The Burlington Magazine, November 2017

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on November 30, 2017

The eighteenth century in The Burlington:

The Burlington Magazine 159 (November 2017)


• Oronzo Brunetti, “A Nymphaeum for the Villa Salviati at Ponte alla Badia in Florence,” pp. 893–99.


• Jeremy Warren, Review of Mark Gregory d’Apuzzo, La collezione dei bronzi del Museo Civico Medievale di Bologna (Libro Co. Italia, 2017), pp. 912–13.
• François Marandet, Review of Hannah Williams, Académie Royale: A History in Portraits (Ashgate, 2015), pp. 918–19.
• Peter Murray, Review of Jane Fenlon, Ruth Kenny, Caroline Pegum, and Brendan Rooney, eds., Irish Fine Art in the Early Modern Period: New Perspectives on Artistic Practice, 1620–1820 (Irish Academic Press, 2016), p. 923.
• David Cowan, Review of the exhibition Bonnie Prince Charlie and the Jacobites (National Museum of Scotland, Edinburgh, 2017), pp. 930–31.
• Xavier F. Salomon, Review of the exhibition Caroline Murat, Sister of Napoleon, Queen of the Arts / Caroline, Soeur de Napoléon, Reine des Arts (Palais Fesch, Musée des Beaux-Arts, Ajaccio, Corsica, 2017), pp. 940–41.


Call for Papers | American Art Symposium, [Un]making Empires

Posted in Calls for Papers by Editor on November 30, 2017

From H-ArtHist:

Fourteenth Annual Yale University American Art Graduate Symposium, [Un]making Empires
Yale University, New Haven, 7 April 2018

Proposals due by 26 January 2018

Portrait of Chief Hendrick, engraving, ca. 1755.

The history and experience of immigration, colonization, and nation-building in the Americas have contributed to a complex artistic legacy. From Incan quero vessels to Kara Walker’s A Subtlety, or the Marvelous Sugar Baby, the arts of North, Central, and South America and the Caribbean have engaged and served different imperial visions. A means of both consolidating and challenging state power, material and visual cultures of empire have also shaped the identities of individuals, larger communities, and entire countries alike.

The Fourteenth Annual Yale University American Art Graduate Symposium invites papers that present new ways of thinking about art’s relationships to colonialism and empire. We invite submissions from graduate students working on American art across all time periods and media. Papers of an interdisciplinary and cross-cultural nature are especially encouraged.

Possible topics include, but are not limited to:
• Artistic expressions of confederation, empire, or sovereignty by indigenous American peoples
• Early modern colonial art and architecture, including relationships between colonies and their respective metropoles, inter-imperial exchange, and global currents
• Colonial subjects and artists as agents of empire
• Slavery and diaspora
• Questions of artistic agency, appropriation, authenticity, and hybridity in colonial art
• Colonial tropes and allegorical representations of the Americas and ‘Americans’
• Arts of exploration, conquest, and Manifest Destiny
• Colonial ‘afterlives’, heritage, and memory (ex. the Colonial Revival, museums such as Colonial Williamsburg, etc.)
• Post-colonialism, independence, and decolonization
• Art of non-political empires (ex. religious or commercial empires)
• Neo-colonialism and modern imperialism

Interested graduate students are invited to submit an abstract of no more than 350 words along with a CV by January 26, 2018. All submissions and questions should be directed to americanist.symposium@gmail.com. Accepted participants will be notified in early February. Accommodations will be provided in New Haven, Connecticut.

Keynote Speaker: Zara Anishanslin, Assistant Professor of History and Art History, University of Delaware

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