Enfilade

Call for Papers | ECRS Series, 2021

Posted in Calls for Papers, graduate students by Editor on November 17, 2020

From ECRS:

The Eighteenth-Century Research Seminar Series
(Online) Fortnightly on Wednesdays, from 27 January to 7 April 2021

Proposals due by 15 December 2020

The Eighteenth-Century Research Seminar (ECRS) series invites proposals for twenty-minute papers from postgraduate and early career researchers addressing any aspect of eighteenth-century history, culture, literature, art, music, geography, religion, science, and philosophy. The seminar series seeks to provide a regular interdisciplinary forum for postgraduate and early career researchers working on the eighteenth century to meet and discuss their research.

ECRS will be hosted online by the University of Edinburgh. Seminars will take place on Wednesdays between 4:30 and 6:00pm on a fortnightly basis from 27 January to 7 April 2021. Each seminar will consist of two papers.

Abstracts of up to 300 words along with a brief biography and institutional affiliation should be submitted in a Word document to: edinburgh18thcentury@gmail.com. In your email, please also indicate any scheduling restrictions you may have. The closing date for submissions is Tuesday, 15 December 2020.

The Eighteenth-Century Research Seminar is kindly sponsored by the University of Edinburgh’s Eighteenth-Century and Enlightenment Studies Network.

Call for Papers | The [After]Lives of Objects

Posted in Calls for Papers, graduate students by Editor on November 16, 2020

From ArtHist.net:

The [After]Lives of Objects: Transposition in the Material World
(Online) University of Virginia Art & Architectural History Graduate Symposium, 18–19 March 2021

Proposals due by 15 December 2020

Transposition involves the movement of people, objects, and ideas from one context to another. The reverberating impacts of such regional and transregional exchanges have shaped artistic expressions, systems of knowledge, and relationships among polities. Recently, scholarship has turned to the object as a material manifestation of cross-cultural, transregional, and imperial encounters. [After]Lives is an interdisciplinary symposium that explores how transposition has materialized throughout history. How are objects changed when they are activated as mediums of encounter? In what ways do makers and users negotiate their positionality between and within societies through objects? How have artists and other creators problematized binary ideas of encounter and exchange in their works? When should adaptations be considered cultural appropriation instead of cross-cultural connectors? Can they be both? What is at stake when materials, artistic techniques, and/or technologies originating from one region are duplicated outside of that region?

Possible topics include, but are not limited to:
• Mediation of transcultural encounters through visual and material objects
• Processes of adaptation and assimilation in visual and material culture
• History of looting, collecting, and the art market
• Role of institutions in the (re)contextualization of objects
• Studies that problematize notions of influence, exchange, and reception across social, cultural, and artistic hierarchies
• Imperial and colonial networks of collection, trade, and exchange

We welcome submissions from graduate students at all stages and areas of study. Papers should be 20 minutes in length and will be followed by a Q&A plenary session. Papers must be original and previously unpublished. Graduate students are invited to submit a CV and an abstract (250 words) in a single PDF file by 15 December 2020 to the symposium committee at uvaartandarch@gmail.com. Applicants will be notified of decisions by 15 January 2021. Limited funds will be available to cover expenses associated with presenting at the symposium.

Keynote Speaker: Kristel Smentek, Associate Professor of Art History, Department of Architecture, MIT | Author of Mariette and the Science of the Connoisseur in Eighteenth-Century Europe (2014) and Objects of Encounter: China in Eighteenth-Century France (forthcoming).

 

Call for Papers | New Directions in 18th- and 19th-Century Art, Season 3

Posted in Calls for Papers, graduate students by Editor on November 16, 2020

From NDENCA:

New Directions in Eighteenth- and Nineteenth-Century, Art Season 3
Digital Seminar Series

Abstracts due by 30 November 2020

This digital seminar series seeks to showcase new and innovative research being undertaken on eighteenth- and nineteenth-century art and its histories. We invite contributions for papers investigating any aspect of the artistic, visual, and material cultures of this period, and produced across the globe. Sessions will be hosted via video conferencing software and will take the form of a 40-minute seminar, with time following for questions.

We welcome proposals from PhD researchers, early career academics and museum professionals, particularly those from underrepresented groups. Please send your abstracts to ndencaseminar@gmail.com.

Call for Essays | Academic Research and the Contemporary Museum

Posted in Calls for Papers by Editor on October 30, 2020

From the Call for Articles:

Academic Research and the Contemporary Museum (working title)
Collection of essays edited by Dr Nicola Pickering, to be published by Routledge

Proposals due by 30 November 2020

This publication intends to re-establish the importance of focused and supported academic object-based research in museum practice and encourage a more robust debate within the museums sector surrounding the requirement and benefits of this work. It aims to reveal how new and creative academic research can be of value to audience-focused outcomes and public engagement work in museums, something that has not received the attention it should have up to now.

In this publication ‘academic research’ will be considered as activity of a scholarly nature, involving in- depth study of museum objects, drawing heavily on the examination of primary and secondary sources, and undertaken by subject-specialists using methodologies drawn from academic disciplines. This book will offer a unique opportunity for readers to see how new academic research can successfully inform visitor-centred practices in museums, and public outcomes for non-specialists, rather than remain the preserve of elitist curators and be produced for limited and privileged audiences.

This book will contain case studies that highlight the value of skilfully and appropriately transferring and translating academic research into public-facing projects and outcomes in the museums sector. Sympathetically integrated into public interpretation and education projects, and astutely linked to contemporary issues, new object-focused and audience-focused academic research can assist in widening access and participation and contribute to museum work in areas such as wellbeing, accessibility, social justice and sustainable funding. Thus, it can complement and bolster visitor-centred approaches, rather than work in opposition to them. It is hoped that the case studies collected in this volume will show that primary research and object-based scholarship in curatorial practice, which focuses on the needs of audiences, as well as collaborations with academics and academic organisations, can enhance the public impact and wider appeal of museums.

Case studies that feature examples of object-focussed research drawing on alternative theories (for example post-colonial, feminist, critical race, post-human and environmental theories) will highlight how museums can reinterpret objects from multiple and new perspectives. This might then show how new, or a wider range of, audiences may then be engaged in the work of the museum through the curatorial, learning, engagement and community projects that draw on this fresh research. Such activity can assist in widening access and participation and contribute to museum work in areas such as wellbeing, accessibility, social justice and sustainable funding.

Case Studies Sought

Case studies—each approximately 5,000-6,000 words—of successful and innovative methodologies, practices and projects in which new and creative academic object-based research has been employed to enhance public-facing outcomes are sought for this publication.

This book aims to discuss the controversies and extend the current debate regarding curatorial approaches. Thus, case studies should discuss new ways of thinking about the role of content specialists or expertise and academic research in museums, and highlight new and creative uses of academic research in collections-based projects. Case studies might be examples of innovative and imaginative undertakings, methodologies and practices, those highlighting the value of transferring and translating academic research into public-facing projects and outcomes in the museums and heritage sector. The case studies will come together to show why this is so important, how to approach such activities, and the benefits of pursuing such projects.

The case studies should help to show how new, or a wider range of, audiences may then be engaged in the work of the museum through the curatorial, learning, engagement and community projects that draw on this fresh research. If possible, the benefits of primary research and content-focussed scholarship to successful measurable outcomes (increased visitor numbers, greater visitor engagement, raised income through commercial activities, sponsorship or grant awards, changes in diversity of audiences) should be highlighted in the case studies.

Case studies that contribute to the current debate surrounding curatorial practice, museum management and public engagement will be positively received.

The necessity of strong partnerships and interdisciplinary working might be highlighted: successful case studies in which academic staff have worked alongside museum staff to achieve innovative outcomes are sought. In doing so it is hoped this publication will assist in showing how scholarly research can be made accessible to the general public in an effective way, and help museum professionals, academics and students to see how this might be done well. Potential ways that external partnerships and internal expertise within museum and heritage organisations might be developed and maintained could be discussed in the case studies.

We are seeking case studies from any country, from a variety of types of museum (national, trust/charity, independent, local authority, university), and it is hoped they will feature a range of collection objects, subject matters, spaces, locations and budgets. Examples from museums outside of the UK and those that have an international dimension or show engagement with source communities from around the world are actively sought.

Your case study must fall into one of the following five categories:
o University museums and academic partnerships with museums.
o Public–privatepartnerships.
o Untold stories (e.g. gender and sexuality / under-represented, disenfranchised and marginalised groups / post-colonial interpretation).
o Retold stores and contemporary issues (e.g. community stories, lost and forgotten stories, audience interest reinvigorated).
o Difficult spaces and projects undertaken on small and restricted budgets (e.g. at local authority museums, independent museums).

The case study chapters will be presented thematically, examining specific research themes as outlined above. The case studies will combine to show the variety of primary, object-focused and academic research that is being undertaken in museums in projects that have visitor-focused outcomes.

Required
• Summary of your proposed contribution (no more than one side of A4).
• A list of any suggested illustrations, tables etc.
• Author CV (and list of previous published material if applicable).

MuseumResearchContributions@gmail.com

Deadline
Midday on Monday, 30th November 2020.

More information is available here.
.

Call for Articles | Reframing Eighteenth-Century European Ceramics

Posted in Calls for Papers by Editor on October 27, 2020

Two Freemasons, modelled by Johann Joachim Kändler, Meissen, ca. 1744; hard-paste porcelain, enamels, and gold; 23 × 24 × 15 cm
(New York: The Metropolitan Museum of Art, Gift of Irwin Untermeyer, 1964. 64.101.112)

◊  ◊  ◊  ◊  ◊

From the Call for Papers:

Reframing Eighteenth-Century European Ceramics
The French Porcelain Society Journal 9 (2022)

Proposals due by 1 February 2021; completed articles due by 1 September 2021

The French Porcelain Society Journal is the leading academic, peer-reviewed English-language publication on European ceramics and their histories, illustrated in full colour. Over recent years we have broadened our mandate to encompass all European ceramics from 1450 to 1950. Our next issue, volume IX, to be published in 2022, will concentrate on the eighteenth-century, which saw the discovery of ‘white gold’ (porcelain manufactured in Europe), embraced a widespread interest in the Age of Enlightenment, coupled with rising political upheavals and a consumer revolution for the luxury goods market. Yet what role did ceramics play within this? Can we rethink the traditional roles of the patron, the consumer, and the collector? What impact did the social construction of gender, race, and class have on ceramic production, design, markets, and use? Beyond their technological developments, how did ceramics reflect and respond to the significant artistic, cultural, social, economic, spiritual, and political matters of their time? This forthcoming issue of FPS Journal will challenge us to rethink accepted definitions by presenting works that demonstrate the tremendous variety of subjects and purposes of European ceramics. We are seeking articles that reframe our traditional perceptions, paying attention to materials and environments that re-evaluate conventional approaches to ceramic history, and welcome proposals that introduce historically under-represented objects or subjects. Articles are not restricted to French porcelain but may also include Spanish, Italian, Portuguese, Dutch, English, Scandinavian, German, and Austrian porcelain and earthenware.

Topics for consideration may include but are not limited to the following:
• Displaying ceramics in eighteenth-century and later interiors, exhibiting practices and architectural spaces
• Ceramics in eighteenth-century literature
• Socio-economic factors influencing eighteenth-century ceramic design or production
• Intersections between ceramics and the history of dining and food culture
• Recycling and repurposing eighteenth-century ceramics
• Collaboration and competition between factories
• Ceramics, politics and nationalism
• Patronage
• Ceramics, science and enlightenment
• Originality and invention in manufacture and design
• Eighteenth-century ceramics and visual culture
• Ceramic encounters between cultures through colonization, migration, trade, and war
• Eighteenth-century ceramics and the museum, acquisition, and display
• Ceramics and the art market
• Collecting ceramics in the eighteenth century
• Collecting eighteenth-century ceramics after 1800

Submissions in the first instance should be a summary of no more than 500 words, with a brief description of the argument, a historiography and a note of the research tools and sources used. Articles must be original; we do not accept modified versions of articles published elsewhere electronically or in print. Please include a brief biography. The journal accepts articles in French as well as in English. The volume will comprise about 15 articles that will be peer reviewed by the editorial board and the FPS council of academic and museum specialists which includes: Dame Rosalind Savill, DBE, FBA, FSA (Curator Emeritus, The Wallace Collection, London); Oliver Fairclough, FSA; John Whitehead, FSA; Errol Manners, FSA; Patricia Ferguson; Dr. Diana Davis; and Dr. Caroline McCaffrey-Howarth (Visiting Research Fellow University of Leeds and Curator, Victoria & Albert Museum). Articles should be between 4,000 and 8,000 words in length excluding endnotes. Up to 15 high-resolution images per article will be accepted.

Please send abstracts as an e-mail attachment to Patricia Ferguson, patricia.f.ferguson@gmail.com; Caroline McCaffrey-Howarth c.mccaffrey-howarth@leeds.ac.uk; and Diana Davis diana_davis@hotmail.co.uk by 1 February 2021. If your abstract is accepted, articles and images will be due by 1 September 2021. Publication is provisional on satisfactory peer review. For further details, please see the FPS website.

Call for Papers | On Portraiture

Posted in Calls for Papers by Editor on October 26, 2020

From ArtHist.net:

On Portraiture: Theory, Practice, and Fiction — From Francisco de Holanda to Susan Sontag
University of Lisbon, 26–28 April 2021

Proposals due by 30 November 2020

Centro de investigação e de estudos em belas-artes (CIEBA) – Artistic Studies Research Centre, Faculty of Fine Arts, University of Lisbon

This colloquium intends to discuss the theory and practice of artistic, historical, anthropological, social, and political experience on the topic of portraiture, as well as the fictional dimension contained within it. Located at the intersection of several disciplinary fields, the discussion(s) and papers will address the portrait as a concept, theme, process, object (monument and document), and device, in its multiple developments and in its successive conceptual, technological, and contextual updates. More than defining a temporal framework, the subtitle—From Francisco de Holanda to Susan Sontag —underscores the dynamic porosity on the researched topic in the fields of art and literature, as well as, in its mutual reversibility.

Francisco de Holanda, humanist and 16th-century Portuguese artist, is the author of Do Tirar pelo Natural [On Portraiture], the first treatise dedicated to portraiture in early modern Europe, which he concluded in 1549, in the decade following his return from a trip to Italy undertaken in 1538 to 1540, as member of the embassy of Ambassador D. Pedro de Mascarenhas. One objective for Holanda was to meet Michelangelo Buonarroti, in addition to observing and drawing fortresses and the most outstanding works of art across Italy. Upon his return, Holanda undertook writing Da Pintura Antiga [On Ancient Painting], concluded on October 13 (St. Lucas Day) 1548, as it is written at the end of Book II, followed by his second treatise, Do Tirar polo Natural [On Portraiture]. These two works were prepared for publication and were even translated into Spanish in 1563, by his friend, the Portuguese painter Manuel Denis. These treatises, written almost simultaneously, would only see publication, in Portuguese and Spanish, only in the 19th century. At the end of the Do Tirar polo Natural, Holanda states that the text was completed on January 3rd, 1549, only a few months after the completion of the two Books of Da Pintura Antiga. In fulfilment of John B. Bury’s ground-breaking research, a bilingual edition of this portrait treatise, published by Paul Holberton Publishing in London, will be presented during this Congress.

Indeed, the two great pillars of Francisco de Holanda’s theory of art—the imitation of himself, nature, and antiquity on one hand, and idea, on the other—have, precisely, as a point of departure, the artist’s creative process which Holanda discusses in his first two treatises. The importance of Do Tirar polo Natural for the theory of art, which Holanda explains and abundantly illustrates in his two books in On Ancient Painting, as well as in his drawings and illuminated albums, especially in As Antigualhas [On the Antique], makes Holanda’s need to write a portrait treatise fully justified. As an autonomous work, Do Tirar polo Natural complements Da Pintura Antiga. This treatise’s structure, in the form of dialogues, follows the model used in Book II of Diálogos em Roma [Dialogues in Rome], but here, instead of many interlocutors, is reduced to conversations between two protagonists, Brás Pereira and Feramando, the disciple and master, as well as the alter ego of Holanda. The themes and issues defined in Do Tirar polo Natural extend, deepen, and, above all, specify in detail questions regarding portraiture, themes related to the representation of the human figure which Holanda took up in Chapters 38 to 41 in Book I of Da Pintura Antiga. These chapters lack the decisive contributions, which throughout the eleven, small dialogues of Do Tirar polo Natural, Holanda describes as precepts for a painter to ‘portray’ or ‘paint from life’ the ‘persona’ of a sitter. In Do Tirar, Holanda distinguishes the portrait as distinctive from other representations of the human figure.

In The Volcano Lover, Susan Sontag begins with documentation related to three historical figures from the 18th century, expanding them into a fictional extension where they appear as characters or doubles; emerging as figures stabilized in the credibility of portraits, thus questioning their presence throughout the history of art and the history of images. These figures are the diplomat, collector, and volcanologist William Hamilton; his wife Emma Hamilton, lover of Admiral Nelson and the muse of the painter George Romney; and Admiral Nelson. The portraits directly refer to those of William Hamilton, made by Joshua Reynolds, and those of Emma Hamilton, made by George Romney and Élisabeth Vigée-Lebrun. The questions asked regard the genesis of the sensitive body, in the example of the statue of Condillac, and the metamorphosis of the statue in the myth of Pygmalion; the metamorphosis of beings in the morphological accidents of the earth and in natural objects that retain their name and history; the ideal portrait; the impossibility of describing the beauty of a face or a body, delegated to the rhetorical artifice of metaphor; the portrait as a theme and as a model; the genre of statues: action and stillness, narcissism and modesty; effigies: symbolic death; cameos: miniaturization of the portrait, living picture: representation staged inside a box or in a place surrounded by the frames of the paintings; the body in pose: support and object of the representation of a representation; the body as the embodiment of the work; the ephemerality of the body and the perpetuity of the portrait; the figure, the portrait and the recognition that erases or illuminates the name. And the ruin of it all, because ruin is the inevitable destiny of human bodies and their representations, some and others relegated to the future of our time.

In conjunction with these topics the main thematic lines of the colloquium are defined as:
• The portrait as a place and the place of the portrait in the visual culture of all periods
• Time and trans-temporality in and of the portrait
• The portrait as theory and the theories of the portrait
• The portrait as fiction

In the transversality of these lines, the following sub-themes are proposed:
The body and the portrait; Portrait: presence and representation; Portrait, self-portrait and self-representation; The expanded portrait: media, intermediary and mediation; Portrait: iconism, symbolism and similarity; Metonymic portrait; Portrait galleries; The portrait as a connotative place; The double and the portrait; The portrait and the mask; Portrait and genre: the collector and the collection; Portrait and gender: the artist and the model; Portrait: celebration and power; Portrait: celebration of anonymity; Portrait: show and monstrosity; The statistical portrait; Avatar: copy without original; The Impossible Portrait; The composite portrait; Portrait: the desecration of the body.

Keynote speakers will be selected according to the sessions formed from the submitted proposals and the thematic lines of this congress. The official languages are Portuguese, English, French, Italian, and Spanish.

All those interested in participating must send an abstract of up to 400 words, including title, name, affiliation, and text, along with a brief curriculum summary of 50 words maximum by 30 November 2020. Proposals should be submitted in doc. file from Office Word, according to the template available HERE and sent to onportraiture.congress@belasartes.ulisboa.pt. The email’s subject and the attached file should be designated as follows: NAME_SURNAME_TITLE OF PAPER. Results will be released by 31 December 2020.

Authors from selected papers are invited to participate in an optional pitch session (5 min/5 slides), which will take place on 15 January 2021 between 14.00 and 19.00 (in Lisbon).

Call for Papers | AAH 2021, Online (addendum)

Posted in Calls for Papers by Editor on October 18, 2020

Last week, a Call for Papers for AAH 2021 appeared here at Enfilade. I’m sorry that I failed to include the following session on Race and Representation in the French Colonial Empire; the posting has been updated, though I’m glad also to draw readers’ attention to the panel here. CH

Association for Art History (AAH) Conference
Online (University of Birmingham), 4–17 April 2021

Proposals due by 2 November 2020

Race and Representation in the French Colonial Empire
Susannah Blair (Columbia University), seb2210@columbia.edu
Stephanie O’Rourke (University of St Andrews), so38@st-andrews.ac.uk

This session will consolidate new research on the visual culture of race in France and its colonies during the 18th century and into the 19th century. It will be oriented around two key terms, ‘representation’ and ‘possession’, and their many resonances­­—artistic, political, legal and relational. Papers will be invited to explore how art objects articulated, contested and disseminated changing notions of racial identity and citizenship in France and its global networks.

Over the past several years, scholars have examined the role of pictorial representation in shaping ideas of race, identity, indigeneity and slavery in the context of the British Empire. Bringing together new scholarship that builds upon these precedents, we aim to address a deliberately expansive geographical notion of French visual culture, one that includes the Caribbean, New France, North Africa, Canada and the Indian Ocean in addition to sites within the ‘metropole’ such as Paris and Nantes. Fostering a dialogue between art history, indigenous studies and critical race theory, our panel will provide a crucial scholarly platform for research that can inform pedagogy, curatorial practice and future scholarship.

Call for Papers | AAH 2021, Online

Posted in Calls for Papers by Editor on October 12, 2020

From AAH:

Association for Art History (AAH) Conference
Online (University of Birmingham), 4–17 April 2021

Proposals due by 2 November 2020

After much discussion and deliberation the Association for Art History has decided to convert the 2021 Annual Conference from a hybrid event to a fully virtual event. Our decision comes on the back of ongoing uncertainty regarding COVID-19 and follows the UK government’s recent announcement to remain working from home for the next six months, where possible. Our primary focus is the safety and well-being of conference participants, prospective delegates, and staff. Whilst it’s disappointing not to be able to bring people together in person to share research and exchange ideas, we are very excited about doing this virtually instead. We are looking forward to hosting an expanded event and engaging with even more people and even more international research.

The 2021 Annual Conference was expanded to a four day event to accommodate sessions from this year’s conference which was cancelled. The 2021 conference will still take place over four days, 14–17 April; and we will continue to work with the Department of Art History, Curating and Visual Studies at the University of Birmingham and with museums and galleries in Birmingham. Session Convenors and speakers will be invited to participate and present their papers digitally, and participate in digital session discussions and debates on-screen, using a secure virtual event platform that will allow delegates maximum access to papers and discussions. Session and paper formats will remain the same, and the four-day programme will continue to offer a range of additional workshops, virtual tours, keynote lectures and networking opportunities for delegates to engage with. We will be conscious of international time differences and screen-fatigue, but aim to offer delegates the same quality of content and experience that people have come to expect, respect and enjoy at an Association for Art History Annual Conference. In light of this decision, we have extended our Call for Papers by two weeks to Monday, 2 November 2020.

Please email your paper proposals direct to the session convenor(s). You need to provide a title and abstract (250 words maximum) for a 25-minute paper (unless otherwise specified), your name and institutional affiliation (if any). Please make sure the title is concise and reflects the contents of the paper because the title is what appears online, in social media and in the printed programme. You should receive an acknowledgement of receipt of your submission within two weeks.

◊  ◊  ◊  ◊  ◊

The following sessions will likely be of interest to Enfilade readers; be sure, however, to check the AAH website for the complete Call for Papers.

Displaying Art in the Early Modern Period, 1450–1750: Exhibiting Practices and Exhibition Spaces
Pamela Bianchi (Paris 8 University), pamelabianchi1@gmail.com

Over the years, despite the increased interest in spatial issues and some iconic studies (Luckhurst, Haskell, Koch), little attention has been paid to the long-term history of the exhibition space and exhibition-making practices. Before the appearance of the first painting exhibitions and the spaces specially designed to show collections, the idea of showing art was mainly related to the habit of dressing up spaces for political and religious commemorations, cultural festivals and marketing strategies. Thus, various venues (palaces, cloisters, façades, squares, pavilions, auction houses, fairs, shops and so forth), where sociability was performed and experienced, ended up becoming temporary and privileged platforms of exhibiting.

What were those places and events? What aesthetic, cultural, social and political discourses intersected with the early idea of exhibition space? How did showing art shape a new vocabulary within these events and, vice versa, how did these occasions condition exhibiting practices? Who were the producers, actors and spectators of these processes, devices and spaces? How can we relate early exhibition logic with art history and exhibition design theories? Which kinds of sources (treatises, depictions) are involved?

The panel proposes to reconsider those events and habits that contributed to defining exhibition-making practices and to shaping the imagery of the exhibition space in the early modern period (1450–1750). Also, it seeks to define a new geography of exhibiting, not limited to Europe but expanded to include exhibiting practices in the early modern Americas, Africa and Asia. It encourages connections between art history, exhibition studies and architectural history, and studies crossing micro-histories and long-term changes, in order to open new perspectives of study and to foster historiographical research through an interdisciplinary approach.

◊  ◊  ◊  ◊  ◊

Reanimating the Past: Embodied Knowledge as Art-Historical Method
Juliet Bellow (American University), bellow@american.edu
Meredith Martin (New York University), msm240@nyu.edu

This session will explore how embodied knowledge can open up new avenues of art-historical inquiry by offering unique insights into the past. In recent years, this interest in the body as a research method and a pedagogical tool has led to a wide range of new practices, among them staging dance performances in museums; reenacting historical events or postures; and learning about artists’ processes by remaking lost pigments or other materials. We aim to discuss what is to be gained from these efforts—how embodied knowledge might expand our understanding of art history as a discipline. Conversely, what does art history have to teach us about the experience and the history of embodiment?

We seek papers covering a variety of chronological periods, geographical areas, cultural traditions and media; we particularly encourage presentations that directly incorporate embodied practices. Presenters may focus on artworks with an embodied dimension, or those for which bodies and movement may reanimate still objects (through tactics such as tableaux vivants). We also welcome papers that relate embodied knowledge to congruent or contiguous methodologies, such as material culture studies, that seek to understand and awaken the haptic or affective dimensions of artworks. Ultimately, we are interested in ways that embodied practices in the present can add new layers of meaning to historical images, objects and texts or, by employing new movement vocabularies, can reveal aspects of artworks that have been hitherto hidden or latent.

◊  ◊  ◊  ◊  ◊

Race and Representation in the French Colonial Empire
Susannah Blair (Columbia University), seb2210@columbia.edu
Stephanie O’Rourke (University of St Andrews), so38@st-andrews.ac.uk

This session will consolidate new research on the visual culture of race in France and its colonies during the 18th century and into the 19th century. It will be oriented around two key terms, ‘representation’ and ‘possession’, and their many resonances­­—artistic, political, legal and relational. Papers will be invited to explore how art objects articulated, contested and disseminated changing notions of racial identity and citizenship in France and its global networks.

Over the past several years, scholars have examined the role of pictorial representation in shaping ideas of race, identity, indigeneity and slavery in the context of the British Empire. Bringing together new scholarship that builds upon these precedents, we aim to address a deliberately expansive geographical notion of French visual culture, one that includes the Caribbean, New France, North Africa, Canada and the Indian Ocean in addition to sites within the ‘metropole’ such as Paris and Nantes. Fostering a dialogue between art history, indigenous studies and critical race theory, our panel will provide a crucial scholarly platform for research that can inform pedagogy, curatorial practice and future scholarship.

◊  ◊  ◊  ◊  ◊

Smell and Stereotype in 18th- and 19th-Century Visual Culture
Ersy Contogouris (University of Montreal), ersy.contogouris@umontreal.ca
Érika Wicky (Université Lumière Lyon 2 / LARHRA), erika.wicky@univ-lyon2.fr

Jean-Baptiste Le Prince, L’Odorat, 1774 (London: The British Museum).

In the 18th and 19th centuries, the ‘olfactory revolution’ that reoriented conceptions of smell led to renewed meanings and functions of this sense in social life. The epistemological shift that strongly linked olfaction with the nervous system, the development of hygiene as a science, and the flourishing of the perfume industry contributed to transforming the significance of smell. The act of smelling thus became involved in many identity constructions such as nation, race, gender and class. Olfaction came to be gendered; for instance, as specific smells became associated with women, the act of smelling was seen as pertaining to the feminine by means of objects such as scent bottles that performed women’s supposed extra-sensitivity to smells, and perfume was increasingly used to bolster the association between women and flowers. At the level of nations, the high proportion of Italian and French perfumers in England contributed to the construction of national stereotypes.

This session seeks to examine ways in which visual culture expressed and reinforced the role of the sense of smell in the construction of stereotypes. Graphic satire, for example, abundantly challenged the invisibility of smell, often representing stench and fragrance in order to express political criticism, reinforce social hierarchies or identify censorious behaviour. Caricaturists, such as Gillray, Boilly and Daumier greatly contributed to stereotyping in allegories, expressions of disgust provoked by miasmas, and representations of effeminate characters such as fops, macaronis, muscadins and dandies. By examining these and other issues related to the representation of smell in the creation and circulation of stereotypes, this session seeks to provide a cross-disciplinary contribution to both the history of visual culture and the history of the senses.

◊  ◊  ◊  ◊  ◊

The Space Between Non-Arts and Fine Arts: Confronting Gender and the Decorative Arts, 1500–1800
Samantha Chang (University of Toronto), Samantha.chang@mail.utoronto.ca
Lauryn Smith (Case Western Reserve University/Cleveland Museum of Art), Lauryn.smith@case.edu

The decorative arts are not easily defined and have long occupied the shifting space between the non-arts and the fine arts. During the early-modern period, prominent women, such as Catherine de’ Medici and Amalia van Solms-Braunfels, were at the forefront of amassing impressive collections of decorative objects. Limoges enamel pieces created by Susanne de Court and embroideries fabricated by Katharina Rozee were highly sought after by collectors throughout Europe. Recent exhibitions and publications highlight early-modern women as participants in the creating, cultivating and collecting of decorative objects; however, the examination of women’s agency and visibility is still limited.

In this session, we seek papers that confront the impact of early-modern women instigators as conscious creators or collectors of everyday and luxury objects. What role does gender play in the creation of decorative works and the cultivation of a collection? To what extent can a collection reflect its individual users, and what agencies do the objects retain? We invite proposals that address issues including, but not limited to: women as cultural agents; interrelationships among gender and collecting; issues of class and accessibility to resources; and strategies of display. We welcome proposals from a wide variety of disciplines, including art history, material culture, global studies, cultural studies, history, literature and race studies, as well as papers that take a global or transcultural approach and focus on under-researched media.

◊  ◊  ◊  ◊  ◊

Visual Art and the Middlebrow
Michael Clegg (Art History, Curating and Visual Studies, University of Birmingham), mjc7691@gmail.com
Rebecca Savage (Art History, Curating and Visual Studies, University of Birmingham), RXS411@student.bham.ac.uk

As a scholarly concept, the middlebrow has proved fruitful within literary studies. It has stimulated historical research (Faye Hammill, Nicola Humble, Kristin Bluemel, Emma West and others) into the struggle for cultural authority that marked the mid-20th century ‘battle of the brows’ and provided critical distance on the modernist canon that emerged triumphant within the academy. It has also enabled theoretical work (Beth Driscoll and others) that relates to a range of periods and analyses issues including the construction of cultural hierarchies in the context of class, the gendering of cultural forms, the instrumental use of culture, and the positioning of art in opposition to commerce.

The idea of the middlebrow has had less impact on art history, despite encouragement (notably by Hana Leaper) for scholarship addressing intersections of modernism and the middlebrow. Why this has been the case is open to debate, perhaps indicating limited information on art’s audiences and the tendency to treat art markets as a specialist area of study, as well as the grip of existing modernist historiography. Yet, as theoretical concept and historical topic, the middlebrow has the potential to open new perspectives on received art histories, questioning inherited hierarchies and unmooring assumed chronologies.

This session will invite papers related to any period or geography. These might focus on devalued forms or media (didactic works, illustration, works for children, and so forth), studies of audience or dissemination, questions of disputed value, or any other use of the middlebrow to reframe art history.

◊  ◊  ◊  ◊  ◊

Why Trompe l’Oeil? The Art of Deception across the Boundaries of Time and Space
Stacey Pierson (SOAS University of London), sp17@soas.ac.uk
Chih-En Chen (SOAS University of London), c_chen@soas.ac.uk

Trompe l’oeil, meaning ‘deceiving the eye’, describes works of art and objects with illusionistically beguiling surfaces and forms. Production of such works can now be identified as a global historical phenomenon, with a broad array of examples ranging from the familiar Palissy wares, to Edward Collier’s painting of writing implements, to Chinese jade cabbages that have been challenging the material experience of visuality and countervisuality for hundreds of years. However, despite its long history of production, the ontology of trompe l’oeil artistic production and the reasons behind this illusory invention remain unexplored. Engaging with the concept of trompe l’oeil in expanded art-historical and visual fields of inquiry, across time and space, would allow us to probe the evolution of the pursuit of deceptive visual representation and the consumption of deceitful things in relation to both heuristic and contextual frames such as politics, religion, society and the economics of production.

Accordingly, ‘Why trompe l’oeil?’ will be the fundamental question addressed in this session. Papers might explore how different types of global trompe l’oeil art production have shaped the ways in which such art is produced, dispersed, consumed and conceptualised. Moreover, other artificial approaches to representing reality that developed alongside the concept of trompe l’oeil, such as Skeuomorphism, Cubism, Indeterminism and Naturalism, might also be considered. The primary aim of the session is to expose the rationale and motivation for trompe l’oeil art production by considering its different forms from a trans-historical and trans-spatial perspective and we invite papers that explore this through a range of different perspectives and methodological approaches.

◊  ◊  ◊  ◊  ◊

Note (added 17 October 2020) — The original version of this posting did not include the session on Race and Representation in the French Colonial Empire.

Call for Essays | Transitioning Historic Houses to a Virtual Experience

Posted in Calls for Papers by Editor on October 11, 2020

From ArtHist.net (8 October 2020). . .

Edited Volume, History Dis-placed: Transitioning Historic Houses to a Virtual Experience
Proposals due by 30 November 2020; final papers will be due by 15 June 2021

History Displaced: Transitioning Historic Houses to a Virtual Experience concentrates on the unique histories and challenges of house-museums. In addition to being historic landmarks, house-museums can be sites of civic engagement and reflection; centers for activism and cultural discourse; and places for public events and gatherings. In the digital age, house-museums have had to renegotiate these identities and interactions with contemporary audiences through innovative practices. This was further challenged when museums across the globe were suddenly forced to pivot to, for many, an unfamiliar online discourse during the 2020 Covid-19 crisis. Many of the educational tropes utilized to great affect by house-museums—including living history and other direct contact strategies with an active audience—had to be jettisoned for online engagement. Museum staff were challenged to create content, develop educational recourses, and provide access to collections with little preparation and amidst severe budget cuts. There has, perhaps, never been a greater challenge to museums around the globe, and historic homes are among the hardest hit in these unprecedented times.

This edited volume asks for submissions that address, but are not limited to, the tactics taken by house-museums after February 2020, when it was clear that closing was imminent and re-opening in the near future was not an option. How do museums that strive to bring in-person encounters to life continue to do so through an online presence? How can these site-specific museums re-create or re-produce an aura or indexicality of space and place—a interaction that differs somewhat from other types of museums? What types of decisions need to be made when re-creating the museum collection for online perusal, which, for most house museums, are traditionally and fully experienced through the domestic spaces in which the collection is housed and the site-specificity of the museum? How do those at house-museums envision these decisions to move content online affect the future engagement of the museums with visitors and educators?

We invite submissions for scholars, students, and those personally involved with the day-to-day operations of a house-museum that reflect upon of the strategies undertaken for both historical and financial survival in the precarious position that house-museums find themselves during and after 2020.

Please send abstracts of no more than 500 words to Karen Shelby (karen.shelby@baruch.cuny.edu) and Emily Stokes-Rees (ewstokes@syr.edu) by 20 November 2020 with the subject heading “House Museum Submission.” Abstracts and a two-page CV should be sent as one PDF and titled with the author’s last name. Editors will respond to submissions by 15 December. Final papers will be due 15 June 2021. Papers should be 6,000–8,000 words in length.

Call for Papers | HECAA Emerging Scholars Showcase

Posted in Calls for Papers by Editor on September 24, 2020

From the Call for Papers:

HECAA Emerging Scholars Showcase
Online, 7 November 2020 and 6 February 2021

Applications due by 11 October 2020

The Historians of Eighteenth-Century Art and Architecture (HECAA) invite emerging scholars studying art, architecture, and visual culture of the long eighteenth century (c. 1660–1830) around the globe, current graduate students (both MAs and PhDs), and those who have received their PhDs within the past five years, to participate in a virtual showcase to promote their research.

Each scholar will be given 3–5 minutes to present their work, followed by an open question and answer session. We will hold two sessions, one on Saturday, 7 November 2020 and one on Saturday, 6 February 2021, each lasting about 1.5 hours. Additional sessions may be added depending on interest. To apply, please fill out this form. Applications are due by Sunday, October 11 at midnight (EST). Please direct any questions to Dani Ezor, dezor@smu.edu.