Print Page   |   Contact Us   |   Sign In   |   Register
Art History CFPs for RSA 2018 New Orleans
Blog Home All Blogs
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 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.


Search all posts for:   


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 

New Research in Italian Quattrocento Sculpture

Posted By Elizabeth Petersen, Thursday, May 11, 2017

CFP: New Research in Italian Quattrocento Sculpture”

RSA 2018 New Orleans

Quattrocento sculpture in central Italy has been fundamental to the study and understanding of the Italian RenaissanceThe glow of fifteenth century sculpture has faded somewhat in recent decades, however, because of anunderstandable desire to expand knowledge about and appreciation for works outside of such long privileged areas.  A revival of interest seems to be underway, however, with the appearance of a  few recent books such as Amy Bloch’s Lorenzo Ghiberti's Gates of Paradise and some eye-opening exhibitions, such as “’Fece di scoltura di legname e colorì’. La scultura del Quattrocento in legnodipinto a Firenze.We seek proposals that continue to consider sculpture in fifteenth century Italy, but from more up-to-date points of view.  Research that encompasses new approaches to the material, such as digital and technical analysis or interdisciplinary studies, will be especially welcome.


Please email proposals to both Elizabeth Petersen ( and Martha Dunkelman ( by Thursday, 1 June 2017. Proposals should adhere to RSA guidelines and include a paper title (15-word maximum), an abstract (150-word maximum), keywords, and a very brief curriculum vitae (300-word maximum).




Tags:  art history  Early Modern  Italy  New Approaches  quattrocento  Renaissance  sculpture 

PermalinkComments (0)

Between Word and Image: Multiform Arguments in the Historiography of Early Modern Women

Posted By Noa Yaari, Thursday, May 11, 2017
Updated: Thursday, May 11, 2017

This panel explores historians’ arguments that combine verbal and visual means in their published work. These ‘multiform arguments’ create and communicate historical knowledge through verbal and visual evidence. As such, they represent a methodology or rhetorical device in historical research and writing. Focusing on the history of early modern women, the main questions of the panel are: Reading and observing the arguments, what are the techniques that historians use to lead their readers between the verbal and the visual components of their arguments? Do the connections between the verbal and the visual components enhance a particular understanding of early modern women? Considering the words, images and the transitions between them as parts of a unified grammatical sequence, can we identify typical challenges or potentials in constructing ‘multiform arguments’? And finally, can the study of early modern women be an insightful path to better understand the turn to hybrid epistemologies?

If you have published a study on early modern women that combines verbal and visual evidence and means, and would like to share your experience and insights at the RSA 2018 meeting, please email paper proposals, including files or scans of your publication/s, which you will discuss in your paper, to:

Noa Yaari ( by Wednesday, 17 May 2017. I will serve as a respondent at the panel. 

The proposals must include:
* paper title (15 words max)
* abstract (150 words max)
* keywords
* short curriculum vitae
(300 words max, NOT in prose form)
* audiovisual requirements

This is a CFP for a panel which will be submitted to The Society for the Study of Early Modern Women (SSEMW) as a sponsored panel at the RSA 2018, New Orleans

Tags:  Historiography  hybridity  image and text  New Approaches  women 

PermalinkComments (0)

Early modern sensory and spatial thresholds

Posted By David Karmon, Wednesday, May 10, 2017

Sensory studies have begun to critically expand our ways of thinking about how people interacted with buildings and spaces in the early modern world. This session builds on this momentum by exploring the sensory experience of early modern physical environments, focusing in particular on how the experience of thresholds, edges, and borders triggered powerful responses and shaped new kinds of knowledge. Cultural anthropologists such as Arnold Van Gennep and Victor Turner have long emphasized the significance of such liminal transitions, the ceremonial “rites of passage” that signal key moments of transformation. It is clear that sensory experience plays a vital role in negotiating these transitions, where our sensitivity to sensory stimuli is often at its most acute precisely at the moment when we first enter into a new setting. How did people in the early modern world respond to these sensory impulses, where entering a new physical environment might also mean entering into a new state of being?

Proposals should include the author’s name, professional affiliation, and contact information; a preliminary title; a brief abstract (150 words or less); a brief curriculum vitae (300 words maximum). Please submit proposals to by Wednesday 31 May 2017.

Tags:  architecture  corporeality  early modern  new approaches  senses  sensorium  sensory experience  sight  smell  sound  space  taste  touch  urbanism 

PermalinkComments (0)

Reconnecting: New Thoughts on Art and the Spectator in Renaissance Italy

Posted By Steven J. Cody, Monday, May 8, 2017


2018 marks the thirtieth anniversary of John Shearman’s A.W. Mellon Lectures in the Fine Arts. These lectures developed bold strategies for approaching works of art that are completed outside of themselves, in the viewer’s experience. They were subsequently published under the title, Only Connect… (1992), which is now a classic in the field, and which continues to inspire some truly searching art historical commentary.

This panel looks to capitalize on the anniversary of Shearman’s lectures and to honor their legacy in the best way possible, by continuing the conversation—by re-connecting, as it were. In keeping with the spirit of Only Connect… itself, we invite proposals that consider the experience of viewing Italian Renaissance art from new and innovative perspectives.

Presenters are welcome to engage with Shearman’s interpretative frameworks, to grapple with them, and/or to develop different ways of thinking about early modern spectatorship.

Please send proposals and direct any queries to Steven Cody ( Proposals must be submitted by 1 June and include the following items:

-          The presenter’s name, affiliation, and email address

-          The paper’s title

-          An abstract (150-word maximum)

-          Keywords

-          A brief CV (300-word maximum)

Tags:  Art  art history  New Approaches  Renaissance  Shearman  spectator 

PermalinkComments (0)


Posted By Thalia E. Allington-Wood, Thursday, May 4, 2017

Drowning, falling, floating, growing, burning, melting. How are elements figured in Renaissance and early modern artistic representation? From imagery of earth, water, air and fire, to the more ubiquitous sense of temperature, weight, darkness and light, how does visual culture contribute to an understanding of the elements in this period? From the thrusting up of rocks from beneath the earth through volcanoes and earthquakes, to the wide expanse of the cosmos, knowledge of natural phenomena was prominent in the Renaissance and early modern imagination. How do objects harness the elements in their production? What, for example, is the role of fire and earth in metal works and ceramics? Equally, how did elemental forces act upon and alter works of art – from physical damage to the influence of regional topographies, materials and pigments?

The landscape of elemental physics changed dramatically between 1300 and 1700. This history is characterised by a broad paradigm shift from a sublunar, terrestrial world made up of the four elements and their specific material attributes (hot, cold, heavy, light), to a globe experienced through Mercator’s seas, Galileo’s sky and Newton’s earth. Yet the elements, their effects upon the body, their power to manifest material things – and how they are imagined and contested in visual culture – do not always sit easily within this chronology. The representation of these forces is the focus of this panel. It is a subject that has the power to open up broader concerns regarding memory, motion, travel, sensory experience, metamorphosis, environmentalism and networks of knowledge exchange – social, cultural and political.

We welcome papers from across disciplines, from within Europe and beyond Western contexts. Topics might include, but are not limited to:

- The elements and their early modern properties: Earth/ Rock, Water, Air, Fire; hot, cold, wet, dry, heavy, light.
- Elements as complex, compound mixtures.
- Materiality & Making: sculpture and stone, ceramics and glass, metal and fire, water and fountains, earth and pigments.
- Elemental/ material states: solid, liquid and in-between.
- The effects of the elements upon the body: falling, burning, pain, joy, drowning, disease, phenomenological and sensory approaches to elemental force.
- Understanding within academic disciplines: natural philosophy, alchemy, chemistry, theories of metamorphosis.
- Cosmos: stars, sky, separation of celestial and terrestrial physics.
- Gravity.
- Light & Shadow.
- Manifestations of the elements in nature: wind, clouds, volcanoes, rivers, the sea, mountains, natural disasters such as earthquakes, floods, storms.
- Connections to landscape, geography, environmentalism, catastrophism, the non-human.
- Water & Travel: wetscapes, navigation and shipwreck, hydrographies.

Please send a paper title, abstract (150 word maximum), keywords, and a brief curriculum vitae (300 word maximum – see RSA guidelines for requirements) to and by 31 May 2017


Tags:  Air  Art  Art History  artistic process  bodies  body  cosmos  Early Modern  Earth  Elements  Fire  gravity  materiality  metamorphosis  natural history  nature  New Approaches  Renaissance  sensory experience  temperature  Visual Culture  Water  weight 


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 ( and Rachel Miller ( 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 

PermalinkComments (0)
Membership Software Powered by YourMembership  ::  Legal