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Editor:
D.C. Rose. |
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Associate Editors: Anne Anderson, Isa
Bickmann, Tricia Cusack, Nicola Gauld, Charlotte Ribeyrol, Sarah Turner. |
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SUMMER 2009 |
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For the VISIONS homepage, click
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CONFERENCES – SEMINARS – SYMPOSIA – LECTURES – CALLS for PAPERS |
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visual representation of performances
and/or audiences
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The Association of Historians of
Nineteenth-Century Art (AHNCA) is sponsoring a session at the annual
conference of the Nineteenth Century Studies Association, which will be held
in Tampa, FL from 11th-13th March, 2010. The theme of this
year's conference is ‘Theatricality and the Performative in the Long
Nineteenth Century,’ and the specific focus ofthe AHNCA-sponsored session is
performers and audiences in nineteenth-century art and imagery.
Proposals for papers that address the visual representation of performances
and/or audiences, either broadly or narrowly construed, are welcome, and
should be submitted with a CV by 1st September 2009 to Michelle Foa at MFoa@Tulane.edu or by mail to Michelle Foa,
Tulane University, Newcomb Art Department, Woldenberg Art Center, New
Orleans, LA 70118. For more
information about NCSA and the conference, please go to: |
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British Aestheticisms: Sources,
Genres, Definitions, Evolutions
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Université
Paul Valéry, Montpellier 2nd-3rd October 2009 |
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Both a social phenomenon, an artistic movement, and a literary
trend, British Aestheticism has been the object of multiple, sometimes
contradictory, definitions which all point to its central role in the advent
of modernity. As a movement and as an operative notion Aestheticism is of
major importance to anybody interested in nineteenth and early twentieth
century British culture. |
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This international conference on ‘British Aestheticisms:
Sources, Genres, Definitions, Evolutions,’ which will take place in October
2009, aims at re-examining the notion of Aestheticism from a
transdisciplinary perspective and hopes to attract contributions (in French
or in English) from researchers across the fields of British studies,
comparative studies, art history, publishing history, aesthetics, philosophy,
reception theory, women’s studies, queer theory, and gay and lesbian studies. |
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Papers may focus on the definition and the boundaries of
Aestheticism, its relationship with tradition, and its links with
contemporary or subsequent movements (European Decadence, Modernism, etc.) ;
we also encourage contributions on the generic definition of Aestheticism,
its editorial policies or its circulation and popularization via other media
(visual arts, theatre, music-hall) in mainstream culture as well as in
various alternative communities, in the general context of the explosion of
the means of communication and mechanic reproduction, or what L. Dowling
calls ‘artistic vulgarisation’. What authors were/are considered aesthetic?
Who read Aesthetic writings (both fiction and non-fiction), bought or saw
Aesthetic products, or attended Aesthetic performances? Furthermore, as
Aestheticism is concomitant with a re-envisaging of gender and identities,
contributors may want to explore the links between Aestheticism and Victorian
feminism and with the ‘third sex’. Finally, one may want to examine the
philosophical underpinnings of a movement based on Kantian philosophy which
aimed at challenging oppositions between aesthetics and ethics : is Aestheticism
a subversion, a redefinition, or a suspension of the oppositions between
aesthetics and ethics ? |
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This conference is organised by the CERVEC Research Center
(Centre d'Etudes et de Recherches Victoriennes, Edourdiennes et
Contemporaines, EA 741) of the Université Paul Valéry Montpellier, France.
Selected papers will be published. The programme is now on line www.esthetismes.org. |
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Women, Femininity, and
Public Space in Nineteenth-Century Visual Culture
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The 2010 College Art Association Conference |
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Chairs: Temma Balducci, Arkansas State
University and Heather Belnap Jensen, Brigham Young University |
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It is tantamount to scripture that genteel women
of the nineteenth century were associated exclusively with the spaces of
domesticity. While recent scholarship on the flâneuse has gone some way
toward challenging this assumption, our session is premised on the notion
that the descriptor ‘flâneuse’ does not adequately capture the myriad
positions available to bourgeois women vis-à-vis the public sphere. We are
seeking proposals that engage with the specificity of women¹s activities
outside the home and other conventional ‘spaces of femininity.’ What venues
and mechanisms facilitated women¹s participation in public culture? In
what ways did their activities shape notions of gender and public space? From
a historiographic standpoint, what is the continued lure of the separate
spheres ideology for art historians? |
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Information from tbalducci@astate.edu and heather_jensen@byu.edu or by
mail to Heather Belnap Jensen, 3122 JKB. Department of Visual Arts, Brigham
Young University, Provo, UT 84602. |
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The Design History Society Annual Conference
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Hosted by the tVAD Research Group at the
University of Hertfordshire, Hatfield, England, 3rd–5th
September 2009. |
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http://sitem.herts.ac.uk/artdes_research/tvad/event030909.html |
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Co-convenors: Dr Grace Lees-Maffei and Jessica Kelly |
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The Call for Papers closed on 12th January 2009. |
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How do we find out about
design, as both practice and object, including the processes of designing,
crafting and manufacture, marketing and consumption? A variety of methods and
sources ranging from observation, participation, interview and oral history,
to object analysis and documentary and visual interpretation is used in order
to understand the processes and products of design and material culture. In
both researching design and preparing resultant outcomes, designers, design
historians, practitioners of design studies, material culture studies,
popular culture studies and liteary studies use words, whether written or
spoken, to describe visual and material processes and objects. Understanding
design involves the use and translation of sources, both pictorial/material
and written/verbal as our keynote speakers, Jeffrey L. Meikle, Professor of
American Studies and Art History at the University of Texas and Dr Paul
Jobling, Senior Lecturer, History of Art and Design at the University of
Brighton, will explore. |
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As is fitting in
the wake of the Design History Society's 30th Anniversary and following the
20th Anniversary of the Journal of
Design History, Writing
Design encourages participants to reflect on their sources,
historiography and methodology, research, dissemination and teaching
processes to examine the issues mobilised by articulating design and material
culture with language and the ways in which writing about objects has
conditioned our understanding of design. Writing Design is inclusive in its interests; the following
list of indicative themes is not intended to be prescriptive, exclusive or
exhaustive: |
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What is at
stake in the translation of objects into words - written or spoken - for the
purposes of research, communication and understanding? |
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How does the design of words and writing impact upon their
interpretation, both within studies of typography and book design and more
broadly? |
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How can the haptic and tacit knowledge be discussed and written
about? |
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What has been the value of designers' writings? |
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How have designers
attempted to shape their personae/biographies? |
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What conclusions can we draw about writing on design, from popular
and specialist design journalism and trade journals to academic studies of
design? |
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How have design and designers been represented in literature,
magazines and television? |
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How have discourses of
lifestyle expertise shaped taste and consumption? |
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How do we, as students, scholars and practitioners of design,
engage historiography by writing ourselves and our work into an evolving
history of design history? |
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How have archival holdings, documentary sources such as probate
records, diaries and broadsheets, and curatorial practices shaped our
understanding of design? |
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How have curators used selection and synthesis, labels and
catalogues, objects, words and images to tell stories and histories about
design? |
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How do we understand design practice through documentary sources
and visual and material sources such as designer's archives and designed
goods? |
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What impact has an existing
design historical bias towards Western industrialised nations had on the
understanding of design? |
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How have interview and oral
history practices enlarged design understanding? |
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What pedagogical issues are
raised by learning about designed objects through lectures, seminars and
written assignments? |
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What is the role and value
of the written assignment in design education? |
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Writing Design aims to
showcase papers which will enhance the practice of design history in the
future and to publish double-blind peer-reviewed outcomes from the
conference. Therefore all submissions must be for original research, not
previously published elsewhere. Proposals from postgraduate researchers are
encouraged and the Design History Society offers bursaries to support student
members' conference attendance. |
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Based in the Faculty for the
Creative and Cultural Industries at the University of Hertfordshire, the tVAD
research group examines relationships between text, narrative and image. See http://sitem.herts.ac.uk/artdes_research/tvad/event030909.html
for more information about tVAD and the excellent air, road and rail
transport links UH enjoys, being only 20 minutes from central London. We look
forward to welcoming you to Writing
Design. |
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The Art, Architecture, and Literature of
the Gilded Age
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The 13th Annual
Salve Regina University Conference on Cultural and Historic Preservation, 15th–17th October
2009. |
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The term ‘Gilded Age’ is but one of many, such as the Age of
Opulence, Age of Energy, the Brown, Mauve and White decades, and the American
Renaissance, that attempts to characterize a particular period, c1860-c1910,
in American history. Fuelled by the great prosperity after the Civil War,
artists, writers, designers, architects and patrons looked both internally
and abroad in an attempt to prove the United States equal to the Old
World. These efforts pervaded all forms of artistic media, especially
art, interior design, architecture, sculpture, literature and
photography. Artistic and literary sources for the Gilded Age were wide
ranging from the American Colonies to European Renaissances to the orient,
and resulted in multi-media presentations of American supremacy. |
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Salve Regina University's 13th Annual Conference on Cultural and
Historic Preservation will explore the application of these ideas to the art,
architecture, interior design, decoration, and literature of Gilded Age
epoch. Proposals for papers or panels may examine such subjects as: the
interplay between architecture and literature; the Gilded Age interior; the
exotic and/or oriental interior; European architectural models; technology
and Gilded Age architecture; photography and its role as a transmitter of
architectural ideals; artistic and/or architectural books; conspicuous consumption
and the arts; the role of historic American architecture in the Gilded Age;
patronage; nationalism; and the challenges in preserving Gilded Age arts,
architecture and literature today. In addition, as the Gilded Age was
not everyone's experience, papers may also explore related period ideas, such
as African-American art, architecture and literature, immigrant artistic
expressions and/or the relationship between other ethnic or minority groups
and the arts. We welcome submissions
from scholars of all academic disciplines, as well as from younger scholars
and graduate students. |
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The Call for
Papers closed on 15th March 2009.
Information from Catherine Zipf, Salve Regina University, 100 Ochre
Point Avenue, Newport, RI 02840 Catherine.Zipf@salve.edu. |
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For the VISIONS homepage, click
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