My review of Heather McPherson’s 2017 book Art and Celebrity in the Age of Reynolds and Siddons is now available online as an early view copy from the Journal of Eighteenth-Century Studies. Check it out here.
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!
My final ‘favourite collage’ that I’m going to share for my IASH twitter takeover are these windows, located in the Library at Plas Newydd, North Wales. Home to the so-called ‘Ladies of Llangollen’, Eleanor Bulter and Sarah Ponsonby, from around 1788 until 1831, Plas Newydd was (and still is) adorned with a rich collection of objects, many of them given to the women by their close friends, and subsequently integrated into the very fabric of their home.
This process of acquisition and integration is exemplified by the construction of the stained-glass windows of the house’s library. Employing glass variously found at Valle Crucis, a nearby ruined abbey; purchased from the Birmingham glass maker and painter, Francis Eginton; and donated by the women’s friends; the windows form an intoxicating bricolage of brightly coloured and fragmented glass, encompassing representations of biblical scenes, heraldry, foliate designs, abstract patterns, and block colour.
This included a casement of glass from their friend Mr Owen, who had recently removed the stained glass of his home, Brogyntyn Hall. While this gift has an obvious antiquarian significance, its relocation into the space of Plas Newydd built on this genealogical function to reinforce the relationship between donor and recipient. Made from numerous gifted fragments, the house’s stained glass windows function as a tribute to the thriving gift culture in which Butler and Ponsonby and their friends were implicated. At the same time, by combining these with a diverse array of collected, found and acquired, pieces of glass, they also demonstrate the connectedness between the women, their acquaintances, and their locale.
I talk more about gift culture of Plas Newydd in my book, Home Ties: Materiality, Sociability, and Emotion in British Domestic Space, 1750-1840, which is currently under review at Bloomsbury (and hopefully I’ll be able to post an update about this very soon!!). I’ve so enjoyed being able to share some of the key collages for my postdoctoral research project with you on the IASH twitter page this week, so I think I’ll make this a regular series on the blog as the project develops.
Hatfield Family Bible, Case folio BS185 1838.N4, Newberry Library
A round up of CFPs, conferences, and posts from the last week (…or so).
First up: a bit of self promo. There’s still a little while left before the deadline for our call for articles for the special issue of Nineteenth-Century Gender Studies, Making Masculinity: Craft, Gender, and Material Production in the Long Nineteenth Century. We’d love to see articles from you! The full CFA is available here.
Similarly, Cole Collins and I are really excited to read your collage-related abstracts for our upcoming conference Collage, Montage, Assemblage: Collected and Composite Forms, 1700-Present. The CFP is available here, and we even wrote a post on our favourite scholarly works on collage here.
Next, this post from the Newberry’s blog, The Rite Stuff, examining ‘Family History in a Bible’. I really enjoy the object biography approach taken to the object.
CFPs that caught my eye this week included:
CFP – Passing: Fashion in American Cities
CFP – Interior Provocations – Interiors without Architecture
CFP – Making Things Modular
CFP – Fire and Water: Entangled Histories of Empire and Science in the Early Modern Americas
CFP – Remarkable Things: The Agency of Objecthood and The Power of Materiality
CFP – Creative Pedagogies: Approaches to the Commonplace Book
CFP – C19: Acts of Consumption: Performance, Bodies, Culture
CFP – Crafting an Enlightened World: Patronage & Pioneers
Today marks the beginning of my last week of my Short-Term Research Fellowship at the Winterthur Museum, so once the craziness of the summer has passed, I’ll be back to regular Week in Review posts, so watch this space!
My review of the National Museum of Scotland’s Summer exhibition Bonnie Prince Charlie and the Jacobites is now up on the BSECS Criticks site. Read it here.