Call for Participation | Technologies of Turning
From the Call for Participation:
Technologies of Turning: An Exploration of Making and Meaning
Harvard University, 20–22 May 2014
Applications due by 18 March 2014
Organized by Jennifer L. Roberts (Elizabeth Cary Agassiz Professor of the Humanities, Harvard University) and Ethan W. Lasser (Margaret S. Winthrop Associate Curator of American Art, Harvard Art Museums)
Eligibility: Current graduate students in any discipline; space is limited to nine students.
This workshop is the second in a new annual series focusing on processes of making in the fine, decorative, and industrial arts. The workshops will bring together faculty, artists, museum professionals, and graduate students for demonstrations, hands-on exercises, and discussion. Each day will combine instruction in historic techniques with the close analysis of related historic objects. One of the features that will differentiate this workshop from others like it is that it will include time for extensive discussion about the merits of bringing technical and artisanal knowledge into the historical and interpretive disciplines in a conceptually rigorous way. Rather than focus on a specific medium or type of object, each workshop is organized around a single species of physical operation that cuts across multiple media and can also be evocatively transposed into cultural and theoretical dimensions.
This year we will concentrate on “turning.” From the lathe to the spindle to the potter’s wheel to the turntable, rotational dynamics sit at the heart of multiple mechanical and artisanal practices. The workshop will trace processes of turning through pottery throwing, textile production, and media playback and projection. What modes of thinking and approaches to materials link these processes? How have makers across time conceptualized working “in the round” and how might such modes of embodied making inform our understanding of the creative process? What are the implications of turning’s intricate relationship to control in artisanal and industrial settings? How does turning engage with problems in programming, tacit knowledge, and automation?
Each participant will be expected to complete a short list of preliminary readings and to attend all portions of the workshop. The workshop is organized by Americanists and will focus primarily on American material, but students in all fields are encouraged to apply. Lodging for four nights and most meals will be provided for selected participants. Participants will be responsible for supporting their own travel to and from Cambridge.
Send a CV and a short statement explaining your reasons for wishing to participate in the workshop to both roberts6@fas.harvard.edu and elasser@fas.harvard.edu by March 18, 2014, 5pm. Selected participants will be notified by March 25. Space in this workshop will be limited to nine students.
Sponsored by the American Art Workshop Fund and the Department of American Art, Harvard Art Museums
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T U E S D A Y , 2 0 M A Y 2 0 1 4 — C E R A M I C S
Demonstration and hands-on studio session, Harvard Ceramics Studio (Allston, MA)
Handling session with historic material
Debriefing and reflection
Dinner
W E D N E S D A Y , 2 1 M A Y 2 0 1 4 — T E X T I L E S
Demonstration and hands-on session with early machinery, American Textile History Museum (Lowell, MA)
Handling session with historic material
Debriefing and reflection
Dinner
T H U R S D A Y , 2 2 M A Y 2 01 4 — M E D I A
Demonstration and hands-on session, Harvard Film Archive
Final debriefing, workshop conclusion
2014 Summer Institute in Technical Art History for PhD Students
From the Institute of Fine Art’s Conservation Center:
2014 Summer Institute in Technical Art History for Doctoral Students in Art History
Institute of Fine Arts, New York University, 9–20 June 2014
Applications due by 24 March 2014
The Summer Institute in Technical Art History (SITAH) is an intensive two-week course, geared towards PhD candidates in art history who are looking to delve more deeply into technical studies. Students are immersed into the world of technical art history and conservation of works of art, with faculty ranging from conservators to conservation scientists, curators, art historians, and artists. The course takes full advantage of the wonderful resources of New York City, and many sessions are held in local conservation labs, where attendees have the opportunity to closely examine works of art with experts in the field. Off-site visits also include artists’ studios, museum permanent collections, and, where relevant, special exhibitions and galleries. A priority is placed on case studies and discussions, and students are encouraged to build relationships within the group, in the hopes of enriching their own research.
The Artist’s Book: Materials and Processes
A good understanding of material aspects of works of art is becoming increasingly important to art historical studies. The Artist’s Book is a two-week, intensive seminar that examines how technical art history might simultaneously clarify and complicate established art historical narratives of this important art form. The program will focus on works from the modern era, and will consider a variety of different formats. These might include: traditional letterpress printed books, deconstructed texts and book blocks, artists’ photo books, and other unique works. Bound volumes, as well as forms like scrolls, fold-outs, concertinas, loose leaves kept in boxes, and e-books may all be examined. This topic will allow us to explore the intersections of book construction, photography, printmaking, and graphic design within the context of literature, both experimental and traditional.
Under the direction of Professors Constance Woo (Long Island University) and Michele Marincola (Institute of Fine Arts, New York University), participants will study with distinguished conservators, book artists, scholars and master craftspeople. We will consider specific artworks as case studies, examine materiality and process through close looking and recreation of techniques and processes, and create a book in the studio. Participants will ascertain how these methodologies materially and theoretically inform their own diverse research interests. This seminar will provide a forum to develop critical skills in the interpretation of object-based analyses related to the scholarship of artist’s books.
Generously funded by the Mellon Foundation, the seminar will be held at the Institute of Fine Art’s Conservation Center, with selected sessions at area libraries, artist studios and in the conservation labs of New York City’s leading museums.
Eligibility and Application Process
Students currently enrolled in or completing a doctoral program in the US and Canada are eligible to apply. No background in science or conservation is required. A maximum of fifteen participants will be admitted to the program. Applicants will be evaluated on the basis of their academic accomplishment to date and on their expressed interest in integrating technical art history into their own research.
Applicants should submit a cover letter addressed to Professor Michele Marincola, Sherman Fairchild Chairman of the Conservation Center, Institute of Fine Arts, NYU; a statement of purpose of interest in integrating technical art history into their research; a letter of support from their advisor that addresses their academic standing and their interest in the topic; and an academic and professional CV. The application deadline is March 24, 2014. Please submit applications in electronic format to: Sarah Barack, course coordinator, sb340@nyu.edu.
Funding
Participants will receive housing (single room occupancy) and stipends of $1,300 to help defray travel and living costs. For further information, please contact: Professor Michele Marincola at 212-992-5849,email: michele.marincola@nyu.edu.
Fellowship | 2015 NACBS-Huntington Library Fellowship
2015 NACBS-Huntington Library Fellowship
Applications due 15 November 2014
The NACBS, in collaboration with the Huntington Library, offers annually the NACBS-Huntington Library Fellowship to aid in dissertation research in British Studies using the collections of the library. The amount of the fellowship is $3000. A requirement for holding the fellowship is that the time of tenure be spent in residence at the Huntington Library. The time of residence varies but may be as brief as one month. Applicants must be U. S. or Canadian citizens or permanent residents and enrolled in a Ph.D. program in a U.S. or Canadian institution.
Nominations and applications for the 2015 award are invited. Please note that the applications are due on November 15, 2014. Applications should consist of a curriculum vitae, two supporting letters (one from the applicant’s dissertation advisor), and a description of the dissertation research project. The letter should include a description of the materials to be consulted at the Huntington and the reason that these are essential sources for the dissertation. (more…)
University of Buckingham, MA in Decorative Arts and Historic Interiors
Partial studentships for the MA in Decorative Arts and Historic Interiors at the University of Buckingham
Applications are invited for partial studentships for the MA in Decorative Arts and Historic Interiors at the University of Buckingham to start in September 2014. This unique MA focuses on the development of interiors and decorative arts in England and France in the long eighteenth century (c.1660–c.1830) and their subsequent rediscovery and reinterpretation in the nineteenth and twentieth centuries.
The course is taught by the University of Buckingham, with contributions from leading international experts and curatorial staff from the Wallace Collection. A key element is the emphasis on the first-hand study of decorative arts within the context of historic interiors. There are frequent trips to collections in and around London, as well as a study week in Paris.
The programme provides a vocational and academic training which has enabled students to pursue careers in museums and galleries, auction houses, interior design, and institutions such as the National Trust and English Heritage.
Eligibility: applicants should hold a first or second class honours degree.
Informal enquiries can be made to the course director Jeremy Howard, Jeremy.howard@buckingham.ac.uk; the course tutor Dr Barbara Lasic, Barbara.lasic@buckingham.ac.uk; or Linda Waterman, Linda.waterman@buckingham.ac.uk.
Further details are available here»
Fellowships | Art History Fellowships at The Met
Metropolitan Museum of Art, Art History Fellowships, 2014–15
Applications due by 1 November 2013
Art History Fellowships are offered for PhD candidates, postdoctoral researchers, and senior museum professionals interested in furthering their scholarly research within one of the Museum’s curatorial departments. Working with supervisors and departmental staff, fellows are able to utilize the Museum’s collections as a way to expand their own research and dialogue about art in their field. Throughout their time at the Museum fellows may contribute to departmental projects that complement their research. They will also share their research at the spring fellows’ colloquia in which they give a brief presentation on their work in progress. All fellowships must take place between September 1, 2014, and August 31, 2015. The stipend amount for one year is $42,000 for senior fellows and $32,000 for pre-doctoral fellows, with up to an additional $6,000 for travel. Health care benefits are included.
Further information is available here»
Call for Essays | Terra Foundation for American Art Essay Prize
Terra Foundation for American Art International Essay Prize
Submissions due by 15 January 2014
The Terra Foundation for American Art International Essay Prize recognizes excellent scholarship by a non-U.S. scholar in the field of historical American art. Manuscripts should advance understanding of American art, demonstrating new findings and original perspectives. The prize-winning essay will be translated and published in American Art, the Smithsonian American Art Museum’s scholarly journal. The winner will receive a $1,000 cash award and a $3,000 travel stipend to give a presentation in Washington, D.C., and meet with museum staff and fellows. This prize is supported by funding from the Terra Foundation for American Art.
The aim of the award is to stimulate and actively support non-U.S. scholars working on American art topics, foster the international exchange of new ideas, and create a broad, culturally comparative dialogue on American art. Ph.D. candidates and above (or equivalent) are eligible to participate in the competition. Essays may focus on any aspect of historical (pre-1980) American art and visual culture; however, architecture and film studies are not eligible. Preference will be given to studies that address American art within a cross-cultural context and offer new ways of thinking about the material. A strong emphasis on visual analysis is encouraged. Manuscripts previously published in a foreign language are eligible if released within the last two years (please state the date and venue of the previous publication). Essays that have been published in English will not be considered. Authors are invited to submit their own work for consideration. We also urge scholars who know of eligible articles written by others to inform those authors of the prize.
The length of the essay (including endnotes) should be between 7,000 and 8,500 words and should include approximately 12 to 14 illustrations with figure references in the text. The essay should be submitted by e-mail as a Word file, accompanied by a PDF file containing all of the illustrations, along with captions that provide each object’s title, artist, date, medium, dimensions, and current location. All manuscripts should be accompanied by an abstract of 500 to 1,000 words written in English that: 1) clearly states the author’s thesis and the essay’s contribution to the field of American art, and 2) outlines the essay’s basic structure and methodology. A curriculum vitae should be included.
Submissions must be sent to TerraEssayPrize@si.edu by January 15, 2014. Questions or comments may be addressed to the same address.
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Note (added 20 June 2014) — The Smithsonian American Art Museum is pleased to announce that John Fagg, a lecturer in the school of English, drama, and American & Canadian studies at the University of Birmingham in England, is the winner of the 2014 Terra Foundation for American Art International Essay Prize. Fagg’s award-winning essay, “Bedpans and Gibson Girls: Clutter and Matter in John Sloan’s Graphic Art,” will appear in the 2015 volume of American Art (volume 29).
HBA Travel Award for Graduate Students
Historians of British Travel Award
Proposals due by 15 September 2013
The award is designated for a graduate student who will be presenting a paper on British art or visual culture at an academic conference in 2014. The award of $750 is intended to offset travel costs. Applicants must be current members of HBA. To apply, send a letter of request, a copy of the letter of acceptance from the organizer of the conference session, an abstract of the paper to be presented, a budget of estimated expenses (noting what items may be covered by other resources), and a CV to Renate Dohmen, Prize Committee Chair, HBA, brd4231@louisiana.edu. The deadline is September 15, 2013.
2012 Dissertation Listings
From caa.reviews:
Dissertation Listings
PhD dissertation authors and titles in art history and visual studies from US and Canadian institutions are published each year in caa.reviews. Titles can be browsed by subject category or year.
Titles are submitted once a year by each institution granting the PhD in art history and/or visual studies. Submissions are not accepted from individuals, who should contact their department chair or secretary for more information. Department chairs: please consult our dissertation submission guidelines for instructions. The annual deadline is January 15 for titles from the preceding year.
In 2003, CAA revised the subject area categories of art history and visual studies used for all our listings, including dissertations. These categories are listed in the Dissertation Submission Guidelines.
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The index for 2012 lists nine eighteenth-century dissertations completed, including:
• Currie, Christopher, “Art, Illusion, and Social Mobility in Eighteenth-Century France: Hyacinthe Rigaud and the Making of the Marquis de Gueidan” (UNC Chapel Hill, M. Sheriff)
• Ferng, Jennifer, “Nature’s Objects: Geology, Aesthetics, and the Understanding of Materiality in Eighteenth-Century Britain and France” (MIT, M. Jarzombek)
• Fripp, Jessica, “Portraits of Artists and the Social Commerce of Friendship in Eighteenth-Century France” (Michigan, S. Siegfried)
• Medakovich, Molly A., “Between Friends: Representations of Female Sociability in French Genre Painting, 1770–1830” (UNC Chapel Hill, M. Sheriff)
• Riggs, Marion, “Architectural Translations: Giuseppe Barberi (1746–1809) between Rome and Paris” (Princeton, J. Pinto)
and forty dissertations in progress, including:
• Beachdel, Thomas, “Landscape Aesthetics and the Sublime in France, 1750–1815” (CUNY, P. Mainardi)
• Bell, Andrea, “French Artist in Rome: An Examination of Eighteenth-Century Drawing Albums” (IFA/NYU, T. Crow)
• Chadwick, Esther, “The Radical Print: Experiments in Liberty, 1760–1830” (Yale, T. Barringer)
• Charuhas, Christina, “Constructing Eighteenth-Century Bermuda: Utopia in the Transatlantic Imagination” (Columbia, E. Hutchinson)
• Contogouris, Ersy, “Of Marble and Flesh: The Attitudes and Representations of Emma Hamilton” (Université de Montréal, T. Porterfield)
• Cox, Alison, “Images of Mourning and Melancholia in France, 1780–1830” (UNC Chapel Hill, M. Sheriff)
• Crawford, Katelyn D., “Transient Painters, Traveling Canvases: Portraiture and Mobility in the British Atlantic, 1750–1780” (Virginia, M. McInnis)
• Fox, Abram, “The Great House of Benjamin West: Family, Workshop, and National Identity in Late Georgian England” (Maryland, College Park, W. Pressly)
• Girard, Catherine, “Hallali! Hunting and the Violence of French Rococo Art, 1699–1755” (Harvard, E. Lajer-Burcharth)
• Gohmann, Joanna M., “Living Together: People and Their Animals in Eighteenth-Century French Art, 1700–1789” (UNC Chapel Hill, M. Sheriff)
• Knowles, Marika, “Pierrot’s Costume: Theater, Curiosity, and the Subject of Art in France, 1665–1860” (Yale, C. Armstrong)
• Laux, Barbara M., “Claude III Audran, Modern Ornemaniste of the Rococo Style” (CUNY, J. Sund)
• Lenhard, Danielle, “Reading with One Hand: Suggestive Folds and Subversive Consumption in Jean-Honore Fragonard’s ‘The Bolt’” (Stony Brook University, J. Monteyne)
• Logie, Rose, “The Self-Conscious Artist: The Strange Formality of Watteau’s Oeuvre” (Toronto, P. Sohm)
• Oliver, Elizabeth Lee, “Mercantile Aesthetics: Art, Science, and Diplomacy in French India (1664–1757)” (Northwestern, S. H. Clayson)
• Sezer, Yavuz, “The Eighteenth-Century Ottoman Library Movement: Architecture, Reading, and the Politics of Knowledge” (MIT, N. Rabbat)
• Smith, Hilary Coe, “The Role of the Auction Catalogue in the Growth of the Parisian Art Market, 1675–1789” (Duke, H. Van Miegroet)
• You, Ji Eun: “The Afterlife of Luxury: the Material Culture of Interior Furnishing during the French Revolution 1789-1795” (UNC Chapel Hill, M. Sheriff) [not included in the 2012 list at caa.reviews, this entry serves as a useful reminder that the list should not be understood to be comprehensive]
• Veen, Kasie, “The Spectacle of New Ruins in Britain and France, 1760–1840: Landscape Gardens and the Diorama” (UT Austin, M. Charlesworth)
• Viggiani, Daniela, “L’édition de L’Abecedario Pittorico de Pietro Maria Guarienti (1678–1753), une source pour l’histoire de l’art portugais” (Université de Montréal, L. De Moura Sobral)
• Wile, Aaron, “Charles de La Fosse and His Generation: Painting, Authority, and Experience at the Twilight of the Grand Siècle, 1680–1715” (Harvard, E. Lajer-Burcharth, H. Zerner)
AHRC Studentship | The Art of Longford Castle
From Birkbeck College:
Patronage, Acquisition and Display: Contextualising the Art
Collections of Longford Castle during the Long Eighteenth Century
AHRC Collaborative Doctoral Award, The National Gallery and Birkbeck College
Applications due by 5 July 2013
Applications are invited for an AHRC-funded PhD studentship researching the collecting and patronage of the Radnor family at Longford Castle during the long eighteenth century, drawing on both the collection itself and previously untapped archival material, largely housed at the Wiltshire and Swindon Record Office. The National Gallery enjoys a unique relationship with Longford Castle, which has made full access to these resources newly possible. This project will make a significant contribution to the history of taste, collecting and the country house
in the long eighteenth century.
The studentship funding is subject to final confirmation by the AHRC but will be fully funded for three years full-time (or five years part-time) and will begin in October 2013. This project will be supervised by Dr Kate Retford, Senior Lecturer in History of Art (Birkbeck College, University of London) and Dr Susanna Avery-Quash, Research Curator in the History of Collecting at the National Gallery.
More information is available here»
Call for Papers | Cleveland Symposium for Graduate Students
39th Annual Cleveland Symposium | Splendor: Exploring Value in the History of Art
Cleveland Museum of Art, 11 October 2013
Proposals due by 1 June 2013
The 39th Annual Cleveland Symposium, to be held at the Cleveland Museum of Art on October 11, 2013, invites graduate submissions examining the theme of splendor in the visual arts. This symposium aims to explore how works of art are elevated to become objects that are prized or venerated. Specifically, in discussing the value afforded a work, we seek to further understand its historical context, materiality, visibility, agenda, and cultural significance, whether through the object’s physicality or representational function. The grandeur and renown of a work can also manifest itself through its associations, patrons, and/or esteemed artists. Possible topics might include:
– Material value of object(s), attributed upon creation or retroactively
– The use of costly or precious mediums and components
– Public, private, royal, and civic commissions
– Decorative arts
– Reliquaries and other objects with religious functions
– Artist markets and trade
– Depictions of important political or religious events
– Pomp, pageantry, and ceremony
– Gifts, personal or diplomatic
We welcome submissions from art history and architecture graduate students in all stages of their studies and from all fields and geographic regions, ranging from ancient through contemporary art. We will also consider papers from a wide range of methodologies and approaches. A monetary prize will be awarded to the speaker who presents the most innovative research in the most successfully delivered paper. To be considered, please send a 250-word abstract, recent CV, graduate level, and contact information to clevelandsymposium@gmail.com by June 1, 2013.
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