Enfilade

From The Jenks Society:

Lost Museums Colloquium
Brown University, Providence, Rhode Island, 7–8 May 2015

Proposals due by 15 September 2014

In conjunction with the year-long exhibition project examining Brown University’s lost Jenks Museum, the John Nicholas Brown Center for Public Humanities and Cultural Heritage, the Haffenreffer Museum of Anthropology, and the John Carter Brown Library invite paper proposals for a colloquium on lost artifacts, collections and museums. (Other formats—conceptual, poetic, and artistic—are also invited.)

Museums, perhaps more than any other institutions, think in the very long term: collections are forever. But the history of museums is more complicated than that. Museums disappear for many reasons, from changing ideas about what’s worth saving to the devastation of war. Museum collections disappear: deaccessioned, traded away, repatriated, lost to changing interests and the ravages of time.

We are interested in this process of decline and decay, the taphonomy of institutions and collections, as a way of shedding light not only on the history of museums and libraries, but also on the ways in which material things reflect and shape the practices of science and the humanities, and also to help museums think about current and future practices of collections and collections use. We invite presentations from historians, curators, registrars, and collections managers, as well as from artists and activists, on topics including:

• Histories of museums and types of museums: We welcome case studies of museums and categories of museums that are no more. What can we learn from museums that are no more? Cast museums, commercial museums, and dime museums have mostly disappeared. Cabinets of curiosity went out of and back into fashion. Why? What is their legacy?
• Artifacts: How do specimens degrade? How have museums come to think of permanence and ephemerality? How do museums use, and ‘use up’ collections, either for research (e.g., destructive sampling), or for education and display; how have they thought about the balance of preservation and use? How can they collect the ephemeral?
• Museum collection history: How long does art and artifact really remain in the museum? Might the analysis of museum databases cast new light on the long-term history and use of collections?
• ‘Lost and found’ in the museum: How are art and artifacts ‘rediscovered’ in museums? How do old collections regain their importance, both in artistic revivals and in new practices of ‘mining’ the museum as artists finding new uses for old objects?
• Museum collections policy: How have ideas about deaccessioning changed? How should they change? How do new laws, policies, and ethics about the repatriation of collections shape ideas about collections?
• Museums going out of business: When a museum needs to close for financial or other reasons, what’s the best way to do that? Are there good case studies and legal and financial models?
• The future of museum collections: How might museums think about collecting the ephemeral, or collecting for ‘impermanent’ collections. What new strategies should museums consider for short-term collecting? How might digitization and scanning shape ideas about the permanence of collections?

Papers from the Colloquium may be published as a special issue of the Museum History Journal. If you’d like to present at the conference, please send an abstract of about 250 words and a brief CV to Steven Lubar, lubar@brown.edu. Deadline for submission of paper proposals is September 15, 2014.

Steven Lubar
Department of American Studies
John Nicholas Brown Center for Public Humanities and Cultural Heritage
lubar@brown.edu

As noted at Le Blog de l’ApAhAu (24 August 2014) . . .

‘Visual Artists Must Live like Kings or Gods’
Artists’ Homes in the Middle Ages and the Early Modern Era
Nuremberg, 11–14 June 2015

Proposals due by 31 August 2014

“Plastic artists should dwell like kings and gods: how else are they to build for kings and gods?”(Goethe, Wilhelm Meister’s Journeyman Years II, 8). What pertained to Goethe in a figurative sense is our question from varying perspectives in respect to the real visual artist in Europe up to 1800. Exceptional artists such as Goethe but also Mantegna, Dürer, Michelangelo, Rubens, Rembrandt or the Asam Brothers sometimes lived almost princely. But does this apply in general to the European artist of the pre-modern era?

The conference will take a look at the artist’s home and initially examine his status from the perspective of social topography. What factors influenced this status? To be considered are, for example, the neighbourhood, the proximity to possible clients or to prestigious places for sales such as centrally located squares, prominent streets or significant churches. The conference will investigate architecture and furnishings, the iconography and iconology of an iconographical program of artists’ homes from the perspective of art history and cultural history. Finally, the conference will also examine an early nascent conservation of the artist’s home or the dwelling as a place of remembrance in the period before 1800 and thus explore questions of the history of discourse or perception.

But we also expressly request papers deviating from the idea of the artist’s home à la Goethe, rather talks considering those visual artists who rented or who frequently moved and therefore acquired no property, also talks on artists who found accommodations with their clients. What do we know about these artists’ flats or their homes? Where and in what cities did artists’ quarters, artists’ streets or blocks of flats evolve, places where artists lived over a longer period? Who lived with the artist? How were the studios situated? Were there sales rooms in the house, in the flat? Were they also used for art instruction, to hold ‘academies’ (Joachim von Sandrart)? Is there a difference between the artists bound to guilds and those who worked at court?

The conference will examine text and picture sources to determine the image of artistic self-portrayal at the time via the medium ‘artist’s house’. The latter is primarily to be viewed from the standpoint of the visual artist’s strategies to rise to a higher stratum in a hierarchical society where he was relegated to the status of craftsman. What was the role of the sometimes extensive art collections for which rooms were often exclusively built or reserved? Using case studies, overview representations and comparative examinations, the conference will approach the topic from the perspective of different disciplines, primarily, however, from the perspective of art history, cultural history, and social history.

Abstracts for as yet unpublished articles (a maximum of 2,000 characters, including spaces) with a brief CV and a possible selection of relevant publications may be submitted in German or English by 31 August 2014 to Danica Brenner M.A., brenner@uni-trier.de. Publication of the articles is planned for 2016 in the series Artifex: Sources and Studies on the Social History of the Artist [Artifex: Quellen und Studien zur Künstlersozialgeschichte] (Michael Imhof Verlag, Petersberg).

The conference is held in cooperation with the Albrecht-Dürer-Haus, curated by Dr. Thomas Schauerte (the Nuremberg Museums) and the Social History of the Artist Research Centre (SHARC), principally the EU project « artifex », directed by Dr. Andreas Tacke, Professor (University of Trier, Chair, Art History).

Le colloque international « Visual artists must live like kings or gods ». Artists’ homes in the Middle Ages and the Early Modern Era se tiendra à Nuremberg du  11 au 14 juin 2015 ; les communications seront dispensées en allemand ou en anglais.
Organisateurs : Dr. Thomas Schauerte, Dr. Andreas Tacke, University Professor.

As noted at Le Blog de l’ApAhAu (18 August 2014) . . .

Le Paysage Spectacle: La Suisse au Regard du Tourisme, 1750–2015
Université de Lausanne, 23–25 April 2015

Proposals due by 15 September 2014

Le paysage construit le « pays », ce territoire naturel, urbain, rural et social. Ce dernier est le produit d’un processus d’artialisation, notamment par le truchement du regard que les artistes portent sur leur environnement biophysique et humain, et qui obéit à des codes esthétiques, culturels ou idéologiques. L’attrait du naturel et de l’artifice forge des visions utopiques ou des anticipations dystopiques. Le paysage est un lieu renvoyant le spectateur à son propre « lieu » géographique et culturel. Dans ce cadre, les points de vue des touristes ont joué un rôle primordial, du Grand Tour au voyage virtuel sur Google Maps. Le « regard touristique » opère ainsi une esthétisation de sites conventionnels ou inhabituels.

Depuis les écrits de Albrecht von Haller, la Confédération helvétique, et les Alpes en particulier, ont occupé une place centrale dans les pratiques et les théories paysagères. Ces dernières se développèrent notamment par le tourisme européen et ses projections. Les Alpes constituent à cette époque un lieu d’expérimentation que s’approprient les écrivains, artistes, philosophes, géographes, ingénieurs, biologistes, etc., construisant un ensemble de représentations historiques et culturelles. L’essor des moyens de transport et le développement de la production industrielle a favorisé de nouvelles pratiques artistiques et littéraires telles que la gravure coloriée, le panorama, l’affiche, le récit de voyage, la photographie de montagne et diverses formes de décor dans l’espace public (expositions nationales, « peintures de gares », etc.).

Ce colloque interroge les sources et les modèles qui ont contribué à l’image de la Suisse moderne et contemporaine, entre regards exogènes et indigènes. L’accent sera mis sur les approches du touriste spectateur, sur ses représentations et ses discours, sur son interaction avec les paysages et sur les approches des sciences, de l’histoire de l’art, de l’histoire, de la littérature, de la sociologie, de la philosophie, des sciences des cultures ou des sciences naturelles.

Nous nous réjouissons de recevoir des propositions de contribution (max. 300 mots) adressées à Valentine von Fellenberg : valentine.vonfellenberg@unil.ch avant le 15 septembre 2014.

Comité scientifique
Valentine von Fellenberg (UNIL)
Philippe Kaenel (UNLI)
Mathis Stock (IUKB)

From the Voltaire Foundation’s Facebook page, via Early Modern Architecture:

Posterity in France, 1650–1800
University of Cambridge, 19 March 2015

Proposals due by 6 October 2014

Organised by Jessica Goodman (Cambridge) and Russell Goulbourne (King’s College London)

‘La postérité pour le philosophe, c’est l’autre monde de l’homme religieux’.

So writes Diderot to the sculptor Etienne Falconet in early 1766. Their long correspondence on the subject of posterity is just one response to a topic that pervades cultural production in eighteenth-century France: from the Encyclopédie’s aim to convey to the future not only human knowledge but also the names of its creators, through Rousseau’s desire to control his posthumous image in his Confessions, to the celebration of the first literary centenaries, which gave contemporary writers cause to think on their own legacies.

The desire to be remembered was nothing new in the period: as far back as Horace’s claim in 23BC that ‘I shall not wholly die’, writers and artists had been imagining the afterlife that would be available to them through their works. This one-day conference, though, sets out to investigate the specificity of the idea of future glory for French cultural producers in the period 1650–1800, when there seems to be a suggestive confluence of social and intellectual changes: the growth of the public sphere, a new concept of an exemplary ‘grand homme’ focusing on moral and intellectual achievement rather than high birth or military might, a context of declining patronage and de-institutionalisation, and an increasing secularism, with the attendant questions about the afterlife of the soul.

Topics to be addressed could include:
• The specific features of the concept of posterity developed in the period
• How a consciousness of posterity affects how and what people write—both as individuals and in terms of broader cultural trends
• How the lure of posterity relates to an individual’s social self-positioning in life
• Whether writers and artists hold a particularly privileged position in the quest to be remembered
• The extent to which new cultures of mourning and commemoration influence or are influenced by contemporary writings on posterity
• The relationship between posterity and the religious afterlife in the thought of the period

Papers may be given in English or French and should last 20 minutes. Abstracts of 200–300 words should be sent to earlymodernposterity@gmail.com by Monday 6 October 2014. Questions may also be addressed to the organisers at this address. Contributions from early-career scholars and postgraduates are particularly welcome.

From the Call for Papers:

Cities and Citizens: Seventeenth-Century Studies Conference
Institute of Medieval and Early Modern Studies, Durham University, 13–15 July 2015

Proposals due by 1 November 2014

Durham’s Centre for Seventeenth-Century Studies—now part of the Institute of Medieval and Early Modern Studies—has, since its foundation in 1985, organized over a dozen high-profile international conferences. Next year’s conference will address the topic of ‘Cities and Citizens’ and will focus on the ways in which urban centres were perceived, experienced, understood and represented in the ‘long seventeenth century’ (c.1580–1720). The conference will be held within the UNESCO World Heritage Site on Palace Green in the heart of the medieval city of Durham.

The built environment of the city was represented in cartography, painting, printed images and in literary and dramatic works. What were the physical and sensory characteristics of the urban environment? How did the material form of the city change? Especially important here is architectural form—civic, ecclesiastical, official and vernacular. How did urban and rural people read the urban landscape? Here we hope to draw on the insights of archaeological theory as well as on recent findings in post-medieval urban archaeology.

The distinctiveness of the urban experience will be explored. What were the effects of inter-urban trade and of trade and migration between town and countryside? What were the economics of urbanization? In what ways did urban labour differ from that in rural communities and how was it regulated? How did urban people understand customary law and access to common resources? How did civic remembrance connect with popular memory? How did religious conflict change cities and in what ways were confessional identities inflected by the urban experience?
Special emphasis will be placed upon the idea and practice of citizenship. Who did this term include and who was left out? In what ways were ideas about citizenship inflected by nationality, ethnicity, belief, class, gender, property, skill, schooling and age? How far were early modern ideas about citizenship reflective of classical ideals, and how did they connect to those of the late medieval period? To what extent did citizenship guarantee inclusion within the urban polity, and what rights and obligations came with that inclusion? In what ways did those excluded from citizenship nonetheless participate in the urban polity?

We invite proposals either for single papers or for 3-paper panels. Papers should last for 20 minutes, with half an hour at the end of each panel for discussion. Panels may be specific to a particular town or city, or might be national or international in scope, including New World urban centres. Potential subjects might include (but are not restricted to):
• Defining towns, cities and urban communities
• The urban environment and the urban landscape
• Perceptions of space and time
• Gender, age, household and citizenship
• Social relations and social conflicts
• Crime, authority, resistance and the law
• Civic identities and vernacular urban cultures
• Urban customary rights and common resources
• Urban political cultures and public spheres
• Work and leisure
• Print, literacy and education
• Cities and international trade and exchange
• Fuelling and feeding the city
• Migration and social mobility
• Urban parish identities and patterns of belief
• Monastic houses, cathedrals and religious authority
• Occupations, social structures and demographics
• Disease, famine, medicine, and social policy
• Siege warfare
• Urban revolt
• Art, architecture and civic portraiture

Proposals for 20-minute papers and full panels should be submitted to early.modern@durham.ac.uk by 1 November 2014. Replies will be sent in early December 2014. Details concerning travel and accommodation for both speakers and delegates will be made available around the same time. It is hoped that the conference will give rise to an edited volume of selected essays.

George Stubbs, Portrait of the Kongouro (Kangaroo)
from New Holland, 1772 (National Maritime Museum)

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From the Call for Papers:

The Travellers’ Tails Seminars: Exploration
National Maritime Museum, Greenwich, Four Thursdays,  9 October 2014 — 29 January 2015

Proposals due by 5 September 2014

The Art Fund and Heritage Lottery Fund have generously funded a series of seminars at the National Maritime Museum and partner museums around the UK to investigate the histories, practices and interpretation of art, science and exploration from the Enlightenment to the present day. The seminars will bring together scholars, artists, scientists, explorers, members of the public and museum professionals to examine the changing nature, impact and legacies of European exploration since the mid-18th century. The seminars will focus on today’s audiences and discuss the display and interpretation of the material culture of exploration within gallery, heritage and museum environments. Seminars will interrogate the relevance of the subject and issues surrounding its presentation in a post-imperial world. George Stubbs’ iconic paintings of a kangaroo and dingo, recently acquired by the National Maritime Museum, will provide a starting point for wider-ranging papers and discussion within a multi-disciplinary environment.

Thursday, 9 October 2014: Lost in Translation
• How are the experiences and the material culture of exploration translated for those back at ‘home’?
• How have new places and frameworks of knowledge been introduced to Western societies?

Thursday, 20 November 2014: Finding Voices and Re-shaping History
• How might established narratives of exploration be accommodated within modern interpretations?
• To what extent and with what effect did indigenous peoples contribute to the making and dissemination of European knowledge?

Thursday, 4 December 2014: Empire and the Museum
• How and with what effects is Empire represented in museums?
• How can historical and contemporary exploration be documented and displayed to ensure other voices are included?

Thursday, 29 January 2015: Arts and Science: An Enlightened Approach
• How does bringing together the arts and sciences add to the interpretation of exploration?
• Where were the cross-overs between the arts and sciences historically, how are they viewed today and why?

Proposals of no longer than 250 words, for presentations of 20 minutes, should be sent to research@rmg.co.uk by no later than Friday, 5 September 2014. We welcome submissions for papers and less-formal presentations from academics, curators, artists and other specialists in the fields. Proposals from postgraduate students and early career scholars are encouraged.

I’m posting this particular call for panel proposals while wearing my hat as vice-president of the Historians of British Art. The announcement also serves as a general reminder, however, that all session ideas (in addition to those from affiliates) are due to CAA by Friday, 12 September 2014. HBA’s internal due date is Friday, 5 September. I’ve also included below the call for session proposals for the HECAA panel, which members should have received via email several days ago (if you’re a member and didn’t get a copy, please email Michael Yonan). –CH

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HBA Session Proposals for the 2016 College Art Association Conference
Washington, D.C., 3–6 February 2016

Proposals due by 5 September 2014

The Historians of British Art, an affiliate society of the College Art Association, welcomes proposals from members for its main session at the annual CAA conference in 2016 (February 3–6). Ideally, the session will accommodate a range of interests and multiple periods within the larger field of British art. Once HBA’s selection committee decides on a proposal, the individual(s) proposing the topic will need to follow the regular CAA procedures for panel submissions. Feel free to contact Craig Hanson with any questions, CraigAshleyHanson@gmail.com.

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HECAA Session Proposals for the 2016 College Art Association Conference
Washington, D.C., 3–6 February 2016

Proposals due by 29 August 2014

The Historians of Eighteenth-Century Art & Architecture, an affiliate society of the College Art Association, welcomes proposals from members for its main session at the annual CAA conference in 2016 (February 3–6). Please submit proposals to Michael Yonan, who will then submit them to the membership for a vote. In order to meet CAA’s deadlines, proposals will need to be emailed no later than 29 August 2014. Please include your name, affiliation, the title of the proposed panel, and a brief description of its theme. Three to four sentences should suffice.

From The Wallace:

2015 Wallace Collection Seminars on the History of Collections and Collecting
The Wallace Collection, London, 4th Monday of the Month

Proposals due by 30 September 2014

The seminar series has been established as part of the Wallace Collection’s commitment to the research and study of the history of collections and collecting, especially in the eighteenth and nineteenth centuries in Paris and London.  In 2015, as in previous years, we plan to organise a series of around 10 seminars. We are keen to encourage contributions covering all aspects of the history of collecting, including:

• Formation and dispersal of collections
• Dealers, auctioneers and the art market
• Collectors
• Museums
• Inventory work
• Research resources

The seminars, which are normally held on the 4th Monday of every month during the calendar year, act as a forum for the presentation and discussion of new research into the history of collecting. Seminars are open to curators, academics, historians, archivists and all those with an interest in the subject. Papers are generally 45–60 minutes long and all the seminars take place at the Wallace Collection between 5.30 and 7pm. If interested, please send a brief text (500–750 words), including a brief CV and an indication of which month you free to speak at, by 30 September 2014. For more information and to submit a proposal, please contact collections@wallacecollection.org.

From the Call for Papers:

14th International Congress for Eighteenth-Century Studies (ISECS 2015)
Rotterdam, 26–31 July 2015

Proposals due by 1 September 2014 (Panel Sessions) / 12 January 2015 (Individual Papers and Posters)

The Congress of the International Society for Eighteenth-Century Studies (ISECS) is the world’s largest meeting of specialists on all aspects of the eighteenth century, and takes place every four years. Recent ISECS conferences have been held in Dublin (1999), Los Angeles (2003), Montpellier (2007) and Graz (2011). The 14th ISECS Congress will be organized in Rotterdam, the Netherlands, from 26 to 31 July 2015. It is organized by the Dutch-Belgian Society of Eighteenth-Century Studies (DBSECS – Werkgroep 18e Eeuw) and is hosted by the Erasmus University Rotterdam on Campus Woudestein. We can welcome more than one thousand participants.

The theme of the 14th ISECS Congress is Opening Markets: Trade and Commerce in the 18th Century. The program will include theme-related keynote lectures and sessions, as well as panels and round tables on all topics related to the long eighteenth century (1670–1830). The conference will also facilitate poster presentations. We are looking forward to inspiring lectures, debates and presentations on the conference theme and on all issues regarding the Age of Enlightenment and Sensibility.

Online registration is now open for:
• Submission of proposals for panel sessions and round table sessions. The online Call for Panels is open from February 2014 until September 1, 2014.
• Submission of proposals for individual papers or poster presentations. The online Call for individual Papers & Posters is open from June 2014 until January 12, 2015.
• Pre-registration: You can e-mail the organizers (info@isecs2015.com) a request for pre-registration. By pre-registering, you subscribe to a newsletter that will keep you regularly informed about the organization of the ISECS 2015 Congress, including planned sessions, round tables and other meetings. The online Registration for the ISECS 2015 Congress will open from September 1, 2014 until April 30, 2015.

Don’t hesitate to distribute this call among interested colleagues and networks! If you have any questions in the meantime, please contact the local host committee via info@isecs2015.com or visit the conference website. ISECS 2015 is open to all persons interested in topics and issues having to do with the long eighteenth century and the Age of Enlightenment. Membership of an ISECS constituent or affiliated organization is not necessary for registration. The online Registration for the Early Career Eighteenth-Century Scholar Seminar will open in September 2014.

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Instructions for Panel Session Submissions
Proposals due by 1 September 2014

The ISECS 2015 Committee invites those interested to organize thematic meetings in the program of the Conference to submit proposals for panel sessions and round tables. The submission of proposals for panels will be open until September 1, 2014. Panel organizers are requested to complete the online form. Organizers are asked to supply information about the theme of the proposed panel and the panel members along with an abstract of their contribution to the panel meeting. Panels have a duration of one and a half hours, and should consist of 3–4 speakers (depending on the amount of discussion time the panel organizer wants to provide). It is also possible to submit a panel suggestion without concrete panelists or partly filled with panelists. In the coming months, we will present a list with panels accepting proposals on our website. Open panels will also be promoted through our newsletter.

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Instructions for Individual Paper Proposals
Proposals due by 12 January 2015

The submission of proposals for papers is open until January 12, 2015. Participants in the ISECS 2015 Congress can submit one proposal for an individual paper. In the menu available through the website, you will find a dropdown box with submitted panels that are open for paper submissions. Here, you can indicate which panel your paper could be part of. Paper proposals are reviewed by the scientific committee and by the panel organizers. The ISECS 2015 Scientific Committee is responsible for organizing the panels in which the papers and posters will be presented. Only registered participants can present individual papers and posters. Participants who intend to submit more than one paper proposal are requested to contact the organizers of the ISECS 2015 Conference (info@isecs2015.com).

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Instructions for Poster Proposals
Proposals due by 12 January 2015

Are you involved in an interesting project or in an area of work that you would like to discuss with or show to other Conference attendees? Why not present your work in the ISECS Poster Sessions? Your topic could be described on a printed poster or by photographs, graphics and pieces of text that you attach to the presentation panel. Posters in both English and French are welcome. Presenters of posters will be expected to be present on Tuesday, Wednesday and Thursday, 28–30 July, in order to explain their posters and to hand out any leaflets, or other information materials they have available for viewers. Each presenter can therefore only present one poster. Any organization that submits more than one application should indicate a priority to their submissions.

It is important that applicants describe how they intend to illustrate the project in the poster format. The poster has to be an experience in itself for the one who looks at it and should show awareness of the poster format. Special consideration will be given to ensure that a variety of topics and geographical/cultural range will be represented. The deadline is January 12, 2015. After the deadline, applications will no longer be accepted.

A jury representing the ISECS Organizing Committee will review all submissions and at the Conference they will select the winner of the ISECS Poster Award 2015 based on the criteria below. The topic of the poster should:
• Look lively, interesting and/or inspiring
• Lend itself to a poster session and not be too abstract
• Present new ideas
• Be clearly explained
• Not duplicate another poster, nor have the same presenter as another poster
• A presenter must be present during the poster session to explain the poster to viewers
• Have a relationship to the theme of the 2015 ISECS Conference
• Describe a project that is ongoing or near completion rather than one not yet started
For useful tips and tricks on how to design a poster, see this guide by Aimee Roundtree.

Paper, Paints, Crayons and Camera Obscura: Devices for Making Art in the Eighteenth Century
Session at the Annual Meeting of the South Central Society for Eighteenth-Century Studies
Marriott Grand, Point Clear, Alabama, 26–28 February 2015

Proposals due by 15 September 2014

Chair: Christina K. Lindeman, clindeman@southalabama.edu

While the focus of art historical study has concentrated on the finished portrait, painting, and print, this panel seeks papers that explore the historical, social and cultural context of the devices, implements, and things that made art in the eighteenth century. Possible paper topics include: new technologies that produced art products; trade and market of materials; art treatises or literary accounts on using devices. Interdisciplinary papers are welcome.

More information about the conference is available from the SCSECS newsletter, available as a PDF file here»

Also see the SCSECS website.