CFP: Junges Forum für Sammlungs- und Objektforschung (Tübingen, 6-8 Sep 18)

MUT, Museum der Universität Tübingen, 06. – 08.09.2018
Deadline: Apr 29, 2018

“ZUR SACHE! Objektwissenschaftliche Ansätze der Sammlungsforschung aus disziplinärer, wissenschaftsgeschichtlicher und überfachlicher Perspektive”

Vom 6. bis 8. September 2018 veranstaltet das Museum der Universität Tübingen MUT gemeinsam mit der Gesellschaft für Universitätssammlungen e.V. einen von der VolkswagenStiftung finanzierten Workshop in der Reihe „Junges Forum für Sammlungs- und Objektforschung“. Eingeladen dazu sind jüngere Wissenschaftlerinnen und Wissenschaftler, insbesondere Graduierte, Doktorandinnen und Doktoranden, aber auch PostDocs aller Disziplinen, die an materiellen Objekten und Sammlungen forschen.

Im Rahmen des geplanten Workshops am MUT sollen wissenschaftliche Fragen, Methoden und Ergebnisse vorgestellt und mit anderen Nachwuchswissenschaftlerinnen sowie Experten diskutiert werden. Darüber hinaus erwarten wir von den Teilnehmerinnen und Teilnehmern, dass sie bereit sind, ihre Arbeit mit Vertretern anderer Disziplinen zu erörtern und sich an der anschließenden Publikation zu beteiligen. Continue reading “CFP: Junges Forum für Sammlungs- und Objektforschung (Tübingen, 6-8 Sep 18)”

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.

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)”

CFP: Art for the People? Questioning the Democratization of the Art Market – Second TIAMSA Conference (Vienna, 27-29 Sept, 18)

 Art for the People?
Questioning the Democratization of the Art Market

(c) Pablo Helguera,, 2014

2nd Conference
TIAMSA ­­– The International Art Market Studies Association
Vienna, 27-29 September 2018

In Cooperation with:
Belvedere Research Center, Vienna University – Department of Art History, and Dorotheum

Apply by April 15, 2018

The art world and the market have traditionally been the domain of the elites and have thrived on exclusivity. However, the art world has arguably become much more democratic in recent years thanks to the digital revolution, the inclusion of emerging economies in the world art market system, and the vastly improved access to art and information. The price histories of works of art can nowadays easily be reconstructed using online databases; the threshold for art buying is significantly lowered by online sales platforms; and new buyers in emerging economies are making the art market much less Western-oriented. Moreover, an ever broader range of artworks in different price categories has put (fine) art within reach of the middle classes across the globe. At the same time, art institutions such as museums are under tremendous pressure to be less exclusive. Some of these democratizing tendencies are of course not new. For instance, publishing houses in Europe started disseminating prints on a massive scale already in the sixteenth century, thereby enabling larger segments of the population to acquire images. Continue reading “CFP: Art for the People? Questioning the Democratization of the Art Market – Second TIAMSA Conference (Vienna, 27-29 Sept, 18)”

CFP: Summer School: Provenance, why does it matter? (Zadar, 27-31 Aug 18)

Provenance, why does it matter?
Provenance, Dispossession and Translocation Research

Call for Participation
Summer School, Zadar/Croatia, August 27-31, 2018
Zadar, August 27 – 31, 2018
Deadline: Mar 16, 2018

Transfer of Cultural Objects in the Alpe Adria Region (TransCultAA) is a three-year-research project financed by the European Union in the HERA (Humanities in the European Research Area) funding scheme (“Uses of the Past”). Its multinational team of scholars analyses historical and current conflicts of ownership, patrimony and cultural heritage. TransCultAA examines the very concrete and material results of a genuinely European history of transfers, translocations, displacements, confiscations, lootings, thefts of cultural objects, and restitution politics: Who transferred or translocated which objects, when and why? Which explanations (if any) were – and are – given? Continue reading “CFP: Summer School: Provenance, why does it matter? (Zadar, 27-31 Aug 18)”

CFP: Contemporary Art and the Museum (Paris, 10-12 Oct 18)

Paris, Pierrefitte-sur-Seine
October 10 – 12, 2018
Deadline: Apr 16, 2018

Contemporary Art and the Museum: from the Musée du Luxembourg to the present day (1818-2018)

International symposium

Archives Nationales (Pierrefitte-sur-Seine), Centre Pompidou (Paris), Musée d’Orsay (Paris) – 10-12 October 2018


Designed as an extension to the displays and exhibitions organised at the Pompidou Centre and the Musée d’Orsay, the results of the project “Exhibiting the History of a Collection: The Museum for Living Artists” organised as part of the Labex CAP, the international symposium “Contemporary Art and the Museum: from the Musée du Luxembourg to the present day (1818-2018)” will be held in autumn 2018 at the Archives Nationales, the Centre Pompidou and the Musée d’Orsay. Continue reading “CFP: Contemporary Art and the Museum (Paris, 10-12 Oct 18)”