Enfilade

From H-ArtHist:

The Role of Sculpture in the Design, Production, Collecting, and
Display of Parisian Decorative Arts in Europe, 1715–1815, Part II
Paris, 14–15 March 2016

Proposals due by 4 November 2015

International Conference Part II, following the first held on 29 August 2015 at Mons, European Capital of Culture.

Between 1715 and 1830 Paris gradually became the capital of Europe, “a city of power and pleasure, a magnet for people of all nationalities that exerted an influence far beyond the reaches of France,” as Philip Mansel wrote, or as Prince Metternich phrased it, “When Paris sneezes, Europe catches cold.” Within this historical framework and in a time of profound societal change, the consumption and appreciation of luxury goods reached a peak in Paris.

The focus of this one-day international conference will be to investigate the role of the sculptor in the design and production processes of Parisian decorative arts, from large-scale furniture and interior decoration projects to porcelain, silver, gilt bronzes and clocks. In the last few years a number of studies were carried out under the auspices of decorative arts museums and societies such as the Furniture History Society and the French Porcelain Society. It now seems appropriate to bring some of these together to encourage cross-disciplinary approaches on a European level and discussion between all those interested in the materiality and the three-dimensionality of their objects of study.

The relationships between, on the one hand, architects, ornemanistes and other designers, and on the other sculptors, menuisiers, ébénistes, goldsmiths, porcelain manufacturers, bronze casters and other producers, as well as the marchands merciers, will be at the heart of the studies about the design processes. A second layer of understanding of the importance of sculpture in the decorative arts will be shown in the collecting and display in European capitals in subsequent generations, particularly those immediately after the French Revolution, as epitomised by King George IV.

Overall, the intention of this conference is to attempt to shed light on the sculptural aspect of decorative arts produced in Paris in the long 18th century and collected and displayed in the capitals of Europe. Without pretending to be exhaustive, this study day—and its publication—hopes to bring together discussions about the histories and methodologies that could lead to furthering the study of hitherto all too often neglected aspects of the decorative arts.

Research questions may include (non-exhaustive list):
• What are the specificities of the Parisian approach to three-dimensional sculptural design that made it collectable, or was it only collectable in Europe due to its availability at vastly reduced prices when the art market was flooded by the revolutionary auctions?
• What relationships can be established between the ‘Frenchness’ of sculptural designs produced in Paris and the large number of ‘foreign’ designers and craftspeople there (coming in particular from the Low Countries and Germany)?
• What was the impact of public authorities (e.g. guilds and schools), intermediaries (marchands merciers, agents, etc.), private salons, societies and other networks, on the three-dimensional design aspect decorative arts produced in Paris?
• Taste leaders: the role of the monarch, the court, Paris vs. Versailles, and their interest in ‘sculptural’ decorative arts
• Taste disseminators: the role of prints and treatises regarding ‘sculptural’ decorative arts
• The collaborative efforts between architects, designers, sculptors, cabinet makers, ‘porcelainiers’, bronze casters, goldsmiths, engravers, etc. were they specific to luxury items produced in Paris? Were certain disciplines more appropriate for ‘sculptural design’?
• How do case studies inform us about the role of sculptors in the design and production processes for decorative arts?
• How is sculptural illusionism in painted decorative panels, such as those by Tournai-born Piat-Joseph Sauvage (1744–1818) or in the Casa del Labrador at the royal palace of Aranjuez, related to the design and perception of Parisian decorative arts?
• What was the impact of collectors of old/existing Parisian decorative arts on the design of spaces to display these in European capitals?
• Are centre-periphery theories applicable to the interpretation of decorative arts produced in Paris and its hinterland? Is the work of Abraham Roentgen and his bronze casters an appropriate case study for this?

Potential speakers are invited to submit proposals for conference papers. These should be limited to a maximum of 300 words, should be accompanied by a brief CV (no more than a few lines) and should be sent to the Low Countries Sculpture Society by Wednesday 4 November 2015. A scientific committee drawn from the Society and invited scholars will take a decision on selected speakers shortly after that date. For foreign participants one hotel night in Paris and modest travel expenses can be covered. Please note that this conference is planned shortly after the opening on 10 March 2016 of the TEFAF Fair at Maastricht to encourage American colleagues to attend.

From H-ArtHist:

European Portrait Miniatures: Artists, Functions and Collections
The Tansey Miniatures Foundation, Celle, 11–13 November 2016

Proposals due by 31 March 2016

In January 2013 the Tansey Miniatures Foundation held its first conference on European portrait miniatures. At the time a conscious decision was made to cover a broad spectrum. It is precisely the consideration of miniature painting from various viewpoints that opens up an in-depth understanding of this special form of portraiture. The 2016 conference will therefore once again cover a wide range of aspects:
• Individual miniaturists, specific workshop contexts, and places of production
• Use of both court and private types and their protagonists
• Iconographic aspects in the context of representation or intimacy
• Evolution of techniques and materials
• Less well-known collections in museums

The symposium will be held on the occasion of the planned opening of the sixth exhibit of the Tansey Miniatures Foundation and the publication of the accompanying catalogue, Miniatures from the Baroque Period in the Tansey Collection. The conference will be in English. Lectures should not exceed 25 minutes and are to be published separately following the conference (information on the publication of the 2013 lectures is available here). The Tansey Miniatures Foundation will assume travelling expenses, accommodations, and meals. Exposés should be in English and no longer than 1500 characters. They should be submitted by March 31, 2016, including name, address, and, if applicable, institution, and be sent to bernd.pappe@miniaturen-tansey.de.

Organisation
Bernd Pappe, Berne (Art Historian and Restorer)
Juliane Schmieglitz-Otten, Celle (Head of the Residence Museum at Celle Castle)

Of the twelve sessions slated for inclusion in the conference, Creating Markets, Collecting Art, I’ve listed details for two that seem particularly relevant for the eighteenth century. The full listing is available here. –CH

Creating Markets, Collecting Art: Celebrating 250 Years of Christie’s
Christie’s King Street, London, 14–15 July 2016

Proposals due by 7 December 2015

To commemorate the anniversary of the foundation of Christie’s auction house in 1766 a two-day conference will be held at Christie’s King Street, St James’s. Organised by Christie’s Education, the theme of Creating Markets and Collecting Art has been chosen to reflect a progressive, collaborative and cross-disciplinary approach to the study of works of art. The conference is designed to explore the interrelationship between commerce, collecting and the idea of the ‘academy’ and how this has evolved over time.

Confirmed keynote speakers include Professor Craig Clunas, University of Oxford and Inge Reist, Director of the Frick Collection’s Center for the History of Collecting.

Please send your proposal to the Session Convenor/s listed at the top of each Session by 7 December 2015. Papers should be 20–25 minutes in length and there will be 3–4 in each 2-hour session, with time for discussion. Proposals should be accompanied by a brief biography and the whole submission not more than 250 words. Please also cc your proposal to conference2016@christies.edu. We look forward to hearing from you.

Rebecca Lyons, Head of Subject: Renaissance to Modern
M Michael, Academic Director, London
Véronique Chagnon-Burke, Academic Director, New York

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Christie’s and the Birth of the European Art Market
Filip Vermeylen, Erasmus University Rotterdam; vermeylen@eshcc.eur.nl

The basic structure of today’s global art market has its roots in the eighteenth and nineteenth centuries with the establishment of auction houses and art dealerships. These are fascinating times when the art markets of Europe were becoming inter-connected and the cross-border trade in works of art was expanding rapidly. Christie’s in London was a prime mover of these developments, as the company fast rose to primacy after its inception in 1766. This session aims to explore how Christie’s pioneering business practices were instrumental in shaping the London art market, and how the company was able to secure the sale of the most prominent art collections of the period. The session thereby addresses one of the seminal themes of the conference by examining how intermediaries in the art ecosystems may have shaped national tastes in the visual arts in the early years of Christie’s, and how this relates to the business models of the major auction houses in the contemporary art market. In addition, the internationalization of the art trade invites interesting comparisons with today’s emerging art markets.

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Home Subjects: The Art Market and the Domestic Sphere in Britain
Anne Nellis Richter, American University and Morna O’Neill, Wake Forest University; anne.nellis@gmail.com / oneillme@wfu.edu

The commonly-held assumption that the English style of living is intertwined with tastes in collecting and patronage can be traced back centuries. In the 1790s, for example, when important Italian paintings were being imported into Britain during the French Revolution, the idea that such pictures might be unsuitable for English collectors and houses gained a certain currency. One critic wrote, “A most puerile objection is…made against the pictures of Paul Veronese, because…they cannot be admitted into our London houses.” The decoration of the private home has become the focus of a tremendous amount of academic energy during the past five years. What is missing from these accounts, however, is a consideration of the vital role that the art market played in enabling the decoration of interiors at all social ranks. This session seeks to reconsider the relationship between the art market and the domestic sphere in the eighteenth through early twentieth centuries. We welcome proposals that explore the complicated set of expectations governing the acquisition and sale of artworks intended for private display, including but not limited to the role of the art dealer as interior decorator, the auction ‘house’ and the domestic ideal, and the relationship between private and public modes of display and decoration, plotting a new trajectory for modernity traced through the private, domestic sphere.

From the Call for Papers:

Serious Fun: Expressions of Play in the History of Art and Architecture
The 32nd Annual Boston University Graduate Symposium on the History of Art and Architecture
Museum of Fine Arts, Boston, 26–27 February 2016

Proposals due by 21 November 2015

In all of its forms, play is a vital expressive force. Whether theatrical or athletic, rollicking or subversive, play has enacted a pivotal role in shaping cultural life. The 32nd Annual Boston University Graduate Student Symposium on the History of Art and Architecture invites submissions that consider aspects of play as form, content, process, and methodological framework.

Possible subjects include, but are not limited to:
• representations of play
• entertainment, games, and toys
• spaces of play, leisure, and recreation
• play as practice
• political control of play
• play as dissent or activism
• word play
• the naughty and the bawdy
• revelry and whimsy
• play and performance
• play as creative force

We welcome submissions from graduate students at all stages of their studies, working in any area or discipline. Please send an abstract (300 words or less), paper title, and a CV to the Symposium Coordinator, Catherine O’Reilly, at bugraduatesymposiumhaa@gmail.com. The deadline for submissions is Saturday, November 21, 2015. Selected speakers will be notified before January 1, 2016. Papers should be 20 minutes in length and will be followed by a question and answer session.

The Symposium will be held Friday, February 26 – Saturday, February 27, 2016, with a keynote lecture (TBD) on Friday evening at the Boston University Art Gallery at the Stone Gallery and graduate presentations on Saturday in the Riley Seminar Room of the Museum of Fine Arts, Boston.

This event is generously sponsored by The Boston University Center for the Humanities; the Boston University Department of History of Art & Architecture; the Museum of Fine Arts, Boston; the Boston University Graduate Student History of Art & Architecture Association; and the Boston University Art Gallery at the Stone Gallery.

From SAH:

Society of Architectural Historians Annual Conference
Glasgow, 7–11 June 2017

Session Proposals due by 16 January 2016

At its 2017 Annual International Conference in Glasgow, Scotland, SAH will offer a total of 36 paper sessions. The Society invites its members, including graduate students and independent scholars, representatives of SAH chapters, and partner organizations, to chair a session at the conference. As SAH membership is required to chair or present research at the conference, non-members who wish to chair a session will be required to join SAH at the time of submitting a proposal.

Since the principal purpose of the SAH Annual International Conference is to inform conference attendees of the general state of research in architectural history and related disciplines, session proposals covering every period in the history of architecture and all aspects of the built environment, including landscape and urban history, are encouraged.

Session proposals are to be submitted online beginning October 1, 2015, through 5:00 pm CST, January 16, 2016. The portal will close automatically at this time. Proposals will be reviewed by Sandy Isenstadt, SAH 1st vice president-elect and conference chair.

Prospective chairs must include the following in their proposal:
1. A session title not longer than 65 characters, including spaces and punctuation
2. Summary of the subject and the premise in no more than 500 words
3. Name, professional affiliation (if applicable), address, telephone and email address
4. A current CV (2 pages maximum)

View the complete call for sessions and submit a proposal online at sah.org/2017.

Questions? Contact Sandy Isenstadt at sandy.isenstadt@gmail.com or Kathy Sturm at 312.543.7243 or ksturm@sah.org.

From H-ArtHist:

Gillray after Gillray: Echoes and Influences in Rude Britannia, Then and Now
Institut national d’histoire de l’art, Paris, 29 January 2016

Proposals due by 15 October 2015

The year 2015 witnessed a number of exhibitions and conferences devoted to James Gillray’s bicentenary and the artist’s graphic work. But Gillray after Gillray is a study day aimed at discussing Gillray’s posterity and visual heritage across several areas of British and European culture in the course of a century. British caricaturists frequently claim to work in the wake of Gillray’s satirical spirit (Ralph Steadman, Gerald Scarfe, Martin Rowson, Steve Bell) and as such manifest their debt to the artist’s approach to the body and to politics. Other artistic forms, on the other hand, may be derived from the Georgian era but in a less obvious manner, for instance, The Chapman Brothers’ envisioning of Capricios is indebted to Goya’s series, but the title Like a Dog Returns to its Vomit twice appears to be closer to motifs such as digestive discomforts and uncontrolled regurgitation recurrently exploited by Gillray in his prints and drawings. Looking at graphic afterlives and avatars of Gillray’s caricatures and his particularly vitriolic sense of satire is also an opportunity to extend current critical views from editorial cartooning and contemporary art onto a whole range of satirical forms in mass media. Issues that may be raised, though not exclusively so, may range from art-historical approaches to case studies of post Georgian era reception.

Submissions are invited that engage with examples of graphic satire dating from any point across the last 250 years and that address the following questions, among others:
• What traces of Gillray can be identified in contemporary painting, installation art, video or even TV?
• How can we engage with the notion of morbid comic as for instance demonstrated in the works of the Young British Artists?
• Public space and the aesthetics of graphic satire
• Politeness, decorum and Rude Britannia from 1790 to nowadays
• British tabloids as part of Gillray’s influence and heritage
• What exactly is « rude » in British visual and mass media culture?
• How far can Gillray be viewed as a founding father of a specific approach to visual satire?
• Art, visual satire as something deliberately spectacular and shocking
• Art, commerce and visual satire then and now

Please send proposals (of no more than 250 words) for 20-minute papers to Brigitte Friant-Kessler and Morgan Labar before 15 October 2015. This study day will be held in French and English.

Brigitte Friant-Kessler
Maître de conférences en langues et cultures anglophones
CALHISTE EA 4343
Université de Valenciennes
Brigitte.Friant-Kessler@univ-valenciennes.fr / b.friant@free.fr

Morgan Labar
Doctorant contractuel en Histoire de l’art (ED441)
HiCSA, Université Paris 1 Panthéon-Sorbonne
morganlabar@gmail.com

James Gray, Kingston from Fort Henry, 1828, 29.6 x 54.9 cm (Montréal: McCord Museum, #M19883, via Wikimedia Commons). Fort Frontenac was founded on the site of what became Kingston in 1673. Fort Henry was constructed during the War of 1812.

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Canadian Society for Eighteenth-Century Studies Annual Conference
Kingston, Ontario, 26–30 October 2016

Proposals for panels due by 1 March 2016 / Proposals for papers due by 1 April 2016 [deadlines extended a month from their original dates of February and March]

The annual meeting of the Canadian Society for Eighteenth-Century Studies invites panel and paper submissions for its annual conference, to be held in Kingston, Ontario, 26–30 October 2016. This conference will be co-hosted by colleagues from Queen’s University and the Royal Military College of Canada. The conference theme is Secret/s & Surveillance. Plenary speakers will include Christophe Cave (Université Grenoble-Alpes) and Lisa Freeman (University of Illinois, Chicago).

Proposals for panels and papers might consider the following themes, though this is not an exhaustive list: treason; suspicion; espionage; voyeurism; surveys & surveying; informants & surveillance networks; secret code; private conduct & self-surveillance; anonymity & pseudonymity;  ___ & ——s, or ‘types’ of secrecy; costume, disguise & cross dressing; masquerade; secret identity; passing; observation of religion; military intelligence; scandal; secret societies;  spectatorship; audience; secret histories; secrets of the natural world; clandestinity & censorship.

Papers in either French or English are welcome. Please send panel proposals by 1 February 2016; paper proposals by 30 March 2016 to email CSECS2016@queensu.ca.

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Appel de communications

À l’occasion de son congrès annuel qui se tiendra à Kingston (Ontario) du 26 au 30 octobre 2016 grâce à la collaboration de collègues de l’Université Queen’s et du Collège militaire royal du Canada, la Société canadienne d’étude du dix-huitième siècle vous invite à proposer une séance ou une communication. Le thème du congrès est « Secret(s) & surveillance ». Les conférences plénières seront prononcées par Christophe Cave (Université Grenoble-Alpes) et Lisa Freeman (University of Illinois, Chicago).  

Les propositions de séances et de communications peuvent aborder les thématiques suivantes, sans que cette liste soit exhaustive : trahison; suspicion; espionnage; voyeurisme; enquêtes & sondages; informateurs & réseaux de surveillance; code secret; comportement privé & surveillance de soi; anonymat & pseudonymie; costume, déguisement & travestissement; mascarade; identité secrète; renseignement militaire; scandale; sociétés secrètes; spectacles & spectateurs; mémoires secrets; secrets de la nature; clandestinité & censure. 

Qu’elles soient en anglais ou en français, vos propositions de séance doivent parvenir à l’adresse suivante avant le 1^er février 2016 et vos propositions de communication, avant le 30 mars 2016 : CSECS2016@queensu.ca.

From H-ArtHist:

Creativity and the City, 1600–2000
University of Amsterdam, 27–29 October 2016

Proposals due by 15 November 2015

Organized by Amsterdam Centre for Cultural Heritage and Identity, University of Amsterdam, the Netherlands

Keynote Speakers
• Jo Guldi, Brown University
• Ilja Van Damme, Antwerp University
• Scott Weingart, Carnegie Mellon University

This international and interdisciplinary conference on the history of creativity and the city aims to bring together recent research in the fields of history, arts, and digital humanities. In the last decade, scholars in the humanities and social sciences have explored the complex interplay between places and their culture using a variety of methods and approaches. The conference examines the relationship between cultural artefacts (art, books, etc.) and the urban networks and spaces in which they were conceived, (re)produced, distributed, mediated, and consumed in early modern and modern Europe. How such issues can be studied by means of existing and novel (digital) methods, as well as comparative and long-term approaches, is the second major theme of the conference.

We invite researchers in the fields of history, arts and culture, urban studies, media studies and the digital humanities to submit abstracts. Papers may address all kinds of cultural expressions and products—from books, (applied) arts and theatre, to films, media and music. The committee particularly invites scholars who will reflect on methodological questions and the use of computational techniques for historical research.

The list of possible themes includes but is not limited to:
• Space and place (built environment, local amenities, spatial distribution, transnational connections, etc.)
• Entrepreneurs and firms (business strategies, networks, collaboration and competition etc.)
• Intermediaries and institutions (guilds, societies, museums, policy, etc.)
• Markets and labour markets (distribution, training, cross-sectoral linkages, etc.)
• Text analytics for historical corpora (information retrieval, pattern recognition, tagging and annotation, etc.)
• Digital cultural heritage (3D/4D modelling, visual and audio-visual content analysis, etc.)
• Analysis and visualization (prosopography, network analysis, discourse analysis, etc.)

Please submit your details, abstract (300 words max.) and 5 key words before 15 November 2015 through the conference management system. When your paper is embedded in a larger research project, please also provide its title and affiliation. A scientific committee will evaluate the abstracts and sessions will be formed on the basis of the selected papers. For inquiries, please contact us at achi.red@uva.nl.

Abstract submission: 15 November 2015
Notification of abstract acceptance: Early January 2016
Registration will open in February 2016

Advisory Committee: Rens Bod, Jan Hein Furnée, Lia van Gemert, Jaap Kamps, Joep Leerssen, Julia Noordegraaf, Harm Nijboer, and James Symonds.

Conference Organizers: Jan Bolten and Claartje Rasterhoff.

From H-ArtHist:

Musical Theatre and Space: Early Modern European Courts
Gotha, Friedenstein Castle, 27–29 October 2016

Proposals due by 15 September 2015

International Colloquium of the Rudolstädter Arbeitskreis zur Residenzkultur e.V., the Institut für Musikwissenschaft of the Universität des Saarlandes, the Institut für Kunstgeschichte of the Ludwig-Maximilians-Universität München and the Stiftung Schloss Friedenstein Gotha

The union of the arts in the Gesamtkunstwerk (‘total work of art’) of court opera has been repeatedly studied by diverging approaches of musical history research. However, although a wide range of different arts were involved in the realization of music-theatrical spectacles, still an interdisciplinary approach seems to be pursued rather hesitantly. Thus, for example, particular spatial-architectural aspects of court opera scarcely have been taken into account. Yet, music theater connotes scenic performance and architecture alike. Both constituted essential elements of aristocratic representation in the 17th and 18th centuries. Just as castles and palaces, the European nobility used operas and ballets as core media for the staging and representation of dynasty and person. In the Old Empire not only the imperial estate nobility initiated music-theatrical spectacles, but also lesser courts arranged ballets and operas according to their potentials. Even in the urban space opera-houses sporadically became installed, maintained by the aristocracy.

Hence, from a European perspective the colloquium shall focus upon the varied connections and interplays which existed between musical theatre and the court and its space in the narrow and broader sense. Mainly, scenic performance and architectural space are to be scrutinized. In this context the mutual relations between different forms of musical theatre, architecture, venue and stage are to be considered. In what ways and by what means a special ‘performance space’ became produced by the means of music, sound, language and movement (dance, facial expression and gesture), of architecture, picture and sculpture as well as light and technology? Which specific and corresponding spaces at court became created or converted, and which were the traditions being used? Within the scope of these issues, it is a significant question, to what extent the site of the spectacle on the one and the music-theatrical work of art on the other hand presupposed each other. To this effect the characteristics of Italian, French or Swedish musical theatre shall experience consideration in equal measure; terms of transfer and networks as well as the formation and development of certain types and models are to be analyzed. Against this background, it has to reconsidered, whether and to what extent at the courts there developed European standards, and whether these can be estimated to stand in accordance to the common national characteristics of ‘Italian’ and ‘French’. Furthermore, there shall be examined the recipients, the transfer in different social realms, the influence and participation of the court in the artistic realization, and finally the personal limits, which certainly existed.

As a vital point of all these thematic approaches it should be stressed, that the focus lies exclusively on the contexts of courts. Above all, the colloquium shall broach the genuine court conditions and shapes of performance and staging as they were implemented, understood and utilized by the European nobility only. Therefore, a core issue is posed by the problem of precise distinction, both socially and aesthetically, of the phenomena musical theatre and ‘court space’.

With the focus on court culture, we would be happy to receive contributions, preferably with an interdisciplinary approach, to the following range of topics:
• Court, opera and architecture as means of princely self-representation
• The ruler’s presence in the stage area
• Court venues and stage areas
• Music-theatrical staging within and beyond the stage area
• Stage technique, stage light, scenery and acoustics
• Motion in the stage area (stage dance, facial play, gesture)
• Forms, characteristics and sites of performance in comparison
• Different norms and practices at European courts
• The court audience
We encourage you to suggest also alternative topics. Please send an accordant proposal for presentation. The colloquium will take place subject to the acquisition or allocation of funds. A publication of the contributions is planned. We ask for proposals for the colloquium until 15th September 2015.

Dr. Heiko Laß: heiko.lass@kunstgeschichte.uni-muenchen.de
Dr. Margret Scharrer: m.scharrer@mx.uni-saarland.de

From the University of Kent:

Writing Buildings
University of Kent, 14–16 July 2016

Proposals due by 30 September 2015

CREAte, the research centre for architecture and the humanities at the Kent School of University, University of Kent, is holding a conference in collaboration with The Architectural Review which will bring together quite different traditions of writing about historic buildings. The special character of this conference is that speakers will be drawn from both academic and non-academic fields, and from a range of disciplines that touch on architectural experience and history. In this way we aim to offer a new experience for writers on architecture, interior design and urban space. We are inviting papers from those in architecture, English, history, sociology, film and drama, landscape studies and related disciplines with a specialist interest in writing about buildings and urban spaces or experiences across different time periods. The common theme of the papers will be the uses of a variety of voices in creating architecture culture.

Writing Buildings will be a two-day conference on the subject of alternative ways of writing architectural history which will encourage experimentation in criticism through breaking disciplinary barriers. The programme will include papers from both academic disciplines and non-academic professions which engage with the built environment, for example, journalism, interior design and construction, as our keynote speakers demonstrate:
Iain Sinclair / Writer
Matthew Beaumont, UCL / Psychogeographer
Jonathan Meades / Writer and Film Maker
Alexandra Harris, University of Liverpool / Cultural Historian
Barbara Penner, Bartlett, UCL / Material Anthropologist
Jonathan Reed / Interior Designer
Ben Campkin, Bartlett, UCL / Urban Geographer
Ian Dungavell / former director, the Victorian Society

We will organise at least one project-based writing event outside the conference hall. We are currently planning to hold this in collaboration with Turner Contemporary as part of their innovative Waste Land project. We will update news about the conference, including information about events, talks and activities on this website.

Both previous CREAte conferences have resulted in edited books by leading international academic publishers and we anticipate that this will happen again this time. In addition, the widely read and respected international journal The Architectural Review will promote the conference and intends to publish papers from it.

Email your abstract of approximately 250 words to WritingBuildings@kent.ac.uk by 30 September 2015. Notification of acceptance of papers by 31 January 2015.

Conference Directors
Timothy Brittain-Catlin, Kent School of Architecture, University of Kent, tjb33@kent.ac.uk
Catherine Richardson, School of English, University of Kent, c.t.richardson@kent.ac.uk
Tom Wilkinson, History Editor, The Architectural Review