Curatorial Fellowship at the Indianapolis Museum of Art
Allen Whitehill Clowes Curatorial Fellowship
Indianapolis Museum of Art, 2011-12
Applications due by 31 March 2011
The Indianapolis Museum of Art is pleased to announce a nine-month curatorial fellowship. The fellowship supports scholarly research related to the Clowes Collection at the IMA and provides curatorial training in the field of European painting and sculpture. The Clowes Fellow is fully integrated into the curatorial division of the Museum and has duties comparable to those of an assistant curator, ranging from collection research and management to exhibition development and the preparation of interpretive materials and programs.
To be eligible for the fellowship, the applicant must be enrolled in a graduate course of study leading to an advanced degree in the history of art or a related discipline, or be a recent degree recipient (within the last two years). Applicants must demonstrate scholarly excellence and promise, as well as a strong interest in the museum profession. U.S. citizenship is not required. The Clowes Fellow will receive a stipend of $18,000 and an educational travel allowance of $2,000. Housing is provided in a scholar’s residence on the grounds of the museum. The nine-month fellowship period will begin September 5, 2011. The appointment is renewable. (more…)
Call for Papers: Conference on Enslavement and Cultural Memory
Enslavement: Colonial Appropriations, Apparitions, Remembrances, 1750-Present Day
University of Portsmouth, Centre for Studies in Literature Annual Postgraduate Symposium, 17 June 2011
Proposals due by 25 February 2011
Keynote Speaker: Professor James Walvin
Harold Bloom, in his critical introduction to Enslavement and Emancipation (2010) does not, as one might expect, lament the monstrous history of the slave trade. Instead, he returns to the second book of Tanakh (Exodus): an original tale of bondage and liberation. For Bloom, it is not merely a matter of re-imagining a theme now largely associated with the transatlantic slave trade, but moreover to consider how ‘[l]iberation movements to come will go on
finding their model in it’. The Hebrews’ bondage in Egypt, here conceptualized as archetypal suffering and liberation, resonates for Bloom throughout history, leaving its trace in subsequent emancipation movements. Recent studies in the slave trade, too, often move beyond the historical moment to consider how cultural events are remembered, appropriated and disseminated. This work has garnered interest in Britain since the bicentenary of abolition in 2007; the issue of remembrance remains somewhat political and contentious in the US today.
This symposium aims to consider the wider connotations of the term ‘enslavement’ as well as its more specific importance in critical studies of slavery, memory and cultural return. We welcome papers that consider ideas of colonial appropriation; fiscal, somatic, or agricultural enslavement and / or indenture in literature from 1750 to the present day. Possible topics may include but are not limited to:
- Slave Trade Literature
- Economies of Colonial Exploitation / Fiscal Enslavement
- Postcolonial Theory
- ‘Hauntology’ / Memory Theory and Slavery
- Psychological Enslavement
- Hegelian Master / Slave Dialectics
We welcome proposals for 20 minute papers. Please send abstracts of approximately 250 words to Lucy Ball and Jane Ford: cslpgconf@port.ac.uk.
Call for Papers: The Deadly Sins of the Baroque across Time
2011 International Conference on Arts, Ideas, and the Baroque: ‘Deadly Sins’
The Institute for the Public Life of Arts and Ideas, McGill University, Montréal, 24-26 June 2011
Proposals due by 5 February 2011
This conference seeks to examine the ‘baroque’ in the early modern world as well as its echoes and resonances across time. Defined differently by different academic traditions, the notion of the baroque remains a point of reference as well as contention, and a signifier of cultural legacy as well as innovation – as in the notion of the ‘neo-baroque’. We propose to investigate the rich artefacts, representations, and influence of the era—particularly around the theme of Deadly Sins (also the theme of the 2011 Montréal Baroque Festival to be held in conjunction with this conference). We invite papers which address interdisciplinary scholarship and make new connections between research fields. Proposals from scholars working in all disciplines might address, but are not limited to, the following fields:
- Musicology and Music Performance
- Law and Legal History
- Social and Cultural History
- Literature
- Architecture and Design
- Theatre and Performance
- Art History
- Religious Studies
- History of Science and Medicine
- Philosophy
Proposals for complete panels as well as for individual papers in English or French are welcome. Researchers are invited to submit abstracts of no more than 250 words, and brief (2 page) cvs to: baroque@mcgill.ca. Deadline for submissions: 5 February 2011.
IPLAI is a new undertaking by McGill University’s Faculties of Arts, Education, Law, Management and Religious Studies and the Schools of Architecture and Music. Its goals are to foster collaborative, interdisciplinary scholarship and teaching in the humanities, to reinvigorate the place of humanities scholarship in public discourse, and to examine the life of ideas across time. The Montreal Baroque Festival is a unique festival celebrating the creativity, expressiveness and inspiration of music-making in the seventeenth and eighteenth centuries. The chapels, crypts, chateaux, cafes, cellars, attics, gardens and streets of Old Montreal are brought to life with operas, oratorios, recitals, improvisations and jam sessions performed by an international roster of brilliant musicians.
Conference Registration Fee: $60 (faculty); $25 (students)
Online registration will open March 2011
www.mcgill.ca/iplai/ | www.montrealbaroque.com
Exhibition: ‘Rome and Antiquity, Reality and Vision’
From the Fondazione Roma:
Rome and Antiquity: Reality and Vision in the Eighteenth Century
Museo della Fondazione Roma, Palazzo Cipolla, Rome, 30 November 2010 — 6 March 2011
Curated by Carolina Brook and Valter Curzi
"Orsay Minerva," 2nd century AD (marble replaced late 18th century), Paris: Louvre
Both artistic and archaeological, the exhibition aims to illustrate the way in which ancient monuments, excavations, museums and artistic institutions were able to nourish the arts and education and spread the love for classic art throughout Europe which, at the end of the eighteen century, became an indispensible model. The exhibition, Roma e l’Antico. Realtà e visione nel ’700, intends to bring into focus the major factors that that generated Rome’s cultural wealth and fame: Classic Antiquity. Especially in the second half of the century Rome was an authentic crossroads for artists who came from all over Europe in order to study Antiquity. As investigations today reveal, the Papal capital became the most important centre for culture due to the abundance of classical figurative models which are fundamental for artistic training. The Roman classical heritage, described as an unparalleled resource for the renaissance of Europe, was actually the result of an invariable strategy pursued by Popes and civic authorities during the eighteen century, which the exhibition will explore by illustrating the chief elements. A large section of exhibition will be dedicated to the training syllabus for artists in Rome and the way this model was spread through the Accademia Romana di San Luca, the Academy of San Fernando in Madrid and the Museo Riminaldi in Ferrara. Another section addresses museums of Roman Antiquity
with the aim of illustrating their educational role and power to promote tourism in the
Eternal City.
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A full description of the exhibition is available at View from the Bow, a blog for the arts and music in the early modern period (7 January 2011) and at Deborah Swain’s Living in Rome (7 January 2011).
Lecture Series at the Louvre: Ancients and Moderns
From the Louvre:
Conférences d’histoire de l’art: Pourquoi l’antique chez les modernes?
Musée du Louvre, Paris, January-February 2011
L’antinomie entre Antiquité et Modernité est une question qui préoccupe depuis la Renaissance jusqu’aux grands débats esthétiques des XVIIe et XVIIIe siècles. Elle en implique une autre qui traverse l’histoire des arts et qui est au cœur même de la création artistique : comment réconcilier l’imitation et l’originalité ? Winckelmann, le fondateur de l’histoire de l’art et du paradigme grec, avait donné une réponse à ces questions : « La seule manière pour nous de devenir grands, et même, si cela se peut, inimitables, c’est d’imiter les Anciens » (Histoire de l’art dans l’Antiquité, 1764). Mais ce rêve d’appropriation de l’origine retrouvée est-il possible ? Par ailleurs quelles sont les conditions de la survie et des nombreux retours à l’antique à partir de la Révolution, alors même que les esprits cherchent à se libérer des autorités qui régissent la vie politique, artistique et littéraire de leur temps ? Pourtant, depuis le XVIIIe siècle, tout au long du XIXe et jusqu’au début du XXe siècle, on continue dans ces domaines à explorer l’Antiquité de manière passionnée et les styles formellement plus novateurs, tant en peinture qu’en sculpture, se tournent à nouveau vers ce modèle.
Ce cycle entend répondre à ces questions, en abordant des époques et des contextes différents: le retour à l’antique dans la France monarchique de Louis XV, la postérité du monde classique dans la Rome du XVIIIe siècle, mais aussi l’idéal du « vivre à l’antique » dans l’Europe des Lumières. Pour Ingres, comme pour Rodin, il s’agit plutôt d’une Antiquité sacrée les unissant autour d’un idéal grec qui s’impose comme fondateur, indispensable et catalyseur de modernité. Enfin, le « retour au style » des sculpteurs français au début du XXe siècle annonce les nouveaux styles modernistes.
6 January 2011, 6:30pm
Le retour à l’antique français et la crise de l’image de Louis XV
Marc Fumaroli (de l’Académie française, Collège de France)
13 January 2011, 6:30pm
Rome et l’antique : pour l’amour des Muses au XVIIIe siècle
Carolina Brook (Università degli Studi, Pise) et Valter Curzi (Università degli Studi “La Sapienza”, Rome)
20 January 2011, 6:30pm
Paraître à l’antique. Portraits et fantasmes au XVIIIe siècle
Daniela Gallo (université de Grenoble-II / Pierre-Mendès-France)
3 February 2011, 6:30pm
Ingres et Rodin ou les métamorphoses de l’antique
Pascale Picard (musée de l’Arles et de la Provence antiques, Arles)
10 February 2011, 6:30pm
Le « frein du style » à Paris au début du XXe siècle : la sculpture libérée par la rigueur ?
Édouard Papet (musée d’Orsay, Paris)
Call for Articles: ‘Libidinal Lives’ in the Long Nineteenth Century
Edited Collection — Libidinal Lives: Economies of Desire in the Long Nineteenth Century
Abstracts due by 1 April 2011
In his controversial work Libidinal Economy (1974) Jean-Franҫois Lyotard famously remarked ‘every political economy is libidinal’. With this radical pronouncement, Lyotard identified all hegemonic structures as susceptible to the affective ebb and flow of desire. Forming the cornerstone of the new ‘libidinal materialism’, Libidinal Economy, alongside Deleuze and Guattari’s Anti-Oedipus (1972), saw the desiring body as inextricably bound up with economic, political and fiscal operations. In the decades that followed, a wealth of theoretical work drew on this challenging juxtaposition of the libidinal and the economic. Notably, Lawrence Birkens’s Consuming Desire (1988) postulated a parallel development of sexology and political economy and more recently Regenia Gagnier’s The Insatiability of Human Wants (2000) elaborated on the question of production and reproduction in Victorian Aesthetics.
Building on this important and often contentious body of scholarship, this collection of essays seeks to explore the interrelatedness of desire, sexuality and economic processes in the literary, scientific and cultural worlds of the long nineteenth century. Papers might consider the role of libidinal impulses in social and political formations, or question whether desire functions as a cohesive, communal force. They might examine a spectrum of nineteenth-century debates with reference to how they position sexuality as the central and influencing practice in an ideological matrix. In addition they might consider whether we find an undercurrent of competing desires in the patterns of pleasure, production, reproduction and consumption during the nineteenth century, and ask to what extent these desires influenced twentieth and twenty-first century perceptions of the Victorians.
Suggested topics may include, but are not limited to:
- Production, consumption, creativity and libidinal impulses
- Sexual/textual lives
- Commodity/bodily fetishism and pornography
- Political/social bodies of desire
- Gift theory and eroticism
- Non-‘normative’ libidinal economies of sensation and pleasure: masturbation, fellation, same-sex intimacy
- The gothic, cannibalism, the death drive and desire
- Imperialist desires and ‘other’ economies
- Colonial and post-colonial legacies and heritage
- Theoretical afterlives, ie., Jean-Franҫois Lyotard, Bataille, Deleuze & Guattari, Eagleton, and
- Queer Theory etc.
Please send abstracts of 500 words (for chapters of 6,000-8,000 words) along with a CV to Jane Ford and Kim Edwards Keates to jane.ford@port.ac.uk and kim.edwards@liverpool.ac.uk by 1st April 2011. The deadline for completed essays is 1st October 2011. Any queries are welcomed.
Conference Review: Does the Picturesque Have a Future?
Recently added to caa.reviews:
Conference — Emerging Landscapes: Between Production and Representation (London: University of Westminster, 25-27 June 2010).
Reviewed by Samantha L. Martin-McAuliffe, School of Architecture, University College Dublin; posted 11 January 2011.
. . . When the conference had seemingly reached the point where an obituary for the Picturesque seemed inevitable, Jonathan Hill (The Bartlett, University College London) delivered his keynote address, “Weather Architecture,” in which he called for a redemption of the tradition. Through a considered reflection on John Soane’s house in Lincoln’s Inn Fields and J. M. W. Turner’s London studio, Hill explained how the Picturesque attended to important themes, such as mortality, history, and, notably, the environment. Because this tradition aligned with topics such as the seasons and the senses (and hence the weather), the places it qualified were never static, but always emerging and forever changing. From this stance, the Picturesque is seen not so much as a formal model for construction that is fixed to a particular historical period, but instead as a sensitivity toward the surrounding world and its manifold processes—time, temperature, narrative. Is it possible, therefore, to recast the role of the Picturesque within contemporary landscape studies? Can it help the invisible yet constantly present conditions of the environment rise into notice? . . .
For the full review, click here» (CAA membership required)
Exhibition: The Landscape of Tivoli in the Eighteenth Century
Tivoli: Variations sur un paysage au XVIIIe siècle
Cognacq-Jay Museum, Paris, 18 November 2010 — 20 February 2011
Joseph Vernet, "La cascade," ca. 1748 (Photo: Roger Viollet)
L’exposition Tivoli. Variations sur un paysage au XVIIIe siècle propose une réflexion originale sur l’évolution du paysage, de 1720 à 1830, autour d’un motif particulier : le site de Tivoli et son célèbre temple dit de la Sibylle.
Lieu de villégiature fameux depuis l’Antiquité, Tibur (le nom latin de Tivoli) fut mise à la mode par l’empereur Auguste et par Mécène, le fastueux ami des arts, et célébrée par les poètes Horace et Catulle (Ier s. av. J.-C.). La Sibylle Albunea y exerçait son art divinatoire. Le site est exceptionnel : bâtie sur les premiers contreforts des Apennins, à une trentaine de kilomètres à l’est de Rome, Tivoli se présente comme une ville à flanc de montagne, dominant la plaine qui s’étend de là jusqu’à la mer. Une rivière, l’Aniene, s’y précipite en multiples cascades. Une petite acropole s’élève au bord du gouffre : les ruines de deux temples sont encore conservées, l’un quadrangulaire, l’autre rond. Ce dernier surtout est devenu célèbre, sous le nom de temple de la Sibylle ou de Vesta.
ISBN : 9782759601462, 30€
Au XVIIIe siècle, Tivoli et son temple sont progressivement devenus l’un des motifs les plus représentés dans l’histoire de la peinture, singulièrement dans la peinture française. La perfection architecturale du monument, son emplacement au coeur d’un paysage sublime et terrifiant, la richesse incomparable de son histoire, de ses légendes, en ont fait un motif adulé par les peintres et leurs collectionneurs. C’est aussi l’époque où l’on décline le temple de Tivoli sous forme de fabriques édifiées dans les jardins.
En cinquante oeuvres, peintures, dessins et gravures, l’exposition propose de confronter le regard porté par les plus grands artistes de l’époque sur ce motif : une brève introduction présente l’origine de son succès, au début du XVIIe siècle, dans l’entourage de Paul Bril et de Gaspard Dughet. Pour le XVIIIe siècle, Vanvitelli, Boucher, Vernet, Hubert Robert, Piranèse… se succèdent autour du même motif. Puis Valenciennes, Simon Denis ou Granet qui furent en France les précurseurs du paysage moderne. Composées ou plus spontanées, caprices, variations poétiques, études faites en plein air, les oeuvres présentées posent de manière contradictoire la question du sujet dans la peinture de paysage. Le plus singulier est sans doute qu’un même motif ait intéressé tous les artistes sur une période aussi longue, des plus traditionnels aux plus modernes.
L’exposition sera accompagnée par un catalogue en couleurs. En plus de notices détaillées sur chaque oeuvre, des essais confiés à plusieurs auteurs traiteront notamment du site de Tivoli, de sa fortune dans l’histoire de l’art ou dans les récits de voyageurs, et de l’importance de certains artistes particulièrement associés à Tivoli (Joseph Vernet, Hubert Robert).
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Didier Rykner’s review of the exhibition (in French) for La Tribune de l’Art (30 November 2010) is available here»
New Title: ‘Interior Portraiture and Masculine Identity in France’
From Ashgate:
Temma Balducci, Heather Belnap Jensen, and Pamela Warner, eds., Interior Portraiture and Masculine Identity in France, 1789–1914 (Aldershot: Asghate, 2010), 300 pages, ISBN: 9780754667841, $119.95.
Focusing specifically on portraiture as a genre, this volume challenges scholarly assumptions that regard interior spaces as uniquely feminine. Contributors analyze portraits of men in domestic and studio spaces in France during the long nineteenth century; the preponderance of such portraits alone supports the book’s premise that the alignment of men with public life is oversimplified and more myth than reality.
The volume offers analysis of works by a mix of artists, from familiar names such as David, Delacroix, Courbet, Manet, Rodin, and Matisse to less well-known image makers including Dominique Doncre, Constance Mayer, Anders Zorn and Lucien-Etienne Melingue. The essays cover a range of media from paintings and prints to photographs and sculpture that allows exploration of the relation between masculinity and interiority across the visual culture of the period. The home and other interior spaces emerge from these studies as rich and complex locations for both masculine self-expression and artistic creativity. Interior Portraiture and Masculine Identity in France, 1789–1914 provides a much-needed rethinking of modern masculinity in this period.
Contents: “Introduction,” Temma Balducci, Heather Belnap Jensen and Pamela J. Warner; “The revolution at home: masculinity, domesticity and political identity in family portraiture, 1789–1795,” Amy Freund; “Picturing paternity: the artist and father-daughter portraiture in post-Revolutionary France,” Heather Belnap Jensen; “Public and private identities in Delacroix’s Portrait of Charles de Mornay and Anatole Demidoff,” Jennifer W. Olmsted; “At home with the camera: modeling masculinity in early French photography,” Laurie Dahlberg; “The artist in his studio: dress, milieu, and masculine identity,” Heather McPherson; “Cézanne, Manet, and the portraits of Zola,” Andre Dombrowski; “At home in the studio: two group portraits of artists by Bazille and Renoir,” Alison Strauber; “In bed with Marat: (un)doing masculinity,” James Smalls; “The competing dialectics of the cabinet de travail: masculinity at the threshold,” Pamela J. Warner; “Anders Zorn’s etched portraits of American men, or the trouble with French masculinity,” S. Hollis Clayson; “Auguste Rodin, photography, and the construction of masculinity,” Natasha Ruiz-Gómez; “Matisse and self, the persistent interior,” Temma Balducci; Selected bibliography; Index.
About the Editors: Temma Balducci is an Assistant Professor of Art History at Arkansas State University. She has published on the gaze and spectacle in nineteenth-century French art and on feminist art of the 1970s. Her manuscript in progress, “Beyond the Flâneur: Gender, Space and the Gaze in Post-Haussmann Visual Culture,” challenges the ubiquity of the Baudelairean flâneur in theorizations of gender and space in early Third Republic Paris.
Heather Belnap Jensen is Assistant Professor of Art History at Brigham Young University. Her research and publications examine women’s contributions to early nineteenth-century culture. She is currently co-editing a volume on women, bourgeois femininity and public space with Temma Balducci, as well as working on a book manuscript titled “Art, Fashion and the Modern Woman in Post-Revolutionary France.”
Pamela J. Warner is Assistant Professor of Art History at the University of Rhode Island. Her research focuses on art criticism in France during the nineteenth century, and she has published articles in Nineteenth-Century Art Worldwide, Studies in the Decorative Arts and the Cahiers Edmond et Jules de Goncourt. Her book in progress focuses on the critical reception of Realism and its ties to materialist philosophy.
Call for Papers: How Geographers Address Collections
Geographies of Collections
Annual International Conference of the Royal Geographical Society-Institute of British Geographers
Royal Geographical Society and Imperial College in London, 31 August — 2 September 2011
Proposals due by 11 February 2011
Collections of diverse types provide rich sources for geographical enquiry. The specific systems of organisation developed within them, along with their contexts of use, can variously form or inform the geographical imagination. The collection is also never static, whether it is aggregated as an archive, a library, a museum collection, a scientific dataset or a twenty-first century digital database. As a result, the knowledges and geographies developed within them are always ripe for re-imagination.
The theme of the 2011 RGS-IBG Conference, The Geographical Imagination, presents an opportunity to adopt what Rebecca Duclos has termed ‘a cultural geography perspective’ towards collections, and to reconsider their geographies at a time of intensified interest in this area. Popular events such as A History of the World in 100 Objects and the British Library Growing Knowledge exhibition show, from opposite sides of the spectrum, how interaction with myriad different collections is changing. This session therefore seeks to question how geographers working within this shifting landscape are engaging with the collection across a range of forms and materialities.
We would be pleased to receive submissions for papers from researchers engaged in a wide variety of ‘collections’ including fine art, natural history, cartographic, photographic, ethnographic, archaeological, and digital. We are particularly interested in papers which address the issues of place, space and imagination in the accumulation and deployment of collections, and in papers which have a historico-geographical focus. Topics might include: (more…)
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