We are pleased to announce call for paper proposals for the panel “Museums and Celebrity Culture: Historical and Critical Perspectives”, which will be a part of the 2019 Conference of the Universities Art Association of Canada (UAAC).
The conference will take place on 24-27 October 2019, Hilton Hotel, Québec, QC
The deadline for paper proposals is May 31, 2019.
This session is a reflection on museums and the phenomenon of celebrity culture. Museums are institutions that channel celebrity culture as a part of the global creative industry and mass culture. Today, it is evidenced in the boom in blockbuster exhibitions and large-scale collaborations of museums with film and fashion industry. In history, too, exhibitions and artworks on display had already served as an attraction to the enlightened public.
Call for Papers: Session at Universities Art Association of Canada Annual Meeting, Quebec City, QC, 24-27 October 2019. Deadline: 31 May 2019
Perspectives on the Dutch Golden Age This session aims to explore the historiography and reception of Dutch art produced in the period c. 1575-1700: how artists, admirers, and critics from the seventeenth century to the present have responded to art of the era known as the “Dutch Golden Age”. We welcome case studies that reflect on topics such as: theoretical appraisals of Dutch art and artists; literary adaptations of artists’ lives for the popular audience; print reproductions of Dutch painting in the 18th and 19th centuries; emulation of Dutch artists in 19th century France; the rediscovery of Vermeer and Frans Hals; poetic responses to Dutch art; the changing reception of Rembrandt and other artists; Dutch art through the lens of methodologies such as feminism or post-colonialism; the collecting and connoisseurship of Dutch art in Canada and elsewhere; and other themes.
Ljubljana, Slovenia, University of Ljubljana, Faculty of Arts, September 12 – 14, 2019 Deadline: Apr 30, 2019
The fifth international conference for PhD students and recent PhD graduates Revolution and Revolutions in Art challenges the PhD students, young researchers and scholars from different fields of humanities and social sciences to address a multitude of questions, dilemmas, perspectives and problems related to the idea of revolution in art. We welcome theoretical, empirical and methodological papers addressing the theme. We also encourage different aspects and approaches and especially invite submissions that address the following topics:
Brill’s “Studies in the History of Collecting & Art Markets” is a peer-reviewed book series dedicated to original scholarship on the social, cultural, and economic mechanisms underlying the circulation of art. Over the last two decades interest in the formation, display, and dissolution of art collections increased tremendously; art markets, trade routes, and dealer networks became a rich field of interdisciplinary inquiry. Scholarship brought forth a lot of information about the flamboyant personalities to whom the possession of art was a lifestyle; regarding the “social life of things”, i.e. the provenance of individual artworks, many research gaps could be closed. This shift in scholarly attention from the production side to the consumption side of the art world is also reflected in the emergence of specialized post-graduate courses offered by a number of institutions internationally, as well as an ever-increasing stream of exhibitions, conferences, and publications devoted to the subject. Brill’s book series accommodates scholarly monographs, collections of essays, conference proceedings, and works of reference that engage in the broadly defined topic of art markets and collecting practices throughout history.
Editor-in-Chief: Christian Huemer (Belvedere Research Center, Vienna)
In 1937, Herbert Bayer defined exhibition design as a complex visual language structured both on the dialectic between different elements (Fundamentals of Exhibition Design, 1937) and, more generally, on the treatment of space and its narration. In 1982, with the text “Allestimenti/Exhibit Design”, and later in 1988, with the volume “Mostrare. Allestimento in Italia dagli anni Venti agli anni Ottanta,” Sergio Polano suggested a clear definition of the practice of the exhibition design. By seeking to articulate its history through the lens of the design production, the Italian theorist recognized in this notion: “[…] the art to design the interiors for the dwelling of objects temporarily collected in that totality (unicum) that should be the exhibition” (Polano 1988). In the same period, in Paris, the Cabinet d’Arts Graphiques of the Pompidou Center insisted on the creative potential of the exhibition and its role within the process of creating a work of art, by organizing an exhibition on the theme of “L’œuvre et son accrochage” (1986).