CfP: Association of Art Historians 2017

AAH2017 

43rd Annual Conference and Art Book Fair

Loughborough University

6 – 8 April 2017

Deadline for Proposals: 7 November 2016

 

AAH2017’s Call for Papers includes two sessions of interest to RIN’s members, readers and followers:

 

Prints in Books: the materiality, art history and collection of illustrations

Convenor: Elizabeth Savage, Cambridge University, leu21@cam.ac.uk

 

Speculative Libraries

Convenor: Nick Thurston, University of Leeds, n.thurston@leeds.ac.uk

 

Please email your paper proposals straight  to the session convenor(s). Provide a title and abstract for a 25 minute paper (max 250 words). Include your name, affiliation and email. Your paper title should be concise and accurately reflect what the paper is about (it should ‘say what it does on the tin’) because the title is what appears most first and foremost online, in social media and in the printed programme.

You should receive an acknowledgement of receipt of your submission within two weeks.

 

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Reminder: RIN’s summer event, ‘Staging Shakespeare’, London July 19th

‘Staging Shakespeare: picturing Shakespeare’s plays in the 18th and 21st centuries’.
Professor Fred Burwick, University of California Los Angeles

Tuesday 19th July 2016
6.30pm – 8pm
City of Westminster Archives Centre, 10 St Ann’s St, London, SW1P 2DE

Join us for an event to celebrate Shakespeare’s 400th Anniversary, with a free public lecture followed by a wine reception (sponsored by the British Association for Romantic Studies).

Download the poster at https://romanticillustrationnetwork.wordpress.com/2016/05/03/rin-event-fred-burwick-staging-shakespeare-public-lecture-at-westminster-archives-july-19th-2016/.

 

RIN member Fred Burwick will share his expert knowledge of the Boydell Shakespeare Gallery, opened in Pall Mall in 1789. The talk will examine the extent to which any of the scenes in the Boydell Gallery might be presumed to represent how Shakespeare was actually performed during the period, and also consider present-day models of representation.

Prints from the Gallery will be on view, as well as a display about Shakespeare.

To book, contact: City of Westminster Archives Centre, 10 St Ann’s St,London, SW1P 2DE
Tel: 020 7641 5180
Email: archives@westminster.gov.uk

 

AHRC Collaborative Doctoral Partnership: Fully-funded PhD studentship

AHRC Collaborative Doctoral Partnership: Fully-funded PhD studentship

Modern Mistresses on the Old Masters: nineteenth-century women writers on western European art – their networks and influence

Birkbeck, University of London (School of Arts)

The National Gallery, London

Application Deadline: 12 noon, 22nd April 2016.

Applications are invited for an AHRC-funded PhD studentship on the role of women as disseminators of knowledge about the Old Masters, focusing especially on those who induced a greater interest in the collection at Trafalgar Square. It explores the social and cultural history of the Gallery’s present-day efforts to democratize access to its collections and reach new audiences by examining the understudied critical and art-historical writings of nineteenth-century women, which typically had a more popular reach than that of their male counterparts while also speaking to specialists, then and now.

This studentship is one of a number awarded to the National Gallery, as part of the AHRC’s new Collaborative Doctoral Partnership Scheme.

The supervisors of the project have identified the following issues for research, although the student has the scope to develop both the topic and approach, in conjunction with the supervisors.

What contribution did Victorian women writers make to scholarship on the Old Masters in the National Gallery’s collection? Did women tend to write about particular artists and periods, and if so why? Did their work affect the canon? How was their work received, and what was its reputation? What has been the subsequent fortuna critica? How might it speak to modern audiences?

Through what networks were these women connected with the National Gallery? How important to their success were such networks and relationships? To what extent did these women’s writings affect acquisition and collecting behaviours at the National Gallery and in the private sphere? Were their opinions taken seriously by the institutional art world? What forms did the work of women writers take, and to what audiences was it was addressed? What was the effect of their cross over between different genres and media? What was the role of the penny press in widening access to the Old Masters in the mid nineteenth century? Were women writers interested in the role of the National Gallery and other art institutions as places of advocacy for mass education?

This project will be supervised by Professor Hilary Fraser, Geoffrey Tillotson Chair in Nineteenth-Century Studies and Dean of Arts at Birkbeck, University of London, whose recent work focuses on women writers and the emergence of art history in the nineteenth century, and Dr Susanna Avery-Quash, Senior Research Curator in the History of Collecting at the National Gallery, whose research interests encompass the history of important private and public art collections.

This studentship will provide the student with invaluable academic skills and experience of working in a major national art museum, as well as deep understanding of women and nineteenth-century approaches to the Old Masters. It will involve the student in a range of interdisciplinary research activities, drawing on archival and primary textual material, various types of art collections and the resources of the National Gallery and Birkbeck.

In addition to working directly on the PhD thesis, it is envisaged that the student will also be engaged in a range of related activities, such as the delivery of research papers, assisting with conference organization, and contributing to a Room 1/Sunley Room exhibition at the National Gallery. She or he will also be expected to play a full role in the research cultures of both institutions.

For application details, please visit:
http://www.bbk.ac.uk/arts/research/research-bursaries-studentships-funding/ahrc-collaborative-doctoral-award-fully-funded-phd-studentship

CFP. Abusing Power: The Visual Politics of Satire

AbusingPowerAbusing Power: The Visual Politics of Satire
23rd Sep 2016 9:00am – 24th Sep 2016 6:00pm
Brighton Museum and Pavilion

A conference organised by the University of Brighton in association with the Royal Pavilion and Brighton Museum. Abstracts due: 9th May 2016 

 

http://arts.brighton.ac.uk/research/c21/events/events-calendar2/abusing-power-the-visual-politics-of-satire

Speakers include:

Steve Bell, political cartoonist
Martin Rowson, political cartoonist
Professor Ian Haywood, University of Roehampton
The Curator of the Cartoon Museum, London
The Curator of Fine Art at the Royal Pavilion Museums

In January 2015, 12 of France’s most familiar cartoonists were shot dead in Paris. The aftermath of the attack on Charlie Hebdo raises significant questions about the status and the potential impact of an image and gives this conference a political urgency. The events in Paris underline both the power of the political cartoonist and the dangers of causing offence to political and religious sensibilities.

In 1820, George Cruikshank and his brother Robert were summoned to Brighton Pavilion by George IV, in an attempt to buy them off from reproducing their salacious satirical cartoons. They were paid off, but continued to produce scurrilous images of the royal family and political figures. The Royal Pavilion now houses one of the best collections of Cruikshank, Hogarth and Gillray in the world, three of the most eminent caricaturists in visual history.

The city of Brighton and the University have a long history of association with cartoon and caricature. This conference offers the opportunity to celebrate the rich history of caricature and cartoons associated with Brighton and to address the important ethical questions that now confront the contemporary cartoonist. It celebrates the rich collections of Cruikshank, Gillray and Hogarth at the Brighton Pavilion and brings together the expertise of practitioners, curators, academic historians and cultural analysts. The conference draws upon the research expertise of the University, on the curatorial experience of museum staff and on cartoonists who currently practice.

This conference is organised by three research groupings from the College of Arts and Humanities at the University of Brighton, the Centre for Applied Philosophy Politics and Ethics, the Centre for Research in Memory, Narrative and Histories and C21: Research in Twenty-First Century Writings, which allows for the interdisciplinary focus that the subject merits.

We invite proposals (c300 words) for both papers and panels on topics which may include, but are not limited to:

Comedy and ethics – what are the responsibilities of a cartoonist? || The curation of cartoons – what should be kept? || How far can you go? Are there limits to what a cartoonist can lampoon? || The legacies of Cruikshank, Gillray and Hogarth || Religion and caricature || Representations of history through cartoon || The impact of caricature on popular ideas of politics || Celebrity and caricature || In what contexts does satire flourish and why? || Is satire necessary?

DEADLINE: Email your proposal and short bio to C21Writings@brighton.ac.uk by 9th May 2016 

Keeping Sketchbooks: Talk and Book Launch, The House of Illustration, King’s Cross, London

Keeping Sketchbooks

14 Apr 2016, 7:00pm

2 Granary Square, King’s Cross London, N1C 4BH

Celebrate the importance of the sketchbook in this evening of illustrated talks as The House of Illustration launch Martin Ursell’s ‘Keeping Sketchbooks’

Sketchbooks are vital to the work of illustrators, artists, designers and even medical professionals. Come along for an evening of talks to celebrate the publication of Martin Ursell’s new book Keeping Sketchbooks.

Hear from three of the book’s nineteen contributors. John Vernon Lord will share his spectacularly detailed and brilliant sketchbooks of doodles and jottings complied over fifty years. Phil Carter of Carter Wong studio gives us a rare opportunity to view his stunning reportage sketchbooks. And hand surgeon Donald Summat provides insight into his immaculate working sketchbooks complied during operations and consultations.

The book will be available in the shop for signing, and Martin Ursell is offering a free copy of his limited edition Zootime, featuring a selection from thirty years of zoo drawings to anyone buying the book.

To book tickets, go to the House of Illustration’s website: http://www.houseofillustration.org.uk/whats-on/current-future-events/keeping-sketchbooks

New Open Access Journal: British Art Studies

Published jointly by the Paul Mellon Centre for Studies in British Art and the Yale Centre for Studies in British Art, British Art Studies is a new online, open access, peer-reviewed journal for new research and scholarship of the highest quality on all aspects of British art, architecture and visual culture in their most diverse and international contexts.

British Art Studies is one of the few completely open access journals in the field of art history, providing a forum for the growing debate about digital scholarship, publication and copyright. The Editorial of the first issue is an interesting summary of the aims and digital strategies of the journal.

Issue 1 (Autumn 2015) is avaliable now.

 

Audio Recordings of Keynote Lectures from ‘The Arts and Feeling in Nineteenth-Century Literature and Culture’

From the Birkbeck 19th C Forum website:

‘We are pleased to announce that audio recordings of Keynote Lectures are now available for ‘The Arts and Feeling in Nineteenth-Century Literature and Culture’, a major international conference which took place at Birkbeck, University of London, 16-18 July 2015.

The conference explored the ways in which nineteenth-century authors, artists, sculptors and musicians imagined and represented emotion and how writers and critics conceptualised the emotional aspects of aesthetic response. It aimed to map the state of the field in this growing area of interest for nineteenth-century scholars by locating recent interdisciplinary work on sentimentality and art and writing and the senses within wider debates about the relationship between psychology and aesthetics in the long-nineteenth century.

Speakers investigated the physiology and psychology of aesthetic perception and the mind/body interactions at play in the experience of a wide range of arts. Key questions included: How did Victorian artists represent feeling and how were these feelings aestheticised? What rhetorical strategies did Victorian writers use to figure aesthetic response? What expressive codes and conventions were familiar to the Victorians? Which nineteenth-century scientific developments affected artistic production and what impact did these have on affective reactions?’

To access the recordings and abstracts, click here.