Enfilade

Call for Papers | Visualizing Sound and Silence

Posted in Calls for Papers, graduate students by Editor on June 13, 2019

From Case Western:

Visualizing Sound and Silence in Art and Architecture
45th Annual Cleveland Symposium for Current and Recent Graduate Students 
Case Western Reserve University and the Cleveland Museum of Art, 25 October 2019

Proposals due by 28 June 2019

When we examine visual images, we often concentrate solely on the sense of sight. In contrast, art and architecture, whether employing musical, ritual, or acoustic components, have a long history of incorporating aural elements that engage with the sense of hearing. Whether audible or silent, art, in any form, is not a ‘mute’ medium. The question of who speaks, who is silent, and who is listening echoes within the chambers of power in any society.

How do artists throughout history visualize sound and silence? How does performance alter the experience of an object or space? How does the ephemeral nature of a melody or of a cacophony change our experiences of art and architecture over time? How does conversation or contemplation reshape our understanding of an image?

The Art History Department at Case Western Reserve University invites graduate students to submit abstracts for its 2019 Annual Symposium: Visualizing Sound & Silence in Art & Architecture. We welcome innovative research papers that engage with acoustics, music, sounds, and silence in and around art.

With keynote speaker: Vincent Debiais, L’École des Hautes Études en Sciences Sociales

Presentations may explore aspects of this theme as it applies in any medium and from any historical period, geographical location, or methodological perspective. Papers that engage with the art or architecture of the Cleveland Museum of Art are encouraged, but are not required.

Leaf from a Gradual, circle of Girolamo dai Libri (Italian, 1474–1555), Verona (?), ink, tempera, and gold on parchment (The Cleveland Museum of Art, 1921.140.1.a).

Potential topics may include, but are not limited to:

• Depictions of sound
• Discussion of who is given a voice
• Music in art
• Liturgy and recitation
• Conversation pieces
• Internalization of drama
• Acoustics in architecture
• Silent films
• Performance art
• Sound installations
• The augmentation of other senses
• The role of labels and audio guides in museums
• Resonance with political environment

For consideration, current and recent graduate students in art history, musicology, and related disciplines are invited to submit a 350-word abstract, alongside a CV to clevelandsymposium@gmail.com by June 28, 2019. Selected participants will be notified by the end of July. Paper presentations will be 20 minutes in length. Please direct all questions to Reed O’Mara and Rebecca Woodruff at clevelandsymposium@gmail.com. Three papers will be awarded prizes.

Call for Papers | Work on Furniture and Interiors from Emerging Scholars

Posted in Calls for Papers by Editor on June 13, 2019

From ArtHist.net:

British, Continental, and American Furniture and Interiors
The Wallace Collection, London, 22 November 2019

Proposals due by 1 July 2019

Call for papers from PhD/Post-Doc students, junior museum/heritage curators and professionals

As part of the Furniture History Society’s programme of supporting researchers at an early stage in their careers, the Society organises a dedicated study day for emerging scholars to present on a variety of topics connected to the history, construction, design, conservation of furniture, and historical interiors. For our fifth of these conferences we particularly welcome papers on the transmission of design and manufacture as a result of immigration and emigration to and from, or within different countries. We thus invite investigation into the connections made between craftsmen, patrons and clients as well as networks of manufacture and retailing at any period. We hope to explore the rich and varied history of furniture that emerges from such an approach and develop a better understanding of how design, taste and fashion were created in the evolving modern world.

Interested speakers are requested to send an abstract of about 300 words outlining their proposed topic, research methodologies, and sources. They should also send a current Curriculum Vitae and arrange for one reference to be sent to the Jill Bace, FHS Grants Secretary, grants@furniturehistorysociety.org by 1 July 2019.

Some limited assistance with travel expenses may be available, and any requests should be included, with justification, with the applicant’s abstract. The Society is also happy to provide further details, outlining the aims and objectives of the seminar, to enable participants to apply to their own institution for funding.

Call for Submissions | Metropolitan Museum Journal

Posted in Calls for Papers, journal articles by Editor on June 12, 2019

Metropolitan Museum Journal 55 (2020)
Submissions due by 15 September 2019

The Editorial Board of the peer-reviewed Metropolitan Museum Journal invites submissions of original research on works of art in the Museum’s collection. There are two sections: Articles and Research Notes. Articles contribute extensive and thoroughly argued scholarship. Research Notes typically present a concise, neatly bounded aspect of ongoing investigation, such as a new acquisition or attribution, or a specific, resonant finding from technical analysis. All texts must take works of art in the Museum’s collection as the point of departure.

As of 2019, 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 scholars from the broader academic community. Articles and Research Notes in the Journal appear both in print and online, and are accessible via MetPublications and the Journal’s home page on the University of Chicago Press website.

The deadline for submissions for volume 55 (2020) is September 15, 2019. Submission guidelines are available here. Please send materials to journalsubmissions@metmuseum.org.

Call for Papers | 2020 Wallace Seminars on Collections and Collecting

Posted in Calls for Papers by Editor on June 11, 2019

From the Call for Papers:

2020 Wallace Collection Seminars on the History of Collections and Collecting
The Wallace Collection, London, last Monday of the Month

Proposals due by 6 September 2019

The seminar series was established as part of the Wallace Collection’s commitment to the research and study of the history of collections and collecting, especially in the eighteenth and nineteenth centuries in Paris and London. We are keen to encourage contributions covering all aspects of the history of collecting, including:
• Formation and dispersal of collections
• Dealers, auctioneers and the art market
• Collectors
• Museums
• Inventory work
• Research resources

The seminars, which are normally held on the last Monday of every month during the calendar year, excluding August and December, act as a forum for the presentation and discussion of new research into the history of collecting. Seminars are open to curators, academics, historians, archivists and all those with an interest in the subject. Papers are generally 45–60 minutes long, and all the seminars take place at the Wallace Collection between 5.30 and 7pm.

If interested, please send a short text (500–750 words) and a brief CV, indicating any months when you would not be available to speak, by Friday 6 September 2019. For more information and to submit a proposal, please contact collection@wallacecollection.org. Please note that we are able to contribute up to the following sums towards speakers’ travelling expenses on submission of receipts:
• Speakers within the UK – £80
• Speakers from Continental Europe – £160
• Speakers from outside Europe – £250

Call for Articles | Ars Judaica

Posted in Calls for Papers by Editor on May 28, 2019

From ArtHist.net:

Ars Judaica: The Bar-Ilan Journal of Jewish Art calls for papers for its prospective volumes. Ars Judaica is delighted to announce it has made an agreement with Liverpool University Press to co-publish the journal from 2019. Liverpool University Press is an innovative academic publisher who combines a distinguished 120-year history and scholarly expertise with the forward-thinking mindset of the post-Gutenberg age.

Ars Judaica is an annual peer-reviewed publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts. The ever-growing international community of Ars Judaica authors range from world-renown scholars to young, promising researchers. Ilia Rodov, the journal’s Editor-in-chief stressed: “It is our pleasure to be collaborating with Liverpool University Press to expand the activity of Ars Judaica, established in 2005 as the Michael J. Floersheim Memorial under its founding editor Bracha Yaniv. I am sure that our joint work with Liverpool University Press will be a significant contribution to the excellence of scholarly research and thought-provoking exchange of ideas regarding the visual dimensions of Jewish civilization”.

Clare Hooper, Head of Journals at Liverpool University Press said: “We are delighted to be working with the Department of Jewish Art at Bar-Ilan University to publish Ars Judaica. The journal is an extremely valuable resource to all scholars interested in the Jewish contribution to visual arts.”

The fifteenth volume of the journal and the first issue under the new publishing agreement will be published soon and will be fully available online. The Journal’s submission and style guidelines are available to download here. For more information, please see Ars Judaica’s website.

Call for Papers | UAAC/AAUC 2019, Québec

Posted in Calls for Papers by Editor on May 20, 2019

From UAAC/AAUC:

Universities Art Association of Canada / l’association d’art des universités du Canada
Hilton Hotel, Québec, 24–27 October 2019

Proposals due by 31 May 2019

Every fall UAAC hosts Canada’s professional conference for visual arts based research by art historians, professors, artists, curators and cultural workers. The conference is held at a different location each year, normally at a Canadian university or college, and the sessions and panels address issues and subjects in art history, theory and practice from a variety of methodological approaches. We’re pleased to announce that UAAC-AAUC’s next conference will be held in beautiful Quebec City at the Hilton Hotel from October 24 to 27, 2019.

A selection of sessions potentially related to the eighteenth century, including the HECAA panel, is provided below. A full list of panels is available as a PDF file here.

◊  ◊  ◊  ◊  ◊

HECAA Open Session (Historians of Eighteenth-Century Art and Architecture)
Chair: Joan Coutu (University of Waterloo), joan.coutu@uwaterloo.ca

HECAA works to stimulate, foster, and disseminate knowledge of all aspects of visual culture in the long eighteenth century. This open session welcomes papers that examine any aspect of art and visual culture from the 1680s to the 1830s. Special consideration will be given to proposals that demonstrate innovation in theoretical and/or methodological approaches.

◊  ◊  ◊  ◊  ◊

Au préalable : œuvre(s) préparatoire(s) et processus créatif aux temps médiévaux et modernes
Chair: Audrey Adamczak (Institut catholique de Paris), audrey.adamczak@videoton.ca

Nous proposons d’interroger l’œuvre préparatoire du Moyen-Age et de la première modernité quels que soient sa forme, sa destination ou le médium utilisé, en privilégiant les études qui aborderont les processus de création mis en jeu pour générer et fabriquer une œuvre d’art, qu’elle soit individuelle ou collective : pratiques d’atelier, changements/modifications de la première intention de l’artiste, reprise ou réemploi d’un modèle antérieur, etc. Nous accorderons une attention toute particulière aux propositions touchant aux domaines souvent peu étudiés tels que la gravure, l’illustration, l’enluminure, l’art du vitrail, la sculpture et les arts décoratifs, l’architecture et le décor.

◊  ◊  ◊  ◊  ◊

What Was History Painting and What Is It Now?
Chairs: Jordan Bear (University of Toronto), jordan.bear@utoronto.ca; and Mark Phillips (Carleton University), Mark.Phillips@carleton.ca

The dominant visual language of European painting from the Renaissance to the nineteenth century, history paintings were formidable in their monumental scale, ambitious moral lessons, and intricate narratives. With the rise of modernist avant-gardes, the genre receded from the forefront of artistic production into the realm of nostalgia. Yet history painting cast a shadow that would subtly colour even the works that sought to displace it.
This session invites presentations that explore the fortunes of this distinctive mode of visual representation. Papers might engage with any number of themes, including the creation of an audience attuned to the genre’s didactic aims, the entry of history painting into the marketplace of commercial art and attractions, or the reimagination of the mode in response to the edicts of modern and contemporary art and decolonization. We are eager to investigate the genre in its full range of geographical and chronological variety, and to consider both the tradition and the vibrant ways in which it resonates through the art of the present.

◊  ◊  ◊  ◊  ◊

Exhibiting Animals in the Long Nineteenth Century
Chair: Elizabeth Boone (University of Alberta), betsy.boone@ualberta.ca

Animals, both wild and domesticated, were regularly exhibited during the long nineteenth century. They appeared on canvas and as sculpture in fine art exhibitions; as public art works marking fair grounds, parks, and zoos; mounted through the art of taxidermy; and live in circus performances and at agricultural fairs. Some animals—usually those known for their performance abilities, noteworthy value, or bloodlines—appear in named portraits, while others functioned as type, to evoke particular emotions, or to communicate societal values and attitudes about these non-human beings. This session invites papers from scholars interested in exploring the current state of animal studies and the representation of animals in an exhibitionary context.

◊  ◊  ◊  ◊  ◊

Domestic Encodings through Craft Objects
Chairs: Ruth Chambers (University of Regina), Ruth.Chambers@uregina.ca; and Mireille Perron (Alberta University of the Arts, former ACAD University), Mireille.Perron@acad.ca

Desire, fear, pleasure, projection, and uncertainty loom large in concepts of home and domesticity. Craft objects in particular have sustaining connections with home and with the production of domestic space; how and what kind of space is produced through crafted objects is of renewed concern for many historians, curators, craft persons, and artists. Examples of recent scholarship and practice include, but are not limited to: Craft, Space and Interior Design 1855–2005, Sandra Alfody ed.; Breaking and Entering: The Contemporary House Cut, Spliced, and Haunted, Bridget Elliott ed.; and the works of Ann Low, Laura Vickerson, Shannon Bool, Carmen Laganse, Amy Malbeuf, Luanne Martinau, Judy Chartrand, and Lindsay Arnold, to name but a few Canadian artists. Following, but not restricted to investigations of these leads, we will offer Craft practice, theory, discourse, and history as ways to uncover, transform, validate, and better understand our production of domesticity. All historical, methodological and material approaches are welcome.

◊  ◊  ◊  ◊  ◊

Making Sense of the Senses: Evaluating the Sensorium in Visual Culture
Chair: Samantha Chang (University of Toronto), samantha.chang@mail.utoronto.ca

The classification, discrimination, and individuation of the senses have long been a topic of discussion among scholars in the natural sciences, social sciences, and humanities. Although the paradigm of the five senses can be found in philosophical texts from Ancient Greece and China, the sensory categories defined differed significantly between the two regions. This disparity of sense perception informed the interdisciplinary field of sensory studies and following the sensory turn of the 1990s, led to a profusion of sense-specific subfields, especially those related to visual culture. While the invention of visual culture collapsed the hierarchy of high/low art (Berger 1972; Baxandall 1972; Alpers 1983), the proliferation of visual culture studies further entrenches the hierarchical division of the senses (Howes 2018). This panel seeks to explore interpretations of the sensorium in visual culture and evaluate the cultural and social connections/implications of the senses in art.

◊  ◊  ◊  ◊  ◊

On Performance, Exhibitions, and Archives
Chairs: Barbara Clausen (Université du Québec à Montréal), clausen.barbara@uqam.ca; and Erin Silver (University of British Columbia), erin.silver@ubc.ca

This panel, which springboards from Clausen’s research on performance’s representational politics as a hybrid art form in the tension field of the live and mediated, and Silver’s research on the superimposition of embodied movement and political movements, examines how these practices find their various modes of existence within and beyond the framework of the institutional spaces they occupy. Bridging the recent fervour for dance’s representational and political potential within gallery spaces, to performance’s status as one of the most dominantly promoted art forms today, this panel asks: how do movement- and performance-based practices operating at the intersection of the exhibition and the archive contribute to and shape concepts of agency, site specificity, and immediacy in the cultural sphere? We invite submissions in French and English that explore notions of the performative in relation to the museum and new formats of curating, archiving, and digital mediation.

◊  ◊  ◊  ◊  ◊

Séance Ouverte (Réseau Art et Architecture du 19e siècle) / Open Session (Research on Art and Architecture of the 19th Century)
Chairs: Peggy Davis (Université du Québec à Montréal), davis.peggy@uqam.ca; and Ersy Contogouris (Université de Montréal), ersy.contogouris@umontreal.ca

L’objectif du Réseau Art et Architecture du 19e siècle (www.raa19.com) consiste à promouvoir le renouveau des recherches globales et interdisciplinaires sur le 19e siècle en histoire de l’art et de l’architecture. Cette session ouverte invite des propositions théoriques ou des études de cas qui couvrent des corpus issus du long 19e siècle, de 1789 à 1914. Une attention particulière sera donnée aux propositions qui font ressortir de nouvelles problématiques ou des méthodologies novatrices.

The aim of the RAA19 (Research on Art and Architecture of the 19th century; http://www.raa19.com) is to encourage innovative studies of nineteenth-century art and architecture. This open session welcomes papers that examine theoretical issues or case studies that focus on any aspect of the art and architecture of the long nineteenth century, from 1789 to 1914. Special consideration will be given to papers that propose innovative issues or methodologies.

◊  ◊  ◊  ◊  ◊

Perspectives on the Dutch Golden Age
Chairs: Stephanie Dickey(Queen’s University), stephanie.dickey@queensu.ca; and Amy Golahny (Lycoming College), golahny@lycoming.edu

We propose a session on the historiography and reception of Dutch art produced in the period c. 1575–1700, exploring how artists, admirers, and critics have responded to the art of the period known as the ‘Dutch Golden Age’ from the seventeenth century to the present. We welcome case studies that reflect on, for example, theoretical appraisals of Dutch art and artists; literary adaptations of artists’ lives for the popular audience; print reproductions of Dutch painting in the eighteenth and nineteenth centuries; emulation of Dutch artists in nineteenth century France; the rediscovery of Vermeer; poetic responses to Dutch art; the changing reception of Rembrandt and other artists; Dutch art through the lens of methodologies such as feminism or post-colonialism; the collecting and connoisseurship of Dutch art in Canada and elsewhere; and other topics.

◊  ◊  ◊  ◊  ◊

Interconnections in the Long Nineteenth Century
Chairs: Mitchell Frank (Carleton University), mitchell.frank@carleton.ca; and Alison McQueen (McMaster University), ajmcq@mcmaster.ca

This panel invites papers that examine the significant roles assigned to visual culture in understanding global connections in the long nineteenth century (c.1789–1914). Connections between places and power relations raise important questions, and transnational approaches offer a means of disrupting histories, including those centred on national identities. Papers may consider the following questions: What roles did visual culture play in communicating, reinforcing, enacting, complicating, and/or disrupting imperial power structures and settler- colonial narratives? What issues of agency, or factors inhibiting agency, faced imperial subjects and/or citizens as creators, patrons, or spectators? How did they traverse or negotiate between geopolitical realms, such as the metropole, provinces, or colonies? How can the social history of art raise new questions about interconnections in the long nineteenth century? How does a transnational approach enrich and expand current conceptions of nineteenth-century art and reconceptualize its parameters? What does it promise and are there drawbacks?

◊  ◊  ◊  ◊  ◊

The Art of Camouflage
Chairs: Claudette Lauzon (Simon Fraser University), lauzon@sfu.ca; and T’ai Smith (University of British Columbia), tai.smith@ubc.ca

Camouflage is a technique of obfuscation that operates in the realm of visibility. Mimicking the patterns of its environment, an animal becomes at once transparent and opaque. A product of branding, the fashionista is constantly adapting, continuously changing and exchanging her appearance for another to fit the mode of her surroundings. The hoodie is at once a target, an icon of protest, and a method of hiding. Terrorists, sports fans, politicians, and bank robbers all wear baseball caps. Meanwhile, drones are disguised as hummingbirds. This panel will consider the art and politics of camouflage in material and online environments. We invite contributions that address camouflage from historical, theoretical, and/or artistic perspectives. Topics may include counter-surveillance and camouflage; the politics of race and opacity; camouflage in/and animal studies; visual cultures of war and conflict; costume and fashion; biometrics; and feminist strategies of invisibility.

◊  ◊  ◊  ◊  ◊

À la croisée des chemins : réflexions sur les relations interespèces en art
Chairs: Anne-Sophie Miclo (Université du Québec à Montréal), miclo.anne-sophie@courrier.uqam.ca; and Valérie Bienvenue (Université de Montréal), valerie.bienvenue@umontreal.ca

Si la part de l’animal non humain est considérable au sein du processus artistique, elle est cependant assez peu questionnée. Qu’il s’agisse de sa représentation, de sa présentation (vivant ou taxidermisé) ou encore de la composition même des œuvres (par le biais des colles, pinceaux et pigments), force est de constater que cet « autre » a maintes fois pris part à la création. Pourtant, son impact sur la relation humain/animal en art reste à reconnaître : comment les rapports interespèces sont-ils réfléchis par cette présence non humaine dans les œuvres? Par ailleurs, l’artiste qui « utilise » les animaux peut-il être vecteur de revendication ou de changement dans les façons d’interagir avec eux historiquement et maintenant? Ce panel, souhaitant ouvrir la question de l’animal en art à des angles d’approches des plus variés, invite à la réflexion à partir de n’importe quelles périodes historiques ou contextes culturels et géographiques.

◊  ◊  ◊  ◊  ◊

Environnements artificiels au 19e siècle (Séance du Réseau Art et Architecture du 19e siècle : RAA19)
Chairs: Étienne Morasse-Choquette (Université du Québec à Montréal), morasse-choquette.etienne@courrier.uqam.ca; and Christina Contandriopoulos (Université du Québec à Montréal), contandriopoulos.christina@uqam.ca

Le 19e siècle est marqué par l’instrumentalisation grandissante de la nature. Face à un monde devenu abstrait, l’art du paysage naturalise l’emprise sur le territoire en produisant des images fantasmatiques, sauvages ou primitivistes, alors que l’architecture émule les mécanismes de la nature par des moyens artificiels (jardins d’hiver, atmosphères contrôlées, éclairage artificiel, illusions spatiales). Si certaines tentatives relèvent d’intentions spirituelles ou purement poétiques, d’autres s’inscrivent dans une démarche rationaliste ou instrumentale. Dans tous les cas, l’expérience esthétique et l’imagination sont appelées à jouer un rôle de première importance. Cette séance invite les propositions d’études de cas variées et d’approches théoriques qui nous permettent de réfléchir à l’esthétisation de la nature durant le long 19e siècle. Qu’il s’agisse d’espaces ou d’images, comment les arts participent-ils à la création de « paradis terrestres » ou d’autres environnements artificiels ?

◊  ◊  ◊  ◊  ◊

The Art of Visualizing Others: Early Modern Cultural Encounters
Heather Muckart (Columbia College), muckart@mail.ubc.ca

The early modern period marks a moment of accelerated cultural contact, exchange, and trade. Despite this essential feature of the period, art historical studies that examine such encounters and the ways they were represented, negotiated, and understood though art and visual culture are only recently gaining traction. This session proposes to examine the representations that such encounters generated, as well as any preexisting works that informed such moments of contact. Papers are invited that examine one or more facets of this global network of early modern encounters and their related artworks and objects. Sites of contact can include, but are not limited to: the British Empire (including British America), First Nations, Ming or Qing China, Mughal or Maratha India, Safavid Persia, the Spanish Empire (including Spanish America), or the Venetian Republic. Papers that interrogate or challenge academic notions such as acculturation, appropriation, hybridity, and liminality are particularly encouraged.

◊  ◊  ◊  ◊  ◊

Artifacts and the Digital Archive
Barbara Rauch (OCAD University), brauch@faculty.ocadu.ca

This panel invites papers that address issues within the field of critical digital humanities. We will attend to contradictions and criticism in the field of digital humanities to further address the impact and politics of digital technologies on our diverse practices, i.e. art, design, craft, and media. While we have announced the era of the post-material, the post-digital, and the post-studio, contemporary practitioners find themselves returning to their studio, negotiating materiality, physical and digital that is, as we have declared data as material. Visualizing and/or materializing data, results in products; our objects demand exposure, documenting, and finally, storage. The boundary object, the hyper object, the emotive object all declare specific material research including the tacit knowledges that the maker inserts in the object. In particular, with digital objects and algorithmic work, the code that is embedded in the object is also an object, yet, how do we archive and narrate these distinct materials; we question further, does the digital archive provide for much diversity?

◊  ◊  ◊  ◊  ◊

Open Session: National Network for the Study and Promotion of Latino Canadian Art and Latin American Art in Canada
Chairs: Alena Robin (Western University), arobin82@uwo.ca; and Analays Hernandez (University of Ottawa), analays.alvarez@gmail.com

This open session welcomes proposals that seek to foster and disseminate knowledge in Canada of all aspects of Latino Canadian art and Latin American art, from pre-Columbian and colonial periods to modern and contemporary art. The objective of this session is to bring together collaborators and proposals for the creation of a national network for the study and promotion of Latino Canadian art and Latin American art in Canada. We accept proposals in French and English/Nous acceptons les propositions en français et en anglais.

◊  ◊  ◊  ◊  ◊

Museums and Celebrity Culture: Historical and Critical Perspectives
Chairs: Maria Silina (Université du Québec à Montréal), silina.maria@gmail.com; and Lynda Jessup (Queen’s University), lynda.jessup@queensu.ca

This session is a reflection on museums and the phenomenon of celebrity culture. Museums are institutions that channel celebrity culture as a part of the global creative industry and mass culture. Today, it is evidenced in the boom in blockbuster exhibitions and large-scale collaborations of museums with film and fashion industry. In history, too, exhibitions and artworks on display had already served as an attraction to the enlightened public. Museums are also celebrity institutions in their own right. There is an ongoing mutual interest between museum curators and celebrities from other cultural domains (Wes Anderson in Vienna, Beyoncé and Jay-Z at the Louvre). Finally, this evolution of museums raises new concerns for the strategic management (acquisition, public criticism) of artistic celebrities in museum collections in the time of the #MeToo movement, increasing calls to decolonize cultural institutions, and the vital importance of actively engaging underrepresented artists and communities into museums.

◊  ◊  ◊  ◊  ◊

Locating Textiles in Global Art Histories
Julia Skelly (Independent Scholar), julia.skelly232@gmail.com

In the introduction to Art History in the Wake of the Global Turn (2014), Aruna D’Souza writes that the book is meant to address some of the ways “that a global art history troubles, even explodes, the very concepts on which the discipline is based by forcing us to see differently, to recognize the unrecognizable, to authorize the formerly unacknowledged” (xxi). D’Souza’s words strike me as particularly resonant for the study of textiles. This session will highlight new scholarship on ‘global’ textiles, with ‘global’ signifying any location in the world not typically identified as an ‘art centre’. The objective of the session will be to demonstrate anew how we as art historians can ‘explode’ the very discipline of art history by rigorously studying textiles as well as makers from a range of global contexts. Papers may discuss textiles produced during any time period.

Call for Essays | Museum Media(ting)

Posted in Calls for Papers by Editor on May 16, 2019

From ArtHist.net:

Museum Media(ting): Emerging Technologies and Difficult Heritage
Edited by Theopisti Stylianou-Lambert, Antigone Heraclidou, and Alexandra Bounia

Abstracts due by 15 July 2019; finished essays due by 15 January 2020

This edited volume with the working title Museum Media(ting): Emerging Technologies and Difficult Heritage examines theoretical approaches and case studies that demonstrate how emerging technologies can display, reveal, and negotiate difficult, dissonant, negative, or undesirable heritage. We are particularly interested in how emerging technologies in museums have the potential to reveal unheard or silenced stories, challenge preconceptions, encourage emotional responses, introduce the unexpected, and overall provide alternative experiences. By emerging technologies, we refer to contemporary advances and innovations in technology such as virtual reality, augmented reality, mixed reality, holograms, artificial intelligence, gamification, smart systems, etc.

How can museums, with the help of technology, manage to tell unheard stories, touch upon issues of difficult heritage, and narrate stories of unprivileged groups of people such as minorities, women, LGBT, immigrants, etc.? How can museums explore alternative sides of history, different from the political/ diplomatic/ military history which is the norm, such as social history, history of education, history of migration, etc., giving therefore emphasis not so much on the knowledge/ collection of information, but to multiperspectivity, inclusiveness, tolerance and social cohesion? How and to what extent the use of technology in museums/ art spaces, facilitates the understanding of issues dealing with contested history? How can emerging technologies provide not only cognitive experiences but also affective ones?

The volume may include chapters that deal with the following themes:
• Emerging technologies in museums
• Innovative interactive media/ installations
• Art and technology for difficult heritage
• Crowdsourcing/ participatory methods
• Oral histories and emerging technologies
• Deep mapping approaches
• Affective responses
• Cultural tourism and difficult or dark heritage
• Alternative experiences
• Evaluation studies of specific applications of emerging technologies applied to difficult heritage in museums
• Other themes related to the key questions of the call

The papers can be theoretical in nature or/ and explore specific case studies. We encourage proposals that demonstrate specific uses of emerging technologies in museums and other cultural sites as well as evaluation studies.

The volume will be edited by Theopisti Stylianou-Lambert (Cyprus University of Technology/ Research Centre on Interactive Media, Smart Systems and Emerging Technologies – RISE), Antigone Heraclidou (Research Centre on Interactive Media, Smart Systems and Emerging Technologies – RISE) and Alexandra Bounia (UCL Qatar/ University of the Aegean) and will be published by a well-known academic publisher.

To submit an abstract, please send a 500-word abstract (including references) and a short bio for each author (up to 70 words each) to theopisti.stylianou@cut.ac.cy and a.heraclidou@rise.org.cy by July 15th 2019. Applicants will receive a response within a month’s time. The selected authors will be expected to deliver a full paper (6000–8000 words) by January 15th 2020.

Call for Papers | Palaces for Rent: Real Estate in 18th-Century Rome

Posted in Calls for Papers by Editor on May 14, 2019

From the Call for Papers (which includes the Spanish version):

Palaces for Rent: Real Estate in 18th-Century Rome
Palacios en alquiler: Patrimonio inmobiliario en la Roma del siglo XVIII
Departamento de Historia del Arte, UNED, Madrid, 14–15 November 2019

Organized by Pilar Diez del Corral

Proposals due by 31 July 2019

This conference is developed within the frame of the research project Ramón y Cajal (2017-22131) devoted to “Artistic Academies, Diplomacy, and Identity of Spain and Portugal in Rome during the First Half of the 18th Century” (“Academias artísticas, diplomacia e identidad de España y Portugal en la Roma de la primera mitad del siglo XVIII”) by Dr Pilar Diez del Corral. The secondary aspect of the aforementioned project to be addressed is the accommodation problem that representatives of foreign countries encountered in Rome. The impact of this issue goes beyond the mere anecdote to affect diplomatic and logistical aspects of visitors’ time in Rome. From an art historical perspective this approach allows for the  study of the economic investment made by those people, the composition of their household from the staff to the material display, issues regarding restoration, construction plans, and other works in the palaces.

The conference aims to bring together scholars specializing in architecture, social history, decorative arts, and so on to explore the topic of Rome as a city of foreigners, who usually came to the city for church positions or to develop diplomatic or commercial missions that forced them to stay for long periods. The conference seeks to address the supply of palaces in Rome and the problems derived from the influence of high-ranking foreigners, who looked for accommodations fitting their dignity, and who in so many cases were forced to undertake significant works to prepare their new residences. Potential topics for discussion could include but are not limited to
• Roman palaces, construction aspects
• Internal organization of the palaces, spaces, and etiquette
• Decoration and internal design, magnificence, and display
• Roman households
• Ambassadors, legates, cardinals, and other representatives in Roman residences
• Topography of power and diplomacy
• Private and public spaces for the artistic creation within the palaces: academies, libraries, collections, intellectual gathering, theaters, etc.
• Economic issues such as problems relating to rents, non-payments, etc.

Please submit a one-page proposal (Word format) in Spanish or English (other European languages could be accepted) comprising title, abstract, and a short biographical note to palaciosromanos@gmail.com no later than 31 July 2019. The selected participants will be notified by 1 September. The conference outcomes might be followed by the publication of a collective work, subject to peer-review and selection depending on the quality and innovation of the papers.

Scientific Direction
Pilar Diez del Corral Corredoira (UNED, Madrid)

Scientific committee
Diana Carrió-Invernizzi (Dpto. Historia del Arte, UNED, Madrid)
Angela Cipriani (former director of the Archivio Storico di San Luca, Rome)
Almudena Negrete Plano (Europaschule Friedensburg Oberschule, Berlin)
Álvaro Pascual Molina (Dpto. Historia del Arte, UNED, Madrid)
Carlos Pena Buján (independent scholar, Madrid)

Call for Articles | Africa: Trade, Traffic, and Collections

Posted in Calls for Papers by Editor on May 13, 2019

From H-ArtHist:

Journal for Art Market Studies, Special Issue on “Africa: Trade, Traffic and Collections,” Guest Edited by Felicity Bodenstein
Planned for December 2019

Abstracts due by 7 June 2019; accepted articles due by 15 September 2019

Felicity Bodenstein will be guest editor of our upcoming issue on the subject of “Africa: Trade, Traffic and Collections,” provisional publication date December 2019. We would like to explore the history of trade in artefacts from Africa, including mechanisms controlling the movement of objects, campaigns against illegal transfers, and the role of provenance in the creation of market value.

The following research subjects may serve as impulses for contributions to the issue:
• The early history of trade in African objects from the eighteenth century onwards
• Concepts of value and price development in the market for ‘ethnographic’ objects from Africa
• Trade, theft, and trophy enterprises in African objects (for example through analysis of market types, acquisitions, and provenance)
• Campaigns against illegal trade and transfers from a historical perspective
• The role of the art trade in creating diasporas of objects from Africa
• The formation of African artefact collections, be it private or public
• The relationship between museum collections and the market for African objects, with special focus on actors, agents, and networks of the trade in African artefacts
• Research into the history of collecting African objects that arrived in the West through trade intermediaries, triggered by economic, political, or war-related events
• Case studies that highlight trade actors and networks in African objects

Since 2017 the Institute for Art History and Historical Urban Studies at Technische Universität Berlin has been publishing the Open Access Journal for Art Market Studies (JAMS). Under the auspices of the Institute’s well-established Forum Kunst und Markt / Centre for Art Market Studies, the publication presents interdisciplinary research results on past and present art markets. The Journal conforms to Open Access standards including website submission and peer reviews. It is also registered on the DOAJ database. Articles are published both as pdf and in HTML format, they are DOI-registered and usually subject to a CC BY-NC copyright license.

Please submit your abstract for an article by 7 June 2019 to s.meyer-abich@tu-berlin.de.

Deadline abstract (2,000 characters/ 400 words): 7 June 2019
Deadline article (30,000 characters/ 6,000 words): 15 September 2019

Call for Papers | Power Couples: The Pendant Format

Posted in Calls for Papers by Editor on May 11, 2019

Symposium | Power Couples: The Pendant Format in Art
Utah Museum of Fine Arts, University of Utah, Salt Lake City, 4 October 2019

Organized by Leslie Anderson

Proposals due by 15 June 2019

The Utah Museum of Fine Arts at the University of Utah will host an interdisciplinary symposium to coincide with the upcoming special exhibition Power Couples: The Pendant Format in Art (11 July — 8 December 2019), which will examine ideas imparted by two interdependent works (called pendants) from the fifteenth century until the present day. Papers that consider works conceived as pairs in the visual arts, literature, and music are invited, and new research related to pairs in other disciplines is encouraged. What are the artistic strategies at play in the creation of companion pieces? How do the format and display (or experience) of pendants communicate meaning?

Advanced graduate students, as well as established and emerging scholars, are invited to apply. Please submit an abstract of 250–300 words and a CV to both leslie.anderson@umfa.utah.edu and iris.moulton@umfa.utah.edu by 15 June 2019. Selected participants will be notified on or before 15 July 2019.

This symposium is organized by Leslie Anderson, Curator of European, American, and Regional Art, and Iris Moulton, Coordinator of Campus Engagement, at the Utah Museum of Fine Arts, University of Utah.

Keynote Speaker

Wendy N. E. Ikemoto is Associate Curator of American Art at the New-York Historical Society. She served as organizing curator for Rockwell, Roosevelt & the Four Freedoms (2018), Betye Saar: Keepin’ It Clean (2018–19), Bettina von Zwehl: Meditations in an Emergency (2018–19), and Augusta Savage: Renaissance Woman (2019), and as curator for Panoramic Perspectives (2019–20). She is planning an upcoming exhibition on the American romantic artist John Quidor. Prior to joining the New-York Historical Society, Ikemoto worked in academia at The Courtauld Institute of Art in London and Vassar College in New York and in secondary education at a school for Native Hawaiian students. She holds a BA in Art History from Stanford University and an AM and PhD in the History of Art and Architecture from Harvard University. Her publications include Antebellum American Pendant Paintings: New Ways of Looking (Routledge, 2017) and articles in American Art and The Burlington Magazine.