CFP: The Profession of the Print Publisher in the long 16th century (Albuquerque, NM, 1-4 Nov, 2018)

Session at the Annual Meeting of The Sixteenth Century Society & Conference (SCSC)
Nov. 1-4, 2018, Albuquerque NM
Deadline: March 15, 2018

Femke Speelberg, Dept. of Drawings and prints, The Metropolitan Museum of Art
Session co-sponsored by the Association of Print Scholars (APS)

One of the most revolutionary changes to the field of printmaking over the course of the long sixteenth century was the growing role and influence of the print publisher. While still a rare, or almost undocumented phenomenon around 1500, by the turn of the following century the print market was largely controlled by individual entrepreneurs and well-established publishing firms. The business of print production necessitated new structures of organization, a division of labor and the creation of sales and marketing techniques that profoundly influenced choices of style, technique, subject matter and formatting, as well as taste and collecting practices.

While neglected in early print scholarship in favor of the artistic contributions of the inventor and or printmaker, in recent years much new information about the role of the publisher has come to light through conferences, exhibitions and publications. Much of this work is (by necessity) of monographic nature, focusing on individual publishers and their output. This session seeks to highlight in particular new research that further elucidates the wide-ranging functions performed by the early-modern print publisher, and through a combination of papers expand our comprehension of the local, national and transnational influence of this new profession on the print market.

Papers are encouraged to focus on:

–    Early print publishers and entrepreneurs
–    Specialized publishers
–    Publishers commissioning prints
–    Working relationships between publishers and printmakers
–    (Exclusive) Collaborations with individual artists
–    Publishers shaping the print market / collecting practices
–    Publishers influencing format / specialized subject matter
–    Publishers sourcing prints from elsewhere
–    Networks of Print Publishers
–    Rivalry and Competition between Print Publishers
–    Selling techniques
–    A Publishers Print stock and stock lists

Please submit an abstract (max. 200 words) and a brief bio (not to exceed 300 words) to Femke Speelberg ( by March 15, 2018. Papers will be chosen for one or possibly two sessions to be held during the annual meeting of the Sixteenth Century Society in Albuquerque, New Mexico. You will receive notification from the conveners by April 2, 2018.

STIP: History of Venice Biennale, Universita Ca’ Foscari Venezia

Università Ca’ Foscari Venezia (Venice, Italy)
Department of Humanities
Creative arts, cultural heritage and digital humanities Cultural heritage

1 grant for a Junior researcher (Young Talent Fellowship)

Application deadline: Mar 30, 2018

Eligible applicants are researchers affiliated with foreign universities, of any nationality with 2–12 years of post-doctoral experience.

These candidates can apply for a Visiting Scholar fellowship lasting 3 months.

The history of the Venice Biennale (Esposizione Biennale Internazionale d’Arte) allows to investigate its complex events that can be articulated according to different angles: from the historical and political dynamics of the various National Pavilions to the promotion of international tourism, emerging art and international artistic currents to the fundamental issue of governance and curatorship. This event, introduced in 1895, is indeed the first and the longest in the Art Biennale – a phenomenon that is currently at the heart of a fervent world interest, to the point of influencing what is called the “biennalization” of exhibitions and that currently has about 150 biennial events in various countries, from Havana to Beijng, Odessa to Yokohama. The relevance and breadth of perspective of this theme gives way to analyzing a dense network of international relations, which includes not only artists, art galleries, critics and art experts, but also politicians, intellectuals, journalists, as well as understanding the main artistic development lines, and – through auditing sales office data and works of art loans – the impact on public and private collections. Its relevance is therefore strategic for both a city like Venice, which is the birth of the Biennale for a strategic choice of public management (the study of these issues thus becomes an excellent case study of reference), which to establish relationships with universities and scholars Internationally, because – thanks to the wide spectrum of study opportunities that can be drawn on the history of the Biennale – a large number of scholars are currently interested in investigating the history of the Pavilions, the events of international artists, the reciprocal influences between nations, connecting profitable results to our archives with what they can implement in those of their countries.

Pursued research topic has to be specified in a motivation letter – as suggested in the application form – including objectives and expected outcomes of the research activity.

Candidates must submit their applications by 30th March 2018, 12:00 pm.

Application form:

STIP: History of Venice Biennale, Università Ca’ Foscari Venezia. In:, Feb 18, 2018. <>.

Conf: “Degenerate Art” in Breslau, Stettin and Königsberg (Berlin, 15-16 March, 2018)

Forschungsstelle ‘Entartete Kunst’ (FsEK) is pleased to announce the re-launch of the „Degenerate Art“ database with an extended provenance module and the complete publication of all its 21.798 datasets.
To mark the occasion, the research center “Degenerate Art” is holding a symposium dealing with the National Socialist seizures of modern art from public institutions in the former German towns of Breslau, Stettin and Königsberg in 1937 and their consequences. We look forward to seeing you at the symposium, to which you are cordially invited. Please find attached the link to the detailed program (pdf).

Freie Universität Berlin, March 15–16, 2018, Koserstraße 20, lecture hall B

(c) unknown photographer, Depot Schloss Schönhausen 1938/1939, Zentralarchiv der Staatlichen Museen zu Berlin (photo); Emil Nolde, Papuajünglinge, 1914, Staatliche Museen zu Berlin, Nationalgalerie, ehemals Königsberg, Kunstsammlungen der Stadt


CFP: The Collector and Cultural Narratives, SECAC (Birmingham, AL, 17-20 Oct, 2018)

The Collector and Cultural Narratives, 1845-1918

Birmingham, Alabama, United States, October 17-20, 2018
SECAC Sessions (pdf)


Session Chair
Julie Codell, Arizona State University

From mid-19th century, a new kind of art history narrative about private collectors appeared in Europe and the US, e.g., Anna Jameson’s Companion to the Most Celebrated Private Galleries…,1844, Gustav Waagen’s Treasures of Art in Great Britain, 1854-57; Dumesnil’s multi-volume Histoire des plus célèbres amateurs…, 1853-1860; the Gazette de Beaux-Arts‘s series on “amateurs,” 1850s; F. G. Stephens’s 90 Athenaeum articles on British collectors, 1873-84; Edward Strahan’s (pseud. Earl Shinn) The Art Treasures of America (1879-1882); Continue reading “CFP: The Collector and Cultural Narratives, SECAC (Birmingham, AL, 17-20 Oct, 2018)”

Join us for a lecture at Christie’s, Los Angeles (February 21, 2018, 6:30-8:30pm PST)

Street Art in Los Angeles: Controversy and Ethical Slippages
Los Angeles: February 21, 2018 | 6:30-8:30pm PST

TIAMSA Members are invited to join Christie’s LA for a lecture presented by Christie’s Education, New York Alumna Lizy Dastin. Lizy is a professor of Art History at UCLA and Santa Monica College specializing in contemporary art and urban practice.

She’s a passionate advocate of street art and its makers and is committed to creating a comprehensive digital archive of this otherwise ephemeral practice.

Christie’s, Los Angeles
336 N Camden Dr
Beverly Hills, CA 90210

RSVP here

Call for Papers: SECAC: Collecting and the Trade of Antiquities (Birmingham, AL, Oct 17-20, 2018)

Collecting and the Trade of Antiquities

Deadline: April 20th 2018

Birmingham, Alabama, United States, October 17-20, 2018

Session Chairs:
Louise Arizzoli (University of Mississippi)
Evie Terrono (Randolph-Macon College)

Both acquiring and collecting antiquities are now strictly regulated. This is one result of the development of the science of archaeology, the increased recognition of the significance of the context of finds and the stricter enforcement of legislation forbidding the export of antiquities from their countries of origin. This panel is interested in research dealing with the trade of antiquities and its development with a specific focus on the nineteenth century and twentieth century, before the UNESCO convention of 1970. We would seek contributions about antiquities collectors: what they bought and when, how they displayed these treasures in their homes and what was the impulse that led them to buy ancient art. We also would be interested in dealers of ancient art and how the antiquities art market functioned. Finally, we would also welcome papers about antiquities collectors and their relationship with museums, as well as museums’ acquisition agenda regarding ancient art in the nineteenth century.