The Burlington Magazine, August 2017
The eighteenth century in The Burlington:
The Burlington Magazine 159 (August 2017)
E D I T O R I A L
• “Reflected Glory: University Art Collections in Britain,” p. 599.
O B I T U A R I E S
• Simon Jervis, “Rudolf Hermann Wackernagel (1933–2017),” p. 639. His great article, “Carlton House Mews: The State Coach of the Prince of Wales and of the Later Kings of Hanover, A Study in the Late-Eighteenth-Century ‘Mystery’ of Coach-Building, in Furniture History 31 (1995) remains the most authoritative statement on London coach building in the late eighteenth century. But his crowning achievement was the massive two-volume Staats- und Galawagen der Wittelsbacher (Stuttgart, 2002). This is a catalogue of the wonderful collection of the Marstallmuseum at Schloss Nymphenburg, outside Munich, where he generously deposited part of his own extensive and systematic archive on coaches and carriages…
R E V I E W S
• Gauvin Alexander Bailey, Review of Christine Casey, Making Magnificence: Architects, Stuccatori and the Eighteenth-Century Interior (Yale University Press, 2017), pp. 642–43.
• Ayla Lepine, Review of Julian Holder and Elizabeth McKellar, eds., Neo-Georgian Architecture, 1880–1970: A Reappraisal (Historic England, 2016), pp. 643–44.
• Michael Hall, Review of Pauline Prévost-Marcilhacy, ed., Les Rothschild: une dynastie de mécènes en France, 1873–2016 (Somogy éditions d’Art, 2016), pp. 644–46.
• Francis Russell, Review of the exhibition Canaletto and the Art of Venice (London: The Queen’s Gallery, Buckingham Palace, 2017), pp. 651–52.
• Matthi Forrer, Review of the exhibition Hokusai: Beyond the Great Wave (London, The British Museum; and Osaka: Abeno Harukas Art Museum, 2017), pp. 652–53.
•Eric Zafran, Review of the exhibition America Collects Eighteenth-Century French Painting (Washington: D.C.: National Gallery of Art, 2017), pp. 669–70.
R E C E N T A C Q U I S I T I O N S
Recent acquisitions (2007–17) by regional university collections in Britain
Joshua Reynolds, Maria Marow Gideon and Her Brother, William, 1786–87 (Birmingham: The Barber Institute of Fine Arts), January 2013.
Rosalba Carriera, Portrait of Gustavus Hamilton, 2nd Viscount Boyne, ca. 1730–31; pastel, heightened with white bodycolour on paper (Birmingham: The Barber Institute of Fine Arts), 2009.
John Opie, The Death of Archbishop Sharpe, 1797; oil on canvas (University of St Andrews), 2008.
Call for Papers | Art and Work, A Graduate Symposium
Art and Work, A Graduate Symposium
Northwestern University, Evanston, 8 February 2018
Proposals due by 1 October 2017
The Department of Art History at Northwestern University will hold a one-day graduate symposium on Thursday, 8 February 2018 on the topic of art and work. The symposium will span historical periods and geographic regions to investigate the history, politics, and aesthetics of artistic labor. Our proposal is grounded by historical and theoretical concerns with the social positions of art making, the artist, and work more generally. How do the social and technical conditions of labor in a given society determine the possibilities of its art, and how do artistic imaginaries of work help shape struggles around these very social conditions? What kinds of skills, expertise, discourses, or knowledge come to distinguish an artist from an artisan, engineer, or maker, or from a teacher, political official, or social worker? How and where do these distinctions emerge or dissolve both visually and historically, and how do they relate to other predominant social markers such as race, gender, and class? We see these questions as resonating across boundaries of period and national tradition, and are excited to see what might be learned from thinking within a wide historical frame wherein both art and work are contested terms.
We welcome papers that consider, among other topics, the aesthetics of work and/or non-work; the social position of the artist; the problem of aesthetic autonomy; or spaces of production and their representations—from the artist’s studio to the collaborative workshop, the laboratory, the home, the factory, and beyond. We are also interested in how representations of artistic production and exercises in (or negations of) artistic technique mediate ongoing processes of social transformation. We invite papers from any time period or geographic region by graduate students in art history as well as related disciplines.
Possible topics might include
• Depictions of studio, workshops, factories, spaces of production
• Craft labor and handwork
• Treatises and technical manuals
• Artistic readymades or the absence of work
• Histories of deskilling and automation
• Aesthetics and political economy
• Anti-work politics and aesthetics
• Global precarity and flexible labor regimes
• Reproductive labor, domestic work
• Affective and care-based labor
• Post-Marxist approaches to ‘immaterial labor’
• Community and public art
Symposium speakers who do not reside locally will receive roundtrip economy airfare to Chicago/Evanston, accommodation for two nights in Evanston, and a travel stipend to cover ground transportation to and from the airport. Please email proposals to laurelgarber2015@u.northwestern.edu and brianleahy2020@u.northwestern.edu by October 1, 2017. Include in your proposal a 300-word abstract and a brief CV in a single PDF file. Selections will be announced in mid-October.
Keynote lecture by Jasper Bernes, author of The Work of Art in the Age of Deindustrialization (Stanford University Press, 2017).
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