CFP: Photographic circulations in the 19th and 20th centuries (Paris, 19-20 Mar 20)

Jeu de Paume Museum, March 19 – 20, 2020
Deadline: Jun 15, 2019

The Silver Atlantic. Photographic circulations in the 19th and 20th centuries
International Symposium

A symposium organized by the Theory and History of Modern Arts and Literatures Center (THALIM), the Cultural History of Contemporary Societies Center (CHCSC), the Languages Arts and Music Synergies Center (SLAM) and the Jeu de Paume Museum, in conjunction with the National Research Agency project Transatlantic Cultures.

Jeu de Paume Museum, Paris, March 19-20, 2020

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CFP: Fotografie und Oekonomie (Basel, 6-7 Jun 19)

Basel, 06. – 07.06.2019
Deadline: Mar 8, 2019

Fotografie und Ökonomie 
5. Workshop der AG Fotografieforschung

Der diesjährige Workshop der AG Fotografieforschung widmet sich dem Thema «Fotografie und Ökonomie» und stellt dahingehend die grundsätzliche Frage, auf welche Weisen sich mit Fotografie Geld verdienen lässt. Medienpraxis im Allgemeinen lässt sich außerhalb eines ökonomischen Rahmens nicht denken. Und so stellen sich spezifisch für die Fotografie die Fragen, welche Praktiken es sind, die zum Geldverdienen führen, aber auch, welchen (ökonomischen) Bedingungen die Anfertigung und die Verbreitung von Fotografien unterworfen sind. 

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CFP: Circulating Photographs: Materials, Practices, Institutions (Rome, Bibliotheca Hertziana, March 18–22, 2019)

A photo-historical course organized by the Bibliotheca Hertziana (Max Planck Institute for Art History) Rome and the Folkwang Universität der Künste Essen

Deadline: October 22, 2018

Photography has always been a powerful tool of communication and has developed into an instrument of our everyday experience: Through photographs we are able to communicate quickly and easily with each other. As a medium of social interaction, photographic images are used as a handy alternative to language, supplementing or even replacing it. They transport us to sites and individuals, connecting the distant and the temporally remote. This far-reaching development is increasingly driven by the digitization of our everyday culture. Photography is both part of this process, and its most visible expression. Continue reading “CFP: Circulating Photographs: Materials, Practices, Institutions (Rome, Bibliotheca Hertziana, March 18–22, 2019)”

CFP: Art & Medium(s) in Contemporary History of Art (Bogota, 24-26 Oct 18)

ART AND MEDIUM(S) IN CONTEMPORARY HISTORY OF ART

Universidad de Los Andes
Bogotá
October 24 – 26, 2018

Deadline: Jun 30, 2018

VIII Art History Symposium, Art History Department at Universidad de Los Andes

Keynote speakers: Carol Armstrong (Yale University),  Andrew Uroskie (Stony Brook University)

Video, photography, and cinema have played key roles for identifying the challenges and prospects of twenty-first century history of art, regarding how to question, critically reformulate, and overcome modernist notions and models of medium specificity. They have also helped to enrich both inter/transdisciplinary approaches in the contemporary history of art and our understanding of art produced in different mediums, before and after modern times. In this direction, the VIII Art History Symposium at the Universidad de los Andes invites proposals for individual papers discussing and examining some of the methodological, analytical or theoretical new challenges and prospects for the discipline concerning the relationship between art and mediums in art works (in a wide sense of the term) produced in any time, place, and medium(s). Papers may include responses to, but are by no means limited by the following approaches. Continue reading “CFP: Art & Medium(s) in Contemporary History of Art (Bogota, 24-26 Oct 18)”

CFP : Images, Copyright, & the Public Domain in the 19th Century (Winterthur, 29-30 Mar 18)

Winterthur Museum, Garden, and Library, Paris VII Diderot, March 29 – 30, 2018

Deadline: Feb 1, 2017

In partnership with LARCA (Laboratoire de recherches sur les cultures anglophones), Université Paris Diderot

A combination of technological, cultural, and economic factors during the “long” nineteenth century made images more readily available in a wider range of media than ever before. These transformations raised new questions about the ownership and use of images. Working in the new field of lithography, artists produced portraits, topographical landscapes, caricatures, everyday scenes, and representations of events done “on the spot,” which publishers distributed quickly and relatively cheaply. Thanks to changes in printing techniques and the commercial strategies of publishers, engraved images became more common in books, magazines, and newspapers. The development of photography led to the production and circulation of images in the form of daguerreotypes, ambrotypes, tintypes, cartes-de-visite, and stereographs. The quest to reproduce photographic images in print inspired numerous photomechanical processes that raised questions about the status of the image and its creator.

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CONF : Working on Things (Berlin, 21-22 Nov 16)

 

Working on Things. On the Social, Political, and Economic History of Collected Objects

sozhistkult

Jacob-und-Wilhelm-Grimm-Zentrum, Geschwister-Scholl-Straße 1/3, 10117 Berlin

Venue : Lecture Hall of the main library at Humboldt-Universität zu Berlin, November 21 – 22, 2016
Registration deadline: Nov 13, 2016

Various kinds of work have to be invested in objects before they become worthy of collection, before they can be researched, preserved, and exhibited. Work on the dinosaur skeleton of Brachiosaurus brancai in Berlin’s Museum für Naturkunde, for example, extended far beyond the decades of the fossil’s preparation in the Museum. This object’s history also includes the colonial forced labour on cotton plantations in German East Africa at the beginning of the twentieth century that produced the packing material necessary for transporting the findings to Europe. Such figurations of work across time and space form the focus of the conference: Which materials and what kinds of immaterial labour were necessary to acquire or produce a given object, in order to transport it, examine it, exhibit it, or valuate it? What existing knowledge, and which social, political, and legal conditions characterized this work? What types of materials, tools, or techniques were used?

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