Rothermere American Institute, University of Oxford, June 26 – 28, 2019
Arts Patronage in Modern America: An International Conference
Sponsored by: Rothermere American Institute, University of Oxford, Terra Foundation for American Art, The Oxford Research Centre for the Humanities, and the British Association for American Studies.
This interdisciplinary conference will feature papers by emerging and established scholars from around the world whose work deals with American arts patronage from the early twentieth century to the present day.
On Wednesday 26 June, from 15.00-16.30, John R. Blakinger, Terra Visiting Professor of American Art, University of Oxford, will deliver his plenary, ‘“To Remain Silent Is To Be Complicit”: Arts Funding in the Trump Era’. https://tinyurl.com/y2rrhtay
On Thursday 27 June, from 15.00-16.30, Mary Anne Goley, Founding Director of the Fine Arts Program of the Federal Reserve Board will deliver her plenary, ‘Playing By the Rules, How I Directed the Fine Arts Program of the Federal Reserve Board, 1975 thru 2006’. https://tinyurl.com/y6m7u8eq
Both of the above plenaries are free and open to the public. Registration is via Eventbrite, short links above.
Panel presentations will be held at the Rothermere American Institute, University of Oxford, from 9.30-14.30 on Wednesday 26 June, from 9.15-14.30 on Thursday 27 June, and from 9.15-12.45 on Friday 28 June.
A special panel of distinguished expert practitioners will also weigh in on the current state of American cultural diplomacy.
The conference will close with a drinks reception and a three course dinner at St. Anne’s College, University of Oxford, starting at 19.00 on Friday 28 June.
We are pleased to announce call for paper proposals for the panel “Museums and Celebrity Culture: Historical and Critical Perspectives”, which will be a part of the 2019 Conference of the Universities Art Association of Canada (UAAC).
The conference will take place on 24-27 October 2019, Hilton Hotel, Québec, QC
The deadline for paper proposals is May 31, 2019.
This session is a reflection on museums and the phenomenon of celebrity culture. Museums are institutions that channel celebrity culture as a part of the global creative industry and mass culture. Today, it is evidenced in the boom in blockbuster exhibitions and large-scale collaborations of museums with film and fashion industry. In history, too, exhibitions and artworks on display had already served as an attraction to the enlightened public.
Call for Papers: Session at Universities Art Association of Canada Annual Meeting, Quebec City, QC, 24-27 October 2019. Deadline: 31 May 2019
Perspectives on the Dutch Golden Age This session aims to explore the historiography and reception of Dutch art produced in the period c. 1575-1700: how artists, admirers, and critics from the seventeenth century to the present have responded to art of the era known as the “Dutch Golden Age”. We welcome case studies that reflect on topics such as: theoretical appraisals of Dutch art and artists; literary adaptations of artists’ lives for the popular audience; print reproductions of Dutch painting in the 18th and 19th centuries; emulation of Dutch artists in 19th century France; the rediscovery of Vermeer and Frans Hals; poetic responses to Dutch art; the changing reception of Rembrandt and other artists; Dutch art through the lens of methodologies such as feminism or post-colonialism; the collecting and connoisseurship of Dutch art in Canada and elsewhere; and other themes.
Ljubljana, Slovenia, University of Ljubljana, Faculty of Arts, September 12 – 14, 2019 Deadline: Apr 30, 2019
The fifth international conference for PhD students and recent PhD graduates Revolution and Revolutions in Art challenges the PhD students, young researchers and scholars from different fields of humanities and social sciences to address a multitude of questions, dilemmas, perspectives and problems related to the idea of revolution in art. We welcome theoretical, empirical and methodological papers addressing the theme. We also encourage different aspects and approaches and especially invite submissions that address the following topics:
New Insights into the World of the Caravaggisti Symposium Friday, 10 May 2019 Pinakothek der Moderne, Ernst von Siemens-Auditorium
What was life like in the world of the Caravaggisti? Who commissioned their works and with whom did the artists exchange ideas? International scholars will present and discuss recent developments of research focusing on the Caravaggesque movement.
Kunstgeschichtliches Seminar, Universität Hamburg, 01.07.2019 – 30.06.2020 Application deadline: May 10, 2019
In der Fakultät für Geisteswissenschaften/Fachbereich Kulturwissenschaften, Kunstgeschichtliches Seminar ist gemäß § 28 Abs. 3 HmbHG (Hamburgisches Hochschulgesetz) ab dem 1. Juli 2019 vorbehaltlich der Bewilligung der Drittmittel in dem Projekt „Legat Cornelius Gurlitt-Konvolut ‘entartete’ Kunst“ eine Stelle als WISSENSCHAFTLICHE*R MITARBEITER*IN -EGR. 13TV-L- befristet auf der Grundlage von § 2 Wissenschaftszeitvertragsgesetz zu besetzen. Die Befristung ist vorgesehen für die Dauer von 12 Monaten. Die wöchentliche Arbeitszeit beträgt 100% der regelmäßigen wöchentlichen Arbeitszeit (die regelmäßige wöchentliche Arbeitszeit beträgt derzeit 39 Stunden).
Royal Academy London and School of the Arts, Kingston University, May 30- 31, 2019. Registration deadline: May 28, 2019.
Tools for the Future: The Formation and Development of New Markets
As the art market in Europe has developed, there have been many instances where new areas of collecting have emerged onto the market, very often reaching record-breaking prices. This workshop focuses on examples of this type of new market, whether in the primary or secondary sector, the aim being to analyse and understand the mechanisms by which a particular ‘product’ enters the market, gains authority and thus becomes collectable. In studying the evolution of these markets, the complex relationships between the different agents interacting with each other to create, support and sustain the taste or fashion for these works provide evidence of how art markets function, whether today or in the past. Papers examine the processes by which new markets are validated and question whether this is a necessary part of acceptance and stability, or whether in the contemporary art market, this is no longer necessary; another question that links past and present markets is the question of investment and whether it a factor in creating new markets. Underpinning many of these questions lies the issue of information and how important is accessibility to that information in the market.