Registration to the 106th College Art Association Conference in Los Angeles, 2018, is now open.
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Tag: CAA Annual Conference
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: Provenance Research as a Method of Connoisseurship?, CAA 2018
Provenance Research as a Method of Connoisseurship?
Call for Papers, CAA 2018
Chairs:
Christian Huemer (Getty Research Institute, CHuemer@getty.edu),
Valérie Kobi (Universität Bielefeld, valerie.kobi@uni-bielefeld.de),
Valentina Locatelli (Kunstmuseum Bern, valentina.locatelli@gmail.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:
http://www.collegeart.org/pdf/call-for-participation.pdf
Paper proposals are due August 14. Please email your proposal to both chairs.
CFP: Hucksters or Connoisseurs? CAA 2018
Hucksters or Connoisseurs?
The Role of Intermediary Agents in Art Economies
Call for Papers, CAA 2018
Chairs:
Titia Hulst, Purchase College, New York, titiahulst@gmail.com;
Anne Helmreich, Texas Christian University, alhelmreich@gmail.com
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.
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The Artist as Entrepreneur (New York, Feb 14, 2017)
New York Foundation for the Arts, 20 Jay Street, Seventh Floor, Brooklyn, NY 11201
Participants: 60
Pricing: $50
Date: Tuesday, February 14, 2017
9:30 AM – 4:00 PM
This Valentine’s Day, the College Art Association (CAA) and the New York Foundation for the Arts (NYFA) are showing their love for artists by partnering to offer professional development programming, “The Artist as Entrepreneur,” the day before the CAA Annual Conference. Continue reading “The Artist as Entrepreneur (New York, Feb 14, 2017)”