CFP: Heritage Protection after 1945 (Exeter, 21 – 22 Nov 17)

University of Exeter, November 21 – 22, 2017
Deadline: Jun 20, 2017

State Socialism, Heritage Experts and Internationalism in Heritage Protection after 1945

Histories of heritage usually perceive their object of study as a product of western modernity, and exclude the socialist world. Yet, understood as a cultural practice and an instrument of cultural power, and as a “right and a resource”, heritage has played important roles in managing the past and present in many societies and systems. In the postwar period, preservation became a key element of culture in socialist and non-aligned states from China, the Soviet Union, and the Eastern Bloc to Asia, Latin America and Africa. Attention paid to the peoples’ traditions and heritage became a way to manifest the superiority and historical necessity of socialist development. However, the contribution of socialist states and experts to the development of the idea of heritage is still to be fully excavated.

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PUBL.: Art History and the Global Challenge. Artl@s Bulletin vol. 6,1

Art History and the Global Challenge.
A Range of Critical Perspectives.

Artl@s Bulletin vol. 6,1

For this special issue of the Artl@s Bulletin, the editors asked a diverse group of scholars to share their perspectives on the “Global turn” and the ways the “Digital turn” is affecting it.
This survey must be regarded as a dialogue in progress: other conversations will follow and will contribute to widening the range of critical perspectives on art history and the Global challenge gathered in this issue.

Béatrice Joyeux-Prunel (email)
Maître de conférences HDR, Ecole normale supérieure, université PSL – Paris Sciences Lettres

Catherine Dossin (email)
Associate Professor, Purdue University, Lafayette

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EXH.: Hugo Helbing Online Exhibition

On the occasion of the second Hugo Helbing Lecture, delivered on 26 April 2017 by Professor Craig Clunas (University of Oxford), the Zentralinstitut für Kunstgeschichte in Munich has inaugurated an online exhibition on Hugo Helbing (1863-1938) at Google Arts & Culture. Curated by Dr. Meike Hopp (TIAMSA member) and Melida Steinke MA, the exhibition consists of 41 slides (video of curator’s introduction, photos, documents) and explanatory texts presenting Helbing’s wide ranging activities as auctioneer and the „aryanizing“ of his business. It is available in both English and German:

Call for Papers: Journal for Art market Studies – Translocations

Technische Universität Berlin, Institut für Kunstwissenschaft und Historische Urbanistik

Call for Papers
Journal for Art Market Studies
Issue on
“Translocations and the Art Market”

Deadline abstract (2,000 characters): 15 June 2017
Deadline article (30,000 characters): 31 October 2017

Since 2017 the Institute for Art History and Historical Urban Studies at Technische Universität Berlin has been publishing the Open Access Journal for Art Market Studies (JAMS). As part of the Institute’s well established Centre for Art Market Studies, the publication presents interdisciplinary research results on the past and present art market. The Journal conforms to Open Access standards including website submission through and peer reviews. Articles are published both as pdf and in HTML format, they are DOI registered and usually subject to a CC BY-NC copyright license.

For January 2018 we are planning an issue on the subject of “Translocations and the Art Market”, guest-edited by Professor Bénédicte Savoy. It will focus on the role of the art market in territorial displacements of cultural assets since antiquity. The context for this issue of the journal will be the wide research area outlined in the Leibniz Project Cluster “Translocations”, which will explore different forms, consequences, directions and backgrounds of such translocations. However, contributions to this issue of the journal should focus specifically on art market research.

The following research areas are outlined in the Project Cluster and may serve as impulses for contributions to the journal:

  • Art trade, art theft and trophy enterprise in Antiquity (for example through analysis of antique forms of the market, transports, and presentation of translocated cultural assets)
  • The art trade in Europe during the period of the Discovery of the World during the Middle Ages and early modern era (for example, examining trade transactions in art during the crusades, European conquests in South America, the wars of religion and the Thirty Years War)
  • The trade in cultural assets and its dispersion in diasporas in recent and early modern times (for example analysing the role of the art market in translocating cultural goods from Italy, Greece, Egypt, sub-Saharan Africa, Asia-Pacific, and the Americas)
  • Expropriation and translocation of cultural assets in the context of the great wars of the twentieth century (for example with respect to art theft by the National Socialists, museum sales in Russia as a consequence of the Revolution, Soviet “trophy seizures”, and later the trade in dispossessed art in the GDR)

Please submit your abstract for an article by 15 June 2017 to Susanne Meyer-Abich

Reference: Fokum-Jams, Susanne Meyer Abich.

CFP: The Histories of Loans (Paris, 28-29 Sep 17)

Call for papers

Paris, Ecole du Louvre, 28-29 September 2017
International symposium

Since the end of the 19th century, the expansion of temporary exhibitions has determined the emergence of an international system for museums, based on the circulation of artworks and objects. For museums, sharing pieces from their collection has become crucial to ensure that they in turn get the loans they need to organise their own exhibitions. Lending artworks to prestigious institutions, particularly foreign ones, also enables curators to guarantee a heightened visibility to their own collections. Where to exhibit, how often, and which pieces can be obtained from which partners: nowadays, these are the fundamental criteria of a museum’s positioning within the international hierarchy of cultural heritage prestige. But loan policy does simply affect an institution’s image: it acts directly on the definition of the objects. The acceptation or refusal of a loan is the result of complex transactions, formulated or not, during which the value of an artwork is negotiated and reviewed. It also reflects the importance and rank of institutions, sometimes even of towns and nations.

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CALL FOR PAPERS OPEN ISSUE: Australian and New Zealand Journal of Art,
Issue 1, 2018

Submissions deadline: 30 July 2017

Issue 1, 2018 Open Issue

Issue editors: Professor Deborah Ascher Barnstone, (University of Technology, Sydney), and Dr Donna West Brett (University of Sydney).

Journal aims and scope
The Australian and New Zealand Journal of Art (ANZJA) is published by the Art Association of Australia and New Zealand (AAANZ). AAANZ is Australia’s professional body for art and design historians, arts writers, artists, students of art history and theory, and museum professionals. The journal is Australasia’s principal refereed art history journal. ANZJA is dedicated to the study of art history and its various emanations including art practice, theory and exhibition.

The editors seek research papers that engage with critical debates and frameworks across art-historical and theoretical enquiry within local and global contexts, plus review essays evaluating publications and exhibitions. Articles must be between 5,000 and 7,000 words (including endnotes) and should be suitable for a scholarly peer-reviewed journal.

See the ANZJA submission guidelines here for further details. Submissions not conforming to the guidelines will not be considered.

Papers, biographical information and images, should be submitted to the ANZJA Editorial Assistant via ScholarOne.

Submissions close 30 July 2017.

Submission Guidelines:…
Scholar One:


Job: Project manager “French art market during German occupation”, INHA, Paris

Project manager for the program
“Survey of the actors of the French art market during
the German occupation (1940 to 1945)”

Program of the National Institute of Art History, in partnership with the Deutsches Zentrum für Kulturverluste in Magdeburg, the Technische Universität in Berlin, and the German Center for Art History in Paris.

As part of the implementation of this program, the National Institute of Art History recruits a project manager.

This position is to be filled on 1 May 2017 for a period of one year (renewable).


Further information [in French].