Category Archives: Conference

Online Conference: Poetry in paint: Titian’s late mythologies, Organised by the National Gallery, November 3rd, 10th, & 17th

Detail from Titian, ‘Diana and Callisto’, 1556-9 © The National Gallery, London

An online conference about the history, context and reception of Titian’s mythological paintings, or ‘poesie’, for Philip II.

For more information, including ticket prices, the full programme, and how to register, please click here.

‘Hidden Gems’, ICOM-ICDAD virtual conference, 15- 16 October 2020, registration is open

The ICDAD 2020 virtual conference looks at “hidden gem” objects, exploring collections from Asia, Europe, the US, and Mexico.

Please click here to register for the conference

About this Event

Every public decorative arts and design collection has hidden corners and unplumbed depths, and many private collections are difficult for outsiders to access during the best of times, much less during a pandemic. As decorative arts and design professionals face the possibility that we might not be able to visit each other’s museums and discuss with colleagues in person for some time, this conference gives us the opportunity to uncover unexpected objects and stories that have not yet been told. Focusing on decorative arts and design collections from around the globe, the 2020 ICDAD conference explores collections recently brought to light, reinterprets beloved objects through a new lens, and shows how technology can make storied historical art newly relevant.

Because this is a global conference, times are listed for New York, Paris, and the local time of each presenter. The schedule is as follows:

Program

Times are listed for New York, Paris, and the local time of each presenter.

DAY 1: Thursday, October 15
Session One
7:00 AM USA Eastern time; 13:00 Paris; 16:00 Ekaterinburg, Russia; 19:00 Taiwan; 20:00 Japan

Naoyuki Watanabe — Oda Collection of 20th Century Design

Annie Ting-An Lin — Objects Betwixt and Between: Objects from the Nationaal Museum van Wereldculturen

Ludmila Budrina — Malachites of the Demidoff Family: Reconstruction of the Collection and Potential Digital Representation

Moderators: Melissa Rinne, Shoshana Resnikoff

Session Two
12:00 PM USA Eastern time; 18:00 Paris; 18:00 Netherlands; 19:00 Finland

Femke Coevert, Dafne Diamante, Aafke Weller, and Maud van Suylen — Panoramas from the Depths of the Rijksmuseum’s Storage Room

Maddalena Napolitani — Balthazar-Georges Sage: The “Hidden Collector” and his Cabinet of Decorative Arts

Leena Svinhufvud and Susanna Thiel — The Design Attic: Investigating Hidden Processes in Designer Archives

Moderators: Kai Lobjakas, Shoshana Resnikoff

Session Three
7:00 PM USA Eastern; 1:00 Paris; 6:00 PM Mexico Central

Rebecca Tilles — Uncovering Hillwood, Washington D.C.’s Hidden Gem

Harrison Schley – The Zalinsky Collection: A Union Soldier’s Trove of Japanese Swords and Art

Claudia Marín — Devotion and Self-Representation in the 18th Century: Arts and Crafts at Museo de Arte Religioso Ex Convento de Santa Mónica

Moderators: Annamarie Sandecki, Shoshana Resnikoff


DAY 2: Friday, October 16
Session Four
9 AM USA Eastern; 15:00 Paris; 14:00 Portugal

Levi Higgs —Mining the David Webb Jewelry Archive

Naoko Adachi — Finding a Place in Museums for Japanese Photograph Albums from the Late-Nineteenth Century

Samantha Coleman-Aller — Hidden Gems: A Rare Group of Irish Glass Pieces

Moderators: Kai Lobjakas, Shoshana Resnikoff

[ONLINE CONFERENCE] Travelling Objects, Travelling People: Art and Artists of Late-Medieval and Renaissance Iberia and Beyond, c. 1400–1550

Anonymous Portuguese cartographer, Cantino Planisphere (detail), ca. 1502. Map on parchment, 220 x 105 cm. Biblioteca Estense Universitaria, Modena, Italy. Source: Wikimedia Commons.

Thursday 10 December 2020, 1:00 pm – 5:35 pm

Friday 11 December 2020, 1:00 pm – 6:00 pm

Please click here to register for this live online event.

Travelling Objects, Travelling Peopleaims to nuance our understanding of the exchanges and influences that shaped the artistic landscape of Medieval and Renaissance Iberia. Traditional narratives hold that late fifteenth-century Iberian art and architecture were transformed by the arrival of artists, objects and ideas from France, the Low Countries, and eventually Renaissance Italy, while 1492 marked a chronological rupture and the beginning of global encounters. Challenging these perceptions, this conference revisits the dynamics of artistic communication in late medieval Iberia, placing the peninsula in a global network, from Flanders to Florence, from Madeira to Santo Domingo. Bringing together contributions from international scholars working on Spain, Portugal and a range of related geographies, this event seeks to address the impact of ‘itinerant’ artworks, artists and ideas, and to investigate moments of encounter, conflict, and non-linear transfers of materials, techniques and iconographies.  

Please click here for the speakers, the programme, and additional information.

CFP: ‘Decentering Realisms, 1750–Now’, Virtual Conference (The Courtauld Institute of Art), with a related online reading group (details below)

Conference date: Friday 12 and Saturday 13 March 2021

Proposals due: 16 November 2020

This conference will explore realism in art across the world, from the mid-eighteenth century to the present day. Seeking to decentre conventional art histories of realism which anchor the concept in nineteenth-century Europe and to open it up to redefinition, this conference will gather together scholars and artists working on all modern periods and all geographies: from 1750 to the present; from Asia, Africa, South America, North America, Australasia and Europe. The conference will ask how far and in what ways can art from across the world be comprehended under the expanded term ‘realism’? 

Realism is a notoriously slippery but pervasive and persistent concept that transcends style and medium, and which encompasses many forms of representation. It is a keyword of established art historical methodologies but it is also much more than this, it has proved to be a highly flexible term that is embedded in the terminologies of many distinct traditions and avant-gardes around the world. We are curious about how realism intersects with different forms of naturalism and how it can also extend to abstraction. At its core realism is often about capturing and intervening in something of the artist’s contemporary social reality through a set of aesthetic conventions. We are calling this the ‘realist effect’. Our expertise in realism within a European context has made us aware of tensions, ambiguities and paradoxes underpinning the term. We want to explore whether comparable and different ambiguities lie behind the term’s enduring, widespread appeal. Our aim is to bring art histories of realism in line with the geocultural expansion of the discipline, while at the same time seeking alternative understandings of this phenomenon to those offered by the politics and epistemologies of globalisation.

Questions asked by this conference include: how does art from different geographies and time periods purport to represent reality? What does the realist effect look like in different geographies, traditions and avant-gardes? We seek to explore the ways realism is receptive to a variety of progressive politics and what happens when different pictorial conventions of the real interact, dominate and subvert one another. For example, how did photography respond to and alter realist conventions as the technology was adapted across the world? In addressing the ‘here and now’, how does realist art negotiate the past and the future? What versions of reality are being imagined by realist art? What are the politics, philosophies and mythologies behind this reification, this making real?

By bringing together scholarship on art from across the world and spanning over two centuries this conference aims to widen the lens through which realism is currently understood and to conceptualise planetary realisms. We are also interested in receiving proposals for papers which disrupt or challenge the period parameters of this project as we have indicated them, recognising that realisms pre-existed and cut across (and even outlast) western chronologies.

Papers might address works of art of any medium, as well as theories and philosophies of art. Please send a title and abstract of your proposed paper (around 300 words) to Rachel Stratton (Rachel.Esther.Stratton@gmail.com) and Thomas Hughes (Thomas.Hughes@courtauld.ac.uk) by 16th November, 2020.

—–

We are assembling an online reading group in conjunction with this conference.  While the global pandemic has physically grounded many of us it has opened up opportunities for online conversations across international boundaries, which will prove essential for the mission of this project. We warmly extend invitations to join and would ask you to recommend readings considering the above and related topics. If you are interested please email Rachel and Thomas.

CALL FOR PAPERS: Art and Activism in Latin America session at the 2020 Universities Art Association of Canada (UAAC) online conference, 15 – 17 October 2020, deadline for proposals is August 1, 2020

The theme of this session is art and activism in Latin America. Art and activism are two distinct academic disciplines, but ones which can dialogue and merge into action, which ranges from cultural production to a mutual understanding of contemporary political and social changes. We will therefore look at Latin America contemporary artists whose work blends art and activism. Artists in different contexts and Latin America countries have increasingly positioned themselves in situations of political and social change, from climate change to human rights. The current political crises, the coronavirus crises and the consequences to the global economy, as well as the social struggles that lead to large influxes of Latin America migrants into the United States, have already inspired many. Further examples to be deepened in this research are the works that focus on refugees fleeing political persecution, Latin America protest art, social injustices, resistance, art and politics.

The UAAC-AAUC invites 300-word abstracts of the proposed papers to be sent, along with a short academic CV, to Tatiane de Oliveira Elias (e-mail: tatianeeliasufsm@gmail.com) before 1 August 2020.

Submissions must include:

  • the name of the applicant
  • the applicant’s email address
  • the applicant’s institutional affiliation and rank
  • title of proposal
  • a proposal (300 words maximum)
  • a brief biography (150 words maximum)  

Proposals may be submitted by current members or non-members of UAAC. Non-members MUST become members of UAAC and pay registration fees in order to present a paper at the conference. Membership dues and registration fees must be received by September 11, 2020

For more information please see https://uaac-aauc.com/conference/

Conference – ‘Construir la diócesis medieval: Estrategias, agentes y herramientas’, POSTPONED until September 2021

In general terms the conference design will be maintained as it was, but specific dates and any other changes will be circulated shortly in a revised CFP. In the meantime, the Call for Papers remains open.

The Gregorian Reform led to a reframing of the role of bishops and diocesan institutions that cemented their power and ultimately permitted the construction of the great Gothic cathedrals of Europe. To mark the 800th anniversary of the Cathedral of Burgos, we propose to explore the dynamics, strategies, institutions and personnel behind the construction of the medieval diocese leading to the building of the temples we admire today. Our focus will be on the period 1150-1250, culminating as it does in the construction of the Cathedral of Burgos, but we welcome papers on other parts of Europe and set in other medieval periods that explore the following themes related to the emergence of the mature medieval diocese:

  • Territorial consolidation: diocesan borders, inter-diocesan hierarchies and conflicts.
  • Structural consolidation: network of parishes, fiscality, ecclesiastical offices and benefices
  • Institutional consolidation: cathedral chapters, use of archdeaconries, archpriesthoods and secular abbeys.
  • Intra-diocesan conflict: monasteries, collegial churches etc.
  • The agents: bishops, chapter, clergy (bishop-chapter conflict, patronage and client networks, diocesan reforms, education, cultural production)

Submissions: proposals no longer than 300 words for either individual papers or panels should be submitted by August 1st to burgensis2020@gmail.com

Languages: Spanish, English              Registration Fee: 50 euros

Key Dates:

  • Deadline for submissions, August 1st
  • Confirmation of acceptance, September 15th
  • Registration opens, October 1st
  • Registration ends, November 30th

Venue: Facultad de Humanidades, Universidad de Burgos

Convenors: Susana Guijarro (Univ. Cantabria), David Peterson (Univ. Burgos)

Organised by: Área de Historia Medieval (Univ. de Burgos) & Grupo de I+D de la Universidad Cantabria Cultura, Sociedad y Poder en la Castilla Medieval y Moderna.

Click here for information

The text of this post was copied from the Universidad de Burgos website

CALL FOR PROPOSALS: ‘Hidden Gems’ Virtual Conference hosted by ICOM-ICDAD (15–16 October 2020), SUBMISSION DEADLINE 1 July 2020

Storeroom – National Palace of Ajuda, Lisbon. Photo: ICOM-ICDAD.

Deadline approaching! ICOM-ICDAD is hosting a virtual conference (previously scheduled to take place in Lisbon) on the theme of ‘Hidden Gems’, which will run October 15 – 16, 2020. They welcome a diverse range of presentations on this topic, exploring everything from hidden collections to underrepresented designers and artists. The deadline for proposals is July 1, and abstracts should be between 250 to 300 words. For more information on the conference and proposal requirements, please view ICOM-ICDAD’s full CFP here.

An invitation for ARTES members: Osma Centenary Conference, 7 February, Bodleian Library and Pembroke College, Oxford

Dear Fellow ARTES Members,

We look forward to celebrating the life and work of the first Spaniard to graduate from Oxford with you!

Osma Centenary
7 February
Bodleian Library
Pembroke College

Guillermo J. de Osma was the first Spaniard to study at Oxford after the Universities Test Act 1871, which opened Oxford, Cambridge and Durham universities to non-Anglicans. Osma was a diplomat, a politician, an art historian and an art collector. He served as the first president of the Board of Trustees of the Alhambra and founded the Instituto Valencia de Don Juan, a research centre in Madrid, which contains a wide-ranging collection of art works and archival materials, including medieval manuscripts, Philipp II’s state papers, textiles, ceramics, and rare books.

He then went on to found the first Spanish scholarship at Oxford – the Osma Studentship – in 1920. The Studentship, which was open to both men and women since its foundation, is under the exclusive remit of the Vice-Chancellor of the University of Oxford and has been held over the past century by many distinguished scholars and practitioners.

The one-day symposium will be held at the Bodleian Library on 7 February 2020 to coincide with the anniversary of Osma’s death and will convene Osma Students from across the generations and countries, specialists from Spain and the UK, and de Osma’s descendants from around the globe.

The symposium will be held in the Lecture Theatre at the Weston Library on Broad Street. Lunch will be served at Convocation House in the presence of the Vice-Chancellor, Professor Louise Richardson. After the symposium, we will make our way to Pembroke, where Osma read History, for an evening reception.

Welcome Coffee: 9.45 am
Start: 10.30 am
Reception: 5.30–7pm

Please click here for a conference programme and practical information.

For questions, contact: marina.perezdearcos@politics.ox.ac.uk 

Marina Perez de Arcos

Programme and Registration Details: Canons and Repertoires: Constructing the Visual Arts in the Hispanic World, 20th–21st June 2019, Senate Suite, Durham University Castle, Durham, UK


Organised by Stefano Cracolici and Edward Payne (Zurbarán Centre for Spanish and Latin American Art, Durham University)

Free, but please register at this link: https://www.eventbrite.co.uk/e/canons-and-repertoires-constructing-the-visual-arts-in-the-hispanic-world-registration-62569293441

The visual arts in Spain have long been haunted by the spectres of six giants: El Greco, Ribera, Velázquez, Murillo, Goya and Picasso. Still today, these canonical figures tower over all others and continue to shape the story of Spanish art, which has been traditionally told in monographic form. Although the strength of the Spanish canon has informed different disciplines (literature, aesthetics, performing arts), given the recent ‘material turn’, the prosopographical dimension of the visual arts in Spain poses a disciplinary challenge. Similarly, following the ‘global turn’, the visual arts of Iberia pose a geographical challenge, intersecting with the Mediterranean, Arabic, Latin American, British and continental European worlds. The notions of ‘Spain’ and ‘Spanish art’, therefore, are necessarily nebulous and problematic, raising a host of questions: To what extent does Spanish art exist before the establishment of Spain as a nation state? To what extent is the art of the Habsburg and Bourbon empires a Spanish art outside Spain? What is the role of Spain in the wider canon of European art? Who has exploited the visual arts of the Hispanic world, geographically, politically and intellectually? These questions ultimately point to a tension between canons and repertoires; between centres and peripheries; and between consolidating the ‘core’ and expanding the ‘remit’ of the so-called Spanish school.

This conference will explode the disciplinary, material and geographical limits of Spanish art, inaugurating the Zurbarán Centre as a critical and innovative research institution for the study of Spanish and Latin American art in the twenty-first century. Papers will challenge the canonical construction of Spanish art, which can be traced back to writings from Palomino’s Lives of the Eminent Spanish Painters and Sculptors (1724) to Stirling Maxwell’s Annals of the Artists of Spain (1848), to more recent publications by scholars in the field. Papers will also probe the chronological, geographical and material boundaries of the ‘El Greco to Goya’ survey, interrogating the ways in which academics, curators, scholars and teachers narrate this material through various platforms, including publications, museum displays, exhibitions, lectures, gallery talks and academic courses. Speakers will address the various ‘terrains’ of Spanish art, from geographical constructions of Iberia as Europe’s frontier or edge, to exchange with all that lies beyond the Pillars of Hercules.

PROGRAMME

Thursday 20 June 2019

09.30 – 10.00 Registration & Coffee
10.00 – 10.05Introduction & Welcome
10.05 – 11.20 Session 1: Historiographies
Chair: Stefano Cracolici (Durham University)
10.05 – 10.25 Why El Greco to Goya?
Edward Payne (Durham University)
10.25 – 10.45Frederic Leighton’s Vision of Spain
Véronique Gerard Powell (Sorbonne Université, Paris)
10.45 – 11.05  Nigel Glendinning and the Hispanic Research Journal: A Unique Voice in Spanish Cultural
History
Sarah Symmons (University of Essex)
11.05 – 11.20 Discussion
11.20 – 11.50 Tea & Coffee
11.50 – 12.50 Keynote Lecture:
Passion and Prejudice: Attitudes to Spanish Sculpture in Nineteenth-Century Britain
Holly Trusted (Victoria & Albert Museum, London)
13.00 – 14.00 Lunch
14.00 – 15.15 Session 2: Geographies
Chair: Edward Payne (Durham University)
14.00 – 14.20 Beyond El Greco: The Travelling Artist between Italy and Spain—Artistic Translation and the
Sixteenth-Century Hispanic Canon
Piers Baker-Bates (The Open University)
14.20 – 14.40Maestros españoles en Chile: Espacios y repertorios
Marcela Drien (Universidad Adolfo Ibáñez, Santiago de Chile)
14.40 – 15.00 Geographic Limits and the History of the Spanish Avant-Garde
Maite Barragán (Albright College, Reading PA)
15.00 – 15.15 Discussion
15.15 – 16.30Session 3: Strategies
Chair: Tom Stammers (Durham University)
15.15 – 15.35Genaro Pérez Villaamil: Navigating Stereotypes
Claudia Hopkins (University of Edinburgh)
15.35 – 15.55 Imaginary Architecture as Imagined Community: ‘The Market’ by Jenaro Pérez Villaamil
Matilde Mateo (Syracuse University)
15.55 – 16.15 Hieroglyphs of Providence: Pelegrín Clavé and Isabella I of Castile
Stefano Cracolici (Durham University)
16.15 – 16.30 Discussion
16.30 – 17.00 Tea & Coffee
17.00 – 18.00 Keynote Lecture
Canons and Repertoires in Hispanic Art: What does Stirling Maxwell have to do with them?
Hilary Macartney (University of Glasgow)

Friday 21 June 2019

9.30 – 10.00 Tea & Coffee
10.00 – 11.15 Session 4: Identities
Chair: Giovanna Capitelli (Università Roma Tre)
10.00 – 10.20 El arte español más allá de la península ibérica: ¿Qué significa ser un ‘artista español en la Nueva España’?
Luis Javier Cuesta Hernández (Universidad Iberoamericana, Ciudad de México)
10.20 – 10.40 Constructing the Monuments of the Nation: Victor Balaguer and the Struggle to Shape Monasteries as Spanishness
Josep-Maria Garcia-Fuentes (Newcastle University)
10.40 – 11.00 Thinking Spain from Barcelona: The Iconographic Repertoire of Spanish Art (1918–1922)
Lucila Mallart (Universitat Pompeu Fabra, Barcelona)
11.00 – 11.15 Discussion
11.15 – 11.45Tea & Coffee
11.45 – 13.00Session 5: Remediations
Chair: Ludmilla Jordanova (Durham University)
11.45 – 12.05 Thinking through Painting: Artistic Practice as Metaphor in the Early Modern Hispanic World
Adam Jasienski (Southern Methodist University, Dallas TX)
12.05 – 12.25 From Mimesis to Montage: Sergei Eisenstein on El Greco
Dušan Radunović (Durham University)
12.25 – 12.45 ‘Ese Velázquez sí que era un genio’: el canon del arte español y la ficción televisiva
Luis Vives-Ferrándiz Sánchez (Universitat de València)
12.45 – 13.00 Discussion
13.00 – 14.00 Lunch
14.00 – 14.20Concluding Remarks
Amaya Alzaga Ruiz (Universidad Nacional de Educación a Distancia, Madrid)
14.20 – 15.00 Roundtable Discussion
15.00 – 16.00 Refreshment

Save the Date: Oxford Sorolla Symposium, 1 July 2019

A symposium to accompany the National Gallery’s major exhibition “Sorolla: Spanish Master of Light” (18 March–7th July 2019) will take place on at the Lecture Theatre, Weston Library, on 1 July 2019. The programme will include guest speakers such as Gabriele Finaldi, Director of the National Gallery, Richard Ormond, former Deputy Director of the National Portrait Gallery, Blanca Pons-Sorolla, co-curator of the exhibition and Sorolla’s great grand-daughter, amongst others. The symposium will be followed by a musical soirée and the projection of the award-winning “Sorolla: Viajes de la luz” documentary at St Cross College and Pusey Chapel, Oxford.

Detailed information will be posted shortly.