Call for Papers | Props: Staging Objects on the ‘Stage of Art’

Posted in Calls for Papers by Editor on January 17, 2020

From the posting at ArtHist.net, which includes the German version:

Props: Staging Objects on the ‘Stage of Art’
Requisiten: Die Inszenierung von Objekten auf der ‚Bühne der Kunst‘
Goethe-Universität, Frankfurt am Main, 9–10 October 2020

Organized by Joanna Olchawa and Julia Saviello

Proposals due by 29 February 2020

Not every object used on a stage is a prop. In his acclaimed study The Stage Life of Props of 2003 Andrew Sofer includes under this term only independent, physical and inanimate objects that are visibly manipulated by an actress or actor over the course of a performance. In this stricter definition of the concept of props the moment of movement plays a central role: objects themselves are not equipped with the potential to move, but they become props as soon as they are integrated into intentional and meaningful representative actions. This definition not only highlights the specific nature of props, but also and above all the way in which props are handled by human actors, which is in turn determined by the connotations and specific construction (functional or otherwise) of each object.

The conference is dedicated to the props that have been used on the various ‘stages’ of the visual arts from the Middle Ages to the present. Not only used in the theatre, objects have been staged in the most diverse ways and semantically enriched in Christian liturgy, military triumphal processions and court ceremonies, to name but a few examples. By describing the picture as a window opening on a ‘historia’, i.e. a scene composed of several figures in different postures and movements, Leon Battista Alberti has assimilated the image space to a stage area, thereby stressing for the first time the parallels between pictorial representations and performances in theatre. Following this, a widening of the view from real to fictional space seems appropriate, in which significant objects can also become props.

The focus of theatre studies so far has been on existing objects, such as rings, skulls and fans, or artefacts made especially for a theatre production, such as masks, sugar jars or knives with retractable blades. In addition to such objects, which partly have already been the subject of art historical studies, ‘props’ from the above-mentioned contexts, from private collections or artists’ studios and comparable contexts can also be discussed during the conference. In addition to the staging of such objects in real and fictional spaces, the places where they are stored and presented will also be considered (armories, cabinets of wonder and prop rooms). The methodological approaches to the exploration of props in their relevance to art history or art-historical object studies can also be addressed, such as the theory of affordances and the actor-network theory, both of focus on the specific nature of the objects, or gender-theoretical and transcultural approaches from which new impulses for the analysis of the multi-layered interaction of humans and objects have emerged.

We look forward to receiving your proposals in German or English. Please submit an abstract of approximately 300 words and a short biography by 29th February 2020 to olchawa@kunst.uni-frankfurt.de and saviello@kunst.uni-frankfurt.de. You will receive a notification by 15th March 2020. The conference will take place on 9th and 10th October 2020. Travel and accommodation costs will be covered thanks to the generous support of the ‘FONTE Stiftung zur Förderung geisteswissenschaftlichen Nachwuchses’. A publication of the conference proceedings is planned.

Call for Papers | The Animal and the Human in Netherlandish Art

Posted in Calls for Papers by Editor on January 13, 2020

From ArtHist.net:

The Animal and the Human in Netherlandish Art
Nederlands Kunsthistorisch Jaarboek 71 (2021)

Proposals due by 10 February 2020; articles due by 3 August 2020

Art begins with the animal. –Deleuze and Guattari (1991)

If the topic of the animal and the human in Netherlandish art evokes images of aristocratic hunt scenes, lap-dogs or Boschian hybrids, current ecological and ethical concerns reveal persistent questions of why and how artists have engaged with the nonhuman animal as subject and object of depiction. From Bosch to Snyders to Broodthaers to Fabre, Netherlandish artists have probed, and continue to probe, changing understandings of the relations and shifting boundaries between the human and the animal. Yet despite the importance of the visual arts to ‘the question of the animal’, the abundance of Netherlandish imagery of animals and human-animal relations has not received sustained attention. Volume 71 (2021) of the Nederlands Kunsthistorisch Jaarboek invites investigations into the animal and the human in the art and visual culture of the Low Countries and its diasporas in all periods.

In recent decades the field of animal studies has attracted increasing interest as scholars from various disciplines take other animals seriously as subjects. Animal studies pays close attention to the ways in which humans anthropomorphize animals, whilst adopting a post-humanist perspective in recognizing animals as beings-in-themselves, separate from our interests in them. The field has roots in questions about human beings’ co-existence with and use of other animals, extending the possibility of feeling emotion and pain to other sentient creatures. It also arises from cultural and philosophical interest in attempts to define the self and humanity through interactions with and representations of other animals. Giorgio Agamben for example, has examined the ways in which Western thought has produced ‘the human’ as a distinct and superior animal, or as different in kind from ‘the animal’.

The distinction made by René Descartes—who lived in the Netherlands from 1628 until 1639—between a self-aware, thinking human subject and a reflex-driven beast-machine was an important symbolic moment in the separation of ‘the animal’ from ‘the human’. The early modern period witnessed a tendency to depict animals as objects. Here, knowledge of the nature of a specific species of animal was not a matter of symbolic references and emblematic meanings, but of accurate, ‘scientific’ depiction. Depicted ‘ad vivum’ became an advertising slogan—whether the artist had seen the creature with his or her own eyes or not. In the early 18th century, for example, the magnificent printed publications after Maria Sybilla Merian’s drawings were authorized by the claim to be ‘naer het leven’. This claim to lifelikeness went hand in hand with experiments in observation and representation. One could think of the technologies of the microscope, photography and other forms of imaging including the digital. One might also cite interest in insects, animal anatomy, vivisection, comparative anatomy, taxonomy, or in the natural habitat of animals and their reproduction, animal curiosities, wonders, and genetics.

A sense of wonder could be evoked by the techniques of representation and the materiality of works of art. For example: Joris Hoefnagel and Otto Marseus van Schrieck famously inserted real insect-wings in their images, like, later, Fabre. This opens up the question to the use of animals in works of art in a broader sense: as a source for pigments and dyes, for glue and for brushes; or as source for parchment and vellum; or as elements of site-specific installations. How were these animal products obtained and processed? How did/does awareness of this affect interpretation of the works they constitute?

This volume invites new work that engages with the humanities beyond the human. Contributions might explore northern European art works that visualise animal mutations, metamorphoses, fables, struggles, fetishizing, speciation, preservation, and the monstrous. They might also engage with artistic critiques of taxonomies, habitats, hybridities, consumption, and the post-human.

The NKJ is dedicated to a particular theme each year and promotes innovative scholarship and articles that employ a diversity of approaches to the study of Netherlandish art in its wider context. More information is available here. Contributions to the NKJ (in Dutch, English, German, or French) are limited to a maximum of 7,500 words, excluding notes and bibliography. Following a peer review process and receipt of the complete text, the editorial board will make final decisions on the acceptance of papers.

Please send a 500-word proposal and short CV by 10 February 2020 to:

Schedule of production
Deadline for submission of proposals: 28 February 2020
Notifications about proposals: by 15 March 2020
Submission of articles for peer review: 3 August 2020

Call for Panels | NEASECS 2020, New York — Traffic

Posted in Calls for Papers by Editor on December 24, 2019

From the Northeast American Society for Eighteenth Century Studies:

NEASECS 2020 — Traffic in the Global Eighteenth Century
Fordham University, Lincoln Center Campus, New York, 25–27 September 2020

Panel and roundtable proposals are due 30 January 2020 (the call for papers will be posted by 15 February 2020, with a March 30 due date).

It would be difficult to imagine New York City without traffic, but traffic should not be understood merely as the polluting congestion of its highly frequented streets and waterways, an issue already present in New Amsterdam. Traffic also underlines the commerce, or the passing through different hands as the Encyclopédie’s “Trafiqué” underlines, both legal and illicit, of goods, bodies, books, artworks, monies, services, and ideas that is as central to New York City today as it was to the global eighteenth century.

For this 43 edition of NEASECS, we invite panels, papers, and other interventions on the topic of traffic in the global eighteenth century: be it book smuggling, human trafficking, drugs & arms smuggling, import/export, transnational and/or colonial exchanges, or money traders and currency converters; the traffic of ideas as well as objects of knowledge and aesthetic beauty (art objects, fashion…); the infrastructure (or lack there of) that facilitated the movements of such a global and local traffic; and/or the effects and affects of traffic/trafficking including the sonic. All disciplines from the history of science, history of the book, history of religion, architecture, art history, music history, and history, to literary studies, anthropology, and sociology are encouraged to participate. Round tables are also highly encouraged.

Of course, in the long tradition of NEASECS, panels on topics different from the theme of the conference are also welcome.

Panels will be 1 hour and 30 minutes. Panels should not have more than 4 presenters and should allow for at least 20 minutes of discussion.

For the very first time, and perhaps inspired by the controlled chaos of traffic itself and the vibrant, diverse democracy of New York City, we will also be hosting an open forum or town hall on human trafficking in the global eighteenth century. Anyone who wishes to participate can, and this can be in lieu of a paper. Although if you wish to participate in this session in addition to a panel or roundtable that is also welcome. The two-hour session will have parliamentary style format with lively free interventions to any individual who stands up to speak. Those with disabilities that prevent them from standing will be given a flag to raise. All you must do is register. All those who register for this event will be listed as participants in the session in the program.

Proposals for panels and roundtables are due 30 January 2020.
The call for papers will be posted by 15 February 2020.
Submission to panels and roundtables (individual contributions) will be due 30 March 2020.
Early registration at a discounted price must be completed by 30 May 2020.
Registration at the full price must be completed by 1 August 2020.
Please submit your proposals directly to neasecs@gmail.com. Thank you.
Click here to register and submit your proposals.

Call for Papers | Beyond the Academy: Architectural History

Posted in Calls for Papers by Editor on December 24, 2019

From the Call for Papers:

The Society of Architectural Historians of Great Britain Architectural History Workshop
Beyond the Academy: Architectural History in Heritage, Conservation, and Curating
The Gallery, 70 Cowcross Street, London, 21 March 2020

Proposals due by 17 January 2020

The Society of Architectural Historians of Great Britain (SAHGB) invites presentation proposals for the Architectural History Workshop in 2020. This is our annual event for postgraduate students and early career professionals to share and develop their ideas; it aims to provide an informal and supportive space away from your own institution where you can discuss, debate, practice and enjoy the company of like-minded researchers and scholars working within the history of the built environment, broadly conceived. The theme of this year’s Workshop is Beyond the Academy: Architectural History in Heritage, Conservation, and Curating. Architectural history is practised in a number of fora: in academia, heritage, museums and collections. Academic research and skills have uses beyond the academy and in a competitive and precarious job market, architectural historians need to be open to a wide set of potential career paths.

We welcome doctoral students and early career professionals in architectural history, heritage, conservation, etc. The event is limited to postgraduate students (full-time or part-time) and early career professionals (those who have completed their postgraduate qualification within the last 5 years). Sessions will be structured to reflect the diversity of presentation styles needed for contemporary practice in architectural history, rather than in themes. Break-out sessions will be facilitated by a panel of invited professionals and scholars to be announced in due course.
This year we are encouraging scholars to present their research in ways that encourage discursive engagement. Research may be at any stage, from a proposal, final work as you write-up, post- doctoral reflections, or anything in-between.

We invite participation in a number of presentation styles including:
• Object-based and/or single-image presentations
• Reports or heritage statements
• Methodological reflections

Proposals can be for either
• 10-minute presentations
• Conference posters (A3 sheet in a standard format)

We welcome research on all periods and all places relating to the study of buildings, the built environment and associated histories that address a full range of methodological approaches to architectural history. All disciplinary approaches are welcome, including but by no means limited to:
• Architecture and Theory
• Urban History, Histories of Architectural Ecologies
• Art History, Material and Visual Culture
• History, Social and Cultural History
• Archaeology, Anthropology, Geography
• Heritage and Conservation of the Built Environment

Proposals should be no longer than 250 words, and indicate whether they are for posters or presentations. If you are interested in making a contribution, please complete the submission form on our website. The closing date for applications is Friday 17 January 2019. The result of all applications will be communicated by Friday, 1 February, with confirmation from the speakers requested by the second week of February. The Workshop will take place on Saturday, 21 March at The Gallery, 70, Cowcross Street, London, EC1M 6EL. No funding is available and a contribution of £10 is requested from all attendees to cover costs (inclusive of all catering). For further information or clarification of any sort please contact the conference organizers at ahw@sahgb.org.uk.

Call for Papers | Décoration intérieure et plaisir des sens

Posted in Calls for Papers by Editor on December 19, 2019

From the Call for Papers:

Décoration intérieure et plaisir des sens, 1700–1850
University of Geneva, 28–29 May 2020

Proposals due by 13 January 2020

Jean-François de Troy, La jarretière détachée (The Garter), 1724, oil on canvas, 65 × 54 cm (New York: The Metropolitan Museum of Art, Jayne Wrightsman Collection).

Dans la lignée des travaux de Goubert (Du Luxe au confort, 1988), de Crowley (The Invention of Comfort, 2001) et de DeJean (The Age of Comfort, 2009), ce colloque souhaite revenir sur la part que tenait le plaisir sensoriel dans l’organisation des espaces intérieurs en Europe entre 1700 et 1850. Plusieurs traités d’architecture du XVIIIe siècle tels que celui de Boffrand (1745) ou plus tard de Le Camus de Mézières (1780) mettent l’accent sur l’importance des sens dans la disposition et la décoration des pièces. Ces textes soulignent que certains arrangements, pour reprendre le terme de l’époque, doivent créer une impression de plaisir et de bien-être sur ses usagers. Cette idée d’un décor qui éveille les différents organes de perception du corps humain dans le but de produire un effet sur le spectateur s’inscrit dans une approche sensualiste de l’architecture. Cette préoccupation est alors désignée par de nombreux auteurs sous les termes d’« agrément » et de « commodité » qui permettent d’exprimer, avant qu’il n’apparaisse au début du XIXe siècle, le concept de confort [1].
[1] Joan DeJean, The Age of Comfort: When Paris Discovered Casual and the Modern Home Began (New York, Bloomsbury, 2009).

Nous proposons de privilégier trois grands axes de réflexion, qui n’épuisent évidemment pas le champ des possibles:


Le premier axe est consacré à la place de l’agrément et du confort dans les ouvrages théoriques et à l’impact de ceux-ci dans la production de décors. Il s’agira ainsi de déterminer la part accordée aux sens et au corps non seulement dans les traités d’architecture, mais aussi les textes destinés aux artistes décorateurs, comme le livre d’André Jacob Roubo (L’Art du menuisier en meubles, 4 vols, 1769–75), et, plus incidemment, dans les recueils de modèles (Jean-Charles Delafosse (Nouvelle Iconologie historique, 1768). L’intérêt porté aux sensations dans ces ouvrages peut être pensé (/envisagé) en regard de la philosophie sensualiste (Condillac, Traité des sensations, 1754) mais aussi de la littérature libertine du siècle des Lumières (La Petite Maison de Bastide, 1763).

Nous interrogerons les fondements idéologiques de cette préoccupation nouvelle pour le corps, mais aussi le reflet de cet intérêt dans le développement d’un langage spécifique et dans l’apparition de nouveaux termes désignant des biens mobiliers. L’éventuel impact de cette nouvelle exigence sur la créativité des artisans, sur les innovations techniques et formelles, sera également questionné.


Le deuxième axe de réflexion propose d’interroger la notion d’agrément à l’aune des normes sociales et de l’usage des différentes pièces de l’habitat. Dans l’historiographie plus ou moins récente, l’idée de confort est régulièrement associée aux lieux dits de l’« intime » qui apparaissent simultanément à l’art de la distribution (petits appartements, boudoirs, salles des bains, etc.). Il sera intéressant de se demander si l’opposition entre les espaces d’apparat et ceux plus privés, dédiés au confort et au bien-être des individus, est pertinente pour appréhender les meubles et objets composant les décors produits entre l’Ancien Régime et la Monarchie de juillet. Quels mécanismes sociaux, économiques ou culturels ont pu favoriser un nouvel idéal consistant à rechercher des sensations agréables dans les intérieurs ? Dans quelles mesures (et quand ?) le confort du quotidien devient-il un marqueur social permettant d’affirmer son rang ? Comment penser les rapports entre le confort et le luxe ? Et enfin peut-on observer des changements dans l’étiquette de cour en lien avec la notion de confort ?


Le troisième axe est orienté sur des questions matérielles. Il conviendra alors d’étudier l’importance du confort dans l’évolution des formes données au mobilier. Nous prendrons aussi en compte les questions économiques relatives aux matériaux utilisés. Les essences de bois et de tissus exotiques importés des nouvelles colonies, comme l’ébène, le coton ou la soie, attisent les curiosités et jouissent d’un grand intérêt en raison de leurs caractéristiques agréables.

Une grande importance sera également donnée aux questions de transformation et de réemploi des objets. Il s’agira notamment de considérer la place du confort dans l’histoire de l’adaptation et la mise au goût du jour d’intérieurs existants. Ceux-ci connaissent, au cours de leur existence, de nombreuses restaurations et modifications visant à leur conserver une certaine modernité et utilité. Quelle place tient le confort dans l’adaptation de formes anciennes aux évolutions de la mode ?

Des questions relatives aux restaurations du XXe siècle pourront également être abordées. Le constat montre qu’en dépit des principes déontologiques de la conservation restauration des biens culturels prônant les valeurs de lisibilité de l’œuvre, de visibilité et de réversibilité de traitement, la restauration du mobilier a toujours eu cette particularité de présenter une dualité entre exigences déontologiques et remise en état de présentation et d’utilisation. Dans quelle mesure, la restauration n’est-elle pas un acte de création, lorsqu’il s’agit d’une intervention fondamentale ? Lorsque l’objet a été modifié postérieurement à sa création, faut-il revenir à son état originel ?

Modalités pratiques

Le colloque durera une journée et demie et sera conclu par une visite guidée. Les communications, d’une durée de 30 minutes, pourront être prononcées en français ou en anglais. Elles seront suivies de minutes d’échanges avec le public. Elles devront s’efforcer, dans la mesure du possible, de soulever des questions afin de susciter la discussion.
Les propositions sont attendues pour le 13 janvier 2020 au plus tard. Elles devront être composées d’un titre, d’un résumé ne dépassant pas 300 mots à l’adresse email decoration.et.plaisir@gmail.com. Elles devront être accompagnées d’un CV, ainsi que, pour les doctorants, de l’intitulé de la thèse et des noms du ou des directeur(s) de recherche. Une réponse sera adressée aux participants au plus tard le 15 février 2020.

Colloque organisé par
• Noémi Duperron, Université de Genève
• Maxime Georges Métraux, Université Paris-Sorbonne et Galerie Hubert Duchemin
• Barbara Jouves, Université Paris 1 Panthéon-Sorbonne
• Marc-André Paulin, Université Lille 3 et Centre de Recherche et de Restauration des Musées de France
• Bérangère Poulain, Université de Genève

Call for Papers | Le parfumeur

Posted in Calls for Papers by Editor on December 12, 2019

From ArtHist.net, with the extended CFP available here:

Le parfumeur: The Evolution of a Figure since the Renaissance
Palace of Versailles Research Centre, 28–29 January 2021

Organized by Alice Camus and Érika Wicky

Proposals due by 15 June 2020

This conference will explore the history of the professional perfumer, analyzing how the image of the perfumer emerged during the Renaissance in Italy, how it was further constructed during the seventeenth century in France and England, and how it continued to evolve to the present day. Under the Ancien Régime, when trade in most European countries was regulated by corporations and states, the assertion of the perfumer’s identity was often undermined by a legal struggle to become the sole holder of the right to manufacture and sell perfume products. Since its recognition, this profession has undergone metamorphoses evident in the way they affected each of three operations that have defined the perfumer throughout history: creating, manufacturing and selling perfumes (Gobet and Le Gall, 2011). Indeed, perfumers have had to adapt to changing trends in fragrance use and to distinguish themselves from their competitors at different times in their history by manufacturing and marketing not only scented waters, but also other perfumed products such as gloves, the creation of which was their first vocation, then sachets, cosmetics, hair powders, soaps, and even more recently, scented candles. The evolution of the use of perfumes, sometimes prophylactic, hygienic or hedonistic, also affected perfumers, who in turn allied themselves with other areas of activity, collaborating with apothecaries, hairdressers and chemists, followed by artists and fashion designers.

The conference will offer a multidisciplinary approach to the history of perfumers, their profession, their social status and their representations, through the presentations of specialists from diverse backgrounds: historians, art historians, literary scholars, philosophers, perfumers and professional in the contemporary world of perfumery. The multidisciplinary approach will provide a detailed and nuanced vision of the figure of the perfumer at different moments in his historical evolution by drawing on a wide range of historical, literary and artistic sources (professional documents, legal documents, inventories, etc.). This conference also seeks to highlight the links between the exercise of the profession of perfumer and the socio-cultural environment of his or her time.

Proposals for papers, in French or in English, of about 3000 characters, should be sent to Alice Camus (acamus@guerlain.fr) and Érika Wicky (erika.wicky@univ-lyon2.fr), before June 15, 2020. They must be accompanied by a short bio-bibliography. A more detailed CFP, a french version of it, and more information can be found here.

Scientific comitee: Eugénie Briot (Givaudan), Natacha Coquery (Université Lumière Lyon 2 / LARHRA), Chantal Jaquet (Université Paris 1 Panthéon-Sorbonne), Cheryl Krueger (University of Virginia), Catherine Lanoë (Université d’Orléans), Rosine Lheureux (Archives départementales du Val-de-Marne), Jean-Alexandre Perras (Voltaire Foundation).

Call for Essays | Studi Neoclassici

Posted in Calls for Papers, journal articles by Editor on December 6, 2019

From ArtHist.net:

Studi Neoclassici: Rivista internazionale 8 (2020)
Submissions due by 31 March 2020

The journal Studi Neoclassici, created with the aim of publishing the results of the activity promoted by the ‘Istituto di ricerca per gli studi su Canova e il Neoclassicismo’ (‘Research Institute for Studies on Canova and Neoclassicism’) of Bassano del Grappa, has been a tool for disseminating research of the Edizione Naionale delle Opere di Antonio Canova (National edition of the works of Antonio Canova), that converge in the critical editions of the enormous Canova’s epistolary, with the historical, biographical, stylistic insights that matter requires. The major scholars of Neoclassicism constitute the scientific and editorial council of the journal.

The magazine proposes itself to the attention of scholars in various fields of research, from history to literature, from archeology to art history, from the history of culture to art criticism to the history of collecting, from the history of music to that of dance and costume.

Journal articles follow the same methodological approach that characterized the “Canovian Weeks”, i.e. the formula of connecting different artistic and cultural experiences, from literature to art history, to history and to other arts included in the historical period between second half of the eighteenth and the first decades of the twentieth century, with the intention of proposing a complete and not only specialized picture of the theme.

Studi Neoclassici publishes monographic numbers and free topic numbers relating to the historical period of the journal, the texts of which, selected through a ‘Call for papers’ procedure, are all—except for rare and justified exceptions—subject to peer review by a ‘double blind’ peer review procedure. In the case of exceptions it is the management, in its collegiality, that after careful examination assumes the responsibility of accepting the texts.

The number 8, 2020 will host free articles and one or two reviews of volumes relating to the period covered by the magazine. The editorial rules are available here. Texts can be presented in Italian, German, French, English, or Spanish; must not exceed 35,000 characters (spaces and notes included); and must be sent by 31 March 2020 to giuliana.ericani@gmail.com or gianpavese@gmail.com.

Call for Papers | Interpreting Italians Abroad

Posted in Calls for Papers by Editor on November 30, 2019

From ArtHist.net:

Interpreting Italians Abroad: The Migration of Ticinese Architects in the Early Modern Era
Erlangen, 24–25 April 2020

Proposals due by 10 January 2020

From at least the thirteenth to the nineteenth centuries, architects—including painter and sculptor-architects—from Ticino and northern Lombardy migrated and worked in great numbers across Europe. Their movements extended from the Iberian Peninsula to Russia, and they were also active throughout Italy itself. These architects moved in extended family networks, often bringing whole teams of masons and other artists on their journeys abroad, and many returned to their home valleys each winter. Despite the prevalence of these migrations throughout Europe and the high number of artists and architects involved, there has not yet been a comprehensive study of their movements, their effect on the regions in which they worked, or the influence of these different environments on the Ticinese themselves. The absence of such a study is particularly acute for the sixteenth and seventeenth centuries as it has long been assumed that the Ticinese and Lombards were key agents in the development of Renaissance architecture in other regions of Europe.

The earliest attempts to quantify this migration consisted mainly of lists of architects and where they worked and were often colored by a nationalistic interpretation of their role in European art history (most notably their inclusion in the series from the 1930s, L’opera del genio italiano all’estro). Later studies (such as those by Crivelli, 1966–1971) turned away from such overtly politically motivated interpretations, but still failed to address key questions why such migration was desirable from the point of view of either the artists or their patrons, what exactly was their effect on the regions in which they worked, and how they related to local architects and craftsmen.

Contemporary studies have consisted mainly of focused case studies of individual architects or families working in a specific region but have tended to isolate these figures from their local environments. Although Ticinese architects worked in great numbers throughout Italy itself, specific studies of their activities have been comparatively limited, with a focus mainly on Genoa. Other studies address outstanding figures such as Carlo Maderno, Francesco Borromini, and Domenico and Carlo Fontana, whose fame has seemingly allowed them to transcend their Ticinese origins.

This workshop proposes to address the totality of the phenomena of Ticinese artistic migration across Europe in light of recent developments in migration studies, network studies, center-and-periphery studies, and studies of cultural and stylistic transfer. Both finished papers and works-in-progress are welcome.

Some themes that might be addressed include:
• What affect did Ticinese architects have on their environments? How were they changed by their new surroundings?
• What relationship did the migratory architects have to local colleagues and professional bodies such as guilds?
• Why were the Ticinese desirable as architects and workers?
• How were their professional networks structured and how did they function? Can professional connections beyond extended family networks be identified?
• What facilitated their movement in some regions (Central Europe, Spain and Portugal, Italy) more than others (France, England, the Netherlands)?
• What role did the Ticinese architects play in the development of Renaissance forms in architecture across Europe? Can this influence be evaluated against other sources of knowledge such as prints and books or travel to Italy itself by patrons and foreign architects?
• How does ‘influence’ or ‘stylistic transfer’ actually work in a given environment? What individuals or cultural factors are at play in this process?
• How can the idea of the Ticinese as agents of the Italian Renaissance be reconciled with the fact of their stylistically plural work (for example their work in Gothic or Netherlandish styles)?

The workshop will take place at the Institute of Art History in Erlangen, Germany on 24–25 April 2020. Please send an abstract in either English or Italian (max. 300 words) and a short CV to Sarah W. Lynch (sarah.lynch@fau.de) by 10 January 2020.

Call for Papers | Queer Crossings, Unruly Locales, 1500–1800

Posted in Calls for Papers by Editor on November 29, 2019

From the Call for Papers:

Queer Crossings, Unruly Locales, 1500–1800
University of California, Santa Barbara, 28–29 February 2020

Proposals due by 5 December 2019

The Early Modern Center at the University of California, Santa Barbara invites proposals for our annual conference Queer Crossings, Unruly Locales, 1500–1800, to be held on February 28 and 29, 2020. We are happy to announce our two keynote speakers: Melissa E. Sanchez (University of Pennsylvania) and Rajani Sudan (Southern Methodist University).

Queer Crossings, Unruly Locales, 1500–1800 will explore the intersection between queer studies and the study of mobilities, crossings, and networks, both local and global, in early modern England and around the world. We invite conversations that address and interrogate the concept of ‘queer crossings’ and ‘unruly locales’ broadly construed. We seek to answer questions such as: What constitutes a crossing? What does it mean to read locales as unruly? What power dynamics reveal themselves in weighing queer crossings and unruly locales? How do travel narratives reveal and abound with queerness in terms of identity, time, relations, and other perspectives? Who or what has the privilege of crossing, queerness, or unruly-ness?

Possible topics include, but are not limited to:
• The global early modern
• Borderlands
• Gender, sexuality, trans, and queer studies in the global early modern
• Queer philology
• Migration and migratory studies
• Crossings of genre
• Critical race studies
• Global mobility and crossings
• Travel narratives/narratives of exploration
• Critical food studies; ‘fusion’ as crossing/queer
• Translation and mediation
• Currency, capital, and trade across early modern periods/borders
• Connected histories
• Queering the archive

We invite abstracts of 150 to 200 words and a one-page CV to be sent to emcfellow@gmail.com by November 20, 2019. We envision and invite both twenty-minute panel presentations and ten-minute roundtable presentations; we will also consider complete panel or roundtable proposals. If you have further questions, please feel free to contact the conference organizer, Giorgina Paiella, at emcfellow@gmail.com.

Call for Papers | Boston University Graduate Symposium — Environment

Posted in Calls for Papers by Editor on November 27, 2019

From Boston University:

Environment: Awareness, Exchange, and Impact
36th Annual Boston University Graduate Symposium in the History of Art & Architecture
Museum of Fine Arts, Boston, 28 March 2020

Coordinated by Bailey Benson and Rebecca Arnheim

Proposals due by 6 December 2019

Conversations about the environment are a prominent and contentious aspect of life in the 21st century, but the environment has always been an omnipresent force. Serving both as a stage for human performance and as an active agent in shaping human actions, the environment permeates the consciousness and creative output of artists and architects, as well as influencing interactions with their works. The topic of ‘the Environment’ serves as a nexus for discussions surrounding the natural, the man-made, the built, and the social, among others.

The 36th Annual Boston University Graduate Symposium in the History of Art & Architecture invites submissions that consider the theme of ‘the Environment’. How have interactions with, and interpretations of, natural and man-made environments informed artistic and architectural work? How do various locations, identities, and political climates impact the production of art and architecture?

Possible subjects include, but are not limited to, the following: landscape painting; architectural responses to the environment; garden design and landscaping; responses to climate change and sustainability; expressions of real or imagined spaces; ceremonial and spiritual engagement; land use and reclamation as it relates to artistic practice; environmental activism and justice; political interventions and implications; the gendering of environment; and climate disasters, displacement, and the anthropocene. We welcome submissions from graduate students at all stages of study, and from any area of study.

Papers must be original and previously unpublished. Please send an abstract (300 words or fewer), a paper title, and a CV to bugraduatesymposiumhaa@gmail.com. The deadline for submissions is Friday, December 6, 2019. Selected speakers will be notified by December 20, 2019, and are expected to accept or decline the offer within a week of notification. Papers should be 20 minutes in length and will be followed by a question and answer session. The Symposium will be held Saturday, March 28, 2020, with a keynote lecture Dr. Christopher Heuer, and graduate presentations in the Trustees Room of the Museum of Fine Arts, Boston.

This event is generously sponsored by the Boston University Center for the Humanities; the Boston University Department of History of Art & Architecture; the Museum of Fine Arts, Boston; and the Boston University Graduate Student History of Art & Architecture Association. Additional information is available here.