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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 

Cartography and the Early Modern Archive

Posted By Karen-edis Barzman, Sunday, April 16, 2017
Updated: Sunday, April 16, 2017

The investment of sovereignties in mapping for the storage and delivery of geospatial information dates to the fifteenth century, when the Republic of Venice called for “true” representations of fortresses, towns, and contested borderlands in its territories (1460). While the intention was to be systematic, in Venice as elsewhere the development of a comprehensive cartographic archive was slow and uneven. This CfP invites submissions addressing the instrumental use of mapping in the management of the early modern state, with a focus on hand-drawn maps (from sketches to highly finished drawings with watercolor, silver, and gold leaf) intended for circulation in the inner chambers of state. Also of interest are three-dimensional models of territory or maps in relief. Topics may include techniques for the collection of data and mapping itself although primary interest is in the accommodation of maps in the archive, their relation to archival documents in text, their evolving modalities of representation as instruments of statecraft, the new forms of literacy they demanded, their end-users, and their employment in policy-making, urban planning, empire-building, waging war, diplomacy, and maintenance peace. 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 – Cartography and the Early Modern Archive.”

Tags:  archive  borderlands  cartography  diplomacy  documents  drawings  fortress  geospatial information  maps  peace  policy-making  sketches  state administration  territories  town  war. 

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Conflict and/in Design: Renaissance Design and Responses to a Turbulent World

Posted By Charles Burroughs, Friday, April 14, 2017

Session sponsored by the Association for Textual Study in Art History (ATSAH) at the 2018 Annual Meeting of the Renaissance Society of America (RSA) in New Orleans, March 22–24.

Title: “Conflict and/in Design: Renaissance Design and Responses to a Turbulent World.”

The relationship between design and the often-perilous world inhabited by designers (as well as patrons) has been an important theme in the historiography of art and architecture in the long Renaissance. While some scholars have explored possible links between the solecisms and experimentation of mannerism and social, political and religious changes, other historians have downplayed or even discounted such notions, as indeed did the theorists of the period itself.

The organizers of this session invite submissions addressing those latent fault-lines, symptoms of which can be identified in the visual arts and architecture. What can be learned about those tacit tensions from the way artists (and designers) negotiated and explored their representational content? How and in what circumstances did the general acceptance of classical models and frameworks accommodate or even foster hetero-normative responses? This focus may not only reveal little known relationships that existed between the dominant narratives, new ideas, and suppressed traditions across different fields of artistic production but may also help to advance the understanding of those disruptive forces that prompted the emergence of the modern era.

Proposals should include the author’s name, professional affiliation, and contact information; the paper’s title; a brief abstract (150 words or less); keywords; and a brief curriculum vitae (300 words maximum). Send proposals to Andrzej Piotrowski (piotr001@umn.edu) and Charles Burroughs (burroughs@geneseo.edu) by May 15.

Tags:  design  negotiation  patronage  representation  tension 

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Between allegory and natural philosophy: rethinking Grotesques during the Renaissance

Posted By Damiano Acciarino, Wednesday, April 12, 2017
Updated: Wednesday, April 12, 2017

 

The purpose of this structured session is to discuss various aspects of the conception and perception of grotesque paintings completed during the Renaissance, with a particular focus on the Counter-Reformation period. After the decrees on images approved by the Council of Trent (1563) and the publication of Gabriele Paleotti’s Discorso on sacred and profane images, the opponents and defenders of this artistic genre felt a clear and general need to confer upon it a new semantic approach. The effects of this dynamic, which manifested itself as a conflict between two different cultural ideologies rather than simply a divergence of aesthetic perspectives, were two-fold. On the one hand, it influenced the theoretical debates on grotesques, creating an extensive body of literature that attempted to explain their essence, with particular focus on their relationship with or distortion of nature. On the other hand, it also paved the way for the emergence and growth of innovative multifarious patterns which served as alternatives to the more conventional figurations.

 

Contributions in this general context on the subject of Renaissance grotesque paintings are welcomed, especially those which clearly demonstrate how these decorations were resemanticized in the erudite and artistic environments of the second half of the sixteenth century, not only in Italy but also the rest of Europe and other continents, where centrifugal re-interpretations could blossom freely and far from traditional representations.

 

Please submit your paper proposal by no later than 10 May 2017 to Damiano Acciarino (damiano.acciarino@unive.it). Each proposal must include the following details:

  •   Name, university, email address
  •   Paper title
  •   Abstract (250-word maximum) 
  •   Keywords
  •   A very brief curriculum vitae (150-word maximum)

 

Tags:  antiquarianism  Art History  Counter-Reformation  Grotesques  iconology 

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Alonso Cano, painter, draughtsman, sculptor, and architect

Posted By Livia Stoenescu, Tuesday, April 11, 2017

Papers are sought for panel presentations on the seminal seventeenth-century painter, draughtsman, sculptor, and architect Alonso Cano (1601-1667). 500 – 1,000-word abstracts are invited for consideration on topics including but not limited to the following: Cano and Early Modernity; Cano and the Italian Renaissance; Cano and the Spanish Golden Age; Cano and the Modern Painter; Cano and the Age of Aesthetics; Cano and the Court Commissions for Philip IV (Madrid, Valencia, and Granada); The Extensive Body of Cano’s Drawings; Cano and Theatre/Theatricality; Cano as Architect; Cano as Sculptor; Cano’s Personal Library; Cano, Forerunners, and Inheritors.

 

Abstracts, one-page CV, and keywords should be sent by May 10th, 2017 to Livia Stoenescu at livias@tamu.edu

 

Scholarly attention to the work of Alonso Canso has been irregular, consisting of a handful of articles in academic journals, and the anniversary exhibitions held in 2001/2002. Scholars attending to Cano include Zahira Véliz, Alonso Cano: 1601-1667; dibujos; catálogo razonado (Santander: Fundación Botín, 2011), and Ángel Aterido Fernández, Corpus Alonso Cano: documentos y textos (Madrid,  2002). Benito Navarrete has published various articles on Cano’s drawings and included new drawings in the catalog of Spanish drawings of the Uffizi, I Segni nel tempo. Dibujos españoles de los Uffizi (Fundación Mapfre-Galleria degli Uffizi, 2016). José Álvarez Lopera has provided a comprehensive study on Cano in Figuras e imágenes del barroco:estudios sobre el barroco español y sobre la obra de Alonso Cano (Madrid, Fundación Argentaria, Visor: 1999), provoking insights into the life and work of Cano that await further investigation.   

 

The presentations comprising “Alonso Cano, painter, draughtsman, sculptor, and architect” address this gap in scholarship in ways that will appeal to interests in Early Modern Art History and Culture, Spanish Baroque Art and Architecture, and the Spanish Golden Age. Collectively, these presentations situate Cano at the center of cultural change and read his work as profound early modern critique. Harold Wethey called attention to Cano’s complexity in his fundamental Alonso Cano: Painter, Sculptor, and Architect (Princeton, New Jersey: Princeton University Press, 1955).

 

A CFP for an edited collection will follow shortly after the 2018 meeting of New Orleans RSA with the expectation that this special session will have stimulated renewed scholarly consideration of the work of this seminal seventeenth-century figure.

 

Tags:  Early Modernity  Spanish and Italian Renaissance  Spanish Golden Age 

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Technologies of War

Posted By Karen-edis Barzman, Tuesday, April 11, 2017

Papers may take a literal or figurative approach to “technologies of war.” Topics may include the machinery or mechanics of weaponry as well as the training and management of troops, from conscription and deployment to armed conflict, collection of booty, and returning in victory or defeat. Work is welcome on maritime infrastructures and modalities of war as well as war on land, including the military encampment in its material and spatial dimensions and the social relations peculiar to the logic that informed its late medieval and early modern instantiations. Also of interest are the discursive and/or embodied practices that constituted opposing forces as subaltern and inimical, from rallying songs to the subjection of prisoners and the mutilation of the bodies of fallen adversaries. 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.

Tags:  adversaries  arms  booty  conflict  conscription  deployment  encampment  enemy  machinery  maritime  material  prisoners  songs  spatial  technologies  training  troops  war  weaponry 

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The Problem and Promise of the Baroque: New Approaches in Research, Historiography, and Pedagogy

Posted By Rachel Miller, Monday, April 10, 2017

In the 2011 book, Rethinking Baroque, editor Helen Hills and the contributing authors proposed to both interrogate and re-energize the study of the baroque, a much-maligned concept and one Hills termed the “grit in the oyster of art history.”  The authors sought to come to grips with the term from a wide array of chronological and methodological approaches, problematizing and reshaping the landscape of inquiry.  By contrast, the following year Gauvin Bailey’s Baroque and Rococo re-entrenched the Baroque as a category for study, seeing it as a moment of unified global exuberance.  More than five years later, however, it is unclear where these two divergent approaches have left researchers and teachers. In what ways is the Baroque continuing to be critically reevaluated and used as an interpretive tool? Where does the study of Baroque art currently stand and where is it going, especially in relation to the rising emphasis on the “Early Modern”? What is at stake in surrendering the Baroque in favor of modernity? Hills herself asked “Can the apparent contradictions between periodization and critical strategy be reconciled?” In this panel, we seek to engage with and extend these questions.

This session will examine the utility of the ‘Baroque’ in several different ways.  First, we are interested in historical case studies of objects, spaces, and experiences that engage with or challenge the Baroque style in new and exciting ways. We are open to research that argues for the preservation of the term as a site of legitimate scholarly discourse or provides a compelling argument to reject it.  Second, we seek approaches that deal with the historiography of the Baroque, but also with the state of the field, critically interrogating the risks and benefits of how we discuss periodization and the problems inherent in a linear approach to art historical inquiry.  Third, we seek to include papers that address what is at stake pedagogically when dealing with the period 1580-1730. How do educators approach the paradox of the Baroque at a time when the term itself has been challenged and reassessed in ways that are not often reflected in standard undergraduate course offerings and textbooks? How do we leverage these complex discussions into more fruitful classroom discourse?  Papers need not deal with all three prongs of inquiry though crossover is encouraged.

Please submit your paper proposal by May 15 to Saskia Beranek (srb43@pitt.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:  Art History  Baroque  Case Studies  Historiography  New Approaches  Pedagogy 

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Magical Wearables in the Medieval and Early Modern World

Posted By Christina M. Squitieri, Sunday, April 9, 2017
Updated: Sunday, April 9, 2017

From Jones and Stallybrass's Renaissance Clothing and the Materials of Memory (2000) to art historian Cordelia Warr's Dressing for Heaven (2010), to Patricia Lennox and Bella Mirabella's edited collection, Shakespeare and Costume (2015), the power of clothing on medieval and early modern subjects is being more thoroughly explored. This interdisciplinary panel is interested in the ways clothing, costume, and other articles, including wigs, false beards, and jewelry, had power to shape, transform, or otherwise exert material effects on the bodies who wore them. How do such "wearables" and/or their material effects relate to issues of (mis)recognition or identity creation, successful or otherwise? How do clothing, costuming, jewelry, and other material wearables speak to larger cultural issues, anxieties, or fulfillment, from the semiotics of stage or portraiture to questions of gender identity, race, religion, sexuality, or discussions of the afterlife? How does disguise, both on and off stage, also speak to the "magical" effects of clothing on the renaissance body? How are "wearables" used to exert force or power on the self and others, and how are they able to "transform" a person or object into someone (or something) else?

Papers are welcome from multiple fields, from 1300-1700, both in England and on the Continent.

Please send 150-word abstracts and brief CV (see RSA guidelines here) to Christina M. Squitieri, cms531@nyu.edu, by Monday, May 22nd.

Tags:  bodies  clothing  costume  enchantment  identity  jewelry  magic  recognition  transformation  wearables  wigs 

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Spaces of Making and Thinking

Posted By Tianna H. Uchacz, Sunday, April 9, 2017

In the early modern period, conventional spaces enabled and limited a wide range of enterprises that required processes of thinking and making, including religious reflection, political theorizing, military engineering, medicinal intervention, scientific inquiry, literary composition, musical performance, artisanal production, business practices, and household management. Scholars have recently been revisiting these activities to consider the overlap between the processes of making and thinking in contradistinction to a prevailing historiographical emphasis on their strict separation. The series of panels proposed here seeks to build on such work by asking how early modern conceptions of space and place could allow for the interconnectedness of head and hand, or mind and body, in productions of all kinds. What activities did early modern spaces afford? How did spatial structure, atmosphere and environment, decoration, or location shape occupants and their practices in the studiolo, the forge, the workshop, the academy, the kitchen, the cloister, the council chamber, the home, the field, the ship, etc.? Could conventional spaces be redefined and adapted to accommodate changing activities, or were new kinds of spaces necessary?


With the sponsorship of the Centre for Reformation and Renaissance Studies (CRRS), we welcome proposals for papers to be presented as part of a series of panels on the theme of “Spaces of Making and Thinking” at the Renaissance Society of America Annual Meeting in 2018 (New Orleans). For a more detailed description of the sessions, please see the full CFP on the CRRS website or download the PDF in attachment below.


Please send paper proposals to Colin Murray (colin.murray@utoronto.ca) and Tianna Uchacz (thu2102@columbia.edubefore 1 May 2017. All proposals must include a paper title (15 words max), an abstract (150 words max, see guidelines here), keywords, a brief cv (300 words max, NOT in prose form, see guidelines here), and any a/v needs. Please include your first, middle, and last name as well as your affiliation in your email.

Download File (PDF)

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