Registration to the 106th College Art Association Conference in Los Angeles, 2018, is now open.
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”
106th College Art Association Annual Conference Los Angeles, February 21 – 24, 2018
Deadline: Aug 14, 2017
From: Biro Yaëlle, and Etienne, Noémi <email@example.com>
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)”
Christian Huemer (Getty Research Institute, CHuemer@getty.edu),
Valérie Kobi (Universität Bielefeld, firstname.lastname@example.org),
Valentina Locatelli (Kunstmuseum Bern, email@example.com)
This session will explore the intersections between provenance research and connoisseurship with regard to the early modern period. In order to go beyond today’s dominant understanding of provenance research as a practice exclusively related to Nazi-looted art and questions of restitutions, the panel will deliberately focus on topics from the late fifteenth to the eighteenth centuries. By setting this alternative chronological limit, we will delve into the historical role of provenance research, its tools and significations, and its relation to connoisseurship and collecting practices. What influence did the biography of an artwork exert on the opinion of some of the greatest connoisseurs of the past? How did the documented (or suspected) provenance of a work of art impact its attribution and authentication process? Which strategies were employed in the mentioning of provenance information in sale catalogues or, sometimes, directly on the artworks themselves? Did the development of art historical knowledge change the practice of provenance research over time? And finally, how can we call attention to these questions in contemporary museum practice and reassess provenance research as a tool of connoisseurship? In addition to addressing the history as well as the strategies of provenance research, this session will be an opportunity to question its relationship to other domains as well as to bring it closer to core problems of art history and museology. We invite contributions that introduce new historical and methodological approaches. Proposals which go beyond the case study are especially encouraged.
For submission guidelines:
Paper proposals are due August 14. Please email your proposal to both chairs.
The roles of art dealers in the creation of art economies and the circulatory exchange of goods have come to increasing attention of late. However, much work remains to be done to counter the long history of the hagiographic treatment of dealers, which owes a great deal to the fact that histories of dealers were largely authored by dealers eager to write themselves into the history of art.
For this session, we seek to bring a critical and historical perspective to the role of intermediary agents in the primary and secondary markets. We seek papers that will examine dealers who mediated between the artist as producer and the consumer, whether conceived as an individual patron or broadly configured audiences.
We also seek papers that identify strategies developed by these intermediary figures in response to changing social-historical as well as geographical conditions. Relatedly, what role did dealers play in the emergence of art history as a discipline and the construction of its narratives given the vested interest of these agents in knowledge formation and collection building?
Since histories of art dealers have long been dominated by narratives drawn from the Western market, we are particularly interested in papers that examine the role of this figure in non- western art economies as well as topics that help us test and question standard models derived from the early modern and modern Western context. We encourage analysis of historically grounded strategies and practices, as opposed to anecdotal heroic narratives.
Paper proposals are due August 14. Please email your proposal to both chairs.
Through case studies, this session proposes to consider how the art market has adapted, expanded and at times significantly clashed with modern and contemporary art practices as artworks have changed hands. Papers should illuminate how issues relating to fabrication, re-fabrication and conservation have challenged traditional conceptions of authenticity and authorship, redefined connoisseurship and set precedents for both institutional and private collectors.
We hope that papers will also attempt to assess how the art market may have affected these issues.
This session encourages papers reflecting a variety of perspectives, including but not limited to art historians, conservators, visual arts lawyers, collectors, dealers, curators and artists. It will also provide a forum for discussion of the intersection of theory and practice, as disconnects between them are often illuminated as art changes hands.
See the call for participation (.pdf).
The CAA-Getty International Program, generously supported by the Getty Foundation, provides funding to between fifteen and twenty art historians, museum curators, and artists who teach art history to attend CAA’s Annual Conferences. The goal of the project is to increase international participation in CAA, to diversify the association’s membership, and to foster collaborations between North American art historians, artists, and curators and their international colleagues.
Since it began in 2012, the program has brought ninety scholars to the conferences, from forty-one countries located in Central and Eastern Europe, Russia, Asia, Southeast Asia, Africa, the Caribbean, and South America. Each year, a preconference colloquium on international topics in art history inaugurates the week, kicking off four days of conference sessions, meetings with new colleagues, and visits to museums and galleries. Subsequent to these events, the program has generated many scholarly collaborations, including publications, conferences, and exhibitions. Continue reading “CAA-GETTY INTERNATIONAL PROGRAM”