I’m currently in London for the Association for Art History’s 2018 Annual Conference, which is being held between the Courtauld Institute and King’s College London from tomorrow until Saturday. As ever, I’m struggling to whittle down the panels I want to go to, so I thought I’d post my long list of recommendations for sessions. Also, if you’re at the conference, come and say hi!
Thursday 5th April, 2018:
Contemporary Art Histories
Convened by Sam Rose and Emalee Beddoes, this panel promises a fascinating examination of both the role of contemporary art in writing art history, and what contemporary art histories look like. This particularly appeals to me due to a couple of case studies for my collage project, which actively use modern/postmodern art historical ideas to rethink the art of the past. Highlights from this session include papers on Giotto and Kauffman through a contemporary lens.
HIV in Visual Culture: Looking to interdisiplinary approaches & global histories
Neil MacDonald and Jackson Davidow’s session HIV in Visual Culture, provides a transnational, institutional history of the artistic and cultural production associated with the pandemic. I’m particularly keen to hear the papers dealing with HIV/AIDS in the archive.
Mechthild Fend and Anne Lafont’s panel, Textility, is probably the one I’ll go to tomorrow. Dealing with the relatively new theoretical framework of ‘textility’, the session examines the technologies of textiles, intersections with other art forms, and hierarchies. Highlights include Marcia Pointon’s paper (Marcia Pointon is always a highlight, tbh), copper smithing, and lamé.
Friday 6th April, 2018
Beyond Disciplinary Boundaries: History of Science and History of Art
This roundtable, hosted by Katy Barrett, Sachiko Kusukawa, Alexander Marr, Sietske Fransen, Katherine Reinhart, and Joanna Woodall comes out of the AHRC-funded project, ‘Making Visible: the visual and graphic practices of the early Royal Society’. The session abstract talks about the specific relevance of such an interdisciplinary approach for the early modern period, particularly in terms of histories of collecting. This should be a really fascinating discussion.
Dialogues: Things and their collectors
Nicole Cochrane, Lizzie Rogers, & Charlotte Johnson’s panel, Dialogues: Things and their collectors, is where you’re likely to find me on Friday. I couldn’t be more excited for all the mourning, ruins, and ceramics.
Saturday 7th April, 2018
Dangerous Portraits in the Early Modern World
Jennifer Germann and Melissa Percival’s session on dangerous portraits promises a fascinating reassessment of the genre. Topics include radical, mutinous, painful, and colonial portraiture.
Seeing and Hearing the ‘Beyond’: Art, music and mysticism in the Long 19th Century
My second pick for Saturday is Michelle Foot and Corrinne Chong’s panel, on the interrelationship between art, music, and mysticism between 1789 and 1918. Crossing artistic, disciplinary, and geographical boundaries, the papers ask what testing these distinctions might tell us about nineteenth-century spiritualism.
I’m absolutely delighted to have been awarded a six-month Postdoctoral Fellowship at the Paul Mellon Centre for British Art to conduct research for my project Collage before Modernism. When I’ll take the Fellowship will depend on how the next year shapes up, but I’ll do a lengthier post soon detailing what I’ll be up to during the Fellowship soon!
Programme and Registration for Collage, Montage, Assemblage: Collected and Composite Forms, 1700-Present
The programme and registration details for our conference Collage, Montage, Assemblage: Collected and Composite Forms, 1700-Present are now online. The event will be preceded by a free half-day PG/ECR workshop, Collage in History, Theory, and Practice. Registration for this event is available here. But be quick – tickets are very limited for both events!
It’s been a while since I’ve done a Week in Review post, which is a shame as I find them a useful resource to look back on, particularly for noting historiographical trends. Today, I’m getting back in the habit with a quick post on the last week.
First up, the Public Domain Review featured this completely amazing Autograph Quilt, made by Adeline Harris Sears, c.1856–1863. This beautiful quilt, begun around 1856, features numerous autographs of people of note in nineteenth-century America, stitched together with a diverse selection of fabric scraps. During my Short-Term Research Fellowship at the Winterthur Museum and Library in August of last year, I spent some time examining their fascinating collection of autograph quilts, working on a case study for my project Collage before Modernism, so I was really excited to see this incredible specimen! For more photos and discussion, see the Public Domain Review site.
So many fascinating books caught my attention this week, including: Making Milk: The Past, Present and Future of Our Primary Food; New Perspectives on the History of Facial Hair: Framing the Face; Griselda Pollock’s hugely anticipated Charlotte Salomon and the Theatre of Memory; Exhibiting War: The Great War, Museums, and Memory in Britain, Canada, and Australia; and Forms of Empire: The Poetics of Victorian Sovereignty, which are now all firmly on my ‘to-read’ list. I was also hugely excited to learn about Robin Mitchell’s forthcoming book VÉNUS NOIRE: Black Women, Colonial Fantasies, and the Production of Gender & Race in France, 1804-1848, but it has yet to be released!
Finally, the following CFPs and conferences also peaked my interest:
CONF: Interior – inferior – in theory? (Berlin, 17-18 May 18)
CFP: Sexuality and Consumption – 18th Century to 21st Century; Vienna, Nov. 23/24
BOOK – Domestic Space in Britain, c.1750-1840: Materiality, Sociability and Emotion (Forthcoming, Bloomsbury Academic)
I’m thrilled to announce that my book, Domestic Space in Late Georgian Britain: Materiality, Sociability and Emotion, c. 1750-1840 is now under contract with Bloomsbury Academic. I’ll be writing more posts about the book as it develops, but for now, I want to share the book’s draft blurb:
Between 1750 and 1840, the home took on unprecedented social and emotional significance. Focusing on the design, decoration, and reception of a range of elite and middling class homes from this period, Domestic Space in Late Georgian Britain demonstrates that the material culture of domestic life was central to how this function of the home was experienced, expressed, and understood at this time. Examining craft production and collection, gift exchange and written description, inheritance and loss, it carefully unpacks the material processes that made the home a focus for contemporaries’ social and emotional lives.
The first book on its subject, Domestic Space in Late Georgian Britain employs methodologies from both art history and material culture studies to examine previously unpublished interiors, spaces, texts, images, and objects. Utilising extensive archival research; visual, material, and textual analysis; and histories of emotion, sociability, and materiality, it sheds light on the decoration and reception of a broad array of domestic spaces. In so doing, it writes a new history of late eighteenth- and early nineteenth-century domestic space, establishing the materiality of the home as a crucial site for identity formation, social interaction, and emotional expression.
In the second of my IASH Twitter Takeover ‘favourite collages’ posts, I want to talk about something that you might not think about as being a collage at all – two commonplace books made c.1885 by Ellen Warter, the granddaughter of the Romantic poet Robert Southey, now held at the Centre for Research Collections at the University of Edinburgh.
Page from the commonplace book of Ellen Warter, granddaughter of Robert Southey, Coll-1559, Centre for Research Collections, University of Edinburgh.
A popular practice since classical antiquity, the production of commonplace books involved the compilation of excerpted texts from a broad array of writers on a variety of topics. Like traditional paper collage, then, they are collections of materials from a range of different sources, reformulated into a new object. Despite this compiled and composite nature, commonplace books are rarely conceived of in relation to collage. Instead, they tend to be discussed more as records of reading practices, knowledge exchange, and education.
Yet Ellen Warter’s commonplace books tell a more complex story than this.Warter devoted over 300 pages of her volumes to the lives and literature of the Brontë family, who were the objects of her sustained estimation, affection, and documentation. This specific emphasis upon the Brontës relates Warter’s albums to a specific type of album-making: namely, the production of volumes dedicated to literary celebrities, a practice enacted throughout the nineteenth century. Beyond this fascination with the Brontës however, the practice of commonplacing was firmly intertwined with Warter’s own family history. As the granddaughter of Robert Southey, she was part of a family whose own commonplacing and album-making spanned several generations. Warter’s grandfather, aunts, mother, and father all made, or contributed to the production of, composite volumes, a literary inheritance that places Warter’s own productions within a longer history and set of material practices. Crucially, such practices were also enacted within the broader Romantic circle, with Southey contributing to the volumes of his friends’ daughters, and Samuel Taylor Coleridge, Caroline Bowles, Charles Lamb, and Edward Quillinan reciprocally adding poems to the albums of Edith Southey, Warter’s mother. For Warter then, commonplacing was not only an educative practice, but an inherently social one, with her compilation of ‘Brontëana’ consistent with the collective practices of her own extended literary family.
More than the sum of their collaged parts then, Warter’s commonplace books are not only a collection of individual details and textual clippings, but evoke the broader contexts of authorship, celebrity, and collaboration.