Call for Papers | American Popular Graphic Arts, Yesterday and Today

Posted in Calls for Papers, exhibitions by Editor on May 8, 2021

From The Library Company of Philadelphia:

Collecting, Curating, and Consuming American Popular Graphic Arts Yesterday and Today
The Library Company of Philadelphia, 25 March 2022

Proposals due by 2 August 2021

A symposium held in conjunction with the exhibition Imperfect History: Collecting the Graphic Arts Collection at Benjamin Franklin’s Public Library in commemoration of the fiftieth anniversary of the Graphic Arts Department at the Library Company of Philadelphia

In 1876, during the exhibition in Philadelphia in honor of the 100th anniversary of the birth of the republic, Philadelphia Evening Telegram art critic John V. Sears noted, “in Philadelphia today, the scion of art culture … has taken deep root in the homes of the people … Not so cosmopolitan as New York, nor so thoroughly local in character as Boston, Philadelphia represents American institutions and the progress of American civilization more perfectly than any other of our older cities ….”

Today, nearly one hundred and fifty years later, Philadelphia and the country inhabit a world in which our “art culture” is influenced and inspired by rhetoric and current events challenging our perception, trust in, and inherent understanding of what we see in our daily lives, and in public and private spaces. In this climate, creators, stewards, and collectors of fine and popular art representing and documenting American civilization have begun to question and address their role in a conflicted and diverse democratic society in a tenuous condition. How can a public library founded by Benjamin Franklin and with significant holdings of historical and popular American graphic arts confront this critical period in the history of our country’s evolving democratic principles and art culture?

In response to this salient question and to commemorate the fiftieth anniversary of the establishment of the Graphic Arts Department, the Library Company will display Imperfect History: Curating the Graphic Arts Collection at Benjamin Franklin’s Public Library, September 20, 2021 – April 8, 2022. Imperfect History explores the development of the Library’s graphics art collection as it relates to historical and cultural biases within American history. The exhibition is a candid exploration of the evolution of American graphic arts curatorship and collections in one of the oldest cultural institutions in the country. The Library’s graphic arts collection, including prints, photographs, original works of art, and ephemera primarily dated between the late 18th and mid-20th-century is vital to the understanding of the nation’s complex visual history.

Collecting, Curating, and Consuming American Popular Arts Yesterday and Today continues the conversation started through Imperfect History. The symposium seeks to examine changing and innovative directions in how historical popular graphic art (i.e., art not traditionally classified as fine art, that is representative of popular culture, and/or is mass produced and consumed) is curated, interpreted, and used and understood by those who produced, viewed, and consumed it. Collecting, Curating, and Consuming asks how does historical American popular graphic art act as a mirror, bridge, and barrier in facilitating our visual conceptions of our past and present?

We invite proposals for twenty-minute papers that will foster broad and interdisciplinary discussions about historical American popular graphic arts collected by individuals or institutions; the evolving meaning of the term curator; (un)conscious bias in the creation, collection, and curation of popular graphic arts; and the contemporary and historicized role of the visual consumer of mass-produced art. Submissions from a wide range of scholars, practitioners, and specialists are encouraged. We seek proposals from art historians, historians, artists, curators, conservators, emerging scholars, and other voices within the humanities, arts, and cultural communities.

Possible topics might include:
• Popular graphic art collectors and/or their collections
• History and evolution of the institutional role of the curator of American graphic arts
• Visual literacy and an engaged citizenry
• Politics of art
• Digital humanities projects based on popular graphic arts collections
• Remediation projects in the description and access of visually harmful historical graphic arts in institutional collections
• Art libraries and libraries of art
• Racialized/Black/gendered/queer gaze

Proposals should include an abstract of no more than 300 words and a two-page CV or resume. Joint proposals and illustrated proposals are welcome. Please email your proposals with the subject line “IH 2022” as a Word or PDF document to epiola@librarycompany.org. Submissions should be received by Monday, August 2. Selected participants will be notified via email by early October 2022. Any questions may be directed to Erika Piola epiola@librarycompany.org.

Call for Papers | Glass in the Atlantic World

Posted in Calls for Papers by Editor on May 7, 2021

From the Call for Papers:

Glass in the Atlantic World during the Long 18th Century
59th Annual Seminar on Glass
Online, Corning Museum of Glass, Corning, New York, 8–9 October 2021

Proposal due by 1 June 2021

The Corning Museum of Glass is pleased to announce its 59th Annual Seminar on Glass, presented in conjunction with the exhibition In Sparkling Company: Glass and the Costs of Social Life in Britain during the 1700s, on view at the Museum from 22 May 2021 until 3 January 2022. For the first time, the Annual Seminar on Glass will take place virtually, on Friday, 8 October, and Saturday, 9 October 2021.

We invite sparkling minds from all backgrounds to submit abstracts for papers that offer diverse and multidisciplinary perspectives on glass in the Atlantic World during the long 18th century.

Broad topics might include:
· science, innovation, and travel
· trade networks
· architecture and interiors
· cultural reception
· beads and beadmaking
· collecting and display
· fashion and personal adornment
· colonization, enslavement, and resistance

Papers will be pre-recorded and made available to registrants before the event. Presenters will be invited to participate in one of three live panel discussions on 9 October 2021. Each moderated panel discussion will address a particular theme common to the papers in question, and will last 45 minutes with the opportunity for Q&A.

We hope that this event will offer a unique foray into the many approaches we might take in understanding glass within the time and places it was designed, made, marketed, consumed, and valued. Papers will be published in digital proceedings in early 2022.

For selected papers, we are pleased to offer an honorarium of $200, a complimentary copy of the exhibition publication In Sparkling Company: Reflections on Glass in the 18th-Century British World, and access to both days of the seminar. To submit a proposal, please send a 250-word abstract and abbreviated resume to seminar@cmog.org.

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W. Pyott after Carl Frederick van Breda, The Benevolent Effects of Abolishing Slavery, or the Planter Instructing his Negro, detail, 1792 (Yale Center for British Art, B2010.14). More information»

Important Dates for Presenters

Friday, 11 June
Selected speakers will be notified.

Friday, 25 June
Approve abstract for publication and submit short bio (150 words) with headshot. This material will be made available on the seminar webpage and through institutional social media promotions.

Monday, 6 September
Submit a 20-minute pre-recorded paper with transcript (without footnotes). Your paper will be reviewed by the panel moderators for discussion points and made available for asynchronous viewing by registrants no less than one week before the live event. We assume that speakers have the necessary software and capabilities to record their illustrated paper. However, please let us know if you require assistance and we will be happy to help. We will use your transcript to make your paper accessible through subtitles. Please indicate slide breaks.

Saturday, 9 October
Participation in one live panel discussion. Selected papers will be grouped according to common themes. Live panel discussions will be held on Saturday, October 9, and hosted by a moderator who will facilitate discussion. All panel discussions will take place live between 10am and 4pm EDT. This event will be recorded.

Monday, 22 November
Submit manuscript and 5–10 figures with permissions for publication in proceedings. Papers will be published in a digital proceedings.

Call for Papers | Celebrating the Illustrious in Europe, 1580–1750

Posted in Calls for Papers by Editor on May 4, 2021

From ArtHist.net (which includes the Call for Papers in French). . .

Celebrating the Illustrious in Europe (1580–1750): Towards a New Paradigm?
La célébration des Illustres en Europe (1580–1750) : vers un nouveau paradigme?
Lausanne, 25–26 November 2021

Proposal due by 31 May 2021

Study day organized with the support of the Conférence universitaire de Suisse occidentale, University of Lausanne

In the preface to the second volume of his Hommes illustres qui ont paru en France pendant ce siècle, avec leurs portraits au naturel (1696–1700), Charles Perrault was compelled to justify one of the choices that he and his protector, Michel Bégon, had made. He was indeed criticized for “having mixed artisans with princes and cardinals,” that is, for having given the same glory to men of very different conditions. This criticism—and the author’s response, which invokes the canonical examples of Apelles and Phidias, whose names “placed after that of Alexander himself, do not bring shame to either Alexander or his century”—suggests that Perrault’s work departed from the encomiastic tradition which developed during the sixteenth century, in the wake of Plutarch’s Parallel Lives. According to this tradition, only the princes and the main servants of the state would deserve to be celebrated, and such a perspective naturally led to the exclusion of scholars, scientists and artists. Pictorial enterprises such as the Gallery of the Illustrious in the Château de Beauregard, decorated with 327 portraits around 1620, or the one in the Cardinal Palace in Paris commissioned in 1632 by Richelieu, were still part of this tradition. The same is true for engraved collections, such as the series of portraits by Thomas de Leu, or biographies of illustrious women, such as Les Harangues héroïques by Madeleine de Scudéry (1642–1644) or the Gallerie des femmes fortes by the Jesuit Pierre Le Moyne (1647), both being exclusively devoted to the leaders and great heroines of ancient history.

Scholars and artists could, of course, be the subject of autonomous lives or included in series devoted exclusively to them. Thus, in the seventeenth century, following Vasari’s Vite, artists were represented in various real or fictitious ‘galleries’, ranging from Leopold de Medici’s collection of artists’ self-portraits continued by the Grand Duke of Tuscany, Cosimo III, to biographical collections such as Cornelis de Bie’s Gulden Cabinet van de Vry Schilder-Const (1662). However, while such undertakings do testify the elevation of the status of painters and sculptors, they remain largely distinct from the practices of celebrating great statesmen. Thus, an implicit hierarchy clearly remained strong, as the criticism of Perrault’s project suggests.

However, in the following century, Voltaire could, on the contrary, affirm that those who “excelled in the useful or the pleasant,” that is to say the scholars and the artists, were the true exempla virtuti: they were then likely to surpass in merit the military heroes, and to count among the first of the great men. How did this paradigm shift—in which Perrault’s work seems central—take place between 1580 and 1750? The France of Louis XIV a priori appears as a catalyst, because of the renewal of the modes of celebration of the royal glory and, above all, because of the institutionalization of the worlds of the arts, sciences and letters under the ministry of Colbert, a phenomenon that gave rise to the elaboration of new structured social bodies, accompanied by new types of discourses which aimed to support their legitimacy. However, like André Thevet’s Vrais pourtraits et vies des hommes illustres (1584) or Van Dyck’s Icones Principum Virorum (1645), some undertakings prior to Perrault’s work were already bringing together scholars, artists and statesmen on the same level. These few examples should lead us to reconsider the pivotal role hitherto attributed to the reign of Louis XIV, in order to try to retrace in greater detail the evolution of the social and intellectual conditions that allowed the emergence of new types of discourse on the Illustrious.

Until now, the historiography has mainly focused on the issues of biography in the humanist context of the sixteenth century, which largely relied on the model of Plutarch (Dubois, 2001; Eichel-Lojkine, 2001), or conversely, on the development of the cult of great men after 1750 (Bonnet, 1998; Gaehtgens and Wedekind, dir., 2009). The aim of this study day is therefore to review all the biographical productions of a period that has been little considered until now, in order to better understand how the modes of celebrating the glory of illustrious men were transformed between 1580 and 1750, both in writing and in images, by taking into account various media such as books, prints, paintings, sculptures and even medals.

In addition to case studies, transversal proposals are encouraged, especially when they can be inscribed in one or more of the following themes, which do not exhaust the field of possibilities :
• The ideological, political or social aims of the constitution of ‘galleries’ of illustrious men and women
• The criteria for elevating the individual to the rank of an illustrious man or woman
• The modes of conception of projects of painted, sculpted, or engraved series of illustrious men and women and their actors (sponsors, artists, dedicatees)
• The practices of consumption of the different types of biographical series
• The place of women between ‘galleries of illustrious’ and ‘galleries of beauties’
• The criteria used by biographers to justify the writing of the eulogy of categories that were little represented before the seventeenth century, in particular artists, craftsmen, or scholars
• The impact of socio-epistemic transformations of scientific practices on the writing of biographies of natural philosophers and scholars

Papers may be presented in French or in English. Each paper will last a maximum of 30 minutes and will be followed by 15 minutes of discussion. Proposals of 300 words, accompanied by a brief curriculum vitae and a list of publications, should be sent before 31 May 2021 to Antoine Gallay (antoine.gallay@unige.ch). Depending on the evolution of the health situation, the study day may be held, in part or entirely, online.

• Antoine Gallay (University of Geneva, Paris-Nanterre University)
• Carla Julie (University of Lausanne)
• Matthieu Lett (University of Burgundy/LIR3S)

Scientific Committee
• Jan Blanc (University of Geneva)
• Estelle Doudet (University of Lausanne)
• Christian Michel (University of Lausanne)
• Frédéric Tinguely (University of Geneva)

Selected Bibliography

• Barbe, Jean-Paul et Pigeaud, Jackie, Le culte des grands hommes au XVIIIe siècle, (Nantes, 1998).
• Bell, David A., The Cult of the Nation in France: Inventing Nationalism, 1680–1800, (Cambridge: MA, 2003).
• Bonnet, Jean-Claude, Naissance du Panthéon : essai sur le culte des grands hommes (Paris, 1998).
• Chaigne-Legouy, Marion et Salamon, Anne, “Les hommes illustres : introduction,” Questes: Revue pluridisciplinaire d’études médiévales 17 (2009): 5–23.
• Civil, Pierre, “Culture et histoire : galerie de portraits et ‘hommes illustres’ dans l’Espagne de la deuxième moitié du XVIe siècle,” Mélanges de la Casa de Velázquez, 26.2 (1990): 5–32.
• Costamagna, Philippe, “La constitution de la collection de portraits d’hommes illustres de Paolo Giovio et l’invention de la galerie historique,” in Mœnch, Esther, Primitifs italiens : le vrai, le faux, la fortune critique (Milan, 2012), 167–75.
• Culpin, David J., “Introduction” in Perrault, Charles, Les hommes illustres qui ont paru en France pendant ce siècle : avec leurs portraits au naturel (Tübingen, 2003).
Denk Claudia, Artiste, citoyen et philosophe : der Künstler und sein Bildnis im Zeitalter der französischen Aufklärung (Munich, 1998).
• Dubois, Claude-Gilbert, “L’individu comme moteur historiographique : formes de la biographie dans la période 1560–1600,” Nouvelle Revue du XVIe Siècle 19.1 (2001): 83–105.
• Eichel-Lojkine, Patricia, Le Siècle des Grands Hommes. Les recueils de Vies d’hommes illustres avec portraits du XVIe siècle (Louvain, 2001).
• Gaukroger, Stephen, “The Académie des Sciences and the Republic of Letters: Fontenelle’s Role in the Shaping of a New Natural‐Philosophical Persona, 1699–1734,” Intellectual History Review 18.3 (2008): 385–402.
• Gaehtgens, Thomas W. et Wedekind, Gregor [dir.], Le culte des grands hommes, 1750–1850 (Paris, 2009).
• Lhopiteau, Simon, “Les Tableaux Historiques (1652) de Pierre Daret, une entreprise audacieuse de célébration des grands hommes,” Bulletin de la Société de l’Histoire de l’Art Français (2009): 29–43.
• Michel, Christian, “Des Vite de Bellori à l’Abrégé de la vie des Peintres de Roger de Piles : un changement de perspective,” Studiolo 5 (2007): 193–201.
• Miller, Peter N., “The ‘Man of Learning’ Defended: Seventeenth-Century Biographies of Scholars and an Early Modern Ideal of Excellence”, in Coleman, Patrick J. [et al.], Representations of the Self from the Renaissance to Romanticism (Cambridge, 2000), 39–62.

Call for Articles | Picturing Sensory Experiences

Posted in Calls for Papers by Editor on April 30, 2021

Giuseppe Maria Mitelli after Augostino Mitelli, Vedere (Sight), ca. 1700, etching, 21 × 29 cm
(Amsterdam: Rijksmuseum, RP-P-2013-27-1)

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From the Call for Articles:

Picturing Sensory Experiences / Figurations du sentir / Figurazioni del sentire
Special Issue of Images Re-vues, edited by Marta Battisti, Viktoria von Hoffmann, and Érika Wicky

Proposals due by 30 June 2021, with finished articles due by 1 February 2022

This special issue of the journal Images Re-vues explores various approaches to picturing sensory experiences. The aim is to interrogate both the visual representations of sensory perceptions and the sensory experiences shaped by the creation and reception of such images. The proposed contributions will build on the vibrant interdisciplinary research carried out in sensory studies in recent decades.

The history of the senses and the history of visual cultures both emerged in the 1980s, with the latter examining both the history of sight and works meant to be apprehended visually. Crossing these approaches, several works—building on the seminal research from the medievalist Carl Nordenfalk (1976)—have been devoted to the iconography of the five senses, thus including images among the materials of histories of sensory cultures. These pioneering studies, which include the catalogue of the exhibition Immagini del sentire: i cinque sensi nell’arte (Ferino-Pagden, 1996), have identified the allegories and symbols associated with the senses in visual cultures. For example, representations of the—most often Aristotelian—sensorium can be seen in Floris and Cort (The Five Senses, 1561), Brueghel the Elder and Rubens (Allegories of the Five Senses, 1617), and vast Renaissance collections of emblems. In these and other images, it is frequent to find sight pictured by a mirror, hearing represented in the form of a deer or a musical instrument, whereas flowers were a known symbol of smell, in the same way that monkeys and food symbolised taste. Touch could be alluded to by the depiction of contact with fabric, for example, and its finesse was characteristically suggested by the figure of the spider. Previous studies that have explored these issues have also highlighted the functions attributed to each sense and provided descriptions relating to the functioning of sensory organs.

Drawing on these works as well as more recent developments in the field inspired by the fruitful dialogue between sensory history and the history of emotions (Bodicce and Smith, 2020), this special issue proposes to study practices of picturing the senses as a window into the sensory experiences of the past. Rather than exploring the symbols representing the senses, we wish to consider how visual depictions of sensory perception intersect with the sensory experiences that come into play during the creation and reception of artistic and scientific imagery. Analysing how sensory perception, an invisible practice experienced in the present, could manifest in visual depictions will lead us to pay attention to bodily gestures and technological devices (such as the acoustic horn or the eyeglass) connected with sensory experience and its depiction. This perspective could also be enriched by considerations of sensory deprivation stemming from disability studies.

We will also consider the interplay between practices of creation—the senses of the maker—and the sensory experience depicted in the image, attempting to capture the resonances from one to the other. Likewise, the reception (and reactions of disgust, laughter, pleasure) by the viewer of the image will also be examined to evaluate the mobilisation, at the imaginative level, of the viewer’s senses. Considering the visual representations of the senses as sensory experiences of the world will lead us to discuss the implicit intersensory nature of visual representations of the senses, as we will consider both the production and consumption of images. In a word: our collective inquiry will question the esthesic dimension (< aesthesis, sensation) of picturing sensory experiences (Boutaud, 2012).

A global approach to the visual depictions of sensory perception will provide a fresh understanding of practices and knowledge related to sensory experience and the sensory models that have governed human relationships with the surrounding world. The consideration of different visual artistic media (e.g., paintings, engravings, drawings, sculptures) and of a wide variety of cultural fields (e.g., arts, natural sciences, medicine, gastronomy, music, religion) will help us interrogate the functions of these representations and their contribution to an aestheticisation, objectivation, or reflection about the nature of sensory experience. The absence of chronological and geographical boundaries will allow us to explore the diversity of answers to these questions and perhaps to develop a comparative approach interrogating multiple ways of picturing the senses.

Avenues of research that can be explored include but are not limited to:

• The artistic, religious, economic, philosophical, and political contexts informing the representations of sensory perceptions, as well as issues connected with the social, gendered, and racialised characterisation of the subjects of these representations.

• The intersection between hierarchies of the senses and the arts. Sample questions include whether the lower senses were natural subjects for artistic genres considered inferior, such as caricature? Alternately, did such representations require an allegorical detour?

• Which visual strategies could be employed to depict the intensity or deprivation of sensory perceptions?

• The visual representations of sensory imaginaries beyond the five senses of the sensorium defined by Aristotle. Pre-Hispanic (Cruz Riviera, 2019) and medieval Islamic art (Le Maguer, 2013) invite other examples and analyses of sensory experiences.

• The commonplace sensory imagination in a given culture and period, such as, for example, representations of anatomical dissections and banquets in the Renaissance, or the end-of-century representations of young girls dreamily smelling a flower.

• Visual depictions of sensory experiences offered by different conventional systems escaping the usual representational codes shaping the visual arts, like sensory maps and visualisations of brain activity.

Proposals for articles (750 words maximum) in French, English, or Italian describing the research questions and the corpus of sources should be sent to Marta Battisti, Viktoria von Hoffmann and Érika Wicky by June 30th, 2021. Articles (30,000–60,000 characters) will be expected by February 1st, 2022. Per journal policies, each article will be subject to a double-blind peer review by the editorial committee and the scientific committee of Images Re-vues.


• P. Beusen, S. Ebert-Schifferer, and E. Mai, eds., L’Art Gourmand (Brussels: Crédit Communal, 1996).

• Rob Boddice and Mark Smith, Emotion, Sense, Experience (Cambridge: Cambridge University Press, 2020).

• R. Bösel, M. G. Di Monte, Michele Di Monte, S. Ebert-Schifferer, eds., L’arte e i linguaggi della percezione: L’eredità di Sir Ernst H. Gombrich (Milan: Electa, 2004).

• Jean-Jacques Boutaud, « L’esthésique et l’esthétique: La figuration de la saveur comme artification du culinaire », Sociétés & Représentations 34 (2012): 85–97.

• Mark Bradley, « The Artistry of Bodies, Stages, and Cities in the Greco-Roman World », A Cultural History of the Senses in Antiquity (London: Bloomsbury, 2018).

• Christina Bradstreet, Scented Visions: Smell in Nineteenth-Century Art (University Park: Penn State University Press, 2021).

• Constance Classen, The Color of Angels: Cosmology, Gender, and the Aesthetic Imagination (London: Routledge, 1998).

• Sarah Cohen, « Experiencing the Arts in the Age of Sensibility », A Cultural History of the Senses in the Age of Enlightenment (London: Bloomsbury, 2018).

• Riviera Cruz and Amelia Sandra, « La representación y función dinámica del sonido en los mitos mesoamericanos », La dimensión sensorial de la cultura: Diez contribuciones al estudio de los sentidos en México (Mexico City: Universidad Autónoma Metropolitana, 2019), 14572.

• Julia Csergo and Frédérique Desbuissons, eds., Le cuisinier et l’art: Art du cuisinier et cuisine d’artiste, XVIeXXIe siècle (Paris: Les Éditions de l’institut national d’histoire de l’art / Menu Fretin, 2018).

• Henri De Riedmatten, Nicolas Galley, Jean-François Corpataux, and Valentin Nussbaum, eds., Senses of Sight: Towards a Multisensorial Approach of the Image: Essays in Honour of Victor Stoichita (Rome: L’Erma di Bretschneider, 2015).

• Sylvia Ferino-Pagden, ed., Immagini del sentire: i cinque sensi nell’arte (Milan: Leonardo Arte, 1996)

• Caroline Fowler, Drawing and the Senses: An Early Modern History (Turnhout: Brepols, 2016).

• Florence Gétreau, Voir la musique (Paris: Citadelles & Mazenod, 2017).

• Adeline Grand-Clément, Anne-Caroline Rendu Loisel, and Fritz Blakolmer, eds., Les traces du sensible: pour une histoire des sens dans les sociétés anciennes, Trivium, 27 (2017).

• Martial Guédron, Temenuzhka Dimova, and Mylène Mistre-Schaal, eds., L’emprise des sens: de la fin du Moyen Âge à nos jours (Paris: Hazan, 2016).

• Sterenn Le Maguer, « De l’autel à encens au brûle-parfum: héritage des formes, évolution des usages », Archéo.doct 5 (2013): 183200.

• Wolfgang Neiser, Audition in der Kunst der italienischen Renaissance (Regensburg: Schnell & Steiner, 2015).

• Mylène Mistre-Schaal, « Sniffing: The Figuration of Olfactory Attraction in Eighteenth-Century European Art», De Achttiende Eeuw 48 (2016): 127–43.

• Carl Nordenfalk, « Les cinq sens dans l’art du Moyen-Âge », Revue de l’art 34 (1976): 17–28.

• Eric Palazzo, L’invention chrétienne des cinq sens dans la liturgie et l’art au Moyen Âge (Paris: Les Éditions du Cerf, 2014).

François Quiviger, The Sensory World of Italian Renaissance Art (London: Reaktion Books, 2010).

• Denys Riout, « Art et olfaction: des évocations visuelles à une présence réelle », Cahiers du MNAM 116 (été 2011): 84–109.

• Alice Sanger and Sive Tove Kulbrandstad Walker, eds., Sense and the Senses in Early Modern Art and Cultural Practice (Farnham: Ashgate, 2012).

• David Summers, The Judgement of Sense: Renaissance Naturalism and the Rise of Aesthetics (Cambridge: Cambridge University Press, 1987).

Call for Papers | Networks and Practices of Connoisseurship

Posted in Calls for Papers by Editor on April 29, 2021

From the Call for Papers:

Networks and Practices of Connoisseurship in the Global Eighteenth Century
Warburg-Haus, Hamburg, 2–4 June 2022

Organized by Valérie Kobi and Kristel Smentek

Proposals due by 30 June 2021

A collaboration between faculty from the Art History Department at Universität Hamburg and the History, Theory, and Criticism Program of the Department of Architecture at Massachusetts Institute of Technology, Cambridge, MA

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. The concept that brings these two themes together—the emergence of the connoisseur and an increasing Enlightenment engagement with difference—is the network: the constellation of practices of communication and exchange that made knowledge possible. As the history of science has, for example, already articulated for the circulation of botanical knowledge, there was barely a discovery made in the eighteenth century that was not embedded in a network of international information and specimen exchange. Yet, little has been written on the connoisseurial networks of the Enlightenment period and a broader reflection on the encounter they allowed with artistic practices from different regions of the globe has still to appear. Studies of connoisseurship have—to date—tended to stay local, focusing, for instance, on an individual and his (or her) web of social ties or on Western European art to the exclusion of works from unfamiliar artistic traditions to which eighteenth-century art experts, collectors, and colonial administrators were increasingly exposed.

This international conference intends to foster a better understanding of the intricate transactions through which connoisseurial knowledge of art was generated during the long eighteenth century. Questions we are interested in pursuing include: how are social, institutional and commercial networks built and how do they evolve over time? What were the channels through which encounters with art from afar were made possible? Is there a difference of purpose between local, national, and international networks? Are some regions over- or underrepresented in these connoisseurial networks and what do these asymmetries reveal about the artistic geographies of the time? 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?

To move forward with our investigation, four axes of reflection will structure the conference:

1) Networks: This first panel will concentrate on the practical aspects of international networks and on the very structures that made the connoisseurial exchange within and between continents possible. It will address such questions as the construction and implementation of communication channels, the postal system that governed the pace of eighteenth-century correspondence, the gendering of connoisseurial networks, or the constellation of commercial and political institutions that facilitated their development.

2) Transmission: The second panel will focus on the practices that enabled communication and knowledge transfer between connoisseurs, across often considerable geographic distances and extended periods of time. The circulation of things and production of knowledge within connoisseurial networks occasioned a multifaceted apparatus of instruments and techniques, including the production of written texts, prints, copies, and, occasionally fakes, that were meant to facilitate scientific exchange, and test expert knowledge.

3) Practices: The third panel will analyze the concrete actions that shaped individual connoisseurial judgments. It will explore the private practice enabled by the network, once the connoisseur was in possession of information and the art objects that he (or more rarely she) needed. The observation and handling of artworks from various regions of the globe but also the circumstances in which they were examined and exhibited will here be at the core of this session’s concerns.

4) Appropriation: The final panel will exam the rhetoric used to formulate connoisseurial judgment on art from distant places and time periods. General questions of style and national traditions will be considered, but the intersection between art from diverse geographies will be a key point of interest.

Proposals that introduce new interdisciplinary and methodological approaches will especially be encouraged. Please send a 300-word proposal and a short (2-page) CV to Valérie Kobi (valerie.kobi@uni-hamburg.de) and Kristel Smentek (smentek@mit.edu) by 30 June 2021.


Call for Papers | UAAC/AAUC 2021, Online

Posted in Calls for Papers by Editor on April 26, 2021


Universities Art Association of Canada / l’association d’art des universités du Canada
Online, 20–23 October 2021

Proposals due by 16 May 2021

Every fall, UAAC-AAUC hosts Canada’s professional conference for visual arts-based research by art historians, professors, artists, curators, and cultural workers. The sessions and panels address issues and subjects in art history, theory, and practice from various methodological approaches.

We invite paper proposals for the UAAC-AAUC Conference 2021 Congrès. We offer a range of panels and roundtables that reflect the UAAC’s diverse constituents in terms of membership and scholarship. Submit proposals by using the Call for Papers Proposal Form PDF. Proposals are sent directly to the chair(s) of the session. The deadline for submission is 16 May 2021.

A selection of sessions potentially related to the eighteenth century, including the HECAA panel, is provided below. A full list of panels is available as a PDF file here.

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Historians of Eighteenth-Century Art and Architecture (HECAA) Open Panel
Chair: Ersy Contogouris (Université de Montréal), ersy.contogouris@umontreal.ca

HECAA works to stimulate, foster, and disseminate knowledge of all aspects of visual culture in the long eighteenth century. This open session welcomes papers that examine any aspect of art and visual culture from the 1680s to the 1830s. Special consideration will be given to proposals that demonstrate innovation in theoretical and/or methodological approaches.

Le but de HECAA est de stimuler, favoriser et diffuser la connaissance de tous les aspects de la culture visuelle du long XVIIIe siècle. Cette séance ouverte accueille des présentations qui examinent tous les aspects de l’art et de la culture visuelle des années 1680 aux années 1830. Une attention particulière sera accordée aux propositions qui démontrent une innovation dans les approches théoriques et / ou méthodologiques.

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Ibero-American Art, Identity, and Resistance
Chairs: Tatiane de Oliveira Elias (UFSM, Brazil), tatianeeliasufsm@gmail.com; and Patricia Branco Cornish (Concordia University), patricia.cornish@mail.concordia.ca

This panel aims to examine works by Ibero-American artists from the colonial period to contemporary times that debate migration and people’s movements across geographies. We seek to debate how artists interpret a new reality with constrained people movement in a pandemic. We seek contributions from a wide range of disciplines that engage with artistic practices in an Ibero-American context, including painting, performance, multimedia, art installation, and virtual reality (VR). We encourage submissions that debate how Ibero-American artists portray in their work the political and social aspects of cultural transfers resulting from people’s migration. We seek to discuss issues affecting minority populations and cultural transfers discourses in the context of immigration. We seek to debate how these works by Ibero-American artists demand from their makers a reconfiguration of thought and practices in current realities. We explore the importance of maintaining the Latin American historical memory and raising questions about preserving Latinxs identity and diversity. How politics influenced the Latin America art scene? How does the cultural flow happen in a new geographical location? How can arts promote cultural identity? How do artists negotiate their migrant identity in new geographies? How can artistic practices be reimagined in a new context in which we have limited physical interactions with others?

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Latin American and Caribbean Art (s): From Where? From Whom?
Chairs: Analays Alvarez Hernandez (Université de Montréal), analays.alvarez@umontreal.ca; and Alena Robin (Western University), arobin82@uwo.ca

This open session invites scholars, curators, and artists to share their current research on Latin American and Caribbean art (s). The goal is to create dialogue and exchange on the state of those fields. We welcome both contemporary and historical perspectives (from the pre-Columbian period to the present day) and the exploration of a variety of media (painting, sculpture, installation, photography, performance, socially engaged practices, new media, architecture, etc.). We are interested in examining the historical and contemporary presence of Latin American and Caribbean art(s)/artists beyond their traditional geopolitical borders; the inherent intersectionality of those concepts, and also their transmutation in light of past and current migratory and activist movements, technological advances, and sanitary crises; any other topic on art and artists in Latin America and the Caribbean delving into, for instance, the Caribbean’s complex relationship to Latin American. We accept proposals in French and English | Nous acceptons les propositions en français et en anglais.

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Mining the Connection(s) between Industry and the Arts
Chair: Jessica Mace (University of Toronto), jessica.mace@utoronto.ca

While industry and the arts may initially seem poles apart, the two fields are in fact closely entwined. Over time, visual and material culture has served to drive industrial development, for example through survey photography or the construction of company towns), and has responded to industrial production in myriad ways, from documentation to artistic interpretation. In recent years, the arts have also dealt with the effects and material legacies of deindustrialization, for instance through heritage, urban exploration, and adaptive reuse. This session, then, seeks to explore these varied connections and to bring to light these often-overlooked topics. We invite scholars at all stages of their careers to discuss their work in any medium or period of time as it relates to industry and/or industrial production.

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Research-Creation Caucus: How to be Artist-Scholars In and Outside of the Academy [Roundtable]
Chair: Stéfy McKnight (Carleton University), stefy.mcknight@carleton.ca

Can research-creation happen outside of academic institutions? This year, the Research-Creation Caucus will address current questions related to the methodology of research-creation and its connection to academic institutions. More specifically, how these institutions define research- creationists, and who may practice research-creation. There are opposing positions from artists- scholars that see research-creation as primarily an academic and institutional practice, while others argue that creative knowledges can happen outside of academia, and perhaps have done this before the formalization of research-creation in Canada. We as a collective will speak to the following questions: can research-creation disrupt traditional academic knowledge mobilizations, if research- creation being produced and defined by academic institutions? What happens to artist-scholars who change their career trajectories to work outside of academia? How does research-creation in institutions uphold and participate in colonial structures of knowledge production and dissemination? This session invites artist-scholars, curators, independent artists and producers to share their work, and give perspective on these competing debates.

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Graduate Student Lightning Talks | Exposés éclairs des étudiants diplômés

Proposal Form (Graduate Student Lightning Talks) | Formulaire de proposition (Exposés éclairs des étudiants diplômés)

For the first time UAAC/AAUC is proud to feature Graduate Student Lightning Talks. This full session is composed of 5-minute presentations that provide graduate students the opportunity to present their current research or other area of interest. Participants may choose to present their work in the form of a focused summation, a case study, or a methodological approach. This is a great opportunity for graduate students to talk about topics that they are studying, practice presenting these topics and to engage with the broader academic community.

Pour la première fois, l’UAAC/AAUC est fière de présenter des exposés éclair d’étudiants diplômés. Cette session est composée de présentations de 5 minutes et donne aux étudiants diplômés l’occasion de présenter leurs recherches actuelles ou autres domaines d’intérêt. Les participants peuvent choisir de présenter leurs travaux sous la forme d’un résumé focalisé, d’une étude de cas, ou d’une approche méthodologique. Il s’agit d’une excellente occasion pour les étudiants diplômés de parler des sujets qu’ils étudient, de s’entraîner à les présenter, et de s’engager auprès de la communauté universitaire au sens large.



Call for Articles | Féminismes en Europe, 1789–1820

Posted in Calls for Papers, journal articles by Editor on April 26, 2021

From the Call for Papers:

Féminismes en Europe, 1789–1820
Speical Issue of Annales historiques de la Révolution française, 2023

Proposals due by 15 September 2021

Dans le cadre d’un numéro spécial des Annales historiques de la Révolution française, nous sollicitons des contributions sur le thème suivant: « Féminismes en Europe »

Si le terme « féminisme(s) » n’est pas encore en vigueur à l’époque, la période allant de 1789 aux années 1820 est témoin de nombreuses prises de position en faveur des droits des femmes, appelant notamment à leur émancipation et/ou à leur intégration dans les conceptions de la citoyenneté qui s’imposent alors. On peut y inclure les discours sur l’éducation, sur la domination des hommes, sur l’égalité des sexualités, sur les moyens de remédier à la dépendance économique des femmes, sur la critique du mariage, c’est-à-dire le militantisme sous ses différentes formes mais aussi les prises de position contre-révolutionnaires ou anti-modernes dès lors qu’elles sont reliées, par les auteurs et autrices, à la question de l’émancipation des femmes. Malgré une historiographie abondante et en constante évolution sur le sujet depuis les années 1990, nous pensons qu’il est nécessaire de dresser un nouvel état des lieux de la question, en décalant notre regard de la seule scène française afin d’inclure les échanges et influences étrangères au sein du monde transatlantique (incluant l’Europe, ses colonies et ex-colonies).

Le fait est que si l’on documente et identifie bien, désormais, les prises de position des grandes figures qui, en France, ont pris la défense des femmes pour réclamer l’égalité des droits civils ou politiques — telles que Condorcet, Olympe de Gouges, Romme ou Guyomar ; si l’on commence à s’intéresser à des voix égalitaristes plus mineures comme, toujours en France, celle de Pons de Verdun (Lumbroso, 2021) ; si l’on connaît grâce aux travaux de Dominique Godineau (1989), Suzanne Desan (2002), Martine Lapied (2006) ou encore Laura Talamante (2017), l’engagement politique des « citoyennes tricoteuses » et « Amazones » dans le processus de démocratisation populaire, que ce soit à Paris ou à Marseille ; si l’on sait le rôle joué par certaines figures féminines comme Théroigne de Méricourt (Desan, 2020) ou Mary Wollstonecraft dans la diffusion et la réception des idées favorables à l’émancipation des femmes (Bour, 2013 par exemple) ; si l’on a mesuré l’importance des pétitions de femmes dans le processus de démocratisation de la société française à l’époque de la Révolution (Fauré, 2006) ; si le débat fut vif autour des raisons qui ont exclu (ou pas inclus) les femmes du droit de vote (Verjus, 2014) ; si on a commencé à s’intéresser avec sérieux à l’action politique des femmes engagées dans la contre-révolution (Mabo, 2017) ; enfin, si l’on connaît le niveau d’éducation extrêmement sophistiqué, parfois directement inspiré des écrits de Wollstonecraft, que certains hommes politiques américains ont fait donner à leur fille (par exemple, Theodosia fille d’Aaron Burr) ; si l’on a, par conséquent, amplement répondu à la question que posait Perrot en 1984 : une histoire des femmes est-elle possible ?, en la prolongeant d’interrogations menées à partir du point de vue plus englobant et conceptuel qu’adoptent les études de genre, plus rares sont les tentatives de dégager des visions d’ensemble des réseaux et des circulations d’idées sur la situation et l’émancipation des femmes au niveau européen dans les années 1790–1820, de l’ordre de celle qu’avait esquissée Margaret McFadden (1999) pour tout le XIXe, ou de celle qu’ont plus récemment tentée les coordinatrices de Transatlantic Feminisms in the Age of Revolutions (2012). S’il convient donc d’interroger l’engagement « féministe » des auteurs et autrices européens, à la suite, par exemple, des travaux consacrés aux Allemand·es Hippel (Gray, 1990) ou Sophie von La Roche (Joeres, 1986), aux Anglais comme Lawrence (Verjus, 2019), Holcroft (Binhammer, 2011), ou Godwin (Philp, 2020), ou encore aux Polonaises engagées dans les débats de la « Grande Diète » (Wisniewska, 2021), nous retiendrons aussi les nouvelles perspectives historiographiques sur des figures, des échanges, ou des mouvements moins connus. Nous accueillerons aussi les propositions qui se concentrent sur les réseaux comme, par exemple, les travaux sur le rôle des cercles masculins dans la construction d’un féminisme anglais dans les années 1790, dans la lignée de ce qu’a fait Chernock (2009). L’effort remarquable engagé par l’EHNE en faveur d’une histoire européenne n’oublie jamais, lorsqu’il s’agit d’interroger la source des féminismes du XIXème siècle, de mentionner la Révolution française ou les quelques noms qui ont fait la pensée émancipatrice hors des frontières de la France. Nous voudrions, dans la lignée et suivant l’exemple de cette approche résolument européenne, nous pencher sur ce qui a constitué l’armature de la pensée en faveur d’une émancipation des femmes à l’aube du XIXème siècle.

Vos propositions d’articles, d’une longueur maximale de 50 000 signes en français et 40 000 en anglais devront nous être adressées avant le 15 septembre 2021 à heuer@history.umass.edu, francoise.orazi@univ-lyon2.fr et anne.verjus@ens-lyon.fr. Idéalement, nous souhaiterions organiser une rencontre entre les autrices et auteurs retenu.es, aux alentours du printemps 2022. En présentiel si possible, en distanciel s’il le faut (ou les deux si c’est préférable). Le numéro paraîtra dans le troisième numéro de l’année 2023. Il sera d’abord publié entièrement en français, mais nous nous réservons la possibilité d’en avoir une version entièrement en anglais en ligne. Vos propositions, acceptées en français et en anglais, seront traduites par nos soins, sous votre contrôle.

Références citées dans le texte

• Binhammer, Katherine. « The Political Novel and the Seduction Plot: Thomas Holcroft’s Anna St. Ives ». Eighteenth-Century Fiction 11.2 (1999): 205–22.

• Bour, Isabelle. « A New Wollstonecraft: The Reception of the Vindication of the Rights of Woman and of The Wrongs of Woman in Revolutionary France ». Journal for Eighteenth-Century Studies 36.4 (2013): 575–87.

• Chernock, Arianne. Men and the Making of Modern British Feminism. Stanford: Stanford University Press, 2009.

• Desan, Suzanne. « Théroigne de Méricourt, Gender, and International Politics in Revolutionary Europe ». Journal of Modern History 92.2 (2020): 274–310.

• Desan, Suzanne. « Constitutional Amazons: Jacobin Women’s Clubs in the French Revolution » in B. T. Ragan Jr. and E. A. Williams (eds.), Re-Creating Authority in Revolutionary France (1992): 11–35.

• Fauré, Christine. « Doléances, déclarations et pétitions, trois formes de la parole publique des femmes sous la Révolution ». Annales historiques de la Révolution française 344 (1 juin 2006): 5–25.

• Godineau, Dominique. Citoyennes tricoteuses : les femmes du peuple à Paris pendant la Révolution française. Aix-en-Provence: Alinéa, 1988.

• Gray, Marion W. « Radical Feminism and a Changing Concept of Marriage : Prussia’s Theodor Gottlieb Von Hippel ». In Donald Horward and John Horgan (eds.), The Consortium on Revolutionary Europe, 1750–1850: Proceedings, 1989 to Commemorate the Bicentennial of the French Revolution, 807–14. Tallahassee: Institute on Napoleon and the French Revolution, Florida State University, 1990.

• Joeres, Ruth Ellen B. « “That girl is an entirely different character!” Yes, but is she a feminist? Observations on Sophia von La Roche’s Geschichte des Fräulein von Sternheim ». In German Women in the Eighteenth and Nineteenth Centuries: A Social and Literary History, par Ruth-Ellen B. Joeres et Mary Jo Maynes, 137–56. Bloomington: Indiana University Press, 1986.

• Lapied, Martine. « Parole publique des femmes et conflictualité pendant la Révolution, dans le Sud-Est de la France ». Annales historiques de la Révolution française 344 (1 juin 2006): 47–62.

• Lumbroso, Nicolas. « Pons de Verdun et l’égalité des droits en faveur des femmes. L’aspiration d’un Conventionnel à une plus grande égalité des sexes ». Annales historiques de la Révolution française, (2021, à paraître).

• Mabo, Solenn. « Femmes engagées dans la chouannerie : motivations, modalités d’actions et processus de reconnaissance (1794–1830) ». Genre & Histoire 19 (25 août 2017).

• McFadden, Margaret. Golden Cables of Sympathy: The Transatlantic Sources of Nineteenth-Century Feminism. Lexington: The University Press of Kentucky, 1999.

• Philp, Mark. Radical Conduct: History of Ideas and Intellectual History. Oxford: Oxford University Press, 2020.

• Talamante, Laura. « Political Divisions, Gender, and Politics: The Case of Revolutionary Marseille ». French History 31.1 (2017): 63–84.

• Verjus, Anne. « La citoyenneté politique au prisme du genre. Droits et représentation des individus entre famille et classe de sexe (XVIIIème–XXIème siècles) ». HDR, Ecole Normale Supérieure de Paris – ENS Paris, 2014.

• Verjus, Anne. « Une Société sans Pères Peut-Elle Être Féministe ? L’empire Des Nairs de James H. Lawrence ». French Historical Studies 42.3 (2019): 359–89.

• Wiśniewska, Dorota. « In the Shadow of a Mild Revolution: Polish Women’s Political Attitudes during the Great Sejm (1788−1792) ». Gender & History 33.1 (2021): 75–93.

Call for Papers | Palaces for Rent: Real Estate in 18th-Century Lisbon

Posted in Calls for Papers by Editor on April 19, 2021

Palacio dos Condes de Aveiro, ca. 1742
(Lisbon: Biblioteca Nacional de Portugal)

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From the Call for Papers (which includes the Spanish version):

3rd International Conference Palaces for Rent: Real Estate in 18th-Century Lisbon
Palacios en alquiler: Patrimonio inmobiliario en la Lisboa del siglo XVIII

Universidad Nacional de Educación a Distancia, Madrid, 15 November 2021*

Proposals due by 30 June 2021

This conference is the third in a series dedicated to palaces in eighteenth-century European cities. Following the first conference focused on Rome (UNED, 2019) and the second on Madrid (UNED, 2020), the third and last edition is dedicated to the palatial heritage of the city of Lisbon. We seek to explore the particular case of Lisbon during the eighteenth century, including the cataclysmic earthquake of 1755, which effectively presents us with two cities: Lisbon before and Lisbon after the earthquake. This third conference aims to gather specialists with different areas of expertise in order to delve into the uses and practices of housing in Lisbon during the period, taking into account the social and urban transformations of the city and the changes in the uses of domestic space in palaces, introduced either by long-term residents (the nobility, bourgeoisie, or higher public state officials) or by short-term residents during diplomatic, political, and economic missions (diplomats, travellers, businessmen, agents, etc.).

Potential topics for discussion could include but are not limited to:
• Joanine Palaces versus post 1755 palaces, architectural and artistic aspects
• Internal organization of palaces, spaces and etiquette, from theory to practice
• The palace as the place of courtly sociability and courtly society
• Supply and demand in the housing market, sales, or rentals
• Decoration and interior design of noble residences
• Structure of noble households in Lisbon, servants, duties, etc.
• Ambassadors, legates, cardinals and other representatives and their Madrid residences
• Topographies of noble and diplomatic power

We invite scholars at all stages of their careers to propose 20-minute presentations in any of the main European languages. Candidates are invited to submit their proposals by 30 June 2021 to both scientific directors Pilar Diez del Corral Corredoira (diezdelcorral@geo.uned.es) and Milton Pedro Dias Pacheco (miltonpacheco@fcsh.unl.pt), and they should include title, an abstract (up to 500 words), and a brief CV (max. 1 page). Unfortunately, it will not be possible to cover travel and accommodation costs for participants. Applicants will be notified of the final selection by 15 July 2021.

Scientific direction
• Pilar Diez del Corral Corredoira | UNED | Madrid
• Milton Pacheco, CHAM | Lisboa

Scientific committee
• Alexandra Gago da Câmara | Universidade Aberta | Lisboa
• António Filipe Pimentel | Fundação Calouste Gulbenkian | Lisboa
• Nuno Senos | Universidade Nova de Lisboa | Lisboa
• Pilar Diez del Corral Corredoira | UNED | Madrid
• Milton Pedro Dias Pacheco | CHAM | Lisboa

* The date could be subject to change in the following months due to COVID-19 crisis and the subsequent health regulations. In the event of travel restrictions, conference organizers would provide adequate solutions to allow speakers to present remotely.

Call for Papers | SECAC 2021, Lexington

Posted in Calls for Papers by Editor on April 19, 2021

Noted below are several sessions at this year’s SECAC conference that might of be of interest to Enfilade readers; from the Call for Papers:

SECAC 2021
Hilton Lexington, Kentucky, 10–13 November 2021

Proposals due by 4 May 2021

The School of Art and Visual Studies at the University of Kentucky is pleased to be hosting the 77th annual meeting of SECAC (formerly the Southeastern College Art Conference) in Lexington, KY, November 10–13, 2021. As its theme, the conference will engage in conversations centered around the social responsibilities of artists, designers, and academics in higher education. We hope the conference addresses at many levels the struggle against racism. We want to promote scholarship and artistic practices that work toward a more just and ethical world. In addition to a return to what we hope will be a normal in-person conference, with panels, round-table sessions, exhibitions, and so on, conference attendees will be able to take advantage of the conference hotel’s central location in a vital downtown Lexington, which is also just a ten-minute walk from the UK campus.

All proposals and supporting documentation must be submitted through the secure submission platform. Proposals sent to session chairs directly will not be considered for inclusion in the conference program. You may submit up to two paper proposals, though please note that you may present only one paper. If two proposals from one applicant are selected, then the session chairs, in consultation with the Conference Director and his committee, will decide which proposal will be accepted and presented at the conference. You may chair one session in addition to giving one paper in your own session or in another session. All proposals must be submitted by 11:59 pm EDT on 4 May 2021. If selected to participate in the annual conference, current SECAC membership and conference registration are required for all presenters. Notifications will be made to applicants on or about 24 June 2021. Questions may be directed to 2021 Conference Director Rob Jensen (secac2021@uky.edu). For logistical assistance, contact SECAC Administrator Christine Tate (admin@secac.org).

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Gender and the Visual Arts in the Long Eighteenth Century
Chairs: Laura Winn (Jacksonville University) and Amanda Strasik (Eastern Kentucky University)

This session seeks papers that explore themes and issues related to the intersection of the visual arts and gender during the long eighteenth century (1688–1815) in an effort to support new approaches and scholarship in what remains an understudied field of art history and visual studies. The session is intended to offer a forum for papers that consider global perspectives, critical approaches to identity, patronage, and representation or occlusion to highlight the multifaceted relationships between gender, the visual arts, and systems of power during the Enlightenment.

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Plants, Gardens, and (Un)Natural Visions
Chairs: Alice Christ (University of Kentucky) and Judy Bullington (Watkins College of Art, Belmont University)

Gardens and the plants they sustain and display have served a wide range of cultural purposes in human civilization, rarely if ever limited to simple subsistence horticulture. People have collected, transplanted, represented, classified and actually genetically modified plants themselves in cultivation. Gardens too are a human manipulation of natural materials, perhaps intended as improvements on, escapes from, appropriations of, or substitutions for natural landscapes or ecosystems. Gardens and plants have been used, for example, to reproduce specific places, to construct utopias, or to manifest images of a supernatural world. Analysis of plants, gardens and their representations can illuminate ideologies of divine and human creation, uncultivated nature and civilization, the native and the exotic implicated, for example, in the colonial enterprise. This session presents studies of any aspect of historical manipulation and representation of plants or design of gardens as symbolic spaces or places revealing social, political or religious values of the cultures that produced them. We invite topics anywhere from ‘botanical decolonization’ in ‘native plants’ gardening today to Marie Antoinette’s potato flower hair ornaments to Zen gardens of stone; the milpa as cosmogram to the medieval closed garden; Persian paradise to Victorian plant prospecting, among a host of possibilities.

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Eighteenth-Century Art: Looking Ahead
Chair: Boris Zakić (Georgetown College)

This open session calls for papers on eighteenth-century art. From the latest newswire of the Dresden’s Green Vault heist of the eighteenth-century state treasures to the Hamilton-mania in the US to the premiere of the Céline Sciamma’s Portrait of a Lady on Fire in Cannes, France, the elements of the late baroque find their way into our cultural values (and politics) in innumerable ways. This session aims at reviving issues that may prove instructive to our moment.

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Undergraduate Art History Session
Chair: Amy Frederick (Centre College)

This session welcomes papers on any subject in the fine arts and art history by undergraduate students. The student’s proposal must be accompanied by a faculty member’s letter of support attesting to the validity of the research and also stating the faculty member’s willingness to assist the student in preparing the paper for presentation. Please email faculty support letter and résumé to amy.frederick@centre.edu.

Looking Ahead to ASECS 2022 in Baltimore

Posted in Calls for Papers by Editor on April 9, 2021

52nd Annual Meeting of ASECS
Hilton Baltimore, 30 March — 2 April 2022

The next ASECS Annual Meeting will be held at the Hilton Baltimore, March 30 — April 2, 2022. The Clifford Lecture will be delivered by Jennifer Morgan of the History Department at New York University. The deadline for affiliate societies and caucuses to submit proposals for their guaranteed panels is April 30, 2021. The deadline for session proposals from individual members is May 15, 2021; the Call for Papers will be posted in early June. The deadline for submissions to sessions and roundtables will be September 15, 2021.