Enfilade

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

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

Proposals due by 28 February 2018

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

Call for Participation from SAHGB:

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

Proposals due by 16 February 2018

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

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

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

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

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

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

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

Proposals due by 5 March 2018

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

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

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

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

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

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

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

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

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

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

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

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From the Association for Art History:

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

Proposals due by 16 March 2018

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

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

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

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

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

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

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

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

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

Proposals due by 1 March 2018

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

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

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

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

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

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

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

From H-ArtHist:

Architectural Patronage in an Age of Reform, 1760–1840
Lambeth Palace Library, London, 6–7 September 2018

Proposals due by 11 March 2018

2018 marks the bicentenary of the passing of the Church Building Act, the first nation-wide non-military exercise of architectural patronage by central government in England and Wales. To commemorate and contextualise this event and place it in global comparative perspective, there will be an international conference to be held at Lambeth Palace Library on 6–7 September 2018.

Keynote speakers represent the international scope of the conference:
• Shirine Hamadeh (Koç University, Turkey), author of The City’s Pleasures: Istanbul in the Eighteenth Century (Seattle and London: The University of Washington Press, 2007)
• Freek Schmidt (Vrije Universiteit Amsterdam), author of Passion and Control: Dutch Architectural Culture of the Eighteenth Century (Farnham: Ashgate, 2016)
• Henriette Steiner (University of Copenhagen), author of The Emergence of a Modern City: Golden Age Copenhagen 1800–1850 (London and New York: Routledge, 2014)
• Richard Wittman (University of California at Santa Barbara), author of Architecture, Print Culture, and the Public Sphere in Eighteenth-Century France (London and New York: Routledge, 2007)

20-minute papers are invited on all aspects of architectural patronage in the period 1760–1840, in Great Britain and beyond. Priority may be given to papers addressing issues of State patronage at national or local level and/or papers that look beyond case studies of individual buildings/patrons. We are also very keen for speakers to represent a range of disciplines, including history, literature, music, performance studies etc.

Questions to be addressed include, but are not limited to
• Role of new and/or non-traditional groups as patrons (professional bodies, artisan organisations, gentlemanly societies, women etc)
• Patronage of new building types
• New models of patronage (subscriptions, tontines, new forms of taxation etc)
• The role of patronage in the emergence of general contracting
• The patron/architect relationship
• Communication and decision-making among corporate patrons
• Architectural patronage as discourse and the significance of architectural patronage to those involved
• Patronage networks
• Architectural patronage in colonial contexts and/or beyond the Anglophone world

Abstracts of 300 words plus CV should be sent to Alexandrina.Buchanan@liverpool.ac.uk by 11 March 2018. The conference is supported by an AHRC Networking Grant, Architecture and Society in an Age of Reform, 1760–1840. The University of Liverpool would also like to acknowledge the support of Lambeth Palace Library and the Georgian Group.

From the Call for Papers:

The Roman Art World in the 18th Century and the Birth of the Art Academy in Britain
The Accademia di San Luca and the British School at Rome, Rome, 10–11 December 2018

Proposals due by 12 March 2018

The Accademia di San Luca and the British School at Rome (BSR) invite submissions for papers for the conference The Roman Art World in the 18th Century and the Birth of the Art Academy in Britain, to be held in Rome between 10 and 11 December 2018. The conference will focus on the role of the Roman pedagogical model in the formation of the British academic art world in the long 18th century.

Joseph Wright of Derby, Academy by Lamplight, 1769, oil on canvas (New Haven: Yale Center for British Art, Paul Mellon Collection).

Even as Paris progressively dominated the modern art world during the 18th century, Rome retained its status as the ‘academy’ of Europe, attracting a vibrant international community of artists and architects. Their exposure to the Antique and the Renaissance masters was supported by a complex pedagogical system. The Accademia di San Luca, the Capitoline Accademia del Nudo, the Concorsi Clementini, and numerous studios and offices, provided a network of institutions and a whole theoretical and educational model for the relatively young British art world, which was still striving to create its own modern system for the arts. Reverberations of the Roman academy system were felt back in Britain through initiatives in London such as the Great Queen Street Academy, the Duke of Richmond’s Academy, the Saint Martin’s Lane Academy, and the Royal Society of Arts. But it was a broader national phenomenon too, inspiring the likes of the Foulis Academy in Glasgow and the Liverpool Society of Artists. The foundation of the Royal Academy of Arts in London in 1768 officially sanctioned the affirmation of the Roman model.

If past scholarship has concentrated mainly on the activities of British artists while in Rome, this conference wishes to address the process of intellectual migration, adaptation and reinterpretation of academic, theoretical and pedagogical principles from Rome back into 18th-century Britain. It responds to the rise of intellectual history, building on prevalent trends in the genealogy of knowledge and the history of disciplines, as well as the mobility and exchange of ideas and cultural translation across borders.

The conference welcomes diverse approaches to investigating the dissemination of the academic ideal from Rome to Britain. These might address, but are by no means limited to, the following topics:
• The impact of the Roman academic structure, theory and pedagogy on British art academies, artists’ studios and architects’ offices.
• The impact of art and architectural theory in Rome on the formation of a public discourse on art and architecture in Britain.
• The process of adaptation and reinterpretation of Roman theoretical and pedagogical principles to the British artistic and architectural context, and the extent to which British art academies developed new principles, absorbed the Roman model, or derived them from elsewhere.
• The role played by Roman and Italian artists and architects in the formation and structuring of the 18th-century British art academies and, in particular, of the Royal Academy of Arts.
• The presence and activities of British artists and architects in Roman studios, offices and academies and the presence of Italian artists in British academies.
• The role played by other relevant academies—such as those at Parma and Florence—on the formation of British artists and architects in relationship/opposition to the Roman model.
This conference will conclude a series of events celebrating the 250th anniversary of the foundation of the Royal Academy of Arts in London. It will also be part of a series of conferences and exhibitions focusing on the role of the Accademia di San Luca in the spread of the academic ideal in Europe and beyond, inaugurated in 2016 with an exhibition and conference on the relationship between Rome and the French academy, held at the Accademia di San Luca and at the Académie de France à Rome.

Please provide a concise title and abstract (250 words maximum) for a 20-minute paper. Send your proposal, with a current CV of no more than two pages, to humanities@bsrome.it. Proposals must be received by midnight, Monday 12 March 2018. Speakers will be notified of the committee’s decision in mid-April 2018. Travel grants will be available.

Adriano Aymonino
Carolina Brook
Gian Paolo Consoli
Thomas-Leo True

From the Museums and Galleries History Group:

MGHG Biennial Conference | Museums, Collections, and Conflict, 1500–2010
National Maritime Museum, Greenwich, 13–14 July 2018

Proposals due by 1 March 2018

Museums have been profoundly shaped by war and armed conflict, and have also played a significant part in shaping understandings and memories about them. Yet there has been little sustained examination of the way museums in war and war in museums has played out. Since Gaynor Kavanagh’s foundational study Museums and the First World War in 1994 and with the publication this year of Catherine Pearson’s similarly ground-breaking Museums in the Second World War, it is clear that museums have played and can play an important role in helping society address such crisis situations. On the home front, for example, museums have helped society prepare for war and armed conflict. In leading commemoration in the aftermath of war and armed conflict, museums have helped society come to terms with what happened, understand why it happened, and remember sacrifices. Yet museums have equally served as arenas where issues such as commemoration have been contested and negotiated and where particular narratives legitimising war and conflict have been developed. This conference hopes to address a broad range of questions, including on collecting (in) war and armed conflict, on the deliberate targeting and destruction or safeguarding of museums and cultural property, and the broader range of institutions brought forth or which are strongly influenced by war and armed conflict.

Keynote speaker: Annie Coombes, Professor of Material and Visual Culture, Birkbeck, University of London

We seek papers which particularly address but are not restricted to the following questions over a period from the early modern to the end of the twentieth century:

• What have museums done during periods of conflict and what has happened to them? Have they been responsible for morale, have they been targets of attack, have they physically moved and how has their staffing been affected?
• How have museums and collections acted to commemorate conflict?
• In what ways have wars and other conflicts affected museums’ and collectors’ collecting activities, positively or negatively? How have wars and conflicts been collected, and by whom?
• How have museums represented war, civil war and other conflicts such as rebellions? Have museums promoted peace by interpreting war?
• How have museums OF conflict, of the armed forces and of weaponry/armouries developed historically?
We welcome proposals for papers which deal with the history of museums and collecting in a British, European, or wider context or which address the relationships between different geographical areas.

Paper proposals should be for papers of 20 minutes’ length. Proposals should be 250 words max and include the name, contact details and affiliation (if applicable) of the speaker. Panel proposals are strongly encouraged and should consist of a panel title, proposals for 3 papers, along with a rationale for the panel theme, and contact details and affiliations (if applicable) of all participants. Please indicate whether you will provide a chair for your session or not (it does not matter which). Poster proposals are also welcomed. Please contact Kate Hill (khill@lincoln.ac.uk) for more information. All proposals should be sent to contact@mghg.info by 1 March 2018. Please note that all speakers and poster presenters will be expected to pay the conference registration fee.

The Museums and Galleries History Group (MGHG) was founded in 2002 and inaugurated in 2003 with the symposium Museums and their Histories, held at the National Gallery in London. The MGHG provides a platform for debate and contact among all those who seek to understand museums and galleries from historical and theoretical perspectives. The interests represented are wide-ranging, interdisciplinary and international and the Group also acts as a forum for considerations of the place of museum history within academic discourse and its importance for current museum practice.

From the Call for Papers:

British Art and the Global
University of California, Berkeley, 17–18 September 2018

Organized by Imogen Hart and David Peters Corbett

Proposals due by 15 April 2018

What is the role of art history in the Brexit era? In the wake of the UK’s decision to leave the European Union, the history of Britain’s relationships with the rest of the world takes on renewed significance. This conference explores how art history today can shed light on the history of Britain’s interaction with other countries and cultures. Among other questions, the conference asks: How have institutions of display and education provided frameworks that have articulated and/or obscured global contexts for British art? How can the traditions of art history, including concepts of national schools, movements, modernisms, periods, originality and imitation, aesthetic judgment, and hierarchies of media be exploited and/or critiqued by scholars of British art and the global?

We invite papers that illuminate global contexts for the history of British art by considering works of art (including painting, sculpture, architecture, the decorative arts, photography, and other forms of visual and material culture) as sites and tools of international cooperation, conflict, and exchange. Potential papers may address the global history of British art in relation to topics that include, but are not limited to:
• International artistic collaborations and organizations
• Artistic movements and their international legacies
• International modernisms
• Aesthetic theory across national boundaries
• Contexts of display including museums, collections, and exhibitions
• Institutions of artistic training and education
• The international art market
• Reproduction and circulation
• Periodicals
• Art and empire
• Travel and tourism
• Immigration
• Art and war

Keynote speakers: Tim Barringer (Yale University), Dorothy Price (University of Bristol), and Mary Roberts (University of Sydney).

This two-day, international conference is sponsored by the Center for British Studies at the University of California, Berkeley. The conference is co-organized by Imogen Hart (History of Art Department, UC Berkeley) and David Peters Corbett (Courtauld Institute of Art, London). Please submit abstracts of no more than 250 words plus a brief biographical note to imogenhart@berkeley.edu by April 15, 2018. Limited funds may be available to assist with travel expenses for speakers who do not have institutional funding.