CONF: Collections and Collecting Ancient, Byzantine and Medieval Art – 23 March 2017

Christie’s Education invites you to join their one-day conference, 23 March, London

Collecting Ancient and Medieval art attracts both academic and public curiosity because the objects (and structures) in question are not only often extremely rare, but also have fascinating histories. The ability to possess a piece of our past has allowed collectors throughout the centuries to create a continuity between that past and their present. This conference will explore the history of Ancient, Byzantine and Medieval collections, how they were originally formed, how objects survive and in what contexts, and how certain collections themselves live on. It will also address how the collections of the past may be reflected in the way that we approach collecting today, the theoretical and the historical framework of collections, how they are currently presented, as well as some of the controversies in the field. Equally, the problems and issues underlying the collecting of Ancient and Medieval art, and the knowledge required to authenticate them will be discussed.

PROGRAM

LOCATION

Christie’s Education London
153 Great Titchfied Street
London, W1W 5BD

TICKETS

Adult Ticket Price: £22
Student Ticket Price: £11
Click here to purchase conference tickets

CfP: 73rd annual SECAC Conference, Columbus, OH, 25-28 Oct 17

Call for papers for the Southeastern College Art Conference http://www.secacart.org/conference

The Columbus College of Art & Design (CCAD) in Columbus, Ohio, is hosting the 73rd annual SECAC Conference, October 25-28, 2017.

The call for paper proposals is available. The deadline is April 20 at midnight EDT.

The Collectors’ Impulse: Conspicuous Consumption or Philanthropy?

In his 1899 book, Theory of the Leisure Class, economist Thorstein Veblen coined the still-useful phrase, “conspicuous consumption,” meaning the pursuit of status via goods such as art works. More recently, Pierre Bourdieu argued that taste is inextricably linked to social standing. Most often one must possess wealth to amass noteworthy collections, but is collecting more complicated than status seeking or gaining cultural capital?  What if the consumer creates a museum with his or her art collection, such as Isabella Stewart Gardner, Henry and Arabella Huntington, and more recently, Eli Broad has done? Is this primarily creating institutions to solidify and enhance their cultural capital? Should others with great collections feel obligated to share them with the public or is it acceptable to keep them hidden until they are ready to sell? To what degree is a collection left to the public conspicuous consumption, philanthropy, or something else altogether? This panel seeks perspectives on collecting practices, past or present. Who is or was collecting and why? What aspects of collecting motivate one to share a collection with strangers (or not)? How should museum-goers react to private-turned-public collections?

Contact: Dr. Leanne Zalewski

Transatlantic Exchange between the US and Ireland

Transatlantic Exchange: Ireland and the United States in the 20th Century

This panel seeks papers that focus on transatlantic cultural exchange between Ireland and the United States during the twentieth century. Americans who traveled to Ireland, many compelled by familial connections, developed rich relationships with Irish artists that led to cultural exchange between the two countries, while tumultuous political circumstances in Ireland prompted Irish artists to leave their homeland. For example, Irish painter John Yeats and Irish American art collector John Quinn facilitated cultural exchange during the early decades of the twentieth century, particularly in that Yeats was the father of three of the most influential cultural figures in Ireland: writer W.B. Yeats; Ireland’s celebrated painter Jack Yeats; and textile designer Lily Yeats. After solidifying his connection with Quinn, Yeats went on to establish close ties to American artists John Sloan and Robert Henri.
This panel seeks to explore these and other examples of Irish/American transatlantic cultural exchange.

  • What impact did the American presence in Ireland have on Irish art?
  • Conversely, how have American artists been impacted by their experiences in Ireland?
  • What exhibitions document these exchanges?

These are but a few questions that we hope to answer on this panel.

Session Chairs: Cynthia Fowler, Emmanuel College; James Swensen, Brigham Young University

Contact: fowlecy@emmanuel.edu ; james_swensen@byu.edu

For more information:
https://secac.memberclicks.net/assets/documents/secac/conference/secac-2017-call-for-papers.pdf

Source: 2 Panels/Sessions at SECAC 2017 (Columbus, 25-28 Oct 17). In: H-ArtHist, Feb 20, 2017.

CFP : Private Collecting and Public Display: Art Markets and Museums

Frederick MacKenzie, The National Gallery when at Mr J.J. Angerstein's House, Pall Mall, 1824-34, © Victoria and Albert Museum, London
Frederick MacKenzie, The National Gallery when at Mr J.J. Angerstein’s House, Pall Mall, 1824-34, © Victoria and Albert Museum, London

CALL FOR PAPERS : Private Collecting and Public Display: Art Markets and Museums

University of Leeds, 30th-31st March 2017

Deadline for Abstracts: Tuesday 1st November 2016

 

Keynote Speaker: Dr. Susanna Avery-Quash, Senior Research Curator (History of Collecting) at the National Gallery, London

This two-day conference investigates the relationships between ‘private’ collections of art (fine art, decorative art and antiquities), and the changing dynamics of their display in ‘public’ exhibitions and museums. This shift from ‘private’ to ‘public’ involves a complex dialectic of socio-cultural forces, together with an increasing engagement with the art market. The conference aims to explore the relationship between the ‘private’ and ‘public’ spheres of the home and the museum, and to situate this within the scholarship of the histories of the art market and collecting. Continue reading “CFP : Private Collecting and Public Display: Art Markets and Museums”

CONF: Creating Markets, Collecting Art, 14-15 July, London

Christie’s Education Conference 2016

Celebrating 250 years of Christie’s, 14-15 July 2016

To commemorate the anniversary of the foundation of Christie’s auction house in 1766 a two-day conference will be held at Christie’s King Street, St James’s. Organised by Christie’s Education, and celebrating 30 years of the Christie’s Education Trust, the theme of ‘Creating Markets, Collecting Art’ has been chosen to reflect a progressive, collaborative and cross-disciplinary approach to the study of works of art. The conference is designed to explore the interrelationship between commerce, collecting and the idea of the ‘academy’ and how this has evolved over time.

Confirmed keynote speakers at the Conference include Professor Craig Clunas, University of Oxford and Dr Inge Reist, Director of the Center for the History of Collecting, The Frick Collection and Frick Art Reference Library.

Continue reading “CONF: Creating Markets, Collecting Art, 14-15 July, London”

From Refugees to Restitution: The History of Nazi Looted Art in the UK in Transnational and Global Perspective”

From Refugees to Restitution: Nazi Looted Art in the UK (Cambridge, 23-24 Mar 17)

University of Cambridge, March 23 – 24, 2017
The deadline for CfPs has now expired.

In recent years, the subject of looted art and the restitution of cultural property has come to the fore of historical enquiry and public consciousness alike. While popular recollections of this politically sensitive subject often display a certain lack of historical accuracy, a growing number of historians, art historians and legal scholars have devoted their energy to investigating the nuances and complexities of the phenomenon across time and space. Parallel to this, experts based at local, national and international institutions such as ministries, museums, auction houses, archives, galleries or even private collectors have started adopting measures designed to prompt the art world to adopt fair practices for identifying, recovering and restituting looted art. The field, however, remains rather compartmentalized along national, institutional and professional lines and still displays a marked tendency to focus on specific cases or collections. Instead much could be gained by studying the phenomenon in a broader comparative perspective and by exploring the tangible links to some of the central themes of 20th-century history: revolution, persecution, displacement, war, migration and genocide.

The Program is available here

Continue reading “From Refugees to Restitution: The History of Nazi Looted Art in the UK in Transnational and Global Perspective””