Category Archives: Call for Papers

CFP: Understanding British Portraits Annual Seminar

This year’s Understanding British Portraits Annual Seminar will take place on Wednesday 26 November 2014 at the National Portrait Gallery, London. Dr Ellen McAdam, Director of Birmingham Museums Trust has been confirmed as the co-chair of the event.

This Annual Seminar aims to highlight current scholarly research, museum-based learning programmes, conservation discoveries and curatorial practice relating to British portraits of all media and time periods. They are inviting proposals for 20-25 minute papers from professionals who would like to share case studies and ideas which relate to the aims of the seminar.

Hilliard, N. George Clifford, 3rd Earl of Cumberland, (c.1590). National Maritime Museum, Greenwich.
Hilliard, N. George Clifford, 3rd Earl of Cumberland, (c.1590). National Maritime Museum, Greenwich.

Understanding British Portraits is an active network with free membership for professionals working with British portraits including curators, museum learning professionals, researchers, academics and conservators. They aim to enhance the knowledge and understanding of portraits in all media in British collections, for the benefit of future research, exhibitions, interpretation, display and learning programmes.

Please send an outline of approximately 200 words, along with a brief biographical note, to mail@britishportraits.org.uk before Friday 13 June.

For more information, please visit http://www.britishportraits.org.uk/events/annual-seminar-2014/

CFP: Fashion, Function and Ornament – Accessorising the Long Eighteenth Century

A one-day symposium at the York Hilton Hotel and Fairfax House, Friday 19 September 2014

In fashion the term ‘accessory’ covers a wide range of items such as gloves, sashes, reticules, spectacles, watches, parasols, and potentially many other articles. Accessories can be seen as marginal to the nature of fashion, but historically they have played a key role in shaping the character of men’s and women’s fashions, combining ornament and function and giving scope for the expression of individual and collective identities. The era from the late Stuart to the early Victorian period saw the accessory achieve new prominence as a fashion statement, an expression of wealth, status and taste, and a desirable object of consumption, possession and display.

This symposium aims to bring together interested parties from curatorial, conservation, academic and other backgrounds with an interest in fashion, textiles, clothing and related topics to explore the nature and significance of accessories in the history of fashion from c.1660 to c.1840. Relevant topics to be addressed in contributions to the symposium may include (but would certainly not be limited to) the gender, class and identity dimensions of the accessory, collecting and collections cultures of consumerism and consumption, style, fashion and ornament, exoticism and the antique in accessory design and ornament, and the accessory in the visual and literary culture of the ‘long eighteenth century’.
Proposals are invited for symposium contributions not exceeding 20 minutes in length. Please send outlines of c.200 words to: fairfaxhousesymposium@gmail.com by Monday 28 July 2014. Please direct any queries about the symposium to the same email address.

Session Proposals: AAH Annual Conference 2015

Did you attend the Association of Art Historians’ annual conference last week? Were you inspired by the new research presented?

The AAH are calling for session proposals for AAH 2015 (Thurs 9 April – Saturday 11 April) at the Sainsbury Centre of Visual Arts, University of East Anglia, Norwich. This conference will highlight the breadth, diversity and vitality of art-historical research today.

AAH particularly welcome proposals for sessions which are:
• focused on a specific period and/or culture, and concerned with interrogating an issue or theme which is significant to current or emergent scholarship in that field, or
• concerned to explore an artistic or art-historical issue or theme across several or all periods and/or cultures, in an inclusive manner.
• characterized by cross-disciplinarity or which engage with the possibilities and/or limits of cross-disciplinarity for art history, or
• explicitly engaged with theoretical, historiographical, methodological and political issues (especially in their relevance to the study of art across periods and/or cultures).
• intended to be intellectually exploratory, provisional, open-ended or noncompliant.

To download a session proposal form, visit http://aah.org.uk/annual-conference/2015-conference

We particularly welcome proposals for sessions which are:
• focused on a specific period and/or culture, and concerned with interrogating an issue or theme which is significant to current or emergent scholarship in that field, or
• concerned to explore an artistic or art-historical issue or theme across several or all periods and/or cultures, in an inclusive manner
• characterized by cross-disciplinarity or which engage with the possibilities and/or limits of cross-disciplinarity for art history, or
• explicitly engaged with theoretical, historiographical, methodological and political issues (especially in their relevance to the study of art across periods and/or cultures)
• intended to be intellectually exploratory, provisional, open-ended or noncompliant – See more at: http://aah.org.uk/annual-conference/2015-conference#sthash.ZcikTAet.dpuf
will highlight the breadth, diversity and vitality of art-historical scholarship today. – See more at: http://aah.org.uk/annual-conference/2015-conference#sthash.ZcikTAet.dpuf
will highlight the breadth, diversity and vitality of art-historical scholarship today. – See more at: http://aah.org.uk/annual-conference/2015-conference#sthash.ZcikTAet.dpuf

CfP: Materials, Movements, Encounters: Modernist art networks and St Ives

Barbara Hepworth Stringed Figure (Curlew), Version II 1956, edition 1959
Barbara Hepworth Stringed Figure (Curlew), Version II 1956, edition 1959

Tate Research seminar
Saturday 21 June 2014
Porthmeor Studios, St Ives, Cornwall

Deadline for abstracts: Tuesday 22 April 2014

Keynote speakers
Dr Sarah Victoria Turner, The Paul Mellon Centre for Studies in British Art
Dr Natalie Adamson, University of St Andrews

Materials, Movements, Encounters: Modernist art networks and St Ives is a one-day Tate Research seminar designed to explore the importance of artist networks to modernist production. The seminar aims to discuss how artist networks functioned, the ways in which they proliferated, and their impact upon our understanding of art as connected to place. Central to this discussion are movements by which people, materials, forms and ideas were distributed, traded and shared. In On the Move: Mobility in the Modern Western World, Tim Cresswell has suggested that mobility be considered ‘as progress, as freedom, as opportunity, and as modernity’, ‘as shiftlessness, as deviance, and as resistance’, and as ‘a kind of blank space that stands as an alternative to place, boundedness, foundation, and stability’.

Key to modernist artistic practice was the confluence and reciprocity of artist networks, whether through correspondence and travel, publication and exhibition, or through the exchange of materials and techniques. However, particularly within British art history, there has been a tendency to view artists’ outputs as rooted to a particular place. This has been especially true for modernist artists who lived and worked in St Ives, Cornwall, including Naum Gabo, Barbara Hepworth, Patrick Heron, Roger Hilton, Peter Lanyon and Ben Nicholson. With the opening of Tate St Ives in 1993, for instance, it was claimed that the new gallery would allow visitors to see works of the St Ives modernists ‘in the area in which they were conceived and close to the landscape and sea which influenced them’.

But can modernist trajectories be found that resist the rootedness of place? What kinds of artistic encounters were possible for those artists located in far-flung places? If the distribution of materials, ideas and people was regulated, more closely guarded, or even barred, what were the implications for artistic practice? What are the means with which we might trace artistic flows of ommunication and contact? And how might the display and study of artworks today communicate both the role of networks and artists’ complex relationships with place?

We welcome submissions from current or recently completed PhD candidates across the
humanities and social sciences. Subjects are not restricted to discussions of art in St Ives, but should either relate to an artist associated with the area for a time or provide helpful context to the theoretical or historical underpinnings of the seminar. Possible topics might include, but are not limited to:

- The role of artists’ colonies in Britain or abroad
- The experiences and effects of travel, migration or exile, such as with wartime and
postwar relocation to St Ives
- The role of published texts, including books, periodicals, exhibition catalogues and
collaborative projects, for dispersing ideas and stimulating debate
- Artists’ participation in – or experiences of – key exhibitions or displays in London, Paris,
North America or further afield, and international fora such as the Venice Biennale
- The role of commercial galleries for importing and exporting works, and stimulating
material, ideological and professional networks of exchange
- Artists’ relationships with their contemporaries, including other artists, authors, critics,
dealers, historians, patrons, scientists and friends
- The construction of regional, national and international artistic identities
- The effect of technological developments on travel and communication
- The role of professional and personal correspondence, or the values and challenges of
working with archives
- Re-presenting modernist narratives and networks in texts, diagrams or displays

The seminar will include curator-led tours of the Tate St Ives exhibition International Exchanges: Modern Art and St Ives 1915–1965 and a field trip for invited guests and seminar speakers on Sunday 22 June. A contribution towards the costs of travel and accommodation will be provided.

Please email abstracts of up to 250 words for 15-minute papers and a short biography to the convenors, Helena Bonett and Rachel Smith, at helena.bonett@tate.org.uk and
rachel.smith@tate.org.uk by Tuesday 22 April 2014.

The seminar is supported by the Heritage Lottery Fund

CFP: Invention and Imagination in British Art and Architecture, 600-1500

This conference will explore the ways in which artists and patrons in Britain devised and introduced new or distinctive imagery, styles and techniques, as well as novel approaches to bringing different media together. It is concerned with the mechanisms of innovation, with inventive and imaginative processes, and with the relations between conventions and individual expression. The conversation will therefore also address the very notions of sameness and difference in medieval art and architecture, and how these may be evaluated and explained historically.

Topics for discussion can include authorship, creativity, experimentation, envisaging, representation, and regulation by guilds or patrons, as well as case studies of particular objects, buildings, commissions or practices.

The conference will take place on 30th October to 1st November at the Paul Mellon Centre and The British Museum; it will include collaborations with the museum’s Department of Prehistory & Europe and opportunities to see works from the collection.

Papers should be of 20 minutes’ duration. Proposals/abstracts of 500 words should be submitted to Ella Fleming by 25 March 2014: efleming@paul-mellon-centre.ac.uk


Conference organised by the Paul Mellon Centre, with Sandy Heslop (University of East Anglia), Jessica Berenbeim (University of Oxford), Lloyd DeBeer and Naomi Speakman (The British Museum).

Call for Papers: BOOM! Growth, Form and Sustainable Bodies 1946-67

Call for papers: BOOM! Growth, Form and Sustainable Bodies 1946-67

4-5 April 2014

History of Art Department, University College London (UCL)

This conference is organised to coincide with the Richard Hamilton retrospective at the Tate Modern in February 2014, which will include the reconstruction of Growth and Form (ICA, 1951). Growth and Form negotiated a problematic that in the two decades after the end of WWII preoccupied different strands of artistic and architectural research across Europe. Namely, the effects of booming expansion – economic, demographic, urban, technological, material, visual – on the embodied subject within the context of a spreading capitalist pan-humanism championed abroad by the US. Some of the key historical coordinates that this conferences sets out to engage with in relation to cultural production include: Edward Steichen’s The Family of Man (1955), the baby boom, the discovery of the structure of DNA in 1954, the first tests of the H-bomb, postwar developments in cybernetics and artificial intelligence.

We encourage submissions for 30 minutes papers in the following areas of research: growth, reproducibility and sustainability as artistic strategies; urban growth, future habitats and exhibitions as habitats; technology, ecology and new sciences in art and exhibition making; humanism, ecology and sustainability; reproduction and feminist practices. We invite papers that address how artworks, films, images and exhibitions in the 1950s and early 60s mediated this experience within the boundaries of US-rescued Europe and explore the extent to which the local, national and global became increasingly interdependent for artists caught between the end of WWII and the early Cold War phase.

DEADLINE for submission: 31 January 2014

Abstracts should be no longer than 300 words. Please include your name, email address and institutional affiliation (where possible) at the end of the document.

Send to: BoomUCL@gmail.com

Call for Papers: The Courtauld 19th Annual Medieval Postgraduate Colloquium

The World Map from the 'Map Psalter', British Library. Image c. British Library Collections.
The World Map from the ‘Map Psalter’, British Library. Image c. British Library Collections.

Colloquium on 1st February 2014, The Courtauld Institute of Art; CFP Deadline: 22nd November 2013.

This colloquium aims to question the assumption that medieval art was governed by categories and boundaries by highlighting the fluidity and flexibility that existed within art and architecture at the time. The colloquium will explore the issue of the creation and articulation of boundaries, and how art ventured to transgress visual, architectural, and cultural divisions. This can include conventions and their adaptations both within one specific medieval culture, such as Islamic or Byzantine, or in a wider, trans-regional context. Participants are invited to interpret boundaries in the wider sense of the word, encompassing geographical locations, artistic media, architectural spaces, or cultural traditions, and to examine their visual and spatial subversion. This theme can be expanded to include questions of in-betweenness and hybridity, where boundaries are kept intact or become blurred without being fully discarded.

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Call for Papers: Art in the Age of Real Abstraction

Paul Klee, Fire in the Evening, 1929. Image c. Wikipedia Commons.
Paul Klee, Fire in the Evening, 1929. Image c. Wikipedia Commons.

Conference: April 12th, 2014, UCL; CFP Deadline: December 15th, 2013.

Historic iterations of abstraction in the visual arts have traditionally been associated with terms such as the non-representational, the non-figurative, and the immaterial, in opposition to a loosely defined concept of realism. In the post-war period, however, both realism and abstraction became unstable concepts, deployed to refer to a range of diverse practices, from Nouveau Réalisme to Art Informel to Abstract Expressionism. This conference invites papers that rethink the relation between realism and abstraction in the period between 1970 and the contemporary moment. Of particular concern are the impacts of two intersecting events: the advent of Neoliberalism and the dismantling of Modernism in art history.

‘Art in the Age of Real Abstraction’ seeks to investigate contemporary forms of abstraction through the analysis of different modes of representation, affectivity and performativity, drawing lines of continuity and addressing points of ambiguity between post-war abstraction and contemporary iterations. In recent critical discourse reification has been described as both a process of abstraction and as a figural process. On this view ‘Real Abstraction’ might be understood as the becoming-concrete of the abstract. As such ‘Real Abstraction’ calls for a rethinking of what the terms realism, figuration and abstraction might mean today.

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Call for Papers: Reshaping Sacred Space – Liturgy, Patronage and Design in Church Interiors

Statue of Richard Hooker (1554–1600), Photograph c. Wikipedia Commons.
Statue of Richard Hooker (1554–1600), Photograph c. Wikipedia Commons.

Conference at the School of Art History, University of St Andrews, June 14, 2014; CFP Deadline: Dec 31, 2013

Plenary Speaker: Dr Martin Gaier, University of Basel, Switzerland.

The conference seeks to present original ideas relating to the design and construction of churches in Catholic Europe between ca. 1500 and 1750. New religious demands, arising out of the Counter-Reformation, led to innovations in both the form and function of the interior space of churches. This conference will provide a forum for presentations on these changes, and for discussion among scholars engaged in similar research.

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Call for Papers: The Ludic Museum

Image c. Wikipedia Commons.
Image c. Wikipedia Commons.

Liverpool, Tate Liverpool, January 31 – February 1, 2014; CFP Deadline: Nov 29, 2013

Confirmed keynote speakers: Lars Bang Larsen, Pascal Gielen, Ane Hjort Guttu

Coinciding with the exhibition of the Palle Nielsen Archive at Tate Liverpool, this international two-day conference seeks to investigate the role of ‘play’, ‘fun’ and ‘games’ in the museological context. In 1968, Danish artist and activist Palle Nielsen conceived ‘The Model: A Model for a Qualitative Society’ at the Moderna Museet in Stockholm, which saw the entire museum transformed into a playground for children, complete with sound system, climbing structures, bouncy areas and spaces devoted to activities such as painting and costume-making. Although the children were unsupervised in ‘The Model’, they could be observed from outside via short-circuit television.

The Ludic Museum aims to shift contemporary museological discourse about play away from outreach and family-oriented education and closer to more fundamental questions of freedom, creativity, indeterminacy and participation. ‘The Model’ allowed children to appropriate the museum and, to a large extent, set their own rules of engagement with each other, their guardians and the institution. Precisely because it would be difficult to replicate in any major museum today, ‘The Model’ prompts us to take seriously the challenges that play poses to the physical and theoretical premises of the contemporary museum.

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