Enfilade

From the Call for Papers:

Naples and the Museo e Real Bosco di Capodimonte in a Global Context
Naples, 12–14 October 2017

Proposals due by 24 April 2017

‘Transport des Antiquités d’Herculanum du Museum de Portici au Palais des Etudes à Naples’, in J. C. R. de Saint-Non, Voyage pittoresque, ou Description des Royaumes de Naples et de Sicile, vol. II (Paris, 1782). J. Duplessi-Bertaux after L.-J. Desprez. Included in Arturo Fittipaldi, “Museums, Safeguarding and Artistic Heritage in Naples in the Eighteenth Eentury: Some Reflections,” Journal of the History of Collections 19 (2007): 191–202.

One of the world’s oldest cultural centers and one of the largest ports in Europe, the city of Naples is a node in a cultural and economic network that spans the Mediterranean and beyond. The story of art in Naples is one of encounter and exchange, of rupture and unexpected convergence. It is above all a story of movement: of people, artworks, and forms, of technologies, traditions, and ideas. Naples thus challenges us to envision a new history of art that ranges across geography, chronology, and medium. Art in Naples has long been marginalized or misunderstood. Instead, we take Naples as a laboratory for new art historical research with global implications.

To launch a new collaboration between the Edith O’Donnell Institute of Art History and the Museo e Real Bosco di Capodimonte dedicated to innovative research on art in Naples and on the cultural histories of port cities, this symposium brings together an international group of scholars for two days of on-site presentations that will set Naples and the Capodimonte in a global context. After a public keynote lecture and celebratory reception on the evening of Thursday, October 12, a group of around 30 scholars will spend the next two days participating in a series of presentations in the form of gallery talks and site visits that will focus on individual artworks in the Capodimonte collections and on sites within its surrounding gardens. Each presentation will be followed by discussion. Moderated roundtables and shared meals will provide further opportunities for participants to respond to each other’s presentations and to engage with broader themes.

We invite scholars at all professional stages (including advanced graduate students) to propose 20-minute presentations that focus either on individual artworks at the Capodimonte or on specific sites in the Bosco. Through these individual objects and sites, presentations should open onto larger questions related to Naples and the Capodimonte in a global context: for example, the formation of the Capodimonte’s collections and gardens, the cultural history of Naples as a port city, the mobility of objects and people, and processes of circulation, encounter, and exchange. Presentations may be made in Italian or English. To propose a presentation on a specific artwork or site at the Capodimonte, please submit via email attachment a proposal of under 350 words and a short CV to Elizabeth Ranieri, The Edith O’Donnell Institute of Art History (enr101020@utdallas.edu), by April 24, 2017. Proposals will be reviewed by collaborators at the O’Donnell Institute and the Capodimonte. A certain number of presenters not based in Naples will be offered a small grant to contribute toward the cost of travel.

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From H-ArtHist:

Special Issue of the Zeitschrift für Schweizerische Archäologie und Kunst (ZAK) for 2018
Travelling People, Travelling Objects: The Reception of Swiss Art in the Context of the Eighteenth-Century European Grand Tour
Menschen und Objekte auf Reisen: Die Rezeption Schweizer Kunst im Kontext der europäischen Grand Tour des 18. Jahrhunderts

Proposals due by 1 May 2017; finished articles are due by 31 January 2018

In 2018, a special issue of the Zeitschrift für Schweizerische Archäologie und Kunst (ZAK) will be dedicated to Swiss art in the eighteenth century. Focusing on the context of European travel culture, the issue will address the various ways in which Grand Tourists perceived, purchased, and collected Swiss art objects during and after their travels. This perspective will help to gain new insight into the distribution and reception of Swiss art in eighteenth-century Europe.

It has often been claimed that the so-called Swiss Kleinmeister, printmakers of small genre and landscape scenes between 1750 and 1850, sold their artworks to Grand Tour travellers, thus contributing to the construction and popularization of a new ‘image of Switzerland’ in Europe. However, little is known about the travelling art buyers and the specific ways in which these small Swiss art objects were distributed, collected, and displayed abroad. Taking this question as a starting point, we welcome contributions which investigate the reception and distribution of these traveling images of Switzerland. Special priority will be given to topics which focus on the materiality of specific objects as well as topics which centre on the role and the meaning of Swiss artworks at their places of destination.

Proposals might address the following issues, among others:

1  Images, media, materialities  
It is a widespread opinion that the small format and low price of the graphic art of the Swiss Kleinmeister contributed to the medium’s popularity among European travellers. Does a close view on European collections allow another, more complex perspective on the reception and distribution of Swiss art and the related role of its specific medial and material characteristics? What can be said about the collection-specific relations of graphics, watercolors, paintings, and decorative art objects of Switzerland?

2  Paths and destinations of Swiss graphic art  
Kleinmeister graphic art was traded in single sheets, within illustrated books but also in literary works such as travel descriptions. Can individual trade routes be traced within this context of travel culture? Which European collections (libraries, print rooms etc.) owned (Kleinmeister) graphic art works, in which forms were they held and what role did they play within the formation of a specific
collection?

3  Swiss landscape images—identities and memories  
The graphic images of the Swiss Kleinmeister are often said to have played an important role in shaping the identity of Switzerland by constructing a typical image of the country’s ‘national landscape’. What was the meaning and function of these graphic landscapes in European collections? Which role did Swiss landscapes play in other objects, for example decorative art, that were purchased by travellers?

4  Switzerland—Italy—Europe  
Grand Tour travellers often purchased a great number of art objects which can be considered as conventionalized souvenirs of the places of their production along the travel routes. How were these imaginary sites of memory perceived and represented in European collections? What kinds of medial, material, and semantic relations are constructed between these collection objects on a transregional level, and which position did the objects from Switzerland occupy?

This call addresses art historians and researchers from related disciplines.  Please send your proposal (max. 300 words in English, German, French, or Italian), a short CV, and a short list of keywords (max 6) no later than May 1st, 2017 to Danijela Bucher (danijela.bucher@uzh.ch) and Miriam Volmert (miriam.volmert@khist.uzh.ch). Final selection and notification to authors will be announced no later than July 31st, 2017. Finished articles (ca. 30,000–40,000 characters including spaces and ca. 12–15 illustrations) should be submitted by 31st January 2018. No royalty will be paid for any article. Authors are responsible for all reproduction right fees.

First page of text in an illustrated edition of A Midsummer Night’s Dream, 1908 (Folger Digital Image 81266), exhibited in the Folger’s 2010 exhibition Extending the Book: the Art of Extra-Illustration.

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From the Call for Papers:

The Unique Copy: Extra-Illustration, Word and Image, and Print Culture
Herzog August Library, Wolfenbüttel, Germany, 24–25 May 2018

Proposals due by 30 May 2017

Organized by Christina Ionescu and Sandro Jung

Is extra-illustration an ornamental art or does it add layers of significance and nuance to the accompanying text? How does it shed light on authorship, the act of reading, book history, and print culture? How does text-image interaction manifest itself in the extra-illustrated book-object? Is extra-illustration the equivalent of grangerising or are there other means of materially expanding the text? Is it a creative act or a form of customised reproduction or reuse of print matter? Who are the artists, readers, collectors, publishers, and curators who are responsible for the creation of extra-illustrated objects?

In his study of the history, symptoms, and cure of a fatal disease caused by the unrestrained desire to possess printed works, Thomas Frognall Dibdin (1776–1847) observes that “[a] passion for a book which has any peculiarity about it,” as a result of grangerising by means of collected prints, transcriptions, or various cutouts, “or which is remarkable for its size, beauty, and condition—is indicative of a rage for unique copies, and is unquestionably a strong prevailing symptom of the Bibliomania.” Extra-illustration as a practice did not emerge during bibliomaniac Dibdin’s birth century, which witnessed the publication of James Granger’s Biographical History of England (1769) and a widespread rage for unique copies of books, nor has it been extinguished in our digital era by modern technology. Whether it manifests materially as a published work that is supplemented verbally (with interleaved or pasted autograph letters, handwritten notes, or print matter either directly or tangentially linked to its content), or visually (with additional drawings, prints, maps, watercolours, photographs, or other forms of artwork that are similarly connected to a variable degree of closeness to the text), an extra-illustrated copy is important not only for its uniqueness as an original artefact and its commercial value as a desired commodity. As emblematic of an artistic, bibliographic, and cultural practice, it sheds light on its creator, the context of its production, and the reception of a text. As a form of personalised book design, it is moreover significant as a means of creative expression, an outlet of reader empowerment, and an archival repository of historical or cultural insight. Some of the popular targets of extra-illustration through time have been the Bible, biographies, historical treatises, topographical surveys, travel narratives, and popular plays.

A plethora of monographs and special journal issues dealing with book illustration from various theoretical and (inter)disciplinary perspectives have been published in recent years, but the subfield of extra-illustration remains largely unstudied. It is important to note, however, the contribution to the field by Luisa Calè, Lucy Peltz, and Stuart Sillars, who have proposed useful in-depth reflections on extra-illustration and grangerising as a practice. To address this gap in current scholarship, we invite papers that engage with extra-illustration through the conceptual lenses of book history, print and visual culture studies, and word and image theory. Contributions that focus on original artwork contained in extra-illustrated copies from the perspective of word and image studies are of particular interest to the co-editors, as are studies of extra-illustration as a link between text, book-object, and context, as approached through the prism of the book arts and reception theory. Other possibilities include contributions investigating extra-illustration diachronically or cross-culturally, and case studies dealing with a special copy, a collection of extra-illustrated books, or an individual collector, publisher, curator, or artist responsible for the creation of such unique artefacts.

Possible themes include but are not limited to:
· grangerising as a biblio-cultural practice
· grangerising as a form of material repurposing in relation to print culture
· grangerising as a fashionable and biblioclastic pastime
· grangerising as an act of authorship
· the Grangerite, bookscrapping, and collecting practices
· illustrative responses to the text in the form of unique infra-textual images
· marginal illustration and text-image interaction
· extra-illustration as interactive and engaged reading
· extra-illustration as emblematic of institutional/curatorial collecting practices
· extra-illustration as personalised book design
· extra-illustration as a window into history and intellectual thought
· extra-illustration as a book customisation response to mass production
· digital imports of extra-illustration as a means of expression

500-word abstracts, along with the author’s contact information and bio-bibliographical note, should be sent to the co-editors (cionescu@mta.ca / prof.s.jung@gmail.com) by 30 May 2017. A publication on the topic, either a journal issue or a collection of essays, is envisaged.

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From CAA News (27 February 2017) . . .

106th Annual Conference of the College Art Association
Los Angeles, 21–24 February 2018

Proposals due by 17 or 24 April 2017 (depending upon type of proposal)

CAA’s Annual Conference Committee invites proposals of interest to its members and varied audiences. Submissions that cover the breadth of current thought and research in art and art practice, art and architectural history, theory and criticism, studio art, pedagogical issues, museum and curatorial practice, conservation, design, new media, and developments in technology are encouraged.

To submit a proposal, individuals must be current CAA members. All session participants, including presenters, chairs, moderators, and discussants, must also be current individual CAA members. Please have your CAA Member ID handy as well as the member IDs of any and all participants as this is a required field on the submission form. Please note that institutional member IDs cannot be used to submit proposals. If you are not a current individual member, please renew your membership or join CAA.

All session participants must also register for the conference. Online registration for CAA 2018 will begin October 2, 2017. Early conference registration will end December 15, 2017 and advance conference registration will end on February 7, 2018. Early and advance conference registration fees will not change from CAA 2017, New York.

The Annual Conference Committee will accept the following proposals for review: Complete Sessions, Sessions Soliciting Contributors, and Individual Paper/Project proposals. All sessions will be 90 minutes in length at CAA 2018. Please plan accordingly. For full details on the submission process for the conference, please review the information below and on the individual submission pages.

P R O P O S A L  S U B M I S S I O N  T Y P E S

Session Soliciting Contributors
Proposals due by 17 April 2017
The Session Soliciting Contributors option allows a submission for a full session (90 minutes in length) with yet-to-be identified speakers and papers/projects. If selected, such sessions will be included in the call for participation (CFP) which opens June 30.

Individual Paper/Project
Proposals due by 17 April 2017
Individual Paper/Project proposals (15 minutes in presentation length) may be submitted for review. No specific theme is required. The Annual Conference Committee will review and select paper/project proposals based on merit and group approved submissions into Composed Sessions of up to four participants. A liaison from the Annual Conference Committee will be identified for each Composed Session to assist with the format and to help identify a session chair or moderator.

Complete Session
Proposals due by 24 April 2017
The Complete Session option allows a submission for a complete panel (90 minutes in length) pre-formed with participants and papers/projects chosen in advance by session chairs. This session requires advance planning and information gathering by the chair(s).

Affiliated Societies
Proposals due by 24 April 2017
Each Affiliated Society may submit either one Complete Session proposal (90 minutes in length) pre-formed with participants and papers/projects chosen in advance or one Session Soliciting Contributors proposal (90 minutes in length) to be included in the CFP which opens June 30. A note of approval from the Affiliated Society chair must accompany the submission. This session will be guaranteed and will be identified as an Affiliated Society session in all CAA publications. Subsequent proposals by Affiliated Society members may be submitted separately by individuals, but are subject to peer review by the Annual Conference Committee and must be submitted via the Complete Session, Session Soliciting Contributors, or Individual Paper/Project submissions forms described above. These submissions are not guaranteed and, if selected, will not be labeled or identified as Affiliated Society sessions in CAA publications.

CAA PIPS Committees
Proposals due by 24 April 2017
CAA PIPS [Professional Interests, Practices, and Standards] committees may submit either one Complete Session proposal (90 minutes in length) pre-formed with participants and papers/projects chosen in advance or one Session Soliciting Contributors proposal (90 minutes in length) to be included in the CFP which opens June 30. A note of approval from the committee chair must accompany the submission. This session will be identified as a committee session in all CAA publications. Subsequent proposals by committee members may be submitted separately by individuals, but are subject to peer review by the Annual Conference Committee and must be submitted via the Complete Session, Session Soliciting Contributors, or Individual Paper/Project submissions forms described above. These submissions are not guaranteed and, if selected, will not be labeled or identified as committee sessions in CAA publications.

From The Royal Studies Network:

Kings and Queens 6: In the Shadow of the Throne
Madrid, 12–15 September 2017

Proposals due by 30 March 2017

The Kings & Queens conference series will travel to Madrid in 2017 for its sixth edition. On this occasion, we aim to connect scholars across the world whose research  focuses on topics related to royal history, diplomacy, art  history, political history, biographical studies, or any other  issues included in the scope of royal studies. In  particular, this edition of the Kings and Queens congress will focus on the secondary members of royal families, such  as siblings, spouses, cousins, as well as the people closest to the king, like lovers, favourites, members of the royal entourage, etc. We especially invite studies related to figures with family ties to a monarch who were not kings or queens in their own right but had a significant influence in spheres such as international politics, the court, the arts, the society, or dynastic strategies during their time—with the objective of obtaining a better understanding of figures who are usually in the shadow of the throne. All kind of topics related to these issues will be welcomed, from diverse chronological periods and parts of the world. In the potential topics for papers or panels we may include, but are not limited to, the following:
• Biographical, dynastical, and political studies of different members of the royal families who were not  kings or queens on their own right
• Power, role, and importance of different people close to the monarch, like favorites, lovers, relatives with military, diplomatic or dynastic posts, ambassadors or diverse members of their entourage
• The relationship between power and art; patronage, collecting, and diplomatic exchanges
• Monarchy, high nobility, and the representation of status, power, and influence through art, culture, and image
• The importance of the dynasty and the ‘dynastic mirror’
• Informal power, royal favour, and disfavour

Proposals should include a title, institutional affiliation, an abstract of around 500 words, and a one-page CV. In the case of panels, the proposal should include a maximum of three different papers accompanied by the same information required for individual proposals along with the name, affiliation, and one-page CV of the sponsor (if they are not presenting a paper in the same panel). All the proposals should be submitted by March 30, 2017, to Kq6Madrid@gmail.com. Please remember that English will be the official language of the congress.

Also, we are pleased to announce that we offer 20 bursaries for young researchers to help them with the costs. Those interested in said bursaries should write to the aforementioned email to obtain more details about them and what they cover. Those who want to apply must send us the title of the proposal, an abstract of around 500 words, institutional affiliation, a one-page CV, and one-page report focusing on why this congress is relevant for them and how their research could improve the field of royal studies.

From H-ArtHist:

Full Circle: The Medal in Art History
The Frick Collection, New York, 8–9 September 2017

Proposals due by 1 March 2017

An invention of the Italian Renaissance inspired by ancient coins, medals were first created to commemorate individuals and significant events. Over time and as the art form flourished across Europe, they came to be made and to function in new ways, including to celebrate the éclat of the ruling class (and ascendance of the bourgeoisie), document achievements in the arts and sciences, and serve as a resource for the study of the distant past. The study of medals—too often overlooked in narratives of western art history—illuminates the aesthetic landscape of the five centuries in which they enjoyed wide popularity and provides vital insights into the social and political history of Europe. Medalists were celebrated members of the arts community, and medal making was not an isolated practice. Artists from Pisanello to Dürer to David d’Angers designed and/or produced medals alongside their paintings, prints, and sculptures. The medal has long been held to bridge these disciplines, and recent scholarship has begun to probe the rich intersections between medals and other arts.

On the occasion of the exhibition The Pursuit of Immortality: Masterpieces from the Scher Collection of Portrait Medals—which celebrates an initial gift to The Frick from the unparalleled collection of Stephen K. and Janie Woo Scher—and in honor of Stephen Scher’s contributions to the study of medals as a collector, curator, and scholar, The Frick Collection is organizing Full Circle: The Medal in Art History. This symposium builds upon the work of Scher and others who have sought to re-center the medal in art-historical discourse and to bring this important class of object to the attention of the broader scholarly community and the public.

We invite proposals for 20-minute papers focusing on any aspect of the production, collection, and interpretation of commemorative medals made from the fifteenth to the nineteenth century that situate them in relation to a broader artistic and cultural context. We strongly encourage submissions by emerging scholars to promote future research in this field. Please send an abstract (max. 250 words) and CV by Wednesday, 1 March 2017, to the conveners:
• Aimee Ng, Associate Curator, The Frick Collection, ang@frick.org
• Robert Wellington, Lecturer, Centre for Art History and Art Theory, Australian National University, robert.wellington@anu.edu.au
• Melanie Vandenbrouck, Curator of Art, Royal Museums Greenwich, MVandenbrouck@rmg.co.uk
Please include ‘The Medal in Art History: Proposal’ in the subject line.

From the Call for Papers:

The Room Where It Happens: On the Agency of Interior Spaces
The Harvard Art Museums, Cambridge, 13–14 October 2017

Proposals due by 15 April 2017

Keynote Speaker: Louis Nelson, University of Virginia

John Singleton Copley, Portrait of Nicholas Boylston, 1773, oil on canvas (The Harvard Art Museums, Painted at the request of the Harvard Corporation, 1773, H20).

This symposium, held in conjunction with the Harvard Art Museum’s forthcoming exhibition, The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820, seeks papers that investigate spaces of artistic, artisanal, and intellectual production throughout global history. From artist’s studios to experimental laboratories, from offices to political chambers, rooms and their contents have long impacted history and transformed their inhabitants. We invite case studies that address questions like the following: How might an assemblage of objects within a given space intersect or clash with ideological narratives? How have secret or privileged rooms, or rooms to which access is limited, served to obfuscate and facilitate the generation and dissemination of ideas? As historians and critics, how should we interpret and recreate such spaces—many of which no longer exist?

The Philosophy Chamber exhibition, on view at the Harvard Art Museums from May 19 to December 31, 2017, will explore the history and collections of one of the most unusual rooms in early America. Between 1766 and 1820, the Philosophy Chamber, a grand room adjacent to the College Library on Harvard’s Campus, was home to more than one thousand artifacts, images and specimens. Named for the discipline of Natural Philosophy, a cornerstone of the college’s Enlightenment-era curriculum that wove together astronomy, mathematics, physics, and other sciences interrogating natural objects and physical phenomena, the Philosophy Chamber served as a lecture hall, experimental lab, picture gallery and convening space. Frequented by an array of artists, scientists, travelers, and revolutionaries, the room and its collections stood at the center of artistic and scholarly life at Harvard and the New England region for more than fifty years. The exhibition considers the wide-ranging conversations, debates, and ideas that animated this grand room and the objects and architectural elements that shaped, supported or unintentionally undermined these discourses.

Potential case study ‘rooms’ include:
•    Teaching cabinets
•    Workshops
•    Civic spaces
•    Laboratories
•    Domestic spaces
•    Toxic rooms
•    Secret rooms
•    Studies or offices
•    Artist studios
•    Theaters
•    Classrooms or lecture halls
•    Chatrooms or other digital ‘rooms’ and platforms
•    Museum and gallery installations
•    Exchanges
•    Train Stations
•    Ruins, war-torn rooms

Due the interdisciplinary nature of this symposium, we welcome proposals from a variety of fields, including art history, architectural history, material culture studies, history, English and literature studies, American studies, anthropology, and archaeology, as well as the fine arts. To apply, please submit a 300-word abstract and two-page CV to laura_igoe@harvard.edu by April 15, 2017.

Matthew Darly, The Flower Garden, etching and engraving with watercolor, London, 1 May 1777 (New York: The Metropolitan Museum of Art); and wool sampler embroidered with silk, by Elizabeth Hawkins, Miss Powell’s Boarding School, Plymouth, England, 1797 (London: V&A).

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From the conference website:

Moving Beyond Paris and London: Influences, Circulation, and Rivalries
in Fashion and Textiles between France and England, 1700–1914
Au-delà de Paris – Londres: influences, circulations, rivalités
dans la mode et le textile. France-Angleterre, 1700–1914
Paris, 13–14 October 2017

Proposals due by 28 February 2017

The Séminaire Histoire de la mode (IHTP/CNRS) and the LARCA (Université Paris Diderot) are organizing a joint international conference in Paris, 13–14 October 2017: Moving Beyond Paris-London: Circulation and Exchange in Fashion and Textiles between France and England, 1700–1914. This conference is the latest in a series on cultural exchanges in fashion, which have included Haute Couture: Fashion and Consumption, France and England, 1947–1957 (11 April 2014), Franco-American Exchanges in Fashion (15 April 2016), and Franco-German Exchanges in Fashion (10–12 October 2016).

By looking closely at the relationship—at times friendly, at times not—between France and England through fashion and textiles between 1700 and 1914, this conference will touch on a number of topics, including: the circulation (lawful or illicit) of knowledge, individuals, and objects; the diffusion—and cross-fertilization—of design models between the two countries via press, engravings, or fashion dolls; the importation of textiles and clothing; the phenomena of copying, espionage, and counterfeits; the pursuit of protectionist policies which aimed to limit imports from the rival nation. Particular attention will be given to the different temporalities of industrialization of the two countries as a way to understand innovation and the progressive organization of professions in each. The comparison between the evolution of the two countries will also take into account examples of transfers across them such as with Charles Frederick Worth, the British designer who came to France in 1858 to open a couture house that rapidly became the symbol of haute couture in Paris.

These questions seek to examine the myriad ways in which fashion and textiles strengthened or frayed the political, economic, commercial, industrial, and cultural ties between the two countries. The conference also aims to shed new light on the geography of fashion by looking at capitals and production centers (Paris-London / Manchester-Rouen/ Lyon-Spitalfields), as well as by considering the more global context at a time of intense colonial rivalry between the two countries. Please send your paper proposals (200 words and a short biography) before February 28, 2017 to FrancoBritishFashion@gmail.com.

Scientific Committee / Comité Scientifique
Dr. Maude Bass-Krueger (Associated Researcher, IHTP/CNRS)
Dr. Ariane Fennetaux (MCF, LARCA [UMR 8225], Université Paris Diderot)
Dr. Sophie Kurkdjian (Associated Researcher, IHTP/CNRS)

Images: Matthew Darly, The Flower Garden, etching and engraving with watercolor, London, 1 May 1777 (New York: The Metropolitan Museum of Art); and wool sampler embroidered with silk, by Elizabeth Hawkins, Miss Powell’s Boarding School, Plymouth, England, 1797 (London: V&A).