Category Archives: Call for Papers

CFP: Difficult Women in the Long Eighteenth Century: 1680-1830

Saturday 28th November, 2015

University of York, Berrick Saul Building

The long eighteenth century witnessed an age of social and political revolution which profoundly affected the way in which women occupied and contributed to the public sphere. This interdisciplinary conference looks at representations and conceptions of ‘difficult women’ from the years 1680-1830. The term ‘difficult women’ encapsulates many different female experiences and lifestyles. From religiously non-conformist women to women bearing arms, a plethora of ‘difficult women’ find representation within the British Empire.

This conference welcomes abstracts and/or proposals for panels on any topic relating to ‘Difficult Women’ throughout the long eighteenth century.

Topics can include, but are not limited to:

Dissenting Women – Preaching and Teaching Women, Women writing theological texts, Methodist, Quaker, or Moravian Women.

The Politically Engaged – Women involved in revolution (Glorious, American, French), female campaigners, authors of political pamphlets, female protestors, women assisting politicians

Sexually Non-Conformist women – Lesbianism, Cross-dressers, spinsters, prostitutes, promiscuous women.

Women of the Pen  – Female philosophers, Published Authors, Bluestockings and similar intellectual circles.

Armed, Dangerous, and Criminal  – Murderesses, Warriors, Thieves, Female Prisoners, Representations of Armed Women

Women in Art – Representations of women in satirical prints, portraiture, depictions of the female body, female artists

Theatrical Women – Travesty roles, Gender-bending Roles, Breeches Parts and Various Forms of Theatrical Dress, Women Working in Theatre.

Sporting Women – Female Cricketers, Hunters, Horse Riders, Boxers

Women of the Larger British Empire – Black women, women of ethnic minorities, women of conquered territories as a form of ‘other’

Women and Medicine – Hysteria, Melancholia and Femininity, Depictions of Childbirth, Love’s Madness, the female body, female medical practitioners, midwives


Please send abstracts/panel proposals of no more than 500 words to by July 1st 2015.
Panel proposal submissions should include the full name,
affiliation, and email addresses of all participants.


CFP: Image Matter: Art and Materiality

AAH Students New Voices Conference

MIRIAD, Manchester Metropolitan University

6 November 2015

Keynote: Professor Carol Mavor (University of Manchester)

William Etty, The Sirens and Ulysses, 1837. Oil on canvas, 297 x 442.5 cm. Image detail prior to conservation in 2010. Copyright Manchester City Galleries.


Call for Papers

How do art historians interpret matter? And how about artists, makers, theorists and critics? Much recent art historical and visual culture literature has argued for the reinstatement of the bodily and the material in art and its encounter, rejecting the pre-eminence of a disembodied eye in favour of a wider range of somatic responses: touching, hearing, tasting, smelling. Similarly, the material physicality of the art object in its myriad forms—surface, texture, weight, spatial extension, sound etc—has recaptured our attention.

New Voices 2015 will explore approaches to materiality and the material in light of developing discourses that implicate art history, as well as visual and material culture studies. Even if there has been a ‘material turn’, James Elkins (2008) argues that art history remains fearful of the material: ‘art history, visual studies, Bildwissenschaft, and art theory take an interest in materiality provided that the examples of materiality remain at an abstract or general level …’. If the sensorium of seeing, tasting, feeling and hearing exceeds the rationality of disciplinary categories and the systematisation of knowledge, how can writing about and through art accommodate affective objects? How have artists negotiated the conflict of a spectatorship, which disregards hapticity, surface and substance? How do traditions of connoisseurship engage with contemporary theories of materiality?

As a ‘somaesthetic’ approach of beholding (re)gains currency the primacy of sight decreases (for example, in the reevaluation of medieval artefacts that were touched, kissed and smelled). Alternatively, vision may at least be understood as opening haptic and experiential exchanges between object and maker, object and viewer. But perhaps the questionable pre-eminence of visuality also evidences an increased derogation of manual labour in lieu of what is perceived as more cerebral, more elevated from the yucky material of bodily production. New Voices 2015 takes place within the intellectual and creative space of the art school, the messy realm of art production. It therefore asks how (the) material and its associated places of production and ‘consumption’—from the studio to the gallery—can be integrated in the discourses of art history and its objects.

New Voices welcomes contributions from all periods and contexts which address the relationship between visual and material studies and practices. Topics may include, but are not limited to:

  • Haptic encounters with artworks (incl. performative, virtual, conceptual works)
  • Historiographic reflections on attitudes towards material(ity)
  • Explorations on the relationships between visuality and materiality
  • Historiographic and methodological approaches to the material of art (and its making)
  • Social, technological, historical and cultural contextualisations of the material turn
  • Art and materiality in a digital age

Abstracts of no more than 300 words for 20-minute papers should be submitted along with a 100-word biographical note to by 1 August 2015. Although the conference is open to all, speakers are required to be AAH members.

Convenors: Liz Mitchell, Rosalinda Quintieri, Tilo Reifenstein and Charlotte Stokes.

SCHOOL 29:8:07


CFP: ‘Visual Print Culture in Europe: techniques, genres, imagery and markets in a comparative perspective 1500-1850.’

5-6 December 2015

University of Warwick Palazzo and Conference Centre, Venice

CFP deadline: 1 June 2015

Visual Print Culture in Europe 1500-1850 aims to draw together scholars with a range of disciplinary skills to discuss the methods, representational forms, and distribution of and audience for visual print media in Europe between 1500 and 1850.  Its seeks to de-nationalize the study of visual print culture, and to explore the extent to which interactions between engravers and printers, artists and consumers in Europe, and a range of common representational practices produced a genuinely European visual print culture – with local modulations, but nonetheless with a common core.

Papers can draw on a range of disciplinary backgrounds in exploring the exchange of techniques and processes, the analysis of imagery, and the identification of markets, and in analysing the conditions under which particular generic forms crossed or failed to cross national boundaries.  Although the emphasis is on European visual print culture, the impact of that culture on, and its interaction with, the wider world is also of interest.


The Conference organisers, acting under the European History Research Centre are: Mark Philp (History, EHRC Director, Warwick at, Kate Astbury (French Studies, Warwick), Mark Knights (History, Warwick) and David Taylor (English, Warwick).

Proposals for papers should be submitted to June 1st 2015 but please feel free to contact Mark Philp in advance with any queries.

For more information see

Call for papers: Material Histories: Networks of Women and Art in Cornwall

Linder, Child of the Mantic Stain, 2015. Acrylic on magazine page. © the artist
Linder, Child of the Mantic Stain, 2015. Acrylic on magazine page. © the artist

Call for Papers: Material Histories: Networks of Women and Art in Cornwall

Seminar for Tate Research Centre: Creative Communities, Borlase Smart Room, Porthmeor Studios, St Ives, Cornwall, Saturday 20 June 2015

Deadline for abstracts: Monday 27 April 2015

On 13 March 1950, the composer Priaulx Rainier wrote to her close friend Barbara Hepworth: ‘There are moments in life when meetings can be turning points. One may perhaps have little intercourse later but the time has been taken, the significant germination continues an inevitable process of development.’ This one-day Tate Research seminar Material Histories: Networks of Women and Art in Cornwall seeks to explore how connections between women, such as Rainier and Hepworth, have shaped artistic legacies in Cornwall over the twentieth and twenty-first centuries. These connections are often characterised by creativity, friendship, patronage, community, travel, dialogue, care and support, and have had significant impacts upon how art is made, understood and displayed. Today, these connections continue to be felt in the places and institutions – both in Cornwall and elsewhere – through which art is created, experienced and researched.

Many of these histories, however, have remained peripheral to narratives and displays. As Shari Benstock has written of the marginalisation of women from the canon of literary modernism in her seminal study of women’s networks in Paris, Women of the Left Bank: Paris, 1900–1940 (1986): ‘In rediscovering the lives and works of these women, however, I also confronted the ways in which our working definitions of Modernism – its aesthetics, politics, critical principles, and poetic practices – and the prevailing interpretations of the Modernist experience had excluded women from its concerns.’ What Benstock’s study achieves is a remapping of modernist Paris as seen through the networks of women writers and artists of the period. This seminar likewise aims to take a forward-looking approach by considering whether connections or communities between women can form an alternative reimagining of the networks surrounding art in Cornwall.

Additionally, the seminar seeks to explore the continued impact of these networks today for contemporary artists, institutions and others working in heritage or research. The seminar keynote speakers, Linder Sterling and Professor Dawn Ades, will discuss their shared interest in the surrealist artist Ithell Colquhoun, whose writings and ‘mantic stain’ paintings have stimulated Linder in the creation of new works, including her experimentation with acrylic pigment on found magazine images and the development of a new ballet commission. The seminar will also include an alternative tour of St Ives by Jeanie Sinclair (Falmouth University / Tate St Ives).

We invite current or recently completed PhD candidates across the humanities and social sciences to propose abstracts for 15-minute papers. Proposals that highlight women’s relationships or provide engaging comparisons are particularly welcome.

Papers might investigate the relationships, connections and practices of women artists, networkers and gallerists, including (but not restricted to): artists Eileen Agar, Wilhelmina Barns-Graham, Sandra Blow, Romaine Brooks, Ithell Colquhoun, Gluck, Barbara Hepworth, Rose Hilton, Frances Hodgkins, Laura Knight, Jeanne Du Maurier, Margaret Mellis, Marlow Moss, Winifred Nicholson, Dod Procter and Marianne Stokes, and others who combined careers and family life such as Elizabeth Forbes, Mary Scott and Monica Wynter; architects Jane Drew and Sadie Martin; composers including Priaulx Rainier; ceramicists Janet Leach and Katherine Pleydell-Bouverie; writers Daphne Du Maurier, Cindy Nemser, E.H. Ramsden and Virginia Woolf ; gallerists Elena Gaputyte, Kay Gimpel, Nicolete Gray, Martha Jackson and Kathleen Watkins; and patrons including Margaret Gardiner.

Subjects are not restricted to discussions of art in St Ives, but should either relate to an artist who was associated with Cornwall for a time or provide context to the theoretical or historical underpinnings of the seminar. Possible topics include:

  • Relationships between women and the creation of networks of exchange

  • The role of conversation, dialogue and co-production and material appropriation and quotation

  • The spaces of production, contact and display, including studio, home, art school and gallery

  • The role of financial support, patronage, custodianship and gatekeeping, as well as friendship, hospitality, families and care

  • The changing ideas of family and how this was negotiated or represented in women’s work

  • The gendering of style, dress and presentation in photography, press and film, and in the language used by artists and critics

  • The gendering of ‘St Ives’ and the production of space

  • The role of women in the production of local, national and international artistic histories and legacies

  • Connections between women across time and place facilitated through materials, objects and technologies

  • Institutional responsibilities and legacies, and the role of archives and oral histories as repositories of alternative histories

  • The intersection of theoretical debates on gender, networks, mobility and modernity

  • Interdisciplinary approaches to women artists, moving across fine art, ceramics, literature, music, film and dance, including reflective comparisons

  • The role of formalist art histories for examining relationships between women artists across media and place

  • Signs of gender and the production of gendered and queer icons for the twentieth and twenty-first centuries

  • The generation of new legacies through contemporary artists’ work and the founding of new museums such as The Hepworth Wakefield

  • The impact of artist residency programmes in Cornwall on creating new networks and legacies for women artists today

  • The presence of women artists in museum collections, display and exhibitions, which might include recent or current exhibitions of Barbara Hepworth (Tate Britain) or Emily Carr (Dulwich Picture Gallery).

Please email abstracts of up to 250 words and a short biography to the convenors, Helena Bonett and Rachel Smith, at and by Monday 27 April 2015. We are open to proposals for presentations that use alternative methods or technologies. Seminar speakers will be invited to a midsummer supper on Saturday 20 June and a field trip on Sunday 21 June. A contribution towards the costs of travel and accommodation will be provided. The seminar will also include a poster session; please get in touch if you would like to present in this format.

Supported by the Heritage Lottery Fund and The Barns-Graham Charitable Trust


Images left to right: Victorian Photograph of a Family with Deceased Infants (c. 1850), The Discovery of the Sutton Hoo Burial Ship (1938), J.M.W Turner The Slave Ship (1840).
Images left to right: Victorian Photograph of a Family with Deceased Infants (c. 1850), The Discovery of the Sutton Hoo Burial Ship (1938), J.M.W Turner The Slave Ship (1840).

Mourning and Morbidity: Death and British Art

Tuesday 10th March 2015

University of York

A one-day workshop investigating the relationship of Death and British art, to be held in the Treehouse of the Berrick Saul Humanities Research Centre at the University of York, on Tuesday 10th March 

Art in Britain has always been concerned with mourning and morbidity, and with death as a social, cultural and ritualistic process. This event will consider the extent to which death and its visual cultures have impacted the production and reception of art in Britain and beyond.

In light of recent work on the sculptural quality of the funerary monument, we ask how art in Britain might be seen in relation to longer histories of death and mourning. How has the complex religious landscape of the British Isles and its former colonies differently figured the cultural experience of death? Can the representation of death and the dead body be understood as integral or as an adjunct to personal or national self-definition? Can a nation mourn?

In collaboration with the University of York’s Death Studies Network, the British Art Research School will host an informal workshop which aims to facilitate cross-disciplinary collaboration and new thought on the topic of death and British Art.  We invite short position papers or provocations (no longer than 15 minutes) that consider the visual and material manifestations of death in British culture, by researchers of all levels whose interests are connected with British Art.

Subjects may include (but are not limited to) the following:

  • The depiction of death and chronic illness in works of sculpture, painting, print, photography and film.
  • Official, personal and dissident memorials to the dead and their relationships to national identity.
  • Spaces or sites of death within both the British landscape and elsewhere, including death as an imagined space.
  • Relics and the reification or appropriation of the dead by the living.
  • The dead or dying artist.
  • Material culture connected with funerary rituals and remembrance of the dead. The processes of mourning melancholia and haunting. .
  • Disputes over the cultural representation of death in light of global, international, post-colonial and multicultural histories.
  • The imagery of death in British popular cultures and youth cultures.

Participants are invited to send titles of their presentations to 

The deadline for submissions is January 20th, 2015.

Mourning and Morbidity CFP

Disseminating Dress: Britain and the Fashion World

Disseminating Dress: Britain and the Fashion World

28th-30th May 2015, University of York

Image Credit: Sarah Gooll Putnam’s Diary, Massachusetts Historical Society

Disseminating Dress is a three-day international and interdisciplinary conference that explores how ideas and knowledge about how dress have been shared, sought and communicated throughout history.

In bringing together academics, curators and industry professionals, this conference is an invitation for interdisciplinary discussion concerning methods of communicating concepts of what someone should, could, or would wear. Dress has been demonstrated to be central to the creation, expression, and subversion of cultural and national identity. However, what remains relatively unexplored is how these ideas were conveyed and perceived. If fashion is the result of a mixture of innovation and emulation, then we need to ask how these new ideas came to be circulated around and between societies.

From the London of the Blitz to Renaissance Italy, men and women have both sought out and been instructed in what to wear, forming personal, social and cultural aesthetics, while driving trade and mercantile success. This conference welcomes a broad interpretation of how dress has been disseminated throughout history, and will be an open forum for work undertaken from a variety of disciplinary and professional viewpoints.

Disseminating Dress invites proposals for 20-minute papers that explore the manifold media, methods, perceptions and motivations driving fashion dissemination across history.

Paper topics might include, but are certainly not limited to, the following methods and media for transferring fashion ideas and information:

  • Correspondence and social networks.
  • Global networks for trade and cultural exchange.
  • The written word – including novels, journals, and fashion magazines.
  • Costume books, home sewing patterns, and other instructional sources.
  • Visual and material culture, including both fine art and popular culture.
  • Advertising, the role of fashion designers, and branding.
  • Famous persons, from court culture to modern celebrities.
  • Film, television, the Internet, and modern social media including MMS-ography.
  • The history of taste, and the influence of outside cultural forces such as developments within architecture and the decorative arts on fashion.

Abstracts of 250 words in length, with an accompanying  100-word biography should be sent to no later than 15th January 2015.

Please see for more details.

CFP: ‘Artists’ Moving Image Practice in Britain: From 1990 to Today.’

The Paul Mellon Centre in association with Whitechapel Gallery and Film London Artists’ Moving Image Network

5-7 November 2015

Artists’ moving image practice is activated by the context of the gallery, by temporary architectural environments, the cinema and the internet, and by social and political performance. Over the last few decades, this kind of artistic practice – which has its roots in film, performance and installation art – has become a phenomenon in its own right and begun developing a deep and rich history.

British artists and institutions have played a pioneering role in this history. From the roots of the filmmaking co-ops of the 1970s to recent exercises in digital manipulation, UK-based artists have been at the forefront of artistic experimentation, distribution, and exhibition within the field of moving image practice This has particularly been the case since the 1990s, when a mixture of artist support agencies and galleries such as LUX, Film and Video Umbrella, FACT, Film London Artists’ Moving Image Network and Channel 4 began re-aligning funding interests and developing a particular remit for supporting moving image practice by artists.

Yet, despite being showcased and discussed by arts institutions, academics and cultural organizations, this dynamic strand of artistic practice in Britain has not been fully explored or historicized. Artists’ Moving Image Practice in Britain: from 1990 to today aims to begin redressing this shortfall. It will bring together artists, curators, film-historians, art-historians and critics in order to discuss the recent history of this dynamic and ambitious strand of visual culture within a British context.

The purpose of this major conference is to:

  • Map the recent history and practice of artists’ moving image practice in Britain from 1990 to the present day.
  • Broaden the discussion on artists’ moving image practice in Britain and help develop new scholarly research in the field.
  • Present exciting close readings of particular works and artists.
  • Provide an interdisciplinary think-tank for dialogue on this topic
  • Stimulate a discussion about the most productive methodological approaches to artists’ moving image work.

Alongside a full programme of papers, the conference will feature keynote lectures from world-leading specialists in the field, panel discussions and screenings.

The call for papers is an opportunity for artists, curators and academics to submit proposals for papers to be presented at this conference. The proposals will be jointly selected by Paul Mellon Centre and the Whitechapel Gallery in association with Film London Artists’ Moving Image Network.

We hope that one outcome of this conference will be a major publication on this topic.

Original contributions are invited on the following key research questions (but not limited to):

  • What have been the dominant visual, ideological and narrative characteristics of this kind of artistic practice?
  • How has artists’ moving image practice in Britain been written about?
  • What kinds of writing has it stimulated?
  • What methodologies have been employed to talk and write about artists’ moving image work?
  • How do we understand artists’ moving image work within a British context?
  • How does artists’ moving image practice relate to other kinds of artistic activity in contemporary visual culture?
  • How does artists’ moving image practice engage with earlier artistic traditions and activities?
  • How has the notion of medium shifted since the rise of digital technology?
  • Does it still make sense to think in formal, media-related categories or have we moved beyond the medium as a recognizable entity?
  • How have political, pedagogical, and collective forms of artistic practice affected recent work in this field?
  • How is moving image work defined by local context and what tensions exist when the local is represented globally?
  • What have previous discussions overlooked or ignored?

We are also interested in papers that address a specific work, or the work of specific artists. These papers might address formal and aesthetic concerns; representational conventions and strategies; the biography of a work; or strategies of interpretation.

Please submit abstracts of up to 300 words, together with a 100-word biography, by 15th December 2014 to the following email (CALL for Papers in the subject):
Any general queries should also be directed to this address.

Presentations in the conference will last 20 to 30 minutes. Successful proposals will be announced by the end of January 2015.