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Call for Papers | The Art of Revolutions

Posted in Calls for Papers by Editor on December 19, 2016

From H-ArtHist:

The Art of Revolutions
Philadelphia, 19–21 October 2017

Proposals due by 15 March 2017

The tumult and transformations resulting from the Age of Revolutions (1770s–1840s) created a trans-Atlantic body of art and material culture that reflected and inspired new ideas and actions. Inspired by the American Philosophical Society’s 2017 exhibition on the legacy of the patriot portraitist Charles Willson Peale and his artistic family from the eighteenth century until the middle of the nineteenth, and the Philadelphia Museum of Art (PMA)’s forthcoming publication of The Art of the Peales: Adaptations and Innovations, along with a series of other Peale-centric events happening in Philadelphia, the APS and PMA will co-sponsor a scholarly conference, 19–21 October 2017, that explores the role of imagery in influencing and giving meaning to the political revolutions that defined the late eighteenth and early nineteenth centuries. The conference is especially interested in papers covering the American Revolution, the French Revolution, the Circum-Caribbean Revolutions, and the Revolutions of 1848.

Potential topics include
• the work of individual artists or artistic movements
• the role and influence of those who reproduced artwork for the public, such as printers or engravers
• the ways in which works were received by audiences
• the function of art in shaping public perceptions both at the time of revolutionary events and through historic memory

We hope the chronological scope and transatlantic breadth of the conference will stimulate an interdisciplinary dialogue that crosses traditional geographic barriers and transcends the limitations of strict periodization.

Applicants should submit a title and 250-word proposal along with a CV by March 15, 2017 to conferences@amphilsoc.org. Decisions will be made by the summer of 2017.  All presenters will receive travel subsidies and hotel accommodations. Accepted papers will be due a month before the conference and pre-circulated to registered attendees. Papers should be no longer than 15-double spaced pages. Presenters may also have the opportunity to publish revised papers in the APS’s Proceedings, one of the longest running scholarly journals in America.

Exhibition | Curious Revolutionaries: The Peales of Philadelphia

Posted in exhibitions by Editor on December 19, 2016

From APS:

Curious Revolutionaries: The Peales of Philadelphia
American Philosophical Society, Philadelphia, 7 April — 30 December 2017

58.P.67 Self-Portrait of Charles Willson Peale

Charles Willson Peale, Self Portrait as a Revolutionary War Captain in the Philadelphia Brigade, 1777–78 (Philadelphia: American Philosophical Society).

The Peales were an extraordinary early American family, curious in every sense of the word. They were patriots, soldiers, politicians, inventors, explorers, naturalists, entrepreneurs, and world-class, ever busy tinkerers. Above all, the Peales embraced the Enlightenment ideal to expand man’s universal knowledge while improving life on earth.

Charles Willson Peale (1741–1827) and his brother James Peale (1749–1831) began as portrait-painters and miniaturists on the eve of the Revolution. In 1786, Charles Willson converted his portrait studio into the nation’s first successful public museum, housed in the American Philosophical Society from 1794 to 1810. By educating the American public and increasing man’s understanding of the natural world, he believed his museum would cultivate a more enlightened citizenry and advance America’s prestige around the world. The second and third generations of aptly named Peales—most notably Rembrandt, Rubens, Benjamin Franklin, and Titian Ramsay—continued the family business as significant artists, naturalists, and inventors.

Curious Revolutionaries is divided into three major thematic sections: Nationhood, The Philadelphia Museum, and The Peale Family Legacy. The exhibition draws on the APS Library and Museum holdings relating to the Peale family. These include the Library’s Peale-Sellers Family Collection of 19 linear feet, comprising some 38 boxes and 147 volumes of archival materials relating to the family. The exhibition showcases letters and diaries, as well as sketchbooks, painting palettes, hollow-cut silhouettes, and watercolors. The exhibition also features pieces from the APS Museum collections, including oil portraits of early American scientists such as David Rittenhouse; painted miniatures of Peale family members; and patent models, including miniature fireplace designs by Peale and his sons.

On view from April to December 2017, Curious Revolutionaries reveals the Peale family’s role in shaping early American public culture through innovations in art, science, and technology. Through their quest for personal prestige, as well as their commitment to advancing the new American republic, the Peales became influential members of Philadelphia’s artistic, intellectual, and political communities.

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Exhibition | Gathering Voices: Thomas Jefferson and Native America

Posted in exhibitions by Editor on December 19, 2016

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Titian Ramsay Peale, Indian on Horseback, 1820, pencil and watercolor on paper
(Philadelphia: American Philosophical Society).

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Closing this month at APS:

Gathering Voices: Thomas Jefferson and Native America
American Philosophical Society, Philadelphia, 15 April — 30 December 2016

Thomas Jefferson was president of the American Philosophical Society from 1797 to 1814—before, during, and after he was President of the United States—and the Society was one of Jefferson’s primary ties to Philadelphia even after he left for Washington. As the site of Charles Willson Peale’s famed natural history museum, for which Jefferson served as chairman of the first Board of Visitors, the American Philosophical Society Museum provides an ideal venue for a series of exhibitions about Jefferson. This tripartite exhibition series—exploring Jefferson as a statesman, as a promoter of science and exploration, and as a student of Native America and indigenous languages—adds not only to our historical understanding of Jefferson’s accomplishments but also demonstrates how his multifaceted legacy continues to be relevant today.

769990392771618549-gatheringvoicesfunguideThe last of three exhibitions, Gathering Voices, tells the story of Jefferson’s effort to collect Native American languages and its legacy at the Society. Jefferson had an abiding interest in Native American culture and language, while, at the same time, supporting national policies that ultimately threatened the survival of Indigenous peoples. As president of the APS from 1797 to 1814, Jefferson charged the Society with collecting vocabularies and artifacts from Native American nations. Over the next two hundred years, the APS would become a major repository for linguistic, ethnographic, and anthropological research on Native American cultures.

Gathering Voices traces the Native American language collection at the APS from Jefferson’s vocabularies to the current language revitalization projects at the Society’s Center for Native American and Indigenous Research (CNAIR). Audio stations will allow visitors to hear Native American voices from the past speaking their own languages, and interactive touchscreens will reveal the dramatic extent of Native American language loss as well as the active tribal revitalization efforts underway in collaboration with CNAIR.

“I … would with all possible pleasure have communicated to you any part or the whole of the Indian
vocabularies which I had collected, but an irreparable misfortune has deprived me of them.”

—Letter from Thomas Jefferson to Benjamin Smith Barton, 21 September 1809

When Thomas Jefferson left Washington after two terms as President of the United States, he packed 50 Native American vocabulary lists in a trunk and sent them on a river barge back to Monticello along with the rest of his possessions. Somewhere along the journey, a thief stole the heavy trunk, thinking it was full of treasure. Upon discovering it was only filled with papers, he tossed the seemingly worthless contents into the James River.

The loss of the vocabularies represented the destruction of 30 years of collecting on Jefferson’s part. Only a few precious fragments were rescued from the muddy banks along the shore. Those fragments, along with Jefferson’s original letter to Barton describing the theft, are on view in the exhibition Gathering Voices: Thomas Jefferson and Native America.

Exhibition Advisors

Dr. Margaret M. Bruchac (Abenaki) is an Assistant Professor of Anthropology, Associate Professor in the Penn Cultural Heritage Center, and Coordinator of the Native American & Indigenous Studies Initiative at the University of Pennsylvania. She directs two restorative research projects—“On the Wampum Trail” and “The Speck Connection”—that endeavor to reconnect objects and data in museums and archives with Indigenous communities and traditions. Her publications include Dreaming Again: Algonkian Poetry (Bowman Books 2012), Indigenous Archaeologies: A Reader in Decolonization (Left Coast Press 2010), and the forthcoming Consorting With Savages: Indigenous Informants and American Anthropologists (University of Arizona Press).

Richard W. Hill, Sr. (Tuscarora) is an artist, writer, and curator who lives at the Six Nations Community of the Grand River Territory in Ontario, Canada. Over the years, Rick has served as the Manager of the Indian Art Centre, Ottawa, Ontario; Director of the Indian Museum at the Institute of American Arts in Santa Fe, NM; and the Assistant Director for Public Programs at the National Museum of the American Indian, Smithsonian Institution; and taught at the State University of New York at Buffalo. Currently he is the Senior Project Coordinator, Deyohahá:ge – Indigenous Knowledge Center at Six Nations Polytechnic.

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Excerpt from the vocabulary of the Unquachog (Unkechaug) Indians, collected by Thomas Jefferson, Long Island, 1791
(Philadelphia: American Philosophical Society).

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First Issue of ‘Art History Pedagogy and Practice’ Released

Posted in journal articles, teaching resources by Editor on December 19, 2016

From AHTR:

046570f9d4625921720f54e9dcfe88f8Art History Teaching Resources (AHTR) is thrilled to release the inaugural issue of Art History Pedagogy and Practice (AHPP), the first academic journal dedicated to the scholarship of teaching and learning in art history (SoTL-AH). The result of a two year initiative, generously funded by the Samuel H. Kress Foundation, AHPP responds to the need to support, collect, and disseminate pedagogical research specific to the discipline. Published biannually by AHTR in partnership with the Graduate Center for the City University of New York and the CUNY Office of Library Services, AHPP is available as an open access e-journal on Academic Works, CUNY’s Digital Commons repository.

With its first issue, “What’s the problem with the introductory art history survey?” AHPP seeks to advance a long-running conversation in art history by exploring issues related to the introductory survey course. A robust response to the initial call for papers revealed that discourse around this topic has evolved in recent years to reflect current changes across the educational landscape. Faculty today acknowledge a broader range of skills and content to be foundational to art historical study and the significant role of digital technology in instructional practice, but research is necessary to examine the impact of new pedagogies when applied in the classroom.

The Scholarship of Teaching and Learning in Art History

The scholarship of teaching and learning (SoTL) encourages scholars to investigate their teaching practice with the same curiosity and intellectual rigour used to approach key research questions in their discipline. While SoTL research encompasses many interests, it generally involves asking meaningful questions about student learning and how it can be improved; conducting research into teaching and learning that is systematic, analytical, evidence-based, and uses a variety of research methods; and sharing the results of that inquiry to benefit colleagues and contribute to a growing body of knowledge around teaching and learning.

As a peer-reviewed journal, AHPP developed as a natural outgrowth of the AHTR Weekly, a lively and wide-ranging blog series where diverse practitioners write about their teaching ideas and experiences. Together, these forums offer a digital model of publication where informal and formal SoTL exchange can complement one another and foster public-facing discourse about education in the humanities. The articles in first issue explore different models of inquiry appropriate to SoTL in art history. They include case studies and qualitative data in the form of student comments, personal reflections, and observations in the classroom, and address quantifiable measurements around learning outcomes, graded performance, and other methods used in education and the learning sciences. Most importantly they ask questions that are important to developing conceptual frameworks for pedagogical practice in art history, and serve as a point of departure for future study in this emerging area of the discipline.

AHTR

ArtHistoryTeachingResources.org (AHTR) is a online platform that connects a diverse field of practitioners teaching art history and visual culture. The site currently provides an evolving repository of adaptable lesson plans; a weekly blog of shared assignments, teaching ideas, and reflective essays; and biannual publication of Art History Pedagogy and Practice. Founded on dual goals to raise the value of the academic labor of teaching and to provide peer support across ranks of tenured, tenure-track, and contingent instructors, AHTR began in 2011 as a collaboration between Michelle Millar Fisher (CUNY, MOMA) and Karen Shelby (Baruch College, CUNY), who created the arthistoryteachingresources.org website with support from the New Media Lab at the CUNY Graduate Center. Since its public launch in 2013, AHTR has grown an average of 120% each year and has been viewed over 500,000 times by educators in K-12, post-secondary institutions, and art museums, and academic support staff including reference librarians and curriculum designers. AHTR’s administration has similarly expanded to a leadership collective of art historians and an advisory network assembled for expertise and leadership in art history, museum education, and digital humanities.

AHTR believes that effective high-quality instruction is essential to the future of art history. We are excited to contribute to this goal by providing a platform for scholarly discourse and publication on teaching and learning in art history, and look forward to the next issue of AHPP in Spring 2017. We are grateful for the support, encouragement, and hard work of so many people who have helped to realize this major initiative. In addition to the authors and peer reviewers who contributed content to AHPP’s inaugural issue, we wish to thank Jill Cirasella and Megan Wacha at CUNY, Jillian Clark at bepress, Danielle Maestretti at Flexport, CHIPS, Max Marmor, Lisa Schermerhorn, and Wyman Meers at the Kress Foundation, AHPP’s Advisory Board, and co-editors Renee McGarry and Virginia B. Spivey.

Art History Pedagogy and Practice 1.1 (December 2016)

• Virginia B. Spivey and Renee McGarry — Editor’s Introduction: Advancing SoTL-AH
• Aditi Chandra, Leda Cempellin, Kristen Chiem, Abigail Lapin Dardashti, Radha J. Dalal, Ellen Kenney, Sadia Pasha Kamran, Nina Murayama, and James P. Elkins — Looking Beyond the Canon: Localized and Globalized Perspectives in Art History Pedagogy
• Melissa R. Kerin and Andrea Lepage — De-Centering ‘The’ Survey: The Value of Multiple Introductory Surveys to Art History
• Beth Harris and Steven Zucker — Making the Absent Present: The Imperative of Teaching Art History
• Julia A. Sienkewicz — Against the ‘Coverage’ Mentality: Rethinking Learning Outcomes and the Core Curriculum
• Glenda M. Swan — Building a Foundation for Survey: Employing a Focused Introduction

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