikimedia Commons, August 2010). The Hamilton building, by Daniel Libeskind, opened in October 2006. Works from the Berger Collection Educational Trust have been on long-term loan at DAM since 1996; in February of this year 65 works of British art from the trust—including paintings by Thomas Gainsborough, Angelica Kauffman, George Stubbs, and Benjamin West—were donated to the museum. A selection will be on view beginning 3 March 2019 in Treasures of British Art: The Berger Collection, organized by Kathleen Stuart, curator of the Berger Collection at the DAM.

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From ASECS:

2019 American Society for Eighteenth-Century Studies Conference
Denver, 21–23 March 2019

Proposals due by 15 September 2018

Proposals for papers at the at the 50th annual meeting of the American Society for Eighteenth-Century Studies, in Denver, are now being accepted. Proposals should be sent directly to the session chairs no later than 15 September 2018. Along with our annual luncheon and business meeting, HECAA will be represented with the Anne Schroder New Scholars’ Session, chaired by Christina Lindeman. A selection of additional sessions that might be relevant for HECAA members is included below. A full list of panels is available as a PDF file here.

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Anne Schroder New Scholars Session
Christina K. Lindeman (University of South Alabama), clindeman@southalabama.edu

This is an open session intended for advanced graduate students and early career scholars in the art and architectural history of the eighteenth century.

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Picturing the Stage (Theatre and Performance Studies Caucus)
Michael Burden (Oxford University), michael.burden@new.ox.ac.uk

What is the relationship between the moving action of live theatre and the static ‘pictures’ that both adorned the stage and visually represented it? How did eighteenth-century audiences (and how do modern scholars) ‘picture’ or imagine stage action? The stage, by definition, makes ‘pictures’. In an eighteenth-century theatre, the proscenium arch forms a picture frame through which the theatre-goer viewed the action, and onstage pictures, such as moveable scenery, added dimension to the play text. Offstage, meanwhile, theatrical pictures proliferated, especially images of performers, both in conventional portraits, in character, and as caricatures. Pictures were also used in support of the dramas themselves; one of the great publishing schemes of the eighteenth century, John Bell’s plays, was accompanied by a series of prints of performers ‘in character’. Capturing stage action on the page or canvas, however, was not an easy task and presents the artist with a series of challenges, and it presents us with versions of the same challenges in interpreting the results. We invite papers on any aspect of the topic and encourage participants to be creative in interpreting the title of the panel.

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Interfaces (Roundtable, Digital Humanities Caucus)
Mattie Burkert (Utah State University), mattie.burkert@usu.edu and Collin Jennings (Miami University Ohio), jenninc@miamioh.edu

Interfaces are thresholds that separate and mediate; they are surfaces through which users encounter tools, as well as protocols that allow different systems to interact. Interfaces are central to digital scholarly work, enabling the operations of databases, archives, and exhibitions that provide new forms of access to historical materials. Interface design often prioritizes ease of use, but recent critiques of search engines and social media platforms have shown how streamlined, user-friendly interfaces can obscure choices made about what is displayed and how. Humanities scholars have a role in these conversations, both in critiquing existing interfaces and in developing new approaches. How, we might ask, can we design interfaces that highlight principles like transparency and ambiguity without sacrificing usability? We invite proposals that explore interface models for digital projects, as well as ones that examine how eighteenth-century authors and illustrators engaged what we might anachronistically call interfaces. These could include experimental forms (Chambers’s “view of knowledge,” Priestley’s timeline) or reflections on the limits of such sites (Sterne’s blank page). How can we reconsider Enlightenment interfaces, and how do interfaces affect the way we produce knowledge in eighteenth-century studies? How might a focus on interface change the way we approach our materials?

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Forms of Empire (Roundtable, Race and Empire Caucus)
Sunil Agnani (University of Illinois-Chicago), jukim@fordham.edu

Some recent scholarship on literary and aesthetic form has been framed as a corrective to critical overemphasis on historical, political, and cultural contexts. This panel asks, however, whether paying attention to a particular historical subject—namely, empire—actually precludes the study of form. After all, eighteenth-century writers and artists depicting empire experimented with genres ranging from travel narrative to porcelain ware. The administration of empire also depended heavily on forms like illustrations and maps. This roundtable thus seeks brief papers on the relationship between aesthetics and empire. Papers on diverse forms and geographical locales are welcome. Also welcome are papers that address the problems involved in aestheticizing the types of exploitation that constituted eighteenth-century empire. What were the limits of such a project in the eighteenth century, and what are the limits of the project of considering both aesthetics and empire today? Note: this roundtable will be a companion session to the Race and Empire Caucus’s other roundtable on “Forms of Resistance.” To encourage dialogue across sessions, organizers will ask participants in one roundtable to serve as respondents for the other. Papers will be circulated in advance.

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Ireland, Scotland, and the Sublime Landscape (Irish Caucus)
Michael Griffin (University of Limerick), Michael.J.Griffin@ul.ie

In 1739 Susanna Drury’s painting The Giant’s Causeway offered a glimpse of a sublime aesthetic in landscape painting in Ireland. Dr. Johnson’s description of the subject of Drury’s painting as “worth seeing, but not worth going to see” suggests, in spite of its dismissive tone, a domesticated appreciation for the wild Irish landscape. There has been a significant recent interest in the influence of Scotland and Ireland in and on the evolution of a Romantic aesthetic. To this panel we invite papers which discuss the influence of Irish and Scottish culture, not just on the culture of the Romantic period traditionally defined (1789–1830) but going back to an earlier moment when ideas of sublimity were being applied in innovative ways: to the representation of landscape in Ireland and Scotland, but also to representations by Irish and Scottish writers and artists of sublime landscapes more generally. A core consideration will be the extent to which sublimity in landscape complimented or complicated national and/or regional enlightenments. Proposals can be interdisciplinary, and we would welcome considerations of painters alongside literature and aesthetics. Please send a 300-word abstract for a 20-minute paper, along with a 50-word biographical note.

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The Black Legend (Ibero-America Society for Eighteenth-Century Studies)
Catherine Jaffe (Texas State University), cj10@txstate.edu and Karen Stolley (Emory University), kstolle@emory.edu

The Black Legend, the negative opinion of Spaniards and the Spanish Empire as cruel and intolerant, first emerged in response to accounts of Spanish abuses during the sixteenth-century conquest period and lived on in the eighteenth century in the context of evolving imperial, religious and commercial rivalries. How was the Black Legend envisioned, represented, fictionalized, historicized, critiqued, perpetuated, deployed, debated, dramatized, or denounced, in the transatlantic world during the long eighteenth century, and/or in eighteenth-century studies? We invite 15-minute papers from all fields—literature, history, art history, music, political theory, etc.—that offer fresh perspectives on the Black Legend in the eighteenth century.

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Queer Female Networks (Roundtable, Aphra Behn Society)
Jade Higa (University of Hawaii), jadehiga@hawaii.edu

In her poem, “To my Excellent Lucasia, On Our Friendship,” Katherine Philips writes, “thou art all that I can prize, / My joy, my life, my rest.” Restoration era poems of love between women by writers such as Philips establish and emphasize the importance of female networks throughout the eighteenth century. From 1660 to 1830, women supported each other in politics, art, literature, the theater, and more. In these networking relationships, women also developed strong attachments to one another that many scholars have recognized as at least homosocial if not homoerotic. This roundtable will further the conversation surrounding these queer female networks of the long eighteenth-century. Questions might include but are not limited to: What did specific queer female networks accomplish? How do these female networks complicate the false homo/hetero binary? How are implications of queerness a necessary element of these female networks? Proposals on these questions, on specific female relationships, or on any other subject related to queer female networks are welcome.

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Community Colleges and the Eighteenth Century (Roundtable)
Chloe Northrop (Tarrant County College), chloe.northrop@tccd.edu

Due to the growth of community colleges in America, many graduate students and early career scholars are finding employment opportunities in these institutions. In the past, community colleges have been on the sidelines of the conventional academic hierarchy. While the focus of community colleges mainly surrounds teaching survey level courses, the purpose of this roundtable will be to examine how scholars of the eighteenth century remain connected to the academic world of their respective disciplines. Furthermore, this roundtable will also focus on methods of instruction that incorporates the eighteenth century into classrooms. These presentations will illuminate both the barriers and opportunities present in the community college setting. We welcome proposals from all disciplines connected with community colleges and from full time and adjunct professors.

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The Lives of the Plants
Katie Sagal (Cornell College), aksagal@gmail.com

With the recent rise in critical plant studies as a vector for understanding the relationship between humans and nature, it is worth reflecting in 2019 on how eighteenth-century thinkers understood the relationship between humanity and vegetality. Where the conventional narrative of man’s inevitable and triumphal dominion over nature has long since been disrupted by early eco-criticism (like Carolyn Merchant’s landmark book The Death of Nature), this panel hopes to continue to rethink the possible intersections between people and plants in the Enlightenment. This panel thus proposes to think both about and beyond traditional narratives of taxonomizers, explorers, and collectors to sort through the complex and complicated nodes between humans (always a part of nature) and plant life (always a part of the human experience). We might also think specifically about the “lives of the plants” in ways that are separate from and not reliant upon human intervention. Papers might cover any aspect of the relationship between humans and plants in the eighteenth century, encompassing critical perspectives on medicine, science, pornography, fiction, poetry, visual arts, and so on.

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Women and Whiteness
Katharine Jensen (Louisiana State University), kjensen@lsu.edu

Inspired by Sue Lanser’s 2018 Presidential Address, this panel seeks multiple approaches to the racial/racist/class assumptions informing representations of women and whiteness in the eighteenth century. Whether literary, historical, or visual, the papers might consider: Are women portrayed and privileged as white to counter what were perceived as threats by people of color? Is this privileging linked to class as well, or instead, and why? Are women of color ever portrayed as ‘white’ and why? How do representations of women and whiteness do political work to enlist readers’ or viewers’ emotions and to what end?

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Scholarship across the Aisle: Establishing Meaningful Scholarly Relationships outside of One’s Linguistic/Cultural Tradition (Roundtable)
Logan J. Connors (University of Miami), logan.connors@miami.edu and Jason H. Pearl (Florida International University), jpearl@fiu.edu

In honor of the organization’s 50th anniversary, this roundtable seeks to reflect upon the disciplinary boundaries that are caused by specific linguistic and cultural traditions and posit new methods for crossing the divides that continue to characterize eighteenth-century studies. We seek a diverse group of scholars with different theoretical approaches and areas of specialization. Participants are encouraged to consider the following questions: what structures prevent us from engaging with scholars outside of our national/linguistic traditions? What can we do to make ASECS more welcoming to people working in areas outside British literature (the most dominant specialization inside the organization)? What can we do to facilitate more interaction among scholars of different fields? It’s common to talk of ‘the global eighteenth century’ and the value of interdisciplinarity— and yet we separate ourselves by subspecialty every year. What would it take for us to work beyond those boundaries and create meaningful interactions (conferences, colloquia, seminars, workshops, etc.) that allow us to learn more from each other?

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Repurposing
Lauren DiSalvo (Dixie State University), lauren.disalvo@dixie.edu and Sarah Sylvester Williams (Independent Scholar), sarahjswilliams@gmail.com

Objects have long been recycled, reused, and repurposed. In the eighteenth century Habsburg Empress Maria Theresa and her children repurposed Mughal paintings for display in gilt boiserie; Chinese porcelain was embellished with gilt handles, rims, and stands; and artists outfitted Roman statues with fully restored limbs and attributes during the Grand Tour. This panel seeks to explore the ways in which materials, ideas, motifs, and subjects were repurposed during the long eighteenth century. We would welcome papers that address the literal reuse of materials, such as old canvases, paper, textiles, etc; the adoption and reuse of visual or literary motifs, tropes, or processes; or the repurposing of a traditional subject for new ends. Submissions from any eighteenth-century discipline are welcome, and topics that are interdisciplinary or global in scope are particularly encouraged.

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Art, Literature, and Medicine in Italy
Francesca Savoia (University of Pittsburgh), savoia@pitt.edu

In the eighteenth-century—in Italy as in the rest of Europe—doctors, scientists, writers, and artists formed an integrated educated elite. A wide range of literary and figurative works testify to a close interplay of medicine, art and literature in this period. Painters, poets, novelists and dramatists—both men and women—drew on medical language and learning for their models of human nature and picked on themes emerging from scientific debates (on the treatment of diseases, the role of diet and lifestyle on health, the action of emotions, the dialectic of body and mind, whether reading and writing were themselves therapeutic or harmful etc.). This session seeks contributions that explore the reception, influence, and representation of medical theories and practices in Italian art and literature of the long eighteenth century.

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The Landscape Garden: In England and Beyond
Janet R. White (University of Nevada, Las Vegas School of Architecture), janet.white@unlv.edu

The eighteenth-century landscape garden has been called England’s most enduring contribution to design of the built environment. This interdisciplinary session invites historians, landscape architects, architects and others to discuss the landscape garden’s impact in England, beyond England, and beyond the eighteenth century. Topics might include such areas as selection and design of follies and pavilions, selection and distribution of plant materials, theoretical underpinnings in the Picturesque, differences between English and Continental examples of the phenomenon, women’s contributions to the design of the garden, travelers’ accounts of garden visits, or manifestations of the landscape garden in later centuries.

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Gesturing toward the Antique
Monica Anke Hahn (Community College of Philadelphia), mhahn@ccp.edu and Craig Hanson (Calvin College), CraigAshleyHanson@gmail.com

More than three decades on from the publication of Haskell and Penny’s seminal work, Taste and the Antique—an extended edition of which is slated for publication in 2019—this panel seeks to broaden, expand, and trouble the examination of classicizing poses and gestures in the eighteenth century. How might a borrowed pose elucidate themes of performativity, ephemerality, portraiture, or satire? What were the commercial, intellectual, poetic, or social stakes of such gestures? How did such evocations of antiquity function within larger aesthetic frameworks—whether a collection, a decorative arts program, or some other stratum of visual culture? We welcome proposals from a wide range of approaches with the goal of complicating and re-evaluating straightforward stylistic narratives, aiming to avoid making too little or too much of the antique along the way.

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Fashioning Power and the Power(s) of Fashion
Jennifer Buckley (University of York), jennifer.buckley@york.ac.uk and Benjamin Jackson (Queen Mary, University of London), b.l.t.jackson@qmul.ac.uk

This session seeks to redress the imbalance in our current understanding of the relationship between fashion, material culture, and gender. It desires to push beyond a notion of female fashion, with all its connotations, to consider how fashion was used by both sexes to simultaneously homogenise and destabilise traditional power relations. From architecture to clothing, books to consumer goods, the manifestations of power, commerce, and even colonialism, are imbued in the material world of the past. These materialisations of power are too often obliquely and uncritically accepted as part of a narrative of clear, delineated power structures. Addressing the relationship between print and material cultures, this panel seeks to re-expose the intricate nuances of power that permeated the eighteenth-century material world. Topics to consider may include, but are not limited to: letterpress printing and the manufacture of printed polemics; bespoke handcrafting and handicrafts; architectural plans; trade cards, magazines and periodicals; taste and politesse; the correlation of texts and textiles.

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Small Things
Chloe Wigston Smith (University of York), chloe.wigstonsmith@york.ac.uk and Beth Fowkes Tobin (University of Georgia), btobin@uga.edu

This panel invites papers that address the scale of material objects, in particular the smaller things that have received less critical attention than larger, substantial goods. We are interested in how the scale of things shapes the cultural and / or literary significance of objects and what size might illuminate more broadly about the value and meanings of material culture. Do small things merit different kinds of attention across genres or types of media? How does monetary value, labor, and time affect perceptions of the minute? What is the place of the small in scholarly conversations about material culture across humanities disciplines? This panel will serve as a starting point for discussion of the same theme at an interdisciplinary conference to be held June 6–7, 2019 at the University of York (organized by Chloe Wigston Smith and Beth Fowkes Tobin).

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Bon Appétit: Dining in the Eighteenth Century
Joanna M. Gohmann (The Walters Art Museum), jgohmann@thewalters.org

In the mid-eighteenth century, chefs began to delight aristocratic taste buds with nouvelle cuisine, a style of French cookery that gradually spread across mainland Europe and transformed food from nourishment into pleasurable, intellectual entertainment. In addition to foodstuff, the material landscape of eating—tablescapes, dining rooms, dishes, furniture, cookbooks etc.—became more complex, specialized, and pleasurable. Porcelain dinner services expanded, cookbooks included more categories of food, dining tables were marketed in a variety of shapes with surprising features, and dining rooms were increasingly elaborate. What cultural work did these transformations in food preparation and consumption achieve? Responding to such publications as E.C. Spary’s Eating the Enlightenment (2012) and Krikorian’s Les rois à table (2011), exhibitions like Winterthur Museum’s Dining by Design (2018), and popular blogs like The History Kitchen, this panel seeks to explore how eighteenth-century consumers understood the century’s new dining practices in relation to the century’s intellectual, social, political and even religious trends. This panel hopes to address the many ways in which individuals encountered these changes in culinary and dining practices—be it through text, visual art, material culture of the table, etc.—and invites participants from all disciplines and areas of specialization.

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Between Art and Labor: Craft in the Global Eighteenth Century
Cassidy Picken (Capilano University), cass.picken@gmail.com

Handicraft is a generative concept within at least two hierarchies of enlightenment thought. Within the realm of political economy, handicrafts are positioned midway between the foraged goods of hunter-gatherers and the manufactured wares of commercial society; within aesthetics, craftwork mediates between the drudgery of labor and the free play of the liberal arts. This panel explores the rise of craftwork as a distinct cultural category during the long eighteenth century. Shifting from accounts of craft that emphasize its ‘traditional’ status, we are interested in artisanal practices that emerged at the interstices of the eighteenth century’s global empires. How might we account for the relationship between the disciplinary formations mentioned above, and the actual practices of making that emerged at the frontiers (external and internal) of mercantile capitalism? What forms of knowledge and intimacy were grounded in the craftwork of women, the enslaved, creoles, indigenous communities, peasants, and domestics? How did poets, novelists, artists, philosophers, and scientists conceive of their crafts in relation to the field of labor?

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Trailing Spouses of the Enlightenment: In the Shadow of the Luminary?
Rori Bloom (University of Florida), ribloom@ufl.edu and Margaret Butler (University of Florida), mbutler@arts.ufl.edu

While the wedding scene continued to provide a happy ending to classical comedies in eighteenth-century theater, the real institution of marriage was undergoing important transformations off the stage and the page. By offering material resources, social connections, emotional support or intellectual stimulation, spouses in creative partnerships made valuable contributions to eighteenth-century culture. This interdisciplinary panel seeks to examine the spousal relationship in the context of cultural creation in the Enlightenment. At certain times, one spouse remained in the shadows to allow the other to shine as a writer, musician or painter, while at others the two shared the limelight, attracting public attention in different ways. Whether as enabler, impresario, teacher, collaborator, the spouses of Enlightenment figures often shaped each other’s careers. In this session, we are not asking whether we would have had Sade without Renée or Elisabeth Vigée Lebrun without Jean Baptiste Pierre Lebrun. Instead, we wish to reexamine assumptions about traditional roles in famous pairs to better understand the impact of creative partnerships on eighteenth-century culture.

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The Colors of Race
Jennifer Chuong (Harvard University), jennifer_chuong@harvard.edu and Oliver Wunsch (Harvard Art Museums), owunsch@gmail.com

Scholars in a variety of disciplines have argued that over the course of the eighteenth century, nascent racial categories began to coalesce around visual distinctions, skin color chief among them. The range of disciplinary perspectives on the topic reflects the many ways that color could be mobilized in the service of human difference, whether through the materials of the artist, the theories of the natural philosopher, or the lexicon of the writer. This panel provides an opportunity to bring together research in these different areas and to explore possible interactions among them. In doing so, we aim to initiate a larger conversation about the relationship between race and visuality in the eighteenth century. We welcome papers that explore the various practices through which color took on racial significance in this period, and we especially invite proposals that address the use of color in more than one setting (e.g. in multiple media, across fields, or for different audiences).

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‘This Unnatural Rebellion’: The Jacobite Rising of 1745
Phineas Dowling (Auburn University), pwd0002@auburn.edu

This panel seeks papers on literary, artistic, and material culture of the long eighteenth century with the goal of exploring the Jacobite Rising of 1745 and its ramifications—whether artistic, cultural, national, martial, political, etc. Topics might include, but are not limited to, the literary culture of the Jacobites (or anti-Jacobites); material culture of the Jacobites; cultural memory of the ’45; representations of the conflict and its participants; depictions or commentary of key figures or events; the political or social aftermath or ramifications of the rebellion; contextualization of the Rising and/or its impact; creative expressions in any medium of the contemporary or memorial experiences of participants and/or onlookers.

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Producers, Creators, Designers: Women Artists
Lindsay Dunn (Texas Christian University), l.m.dunn@tcu.edu and Franny Brock (University of North Carolina at Chapel Hill), mfbrock@live.unc.edu

This panel seeks proposals that consider women’s roles as producers, creators, and designers of art objects, buildings, and interior spaces in the long eighteenth century. We invite papers that further knowledge of women’s artistic production, and indeed, even reclaim their achievements. This panel will continue the conversation on women’s roles, a subject taken up most recently by the exhibition, Becoming a Woman In the Age of Enlightenment: French Art from the Horvitz Collection, curated by Melissa Hyde and the late Mary D. Sheriff. This exhibition, the first to focus specifically on representations of women from a broad range of ages and conditions, sheds light on the philosophical and cultural debates surrounding womanhood in this period. The dominant ideology assigned women to limited roles due to long-held beliefs about gender difference derived from Christianity and scientific and medical tracts. As a result, historians have often relegated women’s involvement in the art world to historical footnote or anecdote, despite a rich tradition of female creativity. Possible topics for this panel include investigations of women artists’ little-known objects and spaces, hierarchies of genre and their gendered implications, the role of women in the Academy, programs of commissioning, and collaborations with colleagues.

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Innovative Course Design Competition
asecsoffice@gmail.com

ASECS invites proposals for a new course on eighteenth-century studies, or a new unit (1–4 weeks of instruction) within a course on the eighteenth century. Proposals may address a specific theme, compare related works from different fields (music and history, art and theology), take an interdisciplinary approach to a social or historical event, or suggest new uses for instructional technology. The unit/course should have never been taught or have been taught very recently for the first time. Applicants should submit a 750–1500 word proposal that focuses sharply on the leading ideas distinguishing the unit/course. The proposal should indicate why particular texts and topics were selected and (if possible) how they worked; ideally, a syllabus will be provided. The competition is open to current members of ASECS. Up to three proposals will be selected for presentation on the Innovative Course Design session at the Annual Meeting; a $500 award will be presented to each of the participants, who also will be invited to submit a twelve-page account of the unit/course, a syllabus, and supplementary materials, for publication on the ASECS website.

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Social Network Analysis (Roundtable)
Jennifer Golightly (Colorado College), jgolightly@coloradocollege.edu

This roundtable will showcase digital projects using social network analysis for better understanding networks of texts, ideas, and/or people over the course of the long eighteenth century. The scope of the roundtable is broad in the hopes of providing fresh ideas about using social network analysis for the study of history and texts. What are the advantages of using this particular approach? What are the limitations? Which tools are most useable for conducting such analysis in the humanities?

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Print Room Pedagogies: Teaching the Eighteenth Century in the Print Room
Hope Saska (CU Art Museum, University of Colorado Boulder), hope.saska@colorado.edu

“Other pictures we look at, his we read.” With this pithy quip, Charles Lamb summed up the expectations brought by Romantic viewers to William Hogarth’s images. Today, Lamb’s distinction between looking at and reading images continues to resonate, especially with curators, faculty, instructors and librarians who regularly use printed images, illustrated books and paintings as core features of our pedagogy. This panel invites papers that address print room pedagogies and asks: how do we provide tangible connections with the visual and material worlds of the eighteenth century? What are the histories of and best practices for using visual culture to teach skills associated with ‘reading’ and/or what we today call ‘close looking’ (perhaps an enhanced version of the ‘looking at’ that Lamb describes)? How might the historical function of the print room connect to its contemporary use for object-based learning? Case studies and histories of the study room are invited, and interdisciplinary studies are most welcome.

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Living with the Ancients
Caroline Gonda (Cambridge University), cjg29@cam.ac.uk and Paul Kelleher (Emory University), pkelleh@emory.edu

This panel seeks papers that offer new perspectives for understanding the surprising, creative, idiosyncratic (in a word, the ‘queer’) conversations that eighteenth-century writers and artists sustained with ancient culture. We are especially interested in how the Classics were ‘used’ as a way to shape and sustain lives that deviated from normative forms of sexual, gendered, and class identity. Further, we suspect that the relationship between the ‘public’ and the ‘private’ will be an important reference point for some or all of our panelists. Some preliminary questions that we have in mind (but ones that are not meant to be prescriptive): what does it mean to quote or commonplace the Classics in private writings and how can this become a way of claiming intellectual and cultural territory? How do impassioned investments in the Classics create a place of refuge and resistance to public identities that constrain or cramp the self? How are ‘modern’ engagements with the ancients simultaneously a dialogue with the Classics and an exploration and fashioning of the self? We welcome papers from all disciplines and national literatures.

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Performance and its Representations
Sarah R. Cohen (University at Albany, SUNY), scohen@albany.edu

This session aims to bring together studies of the performing arts—theater, music, dance—and of the diverse ways in which performance was represented in art and literature. Considerations of architectural staging of performative events and such self-reflective devices as theater-within-theater and fashionable appropriations of costume are encouraged. Priority will be given to papers that address the performing body as a transformational device that breaks down disciplinary boundaries in the arts.

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Changing Faces: New Directions in Portraiture
William W. Clark (Queens College and The Graduate Center, CUNY), wwclark@comcast.net

This session invites papers that study portraits from different, multiple perspectives. Possible avenues of investigation might include (but are not limited to) portraits by Europeans of orientals or colonial subjects, or vice versa; portraiture as a locus of cultural exchange; portraiture and performance theory; portraits of celebrities including performers, heroes, heroines, criminals and/or their victims; the role that furnishings, fashion, and other accoutrements play in the construction of identity; portraits and emotions, given the recent works by Vigarello and Corbin on the history of emotions; science and portraiture, as in medical portraits; politics and portraiture; sexuality and portraits.

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Interactions between Art and Insurance
Sarah Carter (McGill University), sarah.carter@mail.mcgill.ca and Matthew C. Hunter (McGill University), matthew.hunter3@mcgill.ca

From studies of brokered connectivity to forays in new materialism, the movement of artifacts across medial, geographic and temporal boundaries figure significantly in recent accounts of eighteenth-century art and culture. Yet, conspicuously less attention has been paid to the arts’ imbrication with actuarial techniques of insurance robustly used in the period to govern mobile and perishable valuables. The silence is curious. Beyond its central role in assigning value, insurance casts a significant shadow across histories of Anglo-American art. English fire insurance originates with Nicholas Barbon, speculative builder and virtual architect of what we now call ‘Georgian London’. The core collection of London’s National Gallery was built by insurance underwriter John Julius Angerstein. Where else might we find insurance’s impacts on the arts of the long eighteenth century? Indeed, should we be seeking to find any visible imprint at all when reckoning with what Lauren Berlant has called the “actuarial imaginary”? In sum, if knowing “how to pack it, how to track it, and so forth” were key concerns for the arts of the long eighteenth century as Jennifer L. Roberts has claimed, this panel seeks papers expanding upon this provocation: the history of Anglo-American art is a history of insurance.

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Collecting Studies for the Twenty-First Century: Circulation and Disruption
Anne Nellis Richter (American University), arichter@american.edu and Bénédicte Miyamoto (Université Sorbonne Nouvelle – Paris 3), benedicte.miyamoto@sorbonne-nouvelle.fr

The discipline of collecting studies has long focused on the acquisition of objects and the development of prestigious European collections in a period when collectors often represented their collections as perennial documents of family history and unfaltering taste. In honor of ASECS’ 50th anniversary, this panel is intended to take stock of the state of collecting studies and look forward to the new avenues opened up by considering the circulation of art, antiquities and furniture due to personal, political or social upheaval, and to intensifying art market dynamics shaped by war, revolution, and empire. As dealers, auctioneers, and collectors took advantage of such opportunities, modern practices of collecting and displaying art were shaped. What strategies of classification, attribution, provenance and display did an increasingly international art market foster, and what professional or institutional ethos informed these new models? We invite the studies of local to transnational circulation of artefacts from any disciplinary perspective (including material culture, art history, visual studies, museum studies, art market studies, and social history). This panel is designed to continue the 2017 panel “Art Markets: Agents, Dealers, Auctions, Collectors” by Wendy Wassyng Roworth (University of Rhode Island).

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Ancients, Moderns, and the Visual Arts
Aaron Wile (USC), awile@usc.edu and Jason Nguyen (USC), jason.nguyen@usc.edu

In 1687, Charles Perrault rocked the French Academy when he proclaimed that achievements of the present, fostered by Louis XIV, had surpassed those of classical Greece and Rome. Perrault’s declaration ignited a smoldering debate about the relative merits of the ancients and moderns. This debate, known as the Quarrel of the Ancients and Moderns, has long been maligned as pointless and academic, but recent scholarship has shown that it occasioned a profound shift in historical consciousness, calling into question the authority of the past and reconfiguring the values that gave art meaning. Though this work has transformed our understanding of the debate, the role of the visual arts has received relatively little attention. This session seeks to revisit the Quarrel and its relationship to the visual arts, in all media, during the long eighteenth century. How did artists engage with the classical past and its shifting position of authority? How did awareness of cultural and historical difference affect artistic practice? How were notions of modern progress rejected or defended (and how was progress defined in the first place)? And how did the shifts in historical consciousness prompted by the debate affect artistic thinking about temporality, anachronism, and memory?

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Caricature in Song and Graphic Satire
Ian Newman (University of Notre Dame), inewman@nd.edu and Harriet Guest (University of York), harriet.guest@york.ac.uk

Recent studies of the golden age of graphic satire have confirmed the importance of caricature to British culture in the late eighteenth and early nineteenth centuries. Prints by the Cruikshanks, Gillray, Newton, Rowlandson and others have become a mainstay of the critical arsenal, widely recognized as in conversation with newspaper reporting and contributing to networks of gossip about royal scandals, political intrigue, and other rumors of notable figures. Less frequently commented upon, however, is the importance of aurality to the iconography of print—the political ballads, theatrical songs, and culture of singing that is constantly referenced in graphic prints. Yet many of the recognizable caricatures that appeared in print satire—John Bull, Young Billy Pitt, Georgiana the Canvassing Duchess, Farmer George—were developed simultaneously in graphic satire and political ballads; numerous popular songs, such as those composed by Charles Dibdin, were referenced in graphic satire; and graphic prints frequently alluded to the culture of song, often mocking amateur musicians. This panel invites papers on any aspect of the traffic between song and graphic print, with a view to finding a critical language to consider visual satire and song together.

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Art and Material Culture from the Ibero-American Realms
Jeffrey Schrader (University of Colorado Denver), jeffrey.schrader@ucdenver.edu

This panel seeks to consider the art and material culture of Latin America within the “same world, different worlds” paradigms identified by the historian John H. Elliott in his studies of peninsular Spain and its American realms. According to these approaches, one may identify the transatlantic relationship as characterized chiefly either by continuity or by difference. Art historians have implicitly recognized these methods of classifying developments in the New World, although the paradigms deserve greater attention within eighteenth-century studies in light of the political shifts toward independence by the early 1800s. Topics for papers may include portraiture, religious imagery, fashion, architecture, goods transported by the galeón de Manila, the formation of art collections, as well as other themes.

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Going Public: Taking Eighteenth-Century Material Culture into the Public Eye
Mallory Porch (Auburn University), map0030@auburn.edu

Jennie Batchelor’s Lady’s Magazine project, with its public engagement element The Great Lady’s Magazine Stitch-Off, revealed an enthusiastic interest in both the scholarly and the lay community for re-creating and experiencing eighteenth-century material culture. The purpose of this panel is to provide an arena for scholarly inquiry into eighteenth-century material culture, and also to explore the ways in which scholars, costumers, and hobbyists have taken the eighteenth century into the public eye. The purpose of this panel is intentionally broad, with the possible inclusion of topics such as: working with an entity like Winturthur or Fairfax House, costuming for eighteenth-century plays or reenactments, pursuing an in-depth study of one eighteenth-century object, or any other relevant line of inquiry. Panelists are welcome to present innovative presentations and/or traditional papers.

 

Exhibition | Triumph of the Baroque, Painting from 1600 to 1800

Posted in books, catalogues, exhibitions by Editor on July 6, 2018

Now on view at the Hofburg:

Triumph des Barock: Malerei von 1600 bis 1800 / Il Trionfo del Barocco: Pittura dal 1600 al 1800
Diocesan Museum, Hofburg (Bishop’s Palace), Brixen / Bressanone, Italy, 28 April — 31 October 2018

Barocke Kunst ist triumphale Ausdruckskunst. So auch in der Malerei. Die Ausstellung schöpft aus dem umfangreichen Bestand der Hofburg und zeigt Gemälde von den frühen Anfängen um 1600 bis in die Spätphase um 1800. Eine Schaulust für das Auge.

Nie waren den Menschen der Himmel und das Leben mit den Himmlischen so vertraut wie in der Barockzeit. Erzählungen aus der Bibel, Schilderungen aus dem Leben von Heiligen, Darstellungen von Maria mit dem Jesuskind—sie alle führen das Auf und Ab des Lebens vor Augen. Berühmte Maler aus Tirol sowie überregional bedeutende Künstler schufen Altarbilder für Kirchen und sakrale Gemälde zur privaten Andacht. Eine Auswahl ihrer Werke ist in der Ausstellung zu sehen, darunter Bilder von Stephan Kessler, Johann Georg Grasmair und Ulrich Glantschnigg, von Martin Theophil Polak, Karl Skreta und Johann Lingelbach. Auch Gemälde der in Wien zu Ruhm gelangten Tiroler Barockmaler, wie Paul Troger, Michael Angelo Unterberger und Josef Ignaz Mildorfer, sind ausgestellt.

Kopien nach berühmten Meistern spielten in der barocken Malerei eine große Rolle. Sie vermittelten das gedankliche Konzept des Originals nahezu ungeschmälert und trugen wesentlich zur Beliebtheit einzelner Bildmotive dar. Eine Auswahl hochwertiger Kopien wird in der Ausstellung gezeigt.

Neben Altarbildern und religiösen Werken sind auch Porträts zu sehen, einige von ihnen zum ersten Mal. Porträts stellten Macht und Reichtum, Bildung und Stand der Dargestellten zur Schau. Sie stehen für Inszenierung und Selbstdarstellung von Klerus, Adel und Bürgertum.

Johann Kronbichler, Die barocken Gemälde der Hofburg Brixen (Brixen: Hofburg, 2018), 396 pages, ISBN: 978-8888570235, $75.

Zur Ausstellung erscheint ein Bestandskatalog. Dieser enthält—über die in der Ausstellung gezeigten Werke hinaus—alle barocken Gemälde aus der Schausammlung und den Depots sowie die Gemälde und Wandmalereien der barocken Ausstattung der Hofburg. Mit seinen knapp 700 vorgestellten Werken und dem umfangreichen Bildmaterial stellt der von Johann Kronbichler verfasste Bestandskatalog ein unverzichtbares Grundlagenwerk zur Barockkunst in Südtirol dar. Der Katalog, Band 4 der Veröffentlichungen der Hofburg Brixen, ist in der Hofburg und im Buchhandel erhältlich.