New Acquisitions at the DIA
Press release (18 December 2017) from the DIA:
Out of the Crate: New Gifts and Purchases
Detroit Institute of Arts, opened January 12
Attributed to Juan Pascual de Mena, Saint Benedict of Palermo, 1770–80, coniferous wood, pigment, gold (Detroit Institute of Art).
The Detroit Institute of Arts opened a gallery dedicated to some of the museum’s newest acquisitions while also providing the public with a look at the art acquisition process. The gallery, called Out of the Crate: New Gifts & Purchases, opened January 12.
A selection of recent purchases and gifts chosen by DIA Director Salvador Salort-Pons are on view for approximately six months, after which they will be replaced with newer acquisitions. “The DIA has one of the most significant art collections in the United States, and one way we maintain this quality is by acquiring new artworks every year,” said Salort-Pons. “Thanks to generous donors, the DIA has been able to establish funds designated for art acquisitions only, with which we are able to strengthen our collection. This gallery offers a transparent look at the DIA’s collecting process and policies while giving visitors a first look at both recent purchases and gifts.”
Before the DIA acquires a work of art, it goes through a rigorous assessment to ensure its quality and authenticity. Informational materials will provide an overview of the entire process, from initial research to approval by the board of directors, and the roles various experts play along the way.
Seven artworks are featured in the first installation:
• Attributed to Juan Pascual de Mena, Saint Benedict of Palermo, 1770–80, coniferous wood, pigment, gold. Museum purchase.
• Unknown artist, Maternity Figure (Obaahemaa), 19th century, Akan (Asante), African, wood with pigment. Museum purchase.
• James Abbott McNeill Whistler, Salute Dawn, 1879, etching with drypoint. Museum purchase.
• Lajos Mack, Vase, ca. 1900, slip-cast ceramic with eosin glazes. Gift of Dr. Theodore and Diana Golden.
• Hiroshi Sugimoto, Fox, Michigan, 1980, gelatin silver print. Museum purchase.
• Cristina Iglesias, Untitled (Room 11 [-1999], edition 1/15, 1999, ink on copper plate. Gift of Janis and William M. Wetsman.
• Cornelia Parker, There must be some kind of way outta here, 2016, mixed media. Museum purchase.
Lecture | Anne Lafont on Portraits of African Women
Next week at the Warburg Institute:
Anne Lafont | Portrait of the African Woman from Atlantic to Mississippi:
A New Topography of the Art of Enlightenment
The Warburg Institute, London, 24 January 2018
Marie-Guillemine Benoist, Portrait d’une femme noire, shown at the Salon of 1800 under the title Portrait d’une négresse (Paris: Musée du Louvre, 2508, acquired in 1818).
The figures of Africans in the early modern arts trouble the traditional chronology and geography of art history and sometimes disturb the hierarchical circulation of commodities between European metropolises and colonial territories. One cannot study art of colonial times and places with the exact same categories used to define the Italian Renaissance, the British Landscape and even the mobile case of El Greco. Authorship, centre versus periphery, the picture, the unicum… all these units need to be renegotiated in the imperial context. This lecture will focus on these issues through case studies based on the painting of female black figures in France and the French Americas at the end of the eighteenth century and in the first decades of the nineteenth century. Wednesday, 24 January 2018, 17:30.
Anne Lafont, Directrice d’études, EHESS, l’Ecole des hautes études en sciences sociales, Paris.
Book here»
New Book | Schenau (1737–1806)
From Imhof:
Anke Fröhlich-Schauseil, Schenau (1737–1806): Monografie und Werkverzeichnis der Gemälde, Handzeichnungen und Druckgrafik von Johann Eleazar Zeissig, gen. Schenau (Petersberg: Imhof, 2018), 640 pages, ISBN: 978 373190 5684, 78€ / $135.
Das Werk des Malers Johann Eleazar Zeißig, gen. Schenau (1737–1806), erhielt lange Zeit auch von der Kunstgeschichte nur wenig Aufmerksamkeit; dabei war er mit seinem in Frankreich entwickelten, empfindsamen Rokokostil zu Lebzeiten in Deutschland und darüber hinaus bekannt und berühmt. In Sachsen hatte er als Direktor der Dresdner Kunstakademie sowie als Leiter der Zeichenschule der Porzellanmanufaktur in Meißen eine einflussreiche Stellung inne. Sein OEuvre umfasst Gemälde, Radierungen sowie zahlreiche Zeichnungen und Aquarelle. Hinzu kommt eine große Zahl von französischen und deutschen Kupferstichen nach Werken von seiner Hand, die im vorliegenden Band in Wort und Bild vorgestellt werden.
Exhibition | Winckelmann and the Capitoline Museum
From the Capitoline Museum:
The Treasure of Antiquity: Winckelmann and the Capitoline Museum in Eighteenth-Century Rome
Musei Capitolini, Rome, 7 December 2017 — 22 April 2018
Curated by Eloisa Dodero and Claudio Parisi Presicce
Una mostra per celebrare gli anniversari della nascita e della morte del fondatore dell’archeologia moderna, Johann Joachim Winckelmann (1717–1768)
La mostra Il Tesoro di Antichità. Winckelmann e il Museo Capitolino nella Roma del Settecento intende celebrare gli importanti anniversari winckelmanniani del 2017 (300 anni dalla nascita) e del 2018 (250 anni dalla morte) e si inserisce nel contesto delle manifestazioni europee coordinate dalla Winckelmann Gesellschaft di Stendal, dall’Istituto Archeologico Germanico di Roma e dai Musei Vaticani. L’esposizione ha una duplice finalità: la prima, offrire ai visitatori il racconto degli anni cruciali che hanno portato, nel dicembre del 1733, all’istituzione del Museo Capitolino, il primo museo pubblico d’Europa, destinato non solo alla conservazione ma anche alla promozione della “magnificenza e splendor di Roma”; la seconda, presentare le sculture capitoline sotto una luce diversa, ovvero attraverso le intuizioni, spesso geniali, del grande Winckelmann.
Arricchita da una selezione di 124 opere e da apparati multimediali realizzati appositamente, il Tesoro di Antichità si sviluppa in tre sedi diverse nell’ottica di una “mostra diffusa”: le Sale Espositive di Palazzo Caffarelli, le Stanze Terrene di Sinistra del Palazzo Nuovo e le Sale museali del Palazzo Nuovo.
Negli anni in cui Winckelmann rivoluziona il modo di studiare le testimonianze del mondo antico dando inizio alla moderna archeologia, il modello di museo pubblico rappresentato dal Museo Capitolino si diffonde rapidamente in tutta Europa, segnando la nascita di modalità del tutto nuove di fruizione dei beni artistici: un Tesoro di Antichità non più concepito come proprietà esclusiva di pochi, ma come luogo destinato all’avanzamento culturale della società.
Eloisa Dodero and Claudio Parisi Presicce, Il Tesoro di Antichità: Winckelmann e il Museo Capitolino nella Roma del Settecento (Rome: Gangemi Editore, 2017), 384 pages, ISBN: 978 884923 5371, 35€.
«Vivo come un artista e come tale sono accolto nei luoghi dove ai nella Roma del Settecento giovani è permesso di studiare, come nel Campidoglio. Qui è il Tesoro delle Antichità di Roma e qui ci si può trattenere in tutta libertà dalla mattina alla sera». È il 7 dicembre del 1755 ed è con queste parole che Johann Joachim Winckelmann (1717–1768) descrive a un amico la sua prima visita al Museo Capitolino. Negli anni in cui Winckelmann rivoluziona il modo di studiare le testimonianze del mondo antico, il modello di museo pubblico rappresentato dal Museo Capitolino si diffonde in tutta Europa, segnando la nascita di nuove modalità di fruizione dei beni culturali: un «Tesoro di Antichità» non più concepito come proprietà esclusiva di pochi, ma come luogo destinato all’avanzamento culturale della società.
Call for Papers | The Roman Art World and the Academy in Britain
From the Call for Papers:
The Roman Art World in the 18th Century and the Birth of the Art Academy in Britain
The Accademia di San Luca and the British School at Rome, Rome, 10–11 December 2018
Proposals due by 12 March 2018
The Accademia di San Luca and the British School at Rome (BSR) invite submissions for papers for the conference The Roman Art World in the 18th Century and the Birth of the Art Academy in Britain, to be held in Rome between 10 and 11 December 2018. The conference will focus on the role of the Roman pedagogical model in the formation of the British academic art world in the long 18th century.
Joseph Wright of Derby, Academy by Lamplight, 1769, oil on canvas (New Haven: Yale Center for British Art, Paul Mellon Collection).
Even as Paris progressively dominated the modern art world during the 18th century, Rome retained its status as the ‘academy’ of Europe, attracting a vibrant international community of artists and architects. Their exposure to the Antique and the Renaissance masters was supported by a complex pedagogical system. The Accademia di San Luca, the Capitoline Accademia del Nudo, the Concorsi Clementini, and numerous studios and offices, provided a network of institutions and a whole theoretical and educational model for the relatively young British art world, which was still striving to create its own modern system for the arts. Reverberations of the Roman academy system were felt back in Britain through initiatives in London such as the Great Queen Street Academy, the Duke of Richmond’s Academy, the Saint Martin’s Lane Academy, and the Royal Society of Arts. But it was a broader national phenomenon too, inspiring the likes of the Foulis Academy in Glasgow and the Liverpool Society of Artists. The foundation of the Royal Academy of Arts in London in 1768 officially sanctioned the affirmation of the Roman model.
If past scholarship has concentrated mainly on the activities of British artists while in Rome, this conference wishes to address the process of intellectual migration, adaptation and reinterpretation of academic, theoretical and pedagogical principles from Rome back into 18th-century Britain. It responds to the rise of intellectual history, building on prevalent trends in the genealogy of knowledge and the history of disciplines, as well as the mobility and exchange of ideas and cultural translation across borders.
The conference welcomes diverse approaches to investigating the dissemination of the academic ideal from Rome to Britain. These might address, but are by no means limited to, the following topics:
• The impact of the Roman academic structure, theory and pedagogy on British art academies, artists’ studios and architects’ offices.
• The impact of art and architectural theory in Rome on the formation of a public discourse on art and architecture in Britain.
• The process of adaptation and reinterpretation of Roman theoretical and pedagogical principles to the British artistic and architectural context, and the extent to which British art academies developed new principles, absorbed the Roman model, or derived them from elsewhere.
• The role played by Roman and Italian artists and architects in the formation and structuring of the 18th-century British art academies and, in particular, of the Royal Academy of Arts.
• The presence and activities of British artists and architects in Roman studios, offices and academies and the presence of Italian artists in British academies.
• The role played by other relevant academies—such as those at Parma and Florence—on the formation of British artists and architects in relationship/opposition to the Roman model.
This conference will conclude a series of events celebrating the 250th anniversary of the foundation of the Royal Academy of Arts in London. It will also be part of a series of conferences and exhibitions focusing on the role of the Accademia di San Luca in the spread of the academic ideal in Europe and beyond, inaugurated in 2016 with an exhibition and conference on the relationship between Rome and the French academy, held at the Accademia di San Luca and at the Académie de France à Rome.
Please provide a concise title and abstract (250 words maximum) for a 20-minute paper. Send your proposal, with a current CV of no more than two pages, to humanities@bsrome.it. Proposals must be received by midnight, Monday 12 March 2018. Speakers will be notified of the committee’s decision in mid-April 2018. Travel grants will be available.
Adriano Aymonino
Carolina Brook
Gian Paolo Consoli
Thomas-Leo True
PhD Research Placements at the British Library
From the BL:
William Blake at the British Library: PhD Research Placement
3 months during the period from June until December 2018
Applications due by 19 February 2018
PhD students are invited to apply to undertake one of our forthcoming research placements. These are specially-selected projects that have been developed by the Library to support current doctoral researchers to develop and apply transferrable skills and expertise. Amongst the opportunities being offered in the current Call is a placement on William Blake, focused on the Library’s large collection of prints by Blake. Further details and profiles for each of the other placements are available here.
A PhD research placement at the British Library provides the chance to experience research in a different environment to that of a university, to engage with a range of research users and audiences, to gain insights into different potential postdoctoral career paths, and to make a tangible contribution to the purposes and programmes of a national library and major cultural organisation. A broad range of research placement opportunities have been identified by the Library for 2018–19.
To Apply
Application Guidelines and the application form are available here. Please refer to the guidelines and email the completed application form and a CV to Research.Development@bl.uk. Please note that all applications must be approved by the applicant’s PhD supervisor and Graduate Tutor (or equivalent senior academic manager). The application deadline is 4pm on 19 February 2018.
Eligibility
This scheme is open to all PhD students, as long as they have the support of their PhD supervisor and their Graduate Tutor (or equivalent). International students are eligible if they have the right to study in the UK.
Funding
The research placements offered through the scheme are opportunities for current PhD students to apply and enhance research skills and expertise outside of Higher Education as part of their wider research training and professional development. They are training and development opportunities to be undertaken within this specific context—and are therefore different to the paid internships or other fixed-term posts that the Library may occasionally make available. See the Application Guidelines for further details and background. Please note that—unlike for an internship or a fixed-term post—the British Library is unable to provide stipends or payment to PhD placement students. It is therefore essential that applicants to the placement scheme obtain the support of their PhD supervisor and Graduate Tutor (or someone in an equivalent senior academic management role) in advance and that, as part of their process, they consult their HEI to ascertain what funding is available to support them. To support self-funded and part-time students, most placements can be done on a part-time basis, with some remote working also sometimes possible—see the individual projects for details.
Jonny Yarker Joins Lowell Libson
Press release (January 2017) from Lowell Libson & Jonny Yarker Ltd:
Lowell Libson Ltd is delighted to announce that from January 2018 it will be trading as Lowell Libson & Jonny Yarker Ltd. Lowell Libson is one of the great names in the world of London dealing: for the last seventeen years his gallery has been synonymous with British paintings, drawings, and sculpture of the highest quality. It is unusual for a gallery owner, with over forty years’ experience and his name above the door to embrace such a radical transformation, and it signals an important change for the future.
“Jonny joined the business five years ago and during that time we have worked very happily and successfully together. Jonny has made a huge impact on the gallery, and he has played an extremely significant role in developing the business with me; now is the right time to recognize this working partnership in a tangible way,” Lowell Libson commented. “I am very excited about the future, Jonny is a talented dealer, a leading scholar and a good friend and I look forward to our new venture together.”
Jonny Yarker had recently finished his PhD when Lowell approached him to come and work at the gallery. “I admired Lowell long before I met him. He had this amazing reputation for supporting scholarship and exhibitions of British art; I remember when I was a student seeing his name everywhere,” says Yarker, “Little did I think I would end up working with him.” Libson has a reputation for supporting innovative scholarship in British art and the gallery has sponsored major exhibitions at the Royal Academy, British Museum, Courtauld, Ashmolean, and Morgan Library and Museum in New York.
With Jonny on board, the company’s outlook became more routed in research and their projects were able to become more ambitious. For example, in 2014 they mounted the largest selling exhibition of drawings by Gainsborough for a century. Lowell and Jonny have also recently made a number of notable discoveries including newly identified works by Samuel Palmer, John Constable, Johan Zoffany as well uncovering a previously unknown cache of drawings by Sir Peter Lely.
Each brings complimentary talents to the business (as Libson says, “It’s not particularly constructive working with a clone of oneself”). They see their great strength as a willingness to embrace change and think laterally. “We operate in an apparently narrow field, but Lowell has an amazing ability to reinvent what we do, at the same time preserving a continuity of taste,” Yarker observes.
In March, the gallery will be exhibiting at the Salon du dessin in Paris for the first time and in July they will mount a major exhibition of drawings made in Britain before 1730. Libson has been collecting for the exhibition for over a decade but observes: “Jonny has really made the project his own, he has brought an academic rigour and flair to my initial idea; it is going to be a truly groundbreaking exhibition, I can’t wait!”
This is the essence of what Libson and Yarker do: bring high levels of scholarship and their own personal taste to British art. It is a formula that has won them an international group of clients, both institutional and private.
Exhibition | Thomas Gainsborough: Modern Landscape
Thomas Gainsborough, Mr. and Mrs. Andrews, ca. 1750
(London: National Gallery)
◊ ◊ ◊ ◊ ◊
On view this spring at the Hamburger Kunsthalle:
Thomas Gainsborough: The Modern Landscape / Die moderne Landschaft
Hamburger Kunsthalle, 2 March — 27 May 2018
Curated by Katharina Hoins and Christoph Martin Vogtherr
Thomas Gainsborough (1727–1788) was a pioneering artist in the development towards ›modern‹ landscape painting of around 1800. He was mainly perceived as a painter of brilliant society portraits by his contemporaries, although he personally far preferred his landscapes. They reflect the dramatic technological and artistic developments of his time and the growing contradictions in British society. Landscape painting served Gainsborough as a laboratory to transform impressions into innovation. He experimented with colours and techniques, painted on glass and combined natural materials into landscape models. Establishing England as a centre of European landscape painting, he created images of timeless power. Iconic works like Mr and Mrs Andrews will feature in the exhibition. Gainsborough: Modern Landscape is the first exhibition by a German museum devoted to Gainsborough. For a German and an international public it promises the (re-)discovery of an exceptional painter.
M. Bills, B. Gockel, M. Hallett, K. Hoins, R. Jones, J. Karg, S. Pisot, and C. Vogtherr, Thomas Gainsborough: The Modern Landscape (Munich: Hirmer, 2018), 224 pages, ISBN: 978 37774 29977, $65.
Gainsborough himself favoured landscape painting, a field to which he made important contributions, over his well-known portraits. His works are fascinating for their painterly subtlety and technical variation. This volume brings together German and British traditions of viewing, interpreting, and studying Gainsborough. It looks at the connections to the Dutch landscapes, explains Gainsborough’s unusual and experimental techniques from an art technological point of view, and situates his landscapes in the context of the social tensions of early industrialisation.
Williamsburg Acquires Rare Danish Abolitionist Medal
Abolition of the Slave Trade Medal, dies by Pietro Leonardo Gianelli, Denmark, bronze, 1792 (Colonial Williamsburg Foundation, Museum Purchase, Lasser Numismatics Fund and Partial Gift, John Kraljevich).
Abolition of the Slave Trade Medal, dies by Pietro Leonardo Gianelli, Denmark, bronze, 1792 (Colonial Williamsburg Foundation, Museum Purchase, Lasser Numismatics Fund and Partial Gift, John Kraljevich).
Press release (10 January 2018). . .
One of the most important medallic items related to the Atlantic slave trade and one of Denmark’s most iconic medals is now part of the Colonial Williamsburg Foundation’s collections. Designed by the Danish artist Nicolai Abildgaard and struck in bronze in 1792 from dies by the Italian medalist Pietro Leonardo Gianelli, the extremely rare piece commemorates that year’s royal edict ending trade in enslaved persons on Danish ships. Only a small handful of these medals produced in a variety of metals are known to exist: white metal examples are in Danish museums and others, held in private collections, were struck in bronze and silver.
“The items of Colonial Williamsburg’s collections capture tangibly our complex, shared history,” said Mitchell B. Reiss, Colonial Williamsburg president and CEO. “In this rare 1792 medal we see an Atlantic power affirming the humanity of a people exploited as property, as well as a foretelling of abolition in America. We welcome our guests 365 days a year—and especially in February during Black History Month—to experience the diverse stories of our nation’s founding.”
In Denmark in 1792, as the move towards banning slavery was taking hold throughout Europe and two years before Congress prohibited the slave trade between the United States and foreign countries, Crown Prince Frederik VI, acting as regent for his mentally unstable father, Christian VII, issued what is considered to be the Prince’s most important proclamation: the Edict of the Abolition of the Slave Trade. This decree made Denmark the first European nation to outlaw trade in enslaved persons on ships flying its flag, though the measure did not fully take effect until 1802. This medal, made at the beginning of the abolitionist movement on the European continent, marks a dramatic shift in the way Denmark sought to treat the enslaved African population in the nation’s Caribbean colonies, the Danish West Indies. The male head depicted in profile on the face of the medal is likely the oldest Danish naturalistic portrait of an African. The Latin phrase ‘Me Miserum’ (‘Woe is me’ or ‘Poor me’) is imprinted as a border around the profile. The reverse image shows the mythological winged goddess Nemesis, who was thought to be the avenging goddess of divine indignation against and retribution for evil deeds and undeserved good fortune. She is depicted seated and facing forward on a platform decorated with a shield that bears her name while holding an apple branch in one hand and touching her wing with the other. The Latin legends indicate the medal was produced under the Danish King’s law and includes the date of the edict, March 16, 1792.
“Objects in the Colonial Williamsburg collection are remarkable not only for their aesthetic qualities, but for the history they illustrate,” said Ronald L. Hurst, the Foundation’s vice president for collections, conservation, and museums and its Carlisle H. Humelsine chief curator. “This medal sheds light on some of the first steps toward the end of slavery, a painful chapter in the Atlantic world’s history.”
“This masterfully executed work of medallic art is a benchmark piece for two reasons,” said Erik Goldstein, Colonial Williamsburg’s senior curator of mechanical arts and numismatics. “Not only does it beautifully and sensitively display the portrait of an African man, it also marks the beginnings of the abolitionist movement in Europe.”
The medal was acquired through the Lasser Numismatics Fund and a partial gift by John Kraljevich. It is scheduled for public display in 2020 following completion of the entirely donor-funded $41.7 million expansion of the Art Museums of Colonial Williamsburg. Both institutions, the DeWitt Wallace Decorative Arts Museum and the Abby Aldrich Rockefeller Folk Art Museum, remain open throughout construction.
Conference | Circulating Crafts
I’m always interested to see how one might extend the significance of a CAA panel beyond the conference itself. Here’s an interesting attempt with programming in Paris and LA. Last month I noted the first CAA panel, but I didn’t connect it to these other events. –CAH
From the programme:
Circulating Crafts: Art, Agency, and the Making of Identities, 1600–2000
Paris, 24 January 2018 / Los Angeles, 21 February 2018
Organized by Yaëlle Biro and Noémie Étienne
Circulation and imitation of cultural products are key factors in shaping the material world—as well as identities. Many objects or techniques that came to be seen as local, authentic and typical are in fact entangled in complex transnational narratives tied to a history of appropriation, imperialism, and the commercial phenomenon of supply and demand.
In the 17th and 18th centuries, artists and craftspeople in Europe appropriated foreign techniques such as porcelain, textiles, or lacquers that eventually shaped local European identities. During the 19th century, Western consumers looked for genuine goods produced outside of industry, and the demand of Bourgeois tourism created a new market of authentic souvenirs and forgeries alike. Furthermore, the 20th century saw the (re)-emergence of local ‘Schools’ of art and crafts as responses to political changes, anthropological research, and/or tourist demand. This multi-part conference will explore how technical knowledge, immaterial desires, and political agendas impacted the production and consumption of visual and material culture in different times and places. A new scrutiny of this back and forth between demanders and suppliers will allow us to map anew a multi-directional market for cultural goods in which the source countries could be positioned at the center.
Contacts: yaelle.biro@metmuseum.org and noemie.etienne@ikg.unibe.ch
2 4 J A N U A R Y 2 0 1 8
Part 1 | Workshop: Circulating Crafts
La Colonie, 178 boulevard Lafayette, 75010 Paris
9.00 Welcome and Introduction by Yaëlle Biro and Noémie Étienne
9.15 Session A
• Ariane Fennetaux (Université Paris Diderot), From Coromandel with Love: The Glocalisation of Indian Cottons in the 17th and 18th Centuries
• Chonja Lee (Bern University), Made in Switzerland: How Swiss Indiennes Became Autochtone and Dressed the World at the Same Time
• Aziza Gril-Mariotte (Université de Haute-Alsace), Modèles, emprunts et circulation des formes occidentales dans les toiles peintes au XVIIIe siècle
11.15 Coffee break
11.30 Session B
• James Green (University of East Anglia), Appropriating Kongo Colors: Red, White and Black in 19th-Century English Trade Cloth
• Manuel Charpy, CNRS, Lille), Changing Sides? Consumption and Political Uses of Western Clothing in Congo, 1830–1960
13.00 Lunch break
14.00 Session C
• Thomas Grillot (CNRS, Paris), Marketing Family Heirlooms: Three Generations of American Indian Artists in the Northern Plains
• Rémi Labrusse (Université Paris-Nanterre), Hybridité et identité en Algérie à la veille de l’invasion française: le cas du palais du Bey de Constantine
15.20 Coffee break
15.35 Session D
• Julien Volper (Tervuren Museum), Du Bénin à l’Inde en passant par le Congo: Origines, in uences et voyages d’objets africains du XIXe et du XXe siècles
• Jonathan Fine (Ethnologisches Museum, Berlin), Crafting Culture: The Co-Production of ‘Bamum’ Art in the 1920s
• Gaëlle Beaujean (Musée du quai Branly – Jacques Chirac), Sirène, vierge, charmeuse de serpent et Atlantique
17.35 Discussion
2 1 F E B R U A R Y 2 0 1 8
Part 2 | Conference Panels: Art, Agency, and the Making of Identities, 1600–2000
College Art Association, Convention Center, Los Angeles
2.00 Panel I
• Helen Glaister (SOAS, University of London / Victoria & Albert Museum, London), The Picturesque in Peking: European Decoration at the Qing Court
• Dorothy Armstrong (Royal College of Art / Victoria & Albert Museum, London), A Transnational Loop: Pakistan’s Repossession of the Oriental Carpet Imaginary and its Production
• Tingting Xu (University of Chicago), The Rivers Folded: Souvenir Accordion Panoramas in the Late 19th-Century Global Tourism
• Karen Milbourne (Smithsonian National Museum of African Art), Lozi Style: King Lewanika and the Marketing of Barotseland
4.00 Panel II
• Ashley Miller (UC Berkeley), ‘What is Colonial Art and Can It Be Modern?’: Moroccan Modernisms at the Art Deco Exposition in Paris, 1925
• Victoria Rovine (University of North Carolina), A Wider Loom: Textiles and Colonial Politics of Authenticity in the Soudan Français
• Gail Levin (The City University of New York), Frida Kahlo’s Invention of Jewish Identity
• Niko Vicario (Amherst College), From Duco to Comex: The Politics of Synthetic Paint in the Americas
Enfilade 
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