Call for Papers | Fabrications: Designing for Silk in the 18th Century

Posted in Calls for Papers by Editor on July 6, 2015

From H-ArtHist:

Fabrications: Designing for Silk in the 18th Century
The Courtauld Institute of Art, London, 5 March 2016

Proposals due by 4 September 2015

Organised by Katie Scott and Lesley Miller

Joubert de la Hiberderie’s Le Dessinateur d’étoffes d’or, d’argent, et de soie (1765) was the first book to be published on textile design in Europe. In preparation for the publication of an English translation and critical edition of the text this one day conference calls for papers that will analyse, critique, contextualise, review or otherwise engage with the Le Dessinateur in the light of its themes: production, design, technology, education, botany and art. Joubert’s manual argues for both a liberal and a technological education for the ideal designer. Such a person must, he argues, have detailed knowledge of the materials, technologies and traditions of patterned silk in order successfully to propose new designs; he or she must also have taste and an eye for beauty, which call, he says, for travel in order to see both the beauties of nature and those of art gathered in the gardens and galleries of Paris and the île de France.

We invite contributions from historians—of the book, of art and design, of science, of technology, and of matters social, industrial and economic. General questions we hope the conference will consider are: Who did Joubert hope to address through his book and to what end? What was the international reach of the book?  And what other texts were its competitors? What does Le Dessinateur tell us about the status, role and skills of the designer? How did attitudes to gender inform Joubert’s notion of design and manufacture? How did his ideal designer compare to what we know about the careers and livelihoods of designers at Lyons and elsewhere? What relationship did Joubert envisage between design and technology, drawing and weaving? We welcome proposals that address silk in its uniqueness and also those attentive to its relations of difference and similarity to other textile technologies. Finally, we welcome submissions from writers and critics on contemporary textiles interested in thinking about issues of fabric threaded through concerns and examples from the past.

Whatever the historical perspective, we call for submissions that engage with the priorities and explicit arguments of Joubert’s text and also those that look at it awry: for example, with a view to the phenomenology as well as the technology of production, or with respect to the cut, tuck and fold as well than the plane in design, with regard also to the iterations of pattern in use as well as the invention of singular design motifs, or to give one last example, in relation to tradition and memory as well as novelty and fashion.

Please send your proposed title, a brief 150 word abstract and a short CV to Katie Scott (katie.scott@courtauld.ac.uk) and Lesley Miller (le.miller@vam.ac.uk) by Friday, 4th September. Some financial support for travel expenses may be available.

Call for Papers | Symposium of the Association of Print Scholars

Posted in Calls for Papers by Editor on July 6, 2015

Inaugural Symposium of the Association of Print Scholars
Hunter College, City University of New York (CUNY), New York, 7 November 2015

Proposals due by 15 August 2015

Organized by Maeve Coudrelle (Tyler School of Art, Temple University), Allison Rudnick (The Graduate Center, CUNY and The Metropolitan Museum of Art), Britany Salsbury (RISD Museum), and Christina Weyl (Independent Scholar)

The Association of Print Scholars (APS) is pleased to announce a symposium to support new critical ideas and research about printmaking. The event will occur during Print Week in New York, which includes major events such as the IFPDA Print Fair, the E/AB Fair and more. We invite two types of proposals:
• 20-minute papers for a scholarly panel entitled ‘Method, Material and Meaning: Technical Art History and the Study of Prints’ (details below)
• 5-minute presentations for the Graduate Student Lightning Round; proposed papers should come from
current graduate students at the dissertation stage

Interested participants are invited to submit an abstract of no more than 500 words along with a CV or brief biographical statement by August 15 to symposium@printscholars.org. Please indicate in the subject line which type of paper (scholarly session or lightning round) you are proposing and apply to only one session type. Non-members may submit abstracts, but presenters must be APS members by the time of the symposium.

Method, Material, and Meaning: Technical Art History and the Study of Prints

Technical art history, an interdisciplinary methodology with growing popularity among scholars, curators, and conservators, draws connections between an object’s making and its interpretation. The application of technical art history to the study of prints is particularly fruitful as printmakers often draw upon diverse and complex techniques in order to generate imagery. From the sixteenth-century engravings of Hendrik Goltzius, who skillfully imitated other media, to the prints of contemporary artist Kiki Smith, who produces fleshy bodies on thin, skin-like Gampi paper, printmakers throughout history have engaged a variety of processes and materials  in order to elicit particular ideas, emotions, or interactions. The selection of technique, matrix, ink, varnish or support may have a profound effect on the final product and its meaning.

This conference seeks to investigate the relationship between specific technical choices made by printmakers, printers, or publishers in order to rethink more broadly the relationship between process, material and meaning in the graphic arts. We seek papers that focus on a wide range of chronological periods and geographic locations in order to highlight overarching methodological issues. Questions to consider:
• How can technical analysis aid in understanding artists’ strategic decisions, including their use of printmaking within a larger multimedia practice?
• What can conservation science tell us about the life and contemporary importance of a print?
• How has print scholarship grown beyond connoisseurship, towards a more holistic account of engagement with the viewer?
• How does the transfer of information from the matrix to the receiving surface affect the resulting imagery and its significance?

APS is a nonprofit members’ group for enthusiasts of printmaking that brings together the diverse print community: curators, collectors, academics, graduate students, artists, conservators, critics, independent scholars, and art dealers. APS’s goals are to encourage innovative and interdisciplinary study of printmaking and to facilitate dialogue among its members.

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