CFP: Modern(ist) objects? The objet trouvé in the eighteenth and nineteenth centuries – AAH 2019 Session
Anne Vallayer-Coster, Still-Life with Tuft of Marine Plants, Shells and Corals, 1769.
I’m hugely excited to be working with Molly Duggins (National Art School, Sydney), on a panel for next year’s Association for Art History conference, which will be held in Brighton. The session hopes to think about how the found object – traditionally discussed in relation to Modernist cultural practices – might be a useful means of considering eighteenth- and nineteenth-century material culture. The CFP for the session is below, and abstracts are due Monday 5 November.
Modern(ist) objects? The objet trouvé in the eighteenth and nineteenth centuries
Molly Duggins, National Art School, Sydney Molly.Duggins@nas.edu.au
Freya Gowrley, University of Edinburgh email@example.com
Marcel Duchamp’s series of ‘readymades’, particularly the infamous Fountain of 1917, are often viewed as heralding a watershed moment in the history of art. Produced between 1913 and 1921, Duchamp utilised found and appropriated objects, often drawn from everyday life, to redefine and question the very nature of art. Yet the art historical emphasis on the revolutionary nature of Duchamp’s practice overlooks the productive possibilities offered by a longer and more fluid notion of the found object, or objet trouvé. Indeed, found objects have a long and venerable history stretching back well before the advent of Modernism, being used in the production of an array of cultural practices throughout the eighteenth and nineteenth centuries. Transformed by aesthetic and material processes such as display, translation, and adaptation, both everyday and extraordinary found objects proliferate in collections, collages, still lives, manuscripts, and assemblages made throughout this period. This session accordingly seeks to examine the expanded field of the found object and the readymade by exploring these earlier manifestations. We invite proposals for papers on topics including, but not limited to:
- acts of acquisition
- the collection
- historiographies of the found object
- mass production and/or commodification
- fragments, scraps, excerpts, and pieces
- dialogues of production and consumption
- circulation and exchange of found objects
Please send abstracts of no more than 300 words to firstname.lastname@example.org and email@example.com.
CFP: Collage, Montage, Assemblage: Collected and Composite Forms, 1700-Present (University of Edinburgh, 18-19 April 2018)
Deadline for abstracts: 1 December 2017
This two-day multidisciplinary conference will explore the medium of collage across an unprecedentedly broad chronological range, considering its production and consumption over a period of more than three hundred years. While research on paper collage plays a key role in histories of modern art, particularly of the 1920s and 1930s, its longer history and diverse range of manifestations are often overlooked within art historical scholarship. Though important work is being done on collage at both the level of the individual work and the medium more broadly, this has often overlooked collage’s multitudinous forms and assorted temporal variants. This conference accordingly aims to tackle this oversight by thinking about collage across history, medium, and discipline. Employing an inclusive definition of the term, the conference invites papers discussing a variety of material, literary, and musical forms of collage, including traditional papier collé alongside practices such as writing, making music and commonplacing, and the production of composite objects such as grangerized texts, decoupage, quilts, shellwork, scrapbooks, assemblage, and photomontage.
In so doing, the conference will situate histories of modernist collage in relation to a much broader range of cultural practices, allowing for productive parallels to be drawn between the cultural productions of periods that are often subject to rigid chronological divisions. Reciprocally, the conference will encourage a consideration of collage made in the eighteenth and nineteenth centuries against key concepts and methodologies from the study of modernism and postmodernism, such as the objet trouvé or assemblage. From papier collé to the digital age, the conference will highlight collage’s rich history and crucial role in cultural production over the last three hundred years.
We invite contributions from scholars working in the fields of art history, history, music, material culture studies, and literature. We also welcome and encourage papers from practitioners working in any medium whose practice is influenced by collage, assemblage, and/or montage. Potential topics could include, but are not limited to:
- Collage as medium
- Collage, assemblage, montage: terminologies and categories
- Defining/redefining collage
- Making/viewing collage
- Collage and identity
- Collage and intention: chance, agency, intentionality
- Collage and the modern/pre-modern/postmodern
- Collage in art historical writing/literary criticism
- Object biographies
- Collage as political tool
- Collage in space
- Collage in the digital age
- Collage and collaboration
- Processes: collecting, collating, compiling, combining
- Collage in/as music
- Writing/reading collage
- Collage and geography
Please send abstracts of no more than 300 words, and biographies of no more than 100 words, to Cole Collins and Freya Gowrley at firstname.lastname@example.org by 1 December 2017.
CFA: Making Masculinity: Craft, Gender, and Material Production in the Long Nineteenth Century, Nineteenth-Century Gender Studies Special Issue
CFA: Making Masculinity: Craft, Gender, and Material Production in the Long Nineteenth Century
Guest Editors: Dr Katie Faulkner (The Courtauld Institute of Art and Arcadia University) Dr Freya Gowrley (University of Edinburgh)
This special issue of Nineteenth-Century Gender Studies will use ‘craft’ as a framework for understanding how various forms of masculinity were constructed and expressed during the long nineteenth century (1789-1914) in Britain and internationally.
Narratives focusing on the heroic male artist and privileging the ‘fine art’ over the ‘decorative’ emerged in the nineteenth century and were perpetuated by modernist writers and formalist art historians throughout the twentieth century. Yet the continuing preoccupation with the male genius and his masterpieces has been challenged by feminist interventions in art historical scholarship, often by reintroducing the significance of craft, and its female practitioners, into histories of material production. This endeavour has found a particular ally in material culture studies. Unburdened by art historical divisions between the fine and decorative arts, high art and craft, a substantial literature on the relationship between women and material culture in the eighteenth and nineteenth centuries has recently emerged (see for example Maureen Daly Goggin and Beth Fowkes Tobin’s four-part edited collection on Women and Things: Gendered Material Strategies, 1750-1950 (2009), Material Women, 1750-1950: Consuming Desires and Collecting Practices (2009), Women and the Material Culture of Needlework and Textiles, 1750-1950 (2009), and Women and the Material Culture of Death (2013)). Despite this historiographical richness, the figure of the male crafter is noticeably absent from the history of nineteenth-century art and culture, aside from notable exceptions associated with the Arts and Crafts Movement, such as William Morris and Charles Robert Ashbee, and organisations like the Art Worker’s Guild.
Nevertheless, the ideas and practices of craft permeated the very fabric of everyday life in the nineteenth century. As a material category, craft encompasses a diverse range of objects, the production of which was central to a number of professional and personal masculine identities. Produced within or outside of the art academy or studio, made singly or collaboratively, and used to express both public and private selves, craft provides a compelling metaphor for thinking about how nineteenth-century masculinity was itself ‘made’. Focusing on objects and figures that have previously been overlooked within scholarship, the issue will reveal forgotten narratives and ignored identities, thereby providing an alternative material record of masculinity in the long nineteenth century.
This interdisciplinary special issue will explore the material and metaphorical role of craft in constructing nineteenth-century masculinities, enriching an already vibrant secondary literature on gender and material culture. Potential topics might include, but are not limited to:
- tensions between domestic practices and professional craftsmanship
- collaboration and homosociability
- craft and queer masculinities
- craft and emotion
- craft and recuperation
- the arts and crafts movement
- craft made by prisoners, soldiers, and sailors
- craft as an elite hobby/craft as a labouring class pursuit
- craft in the age of mechanical reproduction
- craft and dress
- craft as/and self-fashioning
- craft as activism
- the idea of masculinity as ‘crafted’
We encourage submissions of 5,000-8,000 words on any aspect of the relationship between masculinity and craft during the period 1789-1914. Submission guidelines for Nineteenth-Century Gender Studies are available here. Submissions that are accepted will be subject to blind peer-review. Deadline for completed manuscripts is 30th October 2017. Please send all manuscripts and queries/abstracts to email@example.com
Images: Rodolphe Christen, George Sim in His Workshop, Aberdeen, 1890, oil on canvas. Aberdeen Art Gallery and Museums & J.M.W. Turner, An Artists’ Colourman’s Workshop, c. 1807, oil on wood. Tate.
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)
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 politics and culture in eighteenth-century Scotland, and will feature Nicola Martin (University of Stirling) whose presentation is entitled ‘Improvement, Stadial Theory, and the Pacification of the Highlands in the mid-Eighteenth Century’, and Thomas Archambaud, (Independent) who will be speaking on’The Highland Bard and the Prime Minister: James Macpherson, Lord Bute and the politics of Scottish patronage in the age of Enlightenment’.
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.
First up, I’m hugely excited by the programme for this year’s Slade Lectures, which will be given by Caroline van Eck. Eck’s work on objects, experience, senses, rituals and neoclassicism are critical in my own work, but the Lectures are an unmissable series for anyone interested in the history of art. Fingers crossed the lectures will be podcasted, as they have been in previous years.
I read with interest Nathan Perl-Rosenthal’s series on ‘Plotting Revolution‘, for the Age of Revolutions blog. This three-part series considers the complex relationship between history and narrative, something which is also explored in the fascinating Storying the Past project, which will discuss the book The Extraordinary Work of Ordinary Writing (and therefore, issues surrounding women’s life-writing and biography) via twitter in February.
I also enjoyed Anne-Lieke Brem’s post Things that matter(-ed): A biography of anatomical votive reliefs for The Votives Project, which reflects on issues of biography and the changing value of ancient votive reliefs as ‘things’.
I was also made aware of the Association for Critical Race Art History‘s fantastic bibliographic resource this week. Their site provides a number of bibliographies, divided by region, for those seeking to investigate issues of race and ethnicity in art and visual culture. These extensive bibliographies are available here.
As ever, the latest issue of the Journal of Art Historiography provides a fascinating selection of articles, translations and discussions. In the December 2016 issue, I was particularly intrigued by the discussions of ‘Baroque for a wide public’, which seek to add nuance to dominant histories of this global movement.
The following CFPs, CFAs and conferences also caught my attention this week:
CFP: Carnal Canucks, Histories of Sexuality in Canada
CFP: ANTIPODEAN ANTIQUITIES: CLASSICAL RECEPTION ‘DOWN UNDER’
CFP – Nostalgia & Consumer Culture in the 20th Century; SSHA 2017
CFC: The Spaces and Places of Horror
CONF: Coding and Representation
CONF: Trauma & Melodrama: Emotions in the Public Sphere / Conference in Cinema and Media Studies at the University of Chicago
CFP: From Abolition to Black Lives Matter: Past and Present Forms of Transnational Black Resistance
CFP: Photography and the Histories of Working Peoples and Laboring Lives
Finally, I’m excited to see the Glad to be Gay exhibition, which draws on the unique Hall-Carpenter Archives and the Women’s Library collection to mark the 50th anniversary of a pivotal piece of legislation, the 1967 Sexual Offences Act. Glad to be Gay will be at LSE, London, until April.