Enfilade

Call for Proposals | Espacio, Tiempo y Forma (November 2021)

Posted in Calls for Papers by Editor on June 27, 2020

From the Call for dossiers’ proposals:

Espacio, Tiempo y Forma. Serie 7. Historia del Arte (November 2021)
Initial proposals due by 30 September 2020

The UNED Art History Department’s journal, Espacio, Tiempo y Forma. Serie VII. Historia del Arte, issues a new call for dossier’s proposals that aims to be regular. The journal holds a yearly based call for papers to build the Miscellanea but also has a dossier section, which is coordinated by a guest editor.

This new call points to open the dossier section to financed research project teams who are looking for a suitable and peer-reviewed place to publish some of the outcomes of their research team or even work in progress. Our journal provides a suitable sphere to publish the team’s research along with other authors concerned with the same or related topics, in order to create a dossier with a core written by the research team and a few extra contributions by external authors.

We invite scholars from Art History and related disciplines to submit, via the journal’s website, their proposals to the guest editor before 30th September by sending a title, a short abstract of the topic of their choice, a short CV of the coordinator, and a list from 3 to 5 members of their team who will be participating in the dossier with their short CVs. Each team should submit only one proposal.

Proposals are evaluated on the following criteria:
• Alignment with journal’s editorial policy
• Quality of research team
• Innovation and academic impact
• A transversal approach of the subject is desirable but not exclusive

The selected editor should be able to ensure the delivery of his/her team’s outcomes, engage with new contributors interested in the topic, choose 50% of the reviewers, work with tight deadlines and manage with proof-reading of the final draft. Our journal, on the other side, offers a solid background in scholarly publication (since 1988), peer-reviewed, short-time response for publication, academic editing and great exposure through an open-access system. Furthermore, our journal is indexed and has the quality seal of the FECYT (Fundación Española para la Ciencia y Tecnología). Contributions in Spanish or English are preferred but other European languages will be considered. Questions may be directed to Dr. Pilar Diez del Corral Corredoira, (UNED), diezdelcorral@geo.uned.es.

Deadlines
• 30 September 2020: research projects’ proposals due
• 15 October 2020: publication of selected guest editor
• 1 November 2020: launching of the call for external authors
• 30 March 2021: articles due
• November 2021: launching of the new issue

Call for Articles | Fall 2021 Issue of J18: The ‘Long’ 18th Century?

Posted in Calls for Papers by Editor on June 25, 2020

From J18:

Journal18, Issue #12 (Fall 2021) — The ‘Long’ 18th Century?
Issue edited by Sarah Betzer and Dipti Khera

Proposals due by 15 August 2020; finished articles will be due by 15 April 2021

This issue takes off from the ubiquity of the phrase ‘the long eighteenth century’. Proliferating in calls for participation and panel descriptions—not to mention its prominent position in the description of this journal—if the mark of an elongated eighteenth century is inescapable, we propose that this terminology merits further scrutiny. What is meant by the ‘long’ eighteenth century? From which vantage points, and for whom, is it long? And to what ends has this elongation been directed?

It is our contention that we must understand the rise of a ‘long’ eighteenth century alongside the significant transformation of art historical inquiry into expanded geographical and cultural terrains. Since 2003, the study of eighteenth-century art has been enriched by a new commitment to ‘worlding’, even if decolonizing art histories remains an ongoing and incomplete project. As a result, habitual chronological slices, whether defined by European political history or by European stylistic shifts (e.g., Baroque, Rococo, Neoclassical), have been ripe for reconsideration as scholars have asked new questions about the transmission and sedimentation of practices, experiences, and art objects around the world. When the focus on histories of colonialism and slavery forces us to look anew at the bodies, lands, and knowledge presented in art, how do our narratives change and how do the sites and objects of our inquiry shift? What are the implications of this broadened scope of inquiry for habits of locution and the habits of mind that underwrite them? While the habitual slicing up of Britain’s eighteenth century to 1688–1815 is not that far out of alignment with France’s 1643–1815, it looks very different from the perspective of, for instance, South Asia, where an end point has tended rather to be located in the 1830s. What impact, if any, has a ‘worlding’ of art history had upon our thinking about the relative length or shortness, narrowness or breadth, of the eighteenth century? What conceptually binds an eighteenth century once we have taken up the project of tracking the entanglements of art, commerce, and empire across worlds? For whom is the eighteenth century long, from what vantage points, whether local, regional, or transregional, and to what ends? And what relationship does this designation have to the equally omnipresent ‘long’ nineteenth century, as well as to accounts of the Enlightenment, its seductions, and its repercussions?

We invite contributions that reflect upon a ‘long’ and ‘broad’ eighteenth century—its contours, analytic possibilities, and limits. We particularly welcome submissions that explore new models for tracking intellectual and artistic through-lines and inheritances, and that spur us to rethink periodization, or stylistic terminology that has been too often limited in its utility by being yoked to the goal of a successional narrative telos. Authors are encouraged to explore this wide-angle view by way of one term, one object, one phenomenon, or one margin. We welcome interventions that originate in art history or in other allied humanistic disciplines.

Issue Editors
Sarah Betzer, University of Virginia
Dipti Khera, New York University

To submit a proposal, send an abstract of 250 words (or 500 words for multi-authored proposals) and a brief biography to editor@journal18.org and sbetzer@virginia.edu by 15 August 2020. Accepted articles should not exceed 6000 words (including footnotes) and will be due on 15 April 2021. For further details, see Information for Authors.

Accepted authors will be invited to participate in a session convened for the College Art Association annual conference in New York City in February 2021 for presentation and collaborative workshopping of their contributions. Remote participation will be welcomed.

Call for Participation | Blackness, Immobility, and Visibility, 1600–1800

Posted in Calls for Papers, resources by Editor on June 24, 2020

From the Call for Participation:

Blackness, Immobility, and Visibility in Europe, 1600–1800
Journal18 | Creating a Collaborative Scholarly Resource

Contributions due by 1 August 2020

Hyacinthe Rigaud, Young Black Man Carrying a Bow, 1697, oil on canvas (Musée des Beaux-Arts de Dunkerque).

As people across the world step into the fourth or fifth month of a global pandemic and nearly universal lockdown, movement has gained new valence as an aspirational condition of human life. Concurrently, the Black Lives Matter movement singularly illuminates the racialization of the purportedly universal freedom to cast breath, stretch one’s legs, move of one’s own will. One aspect of recent protests and mobilizations has been to show how this ‘immobilization’ and related violence has a very long history and has been enshrined in monuments that are being dismantled around the world. At this crucial juncture, Journal18 is initiating a project to create a collaborative resource for teaching, research, and collective discussion around these issues.

Over the course of the 17th and 18th centuries, European powers formulated, debated, and enacted myriad policies and laws to direct and restrict the movements of people of color in Europe, usually in conjunction with similar or more severe steps taken across sites of empire. Of note is how these measures usually privileged the proprietary rights of colonizers and enslavers over the lives of people of color, and how through such measures ‘blackness’ acquired the characteristics of a legible visual category. Blackness as lived experience and colonial category thus both illuminates and often (mis)informs art historical assessments of race in 17th- and 18th-century European art and visual culture, especially in relation to lives that spanned and were interconnected across the globe.

Journal18 invites its readers to contribute to a timeline chronicling the representation and regulation of black bodies in Europe, ca. 1600–1800. Setting these dates in relation to black lives that scholars have judiciously traced within colonial archives and a selection of works of European and colonial art that picture black sitters or subjects, our goal is to create a digital resource for use by researchers, educators, and students of the long 18th century. Given the critical role of dates in art historical scholarship, our aim is to underscore through the spatial proximities of a timeline, historical affinities that can allow us to connect what we can see within works of art with what we are learning to discern in the archives.

How to participate:

Our goals is to create a timeline of events and artworks—a pedagogical tool that is not exhaustive in scope, but rather a cross-referential visualization of the juxtapositions and connections through this history.

1  Take a look at the Google Doc (www.shorturl.at/gBHJK) containing preliminary dates, events, and artworks relating to the presence and movement of black bodies in Europe during the period under consideration. This is a starting point, but there is still much to add.

2  We invite you to add to the document: pertinent dates, relevant artworks (submitted either as copyright-free digital images or as hyperlinks), the names or accounts of relevant historical actors, or anything else that might contribute to or improve the proposed timeline (including any necessary corrections to existing items).

3  Please contact our Notes & Queries editor, Zirwat Chowdhury (zirwat@ucla.edu) with any questions and additional suggestions, or if you have any trouble accessing or editing the document.

4  Make sure you have made all your contributions by 1 August 2020. We hope to publish the timeline in Journal18 for the start of the Fall 2020 semester.

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Note (added 24 June 2020) — The original posting incorrectly listed the due date as August 15.

Online Lecture | Diana Davis on Furniture for the Anglo-Gallic Interior

Posted in books, lectures (to attend) by Editor on June 23, 2020

The Green Drawing Room of the Earl of Essex at Cassiobury, by William Henry Hunt, 1823
(New York: Cooper Hewitt Museum, Thaw Collection, 2007-27-4)

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From the FHS announcement:

Diana Davis, Raiding the Past: Furniture for the Anglo-Gallic Interior, 1800–1865
Furniture History Society Online Lecture, Sunday, 28 June 2020, 19.00 (BST)

In December 1836, the dealer George Gunn advertised his “BUHL and MARQUETERIE FURNITURE, clocks, bronzes, carved salons, consoles, ancient chimnies, tapestry, and every description of property connected with the time and taste of Louis XIV.” It reflected a radical change in collecting practice, an opulent Anglo-Gallic decorative style that combined the contrasting taste of two rival nations. This talk by Dr Diana Davis investigates the role of dealer cabinetmakers such as Edward Holmes Baldock and Robert Hume, who transformed ancien régime furniture into cherished heirlooms for a new century and then created their own new and modified furniture inspired by it. By examining this furniture from the patron’s perspective and in the context of the interiors for which it was made, the dealer emerges centre stage as trader, maker, and tastemaker. The lecture is to accompany the publication of Dr Davis’s exciting new book, The Tastemakers: British Dealers and the Anglo Gallic Interior, 1785–1865, and we will be disclosing some discount codes, for 20% off the RRP, on the evening.

Diana Davis specializes in the interface between collectors, dealers, and the art market in the nineteenth century. She co-edits the French Porcelain Society Journal and has lectured for Christie’s Education, the Furniture History Society, the French Porcelain Society, the Wallace Collection, the National Trust, at the Jewish Country House Conference, and at Masterpiece.

Join Zoom Meeting https://zoom.us/j/92489818630?pwd=SWlGdE5EZ0pnb3AzLzJ2TndlamY1dz09
Meeting ID: 924 8981 8630 Password: 119856
Find your local number: https://zoom.us/u/adR8w0b1xy

Attendees will be admitted from the waiting room from 18.45. Please make sure that you are muted and that your camera is turned off. For security reasons we will lock the meeting at 19.20, so please make sure you have joined by then. The lecture will be followed by a round of Q&A; please use the chat message box at the bottom of your Zoom window. Zoom has increased its security and you may be required to install an update. The FHS has decided to invite the members of other like-minded societies around the world. If you are not yet a member but would like to join the society, please see our website.

Call for Papers | ASECS 2021, Toronto

Posted in Calls for Papers by Editor on June 22, 2020

From the Call for Papers for the conference:

2021 American Society for Eighteenth-Century Studies Conference
Sheraton Centre, Toronto, 8–10 April 2021

Proposals due by 15 September 2020

Proposals for papers to be presented at the 52nd annual meeting of the American Society for Eighteenth-Century Studies, in Toronto, are now being accepted. In addition to sessions newly proposed for the 2021 meeting, this Call for Papers includes sessions carried over from the (cancelled) 2020 annual meeting in St. Louis that are seeking additional presenters. Sessions carried over from St. Louis that are not part of the CFP but that will be presented in Toronto are listed here.

Proposals should be sent directly to the session chairs no later than 15 September 2020. Along with our annual business meeting, HECAA will be represented with the Anne Schroder New Scholars’ Session, chaired by Susanna Caviglia (already booked from 2020). A selection of additional sessions that might be relevant for HECAA members is included below. A full list of panels is available as a PDF file here.

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The Rise of the House Museum: Domestic Curatorial Practices
Kirsten Hall (The University of Texas at Austin), kirstenahall@utexas.edu; and Teri Fickling (The University of Texas at Austin), terifickling@utexas.edu

When Elizabeth Bennet and the Gardiners are led on a tour of Pemberley by housekeeper Mrs. Reynolds, Elizabeth owns, “Mrs. Reynolds could interest her on no other point. She related the subjects of the pictures, the dimensions of the rooms, and the price of the furniture, in vain.” As the Pemberley tour proves, the rising popularity of country house tours as a leisure pursuit suggests that the gentry had become captivated by the prospect of seeing up close how others—especially the rich, powerful, or famous of the present and past—lived through their catalogues of “fine carpets and satin curtains.” On one hand, “great house” tourism shored up class hierarchies, celebrating the prestige of the aristocracy. On the other hand, the case of Mrs. Reynolds seems to show how the practices of archiving and exhibiting were increasingly open not just to the elites of clubs and universities but also to women and, to some extent, the working class. This panel invites papers that address the popularity of domestic curatorial practices in the long eighteenth century, inviting a range of interdisciplinary perspectives that may consider topics such as: collecting, curating, and housekeeping in the public vs. private spheres; the relationship between literary genres like biography, the novel, the travel guide, and the encyclopedia and house tours; taxonomic and empirical methods in the arts and sciences; tourism and secular pilgrimage; women and museums; historic preservation, antiquarianism, and historical consciousness; current scholarly practices in historicizing ordinary life in the eighteenth century; and the status of eighteenth-century historic house museums today.

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Mineralogy and Artful Metamorphosis
Tara Zanardi (Hunter College), tzanardi@hunter.cuny.edu; and Christina Lindeman (University of Southern Alabama), clindeman@southalabama.edu

The burgeoning field of mineralogy in the eighteenth century not only pointed to the increase in the scientific study and mining practices of minerals, such as amethyst and emeralds, but also to their greater manipulation by artisans, architects, and artists in the creation of decorative objects, textiles, jewelry, interiors, and garden grottoes. Since antiquity humans have analyzed and contemplated minerals for their beauty, intricate structures, purported mystical and therapeutic powers, economic benefits, and spiritual and chemical properties. In the 1700s, they were avidly incorporated in elite and amateur collections and displayed in natural history cabinets, and this interest became more systematic and rigorous, aided by a constellation of institutions and governing bodies that funded expeditions and fostered scientific inquiry. This session invites papers to consider the multiple and complex roles of minerals in artistic and natural history contexts. How did the raw materials, mined at home or abroad, relate to nationalistic and imperial pursuits and the kinds of terrestrial bounty boasted by nations? How were such materials then catalogued, displayed, wielded, or molded in their new, ‘civilized’ environments? How were such natural objects sources of pleasure, instruction, wonder, spirituality, and the exotic? Ultimately, how did these minerals undergo metamorphosis in new and artful ways that embodied an individual’s or collective taste, knowledge, and identity? We also welcome papers that address the explorative methods of quarries and the labor used to extract minerals.

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Colonial Matter
Kaitlin Grimes (University of Missouri-Columbia), krgxb6@mail.missouri.edu; and Danielle Ezor (Southern Methodist University), dezor@mail.smu.edu

The long eighteenth century witnessed a freer and faster movement of increasingly diverse goods around the world than had ever existed before. New objects, materials, and consumables traversed oceans and crossed over lands to serve new global marketplaces. These material goods travelled not just from or to Europe as much recent scholarship has suggested, but between global metropoles well outside of Europe, as for example between China and New Spain or India and East Africa. However, colonialism facilitated the movement of these goods, and so colonialism also marked these objects, materials, and consumables. Studies of traded materials provide a greater understanding of relations between colonizer and colonized as well as illustrate how particular materials were received and perceived in an eighteenth-century colonial context. This panel seeks to explore the connection between material culture and colonialism and to decentralize Europe as the main purveyors of these materials. Such topics could include but are not limited: colonial materials, objects used to house, contain, or exhibit colonial goods and consumables and their display; the trade and/or market of colonial goods in the long eighteenth century; and colonial interpretations of such objects and consumables. The goal of this panel is to develop an ongoing conversation on the relationship between material culture and colonialism within the long eighteenth century and how colonialism’s role in spreading objects aids in the comprehension of eighteenth-century material and visual culture.

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Collecting, Antiquities, and Eighteenth-Century Art
Lauren DiSalvo (Dixie State University); lauren.disalvo@dixie.edu; and Katherine Iselin (University of Missouri), ktp.iselin@gmail.com

The influence of the Greco-Roman world permeated eighteenth-century visual and material culture following the excavations that began at Pompeii and Herculaneum. Demand for large-scale sculpture and their copies, Greek vases, and the many Neoclassical paintings that were influenced by antiquity rose in the wake of eighteenth-century excavations as collectors passionately sought such objects. Likewise, more portable souvenirs such as prints, micro-mosaics, fans, gems, and architectural models also found their way into collectors’ hands. This panel seeks papers that examine the intersections of collecting, antiquities, and eighteenth-century art. What new perspectives can be used to explore how Greco-Roman art functioned in collecting during the long eighteenth century? This panel looks to examine collecting more broadly, including collections of specific collectors, types of popular collectibles, or reworked Greco-Roman artifacts. Papers focusing on non-traditional or little-known objects and collectors are particularly welcome.

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Spanish Sensorium
Elena Deanda (Washington College), edeanda2@washcoll.edu

Sensorium is the seat of sensation in the human limbic system. It receives, processes, and interprets sensory stimuli. Humans normally respond more to visual components than to other stimuli. Therefore, most of our experience knowing distant places and periods is through the visual imagination. Yet in order to fully understand the civilization and culture of another country, we need to engage with and experience elements of their environment in order to forge perceptual connections with their time and space. We are inviting scholars who are interested in ‘flipping’ the traditional conference panel and offer new approaches to knowing the eighteenth century in general and the Ibero-American eighteenth century, in particular. We propose a panel with a sensorial approach to imperial Spain and its material culture, through the stimulation of the senses, be them visual, auditory, tactile, gustatory, vestibular (motion), or proprioceptive (body awareness). We welcome proposals from eighteenth century specialists on the Ibero-American history, literature, art, and materiality who work with sounds, smells, food, or physical forms both in the peninsula and/or in the Americas, and who would like to offer a sensorial experience to reduced audiences in an interactive way. This non-traditional panel will be integrated by a limited number of experiential interventions guided by a panelist who will provide a short explanatory talk.

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The Visual Gothic
Kristin O’Rourke (Dartmouth College), kmo@dartmouth.edu

The burning of Notre Dame cathedral made clear how present the Gothic still is today in everyday life in Paris and throughout much of Europe: as tourist attraction, as spectacle, as nostalgia, as cultural or religious symbol. This panel strives to think about how the visual image of the Gothic impacted contemporary art and literature of the eighteenth and early nineteenth centuries. The ‘new’ Gothic fantasy of Walpole’s Strawberry Hill, Gilpin’s picturesque tours, the Troubadour style in French art, and the restoration and completion of centuries-old cathedrals, for example, demonstrate how the Gothic re-gained a hold over architecture, painting, and literature at a time of political and social change throughout Europe. Was the Gothic revival a rejection of the classicism spurred on by the Grand Tour and Napoleon’s empire, or one aspect of a nascent Romanticism? How do politics and religion figure into an aesthetic focus on the vernacular and idiosyncratic aspects of the Gothic as opposed to the universalizing rationality of the classical tradition? Can we read an anti-modern, anti-Enlightenment reaction in the art of the time, or was the Gothic just another form of exoticism?

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The Woman of Color in the Eighteenth Century
Regulus Allen (Cal Poly, San Luis Obispo), rlallen@calpoly.edu; and Nicole Aljoe (Northeastern University); n.aljoe@northeastern.edu

The republication of the 1808 novel The Woman of Colour, A Tale; the debut of Belle, a film inspired by the 1779 portrait of Dido Elizabeth Belle; the reissue of the 1767 text The Female American; a new edition of Lady Mary Wortley Montagu’s 1763 Turkish Embassy Letters; and work by scholars such as Lyndon Dominique, Felicity Nussbaum, and Sarah Salih have facilitated a greater focus on eighteenth-century representations of women of color, and have indicated that such depictions are more prevalent and complex than the criticism has previously suggested. This panel invites papers from all disciplines as we consider verbal and visual depictions of women of African, American, or Asian descent and their impact on eighteenth-century culture and society.

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Visualizing the French Empire
Izabel Gass, izabel.gass@gmail.com; and Philippe Halbert (Yale University), philippe.halbert@yale.edu

In recent years, art history’s ‘global turn’ has worked to acknowledge the vital role that non- Western cultures and imperialism played in the formation of European art and material culture. This commitment to more inclusive narratives has had a pronounced impact on many fields that privilege and address eighteenth-century art and history. For example, the study of British culture in this period has in many instances been fully eclipsed by the emergence of a ‘British Atlantic World’ and a model of empire that no longer views colonies in isolation from metropolitan centers, and vice versa. This phenomenon is comparatively less pronounced among scholars of French art and those exploring the various legacies of France’s ‘first’ overseas empire, which at its height stretched from Cayenne to Québec and also included points in Africa, India, and the Indian Ocean. This panel seeks to address, and hopefully redress, this disparity as we meet in Saint Louis, founded by the French in 1764 and North America’s last French colonial settlement. We are interested in two lines of inquiry: first, historiographical and methodological papers that explore why, exactly, French visual culture (inclusive of canonical art and material culture) of the long eighteenth century has received less of a global perspective within art history; second, papers that take on this global perspective in exploring topics and themes within the visual culture of a larger, lived French colonial experience.

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The Politics of Citation (Roundtable)
Sal Nicolazzo (UCSD), snicolazzo@ucsd.edu

As scholars such as Sara Ahmed have argued, and as movements like #CiteBlackWomen insist, citation is political. This roundtable seeks to open up conversations about the politics of citation in eighteenth-century studies, broadly understood. Which scholars, theorists, and intellectual traditions should we be citing more, and why? How do patterns of citation and non-citation reveal the dynamics of race and gender as they structure the field of eighteenth-century studies? What might citation tell us about the history of our field? What new approaches might we take to eighteenth-century forms and networks of citation? In particular, this panel’s priority is to amplify the work of BIPOC (Black, Indigenous, and people of color) scholars, intellectual traditions, and histories.

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Playing with Pigments: Color Experiments in the Visual Arts
Daniella Berman (Institute of Fine Arts, NYU and Metropolitan Museum of Art), daniella.berman@nyu.edu; and Caroline M. Culp, (Stanford University and Metropolitan Museum of Art), cmculp@stanford.edu

With the emergence of novel pigments and dyes—some from the New World—prompting myriad experimentation in color and facture, the eighteenth century is widely acknowledged as a turning point for artists’ materials. This panel explores the impact of such innovations on artistic practice across the long eighteenth century. The microcosm of color in art exemplifies larger trends of the period as technological and scientific advances transformed the ways in which color was perceived, described, transmitted, commodified, thematized, and preserved. From furniture and paper makers to aquatint engravers and history painters, artists and artisans were invested in discussions about hue, discoloration, and the impact of time on color. Explorations in alternative mediums such as encaustic and enamel aspired to the most saturated, the most authentic, or the most durable color palettes. Advances in printmaking revolutionized the circulation of chromatic knowledge, including a new understanding of Old Masters through reproductive engravings and the transmission of cultural and botanical information about distant lands. We welcome papers that consider the full spectrum of artistic production and experimentation across the visual arts during this transformational period. Papers considering the science and materials of color, the restoration of historic palettes, or issues of pigmented materials’ change over time are also encouraged.

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William Hogarth in the 21st Century
Debra Bourdeau, taylo13f@erau.edu

William Hogarth’s engravings invite us to view the streets, parlors, insane asylums, prisons and gambling houses of 18th-century London. Through his ‘modern moral subjects’, his satirical
eye exposed hypocrisy, aristocratic excess, and overwrought devotion to foreign artists. His influence can be seen in political cartoons, graphic novels, and even cinema. This panel will discuss Hogarth’s place in 21st-century culture. During this time that seems desperately to need keen, perspicacious satire, can we turn to Hogarth as a paragon? What can an artist so inextricably linked to 18th-century life teach us about ourselves? He clearly demonstrated a need for social change in his time, but do the issues that he decried remain as pervasive almost 300 years later?

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Publishing Natural History
Eleanore Neumann (University of Virginia); and Agnieszka Ficek (City University of New York – Graduate Center), anna.ficek@gmail.com

Natural history in the global eighteenth century involved an interconnected set of practices. A lady sketched her exotic plant specimens while also collecting mineral samples. A botanist mailed seeds to his network of colleagues and then recorded the anatomy of quadrupeds. A gentleman investigated volcanic eruptions while sketching the physiognomy of Indigenous peoples. Each of these practitioners also consumed and contributed to a proliferation of illustrated natural history publications, which included everything from periodicals to multivolume scientific treatises and from travel accounts to entries in Diderot and d’Alembert’s Encyclopédie. Authors, artists, printmakers, and publishers often collaborated across borders to produce an extraordinarily wide variety of texts and images that organized and displayed nature. This session invites papers that reconsider natural history as it was practiced and presented through publications in the long eighteenth century. What does the interplay of image and text or an examination of whole books and compendia reveal about how the natural world was understood? How did readers engage with these publications in their daily lives, artistic practices, and professional pursuits? How was Indigenous knowledge of the natural world represented and/or interpreted for Western readers? Why was the publication of natural history far more abundant for certain imperial powers? How was natural history and its practice narrated in actual and fictional accounts? Was the translation of drawings into print affected by the cross-cultural nature of scientific publication? We invite papers covering any geographical area or methodological approach for this interdisciplinary panel.

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Networks and Practices of Connoisseurship in the Global Eighteenth Century
Valérie Kobi (Universität Hamburg), valerie.kobi@uni-hamburg.de; and Kristel Smentek (MIT), smentek@mit.edu

The eighteenth century was the age of the connoisseur, the disciplined interpreter and assessor of artworks whose authority, like that of the natural philosopher, was founded on his (more rarely her) extensive and sustained visual analysis of physical things. An era of accelerating trade and imperial conquest, the eighteenth century was also a period of an expanding global consciousness. This panel seeks to link eighteenth-century connoisseurship to a corresponding awareness of the diversity of artistic practice in different regions of the globe. Studies of connoisseurship have tended to be local, focusing, for example, on Western European or Chinese art to the exclusion of works from unfamiliar artistic traditions to which eighteenth-century art experts, collectors, and colonial administrators were also increasingly exposed. Questions we are interested in pursuing include: What were the channels through which encounters with art from afar were made possible? What methods were used to analyze and categorize art from other parts of the globe? And how might a recognition of the conventionality of artmaking have shaped local definitions of art and artistic quality in such regions as Asia, the colonial Americas, and Europe? We welcome papers that investigate the social, institutional, and commercial networks of international information and object exchange that facilitated eighteenth-century engagements with unfamiliar art. Proposals that introduce new interdisciplinary and methodological approaches are especially encouraged.

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Raw: Materials, Merchants, and Movement
Brittany Luberda (Baltimore Museum of Art), bluberda@artbma.org

During the eighteenth century, maritime trade networks circulated goods ranging from mahogany to silver, cotton to ginseng. How did the influx or movement of mass raw material transform social or visual environments? Papers are invited which explore the extraction or transportation of raw goods between municipalities or continents from any decade or geography. Topics might include the establishment or disruption of material movement due to war, economy, taste, or invention, human trafficking, environmentalism, or artistic production. Speakers are also welcomed to focus on a specific product, object, anecdotal history, literary record, or conceptual framework related to material acquisition and mobility. The moderator will open with a history of silver mining in Potosi, Bolivia and its reappraisal in a present-day museum display of pan- American colonial histories.

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Material Forms
Chloe Wigston Smith (University of York), chloe.wigstonsmith@york.ac.uk

This panel focuses on how material objects were shaped by empire, colonialism and geographic circulation in the eighteenth century. It engages, in particular, the form and aesthetics of objects that moved through different spaces and regions of the global eighteenth century. How were ceramics and textiles, and other products, redesigned for export to specific destinations? How did individuals adapt imported goods by altering their appearance and affordances? What kind of material entanglements emerged in the contact zones? What kind of hybrid and intercultural objects were created? What do these remade, reworked, and refashioned things illuminate about the intersections of material culture and empire? The panel invites especially papers that address the transculturation of material objects. We hope to assemble an interdisciplinary group of papers, so proposals from across humanities disciplines are especially welcome. Please send an abstract of no more than 300 words and a brief biography.

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Imagining the Future in Ruins
Thomas Beachdel (Hostos, CUNY), trb202@nyu.edu

Ruins were popular for artists, writers, travelers, and tastemakers throughout Europe during the eighteenth century. By their very nature, ruins are dualistic, acting as sites of memory and erasure, sites of presence and transience, evocative of grand, sublime ideas while at the same time falling physically to dust. Ruins represent a way of thinking about the future. In his Paris Salon writing of 1767, Denis Diderot evoked the present and an imagined future: “…in our imagination we scatter over the ground the rubble of the very buildings we still inhabit in that moment…we are sole survivors of an entire nation that is no more…Such is the first tenet of the poetics of ruins.” Reflecting this, French artist Hubert Robert showed pendant paintings at the Paris Salon of 1796 with the Louvre as their subject. Project for the Transformation of the Grand Gallery of the Louvre shows how the Grand Gallery might appear upon its completion, while Imaginary View of the Grand Gallery of the Louvre in Ruins shows it as a future ruin, projecting it as a far distant image of monumentality. Worldwide, as we stand on the brink of an uncertain, or much different future than imagined, Diderot’s poetics of ruins takes on a reinvigorated meaning. This panel seeks papers that not only address the significance of ruins as a means of imagining the future, both as a symbol of loss and greatness or continuity, but also, more widely, how the future was imagined in the global eighteenth century.

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Ephemeral Objects
Matthew Gin (Harvard University), matthewgin@gmail.com

The term ‘ephemeral’ can be used to describe a wide variety of objects. There are, on the one hand, things like pamphlets, tickets, and broadsheets that have been traditionally categorized as ephemera. While on the other are objects that also existed only momentarily but are more difficult to categorize. By way of example are sugar sculptures, napkin art, and the elaborate temporary decorations built for festivals. Ephemeral objects abounded in the eighteenth century and especially notable is the sheer volume of printed matter that emanated from the Republic of Letters. The survival rate for ephemeral material from the eighteenth century, broadly speaking, is relatively poor but what does remain serves as vital evidence of the politics and culture of this period. This panel invites papers that address ephemeral objects either directly or obliquely. Among the questions to be considered are: in what ways do ephemeral things actually prove to be enduring? And how might they confound ideas about permanence? Through what media are ephemeral objects perpetuated and known? And what limitations and opportunities do these sources present? How do texts capture the momentariness of an object or image? What do ephemeral items reveal about histories of collecting, sociability, or consumption? Papers that take an interdisciplinary or global approach to these and other pertinent questions are especially welcome.

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‘Canada or the Tower’: Finding, Depicting, and Imagining Canada
Cristina S. Martinez (University of Ottawa), martinezcsm@gmail.com

In 1763, with the conclusion of the Seven Year’s War, Canada was annexed to the British Empire. Alluding to the important political event is the anonymous print Canada or the Tower. In it, John Wilkes (exactly as portrayed by William Hogarth’s earlier satirical print) sits next to a devil-like Lord Bute, coins in hand, who is nudging the politician to accept a bribe while poking him with a stick on which is inscribed ‘have Canada or to the Tower’, indicating that Wilkes had to choose between governance of Canada or prison. His supporter, Lord Temple, leans on Wilke’s chair to exclaim ‘O! Liberty O! my Country’. In The Death of General Wolfe (1770), a landmark history painting by Benjamin West, a Native American, the St. Lawrence River and a glimpse of Québec city are shown. In these works and others, is Canada seen as a land of opportunities, a commodity to exploit, or a territory fraught with difficulties and people to overcome? This panel invites reflections on how a real or imagined Canada came into view throughout the eighteenth century. How were its landscape, foreboding climate, geographical position, inhabitants and tales represented in prints and drawings, literature, theatre and other arts? How did these, in turn, shape public opinion, policies, legislation, viewpoints on taxation, etc.? The panel solicits proposals on these matters as well as on the myths and fabulations that rendered Canada an attractive or a feared land.

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Note (added (30 June 2020) — The original Call for Papers did not include Kristin O’Rourke’s session on The Visual Gothic; the posting has been updated to include it here, along with an updated full CFP (as a PDF file with link at the top and here).

Masterpiece Online 2020, Panel Discussions

Posted in Art Market, lectures (to attend) by Editor on June 21, 2020

From the schedule:

Masterpiece Online, Panel Discussions
22–28 June 2020

Masterpiece Online showcases our exhibitors’ knowledge and passion, reproducing that sense of discovery that sparks new conversations at the fair. Join us for live panel discussions with leading cultural institutions, watch interviews and learn from experts, join live private views with friends, and buy works of art from Masterpiece exhibitors. Book your place at one of our live-streamed panel discussions with leading institutions including the Metropolitan Museum of Art, National Gallery, Design Museum, and Hong Kong Museum of Art. All talks are free to attend, and we encourage you to make a donation to support our cultural partners in these challenging times.

Broadly, Deeply, Passionately: Living with Collections
24 June 2020, 5pm BST (12pm EST)

Decorated rooms say one thing, while collected rooms say quite another. Join Mitchell Owens, the decorative arts editor of Architectural Digest, with scholar Justin McGuirk (Chief Curator, Design Museum) and designers Rose Heyman (Director / Founder Rose Uniacke) and Boris Vervoordt (Director, Axel Vervoordt) as they discuss the allure of interiors that celebrate personal connoisseurship over commonplace style.
• Moderator: Mitchell Owens (Decorative Arts Editor, Architectural Digest)
• Rose Uniacke (Director/Founder, Rose Uniacke)
• Justin McGuirk (Chief Curator, Design Museum)
• Boris Vervoordt (Director, Axel Vervoordt)

Register for this talk

Art and Experience in the Digital Era: Balancing the Virtual and the Physical
25 June 2020, 11am BST (6am EST)

How are museums and commercial galleries using technology to engage their audiences during the Covid-19 crisis? And in the aftermath of the pandemic, what strategies will they use to maintain that audience in a cash-strapped consumer culture that increasingly values experience above the appreciation and possession of individual objects?
• Moderator: Scott Reyburn (Journalist, The New York Times and The Art Newspaper)
• Rebecca Lyons (Director of Collections and Learning, Royal Academy of Arts)
• Helen Jacobsen (Senior Curator and Curator of French 18th-Century Decorative Arts, The Wallace Collection)
• Francis Sultana (HE Ambassador of Culture for Malta, Designer, and CEO, David Gill Gallery)

Register for this talk

Engaging Audiences, Old and New: How to Attract and Inspire Museum Visitors Today
25 June 2020, 5pm BST (12pm EST)

As museums face increased questions over their place and purpose in the 21st century, what initiatives have been put in place to expand their audiences? How best to strike a balance between reaching out to new visitors and keeping existing supporters onside? What lessons have been learnt from the lockdown and its forced move to virtual visiting? And what financial structures and support will enable museums to survive and thrive in truly challenging times? Melanie Gerlis, art market writer for the Financial Times, hosts leading figures from public and private institutions on both sides of Atlantic, Wolf Burchard (Associate Curator, The Metropolitan Museum of Art), Tristram Hunt (Director, V&A Museum) and Ian Wardropper (Director, The Frick Collection).
• Moderator: Melanie Gerlis (Art market writer, Financial Times)
• Wolf Burchard (Associate Curator, The Metropolitan Museum of Art)
• Tristram Hunt (Director, V&A Museum)
• Ian Wardropper (Director, The Frick Collection)

Register for this talk

Public, Private Delights: Sculpture Today
26 June 2020, 11am BST (6am EST)

What does sculpture mean to us today—be it public or private—and has its status changed in contemporary times?
• Moderator | Farah Nayeri (Journalist, The New York Times)
• Polly Bielecka (Gallery Director, Pangolin London)
• Simon Martin (Director, Pallant House Gallery)
• Zak Ové (Artist)

Register for this talk

Women Artists, Then and Now
26 June 2020, 5pm BST (12pm EST)

Examining the role of women in art from the Renaissance up until the present day. This talk, moderated by Katy Hessel (of @thegreatwomenartists Instagram and podcast), will speak to National Gallery curator, Letizia Treves, on staging shows of the women of the Baroque; gallerist Richard Saltoun who has established a reputation for promoting and exhibiting the work of female artists; Jo Baring, Director of the Ingram Collection, and Sarah Turner, Deputy Director of the Paul Mellon Centre, (both also of Sculpting Lives podcast); Corrie Jackson, Senior Curator for the Royal Bank of Canada art collection; and Zoé Whitley, Director, The Chisenhale Gallery, about the women who challenged and continue to challenge art history, and getting the recognition they so rightly deserve.
• Moderator: Katy Hessel (of @thegreatwomenartists Instagram and podcast)
• Jo Baring (Director, The Ingram Collection; co-host of the Sculpting Lives: Women & Sculpture podcast)
• Corrie Jackson (Senior Curator, Royal Bank of Canada art collection)
• Letizia Treves (The James and Sarah Sassoon Curator of Later Italian, Spanish, and French 17th-Century Paintings, The National Gallery, London)
• Richard Saltoun (Director, Richard Saltoun)
• Sarah Turner (Deputy Director for Research at the Paul Mellon Centre for Studies in British Art in London; co-host of the Sculpting Lives: Women & Sculpture podcast)
• Zoé Whitley (Director, The Chisenhale Gallery)

Register for this talk

Collecting Pre-Contemporary Art Online: New Ways to Look, Learn, and Buy
27 June 2020, 11am BST (6am EST)

The coronavirus lockdown hit has forced us all to recalibrate how we view, collect and sell art as exhibitions, auctions and even art fairs have been forced online—and fast. It’s a steep learning curve for both buyers and sellers in all fields, but particularly for those in the traditionally analogue world of pre-contemporary art, where issues of provenance, authenticity and trust are all the more complex, and the audience perhaps less digitally savvy. Our panel of experts will discuss the challenge of becoming ‘digital connoisseurs’, taking in the latest developments, good and bad, in the shift to online, the questions to ask and pitfalls to avoid when buying historical art via jpegs, and the big question of whether you should you ever buy a work sight unseen, even now?
• Moderator: Anna Brady (Art Market Editor, The Art Newspaper)
• Katrin Bellinger (Dealer and Old Master drawings collector)
• Philip Hewat-Jaboor (Chairman, Masterpiece)
• Philip Mould (Art dealer, writer and broadcaster)
• Orlando Rock (Chairman, Christie’s UK)

Register for this talk

Museums and Mentors, Scholarship and Friendship: Stories from the World of Fine Ceramics
27 June 2020, 5pm BST (12pm EST)

The French Porcelain Society has always valued the scholarship and insight of dealers who contribute so much to its publications, events, and lectures. Martin P. Levy of H. Blairman & Sons, leads a discussion on the influence of dealers past and present with four long–standing European ceramics exhibitors at Masterpiece London: Michele Beiny, Errol Manners, Adrian Sassoon, and John Whitehead. Their stories speak of inspirational and sometimes eccentric mentors: museum curators, collectors, auctioneers, and forebears in the antiques trade. Join us for some thought-provoking conversations on the art of dealing.
• Moderator: Martin Levy (Director, H. Blairman & Sons Ltd)
• Michele Beiny Harkins (Director, Michele Beiny)
• Errol Manners (Director, E&H Manners)
• Adrian Sassoon (Director, Adrian Sassoon)
• John Whitehead (Art dealer, lecturer, and writer)

Register for this talk

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Note (added 21 June 2020) — The original version of this posting omitted information for the June 26 sculpture session.

Call for Essays | ECTI Issue, Scholarship in a Time of Crisis

Posted in Calls for Papers by Editor on June 21, 2020

From the Call for Papers:

Scholarship in a Time of Crisis
Special Issue of The Eighteenth Century: Theory and Interpretation

Essays due by 15 August 2020

Two important thinkers from the century we study significantly shaped their careers in response to advertisements, what we now call ‘Call for Papers’. In 1749, Jean-Jacques Rousseau responded to a question put forth by the Academy of Dijon, “Has the restoration of the sciences and arts contributed to the purification of morals?” And in 1784, Immanuel Kant replied to the question published in Berlinishe Monatsschrift, “What is Enlightenment?” Whether or not one agrees with their respective answers, both Rousseau and Kant addressed a climate of urgency and the pressing needs of their time. Given our own current challenges, we invite our contributors and readers to do the same. We therefore invite all interested parties to respond to one or more of the following questions: How are we as scholars of eighteenth-century studies uniquely positioned to respond to the current crises—those inspired by global pandemic, social isolation, systematic racism, and economic collapse? What literary frameworks do you feel we bring to an understanding of today’s headlines? And how have you experienced these challenges—and response to these challenges—within your own institution, teaching, or research?

We currently face a difficult future in higher education and in particular the humanities, but such adversity does not mean that we should stop doing what we’re doing. We at ECTI feel that the eighteenth century has a great deal to say to our present moment, and we want to hear your experiences and thoughts. We hope to receive a wide variety of responses, which will be published in our online supplemental issue of ECTI. We imagine the responses to be between 1,000 and 3,000 words. The format should follow the guidelines of the journal (i.e., Chicago Style), but we do not expect heavily footnoted pieces. Additionally, we anticipate a special print issue to emerge from this project. Please send in your responses to ecti@usc.edu by 15 August 2020. And feel free to email us if you have any further questions.

Print Quarterly, June 2020

Posted in books, journal articles, reviews by Editor on June 20, 2020

The eighteenth century in the current issue of Print Quarterly:

Print Quarterly 37.2 (June 2020)

Rembrandt van Rijn, Portrait of Jan Six, 1647, etching, engraving, and drypoint, 244 × 191mm (Amsterdam: Rijksprentenkabinett).

A R T I C L E S

Antoinette Friedenthal, “Sketched, Not Etched: Jan Six and the Mariettes’ Rembrandt Oeuvre for Prince Eugene of Savoy,” pp. 140–51.

This article considers the compilation of the Rembrandt album originally produced for Prince Eugene of Savoy (1663–1736). Particular emphasis is placed on the attempts to procure a rare impression of Rembrandt’s Portrait of Jan Six. Reference to the correspondence of Jean Mariette (1660–1742) and Pierre Jean Mariette (1694–1774) on the matter and their draft catalogue reveals that the Prince’s etched Portrait of Jan Six is, in fact, a drawn copy after the print. This in turn serves to support the proposal that the Prince of Savoy’s Rembrandt album is not held in Dresden as previously thought, but instead in the Albertina in Vienna.

N O T E S  A N D  R E V I E W S

Helmut Gier, Review of New Hollstein German Engravings, Etchings, and Woodcuts, 1400–1700: Johann Ulrich Kraus, Parts I–V, (2018–19), pp. 180–83.

The note provides an overview of the five New Hollstein volumes that bring together the corpus of Johann Ulrich Kraus (1655–1719). A prodigious printmaker and publisher, Kraus’s diverse output included commissions for various European courts, book illustrations, architectural treatises, and portraits. He is notable for sensitivity to, and amalgamation of, the latest French, Italian, Dutch, and German artistic trends.

Giorgio Marini, Review of Elisabetta Rizzioli, L’Officina di Leopoldo Cicognara: La Creazione delle Immagini per la ‘Storia della Scultura’ (2016), pp. 184–87.

Rizzioli’s book focuses on the art theorist and critic Francesco Leopoldo Cicognara (1767–1834), who “played a crucial role in the promotion of the arts from the Neoclassical period to the 1814–15 Congress of Vienna, relying on an international artistic community to which Antonio Canova (1757–1822) had introduced him.”

P U B L I C A T I O N S  R E C E I V E D

Antonia Dosen, Dubravka Botica, Anamarija Stepanić, Andelika Galić, and Petra Milovac, eds., Architecture and Performance: Prints from the Cabinet of Louis XIV in the MUO Holdings, exhibition catalogue (Zagreb: Museum of Arts and Crafts, 2016), p. 204.

“With parallel Croatian and English texts, the well-illustrated Architecture and Performance is dedicated to three groups of prints that were part of the so-called Cabinet du Roi . . . the three volumes dedicated to the Louvre, the Tuileries, Versailles and the royal festivals.”

Call for Papers | The Architectural Model

Posted in Calls for Papers by Editor on June 20, 2020

From ArtHist.net (19 June 2020) . . .

The Architectural Model as Tool, Medium, and Agent of Change
Special issue of Architectural Theory Review, edited by Matthew Mindrup and Matthew Wells


Proposed articles due by 15 September 2020

The architectural model has long held an important role in the edification of buildings, not least as a descriptive tool, a source of inspiration and a medium for studying new designs. Since around the fifteenth century it has served primarily as an explanatory guide for clients and builders, but there is ample evidence to support the view that it also played an important role in the generation and formulation of new designs over that same timespan, during critical moments of change in social, technical or even institutional practices. This latter role is often overlooked in architectural history and theory, even though it enjoys a similar longevity. Addressing this lacuna, we seek submissions that examine architectural modelling practices and theories which emerged from or helped to define critical moments of evolution in the history of architecture. This special issue will show how the employment of architectural models in these instances is a crucial indication of architecture’s history and capacity the discipline’s capacity for self-reflection.

Whether physical, conceptual, or digital, models stand somewhere between theoretical concepts and contingent realities, reflective of both settings, thereby allowing us to use them as instruments in our understanding of both situations. Long familiar in the sciences is the transition in cosmology from a Ptolemaic cosmology to a Copernican one. Recent research has taken a closer look at similar roles which the architectural model has had on architectural practice including the commercialisation of model making practices upon design during the post-war years in the United States; the role of paper in translating drawings to models in sixteenth-century Italy, the effect of artists and art practice on architectural models in the education of German architects during the early twentieth century and the emergence of the digital model in construction practices over the past thirty years.

The wide range of ways in which the model affects change in architectural culture warrants closer inspection. What are the ‘theories’ that motivate the form and function of models for architecture in those moments? We invite authors to consider this problem from any angle, reading the model in the broadest terms possible. Submissions may consider with new questions cases of apparently canonical importance, or address the ideas and projects of underrepresented practitioners and organizations. They might consider instances in which models (or practices involving the model, or modelling) have become sites of disciplinary adoration and/or discursive attention. How has the architectural model been an essential tool, medium or agent of change? This number of ATR hopes to shed light on a still relatively scarce archive of architectural modelling practices that motivates and mobilizes individuals, institutions and industries to rethink the built environment.

We seek papers that fall into one of four categories:

1) Modelling change — How can models (and their exhibition) be seen and understood as lodestars for critical moments of change in architectural culture?

2) Modelling theories — What particular moments or epochs in architectural theory were particularly concerned with conceptualising the model or, likewise, how were theories of architecture affected by models themselves?

3) New materials and techniques — What new model-making materials and tools, as well as the role of models (and mock-ups) emerged to advance the testing of particular formal, material, structural or technical solutions? How did new model-making materials and tools suggest new roles for the model, and how did this inform new developments in architectural practice and pedagogy?

4) Agency of the architect-as-model-maker — What is the model-maker’s role as an actor in the production of the built environment? Either as an architect, or as a practitioner in their own right? What can the examination of model-makers within architectural practices and those without tell us about their role in architectural culture?

We welcome the submission of previously unpublished, research-based writing that addresses these questions. Scholarly texts of between 4000 and 8000 words (including notes) will undergo double-blind, peer review. Although authors are invited to submit papers on people, places, and projects across the globe, all submissions must be written in (or translated into) English for consideration.

The deadline for the submission of completed manuscripts is 15 September 2020. Please submit manuscripts to the journal’s website. The editors welcome expressions of interest prior to paper submissions and are available for discussing possible contributions. For any questions regarding this issue please contact:

Matthew Mindrup, matthew.mindrup@sydney.edu.au
Matthew Wells, matthew.wells@gta.arch.ethz.ch

Manuscript submission guidelines can be found on the Architectural Theory Review website.

Write with Aphra: A Summer Writing Community

Posted in opportunities by Editor on June 19, 2020

From ABO: Journal on Twitter:

Write with Aphra: A Summer Writing Community
22 June — August 2020

New research has made clear that accommodations for the covid-19 pandemic have had a negative impact on women scholars and their research productivity. With the added imperative to participate in protests demanding justice for black lives, for many the emotional and intellectual energy to write and research has been understandably low. Despite this reality, many universities have not extended tenure clocks or graduate student funding and contingent scholars continue to receive no additional support. For many of us, publishing is a necessity for career advancement.

As a feminist journal, we want to create a space to allow scholars who are struggling to find the support they need to publish so their careers are not further damaged by the many, many challenges of 2020. In a recent statement, the journal recommitted to its mission of publishing work that “interrogates and reveals the causes, histories, and narratives of the harmful intersections of patriarchy, sexism, racism, slavery, colonialism, and gender discrimination.” As a material way of engaging with this mission, we are committing editorial time to help foster scholarship in progress and a structure to improve its chances of timely publication.

Toward that end, this summer we invite you to a writing community called Write with Aphra that is focused on starting, progressing, or finishing a scholarly article. For eight weeks, we will send weekly emails with tips and accountability measures and offer the guidance and feedback of our editorial board with weekly drop-in ‘office hours’. These will be themed around certain kinds of drafts (scholarly article, pedagogy, digital humanities, etc.) and sessions for discussing different experiences (contingency, early career scholar, etc.).

Participants are asked to commit to the following minimum goals:
• Commit to writing about 500 words a week from June 22 to August 14 with the overall goal of 4,000 words
• Share your progress using the hashtag #writewithaphra on Twitter (if you use Twitter) or via our email list with weekly check-ins
• Attend, if able, a Zoom meeting on Tuesday, June 23 at 2.00pm EST where we will answer your questions and set goals together; there will be a midway meeting and a wrap-up meeting as well
• Attend, if able, at least one office hours session with an editor in the area you are working with and seek feedback on your work in progress; for a current list of section editors, see here.

All participants will be invited to submit to the journal, but you are not required to do so. ABO: Interactive Journal for Women in the Arts, 1640–1830 (ISSN 2157-7129) is an online open-access journal that serves as a forum for interactive scholarly discussion on all aspects of women in arts between 1640 and 1830, especially literature, visual arts, music, performance art, film criticism, and production arts. The journal features peer-reviewed articles encompassing subjects on a global range, with a global readership, and is intended for scholars and students. The journal comprises five departments: Scholarship; Pedagogy; Digital Humanities; Reviews; Notes and Discussions. Our editorial policies cultivate responsive, supportive academic work, highlighted by an open review process.

To join, sign up here»