CAA 2014, Chicago

Posted in conferences (to attend) by Editor on February 3, 2014


Photo by Daniel Schwen, 18 April 2009
(Wikimedia Commons)

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The 2014 College Art Association conference takes place at the Hilton, Chicago (720 S. Michigan Ave), February 12–15. HECAA will be represented by two panels on Saturday, chaired by Kristel Smentek and Kevin Chua. Other sessions that may be of interest for dixhuitièmistes are also listed. A full schedule of panels is available here»

H E C A A  S E S S I O N S

Historians of Eighteenth-Century Art and Architecture
New Scholars Open Session: The Eighteenth Century, Global and Local
Saturday, 15 February, 12:30–2:00, Hilton Chicago, 2nd Floor, International South
Chair: Kristel Smentek, Massachusetts Institute of Technology

  1. The Threads that Bind: Luxury, Slavery, and the Circulation of South Asian Textiles between France and India, Liza L. Oliver, Northwestern University
  2. Objects of Terror: The Image and Spectacle of Punishment in Hogarth’s London, Meredith J. Gamer, Yale University
  3. Facing Age and Aging Faces: Marie-Thérèse Geoffrin and Her Pendule, Jessica Fripp, Parsons The New School for Design

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Historians of Eighteenth-Century Art and Architecture
After the Secular: Art and Religion in the Eighteenth Century
Saturday, 15 February, 2:30–5:00, Hilton Chicago, 3rd Floor, Williford A&B
Chair: Kevin M. Chua, Texas Tech University

  1. The Dôme des Invalides: Sublimity, Religious Rhetoric, and Aesthetic Experience in Early Eighteenth-Century France, Aaron Wile, Harvard University
  2. Theism and Secularization in James Barry’s Society of Arts Murals, Daniel R. Guernsey, Florida International University
  3. The Saving Heart-Knowledge, and the Soaring Airy Head-Knowledge: Quaker Aesthetics as an Agent of Cure in Lunatic Asylum Design, Ann-Marie Akehurst, University of York
  4. The Mother of Light in New Spain, Bernard J. Cesarone, University of Illinois at Urbana-Champaign
  5. Miracles in the Age of Reason, Hannah Williams, University of Oxford

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O T H E R  S E S S I O N S  R E L A T E D  T O  T H E  1 8 T H  C E N T U R Y

Historians of British Art
Queer Gothic
Wednesday, 12 February, 9:30–12:00, Hilton Chicago, Lobby Level, Continental A
Chairs: Ayla Lepine, University of Nottingham; Matthew Mark Reeve, Queen’s University

  1. The Perverse Visibility of William Beckford, Dominic Janes, Birkbeck, University of London
  2. Neither Sorrow Nor Crying: Twentieth-Century Gothic Bodies and Heavenly Visions, Ayla Lepine, University of Nottingham
  3. Soi-disant Gothicisms: The Rejection of Gothic Hybridity in the Nineteenth Century, Sarah E. Thompson, Rochester Institute of Technology
  4. Medieval Monstrosity: Francis Bacon’s Flesh, Jongwoo Jeremy Kim, University of Louisville

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American Council for Southern Asian Art
Artistic Practices in the Long Eighteenth Century
Wednesday, 12 February, 12:30–2:00, Hilton Chicago, Lobby Level, Continental B
Chair: Yuthika Sharma, Goethe-Universität

  1. Copying Contexts: Picturing Places and Histories in Udaipur Court Painting and Picart’s Atlas Historique, Dipti Khera, New York University
  2. Forging New Identities: The Role of the Artist in Eighteenth-Century Northern India, Malini Roy, The British Library, London
  3. The Divine Surface: Thanjavur Painting, Seventeeth-Nineteenth Centuries, Caroline Duke, University of California, Berkeley
  4. Maratha Art and Moor’s Hindu Pantheon (1810), Holly Shaffer, Yale University

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The Erotic Gaze in Early Modern Europe
Thursday, 13 February, 9:30–12:00, Hilton Chicago, Lobby Level, Continental B
Chairs: Joe A. Thomas, Kennesaw State University; Elizabeth Pilliod, Rutgers University-Camden, The State University of New Jersey

  1. Devotion, Desire, and Difference: Images of Christ and of Susanna,Patricia L. Simons, University of Michigan
  2. Alchemy: The Erotic Science, M. E. Warlick, University of Denver
  3. Pleasure on Paper: Agostino Carracci’s Lascivie Prints and the Gaze that Met Them, Natalie Lussey, University of Edinburgh
  4. Disgust and Desire: Responses to Rembrandt’s Nudes, Stephanie S. Dickey, Queen’s University
  5. Doggie Style: Rococo Representations of Interspecies Sensuality and the Pursuit of Volupté, Jennifer D. Milam, University of Sydney

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Historians of British Art
British Country Houses: Architecture, Collections, and Gardens
Thursday, 13 February, 12:30–2:00, Hilton Chicago, 3rd Floor, Williford A&B
Chair: Craig Ashley Hanson, Calvin College

  1. ‘Both Instructive and Pleasant’: The Country House Garden in Vitruvius Britannicus, William Coleman, University of California, Berkeley
  2. From Stowe to Mount Edgcumbe: Touring Collections in Gardens, Jocelyn Anderson, Courtauld Institute of Art
  3. William Kent’s Decorative Scheme in Stowe’s North Hall (ca. 1728), Laurel Peterson, Yale University

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Historians of British Art
Business Meeting / Young Scholars Session
Thursday, February 13, 5:30–7:00, Hilton Chicago, 3rd Floor, Marquette Room
Moderated by Colette Crossman and then chaired by Jongwoo Jeremy Kim

  1. Modern Banditti: Colonial Masculine Artistic Identity and Topographical Photography in India, Nathaniel M. Stein, Brown University
  2. ‘Science is Measurement’: The Uneasy Evolutionism of Henry Stacy Marks, Caitlin Silberman, University of Wisconsin-Madison
  3. Placing Trust: Collaborators, Competitors, and the Business of Print Publishing in the 1770s, Amy Torbert, University of Delaware

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Publications Committee
The Art Bulletin’s Digital Future?
Thursday, 13 February, 5:30–7:00, Hilton Chicago, 2nd Floor, Grand Ballroom
Chair: David J. Getsy, School of the Art Institute of Chicago

  1. Thelma K. Thomas, Institute of Fine Arts, New York University
  2. Alexi Taylor, Scalar and New York University
  3. Tara McPherson, Scalar and University of Southern California
  4. Katherine Behar, Baruch College, City University of New York
  5. Kirk T. Ambrose, University of Colorado at Boulder

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National Endowment for the Arts
Friday, 14 February 2014, 7:30–9:00am, Hilton Chicago, Lobby Level, Continental A
Chair: Wendy Clark, Acting Director of Museums, Visual Arts, and Indemnity

Early risers’ (and Valentine’s Day) session to learn about funding of exhibitions, public art, conservation, artist residencies, commissions, and collection care available to non-profit organizations, universities, and units of local and state governments.

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The Early Modern Child in Art and History
Friday, 14 February, 9:30–12:00, Hilton Chicago, 3rd Floor, Astoria Room
Chair: Matthew Knox Averett, Creighton University

  1. The (Holy) Innocents: Visualizing the Foundling in Fifteenth-Century Florence, Diana Bullen Presciutti, College of Wooster
  2. Princely Portraits of Adolescence in the Court of Philip II in the Mid-Sixteenth Century, Lisa W. Tom, Brown University
  3. Little Idols and the Infant Jesus: The Sacred Rituals of a Royal Spanish Nun, Tanya J. Tiffany, University of Wisconsin-Milwaukee
  4. Dressing the Part: Picturing and Promoting the Early Modern Child, Parme P. Giuntini, Otis College of Art and Design
  5. New Parents of the New Child in Eighteenth-Century French Art, Suzanne Conway, Chestnut Hill College

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Digital Publishing in Art History: The Online Scholarly Catalogue Initiative
Friday, 14 February, 9:30–12:00, Hilton Chicago, Lobby Level, Continental C
Chair: Anne Collins Goodyear, Bowdoin College Museum of Art

  1. Overview of the Online Scholarly Catalogue Initiative, Anne L. Helmreich, Getty Foundation
  2. Dutch Paintings of the Seventeenth Century, Judith Metro and Jennifer Henel, National Gallery of Art
  3. Monet and Renoir at the Art Institute: Paintings and Drawings, Gloria L. Groom, The Art Institute of Chicago
  4. The Robert Rauschenberg Research Project, Sarah Roberts, San Francisco Museum of Modern Art

Discussant: Paul B. Jaskot, DePaul University

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Aspects of Vitruvius’s Reception: New Research in Architectural Practice and Theory in the Early Modern World
Friday, 14 February 2014, 2:30–5:00, Hilton Chicago, 3rd Floor, Astoria Room
Chairs: Victor Luis Deupi, New York Institute of Technology; Richard John, University of Miami

  1. Translating Vitruvius in the Quattrocento: Ancient Theory or Contemporary Practice?, Angeliki Pollali, DEREE-The American College of Greece
  2. Sundials and Water Organs: The Vitruvian Tradition in Italian Gardens, Natsumi Nonaka, University of Texas at Austin
  3. Vitruvius and Pious Learning, Susan Klaiber, Winterthur, Switzerland
  4. Vitruvius in Early Modern England: The Case of the Royal Society, 1660–1695, Matthew Walker, University of Oxford
  5. James Gibbs’s Rules for Drawing (1732) and Vitruvius’s Method for the Ionic Order, Richard John, University of Miami

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The Art of Display: Context and Meaning, 1700–1850
Friday, 14 February, 2:30–5:00, Hilton Chicago, 8th Floor, Lake Huron
Chair: Christina R. Ferando, Harvard University

  1. A Roman Venus in the Tsar’s Baroque Garden: Orthodox Blasphemy, Soviet Scandal, Margaret Samu, Yeshiva University Stern College
  2. Duobaoge: Artful Displays in Eighteenth-Century Qing China, Eleanor Hyun, University of Chicago
  3. Unconventional Displays and Unacquainted Spectators: The Impact of John Martin’s Eccentric Exhibitionary Tactics, Chris Coltrin, Shepherd University
  4. The Empire at Home: Displaying the Locker Collection at Greenwich Hospital, 1830–1843, Catherine Roach, Viriginia Commonwealth University
  5. Corot in Situ: The Studio as Exhibition Space, Heather A. McPherson, University of Alabama at Birmingham

Conference | Culture Clash? Contemporary Arts in Historic Contexts

Posted in conferences (to attend) by Editor on February 3, 2014

From the Royal Museums Greenwich:

Culture Clash? Contemporary Arts in Historic Contexts
Royal Museums Greenwich, London, 14 February 2014


Yinka Shonibare MBE, Cheeky Little Astronomer (2013) in Flamsteed House. Commissioned by National Maritime Museum, Greenwich, London.

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In recent years it has become increasingly popular for museums and historic buildings to invite living artists to respond to their buildings or collections by curating, creating or performing on site. What has been the impact of this popular collaborative trend for artists, museums and their audiences? To coincide with the latest in a series of contemporary interventions, Yinka Shonibare MBE at Greenwich, Royal Museums Greenwich is organising a one-day conference to explore the role of contemporary art outside the white cube. Conference fee: £50 (concessionary rate £40). Booking form is available here or call 020 8312 6716.

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Yinka Shonibare MBE, Nelson’s Jacket, 2011. Courtesy of the artist and James Cohan Gallery, New York/Shanghai

Yinka Shonibare MBE, Nelson’s Jacket, 2011.

9.00  Registration and refreshments

9.50  Melanie Vandenbrouck (Royal Museums Greenwich), Welcome and introduction

10.00  Session 1: Approaches and challenges
• Helen Hillyard (National Gallery), New Visions of the Sea: Assessing the legacy of contemporary art at the National Maritime Museum, 1999–2009
• Julien Parsons and Martin Thomas (Royal Albert Memorial Museum, Exeter), The challenges faced by local authority-managed museums and settings
• Antoinette Maget Dominicé (University of Lucerne), Contemporary arts, historic contexts and the law

11.30  Coffee and tea

12.00  Session 2: Interpreting and animating sites and collections
• Bergit Arends (independent curator), Talking Back: Artists working with natural history collections from Australia, China and India
• Nick Cass (University of Leeds), The Haunting of a Shrine: Contemporary art at the Brontë Parsonage Museum

13.00  Lunch, with an opportunity to visit Flamsteed House at the Royal Observatory to see the Cheeky Little Astronomer by Yinka Shonibare MBE

14.30  Curator-led tour of Yinka Shonibare MBE at Greenwich in the Queen’s House

15.30  Coffee and tea

16.00  Session 3: Collaboration, dialogue and (mis)understanding
• Melissa Hamnett (V&A), Disturbing the comfortable
• Helen Shaw (University of York), How do we see each other? Dialogue and exchange in Native American curatorial methodologies
• Jonathan Carson (Carson & Miller) and Rosie Miller (University of Salford), Playing with the past

17.30  Drinks reception

Exhibition | Arlene Shechet: Meissen Recast

Posted in exhibitions by Editor on February 3, 2014

From the exhibition press release (20 November 2013). . .

Arlene Shechet: Meissen Recast
RISD Museum, Providence, Rhode Island, 17 January — 6 July 2014

Organized by Judith Tannenbaum


Arlene Shechet, Asian Vase, 2013.

In the first U.S. exhibition of her one-of-a-kind Meissen sculptures, Arlene Shechet presents works she produced during a recent artist residency at the world-renowned German porcelain manufacturer. Arlene Shechet: Meissen Recast is a two-part exhibition on view at the RISD Museum from January 17 to July 6, 2014. It is the utilitarian factory casts behind fine porcelain production, rather than the ornate ceramic confections, that inform Shechet’s ‘Meissen’ series. Her range of sculpture brings to the fore the seams, plate impressions, indentations, inventory numbers, and other evidence of the industrial process that an 18th-century Meissen craftsman would have sought to erase. Almost every sculpture on view in the Museum’s Upper Farago Gallery is derived from one or more of 47 historic Meissen mold patterns, reconceived in unanticipated combinations of forms and scale. Shechet’s complete reinstallation of the Museum’s historic Meissen collection of figurines and tableware in the Porcelain Gallery completes the two-part show, connecting the past and present, fine arts, and decorative arts.

“The Museum is excited to present this compelling new work by RISD alumna Arlene Shechet,” says John W. Smith, director of the RISD Museum. “Meissen Recast extends the Museum’s long and groundbreaking tradition of encouraging artists to use the collection, dating from Andy Warhol’s Raid the Icebox (1970) to Spencer Finch’s Painting Air exhibition (2012). By moving some of RISD’s Meissen figures, including the famous Monkey Band, from their normal location in the Porcelain Gallery to the contemporary Upper Farago Gallery and, conversely, inserting her own porcelain sculptures into the cases of the more traditional, wood-paneled room, she heightens our awareness and appreciation for the refined historical pieces and her own more organic, intuitive approach.” (more…)

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