Enfilade

Call for Proposals | History of Collecting Seminars

Posted in Calls for Papers by Editor on August 13, 2017

History of Collecting Seminars
The Wallace Collection, London, 2018

Proposals due by 11 September 2017

The seminar series was established as part of the Wallace Collection’s commitment to the research and study of the history of collections and collecting, especially in the eighteenth and nineteenth centuries in Paris and London. In 2018, as in previous years, we plan to organise a series of 10 seminars.

The Wallace Collection will be celebrating the bicentenary of Sir Richard Wallace’s birth in 2018. To mark the occasion we hope that the seminars will have a special emphasis on collecting in Paris and London during the second half of the nineteenth century. We are also keen, though, to encourage wider contributions for 2018, covering all aspects of the history of collecting, including:
• Formation and dispersal of collections
• Dealers, auctioneers and the art market
• Collectors
• Museums
• Inventory work
• Research resources

The seminars, which are normally held on the last Monday of every month during the calendar year, excluding August and December, act as a forum for the presentation and discussion of new research into the history of collecting. Seminars are open to curators, academics, historians, archivists, and all those with an interest in the subject. Papers are generally 45–60 minutes long, and all the seminars take place at the Wallace Collection between 5.30 and 7pm.  If interested, please send a short text (500 words), including a brief CV, indicating any months when you would not be available to speak, by 11 September 2017. For more information and to submit a proposal, please contact: collection@wallacecollection.org. Please note that we are able to contribute up to the following sums towards speakers’ travelling expenses on submission of receipts:
• Speakers within the UK, £80
• Speakers from Continental Europe, £160
• Speakers from outside Europe, £250

The 2017 programme is available here»

 

Call for Papers | Art and Work, A Graduate Symposium

Posted in Calls for Papers by Editor on August 11, 2017

Art and Work, A Graduate Symposium
Northwestern University, Evanston, 8 February 2018

Proposals due by 1 October 2017

The Department of Art History at Northwestern University will hold a one-day graduate symposium on Thursday, 8 February 2018 on the topic of art and work. The symposium will span historical periods and geographic regions to investigate the history, politics, and aesthetics of artistic labor. Our proposal is grounded by historical and theoretical concerns with the social positions of art making, the artist, and work more generally. How do the social and technical conditions of labor in a given society determine the possibilities of its art, and how do artistic imaginaries of work help shape struggles around these very social conditions? What kinds of skills, expertise, discourses, or knowledge come to distinguish an artist from an artisan, engineer, or maker, or from a teacher, political official, or social worker? How and where do these distinctions emerge or dissolve both visually and historically, and how do they relate to other predominant social markers such as race, gender, and class? We see these questions as resonating across boundaries of period and national tradition, and are excited to see what might be learned from thinking within a wide historical frame wherein both art and work are contested terms.

We welcome papers that consider, among other topics, the aesthetics of work and/or non-work; the social position of the artist; the problem of aesthetic autonomy; or spaces of production and their representations—from the artist’s studio to the collaborative workshop, the laboratory, the home, the factory, and beyond. We are also interested in how representations of artistic production and exercises in (or negations of) artistic technique mediate ongoing processes of social transformation. We invite papers from any time period or geographic region by graduate students in art history as well as related disciplines.

Possible topics might include
• Depictions of studio, workshops, factories, spaces of production
• Craft labor and handwork
• Treatises and technical manuals
• Artistic readymades or the absence of work
• Histories of deskilling and automation
• Aesthetics and political economy
• Anti-work politics and aesthetics
• Global precarity and flexible labor regimes
• Reproductive labor, domestic work
• Affective and care-based labor
• Post-Marxist approaches to ‘immaterial labor’
• Community and public art

Symposium speakers who do not reside locally will receive roundtrip economy airfare to Chicago/Evanston, accommodation for two nights in Evanston, and a travel stipend to cover ground transportation to and from the airport. Please email proposals to laurelgarber2015@u.northwestern.edu and brianleahy2020@u.northwestern.edu by October 1, 2017. Include in your proposal a 300-word abstract and a brief CV in a single PDF file. Selections will be announced in mid-October.

Keynote lecture by Jasper Bernes, author of The Work of Art in the Age of Deindustrialization (Stanford University Press, 2017).

Call for Papers | New Orleans, Global City, 1718–2018

Posted in Calls for Papers by Editor on August 9, 2017

Gerard Van Keulen, Carte de la Nouvelle France ou se voit le cours des Grandes Rivieres de S. Laurens & Mississippi…
(Amsterdam, 1720)

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From the 18th- and 19th-Century Studies Network:

New Orleans, Global City, 1718–2018: The Long Shadow of John Law and the Mississippi Company
Inaugural Conference of the 18th- and 19th-Century Studies Network
University of Colorado Boulder, 26–28 April 2018

Proposals due by 17 September 2017

It has been almost three hundred years since the first international stock market crash took place in France, Britain, and the Netherlands. A spate of cross-disciplinary conferences and publications have added greatly to our understanding of the impact of the Mississippi and South Sea Bubbles and the Dutch windhandel (trade in wind) on European economies and cultures. The colonial, global, and oceanic dimensions of these events have not been studied as closely. ​Meant to coincide with the foundation of New Orleans in 1718 by the Compagnie des Indes (aka the Mississippi Company), this interdisciplinary conference will focus on the immediate to long-term impact of Law’s System and the Mississippi Company on the cultures, economies, and environments of New Orleans and surrounding areas. The focus will be on the eighteenth and nineteenth centuries, but we shall also consider proposals that deal with earlier or later developments so long as they take into account their broader historical context.

We particularly welcome proposals that
• consider the direct and indirect impact of French (and other) joint-stock companies and state-sponsored monopolies on the economies, cultures, ecologies, soundscapes, and sensescapes of New Orleans and the Mississippi River Delta;
• bring into dialogue indigenous, European, and American economic and cultural studies; and/or
• approach the history of New Orleans and the Mississippi River Delta from a global or oceanic perspective.

Sub-topics might include
• Global capitalism and the making of New Orleans
•  New Orleans in the global imagination
• The impact of colonial settlements on indigenous and on metropolitan and colonial French, Spanish, and British economies and cultures
• Relations among indigenous peoples, Spaniards, Canadians, Acadians, French, Africans, and Germans
• Relations with France, Britain, Spain, and their colonies
• Trade routes and migration patterns
• Cross-cultural / comparative studies of slavery and colonialism
Linguistic creolization
• 1718 / 1720 as origin myth in French and American cultures
• The impact of the Mississippi Bubble on New Orleans, Lower Louisiana, New France, and the West Indies
• Economic, ecological, and cultural dimensions of natural and financial disasters

The deadline for the submission of individual paper proposals is September 17, 2017. Please send an abstract (300–600 words) along with a brief curriculum vitae (2–3 pages) to catherine.labio@colorado.edu. Abstracts and cv may be in English or French, although all presentations will be in English. If you do not receive an acknowledgment by September 22, please email catherine.labio@colorado.edu. Proposals will be selected by an interdisciplinary scientific committee. Notifications will go out by October 15, 2017. Papers (due April 9) will be pre-circulated. Presentations will be brief to leave plenty of time for discussion.

The 18th- and 19th-Century Studies Network was created in Fall 2016 with support from the Department of English at the University of Colorado Boulder. Its core mission is to foster intellectual exchanges within the University of Colorado and at the regional, national, and international levels. The Network is open to faculty and students from across the CU System and to all other scholars in the area. All geographical, disciplinary, and methodological approaches are welcome.

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Call for Papers | Crafting an Enlightened World: Patronage & Pioneers

Posted in Calls for Papers by Editor on August 8, 2017

Grinling Gibbons, detail from the King David panel, ca. 1670, boxwood
(York: Fairfax House)

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2017 Fairfax House Georgian Studies Symposium
Crafting an Enlightened World: Patronage & Pioneers
Fairfax House, York, 19–20 October 2017

Proposals due by 8 September 2017

York, from the late seventeenth to the early nineteenth century, was amongst the key centres in Britain where ideas, innovation, experimentation, and invention flourished, contributing to what is now referred to as the ‘era of Enlightenment’. Indeed, York was to play host to nationally and internationally celebrated astronomers, historians, clockmakers, scientists, painters, sculptors, architects, and cabinet-makers, as well as leading anti-slavery campaigners and enlightened mental health providers. The interdisciplinary nature of the talent which converged in vibrant hubs across the country such as York, reflected the spirit of the age in which scholars could simultaneously delve into religion, philosophy, natural sciences, mathematics, history, and the arts, seemingly without conflict. These progressive environments were key in sustaining and nurturing talented—often providing vibrant nexus points through which talented thinkers, scientists, artists, and craftspeople traversed, trained, worked, and often decided to permanently reside.

Crafting an Enlightened World: Patronage and Pioneers will be Fairfax House’s Fifth Symposium in Georgian Studies. Held in conjunction with the exhibition Made in York: Inventing & Enlightening the Georgian City, it aims to delve deeper into the theme of ‘Crafting an Enlightened World’ during the long eighteenth century (c.1680–1830), examining its roots and legacy. The symposium will focus on the driving forces behind creating an enlightened world and in turn how the Enlightenment fed and helped forge the environment in which pioneering craftsmanship in Britain during this period took flight.

Drawing on the breadth and diversity of enlightened talent which flourished in Britain during the era, the symposium hopes to offer a re-examination of the period, moving away from the London-centric narratives which have dominated analysis of the era, to a more nuanced yet holistic view of this period which also takes account of the regional Georgian urban realm.

The symposium will take place over two days. Day One will explore the contexts which emerged and fostered ‘enlightened’ creativity in the period. Echoing the eclectic interests of enlightened polymaths, we hope this first day will be broad and varied in the range of topics discussed and may include (though not limited to): studies focusing on the ‘enlightenment’ in the public, private and urban realms, clubs and societies, intellectual networks, the tools used in the dissemination of ideas and inventions, patronal networks, collecting, connoisseur and antiquarianism, issues of class and gender in Enlightenment practice, taxonomy, the historiography of the enlightenment, or the enlightenment as a literary phenomenon.

Building upon this, Day Two will primarily focus on ‘enlightened craftsmanship’, in its many varied forms and expressions. We hope to examine the processes of invention, creation, and crafting which gave physical expression to the phenomenon of the ‘enlightenment’. Considering its pioneers and patrons, topics could include but are not limited to: the influence of ‘enlightenment’ ideas on the arts, the synergy which existed between the sciences and the arts, the emergence of academies and centres of excellence, the role of religion, and regionality.

In the light of Fairfax House’s recent acquisition of Grinling Gibbons’s first-known, made-in-York artwork, the King David panel, a key part of Day Two will be devoted to his work, and we encourage in particular papers which look at the intersection of Gibbons, pioneering craftsmanship, and the Enlightenment.

Contributions in the form of papers not exceeding 20 minutes in length are invited addressing relevant topics. We are keen to encourage participation from the widest possible range of disciplines and backgrounds: museum professionals and volunteers, scholars and students in higher education, artists, craftspeople, and other practitioners. Please send proposals of around 200 words, accompanied by a brief one-paragraph biography, to fairfaxhousesymposium@gmail.com by Friday 8 September 2017. Any queries about the symposium should be sent to the same email address.

For the past five years Fairfax House has brought together world-class researchers from the academic and museum worlds for its annual Symposium in Georgian Studies. The symposia have provided a forum for the sharing of new and emerging scholarship into the long eighteenth century and the collaboration of academics and museum professionals in presenting this research to a public audience. As part of this ongoing commitment to expanding the reach of eighteenth-century scholarship, Fairfax House is excited to present its Cabinet of Curiosities. This addition to Fairfax House’s public-facing website will encompass fully-credited scholarly articles based on content from past exhibitions held at Fairfax House as well as articles from academics and museum professionals with interests in the long eighteenth century. A wide range of aspects of eighteenth-century life are to be covered from national to regional levels including consumption, fashion, revolution, urban life, Georgian households, architecture, enlightenment, and leisure. It is anticipated that the scholarship shared at the symposia will be disseminated through this site to a broader public audience and we therefore hope that speakers will consider contributing their papers to the Cabinet of Curiosities.

 

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Call for Participation | Objects in Motion

Posted in Calls for Papers by Editor on August 7, 2017

British Art Studies Open Call for Participation: Objects in Motion
A digital publishing initiative by British Art Studies and the Terra Foundation for American Art

Proposals due by 1 September 2017

Postage stamp commemorating the Anglo-American Exposition, London, May to October 1914.

We invite proposals from academics, museum scholars, and artists to participate in a new digital publishing initiative supported by the Terra Foundation for American Art and the peer-reviewed, open-access journal British Art Studies (BAS), which is jointly published by the Paul Mellon Centre for Studies in British Art and the Yale Center for British Art. This initiative calls for a series of interdisciplinary articles and features centered on the broad theme of “Objects in Motion” to appear in future issues of BAS.

The movement of objects and ideas across cultures represents a growing field of art historical research. The aim of this series is to explore the physical and material circumstances by which art is transmitted, displaced, and recontextualized, creating new markets, audiences, and meanings. We seek proposals that consider cross-cultural dialogues between Britain and the United States, focusing on any period and any aspect of visual and material culture. Proposals should outline the ways in which the project/article will take advantage of the possibilities offered by the digital platform.

Authors of accepted proposals will be invited to a think-tank workshop at the Terra Foundation’s property in Giverny, France, 3–5 May 2018. The workshop will offer the opportunity to discuss the intellectual rationale of the projects in tandem with the digital tools entailed in their realization. Building on these discussions, BAS will work with a small group of selected authors to develop a series of single-authored or collaboratively written articles and features that examine cross-cultural dialogues between Britain and the United States. All articles will be subject to peer review, as is standard for BAS.

Proposals should include the following:
• A description of no more than one thousand words that outlines the intellectual premise of the project and how it speaks to the theme of “Objects in Motion.”
• The description must include details of how the project will take advantage of the digital platform. We are not looking for technical specifications but for a vision statement of how the digital platform will support or enhance the development and/or presentation of the project.
• Names and short CVs (no more than two pages) for all co-authors and contributors.

Funding for travel and accommodation in Giverny will be provided to authors selected to participate in the workshop. Inquiries and completed application materials in the form of PDFs should be sent to journal@paul-mellon-centre.ac.uk. The deadline for applications is 11:59 pm GMT on Friday, September 1, 2017.

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Call for Papers | Collage, Montage, Assemblage, 1700–Present

Posted in Calls for Papers by Editor on July 28, 2017

From the conference website:

Collage, Montage, Assemblage: Collected and Composite Forms, 1700–Present
University of Edinburgh, 18–19 April 2018

Proposals due by 1 December 2017

This two-day multidisciplinary conference will explore the medium of collage across an unprecedentedly broad chronological range, considering its production and consumption over a period of more than three hundred years. While research on paper collage plays a key role in histories of modern art, particularly of the 1920s and 1930s, its longer history and diverse range of manifestations are often overlooked within art historical scholarship. Though important work is being done on collage at both the level of the individual work and the medium more broadly, this has often overlooked collage’s multitudinous forms and assorted temporal variants. This conference accordingly aims to tackle this oversight by thinking about collage across history, medium, and discipline. Employing an inclusive definition of the term, the conference invites papers discussing a variety of material, literary, and musical forms of collage, including traditional papier collé alongside practices such as writing, making music and commonplacing, and the production of composite objects such as grangerized texts, decoupage, quilts, shellwork, scrapbooks, assemblage, and photomontage.

In so doing, the conference will situate histories of modernist collage in relation to a much broader range of cultural practices, allowing for productive parallels to be drawn between the cultural productions of periods that are often subject to rigid chronological divisions. Reciprocally, the conference will encourage a consideration of collage made in the eighteenth and nineteenth centuries against key concepts and methodologies from the study of modernism and postmodernism, such as the objet trouvé or assemblage. From papier collé to the digital age, the conference will highlight collage’s rich history and crucial role in cultural production over the last three hundred years.

We invite contributions from scholars working in the fields of art history, history, music, material culture studies, and literature. We also welcome and encourage papers from practitioners working in any medium whose practice is influenced by collage, assemblage, and/or montage. Potential topics could include, but are not limited to
• Collage as medium
• Collage, assemblage, montage: terminologies and categories
• Defining/redefining collage
• Making/viewing collage
• Collage and identity
• Collage and intention: chance, agency, intentionality
• Collage and the modern/pre-modern/postmodern
• Collage in art historical writing/literary criticism
• Object biographies
• Collage as political tool
• Collage in space
• Collage in the digital age
• Collage and collaboration
• Processes: collecting, collating, compiling, combining
• Collage in/as music
• Writing/reading collage
• Collage and geography

Please send abstracts of no more than 300 words, and biographies of no more than 100 words, to Cole Collins and Freya Gowrley at collage.assemblage.montage@gmail.com by 1 December 2017.

The conference is supported by Edinburgh College of Art’s Dada and Surrealist Research Group with the University of Edinburgh’s Institute for Advance Studies in the Humanities. For further information, please contact the above email address; check out our website; or follow us on Twitter for updates @Collage_Conf.

Call for Papers | Seminars on Collecting and Display

Posted in Calls for Papers by Editor on July 19, 2017

From H-ArtHist:

Collecting and Display Seminar Group
Institute of Historical Research, London, 15 October 2017 — 17 June 2018

Proposals due by 8 September 2016

The conveners of the Seminar for Collecting and Display, London, invite applications for papers for their monthly seminars at the Institute of Historical Research between October 2017 and June 2018. The Seminar provides a forum for academics to present new research on any topic related to collecting in its widest understanding, both chronologically and in terms of subject matter. We also welcome papers that look at collecting from different perspectives, given by sociologists, cultural historians, or art historians. Seminar papers are normally 45 minutes in length followed by an extended discussion. We are unable to cover travel costs but may be able to help with accommodation and expenses. Applicants should send an abstract of approximately 300 words together with a short CV to schbracken@btopenworld.com by 8 September 2017. We will then reply to organise the date with the successful candidates.

Call for Papers | The 1790s, CAA 2018, Los Angeles

Posted in Calls for Papers by Editor on July 14, 2017

Along with the sessions previously announced from the 2018 Call for Participation, next year’s CAA conference will include this ASECS-affiliated panel chaired by Julia Sienkewicz:

The 1790s (American Society for Eighteenth-Century Studies)
College Art Association, Los Angeles Convention Center, 21–24 February 2018

Proposals due by 14 August 2017

An eventful decade in the ‘Age of Revolutions,’ the 1790s were a time of ‘commotion’ (so-characterized by Benjamin Henry Latrobe) that shifted national boundaries, transformed structures of power, and cast individuals of all ranks from one end of the globe to the other. Many travelers sought to escape misfortune, others voyaged in the service of their political ideals, and still others merely hoped to peacefully continue with routine trade and other activities. As a transitional decade, the culture of the 1790s is rich with both ideas that do not survive the eighteenth century and those that flourish in the nineteenth. In the production and consumption of art and architecture, these years brought pronounced changes. Neoclassicism flourished in a variety of forms and in the service of (sometimes subtly) differing ideologies or ideals. The medium of transparent watercolor rose to new heights, particularly in Britain, where it also began to take on a patriotic valence. In both France and the United States, artists and their publics struggled to give visual form to the idea of the ‘Republic,’ in light of the long tradition of art in the service of monarchy.

This panel seeks to bring together new perspectives on the art and architecture of the 1790s. Scholarship that traces the chaos, innovation, and creative aspirations of this period, in lieu of pursuing long-established artistic canons or national schools is particularly desirable. Papers may consider artists from, or working in, any geographic location, and in any medium. To submit a proposed paper, please send a 250-word abstract, your College Art Association Member number, and a brief CV to Julia Sienkewicz (Duquesne University), julia.a.sienkewicz@gmail.com.

AHRC-funded Workshops | Architecture and Society, 1760–1840

Posted in Calls for Papers by Editor on July 12, 2017

After Jenkinson, View of Liverpool, 1813.

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From H-ArtHist:

Architecture and Society in an Age of Reform, 1760–1840
Liverpool, 19–20 September 2017; Bristol, 16–17 March 2018; and Birmingham, June 2018

Proposals due by 31 July 2017

We are delighted to announce the launch of a new AHRC-funded international research network on Architecture and Society in an Age of Reform, which aims to establish a dynamic, long-lasting, multi- and interdisciplinary research forum to investigate the relationship between architecture and society in the period 1760–1840. As part of the project we will be holding three workshops:

Liverpool, 19–20 September 2017
Bristol, 16–17 March 2018
Birmingham, date TBC June 2018

Each workshop will focus on the same broad set of research questions, with site visits on the first day designed to stimulate discussion on the second day. The broad sets of questions we will be exploring include:

User experience
• How can we reimagine the experience of building users?
• What can diaries, letters and literary evidence tell us?
• (How) can we use digital methods to recreate experience?

Patronage and knowledge
• How were buildings funded and what is the relationship between funding and form?
• How can we use the archival evidence resulting from patterns of patronage (legislation, subscription lists, contracts etc)?

Radical and conservative architecture
• How could and did architecture offer ways to contest, reform and reimagine society and/or maintain and strengthen existing structures?
• How can we use treatises, pattern books and other sources to identify different architectural discourses and different approaches to the use of space?

New and reimagined building types
• What do building forms tell us about contemporary understanding of their functions?
• How did architecture shape knowledge?
• How can we use surviving buildings and other non-textual sources as evidence?
• What are the most effective ways of engaging the wider public in this research?

Site Visits

The first day of each workshop will be dedicated to site visits, which are designed to stimulate new insights about the relationship between architecture and society in an Age of Reform. All travel will be arranged in advance, and network organisers will provide fact sheets for each site so that we can think about the buildings with the basic information at our fingertips.

Panel Formats

The second day of each workshop will be dedicated to focussed discussion designed to respond to the venue visits, to share ideas about the network’s key research questions, build research collaborations and identify potential research themes for future research. We will adopted a blended format designed to stimulate discussion, including the following formats:
• 5-minute speed-dating introductions to research
• spotlight sessions on local research institutions and heritage partners
• keynote papers
• roundtable discussion
• breakout

The project team invites initial expressions of interest from scholars interested in any element of the Architecture and Society research programme. If you feel you can make a significant contribution to any or all of our workshops, please send a brief summary of your research interests and career stage to the Principal Investigator (Alexandrina.Buchanan@liverpool.ac.uk) by 31 July 2017. The AHRC has generously provided funding to support a limited number of participants’ UK travel and accommodation expenses.

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Call for Articles | The Unique Copy: Extra-Illustration

Posted in Calls for Papers by Editor on July 8, 2017

First page of text in an illustrated edition of A Midsummer Night’s Dream, 1908 (Folger Digital Image 81266), exhibited in the Folger’s 2010 exhibition Extending the Book: the Art of Extra-Illustration.

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Along with next year’s workshop on extra-illustration, the organizers are editing a special issue of Wolfenbütteler Notizen zur Buchgeschichte on the subject and welcome proposals (depending upon the subject, there may also still be room in the workshop schedule; contact the organizers for details). From the Call for Articles:

The Unique Copy: Extra-Illustration, Word and Image, and Print Culture
Special Issue of the Journal Wolfenbütteler Notizen zur Buchgeschichte

Edited by Christina Ionescu and Sandro Jung

Proposals due by 15 August 2017; if accepted, final articles due by 15 June 2018

Dr Christina Ionescu and Dr Sandro Jung invite proposals for a special issue of the journal Wolfenbütteler Notizen zur Buchgeschichte on the subject of extra-illustration. Contributors wishing to submit an article to this special issue should plan ahead to meet a firm deadline of June 15, 2018. The issue is scheduled to be published in 2019 and it will be the first of this journal to be made available in both print and digital formats.

Is extra-illustration an ornamental art or does it add layers of significance and nuance to the accompanying text? How does it shed light on authorship, the act of reading, book history, and print culture? How does text-image interaction manifest itself in the extra-illustrated book-object? Is extra- illustration the equivalent of grangerising or are there other means of materially expanding the text? Is it a creative act or a form of customised reproduction or reuse of print matter? Who are the artists, readers, collectors, publishers, and curators who are responsible for the creation of extra- illustrated objects?

In his study of the history, symptoms, and cure of a fatal disease caused by the unrestrained desire to possess printed works, Thomas Frognall Dibdin (1776–1847) observes that “[a] passion for a book which has any peculiarity about it,” as a result of grangerising by means of collected prints, transcriptions, or various cutouts, “or which is remarkable for its size, beauty, and condition—is indicative of a rage for unique copies, and is unquestionably a strong prevailing symptom of the Bibliomania.” Extra-illustration as a practice did not emerge during bibliomaniac Dibdin’s birth century, which witnessed the publication of James Granger’s Biographical History of England (1769) and a widespread rage for unique copies of books, nor has it been extinguished in our digital era by modern technology. Whether it manifests materially as a published work that is supplemented verbally (with interleaved or pasted autograph letters, handwritten notes, or print matter either directly or tangentially linked to its content), or visually (with additional drawings, prints, maps, watercolours, photographs, or other forms of artwork that are similarly connected to a variable degree of closeness to the text), an extra-illustrated copy is important not only for its uniqueness as an original artefact and its commercial value as a desired commodity. As emblematic of an artistic, bibliographic, and cultural practice, it sheds light on its creator, the context of its production, and the reception of a text. As a form of personalised book design, it is moreover significant as a means of creative expression, an outlet of reader empowerment, and an archival repository of historical or cultural insight. Some of the popular targets of extra-illustration through time have been the Bible, biographies, historical treatises, topographical surveys, travel narratives, and popular plays.

A plethora of monographs and special journal issues dealing with book illustration from various theoretical and (inter)disciplinary perspectives have been published in recent years, but the subfield of extra-illustration remains largely unstudied. It is important to note, however, the contribution to the field by Luisa Calè, Lucy Peltz, and Stuart Sillars, who have proposed useful and in-depth reflections on extra-illustration and grangerising as a practice. To address this gap in current scholarship, we invite papers that engage with extra-illustration through the conceptual lenses of book history, print and visual culture studies, and word and image theory. Contributions that focus on original artwork contained in extra-illustrated copies from the perspective of word and image studies are of particular interest to the co-editors, as are studies of extra-illustration as a link between text, book-object, and context, as approached through the prism of the book arts and reception theory. Other possibilities include contributions investigating extra-illustration diachronically or cross-culturally, and case studies dealing with a special copy, a collection of extra-illustrated books, or an individual collector, publisher, curator, or artist responsible for the creation of such unique artefacts.

Possible themes include but are not limited to:
• grangerising as a biblio-cultural practice
• grangerising as a form of material repurposing in relation to print culture
• grangerising as a fashionable and biblioclastic pastime
• grangerising as an act of authorship
• the Grangerite, bookscrapping, and collecting practices
• illustrative responses to the text in the form of unique infra-textual images
• marginal illustration and text-image interaction
• extra-illustration as interactive and engaged reading
• extra-illustration as emblematic of institutional/curatorial collecting practices
• extra-illustration as personalised book design
• extra-illustration as a window into history and intellectual thought
• extra-illustration as a book customisation response to mass production
• digital imports of extra-illustration as a means of expression

500-word abstracts, along with the author’s contact information and bio- bibliographical note, should be sent to the organisers (cionescu@mta.ca / prof.s.jung@gmail.com) by 15 August 2017.

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