Enfilade

Here are some of the thematic offerings proposed for the AAH 2018 conference that could include eighteenth-century papers. Be sure to consult the conference website for things I’ve overlooked. –CH

44th Annual Association of Art Historians Conference
Courtauld Institute of Art and King’s College London, 5–7 April 2018

Proposals due by 6 November 2017

The 2018 Annual Conference for art history and visual culture will be co-hosted by the Courtauld Institute of Art and King’s College London. Academic sessions that papers will respond to the idea of ‘looking outwards’. This international 3-day event will look at art history in the broadest sense, and will incorporate a diverse range of speakers and perspectives.

The close collaboration between the two institutions—involving numerous other museums and cultural partners in London—will set the tone for a conference oriented around ‘looking outwards’. On one hand, we will be encouraging art historians and researchers to think about their disciplinary relationships with other affiliated subjects in the arts and humanities (as indeed beyond). On the other, we will be inviting new perspectives on international collaborations within the field (particularly important in the wake of recent political events…). We aim to incorporate an ambitious range of perspectives—from university academics and doctoral researchers, to educators, curators, heritage partners, and not least artists themselves. We hope to deliver an event with the widest possible remit and reach.

The 2018 conference will host 40 academic sessions, over 3 days (approximately 13–14 sessions each day). Each session will generally consist of between 4 and 8 papers (minimum 4, maximum 8); papers are usually 25 minutes, presented in 35-minute slots to allow for questions and movement between sessions. We will also accommodate alternative session formats—such as world-cafe, round-table, or open discussions. Sessions will respond to the idea of ‘looking outwards’ by engaging with art history and visual culture in the broadest sense. A listing of the 2018 academic sessions and abstracts (as a pdf file) is available here.

Please email paper proposals directly to the session convenors. You will need to provide a title and abstract (250 words maximum) for a 25-minute paper (unless otherwise specified), your name, and institutional affiliation (if relevant). Please make sure the title is concise and reflects the contents of the paper because the title is what appears online, in social media, and in the printed programme.

Conference Convenors
Joanna Woodall and Katie Scott (Courtauld Institute of Art)
Michael Squire (King’s College London)

Conference Coordinator
Cheryl Platt (Association for Art History)

◊  ◊  ◊  ◊  ◊

Art and Religion: Theology, the Sacred, and Visual Culture
Ben Quash (King’s College London), ben.quash@kcl.ac.uk; and Ayla Lepine (University of Essex), ayla.lepine@gmail.com

When art enters religious territory it can open new spaces of encounter that provoke, illuminate, challenge, and disturb. The attachments of religious conviction, meanwhile, can discomfit the disinterested analysis of the scholar of material culture. When scholarship in art history connects with research in religious studies and theology, dialogues necessarily open outwards, therefore, onto debates regarding religion and the sacred in visual culture and in public and private life. Building on recent scholarship by voices in theology, religion and the arts including Sally Promey, Graham Howes, Gretchen Buggeln and Christopher Pinney, this session encourages new perspectives on diverse meetings worldwide between the sacred and the arts. Across the past decade, art historians and theologians have begun to probe new zones of common ground and collaborate fruitfully. As an example, Stations 2016, staged in London during Lent 2016, was a remarkable but almost uncategorisable event. It created a route across London which connected works of art hanging in museum spaces (Jacopo Bassano’s Christ on the Way to Calvary in the National Gallery, for example, or a Limoges enamel sequence in the Wallace Collection) with works of art in church spaces (many of them newly commissioned, temporary installations), and also with works of art in public and ostensibly ‘neutral’ spaces (like a statue of Mahatma Gandhi in Parliament Square). It clearly showed that contexts are not only physical spaces; they are also human uses. The Bassano in the National Gallery could, at the very same instant that Lent, have been gazed upon by a tourist spending a morning enjoying art for art’s sake, and a pilgrim en route with Christ to Golgotha. This session encourages papers from art historians and theologians in fields that explore any tradition or period in which art and religion interlace to produce new experiences and understandings of holiness and the sacred. We particularly welcome submissions that break new ground in relation to liturgy and ritual, interdisciplinary methodologies and cross-fertilizations between theology and art history, the unique status of religious objects in museums and cultural institutions, interactions between sacred scripture and the arts, religious implications for representational and abstract art, diverse intersections of gender, identity, and religious art, and studies that challenge and even break boundaries regarding conventional understandings of ‘religion’ and ‘faith’.

◊  ◊  ◊  ◊  ◊

Beyond Boundaries: Artistic Inquiries into Borders and Their Meanings
Mey-Yen Moriuchi (La Salle University), moriuchi@lasalle.edu; and Lesley Shipley (Randolph College), lshipley@randolphcollege.edu

Borders have played a critical role in the development and distribution of culture, often acting as frameworks that help or hinder our ability to ‘look outwards’. In The Location of Culture, Homi Bhabha calls attention to the value of interstitial spaces, where borders, frames, and other locations ‘in-between’ become ‘innovative sites of collaboration and contestation in the act of defining the idea of society itself.’ Other philosophical considerations of borders, such as Martin Heidegger’s concept of gestell, or enframing, Jacques Derrida’s deconstruction of Enlightenment aesthetics vis-à-vis the parergon, and Victor Stoichita’s analysis of framing devices in early modern ‘meta-painting’, have demonstrated the transformative power of edges, frames, borders, and boundaries in art.

This session will focus on works of art, artistic practices, and art historical perspectives that think critically and creatively about borders and their meaning(s). The goal is to expand our understanding of borders, whether physical or conceptual, historical or theoretical. In the spirit of pushing beyond boundaries of convention and ‘looking outwards’, we welcome papers that focus on any medium, art historical period, or curatorial practice. Papers may address, though are not limited to: art that explores the significance of borders to migrants, immigrants, diasporic communities or other groups residing (both literally and figuratively) ‘in-between’; activist art that interrogates borders and their meaning(s); the role of public art, public space, and social media in thinking beyond boundaries; the metaphorical and/or literal framing of a work of art and its effects; the symbolic purpose or meaning of frames in various cultural contexts (for instance, the role of framing in religious spaces or objects, such as tabernacles, wall niches, icon paintings, and marginalia).

◊  ◊  ◊  ◊  ◊

Hazardous Objects: Function, Materiality, and Context
Winterthur Museum, Garden, and Library, Wilmington, Delaware, 26–28 April 2018

Proposals due by 10 November 2017

The Center for Material Culture Studies at the University of Delaware invites submissions for papers to be given at the Fifteenth Material Culture Symposium for Emerging Scholars. We invite papers that identify and consider the production and use of hazardous material culture. Whether through composition or intended function, objects are hazardous or may become hazardous. Certain materials, organic or artificial, exist as hazards to humans. Additionally, hazards are often embedded in the material environment and affect our experience of domestic, institutional and public space.

What makes an object hazardous? What cultural, social, and transhistorical processes create hazards? How are materials and material culture used in hazardous ways? In concept and in practice, hazards affect the everyday awareness of danger, risk, or contamination. Alternatively, humans create hazards through the use or subversion of objects and materials. What level of complicity should one assume for their creation or maintenance?

This symposium is not bound by any temporal or geographical limits. Possible topics include, but are not limited to:
• Designing Hazards
• Intentional Hazards
• Accidental Hazards
• Social hazards
• Hazards in historical perspective
• Responding to hazards – defining and regulating hazards, handling hazardous objects.

We invite panel submissions in addition to individual submissions.

Finally, we encourage papers that reflect upon and promote an interdisciplinary
approach to hazards and hazardous material culture. Disciplines represented at past symposia have included American studies, anthropology, archaeology, consumer studies, English, gender studies, history, museum studies, and the histories of art, architecture, design, and technology. We welcome proposals from graduate students, postdoctoral scholars, and those beginning their teaching or professional careers.

Proposals should be no more than 300 words and include the focus of your object-based research and the significance of your project. Relevant images are welcome. Programs and paper abstracts from past symposia are posted here. Send your proposal, with a current CV of no more than two pages, to emerging.scholars@gmail.com.

Proposals must be received by 5pm on Friday, 10 November 2017. Speakers will be notified of the committee’s decision in January 2015. Confirmed speakers will be asked to provide digital images for use in publicity and are required to submit their final papers by 15 March 2018. Travel grants will be available.

2018 Emerging Scholars Co-Chairs
Erica Lome (History of American Civilization)
Kiersten E. Mounce (Art History)
Allison Robinson (Winterthur Program in American Material Culture)
Victoria Sunnergren (Art History)
University of Delaware

History of Collecting Seminars
The Wallace Collection, London, 2018

Proposals due by 11 September 2017

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. In 2018, as in previous years, we plan to organise a series of 10 seminars.

The Wallace Collection will be celebrating the bicentenary of Sir Richard Wallace’s birth in 2018. To mark the occasion we hope that the seminars will have a special emphasis on collecting in Paris and London during the second half of the nineteenth century. We are also keen, though, to encourage wider contributions for 2018, 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 words), including a brief CV, indicating any months when you would not be available to speak, by 11 September 2017. 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

The 2017 programme is available here»

Art and Work, A Graduate Symposium
Northwestern University, Evanston, 8 February 2018

Proposals due by 1 October 2017

The Department of Art History at Northwestern University will hold a one-day graduate symposium on Thursday, 8 February 2018 on the topic of art and work. The symposium will span historical periods and geographic regions to investigate the history, politics, and aesthetics of artistic labor. Our proposal is grounded by historical and theoretical concerns with the social positions of art making, the artist, and work more generally. How do the social and technical conditions of labor in a given society determine the possibilities of its art, and how do artistic imaginaries of work help shape struggles around these very social conditions? What kinds of skills, expertise, discourses, or knowledge come to distinguish an artist from an artisan, engineer, or maker, or from a teacher, political official, or social worker? How and where do these distinctions emerge or dissolve both visually and historically, and how do they relate to other predominant social markers such as race, gender, and class? We see these questions as resonating across boundaries of period and national tradition, and are excited to see what might be learned from thinking within a wide historical frame wherein both art and work are contested terms.

We welcome papers that consider, among other topics, the aesthetics of work and/or non-work; the social position of the artist; the problem of aesthetic autonomy; or spaces of production and their representations—from the artist’s studio to the collaborative workshop, the laboratory, the home, the factory, and beyond. We are also interested in how representations of artistic production and exercises in (or negations of) artistic technique mediate ongoing processes of social transformation. We invite papers from any time period or geographic region by graduate students in art history as well as related disciplines.

Possible topics might include
• Depictions of studio, workshops, factories, spaces of production
• Craft labor and handwork
• Treatises and technical manuals
• Artistic readymades or the absence of work
• Histories of deskilling and automation
• Aesthetics and political economy
• Anti-work politics and aesthetics
• Global precarity and flexible labor regimes
• Reproductive labor, domestic work
• Affective and care-based labor
• Post-Marxist approaches to ‘immaterial labor’
• Community and public art

Symposium speakers who do not reside locally will receive roundtrip economy airfare to Chicago/Evanston, accommodation for two nights in Evanston, and a travel stipend to cover ground transportation to and from the airport. Please email proposals to laurelgarber2015@u.northwestern.edu and brianleahy2020@u.northwestern.edu by October 1, 2017. Include in your proposal a 300-word abstract and a brief CV in a single PDF file. Selections will be announced in mid-October.

Keynote lecture by Jasper Bernes, author of The Work of Art in the Age of Deindustrialization (Stanford University Press, 2017).

Gerard Van Keulen, Carte de la Nouvelle France ou se voit le cours des Grandes Rivieres de S. Laurens & Mississippi…
(Amsterdam, 1720)

◊   ◊   ◊   ◊   ◊

From the 18th- and 19th-Century Studies Network:

New Orleans, Global City, 1718–2018: The Long Shadow of John Law and the Mississippi Company
Inaugural Conference of the 18th- and 19th-Century Studies Network
University of Colorado Boulder, 26–28 April 2018

Proposals due by 17 September 2017

It has been almost three hundred years since the first international stock market crash took place in France, Britain, and the Netherlands. A spate of cross-disciplinary conferences and publications have added greatly to our understanding of the impact of the Mississippi and South Sea Bubbles and the Dutch windhandel (trade in wind) on European economies and cultures. The colonial, global, and oceanic dimensions of these events have not been studied as closely. ​Meant to coincide with the foundation of New Orleans in 1718 by the Compagnie des Indes (aka the Mississippi Company), this interdisciplinary conference will focus on the immediate to long-term impact of Law’s System and the Mississippi Company on the cultures, economies, and environments of New Orleans and surrounding areas. The focus will be on the eighteenth and nineteenth centuries, but we shall also consider proposals that deal with earlier or later developments so long as they take into account their broader historical context.

We particularly welcome proposals that
• consider the direct and indirect impact of French (and other) joint-stock companies and state-sponsored monopolies on the economies, cultures, ecologies, soundscapes, and sensescapes of New Orleans and the Mississippi River Delta;
• bring into dialogue indigenous, European, and American economic and cultural studies; and/or
• approach the history of New Orleans and the Mississippi River Delta from a global or oceanic perspective.

Sub-topics might include
• Global capitalism and the making of New Orleans
•  New Orleans in the global imagination
• The impact of colonial settlements on indigenous and on metropolitan and colonial French, Spanish, and British economies and cultures
• Relations among indigenous peoples, Spaniards, Canadians, Acadians, French, Africans, and Germans
• Relations with France, Britain, Spain, and their colonies
• Trade routes and migration patterns
• Cross-cultural / comparative studies of slavery and colonialism
Linguistic creolization
• 1718 / 1720 as origin myth in French and American cultures
• The impact of the Mississippi Bubble on New Orleans, Lower Louisiana, New France, and the West Indies
• Economic, ecological, and cultural dimensions of natural and financial disasters

The deadline for the submission of individual paper proposals is September 17, 2017. Please send an abstract (300–600 words) along with a brief curriculum vitae (2–3 pages) to catherine.labio@colorado.edu. Abstracts and cv may be in English or French, although all presentations will be in English. If you do not receive an acknowledgment by September 22, please email catherine.labio@colorado.edu. Proposals will be selected by an interdisciplinary scientific committee. Notifications will go out by October 15, 2017. Papers (due April 9) will be pre-circulated. Presentations will be brief to leave plenty of time for discussion.

The 18th- and 19th-Century Studies Network was created in Fall 2016 with support from the Department of English at the University of Colorado Boulder. Its core mission is to foster intellectual exchanges within the University of Colorado and at the regional, national, and international levels. The Network is open to faculty and students from across the CU System and to all other scholars in the area. All geographical, disciplinary, and methodological approaches are welcome.

Save

Save

Save

Grinling Gibbons, detail from the King David panel, ca. 1670, boxwood
(York: Fairfax House)

◊  ◊  ◊  ◊  ◊

2017 Fairfax House Georgian Studies Symposium
Crafting an Enlightened World: Patronage & Pioneers
Fairfax House, York, 19–20 October 2017

Proposals due by 8 September 2017

York, from the late seventeenth to the early nineteenth century, was amongst the key centres in Britain where ideas, innovation, experimentation, and invention flourished, contributing to what is now referred to as the ‘era of Enlightenment’. Indeed, York was to play host to nationally and internationally celebrated astronomers, historians, clockmakers, scientists, painters, sculptors, architects, and cabinet-makers, as well as leading anti-slavery campaigners and enlightened mental health providers. The interdisciplinary nature of the talent which converged in vibrant hubs across the country such as York, reflected the spirit of the age in which scholars could simultaneously delve into religion, philosophy, natural sciences, mathematics, history, and the arts, seemingly without conflict. These progressive environments were key in sustaining and nurturing talented—often providing vibrant nexus points through which talented thinkers, scientists, artists, and craftspeople traversed, trained, worked, and often decided to permanently reside.

Crafting an Enlightened World: Patronage and Pioneers will be Fairfax House’s Fifth Symposium in Georgian Studies. Held in conjunction with the exhibition Made in York: Inventing & Enlightening the Georgian City, it aims to delve deeper into the theme of ‘Crafting an Enlightened World’ during the long eighteenth century (c.1680–1830), examining its roots and legacy. The symposium will focus on the driving forces behind creating an enlightened world and in turn how the Enlightenment fed and helped forge the environment in which pioneering craftsmanship in Britain during this period took flight.

Drawing on the breadth and diversity of enlightened talent which flourished in Britain during the era, the symposium hopes to offer a re-examination of the period, moving away from the London-centric narratives which have dominated analysis of the era, to a more nuanced yet holistic view of this period which also takes account of the regional Georgian urban realm.

The symposium will take place over two days. Day One will explore the contexts which emerged and fostered ‘enlightened’ creativity in the period. Echoing the eclectic interests of enlightened polymaths, we hope this first day will be broad and varied in the range of topics discussed and may include (though not limited to): studies focusing on the ‘enlightenment’ in the public, private and urban realms, clubs and societies, intellectual networks, the tools used in the dissemination of ideas and inventions, patronal networks, collecting, connoisseur and antiquarianism, issues of class and gender in Enlightenment practice, taxonomy, the historiography of the enlightenment, or the enlightenment as a literary phenomenon.

Building upon this, Day Two will primarily focus on ‘enlightened craftsmanship’, in its many varied forms and expressions. We hope to examine the processes of invention, creation, and crafting which gave physical expression to the phenomenon of the ‘enlightenment’. Considering its pioneers and patrons, topics could include but are not limited to: the influence of ‘enlightenment’ ideas on the arts, the synergy which existed between the sciences and the arts, the emergence of academies and centres of excellence, the role of religion, and regionality.

In the light of Fairfax House’s recent acquisition of Grinling Gibbons’s first-known, made-in-York artwork, the King David panel, a key part of Day Two will be devoted to his work, and we encourage in particular papers which look at the intersection of Gibbons, pioneering craftsmanship, and the Enlightenment.

Contributions in the form of papers not exceeding 20 minutes in length are invited addressing relevant topics. We are keen to encourage participation from the widest possible range of disciplines and backgrounds: museum professionals and volunteers, scholars and students in higher education, artists, craftspeople, and other practitioners. Please send proposals of around 200 words, accompanied by a brief one-paragraph biography, to fairfaxhousesymposium@gmail.com by Friday 8 September 2017. Any queries about the symposium should be sent to the same email address.

For the past five years Fairfax House has brought together world-class researchers from the academic and museum worlds for its annual Symposium in Georgian Studies. The symposia have provided a forum for the sharing of new and emerging scholarship into the long eighteenth century and the collaboration of academics and museum professionals in presenting this research to a public audience. As part of this ongoing commitment to expanding the reach of eighteenth-century scholarship, Fairfax House is excited to present its Cabinet of Curiosities. This addition to Fairfax House’s public-facing website will encompass fully-credited scholarly articles based on content from past exhibitions held at Fairfax House as well as articles from academics and museum professionals with interests in the long eighteenth century. A wide range of aspects of eighteenth-century life are to be covered from national to regional levels including consumption, fashion, revolution, urban life, Georgian households, architecture, enlightenment, and leisure. It is anticipated that the scholarship shared at the symposia will be disseminated through this site to a broader public audience and we therefore hope that speakers will consider contributing their papers to the Cabinet of Curiosities.

Save

Save

Save

British Art Studies Open Call for Participation: Objects in Motion
A digital publishing initiative by British Art Studies and the Terra Foundation for American Art

Proposals due by 1 September 2017

Postage stamp commemorating the Anglo-American Exposition, London, May to October 1914.

We invite proposals from academics, museum scholars, and artists to participate in a new digital publishing initiative supported by the Terra Foundation for American Art and the peer-reviewed, open-access journal British Art Studies (BAS), which is jointly published by the Paul Mellon Centre for Studies in British Art and the Yale Center for British Art. This initiative calls for a series of interdisciplinary articles and features centered on the broad theme of “Objects in Motion” to appear in future issues of BAS.

The movement of objects and ideas across cultures represents a growing field of art historical research. The aim of this series is to explore the physical and material circumstances by which art is transmitted, displaced, and recontextualized, creating new markets, audiences, and meanings. We seek proposals that consider cross-cultural dialogues between Britain and the United States, focusing on any period and any aspect of visual and material culture. Proposals should outline the ways in which the project/article will take advantage of the possibilities offered by the digital platform.

Authors of accepted proposals will be invited to a think-tank workshop at the Terra Foundation’s property in Giverny, France, 3–5 May 2018. The workshop will offer the opportunity to discuss the intellectual rationale of the projects in tandem with the digital tools entailed in their realization. Building on these discussions, BAS will work with a small group of selected authors to develop a series of single-authored or collaboratively written articles and features that examine cross-cultural dialogues between Britain and the United States. All articles will be subject to peer review, as is standard for BAS.

Proposals should include the following:
• A description of no more than one thousand words that outlines the intellectual premise of the project and how it speaks to the theme of “Objects in Motion.”
• The description must include details of how the project will take advantage of the digital platform. We are not looking for technical specifications but for a vision statement of how the digital platform will support or enhance the development and/or presentation of the project.
• Names and short CVs (no more than two pages) for all co-authors and contributors.

Funding for travel and accommodation in Giverny will be provided to authors selected to participate in the workshop. Inquiries and completed application materials in the form of PDFs should be sent to journal@paul-mellon-centre.ac.uk. The deadline for applications is 11:59 pm GMT on Friday, September 1, 2017.

Save

From the conference website:

Collage, Montage, Assemblage: Collected and Composite Forms, 1700–Present
University of Edinburgh, 18–19 April 2018

Proposals due by 1 December 2017

This two-day multidisciplinary conference will explore the medium of collage across an unprecedentedly broad chronological range, considering its production and consumption over a period of more than three hundred years. While research on paper collage plays a key role in histories of modern art, particularly of the 1920s and 1930s, its longer history and diverse range of manifestations are often overlooked within art historical scholarship. Though important work is being done on collage at both the level of the individual work and the medium more broadly, this has often overlooked collage’s multitudinous forms and assorted temporal variants. This conference accordingly aims to tackle this oversight by thinking about collage across history, medium, and discipline. Employing an inclusive definition of the term, the conference invites papers discussing a variety of material, literary, and musical forms of collage, including traditional papier collé alongside practices such as writing, making music and commonplacing, and the production of composite objects such as grangerized texts, decoupage, quilts, shellwork, scrapbooks, assemblage, and photomontage.

In so doing, the conference will situate histories of modernist collage in relation to a much broader range of cultural practices, allowing for productive parallels to be drawn between the cultural productions of periods that are often subject to rigid chronological divisions. Reciprocally, the conference will encourage a consideration of collage made in the eighteenth and nineteenth centuries against key concepts and methodologies from the study of modernism and postmodernism, such as the objet trouvé or assemblage. From papier collé to the digital age, the conference will highlight collage’s rich history and crucial role in cultural production over the last three hundred years.

We invite contributions from scholars working in the fields of art history, history, music, material culture studies, and literature. We also welcome and encourage papers from practitioners working in any medium whose practice is influenced by collage, assemblage, and/or montage. Potential topics could include, but are not limited to
• Collage as medium
• Collage, assemblage, montage: terminologies and categories
• Defining/redefining collage
• Making/viewing collage
• Collage and identity
• Collage and intention: chance, agency, intentionality
• Collage and the modern/pre-modern/postmodern
• Collage in art historical writing/literary criticism
• Object biographies
• Collage as political tool
• Collage in space
• Collage in the digital age
• Collage and collaboration
• Processes: collecting, collating, compiling, combining
• Collage in/as music
• Writing/reading collage
• Collage and geography

Please send abstracts of no more than 300 words, and biographies of no more than 100 words, to Cole Collins and Freya Gowrley at collage.assemblage.montage@gmail.com by 1 December 2017.

The conference is supported by Edinburgh College of Art’s Dada and Surrealist Research Group with the University of Edinburgh’s Institute for Advance Studies in the Humanities. For further information, please contact the above email address; check out our website; or follow us on Twitter for updates @Collage_Conf.

From H-ArtHist:

Collecting and Display Seminar Group
Institute of Historical Research, London, 15 October 2017 — 17 June 2018

Proposals due by 8 September 2016

The conveners of the Seminar for Collecting and Display, London, invite applications for papers for their monthly seminars at the Institute of Historical Research between October 2017 and June 2018. The Seminar provides a forum for academics to present new research on any topic related to collecting in its widest understanding, both chronologically and in terms of subject matter. We also welcome papers that look at collecting from different perspectives, given by sociologists, cultural historians, or art historians. Seminar papers are normally 45 minutes in length followed by an extended discussion. We are unable to cover travel costs but may be able to help with accommodation and expenses. Applicants should send an abstract of approximately 300 words together with a short CV to schbracken@btopenworld.com by 8 September 2017. We will then reply to organise the date with the successful candidates.