From the Terra Foundation:
Terra Foundation for American Art Academic Workshop and Symposium Grants
Fall 2017 Awards
Letters of inquiry due by 15 March 2017
The Terra Foundation for American Art actively supports projects that encourage international scholarship on American art topics, as well as scholarly projects with focused theses that further research of American art in an international context. Academic program funding is available for in-person exchanges such as workshops, symposia, and colloquia that advance scholarship in the field of American art (circa 1500–1980) that take place
• In Chicago or outside the United States, or
• In the United States and examine American art within an international context and include a significant number of international participants.
Additionally, the foundation welcomes applications for international research groups. Such groups should involve 2 to 4 faculty members from two or more academic institutions, at least one of which must be located outside the United States. Groups should pursue specific research questions that will advance scholarship and meet in person two or more times.
Visual arts that are eligible for Terra Foundation Academic Workshop and Symposium Grants include all visual art categories except architecture, performance art, and commercial film/animation. We favor programs that place objects and practices in an art historical perspective.
Note: The foundation funds museum-organized educational programs related to exhibitions through its Exhibition Grants; therefore only organizers from universities and research institutes may apply for exhibition-related programs through the Academic Program area.
Within a given year, the foundation seeks to support a range of topics. Please note that grants in this area are typically capped at $25,000 with exceptions only made for unusual circumstances.
While the Terra Foundation for American Art welcomes recurring requests, organizations that have submitted multiple applications should note that the foundation also attempts to fund programs at a variety of organizations. Due to the competitive nature of this program area, not every request can be funded, regardless of prior support.
View of Soho Square in London, from Ackermann’s Repository of Arts, 1812
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From the programme flyer:
Attingham: The London House Course, 3–9 October 2017
Applications due by 12 April 2017
The programme studies the development of the London house from the Renaissance to the present. It combines numerous visits to houses—many of them private—with a series of lectures by leading authorities. Progressing chronologically and exploring all over London, the course takes members inside grand aristocratic buildings, smaller domestic houses, artists’ studios, and the garden suburb.
Beginning in the medieval period, the course starts with a visit to the Abbot’s House at Westminster (now the Deanery). The following day is spent at Lambeth Palace and the Charterhouse. The Restoration period and eighteenth centuries are explored in Bloomsbury and Spitalfields, before we spend the following day in the aristocratic grandeur of great houses in St. James’s. Day five focuses on the artists’ houses and studios of Chelsea and Holland Park. On day six we study the Garden Suburb and consider twentieth-century domestic developments. The course concludes with an in depth study of Sir John Soane’s house and a look at the London house in the twenty-first century. Speakers include Neil Burton, Caroline Dakers, Joseph Friedman, Sarah Nichols, and Gavin Stamp. The course is directed by David Adshead.
The fee for the course is £1280. This is a non-residential course, which will include all lunches, travel by coach, admission fees, and receptions on a few evenings. All applications should be received by 12th April 2017. Candidates will be informed by 30th April 2017. For further information please consult the Attingham website or contact Rebecca Parker, firstname.lastname@example.org.
Schulman and Bullard Prize for an Outstanding Article on Printmaking
Nominations due by 31 January 2017
The Association of Print Scholars invites applications for the Schulman and Bullard Article Prize. The Prize is given annually to an article published by an early-career scholar that features compelling and innovative research on fine art prints or printmaking (versus printed matter). The award, which carries a $2,000 prize, is generously sponsored by Susan Schulman and Carolyn Bullard. Following the mission of the Association of Print Scholars, articles can feature aspects of printmaking across any geographic region and all chronological periods. Articles will be evaluated by a panel of advanced scholars and print experts for the author’s commitment to the use of original research and the article’s overall contribution to the field of print scholarship.
The Association of Print Scholars invites nominations and self-nominations for the 2017 Schulman/Bullard Article Prize meeting the following criteria:
• Authors must have graduated with an MA, MFA, or PhD fewer than 10 years prior to article publication and have less than 10 years of experience as a practicing professional in an academic or museum institution or as an independent scholar.
• Authors must be current members of APS.
• Articles must have been published in a journal, exhibition catalogue, or anthology between January 1, 2016 and December 31, 2016. Online publications will be considered on a case-by-case basis.
• Articles must be between 3,000 and 10,000 words, inclusive of footnotes and references.
• Entries for consideration must be in English, though the text of the original article may be in any language.
To submit an article for consideration, please send the completed nomination form along with an electronic copy of the article to Angela Campbell, the APS Grants Coordinator, email@example.com.
First Look: Portrait Medals Study Day
The Frick Collection, New York, 24 March 2017
Applications due by 7 February 2017
The Frick Collection invites applications for First Look: Portrait Medals Study Day, a program for graduate students organized in anticipation of the special exhibition The Pursuit of Immortality: Masterpieces from the Scher Collection of Portrait Medals (opening May 9, 2017). The Scher Collection—the largest and most significant collection of portrait medals in private hands—has been given in part to the Frick; the exhibition celebrates this gift and explores the art of the medal from its invention in the Renaissance through the 19th century, and its histories in Italy, Germany, France, the Netherlands, England, Russia and Scandinavia, Mexico, and the United States. Long considered a specialist field of study, portrait medals have been the focus of increasing scholarly attention. Recent studies have explored, for example, their function as a medium of commemoration, their role in social and cultural exchange, and their efficacy as reproducible vehicles of representation and identity.
Applications are welcome from students in all disciplines; participants need not have prior experience in the field of medallic art. The study day centers on the essential experience of handling a wide range of superlative examples from the Scher Collection in advance of their installation in the exhibition galleries. Session leaders, who will engage the art of the medal from various perspectives, include Aimee Ng (Associate Curator, The Frick Collection), Marisa Bass (Assistant Professor of the History of Art, Yale University), and Stephen Scher (collector and art historian). Admission is limited due to the hands-on nature of the program. Please submit a brief statement of interest (max. 250 words) and CV to firstname.lastname@example.org by Tuesday, February 7, 2017. Accepted applicants will be notified by Tuesday, February 21, 2017.
Abraham and David Roentgen, Rolltop Desk, 1765–70, wood marquetry, mother-of-pearl, gilt bronze, steel, leather, glass, 46 × 42 × 25 inches (Washington, D.C., Hillwood Estate, Museum & Gardens).
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2017 Scholar-in-Residence Program
Hillwood Estate, Museum & Gardens, Washington, D.C.
Applications due by 15 February 2017
PhD candidates and other highly qualified scholars conducting research that may benefit from Hillwood’s holdings are encouraged to apply. Applicants should submit a curriculum vitae and a proposal—not to exceed 500 words—stating the necessary length of residence, materials to be used, and the project’s relevance to Hillwood’s collections or exhibition program, including, but not limited to: art and architecture, landscape design, conservation and restoration, archives, library or special collections, as well as broader study areas such as the history of collecting or material culture. The project description should be accompanied by two letters of recommendation. Materials will be reviewed by the selection committee. There are three types of awards:
Hillwood will arrange and pay for travel costs to and from the museum; housing near campus; shop and café discounts; free access to all public programs.
Hillwood will arrange and pay for travel costs to and from the museum; shop and café discounts; free access to all public programs; a stipend of up to $1,200 depending on length of stay.
Hillwood will arrange and pay for travel costs to and from the museum; shop and café discounts; free access to all public programs; a stipend of up to $1,500 per month depending on length of stay.
Founded by Marjorie Merriweather Post (1887–1973), heir to the Post Cereal Company, which later became General Foods, the Hillwood Estate, Museum & Gardens houses over 17,000 works of art. Hillwood is in a special class of cultural heritage institution as a historic site, testament to the life of an important 20th-century figure, an estate campus, magnificent garden, and a museum with world renowned special collections. It includes one of the largest and most important collections of Russian art outside of Russia, comprising pieces from the pre-Petrine to early Soviet periods, an outstanding collection of French and European art, and jewelry, textile, fashion, and accessories collections. Scholars will have access to Hillwood’s art and research collections based on accessibility and staff availability. The Library has over 38,000 volumes including monographs, serials, annotated and early auction catalogues, and electronic resources; the Archives contain the papers of Marjorie Merriweather Post, her staff, and family members. Please submit applications or inquiries to Scholarinresidence@hillwoodmuseum.org by 15 February 2017 (applicants will be notified by 13 March 2017).
As reported by Judith Burns for BBC News (1 December 2016) . . .
Campaigners for art history A-level say they are “absolutely thrilled” by a late decision to save the subject, which was set to be discontinued. Exam board Pearson has confirmed plans to develop a new history of art A-level for teaching from next September.
October’s decision by the AQA board to drop the subject provoked an outcry from experts who argued “society had never required its insights more” . . .
The full article is available here»
From the workshop flyer:
Etching: A Practice-Based Workshop for Curators and Researchers
Gainsborough’s House, Sudbury, Suffolk, 29–30 March 2017
Convened by Jason Hicklin and Peter Moore
Join us for a two-day workshop at Gainsborough’s House that will bring together professionals whose work deals with prints—and in particular, etchings. Through a series of practical sessions in the Gainsborough’s House Print Workshop, accompanied by discussions around works from the collection, participants will gain a better appreciation of the materiality of etchings and a more nuanced understanding of how these processes have been applied and adapted by different artists at different times. The conception of this workshop represents a methodological shift in the academic study of prints, in which object-led and practice-based forms of research are increasingly recognised as valuable components of an art-historical education—especially for those who care for or interpret prints in a curatorial capacity.
Day one (Wednesday) will explore the processes of hard ground and soft ground etching. The first of these techniques, developed in the early sixteenth century, was mastered by artists such as Dürer and Rembrandt and came to occupy a central role in the history of western European art. The innovation of soft ground etching occurred later, in the second half of the eighteenth century, and was particularly popular in Britain; Gainsborough was among its earliest pioneers.
Day two (Thursday) will focus on aquatint, developed in the 1770s. As a tonal method, aquatint presented printmakers with a range of new possibilities for image making. Since its conception, it has been considered as a complementary technique to soft ground etching, and Gainsborough often used it in this way. The popularity of aquatint has continued into the modern era, with the sugar-lift process being favoured by Picasso.
The course will be jointly convened by Jason Hicklin, Lead Tutor and Head of Printmaking at the City & Guilds of London Art School, and Dr Peter Moore, Research Curator at Gainsborough’s House. Each day will run from 10am to 4pm. The cost is £180 (inc. VAT) and includes lunch and refreshments, but not accommodation. For further enquiries and to reserve your place, please contact email@example.com. Limited places are available, so early booking is advised.
Giovanni Paolo Panini, Modern Rome, 1757, 172 × 233 cm
(New York: The Metropolitan Museum of Art, 52.63.2)
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Along with Attingham’s regular course offerings, next year’s study programme will be based in Italy. More information and application forms are available at Attingham’s website. Applicants from the U.S. may contact Cynthia Drayton, firstname.lastname@example.org. Applicants from outside the U.S. may contact Rita Grudzień, email@example.com.
The 66th Attingham Summer School, 29 June — 16 July 2017
Applications due by 27 January 2017
Directed by David Adshead and Elizabeth Jamieson, and accompanied by specialist tutors and lecturers, this intensive 18-day course will include visits to country houses houses in Sussex, Derbyshire, Nottinghamshire, and Oxfordshire. The Summer School will examine the country house in terms of architectural and social history, and the decorative arts.
Royal Collection Studies, 3–12 September 2017
Applications due by 12 February 2017
Run on behalf of Royal Collection Trust, this strenuous 10-day course is based near Windsor. The school will visit royal palaces in and around London with specialist tutors (many from the Royal Collection) and study the extensive patronage and collecting of the royal family from the Middle Ages onwards.
Attingham Study Programme: Palaces and Villas of Rome and Naples, 18–26 September 2017
Applications due by 12 February 2017
Conceived from the perspective of the British, European, and American travellers who visited Italy to experience antique, renaissance, and baroque Rome during the period c.1650–1950, this intensive Study Programme is in association with the British School at Rome. . . . The programme will consider palaces and villas with their collections in the light of papal patronage and focus upon some of the key Roman families and their influence upon their contemporaries. The choice of properties encompasses those that inspired travellers to collect sculpture, books, paintings and works of art, their taste inspired by the desire to furnish and sometimes rebuild their town and country houses back home. The course director is Andrew Moore.
The London House Course, 3–9 October 2017
Applications due by 12 April 2017
The programme studies the development of the London house from the Renaissance to the present. It combines numerous visits to houses—many of them private—with a series of lectures by leading authorities. Progressing chronologically and exploring all over London, the course takes members inside grand aristocratic buildings, smaller domestic houses, artists’ studios, and the garden suburb. Speakers include Neil Burton, Caroline Dakers, Joseph Friedman, Sarah Nichols, and Gavin Stamp. The course is directed by David Adshead.
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Note (added 28 January 2017) — The original posting did not include information on The London House Course.
Historians of German, Scandinavian, and Central European Art
Fifth Annual Essay Prize for Emerging Scholars
Nominations due by 19 December 2016
Submissions are now being accepted for the fifth annual HGSCEA Emerging Scholars Publication Prize, an award of $500 given to the author of a distinguished essay published the preceding year on any topic in the history of German, Central European, or Scandinavian art, architecture, design, or visual culture. Submissions, which must be in English and may be from electronic or print publications, must have a publication date of 2016; authors must be either current PhD students or have earned a PhD in or after 2012 and must be members of HGSCEA at the time of submission. The recipient of the Prize and one honorable mention will be chosen by the members of the HGSCEA Board and announced at the HGSCEA dinner reception during the College Art Association annual conference. Nominations and self-nominations are welcome; submissions should include a copy of the publication and a CV and should be sent by electronic attachment to the HGSCEA president Marsha Morton (firstname.lastname@example.org) before December 19, 2016.
2017 Charles C. Eldredge Prize
Nominations due by 1 December 2016
The Smithsonian American Art Museum is now accepting nominations for the 2017 Charles C. Eldredge Prize. Single-author books devoted to any aspect of the visual arts of the United States and published in the three previous calendar years are eligible. To nominate a book, send a letter (not to exceed one page in length) explaining the work’s significance to the field of American art history and discussing the quality of the author’s scholarship and methodology. Nominations by authors or publishers for their own books will not be considered. The deadline for nominations is December 1, 2016. Please send them to: The Charles C. Eldredge Prize, Research and Scholars Center, Smithsonian American Art Museum, P.O. Box 37012, MRC 970, Washington, D.C. 20013-7012. Nominations will also be accepted by email: email@example.com or fax: (202) 633-8373.