Decorative Arts Trust Awards 13 Research Grants

Posted in fellowships, graduate students by Editor on June 4, 2020

Grant recipient Isabella Rosner will research Quaker makers of shell and wax work boxes. Mary Morrison, wax and shellwork shadow box, 1769, Philadelphia (Chester County Historical Society).  

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Press release (27 May 2020) from the Decorative Arts Trust:

The Decorative Arts Trust is pleased to announce the thirteen recipients of their 2020 Summer Research Grants, representing diverse cultures, materials, time periods, and geographies. Each year the Trust awards research grants to graduate students working on a Master’s thesis or PhD dissertation in a field related to the decorative arts. The Trust encourages projects that advance diversity in the study of American decorative arts. The word ‘summer’ may be a misnomer this year, as the Trust extended the terms of the grants to include travel through spring of 2021 due to potential restrictions related to the COVID-19 pandemic. The Trust also partners with other organizations to offer grants sponsored by the Marie & John Zimmermann Fund, the Decorative Arts Society of Orange County, and the Center for American Art.

The deadline to apply for Decorative Arts Trust Summer Research Grants is April 30 annually. For more information, visit decorativeartstrust.org or email thetrust@decorativeartstrust.org.

Kayle R. Avery
Winterthur Program in American Material Culture, Winterthur, University of Delaware
Avery will examine the digitization of modernist American concepts through the incorporation of Art Deco aesthetics in the BioShock video game franchise. His plans to study collections at the Metropolitan Museum of Art, the Cooper Hewitt Smithsonian Design Museum, and the New-York Historical Society’s Print Ephemera Collection.

Elizabeth S. Browne
Massachusetts Institute of Technology 
Browne will travel to examine the archives of the Manufacture Nationale de Sèvres in France to study 18th-century French sculptor Clodion (Claude Michel) and the Sèvres’ serialization called the ‘Vases Clodion’.

Christina L. De León
Bard Graduate Center 
De León will study the reinterpretation of the butaca by 20th-century designers Josef Albers and Clara Porset at the Albers Foundation in Bethany, Connecticut. Marie Zimmerman Grant.

Catherine Doucette
The Courtauld Institute of Art
Doucette will continue her study of a 19th-century tilt-top table, veneered with Jamaican woods and bearing images of the British Empire, made in Jamaica by the colony’s leading craftsman, Ralph Turnbull by visiting the Museum of Fine Arts, Boston, and the Yale Center for British Art.

Lamar Gayles
University of Illinois Chicago
Gayles will research the fabrication techniques and material mnemonics in the work of 20th-century Black American craftspersons by visiting collections in Alabama, Georgia, Chicago, and Washington, D.C.

Robert Gordon-Fogelson
University of Southern California
Gordon-Fogelson plans to research the work of mid-century designers Dave Chapman, George Nelson, and Walter Dorwin Teague as well as the Industrial Designers Society of America at the Research and Design Institute at Syracuse University’s Special Collections Research Center.

Cecilia Gunzburger
University of Virginia
Gunzburger will continue her study of the traditions and ornamental function of 16th-century European lace and related textiles at the Cleveland Museum of Art.

Cynthia Kok
Yale University
Kok will travel to the Museum of Fine Arts, Boston, and the Walters Art Museum in Baltimore to research snuffboxes made of mother-of-pearl, shell, and imitative materials and decorative styles.

Kayli Rideout
Boston University
Rideout will visit Richmond and Petersburg, Virginia to study ecclesiastical windows that Tiffany Studios was commissioned to create in memory of the Confederacy in the years between 1889 and 1925.

Isabella Rosner
King’s College London
Rosner will visit several collections in the Philadelphia region to understand more about Quaker women who made shell and wax work boxes.

Cambra Sklarz
University of California, Riverside
Sklarz will travel to Winterthur to examine ways that artists from approximately 1750 to 1860 incorporated waste or discarded goods into their decorative arts and practices. DARTS Grant.

Paige Weaver
University of South Carolina
Weaver will explore The Metropolitan Museum of Art’s Costume Institute and American Wing to evaluate a wide range of clothing, silver, and metalwork from the Reconstruction Era.

Xiaoyi D. Yang
Bard Graduate Center
Yang aims to continue her investigation of the circulation and consumption of Zhangzhou porcelains in Tokugawa-era commercial and cultural centers by visiting ceramic collections in Tokyo and Kyoto.

Call for Papers | Ma thèse en histoire de l’art en 180 secondes

Posted in Calls for Papers, graduate students by Editor on February 29, 2020

From ArtHist.net:

Ma thèse en histoire de l’art en 180 secondes
Festival de l’histoire de l’art, Fontainebleau, 5–7 June 2020

Proposals due by 15 March 2020

La 10e édition du Festival de l’histoire de l’art aura lieu à Fontainebleau les vendredi 5, samedi 6 et dimanche 7 juin 2020 avec le Japon comme pays invité. Le thème fédérateur choisi cette année est le Plaisir. Dans le cadre de cette édition, il est proposé aux doctorants de participer au concours « Ma thèse d’histoire de l’art en 180 secondes ».

Chaque candidat disposera de trois minutes (180 secondes) pour réaliser un exposé clair et concis de son projet de recherche. Les présentations réalisées par les candidats retenus devront convaincre deux jurys composés d’historiens de l’art et de professionnels. A l’issue du concours, trois prix seront attribués aux trois meilleurs orateurs.
Premier prix: 1000€
Deuxième prix: 500€
Troisième prix: 500€

Les frais de transport et d’hébergement des participants hors région parisienne seront pris en charge sur présentation de justificatifs (jusqu’à 150€).

Call for Papers | Inside the Temporary Exhibition

Posted in Calls for Papers, graduate students by Editor on February 27, 2020

From the Call for Papers for this graduate student symposium, the full version of which includes Italian and French versions, via ArtHist.net:

Inside the Exhibition: Temporalità, Dispositivo e Narrazione
Swiss Institute and Istituto Nazionale di Archeologia e Storia dell’Arte (Palazzo Venezia), Rome, 16–17 June 2020

Proposals due by 19 April 2020

Now more than ever, temporary art exhibitions saturate museum spaces worldwide, shaping the discourse between public institutions and academia, and implicating an ever-growing and ever-changing international audience. The eighth doctoral study day organised by RAHN intends to reflect on the research opportunities afforded by the temporary display of artworks, from the early modern period to present day (15th–21st century).

In this wide time frame, temporary exhibitions have acquired multifarious meanings, shaping art-historical discourse. For example, the first public displays of paintings organised in the pronaos of the Pantheon, or in the cloisters of Roman churches for the festivals of patron saints, were tied to the religious context in which they took place. However, these displays were also key in the development of another ‘cult’, that of the artist, favouring the commercial interests of private collectors or of ante litteram curators, such as Giuseppe Ghezzi (1634–1721). With the formation of modern states, public exhibitions’ narratives were informed by different ideological programmes, which were inspired by, and in turn influenced contemporary art-historical debate. In this light, the temporary display of artworks offers an insight into the exhibition’s producing culture itself, and a unique opportunity for research.

The study day intends to focus on the ephemerality of art exhibitions, following a diachronic and interdisciplinary methodological approach inspired by Francis Haskell’s pioneering work on the subject (2000). When an artwork is put on display, its physical shift corresponds to a process of intellectual de- and re-contextualisation, through which the object acquires new meaning(s), imparted by the other objects with which it is put in dialogue, the space in which it is placed, and its audiences. With this in mind, we invite applicants to consider the following questions:

What affects such processes of de- and re-contextualisation? What happens when an art work is placed on temporary display? How does this influence the intellectual discourse surrounding the object and / or the exhibition? What interests are at stake in the organisation of artistic displays? What are their audiences, intended message and reception?

We welcome papers engaging with such questions, including, but not limited to the following contexts:
• the origins of art exhibitions and their cultural context (public, private, religious, secular, etc.)
• the artwork, its display, and fruition in the museum space
• the relationship between artistic historiography and exhibitions
• the art market: galleries, art fairs, and their exhibition spaces
• reception and critical discourses, the exhibition’s audiences and ‘verbal contexts’ (Pomian, 1986)

The application is open to doctoral students in the history of art and architecture enrolled in Italian and international institutions. We welcome 20-minute long papers focusing on methodological questions through a specific case study or proposing a theoretical approach to the subject. The proposals can be submitted in Italian, English, or French. To apply, please send a 250-word abstract and a 1-page academic CV by 19 April 2020 to the organisers: giornatadottorale.rahn@gmail.com.

Essential Bibliography
• Francis Haskell, The Ephemeral Museum: Old Master Paintings and the Rise of the Art Exhibition (New Haven: Yale University Press, 2000).
• Krzysztof Pomian, “Pour une histoire des semiophores. À propos des vases des Médicis,” Le Genre humain 14 (1986): 17–36.

Seminar | How to Write Articles for Publication

Posted in graduate students, opportunities by Editor on January 28, 2020

From ArtHist.net:

How to Write Articles for Publication
The Morgan Library & Museum, New York, 22 April 2020

Applications due by 2 March 2020

Join the editorial board of Master Drawings journal to learn strategies for translating your research into an article. A series of presentations will be followed by an interactive session in which participants will be divided into smaller groups to work closely with one of the journal’s editors. The seminar is open to 20 recent Ph.D. recipients and advanced graduate students in the history of art whose work focuses on drawings. The course takes place at The Morgan Library & Museum on Wednesday, April 22nd. The application deadline is March 2nd and should be submitted electronically with the subject header ‘Writing Seminar’ to administrator@masterdrawings.org. Participants will be notified by 1 April 2020. More information, as well as the online application form is available here. The seminar is made possible through the generous support of Baymeath Art Trust.

Immanuel Kant PhD Scholarship

Posted in graduate students by Editor on October 19, 2019

From ArtHist.net:

Immanuel-Kant-Promotionsstipendium der Beauftragten der Bundesregierung für Kultur und Medien (BKM), July 2020 — June 2022
Applications due by 31 December 2019

Die Kulturstaatsministerin fördert mit dem Immanuel-Kant-Stipendium den hervorragend qualifizierten wissenschaftlichen Nachwuchs in den Geschichts-, Kultur- und Gesellschaftswissenschaften. Das Stipendium richtet sich an Doktorandinnen und Doktoranden, die sich mit transnationalen und transkulturellen Bezügen oder Verflechtungen im östlichen Europa vom Mittelalter bis in die Gegenwart unter besonderer Berücksichtigung der deutschsprachigen Bevölkerung befassen. Dazu gehören auch die Themenkomplexe Flucht, Vertreibung und Aussiedlung sowie die Integrationsprozesse nach 1945.

Gefördert werden u. a. Vorhaben aus den Bereichen Geschichte und Politik, Europäische Ethnologie/Volkskunde, Kunstgeschichte, Literatur- und Sprachgeschichte, Migrationsforschung und Sozialwissenschaft. Der regionale Fokus liegt auf den historischen preußischen Ostprovinzen (Schlesien, Ostbrandenburg, Pommern, Ost- und Westpreußen) in den heutigen Staaten Polen und Russland sowie den früheren und heutigen Siedlungsgebieten von Deutschen in Ost-, Ostmittel- und Südosteuropa (vornehmlich in Tschechien und der Slowakei, in der ehemaligen Sowjetunion und in den baltischen Staaten sowie in Ungarn, Rumänien und dem ehemaligen Jugoslawien).

Das für zwei Jahre gewährte Grundstipendium beträgt monatlich 1.300 Euro. Dazu können Zuschläge für Verheiratete, für Kinder sowie für einen Forschungsaufenthalt kommen. Eine Verlängerung ist möglich. Anträge können von in- und ausländischen Bewerbern und Bewerberinnen oder den sie betreuenden Hochschullehrerinnen und Hochschullehrern an einer Universität in der Bundesrepublik Deutschland gestellt werden.

Zu den Antragsunterlagen gehören:
• Lebenslauf und Zeugnisse,
• Thema, Fragestellung, Forschungsstand, Ziel und Zeitplan der geplanten Arbeit,
• Nachweis der Zulassung als Doktorand/in an einer deutschen Universität oder der Anbindung an eine deutsche Universität bei bi-nationalen Promotionsverfahren (Cotutelle-Verfahren),
• Gutachten der die Dissertation betreuenden Hochschullehrenden, Zweitgutachten eines weiteren Hochschullehrenden.

Stipendienanträge sind bis zum 31. Dezember 2019 digital im pdf-Format an die Geschäftsstelle des Imma-nuel-Kant-Stipendiums im Bundesinstitut für Kultur und Geschichte der Deutschen im östlichen Europa zu richten: bkge@bkge.uni-oldenburg.de

Stipendienbeginn ist der 1. Juli 2020. Die Entscheidung über die Stipendienvergabe trifft ein von der Beauftragten der Bundesregierung für Kultur und Medien berufener wissenschaftlicher Auswahlausschuss. Förderrichtlinien, Angaben zu Antragsunterlagen, zu Auswahl- und Bewilligungskriterien sowie eine Übersicht über die geförderten Dissertationsvorhaben (ab 2013) sind über die Homepage des Bundesinstituts unter http://www.bkge.de/Foerderungen-Stipendien-BKM/Immanuel-Kant-Stipendium/ abrufbar.

Bundesinstitut für Kultur und Geschichte der Deutschen im östlichen Europa
Geschäftsstelle des Immanuel-Kant-Stipendiums
Dr. Cornelia Eisler
Johann-Justus-Weg 147 a
D-26127 Oldenburg
+ 49 (0) 441 961 95-0

Call for Essays | Oxford Art Journal Essay Prize 2019

Posted in graduate students, opportunities by Editor on September 16, 2019

From ArtHist.net (9 September 2019) . . .

Oxford Art Journal Essay Prize 2019
Submissions due by 1 December 2019

The Oxford Art Journal Essay Prize for Early Career Researchers is now open for submissions until 1st December 2019. The annual Essay Prize seeks to further enhance Oxford Art Journal’s international reputation for publishing innovative scholarship, and can be on any topic relevant to art history. Submissions are encouraged from British and international doctoral students, as well as early career researchers who are within five years of gaining their PhD.

The winner will receive:
• Publication of the winning essay in Oxford Art Journal
• £500 worth of Oxford University Press books
• A year’s free subscription to Oxford Art Journal

Find out more by visiting the journal’s website.

Call for Papers | Visualizing Sound and Silence

Posted in Calls for Papers, graduate students by Editor on June 13, 2019

From Case Western:

Visualizing Sound and Silence in Art and Architecture
45th Annual Cleveland Symposium for Current and Recent Graduate Students 
Case Western Reserve University and the Cleveland Museum of Art, 25 October 2019

Proposals due by 28 June 2019

When we examine visual images, we often concentrate solely on the sense of sight. In contrast, art and architecture, whether employing musical, ritual, or acoustic components, have a long history of incorporating aural elements that engage with the sense of hearing. Whether audible or silent, art, in any form, is not a ‘mute’ medium. The question of who speaks, who is silent, and who is listening echoes within the chambers of power in any society.

How do artists throughout history visualize sound and silence? How does performance alter the experience of an object or space? How does the ephemeral nature of a melody or of a cacophony change our experiences of art and architecture over time? How does conversation or contemplation reshape our understanding of an image?

The Art History Department at Case Western Reserve University invites graduate students to submit abstracts for its 2019 Annual Symposium: Visualizing Sound & Silence in Art & Architecture. We welcome innovative research papers that engage with acoustics, music, sounds, and silence in and around art.

With keynote speaker: Vincent Debiais, L’École des Hautes Études en Sciences Sociales

Presentations may explore aspects of this theme as it applies in any medium and from any historical period, geographical location, or methodological perspective. Papers that engage with the art or architecture of the Cleveland Museum of Art are encouraged, but are not required.

Leaf from a Gradual, circle of Girolamo dai Libri (Italian, 1474–1555), Verona (?), ink, tempera, and gold on parchment (The Cleveland Museum of Art, 1921.140.1.a).

Potential topics may include, but are not limited to:

• Depictions of sound
• Discussion of who is given a voice
• Music in art
• Liturgy and recitation
• Conversation pieces
• Internalization of drama
• Acoustics in architecture
• Silent films
• Performance art
• Sound installations
• The augmentation of other senses
• The role of labels and audio guides in museums
• Resonance with political environment

For consideration, current and recent graduate students in art history, musicology, and related disciplines are invited to submit a 350-word abstract, alongside a CV to clevelandsymposium@gmail.com by June 28, 2019. Selected participants will be notified by the end of July. Paper presentations will be 20 minutes in length. Please direct all questions to Reed O’Mara and Rebecca Woodruff at clevelandsymposium@gmail.com. Three papers will be awarded prizes.

Summer School Program | Three Exhibitions at The Prado

Posted in graduate students, opportunities by Editor on May 9, 2019

From H-ArtHist:

Escuela de Verano: Tres exposiciones temporales en el Prado, Concepción y organización
Museo Nacional del Prado, Madrid, 8–10 July 2019

Applications due by 24 May 2019

La Escuela de Verano del Museo del Prado es una nueva iniciativa académica de la Escuela del Prado cuyo objetivo principal es abarcar aquellos aspectos de la formación de jóvenes historiadores del arte, futuros conservadores y gestores de museos que las Universidades no pueden cubrir con su programación y que solo se pueden abordar desde una institución como el Prado. Los cursos profundizarán en diversos temas relacionados con el Museo del Prado, sus colecciones, la museografía y la museología, y en distintos aspectos relativos a la gestión de esta gran institución museística, desde la investigación a la exposición de obras de arte o a la conservación de sus colecciones.

Coincidiendo con el Bicentenario del Museo y partiendo de tres de las grandes exposiciones temporales organizadas por el Prado en 2019: Fra Angelico y los inicios del Renacimiento en Florencia; Velázquez, Rembrandt, Vermeer. Miradas afines; y Solo la voluntad me sobra. Dibujos de Goya, el objetivo de esta edición de la Escuela de Verano es acercar a los alumnos al proceso de creación de una exposición desde el momento mismo de su concepción. Esta edición de la Escuela estará dirigida por José Manuel Matilla (Jefe del Área de Dibujos y Estampas del MNP ) y Alejandro Vergara (Jefe del Área de Pintura Flamenca y Escuelas del Norte (hasta 1700) del MNP ). Los alumnos tendrán la oportunidad de recibir la información directamente de los profesionales de distintas disciplinas involucrados en el proceso de una exposición –diseñadores, restauradores, coordinadores de exposición, …- y de poder aprender a través del contacto directo con las obras de arte. El reducido número de alumnos permitirá un contacto directo con el claustro de profesores, y a la vez lograr una participación activa en un ambiente dinámico de recíproca colaboración entre profesores y alumnos.

La Escuela de Verano se desarrollará durante tres días consecutivos, en sesiones que combinarán clases teóricas y clases prácticas que consistirán en visitas a diversos espacios del Museo del Prado como las Salas de Exposiciones Temporales y Permanente, los Talleres de Restauración y los Almacenes de obras de arte, o el Gabinete de Dibujos y Estampas, entre otros.

La Escuela de Verano es una actividad gratuita gracias a la colaboración de la Fundación Banco Sabadell. El plazo de inscripción es de 30 de abril al 24 de mayo de 2019. El número máximo de alumnos admitidos en la Escuela de Verano será de 30 (en dos grupos de 15 participantes por grupo). Los aspirantes no deben superar los 30 años y deben estar en el último año del grado o ser estudiantes de postgrado. No se admitirán candidatos que posean una nota media inferior a notable en el grado. Consultas: escuela.prado@museodelprado.es.

Summer School | Rethinking the Baroque

Posted in graduate students, opportunities by Editor on May 5, 2019

From H-ArtHist:

Summer School | Rethinking the Baroque (Seventeenth and Eighteenth Centuries), New Historical and Critical Perspectives
Turin, 2–7 September 2019

Applications due by 31 May 2019

The Fondazione 1563 invites scholars who are younger than 40; active in the disciplines of history, art history, architecture, and literature; and who hold a PhD, a certificate of specialization, a 2nd-level master’s, or are enrolled in the second year of such study courses to apply to participate in the Summer School Rethinking the Baroque (XVII and XVIII Centuries): New Historical and Critical Perspectives. Candidates need to have a knowledge of Italian and English corresponding at least to a level B2. The courses of the Summer School will all be taught in Italian.

Participation in the Summer School is free. The Foundation will also cover the costs of the living expenses (accommodation and food) for the period running from the night of September 1 to the night of September 6 included, as identified by the Foundation. In addition, the Foundation will cover the costs of the guided tours, the transfer from/to the venue of the school. Travel expenses to and from Torino are, however, not covered by the Foundation.

Candidates must apply through the specific application form found here by 5.00pm of 31 May 2019. Candidates must upload their CV and an abstract of current or ongoing research. The research should present new critical perspectives relevant to the subject of the Summer School.

The Summer School will take place from September 2 to September 7, 2019 at the historical residency ‘Vigna di Madama Reale’, Strada Comunale San Vito Revigliasco 65, 10133 (Torino), or in a different venue in Torino that will be established by the Foundation.

The Summer School will address periods and turning points of cultural production in the field of art, architecture, literature, music, theatre, and history in Europe in the XVII and XVIII centuries, and it will further develop the critical reflection on the studies dedicated to the Baroque and its chronology.

The Summer School will be structured as follows:
• Lectures by experts in different disciplines, including Professor Franco Benigno (Professor of Modern History at the Scuola Normale Superiore, Pisa) and Professor Ingrid Rowland (Department of History, University of Notre Dame).
• Discussions in small seminar groups on cross-disciplinary issues related to historical criticism and methodologies, conducted with the support of scholars who won the scholarships of the Baroque.

Study Programme at the Foundation in the years 2013–17
• Formative sessions on digital humanities and digital tools applied to research
• Occasions to present and discuss participants’ research
• A presentation of the exhibition Roma, Torino, Parigi 1680–1750, a product of the project Antico e Moderno: Roma, Torino, Parigi 1680–1750, curated by Michela di Macco and Giuseppe Dardanello and developed by the Foundation. The exhibition will be on view at Venaria Reale in Spring 2020
• Guided tours to key art historical places in Torino, with particular attention to the Royal Museums and their collections

During the Summer School—and particularly during the workshop sessions—participants will have the opportunity to exchange critical and methodological points of view on the research they submitted when they applied for the summer school. The outcomes of these sessions might be included in papers for a future collective publication in an electronic version with ISBN, at the Foundation’s expense. A certificate of participation from the Foundation will be provided at the end of the Summer School.

More information is available here»

Seminar | Matthew Hargraves on Watercolor

Posted in graduate students, opportunities by Editor on January 31, 2019

J. M. W. Turner, The Pass at St. Gotthard, near Faido, 1843, watercolor over graphite
(New York: The Morgan Library & Museum, 2006.52)

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From the seminar flyer:

Seminar on Watercolor with Matthew Hargraves
The Morgan Library & Museum, New York, 15 March 2019

Applications due by 1 February 2019

The Morgan Library & Museum has an extensive collection of drawings from the Renaissance to the present, many of which feature the use of colored washes. Participants in this graduate seminar will look closely at the use of watercolor by artists of different schools, with a particular focus on the widespread use of the medium during the late eighteenth and early nineteenth centuries in Britain. From around 1750 to 1850, the period typically considered to be watercolor’s ‘golden age’, the medium came to be seen as a distinctively British art. In fact, however, watercolor had been used across Europe for centuries, and this seminar will examine the origins of watercolor, its adoption and development by British artists in the eighteenth century, and the spread of watercolor as a drawing medium in the Romanic period. Among the sheets examined will be examples by Albrecht Dürer, William Blake, Caspar David Friedrich, Eugène Delacroix, and J.M.W. Turner. The seminar will begin at 10am and last until 4pm.

Matthew Hargraves is Chief Curator of Art Collections at Yale Center for British Art in New Haven.

This seminar is open to graduate students in the history of art. Interested participants are kindly
invited to submit a one paragraph statement, which should include the following:
• Name and email
• Academic institution, class year, and field of study
• Interest in drawings
• Reason/s for wanting to participate in the seminar

A brief recommendation from the student’s advisor is welcome but not required. Applications should be submitted electronically by 1 February 2019 with the subject header ‘Watercolor Seminar’ to: drawinginstitute@themorgan.org. Participants will be notified by 11 February 2019.