Enfilade

Call for Papers | The Architectural Model

Posted in Calls for Papers by Editor on June 20, 2020

From ArtHist.net (19 June 2020) . . .

The Architectural Model as Tool, Medium, and Agent of Change
Special issue of Architectural Theory Review, edited by Matthew Mindrup and Matthew Wells


Proposed articles due by 15 September 2020

The architectural model has long held an important role in the edification of buildings, not least as a descriptive tool, a source of inspiration and a medium for studying new designs. Since around the fifteenth century it has served primarily as an explanatory guide for clients and builders, but there is ample evidence to support the view that it also played an important role in the generation and formulation of new designs over that same timespan, during critical moments of change in social, technical or even institutional practices. This latter role is often overlooked in architectural history and theory, even though it enjoys a similar longevity. Addressing this lacuna, we seek submissions that examine architectural modelling practices and theories which emerged from or helped to define critical moments of evolution in the history of architecture. This special issue will show how the employment of architectural models in these instances is a crucial indication of architecture’s history and capacity the discipline’s capacity for self-reflection.

Whether physical, conceptual, or digital, models stand somewhere between theoretical concepts and contingent realities, reflective of both settings, thereby allowing us to use them as instruments in our understanding of both situations. Long familiar in the sciences is the transition in cosmology from a Ptolemaic cosmology to a Copernican one. Recent research has taken a closer look at similar roles which the architectural model has had on architectural practice including the commercialisation of model making practices upon design during the post-war years in the United States; the role of paper in translating drawings to models in sixteenth-century Italy, the effect of artists and art practice on architectural models in the education of German architects during the early twentieth century and the emergence of the digital model in construction practices over the past thirty years.

The wide range of ways in which the model affects change in architectural culture warrants closer inspection. What are the ‘theories’ that motivate the form and function of models for architecture in those moments? We invite authors to consider this problem from any angle, reading the model in the broadest terms possible. Submissions may consider with new questions cases of apparently canonical importance, or address the ideas and projects of underrepresented practitioners and organizations. They might consider instances in which models (or practices involving the model, or modelling) have become sites of disciplinary adoration and/or discursive attention. How has the architectural model been an essential tool, medium or agent of change? This number of ATR hopes to shed light on a still relatively scarce archive of architectural modelling practices that motivates and mobilizes individuals, institutions and industries to rethink the built environment.

We seek papers that fall into one of four categories:

1) Modelling change — How can models (and their exhibition) be seen and understood as lodestars for critical moments of change in architectural culture?

2) Modelling theories — What particular moments or epochs in architectural theory were particularly concerned with conceptualising the model or, likewise, how were theories of architecture affected by models themselves?

3) New materials and techniques — What new model-making materials and tools, as well as the role of models (and mock-ups) emerged to advance the testing of particular formal, material, structural or technical solutions? How did new model-making materials and tools suggest new roles for the model, and how did this inform new developments in architectural practice and pedagogy?

4) Agency of the architect-as-model-maker — What is the model-maker’s role as an actor in the production of the built environment? Either as an architect, or as a practitioner in their own right? What can the examination of model-makers within architectural practices and those without tell us about their role in architectural culture?

We welcome the submission of previously unpublished, research-based writing that addresses these questions. Scholarly texts of between 4000 and 8000 words (including notes) will undergo double-blind, peer review. Although authors are invited to submit papers on people, places, and projects across the globe, all submissions must be written in (or translated into) English for consideration.

The deadline for the submission of completed manuscripts is 15 September 2020. Please submit manuscripts to the journal’s website. The editors welcome expressions of interest prior to paper submissions and are available for discussing possible contributions. For any questions regarding this issue please contact:

Matthew Mindrup, matthew.mindrup@sydney.edu.au
Matthew Wells, matthew.wells@gta.arch.ethz.ch

Manuscript submission guidelines can be found on the Architectural Theory Review website.

Call for Papers | Hidden Gems

Posted in Calls for Papers by Editor on June 19, 2020

Storeroom, National Palace of Ajuda, Lisbon

◊  ◊  ◊  ◊  ◊

From ArtHist.net:

Hidden Gems: ICDAD Virtual Conference
ICOM International Committee for Museums and Collections of Decorative Arts and Design, 15–16 October 2020

Proposals due by 1 July 2020

The 2020 Annual Conference and General Assembly of ICOM International Committee for Museums and Collections of Decorative Arts and Design was meant to take place in Lisbon, Portugal, in October of 2020. Due to the COVID-19 pandemic, the ICDAD board has elected to postpone the previously selected theme of ‘Revivals’ to 2021, when we hope to meet in Lisbon in person. All proposals already submitted for the ‘Revivals’ meeting will be eligible for the 2021 meeting, and the CFP will re-open for new proposals at a future date. In October of 2020, ICDAD will instead host an online meeting centered around the theme of ‘Hidden Gems’.

Every public decorative arts and design collection has hidden corners and unplumbed depths, and many private collections are difficult for outsiders to access during the best of times, much less during a pandemic. As institutions and individuals face the possibility that we might not be able to visit each other’s museums and discuss with colleagues in person for some time, ICDAD is thrilled to host a two-day virtual conference and general assembly exploring these hidden holdings in decorative arts and design collections around the world.

Does your collection have objects that you wish scholars and visitors knew more about? What is the subject on which you have always wanted to present an exhibition or essay, or a small yet significant story that has not yet been highlighted at your institution? If you work with a private collection, what in your holdings would you most like to see made accessible to the wider design community? We welcome presentations that address any of these questions, as well as issues related to:
• Challenging collections that require special treatment, both physically and intellectually
• Stories of ‘hidden’ or underrepresented collectors, or unexpected ways that a collection may have come together
• Works by designers and makers who were previously unknown or under-explored
• Collection access and display, physical and digital, their challenges and best practice examples

Please send an abstract of 250–300 words including your name, job position, institution, short CV, photo (headshot), ICOM number and ICDAD membership confirmation (1), to Shoshana Resnikoff at editor@icom-icdad.org by 1 July 2020. Notification of acceptance: 31 July 2020.

The conference will be held digitally 15–16 October 2020. Presentations should not exceed 20 minutes in length and should be accompanied by a PowerPoint slide show. The official language of the conference is English. The annual general assembly will take place online during these dates as well. Please contact Shoshana Resnikoff at editor@icom-icdad.org with any questions, and we look forward to seeing you (online!) in October.

(1) Please note: ICDAD welcomes abstracts from museum professionals worldwide, members and non-members alike. However, all participants must be members of ICDAD and ICOM at the moment of the conference. If accepted to present at the meeting, please get in contact with your national ICOM committee for membership registration. See icom.museum/en/get-involved/become-a-member/.

Call for Papers | Watteau and His Universe: Networks and Influences

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

From the Call for Papers (with the French version here) . . .

L’univers de Watteau: Réseaux et influences autour d’Antoine Watteau (1684–1721)
Musée de l’Armée – Hôtel National des Invalides, Paris, 17–18 November 2021

Proposals due by 15 October 2020

Pierre Antoine Quillard, The Four Seasons: Spring, ca. 1725–29, oil on canvas, 42.5 × 33.5 cm (Madrid: Colección Carmen Thyssen-Bornemisza en depósito en el Museo Nacional Thyssen-Bornemisza, inv. CTB.1930.90).

To commemorate the tricentenary of the death of Antoine Watteau (Valenciennes, 1684–1721, Nogent-sur-Marne), a two-day symposium will be held in Paris, at the Musée de l’Armée – Hôtel National des Invalides, in partnership with the Fine Arts Paris fair, 17–18 November 2021.

Since the major retrospective of 1984, several important publications have been produced. In 1996, Pierre Rosenberg and Louis-Antoine Prat co-signed the catalogue raisonné of Watteau’s drawings.1 In 2010, Christoph Martin Vogtherr conducted an extensive survey (historical and material) of French paintings by Watteau and his entourage in the collections of Prussian palaces,2 continued by an exhibition in the musée Jacquemart-André.3 Since 2014, Martin Eidelberg has been developing the Watteau and His Circle project, alongside the catalogue raisonné of his paintings: A Watteau Abecedario.

Eidelberg’s Watteau and His Circle project is the inspiration for this symposium. His research on artists who gravitated around Watteau, such as Pierre Antoine Quillard4 or Nicolas Lancret,5 together with the work of other scholars on those and other artists in the orbit of Watteau, have called into question the tradition of the solitary work of the artist. In 1932, Robert Rey was the first to consider Watteau’s followers as satellites, situating the artist as a central figure who set in motion an entire system around him.6 This term of satellites implies a notion of attraction and of concentric circles revolving around a central figure and occasionally crossing each other. However, within the framework of this symposium, this conception does not necessarily imply a hierarchy among the elements, but sees them interacting independently of their perceived importance. Masters, contemporaries, followers, friends, merchants, and collectors all took part in Watteau’s universe.

This symposium, Watteau and His Universe: Networks and Influences of Antoine Watteau (1684–1721), aims to study the figures gravitating around the painter who made him a central figure in eighteenth-century century French art.7 Close investigation of fellow painters, printmakers, merchants, collectors, amateurs, and friends is necessary in order to further our knowledge of Watteau. Communications will be expected to draw upon the works of art (drawings, paintings, etchings), so that they are exploited for their intrinsic value; the same goes for archival elements offering direct insight into the careers and interactions between Watteau and his universe.

The symposium will be divided into three parts:
1. Artists around Watteau
2. Watteau’s Social Milieu
3. Watteau on the Art Market: Collectors, Amateurs, Merchants

The symposium is organized in partnership with the international Fine Arts Paris fair (16–23 November 2021) and will be held in the auditorium of the Musée de l’Armée – Hôtel National des Invalides. Twenty-minute papers will be given in French and English (without translation). Since the organization of this symposium is a private initiative without public funding, please include at the end of your proposal your partner institution(s), your city of residence (in November 2021) and your ability or not to finance your trip. Requests for travel subventions will be studied on a case by case basis in order not to disadvantage students and independent researchers.

Publication of the symposium proceedings is planned within 12 months of the event. In order to speed up the publication process of the proceedings, upon notification of their acceptance, symposium participants will be asked to write their papers according to the established editorial standards. These will be forwarded with the approval notices.

Formatting
• Last name, first name, home institution
• Proposed title of the communication
• Summary of the proposal in 500 words (±10%, the count must appear at the end of the document)
• Illustrations (5 maximum, optional) – .word or .pdf document
• Proposals must be sent to watteau2021@gmail.com with the subject ‘NAME + Watteau 2021 Symposium’

For any questions, contact: Axel Moulinier (Doctoral student in History of Art, École du Louvre, University of Burgundy) via watteau2021@gmail.com.

Steering Committee
• Martin Eidelberg (Professor Emeritus, Rutgers University, New Jersey)
• Guillaume Faroult (Curator of 18th-century French paintings and British and American paintings, Paris, Louvre Museum)
• Margaret Morgan Grasselli (Visiting Lecturer, Department of History of Art and Architecture, Harvard University, and Visiting Senior Scholar for Drawings, Harvard Art Museums)
• Axel Moulinier (Doctoral student in History of Art, École du Louvre, Paris; University of Burgundy, Dijon)
• Louis-Antoine Prat (Art historian)
• Pierre Rosenberg, president (Member of the French Academy)
• Christoph Martin Vogtherr (Director General of the Foundation for Prussian Castles and Gardens Berlin-Brandenburg)

Notes

1  Rosenberg P. et L.-A. Prat, Antoine Watteau, 1684–1721: Catalogue raisonné des dessins (Paris and Milan: Gallimard-Electa, Leonardo Arte, 1996), 3 volumes.
2  Vogtherr C.M., Französische Gemälde, I: Watteau, Pater, Lancret, Lajoüe (Berlin: Akademie Verlag, coll.« Bestandskataloge der Kunstsammlungen », 2011).
3  Vogtherr C.M. and M. Tavener Holmes, De Watteau à Fragonard: Les fêtes galantes, exhibition catalogue, Paris, musée Jacquemart-André, 2014 (Paris, Culture Espaces, Fonds Mercator, 2014).
4  Eidelberg M., “P. A. Quillard, An Assistant to Watteau,” The Art Quarterly (1970): 39–70.
5  Eidelberg M., “The Young Lancret and Watteau,” in Watteau and His Circle, http://208.106.158.90/younglancret.htm.
6  Rey R., Quelques Satellites de Watteau: Antoine Pesne et Philippe Mercier, François Octavien, Bonaventure de Bar, François-Jérôme Chantereau, thèse complémentaire pour le doctorat ès lettres (Paris: Librairie de France, 1932).
7  Huyghe R., “L’Univers de Watteau,” (préface) in Adhémar H., Watteau sa vie, son oeuvre (Paris: P. Tisné, 1950).

Selective Bibliography

• Dacier É., A. Vuaflart, and J. Hérold, Jean de Jullienne et les graveurs de Watteau au XVIIIe siècle (Paris: Rousseau, 1922).

• Eidelberg M., “P. A. Quillard, An Assistant to Watteau,” The Art Quarterly (1970): 39–70.

• Eidelberg M., “Autour du nom de Quillard,” Bulletin de la Société de l’Histoire de l’Art Français (1979): 129–140.

• Eidelberg M., “Jean-Jacques Spoëde: Watteau’s ‘Special Friend’,” Gazette des beaux-arts (2000): 179–196.

• Eidelberg M., Watteau et la fête galante, exhibition catalogue, Musée des Beaux Arts de Valenciennes, 2004 (Paris and Valenciennes: Réunion des musées nationaux, Musée des beaux-arts de Valenciennes, 2004).

• Eidelberg M., Rêveries italiennes: Watteau et les paysagistes français au XVIIIe siècle, exhibition catalogue, Musée des Beaux Arts de Valenciennes, 2015-2016 (Gand: Snoeck, 2015).

• Glorieux G., A l’enseigne de Gersaint: Edme-François Gersaint, marchand d’art sur le pont Notre-Dame (1694–1750) (Paris: Champ Vallon, 2002).

• Glorieux G., “Michel-Joseph Ducreux (vers 1665–1715), marchand de masques de théâtre et d’habits de carnaval au temps de Watteau,” Bulletin de la Société de l’Histoire de l’Art Français de l’année (2007): 119–129.

• Moulinier A., “Les Satellites de Watteau,” Cahiers du dessin français (Paris: Galerie de Bayser, 2020).

• Moureau F. and M.M. Grasselli (dir.), Antoine Watteau (1684–1721): Le peintre, son temps et sa légende [colloque international, Paris, October 1984] (Paris and Genève: Champion, Slatkine, 1987).

• Rosenberg P., Watteau et son cercle dans les collections de l’Institut de France, exhibition catalogue, Chantilly, Musée Condé, 1996–1997 (Chantilly, Musée Condé, 1996).

• Sheriff M.D., ed., Antoine Watteau: Perspectives on the Artist and the Culture of His Time (Newark: University of Delaware, 2006).

• Vogtherr C.M., Französische Gemälde, I: Watteau, Pater, Lancret, Lajoüe (Berlin: Akademie Verlag, coll.« Bestandskataloge der Kunstsammlungen », 2011).

• Vogtherr C.M. and M. Tavener Holmes, De Watteau à Fragonard: Les fêtes galantes, exhibition catalogue, Paris, musée Jacquemart-André, 2014 (Paris, Culture Espaces, Fonds Mercator, 2014).

• Vogtherr C.M. and J. Tonkovich, Jean de Jullienne: Collector and Connoisseur (London: Wallace Collection, 2011).

• Wintermute A., Watteau and His World: French Drawing from 1700 to 1750, exhibition catalogue New York, Frick Collection, 1999–2000; Ottawa, National Gallery of Canada, 2000 (London and New York: Merrell Holberton Publishers, American Federation of Arts, 1999).

Call for Papers | Bodily Realities: Engaging the Discourse of Dis/Ability

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

From ArtHist.net:

Bodily Realities: Engaging the Discourse of Dis/Ability
46th Annual Cleveland Symposium for Graduate Students
Case Western Reserve University and the Cleveland Museum of Art, 30 October 2020

Proposals due by 17 July 2020 (extended from 26 June 2020)

The physical body is often a contested space for artists and art audiences, but one that offers abundant possibilities for exploring and expressing identity. Physical ability or disability is a key component of identity and can have a profound impact on artistic production, subject matter, and reception. Art can play a significant role in shaping the often problematic discourse surrounding this topic. Bodily Realities: Engaging the Discourse of Dis/Ability seeks to generate a dialogue about the relationship between ability and disability in the visual arts and art museums in an effort to understand the role of bodily differences in artistic practice, representation, and viewership. This symposium will address the ways in which the visual arts and artists either confirm or challenge the perceived dichotomy of the normative and non-normative physical body.

The Department of Art History and Art at Case Western Reserve University invites graduate students to submit abstracts for its 2020 Annual Symposium Bodily Realities: Engaging the Discourse of Dis/Ability. The Cleveland Symposium is one of the longest-running annual art history graduate symposia in the United States, organized by students in the joint graduate program with the Cleveland Museum of Art.

Petra Kuppers will provide the keynote address. Dr. Kuppers is a disability culture activist, a community artist, and a Professor of English, Women’s Studies, Theatre and Dance, and Art and Design at the University of Michigan. She also teaches on the low-residency MFA in Interdisciplinary Arts at Goddard College and leads The Olimpias, a performance research collective (www.olimpias.org). Thematically, her work encompasses disability studies, performance studies, critical theory and poetics, medical humanities, and the general fields of arts and expression, arts and health, and arts and community building. Her Disability Culture and Community Performance: Find a Strange and Twisted Shape (2011) explores arts-based research methods, and her most recent academic monograph is Theatre & Disability (2017). Her Studying Disability Arts and Culture: An Introduction (2014) is full of practical exercises for classrooms and studios. Her other academic books include Disability and Contemporary Performance: Bodies on Edge (2003), The Scar of Visibility: Medical Performance and Contemporary Art (2007), Community Performance: An Introduction (2007, second edition 2019), Somatic Engagement (2011), and Disability Arts and Culture: Methods and Approaches (2019).

This year’s symposium welcomes innovative research papers that explore the issues of ability and disability in and around the creation, reception, and circulation of the visual arts. Submissions may explore aspects of this theme as manifested in any medium as well as in any historical period and geographical location. Different methodological perspectives are welcomed.

Potential topics may include, but are not limited to:
• The role of physical disability in the construction of identities
• How the body relates to notions of normativity, abnormality, and hybridity
• Disability as a physical reality, but a social construct
• Stigmatization and stereotypes of the disabled body
• The fragmented, altered, disfigured, or modified body
• The body as a site of trauma, violence, pain, and/or effort
• The body’s relationship to health, illness, and recovery
• Clinical uses of art and artistic practice for disabled and non-disabled bodies
• The intersections of body and mind in the discourse of disability
• The power dynamics of ability and disability
• Accessibility in the art museum and cultural sites
• Interactions with disabled bodies through performance
• The body as subject and/or medium in performance art and body art
• The bias of ableism in art historical discourse
• The in/visibility of disability
• The Disability Arts and Culture Movement

Current and recent graduate students in art history and related disciplines are invited to submit a 350-word abstract and a CV to clevelandsymposium@gmail.com by Friday, 26 June 2020. Selected participants will be notified by the end of July. Paper presentations will be 20 minutes in length and should be accompanied by a PowerPoint presentation. Three papers will be awarded prizes.

Please note: Planning for this year’s symposium is already underway, but given the current situation with the COVID-19 pandemic, we understand that plans may need to be amended. Alternative arrangements are being made to transition to an online platform should an in-person symposium be infeasible.

Please direct all questions to Katie DiDomenico and Mackenzie Clark at clevelandsymposium@gmail.com.

Call for Papers | Curating, Care, and Community

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

From the British Art Network:

Curating, Care, and Community
Online Seminar, 3 September 2020

Proposals due by 26 June 2020

This online seminar will seek to explore how to care for others both within and beyond the curatorial community. The word curator derives from the Latin word curare, ‘to care’. Curators are charged with the physical and intellectual care of collections—the artworks, objects, and narratives found within cultural institutions. However, it is evident to the seminar organisers, a group of early career curators from a range of disciplinary backgrounds, that the concept of care within the sector must stretch beyond the guardianship of cultural heritage, to the care and concern for those everywhere. With this in mind, what role does ‘care’ play in a more holistic sense in a curators work? How do we care for each other, within both the institutional and local communities? Contributions are invited from across a range of disciplines, read the full abstract and find out more information here.

Call for Papers | New Directions, Online Seminar Series

Posted in Calls for Papers by Editor on June 6, 2020

From ArtHist.net and the NDENCA website:

New Directions in Eighteenth- and Nineteenth-Century Art
Online Seminar Series, 15 June — 9 September 2020

Proposals due by 15 June 2020

This digital series of five online seminars (one every fortnight) 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 abstracts of 300 words and short biographies to ndencaseminar@gmail.com by 15 June 2020. The series is organised by Dr Freya Gowrley and Dr Madeleine Pelling.

Call for Papers | British Art and Natural Forces

Posted in Calls for Papers by Editor on June 5, 2020

From PMC:

British Art and Natural Forces: A State of the Field Research Programme
Paul Mellon Centre, London, October–November 2020

Proposals for various formats due by 30 June 2020

J.M.W. Turner, The Evening of the Deluge, ca. 1843, oil on canvas, 30 x 30 inches (London: National Gallery of Art, Timken Collection, 1960.6.40).

In the year 2020, the Paul Mellon Centre marks its 50th anniversary as an institution dedicated to the study of British art and architecture. It is a year in which artistic practice and the practice of art history have met with the unprecedented force of a global pandemic. In the midst of this crisis, the PMC is initiating a major, multi-part programme of research events that focuses on the encounter between artistic or art historical practice and the forces of the natural world, and places such encounters in both contemporary and historical perspectives.

In doing so, we hope not only to respond to the exigencies of the current moment, but to foreground some of the most vital activities and conversations taking place within the field of British art studies. In recent years, scholars have concentrated with new intensity on the overlaps between artistic, geophysical, biological and ecological bodies of knowledge.

The theme also speaks to many of the new interdisciplinary collaborations that are currently shaping art-historical practice, which have seen scholars of the visual arts working across different subject-fields to explore natural histories, indigenous forms of knowledge, animal studies, concepts of the post-human and revitalized theorisations of the sublime.

Finally, the theme of this series exploits the astonishingly rich and diverse representations of natural forces found throughout the history of British art, from the Anglo-Saxon period to the present day. The programme will seek to explore such representations in the light of current debates and theoretical frameworks, and with the acknowledgement that human agency and reflexive awareness are natural forces in their own right.

We welcome proposals for 20-minute research papers dealing with any period or category of British art and visual culture, and that address the ways in which artistic or art-historical thinking and practice have shaped or been shaped by the encounter with natural forces, whether benign or cataclysmic, short- or long-term, visible or invisible. We also welcome proposals from artists and others whose contributions might take unexpected forms.

Schedule and Format

The events in this programme will be hosted over October and November of 2020. They may encompass virtual, in-person, audio, and print modes: the formats will be confirmed in the early autumn, and will take shape in line with UK government advice on public gatherings. Spanning eight weeks, the events will be sequential in character, and are designed to forge and facilitate a set of expansive conversations that unfold over time.

How to Submit

Please send proposals of 400 words maximum together with a short biography of no more than 100 words to events@paul-mellon-centre.ac.uk by 30 June 2020.

Call for Papers | SEASECS 2021, Ft. Myers

Posted in Calls for Papers by Editor on June 4, 2020

The Luminary & Co. Hotel, part of Marriott International’s Autograph Collection, is a new hotel, scheduled to open summer 2020.

◊  ◊  ◊  ◊  ◊

SEASECS 2021 — Oceans Rise, Empires Fall: Tidal Shifts in the Eighteenth Century
The Luminary & Co. Hotel, Ft. Myers, Florida, 18–20 February 2021

Session Proposals due by 15 June 2020
Individual Papers and Fully-formed Panels due by 15 October 2020

The 47th meeting of The Southeastern American Society for Eighteenth-Century Studies (SEASECS) will take place 18–20 February 2021 in Ft. Myers, Florida, a historically rich, culturally vibrant city also known as a winter getaway for its warm temperatures, tropical scenery, and beautiful shorelines. Situated on the gulf coast and the banks of the Caloosahatchee River, Ft. Myers has a distinct history informed by its relationship with land and water, which inspires our theme: “Oceans Rise, Empires Fall: Tidal Shifts in the Eighteenth Century.” At this time, we invite session proposals related to this theme or any aspect of the long eighteenth century. We welcome proposals for traditional panel and roundtable topics as well as innovative session formats.

Please send your session proposal including title, short description of the session format and topic, and your contact information, to Mary Crone-Romanovski at mromanovski@fgcu.edu by 15 June 2020. Submitted panel topics will be included on the general CFP for SEASECS 2021. Fully-formed panels and individual paper proposals will be due by 15 October 2020.

Call for Articles | Art Institute Review

Posted in Calls for Papers by Editor on May 28, 2020

The Art Institute of Chicago is launching a new digital journal, Art Institute Review:

Art Institute Review, Fall 2021: Instability
Issue edited by Delinda Collier and Robyn Farrell

Proposals due by 15 July  2020

Instability is the hallmark of our present moment—ways of living, working, and relating have been dramatically altered over the course of mere weeks. What if the current state of flux is but an expression of the mutable nature of reality? Encounters between cultures through colonization, migration, trade, and war have, through the instability they wrought, regularly propelled change. Technology in particular has a fraught relationship with instability, capable of exacerbating and ameliorating it simultaneously. How might we take this moment to understand instability and its effects, past and present, in radically different ways?

In the art world, instability is both catalyst and consequence. It is legible as a force that has shaped—and is actively reshaping—museum collections. It exists in the toppling of received art-historical hierarchies and the rewriting of dominant narratives, through means as diverse as academic scholarship and grassroots movements like Decolonize This Place. Artists of past centuries could not have foreseen that their work would be subject to the forces of instability, evolving over decades as its materials degrade. Conservators negotiate instability daily, paying attention to materials and environments in order to forecast and forestall deterioration. Some contemporary artists, meanwhile, deliberately flirt with instability as a creative force, experimenting with frailty, precariousness, organic materials, and viewer participation as ways of ceding control of their work.

The inaugural issue of the Art Institute Review invites you to interrogate instability in any of the multifarious ways it manifests in art objects, art history, and the art world. We seek proposals that critically engage instability in relation to technology, materiality, and making; narratives and identity; interpretive methodologies; museological concerns; and epistemologies of the field; and the intersection of these dimensions with social justice and equity. How has instability been not only a force to intervene against but also one that has fostered new, beneficial states or ways of being? In what ways is instability shaping new ways of practicing criticality, structuring our temporalities, or reframing our perceptions of conflict or compassion? Proposals may address art of any time or place. We especially welcome proposals focused on historically underrepresented objects or narratives and proposals from emerging scholars.

This issue is coedited by Delinda Collier, Associate Professor of Art History, Theory, and Criticism, the School of the Art Institute of Chicago and Robyn Farrell, Assistant Curator of Contemporary Art, the Art Institute of Chicago.

To respond to the call for papers, please email a Word document to journal@artic.edu. Your proposal should contain the following:

• your name, email, and (if you wish) a link to your website
• which of the following formats your submission falls into: scholarly essay (4,000–6,000 words); conversation or dialogue (2,000–3,000 words); visual, textual, or sound art; other (please explain)
• working title
• a one- or two-sentence précis encapsulating the central idea of your contribution
• an abstract (no more than 250 words; see “What we’re looking for” at artic.edu/journal for more guidance)
• a brief description (no more than 100 words) of the ways, if any, in which your contribution will leverage the capabilities of digital presentation. Does your proposal require any features beyond text and individual static images?

Visit artic.edu/journal for further details on the journal and the submission process.

Call for Articles and Notes | Metropolitan Museum Journal

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

Metropolitan Museum Journal 56 (2021)
Submissions due by 15 September 2020

The Editorial Board of the Metropolitan Museum Journal invites submissions of original research on works of art in the Museum’s collection. The Journal publishes Articles and Research Notes. All texts must take works of art in the collection as the point of departure. Articles contribute extensive and thoroughly argued scholarship, whereas research notes are often smaller in scope, focusing on a specific aspect of new research or presenting a significant finding from technical analysis. The maximum length for articles is 8,000 words (including endnotes) and 10–12 images, and for research notes 4,000 words with 4–6 images.

The process of peer review is double-blind. Manuscripts are reviewed by the Journal Editorial Board, composed of members of the curatorial, conserva­tion, and scientific departments, as well as external scholars. Articles and Research Notes in the Journal appear both in print and online, and are accessible via MetPublications and the Journal‘s home page at the University of Chicago Press. The deadline for submissions for volume 56 (2021) is 15 September 2020.

Inspiration from The Met.

Submission guidelines are available here.

Please send materials to journalsubmissions@metmuseum.org.