Enfilade

Call for Papers: CAA 2012 in Los Angeles

Posted in Calls for Papers by Editor on April 5, 2011

College Art Association Annual Conference
Los Angeles, 22-25 February 2012

Proposals due 2 May 2011

The College Art Association annual conference for 2012 takes place in Los Angeles, 22-25 February. The following sessions from the Call for Participation may be of interest to Enfilade readers. I would especially draw HECCA members’ attention to two sessions: first, a New Scholars Session, chaired by Kevin Chua (details forthcoming), and second, the panel that I’m chairing on ‘Pictures in Place’. Please consider submitting a proposal, and if you have questions, feel free to send me an email. To anticipate one query: why the bias towards pictures? — in formulating the description I was especially thinking about the relationship between two-dimensional images (i.e. paintings or prints) and space as a three-dimensional realm. Sculpture would work, I think, in relation to space somewhat differently. Still, I am willing to consider proposals that address sculpture (or decorative arts), especially if they raise methodological concerns relevant to the panel more generally. The complete Call for Participation (including details for submitting proposals) is available here»

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Historians of Eighteenth-Century Art and Architecture
Pictures in Place: Depicting Location and the Siting of Representation in the Eighteenth Century
Craig Hanson, Calvin College, CraigAshleyHanson@gmail.com

This panel invites papers that address the relationship between pictures and contexts in the eighteenth century—in terms of both imagery presented (the place portrayed) and the actual physical locations of pictures as experienced (the placement of pictures). In light of recent scholarship that has stressed the global eighteenth century—looking from Europe to the New World and to Africa and Asia—the session explores the role of place, be it geographical or phenomenological, in terms of how pictures functioned through consideration of where they functioned. Possible themes might include imperial or national ambitions; audience and politics of place; marketing strategies and the commodification of art viewing; exhibition venues; connections between painting and architecture; the relationship between painting, prints, and the decorative arts; and disjunctions between pictorial form and the siting of works of art. Considerations of methodological concerns in dealing with place are also welcome.

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Historians of Eighteenth-Century Art and Architecture
New Scholars Session
Kevin Chua, Texas Tech University, kchua71@yahoo.com

Details forthcoming [more available here]

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Historians of Netherlandish Art
Affect and Agency: The Netherlandish Portrait (1400–1750)
Ann Jensen Adams, University of California at Santa Barbara, ajadams@arthistory.ucsb.edu

Repeating an ancient trope, Constantijn Huygens wrote that portraits “perform a noble work, that more than any other is necessary for our human needs, . . . through them we in a true sense do not die; furthermore as descendants we can speak intimately with our most distant ancestors.” Through their perceived affective qualities, portraits in the early modern period served—consciously or unconsciously—as active cultural agents, from the formation of the self to strengthening familial bonds and producing social and political relations. This session seeks papers that expand our understanding of the imaginative and cultural function of portraiture in the Netherlands and in Germany, in the broadest sense. Genres might include the selfportrait, memorial (donor) portrait, court portrait, family portrait, group portraits of voluntary associations, portrait historié, printed portrait, imaginative portrait, and portrait sculpture, with an emphasis on the viewer’s understanding of the portrait and its personal and/ or cultural uses.

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American Society for Hispanic Art Historical Studies
New Research in the Early Modern Hispanic World
Michael A. Brown, 18099 East Orchard Place, Aurora, CO 80016; and Sofía Sanabrais, Los Angeles County Museum of Art, Department of Latin American Art, 5905 Wilshire Boulevard, Los Angeles, CA 90036; sofia.sanabrais@gmail.com

From the sixteenth to the eighteenth century, the art and architecture of Spain, Portugal, and their American dominions witnessed a period of tremendous transformation and provided fertile ground for the development of a new artistic vocabulary. This session examines new research and innovative approaches to the study of the early modern Hispanic world. In the last ten years, the field has attracted increased attention and produced groundbreaking exhibitions as scholars grapple with problems of patronage, the struggle between native and imported elements from Europe, the Americas, and Asia, and the use of art to create a sense of a New World identity distinct from its European sources. This session welcomes papers that present new research in the field of art and architectural history and conservation science.

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Italian Art Society
Territory and Border: Geographic Considerations of Italian Art and Architecture
Nicola Camerlenghi, University of Oregon; and Catherine C. McCurrach, Wayne State University; ncamerle@uoregon.edu and cmccurrach@wayne.edu

This session examines the geographic parameters that circumscribe the art and architecture of Italy. What common elements of intellectual inquiry are shared by scholars of Pompeii and those of Piedmont? How do the geographic boundaries of modern Italy shape the study of Italian art? What is gained—or distorted—by dutifully fitting eclectic and regional trends into a coherent narrative spanning centuries but limited to modern territorial borders? In light of Italy’s relation to the Mediterranean Sea, what geographic considerations ought to define the study of Italian art? As the culminating session of the year-long Italian Art Society theme “The Study of the Art and Architecture of Italy: A Reassessment of the Discipline,” papers reconsider fundamental assumptions underlying the current study of the art and architecture of Italy from antiquity to the present by addressing broad methodological themes centered around geographic definitions and boundaries.

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Information Visualization as a Research Method in Art History
Christian Huemer, Getty Research Institute; and Lev Manovich, University of California, San Diego; chuemer@getty.edu and manovich@ucsd.edu

Interest is growing in the use of information visualization across the humanities, as scholars in literature, history, and media studies discover its potential for their research. Large-scale digitization efforts by libraries, museums, and other cultural institutions are providing online access to significant collections of images and texts. Instead of using these large data sets merely for the retrieval of individual records, new software and computer interfaces enable art historians to explore complex relationships between many variables interactively. This panel presents concrete visualization projects in the field of art history and discusses questions surrounding its use as a research method: How do we combine the close reading of a small number of visual artifacts with the analysis of patterns that may manifest themselves across millions of these artifacts? How can we understand visualization in relation to other more established art-historical methods?

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Art History Open Session
Art and Architecture in Europe: 1600–1750
John Beldon Scott, University of Iowa, jb-scott@uiowa.edu

This session showcases current research in early modern European art, architecture, and urbanism. Papers that explore the persuasive intent and mass audience of the art production of the period are given preference.

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New Approaches to Post-Renaissance Florence, ca. 1600–1743
Eve Straussman-Pflanzer, Art Institute of Chicago; and Eva Struhal, Université Laval; estrau@artic.edu and eva.struhal@hst.ulaval.ca

Despite Rudolf Wittkower’s declaration that Florence became a “stagnant backwater” after the sixteenth century, recent scholarship has demonstrated the wealth of artistic activity that flourished in the city after that date. We seek to reevaluate this art-historical period by bringing together research that highlights and nuances the artistic, cultural, and intellectual riches of post-Renaissance Florence. We invite papers that consider any aspect of the period from ca. 1600 until the death of the last Medici in 1743. Paper topics might include the historiography of the period, literary academies and artists, the interchange between art and science, female patronage, women artists, or the intersection of art and music.

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No Talking Allowed: Making a Visual Argument about Art History
Jean Robertson and Craig McDaniel, Indiana University; jerobert@iupui.edu and crmcdani@iupui.edu

Anyone who has studied art history most likely has experienced the aesthetic and conceptual thrill of viewing adroit visual presentations that barely seem to require the professor’s verbal accompaniment. This experimental Open Forms session invites proposals for five twelve-minute presentations that analyze art-historical topics using visual means, either still or moving images, with minimal spoken or written words. (Nonverbal sound tracks are acceptable.) Models for the visual essays include such examples as exhibitions in which curators make conceptual points about artists, periods, styles, and themes through works of art alone; visual essays with minimal captioning created by photojournalists; and visual essays without accompanying text, such as John Berger’s visual argument about the gaze in his book Ways of Seeing. We welcome proposals from art historians, critics, curators, and artists with the goal of organizing a session that demonstrates an expansive range of possibilities for visual essays about art history. (However, we will not accept an artist’s visual essay solely about one’s own work.) Proposals may be in written form.

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Historians of British Art
Future Directions in the History of British Art
Peter Trippi, Fine Art Connoisseur Magazine and Projects in 19th-Century Art, Inc., 780 Riverside Drive, Suite 10F, New York, NY 10032; ptrippi@aol.com

The year 2012 marks the twentieth anniversary of the founding of Historians of British Art and thus is an ideal moment to scan the horizons of this field. Instead of looking back to document our recent evolution, this session highlights what lies ahead. Advanced graduate students and those who have earned a PhD or joined a museum staff since 2007 are invited to submit proposals on any aspect of British art and architecture, past or present, including ones that reflect Britain’s varied roles in the wider world. Particularly welcome are papers that employ emerging methodologies or ways of collaborating with colleagues in other disciplines.

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