Calling members to submit session proposals
Symposium zur Ausstellung „Kunst wird Ware. Die Geburt des Kunstmarktes im Goldenen Zeitalter der Niederlande“
27. April 2017, 10 bis 17.30 Uhr
Bucerius Kunst Forum, Rathausmarkt 2, 20095 Hamburg
Ridiculous prices, greedy traders, exaggerated artists: the adverse impact of today’s art market seems ubiquitous. And yet the trade is a form of social engagement with art and thus an essential condition of its existence. Talk about art and art markets originated long before there were museums. The birthplace of art trade was the Netherlands of the 17th century. While commissions by nobility and the church stagnated, the increasingly wealthy bourgeoisie was able to afford oil paintings for the first time. Following the demands of the new market, the motifs as well as the techniques changed. Histories and mythological scenes were still life, landscapes and genre images. Prices ranged from a few guilders to vast sums.
This symposium [held in German] sets the scene for the exhibition, September 23, 2017 – Jan 7, 2018.
Free tickets for students are available at BKF counter in advance, but are limited.
Call for papers for the Southeastern College Art Conference http://www.secacart.org/conference
The Columbus College of Art & Design (CCAD) in Columbus, Ohio, is hosting the 73rd annual SECAC Conference, October 25-28, 2017.
The call for paper proposals is available. The deadline is April 20 at midnight EDT.
The Collectors’ Impulse: Conspicuous Consumption or Philanthropy?
In his 1899 book, Theory of the Leisure Class, economist Thorstein Veblen coined the still-useful phrase, “conspicuous consumption,” meaning the pursuit of status via goods such as art works. More recently, Pierre Bourdieu argued that taste is inextricably linked to social standing. Most often one must possess wealth to amass noteworthy collections, but is collecting more complicated than status seeking or gaining cultural capital? What if the consumer creates a museum with his or her art collection, such as Isabella Stewart Gardner, Henry and Arabella Huntington, and more recently, Eli Broad has done? Is this primarily creating institutions to solidify and enhance their cultural capital? Should others with great collections feel obligated to share them with the public or is it acceptable to keep them hidden until they are ready to sell? To what degree is a collection left to the public conspicuous consumption, philanthropy, or something else altogether? This panel seeks perspectives on collecting practices, past or present. Who is or was collecting and why? What aspects of collecting motivate one to share a collection with strangers (or not)? How should museum-goers react to private-turned-public collections?
Contact: Dr. Leanne Zalewski
Transatlantic Exchange between the US and Ireland
Transatlantic Exchange: Ireland and the United States in the 20th Century
This panel seeks papers that focus on transatlantic cultural exchange between Ireland and the United States during the twentieth century. Americans who traveled to Ireland, many compelled by familial connections, developed rich relationships with Irish artists that led to cultural exchange between the two countries, while tumultuous political circumstances in Ireland prompted Irish artists to leave their homeland. For example, Irish painter John Yeats and Irish American art collector John Quinn facilitated cultural exchange during the early decades of the twentieth century, particularly in that Yeats was the father of three of the most influential cultural figures in Ireland: writer W.B. Yeats; Ireland’s celebrated painter Jack Yeats; and textile designer Lily Yeats. After solidifying his connection with Quinn, Yeats went on to establish close ties to American artists John Sloan and Robert Henri.
This panel seeks to explore these and other examples of Irish/American transatlantic cultural exchange.
- What impact did the American presence in Ireland have on Irish art?
- Conversely, how have American artists been impacted by their experiences in Ireland?
- What exhibitions document these exchanges?
These are but a few questions that we hope to answer on this panel.
Session Chairs: Cynthia Fowler, Emmanuel College; James Swensen, Brigham Young University
Source: 2 Panels/Sessions at SECAC 2017 (Columbus, 25-28 Oct 17). In: H-ArtHist, Feb 20, 2017.
Are you thinking of organizing a symposium on an American art historical
topic at your university or research institute?
Do you have an international collaborative research project that would
benefit from in-person meetings and workshops?
The Terra Foundation for American Art offers grants of up to $25,000 for projects that encourage international scholarship on American art topics, as well as projects that further research on American art in an international context. Eligible projects vary in scale, from multi-day public symposia to smaller international research groups of faculty and graduate students collaborating on a focused topic or area of inquiry. Funding is available for in-person exchanges that advance scholarship in the field of American art (circa 1500–1980) and that:
– Take place in Chicago or outside the US;
– Take place within the US, and examine American art within an international context and include a significant number of international participants.
Deadline for letters of inquiry for fall 2017 awards: March 15, 2017
Dr. Carrie Haslett, Program Director, Exhibition and Academic Grants, firstname.lastname@example.org
Reference: ANN: Terra Foundation for American Art Academic Workshop and Symposium Grants. In: H-ArtHist, Feb 16, 2017 (accessed Feb 27, 2017).
The documenta Archive is the main lender to a major exhibition on the history of documenta, with stops in Beijing and Shanghai. Curators Prof. Klaus Siebenhaar and Mona Stehle.
In cooperation with the Institute for Arts and Media Management of the Free University of Berlin and the Institute for Art Administration and Education of the Central Academy of Fine Arts (CAFA) in Beijing, the exhibition »The Myth of documenta: Arnold Bode and his Heirs« is on view at the CAFA Art Museum, Beijing from March 1–31, 2017 and includes over 600 items displayed within a space encompassing 1,500 sq m. A selection of the items will then be shown in the exhibition »Arnold Bode and documenta« at the New Gallery of Art in Shanghai through the end of June.
Source: documenta archiv [accessed Feb 24, 2017]
Conceptualism – Intersectional Readings, International Framings:
Black Artists and Modernism in Europe after 1968
Presented by Black Artists & Modernism in collaboration with Van Abbemuseum
Convenors: Dr Sophie Orlando, Dr Susan pui san lok and Nick Aikens
Dates: Friday 8th and Saturday 9th December 2017
Location: Van Abbemuseum, Eindhoven, Netherlands
The Black Artists & Modernism research project is pleased to announce the forthcoming conference, Conceptualism – Intersectional Readings, International Framings, in collaboration with Van Abbemuseum. The conference will take place from Friday 8th December to Saturday 9th December 2017 at the Van Abbemuseum, Eindhoven.
We invite proposals from artists, academics and curators that focus on a specific artwork or artistic practice, to address the indicative themes and questions below:
How do artists like Nil Yalter, David Medalla, and Stanley Brouwn, amongst others, approach and engage with Conceptualism?
How are formations of race, class, gender and sexuality addressed through Conceptualist art practices in Europe after 1968 and among emerging contemporary artists such as Mathieu Kleyebe Abonnenc?
How can Conceptualism be understood anew through intersectional readings and international framings?
How have public collections contested mainstream white male-dominated definitions of Conceptualism in Europe?
How does the term ‘Black’ resonate, if at all, within discourses of Conceptualism and modernism across specific European regions and contexts?
Download Call for Papers (pdf.)
Please submit proposals by email as a single Word document, comprising an abstract (max 500 words) and a short biography (300 words) by Friday 31st March 2017. Proposals should be sent to: email@example.com
Submit proposal by Friday 31st March 2017
Successful applicants will be notified by 31st May 2017
If you have any queries, please contact Sophie Orlando at firstname.lastname@example.org
For more information about the Black Artists and Modernism project, please visit http://www.blackartistsmodernism.co.uk/
For more information about the Van Abbemuseum, please visit https://vanabbemuseum.nl/en/
CFP: Conceptualism (Eindhoven, 8-9 Dec 17). In: H-ArtHist, Feb 22, 2017 (accessed Feb 22, 2017).
Call For Papers
Special Issue of Arts & The Market on Arts Marketing in Asia
Deadline: 28th of April 2017
For this issue we invite submissions from a variety of perspectives focused on offering innovative insights into issues surrounding arts marketing in Asia.
Dr. Yu-Chien Chang, National Chengchi University, Taiwan
Dr. Chloe Preece, Royal Holloway, University of London, UK
Arts and the Market is pleased to announce a Special issue focused on advances and development with regard to scholarship on Arts Marketing in Asia.
The past 10-15 years have seen interest in arts and cultural products from Asia steadily increase globally, from Bollywood films to Korean pop, Chinese contemporary art to Japanese manga and animation. In line with a more general interest in Asia’s emerging markets and their increased political power, there have recently been a number of publications examining the rapid growth of the creative and cultural industries in these areas both within academia (see Keane, 2011; Robertson, 2011; Punathambekar, 2013; Hong, 2014; Lee & Lim, 2014; Velthius, Komarova and Kharchenkova, 2015) as well as in the popular press (e.g. BBC, 2015). This work has seen a shift from an emphasis on production and manufacturing to nurturing creativity and the arts in order to capitalise on soft power to become a ‘cool’ nation (see for example the move from ‘made in China’ to ‘created in China’). To illustrate just one example, The Art Newspaper (2015) recently noted that art museums in Asia organised five of the top 10 most popular exhibitions in the world. These changes make it an interesting time to examine the art that is being produced in these nations and how it is being marketed and consumed, both at home and globally to understand the significance it is having on the cultural landscape.
Further details available here: Emerald Publishing Group CfP