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Art History CFPs for RSA 2018 New Orleans
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This blog is for CFPs for sessions in art history for RSA 2018 New Orleans. Members may post CFPs here: sign in to RSA and select "add new post" to do so. Your post should include a title, and the CFP itself should be no longer than 250 words. Adding tags (key words) to your post will help others find your CFP. Make sure the CFP includes the organizer's name, email address or mail-to link for email address, and a deadline for proposals. Non-members may email rsa@rsa.org to post a CFP. Please use the email address of the session organizer posted in the CFP to submit a paper proposal. CFPs are posted in order of receipt, with the newest postings appearing at the top of the blog. Members may subscribe to the blog to be notified when new CFPs are posted: click on the word Subscribe next to the green checkmark above.

 

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Top tags: Art history  early modern  Art  Renaissance  Italy  materiality  Historiography  sculpture  architecture  body  devotion  Early Modernity  image and text  New Approaches  painting  Netherlandish  patronage  Artistic practice  Baroque  senses  sensory experience  technologies  Visual Culture  Americas  antiquarianism  artistic process  Book History  fashion  Geography  History of Science 

Sculpture in Print 1480-1600

Posted By Mandy Richter, Tuesday, May 2, 2017

Throughout the 16th century, the translation of sculptures, especially contemporary ones, into prints was quite uncommon – compared to the vast reproduction of paintings or drawn inventions in engravings or woodcuts.

Sculpture posed more difficulties to the printmaker. First of all, he had to render a three-dimensional object into two dimensions. Moreover the artist had to decide whether to complement his model: be it the fragmentary state of an ancient statue or the placing of a modern sculpture into a landscape or other setting. In many cases, printmakers even designed a whole narrative to round off their work. In addition to that, they had to choose the proper or best possible viewpoint. All these decisions were based on the strategies of the sculptor or printmaker regarding the publication of the print and its intended audience.

 

An essential aim of this session is to assess these and other related questions by analyzing prints produced between 1480-1600 in Europe and beyond. The session will continue a fruitful discussion started at the RSA conference 2016 in Boston, which included sculpture-related terminology in print inscriptions, the transformation of ancient sculpture in the early 16th century in Italy, and contemporary sculpture and its reception and interpretation via prints.

 

If interested, please send an abstract (150-word maximum) with paper title, keywords, and a brief curriculum vitae (300-word maximum) by May 21 to Anne Bloemacher (annebloemacher@uni-muenster.de) and Mandy Richter (richter@khi.fi.it). Submissions must be in English.

 

Tags:  art history  imitatio artis  print culture  reception of antiquity  reception of contemporary sculpture  reproductive prints  sculpture 

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CFP: Worlding Early Modern France

Posted By Robert Wellington, Tuesday, May 2, 2017

Session title: Worlding Early Modern France

Session keywords: Material culture, the global turn, ancien-régime France, court culture, cross-cultural encounters, transcultural aesthetics.

Discipline: History/Art History

Chair: Dr Robert Wellington (Australian National University)

Panel abstract:

The early modern age (1500-1700) was, perhaps, the first truly global period in human history. As many recent studies have shown, migration and global movement are not just modern phenomena. Indeed, scholars of early modern history, art and visual culture have cogently argued that studies of the historical movement of people, objects, and cultural ideas are vital to understanding and reconciling the myriad cultural perspectives of our own societies. The resistance to ‘globalisation’ in the academy—with its implicit cultural homogeneity—raises the question of how people, objects, images and ideas operate in communities that aspire to celebrate and maintain cultural diversity. Surveys that promise a ‘global’ or ‘world’ history run the risk of subsuming all cultures to a single simplistic narrative that fails to engage with the complex and varied epistemologies that are evident in different cultures. This has led scholars to call for a ‘worlding’ of history, to support pluralities of local, national and international discourse, to accommodate a variety of worldviews.

This session responds to this call, inviting proposals for papers that reveal complex networks of cultural exchange between France, her colonies, and other cultures in the early modern world. Papers that address this theme with a focus on the following issues are especially welcome: Embassies, emissaries and ambassadorial gifts to and from the French Court; the movement of people and things across international borders; the individual agents and bureaucratic mechanisms of that process; local and international trade networks; the complex ‘lives’ of objects as they move into new cultural contexts; centres and peripheries of power in the francophone world; and the cultural agency of slaves and occupied people in French colonies.

Proposals, to be submitted by email to robert.wellington@anu.edu.au by Friday, May 27, must include the following:

·       a paper title (15-word maximum)

·       abstract (150-word maximum) abstract guidelines

·       keywords

·       a very brief curriculum vitae (300-word maximum). Prose bios will not be accepted. CV guidelines and models

·       first, middle, and last name; affiliation; and email address

 

Tags:  ancien-régime France  court culture  cross-cultural encounters  Material culture  the global turn  transcultural aesthetics 

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Ut pictura poesis: Poetry, Painting, and Patronage in the Spanish Baroque at the Quadricentenary of Bartolomé Esteban Murillo

Posted By Elizabeth B. Davis, Monday, May 1, 2017

This panel will consider how notions about the shared aesthetic experience of poetry and painting are exercised during the Spanish Baroque, and the extent to which the realities of patronage mediate, modify or detract from the power of the poetic word to evoke a spectacular and inspirational visual image.

 The Horatian formulation of the analogy between poetry and painting may serve as a point of entrance into larger considerations about the connections between poetry, painting and patronage in the work of poets and painters of the Spanish Baroque. The topos that poems are paintings that speak, and that paintings are poems without words, enjoyed great currency in Humanist circles during the Spanish Renaissance. It can be said, however, that even as it was a point of debate, this idea continued to influence the way that poets and painters conceived of their life’s work well into the seventeenth century. At the same time, both artists of the word and those of the brush, such as Bartolomé Esteban Murillo (1617-1682) and his Seville school, depended on a patronage system in which patrons and clientele had a direct effect on the kind of poems and paintings artists could produce.

Please send a 200 word abstract, a list of key words, and a brief CV (no more than 300 words) in a single Word document to Elizabeth Davis (davis.823@osu.edu) by Thursday 25 May 2017. See guidelines for CVs on the RSA’s annual meeting page. While the RSA requests that participants make an effort to prepare papers in English, Spanish presentations will be considered (note that abstract and paper must be written in the same language).

This panel is sponsored by the Society for Renaissance and Baroque Hispanic Poetry.

Tags:  Bartolomé Esteban Murillo  painting and poetry  patronage  Seville school  Spanish Baroque  ut pictura poesis 

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The Role of Missionaries in Asian and American Artistic Interaction

Posted By Rachel Miller, Monday, May 1, 2017

This panel invites papers that address the role that Catholic missionaries played in facilitating artistic and cultural interaction between Europe and overseas contacts in Asia and the Americas, two sites of active missionary activity in the early modern period. In this panel, we will invite a conversation that focuses on how art moved through the global missionary network of the Catholic Church from Europe to the Americas and Asia. We are also interested in papers that demonstrate the role played by missionaries in facilitating direct cross-cultural interaction between Asia and the Americas.  Possible paper topics include, but are not limited, to the following:

·      The movement of artists and works of art as facilitated by missionaries

·      The founding of missionary art schools and the exportation of students’ art works

·      Missionaries as facilitators of intercontinental artistic commissions

·      The transmission of architectural ideas through missionary building projects

·      Missionaries’ involvement in the trade of art objects

·      Artists who were members of missionary orders and were active in Asia and/or the Americas

Please submit your paper proposal by May 20 to Christa Irwin (irwin@marywood.edu) and Rachel Miller (Rachel.miller@csus.edu). Proposals must include the following:

·      Name, affiliation, email address

·      Paper title

·      Abstract (250-word maximum)

·      Keywords

·      CV (1 page)

Download File (PDF)

Tags:  Americas  Art  Art History  Asia  Jesuits  Mendicants  Missionaries  Missions 

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Vision Askew: Anamorphosis, Catoptrics, and Dioptrics in Early Modern Art

Posted By Justina H. Spencer, Monday, May 1, 2017
Updated: Monday, May 29, 2017

In the early modern era the methods of perspective were successfully applied beyond classic two-dimensional paintings in the form of anamorphic murals, three-dimensional peepboxes, conical mirrors, and crystalline telescopes. Such optical illusions often disguised clever political allegories, obfuscated erotic titillations, or functioned as pedagogical puzzles as they were contingent on the knowledge audiences brought to the works. This session seeks to explore the production, collection, and circulation of material objects that skew vision with the aim of understanding how such art forms reify contemporaneous theory and cultural attitudes. Whether mirrored, refracted, or anamorphically skewed, what do optical illusions reveal about early modern perception or imagination? How do such art forms converse with optical or mathematical theory? Do they reveal distinct religious or political attitudes in the form of covert satire? Ultimately, this panel aims to uncover how illusions functioned as pedagogical mechanisms by exploring the visual punchlines hidden in their makeup.

Topics may include (but are not limited to): the role of illusion in the study of optics; deceptive entertainments in early modern courts and Kunstkammern; embodied perception; anamorphosis as political or religious allegory; illusion as play or method of instruction.

Proposals addressing any geographical area are welcome.

Please send a paper title (15 word maximum), abstract (150 word maximum), keywords, and a brief curriculum vitae (1 page) to Justina Spencer: jspencer@uottawa.ca, by June 2, 2017.

Tags:  anamorphosis  art history  History of Science  illusion  optics  perspective 

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Painted Faces, Tainted Morals: Renaissance Cosmetics and Makeup

Posted By Tijana Zakula, Monday, May 1, 2017

The pain and dangers of beauty have been known for a long time and have been inextricably intertwined with art. Not only in terms of emulating the ideal, but also in terms of the know-how: diverse pigments and materials used for painting oftentimes served as beautifying aides. Not infrequently these substances were highly toxic and would lead to severe disfigurements and one’s untimely demise.

The social implications of using cosmetics and make up were no less damaging either. Improving on one’s outer appearance was nothing short of scandalous. One’s attempt to come closer to the unattainable ideal was considered immoral, and inextricably intertwined with vanity – the mother of all sins.

This multidisciplinary session seeks contributions that consider the use and abuse of cosmetics and makeup from the point of view of art history, sociology, chemistry, medicine and history and philosophy of science.

Please send proposals to Tijana Zakula (T.Zakula1@uu.nl) and Gert Jan Vroege (G.J.Vroege@uu.nl) no later than 4 June.

Include in your proposal:

·        name and affiliation

·        paper title (max. 15 words)

·        abstract (max. 150 words)

·        a brief CV (max. 300 words).

 

Tags:  Art History  beauty  Early Modernity  etiquette  fashion  history and philosophy of sciencecosmetics  makeup  skin  taste  technologies 

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Materiality, the Senses, and the Everyday

Posted By Karen-edis Barzman, Monday, May 1, 2017
Updated: Monday, May 1, 2017

This interdisciplinary Call for Papers seeks submissions that consider the use of material culture in the everyday, and the sensorial experience of objects in their original contexts. Papers could include the way objects engaged a variety of senses and/or encouraged bodily movement, prompting ritualized responses or eliciting new forms of spatial practice. Examples could investigate the use of liturgical objects in sacred spaces, the role of domestic or devotional items in residential quarters, the effects on the body of new materials and technologies in the trades and professions, and the incorporation of props in the performance of urban life. Papers related to understudied aspects of the sensorium are particularly welcome, especially those that consider objects and context engaging smell and taste. Geographic focus is unrestricted; temporal limits, c. 1300-1700.

Submissions Guidelines                                    
Proposals should be for 20-minute papers and should include

  • a preliminary title for the paper
  • an abstract of 150 words
  • a 1-page CV, including current institutional affiliation(s)
  • current contact information

Submit your proposal to kbarzman@binghamton.edu by Wednesday, May 31, 2017. Subject line: “RSA – Materiality, the Senses, and the Everyday.”

Tags:  devotional  domestic  everyday  liturgical  materiality  objects  performance  professions  props  residential  ritualized responses  senses  sensorium  smell  spatial practice  taste  technologies  trades  urban life 

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Iberian Pornographies, 1300-1650

Posted By Chad Leahy, Sunday, April 30, 2017
Updated: Sunday, April 30, 2017

 We invite papers that broadly interrogate ‘pornography’ and ‘the pornographic’ in the context of Early Modern Iberia and its global colonial kingdoms. We encourage innovative responses to questions that include, but are not limited to: What new critical and theoretical tools can be brought to bear in putting the post-Enlightenment category of the ‘pornographic’ in dialogue with Early Modern texts and practices? What constitutes ‘pornography’ and where do we locate it in Imperial Spain and Portugal? What social, political, economic work does ‘pornography’ do in this context? How is ‘pornography’ regulated or resisted by institutions or individuals (i.e.  confessors, moralists, theologians, the Inquisition)? How is it circulated and consumed? In what media (manuscript or print; painting, sculpture, tapestry; poetry, prose, theater; music) is it transmitted? How do the particular material or structural constraints of a given medium affect representation, circulation, or consumption? How might the ‘pornographic’ manifest itself in unexpected places (i.e. religious art or treatises)? How might a ‘pornographic’ lens help shed new light on early modern Iberian artistic, literary, and historiographic canons? 


Please send paper titles, abstracts (150 words max.), and keywords to nick.jones@bucknell.edu and chad.leahy@du.edu by Wednesday, May 24.

Tags:  Art  body  erotic  historiography  Literature  pornography 

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Representations of the Continents in the Early Modern World

Posted By Louise Arizzoli, Saturday, April 29, 2017

European artists and writers visualized the known world through personifications holding attributes related to each continent. After its discovery, America was added to the figures of Europe, Asia, and Africa. Allegories developed, reviving the Greek habit to depict abstract concepts in the human form. During the sixteenth century, continent personifications started to appear in pageants, atlases and prints, and became a very popular iconographical motif throughout Europe in all artistic media. These figures clearly show the way Europeans perceived the rest of the world - often characterized as a stereotypical Other – and were generally designed to express Europe’s belief of its own superiority, as well as its quest for a newer global identity.

We are welcoming papers for a session at the Renaissance Society of America, New Orleans, 22- 24 March 2018, dealing broadly with visual, literary and cartographical representations of the continents in the early modern world, from different regions of Europe. We would also welcome presentations on ancient and medieval sources for the continents’ iconography--the themes of Europa and the Bull, Africa with elephant tusk headdress, Asia with incense burner, and the Adoration of the Magi; transformations in America from cannibalistic to civilized; personification of cities and rivers, as well as travel accounts, early modern maps, and literary descriptions of the known and unknown continents. We would also welcome papers dealing with non-western perspectives – artistic or cartographical – on Europe. This call for papers would like to expand on the sessions of RSA held in Chicago 2017.

Please send proposals to Louise Arizzoli (larizzol@olemiss.edu) and Maryanne Horowitz (horowitz@oxy.edu). Include in your proposal: name and affiliation, paper title (max. 15 words), abstract (max. 150 words), and a brief CV (max. 300 words; in ordinary CV format).

Email proposals as soon as possible, but no later than May 25, 2017.

Applicants will hear whether paper proposal fits in this group submission by 4 June, for the RSA submission deadline of 7 June 2017.

 

Tags:  Allegory  Art History  Continents  Geography  Travel Accounts 

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Hybridity in Late Medieval and Early Modern Art

Posted By Ashley Elston, Thursday, April 27, 2017

The persistent influence of the “period eye” on historians of late medieval and early modern art is undeniable. While such an interpretive lens remains useful in many respects, it tends to privilege the moment of production and only a single medium. This session seeks instead to explore the idea of hybridity in the history of art as it relates to time and media. Questions these papers might consider include (but are not limited to): What happens when an object is considered beyond the point of origin or as a legend of information? What are the implications of the juxtaposition of disparate media? How does meaning alter over time, i.e, what about the afterlife of an object? What does the deliberate use of out-of-date styles mean for the patron, artist, and/or viewer? Proposals addressing any geographic area are welcome. An edited volume building off of this topic is planned.

Please send an abstract (150-word maximum), paper title (15-word maximum) and a brief CV (300-word maximum) to Ashley Elston (Berea College) and Madeline Rislow (Missouri Western State University) at hybridityrsa@gmail.com by May 22, 2017.

Tags:  art  art history  hybrid  juxtaposition  media  time 

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