Enfilade

Online Talk | Gerstenblith on Reparations and the ‘Universal’ Museum

Posted in lectures (to attend), online learning by Editor on November 20, 2021

From Penn Museum:

Patty Gerstenblith | Imperialism, Colonialism, Reparations, and the ‘Universal’ Museum
Penn Cultural Heritage Center Lecture
Thursday, 2 December 2021, 12.30–2.00pm (ET)

In this virtual lecture hosted by the Penn Cultural Heritage Center, Patty Gerstenblith will discuss the concept of the ‘universal’ museum and its historical underpinnings. Dr. Gerstenblith will explore its origins across the arc of the 19th century, the inequities of the international legal system and its shortcomings, and the continuing justifications for the retention of looted cultural objects by European and North American museums and collectors.

The notion of the ‘universal’ museum developed in the late 18th and early 19th centuries in the context of the founding of the British Museum, the Napoleonic Wars, European imperialism and colonialism, and the mantra of the rescue narrative, which justified the removal of cultural artifacts first from the Mediterranean region and later sub-Saharan Africa and elsewhere. Evaluating the right to cultural heritage through a human rights perspective, this lecture will analyze the process and elements of reparations and will propose a paradigm for the restitution of cultural objects that fall outside of the legal and ethical frameworks.

Patty Gerstenblith, Ph.D., J.D., is distinguished research professor at the DePaul University College of Law in Chicago and faculty director of its Center for Art, Museum and Cultural Heritage Law. She was appointed by President Clinton to serve on the President’s Cultural Property Advisory Committee in the Department of State and later by President Obama as its chair. She publishes and lectures widely on the protection of cultural heritage during armed conflict and the interdiction of trafficking in archaeological materials. Her casebook Art, Cultural Heritage, and the Law is now in its fourth edition.

Online Book Launch | Enlightened Eclecticism

Posted in books, lectures (to attend), online learning by Editor on November 17, 2021

This Friday at 6.30pm (GMT) via Zoom:

Adriano Aymonino, Enlightened Eclecticism: The Grand Design of the 1st Duke and Duchess of Northumberland
Online Book Launch, Sir John Soane’s Museum, London, 19 November 2021

Hosted by Sir John Soane’s Museum in their beautiful library, and presented in collaboration with the Society for the History of Collecting, this virtual event will celebrate the publication of Adriano Aymonino’s new book, Enlightened Eclecticism: The Grand Design of the 1st Duke and Duchess of Northumberland.

The central decades of the eighteenth century in Britain were crucial to the history of European taste and design. One of the period’s most important campaigns of patronage and collecting was that of the 1st Duke and Duchess of Northumberland: Sir Hugh Smithson (1712–86) and Lady Elizabeth Seymour Percy (1716–76). This book examines four houses they refurbished in eclectic architectural styles—Stanwick Hall, Northumberland House, Syon House, and Alnwick Castle—alongside the innumerable objects they collected, their funerary monuments, and their persistent engagement in Georgian London’s public sphere. Over the years, their commissions embraced or pioneered styles as varied as Palladianism, rococo, neoclassicism, and Gothic revival. Patrons of many artists and architects, they are revealed, particularly, as the greatest supporters of Robert Adam. In every instance, minute details contributed to large-scale projects expressing the Northumberlands’ various aesthetic and cultural allegiances. Their development sheds light on the eclectic taste of Georgian Britain, the emergence of neoclassicism and historicism, and the cultures of the Grand Tour and the Enlightenment.

S C H E D U L E

18.30  Introduction by Frances Sands (Curator of Drawings and Books, Sir John Soane’s Museum)
18.40  Talk by Kate Retford (Professor of Art History, Birkbeck, University of London)
19.10  Talk by Adriano Aymonino (Senior Lecturer and Director of Undergraduate Programs, Department of History and History of Art, University of Buckingham)
19.30  Conversation and questions moderated by Adriana Turpin (Director of Institut Des Etudes Superieurs Des Arts UK)

 

Lecture | Frédéric Ogée, Pleasures of the Senses and the Imagination

Posted in books, catalogues, exhibitions, lectures (to attend), online learning by Editor on November 14, 2021

From the conference series Sociabilité et libertinage au siècle des Lumières, organized at the Cognacq-Jay Museum in conjunction with this year’s summer exhibition Realm of the Senses, from Boucher to Greuze / L’ Empire des sens, de Boucher à Greuze (19 May — 18 July 2021), curated by Annick Lemoine . . .

Frédéric Ogée | Plaisirs des sens, plaisirs de l’imagination dans l’art et la littérature anglaise du 18ème siècle
Online and In-Person, Musée Cognacq-Jay, Paris, 26 November 2021, 17.00

Dans le sillage de sa « Glorieuse Révolution » de 1688, l’Angleterre inaugura le siècle des Lumières en découvrant le plaisir d’un certain nombre de libertés : « régler le pouvoir des rois en leur résistant » (Voltaire), publier sans entrave, ré-évaluer l’héritage des Anciens, regarder la Nature à travers le prisme de Newton plutôt que celui des prêtres, entreprendre à crédit, célébrer la sensibilité et l’imagination. Les Anglais ont ainsi cherché de nouveaux équilibres entre la liberté de l’individu—son goût, sa subjectivité, sa perception du monde, son « progrès » —et les nécessités de la sphère collective, qu’elle soit publique ou privée. Ecrivains et artistes se sont vite employés à représenter cette nouvelle sociabilité, pour la modéliser et la polir autant que pour la promouvoir, au travers de remarquables expériences littéraires et picturales où les personnages se meuvent et s’émeuvent sous l’œil complice du spectateur-lecteur. Influencés par la philosophie empiriste ils font l’expérience du plaisir des sens pour accéder à la connaissance, d’eux-mêmes et du monde. La présente conférence permettra d’évoquer cette remarquable période de créativité qui, de Daniel Defoe et William Hogarth à Jane Austen et Thomas Lawrence, contribua au triomphe de la Grande-Bretagne sur la scène du monde.

Discutante: Sophie Mesplède (Université Rennes 2)

Frederic Ogee est professeur de littérature et d’histoire de l’art britanniques à l’Université de Paris. Ses principaux domaines de recherche sont l’esthétique, la littérature et l’art au cours du long 18ème siècle (1660–1815), sur lesquels il a souvent donné des conférences dans des universités européennes, nord-américaines et asiatiques. Commissaire de l’exposition sur le peintre anglais William Hogarth au Musée du Louvre en 2006, il est l’auteur de plusieurs ouvrages, notamment Diderot and European Culture, un recueil d’essais (Oxford: 2006, réédité 2009), J.M.W. Turner : Les paysages absolus (Hazan, 2010), et Jardins et Civilisations (Valenciennes, 2019), suite à une conférence organisée à l’Institut Européen des Jardins et Paysages de Caen. Il écrit actuellement une série de quatre monographies sur quelques grands artistes anglais (Thomas Lawrence, J.M.W. Turner, Thomas Gainsborough et William Hogarth) pour les éditions Cohen & Cohen (Paris), à paraître entre 2022 et 2025. De 2014 à 2017, il a été membre du conseil scientifique du musée Tate Britain à Londres et, depuis 2014, est membre du Conseil Scientifique de la Ville de Paris.

Conférence en présentiel dans la limite des places disponibles, entrée libre avec pass sanitaire ET en distanciel via Zoom. Participation libre sur inscription obligatoire: reservation.cognacqjay@paris.fr et alain.kerherve@univ-brest.fr. La conférence sera précédée à 16h30 d’une visite flash des collections en lien avec la thématique du jour.

Emmanuelle Brugerolles, Marine Carcanague, Marie-Anne Dupuy-Vachey, Guillaume Faroult, Yuriko Jackall, F. Joulie, É. Kerner, A. Laing, C. Le Bitouzé, A. Le Brun, A. Lemoine, N. Lesur, H. Meyer, L-A. Prat, S. de Saint-Léger, M. Szanto, L’ Empire des sens, de Boucher à Greuze (Paris Musées / Musée Cognac-Jay, 2020), 152 pages, ISBN: 978-2759605002, €30.

 

Online Talks | HECAA Emerging Scholars Showcase

Posted in graduate students, lectures (to attend), online learning by Editor on November 13, 2021

This afternoon!

HECAA Emerging Scholars Showcase
Online, Saturday, 13 November 2021, 2:00–3:30pm (EST)

A reminder to join us for our HECAA Emerging Scholars Showcase on Saturday, 13 November, 2:00–3:30pm, EST. Please register via the zoom link below to hear our first seven emerging scholars present their research. Each participant will present for 3–5 minutes, and after all of the presentations we will host a question and answer session. Zoom Registration Link. Also, please also mark your calendars for our next Emerging Scholars Showcase to be held on Saturday, 23 April 2022.

Best wishes,
HECAA Board

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1  Deborah A. Fisher (Independent Scholar / PhD, Penn State University, 2021), The Metamorphoses of John Singleton Copley: Mythological Characters in American Colonial Portraiture

2  Samantha Happe (University of Melbourne), Between Isfahan and Versailles: Royal Diplomatic Gift Exchange in the Eighteenth Century

3  Philippe Halbert (Yale University), Letters of a Canadian Woman: Identity and the Self-Fashioning in the Atlantic World of Madame Bégon, 1696–1755

4  Cynthia Volk (Bard Graduate Center), Dehua Porcelain Figures of Budai: Models of Adaptivity in Seventeenth- and Eighteenth-Century China and Europe

5  Zoë Dostal (Columbia University), Rope, Linen, Thread: Gender, Labor, and the Textile Industry in Eighteenth-Century British Art

6  Alyse Muller (Columbia University), Between Land and Sea: French Maritime Imagery in the Long Eighteenth Century

7  Andrea Morgan (Independent Scholar / PhD, Queen’s University, 2021), Frances Reynolds and Mary Nugent-Temple-Grenville, Marchioness of Buckingham: Female Artists in the Orbit of Sir Joshua Reynolds

Online Course | British Furniture Making, 1660–1914

Posted in lectures (to attend), online learning by Editor on October 28, 2021

State Bed from Hampton Court Castle, ca. 1698 (New York: The Metropolitian Museum of Art, 68.217.1a), as installed in The Met’s newly renovated British Galleries. Photo by Coscia Joseph. As noted in the museum’s online entry: “In the style of Daniel Marot, this bed was made for Thomas, Baron Coningsby (1656–1729), for Hampton Court, Herefordshire, where it remained until 1925. The curtains, counterpane, headcloth, and some of the trims are modern copies of the originals.”

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From ArtHist.net:

Skill, Style, and Innovation:
British Furniture Making from the Restoration to the Arts and Crafts Movement
Online, The Furniture History Society, Wednesdays, 3 November — 1 December 2021

The Furniture History Society, UK, is organising a short course on British furniture makers from 3rd November to 1st December as part of its outreach and educational programme, for British and Irish Furniture Makers Online (BIFMO). Each week three speakers will consider the history of furniture makers and making in Britain. Beginning with the Baroque period, the course will move chronologically through the centuries to conclude in December with the Arts and Crafts movement. In addition to dealing with the output of specific furniture makers, this course aims to provide an integrated account of the furniture trade in the context of the cultural, technical, and industrial developments that occurred in Britain during these three and a half centuries, while also acknowledging other significant factors such as the role of the patron and the involvement of artists and designers. The talks bring to life the careers and work of some of the most important makers of their time—including Gerrit Jensen in the late seventeenth century; Giles Grendey, William Vile, Thomas Chippendale, and John Linnell in the eighteenth century; Thomas Hope, J. C. Crace, and Charles Robert Ashbee in the nineteenth century; as well as less well-known makers, firms of furniture makers, designers, and architects.

Tickets can be purchased for individual weeks or for the entire course at a saving. To purchase tickets, please go to the EventBrite page. This course will be recorded, and the link to the recording will be sent to ticket holders after the event, though please note that Max Donnelly will not be recorded. We are grateful to the Paul Mellon Centre and the Foyle Foundation for their support.

The course runs from 4.00 to 7.30pm (GMT) every Wednesday as follows:

Week 1 | November 3 — British Baroque Furniture, 1660–1715

Wolf Burchard (Associate Curator, Metropolitan Museum of Art), British Baroque Furniture and Furniture Makers
Amy Lim (Oxford University), The Baroque Interior: Furnishing the Great London and Country Houses
John Cross (Furniture historian and maker, specialist on the Jamaican furniture trade), The London Trade, ca. 1660–1720

Week 2 | November 10 — The Early Eighteenth Century and the Furniture Trade, 1715–1760

Adriana Turpin (FHS Project Manager for BIFMO, International Department, IESA), Furniture for the London Merchants
Jeremy Howard (Buckingham University), Fantasy and Exuberance: English Rococo Furniture Makers as Craftsmen and Designers
Norbert Gutowski (Independent furniture maker and restorer, former Subject Leader at West Dean College of Arts and Conservation, Sussex), Eighteenth-Century Furniture Techniques

Week 3 | November 17 — Architects, Furniture, and Patrons, 1760–1815

Megan Aldrich (Department of Continuing Education, University of Oxford), The Furniture Maker and the Architect in the Palladian and Neoclassical Periods
Lucy Wood (Independent furniture historian, formerly curator at the Lady Lever Art Gallery, Liverpool and the Department of Furniture, Textiles, and Fashion, Victoria & Albert Museum), London Furniture Makers in the Time of Chippendale
Rufus Bird (Former Surveyor of the Queen’s Works of Art, Royal Collections), ‘As Refined and Classical as Possible’: George IV and Other Patrons of British Furniture Makers in the Regency Period, 1800–1830

Week 4 | November 24 — The Development of Furniture Firms, Historicism, and Reform, 1815–1860

Max Bryant (University of Cambridge), Beyond Hope: Architects and Furniture in the Age of Historicism and Reform
Ann Davies (MA Courtauld Institute of Art), Furniture for the Great Exhibition 1851
Max Donnelly (Curator of Nineteenth-Century Furniture in the Department of Furniture, Textiles, and Fashion, Victoria & Albert Museum), Furniture at the London International Exhibition, 1862 — not included in the recording

Week 5 | December 1 — From Manufacture to the Arts and Crafts, 1860–1914

Clive Edwards (Emeritus Professor of Design History, Loughborough University), Continuity and Change in Nineteenth-Century Furniture Production
Matthew Winterbottom (Curator of Nineteenth-Century Decorative Arts, Ashmolean Museum, Oxford), At Home in Antiquity: Furniture Designed by Sir Lawrence Alma-Tadema
Annette Carruthers (Former Curator, Decorative Arts, Leicester and Cheltenham Museums), Arts and Crafts Furniture Makers and Designers

 

Online Lecture | Yuriko Jackall, The Fragonard Project

Posted in lectures (to attend), online learning by Editor on October 25, 2021

From The Wallace Collection:

Yuriko Jackall, The Fragonard Project
Zoom Webinar and YouTube, The Wallace Collection, London, 18 November 2021, 13.00 GMT

Between 2019 and 2021, five of the Wallace Collection’s eight paintings by Jean-Honoré Fragonard were cleaned and restored. This project has led to new discoveries about Fragonard’s working methods and provides the possibility for new interpretations of his work. Join our Head of Curatorial and Curator of French Paintings, Dr Yuriko Jackall, as she discusses this project and gives her reading of The Swing and its place in Fragonard’s career. She will also describe the long shadow of Fragonard’s influence, and how the ups and downs of his glittering career indelibly shaped the way in which we understand his art and the rococo aesthetic today. Thursday, 18 November 2021, 13.00 GMT.

This talk will be hosted online through Zoom and YouTube. Please click here to register for Zoom.

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From the press release for the project:

Jean-Honoré Fragonard, Les hasards heureux de l’escarpolette (The Swing), detail, after conservation, 1767–68, oil on canvas, 81 × 64 cm (London: The Wallace Collection).

Jean-Honoré Fragonard’s painting, The Swing, is the most iconic painting of the entire Rococo movement and one of the Wallace Collection’s most famous works of art. It has been admired for centuries for its romantic composition, skilful brushwork, and masterly use of colour. References to The Swing can be found in literature, contemporary art, design, and cinema. It is sought out and admired by thousands of visitors to the museum each year.

Despite its fame, relatively little is known about the painting. The circumstances of its commission are vague, with Fragonard opting to undertake a painting that other ‘academic’ painters had refused on account of its scandalous theme. Fragonard’s methods in building the composition are also unclear. In addition to this, the paint surface was previously obscured by yellowed varnish and old retouching had become visible.

Thanks to a generous grant from the Bank of America Art Conservation Project, throughout the summer of 2021 The Swing underwent intricate, sensitive highly skilled conservation and technical analysis for the first time. Uniquely, the conservation treatment has taken place in house at the Wallace Collection, with one of its conservation studios temporarily transformed especially for the purpose. The work has been undertaken by Martin Wyld, former Head of Conservation at the National Gallery, where he worked for more than 40 years restoring works by artists such as Leonardo and Velazquez.

Investigations have shed light on the mysteries surrounding The Swing and developed our understanding of Fragonard and his methods as an artist. The removal of the yellowed varnish has transformed the painting. The white lace of the young girl’s dress is now crisp, the composition has taken on a new sense of depth, background details are now apparent, and the overall freshness and texture of the artist’s paint surface has been restored. Little underdrawing or preparatory studies have been identified. Fragonard appears to have worked confidently and skilfully, directly on the canvas, to create The Swing, his finest masterpiece. The painting is being reinstalled in the specially relit galleries in November 2021, alongside the other seven Fragonard works in the Wallace Collection, allowing visitors to see for the first time how the artist developed across his career.

The return of The Swing is accompanied by a special season of events, which encompasses free public talks with special guests, a focused study course, and a book signing. The Collection has documented the conservation process and commissioned an insightful film exploring Fragonard and The Swing’s influence.

Online Conversations | Swing Time

Posted in lectures (to attend), online learning by Editor on October 25, 2021

A series of five conversations hosted by The Wallace Collection:

Swing Time: Serendipitous Conversations about the Rococo
Zoom Webinar and YouTube, The Wallace Collection, London, 8 November — 6 December 2021

Fragonard’s Les hasards heureux de l’escarpolette, known in English as The Swing, is a revered painting in the Wallace Collection and one of the most representative works of art of the entire French 18th century. To celebrate the gentle cleaning and restoration of this rococo icon, we have invited five art practitioners and five scholars to participate in a series of virtual conversations inspired by its key themes: Pink, Identity, Fashion, Play, and The Libertine. Join Dr Yuriko Jackall, Head of Curatorial and Curator of French Paintings at the Wallace Collection, to discover the influence of rococo art, and The Swing in particular, on artistic production today. The series will be recorded and made available on the Wallace Collection YouTube channel. Register for any of the five free talks here.

P I N K  |  Yuriko Jackall in conversation with Flora Yukhnovich and Valerie Steele
Monday, 8 November 2021, 19.00 GMT

Why is the colour pink so often associated with the frivolous, the dainty, and the overtly feminine? A plethora of images—of pink babies, pink flowers, pink fashion accessories—has cemented the gendering of pink in our collective imagination. Such is the case of Fragonard’s Swing, which displays at its centre a young woman in a billowing pink dress. Yuriko Jackall, artist Flora Yukhnovich, and curator Valerie Steele explore the widespread perception of the colour pink as particularly representative of femininity and the Rococo. See full event details here.

I D E N T I T Y  |  Yuriko Jackall in conversation with Catherine Yass and Rosalind McKever
Monday, 22 November 2021, 19.00 GMT

The name and motivations of the person who commissioned The Swing remain obscure. So do the identities of the three people depicted. Only the painter, Jean-Honoré Fragonard, is known to us. In cases like these, art historians rely upon visual clues to understand what is being represented. Yuriko Jackall is joined by artist Catherine Yass and curator Rosalind McKever in a conversation about how visual codes—dress, gesture, and representation of place—shape the way in which we read and perceive identity. See full event details here.

F A S H I O N  |  Yuriko Jackall in conversation with Sami Nouri and Jessica Degain
Monday, 29 November 2021, 19.00 GMT

During the last decades of the ancien régime (1760–1789), Paris became the epicentre of the fashion world. Vogues for hairstyle, dress shape, fabric patterns, or silk colour came and went, with the vertiginous rapidity associated to today’s ever-evolving fashion industry. Like his teacher, François Boucher, Fragonard excelled in putting his protagonists in the latest fashions. The fabrics, trimmings, and garments flowing from the brushes of these painters have, in turn, inspired fashion designers for the last 250 years. Join Yuriko Jackall, haute-couture fashion designer Sami Nouri, and curator Jessica Degain as they explore how 18th-century fashions continue to resonate today. See full event details here.

P L A Y  |  Yuriko Jackall in conversation with Monster Chetwynd and Alice Strang
Monday, 6 December 2021, 19.00 GMT

In sharp opposition to the architectural and rectilinear motifs of Classicism, the rococo aesthetic is populated by sinuous forms inspired by nature. Rocks, shells, leafy branches and sprigs of flowers introduce novelty and a sense of surprise into the furniture, wall panels and textiles of the eighteenth century. In turn, the unexpected playfulness of these rococo interiors encouraged a certain theatricality and whimsy in the demeanour of those who inhabited them. Yuriko Jackall, artist Monster Chetwynd, and curator Alice Strang discuss the resonance of rococo playfulness in contemporary practice, with special attention to layering, unusual juxtapositions, and the role of performance art as a means for exploring the eccentricities of everyday life. See full event details here.

T H E  L I B E R T I N E  |  Yuriko Jackall in conversation with Simon Bejer and Chantal Thomas
Monday, 6 December 2021, 19.00 GMT

After enduring years of tight control under Louis XIV, the 18th-century privileged classes enjoyed unprecedented freedom during the Regency and the reign of Louis XV. In Paris, their lives unfolded at the opera, the theatre, and the masked ball. In their country estates and suburban maisons de plaisance, they tasted the escapist delights of the French pleasure garden. The intimacy of these environments invited a relaxation of etiquette and, occasionally, the transgression of moral codes. In the final conversation of our series, Yuriko Jackall, artist and theatre designer Simon Bejer, and writer Chantal Thomas, discuss how changes in moral codes in 18th-century France impacted the arts and literature. See full event details here.

 

 

Online Talk | Ann-Sophie Lehmann, Object Biography

Posted in lectures (to attend), online learning by Editor on October 22, 2021

From the BGC:

Ann-Sophie Lehmann, Object Biography: The Life of a Concept
Online, Seminar in Museum Conversations, Bard Graduate Center, New York, 2 November 2021

Jan Luyken, Design for frontispiece, Het Leerzaam Huisraad, 1709, 14 × 90 cm (Amsterdam: Rijksmuseum, RP-T-1989-183).

The object biography has gained popularity in art history, material culture studies, archaeology, history, conservation and restoration, and museum studies. As a concept, the biography creates attention for the individual trajectories of objects and how these change over time; it enables the connection of different approaches, usually dealt with by sub-disciplines (i.e. research into making, provenance, exhibition history, conservation, reception); it offers entry points even if no information is available and encourages interdisciplinarity as objects straddle many fields. Finally, the object biography stimulates new forms of writing because it lends the object a voice and foregrounds narrative.

But the concept’s anthropocentric foundations also raise questions. To have a ‘biography’ implies biological and mental development, which objects typically do not have. Are young objects less settled and do objects grow wiser the older they get? Metaphors of birth, maturing, and death might cover up exclusively thing-specific characteristics. Likewise, the proposed ‘life’ implies agency, but do objects really speak for themselves? Who actually tells their story, and would objects be better if we used concepts such as itineraries or necrographies to capture their histories?

This talk presents a brief history and theory of the concept of the object-biography, from its literary and didactic origins in the eighteenth-century to its recent critics, asking what the concept can help us see, which we otherwise would not. This free talk takes place, via Zoom, on Tuesday, November 2, at 5.00pm. Registration information is available here.

Ann-Sophie Lehmann is chair of art history & material culture at the University of Groningen. She recently published Lessons in Art: Art, Education, and Modes of Instruction, edited with E. Jorink and B. Ramakers (Leiden 2019). For an overview of her publications and activities is available here.

 

Online Series | The Museum and Gallery Today

Posted in lectures (to attend), online learning by Editor on October 22, 2021

From the PMC:

The Museum and Gallery Today: Paul Mellon Lectures 2021
Six Online Lectures, 20 October — 11 February 2022

Established in 1994, this lecture series was named in honour of Paul Mellon (Yale College, class of 1929), the philanthropist, collector of British art, and founder of both the Yale Center for British Art (YCBA) in New Haven and the Paul Mellon Centre for Studies in British Art (PMC) in London. Co-organised by the two institutions, these biennial lectures have traditionally been given by a specialist in British art, first at the National Gallery, London, and again at the YCBA in New Haven.

This year’s series, entitled The Museum and Gallery Today, is exclusively online and features individual talks from some of the world’s most distinguished museum and gallery directors. The lectures are presented as free live webinars. Registration is required (for each lecture, individually).

20 October 2021
Gabriele Finaldi (Director of the National Gallery)

3 November 2021
Kaywin Feldman (Director of the National Gallery of Art, Washington, DC)

10 November 2021
Thelma Golden (Director and Chief Curator of the Studio Museum in Harlem)

11 November 2021
Iwona Blazwick (Director of the Whitechapel Gallery)

24 November 2021
Maria Balshaw (Director of Tate)

11 February 2022
Eve Tam (Former Director of the Hong Kong Museum of Art)

Lecture Series | Printing Abolition, 1783–1807

Posted in lectures (to attend), online learning by Editor on October 20, 2021

Fold-out engraving in Charles Crawford, Observations on Negro-Slavery (Philadelphia: Eleazer Oswald, 1790)
(Philadelphia: Penn Libraries, Kislak Center for Special Collections, Rare Books and Manuscripts)

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From Penn Libraries:

Michael Suarez, Printing Abolition: How the Fight to Ban the British Slave Trade Was Won, 1783–1807
The A.S.W. Rosenbach Lectures in Bibliography
Online and In-person, University of Pennsylvania, Philadelphia, 25, 26, and 28 October 2021

In this series of highly illustrated lectures (originally scheduled for March 2020), Michael Suarez offers a fresh perspective on British abolition, richly informed by political prints and personal correspondence, newspapers and pamphlets, account books and committee minutes, parliamentary reports and private diaries. Suarez’s revisionist history not only traces the production and distribution of abolitionist print, but also reveals the hidden networks that variously sustained the first humanitarian mass media campaign. Abolition forces brilliantly exploited the power of print to contend with the complex legacies of the American and French Revolutions, the slave revolt in present-day Haiti, and the Napoleonic Wars. Seeking to understand how both abolitionists and their foes exploited systems of influence through printed words and images in many forms, Suarez delineates the strategies that abolitionists devised to overcome accusations of religious fanaticism, economic malfeasance, and political sedition. Exploring the first author’s book tour in the UK, a consumer boycott fostered by the radical press, and the fashionable publisher who clandestinely worked as press agent for the pro-slavery interest, these lectures will demonstrate the power of bibliography and book history to rewrite established narratives and to recover lives and labors typically left out of conventional accounts.

These three lectures will be held in person and also livestreamed via Zoom webinar (advance registration required to receive Zoom link). In addition, the lectures will be recorded and available for viewing and as podcasts approximately several weeks after being presented.

Michael F. Suarez, S.J. has served as Director of Rare Book School, Professor of English, University Professor, and Honorary Curator of Special Collections at the University of Virginia since 2009. Professor Suarez serves as Editor-in-Chief of Oxford Scholarly Editions Online. His recent books include The Cambridge History of the Book in Britain, Volume V, 1695–1830 (Cambridge University Press, 2009), co-edited with Michael Turner, and The Oxford Companion to the Book (Oxford University Press, 2010), a million-word reference work co-edited with H. R. Woudhuysen. The Book: A Global History, also co-edited with H. R. Woudhuysen, first appeared in 2013. In 2014, Oxford University Press published his edition of The Dublin Notebook, co-edited with Lesley Higgins, in the Collected Works of Gerard Manley Hopkins. He delivered the 2015 Lyell Lectures in Bibliography at the University of Oxford.

Feeding the Machine: A Triple System of Networks
Monday, 25 October 2021, 5.30pm (EST)

Register for this lecture (attending in person or attending virtually, via Zoom webinar).

Commodity Culture and the Political Economies of Print
Tuesday, 26 October 2021, 5.30pm (EST)

Register for this lecture (attending in person or attending virtually, via Zoom webinar).

Beyond Westminster: Toward More Global Forms of Knowing
Thursday, 28 October 2021, 5.30pm (EST)

Register for this lecture (attending in person or attending virtually, via Zoom webinar).

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