CFP: Session at Christie’s Education Symposium (New York, 26-27 Jun 18)

Call for papers
Celebrating Female Agency in the Arts: Christie’s Education Symposium 2018 (New York)

Christie’s Education, New York, June 26 – 27, 2018
Deadline: Dec 22, 2017

From Bluestockings to the Guerrilla Girls – And Beyond: Mapping Female Associational Life in the Visual Arts
Session Convenor: Kathryn Brown (Loughborough University, UK)

Deadline for proposals: 22 December 2017

This session inquires into the role of networks by and among women active as artists, writers, curators, dealers, activists, and patrons of the visual arts. By taking into consideration examples drawn from a broad range of geographies and time periods, the session examines how informal sociability spurred the creation of professional relationships that offered women opportunities to flourish as art world professionals. To what extent have women shared connections and knowledge with each other for the purpose of securing their own independence within creative economies? Can the study of female micro-communities broaden our understanding of the scope and impact of 20th-century feminist discourses? Continue reading “CFP: Session at Christie’s Education Symposium (New York, 26-27 Jun 18)”

CFP: Session at AAH (London, 5-7 Apr 18)

Global Perspectives on Surrealism

CFP: Session at AAH (London, 5-7 April, 2018)

From: Susannah Worth <>

Date: Oct 24, 2017

Session convenors:
Krzysztof Fijalkowski, Norwich University of the Arts
Matthew Gale, Tate
Jennifer Mundy, Tate
Gavin Parkinson, Courtauld Institute of Art,

Surrealism was international to its core. Originating in Paris, home to artists, writers and intellectuals from many countries, the movement vehemently rejected nationalism and colonialism, and went to extraordinary lengths to reach out to and bring together like-minded individuals around the world. Personal communications and journeys, the staging of international exhibitions, and the dissemination of books and magazines helped spread surrealism’s belief in revolution and ideals of liberty, poetry and love. But how was the movement perceived in other countries? What were the elements in its philosophy, literature and art that individuals in other cultures found resonant or problematic? And in the post-war years, when surrealism was discounted as outdated by many, in what ways and with what aspirations did it continue to flourish or influence artistic production?

In examining how surrealism was viewed beyond Western Europe and North America, this session aims to look outside the usual geographies and interwar histories to enable a more complex and critical understanding of the transnationalism of the movement from the 1920s to the 1960s. We hope that papers will bring to light the political and cultural particularities of surrealism’s reception in locations as diverse as Central and Eastern Europe, the Middle East, Japan, Mexico and South America, as well as the circumstances through which individuals around the world identified themselves as surrealist or were identified as such by the movement. Decentring surrealism in this way will, we hope, encourage a fresh and critical appraisal of the movement’s ideas and influence.


  • Please email your paper proposals direct to Gavin Parkinson, Courtauld Institute of Art,
  • You need to provide a title and abstract (250 words maximum) for a 25-minute paper (unless otherwise specified), your name and institutional affiliation (if any).
  • Please make sure the title is concise and reflects the contents of the paper because the title is what appears online, in social media and in the printed programme.
  • You should receive an acknowledgement of receipt of your submission within two weeks.

Deadline for submissions: 6 November 2017

Reference: CFP: 4 Sessions at AAH (London, 5-7 Apr 18). In:, Oct 30, 2017. <>.

CONF: Global Power of Private Museums (Berlin, 16-18 Nov 17)

The Global Power of Private Museums: Arts and Publics – States and Markets

Technische Universität Berlin / 16-17 Nov. 2017

Copyright: Philipp Deines, Design by Amichai Green Grafik

Forum Transregionale Studien / 18 Nov. 2017

The history of state or public museums has been the focus of numerous symposiums and publications. Yet astonishingly little research has taken private museums in consideration, even though the number of private art museums has risen dramatically over the past two decades. According to the International Council of Museums (ICOM), there are now more private museum spaces in the world than public ones. The majority of these museums are in China, South Korea, the US and Germany, though private museums have been established also in Brazil, Canada, Denmark, Egypt, France, India, Indonesia, Russia, Turkey and Ukraine, among other countries.

At this year’s international symposium of the Centre for Art Market Studies at TU Berlin – organised in cooperation with the Forum Transregionale Studien and its research programme Art Histories and Aesthetic Practices – participants will be exploring the background, mechanisms and consequences of a phenomenon that may be referred to as the „global power of private museums“. Continue reading “CONF: Global Power of Private Museums (Berlin, 16-18 Nov 17)”

CFP: Ephemeral exhibition spaces (Geneva, 16-17 Mar 18)

Deadline: Dec 1, 2017

During the last decades of the Ancien Régime and throughout the long nineteenth century, people in Europe marveled at absent worlds or past events that were reenacted visually or mentally in a variety of ephemeral exhibition spaces, like temporal museums, exhibits, (private) cabinets and, most strikingly, panoramic theaters and dioramic constructions. The latter installations or decors visually imitated reality, rather than represent it, like art would do, and with their illusory optical effects they were very popular with the big audience. They were however also criticised by those who stressed the imaginative, mental nature of vivification against forms of visual mimicry. From the very outset, reenactment in these spaces comes forward as an ambiguous, multifaceted and conflictive strategy.

In the new public and private spaces of the nineteenth century, ephemeral exhibition spaces or spaces with an exhibitional dimension par excellence fitted more encompassing epistemological and experiential strategies of reenactment. Within a wide scope of cultural practices, they provided new spatial frameworks of understanding and experiencing reality, of imagining, of identification and control. It is however still a matter of debate how the epistemological, visual and experiential dimensions of reenactment interrelated, conflicted and coincided in these spaces. Reenactment in ephemeral exhibition spaces was caught between visual and mental strategies, between material tangibility and imagination. Reenactment in these spaces was also at the same time a tool of (scientific) knowledge and of subjective experience. Imagination could in this context strongly relate to the sensation of the uncanny, to aesthetic rapture, to (ideological and political) identification and to personal memory or even, in particular cases, to solipsist isolation. These spaces, finally, precisely because of their exhibitional nature, are also revealing of a dynamic of control, of voyeurism, of a problematic dealing with otherness, difference and absence, of people, of cultures or of the past.

Our symposium intends to discuss a wide variety of ephemeral exhibition spaces or spaces with a distinctively exhibitional dimension, such as for example dépôts, derelict gardens, ruins, boudoirs, museums, exhibits, private interiors, cabinets, antique stores… against a broad cultural background and treated from various interdisciplinary angles within the humanities, including cultural history, history of art, literary studies and comparative literature, intellectual history, material culture studies, museum studies and others.

We particularly, but certainly not exclusively, welcome papers, either in English or in French, on the following topics:

  • Ambiguous, multifunctional, liminal or hybrid spaces, in-between spaces, spaces between public and private uses, as well as the cultural practices they are connected with.
  • Imagery spaces, for example in written or visual sources (literature, catalogues, guides, travel literature, letters, art, images etc.) or material spaces that are able to stage the role of the imaginary in the construction of cultural practices.
  • Mediating spaces that worked as catalysts for interaction and interrelation between a number of cate- gories such as gender and social classes.

There is no registration fee for the conference.

Final papers, either in French or English, will be published in an edited volume with a reputable editor.

Proposals (maximum 250 words) have to be sent to Camilla Murgia ( and Dominique Bauer ( by December 1, 2017. Those who submitted their proposal will be notified of their acceptance by December 20.

Conveners: Dr. Camilla Murgia, University of Geneva and Prof. Dominique Bauer, Catholic University of Leuven

Reference: CFP: Ephemeral exhibition spaces (Geneva, 16-17 Mar 18). In:, Oct 31, 2017. <>

CFP: Workshop: Scientific Instruments in researching Collections and Objects (Goettingen, 28-29 Sep 17)

Call for Papers
Junges Forum für Sammlungs- und Objektforschung
Research Forum for Collections and Objects –  Workshop for PhD Candidates
28. bis 29. September 2017

The aim of this workshop – the second of a series of five – is to create a platform for  junior researchers across all disciplines and to reflect on questions of object-based research, especially in scientific collections. The main objective is to encourage emerging scholars to work with objects from collections, to acquire competency and connoisseurship and to think about projects in an interdisciplinary way.

This year’s thematic focus of the Junge Forum is on instruments of visualization. Contributions from the natural and life sciences, history, cultural and social sciences (history of science and research, cultural anthropology, art and visual studies, ethnology and sociology) are particularly welcome, that lead to a visualization of and reflection on (implicit) practices through such scientific instruments and their resulting technical images: Continue reading “CFP: Workshop: Scientific Instruments in researching Collections and Objects (Goettingen, 28-29 Sep 17)”

Invitation to TIAMSA’s 2017 AGM

Most members will be aware that we will hold our ANNUAL GENERAL MEETING (AGM) alongside TIAMSA’s first conference on Art Fairs, to be held in London from July 13th to 15th. As a TIAMSA member, you are cordially invited to attend this meeting, which will take place on

Thursday 13 July 2017

Sotheby’s Institute of Art
30 Bedford Square
London WC1B 3EE
Room 31 D+E (first floor)

We look forward to welcoming you at the AGM. Please remember that, in order to attend and vote at the AGM, you have to be a TIAMSA member in good standing. If you are uncertain about your membership status, please log in at or contact me on

This post or area is restricted to our paying members. If you are a member, please log in.
Not a TIAMSA member yet? Have a look at our benefits and become a member here.

Please note that we will provide more time for collective brainstorming on TIAMSA’s future on our conferences last plenary session, to be held on Saturday, July 15th, 4.45pm at Sotheby’s Institute of Art. Members who do not wish to attend the conference are welcome to attend this meeting without paying the conference fee.

With very best wishes,
Veronika Korbei, TIAMSA Coordinator

Conf: Le collezioni degli artisti in Italia (Rome, 22 Jun 17)

Le collezioni degli artisti in Italia: trasformazioni e continuità di un fenomeno sociale tra Cinquecento e Settecento

The collections of artists in Italy: transformations and continuity of a social phenomenon between the sixteenth and eighteenth centuries

BSR British School at Rome, via Antonio Gramsci, 61, 22.06.2017

Organized by Francesca Parrilla and Matteo Borchia in collaboration with The British School at Rome (BSR) and the initiative of the Rome Art History Network (RAHN).

 One of the most fascinating aspects of collecting in the modern age concerns collections assembled by artists. It presents the artist in the special role of collector and creates a rather privileged view onto the the collector’s personality and social role. In the dwellings, shops and studios, together with the goods related to the practice of the craft, exhibitions are presented in accordance with valid design criteria, in addition to pieces of antiquity and objects of various nature. It is not always an arbitrary collection, but generally the possession of these works reflects a precise collector’s will, the result of personal pride, pure commercial speculation or the desire to rank at a higher level on the social scale.

The conference intends to address the many aspects of a delicate and problematic theme and provide the opportunity for a valid comparison between epochs and contexts from a social point of view. The emergence of differences and analogies in the overall Italian landscape will allow us to observe the various profiles taken by the artists (from connoisseur to antiquarian, from intellect to merchant).

Conference language and programme: ITALIAN


09.30 / Saluti
Thomas-Leo True (BSR), Ariane Varela Braga (RAHN – Università di Zurigo)

Francesca Parrilla (RAHN- Borsista presso la Fondazione 1563 per Arte e la Cultura della Compagnia di San Paolo, Torino)

10.00 / I sezione
modera: Alessandro Zuccari (Sapienza Università di Roma)

Linda Borean (Università di Udine): L’artista nel ruolo di collezionista nella Venezia barocca

Cecilia Vicentini (Università eCampus/Università di Ferrara): Inventari, testamenti e lasciti: carte di artisti ferraresi

11.00 /pausa caffè

Mauro Pavesi (Università Cattolica del Sacro Cuore): Tra mercato, collezionismo e accademia: il caso della Lombardia di Cinque e Seicento

Roberta Piccinelli (Università di Macerata): Le collezioni degli artisti a Mantova da Giulio Romano a Frans Geffels

Valentina Frascarolo (Università di Genova): Pittori intellettuali, storici e naturalisti nella Genova di primo seicento. Dimore e collezioni

13.30 / Pausa Pranzo

14.30 / II sezione
modera: Maria Cristina Terzaghi (Università Roma Tre)

Macarena Moralejo Ortega (Universidad de León): L’eredità di Federico Zuccari (1539-1609): libri e oggetti d’arte per la stesura di un elenco di sua proprietà

Riccardo Gandolfi (Sapienza Università di Roma): Prospero Orsi: pittore, mercante e “promotore” nella Roma del Seicento

Elena Onori (Sapienza Università di Roma): La bottega d’arte dei Manenti: centro di divulgazione della cultura metropolitana tra “centro” e “periferia” nel XVII secolo

Ginevra Odone (Université de Lorraine / Sapienza – Università di Roma): Dalla collezione di un artista a quella di un antiquario. Da Guglielmo Cortese (1679) a Giacomo Bellotti (1792)

15.50/ pausa caffè

Teresa Vale (ARTIS-Istituto di Storia dell’Arte della Facoltà di Lettere dell’Università di Lisbona): Tra casa e bottega: la presenza della pittura e della scultura negli inventari dei Valadier

Raquel Gallego Garcia (Universitat de Barcelona): Johan Tobias Sergel e la sua raccolta di disegni come esempio di una singolare forma di collezionismo

17.10 / III sezione
modera: Francesca Cappelletti (Università di Ferrara)

Matteo Gianeselli (Palais Fesch-musée des Beaux-Arts, Ajaccio/Institut national d’histoire de l’art, Paris): Dans l’intimité de Ridolfo del Ghirlandaio: les collections d’ «un’omo da bene»

Davide Dossi (Dipartimento di Grafica dell’Hessisches Landesmuseum di Darmstadt): Un artista collezionista nella Verona di primo Seicento: il caso Ottino

Alice Collavin (Scuola Normale Superiore di Pisa): Johann Carl Loth (1632-1698): artista, collezionista e sensale nella Venezia seicentesca

Francesco Lofano (Università degli studi di Bari): Atelier e collezioni di artisti nella Napoli del XVIII secolo

18.30 / Discussione e chiusura dei lavori (Matteo Borchia, Francesca Parrilla)

19.30 / Rinfresco e saluti

Per info:

CONF: Le collezioni degli artisti in Italia (Rome, 22 Jun 17). In: H-ArtHist, Jun 5, 2017 (accessed Jun 7, 2017).