MetPublications
From MetPublications:
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About MetPublications
MetPublications is a portal to the Met’s comprehensive publishing program. Beginning with nearly 650 titles published from 1964 to the present, this resource will continue to expand and could eventually offer access to nearly all books, Bulletins, and Journals published by the Metropolitan Museum since the Met’s founding in 1870. It will also include online publications.
MetPublications includes a description and table of contents for almost every title, as well as information about the authors, reviews, awards, and links to related Met bibliographies by author, theme, or keyword. Current titles that are in-print may be previewed and fully searched online, with a link to purchase the book. The full contents of almost all other titles may be read online, searched, or downloaded as a PDF, at no cost. Books can be previewed or read and searched through the Google Books program. Many out-of-print books are available for purchase, when rights permit, through print-on-demand capabilities in association with Yale University Press.
Readers may also locate works of art from the Met’s collections that are included within each title and access the most recent information about these works in Collections. Readers are also directed to every title located in library catalogues on WATSONLINE and WorldCat. Please check back frequently for updates and new book titles. MetPublications is made possible by Hunt & Betsy Lawrence.
About the Met’s Publishing Program
From its founding in 1870, the Metropolitan Museum has published exhibition catalogues, collection catalogues, and guides to the collections. Today it is one of the leading museum publishers in the world, and its award-winning books consistently set the standard for scholarship, production values, and elegant design. Each year, the Met produces about thirty exhibition and collection catalogues and general-audience books, as well as informative periodicals such as the quarterly Metropolitan Museum of Art Bulletin and the annual Metropolitan Museum Journal.
Beginning in 2000, the Met developed two groundbreaking online publications: the Heilbrunn Timeline of Art History, with 300 chronologies, 900+ essays, and close to 7,000 works of art written by Museum specialists; and Connections, which offers personal perspectives on works in the collections.
The Met’s print and online publications program will continue to expand in scope in order to reach the broadest possible audience, thus fulfilling its mission to increase public awareness of and appreciation for art, presenting insightful scholarly discussions and diverse Museum voices on works of art, art history, and especially the Museum’s collections and exhibitions.
Art Market | Winter Art & Antiques Fair
Press release from the Winter Fine Art & Antiques Fair:
Winter Fine Art & Antiques Fair, Olympia
Olympia Exhibition Centre, London, 12-18 November 2012
Armorial Lion, with his paw raised upon a cartouche and his tail curled across his back, ca. 1740 (Exhibitor: Hansord)
The Winter Fine Art & Antiques Fair at Olympia, now in its 22nd year, is considered one of the most important annual art and antiques events and is the only fair of its calibre between October and February. Highlights include artworks by Chagall, Miró and Braque, furniture by Trotter, glass by Lalique and even Bond-style accessories alongside silver, glass, jewellery, textiles and clocks for the collector and Christmas shopper. Attracting over 24,000 visitors, the Fair, which opens at 4pm on Monday, November 12, 2012 features around 130 exhibitors in an elegant setting.
Well positioned for buyers furnishing a home or shopping before Christmas, it has become an event in the annual social calendar. The buzzy preview night attracts over 3,000 keen buyers with queues down the road before opening and plenty of red dots and empty glasses at the end of the night. Attendees include Jemima Khan, Jools Holland, Jasper Conran, Bryan Ferry, Nicky Haslam, Sir Paul Smith, Sir David Tang and Sir Peter Blake. Furniture is an important element of the Winter Fair with a number of the UK’s top furniture dealers exhibiting. Wakelin and Linfield brings an early 18th-century English walnut bureau and Hansord will be showing a myriad of interesting objects such as a late 19th-century armchair constructed from timber from Nelsons ship The Foudroyant as well as a rare pair of early 19th century Dutch colonial burgermeisters chair with carved decoration and a fine George III period mahogany partners desk, with original brass swan neck handles and good veneers to the drawer fronts dating from 1775.
Fine Art makes up a good proportion of the fair with prices ranging from the hundreds to the hundreds of thousands. Print specialists Dinan & Chighine has two important sets of prints by Marc Chagall and Joan Miró while Court Gallery brings an oil on card laid on canvas, ‘l’aquarium au verre’, 1944 by Georges Braque. Held in the Vassar College Collection from 1956 until 2012, the work was the first of the artist’s fish bowl series and the motif was repeated many times by him in the 1940s and 50s.
Scottish-based, Victorian picture dealer, Campbell Wilson has an oil on canvas portrait of Isadora Duncan by Paul Swan (1883-1972) signed and dated. The most famous dancer of her time, Isadora is known as the ‘mother of modern dance’. It is for sale for £15,000. Nicholas Bagshawe’s Philip Alexius De Laszlo (1869-1937) portrait of Major Henry Frederick Elliott Lewin was painted during the First World War, and is a fine example of one of 38 portraits that the artist painted in 1915 of officers going to the front, as their families feared they might not return. Ironically after painting these patriotic and poignant portraits, Laszlo was imprisoned for two years in 1917 (at the hands of the very establishment he had been portraying so handsomely) and suffered a nervous breakdown.
For anyone inspired by the latest James Bond film, which will be released in late October, Hampton Antiques have several items that could leave you shaken and stirred. A very rare Art Deco ‘Smokers Companion, in the form of a stylised aeroplane, manufactured in Germany by J.A. Henckels in the late 1920s.This wonderfully rare smokers companion has a cigar box in the fuselage, a pair of removable cigarette cases in the wings, a set of four ashtrays housed in the cockpit, behind a match safe with removable cover and striker. A very simple but very stylish touch is provided by the propeller which is sprung and serves as a cigar cutter, the clippings drop into undercarriage. It has its original plated finish, with gilded interior to cigar receptacle, cigarette cases and ashtrays will be offered at £6,500. A chromium plated, 1960 Rolls-Royce decanter in the shape of a radiator with ‘Spirit of Ecstasy’ Silver Lady will be offered, while a chrome Bugatti Spirit Decanter with a super red enameled Bugatti badge and black grill, all incased around a single glass decanter has an asking price of £775.
Japanese specialist Laura Bordignon Antiques will be bringing a selection of Japanese ivories, bronzes and works of art from the Meiji Period. These include a Japanese silvered bronze okimono of an eagle, signed Seiya saku, dating from the Meiji period. The BADA (British Antique Dealers Association) are also holding a lecture titled, The Flamboyant Mr Chinnery: An Artist in India and China. At a time when the West’s eyes are looking towards China and India this lecture, given by Patrick Conner, reminds us of how 200 years ago one wayward genius, George Chinnery, interpreted through his brush the turbulent times of imperial expansion and the Opium Wars in the region.
The fair will have a strong section devoted to clocks and barometers, which in this current economic times can be a shrewd investment as they are seen as machines, so therefore exempt from Capital Gains Tax. Richard Price & Associates will be offering a Louis XVI white marble, bronze and ormolu mantel clock, dating from circa 1780, while Alan Walker Barometers will be displaying an impressive and very unusual aneroid barometer by Negretti & Zambra of London, dating from 1915. The barometer is in a mahogany case, made from timber removed from HMS Empress – a seaplane carrier during World War 1, having been refitted in 1914 from a cross-channel steamer.
Staffordshire creamware model of a seated squirrel eating a nut, ca. 1775 (Exhibitor: John Howard)
Amongst the smaller objects such as silver, ceramics and glass; Paul Bennett will be exhibiting two exceptional pieces dating
from the 17th century. A continental silver-mounted carved coconut cup, dating from circa 1680 and inscribed by maker BA measures 10½inches tall, while a William and Mary flagon, made in 1694 in London by Frances Garthorne, weighs 51ounces and measures 12¾ inches high. Oxfordshire-based John Howard, who specialises in Early English ceramics, will be bringing a Staffordshire creamware model of a seated squirrel eating a nut. Measuring 8 inches high, the delightful squirrel dates from circa 1775 and will have an asking price in the region of £4,750. Meissen specialist, Alexandra Alfandary brings a Meissen vase, dating from circa 1880, and measuring 36cm high. It is a very unusual shape with ‘pâte-sur-pâte’ decoration to front showing a Centaur with a female on horseback.
For visitors searching for a one-of-a-kind Christmas present, many of the exhibitors will have interesting suggestions. Geoffrey Breeze Antique Canes has a cane inspired by Darwin’s Origin of the Species. Dating from 1870, the cane comprises a palm wood shaft with silver collar with a carved handle depicting an ape holding a human skull. There is a button on the handle, which makes the ape turn his head and open his mouth.
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From the Fair’s website:
Patrick Conner — The Flamboyant Mr Chinnery: An English Artist in India and China
Olympia Exhibition Centre, London, 15 November 2012
At a time when the West’s eyes are looking towards China and India, this year’s BADA Lecture, given by Patrick Conner, reminds us of how 200 years ago one wayward genius, George Chinnery (1774-1852), interpreted through his brush the turbulent times of imperial expansion and the Opium Wars in the region.
Chinnery enjoyed a double career in the Far East. Leaving wife and children behind in Ireland he sailed in 1802 to India where he rose to become the principal artist of the Raj. He had a successful studio, an Indian mistress and a huge appetite for curry. Then, hounded by creditors he fled to the China coast. Unable to make the voyage home, he lived on for another 27 years in Canton and Macau. Here he sketched and portrayed all those around him – the captains, the opium traders, the Chinese and the Westerners. Chinnery left a vivid pictorial legacy of
the key players at a time of immense change.
A former Keeper of Fine Art at the Royal Pavilion and Museums, Brighton, Patrick Conner is a Director of the Martyn Gregory Gallery, London, specialists in historical paintings related to the China Trade. A widely published author, his latest book is The Hongs of Canton. In his lecture Patrick will give a fascinating insight into the important historical period when Chinnery was active.
Lecture ticket price: £45 including lecture followed by a 2-course lunch with wine provided by Mosimann’s Winter Brasserie. To book for this event email Anne Green or call on +44 (0)20 7581 5259.
Art Institute of Chicago Unveils LaunchPad
AIC press release (29 October 2012) . . .
The Art Institute of Chicago’s Department of Digital Information and Access and the Department of European Decorative Arts are pleased to unveil a new gallery interactive that revolutionizes the museum experience while improving public access to art. LaunchPad is a specially developed platform for the iPad—containing engaging and interactive multimedia resources—that brings three-dimensional objects to life. With the new LaunchPads in the galleries, visitors have at their fingertips basic introductory facts about works of art enhanced by animations, brief video documentaries on techniques and use, and views of the works not possible in the galleries alone.
Drawers open, music plays, and objects are assembled and re-assembled right in front of visitors—lending great insight to the original contexts, uses, and construction of works of art from the 16th through the 19th centuries. The new technology and visualization tools will debut on October 28, 2012 with more than 50 objects featured on 25 iPads installed in the Eloise W. Martin Galleries of European Decorative Arts. LaunchPad will also be stationed at 16 kiosks throughout the new Jaharis Galleries of Ancient, Roman, and Byzantine Art when those galleries open to the public on November 11. With this effort, the Art Institute of Chicago becomes one of the first museums to offer such extensive scholarly and entertaining content—more than 1000 supporting images, 16 videos, and behind-the-scenes glimpses into context and conditions of production of works of art—on a custom platform rooted in the gallery experience.
“The decorative arts in a museum have always presented something of a challenge,” said Douglas Druick, President and Eloise W. Martin Director of the Art Institute of Chicago. “These objects—chairs, cabinets, tableware—were originally designed to be used but must now be protected so they can be preserved. We are thrilled that we can present these intricate objects in a much richer context through the creative use of technology, thanks to the generosity of Melinda Martin Sullivan and the Eloise W. Martin Legacy Fund. And we are confident that the LaunchPad platform and the resources it contains will be a model not only
for other galleries here at the Art Institute but for other
museums as well.”
“LaunchPad has truly been a collaborative effort involving no fewer than 71 professionals across the museum and beyond,” said Sam Quigley, project leader for LaunchPad and vice president for collections management, imaging, and information technology. “Working so intimately with Ghenete Zelleke, Samuel and M. Patricia Grober Curator in the Department of European Decorative Arts, and her colleagues, along with videographers, editors, photographers, and researchers has been a monumental, and monumentally satisfying, effort. And our hope is that similar institutions may take up LaunchPad as a model; with our development partners at IMA Labs of the Indianapolis Museum of Art and Sandbox Studios, we have been committed to making this an open source platform so that others may benefit from, and build on, what we have developed.”
More than two and a half years in development, LaunchPad will offer visitors the chance to get up close to some of the centuries-old objects in the Art Institute’s collection and discover their hidden stories through several innovative technologies. Users will be able to virtually “handle” objects, turning them over to examine the exquisite artistry on each and every side, through advanced 360-degree imaging. And animated videos of works such as the magnificent multi-chambered Augsburg Cabinet will allow users to open doors and drawers and see the beautiful carvings in the interiors and the pharmaceutical tools and bottles that are stored inside.
For the LaunchPad platform, teams at the museum have additionally created more than a dozen videos that focus on the skilled craftsmanship that went into making the pieces, providing an intimate view into the actual processes and techniques behind these objects. One such film captures Patrick Edwards, one of very few Americans trained in traditional 18th-century French marquetry, or wood inlay, recreating sections of an intricate coffer by André Charles Boulle in his San Diego studio— without a power tool in sight. Another video records two artists, one from the School of the Art Institute’s ceramics department, fashioning a replica of an earthenware vase step by step, from throwing to painting to glazing.
With its host of unique resources—which even includes an 18th-century recipe for rabbit stew for the museum’s rabbit-shaped porcelain tureen—LaunchPad will enhance visitors’ experience and appreciation of the museum’s rich holdings of European decorative arts and offer a model for creating the most productive intersection possible between the technology of today and the creative expression of the past.
LaunchPad was designed and written by staff from numerous departments at the Art Institute of Chicago. Its open source software was developed by IMA Labs at the Indianapolis Museum of Art with project coordination and management by Sandbox Studios of Minneapolis, Minnesota. The software is based on the TAP project, which is a collection of free and open source tools supporting the creation and delivery of mobile tours.
LaunchPad was originally conceived for the galleries of European Decorative Arts by Melinda Martin Sullivan and was created with a grant from her late mother, Eloise W. Martin.
Call for Papers | Risk, Crisis, Speculation, 1500-1800
The upcoming Santa Barbara conference on Risk, Crisis, and Speculation is supported — at least for Santa Barbara graduate students — with an course on the subject from the English Department:
ENGL 231: Early Modern Risk (Fall 2012) (Graduate)
Inspired by the ‘Speculative Risk’ programming of last year, this course will pursue the topic of risk in early modern England. In most contemporary discussions of the topic, risk is correlated with modernity. In this course we will address the emergence of some modern conceptions of risk in early modern economic practice and political theory. We will also explore premodern cognates to the notion of risk in concepts like chance and hazard, contingency and calculation, uncertainty and exposure to loss. In our inquiry into early modern risk, we will read More’s Utopia, Bacon’s New Atlantis, book two of Spenser’s Faerie Queene, Marlowe’s Doctor Faustus, and Shakespeare’s Merchant of Venice and The Winter’s Tale. In the course of our conversation we will also touch on the thought of Aristotle, Augustine, Luther, Hobbes, Blumenberg, Derrida, and Butler as we discuss topics ranging from utopian desire and societal engineering to the rise of speculative capitalism and insurance, from the dangers of maritime trade and metaphors of shipwreck to moral philosophy and the technologies of the self, from the hazards of transformative reading and religious conversion to hospitality, affective calculation, and the madness of decision.
While the topic is framed with a grounding in the sixteenth and seventeenth centuries, the conference extends the theme into the eighteenth century, too.
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Risk, Crisis, Speculation, 1500-1800
Early Modern Center at the University of California, Santa Barbara, 9 February 2013
Proposals due by 2 December 2012
The Early Modern Center at the University of California, Santa Barbara is pleased to announce our twelfth annual conference, Risk, Crisis, Speculation, 1500-1800, which will take place in the McCune Conference Room, HSSB 6020, on Saturday, February 9, 2013. Our keynote speaker for this year’s conference is Professor Joseph Roach (Yale University). This year’s conference is being hosted in conjunction with a one-day UC multi-campus research group “(w/Shakespeare)” symposium on “Shakespeare & Risk,” which will take place on UCSB’s campus on Friday, February 8th, and feature keynote speaker Professor Richard Halpern (New York University). Conference attendees and presenters are cordially invited to attend both Friday’s and Saturday’s events.
Contemporary discussions of ‘risk’ or ‘speculation’ often identify these concepts as distinguishing features of modern or postmodern societies. In this conference, we seek to explore and investigate early modern English cognates, forebears, and analogues of ‘risk’ (including, but not limited to, ‘hazard’ and ‘venture’). We hope for a range of presentations investigating religious, economic, political, or environmental aspects of risk in early modern literature and history.
Possible topics include, but are not limited to: maritime trade and the rise of insurance; mathematics and the early history of probability; civic and political crises and governmental intervention; environmental and social crises (plague, famine, etc.) and their ‘management’; gambling, play, and games of chance; erotic and romantic exposure; religious reform and upheaval; conversion and the specter of apostasy; hermeneutics and reading; the stigma of print and publication; violence and the vulnerability of the body.
Please send abstracts, 250-500 words in length, to EMCconference@gmail.com by December 2, 2012. Feel free to contact Christopher Foley at EMCfellow@gmail.com with specific questions.
Museum News | Serena Urry and Esther Bell Move to Cincinnati
The Cincinnati Art Museum has just announced two appointments: Serena Urry as Chief Conservator and Esther Bell as Curator of European Painting, Sculpture and Drawings. Bell completed her Ph.D. at the Institute of Fine Arts, New York University, writing on “Charles-Antoine Coypel: Painting and Performance in Eighteenth-Century France,” under the direction of Mariët Westermann and Mark Ledbury. The press release as noted at ArtDaily (30 October 2012) . . .
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The Cincinnati Art Museum announced Serena Urry as Chief Conservator. Before coming to the Cincinnati Art Museum, Serena served as Senior Conservator of Paintings at the Barnes Foundation, preparing its Impressionist and Post-Impressionist collection for the historic move to downtown Philadelphia. Prior to that, Serena was Conservator of Paintings at the Detroit Institute of Arts where she conserved paintings ranging in date from the 14th to the 20th century. Among the exhibitions she worked on were American Beauty (2002-2004) and Masterpieces from the Detroit Institute of Arts at TEFAF in 2005.
Serena has a B.A. from Tufts University, and a M.A. in art history and a diploma in Conservation from the Institute of Fine Arts of New York University. She was awarded a residency by the Rockefeller Foundation in Bellagio in 1996, and a fellowship by Save Venice in Venice in 1999-2000. She has lectured and published about many of the conservation projects she has undertaken. “We are so excited to have somebody of Serena’s experience and insights joining the Art Museum. She will be able to build on the terrific work past Chief Conservators have done to make our art shine forth in all its beauty,” says Cincinnati Art Museum Director Aaron Betsky. Serena grew up in the Boston area and holds dual American and Italian citizenship. She has six nephews and nieces in an extended family that stretches from East cost to the West. Serena looks forward to exploring all that Cincinnati has to offer.
The Cincinnati Art Museum also announced Esther Bell as Curator of European Painting, Sculpture and Drawings. Esther received her doctorate from the Institute of Fine Arts, New York University with a specialization in 17th- and 18th-century European art. She received a Masters in the history of art at Williams College and a bachelor of arts from the University of Virginia. With over ten years of experience in some of the nation’s finest museums, Dr. Bell has worked at the Sterling and Francine Clark Art Institute, Williamstown, MA; the Metropolitan Museum of Art, New York; and the Morgan Library & Museum, New York. At the Morgan, she recently organized exhibitions such as Ingres at the Morgan and Rembrandt’s World: Dutch Drawings from the Clement C. Moore Collection.
Dr. Bell lived extensively in Paris during her graduate work; she was a Fulbright Scholar with an affiliation at the Musée du Louvre, Paris and a Theodore Rousseau Fellow in Paris in association with the Metropolitan Museum of Art. She has delivered lectures in many distinguished international venues such as the University of St. Andrews, Scotland; the Musée des Beaux-Arts, Nantes; and the Metropolitan Museum of Art, New York, and she has published numerous articles and exhibition catalogues. “Esther brings an enthusiasm to her art history that is positively electrifying. She combines thorough knowledge and expertise with the desire to have everybody share her love of art, and we look forward to her contributions here,” says Cincinnati Art Museum Director Aaron Betsky. Esther is a self-proclaimed “foodie” and enjoys travel, reading fiction, and yoga. She will move to Cincinnati with her husband, Jason, and they look forward to exploring Blue Grass music, Graeter’s, and the local contemporary art scene.
Conference | Domes: Past, Present, and Future
From the Architecture, Space and Society Network:
Domes: Past, Present and Future
Cinema, Birkbeck School of Arts, London, 29 November 2012
A symposium exploring continuities and ruptures in the use and meanings of the dome across periods and media.
• Peter Draper, Visiting Professor of History of Architecture, Birkbeck
The Early Exploration of Domes: Typology, Symbolism and Decoration
• Caspar Pearson, Lecturer, Department of Art History and Theory, University of Essex
From Renaissance Urbanism to the Urban Renaissance: Domes and the Making of Cultural History
• Barry Curtis, Emeritus Professor of Visual Culture, Middlesex University, and London Consortium
Utopian Domes: Buckminster Fuller and ‘Spaceship Earth’
• Nick Lambert, Lecturer in Digital Art and Culture, Department of History of Art and Screen Media, Birkbeck
From the CAVE to Fulldome: Virtual Space Returns to its Roots
This event is free, but booking is required.
Call for Essays | The Modern French Interior and Mass Media
Plans for this edited volume grow out of a session from this year’s meeting of the Society for French Historical Studies (March 2012 in Los Angeles). As noted at the Society of Architectural Historians:
Edited Volume: The Modern French Interior and Mass Media
Co-editors: Anca I. Lasc, Georgina Downey, and Mark Taylor
Proposals due by 19 November 2012
We invite papers that focus on the relationship between mass media (broadly defined) and the modern French interior. Since the mid-18th century, a new interest in the modern and comfortable interior, removed from the world of power, staged a gradual dislocation of life away from the court at Versailles and into the city. New patrons and new living spaces inaugurated an unprecedented interest in new building techniques, fashionable tendencies in interior decorating, and new modes of social interaction. With the 19th century, techniques of representing the modern interior witnessed an extraordinary development, enhanced by advances in photography, techniques of color reproduction, and photo-mechanical printing processes. Architectural drawings were complemented by visual representations of the modern interior in prints, books, illustrated journals, private collections, department store catalogs, photographs, guidebooks, and even film. The variety of media employed in representing the modern interior blurred the boundaries between spectacle and privacy, collecting and decorating, the fine and the decorative arts, the domestic and the commercial spheres. Possible topics include, but are not limited to:
– The invention, display, and commercialization of the modern French interior
– The modern interior and technologies of reproduction
– Privacy and publicity in the modern interior
– Mass media – advice and consumption for the home
– Visual and textual narratives of the spectacular or the tasteful interior
– The gendering and politicization of private space as mediated through representational techniques
– Advertising and selling Empire, Art Nouveau, or Art Deco interiors
– The exhibition as a new mass medium for displaying the private interior
– New representational strategies for staging the modern French interior in fine and/or commercial art
– The modern French interior, the studio, and the performed self: artists, ateliers and apartments
– The modern French interior and sexuality: dandies and divas
Please submit a 500-600 words abstract and a short C.V. to Anca I. Lasc (alasc@ship.edu), Georgina Downey (georgina01@adam.com.au) and Mark Taylor (Mark.Taylor@newcastle.edu.au).
Call for Papers | The Substance of Sacred Place
From the Kunsthistorisches Institut in Florenz:
The Substance of Sacred Place: An Interdisciplinary Workshop on Locative Materiality
Kunsthistorisches Institut in Florenz – Max-Planck-Institut, Florence, 20-21 June 2013
Proposals due by 30 November 2012
Organised by Laura Veneskey and Annette Hoffmann
The study of holy places has long been a central concern of not only the humanities, but also the social sciences. Much of this body of scholarship has focused on pilgrimage and sacred centers, either as theoretical constructions or as concrete places, such as Jerusalem, Mecca or Benares. These subjects have been explored, on the one hand, through the study of ritual and liturgy, and on the other, through various modes of representation, be they architectural, cartographic, iconic, or textual. Complementary to these lines of inquiry, we invite papers that explore the material and tactile dimensions of locative sacrality across religious traditions. How is a sense of place communicable through physical means? What can a consideration of matter tell us about the often fraught relationship between the tangible world and its representation?
We seek analyses of all materials evocative of a particular sacred milieu, not only earth, dust, stone, but also wood, metal, pigments, oil, or water. Presentations exploring either the substances and places themselves or textual and iconic depictions thereof are equally welcome. We invite papers from all disciplines on any locale conceived of as sacred, whether scriptural, pilgrim, monastic, ascetic, or cultic, between antiquity and the early modern period. The workshop is aimed at young researchers, and is intended to bring together graduate students, postdoctoral scholars, and those in the early stages of their teaching or professional careers. Possible topics include, but are not limited to:
– Sacred landscapes (deserts, mountains, caves, etc.)
– The material dimensions of topographic representation (iconic or textual)
– Earthen, geographic, and locative relics
– Transportable versus site-specific sanctity
– The physicality of built environments and places of worship
Interested applicants should send a current c.v. and an abstract of no more than 250 words (for presentations of twenty minutes) to hoffmann@khi.fi.it and lv2308@columbia.edu). Proposals must be received by date 30th November 2012.
Art Fair | Paris Tableau 2012
Paris Tableau: The International Fair for Old Master Painting
Palais de la Bourse, Paris, 7-12 November 2012
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Building on the success of its first edition in 2011, Paris Tableau 2012 will again open its doors at the Palais de la Bourse from 7 to 12 November 2012. Paris Tableau attracted over 6,000 serious collectors and sold sixty major paintings within just five days in November last year, and the ten dealer/organisers look forward again to sharing their passion for Old Master Paintings with international connoisseurs and enthusiasts in 2012. The work on display at Paris Tableau ranges from the Middle Ages to the Second Empire.
The full press package is available as a PDF here»
Call for Papers | Mapping Discursive Geographies
Graduate Student Conference: Mapping Discursive Geographies
University of Arizona, Tucson, 1 February 2013
Proposals due by 20 November 2012
The Art History Graduate Student Association at the University of Arizona is pleased to announce its twenty-third annual symposium, Mapping Discursive Geographies, which will take place February 1, 2013 at the University of Arizona Student Union, Santa Rita Room. The keynote speaker for this year’s symposium is Dr. Stella Nair from the University of California, Los Angeles.
The goal of this symposium is to explore the relationship between geography and art, art history, and curatorial practices, within the context of recent scholarship on natural and artificial landscapes, landscape aesthetics, earth works, land preservation and degradation, hybridities of art and science, disputed and fraught boundaries, the distribution of resources, and immigration. This symposium hopes to provide a forum to address how geography is a cultural process which can be instrumental in the formation of identity.
Some ideas to consider are: how do national and social identities become inscribed in the terrain? How do visual representations of terrestrial and corporeal spatiality construct meaning? How have shifts in geographies changed the production, exhibition, and/or consumption of artistic, curatorial practices and art historical discourse? Paper topics may include, but are not limited to:
1. Site specificity, locality, and intervention
2. Construction of mythology and symbolism in the landscape
3. National/corporeal identities
4. Physical or intangible borders between nations/individuals and issues of ownership and sovereignty
5. Commercialization, consumerism, and tourism
6. Historic and contemporary cartographic or locational practices
Graduate students in art history and relating disciplines are invited to submit a 300-word abstract and curriculum vita to AHGSA.org@gmail.com by November 20, 2012. Applicants will receive notification via email of the committee’s decisions by December 12, 2012. To learn more about the Art History Graduate Student Association at the University of Arizona, please visit www.cfa.arizona.edu/ahgsa/.
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