Enfilade

Selldorf Architects to Lead New Masterplan for The Wallace

Posted in museums by Editor on June 7, 2025

From the press release:

Annabelle Selldorf, Principal of Selldorf Architects, photographed at The Frick just before it reopened in April following a five-year renovation led by Selldorf.

The Wallace Collection is pleased to announce that Selldorf Architects, in collaboration with Purcell and Lawson Ward Studio, has been appointed to lead the design and delivery of a transformational masterplan for Hertford House, the museum’s historic home in London.

This ambitious project will reimagine and revitalise the museum’s spaces for the 21st century, preserving the charm and unique character of the building while improving access, sustainability, and visitor experience. The masterplan marks a significant investment in the long-term future of the museum and its ability to connect diverse audiences with one of the world’s most remarkable art collections. Selldorf Architects, renowned for their work with leading cultural institutions including The National Gallery, the recently reopened Frick Collection, and the Neue Galerie, will serve as Lead Design Architect.

They are joined by Purcell, the UK’s largest team of heritage architects and long-standing heritage consultants to the Wallace Collection, and Lawson Ward Studio, who developed the original project brief and who bring expertise in cultural learning environments—the practice being responsible for the recently opened Roden Centre for Creative Learning at the National Gallery. Together, the team brings exceptional international experience in museum and gallery design, combined with a deep understanding of Hertford House and the operational needs of the Wallace Collection. Their joint appointment has been made under public procurement regulations and represents a once in a lifetime opportunity to re-visit the collection and its setting and to enhance the experience for its friends and visitors.

The announcement comes in the Collection’s 125th anniversary year and as it celebrates a number of significant milestones in public engagement. It recently welcomed over 500,000 visitors in a single year for the first time, helped by the 2020 launch of an international lending programme that has extended the Collection’s impact and contributed to a series of acclaimed exhibitions. Among these, Frans Hals: The Male Portrait brought together the artist’s best male portraits from collections across the UK, Europe, and North America. In 2023, Portraits of Dogs: From Gainsborough to Hockney proved hugely popular with audiences, and last year, Ranjit Singh: Sikh, Warrior, King made an important contribution to extending the museum’s audience. The forthcoming display of Caravaggio’s Victorious Cupid (1601–02)—a major loan from Berlin’s Gemäldegalerie and the first time the painting has been shown in the UK—will be another landmark moment, reinforcing the Collection’s growing ambition and profile on the international stage.

The masterplan will address a wide range of priorities: from improving visitor welcome and circulation to enhancing gallery spaces, creating a new Learning Centre, upgrading environmental conditions and improving accessibility throughout the historic site. There is also potential to reimagine the museum’s dedicated temporary exhibition space, restaurant and event facilities, and for critical improvements to be made to staff and back-of-house areas—all designed with sensitivity to the listed building and its distinctive character.

Director of the Wallace Collection, Dr Xavier Bray, said: “The Wallace Collection occupies a unique place in the national and international museum landscape—an exceptional collection in an extraordinary historic home. We are delighted to be working with Selldorf Architects, Purcell and Lawson Ward Studio on the next chapter in the museum’s history. Their thoughtful, collaborative approach and track record of working with complex heritage buildings gives us great confidence as we embark on this transformational journey.”

Annabelle Selldorf, Principal of Selldorf Architects, said: “We are looking forward to working with the Wallace Collection to enhance the unique experience of visiting Hertford House, making their magnificent collection of paintings, decorative arts and arms and armour more accessible. Engaging a wider audience with art and the building’s beautiful architecture is vital and the project presents an exciting opportunity to re-examine essential aspects of the visitor’s experience. Bringing people closer to art matters to us and is a core part of our firm’s work.”

The Wallace Collection’s masterplan is currently in its early stages, with detailed design development, stakeholder engagement and technical surveys set to continue throughout 2025. A comprehensive fundraising campaign is being developed to realise the bold ambitions of the masterplan. The project aims to deliver an integrated and phased programme of works that will support the museum’s evolving offer, public engagement ambitions, and long-term sustainability goals.

Call for Papers | Interrogating the Female Gaze

Posted in Calls for Papers by Editor on June 7, 2025

From ArtHist.net:

Spectacle and Spectatorship: Interrogating the Female Gaze

Fifth Annual International Women in the Arts Conference

Online and in-person, University of Arkansas Rome Center, Rome, 4–6 November 2025

Convened by Consuelo Lollobrigida and Adelina Modesti

Proposals due by 14 July 2025

Laura Mulvey in her pioneering analysis of visual pleasure (“Visual Pleasure and Narrative Cinema,” 1973) posited filmic creation, artistic practice, and cultural representation as the projection of patriarchal fantasy and product of a male gaze that objectifies the body of woman as spectacle. Similarly John Berger in his Ways of Seeing (1972) defined Western art history as primarily a history of the representation of women by men for the gratification of the male spectator. But what implications does this have for the female creator, viewer of art, or reader? What about the female gaze? Or the female body as represented by women, or even the male body for the female spectator? What about women’s visual pleasure?

AIWAC 5’s theme invites papers that interrogate the ‘look’ for women as makers (artistic practitioners, writers, performers, musicians), as patrons of art, and as spectators. The historical time frame and geographical area is open, including up to contemporary times.

Possible topics include
• Female visual (and other) pleasures in the arts
• The female ‘eye’: women as patrons and collectors of art
• Definitions of spectacle, including theatre (spettacolo), music and film, and women’s engagement as dramatists, filmmakers, actors, performers, scriptwriters, musicians, and composers
• Woman as spectacle
• The female gaze: women artists and makers; women and architecture
• Female spectatorship
• Writing and reading women
• Female models and agency

Conference papers will be published in the “AIWAC acta colloquia” postprint series in collaboration with Brepols Publishers, after a peer review process.

To submit a proposal
• Write an abstract in English in Word (max. 500 words, excluding authors name(s) and contact details)
• Include a short bio (150 words max)
• Save the proposal as: ‘AIWAC5_name and family name’
• Include a short CV
• Email to clollobr@uark.edu and amodesti@unimelb.edu.au

Proposals are due by 14 July 2025. Successful applicants will receive a notification by 31 July. A remote presentation might be considered, even if in-presence presentation will have priority. Talks should be no longer than 20 minutes. The organizers cannot contribute towards transport or accommodation costs of speakers or attendees. A registration fee will be communicated along with the acceptance of papers. Excluded papers won’t be notified. The conference will take place at University of Arkansas Rome Center and will combine selected paper presentations with keynote speakers. The final program will be communicated by the beginning of October 2025.