Reproduction of Art and Cultural Heritage
Writing for Apollo Magazine (15 December 2017), Maggie Gray suggests “it’s time to talk seriously about digital reproductions.” A version of the declaration signed on 8 December 2017 at the V&A is available as a PDF file here. From the V&A Research Projects / ReACH
ReACH (Reproduction of Art and Cultural Heritage)
A global research programme exploring the digital reproduction of cultural heritage — #ReACHdialogue
Launched at UNESCO in May 2017, ReACH (Reproduction of Art and Cultural Heritage) is a global initiative spearheaded by the V&A in partnership with the Peri Charitable Foundation that explores how to re-think our approach to reproducing, storing and sharing works of art and cultural heritage.
Digital technologies are changing the cultural landscape, offering new ways to produce, store and share museum and heritage assets. However, there is no clear methodology for how museums and heritage organisations should engage with these technologies. To complicate matters, legal protocols and procedures have not adapted to these new realities, and often act as roadblocks to new practice. ReACH will bring clarity—by highlighting best practices, debating pressing issues, and drafting a convention—and offer our community a useful roadmap for dealing with reproductions in the future.
There are two fundamental goals of the ReACH programme. The first is to share best practices concerning the production, storage and dissemination of digital and physical reproductions. This will be achieved by inviting key speakers to the roundtables to share their professional experiences and to flag some of the broader challenges and opportunities. The second goal is to use the information gathered from the 5 roundtables to draft a new convention concerning the role of museums and other organisations in the reproduction of works of art and cultural heritage, which can be shared and adopted.
The ReACH project coincides with the 150th anniversary of Henry Cole’s 1867 Convention, which helped usher in a period where museums actively engaged in the creation of reproductions of objects from around the world. The document is inspiring in its clarity, practicality and openness to the creation and sharing of reproductions. Along with an updated version of the Convention we will produce a publication that compiles examples of the best practices selected from the roundtable discussions—as a roadmap for museums working with reproductions, as instruments for preservation and accessibility.
New Book | Art, Passion & Power: The Story of the Royal Collection
From Penguin Books:
Michael Hall, with a foreword by the Prince of Wales, Art, Passion & Power: The Story of the Royal Collection (London: BBC Books, 2017), 352 pages, ISBN: 978 17859 42617 £30.
The Royal Collection is the last great collection formed by the European monarchies to have survived into the twenty-first century. Containing over a million artworks and objects, it covers all aspects of the fine and decorative arts, from paintings by Rembrandt and Michelangelo to grand sculpture, Fabergé eggs and some of the most exquisite furniture ever made. The Royal Collection also offers a revealing insight into the history of the British monarchy from William the Conqueror to Queen Elizabeth II, recording the tastes and obsessions of kings and queens over the past 500 years.
With unprecedented access to the royal residences of St James’ Palace, Windsor Castle, and Buckingham Palace, Art, Passion & Power traces the history of this national institution from the Middle Ages to the present day, exploring how royalty used the arts to strengthen their position as rulers by divine right and celebrating treasures from the Crown Jewels to the Abraham tapestries in Hampton Court Palace. Michael Hall examines the monarchy’s response to changing attitudes to the arts and sciences during the Enlightenment and celebrates the British monarchy’s role in the democratisation of art in the modern world. Accompanying the upcoming BBC television series—and coinciding with two exhibitions, Charles I: King and Collector at the Royal Academy and Charles II: Art and Power at the Queen’s Gallery, Buckingham Palace—Art, Passion & Power is the definitive statement on the British monarchy’s treasures of the art world.
Michael Hall is the editor of art-history periodical The Burlington Magazine. He has published several books on 19th-century art, architectural history, and the history of collecting, including Waddesdon Manor: The Biography of a Rothschild House and The Harley Gallery: Treasures of the Portland Collection. He has recently completed a history of the Royal Mausoleum at Frogmore, to be published by the Royal Collection.
Celebrating Repton 200
From The Gardens Trust:
Aylsham in Norfolk will host the official launch of Repton 200—a year of nationwide celebrations coordinated by the Gardens Trust marking the bicentenary of the death of Humphry Repton, who succeeded Capability Brown as Britain’s greatest landscape gardener.
Norfolk is where Repton first worked as a landscape gardener, at Catton Park, and where he was buried, at St Michael and All Angels Church in Aylsham, in March 1818. To mark the bicentenary of his death, a programme of events celebrating his life and work have been planned in Norfolk and around the country.
Humphry Repton, whose works include Tatton Park and Woburn Abbey, was the successor to Capability Brown and the first to coin the term ‘landscape gardening’. Born in Bury St Edmunds in April 1752, he attended Norwich Grammar School and trained to work in the textile business but was not successful in the industry. After trying his hand at a number of careers—including dramatist, artist, journalist, and secretary—Repton set himself up as a landscape gardener and gained work through his social contacts. He went on to work on estates across the country, producing his famous Red Books which showed his clients ‘before’ and ‘after’ views of how he would improve their land.
The Gardens Trust are co-ordinating the national celebrations, which start in March 2018, and include the Repton Season organized by Aylsham and District Team Ministry, Aylsham Town Council, community groups and Broadland District Council.
Events in Norfolk include a history workshop with Dr. Tom Williamson, professor of landscape history and archaeology at the University of East Anglia, a Repton 200 Memorial Choral Evensong, a Humphry Repton Memorial Lecture with Professor Stephen Daniels of the University of Nottingham, and a Red Book competition involving pupils from local schools.
Cllr Karen Vincent, Member Champion for Heritage at Broadland District Council, said: “We are lucky as a district to have links to such an important and fascinating figure. Repton’s work remains on show throughout the country, with his first work being here in Broadland at Catton Park. We would encourage anyone interested in one of the country’s most important landscape gardeners to come and help us celebrate his achievements in the spring.”
Dr James Bartos, Chairman of the Gardens Trust, said: “Humphry Repton designed around 400 landscapes across the country, many of which remain much-loved historic gardens. His picturesque designs featured terraces, gravel walks and flower beds around the house, as well as themed flower gardens. Next year will see a host of events celebrating his enduring influence, and drawing attention to gardens which need help to survive.”
For more information about Repton events in 2018 visit www.humphryrepton.org or follow #Repton200 on Twitter.
2017 Georgian Group Architectural Awards
From The Georgian Group:
From the Instagram account of Lowther Castle, 28 December 2017.
The Georgian Group’s annual Architectural Awards, generously sponsored by Savills, took place at the RIBA on 30 November 2017. The Awards, now in their fifteenth year, recognise exemplary conservation and restoration projects in the UK and reward those who have shown the vision and commitment to restore Georgian buildings and landscapes. This year we were pleased to welcome Dr John Goodall as chair of the judging panel and presenter of the Awards. His Royal Highness The Prince of Wales, Patron of the Georgian Group, graciously provided the introduction to the Awards by means of a video message recorded at Dumfries House.
Selected Awards
Restoration of a Georgian Landscape: Lowther Castle, Cumbria
Restoration of a Country House: Pitshill House, West Sussex
Restoration of a Georgian Interior: Marchmont House, Berwickshire
Restoration of a Georgian Town House: 14 Fournier Street, London
Diaphoros Prize: Reads Cutlers, 4 Parliament Street, Dublin, Ireland
Details for winners and commended sites are available here»
Exhibition | Pots with Attitude: Political and Satirical Prints on Ceramics
From the press release for the exhibition:
Pots with Attitude: British Satire on Ceramics, 1760–1830
The British Museum, London, 12 January — 11 March 2018
Curated by Patricia Ferguson
Ceramics are rarely confrontational, but the pugnacious mugs, jugs, and plates in Pots with Attitude: British Satire on Ceramics, 1760–1830, in Room 90a, a display at the British Museum, supported by the Monument Trust, are exceptions. Here, utilitarian creamwares and pearlwares are transformed with images appropriated from contemporary engravings into militant wares, fragile platforms criticising the latest political propaganda or blunder. Humour dissipates the uncomfortable truths in these satirical prints published in London between 1770 and 1830. Transferring printed images direct from copper plates onto ceramic bodies was an innovation embraced by the English potteries in the 1750s. They quickly exploited its possibilities to international acclaim and commercial gain. This interdisciplinary display uniting political prints and transfer-printed ceramics, two great British traditions, is part of a one-year Monument Trust funded curatorial project to champion interactions between 18th-century prints and ceramics.
Creamware jug, probably Liverpool, transfer-printed in red, ‘The Governor of Europe Stopped in his Career’, ca. 1803, 13 cm (London: The British Museum, 1922,1220.2.CR).
The British Museum has one of the largest collections of satirical prints in the world. The earliest were acquired by Sarah Sophia Banks (1744–1818), the sister of the naturalist Sir Joseph Banks (1743–1820), who collected 800 caricatures, as they were then known. Despite their popular appeal, these costly, hand-coloured etchings were aimed at the affluent and sold at Mayfair ‘Caricature Warehouses’ from the 1780s. The aristocracy pasted them into albums or lined print rooms with them as at Calke Abbey, Derbyshire. Samuel Fores (1761–1838), an enterprising London publisher, at No. 50, Piccadilly, offered ‘Folios of Caricatures lent out for the Evening’. Others charged an entrance fee, but many enjoyed them in the windows of print-shops for free.
Mass-produced pots with political prints were marketed at a broader social level and appeared on inexpensive earthenware, more at home in an alehouse than a drawing room. Most were printed over the glaze. New copper plates were engraved, scaled to the size of the pots. The small but choice collection in the British Museum is primarily from the 1887 gift of Sir Augustus Wollaston Franks (1826–1897), the first Keeper of the newly formed Department of British and Mediaeval Antiquities and Ethnography, who believed that the Museum’s collection should reflect historical events. Many of the pots in the display are on loan from a generous private collector.
Creamware jug, probably Liverpool, transfer-printed in red, ‘Success To the Volunteers’, ca. 1803, 13 cm (London: The British Museum, 1922,1220.2.CR).
The imagery became increasingly cruel, especially during Napoleon Bonaparte’s threatened invasion in 1803, when prints as government funded propaganda stirred up the populace with nasty images of the Corsican tyrant. Just weeks before the collapse of the Peace of Amiens in May 1803, a caricaturist captured a colossal ‘Boney’ with a foot firmly planted in Germany about to straddle the English Channel. A feisty, pint-sized John Bull with a blood stained sword has sliced off his toes, while exclaiming ‘Paws off, Pompey’, associating Bonaparte with the hero of a popular novel, a lap-dog, known as ‘Pompey the Little’.
This particular image was used by a number of potteries in Liverpool, Staffordshire, and Sunderland. The reverse of a creamware ale or wine jug, transfer-printed in iron-red, is inscribed ‘Success to the Volunteers’ within a Bacchic grapevine border. The Volunteers were a civilian militia formed following the Defence of the Realm Act 1803, when the heightened threat of invasion easily mobilized a 380,000 strong force by the year’s end. What role, if any, these humble printed pots played in encouraging their decision to volunteer is debatable, but they clearly supported their agenda.
Lecture by Patricia Ferguson
Tuesday, 23 January 2018, 13.15–14.00, Room 90a; free, just drop in.
Study Day | Pots, Prints, and Politics: Ceramics with an Agenda
Friday, 16 February 2018. More information is available here.
Note (added 28 January 2018) — The original version of this posting listed the title as Pots with Attitude: Political and Satirical Prints on Ceramics.
Display | Sir Hans Sloane’s Practices of Collecting and Cataloguing
Now on view at The British Museum:
A Physician’s Cabinet: Sir Hans Sloane’s Practices of Collecting and Cataloguing
The British Museum, London, 24 November 2017 — 11 January 2018
Dorothea Graff, Scarlet Ibis, watercolour on vellum, ca. 1700–07 (London: The British Museum).
This small display brings together an array of prints, drawings, and objects—all related to medicine—that were collected by the founder of the British Museum, Sir Hans Sloane (1660–1753). Sloane was a well-regarded physician and this display focuses on how medicine influenced his collecting. During the course of his life, Sloane brought together hundreds of thousands of objects to create one of the most significant collections in the world. On his death, he bequeathed these objects to the nation and they became the foundation of the British Museum’s collection.
Sloane was first and foremost a physician, and was doctor to Queen Anne and Kings George I and II. Medicine, in its broadest sense, influenced how Sloane collected and catalogued objects, especially from the natural world. He received specimens of plants, insects, shells and corals from around the globe. He also acquired exquisite albums of watercolours and drawings like the works on display by Jan Van Huysum (1682–1749) and Maria Sibylla Merian (1647–1717) and her daughters.
The medicinal use of objects was also important to Sloane. He carefully recorded this information as he organised his collection at his house in Bloomsbury Square and later in Chelsea. Two objects sent to him from China and Japan are on show for the first time: a fine ear cleaning implement and an ornate acupuncture needle case. Rare engravings—including a broadside on conjoined twins by John Day (1522–1584) and prints after Rubens (1577–1640) showing human musculature—demonstrate Sloane’s interest in artistic processes, anatomy, and the curiosities of nature.
New Book | The Life and Work of Thomas Chippendale Junior
From Philip Wilson:
Judith Goodison, The Life and Work of Thomas Chippendale Junior (Philip Wilson, 2017), 464 pages, ISBN: 9781781300565, £65 / $95.
The Chippendale cabinet-making firm, founded by Thomas Chippendale senior in about 1750 became famous partly through the succesful publication of his The Gentleman and Cabinet-Maker’s Director (1754, re-published 1755 and 1762), and partly through the fine furniture supplied to a number of illustrious clients. Chippendale senior ran the workshop for just over twenty years. His eldest son Thomas Chippendale junior (1749–1822) continued the business for over forty, the first two decades in partnership with Thomas Haig. Chippendale senior’s work has been well documented. Chippendale junior’s work has never, until now, been thoroughly researched. The Life and Work of Thomas Chippendale Junior repairs the omission. His patrons included members of the Royal Family, aristocrats, landed gentry, and antiquarians. He was adept at satisfying their demands, whether they required lavish gilt or simpler, often mahogany, pieces. Where family archives and original settings survive, as at Harewood House, Paxton House, and Stourhead, they reveal the variety and quality of Chippendale’s output. Analysis of client’s invoices, even when the furniture can no longer be traced, for the first time provides a colourful view of what customers chose and what prices they paid.
Judith Goodison FSA is a furniture historian and has been researching the work of Thomas Chippendale junior for the last ten years.
Exhibition | Chippendale 300
During 2018, the Chippendale 300 partnership is celebrating Thomas Chippendale (b. 5 June 1718) and his legacy as widely as possible, both by encouraging greater public awareness of his genius and the glories of 18th-century craftsmanship and by demonstrating how the same spirit animates today’s designers and makers. The following institutions and historic houses have joined together to create a programme of exhibitions and events to celebrate Thomas Chippendale’s tercentenary: Burton Constable Hall, The Chippendale Society, Dumfries House, Firle Place, The Furniture History Society, Harewood House, Leeds Museum & Galleries, Master Carvers’ Association, The National Trust, Newby Hall, Paxton House, Visit Otley, and Weston Park. Visit Chippendale 300 for more information. Opening in February at Leeds:
Thomas Chippendale: A Celebration of Craftsmanship and Design, 1718–2018
Leeds City Museum, 9 February — 10 June 2018
Curated by Adam Bowett and James Lomax
This exhibition celebrates the life and work of Thomas Chippendale (1718–1779), Britain’s most famous furniture maker. It will be the most comprehensive exhibition of Thomas Chippendale’s work ever presented and will include furniture, accessories, drawings, documents and other material from collections throughout the United Kingdom. Alongside well-known masterpieces from public collections there will be rarely-seen furniture from private houses and some new discoveries, never before exhibited. The exhibition explores Thomas Chippendale’s life and work in five major themes: his family origins, training, career and the publication of the ground-breaking Director; his furniture in the Rococo, Gothic, Chinese, and neo-Classical styles; the management of his commissions, including relations with clients; his workshops, including manufacturing and decorative techniques; and his legacy from the 18th century to the present day.
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From ACC Publishing Group:
Adam Bowett and James Lomax, Thomas Chippendale (1718–1779): A Celebration of British Craftsmanship and Design (Bradford: The Chippendale Society, 2018), 208 pages, ISBN: 9781999922917, $90.
Celebrating the tercentenary of Thomas Chippendale’s birth, this catalogue of the 2018 Leeds exhibition covers all 95 exhibits including furniture, drawings, engravings, textiles and wallpaper, together with other contemporary and later material. Each entry is illustrated in colour, with supporting images in both colour and black and white. Also included are introductory essays to each section of the exhibition, covering Chippendale’s life and career, his furniture styles, his relationships with customers, and his legacy from the 18th century to the present day.
Adam Bowett is the Chairman of the Chippendale Society and co-curator of the tercentenary exhibition. He is a well-known historian of English furniture and has published widely on the subject in both popular and scholarly journals. He is also the author of three books on English furniture. James Lomax is the Curator of the Chippendale Society and co-curator of the tercentenary exhibition. He was formerly curator at Temple Newsam House, Leeds and is an acknowledged expert on 18th-century applied arts, particularly silver, and has a special interest in the work of Thomas Chippendale.
Note (added 4 March 2018) — The original posting did not include information about the catalogue.
Conference | CAA 2018, Los Angeles
Please pay particular attention to the HECAA session, Imitation, Influence, and Invention in the Enlightenment, chaired by Heidi Strobel and Amber Ludwig, which takes place Wednesday morning at 8:30, and the ASECS session The 1790s, chaired by Julia Sienkewicz, scheduled for Friday afternoon at 2:00. In addition, a few spots for the American Institute for Conservation’s annual ‘Learning to Look’ workshop on Eighteenth-Century Mexican Painting, held at LACMA in connection with the exhibition Pintado en México, 1700–1790: Pinxit Mexici, have generously been reserved for Enfilade readers (please see details below and email Rebecca Rushfield at wittert@juno.com to RSVP). Finally, with more and more thematic offerings, I’ve inevitably missed material relevant to the eighteenth century; so, please don’t be bashful about noting panels omitted below. –CH
106th Annual Conference of the College Art Association
Los Angeles Convention Center, 21–24 February 2018
In 2018, CAA will return to LA for its 106th Annual Conference. The four-day event will be held at the Los Angeles Convention Center from Wednesday, February 21 through Saturday, February 24. The conference consists of over 300 presentations, panel discussions, workshops, special events, and exhibitions exploring the study, practice, and history of art and visual culture. As the best-attended international forum in the visual arts, the Annual Conference creates a community of practitioners, scholars, and the general public seeking to learn and connect. Attendees expand their professional networks, meet with potential employers, and strengthen their skills in professional-development workshops. CAA’s annual gathering facilitates networking opportunities and enables the exchange of ideas and information with colleagues from across the globe.
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Historicizing Loss in Early Modern Europe
Wednesday, 21 February, 8:30–10:00am
Chair: Julia Vazquez (Columbia University)
• Losing Battles: The Memory of Perfection in Sixteenth-Century Italy, Francesca Borgo (Getty Research Institute)
• Villalpando’s View of the Zócalo of Mexico City and the Destruction of the Viceregal Palace in 1692: History or Politics?, Luis Javier Cuesta Hernández (Universidad Iberoamericana, Mexico City)
• Wax, Fire, and the Search for an Imperishable Medium, circa 1754, Oliver Wunsch (Harvard University)
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Imitation, Influence, and Invention in the Enlightenment (HECAA)
Wednesday, 21 February, 8:30–10:00am
Chairs: Heidi A. Strobel (University of Evansville) and Amber Ludwig (Independent Scholar)
• Contextualizing Carmontelle’s Profile Pictures: A Re-examination of an Amateur Artist’s Face-books, Margot Bernstein (Columbia University)
• Invention for imitation: The Troubled Status of Macklin Bible Paintings, Naomi Billingsley (University of Manchester)
• Fashion, Subjectivity, and Sociability in the Amateur Copy: Fleury Richard à la Hortense de Beauharnais, Marina Kliger (New York University)
• Artistic Copies, Imitation, and Exchange Value: The Case of Colonial Mexico’s Academy of Art, Oscar E. Vázquez (University of Illinois at Urbana-Champaign)
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State of the Art (History): Re-Examining the Exam (AHPT)
Wednesday, 21 February, 10:30–12:00
Chairs: Karen D. Shelby (Baruch College, The City University of New York/Art History Teaching Resources) and Virginia B. Spivey (Independent Scholar/Art History Teaching Resources)
• Agency in Test Design as Motivation for Art History Students, Eleanor Moseman (Colorado State University, Department of Art and Art History)
• Assessing Applied Art History: The eBay Project, Lisa Langlois (SUNY Oswego)
• When the Projector Fails: Transforming the Slide Exam, Martha Hollander (Hofstra University)
• Breaking Binaries: The Magic Square Essay Exam, Janice Simon (University of Georgia)
• Reacting to the Past: Game Play as a Replacement for Traditional Assessment Methods, Mary Frances Zawadzki, (Texas A&M)
• One Objective, Four Ways to Meet It: Replacing High-Stakes Exams with Multi-Option Creative Projects, Cara Smulevitz (San Diego Mesa College)
• EVERY BODY: Physical Engagement and Making in Portfolio Assessments for the General Education Art History Survey, Susannah Kite Strang (Arrupe College of Loyola University Chicago)
• Synthesizing the Survey, Illustrating the Timeline: Rethinking History Assignments for Design Students, Alexa Griffith Winton (Ryerson School of Interior Design)
• Alternative Student Projects for Assessment in Art History Courses, Michele Wirt
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The French Fragment: Revolution to Fin-de-Siècle, Part I
Wednesday, 21 February, 10:30–12:00
Chairs: Emily Eastgate Brink (University of Western Australia) and Marika Knowles (Harvard University)
• Painting History in the Shadow of the Guillotine, Stephanie O’Rourke (University of St. Andrews)
• The Artist Underwhelmed by the Grandeur of Antique Monuments: Fragment and Counter-Fragment, Mark Ledbury (University of Sydney)
• Broken Guardians: The Lamassu and Fragmented Historical Vision in Nineteenth-Century France, Sarah C. Schaefer (University of Wisconsin, Milwaukee)
• Fragments and Fragmentary Vision in Nineteenth-Century Architectural Photographs, Peter Sealy (University of Toronto)
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Travel, Diplomacy, and Networks of Global Exchange in the Early Modern Period, Part I
Wednesday, 21 February, 10:30–12:00
Chair: Justina Spencer (Carleton University)
• Roots, Routes, and Resignification: The Life Changing Travels of Louis XIV Prints and Medals, Robert Wellington (Australian National University)
• ‘The Noblest Building of all the East’: The Porcelain Pagoda of Nanjing in Europe, 1665–1762, Kara Lindsey Blakley (The University of Melbourne)
• Cultivating a Global Vision from Afar: Travel Journals Depicting the Port of Nagasaki During the Edo Period (1603–1868), Russell Kelty (Art Gallery of South Australia)
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Free/Open Workshop, Learning to Look: Eighteenth-Century Mexican Painting
Wednesday, 21 February, 12:30–2:00pm
Organized by Rebecca Rushfield
For this installment of the American Institute for Conservation’s annual ‘Learning to Look’ workshop, Ilona Katzew, curator, and Joe Fronek, conservator, will discuss the material aspects of works in the LACMA exhibit, Pintado en México, 1700–1790: Pinxit Mexici, in the museum’s galleries with participation from workshop attendees. Advance registration required. Please RSVP to Rebecca Rushfield at wittert@juno.com by February 16, 2018.
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Art, Agency, and the Making of Identities at a Global Level, 1600–2000, Part I
Wednesday, 21 February, 2:00–3:30pm
Chairs: Noémie Etienne (Bern University) and Yaelle Biro (The Metropolitan Museum of Art)
• The Picturesque in Peking: European Decoration at the Qing Court, Helen Glaister (SOAS, University of London/Victoria and Albert Museum, London)
• A Transnational Loop: Pakistan’s Repossession of the Oriental Carpet Imaginary and its Production, Dorothy Armstrong (Victoria and Albert Museum/Royal College of Art, London)
• The Rivers Folded: Souvenir Accordion Panoramas in the Late Nineteenth-Century Global Tourism, Tingting Xu (University of Chicago)
• Lozi Style: King Lewanika and the Marketing of Barotseland, Karen E. Milbourne (Smithsonian National Museum of African Art)
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Circumventing Censorship in Global Eighteenth-Century Visual Culture
Wednesday, 21 February, 2:00–3:30pm
Chairs: Lauren G. Kilroy-Ewbank (Pepperdine University) and Kristen L. Chiem (Pepperdine University)
• The Pueblo Revolt and the Art of Resistance, Caroline Jean Fernald (Millicent Rogers Museum)
• Ganymede, Eros, and Winged-Phalli, Joseph Cotter (Pennsylvania State University)
• Censoring the Sultan? Imperial Epigraphy and Popular Exegesis, David Simonowitz (Pepperdine University)
• Seditious Words, Innocuous Images? Qing Literary Inquisitions and the Visual Realm, Kristen L. Chiem (Pepperdine University)
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Travel, Diplomacy, and Networks of Global Exchange in the Early Modern Period, Part II
Wednesday, 21 February, 4:00–5:30pm
Chair: Justina Spencer (Carleton University)
• Matters of Resemblance and Remembrance, between Istanbul and Venice, Elizabeth Rodini (Johns Hopkins University)
• Ottoman Diplomatic Ceremonies as seen through the Eyes of the Flemish Artist Pieter Coecke van Aelst (1533), Talitha Maria G. Schepers (The Courtauld Institute of Art)
• Texture, Touch, and Color in the Ottoman Costume Book: On the Interpretation of Transcultural Art, Elisabeth Fraser (University of South Florida)
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All in the Family: Northern European Artistic Dynasties, ca. 1350–1750 (HNA)
Wednesday, 21 February, 4:00–5:30pm
Chair: Catharine Ingersoll (Virginia Military Institute)
• Visualizing the Francken Family Legacy: On the Gallery Paintings of Frans II Francken (1581-1642), Jamie Richardson (Bryn Mawr College)
• David Teniers II as a Brueghel, Lloyd DeWitt (Chrysler Museum of Art)
• Marketing Matriarchy: Maria Sibylla Merian, her Daughters, and their Blooming Watercolors, Catherine Powell (The University of Texas at Austin)
• The Far-flung Bendls: Stylistic Connections between Four Generations of an Early Modern Sculptural Family, Mirka C. Døj-Fetté (Princeton University)
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Objects of Change? Art, Liberalism, and Reform across the Eighteenth and Nineteenth Centuries
Wednesday, 21 February, 4:00–5:30pm
Chairs: Caitlin Beach (Columbia University) and Emily Casey (St. Mary’s College of Maryland)
• Engraving’s ‘Immoveable Veil of Black’: Phillis Wheatley’s Portrait and the Politics of Technique, Jennifer Chuong (Harvard University)
• Fire Prevention, Prefabrication, and Containing: Techniques of Managing Labor across the Early Nineteenth-Century British Atlantic, Jonah Rowen (Columbia University)
• A Visual Riot: Reform and Dissent in The History of Pennsylvania Hall (1838), Emily S. Warner (Vassar College)
• Archive Against Crime: Cesare Lombroso and Seeing the Criminal, Not the Crime, in Post-Risorgimento Italy, Nicole Coffineau (University of Pittsburgh)
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Yale University Press Exhibitor Session: Art and Architecture ePortal
Wednesday, 21 February, 4:00–5:30pm
Chairs: Patricia Fidler (Yale University Press) and Sara Sapire (Yale University Press)
Yale University Press has recently received grants from the Andrew W. Mellon Foundation to create an electronic portal for art and architectural history content. YUP believes that building a dynamic and specialized destination for scholarly content will be of significant value to the field. Backlist and out-of-print titles are currently being converted into ePub for the site and extensive metadata tagging of images is underway. Importantly, fair use is being asserted for the images used on this scholarly platform. While the initial content is from YUP and some of its exclusive museum partners, including its project partner the Art Institute of Chicago, the intention is for the portal to accommodate scholarly content from other university presses and museums. The site has also been built to publish born-digital content, which could provide a welcome new option for scholars and publishers alike, and features the ability to create custom coursepacks for teaching purposes. Members from YUP’s ePortal team will provide a formal demonstration of the beta site and will encourage questions and discussion from attendees. The Press will also collect important feedback from the audience (i.e., potential users) in the form of a questionnaire, which will inform further work on the project.
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Routledge, Taylor & Francis Exhibitor Session: How to Get Published and How to Get Read
Thursday, 22 February, 8:30–10:00am
Chair: Geraldine Richards (Routledge, Taylor & Francis)
This panel discussion is designed for scholars and artists looking to submit an article or book proposal for academic publication. Whether you are a seasoned publishing veteran or new to the publishing landscape, this session offers practical advice on how to get published and how to get read with helpful tricks and tips from journal editors, book authors, and visual arts Routledge staff.
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Envisioning Time in Early Modern China
Thursday, 22 February, 8:30–10:00am
Chair: Daniel M. Greenberg (Columbia University)
• The Temporality of the Rebus, Sophie Volpp (University of California, Berkeley)
• The Artful Time Machine: Horology, Art, and History, Lihong Liu (University of Rochester)
• Guest Ritual and the Shape of History, Daniel Greenberg (Columbia University)
Discussant: Patricio Keith Fleming Moxey (Barnard College)
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The ‘Three Empires’ Redux: Islamic Interregionality in the Age of Modernity (HIAA)
Thursday, 22 February, 10:30–12:00
Chairs: Chanchal Dadlani (Wake Forest University) and Ünver Rüstem (Johns Hopkins University)
• Transcultural Compilations in Eighteenth-Century Ottoman Albums: Connecting the Islamicate World through Material Exchange and Literary Imagination, Gwendolyn Collaço (Harvard University)
• Remembering Rūm: Worldly Milieus and the ‘Bastard’ Architecture of Colonial Modernity in a Hindu Pilgrimage Site, Sugata Ray (University of California, Berkeley)
• The Nasir al-Din Shah Album: A Narrative of Collecting from the Mughals to the Qajars, Naciem Nikkhah (University of Cambridge)
• Imperium Camera: How Photography Revolutionized Islamicate Empires in the Nineteenth Century, Staci Gem Scheiwiller (California State University, Stanislaus)
• Discussant: Anastassiia Botchkareva (Independent Scholar)
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The Audience as Producer, 1750–1900
Thursday, 22 February, 4:00–5:30pm
Chair: Todd Cronan (Emory University)
• On Hogarth’s Murder (Considered as one of the Fine Arts), Gordon Hughes (Rice University)
• The Figure of the Audience in Late Nineteenth-Century French Art, Bridget Alsdorf (Princeton University)
• Paranoiac Vision, Marnin Young (Yeshiva University)
• Art Against the Audience: Mallarmé and Frank Walter Benn Michaels (University of Illinois at Chicago)
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Teaching and Writing the Art Histories of Latin American Los Angeles (AHSC)
Thursday, 22 February, 6:00–7:30pm
• Decolonizing Art History: Institutional Challenges and the Histories of Latinx and Latin American Art, Charlene Villaseñor Black (UCLA, Keynote Speaker)
• Xerografia: Copyart in Brazil, 1970–1990: Local Art Histories and Common Points Across the Art Histories of Vastly Different Countries, Erin Aldana (Guest Curator and Research Scholar, University of San Diego)
• Félix González-Torres as a (Post)Latino Artist, Elizabeth Cerejido (University of Florida, Gainesville)
• Chicana/o Remix: Rethinking Art Histories and Endgames, Karen Mary Davalos (University of Minnesota, Twin Cities)
• Voids of the Aggregate: Materializing Ethnic Mexicans in Mission Revival and Spanish Colonial Revival Architecture in Southern California, Carolyn J. Schutten (University of California Riverside)
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A Critical Conversation on Affect Theory, Neuroscience, and Art-Science Collaborations
Friday, 23 February, 2:00–3:30pm
Chair: Anna Sigrídur Arnar, Minnesota State University Moorhead
• From Novalis to Neuroscience: Models for Art History, James Elkins (School of the Art Institute of Chicago)
• Knowing and Not-Knowing Matter, Sally McKay (McMaster University)
• Neuropower, Warren Neidich (Weissensee Kunst Hochschule Berlin)
• Discussants: Eduardo Kac (School of the Art Institute of Chicago) and Barbara Maria Stafford (University of Chicago, Emerita)
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Collaboration on Paper
Friday, 23 February, 2:00–3:30pm
Chairs: Lisa Pon (Southern Methodist University) and Dario Donetti (Kunsthistorisches Institut in Florenz Max Planck Institute)
• Inventing the New St. Peter’s: Drawing and Emulation in Renaissance Architecture, Dario Donetti (Kunsthistorisches Institut in Florenz Max Planck Institute)
• Drawing Together: Painters and Architects in Eighteenth-Century France, Basile Baudez (Université Paris Sorbonne)
• Drawing as Development: Competition, Collaboration, and Internationalism at the University of Baghdad, Michael Kubo (University of Houston)
• Discussant: Cammy Brothers (Northeastern University)
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The 1790s (ASECS)
Friday, 23 February, 2:00–3:30pm
Chair: Julia A. Sienkewicz (Roanoke College)
• Love and Loss Sublime: Claude-Vernet’s Death of Virginia (1798) at the End of the Eighteenth Century in France, Thomas Beachdel (Hostos Community College, City University of New York)
• The Status of the Artist in the Wake of the French Revolution: A Crisis told through Caricature, Kathryn Desplanque (University of North Carolina)
• Revolution and Artistic Reaction: The French 1790s, Daniella Berman (Institute of Fine Arts, New York University)
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Materials, Makers, and Commissions: Moving Objects between Asia, Europe, and the Americas during Early Modern Globalization
Saturday, 24 February, 10:30–12:00
Chair: Anton Schweizer (Kyushu University)
• Locating the Hispano-Philippine Ivory, Stephanie Porras (Tulane University)
• ‘Please Send a Picture of Feathers…’: Mexican Featherwork in Japan and the Transfer of a New World Phenomenon, Sofía Sanabrais (Independent Scholar)
• The Economy of Japanese Export Lacquer in Eighteenth-Century France, Monika Bincsik (The Metropolitan Museum of Art)
• Puppets for the Margravine: Rediscovering Japanese Ephemera of the Seventeenth Century, Anton Schweizer (Kyushu University)
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Update (added 28 January 2018) — Unfortunately, the original version of this posting omitted the panel Travel, Diplomacy, and Networks of Global Exchange in the Early Modern Period, Part II, scheduled for Wednesday, 21 February, 4:00–5:30pm.
New Book | American Quilts in the Industrial Age, 1760–1870
From the University of Nebraska Press:
Patricia Cox Crews and Carolyn Ducey, eds., American Quilts in the Industrial Age, 1760–1870: The International Quilt Study Center and Museum Collections (Lincoln: University of Nebraska Press, 2018), 528 pages, ISBN 978 08032 95926, $90.
Part of a comprehensive catalog of the International Quilt Study Center and Museum collection, American Quilts in the Industrial Age, 1760–1870 highlights the dazzling designs and intricate needlework of America’s treasured material culture. From whole cloth to pieced quilts to elaborate appliqué examples, all reflecting various design movements such as Neoclassicism and Eastern exoticism, the contributing authors address the development of quilt making in America from its inception in the 1700s to the period of the U.S. Civil War.
Covering more than one hundred years of quilt making, this volume examines the period’s quilts from both an artistic and a historical perspective. The contributors provide critical information regarding the founding of the republic and the influential republican values and ideals manifested in the quilts of this era. They also address the role that immigration and industrialization played in the evolution of materials and styles. With full-color photographs of nearly six hundred quilts, American Quilts in the Industrial Age, 1760–1870 offers new insights into American society.
Patricia Cox Crews is founding director emerita of the International Quilt Study Center and Museum and professor emeritus in the Department of Textiles, Merchandising, and Fashion Design at the University of Nebraska–Lincoln. She has edited and co-edited multiple books, including American Quilts in the Modern Age, 1870–1940: The International Quilt Study Center Collections and Wild by Design: Two Hundred Years of Innovation and Artistry in American Quilts. Carolyn Ducey is curator of collections at the International Quilt Study Center and Museum. She is the author of Chintz Appliqué: From Imitation to Icon and is a contributing author of Wild by Design: Two Hundred Years of Innovation and Artistry in American Quilts.
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