Category: Calls for Papers

CFP: “The Artist as an Entrepreneur & Career Paths” (Utrecht, December 17-18, 2018)

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HKU is pleased to invite you to participate to the Second International Workshop

The Artist as an Entrepreneur & Career Paths

organised by Creative Economy – HKU University of the Arts Utrecht on December 17-18 2018. This workshop is part of the

International Workshops Series
“Tools for the Future: Researching Art Market Practices from Past to Present”

jointly organised by ART-Dev University Paul Valéry Montpellier 3, Creative Economy-HKU University of the Arts Utrecht and IESA & Institute of Historical Research, London.

Through individual presentations followed by group discussions, the series aims at bringing together scholars from different disciplines and areas of study of the art market to confront key issues and related methodologies that can add knowledge and evidence about the structures and principals of the art market. The first workshop was on art collectors and the third one will be on the emerging art market. Continue reading “CFP: “The Artist as an Entrepreneur & Career Paths” (Utrecht, December 17-18, 2018)” →

CFP: Art Market and Art Collecting (Berlin/Paris, Nov 18/Mar 19)

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ART MARKET AND ART COLLECTING FROM 1900 TO THE PRESENT IN GERMANY AND FRANCE

German-French Research Programme
Berlin, Germany, 8–10 November 2018
Paris, France, 18–20 March 2019

November 8, 2018 – March 20, 2019
Deadline: Sep 14, 2018

Refugee crises, trade wars, migration debates: within the context of global geopolitical, economic and cultural-political upheavals, Europe is presently undergoing a process of transformation. At the same time, European territorial occupations and colonial rule of the past are coming increasingly into the focus of national and transnational scholarship and the politics underlying it.

The 2018–2019 German-French Research Programme organised by the Forum Kunst und Markt/Centre for Art Market Studies of the Technische Universität Berlin and the Centre Georg Simmel of the Paris-based École des Hautes Études en Sciences Sociales in cooperation with the Deutsches Forum für Kunstgeschichte Paris responds to these dynamics. Continue reading “CFP: Art Market and Art Collecting (Berlin/Paris, Nov 18/Mar 19)” →

CFP: Art in the Periphery (Lisboa, 14-16 Mar 19)

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Art in the Periphery

International Conference

Organization:
Art History Institute, Universidade NOVA de Lisboa
Institute for Contemporary History, Universidade NOVA de Lisboa
Universidade NOVA de Lisboa, March 14 – 16, 2019

Deadline: Oct 28, 2018

Scientific Committee
Alexandra Curvelo (Universidade NOVA de Lisboa, IHA)
Barbara Pezzini (Editor, Visual Resources: an International Journal on Images and their Uses)
Béatrice Joyeux-Prunel (Ecole normale supérieure, Paris)
Joana Cunha Leal (Universidade NOVA de Lisboa, IHA)
Mariana Pinto dos Santos (Universidade NOVA de Lisboa, IHA)
Raquel Henriques da Silva (Universidade NOVA de Lisboa, IHA)
Terry Smith (University of Pittsburgh and the European Graduate School)
Luis Trindade (Birkbeck College and Universidade NOVA de Lisboa, IHC)

Paying homage to the work of Foteini Vlachou (1975-2017), the Art History Institute and the Institute for Contemporary History of the Universidade NOVA de Lisboa now launch the call for papers for the Art in the Periphery International Conference.

The conference aims to discuss the concept of periphery while focusing on the geographic and thematic areas that have been neglected by traditional and/or canonical art history. It seeks to push the discussion towards the understanding of the periphery as plural, historical and changeable, focusing on the non-linearity of cultural processes and historical time, and the non-universality of the artistic canons. Continue reading “CFP: Art in the Periphery (Lisboa, 14-16 Mar 19)” →

CFP: CAA Session: Renaissance Exchanges (NYC, Feb 13-16, 2019)

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Renaissance Exchanges

Session at CAA – College Art Association Annual Meeting, New York City
February 13 – 16, 2019
Deadline: Aug 6, 2018

Central to the discourse of art history, the concept of the Renaissance as a cultural, European or global movement has been contested, revitalized and expanded in recent decades. Despite being highly fraught, the concept remains in use to demarcate art and visual culture produced both in and outside of Italy between roughly 1300 and 1700. The multiplication of one into many renaissances, or Renaissance into Early Modern, in the second half of the twentieth century was based on the desire to exert cultural difference from values identified with the Italian Renaissance since the eighteenth century. Continue reading “CFP: CAA Session: Renaissance Exchanges (NYC, Feb 13-16, 2019)” →

CFP: Workshop – The Artist as an Entrepreneur & Career Paths (Utrecht, Dec 17-18, 2018)

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TOOLS FOR THE FUTURE: RESEARCHING ART MARKET PRACTICES FROM PAST TO PRESENT

Workshop 2 – The Artist as an Entrepreneur & Career Paths

International workshop series
December 17-18, 2018
HKU University of the Arts Utrecht, The Netherlands

CALL FOR PAPERS

We are pleased to invite you to participate to the Second International Workshop The Artist as an Entrepreneur & Career Paths, organised by Creative Economy – HKU University of the Arts Utrecht on December 17-18 2018. This workshop is part of the International Workshops Series “Tools for the Future: Researching Art Market Practices from Past to Present”, jointly organised by ART-Dev University Paul Valéry Montpellier 3, Creative Economy-HKU University of the Arts Utrecht and IESA & Institute of Historical Research, London. Through individual presentations followed by group discussions, the series aims at bringing together scholars from different disciplines and areas of study of the art market to confront key issues and related methodologies that can add knowledge and evidence about the structures and principals of the art market. The first workshop was on art collectors and the third one will be on the emerging art market. Continue reading “CFP: Workshop – The Artist as an Entrepreneur & Career Paths (Utrecht, Dec 17-18, 2018)” →

CFP: The Place of Art. The Re-definition of the Exhibition Format in the ’70s

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Critically reflecting on the history of exhibition and the canonization of its formats, this panel aims to investigate the development of the exhibitionary complex as it’s known today.

Political protests in the 70s occupied the whole public sphere, causing an epochal value change across culture, thought and politics. The process of democratization affecting cultural perceptions also impacted the art system. Many demonstrations, often in the form of interventions and performances, occurred as throughout the opening dates of the Venice Biennale.

While changing the functioning of its apparatuses, the exhibitionary complex (Bennet 1982) continued to provide instruments for the moral and cultural regulation. In their ability to mobilize and represent political exigencies of a specific moment in time, exhibitions became more specialised thanks to the adoption of diverse formats like biennials, fairs, temporary museum exhibitions, forums and books.

None of these models were new but, during the 70s, were used to respond to the needs of an expanding cultural sphere. Cologne and Basel’s art fairs, the exhibition choices made by Seth Siegelaub in January 5-31 1969 (New York 1969), and documenta 5, which opened the second wave of biennials (Green and Gardner 2016), are great example of these radical changes in exhibition’s formats.

We invite scholars to submit papers that examine specific exhibition formats which, during the 1970s, underwent a significant redefinition or explored methodological issues related to such topic

Please send a 250-word abstract (Chicago Manual of Style), using the CAA conference proposal form (see CAA, p. 41 of the following .pdf http://www.collegeart.org/pdf/programs/conference/CAA-CFP-2019.pdf ), and a brief 2-page CV by August 6, to cricci@iuav.it / clarissarricci@yahoo.it

Dr. Clarissa Ricci
Iuav University in Venice

CFP: Session at AAH (Brighton, 4-6 Apr 19)

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Expanding the Ceramic Field in the Long 19th Century

Association for Art History Annual Conference, University of Brighton, April 4 – 06, 2019
Deadline: Nov 5, 2018

This session calls for papers that expand the field of ceramics in the long 19th century to explore alternative narratives within art, decorative art and design histories and material culture and thus move beyond the tradition of connoisseurship and the cycles of production and consumption. We maintain that ceramics in the 19th century had a profound and pervasive presence: a rare Kangxi vase or a Chelsea  gurine, a popular blue transferware plate or a humble china cup spoke to multiple actants – collector, dealer, consumer, designer, for example – and thereby contributed to the 19th-century’s tangled and often fraught social and intellectual networks. This period also bore witness to an increase in scholarly publications relating to the cultural history of ceramics, intensified by museum exhibitions and the rising art market for these objects, and culminating in a second Chinamania.

We invite topics on all types of pottery and porcelain from all periods that touch upon 19th-century issues, including but not limited to: Chinamania, colonialism, collecting, display, domesticity, gender, identity, and transnationalism. Building upon Cavanaugh and Yonan’s seminal publication on 18th- century porcelain (2010), we ask: How did pottery and porcelain operate as agents of culture, conveying social, psychological and symbolical meanings in the 19th century?

Please send a title and abstract (250 words maximum) for a 25-minute paper, your name and institutional affiliation (if any) to the panel organisers:

Caroline McCaffrey-Howarth, University of Leeds
c.mccaffrey-howarth@leeds.ac.uk
Anne Anderson, V&A Course Director and Tutor anne.anderson99@talk21.com
Rachel Gotlieb, Gardiner Museum, Toronto rachel@gardinermuseum.on.ca