CFP: Arts Patronage in Modern America (Oxford, 26-28 Jun 19)

Arts Patronage in Modern America

Rothermere American Institute
University of Oxford, UK
Deadline: Jan 4, 2019

The founding of the National Endowment for the Arts in 1965 was a celebrated occasion for many artists and cultural patrons in the United States, but it failed to put to rest the decades old public debate over whether or not art and culture ought to be supported by the federal government. From the Reagan era in particular onwards, straight through to the Trump administration, Culture Wars debates have centred on whether the federal government should fund art, if so, how much, and if not, who should? From the New Deal federal arts projects of the 1930s to the cultural Cold War and beyond, the story of the growth of American arts patronage has often been told through the lens of the federal government, with philanthropies, corporations, state and local governments playing supporting roles to leading federal agencies such as the Central Intelligence Agency, the United States Information Agency, and the State Department, amongst others. Continue reading “CFP: Arts Patronage in Modern America (Oxford, 26-28 Jun 19)”

CONF: Sir Richard Wallace and His Age (London, Nov 15-16, 2018)

Sir Richard Wallace and His Age: Connoisseurs, Collectors and Philanthropists

https://www.wallacecollection.org/whats-on/sir-richard-wallace-and-his-age-connoisseurs-collectors-and-philantropists/

A two-day international conference exploring Sir Richard Wallace and his collection.

This year the Wallace Collection is celebrating the two-hundredth anniversary of the birth of Sir Richard Wallace. Taking Sir Richard Wallace and his collection as its starting point, the conference will look at aspects of collecting and collections in London and Paris in the wake of the upheavals of the Franco-Prussian War and the Commune in 1870-71, considering essentially the period between 1870 and 1900.

The first day of the conference will consider the impact on the Anglo-French art market of the political and social upheavals in France in 1870-71, including the dispersal of collections and the movement of collectors, as well as the curatorship of private art collections. The second day will focus on two themes: the subject of the morning session will be loans to exhibitions from distinguished collections and the motivations that drove them; the afternoon will showcase works of art in the Wallace Collection acquired by Sir Richard Wallace.

Thursday speakers include:

  • Olivier Hurstel (‎Curatorial Fellow, European Decorative Arts and Sculpture – Philadelphia Museum of Art)
  • Professor Robert Tombs (Fellow of St John’s College, Cambridge),
  • Dr Thomas Stammers (Assistant Professor, Department of History, University of Durham)
  • Professor Anthony Geraghty (Department of History of Art, University of York)
  • Dr Mathieu Deldicque (Conservateur du Patrimoine, Musée Condé, Chantilly)
  • Joseph Friedman (Honorary Visiting Fellow of the Department of History of Art, University of York, and Senior Research Fellow in the History of Art and Architecture, University of Buckingham)
  • Dr Silvia Davoli (Research Curator Strawberry Hill, The Horace Walpole Collection)
  • Suzanne Higgott (Curator, The Wallace Collection)
  • Helen Jones (Research Librarian, Wallace Collection Library)
  • Natalie Zimmer (Curatorial Assistant, The Wallace Collection)

Friday speakers include:

  • Lindsay Macnaughton (PhD researcher, Durham University/The Bowes Museum)
  • Kathryn Jones (Senior Curator of Decorative Arts, Royal Collection Trust)
  • Eloise Donelly (AHRC Collaborative Doctoral Candidate, University of Cambridge and the British Museum)
  • Stephen Duffy (formerly Senior Curator, The Wallace Collection)
  • Dr Jeremy Warren (Honorary Curator of Sculpture, Ashmolean Museum, Oxford and Sculpture Research Curator, The National Trust)
  • From the Wallace Collection’s Curatorial department, Dr Tobias Capwell, Suzanne Higgott, Dr Helen Jacobsen, Dr Yuriko Jackall, and Ada de Wit.

The conference will be followed directly by a round table chaired by the Wallace Collection’s Director, Dr Xavier Bray, in conversation with special guest speakers Olivier Gabet (Director, Musée des Arts décoratifs, Paris), Dr Emilie E.S. Gordenker (Director, Mauritshuis, The Hague), Christian Levett (Private Collector), Jacob van der Beugel (Artist in Residence, The Wallace Collection), Ian Wardropper (Director, The Frick Collection, New York) to explore what the future holds for institutions founded by bequests similar to that of the Wallace Collection and how they are adapting to changes that could not have been foreseen by the original donors.

The ticket price includes coffee and tea breaks and a drinks reception on Friday 16 November from 18:30 to 19:45.

Download the full conference programme here.

CFP: Making Culture With/Out Uncle Sam (Cambridge, 13-15 Jun 18)

Call to join a conference panel

HOTCUS 2018
Historians of the Twentieth Century United States Annual Conference

Madingley Hall, University of Cambridge, England
June 13 – 15, 2018

Deadline: Dec 15, 2017

The 1960s saw the founding of the National Endowment for the Arts and the National Endowment for the Humanities, the expansion and transformation of philanthropic spending priorities in the cultural arena, and also the exposure of covert CIA funding for a range of Cold War cultural projects, all against the backdrop of this contentious decade. Continue reading “CFP: Making Culture With/Out Uncle Sam (Cambridge, 13-15 Jun 18)”

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”