Call for Panels | CAA in New York, 2019

Posted in Calls for Papers by Editor on March 18, 2018

From CAA:

107th Annual Conference of the College Art Association
New York Hilton Midtown, 13–16 February 2019

Most Panel Proposals due by 27 April 2018

The CAA Annual Conference is the largest professional convening of art historians, artists, designers, curators, and others in the visual arts. Each year we offer sessions submitted by our members, committees, and affiliated societies offering a wide range of program content. The Annual Conference Committee members review over 800 submissions each year. They take into account subject areas and themes that arise from accepted proposals to present as a broad and diverse a program as possible. The Committee selects approximately 250 sessions for each conference, and it must, at times, make difficult decisions on submissions of high merit. This means that on occasion, quality submissions may not be selected.

General Proposal Submission Information
• Session and paper/project abstracts should be no more than 250 words in length.
• Please follow The Chicago Manual of Style for your submission.
• The accuracy of information in the submission is important as, if selected, it will be transferred to the conference program, abstracts booklet, website, etc., exactly as written.

P R O P O S A L  S U B M I S S I O N  T Y P E S

Complete Session
Proposals due by 27 April 2018
The organizer has complete information about the session including names and affiliations of all session participants, presentation titles, abstract texts, etc.

Session Soliciting Contributors
Proposals due by 27 April 2018
The organizer proposes a session title and abstract that will require a call for participation. Session organizers review and select papers and projects based on their own requirements. The 2019 Call for Participation (CFP) for accepted Sessions Soliciting Contributors will be posted on the CAA Annual Conference website on May 14, 2018. Submissions will be accepted for review through June 21, 2018. Submissions should be sent directly to the session chair(s)—if there is more than one session chair, send materials to both chairs. Proposals should include a proposal form (found at the end of the CFP), an abstract of your presentation, a cover letter to chair(s), a shortened CV, and work documentation (if necessary).

Individual Paper/Project
Proposals due by 27 April 2018
An individual CAA member may submit an abstract (with title), which, if accepted, will be included in the 2019 conference as part of a composed session with others accepted in this category based on subject area or compatible content.

Professional Development Workshops
Proposals due between 15 May and 15 August 2018
CAA welcomes current CAA members to share their expertise with colleagues in Professional Development Workshops. Workshops are ninety minutes in length and content ranges from business strategies and negotiation, finding grants and fellowships, marketing, audience engagement, education on new technologies, and more.

Exhibitor Session
Proposals due between 15 May and 14 September 2018
Registered exhibitors at the 2019 conference are welcome to propose full sessions or workshops (ninety minutes in length) for inclusion in the full-conference program. These sessions should convey practical information, professional expertise, or historical/scholarly content and may not be used for direct marketing, sales or promotion of products, publications, or services or programs.


Call for Papers | Collecting Dutch and Flemish Art in Germany

Posted in Calls for Papers by Editor on March 14, 2018

From H-ArtHist:

Collecting Dutch and Flemish Art in Germany, 1500–1900
Conference ANKK and RKD, Den Haag, 18–20 October 2018

Proposals due by 15 April 2018

Much of Dutch and Flemish Art was acquired by German collectors, so that today there are more of these artefacts in German collections than in those of other countries. The 2018 conference of the ANKK seeks to analyse the ways in which Netherlandish art was and is collected in the German speaking countries and how this influenced not only scholarship but also the art market.

The German organisation for the Study of Netherlandish Art and Culture [Arbeitskreis Niederländische Kunst- und Kulturgeschichte e.V.] will hold its decennial as an international conference in Den Haag in cooperation with the RKD from 18 to 20 October 2018. The RKD is currently investigating the cultural exchange between the Netherlands and Germany between 1500 and 1900 in its three-year project Gerson Digital: Germany. The basis of the project is the pioneering publication by Horst Gerson (1907–1978), Ausbreitung und Nachwirkung der holländischen Malerei des 17. Jahrhunderts (Amsterdam 1983, ed. princ. Haarlem 1942), in which the circulation and imitation of Dutch paintings in Europe are processed by country.

Proposals for 20-minute papers could address—but are by no means limited to—the following topics:
• spaces of the art market for Netherlandish Art and the main art centres for the German speaking countries, public and private collections, and clerical institution
• prize formation mechanisms for Dutch and Flemish Art
• networks of artists, dealers and collectors (both private and institutional), as well as writers on art and other audiences
• new scientific methods and methodologies of research and their influence on scholarship or collecting
• ‘art agents’ and their changing roles
• the nature of collections (municipal or princely), their buildings, and shared knowledge spaces
• interdependences of primary and secondary art markets for Netherlandish art

We also aim to have one open session of lightning talks in which any future, present or past project or exhibition, unrelated to the above-mentioned panels, can be presented in exactly eight minutes. Please indicate in your abstract whether your proposal is meant for the lightning talks or the more traditional panel format. No matter which format you prefer, we also encourage junior researchers to send us their proposals. Please send an abstract of the proposed paper (maximum of 500 words) in German or English and a short curriculum vitae to both the RKD (leeuwen@rkd.nl) and the ANKK (bmuench@uni-bonn.de) by 15 April 2018.


Call for Papers | HECAA Session at UAAC, 2018

Posted in Calls for Papers by Editor on March 11, 2018

Thanks to Christina Smylitopoulos, who is again coordinating a HECAA session at this year’s UAAC Conference! Details and a full list of panels (68 in all) are available here»

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Universities Art Association of Canada / l’association d’art des universités du Canada
Department of Fine Arts, University of Waterloo, Ontario, 25–27 October 2018

Proposals due by 1 May 2018

Photo: Wikimedia Commons, Jason Paris, November 2011.

HECAA Open Session
The objective of this society is to stimulate, foster, and disseminate knowledge of all aspects of visual culture in the long eighteenth century. This HECAA 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 theoretical or methodological innovations. Please email proposals for 20-minute papers (300 words) and a short biography (150 words) to Dr. Christina Smylitopoulos (University of Guelph), csmylito@uoguelph.ca.

Call for Papers | CSECS 2018, Niagara Falls

Posted in Calls for Papers by Editor on March 8, 2018

While I rarely re-post Call for Papers, I would note with this year’s CSECS that the deadline has been moved to April 15. There’s still time! CH

Call for Papers | Portraiture

Posted in Calls for Papers by Editor on February 27, 2018

From H-ArtHist:

Portraiture: an Interdisciplinary Conference
Centre for Visual Arts and Culture, Durham University, 13–15 July 2018

Proposals due by 1 March 2018

The study of portraiture is beginning to come into its own now that old assumptions about the low status of the genre have been challenged and contextualised. The ubiquity and diversity of portraits means that they can be used as evidence to address a wide range of questions, while the very idea ‘portrait’ is immensely rich. The conference is designed to open up fresh perspectives on a potent form of visual culture that is of continuing importance yet unevenly distributed in time and place.

Proposals may deal with any period and location. Papers are especially welcome that explore the interdisciplinary potential of studying portraiture and that address the following themes:
• The ways portraits create, sustain and comment on occupational identity
• Portraits and/in institutions
• ‘Portrait’ as an idea and its metaphorical dimensions
• Portraits where the face is not present
• Portraiture in the North East of the UK
• Comparative approaches to portraiture, which might focus on place, time, occupation, race, social status, and/or gender, for example.

We invite contributions of short papers for the conference. Please send an abstract—maximum 250 words—together with a one page CV by 1 March 2018 to cvac@durham.ac.uk and include ‘portraiture conference’ in the subject line. Please note presenters of short papers will need to cover their own costs, which will be kept as low as possible. There will be no conference fee for speakers. This conference follows the summer school Visual Intersections 3 (11–13 July). Early career researchers are especially welcome at both events.

Keynote Speakers: Professor Elizabeth Cowling and Professor Viccy Coltman

Call for Papers | The Architecture of James Gibbs

Posted in Calls for Papers by Editor on February 21, 2018

As noted in Salon, the newsletter of the Society of Antiquaries of London, issue 401 (20 February 2018) . . .

The Architecture of James Gibbs
Society of Antiquaries of London, 29 September 2018

Proposals due by 28 February 2018

The Georgian Group is organising a day-long symposium on James Gibbs (1682–1754), to be held at the Society of Antiquaries at Burlington House. The symposium will reassess the work of one of the most important, but still underestimated, British architects of the 18th century, responsible for the church of St Martin-in-the-Fields in London and the Radcliffe Camera in Oxford, many other commissions throughout the British Isles, and one of the most important 18th-century architectural pattern books. Proposals are invited for 20-minute papers based on original research on any aspect of Gibbs’s work, including his training, his practice, his patrons and clients, and his influence on contemporary and subsequent architecture and design (including urban, garden, and interior design) both in Britain and within the British diaspora. Please send abstracts of no more than 250 words and a CV to Geoffrey Tyack FSA (Kellogg College, Oxford, Editor of The Georgian Group Journal: geoffrey.tyack@kellogg.ox.ac.uk) by the end of February 2018. Notifications of acceptance will be sent before the end of March, and further details will follow soon afterwards.

Call for Papers | SAHGB Architectural History Workshop, 2018

Posted in Calls for Papers by Editor on February 2, 2018

Call for Participation from SAHGB:

The Society of Architectural Historians of Great Britain
Workshop for Doctoral Students and Early Career Scholars
The Gallery, London, 17 March 2018

Proposals due by 16 February 2018

The Society of Architectural Historians of Great Britain (SAHGB) invites proposals for the 2018 Architectural History Workshop. This is our annual event for postgraduate students and early career scholars to share and develop their ideas; it aims to provide an informal space away from your own institution where you can discuss, debate, practice and enjoy the company of like-minded researchers working within the history of the built environment, broadly conceived.
We invite participation in a number of ‘lightning’ rounds, where contributors are asked to speak for no more than ten minutes in any appropriate format that engagingly explores and presents your research. This research can be at any stage from a research proposal that you wish to talk about, issues arising from your research, final work as you write-up, post-doctoral reflections, or anything in-between. Speakers from previous events are particularly welcome to update us on the progress of their work.

The event is limited to postgraduate students (full-time or part-time) and early career scholars (those who have completed their PhDs within the last 5 years). We particularly encourage participation from:
• Masters students considering doctoral study
• Doctoral students in relevant disciplines

We are interested in all periods and regions of study, and the full range of methodological approaches to architectural history. The society welcomes submissions of work relating to the history of the built environment from all disciplines, including but by no means limited to:
• Architecture
• Art History
• History (including urban, social and cultural history)
• Archaeology
• Anthropology
• Geography
On as diverse a range of themes as possible, including:
• Histories of design
• Histories of planning
• Histories of construction
• Histories of buildings in use
• Histories of interiors and interior design
• Histories of practice and professionalism

Alongside presentations, the workshop will feature a session on ‘Careers in Architectural History’ presented by a panel of invited speakers from museums, heritage bodies, architectural practices, and more. Speakers will be announced in the near future. The keynote speaker will be the Chairman of the SAHGB, Professor Anthony Geraghty (University of York).

If you are interested in making a contribution, please complete the submission form on our website. The closing date for applications is Friday, 16 February 2018. The result of all applications will be communicated by Tuesday, 20 February, with confirmation from the speakers requested by Thursday, 22 February. The workshop will take place on Saturday, 17 March at The Gallery, 70, Cowcross Street, London, EC1M 6EL. No funding is available. A contribution of £10 is requested from all attendees to cover costs (inclusive of all catering). Details of the 2017 workshop can be viewed on the Society’s website. For further information or clarification of any sort please contact the conference organizers at ahw2018@sahgb.org.uk.

Call for Papers | Artistic Mobility and Exchange in Eastern Europe

Posted in Calls for Papers by Editor on January 28, 2018

From the posting at H-ArtHist, which also includes the German and Polish versions:

Routes and Contact Zones: Artistic Mobility and Exchange in Central Eastern and North Eastern Europe from the Middle Ages to the Present
Munich, 11–13 October 2018

Proposals due by 5 March 2018

The mobility of people, objects, and ideas determined the art scene in Central Eastern and North Eastern Europe for centuries and promoted transregional exchange. In contrast, art historiography in the countries of these regions has long been influenced by nationally defined political concepts that posit clearly distinct cultural developments. If, however, art is understood as a product of cross-border, transcultural exchange, then any scholarly investigation must also consider the transfer routes and the meeting places found along them.

Trade routes by sea and by land and the networks of rail and contemporary airlines all continue to promote artistic exchange. They provide the infrastructure for the mobility not only of different actors (artists, art patrons, art dealers), but also of works of art and materials and indeed of ideas, fashions, technologies, and knowledge. Some of these road networks have developed into permanent routes of cross-border artistic communication with fixed stations, where, for example, the art trade is concentrated. However, actors and objects have not always been able to operate on the tried and tested paths: mobility and communication have been temporarily hampered by war, by political or natural blockades; the search for alternatives has then sometimes led to the emergence of new places of exchange and to a shifting of the relationship between the ‘center’ and the ‘periphery’.

This network, which is both geographical and communicative, carries the movements of both artists and works of art, and the nodes at which its transregional exchanges are concentrated play a key role. Commercial and residential cities, royal and noble courts, the offices of merchants, the studios of artists, academies, the salons of the intellectual elites, museums, galleries, and art dealer depots act in very different ways as contact zones for the arts. As such, they inspire transregional and transnational collaborations and the exchange of artistic ideas and models, as well as the transfer of knowledge, materials and techniques, and contribute to the emergence of new, hybrid artistic creations that reflect the diversity of cultures involved in their genesis. However, contact zones can also become the scene of conflict and competition between foreign and domestic artists or between various interest groups. The map of these meeting places can moreover vary according to alterations in social and economic conditions, which are in turn reflected in the changing patterns of transnational cultural transfers in space and over time.

The conference will focus on both the well-known and the hitherto less well-researched routes that led to and into Central-Eastern and North-Eastern Europe and which contributed to artistic mobility. Several questions arise: Which (infra)structures, actors and personal networks support mobility and the consequent transnational communication, and which ones block them? Which traditional methods (e.g. qualitative, source-based case analysis) and innovative methods (e.g. quantitative, computer assisted geovisualisation and network analysis) can provide new insights into the pathways of artistic transfer?

In addition to the well-known names (e.g. Prague, Krakow, Vilnius), we shall examine the hitherto less explored loci of artistic exchange in Central-Eastern and North-Eastern Europe, and question formerly dominant perspectives on ‘centers’ and ‘peripheries’. Both case studies and comparative studies documenting and analyzing the exchange processes and their impact on art production are welcome. In addition, attention should be paid not only to the traditional main actors of the art scene (artist, client), but also to the seemingly secondary ‘supporting actors’, such as merchants, material suppliers, (art) agents and dealers, or curators.

Although the geographical focus of the conference is on Central-Eastern and North-Eastern Europe, transregional perspectives addressing artistic exchange of these regions with / in other art centers within and beyond Europe are very welcome. The historical framework—from the Middle Ages to the present day—is deliberately broad to encourage synchronous and diachronic comparisons.

The 26th session of the Working Group of German and Polish Art Historians and Conservators, also designated the Homburger Colloquy of the Böckler-Mare-Balticum Foundation (Bad Homburg), is organized by the Institute of Art History of the Ludwig-Maximilian-University in Munich at the Central Institute for Art History in Munich.

Conference languages are German and English. In addition to the 20-minute papers, the format of the so-called information forum provides an opportunity for briefer, 10-minute presentations of current individual or institutional research projects on art history and monument preservation dealing with topics of cultural heritage in Central-Eastern and North-Eastern Europe.

Please send in your proposal of paper or short presentation (max. 2000 characters), together with a short CV (max 1000 characters) by 5 March 2018. Please include both your email and postal address, as well as information on your current affiliation, to Prof. Dr. Aleksandra Lipinska, Institut für Kunstgeschichte, LMU München, aleksandra.lipinska@kunstgeschichte.uni-muenchen.de.

Programme Committee
Aleksandra Lipińska, Institut für Kunstgeschichte, Ludwig-Maximilians-Universität München
Ulrike Nürnberger, Böckler-Mare-Balticum-Stiftung, Bad Homburg v.d. Höhe
Beate Störtkuhl, Arbeitskreis deutscher und polnischer Kunsthistoriker und Denkmalpfleger

Call for Papers | (Re-)Forming Sculpture

Posted in Calls for Papers by Editor on January 26, 2018

Installation view of Lynda Benglis at The Hepworth Wakefield, 6 February – 1 July 2015
Courtesy the artist and Cheim & Read, New York

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From the Association for Art History:

(Re-)Forming Sculpture
University of Leeds and The Hepworth Wakefield, 26–27 June 2018

Proposals due by 16 March 2018

Call for Papers for the Association for Art History’s 2-day Summer Symposium organised by the Doctoral and Early Career Research Network.

Keynote Speakers
• Martina Droth, Deputy Director of Research, Exhibitions, and Publications | Curator of Sculpture, Yale Center for British Art
• Rebecca Wade, Assistant Curator (Sculpture), Leeds Museums and Galleries, based at the Henry Moore Institute

This Association for Art History Summer Symposium is a two-day annual conference which will highlight current doctoral and early career research in the field of sculpture, within its widest art historical remits. Held between the School of Fine Art, History of Art and Cultural Studies at the University of Leeds, and The Hepworth Wakefield, this conference hopes to unite the academic and curatorial disciplines of sculptural studies. As a socio-cultural space Leeds is celebrated for the study, production and display of sculpture. Artists such as Henry Moore and Barbara Hepworth shared a gratitude to Leeds as a place of noteworthy influence on their work, and succeeded in leaving behind a significant legacy. A sustained interest in sculptural studies has continued, demonstrated by the formation of the Henry Moore Institute as the Henry Moore Centre for the Study of Sculpture within Leeds City Art Gallery in 1982, alongside associated initiatives including the Henry Moore Sculpture Studio, Dean Clough (1989), and the MA in Sculpture Studies at University of Leeds in 1990. In more recent times, 2011 witnessed the opening of the The Hepworth Wakefield, and in 2013 a partnership of the Sculpture Triangle was established between the Henry Moore Institute, Leeds Art Gallery, The Hepworth Wakefield and Yorkshire Sculpture Park.

Looking to the future, how can we best reconcile sculptural, scholarly, and curatorial practices, within Britain and further afield? This conference aims to continue to re-form previous narratives that have focused on monumental, figurative and free-standing sculpture, created in traditional ‘higher’ materials of plaster, marble, or bronze. Increased and expanded research around sculpture is embracing a re-thinking of materiality, aesthetics, the role played by gender and identity, and its nature as a critical form of representation. Since a shift towards more conceptual art practices in the 1960s onwards, and the associated opening up of medium categories and critique of the high modernist art object, scholarship has reassessed previous assumptions of what constitutes sculpture, influenced by Rosalind Krauss’s seminal work “Sculpture in the Expanded Field” (1979). Moreover, scholars have concentrated on the rethinking of the sculptural object, its siting and context, with Alex Potts’s phenomenological study of sculpture from the eighteenth to the twentieth century, The Sculptural Imagination: Figurative, Modernist, Minimalist (2000), and more recently in Penelope Curtis’s exhibition Sculpture in Painting (2009) at the Henry Moore Institute. Additionally, scholarship has taken into account the intersections between sculpture and the decorative arts, as demonstrated by the exhibition organized by Martina Droth between the Henry Moore Institute and the J. Paul Getty Museum entitled Taking Shape: Finding Sculpture in the Decorative Arts (2008–09). Considering the sculptural aspects inherent within painting, architecture, decorative arts, photography, and film, how might we think differently about sculpture as an art historical category in its own right? For example, how do wider notions of sculpture and its relationship with other art forms intersect with discourses relating to histories of collecting, display and place-making? How best can sculpture be re-formed (re-thought?) within academic and curatorial disciplines?

In light of these questions, this conference hopes to re-consider the boundaries and hierarchies of sculpture within art history and visual culture, broadening how it is understood in terms of its medium, form, materiality, and cultural significance. We welcome proposals for 20-minute papers which explore these themes or which address any other aspect of re-forming sculpture, from antiquity to the modern day. The Summer Symposium is organised by the Association for Art History’s Doctoral and Early Career Research Network. The 2018 organisers are Caroline McCaffrey-Howarth (University of Leeds) and Clare Nadal (University of Huddersfield/ The Hepworth Wakefield).

Topics can include but are not limited to
• The significance and legacies of sculptural heritage in Leeds and Yorkshire
• Hierarchies of sculpture as an art historical category
• Sculptural aspects of decorative arts, architecture, photography, painting, and film
• Non-traditional mediums for sculpture, e.g. porcelain, 3-d printing, light or digital sculpture, ephemeral or recycled material, such as dissolving clay, etc
• Histories of collecting or displaying sculpture
• Formations of private or public sculpture collections
• How sculpture is curated or framed in the modern museum or within an outdoor environment
• Practice-led or practice-based approaches to sculpture

To propose a paper, please send a Word document with your contact information, paper title, an abstract of 300 words, and a short biographical note. The submission of abstract is open to current doctoral researchers and early career researchers within 3 years of receiving their doctorate. Proposals should be sent to reformsculptureforarthistory@gmail.com by 16 March 2018.

Call for Papers | Digital Humanities for Academic and Curatorial Practice

Posted in Calls for Papers by Editor on January 25, 2018

Call for Papers from the Rome Art History Network (RAHN). . .

Digital Humanities for Academic and Curatorial Practice / per la pratica accademica e curatoriale
Biblioteca Angelica di Roma and the American Academy in Rome, 23–24 May 2018

Proposals due by 1 March 2018

The digital humanities have challenged all disciplines of art history to engage with new interdisciplinary methodologies, learn new tools, and re-evaluate their role within academia. In consequence, art historians occupy a new position in relation to the object of study. Museums have been equally transformed. The possibilities of creating virtual realities for lost/inaccessible monuments poses a new relationship between viewer and object in gallery spaces. Digital humanities interventions in museums even allow us to preserve the memory of endangered global heritage sites which cease to exist or are inaccessible (celebrated examples including the lost Great Arch of Palmyra reconstructed with a 3D printer). Curatorial practices are now trending towards a sensorial and experiential approach.

Is the role of digital humanities—in academic as well in museum settings—to ‘reveal’ the object itself, through empirical display of extant material, or to ‘reconstruct’ something of the original experience of the object to engage spectators? Can we propose a reconciliation between these two ‘poles’?

The Sixth International Day of Doctoral Studies promoted by RAHN aims to investigate the role of digital humanities by promoting a dialogue between the protection of cultural heritage sites, museology, the history of art, and the digitalization of ‘big data’. We are accepting papers that engage with particular dimensions of the dichotomy between ‘Revealing’ and ‘Reconstructing.’ Possible topics include
• How can the Digital Humanities preserve our global heritage?
• Do Digital Humanities interventions make historical material more accessible to non- specialists?
• What are the moral obligations of the Digital Humanities within the museum context?
• How is Digital Humanities changing the practice of Art History? Do they provide a more empirical alternative to connoisseur/style-based approaches? The call for papers is open to art and architectural history graduate students and those working in the field of Digital Humanities.

We invite candidates to submit 15-minute reports that, by means of study cases or theoretical observations, point to the centre of this methodological practice. The conference will take place in Italian and English, and papers will be accepted in both languages. Proposals must be submitted in abstract form (up to 400 words) together with a short CV (max. one page) by the 1st of March to romearthistorynetwork@gmail.com. The conference will take place on the 23rd and 24th of May 2018 at the Biblioteca Angelica di Roma and American Academy in Rome.

Curated by Angelica Federici (Rome Art History Network / University of Cambridge) and Joseph Williams (American Academy in Rome / Duke University)

Coordinated by Matteo Piccioni (Rome Art History Network/ Sapienza Università di Roma )

Previous Editions
In situ / Ex situ: L’arte di esporre l’arte: relazioni nel contesto spaziale tra arte e architettura (27–28 April 2017)
Now or (n)ever: I tempi dell’opera: temi, teorie e metodi nella storia dell’arte (28–29 April 2016)
Tra assenza e presenza: Opere perdute e frammentarie (19–20 March 2015)
Sopravvalutata, sacrosanta, scandalosa? La figura dell’artista nella storia dell’arte oggi (3–4 April 2014)
La storia dell’arte tra scienza e dilettantismo: Metodi e percorsi (24 April 2012)