Call for Papers: Universities Art Association of Canada (UAAC/AAUC)

Posted in Calls for Papers by Editor on May 8, 2011

The 2011 annual conference for the Universities Art Association of Canada (UAAC/AAUC) will be hosted by Carleton University in Ottawa, Ontario, from Thursday, October 27th, to Saturday, October 29th. The following list of sessions suggests the possibilities for eighteenth-century papers. A one-page proposal and CV should be sent to the session chair by May 15. Presenters must become members of UAAC. For more information and the full call for papers (including the French), please visit the conference website.

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Drawings from the Fifteenth Century to the Present Day
Chairs: Jen Diorio and Janina M. Knight, 2jmk1@queensu.ca

This session calls for papers that explore topics relating to the important role of drawing in art and architecture. Papers can discuss the role of the drawing as a preparatory step in the artistic process, or how a drawing can be created and exist as a work of art in its own right. How can drawings aid art historians in understanding the true intentions of artists and architects? How can drawings be used to reveal otherwise unknown aspects of an artist’s working process? In what ways can drawings enlighten us as to the meaning of particular works of art or architectural designs? We invite submissions that discuss the role of drawing in European art and architecture from the fifteenth century to the present day.

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“The Barbarous Gaudy Goût”: Encounters between East and West in Early Modern Art
Chairs: Je Eric Weichel, 6ejw@queensu.ca, and Allison Fisher, 1anf@queensu.ca

In 1749, Elizabeth Montagu wrote “we must all seek the barbarous gaudy goût of the Chinese; and fat-headed Pagods and shaking Mandarins bear the prize from the finest works of antiquity.” Montagu’s satirical description of chinoiserie is one of the most famous commentaries on the process of aesthetic and artistic contact between Asia and Europe. This session seeks papers reflecting the cultural communication between East Asia and Western Europe in a range of diverse media, including ceramics, painting, textiles, pattern and lacquer. We are specifically interested in the dialogue between China and Japan and Britain, France and Italy from the fourteenth to the nineteenth centuries. Subjects could include: activities of the East India Company or the VOC, chinoiseries, textile trade and conservation, landscape design, architecture, tea drinking and ceremonies, consumption of exotic commodities, food history, portraiture, costume history, mission work, archaeological investigations, and Impressionist japonisme.

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The Global Baroque in Postcolonial Perspective
Chairs: Stephanie Dickey and Gauvin Alexander Bailey, dickeys@queensu.ca

This session seeks papers concerned with visual and material culture around the world in the period ca. 1580- 1750. In this era of colonial and economic expansion, artists and architects frequently traveled outside their home countries for work or inspiration, while paintings and prints functioned as internationally-traded commodities. We are especially interested in case studies that explore the creative dynamic produced by interactions between artists, artworks, and/or consumers of art from divergent cultures. This might include intersections both within the European continent (e.g., Netherlandish artists in Rome or Prague) and between Europe and the wider world (e.g., French architecture in Quebec, European artists in Asia or the Ottoman Empire, etc.).

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Landscape of Ruins
Chairs: Karla McManus, karla.mcmanus@gmail.com, and Luke Nicholson, ld_nicho@alcor.concordia.ca

The ruin is a charged concept, evoking both wreckage and the possibility of renewal. In architectural and landscape painting, drawing and printmaking, the ruin has a long history as an emblem of civilization’s decay, the sublime possibilities of destruction, and a warning against hubris. More recently, ruination has returned to envision the future collapse of contemporary civilization, brought on by ecological, cultural or political disaster. Time-based technologies, such as photography, video and film, have emerged as central in the representation of ruination today. Proposals are invited on any aspect of the landscapes of ruin, in any medium and historical period.

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The Signature of the Artist
Chairs: Franziska Gottwald and David de Witt, franziskagottwald@googlemail.com

Signatures of artists have been known since Antiquity, and are often found as name, monogram, or symbol. In the Renaissance, many signatures were written in Latin and sometimes expanded into an assertion of the artist’s intellectual and manual work. But such inscriptions are not the only kind of authorial signature to be identified in art. The artist’s typified style of painting or etching can also serve as a signature. This panel seeks papers that discuss the different meanings of “signature” from a range of periods and contexts, and addresses questions such as: artistic commentary, self-representation, and the aesthetics of the signature of the artist.

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Prints and Cross-Cultural Encounters, 1600-1850
Chair: Stéphane Roy, stephane_roy@carleton.ca

In recent years, “globalization” has coloured the historian’s practice, leading scholars to widen their scope in order to get a more comprehensive look at modern and early modern societies. Evidence of cross-cultural connections seems indeed to abound, from the propagation of Caravaggio’s style through the paintings of foreign artists to the use of printed text to disseminate ideas during the Enlightenment. But perhaps no other medium can better testify to the vigour of cultural exchanges than printmaking itself. As works of portable dimension, prints had the natural ability of connecting cultures, shaping and fashioning ideas; they could also be reinterpreted and given new meanings in different cultural environments. Preliminary evidence indicates that interactions between European (and, later, North-American) printmakers resulted in cultural transfers that have not been without consequences on the shaping of national identities. Just as with literature and political theory (areas enriched and transformed by “international” dialogue), the effects of cosmopolitism were equally felt in the world of visual arts. Measuring those effects, however, has yet to be done. How did these elements of intercultural connections translate into visual terms? Are there indications pointing to the existence of a common iconographical lexicon based on shared values or ideals? Does the practice of printmaking itself challenge the long-standing tradition of “national schools”?

By using the print medium as a prime vehicle for cross-cultural encounters, this panel welcomes proposals in both English and French dealing with the following issues: circulation of prints in different national contexts; visual recycling of specific visual motifs; existence of recurring themes and common visual codes; advertisement of foreign prints in newspapers; role of print sellers as cross-cultural intermediaries; artists travel and correspondence; development of national styles using “foreign” engraving techniques; dissemination of painters’ work in different national contexts; international art trade; and representation of otherness in prints.

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