Call for Papers | Art and Science in the Early Modern Low Countries
From the call for papers:
Art and Science in the Early Modern Low Countries
Amsterdam, 17–18 September 2015
Proposals due by 15 April 2015
Anatomical studies of a human heart, attributed to Jan l’ Admiral, 1700–1750 (Amsterdam: Rijksmuseum).
Anticipating plans for a future exhibition on Art and Science in the Early Modern Low Countries (ca 1550–1730), the Rijksmuseum and the Huygens Institute for the History of the Netherlands (Royal Dutch Academy of Arts and Sciences) organize a preliminary, two-day conference. This event will take place at the Rijksmuseum (September 17th) and the Trippenhuis (September 18th) in Amsterdam.
The Low Countries were flourishing in the early Modern Period, influenced by developments in Northern Italy and Southern Germany. First Antwerp and later Amsterdam emerged as centers of artistic and scientific innovation and creativity, and as nodal points in the exchange of goods, knowledge and skills. It is certainly no coincidence that a high level of artistic productivity in the Low Countries coincided with the so-called ‘Scientific Revolution’. Seen from a contemporary point of view, ars and scientia were complementary concepts, rather than opposites.
The aim of the conference is to explore the possibilities, prospects and also the pitfalls of the conjunction of ‘art and science’, and to contribute to the developing conversation between historians of art, historians of science and everyone interested in the visual and material culture of the sixteenth- and seventeenth-century Low Countries. The organizers look forward to receiving original submissions that address the relationships between art and science on both a material and a conceptual level.
Proposals which take objects, works of art, images, or illustrated texts as their point of departure are particularly welcomed. These may include ‘borderline’ topics—cross-overs between art and science, such as decorated shells, maps, models, pop-up books or anatomical preparations. Although the focus of the conference will be the Low Countries—both the South and the North—proposals which make reference to developments elsewhere shall certainly be considered, so long as the overall relevance for the main theme is clear.
Topics for discussion may include, but are not limited to
• the fluid borders between art and nature, both in theory and in practice (e.g. life casting techniques, strategies of display),
• the influence and use of new theories and instruments of visual representation (e.g. the use of perspective, anatomical analysis, the telescope, microscope and camera obscura),
• the processes and techniques that artists used for the visual representation of the increasing body of traditional and new knowledge, such as different print media and the use of color, multi-sheet and interactive prints.
• the mediation of direct observation by visual conventions and the specific demands of illustrations concerned with the production of new knowledge (for instance with regard to previously unknown flora, fauna and peoples, and to anatomical and astronomical discoveries),
• the emergence in visual materials of new conceptions of objectivity and trustworthiness (e.g. the meaning of ‘ad vivum’ and its cognates; the character and use of illustrations in natural histories and ‘scientific’ treatises),
• spaces where scholars, craftsmen and artists cooperated, discussed and produced new knowledge, such as cabinets of curiosities, the workshop, the anatomical theatre and the botanical garden,
• the role of religion in the definition and construction of knowledge and its influence on the visualization of knowledge.
We invite proposals for 20-minute and 10-minute papers, presenting the results of new or ongoing research. A 300-word abstract (preferably including an image or reference to a work of art), together with a short curriculum vitae, should be sent to both Jan de Hond (j.de.hond@rijksmuseum.nl) and Eric Jorink (eric.jorink@huygens.knaw.nl). Proposals should be submitted no later than April 15, 2015. The selection of proposals will take place during the following month.
Call for Papers | The Enlightenment of the Senses
From the Calgary-based Enlightenment Group:
The Enlightenment of the Senses
Mount Royal University, Calgary, Alberta, 6 March 2015
Proposals due by 30 January 2015
For its third symposium, The Enlightenment Group at Mount Royal University invites paper propositions on the enlightenment of the senses. This symposium is also open to undergraduate and graduate students.
The publication of Locke’s Essay Concerning Human Understanding in 1690 rejuvenated the relationship between thought and senses by rejecting the concept of innate ideas and establishing sense experience as the basis of knowledge. While the senses were no longer seen as the cause of errors or illusions, this new empiricism was difficult to reconcile with long privileged themes such as the nature of the soul and of the real essence of things. Voltaire and others would make use of those tensions in their critiques of orthodox theology. The work of writers such as Condillac would prolong the effect of Locke’s empiricism throughout the eighteenth century.
Given the influence of this epistemological revolution in Europe across philosophy, science, literature and the arts, this symposium aims at examining the notion of sensualism in the Enlightenment through the lens of various disciplines in order to map out the similarities and the differences in the reception and application of sensualism in the Enlightenment world.
Topics may include, but are not limited to
• Empiricism and science
• Arts and senses
• Sensualism and literature
• Senses and philosophy
• Taste and sensibility
• Social dynamics of sensibility and taste
Please submit abstracts of 250 words by January 30, 2015 to Antoine Eche (aeche@mtroyal.ca)
STUDENTS: submit your abstract by February 17, 2015.
The Enlightenment Group is an interdisciplinary group of MRU scholars engaged in the study of the Eighteenth Century.
Call for Papers | Crash and Burn: Destruction in American Art
As posted at H-ArtHist:
Crash and Burn: Destruction in American Art
The Courtauld Institute of Art, London, 5–6 June 2015
Proposals due by 15 February 2015
Destruction has long occupied a central position in the construction of an American national image. From Cotton Mather’s description of Boston as ‘the City of Destruction’ to the 9/11 attacks and Hurricane Katrina, the sheer visual force of destruction has repeatedly left an indelible mark on the collective psyche. As historians such as Richard Slotkin and Kevin Rozario have demonstrated, violent and destructive episodes have been inextricably linked with the apparently opposing forces of creation and regeneration so central to American self-imaging. This symposium will elaborate on such historical accounts to examine how the idea of destruction has shaped and been shaped by American art and visual culture.
Whether through the kind of dramatic cataclysm predicted in Thomas Cole’s The Course of Empire, or the ruined aftermath captured by the post-industrial landscapes of photographer Lewis Baltz, images of destruction in American art have often engaged with the most pressing historical questions of their time. Intensifying the paradoxes between artistic creation and destruction, American art has sometimes been directly engaged in the destructive act itself. As the recent ground-breaking exhibition Damage Control: Art and Destruction Since 1950 made clear, the efforts of conceptual artists to incorporate destruction as an artistic technique not only threatened to destroy the art object, but offered a powerful comment on contemporary social phenomena including urban renewal and ecological devastation. The capacity of artworks from earlier periods to embody such social and environmental concerns is a subject that merits increased scholarly attention.
The symposium will attempt to establish a genealogy for the destructive impulse as it was specifically activated in American art, charting its evolution from the colonial era to the present. How do American artists reconcile destruction with their own processes of creation? What motivated artists to incorporate destruction into their art, and how have these contextual meanings changed over time? The symposium will interrogate destruction as a theme addressed by artists through their work, but also consider those external forces that have seen the artwork itself subjected to the forces of destruction. Papers can consider works of art of all mediums and periods, as well as a wider range of visual and material culture.
Please submit abstracts of 150–200 words in English, along with a short biography of approximately 100 words to destructionsymposium@gmail.com by 15 February 2015. Speakers and attendees alike will be invited to submit proposals to present further work in a related workshop to be held at Tate later in 2015, as part of their Refiguring American Art initiative.
Organised by Hélène Valance, Terra Foundation for American Art Postdoctoral Fellow, The Courtauld Institute of Art, and Alex J. Taylor, Terra Foundation Research Fellow in American Art, Tate.
Call for Papers | Joshua Reynolds and Artistic Experiment
From the call for papers:
Challenging Materials: Joshua Reynolds and Artistic Experiment in the Eighteenth Century
The Wallace Collection, London, 15 May 2015
Proposals due by 13 February 2015
Joshua Reynolds, Portrait of Mrs. Mary Robinson, 1783–84 (London: The Wallace Collection)
This conference, which accompanies the exhibition Joshua Reynolds: Experiments in Paint at the Wallace Collection, is designed to investigate and contextualise the artist’s famously experimental practice. Building upon the technical findings of the Reynolds Research Project at the Wallace Collection, and also on a range of recent conservation projects on Reynolds’s paintings, it will explore his distinctive manipulation of paint as a medium. Papers are encouraged that will offer new perspectives on Reynolds’s experimental forms of pictorial composition, narrative and allusion, and to look afresh at the dynamic interactions between the artist, his sitters and his models in the studio.
As well as focusing on Reynolds’s own art in detail, the conference seeks to place his experimental activities within the context of wider artistic, cultural and scientific practices of the eighteenth century. How did his own attitudes to the fundamental materials of his profession—to pigments, oils, varnishes and glazes—relate to those of other artists, both from his own period and before? How did his distinctive engagement with the conventions of portraiture, fancy pictures and history painting compare to the ways in which other practitioners reworked such pictorial genres? Can we contextualise his painting within a broader project of cultural experimentation and innovation in the period, one that is also visible in the spheres of literary, theatrical and musical production? And, finally, might it be helpful to understand his work in relation to the forms of scientific and technological experimentation that developed in the Georgian era, whether institutionalised or unofficial? The Challenging Materials conference is designed to address such questions, and in doing so to shed fresh light not only on Reynolds’s own work, but also on the visual culture of which it was a part.
This one-day conference is being organised by the Paul Mellon Centre for Studies in British Art and the Wallace Collection. It will take place at the Wallace Collection and includes a morning viewing of Joshua Reynolds: Experiments in Paint. Substantial time will be granted for discussion; refreshments, lunch and a drinks reception will also be provided.
Proposals of no more than 300 words for 20-minute papers should be sent to Ella Fleming at efleming@paul-mellon-centre.ac.uk by Friday 13th February 2015. Please also include a short biography of c. 150 words in your application.
Call for Papers | RACAR Thematic Issue: The Nature of Naturalism
From the call for papers:
RACAR Thematic Issue—The Nature of Naturalism: A Trans-historical Examination
Edited by Sarah Guérin (Université de Montréal) and Itay Sapir (UQAM)
Proposals due by 1 February 2015; completed articles due by 1 August 2015
In spite of its inherent complexities and ambiguities, the definition of naturalism in art is often taken for granted. Indeed, the history of art continues to be schematized by dividing it into periods of greater and lesser naturalism. Thus, for instance, the remarkably life-like capital foliage of Reims cathedral is flagged as a break from a typically medieval ‘abstract’ style; and the categorization of artists such as Caravaggio as ‘naturalists’ is repeated, but seldom questioned, throughout the spectrum of art historical texts, from scholarly studies to wall texts addressing the museum-going public.
The relations and interactions between art and nature, however, are never simple. Works of art can seek to imitate one aspect of nature while ignoring, or actively discarding, others. General interest in natural phenomena does not necessarily imply a ‘naturalistic’ technique, and vice versa. The perspective shifts even more dramatically when considered within the framework of global art history. The definition of nature is in itself, of course, a fraught philosophical question, exemplified, but not exhausted, by the distinction between Natura naturans and Natura naturata.
In this special issue of RACAR (Revue d’art canadienne / Canadian Art Review), we seek to problematize further the concept of naturalism in the visual arts. What are the criteria that define a work, a corpus, or a style, as naturalistic? How do artists formulate an approach to nature through the related aspects of content, form, and function? Should one distinguish naturalism from realism and mimesis, terms frequently used as quasi-synonyms? Is the category of ‘naturalistic art’ helpful at all for art historical discourse, or should it be dispensed with altogether? A perennial question in the history of art, the nature of naturalism remains relevant to the field.
We welcome both theoretical texts and specific case studies treating questions of naturalism from any historical period, geographical region, and artistic medium. The articles (of a maximum of 8,500 words including footnotes) will be due on 1 August 2015 and will be submitted to double-blind peer review. Please email your 250-word abstract and a short CV to Sarah Guérin (s.guerin@umontreal.ca) and Itay Sapir (sapir.itay@uqam.ca) by 1 February 2015.
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RACAR, un numéro thématique—La nature du naturalisme: un questionnement transhistorique
Sarah Guérin, Université de Montréal Itay Sapir, UQAM
En dépit de sa complexité et de ses ambiguïtés, la définition du naturalisme dans l’art est souvent tenue pour acquise. En effet, l’histoire de l’art continue d’être schématiquement divisée en périodes selon le degré de naturalisme. Ainsi, par exemple, les chapiteaux végétaux remarquablement véridiques de la cathédrale de Reims sont décrits comme une rupture par rapport au style médiéval qui serait typiquement « abstrait » ; et des artistes comme Caravage sont régulièrement étiquetés « naturalistes » dans des textes historiographiques divers, sans que cette description soit sérieusement expliquée ni remise en question.
Il est évident, pourtant, que les relations entre l’art et la nature sont loin d’être si simples. Les œuvres d’art peuvent tenter d’imiter directement un aspect de la nature tout en ignorant ou en rejetant activement d’autres ; un intérêt général pour les phénomènes naturels ne signifie pas nécessairement une technique « naturaliste », et vice-versa. La perspective bascule de façon encore plus radicale lorsque nous prenons comme cadre une histoire de l’art mondiale. La définition de la nature est en elle-même, bien sûr, une question philosophique complexe : la distinction entre Natura naturans et Natura naturata en est un aspect crucial parmi bien d’autres.
Dans ce numéro spécial de RACAR (Revue d’art canadienne / Canadian Art Review), nous souhaitons problématiser le concept de naturalisme dans les arts visuels. Quels sont les critères qui définissent une œuvre, un corpus ou un style comme naturaliste ? Comment les artistes formulent-ils leur approche à la nature à travers le contenu, la forme et la fonction de leurs créations ? Faut-il distinguer le naturalisme des termes fréquemment utilisés comme ses synonymes, tels le réalisme et la mimesis ? La catégorie d’« art naturaliste » est- elle d’une quelconque utilité pour le discours historiographique, ou serait-il préférable de l’abandonner ? La question de la nature du naturalisme, soulevée par les artistes et les théoriciens tout au long de l’histoire, demeure d’actualité.
Nous invitons des propositions d’articles (en anglais ou en français) traitant de la question du naturalisme dans l’histoire de l’art. Les textes qui se penchent sur des questions théoriques générales ou qui se concentrent sur des études de cas sont fortement encouragés. L’appel est ouvert à des sujets provenant de toutes les périodes historiques, toutes les aires géographiques et culturelles et tous les médias artistiques. Les articles (d’un maximum de 8500 mots y compris les notes) seront exigibles le 1er août 2015 et seront soumis à un examen par les pairs en double aveugle. Veuillez soumettre vos propositions d’un maximum de 250 mots et un court CV avant le 1er février à Sarah Guérin (s.guerin@umontreal.ca) et Itay Sapir (sapir.itay@uqam.ca).
Call for Papers | Disseminating Dress: Britain and the Fashion World
From the conference website:
Disseminating Dress: Britain and the Fashion World
University of York, 28–30 May 2015
Proposals due by 15 January 2015
Disseminating Dress is a three-day international and interdisciplinary conference that explores how ideas and knowledge about dress have been shared, sought and communicated throughout history.
In bringing together academics, curators and industry professionals, this conference is an invitation for interdisciplinary discussion concerning methods of communicating concepts of what someone should, could, or would wear. Dress has been demonstrated to be central to the creation, expression, and subversion of cultural and national identity. However, what remains relatively unexplored is how these ideas were conveyed and perceived. If fashion is the result of a mixture of innovation and emulation, then we need to ask how these new ideas came to be circulated around and between societies.
From the London of the Blitz to Renaissance Italy, men and women have both sought out and been instructed in what to wear, forming personal, social and cultural aesthetics, while driving trade and mercantile success. This conference welcomes a broad interpretation of how dress has been disseminated throughout history, and will be an open forum for work undertaken from a variety of disciplinary and professional viewpoints.
Disseminating Dress invites proposals for 20-minute papers that explore the manifold media, methods, perceptions and motivations driving fashion dissemination across history. Paper topics might include, but are certainly not limited to, the following methods and media for transferring fashion ideas and information:
• Correspondence and social networks
• Global networks for trade and cultural exchange
• The written word—including novels, journals, and fashion magazines
• Costume books, home sewing patterns, and other instructional sources
• Visual and material culture, including both fine art and popular culture
• Advertising, the role of fashion designers, and branding
• Famous persons, from court culture to modern celebrities
• Film, television, the Internet, and modern social media including MMS-ography
• The history of taste, and the influence of outside cultural forces such as developments within architecture and the decorative arts on fashion
Abstracts of 250 words in length, with an accompanying 100-word biography should be sent to disseminatingdress@gmail.com no later than 15th January 2015.
Confirmed Keynote Speakers
Christopher Breward, University of Edinburgh & Edinburgh College of Art
Peter McNeil, University of Technology, Sydney, & University of Sweden
Marcia Pointon, University of Manchester
Jennie Batchelor, University of Kent
Ulinka Rublack, University of Cambridge
Anna Reynolds, The Royal Collection
Organised by: Anna Bonewitz (University of York), Serena Dyer (University of Warwick), Sophie Littlewood (University of York), Jade Halbert (University of Glasgow), and Elizabeth Bobbitt (University of York).
Supported by: The Paul Mellon Centre; and The British Art Research School, The Humanities Research Centre, The Centre for Modern Studies, The Centre for Eighteenth Century Studies, and The Centre for Renaissance and Early Modern Studies, University of York.
Call for Essays | Equestrian Cultures, 1700–Present
From H-ArtHist:
Edited Collection of Essays: Equestrian Cultures, 1700–Present
Proposals due by 28 February 2015
Pictured in wonderfully textured shades of sepia, the horses of Roberto Dutesco’s photographic Sable Island series are beautiful, larger than life, and undeniably Other. They come alive on the walls of urban art galleries, and in doing so they both reaffirm and unsettle our conceptions of what it means to be ‘horse’. Liminally situated between rural and urban, domestic and wild, aesthetic object and independent subject, Dutesco’s Sable Island horses are both eminently real beings with their own experiences of worlding, and representations that speak to Western, hegemonic discourses of the nonhuman. What is ‘horse’? How have they been represented within literature and the arts? What is their relationship to humans, and how has their presence altered human society over time? These questions, along with the complex instability of the equine nonhuman, are the subject of this essay collection. We invite papers that explore the role and representation of horses in human culture from 1700 to the present in a wide array of geographies and contexts, and from multiple disciplinary perspectives within the humanities. Papers that explore horses in non-Anglocentric equestrian cultures are especially welcome. (more…)
Call for Panels and Papers | Fashion
From the conference website:
Fashion, the 84th Anglo-American Conference of Historians
Senate House, London, 2–3 July 2015
Proposals due by 15 December 2014
In a major collaboration with the Victoria and Albert Museum, the IHR is taking Fashion as the theme for its annual conference in summer 2015. Fashion in history is a topic which has come of age in recent years, as scholars have turned to addressing what is chic and what is style over the ages and across different cultures. The history of fashion, and the role of fashion in history, is not just confined to the study of dress and costume, but encompasses design and innovation, taste and zeitgeist, treats as its subjects both people and objects, and crosses over into related disciplines such as the history of art and architecture, consumption, retailing and technology. And across the world, fashion brings together museums, graduate teaching programmes, learned societies and the fashion profession around a common set of interests and concerns. The IHR conference next year we hope will be a perfect showcase and a meeting-point for the wide spectrum of specialists in this exciting field.
Our plenary speakers include Christopher Breward (Edinburgh), Beverly Lemire (Alberta), Ulinka Rublack (Cambridge) and Valerie Steele (Fashion Institute of Technology, New York). Proposals for panels on the themes of dress, imitation and emulation, taste and style, body-art, the fashion-industry and its media, fashionability and trend-setting, catwalks, fairs and exhibitions, innovation in interior design, architecture and public space, fashion education and technology will be accepted down to the middle of December. Individual paper proposals will also be accepted. Panels should comprise three papers and a chair, and proposals must include the name and affiliation of the speakers, the title of the panel and the titles of the individual papers. Please send proposals by 15th December toIHR.Events@sas.ac.uk Decisions will be made known once the Programme Committee has met in early January 2015.
Call for Papers | The Many Faces of Slavery
From cfp.english.upenn.edu:
The Many Faces of Slavery: Non-Traditional Slave Experiences in the Atlantic World
University of Montpellier, 21–22 May 2015
Proposals due by 31 January 2015
Plenary speakers: Professor Jacques de Cauna (CNRS/EHESS CIRESC) and Professor Herbert S. Klein (Columbia University)
By the 18th century, racial slavery had matured into a fully-fledged, firmly established, profitable form of labour in the Atlantic World. In slave societies, the development of the plantation unit led both to the geographical concentration of the slave population and to a growing homogenization of the activities bondsmen performed. However, throughout the Atlantic World, the existence of phenomena such as urban slavery, slave self-hiring, quasi-free or nominal slaves, domestic slave concubines, slave vendors, slave sailors, slave preachers, slave overseers, and many other types of “societies with slaves,” broadens our traditional conception of slavery by complicating the slave experience. This conference does not aim to challenge the significance of the plantation system, but, by using it as a paradigm, seeks to assess the extent and nature of non-traditional forms of slavery in the context of the historical evolution of labour in the Atlantic World.
In order to do so, this conference seeks to ask the following questions:
Were certain locations, historical periods and economic conditions more favourable to the diversification of the slave experience? How does the variety of slave experience inform the essence of slavery itself? What strategies did slaves employ to negotiate or manoeuvre themselves into different relationships with their masters or with their societies? Did the privileges that certain slaves benefit from, such as geographic or social mobility, undermine the slave system by subverting the established social and racial order? At what point did slave autonomy develop from an act of the assertion of agency and become an act of rebellion? Could it be argued that the development of non-traditional forms of slavery was the result of deliberate political choices?
The themes this conference endeavours to explore include, but are not limited to:
Urban slavery
Hiring out of slaves and slave self-hire
Industrial slavery
Slave hierarchies within plantation culture
Subsistence slavery
Manumission by self-purchase or by a relative
Nominal or quasi-free slaves
Slaves owned by non-traditional owners (women, free blacks, indigenous people, institutions)
Socialising across legal or racial lines (i.e. between slaves and free people of colour or whites)
Spaces of negotiation
Slave geographic and social mobility
Slaves in the westward migration
Runaway slaves and Maroon communities
Please send proposals of no more than 300 words in English (for papers or panels) and a brief CV mentioning your institutional affiliation to manyfacesofslavery@gmail.com by January 31st, 2015. Notification of acceptance will be sent by February 20th 2015. We welcome papers that cover any region of the Atlantic World as well as proposals for round table discussions.
Conference organisers: Lawrence Aje (University of Montpellier), Catherine Armstrong (Loughborough University), and Lydia Plath (Canterbury Christ Church University).
Call for Papers | Circulations of Objects in Natural History
From the conference website:
Knowing Things: Circulations and Transitions of Objects in Natural History
Museum für Naturkunde Berlin, Germany, 23–24 March 2015
Proposals due by 1 December 2014
With this call for papers we invite researchers and young scholars from different fields—including, but not limited to, the history and theory of collections, museum studies, cultural history, art history and aesthetics—to present exemplary moments of transition in the history of natural specimens and to explore the impact of spatial and disciplinary mobility on the history and theory of natural history objects.
The goal of this conference is to contribute to the history and theory of these Wissensdinge (Objects of Knowledge) by reconstructing historical transitions and threshold areas within their institutional contexts, the collection and the museum. Can we identify different phases in the mobility of things of knowledge? How do various spaces of knowledge, such as the laboratory, the collection and the exhibition, influence the ways of handling natural history objects? How do meanings attributed to these objects vary in different contexts? Rather than constructing a ‘biography’ oriented towards the life cycle of the object, should we not instead be telling a history of fractures and shifts? Finally, to what extent does an expanded, multidisciplinary approach impact the use, meaning and presentation of Wissensdinge?
The focus of the conference will be on case studies. These will provide the basis for exploring the degree to which this fundamental characteristic of Wissensdinge—their mobility—can serve as a point of departure for better understanding natural history objects. Using the history of tangible objects within their institutional framework, we want to examine the extent to which Wissensdinge are shaped, not only by their materiality, but rather by their migration through diverse realms of knowledge, through technical settings, and through scientific, political, as well as cultural discourses. Furthermore, we want to ask how these settings and discourses are in turn shaped by things of knowledge. The conference will focus on the time period between the mid-19th century and the present.
The conference is organized by the research department PAN – Perspectives on Nature (Perspektiven auf Natur), Museum für Naturkunde Berlin in cooperation with the scientific collections of the Humboldt-Universität and with the base project “Mobile Objects” in the Cluster of Excellence “Image Knowledge Gestaltung: An interdisciplinary Laboratory.”
The event will take place from March 23rd to 24th, 2015 at the Museum für Naturkunde Berlin. The conference will be held in English. Please include in the application an abstract (max. 500 words) and a short CV. The deadline for submission is December 1st, 2014 at: pan@mfn-berlin.de
Keynote speaker: Lynn K. Nyhart
The complete Call for Papers and additional details are available here»
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