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Sotheby’s, New Bond Street, are presently offering via an on-line sale a selection of Old Master drawings from the collection of the Chilean architect and founder of The Apelles Collection, Carlos Alberto Cruz. Lots begin closing at 2pm BST on September 23rd, 2021.
Please follow this link to see the works for sale and for additional information: https://www.sothebys.com/en/buy/auction/2021/old-master-british-works-on-paper-including-works-from-the-collections-of-carlos-alberto-cruz-and-the-late-timothy-clowes
Among the selection are 17 lots by sixteenth- and seventeenth-century Spanish artists including Francisco Herrera the Younger (1612 – 1685), Jeronimo de Bobadilla (1630-1709), Antonio del Castillo (1616-1668) and Pablo de Céspedes (1538-1608). Included among Cruz’s collection are drawings by the circle or followers of Murillo and his master Antonio del Castillo which were once in the collection of Sir William Stirling-Maxwell (1818-1878).
Untold Arts, in collaboration with the Centre for Iberian and Latin American Visual Studies (CILAVS), at the School of Arts at Birkbeck, University of London, would like to invite you to two workshops on interpreting diverse hidden histories for the stage and screen.
Untold Arts, founded by Actor/Producer Nadia Nadif and Historian/Writer Lauren Johnston, brings true unknown stories to life, championing global majority and female characters through the creative arts, educational resources and outreach workshops.
Tuesday, 21 September 2021, 6pm-8pm, online.
The first workshop aims to provide you with insights into the process of how the Untold Arts team translates hidden histories into theatre and film and introduce you to our latest project, about an Arab woman privy to some of the Tudor royals’ greatest secrets. This will include talks and discussions with the creative team (from the UK & USA) including:
6.00pm: Introduction – Professor Luciana Martins
6.05pm: The Catalina Project – Nadia Nadif (Actress and Producer)
6.35pm: The World of Catalina – Professor Carmen Fracchia
6.55pm: How the history has informed our process as film makers – Fawaz Al-Matrouk (Director), Leah Curtis (Music Composer)
7.45pm: Preparing Workshop 2 – Nadia Nadif
Tuesday, 28 September 2021, 6pm-8pm, venue TBA. The second workshop will involve interactive activities from guest facilitator Frances Marshall from HistoryRiot who aims to connect people with the UK’s past, to inspire audiences to feel a fresh sense of identity with the place in which they live and the historical sites they visit. These activities will allow you to explore your own diverse histories and how to present them through the creative arts.
Postgraduate students are especially welcome
To register, please click here.
In 1623, Charles I (as heir to the throne) made a secret and hazardous trip to Madrid to win the hand of a Spanish princess. For eight months he was the guest of the Spanish king, Philip IV, living in the Alcazar of Madrid. The opportunities to study art, architecture and court ceremonial made a profound impact on the 23-year-old Charles, and it influenced his own taste when two years later he inherited the thrones of England and Scotland.
This event will take place both online and in person, at the Museum of London, on September 15th from 6:00 – 7:00 PM.
“The Boys” is an affectionate term sometimes used to describe the outstanding portraits of Jacob and his twelve sons by the Spanish artist Francisco de Zurbarán, housed at Auckland Castle in Bishop Auckland. Join local author David Pott who will be discussing his book Listening to the Boys: Meditations on Francisco de Zurbaran’s Jacob and His Twelve Sons, and answering questions.
Communities of Christians, Muslims, and Jews lived side by side in Spain for centuries, creating vibrant artistic traditions that often intersected. For the first time since its inauguration at The Met Cloisters in 1961, the Fuentidueña Chapel gallery, which typically focuses on the Christian tradition, will present a group of works that testify to the diversity of Spanish medieval art. By telling a more nuanced story in this space, the exhibition will demonstrate the ease with which objects and artistic ideas transcended differences of belief. Placed in dialogue with each other, the silk textiles, ivory carvings, illuminated manuscripts, frescoes, and monumental sculptures featured in the show will reveal a dynamic, interconnected past that often mirrors the present.
The Met is hosting two online events in conjunction with the exhibition:
The exhibition is located in the Fuentidueña Chapel gallery, whose 12th-century apse was moved from the church of San Martín in Fuentidueña, Spain, and reconstructed at the Cloisters. Please click here for a documentary on the apse and its journey from Castile to New York.
‘Creating a National Collection: The Partnership between Southampton City Art Gallery and the National Gallery‘ explores, for the first time, Southampton’s 92-year partnership with the National Gallery and the role London played in the evolution of Southampton’s collection. It will see loans from the National Gallery alongside works acquired by Southampton as part of the partnership.
When Cllr Robert Chipperfield (1817–1911) left funds and paintings to Southampton for an art gallery, he stipulated in his will that any purchase made using his Trust fund should be made in consultation with the Director of the National Gallery. The Gallery agreed after it was contacted by Southampton in 1929, with Director Augustus Daniel making a tentative start. His successor, Kenneth Clark, made real progress from 1934. Among the earliest purchase made in 1933 was Joaquin Sorolla’s Estuary of the Nalón, Asturias, and this will be on display in the exhibition.
The exhibition concludes with a selection of works in Southampton’s collection by artists who have taken part in National Gallery schemes involving contemporary artists, including the first Associate Artist, Paula Rego.
This latest partnership came about through the current Art Fund Curatorial Traineeship programme, with Southampton City Art Gallery submitting a bid project to investigate the dynamic and ongoing relationship between the two institutions. Trainee Jemma Craig, and Senior Research Curator Susanna Avery-Quash, the co-curators of the exhibition and co-authors of the accompanying catalogue, have drawn on untapped archival sources and interviews with current and former members of staff at both galleries to shed new light on the origins and evolution of Southampton’s collection.
A publication telling the story of this part of Southampton City Art Gallery’s history accompanies the exhibition.
For the full program, please click here
Booking is essential, please click here to register
On 5 and 6 July the Zurbarán Centre will host a two-day student-led symposium showcasing innovative doctoral research in Iberian and Latin American art and visual culture. The presentations explore a wide variety of topics across all periods from the middle ages to the twenty-first century. They address important questions relating to art and politics, the circulation of art and artefacts, visual traditions across different media and periods, identity issues, cultural heritage, memory and modernity.
The event brings together students from eight institutions: Durham University, Edinburgh College of Art, Technische Universität Dresden, The Courtauld Institute of Art, Universidad Internacional de Catalunya, Universität Hamburg, University of Cambridge, University of Leeds.
The symposium also features two invited keynote speakers: Dr Amanda W. Dotseth, Curator at the Meadows Museum in Dallas, and Dr George Flaherty, Associate Professor in Art History at the University of Texas at Austin. The student presentations and the keynote lectures will be followed by questions and answers. The aim is to stimulate intellectual debate and connections among emerging and established scholars engaged in Iberian and Latin American art.
The event has been organised by a group of doctoral students at Durham University and Edinburgh College of Art in collaboration with the Zurbarán Centre.
We are grateful to the Embassy of Spain for their support of this event.
Canvas & Silk: Historic Fashion from Madrid’s Museo del Traje, 19 September – 9 January
Rather than focus on a particular artist, Canvas & Silk: Historic Fashion from Madrid’s Museo del Traje will for the first time pair works in the Meadows collection with representative examples of the historic dress depicted to shed new light on the relationship between representation and reality, between image and artifact. The exhibition is possible thanks to an unprecedented collaboration with Madrid’s premier museum of historic dress, the Museo del Traje, and seeks to offer a glimpse into some historical fashions through the lens of Spanish art. The exhibition will be curated by Amanda W. Dotseth (Meadows Museum) and Elvira González (Museo del Traje). Click here for more information.
Image and Identity: Mexican Fashion in the Modern Period, 19 September – 9 January
The museum’s first-floor galleries will feature a focused exhibition titled Image & Identity: Mexican Fashion in the Modern Period, curated by the museum’s Center for Spain in America (CSA) Curatorial Fellow, and ARTES member, Akemi Luisa Herráez Vossbrink. Featuring photographs, prints, books and gouaches from the 19th and 20th centuries, this exhibition will explore Mexican fashion through images of everyday scenes, festivities, regional types and occupations. Building on a theme developed in the Meadows’s larger fall exhibition, Canvas & Silk: Historic Fashion from Madrid’s Museo del Traje, Image & Identity will also show how national identity formation is reflected in fashion and is often accompanied by a resurgence in the popularity of indigenous dress. Click here for more information.
Text excerpts and images provided by the Meadows Museum Dallas
International Conference Organized by: AmerMad Project in collaboration with the Royal Academy of San Fernando, Madrid
Directors: Luisa Elena Alcalá and Benito Navarrete Prieto
Dates: 3-4 (or 10-11) February 2022 (exacts dates to be confirmed)
Place: Real Academia de San Fernando, Madrid
Organized within the context of the research project AmerMad (America in Madrid. Interconnected Patrimony and Touristic Impact in the Comunidad de Madrid), this colloquium seeks to analyze the current state of knowledge regarding viceregal art in Madrid.
Deadline: September 20, 2021
Accepted participants will be notified by October 1
Languages: papers can be in Spanish, English, French, Italian, or Portuguese
The presence of objects with a Spanish American provenance in Madrid has mostly been studied through the lens of the monarchy since the crown was a primary patron, generator, and receiver of all kinds of objects and images, both of documentary and artistic value. Nonetheless, as Madrid grew and developed into a major city in the 17. and 18th centuries, it began to harbor nnany important institutions which offer other scenarios to explore: great convents, schools, academies, hospitals and churches with their respective religious congregations, all of them places of productive encounters for many people involved and/or connected in some way with life on the other side of the Atlantic.
One of the aims of this colloquium is to refresh and update what we know about the Spanish American patrimony in Madrid between the 16th and the 18. centuries. Another objective is to consider the place that these works should or could occupy in a renewed narrative of the history of art in Spain that is more inclusive, transversal and multicultural.
What stories about Madrid and its art have gone amiss? And, have they remained in the background because of traditional disciplinary divides, such as the one that separates Spanish art (or art in Spain) from Spanish American art? How can we think of Madrid as a crossroads where Iberian and colonial art rnet? How did objects that came from Ameri. interact or engage with local developments of taste, consurnption, religious practice, devotion and identity, as well as artistic processes and projects taking place in the capital? What kinds of functions did these works have, and how can we characterize their social impact? In addition, we encourage consideration of how these objects were displayed, if they were more or less visible, and how they have been transformed by changing displays, their meanings becoming more or less relevant for Madrid’s society as times changed.
We invite proposals based on original research that can contribute to advancing the current state of knowledge and explore new questions and theoretical frameworks for our better understanding of these unique objects and works of art.
Additional information: This event will coincide with the closing days of the exhibition Tornaviaje. Arte lberoamericano en España, (Museo Nacional del Prado) and the colloquium will include in its planned activities a visit to see it. Other activities are also planned to complement the conference, including a study session of the relevant holdings in the Real Academia de Bellas Artes de San Fernando, which will be coordinated by Juan Bordes and Itziar Arana as head of projects at the RABASF.
The Art Association of Australia & New Zealand (AAANZ)
I M P A C T
The University of Sydney
Deadline 30 July 2021.
The theme of this session is art and social resistance in Latin America and Caribbean in the era of post colonialism and global/glocal perspective. We will therefore look at Latin America and Caribbean contemporary artists whose work blends art, politics, democracy, resistance and identity. Artists in different contexts, and particularly in Latin America and Caribbean countries, have increasingly positioned themselves to usher in political and social change, in areas ranging from climate change and dictatorship to human rights. The current political crises, the coronavirus 19 pandemic crisis and its consequences for the Latin America economy and democracy, as well as the social struggles that lead to large influxes of Latin America migrants into the United States, Europa and Australia and massive flow of immigration from Venezuela, Nicaragua and Haiti has inspired many artists.
The panel will discuss crucial themes such as social and cultural identity, minority identities, ancestrality, religiosity and tradition. It will also highlight initiatives by artists who have demonstrated how art can break down barriers and be more inclusive in terms of reframing minorities.
We invite contributions on the following topics: art and activism, indigenous art, feminism art and black community. Our aim is to socialize emerging themes in the field of art history in dialogue with the various areas of knowledge and highlight its rich diversity and foster intercultural dialogue. In this panel, we will discuss the importance of maintaining the Latin American historical memory and raise questions about preserving the history of the Latino identity.
Panel convenor Tatiane de Oliveira Elias
How to apply
To apply to speak at the conference, you must submit a Paper Proposal Form to the Panel Convenor of the panel you wish to speak on. (The conference organisers are not accepting or processing applications.)
All Paper Proposal Forms must be submitted to the Panel Convenors by 30 July 2021.
The Paper Proposal Form requires you to provide the following details:
- Your name and institutional affiliation.
- Your email address and phone number
- The title of your paper
- Proposed paper abstract (max. 200 words)
- Professional biography (max. 100 words)
Submit paper proposals to this email address: firstname.lastname@example.org
Who should apply
The AAANZ Conference is held every year (although not in 2020), and is the region’s major conference for art workers and researchers.
You should apply to present at the conference if you are an art historian, artist or a curator. Outside these core areas, we also welcome design and moving image historians, museum studies academics, and arts and design professionals.
We welcome speakers from across Australia, New Zealand and the Pacific Region, and we especially welcome proposals from Indigenous delegates.
All speakers and convenors must be current AAANZ members to be included in the Conference Program (in August 2021).
More information http://aaanz.info/aaanz-home/conferences/2021-conference-impact/