Call for Articles | Fall 2019 Issue of J18: Self/Portrait

Posted in Calls for Papers by Editor on July 24, 2018

From J18:

Journal18, Issue #8 (Fall 2019) — Self/Portrait
Edited by Melissa Hyde and Hannah Williams

Proposals due by 21 September 2018; finished articles will be due by 7 April 2019

Franz Xaver Messerschmidt, The Vexed Man, 1771–83, alabaster, 39 × 27 × 26 cm (Los Angeles: The J. Paul Getty Museum).

This issue of Journal18 explores artworks, objects, spaces, performances and other visual or material productions that engaged with the self during the long eighteenth century. Rather than a study of ‘self-portraits’ per se, this issue is concerned with expanded definitions of both the ‘self’ and the ‘portrait’, seeking to deepen our sense of how self-expression, self-perception, and self-representation were understood in the long eighteenth century.

Enlightenment philosophy defined modern conceptions of the individual and the self. Not coincidentally, the eighteenth century was also a period in which representations of the self took on a new prominence in artistic practice, becoming sites of innovation and experimentation in a range of visual and material forms. Across the long eighteenth century, self-representation emerged as a crucial space for navigating the individual’s place in society, for pushing the boundaries of artistic convention, and for exploring perceptions of the corporeal self. As institutional restrictions on art were challenged, as new movements redefined who and what the artist was, and as a new emphasis on introspection and subjectivity developed, the eighteenth century witnessed a shift in the artist’s relationship with the self.

We invite proposals for articles that explore artistic engagements with the self in any media, from any cultural context, at any moment across the long eighteenth century. How was art used to explore the self? Beyond mere self-fashioning, how did eighteenth-century artists use portraits (in whatever shape or form) to interrogate, examine, relate, express and communicate? Outside of conventional self-portrayals, how did artists inscribe themselves in their works (e.g. through signatures or self-referential codings)? Of particular interest are proposals that explore unexpected modes or materials of self-portrayal (e.g. architectural self-portraits, porcelain self-portraits, or combinations of word and image) or that take up pertinent issues of methodology (e.g. questions of biography and its problematic place in art-historical writing).

Issue Editors
Melissa Hyde, University of Florida
Hannah Williams, Queen Mary University of London

Proposals for issue #8 Self/Portrait are now being accepted. Deadline for proposals: September 21, 2018. To submit a proposal, send an abstract (250 words) and brief biography to editor@journal18.org and mlhyde@ymail.com. Articles should not exceed 6000 words (including footnotes) and will be due on April 7, 2019. For further details see Information for Authors.

Exhibition | Woven Strands: The Art of Human Hair Work

Posted in books, catalogues, exhibitions by Editor on July 24, 2018

The exhibition, now on view at The Mütter Museum, presents mainly nineteenth-century objects, though there are several striking eighteenth-century works, too; it’s a fascinating exploration of palette, table work, dissolving hair, and gimp techniques.

Woven Strands: The Art of Human Hair Work
The Mütter Museum, The College of Physicians of Philadelphia, 19 January — 16 September 2018

Curated by Emily Snedden Yates, John Whitenight, and Evan Michelson

A favored folk art of the 18th and 19th centuries, hair art was a sentimental expression of grief and love, usually created by women whose identities have become anonymous over time. Human hair—from both living and deceased persons—was used to form flower bouquets, wreaths, braided jewelry chains, weeping willows, and painted scenes of mourning. Considered to be a form of portraiture, these were cherished tokens to preserve the memory of a deceased loved one, chart a vibrant family tree of the living, or to be traded as friendship keepsakes. It is rare to view such pieces publicly as they were created in domestic settings, for home display. Drawing from six private collections, the Mutter Museum together with John Whitenight and Evan Michelson has assembled an exquisite group of hair art and jewelry as well as accompanying materials that discuss the social expectations of Victorian-era mourning rituals that ruled 19th-century society with strict standards.

A Brief History of Hair Art as Seen in Woven Strands: The Art of Human Hair Work at the Mütter Museum (Philadelphia: Mütter Museum, 2018), 80 pages, $17.

New Book | Chippendale’s Classic Marquetry Revealed

Posted in books by Editor on July 24, 2018

From Jack Metcalfe’s website, Marquetry Matters:

Jack Metcalfe, Chippendale’s Classic Marquetry Revealed (CreateSpace Independent Publishing Platform, 2018), 304 pages, ISBN: 978-1720881131, $65.

In this lavishly illustrated, wide-ranging volume, expert marqueteur Jack Metcalfe gives fascinating insights into all aspects of eighteenth-century marquetry, gained from close first-hand examination of Chippendale’s original pieces. Using his insider’s knowledge and skills as a practitioner, he investigates the materials, dyes, tools, and techniques used to create Chippendale’s polychromatic pieces. With its lively, engaging narrative and over 700 colour images, this book is essential reading for marqueteurs, cabinet makers, dyers, furniture historians, and anyone interested in the work of Britain’s supreme furniture maker, Thomas Chippendale.

Separate chapters cover:
• Materials and tools used in Chippendale’s time
• Techniques of eighteenth-century marquetry
• Dyes and dyeing techniques, including the scientific analysis of dyes used on Chippendale’s furniture
• Detailed step-by-step descriptions of the construction of three replica pieces by the author
• A detailed illustrated gallery of all the known marquetry commissions made by Thomas Chippendale.

With over 20 years’ experience as a marqueteur, Jack Metcalfe has devoted himself to uncovering and mastering the techniques of marquetry as practised by Chippendale’s skilled artisans in the eighteenth century. Using equipment, materials, dyes and techniques as close to the original as possible, Jack has created striking replicas of marquetry panels from Chippendale furniture, including the famous Diana and Minerva Commode. His careful research into the use of dyes, including ground-breaking scientific analysis of coloured veneers used, has enabled him to reveal the often startlingly fresh colours that Chippendale’s furniture would have displayed when first constructed.

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