Call for Articles | The Material Culture of Magic

Posted in Calls for Papers by Editor on May 25, 2014

As posted at H-ArtHist:

The Material Culture of Magic
Book Project Edited by Antje Bosselmann-Ruickbie and Leo Ruickbie

Proposals due by 1 August 2014

Magic is a wide field of research comprising what we might call the occult, paranormal events, anomalous experience, spirituality and other phenomena throughout human history. However, research has often been focused more narrowly on the historical analysis of written sources, or the anthropology and occasionally sociology of practitioners and their communities, for example. What is often overlooked are the physical artefacts of magic themselves.

In all areas of research, ‘material culture’ is becoming increasingly important—the ‘material turn’ as it has been labelled. This is particularly the case for disciplines that traditionally have not focused on object studies but on theory such as historical or social sciences. However, it is self-evident that the objects emerging from a culture provide valuable information on societies and their history. This is also and particularly the case for magic and related phenomena. Magic, especially, became divorced from its concrete expressions as academic study focused on problems of rationality and functionalist explanation. (more…)

Exhibition | ‘Of Green Leaf, Bird, and Flower’: Artists’ Books

Posted in books by Editor on May 24, 2014


Unknown maker, Basket, ca. 1820, silk thread, cut paper, and watercolor,
(Yale Center for British Art, Paul Mellon Fund)

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From the exhibition press release:

‘Of Green Leaf, Bird, and Flower’: Artists’ Books and the Natural World
Yale Center for British Art, New Haven, 15 May — 10 August 2014

Curated by Elisabeth Fairman

This spring, the Yale Center for British Art presents ‘Of Green Leaf, Bird, and Flower’: Artists’ Books and the Natural World, an exhibition examining the intersections of artistic and scientific interest in the natural world from the sixteenth century to the present. On view from May 15 through August 10, 2014, the exhibition explores depictions of Britain’s countryside and its native plant and animal life through more than two hundred objects drawn primarily from the Center’s collections, ranging from centuries-old manuscripts to contemporary artists’ books.

9780300204247The exhibition highlights the scientific pursuits in the eighteenth and nineteenth centuries that resulted in the collecting and cataloging of the natural world. Also explored are the aesthetically oriented activities of self-taught naturalists during the Victorian era, particularly those of women who collected and drew specimens of butterflies, ferns, grasses, feathers, seaweed, and shells, and assembled them into albums and commonplace books. Examples of twentieth- and twenty-first-century artists’ books, including those of Eileen Hogan, Mandy Bonnell, Tracey Bush, John Dilnot, Sarah Morpeth, and Helen Douglas, broaden the vision of the natural world to incorporate its interaction with consumer culture and with modern technologies. Work by contemporary artists in the exhibition reveal a shared inspiration to record, interpret, and celebrate nature as in the work of their predecessors.

‘Of Green Leaf, Bird, and Flower’ features traditional bound books, drawings, and prints, as well as a range of more experimental media incorporating cut paper, wood, stone, natural specimens, sound, video, and interactive multimedia. Historical works are also on loan from the Beinecke Rare Book and Manuscript Library and the Lentz Collection at the Yale Peabody Museum of Natural History, including examples of early microscopes used by natural historians.

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From Yale UP:

Elisabeth Fairman, ed., with essays by David Burnett, Molly Duggins, Elisabeth Fairman, and Robert McCracken Peck, Of Green Leaf, Bird, and Flower: Artists’ Books and the Natural World (New Haven: Yale University Press, 2014), 248 pages, ISBN: 978-0300204247, $70.

Highlighting an enduring interest in natural history from the 16th century to the present, this gorgeous book explores depictions of the natural world, from centuries-old manuscripts to contemporary artists’ books. It examines the scientific pursuits in the 18th and 19th centuries that resulted in the collecting and cataloguing of the natural world. It also investigates the aesthetically oriented activities of self-taught naturalists in the 19th century, who gathered flowers, ferns, seaweed, feathers, and other naturalia into albums. Examples of 20th- and 21st-century artists’ books, including those of Eileen Hogan, Mandy Bonnell, and Tracey Bush, broaden the vision of the natural world to incorporate its interaction with consumer culture and with modern technologies. Featuring dazzling illustrations, the book itself is designed by Miko McGinty to evoke a fieldwork notebook, and features a collection pocket and ribbon markers.

Elisabeth Fairman is senior curator of rare books and manuscripts at the Yale Center for British Art.


James Bolton, one of twenty drawings depicting specimens from the natural history cabinet of Anna Blackburne, ca. 1768, Yale Center for British Art, Paul Mellon Fund, in honor of Jane and Richard C. Levin, President of Yale University (1993–2013).

Call for Papers | The Ends of American Art

Posted in Calls for Papers by Editor on May 24, 2014

As posted at H-ArtHist:

The Ends of American Art
Stanford University, 7–8 November 2014

Proposals due by 9 June 2014

The Art & Art History Department at Stanford University invites submissions from advanced graduate students for a unique opportunity to share your work in a collaborative setting with leading scholars of American art and visual culture. The Ends of American Art International Conference is designed to explore new possibilities for
thinking about, performing, producing, and writing the history of American art.  It will meditate on the ‘ends of American Art’ by questioning whether certain longstanding tropes within the field may now be outmoded (e.g. nationalism, American art as a history of painting and sculpture). Looking forward, we will also ponder what the new goals (or ‘ends’) of the field should be in the 21st century.

The two-day event will feature papers by senior scholars as well as two ‘workshop’ panels in which selected graduate students will present a 5-minute presentation of their project using only 1 slide. These workshops are designed to both gain a sense of the current landscape of the field and to offer participating students feedback from a diverse interdisciplinary audience in a workshop context.

Conference Features for Selected Participants
• Round-trip airfare to SFO International Airport, lodging while in Palo Alto, and ground transportation during the conference
• Opportunity to workshop your project in a collaborative setting with leading scholars from multiple fields
• Opportunity to witness the current shape of scholarship in American Art and Visual Culture as animated in the work of other advanced graduate students in the U.S. and abroad
• Be among the first scholars to view the Anderson Collection of American Art soon to be installed in a new building next to Stanford’s Cantor Arts Center
•Participate in the live webcast of the conference, which will feature real-time forums online in addition to the discussions taking place at Stanford

• Dissertation project must address issues in American art and visual culture, broadly defined in terms of historical period and interpretive approach (projects from all disciplines are welcome and encouraged)
• Students must be in the writing stage of the dissertation (ABD status or equivalent)

Requirement for Submission
1. CV (including university affiliation, contact information for Dissertation Committee Chair, and expected date of completion)
2. 250-word abstract of your project
3. 1 image that will be the subject of your 5-minute presentation

Please send all documents to ebennet@stanford.edu by 9 June 2014.

New Book | Chinoiserie in Eighteenth-Century Britain

Posted in books by Editor on May 23, 2014

From Manchester University Press:

Stacey Sloboda, Chinoiserie: Commerce and Critical Ornament in Eighteenth-Century Britain (Manchester: Manchester University Press, 2014), 272 pages, ISBN: 978-0719089459, £70 / $105.

9780719089459_p0_v1_s600In a critical reassessment of chinoiserie, a style both praised and derided for its triviality, prettiness and ornamental excesses, Stacey Sloboda argues that chinoiserie was no mute participant in eighteenth-century global consumer culture, but was instead a critical commentator on that culture. Analysing ceramics, wallpaper, furniture, garden architecture and other significant examples of British and Chinese design, this book takes an object-focused approach to studying the cultural phenomenon of the ‘Chinese taste’ in eighteenth-century Britain. It is essential reading for anyone interested in the critical history of design and the decorative arts in the period, and students and scholars of art history, material culture, eighteenth-century studies and British history will find a novel approach to studying the decorative arts and a forceful argument for their critical capacities.

Stacey Sloboda is Associate Professor of Art History at Southern Illinois University.


Introduction: Reassessing Chinoiserie
1. Making China: Circulation, Imitation and Innovation
2. Buying China: Commerce, Taste and Materialism
3. Commerce in the Bedroom: Sex, Gender and Social Status
4. Commerce in the Garden: Nature, Art and Authority
Conclusion: Style and the Global Marketplace

Lecture | Melissa Hyde, Painted Women

Posted in lectures (to attend) by Editor on May 22, 2014

From the Sydney Intellectual History Network:

Melissa Hyde, Painted Women in the Age of Madame de Pompadour
Art Gallery of New South Wales, Sydney, 10 June 2014

Co-presented with the Art Gallery Society New South Wales

 François Boucher A young lady holding a pug dog (presumed portrait of Madame Boucher) mid 1740s

François Boucher A young lady holding a pug dog (presumed portrait of Madame Boucher) mid 1740s

Professor Melissa Hyde considers the role cosmetics played in the court politics and social identities of women at the court of Versailles. For artists like François-Hubert Drouais and Elisabeth Vigée-Lebrun, who portrayed Pompadour, Du Barry (and Marie-Antoinette after them), the problem of depicting an unpainted, natural face through inherently artificial painterly means presented something of a paradox. This lecture will also look at how artists grappled with that paradox and will demonstrate how the painterly performance of the natural was a perfect vehicle for portraying Du Barry’s own performance as a natural woman.

10.00am Coffee
10.30–11.30 Lecture

More information is available here»


Lecture | Richard Taws, The Dauphin and his Doubles

Posted in lectures (to attend) by Editor on May 22, 2014

From the Sydney Intellectual History Network:

Richard Taws, The Dauphin and his Doubles:
Visualizing Royal Imposture after the French Revolution
The University of Sydney, 10 June 2014

Co-presented with the Sydney Intellectual History Network (SIHN)

Portrait of Jean-Marie Hervagault, from Le Faux Dauphin actuellement en France, ou histoire d’un imposteur, se disant le dernier fils de Louis XVI (Paris: Lerouge, 1803)

Portrait of Jean-Marie Hervagault, from Le Faux Dauphin actuellement en France, ou histoire d’un imposteur, se disant le dernier fils de Louis XVI (Paris: Lerouge, 1803)

This lecture considers the authenticating agency attributed to images of the dauphin Louis-Charles, the son and heir of Louis XVI and Marie-Antoinette, as they circulated globally in the late eighteenth and nineteenth centuries. Louis-Charles died at the age of ten in the Temple prison in 1795; yet, rumours soon spread that he had been freed in a secret royalist escape plot and continued to live somewhere, most probably in the French colonies or North America. During the course of the nineteenth century the numerous images of Louis-Charles produced before, during and after the French Revolution were invoked regularly as the primary standard of proof against which to judge the many imposters who subsequently came forward from around the world, accompanied by lurid tales of adventure, to announce themselves the ‘lost’ dauphin.

The appropriation of eighteenth-century images of Louis-Charles by these pretenders, as well as the paintings, prints and photographs they had made of themselves, were, in a rapidly transforming media ecology, closely connected to competing claims about the utility of different media in the production of the French past.

Richard Taws teaches eighteenth- and nineteenth-century European art, with a particular interest in the visual culture of the French Revolution and its aftermath. He taught previously at McGill University, Canada, and has been a Getty Postdoctoral Fellow (2006–07) and a Member of the School of Historical Studies at the Institute for Advanced Study, Princeton (2010). He is a member of the editorial board of Art History and the current recipient of a Philip Leverhulme Prize (2013–15). Richard’s recent research focuses on everyday, ephemeral and obsolete forms of visual culture and related issues to do with time, materiality and value in the late eighteenth and early nineteenth centuries. His first book, The Politics of the Provisional: Art and Ephemera in Revolutionary France (2013), examines how provisional images and objects made in 1790s France mediated both the Revolution’s memory and its future, with important implications for how citizens became constructed as political subjects.

Wednesday, 10 June 2014, 6.00–7.30pm
Law School LT 106
Level 1, Sydney Law School Annex
Eastern Avenue
The University of Sydney

Registration information for this free event is available here»

Conference | Enlightenment Cosmopolitanisms and Sensibilities

Posted in conferences (to attend) by Editor on May 22, 2014


Anicet Charles Gabriel Lemonnier, Salon de Madame Geoffrin,
1812 (Château de Malmaison)

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From the Sydney Intellectual History Network, with the workshop programme:

Enlightenment Cosmopolitanisms and Sensibilities
Sancta Sophia College, The University of Sydney, 11–12 June 2014

The character of practiced cosmopolitanism during the Enlightenment often appears to amount to little more than an extension of early modern courtly internationalism infused with a new language of ideas. Further investigation reveals the desire on the part of Enlightenment cosmopolites to open borders in the name of economic, political, intellectual and artistic progress. This workshop explores cosmopolitanism in practice during the long eighteenth century in Europe and, through circulation, beyond its borders. It seeks out lived experiences of cosmopolitanism in the evidence of visual, social and textual expressions, and then asks how to interrogate this evidence. What were the opportunities through which border crossings became fixed in the minds of participants and observers? How was Enlightenment cosmopolitanism in practice inflected with different forms of sensibility?

W E D N E S D A Y ,  1 1  J U N E  2 0 1 4

9:30  Welcome

9:45  Session 1: Languages of Cosmopolitanism
• David Garrioch (History, Monash University), Cosmopolites and their Critics: the Eighteenth-Century Language of Cosmopolitanism
• Jennifer Milam (Art History, University of Sydney), Visual Cosmopolitanism

11:15  Morning Tea

11:30  Session 2: Rome and Cosmopolitan Aesthetics
• David Marshall (Art History, University of Melbourne), Cosmopolitanism and Non- Antiquarian Taste in Early Eighteenth-Century Rome
• Mark Ledbury (Art History, University of Sydney), Cosmopolitanism and Anti- Cosmopolitanism in Rome

1:00  Lunch

2:00  Session 3: Rousseau and Cosmopolitanism
• Anik Waldow (Philosophy, University of Sydney), Rousseau, Theatre and Civic Identity
• Ian Coller (History, LaTrobe University), Rousseau’s Turban

3:30  Afternoon Tea

3:45  Session 4: Cosmopolitan Circulations
• Alexandra Cook (Philosophy, University of Hong Kong), Eighteenth-Century Botanical Cosmopolitanism: Books, Seeds and Herbaria
• Peter McNeil (Design History, University of Technology, Sydney), ‘Beauty in Search of Knowledge’: Eighteenth-Century Fashion and the Uses of Print
• Melissa Hyde (Art History, University of Florida), Wertmüller, National Identity and the Cosmopolitan Circulation of the Artist

T H U R S D A Y ,  1 2  J U N E  2 0 1 4

9:30  Session 5: Open Borders: Europe and Beyond
• Simon Burrows (History, University of Western Sydney), Books Crossing Borders: Material Traces and Enlightenment Cosmopolitanism
• Jennifer Ferng (Architecture, University of Sydney), Maritime Voyages: Siege and Sovereignty at Galle Fort, Ceylon, 1729–1796

11:00  Morning Tea

11:15  Session 6: Revolutionary Exchanges
• Peter McPhee (History, University of Melbourne), Cosmopolitanism, Robespierre and the French Revolution
• Richard Taws (Art History, University College London), Chains of Command: Telegraphing Liberty in Lemonnier’s Le Commerce

12:45  Lunch

Cosmopolitan Moments: Instances of Exchange
in the Long Eighteenth Century, Emerging Scholar Sessions

In these sessions, emerging scholars explore discrete instances of cultural interaction in the long eighteenth century (visual, textual, political, philosophical, social). How do we define the nature of the exchange? Is it cosmopolitan? Areas of analysis include roles of actors and agents, bi-lateral or unilateral action, acceptance, rejection and the medium of transmission.

1:45  Session 7
• Garritt Van Dyk (History, University of Sydney), Before the Parisian Café: Cosmopolitanism and the Franco-Ottoman Alliance
• Mark Shepheard (Art History, University of Melbourne), The Cosmopolitan Castrato: Farinelli and the Visual Arts
• Warren Andrews (Art History, University of Sydney), An Ambush in Print

3:15  Afternoon Tea

3:30  Session 8
• Emma Gleadhill (History, Monash University), Lady Holland’s House: ‘The House of all Europe’
• Katja Abramova (Art History, The University of Sydney), Botany as a Cosmopolitan Pursuit for Women: The Case of the Maria Feodorvna
• Laura Jocic (History, University of Melbourne), Anna King’s Dress: Trade and Consumption in the Early Years of Settlement in Australia
• Janet Healy (Music, Monash University), Mozart in a Revolutionary Context

Bill Griswold Named Director of the Cleveland Museum of Art

Posted in museums by Editor on May 22, 2014

Press release from The Cleveland Museum of Art:

morgan-2In May 2014, Dr. William M. Griswold became the 10th director of the Cleveland Museum of Art since its founding in 1916. Dr. Griswold enters the life of the museum at a dynamic moment—with a newly completed expansion project increasing its capacity and significance, and a centennial anniversary approaching. His ambition is to build the museum’s strong relevance throughout the region, the nation and the world, capitalize on its long-standing community engagement legacy and enhance the quality and breadth of its well-known collection.

Dr. Griswold’s tenure at the Cleveland Museum of Art follows his term as the fifth Director of The Morgan Library & Museum since the institution’s founding in 1924. During his seven years of leadership there, Dr. Griswold spearheaded the growth of the Morgan’s collections, exhibition program and curatorial departments, most recently adding Photography as a focus. He oversaw a number of important exhibitions and scholarly exchanges with leading international museums, including the Louvre, London’s Courtauld Institute, Munich’s Graphische Sammlung and Turin’s Biblioteca Reale.

In 2010, Dr. Griswold initiated the first interior restoration of the Morgan’s historic McKim building since its construction as Pierpont Morgan’s private study and library more than a century ago. He also oversaw a project to digitize the Morgan’s renowned collections, beginning with its holdings of drawings and music manuscripts, two of its most important. In 2011, he supervised the establishment of the innovative Morgan Drawing Institute to advance the study of drawings of all periods and schools. As a result of these initiatives, and many more, the Morgan over the last several years has seen some of the most robust donor support and attendance in its history.

Dr. Griswold had previously served as Director and President of the Minneapolis Institute of Arts, from 2005 to 2007; Acting Director and Chief Curator of the J. Paul Getty Museum, 2004 to 2005; and Associate Director for Collections at the Getty, beginning in 2001. Prior to joining the Getty, Dr. Griswold had been Charles W. Engelhard Curator and Head of the Department of Drawings and Prints at the Morgan Library since 1995. From 1988 to 1995, he was on the staff of the Metropolitan Museum of Art, first as Assistant and then as Associate Curator in the Department of Drawings and Prints.

Dr. Griswold was the co-author with Jacob Bean of 18th-Century Italian Drawings in the Metropolitan Museum of Art and has written extensively on Florentine drawings of the early Renaissance. He oversaw the design and creation of the Morgan’s Drawing Study Center, and in 1998 curated a historically significant exchange of exhibitions between the Morgan and The State Hermitage Museum, St. Petersburg, and the Pushkin State Museum of Fine Arts, Moscow. In 1999 he co-curated New York Collects, the Morgan’s first major exhibition devoted to twentieth-century art, and in 2002 he was co-author with Jennifer Tonkovich of Pierre Matisse and His Artists.

Formerly a member of the board of directors of The Courtauld Institute of Art, Dr. Griswold currently serves on the boards of the American Federation of Arts, American Friends of the Shanghai Museum, and American Trust for the British Library. He is a member of the Association of Art Museum Directors and President of Master Drawings Association, which publishes the scholarly journal Master Drawings. In 2008, he was awarded the insignia of Chevalier of the French Order of Arts and Letters.

Dr. Griswold earned his bachelor’s degree at Trinity College, Hartford, Connecticut, and his Ph.D. at The Courtauld Institute of Art, London.

Carol Vogel reports on Griswold’s appointment for The New York Times (20 May 2014), here»

New Book | The Site of Rome, 1400–1750

Posted in books by Editor on May 21, 2014

From L’Erma di Bretschneider (and available from artbooks.com) . . .

David R. Marshall, ed., The Site of Rome: Studies in the Art and Topography of Rome 1400–1750 (Melbourne Art Journal 13) (Rome: L’Erma di Bretschneider, 2014), 264 pages, ISBN: 978-8891306661, €160 / $235 / Digital Version €128.

00012886This volume, number 13 in the Melbourne Art Journal series, brings together nine scholars who each explore an aspect of the art and architecture of Rome situated within the topography—or map—of Rome in the Renaissance and Early Modern periods, with several studies focusing on the eighteenth century. These are studies of sight and site: about how the appearance of different regions or aspects of the city intersect with complex systems of political, economic, social and artistic institutions and customs.

David R. Marshall is Principal Fellow, Art History, School of Culture and Communication, The University of Melbourne

A preview is available here»

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1. Julie Rowe (La Trobe University), Rome’s Mediaeval Fish Market at S. Angelo in Pescheria
2. Joan Barclay Lloyd (La Trobe University), Memory, Myth and Meaning in the Via Appia from Piazza di Porta Capena to Porta S. Sebastiano
3. Louis Cellauro (Deutsches Studienzentrum, Venice), Roma Antiqva Restored: The Renaissance Archaeological Plan
4. Donato Esposito (Metropolitan Museum, New York), The Virtual Rome of Sir Joshua Reynolds
5. Lisa Beaven (University of Sydney), Claude Lorrain and La Crescenza: The Tiber Valley in the Seventeenth Century
6. David R. Marshall (University of Melbourne), The Campo Vaccino: Order and the Fragment from Palladio to Piranesi
7. Arno Witte (University of Amsterdam), Architecture and Bureaucracy: The Quirinal as an Expression of Papal Absolutism
8. Tommaso Manfredi (University ‘Mediterranea’, Reggio Calabria), Arcadia at Trinità dei Monti: The Urban Theatre of Maria Casimira and Alexander Sobieski in Rome
9. John Weretka (University of Melbourne), The ‘Non-aedicular Style’ and the Roman Church Façade of the Early Eighteenth Century

Call for Papers | ISECS 2015 Panel—Lace and Commerce

Posted in Calls for Papers by Editor on May 21, 2014

Now accepting proposals for this panel for next year’s ISECS Congress in Rotterdam:

The International Thread: Lace and Commerce in Eighteenth-Century Europe
ISECS Congress, Rotterdam, 26–31 July 2015

Proposals due by 15 June 2014

Chairs: Tara Zanardi, (Department of Art & Art History Hunter College/CUNY 695 Park Avenue, New York, NY 10065; tzanardi@hunter.cuny.edu), and Michael Yonan, (Department of Art History and Archaeology, University of Missouri, 21 Parker Hall, Columbia, MO, 65211; yonanm@missouri.edu)

Enormous amounts of lace flooded the marketplaces of eighteenth-century Europe, which fostered a vibrant international trade. This marketplace centered on competition between the Low Countries (especially the regions that now comprise Belgium) and northern France, two areas that included Europe’s most technically accomplished lacemaking centers, including Alençon, Argentan, Brussels, Mechlin, and Valenciennes. These towns exported huge quantities of lace to an international clientele and competed with locally manufactured lace. Our panel seeks papers that examine how lace operated within eighteenth-century mercantile networks, economic systems, and black markets. What were the trade factors that affected the distribution of lace, both locally and globally, and how did those factors affect working conditions, design choices, and the objects created? How did these market conditions affect what lace was used for, be it garments, decorative items, or household textiles? Topics might include treatments of lace and lace making in gendered terms, as statements of regional or national pride, labor practices in lacemaking, techniques and materials, and the industry’s global ambitions. Interdisciplinary papers are especially welcome.