Enfilade

From NEASECS:

NEASECS Annual Conference
Translation, Transmission, Transgression in the Global Eighteenth Century
University of Massachusetts Amherst, 20–22 October 2016

Proposals due by 1 April 2016 / 15 May 2016

The annual meeting of NEASECS will be held at the UMass Amherst Campus Center. The theme is Translation, Transmission, Transgression in the Global Eighteenth Century. The conference will include a plenary address by Suvir Kaul from the University of Pennsylvania and a performance of Molière’s The Misanthrope; the registration fee will include two cocktail receptions, a banquet dinner on Friday night, and continental breakfasts.

Possible topics include translations, transmissions, and transgressions across cultures, languages, and literatures; across local and national borders; and across gender identities, racial identities, and class identities in the global eighteenth century. How do texts and ideas travel? Who and what determines when a translation or transmission crosses over into a transgression? Papers could address empire and colonialism, war, the slave trade, the book trade, Orientalism, and constructions of nation, nationality, and race. In keeping with NEASECS tradition, panels and papers devoted to elements of the long eighteenth century not directly related to the conference theme are also welcome.

Proposals for panels or roundtables should be uploaded to the online submission page by April 1. Organizers should submit a CV and a 100–200 word summary of the topic. Once a session has been approved, it will be posted to the conference website; individuals should submit abstracts and CVs directly to the organizer. Completed panels should be submitted to the organizing committee by May 15.

Individual paper proposals, including a CV and a 250-word abstract, should be uploaded to the online submission page by May 15. Individuals will be notified of the status of their proposals by June 15. Prior to submitting your individual proposal, please review the listing of approved panels on the ‘Approved Panels’ tab on the website. If you wish to join one of the approved panels, please email your paper proposal to the session chair directly before May 15.

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‘Approved panels’ include these, which may be of particular interest to art historians:

French Women Artists in England
Nadine Berenguier, University of New Hampshire (nsb@unh.edu)
Many French women artists left France and took up residence in England for extended periods of time during the long 18th century. Their reasons varied as much as their experiences abroad, but all were influenced by and influenced the culture in their new home. This panel will focus on women artists who became part of that migration, and how their British ‘séjour’ influenced them and their artistic endeavors and conversely what their impact was across the Channel.

Worldly Objects: Decorative Arts in the Long Eighteenth Century
Alden Cavanaugh, Indiana State University (alden.cavanaugh@indstate.edu)
This session welcomes papers that address the global decorative arts in the eighteenth century: that is, the intricate systems of transmission and translation that governed and created decorative objects, as well as the spaces in which those objects were displayed or used. Papers that use innovative or novel approaches in the interest of exploring decorative arts and/or interior design as manifestations of a transcontinental or global focus are particularly desirable. Potential topics could include, but are not limited to: Translations (or mistranslations) of styles, subject matter or narratives Trade, supply, or logistics Secondary markets Conceptions of Others (Chinoiserie, Turquerie, etc.) Fashions in decorative arts Marketing or production issues Economic realities related to decorative arts or interior decoration Lacquer, porcelain, glass, metalwork, jewelry, furniture, textiles or other material production Material exoticism Nationalistic impulses Objects of self-fashioning or personal maintenance Patterns of consumption.

Transpositions of Locke’s Essay in Eighteenth-Century France
Sarah Cohen, University at Albany, SUNY (scohen@albany.edu)
Even before it was first published in English in 1690, John Locke’s An Essay Concerning Human Understanding appeared in a nascent Epitome translated and published by Jean Le Clerc in his Bibliothèque universelle et historique of 1688. With the full work translated into French by Pierre Coste in 1700, Locke’s arguments for sensory based knowledge would steadily become a central theme both in the work of French philosophes such as Condillac and in transformations that took place in natural sciences and the arts. This session invites proposals for papers addressing any aspect of how Locke’s Essay was used, translated, or transformed by French intellectuals and artists in the long eighteenth century.

Collaborative Printmaking across Cultures and Time
Association of Print Scholars Session at CAA, New York, 15–18 February 2017
Chair: Jasper van Putten, Harvard University

Proposals due by 31 March 2016

Printmaking, from its earliest to its most recent expressions, has generally been characterized by collaboration. This panel explores the impact of collaboration on the artistic practice of printmaking across various cultures and times. In the West, renaissance printmaking was characterized by divisions of labor that designated specific tasks of professionals. Designers, woodcutters, engravers, printers, and publishers indicated their respective role on the prints they helped produce with designations such as invenit [invented], delineavit [traced/delineated], or excudit [printed/published]. The production of Japanese woodcuts in the nineteenth century was similarly defined by collaboration and specialization. Generally, publishers commissioned drawings from artists, which were transferred to wood, cut, and printed by specialized craftsmen on behalf of the publisher. Collaboration also characterized much of the printmaking in the modern period, despite the emphasis on artistic individuality in this time. Artists like Édouard Manet, Pablo Picasso, and Robert Rauschenberg produced some of their most celebrated prints in collaboration with master printmakers. More recently, digital social networks have opened up completely new venues for artistic collaboration. As technology has made sharing of images and ideas faster and easier than ever before, it stands to reason that artistic collaboration also changes.

Scholars have studied the more famous collaborations in the history of printmaking in great detail. Still, the impact of collaboration on artistic practice is often overlooked. Blockbuster shows especially tend to focus on famous artists and neglect the vital contributions of other individuals. How did the contributions of craftsmen, patrons, publishers, and agents impact the prints they helped produce and disseminate? How was their relative input valued and remunerated? To what extent can we interpret prints as the products of networks of different makers? Answers to such questions will differ from time to time and from place to place. This panel seeks to further our understanding of collaborative printmaking by seeking submissions engaging these issues from any culture and era. Side-by-side, these papers will highlight commonalities and differences with the aim to obtain unexpected insights. Especially welcome are contributions that make use of network theory to account for the total range of actors involved in collaborations. Also of special interest are papers that engage the role of digital tools and social networks in facilitating collaborations in contemporary printmaking.

Please send an abstract of 250 words or less and a CV to Jasper van Putten (jaspervputten@me.com) and info@printscholars.org by March 31, 2016.