Editor: D.C. Rose.

Associate Editors: Anne Anderson, Isa Bickmann, Tricia Cusack, Nicola Gauld, Charlotte Ribeyrol, Sarah Turner.
Hon. Advisor: Síghle Bhreathnach-Lynch.

WINTER 2009/2010

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CONFERENCES – SEMINARS – SYMPOSIA – LECTURES – CALLS for PAPERS

TABLE OF CONTENTS
Click the paint brush
Architecture in Nineteenth-century Photographs
Association of Art Historians Conference 2010
Is Paris Still the Capital of the Nineteenth Century? The Painting of Modern Life Now
XIXth/XXth Century printmakers
Pre-Raphaelite Uses of the Past
Visual representation of performances and/or audiences
William Morris
Women, Femininity, and Public Space in Nineteenth-Century Visual Culture
Yale American Art History Symposium

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Association of Art Historians Conference 2010

Poster Session: University of Glasgow, 15th – 17th April 2010

Building on experience gained in the successful inauguration of a Poster Session at AAH09, we are inviting submissions to a Poster Session for AAH10 in Glasgow, for which participants will prepare materials that lend themselves to visual display. This can be a combination of visual, textual, and other media, whose presentation focal point will be a freestanding panel or allotted area of reserved wall space at the conference venue.  These displays can then be viewed by conference delegates: authors also can make themselves available, at times of their choosing, to discuss the poster content. The poster session will therefore provide delegates with an opportunity to participate in the conference as authors, whose ideas might not fit neatly into conventional presentation formats.

We will be calling for abstracts for the poster session, prepared in the same way as conventional proposals, bearing in mind the conference's wide-ranging engagement with methodologies and issues: a particular welcome is extended to medieval and renaissance topics. Guidelines on parameters for display and on effective presentation of visual and textual material will be made available to selected session participants. Joint authorship of posters would also be welcomed.

Ø Deadline for proposals was 9th November 2009. Further details of the conference can be found at www.aah.org.uk

Janet Stiles Tyson, Independent Art Historian jtyson@earthlink.net; Veronica Davies, The Open University Veronicadavies4@aol.com

Yale American Art History Symposium CALL FOR PAPERS

10th April 2010

Keynote Address: Michael Gaudio, Associate Professor, Department of Art History, University of Minnesota

The Department of the History of Art at Yale University announces its seventh annual American Art History Symposium. The organizers seek proposals from graduate students whose work exemplifies creative modes of inquiry and breaks with established critical approaches to the study of
American art. We welcome submissions addressing any medium or period.

Abstracts of approximately 500 words for papers not to exceed 20 minutes in length should be received, along with a CV, by Monday, 22nd February for consideration. Selected speakers will be notified by Monday, 1st March.

In an effort to encourage dialogue among the participants and initiate focused discussion, we will ask selected speakers to submit in advance extended abstracts with images. We hope that our discussions might take the form of a workshop for ideas on the current state of the field and
possible new directions in the study of American art.

Please e-mail materials to americanist.symposium@gmail.com. For further inquiries, please contact Elizabeth Athens at elizabeth.athens@yale.edu or Xiao Situ at xiao.situ@yale.edu.

Morris and the Arts: Books, Painting, Crafts, Architecture

William Morris Society Call for Papers

2011 Modern Language Association Annual Convention 6th–9th January 2011, Los Angeles, CA

‘Morris and the Arts: Books, Painting, Crafts, Architecture’. This is a regular session sponsored by the William Morris Society in the United States. We seek 15-minute papers which deal with William Morris and his close associates' work in, and connections to, the decorative and fine arts, crafts, architecture, printing/book arts, and architecture.  Proposals to Florence S. Boos, florence-boos@uiowa.edu, by 20th March 2010.

Pre-Raphaelite Uses of the Past

William Morris Society Call for Papers

2011 Modern Language Association Annual Convention 6th–9th January 2011, Los Angeles, CA

‘Pre-Raphaelite Uses of the Past’ is a proposed session co-sponsored by the William Morris Society in the United States and the Society for Arthurian Literature. This session would examine aspects of Victorian historicism, especially neo-medievalism in painting, book design, poetry, romance narrative, translation and other genres. Papers might consider ways in which the Pre-Raphaelites and their associates and successors reshaped the works of Dante, Chaucer, Boccaccio, Froissart, the Icelandic sagas, Malory and other Arthurian sources for a middle-class Victorian audience. Reflections on the different forms of Victorian medievalism, variant uses of the same legends (e.g., of Launcelot and Guenevere), and the social context and psychological motivations of Victorian medievalism are also welcome.  Proposals for 15-minute papers should be be sent to Michelle R. Warren, michelle.r.warren@dartmouth.edu, and Florence Boos, florence-boos@uiowa.edu, by 20th March 2010. Notice of the MLA Program Committee's decision regarding this proposed session will be posted on the William Morris Society website in late Spring 2010.

Is Paris Still the Capital of the Nineteenth Century? The Painting of Modern Life Now

This was the title of a symposium held at the Clark Art Institute, Williamstown, MA 30th–31st October 2009 : http://www.clarkart.edu/visit/event-detail.cfm?ID=12416&CID=28

The art of the French avant-garde produced between the Salon des refusés of 1863 and the last Impressionist exhibition of 1886 has for twenty five years at least been the focus of active and pace-setting research in art history, as the art of Manet and the Impressionists became the focus of some of the most lively debates about modernity, feminism, social and cultural history in the discipline. This two-day Clark symposium has a double mission: to put excellent new work on view from across the generations of a famously active field, and to consider the fortunes of that field today. Does anyone still care about “Parisian Modernity”? Is this category still a hub for thinking about our discipline? Or have other modernities and post-modernities, other more global and more contemporary concerns, made it just another branch of art history?

visual representation of performances and/or audiences

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.  For more information about NCSA and the conference, please go to:http://www.english.uwosh.edu/roth/ncsa/

PRINTMAKERS & PRINTS

Journée d’études France/Belgique 2010, 21 avril 2010 - Université de Lille 3

La permanence et le renouveau de la gravure aux XIXe et  XXe siècles nous inspirent le thème d’une nouvelle journée France/Belgique, après celles centrées sur la photographie, la sculpture, les salons et expositions d'art et la Première Guerre mondiale. Partant de présences avérées de graveurs belges en France, tels Henry de Groux ou Frans Masereel, et d’œuvres largement exposés, telle celui de James Ensor, on souhaite établir un état de la question des échanges et croisements entre les deux pays sur la période couvrant la fin du XIXe et la première moitié du XXe siècle.

Quelques approches possibles :

-    les expositions de gravure belge en France et de gravure française en Belgique
-    le livre illustré et l’édition d’art (les éditions illustrées de Maeterlinck…)
-    les sociétés artistiques françaises et belges de gravure et leurs contacts
-    les nouvelles formes d’expression (le renouveau de la gravure sur bois) et les nouveaux sujets (la Grande Guerre / les colonies / la ville / la révolution sociale…)
-    la critique d’art et les revues spécialisées : la gravure française dans les revues belges et la gravure belge dans les revues françaises
-    les carrières franco-belges de graveurs
-    …

La journée se tiendra le 23 avril 2010 à l’Université de Lille 3 et fera l’objet d’un numéro spécial des Cahiers de l’IRHiS qui publiera l’essentiel des communications.

Architecture in Nineteenth-century Photographs

First International Meeting of the European Architectural History Network, Guimarães, Portugal, 17th-20th June 2010.

Heavily represented in collections of nineteenth century photographs, architectural photography provides inroads into major themes of the period:  industry and technology, exploration and exoticism, documentation and preservation, history and nationalism, etc.  However, most histories of photography use the progressive development of the medium as the organizing structure for the presentation of the material.  Architecture lent itself to the long exposure times required by the early photographic processes and was used extensively as subject by the first generation of photographers.

Architectural photography was the focus of three major exhibitions organized between 1982 and 1994 which gave pride of place to photographic technique. Since then, despite the musings of Susan Sontag, the theorizing of Roland Barthes, and three decades of post-colonial, post-structuralist and gender-conscious criticism, the study of architectural photography continues to privilege technical virtuosity.  Because the history of architectural photography parallels both the development of photographic techniques and the expressive modalities assumed by the medium, a thematic exploration of the subject is overdue.

This session invites papers that consider thematic questions related to the photography of architecture in the nineteenth century. For instance: the significance of the structures scrutinized by photography, the role of the photographs as commodities on the intellectual and cultural market as it relates to architecture, the impact of the medium on the practice and study of architecture, the fascination for and consumption of photographs of exotic architecture by the “armchair tourist”, the institutional and cultural reasons for the absence of women from nineteenth century architectural photography, vernacular architecture  in photographs, commodification of architecture for the Baedeker- or Cook-guided middle and even lower-class tourist, photography and historic preservation or urban renewal.  Exploration of these questions is intended to focus on how nineteenth century architecture photography eschews the tropes of functionality to reflect the aesthetic and intellectual concerns of the time. A genuine understanding of the first decades of architectural photography needs to account for the relevant technical parameters of production but also demands that each photographic image of architecture be studied as a primary visual document and an aesthetic object.  It is this multi-faceted enquiry, which is invited in this session on nineteenth-century architectural photography. 

The submission deadline for papers was 30th October 2009, and details can be viewed on the conference website www.eahn2010.org  or downloaded from www.eahn2010.org/EAHN2010_CPF.pdf

Women, Femininity, and Public Space in Nineteenth-Century Visual Culture

The 2010 College Art Association Conference

Chairs: Temma Balducci, Arkansas State University and Heather Belnap Jensen, Brigham Young University.

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?

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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