Call for Papers | Fontainebleau Art History Festival — The Ephemeral

Posted in Calls for Papers by Editor on October 10, 2012

Conference call for papers:

Third Annual Art History Festival — The Ephemeral
Fontainebleau, 31 May — 2 June 2013

Proposals due by 31 December 2012

Château de Fontainebleau (Wikimedia Commons)

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he Ministry of Culture and Communications, the National Institute of Art History and the Chateau of Fontainebleau, with the support of the Ministry of Higher Education and Research are jointly organising the third Art History Festival. Originally conceived as a meeting point and knowledge crossroads, these three days will include conferences, debates, concerts, exhibitions, film shows, lectures and meetings in the chateau and at several sites in the town of Fontainebleau. The Festival explores a different theme every year, in 2013 it will be The Ephemeral and there will be three annual meetings: The Art History Forum, a rendezvous for all the latest news in the world of the arts; the Book Salon and art reviews; and Art & Camera, a wide-ranging look at cinema and art and future prospects.

The Festival also includes training offerings for art history teachers in schools in the form of Spring University sessions and training workshops provided and supported by the Ministry of Education.All these events are viewed from the perspective of a guest country: in 2013 this guest country will be the United Kingdom. Work involving British research or concentrating wholly or partly on the United Kingdom will be particularly welcome. This Call for Papers is intended for preferably French-speaking, experienced and novice French and foreign researchers. Contributions by young researchers, conservation specialists or restorers will be given especially careful consideration.

The Ephemeral

Art first manifested itself in the earliest standing stones or paintings as an attempt to either amplify the ephemeral (festive celebrations, temporary body ornamentation, etc.) or to defy it (by seeking to capture the fleeting nature of movement as in parietal art; or as an attempt to leave a durable, even eternal mark by building monumental structures for instance).The history of art therefore swings between permanence and transience, between two opposite extremes: the monumental and performance, the stillness of an image and art that focuses on moving images, a fixed gaze and a gaze that lingers as time passes (ephemeral sequence). (more…)

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