I’m thrilled to have been awarded a Harry Ransom Center Short Term Research Fellowship in the Humanities to conduct research on my postdoctoral research project on collage before modernism. The Harry Ransom Center has a wealth of collections relevant to the project, including the infamous (but rather unstudied) Durenstein! Blood Book, created by John Bingley Garland in 1854 and given to his daughter shortly after. The ‘Blood Book’ is just one object I’ll be looking at during my month-long research fellowship at the Center, which I’ll be taking in 2018.
Please join us for the next session of this year‘s Eighteenth-Century Research Seminar series at the University of Edinburgh. The session will present new work on eighteenth-century material culture and will feature Hannah Lund (University of Edinburgh) whose presentation is titled ‘Enthroned: The Sitter’s Chair of Sir Joshua Reynolds 1760-1879’, and Suchitra Choudhury (University of Glasgow), on ‘Fashion and Textiles: A Postcolonial Reading of Sir Walter Scott’.
All welcome. Seminars are held at the Institute for Advanced Studies in the Humanities, University of Edinburgh, from 4:30-6pm, and are followed by a drinks reception.
You can also follow the series on its twitter account @ECRS_Edinburgh. We’ll be live-tweeting the papers from that handle.
Robert Dighton, The Macaroni Painter, or Billy Dimple sitting for his Picture, 1772. British Museum, London.
First up, Dominic Janes’ post, ‘A Queer Taste for Macaroni‘, on the Public Domain Review. I recently had an article accepted for a special issue of Aphra Behn Online: Interactive Journal for Women in the Arts, 1640-1830 that explores the concept of “camp” with regards to eighteenth-century studies. My article will locate macaronism within a visual and ironic rhetoric of campness, and Janes’ new book Oscar Wilde Prefigured: Queer Fashioning and British Caricature, 1750-1900 is an essential resource for this work.
Secondly, I was hugely excited to read about the National Gallery of Victoria’s upcoming exhibition Love: Art of Emotion 1400–1800, which draws upon the NGV’s diverse permanent collection to explore the theme of love in art, and the changing representations of this complex emotion throughout the early modern period in Europe.
I also enjoyed reading this review of the Fitzwilliam Museum, Cambridge’s exhibition Madonnas and Miracles: The Holy Home in Renaissance Italy, which the role of domestic objects in sustaining and inspiring faith.
I was also intrigued to read: this post from Notches Blog on ‘Porno Chic and the Sex Wars: A Roundtable on the Politics of Sexual Representations in the 1970s‘; and this fascinating article on the spiritualist artist Hima af Klint.
I’ve got several multi-media picks this week: first, this episode of The Why Factor on using our hands; this episode of the Art Detective Podcast on Tipu’s Tiger – with Sona Datta; and finally, this video of Mary Beard’s lecture, Women in Power.
The following CFPs and conferences also caught my attention this week:
CFP: Fashion, Dress, and Post-Postmodernism (September 20, 2017)
CFP: Vistas. 19th Century Studies (Philadelphia, 15-17 Mar 18)
CONF: Rejection & Recovery in the History of Art & Architecture (Boston, 24-25 Mar 17)
CFP: Early Netherlandish Art in the Long 19th Century (Ghent, 24 – 26 May 18)
CFP: Art of Power: The 3rd Earl of Bute, Politics and Collecting in Enlightenment Britain (2nd Oct 2017 – 4th Oct 2017)
WORKSHOP: Approaching Inner Lives: Thinking, Feeling, Believing, 1300-1900 (Tuesday 28 March 2017)
Queen Charlotte (detail; 1771), Johan Joseph Zoffany.
First up this week, this Apollo Magazine review of Yale Centre for British Art‘s exhibition Enlightened Princesses: Caroline, Augusta, Charlotte and the Shaping of the Modern World, which runs until April 30th (frustratingly, just one day before I arrive there as a visiting scholar!).
Secondly, I read Alice Kelly’s article ‘How to make writing in the humanities less lonely‘, which discusses TORCH’s writing group with interest, as the group was a crucial source of inspiration for our own version in Edinburgh.
I thoroughly enjoyed this post from the National Museum of Scotland on Owen Jones’ Grammar of Ornament, which is an important object within the museum’s newly curated art and design galleries.
The Storifys for each day of the three days of the War Through Other Stuff conference are now available here. I’ll be posting some thoughts from the conference in an upcoming blog post next week.
I was also captivated by this Victoria and Albert Museum video ‘Garnitures: Vase Sets from National Trust Houses‘, which examines rare surviving examples of vase sets and ceramic ornaments from National Trust houses being displayed on furniture and in period rooms at the V&A.
I was excited to see that the special inaugural issue of the Journal of Romanticism, on Romanticism and mysticism, is now available for purchase.
Finally, I saw a reminder this week that all of the University of Cambridge Things sessions are available as podcasts online – I must catch up asap!
The following CFPs, conferences and CFAs also caught my attention this week:
CFP: Evidence of Power in the Ruler Portrait, 14th – 18th Centuries (1-2 Dec 17)
CFP: Material Histories of Time: Objects and Practices, 14th-18th centuries (La Chaux-de-Fonds, Musée international d’horlogerie, November 30 – December 1, 2017)
CFP: “Hawthorne and Things” MLA 2018
CONF: Dress and Diplomacy (Copenhagen, 22 Mar 17)
CFP: AAH Summer Symposium: Re/presenting the Body (Glasgow,
6-7 Jul 17)
CFP: Collections – Scholars – Interpretations (Tbilisi, 2-3
CONF: Graduate Student Symposium – History of 19th-Century Art (New York, 26 Mar 17)
CFP: Special issue of Southern Cultures: Southern Things (Material Culture)
CFA: The Pre-Raphaelites and Antiquity (Special Issue Open Cultural Studies)
CFA: On Uses of Black Camp (Special Issue Open Cultural Studies)
CFA: Materiality, Objects and Objecthood (Special Issue Open Cultural Studies)
First up, I really enjoyed watching Dr Juliet Shields’ fortuitously timed lecture, ‘Did Sir Walter Scott Invent Scotland?’, which comes just ahead of my lectures on Scott’s legacy, visual representation, and his home of Abbotsford, which begin next week.
Secondly, I’m excited to see the National Museum of Scotland’s new free exhibition, Scottish pottery: Art and Innovation, which examines the wide range of pottery produced in the last 250 years.
I was interested to see that The John Rylands Library is hosting the event Rip It Up: A Celebration of the Counter-Culture, which includes a zine workshop. Thanks to their evocative collaged forms, zines are something that I’m becoming increasingly interested in. Due to their strong counter-cultural, extra-canonical nature, the production and consumption of zines can be a useful way to explore minority and non-heteronormative identity, something that I’d like to investigate in the future.
I’m looking forward to spending a few hours reading the latest volume of the Cahiers Victoriens et Édouardiens journal, a special issue entitled Object Lessons: The Victorians and the Material Text.
The Morgan Library’s new exhibition, I’m Nobody! Who are you? The Life and Poetry of Emily Dickinson, examines twenty-four poems as well as ‘an array of visual material, including hand-cut silhouettes, photographs and daguerreotypes, contemporary illustrations, and other items that speak to the rich intellectual and cultural environment in which Dickinson lived and worked’.
This post about the wallpaper collector Suzanne Lipschutz is full of beautiful examples of vintage wallpapers.
I enjoyed reading a number of blog posts this week, including Shane Doyle’s post for Notches Blog (which is a perennial favourite of mine) ‘Local Sexual Cultures and the Response to HIV/AIDS Along the Uganda-Tanzania Border‘, which explores the history of how HIV understood within African communities. Hailey Maxwell’s post ‘DECAPITATION IN THE “LOW” SURREALIST REVOLUTION‘ is fascinating exploration of what ‘revolution’ is.
The following workshops and conferences also caught my eye this week:
CFP: International Design Organisations (Brighton, 8-10 Nov 17)
CFP: On the Matter of Blackness in Europe: Transnational Perspectives (May 4-5, 2017)
CFP: Corporeal Materiality (Dallas, 8 Apr 17)
CFP: David B. Warren Symposium on American Material Culture and the Texas Experience
CONF: Private Collecting and Public Display (Leeds, 30-31 Mar 17)
CONF: Symbolic Articulation (London, 10 Mar 17)
CFP: Culture on the Move in Edwardian Britain (Lancaster, 8-9
CFP: The material culture of exploration and academic travel, 1700-1900
Finally, I was thrilled to see that the National Trust and National Archives are hosting the event, ‘Queer city: London club culture 1918 – 1967‘, which will re-create the interiors of The Caravan, London’s queer-friendly members club of 1934.
First up this week, is the Victoria & Albert Museum’s exhibition Lockwood Kipling: Arts and Crafts in the Punjab and London, a fascinating exploration of the life, work and lasting impact of John Lockwood Kipling (1837 – 1911), an artist, writer, museum director, teacher, conservationist and influential figure in the Arts and Crafts movement. The exhibition includes a wide array of objects, including book plates, jewellery, furniture, photographs, and other forms of decorative art. The exhibition is complemented by the conference The Many Careers of John Lockwood Kipling (25 Feb), and runs until 2 April.
Secondly, I enjoyed Pat Thomson’s post, ‘What does a book proposal reviewer do?‘. Having recently acted as a reader for a press, while concurrently having my own book proposal under review at another, the ideas in this post are something I’ve been thinking about a lot.
I was interested to note two complementary conferences on issues of photography and materiality, the first Photo Archives VI: The Place of Photography (Oxford, 20-21 Apr 17), and the second, Photo-Objects. On the Materiality of Photographs and Photo-Archives in the Humanities and Sciences (Florence, 15-17 Feb 16). As I continue my new research on photocollage, I’m becoming increasingly concerned with the idea of photograph-as-object, something that these conferences also look to explore.
As a keen advocate of academic blogging, I read Jeanne de Montbaston’s post Why do academic blogging? with interest. I find it particularly interesting that so much of de Montbaston’s teaching and research output starts life in the blog post form. I’m keen to experiment with blogging from the early stages of my research process for my new project on collage.
I’m eager to hear more about the newly-launched Eighteenth-century Arts Education Research Network (EAERN), which recently received funding from the Royal Society of Edinburgh. The network ‘brings together an international community of researchers in music, art, literature, history, and dance to share approaches to investigate eighteenth-century arts educational materials‘.
The following conferences, seminars, and CFPs also caught my eye:
CFP: At Close Quarters: Experiencing the Domestic, c.1400-1600
CFP: Beyond Between Men: Homosociality Across Time
CFP: Imagined Forms: Models and Material Culture, UD-CMCS/Hagley; November 2017
Programme: Edinburgh’s Nineteenth-Century Research Seminars
CFP: Mapping Black Mobilities and Identities in the Long 19th Century
CFP: Harts & Minds, Vol.3, Issue 2 (2017) ‘Embodied Masculinities’
CFP: Arthur Symons at the Fin de Siècle (21 July 2017)
CFP: Beyond the Home: New Histories of Domestic Servants (Oxford, 8 September 2017)
CFP: Printmaking in America, 1800-1865 (Gloucester, 28 Oct 17)
CFP: Full Circle: The Medal in Art History (New York, 8-9 Sep 17)
Photo via @
A number of institutions are seeking to preserve the material culture and oral history of last week’s Women’s Marches: the Bishopsgate Institute (London) are collecting placards, signs, and posters made as part of the event, while History Workshop Journal issued a call for contributions for reflections from those who attended.
The following journals, CFPs, and events also caught my eye:
TOC: ABE Journal – Architecture Beyond Europe, Issue 9-10, 2016
Lent term Things that Matter programme
Workshop African Americans and the Making of Early New England
GSA Seminar: Feminist Scholar-Activism and the Politics of Affect
York Summer Theory Institute in Art History 2017
CFA: NEH Summer Institute: Beyond East and West: Exchanges and Interactions across the Early Modern World (1400-1800)
CFP: Journal18 – Coordinates (Spring 2018)
CONF: Early Modern Viewers and Buildings in Motion (Durham, 25 Feb 2017)
CFP: Queer Modernism(s)
CFP: Evidence of Feeling: Law, Science and Emotions in Modern Europe
CFP: Women’s and Gender History Symposium (Urbana-Champaign)
I also enjoyed Will Pooley’s post ‘Write regularly‘, which provided both interesting reflection on, and practical responses to, this oft-heard advice.
Finally, check out Charlotte Mathieson’s fascinating review of the Victorians Decoded: Art and Telegraphy exhibition, on at the Guildhall Art Gallery.