CFP: Dispossessions of Cultural Objects (Ljubljana, 19-21 Mar 18)

Dispossessions of Cultural Objects between 1914 and 1989/1991
– Alpe Adria Region in Comparative Perspective

International Conference

Ljubljana, France Stele Institute of Art History ZRC SAZU, March 19 – 21, 2018

Deadline: Nov 12, 2017

The research project team Transfer of Cultural Objects in the Alpe Adria Region in the 20th Century (TransCultAA) invites applications for papers to be presented in Ljubljana in March 19-21, 2018.

Transfer of Cultural Objects in the Alpe Adria Region in the 20th Century (TransCultAA) is a HERA – Humanities in the European Research Area – international and interdisciplinary research project of four countries (Germany, Italy, Slovenia and Croatia, together with the Commission for Provenance Research in Vienna, Austria, as associated partner). The four principal investigators are Christian Fuhrmeister, Zentralinstitut für Kunstgeschichte, Munich (project leader), Donata Levi, University of Udine, Barbara Murovec, France Stele Institute of Art History ZRC SAZU, Ljubljana, and Ljerka Dulibić, Strossmayer Gallery of Old Masters HAZU in Zagreb. The project is being funded by the European Union’s Horizon 2020 research and innovation programme under grant agreement No 649307. Continue reading “CFP: Dispossessions of Cultural Objects (Ljubljana, 19-21 Mar 18)”

CFP: Women Curators and Directors (New York, 26-27 Jun 18)

Women Curators and Directors in Art Museums before 1960

Conference session convened by Christel Hollevoet-Force
Christie’s New York
June 26 – 27, 2018

Deadline: Dec 15, 2017

Most curatorial staff at art museums such as the Guggenheim, the Met, MoMA, and the Whitney nowadays are women. Two of these distinguished New York institutions were not only founded by women, but all four were the stage of a few female curators’ remarkable trajectories in the first half of the twentieth century, in an unquestionably male-dominated world. This session will celebrate the achievements of pioneering women curators whose careers bloomed before 1960, with an overview of their trials and triumphs — launching new curatorial departments, defining heretofore uncharted fields of research and collecting, rising to the top of the ladder, and playing seminal roles within their museums and beyond. This session is a springboard to reflect on the specific challenges, distinct merits, and broader significance of women’s careers within the history of art museums.

Examples of these extraordinary women include Juliana Force (1876-1948), who was director of the Whitney Museum of American Art from 1930 to 1948; Hilla Rebay (1890-1967), whose was director of the Solomon R. Guggenheim Museum from 1939 to 1952; Iris Barry (1895-1969), who created MoMA’s film department in 1932; and Dorothy Miller (1904-2003), who was a curator of painting and sculpture at MoMA from 1934 to 1969. I also have in mind Monuments Women such as Rose Valland (1898-1980) at the Musée du Jeu de Paume in Paris; Ardelia Hall (1899-1979) who started her career at the Museum of Fine Arts in Boston; or Edith Standen (1905-1998) who concluded hers at The Met—all of whom were instrumental in the Allies’ restitution efforts following the systematic Nazi looting of art during WWII.

Scholars who have delved into the career of any such curator/director — the above or any other, in any country — or researched a specific facet of their broader accomplishments, are invited to send a proposal.

Call for papers for the conference: “Celebrating Female Agency in the Arts,” Christie’s Education, 20 Rockefeller Plaza, New York, June 26-27, 2018

Deadline: December 15, 2017

Paper proposals should include an abstract (max 500 words) and short biography (max 250 words), and be sent to

CFP: Women Curators and Directors (New York, 26-27 Jun 18). In:, Oct 10, 2017. <>.

CFP: Women Collectors in Britain and America c.1880-1939 (New York, 26-27 June, 2018)

Celebrating Female Agency in the Arts
Christie’s Education Academic Conference

New York, 26-27 June 2018

Call for Papers
Session Chair: Frances Fowle, University of Edinburgh

Women Collectors in Britain and America c.1880-1939


While Louisine Havemeyer, the feminist wife of a wealthy entrepreneur based in New York city, was one of the pioneering collectors of Impressionism in the USA, two spinster sisters and Calvinistic Methodists, Gwendoline and Margaret Davies, led the way in Britain. Despite their importance in the formation of taste in both countries, the contribution of women in the promotion and early patronage of impressionism and more modern art has only recently been recognized. To date the focus has largely been on major collectors such as the Cone sisters in Baltimore, or on artists such as Mary Cassatt, who promoted impressionism in the USA through her family and wider social circle. This session examines the role of women as collectors and agents, specifically of Impressionism and modern art, in the late nineteenth and early twentieth centuries.

Continue reading “CFP: Women Collectors in Britain and America c.1880-1939 (New York, 26-27 June, 2018)”

CFP: Women’s Creativity 1918-2018 (Torino, 13-16 Jun 18)

International Conference
Women’s Creativity since the Modern Movement (1918-2018): Toward a New Perception and Reception

Politecnico di Torino
Lingotto Campus
Via Nizza 230
Torino, Italy
June 13 – 16, 2018

Deadline: Oct 31, 2017


After almost four years of successful project activities, and in accordance with the MoMoWo mission, the International Conference | Women’s Creativity since the Modern Movement (1918-2018): Toward a New Perception and Reception continues to increase the visibility of creative women, to foster in Europe and beyond interdisciplinary and multicultural approaches to the study of the built environment “from the spoon to the city,” and to facilitate the exchange of research results and professional practices in the fields of architecture, civil engineering and design. Continue reading “CFP: Women’s Creativity 1918-2018 (Torino, 13-16 Jun 18)”

CFP: L’ouvre en mouvement (Amiens, 7-8 Jun 18)

«Movement in Text and Object: Antiquity through the Eighteenth Century»

Université de Picardie Jules Verne (UPJV)
Logis du Roy 9 Square Jules Bocquet
80000 Amiens
June 7 – 08, 2018

Deadline: Dec 1, 2017

Can movement be seen in a positive light before the development of the notion of sensitivity in the eighteenth century and the contemporary period? In Paul Valéry’s Eupalinos, Socrates presents the work of art as primarily concerned with movement – it is lively because it is mobile and touching on account of its very changeability. Yet in the Middle Ages, movement is frequently seen as agitation, representing madness or demonic possession. Rather than gesture, it is gesticulation, to be codified and curbed through monastic rule. However, situated between action and power, movement touches all categories of Aristotelian being. Moreover, movement is present in the visual arts: kinetic expression and the visual articulation of emotion appear in a variety of artistic movements, from Cluny through the exuberance of Rhenish art and up to the codification of the rhetoric of the passions during the Counter-Reformation. Continue reading “CFP: L’ouvre en mouvement (Amiens, 7-8 Jun 18)”

CFP: AAH Conference, 5-7 April 2018


2018 Annual Conference
Courtauld Institute of Art & King’s College London
5 – 7 April 2018, London

The 2018 Annual Conference for art history and visual culture will be co-hosted by the Courtauld Institute of Art and King’s College London. Academic sessions that papers will respond to the idea of ‘looking outwards’. This international 3 day event will look at art history in the broadest sense, and will incorporate a diverse range of speakers and perspectives.

Call for Papers – deadline 6 November 2017
The 2018 Annual Conference for art history and visual culture will be co-hosted by the Courtauld Institute of Art and King’s College London. This international 3 day event will look at art history in the broadest sense, and will incorporate a diverse range of academic sessions, speakers and perspectives.


Continue reading “CFP: AAH Conference, 5-7 April 2018”

CFP: Nineteenth-Century Art Worldwide – digital humanities

NCAW Terra-funded digital humanities publishing initiative

Deadline: Jan 15, 2018

The peer-reviewed open-access journal Nineteenth-Century Art Worldwide (NCAW) is pleased to announce a new digital humanities publishing initiative supported by a grant from the Terra Foundation for American Art. The editors of NCAW are now accepting proposals for articles addressing art and visual culture of the Americas in the long nineteenth century, from the American Revolution to World War I. NCAW seeks proposals that take full advantage of the potential of digital publishing by using digital technologies in the article’s research or publication phase, or both. Strong proposals will demonstrate how the production of digital tool(s) and/or components will lead to a scholarly argument’s key insights (either the tool/component enhanced the depth of insight or made it possible) and/or will illustrate aspects of that argument in dynamic/interactive ways.

NCAW welcomes proposals that creatively or innovatively juxtapose digital tools and/or components with art historical analysis. NCAW encourages authors to use open source software when possible. While by no means limited to the following, proposals might explore:

  • High resolution imaging or dynamic image presentation (e.g., panoramas, zoom images, visual essays, x-ray or infrared reflectography, moving images, 3D images of art objects, annotated musical scores, annotated digital facsimiles)
  • “Big data” mining and analysis (e.g., social network analysis or text mining using analytics programs like Gephi, Network Workbench)
  • Mapping and Geographic Information Systems (GIS) (e.g., depictions of sites, locations of objects, paths of travel, using online mapping tools like MapBox, Timemapper, Neatline)

NCAW is a pioneer in publishing art historical digital humanities projects. For examples of already-completed digital humanities projects published in NCAW, see <>.

To propose a digital humanities project, please submit:

A. Abstract (500 words maximum) as a Microsoft Word document detailing the scholarly content of the article, including how information gleaned from the proposed digital tool will impact the article’s interpretive claims

B. Abstract (500 words maximum) as a Microsoft Word document outlining the appearance/format of the digital tool(s) and explaining how the author plans to present the article and tool within the NCAW framework (technologies used, layout, etc.). Also provide link(s) from existing digital project(s) that resemble your proposed project functionally, aesthetically, or in the technologies used, followed by several sentences describing which elements of that project will differ from/emulate your proposed digital tool

C. Budget (1 page maximum)


Authors are not expected to have extensive technical expertise themselves, but should be generally knowledgeable about the technical possibilities related to their project and should be able to articulate how digital research methods and NCAW’s digital publication format connect with their research questions. Upon acceptance of a proposal authors will identify, in discussion with NCAW editors, the digital tools/software to be used and, if necessary, will be expected to identify technical collaborators. NCAW editors will assist with the development of a timeline and with guidelines for workflow, but authors will be responsible for managing their projects.

If interested contributors have an idea for a digital humanities project but would like to discuss it with the editors first, we would be happy to talk with you about your ideas in advance of the deadline.

Please send proposals to Managing Editor Petra Chu <petra.chu[at],> Executive Editor Isabel Taube <taubeisa[at]> and Digital Humanities Editor Elizabeth Buhe <ebuhe[at]>. Deadline: Monday, January 15, 2018.

Reference: CFP: Nineteenth-Century Art Worldwide – digital humanities. In:, Sep 22, 2017. <>.