CFP: NCAW Terra-funded digital humanities publishing initiative

Terra-funded digital humanities publishing initiative
Nineteenth-Century Art Worldwide
Deadline: Nov 16, 2018

The peer-reviewed open-access journal Nineteenth-Century Art Worldwide (NCAW) is pleased to circulate information regarding a digital humanities publishing initiative supported by a grant from the Terra Foundation for American Art. The editors of NCAW are accepting proposals for articles addressing art and visual culture of the United States 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. Continue reading “CFP: NCAW Terra-funded digital humanities publishing initiative”

CFP: The Art Market and the Global South: New Perspectives and Plural Approaches – TIAMSA Conference 2019 (Lisbon, 21-22 Nov, 2019)

Our 2019 conference  is co-organized by the Institute of Art History, Faculty of Social Sciences and Humanities, Universidade NOVA de Lisboa, TIAMSA – The International Art Market Studies Association and TIAMSA Portugal, Spain and Brazil, in collaboration with Universidad Nebrija (Madrid) and Universidade Federal do Rio Grande do Sul (Porto Alegre, Brazil).

This conference will discuss the developments, the disruptions and new perspectives that can be observed in the current art market as seen from the Global South – a term here used to refer to emerging economies of the southern hemisphere (South America, Africa, India, South-Eastern Asia, Southern Europe, but not limited to these geographical areas) – and their contribution to the development of art markets worldwide. We will explore the Global South as a thematic frame and through different disciplinary viewpoints in order to re-think the cross-cultural and economic flows and to investigate the various local practices of the art market. Furthermore, we wish to analyze the Global South as a set of spaces and players affected by the contemporary art trade. In doing so, we particularly intend to focus on the rise of new art markets in these regions and their impact on the global art system, its history, its changing processes and its networks – but also on the circulation of art.

We invite proposals from scholars and independent researchers that explore the following themes:
1. The Global South: the persistence, the contribution and the specificity of the local markets in relation to the dynamics of the global art market;
2. Southern markets, plural markets, new markets: institutional, commercial and independent structures that legitimize and give visibility to the circulation of the art work; power relationships between biennials and art fairs;
3. The collecting process: models of collecting, “new” collectors and new private museums (aesthetic tendencies, taste and tensions between private and public structures);
4. Agents in the art market: circulation and frictions in the art system; the art dealer, the curator and the artist as new agents;
5. The legal regime of the purchase and sale of works of art, due diligence and the rights of the artists (droit de suite and moral rights);
6. The crisis: impact and strategies adopted to overcome the art market’s economic crisis after 2008.

Submission guidelines
We welcome proposals for 20 minutes presentation in English, which should include:
1. Title of the proposal
2. Applicant’s identification (name, institutional affiliation, country and e-mail)
3. Abstract up to 300 words
4. Short curriculum vitae (up to 200 words)
Proposals must be sent in Word (.doc format) by e-mail to: conference.globalsouth@gmail.com

Deadline and selection process
Proposals must be submitted until 31 January 2019.
– The selection will be made by the Scientific Committee, through a double-blind review process. Note of acceptance will be given by April 2019.
– A selection of the presented papers will be later published in Revista de História da Arte, Série W, a peer-reviewed online journal.

Organizing Committee (ordered alphabetically by first name)
– Adelaide Duarte, Instituto de História da Arte, Departamento de História da Arte, Faculdade de Ciências Sociais e Humanas, Universidade NOVA de Lisboa; TIAMSA Subcommittee AMC_PSB
– Bruna Fetter, Universidade Federal do Rio Grande do Sul; TIAMSA Subcommittee AMC_PSB
– Fernando Loureiro Bastos, Universidade de Lisboa; TIAMSA Subcommittee AMC_PSB; TIAMSA Legal
– Marcílio Franca Filho,  Federal University of Paraiba, Brazil; TIAMSA Subcommittee AMC_PSB; TIAMSA Legal
– Maria Amélia Bulhões, Universidade Federal do Rio Grande do Sul; TIAMSA Subcommittee AMC_PSB
– Marta Perez Ibañez, Universidad Nebrija, Madrid, Spain; TIAMSA Subcommittee AMC_PSB
– Nei Vargas, Universidade Federal do Rio Grande do Sul; TIAMSA Subcommittee AMC_PSB
– Veronika Korbei, TIAMSA – The International Art Market Studies Association

Scientific Committee (ordered alphabetically by first name
– Alain Quemin, Professor of Sociology of Art at Université Paris-8, France
– Ana Letícia Fialho, Associated Researcher at Instituto de Estudos Brasileiros, Universidade de São Paulo, Brazil
– Dorothee Wimmer, Director, Centre for Art Market Studies at Technische Universität Berlin
– Emília Ferreira, Director National Museum of Contemporary Art – Museu do Chiado, Lisbon; IHA/NOVA FCSH, Universidade Nova de Lisboa
– Filip Vermeylen, Professor at Erasmus University Rotterdam
– George Kornis, Professor at Universidade Estadual do Rio de Janeiro, Brazil
– Isidro Lopez-Aparicio, Professor at Universidade de Granada, Artist and Curator
– Johannes Nathan, TIAMSA – The International Art Market Studies Association and TU Berlin
– Juan Arturo Rubio, School Director of Nebrija (tbc)
– Luís Urbano Afonso, Professor, Departamento de História/Artis – Instituto de História da Arte, Faculdade de Letras da Universidade de Lisboa
– Maria Lúcia Bueno, Universidade Federal Juíz de Fora (tbc)
– Nathalie Moureau, Université Paul Valery Montpellier (tbc)
– Olav Velthius, Professor at University of Amsterdam
– Paolo Serafini, Università La Sapienza, Roma
– Raquel Henriques da Silva, Professor at NOVA School of Social Sciences and Humanities, Universidade NOVA de Lisboa

Conference Website: Global South Conference

CFP: Handbook of Heritage Law and Discourse

Call for papers for an edited Volume

Handbook of Heritage Law and Discourse. A Triadic Dimension: Protection, Regulation and Identity

Editors: Le Cheng and Anne Wagner. Publisher: Springer.
Deadline: Feb 28, 2019

The past four decades has witnessed the remarkable extension of enthusiasm in cultural heritage or property from the perspective of international laws, or international legal framework as the multilevel legal instruments for safeguarding, protection and maintenance of cultural heritage, property, or rights. In our project, the identification of “Heritage” employs specific discourses, codes, transcending values, and images that conceal assumption about members of a people comprising a people within a nation. Heritage narrates constructions of belongings that become tethered to negotiations for power and resistance over time and throughout a people’s history leading to powerful discursive narratives. While such likeness may be preserved, conserved or even perpetuated, the idea of “Heritage” may be socially, politically, culturally, and historically contested to reveal competing pasts, presents, and futures, esp. with innovation in arts leading to new social norms and identities. Continue reading “CFP: Handbook of Heritage Law and Discourse”

CFP: African Ivories in the Atlantic World, 1400-1900 (Lisbon, February 25-27, 2019)

African Ivories in the Atlantic World, 1400-1900

International Conference
University of Lisbon
February 25-27, 2019

Deadline for proposals: October 5th, 2018

The Centre for History of the University of Lisbon (CH-ULisboa) organizes the International Conference African Ivories in the Atlantic World, 1400-1900, at the School of Arts and Humanities of the University of Lisbon, 25-27 February, 2019.

The organizing committee welcomes paper proposals on the following topics:

  • History of the African elephant’s environment, hunting and ecology
  • Laboratory methods for testing and preserving African elephant ivories
  • Production of ivory objects in Africa and the Americas
  • Elephants and ivory: religious significance and power discourse
  • Elephant ivory in the history of African art
  • African elephant ivories and the history of technical arts
  • Ivory and ethnomusicology
  • Circulation and trade of raw and carved ivory in Atlantic settings
  • Collections and daily uses of African ivories in Europe and the Atlantic World

Proposals should be sent using the following form: http://www.centrodehistoria-flul.com/marfinsafricanosiii.html

For more information about this conference see: http://www.centrodehistoria-flul.com/marfinsafricanosiii.html#EN

For further inquiries you can also contact directly TIAMSA member Luís U. Afonso: luis.afonso@letras.ulisboa.pt

 

CFP: JOURNAL OF GLOBAL STUDIES AND CONTEMPORARY ART, REG/AC, Vol. 5 (2018)

Open call for participation in the thematic issue

Cultural Translation in Artistic Contexts

Guest Editors: Modesta Di Paola
Complutense University of Madrid, Spain

Critical Cartography of Art and Visuality in The Global Age: New Methodologies, Concepts, and Analytic Scopes – CCAV / Art, Part III. R + D Project (I +D +I HAR 2016-75100-P)

Art Globalization Interculturality, R + D Project (AGI/ART II: 2017 SGR 577)

PI: Dr.a Anna Maria Guasch

Abstract reception deadline: October 30, 2018
Article submission deadline: February 15, 2019

The Journal of Global Studies and Contemporary Art is an indexed journal and an open access publication focusing on visuality, contemporary artistic practice, and intercultural conflict through a global perspective. It is associated to the Art, Globalization, Interculturality (AGI) research group at the Department of Art History, University of Barcelona.

Theme
Recently critical theories and contemporary artistic practices use the concept of “visual translation” in the process of transmission and reception of contemporary art. The interest in translation, from a transcultural and global perspective, has brought about new approaches to historical artefacts in art history research, leading to an ever-increasing dissolution of boundaries between the various disciplines of art history. Many theories bring Art History, Political Philosophy, Visual Studies, and Translation Studies together to shape a new methodology. Nevertheless, the concept of translation has been articulated as a hermeneutical means to understand the complexity of contemporary works of art in which text and image coexist. It is also true that recent intuitions – especially coming from world art theorists – aimed to establish connections between arts and translation. Yet within critic theory there has never been a concrete research work with the purpose to identify the status quaestionis of a long-time neglected but crucial topic: visual translation. Continue reading “CFP: JOURNAL OF GLOBAL STUDIES AND CONTEMPORARY ART, REG/AC, Vol. 5 (2018)”

CFP: The Artistic Taste of Nations (Amsterdam, 13-14 Jun 2019)

The Artistic Taste of Nations: Contesting Geographies of European Art, 1550-1815

Vrije Universiteit Amsterdam
June 13 – 14, 2019

Deadline: Nov 15, 2018

Researchers are invited to submit papers scrutinizing the impact of the early modern notion of ‘school’ on the emergence of a geographical understanding of the visual arts in Europe. As an organizing principle in art collections and art books, this notion was used to indicate a range of different kinds of places, including artists’ workshops, art academies, cities, regions and nations in Europe. Its application was far from standardized, however, as evidenced by the broad debates, negotiations and contestations amongst scholars, collectors, dealers, agents and artists concerning the nature, prestige and identity of art and artists. Depending on the contexts in which such debates took place (e.g. scholarship, collecting, the market or aesthetics), the notion of school could be associated with issues of taste and civilization, human variety and national character, nature and climate, and commerce or knowledge. The concept of school was thus based on the location of certain practices and modalities of art, although it was equally suited to the active shaping of ideas about the European art world and, possibly, even about the nations of Europe. The early modern concept of school thus did not coincide with the modern notion of national school. The extent to which it influenced modern forms of national-school classifications of art and national art history (which are currently under critical scrutiny by art historians with a geographical interest in the artistic exchange, transfer or circulation of early modern art) is open to debate (Gaehtgens 1993, Kaufmann 2004, Maës 2010). Continue reading “CFP: The Artistic Taste of Nations (Amsterdam, 13-14 Jun 2019)”

CFP: Le musee comme terrain (Paris, 20 Nov 18)

Paris (EHESS/ENS)
November 20, 2018 – June 11, 2019

Deadline: Oct 7, 2018

En 2018-2019, un atelier doctoral portant sur Le musée comme terrain: stratifications des héritages coloniaux, sera proposé en lien avec le séminaire EHESS-ENS Réécrire le passé colonial : enjeux contemporains des collections de musée, afin de saisir de façon concrète la nature des collections dans leur dimension matérielle.

En travaillant avec la notion de biographie des objets et des collections, on interrogera le musée sur ce qu’il peut nous apprendre de « la vie sociale » des ensembles collectés en contexte colonial entre la fin du XIXe et la première moitié du XXe siècle. Cette recherche visera à appréhender, dans leurs complexités et leurs contradictions, des fonds qui constituent les traces matérielles des héritages coloniaux dans différents musées français et allemands. Chaque séance se déroulera dans une institution différente, musée ou archive, et la recherche sera organisée en collaboration avec un-e conservateur/trice du musée, un-e commissaire d’exposition, un(e) artiste ou un(e) archiviste. En s’invitant dans les coulisses de l’institution, il s’agit d’observer les différentes pratiques des professionnels du musée (classement, restauration, présentation), d’analyser en somme les processus de patrimonialisation des objets. En effet, l’anthropologie du musée vise à démêler et à transmettre les multiples épistémès qu’il recouvre et au sein desquels les objets prennent sens. Les visites organisées dans les musées donneront lieu à des études de cas approfondies qui permettront de valider l’atelier.

L’atelier s’inscrit dans l’axe « Anthropologie des héritages coloniaux » du Centre Maurice Halbwachs, CMH (CNRS, École des Hautes Études en Sciences Sociales de Paris, ENS/ PSL Research University). D’autres institutions et projets sont associées à l’atelier: le Département d’histoire de l’art de l’Université Paris 1 Panthéon-Sorbonne, le Département d’Arts Plastiques de l’Université Paris 8 Vincennes Saint Denis, le Département de sciences sociales de l’Ecole normale supérieure, Humboldt-Universität zu Berlin (The Centre for Anthropological Research on Museums and Heritage), la Technishe Universität de Berlin, l’Université Paris Lumières pour le projet Glissements de terrain. Les collections muséales réinvesties par le champ de l’art contemporain (2017-2018) et l’Ecole des Chartes.

Il débutera le 20 novembre 2018 avec un atelier de travail dans les archives photographiques du Musée du Quai Branly – Jacques Chirac et sera ouvert à un nombre limité de doctorant.e.s.

Les doctorant.e.s intéressé.e.s doivent envoyer une courte présentation de leur recherche doctorale (max. 3 pages) et un CV, avant le 7 octobre, via email : reecrirelepasse@gmail.com et heritage.doctoralschool@gmail.com

Page facebook de l’atelier: https://www.facebook.com/events/903448683179624/

Equipe de l’atelier:

Felicity Bodenstein, postdoctorante Technische Universität, Berlin
Benoît de L’Estoile, directeur de recherche au CNRS, professeur à l’ENS
Damiana Otoiu, maître de conférences à l’Université de Bucarest
Dominique Poulot, professeur à l’Université Paris 1 Panthéon-Sorbonne
Laurella Rincon, conservatrice du patrimoine au ministère de la Culture/École normale supérieure
Anna Seiderer, maître de conférences à l’Université Paris 8 Vincennes-Saint-Denis
Nathan Schlanger, professeur à l’École nationale des Chartes
Margareta Von Oswald, doctorante à l’EHESS

Reference: CFP: Le musée comme terrain (Paris, 20 Nov 18). In: ArtHist.net, Sep 24, 2018. <https://arthist.net/archive/19020>.