STIP: Center for the History of Collecting Fellowships, The Frick Collection, New York

The Center for the History of Collecting encourages and supports the awareness and study of the formation of fine and decorative arts collections in the United States from Colonial times to the present, as well as in Europe from the Renaissance onward, while asserting the relevance of this subject to art and cultural history.

The Center offers short-term junior fellowships (8–10 weeks) for graduate and pre-doctoral students and senior fellowships (8–10 weeks) for post-doctoral and senior scholars. In addition, the Center offers long- term (4–5 months) Leon Levy Fellowships for senior scholars. In all cases, preference is given to researchers whose projects are particularly appropriate to the resources available at the Frick Art Reference Library.

Two short-term fellowships will be granted for Winter/Spring 2019 (January–June), one to a junior scholar, and one to a senior scholar. One long-term Leon Levy Fellowships (one academic semester) will be granted for Winter/Spring 2019. Application forms for Summer/Fall 2019 fellowships must be e-mailed no later than February 11, 2019.

Send application to: cente@frick.org

Visit https://www.frick.org/research/center/fellowships for more information!

Good luck!

CFP: Volume: Art and Science of Collecting in 18th Cent. Europe

Deadline: Jan 30, 2019

Call for Essays:

“The Art and Science of Collecting in Eighteenth-Century Europe”
Edited by Dr. Arlene Leis and Dr. Kacie Wills

We are inviting chapter abstracts for a collection of essays designed for academics, specialists and enthusiasts interested in the interrelations between art, science and collecting in Europe during the long 18th century. Considering a broad range of collections, (objects) and ideas, our volume will discuss the topic of art, science and collecting in diverse theoretical contexts, such as art historical, feminist, social, gendered, colonial, archival, literary and cultural ones. To accompany our existing contributions, we welcome essays that take a global and material approach, and are particularly keen on research that makes use of new archival resources. We encourage interdisciplinary perspectives and are especially interested in essays that reveal the way in which women participated in art, science, and collecting in some capacity.

The compendium will consist of around 15 essays 6000 words each (including footnotes), with up to four illustrations. In addition to these more traditional essays, we are looking for shorter (circa 1,000 words) case studies on material objects pertaining to collections/collectors from that period, and the subject of art, science and collecting will also be central to these contributions. These smaller pieces will each include one illustration.

The following topics/case studies are particularly desired:
– Women’s collecting interests
– Histories and methodologies of collecting, taxonomies, cataloging, arrangement, and modes of display
– Cabinets of curiosities/Wunderkammer
– Catalogues
– Collections housed in art and/or science institutions
– The boundaries between the natural and the artificial
– Scientific and artistic tools and instruments
– Seriality vs. rare objects
– Transitional objects
– Conservation
– Collecting networks
– The artist collector
– The scientist collector
– Science, art and collecting in domestic spaces
– Antiquarian collections
– Print culture

All inquiries should be addressed to Arlene Leis, aleis914@gmail.com or Kacie Wills, kacie.wills@gmail.com

Essay abstracts of 500 words and 300 word abstracts for smaller case studies are due January 30, 2019 and should be sent along with a short bio to: artsciencecollecting@gmail.com

Finished case studies will be due July 30, 2019, and due date for long essays will be September 30, 2019.


CFP: A Matter of Access – Collections and their Visibility, London & Munich 22-25 June 2019

Organisers: Susan Bracken, Andrea M. Gáldy, Adriana Turpin (International Forum Collecting & Display)

Since its foundation in 2004, the international forum Collecting & Display has investigated numerous aspects of both collections and collectors. Such activity has taken place at regular seminars and at our conferences and has resulted in a number of publications. For June 2019 we plan an international conference at two venues: Munich (22.06.2019) and London (24 and 25.06.2019). Speakers and attendees are welcome to book either part of the conference separately or both as a package.

This conference aims to extend the discussion of the nature and pertinence of collections by focusing on the spaces in which they were displayed and how access to those spaces was controlled. By examining how collections were displayed, used and presented and who had access to these spaces, we hope to develop a deeper understanding of the meaning of collections to their owners and of their significance to contemporaries. Topics to be discussed across the three conference days are the visibility and non-visibility of collections and how these – together with diverse modes of access – may have enhanced interest in collections.

We invite proposals that address the following issues:

Continue reading “CFP: A Matter of Access – Collections and their Visibility, London & Munich 22-25 June 2019”

CONF: Sammeln und Ausstellen global? (Duesseldorf, 1 Feb 19)

Ein Studientag anlässlich der Ausstellung Museum global. Mikrogeschichten einer ex-zentrischen Moderne

Seit seiner Entstehung im 18. Jahrhundert ist das Museum ein Ort permanenter Neu- und Umordnungen. Sammlungen haben den Anspruch von Dauer. Gleichwohl ist der Umgang mit ihnen – ihre Präsentation, Erforschung und Vermittlung – immer wieder durch Perspektivwechsel bestimmt. Unter den Vorzeichen postkolonialer Theoriebildung und den geopolitischen Veränderungen seit Ende des Kalten Krieges setzte in den letzten Jahrzehnten ein grundlegendes Umdenken ein. Was bedeutet Sammeln und Ausstellen in einem globalen Rahmen, insbesondere für ein Museum wie die Kunstsammlung Nordrhein-Westfalen, deren Sammlung maßgeblich durch das europäisch-nordamerikanische Narrativ der Moderne geprägt ist?  

Continue reading “CONF: Sammeln und Ausstellen global? (Duesseldorf, 1 Feb 19)”

ANN: Collecting Prints and Drawings: Thematic Virtual Issue

The Journal of the History of Collections has launched a Thematic Virtual Issue on the topic of Collecting Prints and Drawings. The collection compiles articles from past issues of the journal and is a useful resource for those with research interests in the history of works on paper and the people who collected them.

Links to articles and further information can be found here


CONF: Postwar Narratives of Collecting (Rome, 14 Dec 18)

Rome, Royal Netherlands Institute in Rome, December 14, 2018

Why do we collect, how do we legitimise it for ourselves or for others, and what does that say about our culture? Collecting as a practice has been studied from various perspectives, beginning with Julius von Schlosser who in 1908 regarded it as a characteristic trait of the human soul – collecting objects was part of an inborn urge. Based on Lacan, Mieke Bal sustained the same in her famous essay on collecting, but then from a narrativist perspective – each collection is an on-going narrative for the collector as an individual by which means (s)he sublimates anxieties. Meanwhile, the collecting of contemporary art has attracted a lot of scholarly and critical attention in the last decades, but the discussion of this phenomenon decidedly deviated from the psychological perspective by focusing on the economic aspects of the art markets and their global development, the postcolonial situation, interculturality and the rise of the non-western artist. While the former, psychological perspective suggests that collecting does not change over time, the latter strand of research starts from the assumption that indeed collecting has very recently changed, quite radically even, turning into a global phenomenon.

The present workshop, organized by Arnold Witte, aims to open up a new perspective by building on both traditions but confronting the underlying assumptions. It starts with the observation that after 1945 the acquisition of contemporary art works became ever more important for a growing public – thanks to new buyers and as a result of government policies in industrialized countries – and institutions such as museums who increasingly collected contemporary art. Furthermore, new actors appeared on the scene, such as auction houses and corporate art collections. Businesses started to buy or commission contemporary art in order to embellish their employees’ offices or show it to a wider public. Belonging to this latter group are also non-profit institutions such as hospitals, which embraced art as part of their medical philosophy. Finally, artists and galleries were confronted with new expectations and adjusted their art and strategies to this new situation by incorporating, avoiding or refuting these narratives.

All these changes created the need for new legitimations that took the form of narratives, invented to justify the act of collecting for individuals, institutions and governments. It could also lead to counter-narratives, in the form of an art that defied the market, as in the case of (early) Arte Povera. These narratives also have implications for how then and now art was and is defined. This workshop aims to explore these narratives and their dynamics, by mapping the various motives formulated by actors in the field of collecting between 1945 and the early 2000s, in order to explore in what ways the act of collection adapted to the ideologies of the post-war era.

Programme:
14:00 to 19:00

Jim Carter (American Academy in Rome):
-Industry, Culture and the New Humanism in Postwar Italy: The Case of Il Menabò – Jim Carter

Sara Piccinini (Collezione Maramotti)
-Collezione Maramotti. An out of fashion art collecting

Sabrina Kamstra (Academic Medical Center, Amsterdam)
-Why collecting for an Academical medical center?

Monika Kackovic (University of Amsterdam)
-Identify with your employer? You probably like the Art: A study on identity orientations and organizational non-core activities

Jan de Groot (University of Amsterdam)
-History for legitimacy: how curators of corporate art collections explain their acquisition decisions

Francesca Gallo (Università di Roma La Sapienza)
-Interview with Giuseppe Garrera on collecting

Job: Univ. Assist. Prae-Doc, Vienna Centre for the History of Collecting

The Department of Art History is inviting applications for a position as „prae-doc-assistant“ in the context of the research project „Collector, Collections, Collecting Cultures in Vienna and Central Europe“ (Vienna Center for the History of Collecting).

This project is a cooperation between the ÖAW and the University of Vienna, and supported by the BMBWF.

Duration of employment: 2 year/s

Extent of Employment: 30 hours/week
Job grading in accordance with collective bargaining agreement: §48 VwGr. B1 Grundstufe (praedoc) with relevant work experience determining the assignment to a particular salary grade.

Job Description:
The position involves support of the project management in establishing the Vienna Center for the History of Collecting, independant research in libraries and archives, participation in conferences, workshops and publications, and participation in building a research database. Preparation of a PhD thesis in the field of the research project is expected.

Profile:
Profile: outstanding master degree in Art History; excellent language skills in German, English and Italian; experience with image data bases; PhD-project within the thematic field „Collectors, Collections, Collecting Cultures in Vienna and Central Europe“.

Applications should be send on schedule in electronic format to the Job Center of the University of Vienna including the usual application documents (letter of motivation, cv, diplomas, table of contents and chapter of master thesis, exposé of the dissertation project).

For more information see here