CFP: “NS-Art”? “Postwar-Art”? (Berlin, 24-25 November 2017)

“NS-Kunst”? “Nachkriegskunst”?

Universität der Künste Berlin, Raum 110
Hardenbergstrasse 33
10623 Berlin
24.11.2017-25.11.2017
Deadline: 01.09.2017

Prof. Dr. Wolfgang Ruppert, Universität der Künste Berlin, Arbeitsstelle für kulturgeschichtliche Studien.

For a long time the caesura “of the Nazi state” of 1933 and 1945 were set as boundaries for questions of history and art. Recent research on “Artists in National Socialism”, however, shows, however, that artists’ biographies show longer development cycles, which transcend the political systemic changes and are only partly subject to them.

This conference now more specifically asks for continuities and ruptures between the second phase of the National Socialist cultural policy around 1937/38, the collapse of national socialism in 1945 and the post-war period until 1955.

CFP continues in German… Continue reading “CFP: “NS-Art”? “Postwar-Art”? (Berlin, 24-25 November 2017)”

CFP: Collecting Medieval Sculpture (Paris, 23-24 Nov 17)

Ards Study Day 2017
Musée du Louvre, Paris, November 23 – 24, 2017
Deadline: Aug 15, 2017

Collecting Medieval Sculpture Ards, M-Museum Leuven (B) is launching a Call for papers for the 4th annual colloquium ‘Current research in medieval and renaissance sculpture’, which will be held in the Musée du Louvre in Paris (FR) on November 24th  2017.

During the colloquium we will be having keynote speakers on the topic and a selection of submitted papers in plenum. One day before, on November 23rd, we will have the opportunity to visit the magnificent collection of medieval sculpture in the Arts décoratifs Muséum in Paris as well as other suggested excursions.

This year we are inviting all researchers and curators working specifically on and with specific sculpture collections or collectors to submit papers. Firstly, we want to take a look at collecting medieval sculpture. How did or do medieval sculpture collections get formed? How has medieval sculpture been collected in the past (including in the middle ages and renaissance period) and how is this evolving right now? We know the prices on the art market are slowly rising as medieval sculpture is becoming increasingly more interesting as an investment.

Can we take a closer look at what’s happening in that area? In december 2014 the Getty Museum acquired a rare medieval alabaster sculpture of Saint Philip by the Master of the Rimini Altarpiece at Sotheby’s for no less than 542,500 GBP. If a small statuette by an anonymous master can generate this kind of money at a sale, this must mean the ‘market’ for medieval sculpture is shifting thoroughly.

Moreover, does the exhibition or publication of medieval sculpture influence this trend? It is a fact that the more we know about an art piece or artist, the more interesting it becomes to buy or exhibit them. What are the motifs or instigating factors for museums and private collectors to collect this intrinsically religiously inspired and therefore (?) ‘less attractive’ discipline. Links can be drawn to the abolition of churchly instances at the end of the 19th century and the gothic revival in the 19th century, the export of mainland patrimony to the United Kingdom. Would you like to submit a paper for this conference? Your proposal can be of an art-historical, historical as well as a technical or scientific nature. Multidisciplinarity is encouraged.

Priority will be given to speakers presenting new findings and contributions relevant to the specific conference theme. The conference committee, consisting of sculpture curators from M – Museum Leuven will select papers for the conference. Submissions that are not selected for presentation in plenum, can still be taken into consideration for (digital) poster presentation.There are no fees, nor retribution of transport and/or lodging costs for the selected papers. After the conference, presentations will be shared online with the Ards-network on the website, so please make sure your pictures are copyright cleared.

How to submit your proposal?

– Write in English or French. Presentations are given in English or French.
– Include a short CV.
– Max. 500 words for abstracts (excl. authors name(s) and contact details).
– E-mail to marjan.debaene@leuven.be.
– Deadline: 31.08.17.
Successful applicants will receive a notification by 15.09.17.

For more info, visit www.ards.be

Reference: CFP: Collecting Medieval Sculpture (Paris, 23-24 Nov 17). In: H-ArtHist, Jul 3, 2017. <https://arthist.net/archive/15931>.

CFP: Seminars on Collecting and Display, Oct 2017 – June 2018

Call for Papers
Seminars on Collecting and Display

Institute of Historical Research
Senate House
London WC1E 7HU
15.10.2017 – 17.06.2018

Deadline: Sep 8, 2017

The conveners of the Seminar for Collecting and Display, London, invite applications for papers for their monthly seminars at the Institute of Historical Research between October 2017 and June 2018. The Seminar provides a forum for academics to present new research on any topic related to collecting in its widest understanding, both chronologically and in terms of subject matter. We also welcome papers that look at collecting from different perspectives, given by sociologists, cultural historians or art historians.

Seminar papers are normally 45 minutes in length followed by an extended discussion. We are unable to cover travel costs but may be able to help with accommodation and expenses.

Applicants should send an abstract of approximately 300 words together with a short CV to schbracken@btopenworld.com by 8 September 2017. We will then reply to organise the date with the successful candidates.

http://www.history.ac.uk/events/seminar/collecting-display

Source: CFP: Seminars on Collecting and Display. In: H-ArtHist, Jul 18, 2017.

CFP: ’68 and After; CAA Call for Session

’68 and After: Art and Political Engagement in Europe

EPCAF Sponsored Session
Submission Deadline: August 14, 2017

Chairs: Jenevive Nykolak (University of Rochester) and Maria Elena Versari (Carnegie Mellon University)

The events that swept Europe in 1968 have, without fail, occasioned successive waves of commemoration and contestation as subsequent generations struggle to articulate their significance under changing historical circumstances. While scholars have begun to look beyond a narrow focus on the student revolts to highlight immigrant perspectives, issues of gender and sexuality, third-world liberation struggles, relations to labor movements, and developments outside of urban centers, art historians have been slow to enter into these debates. On the fiftieth anniversary of the events, this panel seeks to respond to this ongoing reassessment of ’68 and its aftermath and to reexamine its legacy within art history. Which artistic currents embodied the protest ethos and political commitments of the time? What were the immediate and long-term effects of artists’ engagement with artistic institutions? Continue reading “CFP: ’68 and After; CAA Call for Session”

CFP: New Voices 2017-18: Art and Movement (Birmingham, 11 Jan 18)

Call for Papers
Art and Movement

University of Birmingham, January 11, 2018
Association for Art History
Deadline: September 4, 2017

Keynote speaker: Professor Khadija von Zinnenburg Carroll

Whether moved by force, trade or choice, art and artists rarely remain static. In the twentieth and twenty-first centuries in particular, globalised systems of travel, communication, and trade have meant that art and the art world, including artists, curators and dealers, are perceptively more mobile. Yet, artists have always moved in response to the availability of work and materials, or for cultural and educational opportunities. Artists have also long depicted people or objects in movement, from paintings of the flight into Egypt to contemporary installations of the belongings of refugees.

‘New Voices: Art and Movement’ will give postgraduate and doctoral researchers an opportunity to discuss the topic of art and movement and to address persistent historical, contextual, and conceptual questions.

  • How did art participate in or resist the creation of our globalised world, and how has that system impacted the creation and reception of art?
  • How can the development of systems and networks for the circulation of art be traced historically?
  • What can the movement of art tell us about specific works of art or cultural, political, economic and social contexts?
  • In what way does the form of an object reflect its movements or movability?
  • How and why has movement been represented through the ages?

The time has perhaps never been more apt to question the way art travels and moves, or the way movement influences the production, curation and reception of art. We welcome contributions from all periods that address the theme. Topics may include but are not limited to:

  • Representations of movement or its impact on a work of art’s function and form
  • The lives and work of artists abroad, including immigrants, expatriates and refugees
  • Networks of trade and circulation
  • The impact of globalisation on the production of art, its curation and the art market
  • The restitution of art and cultural objects
  • Non-movement, i.e. art or artists that resist or are denied movement

Please submit abstracts of no more than 250 words for 20-minute papers along with a 150-word biographical note to artmovement2018@gmail.com by 4 September 2017. The submission of abstracts is open to postgraduate researchers (master’s and doctoral) of all related disciplines; attendance is open to all.
For more details, see: www.forarthistory.org.uk

For this year’s New Voices we have affiliated with a related conference at the University of Birmingham. This conference, entitled ‘Art on the Move – Mobility in the Long Nineteenth Century‘, will be held over two days following New Voices. Attendees and contributors to New Voices are encouraged to attend, although they are separate events and admission is charged separately. For more information please visit: https://artonthemove19.wordpress.com/

Source: CFP: New Voices 2017-18: Art and Movement (Birmingham, 11 Jan 18). In: H-ArtHist, Jul 11, 2017.

CFP: Women Artists Shows.Salons.Societies (Paris, 8-9 Dec 17)

Call for Papers
Women Artists Shows.Salons.Societies (Paris, 8-9 Dec 17)
Group Exhibitions of Women Artists 1876-1976

Paris, Auditorium Jeu de Paume, December 8 – 09, 2017
Deadline: Sep 15, 2017

In partnership with the Artl@s project, AWARE introduces WAS (Women Artists Shows.Salons.Societies), a research project focusing on group exhibitions of women artists. Our ambition is to build a descriptive and analytical catalogue of these exhibitions from the end of the 19th to the end of the 20th century and to start reflecting on their specific history, through the study of the evolution of the social, cultural, and institutional conditions that permitted or made them necessary through the analysis of the various levels of mediation and organisation at work in these shows, or also through the examination of their symbolical functioning and critical response.

This first symposium, which will launch the program, considers a moment when the chronology of women group shows is less known (the more recent period will be the subject of a later symposium). Continue reading “CFP: Women Artists Shows.Salons.Societies (Paris, 8-9 Dec 17)”

CFP: Session at CAA, Art, Agency, and the Making of Identities (Los Angeles, 21-24 Feb 18)

Call for Papers

Art, Agency, and the Making of Identities at a Global Level,
1600-2000
Session at CAA (Los Angeles, 21-24 Feb 18)

106th College Art Association Annual Conference Los Angeles, February 21 – 24, 2018
Deadline: Aug 14, 2017
http://www.collegeart.org/programs/conference/

From: Biro Yaëlle, and Etienne, Noémi <yaelle.biro@metmuseum.org>

Co-Chairs: Yaëlle Biro, Metropolitan Museum of Art, New York; Noémie Etienne, Bern University, Switzerland

Circulation and imitation of cultural products are key factors in shaping the material world – as well as imagined identities. Many objects or techniques that came to be seen as local, authentic and typical are in fact entangled in complex transnational narratives tied to a history of appropriation, imperialism, and the commercial phenomenon of supply and demand. In the 17th century, artists and craftspeople in Europe appropriated foreign techniques such as porcelain, textiles, or lacquers that eventually shaped local European identities. During the 19th century, Western consumers looked for genuine goods produced outside of industry, and the demand of Bourgeois tourism created a new market of authentic souvenirs and forgeries alike. Furthermore, the 19th and 20th centuries saw the (re)-emergence of local “Schools” of art and crafts as responses to political changes, anthropological research, and/or tourist demand. Continue reading “CFP: Session at CAA, Art, Agency, and the Making of Identities (Los Angeles, 21-24 Feb 18)”