Call for Essays | Terra Foundation for American Art Essay Prize
Terra Foundation for American Art International Essay Prize
Submissions due by 15 January 2017
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 the understanding of American art, demonstrating new findings and original perspectives. The prize winner will be given the opportunity to work toward publication in American Art, the Smithsonian American Art Museum’s scholarly journal. He or she will also receive a $1,000 cash award and a travel stipend of up to $3,000 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.
Ph.D. candidates and above who have not published in American Art previously 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 submissions 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.
Submissions for the 2017 prize must be sent to TerraEssayPrize@si.edu by January 15, 2017. For more information about eligibility and the format for submissions, please visit www.americanart.si.edu/research/awards/terra.
AAMC Foundation Engagement Program for International Curators
From The Association of Art Museum Curators:
AAMC Foundation Engagement Program for International Curators
Applications due by 15 October 2016
Applications are now open for the inaugural term of the AAMC Foundation Engagement Program for International Curators, made possible with major support from the Terra Foundation for American Art. The two-year Program will accept three non-US based curators and three US Liaisons working on or having worked within exhibitions and projects that explore historic American Art (c. 1500–1980), including painting; sculpture; works on paper, including prints, drawing and photography; decorative arts; and excluding architecture; design; and performance. Applications are now open for International Awardees and US Liaisons, and are due by October 15, 2016.
Through fostering international relationships between curators, the Program aims to not only provide opportunities for professional development and exchange within our field, but also to expand and strengthen the international curatorial community and give primacy to the curatorial voice in the international dialogue between museum professionals. The Program will be an active part of building international partnerships, leading cross-border conversations, and spearheading international representation within AAMC’s membership & AAMC Foundation’s efforts.
The first year of the Program pairs an International Awardee with a US Liaison for a direct partnership, during which time the pair will conduct ongoing discussions on the area sought by the International Awardee. The Liaison will offer insight into the International Awardee’s desired focus of advancement, which could include leadership, research, creating cross-border exhibitions, loan development, understanding US fundraising models, marketing initiatives, navigating galleries in the US, and so on. The International Awardee will also be part of AAMC’s Curator’s Circle donor group, allowing for interaction with leaders at this level and bringing their voice and experience to our supporters.
The second year of the Program provides the International Awardee with a travel stipend and complimentary registration for AAMC & AAMC Foundation’s Annual Conference & Meeting. Gathering together on average 350 curators from around the country, AAMC’s largest annual event provides attendees with a unique opportunity to network across borders, fields and institution type, while attending panels and sessions on leading issues facing the profession. Year two also includes placement on an AAMC Committee to add another international voice within our leadership base, and to assist in advancing AAMC’s initiatives. The Program will conclude with an International Awardee-led webinar presented to the full AAMC membership on a topic relevant to the Program or a current project of the individual International Awardee.
Follow-up beyond the two years would continue with access to the virtual chat space for current, past and incoming classes, an alumni reception every other year and review of initial Program goals.
Visit the program page to learn more about the program’s components, and to download US Liaison and International Awardee application forms.
Call for Proposals | The Phillips Collection 2016 Book Prize
From H-ArtHist:
The Phillips Collection 2016 Book Prize
The University of Maryland Center for Art and Knowledge at The Phillips Collection
Applications dues by 15 September 2016
The University of Maryland and Phillips Collection Book Prize supports publication of a first book by an emerging scholar. The manuscript selected for this award represents new and innovative research in modern and contemporary art from 1780 to the present. The Phillips Book Prize is awarded by an editorial committee, which (since 2012) meets every other year at The University of Maryland Center for Art and Knowledge at The Phillips Collection in Washington, D.C.
The past recipients of the Phillips Book Prize are Alicia Volk, In Pursuit of Universalism: Yorozu Tetsugoro and Japanese Modern Art; Terri Weissman, The Realisms of Berenice Abbott: Documentary Photography and Political Action; Andre Dombowski, Cezanne, Murder, and Modern Life; Lauren Kroiz, Creative Composites: Modernism, Race, and the Stieglitz Circle; Robert Slifkin, Out of Time: Philip Guston and the Refiguration of Postwar American Art; Charles F.B. Miller, Radical Picasso: Surrealism and the Theory of the Avant-Garde; and Joyce Tsai, László Moholy-Nagy: Painting after Photography.
The winning author receives $5,000, and his or her manuscript will be published jointly by the University of California Press, The University of Maryland, and The Phillips Collection. The author will present at least one public lecture and book signing after the completion of the book. Scholars who received their PhDs within the past five years are encouraged to apply.
The application deadline is September 15, 2016; award recipient will be notified within two months following the application deadline. To apply, send a single PDF document to bookprize@phillipscollection.org. A complete application consists of the following:
• Curriculum vitae
• Cover letter
• Book proposal (eight- to ten-page maximum)
• One completed chapter
• Chapter outlines
• Timeline for revisions and completion of the manuscript
• Statement of the book’s significance in the context of the existing literature of modern or contemporary art
• Three current letters of recommendation
Call for Nominations | SAH Publication Awards, 2017
From H-ArtHist:
The Society of Architectural Historians Publication Awards
Nominations due by 1 August 2016
The Society of Architectural Historians is accepting nominations for its 2017 Publication Awards. The program includes five awards that will be presented at the Society’s 2017 Annual International Conference (Glasgow, June 7–11). The deadline to submit is Monday, August 1, 2016.
• Alice Davis Hitchcock Book Award Presented for distinguished scholarship by a North American author in the history of architecture
• Philip Johnson Exhibition Catalogue Award Presented for excellence in published exhibition catalogues
• Antoinette Forrester Downing Book Award Presented for an outstanding publication devoted to historical issues in the preservation field
• Elisabeth Blair MacDougall Book Award Presented for distinguished scholarship in the history of landscape architecture or garden design
• Spiro Kostof Book Award Presented for work that focuses on urbanism and architecture and provides the greatest contribution to our understanding of historical development and change
Learn more and download a nomination form at the SAH website.
Study Day | Kimbolton Castle, Huntingdonshire
From the Society of Architectural Historians of Great Britain:
SAHGB Study Day: Kimbolton Castle
Huntingdonshire (Cambridgeshire), 13 July 2016
Pete Smith and Nora Butler (Kimbolton School) will be leading a Study Day at Kimbolton Castle on Wednesday 13th July 2016. Kimbolton Castle was purchased by Sir Henry Montagu in around 1605. He was created Earl of Manchester by Charles I. It was his great-grandson Charles, the 4th Earl who inherited in 1683 and who, between 1690 and 1720, entirely rebuilt the original courtyard house. This rebuilding was carried out in three phases. The first possibly by Henry Bell of Kings Lynn between 1691 and 1696, the second by Sir John Vanbrugh between 1707 and 1710 and finally the east portico was added in 1719, this is usually assigned to Alessandro Galilei though recently discovered evidence suggests it may have been designed by Thomas Archer. Antonio Pellegrini decorated the staircase with paintings of The Triumph of Caesar in 1711–12. A new service range and gateway was added by Robert Adam for the 4th Duke of Manchester in around 1764. In the 1860s William Montagu, the 7th Duke, employed William Burn to modernize the house including new ceilings in the Dining Room and Saloon. He added an attic storey to the central section of north front and built a new stable block 1869–70. The 10th Duke of Manchester sold the castle to Kimbolton School in 1949. The school employed Marshall Sisson to restore the castle including the re-instatement of the glazing bars to all the sash windows. Cost: £35 (£25 students).
Study Session | French Royal Furniture by Jean-Henri Riesener
◊ ◊ ◊ ◊ ◊
Study day opportunities at Waddeson Manor in connection with the Riesener exhibition:
Study Session: Spotlight on French Royal Furniture by Jean-Henri Riesener
Waddesdon Manor, Buckinghamshire, 25 May, 28 July, and and 23 September 2016
Waddesdon Manor houses three extraordinary chests of drawers by court cabinet-maker Jean-Henri Riesener, two of which belonged to members of the French royal family. They are among twelve pieces of furniture now at Waddesdon that were originally at the Palace of Versailles. Riesener was perhaps the most celebrated cabinet-maker of the 18th century, the official cabinet-maker to King Louis XVI, and the favourite of Queen Marie Antoinette. Each of these chests of drawers is richly decorated with colourful marquetry (designs made with wood veneers) depicting flowers and trophies and geometric patterns, and mounted with finely chased and gilded bronzes. Learn about their design, technical construction, and fascinating history. £25 (includes grounds admission), £15 National Trust/Art Fund members, £10 students. Wednesday 25 May, Thursday 28 July, and Friday 23 September 2016. Coffee on arrival at 10.15; session 10.45–12.15.
Study Session | Persuading the King
Study day opportunity at Waddeson Manor in connection with the exhibition:
Study Session Persuading the King: Gabriel de Saint-Aubin’s Placets
de l’officier Desbans and Other Books by the Saint-Aubin Brothers
Waddesdon Manor, Buckinghamshire, 24 June 2016
A rare opportunity to study Waddesdon’s newly acquired royal petition by Gabriel de Saint-Aubin, alongside other manuscript volumes, drawings, and prints by the artist and his brothers Charles-Germain and Augustin. Senior Curator Dr Juliet Carey and Curator Rachel Jacobs will offer a glimpse into the politics of promotion and favour near the end of the Old Regime. Works will include Gabriel de Saint-Aubin’s Memoire sur la reformation de la police de France (1749) and a special copy of Du Perron’s Discours sur la peinture et sur l’architecture (1757), made for the book’s dedicatee Madame de Pompadour. Charles-Germain de Aubin’s famous Livre de caricatures will provide a subversive counterpoint to the arts of flattery and persuasion that lay at the heart of court culture. £25 (includes grounds admission), £15 National Trust/Art Fund members, £10 students. Friday, 24 June 2016. Coffee on arrival at 10.15; study session 10.45–12.15. Book early to avoid disappointment.
Study Session | Books and Bindings at Waddesdon Manor
From Waddesdon:
Study Session: Books and Bindings
Waddesdon Manor, Buckinghamshire, 12 May and 15 September 2016
Come and explore the treasures of the Waddesdon collection of 17th- and 18th-century books and bindings. These include unique manuscripts and luxuriously illustrated printed volumes. Many of the books in the collection have illustrious provenances including great bibliophiles and members of the French Royal Family. The session will provide an opportunity to view some of the treasures of the Waddesdon Collection and to learn about book history through some of its finest examples. £25 (includes grounds admission), £15 National Trust/Art Fund members, £10 students. Thursday 12 May and 15 September 2016. Coffee on arrival at 10.15; study session 10.45–12.15.
2016 Summer Institute in Technical Art History for PhD Students
◊ ◊ ◊ ◊ ◊
From the Institute of Fine Art’s Conservation Center:
Manifestations of the Model in Art and Architecture
2016 Summer Institute in Technical Art History for PhD Students
Institute of Fine Arts, New York University, 6–17 June 2016
Applications due by 21 March 2016
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.
This year’s Summer Institute in Technical Art History focuses on forms of the model in art and architecture. We will examine preparatory materials such as sketches, bozzetti, and architectural plans, as well as presentation models for sculpture and architecture, and will look for evidence of the model in the finished work of art. Our study will consider works that served as models for other media, like prints and lay figures; maps, globes, and three-dimensional botanical and medical replicas; so-called tomb models; the contemporary use of models in art making; and the afterlives of models as collection objects. This topic will allow us to explore questions of scale, material, and process through close examination of objects in New York City museums and conservation laboratories.
Participants will study with distinguished conservators, art historians, scholars and artists, with a focus on materiality and process through close looking at art objects. Hands-on studio sessions will introduce historic and contemporary working practices. Participants will discuss 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.
Generously funded by the Andrew W. Mellon Foundation, the seminar will be held at the Conservation Center of the Institute of Fine Arts, and in New York City’s leading museums. Participants will receive housing and a stipend of $1400 to help defray travel costs.
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, Conservation Center, Institute of Fine Arts, NYU; a statement of purpose (maximum 1200 words) expressing 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 21, 2016. Please submit applications in electronic format to: Sarah Barack, course coordinator, sb340@nyu.edu.
Summer Course Offerings at Sotheby’s, 2016
◊ ◊ ◊ ◊ ◊
Among the course offerings this summer at Sotheby’s (for undergraduate credit). . .
European Decorative Arts: From Baroque to Art Nouveau
Sotheby’s Institute of Art, London, 31 May — 24 June 2016
Beginning in the seventeenth century with the rise of the Baroque and culminating in Art Nouveau at the end of the nineteenth, this varied and exciting course provides a comprehensive understanding of key stylistic developments in Western European design and the decorative arts. The course focuses on furniture, ceramics, glass and metalwork, explored within the context of architecture and interiors and the broader historical and cultural forces that have influenced the production and consumption of decorative art objects. It seeks also to provide students with a basic knowledge of materials and techniques.
A diverse programme of lectures is complemented by visits to leading museums, galleries and historic houses. Students are taught by a range of in-house tutors and visiting experts from the art world. The course is introductory and requires no prior knowledge. The teaching approach is object-based and enables students to gain confidence in analyzing and identifying a wide range of art objects. It promotes skills that will be useful for working in the art world and also serves as a bridging course for further study. Faculty: Helena Pickup (Course Leader), Lis Darby, Anne Ceresole, Daniel Packer, Elisabeth Bogdan.
◊ ◊ ◊ ◊ ◊
London, Art Capital of the World, 1700–2000
Sotheby’s Institute of Art, London, 28 June — 22 July 2016
The history of the market holds valuable lessons for those hoping to work in the commercial art world. London has been synonymous with the exhibiting, collecting, buying, and selling of art for centuries. This course will provide an in-depth exploration of the institutions, personalities, and locations that have made London the epicenter of the art world, historically and today. With many of these historic works and buildings still in existence and accessible, students will experience themselves how the art scene evolved along with the city itself. We will examine the key factors that led to an increase in the demand for fine arts and how London emerged as the favored location for auctions in the eighteenth century. The connection between opportunities to view works of art and the growth of collecting will be analyzed, as will the impact of the market on ‘native’ artists. Students acquire an understanding of the history of the art market, collecting, and museums. A comprehensive course of lectures is enhanced by visits to galleries, museums, and auction houses. Faculty: Elizabeth Pergam.
Enfilade 
leave a comment