Enfilade

The format of this project is worth noting: a one-day workshop is planned for June that will in turn shape the program for the November two-day conference. Despite the emphasis on the nineteenth century, perhaps there’s room for the eighteenth century, too; or for that matter, nineteenth-century revivals of key eighteenth-century movements could certainly be interesting. –CH

From The Courtauld:

Revival: Utopia, Identity, Memory
The Courtauld Institute of Art, London, 20 June 2012 and 23-24 November 2012

Proposals due by 16 April 2012

Revivalism in art and architecture is a fundamental though often overlooked aspect of modernity. From the nineteenth century to the present, styles, ideologies, techniques and approaches have been revived and re-framed. Revival: Utopia, Identity, Memory seeks to investigate the diverse dimensions of revivalism, exploring its meanings and impacts across cultures, periods and media. The extent to which revivalism has been harnessed to promote utopian visions, assert aspects of personal or corporate identity, and grant fresh purchase on memorialization and nostalgia are all productive trajectories for investigation. Studies of art and architectural revivals tend to focus on biographical or stylistic approaches. This project, consisting of a workshop and major conference for an international cohort of interdisciplinary scholars, encourages intersecting and broadening views in order to chart the notion of revivalism itself. The phenomenon’s implications for art and architectural history in relation to tradition, repetition, originality, transnationality, patronage, religion, colonialism, historicism, reproduction, authenticity, resistance and power have yet to be intensively investigated.

This project consists of two events at The Courtauld Institute of Art in London. The first, on Wednesday 20 June 2012, will be a day-long workshop. The second, on 23-24 November 2012, will be a two-day conference. The purpose of the workshop is to explore intersections and encourage dialogue between scholars, and to discuss the importance of revivalism in broad terms. Workshop participants will also be invited to contribute research and topics for discussion to the November conference. The conference’s purpose is to crystalize and refine initial workshop conversations, establishing new ways of understanding revivalism. Participants will be drawn from early career and more established scholars, as well as artists and architects who actively engage with revival within their practice. Papers specifically addressing revivalism in relation to utopia, identity or memory are especially encouraged. It is hoped that speakers will attend both the summer workshop and the autumn conference in order to establish cohesion within the project and to create sophisticated collaborative responses to the theme.

The deadline for expressions of interest is 16 April 2012. Please email a CV and 200-word statement of how your work engages with revivalism to the project convener, Ayla Lepine (ayla.lepine@courtauld.ac.uk).

Before Publication: Montage Between Privacy and Publicity
Zurich, 28-29 September 2012

Proposals due by 30 April 2012

Idea and Conception: Dr. des. Nanni Baltzer (Institute for Art History, University of Zurich) and Dr. Martino Stierli (Institute for the History and Theory of Architeture (gta), ETH Zurich)

At the moment of their going to press, publications irreversibly reach their definite form. At the same time, they also reach an audience. What is frequently forgotten in this process is that printing is preceded by several, sometimes complex steps towards the construction and montage of (visual) meaning. This conference sees these constructions of meaning as montages, and addresses the materials and processes involved before publication. Our focus is on concrete artistic and visual artifacts such as scrapbooks, diaries, book mock-ups, and press layouts by artists, authors, and graphic designers. In particular, we intend to shed light on the relationship between the spheres of privacy and publicity. This aspect has so far received only sparse attention, whereas questions concerning the historical genealogy of montage and collage as well their theoretical bases have increasingly been addressed in more recent research.

The conference is divided into two sections:

1) In the private realm: scrapbooks and diaries

2) For the public domain: layouts and mock-ups

Scrapbooks and diaries are for normally intended as a collection of intimate memories and souvenirs or as a kind of personal archive. They are usually only published posthumously, as documentary material or in the sense of an autonomous artistic expression. In contrast, press or book publications usually lack the mock-ups, i.e. the layout and mock-ups consisting of text and image montages. Depending on the archival situation, the more or less numerous steps that lead to a publication can be reconstructed only in singular cases in order to shed light on the production processes as well as the author’s intentions.

Products of the press are from the very beginning intended for a larger audience and aim to trigger a particular reaction by the public. For this reason, they are of high interest with regard to questions of aesthetic response. In this respect, the most important issue is how books and magazines are being produced by authors, photographers, graphic designers, and editors in reference to their audience. The relationship of montage to politics and propaganda remains to be discussed, but also questions concerning the interpretative strategies that allow for the construction of an (intended) meaning. Possible key questions on specific case studies include: the unfinished in the production of meaning through montage; the relationship of text and image; montage in press and book; ‘tabular’ montage as spatial dispositif for the production of meaning.

The focus of the conference will be on the presentation and interpretation of artifacts for which the concepts of montage, collage, and assemblage form a productive frame of reference. Individual case studies are not limited to a certain historical epoch, but should address one of the two sections sketched out above. Contributions on pre-modern subjects are explicitly welcome. We invited interested individuals from art and architectural history, history and cultural studies as well as related disciplines to send a 250-word abstract and short cv to Nanni Baltzer and Martino Stierli (nannibaltzer@gmx.net, martino.stierli@gta.arch.ethz.ch) by April 30, 2012.

Confirmations will be sent out by end of May, 2012. The definitive program will by communicated by the end of May 2012. The conference will take place in Zurich on September 28 and 29, 2012. The conference is co-organized by the Institute for Art History of the University of Zurich and the Institute for the History and Theory of Architecture (gta), ETH Zurich. Depending on funding, grants for travel and accommodation will be made available. A selection of the contributions will be published.

The Rake’s Progress: Stravinsky, Hogarth, Hockney, Auden, and Kallman
The University of Colorado at Boulder, 26-27 October 2012

Proposal due by 1 May 2012

William Hogarth, "A Rake's Progress," plate 3, 1735

This conference will  be held in conjunction with the CU-Boulder Opera’s performances of The Rake’s Progress and the CU Art Museum’s exhibit, Hockney and Hogarth: Selections from the CU Art Museum’s Collection of British Art (featuring Hockney’s A Rake’s Progress, 1961-63). The program committee for the conference seeks papers relating to Stravinsky’s music, Hogarth and Hockney’s art, and/or Auden’s and Kallman’s libretto to The Rake’s Progress. The conference seeks to be interdisciplinary, and will consider relevant papers from the standpoint of music history, musical analysis, art and art history, aesthetics, literary studies, and stagecraft. Papers will be limited to 20 minutes, with ten minutes for further discussion. Those interested in participating are asked to submit a 500-word proposal in
MSWord or pdf format. E-mail by May 1, 2012 to
CBISassistant@gmail.com

From the symposium website:

The Art of Death and Dying
University of Houston, 25-27 October 2012

Proposals due by 1 May 2012

The University of Houston Libraries, in partnership with the Blaffer Art Museum, the Cynthia Woods Mitchell Center for the Arts, the Department for Hispanic Studies, the Honors College and School of Art, will host a three day symposium titled “The Art of Death and Dying.” We welcome scholars in all disciplines to submit paper proposals on
literary, visual, and performing arts topics related to death and dying. Topics of the symposium include, but are not limited to:
– Literary, performing, or visual depictions or interpretations of death and dying
– Commemoration of the dead in art and performance
– Artifacts of death and dying as represented in archival or museum collections
– Artistic depictions of the after life
– Cultural death rituals
– Cultural expressions of mourning
– Death and dying in Latin American arts and culture
– Readings of original creative material on the subject
– Performances of material on the subject
– Presentation of visual material on the subject
– Memorial architecture
– Cemetery design
– Analysis of an artist’s, performer’s, filmmaker’s or writer’s work related to the subject
– Depictions of death and dying in film, radio, and television

Proposals related to death in Latin American art and visual culture are encouraged. The organizers will accept presentations in both Spanish and English. Papers will be selected based upon the quality of the proposal (including merit of the topic, clarity of expression, and relevance to the conference theme), the proposal’s ability to provoke critical exchange and debate, and opportunities for interaction between participants that will enable attendees to engage in a truly interdisciplinary exchange of ideas and viewpoints. Presenters will be afforded the opportunity for their symposium paper/presentation to be published in the Texas Digital Library. Papers will be twenty minutes in length and will be followed by ten minutes of discussion. Abstracts of no more than 300 words should be submitted on the symposium website.

Gardening and Knowledge: Landscape Design and the Sciences in the Early Modern Period
Hanover, 17-19 September 2012

Proposals due by 29 February 2012

Gardening and Knowledge is co-organised by the Centre of Garden Art and Landscape Architecture at the Leibniz Universität Hannover and the Interdisciplinary Centre for Science and Technology Studies (IZWT) at the Universität Wuppertal in Hannover. The workshop will open on the evening of 17 September with a keynote lecture by Professor Dr. Michael Leslie and will conclude on September 19. Because experts from the USA and several European countries will be participating, the conference language will be English.

Speakers have already committed to presenting on such topics as:
– Gardening nature, gardening knowledge: early modern gardens and the rise of natural knowledge
– John Evelyn, the Elysium Britannicum and the generation/ creation of knowledge
– Water technology, the increase of knowledge and its impact on gardens in the time of the Renaissance
– Botanical illustrations and the cultivation of botanical knowledge in the early modern era
– Water technology and the theory of perspective in Early Modern garden art
– the scientific approach and professionalism in garden art historiography in the Early Modern Period

Proposals for papers are welcome by February 29, 2012. The workshop’s scope and aims invite interdisciplinary collaboration:
proposals from all disciplines that can meaningfully contribute to expanding the field of “Gardens and Knowledge”are welcome. Special consideration will be given to proposals from emerging scholars. Proposals must include a proposed title and an abstract (1–3 pages) of a 20-minute talk. The intention is to publish the conference proceedings promptly.

Please send titles, abstracts (1-3 pages) and a short CV (one page max.) via post or e-mail to:
cgl@uni-hannover.de
Zentrum für Gartenkunst und Landschaftsarchitektur
Leibniz Universität Hannover Herrenhäuser Straße 8 D-30419 Hannover, Germany

From the Canadian Society for Eighteenth-Century Studies:

CSECS 2012 — Crossings: The Cultures of Global Exchange in the Eighteenth Century
Edmonton, Alberta, 18-20 October 2012

Proposals due by 15 March 2012

Plenary Speakers: Srinivas Aravamudan (Duke University) and David Bell (Princeton University)

Xu Yang, "The Qianlong Emperor's Southern Inspection Tour," Scroll Two, detail, 1770. Accession #2004.19.15.1, Mactaggart Art Collection, University of Alberta

The Cultures of Global Exchange seeks papers investigating what happens when cultures meet in the eighteenth century. Many historians now trace the origins of modern globalization to the eighteenth century, pointing to the global circulation of goods, labour, and information as its defining feature. By focusing on the nature of cross-cultural exchange, the conference will pursue the significance of framing the century within the terms of a nascent globalized world. We invite proposals that investigate cultural exchanges in a range of fields, including but not limited to history, literature, visual culture, geography, economics, anthropology and area studies. Investigations of transcultural crossings could address dialogues between Europe, the Americas, Africa, the Levant, India, China and the South Pacific.  Especially welcome are papers on the topic of cultural encounters between Europeans and Western Canadian First Nations peoples. Possible topics include:
•    the material history of global traffic
•    translation histories
•    literary circulations
•    the culture of mobility
•    information/scholarly networks
•    representations of cross-cultural encounters
•    cultural and commercial trade routes
•    spaces of intellectual exchange
•    the culture of commodity exchange
•    theories of globalization
•    travel writing
•    eighteenth-century empires
•    ideas of difference
•    trans-cultural versus cross-cultural

As is traditional in CSECS, proposals not on the conference theme will also be considered.

Email: csecs.scedhs2012@ualberta.ca
Mail: Katherine Binhammer, CSECS
3-5 Humanities, U of Alberta
Edmonton, AB T5G 2E5

Qing Encounters: Artistic Exchanges between China and the West
Peking University, Beijing, 10-13 October 2012

Proposals due by 12 April 2012

Proposals are called for papers to be presented at a bilingual (Chinese-English, with simultaneous translation) symposium called Qing Encounters: Artistic Exchanges between China and the West, to be held on the campus of Peking University, October 10-13, 2012. The goal of the symposium is to highlight new ways of looking at the artistic contacts and mutual interactions between China and the West during the Qing dynasty (1644-1911). By gathering scholars from around the world, it aims at bringing together different art histories as well as diverse methods of analyzing the artistic products of intercultural exchange. The symposium covers all forms of art, architecture, and decorative art. Special preference will be given to young scholars bringing a fresh methodological perspective to the subject.

Held under the auspices of the J. Paul Getty Foundation, in the context of its initiative of “Connecting Art Histories,” the symposium is co-sponsored by Peking University and Seton Hall University. Its steering committee is comprised of Ding Ning, Peking University; Petra Chu, Seton Hall University; Greg Thomas, The University of Hong Kong, and Chiu Che Bing, Paris. Advisor: Thomas Gaehtgens, Getty Research Institute.

Those interested in presenting a paper at the symposium should send a one-page (double-spaced) proposal accompanied by a one-page resume (in one document) as an e-mail attachment to Petra Chu at petra.chu@shu.edu. Both proposal and résumé need to be in English (though completed papers may be delivered in Chinese). Proposal deadline: April 5, 2012. Selected participants will be notified by May 5, 2012. Final papers are due August 1, 2012.  Travel to Beijing and lodging for all speakers will be paid by a generous grant from the Getty Foundation. For more information, please e-mail Petra Chu at petra.chu@shu.edu or Ding Ning at dingning@pku.edu.cn

This CFP was announced here at Enfilade back in November; the deadline, however, is now fast approaching. –CH

Histories of British Art, 1660-1735: Reconstruction and Transformation
King’s Manor, University of York, 20-22 September 2012

Proposals due 2 March 2012

We welcome proposals from graduate students, academics working in History of Art and other Humanities disciplines, curators and all others engaged in research on the field. The conference is a key output of a major AHRC-funded project on art of the period, Court, Country, City: British Art, 1660-1735. This project is ran in collaboration between Tate Britain and the University of York, and led by Professor Mark Hallett (York), Professor Nigel Llewellyn (Tate), and Dr. Martin Myrone (Tate).

Conference costs will be heavily subsidized thanks to AHRC funding, however spaces for the conference are limited and priority will be given to speakers. A number of graduate student bursaries will be available. Please send abstracts of no more than 300 words to claudine.vanhensbergen@tate.org.uk

A PDF of the poster is available here»