Early Career Researchers
Just as I did last year, I wanted to make a post on this blog reflecting on 2017, whilst also looking forward to what’s happening in 2018. I find these kinds of posts interesting for a number of reasons, but primarily as an exercise in accountability (and specifically, for countering inaccurate feelings of ‘I didn’t do anything last year!).
2017 was a challenging but hugely rewarding year. It was a year of many exciting firsts. Travel-wise, it was my first time in America (on fellowships at the Lewis Walpole Library, Yale Center for British Art, and the Winterthur Museum), and my first time visiting Sweden, Umeå for the International Society for Cultural History 2017 Conference. I delivered my first lectures as part of Edinburgh’s History of Art 2 course, and I taught an honours course on my own for the first time, having previously taught at pre-hons for a number of years. I was also awarded my first postdoctoral fellowship, at IASH, the Institute for Advanced Studies in the Humanities at the University of Edinburgh, and I received short-term research fellowships from the Harry Ransom Center and the Huntington Library. Perhaps most excitingly, the last few months of 2017 have also seen the acceptance of my first journal article (to be published next year, in the journal Eighteenth-Century Fiction), and, in the last few days (!), my first book (more to come on this asap).
I also taught. A lot. In fact, I taught six courses across three schools, although my teaching load has been massively reduced since beginning my Postdoctoral Fellowship at IASH in September. IASH is a wonderfully engaging and supportive scholarly community, and I’m glad to be there until August of next year.
Indeed, 2018 is looking just as busy as 2017.
In January, I will continue writing and revising an article on collage, masculinity and Modernism, which will also form the basis of my January 10th Work in Progress Seminar at IASH (details here). I’m also delivering a Research Successes Forum workshop on ‘Fellowships’ on January 22nd. January will also see me back to teaching, as I cover Prof. Viccy Coltman’s hugely exciting 4th-year course, ‘From Jacobitism to Romanticism: The (Re)invention of Scotland in Visual and Material Culture’.
Apart from teaching, February to May will see me do lots more writing – particularly for my article, ‘Reflective and Reflexive Forms: Intimacy and Medium Specificity in British and American Sentimental Albums, 1780-1850’, an abstract for which was accepted for Journal18: a journal of eighteenth-century art and culture‘s special issue on ‘Albums’, due late 2018.
I’ll also be writing and revising the remaining chapters of my first book at this time, as well as editing mine and Katie Faulkner’s special issue of Nineteenth-Century Gender Studies on ‘Making Masculinity: Craft, Gender, and Material Production in the Long Nineteenth-Century’. The submissions we’ve had are hugely exciting, and I’m so looking forward to seeing this published next summer.
In April, our conference Collage, Montage, Assemblage: Collected and Composite Forms, 1700-Present, will be held at the University of Edinburgh. We received over 120 abstracts for the conference, attesting to the vibrant and dynamic nature of this area of research. We’ll be finalising speakers and the programme very soon, and I’ll post that here then.
In June and July, I’m back to America, this time spending two consecutive months away, at the Huntington Library and the Harry Ransom Center, respectively. In August, I’m back to Edinburgh for a final month at IASH, which will provide the perfect opportunity to round things off.
As last year, I’ll have to end my post at a fairly-uncertain-September 2018, but what I know for sure is that I’ll be desperately trying to finish my book at that point, which is due by the end of 2018.
What are your plans for next year? Let me know using my twitter handle @Freya_Gowrley.
IASH Twitter Takeover – Favourite Collages #1 – ‘Collection of botanical collages from the circle of Booth Grey.’
As I mentioned in yesterday’s post, this week I’m over on the IASH twitter talking about my research project, Collage before Modernism. Yesterday, I asked you what some of your favourite collages were – and the results included: Joseph Cornell’s amazing boxes; quilts from the Victoria and Albert Museum’s 2010 exhibition; and queer zines, such as those preserved on archive.qzap.org/ .
Each day for the rest of this week, I’m going to introduce you to some of MY favourite collages, and first up, it’s this series of Botanical Collages from the Circle of Booth Grey, now housed at Yale Center for British Art (YCBA).
I was lucky enough to spend a month at YCBA in May this year as part of their Visiting Scholarship programme. During this time I looked at a huge amount of amazing material, but perhaps the most puzzling was the ‘Collection of botanical collages from the circle of Booth Grey.’ With their black grounds and stark attention to the details of the plants that they replicate, the collages clearly echo those made by Mary Delany, many of whose infamous and extensive series of botanical collages – what she called her ‘paper mosaicks’ – are now in the collections of the British Museum. Delany’s collages just one example of Delany’s industrious material production – she also made shell work, engaged in needlework, and drew and painted. As such, the collages have been discussed in terms of feminine accomplishment, craft practices, botanical amateurism, and female friendship, all of which provide compelling contexts in which to understand these works. Grey’s collection, however, complicates this paradigm.
The attribution to Grey – an elite male – is accordingly tentative. The series’ current record title on the YCBA catalogue – ‘Collection of botanical collages from the circle of Booth Grey’ – indicates only an ambiguous relationship to Grey. He is not necessarily identified as artist, or owner, we are told only that the collages have some connection to him. Yet this identification was prompted by some fairly compelling evidence: an inscription on the original album that once held these collages ’98 Plants done by the Honble. Booth Grey’, ‘done’, here, of course, suggesting that they were ‘made’ by Grey.
Grey certainly could have come into contact with Delany: as the younger son of the Countess of Stamford, and whose older brother was married to the Duchess of Portland’s daughter Henrietta, Grey was part of the elite, and crucially, creative, social circle in which Delany also moved. Kohleen Reeder also supposes that Grey even gave Delany some of her specimens, highlighting a potential relationship that was directly related to these material and artistic practices. Yet despite these corroborating details, there is a palpable reluctance to link Grey to these objects, a feeling that something about this picture must be wrong. Key to this hesitancy, I think, is a general assumption that men simply did not make collage – certainly not during this period, in the late eighteenth century. By 1912 of course, and the advent of Modernism, men certainly did make collage, and that collage was definitively art. This is the date of Pablo Picasso and Georges Braque’s earliest papier collé, as exemplified by works such as Picasso’s Bottle of Vieux Marc, Glass, Guitar and Newspaper of 1913. By this point, collage has become a key visual weapon in the attack on traditional painted representation; a central form of Modernist experimentation. This narrative of the Modern invention of collage, however, entirely divorces it from those images and objects that preceded it. The paper flowers of Delany, and, maybe, of Grey, lie far from Picasso’s radicalism, tinged by their association with the explicitly female frameworks of craft, amateurism, and the domestic.
Yet attention to collages like those ‘from the circle of Booth Grey’ – whatever that ultimately might mean – provide a chance to challenge this neatly drawn timeline with its rigid, teleological chronology. Instead they allow us to rethink the relationship between collage and craft; between masculinity and modernism. During my Postdoctoral Fellowship at IASH, I’ll be teasing out this complex relationship in my article, ‘Collage, Masculinity, and the Modern: Gendered Art Histories 1780-1912’, which is forthcoming as part of the Nineteenth-Century Gender Studies Special Issue, ‘Making Masculinity: Craft, Gender, and Material Production in the Long Nineteenth-Century’ that I’m co-editing with Dr Katie Faulkner. Whatever the ‘truth’ around Booth Grey’s collages, they provoke a number of questions that I am excited to try and answer.
I’m thrilled to announce that from September 2017 until August 2018 I will be joining the University of Edinburgh’s Institute for Advanced Studies in the Humanities as a Postdoctoral Research Fellow. The fellowship is ten months long, but includes a two-month interruption for my fellowships at the Huntington and the Harry Ransom Center. The fellowship will allow me to conduct research for my postdoctoral research project, Collage before Modernism: Art, Intimacy and Identity in Britain and North America, 1700-1900. I’ll post more about my time at IASH as I take up the Fellowship.
I’m thrilled to have been awarded a Huntington Library Short Term Fellowship for the 2017-2018 academic year. The award will allow me to conduct research for my postdoctoral project Collage before Modernism. The broader project will provide an unprecedented history of ‘assemblage’ produced in Britain, North America, and British India between 1700 and 1900. Employing an inclusive definition of the term, the project will examine a variety of material and literary forms of assemblage, including paper collage, shellwork, scrapbooking, and photocollage, and will explore how their production reflected the intimacies, interests, and identities of their makers.
The Fellowship will facilitate research for several aspects of the broader project, including an examination of a number of scrapbooks, commonplace books (both manuscript and published), and albums in the Library’s collections. I’ll also be looking at the correspondence of Robert Southey, Charles Lamb, and Elizabeth Montagu, and a number of grangerized books.
Image via The Conversation
Perhaps the most significant event this week, was the passing of the great art critic John Berger, whose hugely influential book and tv series ‘Ways of Seeing’, has been a touchstone of art historical and critical enquiry since its publication in the 1970s. Many excellent articles and obituaries of Berger were published this week, including this, this, and this.
I was excited to see that Joanne Begiato’s article ‘Tears and the Manly Sailor in England, c. 1760–1860‘, in the Journal for Maritime Research is free access. Download it here.
I greatly enjoyed the post, ‘Feel free to call me Dr.’ on the Tenure, She Wrote blog. It’s excellent on the politics of nomenclature in academia, and the importance of these issues for academics who are from minority backgrounds. I also enjoyed Dr Kieran Fenby-Hulse’s post, ‘From 2016 to 2017: Thoughts on Research Practice, Embedding Creativity, Punk Academia, and Work-Life Balance‘, which is also great on issues of identity within the academy.
There were a number of events that drew my attention this week, including the Centre for the History of the Emotions‘ 2017 Seminar Programme , the upcoming event ‘Living With Feeling in the Nineteenth-Century‘ at Royal Holloway’s Centre for Victorian Studies, and the Cruising the 1970s project’s event ‘Between the Sheets: Radical print cultures before the queer bookshop‘.
The following CFPs also caught my eye:
Call for Submissions: Anthology on Arab Masculinity
CFP: Moving Beyond Paris and London: Influences, Circulation, and Rivalries in Fashion and Textiles between France and England, 1700-1914 (Paris, October 13-14, 2017)
CFP: Remembering the Dead: Slavery and Mortality through Visual Culture in Comparative Perspective, AHA 2018 Panel (Washington D.C., 4-7 January 2018)
Call for Submissions: Museums Journal (theme: ‘Small’)
Call for Participation: Material Culture Caucus at 2017 ASA Conference
CFP: “Hope and Fear”: Interdisciplinary Conference in the Humanities
CFP: Milestones, Markers, and Moments: Turning Points in American Experience and Tradition
CFP: International Postgraduate Port and Maritime Studies Conference (20-21 April 2017, University of Bristol)
CFP: Classical Antiquity & Memory (19th – 21st Century)
I also really enjoyed the following interview with the design historian Glenn Adamson, titled, ‘The Object as Reality-Check’. It’s a fascinating read that ties discussions of material objects, past and present, with their political contexts. Specifically, Adamson discusses this in relation to his recent course ‘Objects of Dispute‘, a 10 session-long intensive seminar offered as part of the MA in History of Design and Curatorial Studies, run jointly by The New School’s Parsons School of Design and the Cooper Hewitt Museum in New York, and in so doing, teases out the pedagogical issues of teaching about contentious material culture in the current political climate.
Tonight, I listened to my colleague Christian Weikop’s fascinating Radio 3 programme, Kandinsky – A Story of Revolution. It’s available on iPlayer now.
Finally, I note that Yale Center for British Art is advertising its Curatorial Research Fellowship opportunity – there’s just a few more days left, so submit your applications while you can!
Inspired by a number of reflective end-of-year blog posts (including this and this) I thought I’d map out my aims and activities for 2017. If you’d like to gain a sense of what I achieved in 2016, you can check out my series on being a year post-phd here, here, and here.
Yale Center for British Art
As always seems to be the case, 2017 is shaping up to be a very busy year.
In January, I’m primarily working on editing my PhD thesis for publication: firstly, I’m editing the sample chapters of my book that will be submitted for review, and secondly, I’m revising an article on needlework and visual culture, which is currently at revise and resubmit stage with a peer-reviewed journal. As a broader research aim, I also want to develop a sustainable daily writing habit during this month.
January is also the month in which I return to teaching, and this term I’m teaching four courses, one of which is completely new to me. I’m excited (and slightly apprehensive) about the challenges of a heavier teaching load, and interested to find ways of balancing my time between teaching and research commitments. Indeed, while teaching and marking dominate the months of January, February and March, I’m also planning on revising another article, this time on the interior decoration of A la Ronde, during this time. In February, I’m working on hosting a public event on Queer Material Heritage to tie in with this year’s LGBT History Month theme.
In April, I’ll be finishing off some marking, but more excitingly I’m off to Yale University’s Lewis Walpole Library for a two week-research trip. I’ll be researching an exciting mixture of things for both my monograph project, as well as my postdoctoral project on collage in the eighteenth and nineteenth centuries. Directly following on from this, I’m spending the month of May as a Visiting Scholar at Yale Center for British Art, during which time I’ll also conduct research for the collage project, this time on composite albums, botanical paper collages, and a number of mourning objects.
In June I’ll be travelling to Umeå, Sweden for the International Society for Cultural History 2017 Conference, which this year is on ‘Senses, Emotions and the Affective Turn: Recent Perspectives and New Challenges in Cultural History’. My presentation, ‘Lost Objects & Loss Objects: Intersections of Absence and Presence in Eighteenth-Century Material Culture’, will hopefully provide the perfect opportunity to tease out some of the key issues for the Introduction of my book.
In July, I’m off to another conference, this time in London. At Sibylline Leaves: Chaos and Compilation in the Romantic Period, I’ll be presenting my recent work on Romantic commonplace books, which has functioned as a sort of pilot study for my collage project.
Finally, in August, I’m spending a month as a research fellow at the Winterthur Museum, Garden, and Library. Other than providing a gorgeous setting for research, I’ll be using the Wintherthur’s library and museum collections to conduct research on a form of paper collage known as ‘scrapbook houses’. I’ll definitely be posting about all my research trips so stay tuned!
I’ll also be running Edinburgh’s Eighteenth-Century Research Seminars again this year (with the first session on Jan 25th) and Katie Faulkner and I are hoping to develop a project from #WaysofSheing, which will look at the contribution of female art historians across history – watch this space.
From September onwards, things are a little more hazy, although I’m a hundred per cent sure that I’ll be working on publications as much as possible, having kept various articles and the book ticking over during the first 8 months of the year. So 2017, let’s do this.
Happy New Year to all my readers. 2017 promises to be an exciting year, but I’ll talk more about that in Wednesday’s post. For now, here’s a roundup of everything that caught my attention in the final week of 2016.
First up, these Summer 2017 internships with the Boston Furniture Archive, which sound like a fantastic opportunity to do some hands-on collection based work.
Next, the Centre for the History of the Emotions’ 2016 Annual Lecture by Professor Stephen Brooke (University of York, CA). Titled ‘Hate and Fear: Emotion, Politics and Race in 1980s London’, the lecture is now on the centre’s youtube channel.
The Bard Graduate Center’ forthcoming Summer Institute American Material Culture: Nineteenth-Century New York (July 3–28, 2017), also caught my eye. Sponsored by the National Endowment for the Humanities, the Institute promises a in-depth look at the history of New York and its associated material culture.
Prompted by Karen Kelsky’s excellent recent Vitae blog ‘The Job Market in a New Administration’, I also read Ellen Willis’s essay ‘Identity Crisis‘ for the first time this month. As issues of identity are at the forefront of this changing political landscape, prolonged considerations of the meaning and manifestations of identity have never been more important. Willis’s essay, though written in 1992, is incredibly relevant for the current academic and political climate.
The following conferences, CFAs and CFPs also sound particularly interesting (with many touching on issues of identity that are so relevant to Willis’s essay):
- CFP/Manuscripts: Special Issue of Journal of Homosexuality, “LGBTQ Popular Culture: The Changing Landscape”
- CFP: #QueerAF: (Re)presenting Gender & Sexuality in History & Cultural Studies
- CFP: 2017 Midwest Art History Society Session: “Is there an African Atlantic?“
- CONF: Politics in fashion and textiles (Vienna, 19-21 Jan 17)
- CFP: Conflict, Healing and the Arts (Durham, 27 May 17)
- CFP: The Coarseness of the Brontës: A Reappraisal (Durham, 10-11 Aug 17)
- CFP: Material and Sensory Cultures of Religion
- CFP: Material Culture Research Symposium (Glasgow, 12 June 17)
- CFP: American Identities on Land and at Sea (New York, 21 Apr 17)
My final pick is the CFP for the multidisciplinary collection Colonial Caribbean Visual Cultures, which examines ‘the creation and circulation of colonial visual cultures from the Caribbean during the eighteenth and nineteenth centuries’. The CFP reminded me of another recent publication, The Colour of Shadows: Images of Caribbean Slavery by Judy Raymond. I’m excited to read each of them.