Click here for more information on a three-day residential workshop at the Casa Velázquez in Madrid. Intended for young researchers, the workshop will explore new currents in Hispanic studies. It is organised around a series of lectures by the following scholars:
Carlos MARTÍNEZ SHAW (Universidad Nacional de Educación a Distancia, Madrid / Real Academia de la Historia).
Alicia ALTED VIGIL (Universidad Nacional de Educación a Distancia, Madrid)
Louise BÉNAT-TACHOT (Université Paris – Sorbonne)
Fernando BOUZA ÁLVAREZ (Universidad Complutense de Madrid)
Serge GRUZINSKI (École des hautes études en sciences sociales, Paris)
Roberto MONDOLA (Università degli Studi l’Orientale di Napoli)
José Luis SÁNCHEZ NORIEGA (Universidad Complutense de Madrid)
Jesusa VEGA GONZÁLEZ (Universidad Autónoma de Madrid)
followed by extensive discussion in Spanish and French.
The deadline for enrolment is 12 July 2018 at 5pm. Applicants are required to fill an application form, which will be evaluated on the basis of academic record and language fluency. The 20 selected candidates will be notified after 20 July 2018. The workshop costs 50 euros inclusive of accommodation and lunch. African and Latin American applicants may be selected for a scholarship of 300 euros, intended as a contribution towards travel costs.
Diego Rivera, The Making of a Fresco Showing the Building of a City, 1931, SFAI, San Francisco
CFP: International Perspectives on the History of Latin American Art, LASA 2018 (Barcelona, 23-26 May 18)
Deadline: 7 August 2017
The Art History of Latin America has been written, for the most part, in the 20th and 21st century. As a discipline it is the product of two distinct points of view: the individual countries’ national art histories and visions generated from other regions, which privilege supra-national conceptions of geography and identity. Be they the Hispanic art histories of the 1930s, the North American passion for Mexican muralism of the 1930s, the European interests in alternative forms of Baroque in the post Second World War period, or the high modernist interpretations of modern art in Latin America during the post-War period, the discipline of art history has been shaped by scholarship generated outside the region, as much as from the scholarship generated within it. In this panel we invite scholars to study the effects of a globalized perspective on Latin American Art History, specifically by analyzing the contributions of other regions to the understanding of the concept of Latin American art. We welcome papers studying any of the topics above, as well as the recent histories that stress critical notions such as race, gender and class to create new readings of Latin American Art History.
To submit a paper proposal, please send a 100-200 word abstract and a c.v. to Michele Greet (email@example.com) and Mercedes Trelles (MERCEDESTRELLES@AOL.COM) by August 7, 2017. Submissions for session proposals are due to LASA by Sept. 7. We will inform you of your acceptance prior to that date so that papers that cannot be included in the panel may be submitted individually.
Spain represents a unique and fertile context in which to explore attitudes to the art and culture of the Islamic world. Spain was routinely ‘orientalised’ by northern European cultures in the 19th century, as foreign visitors indulged in oriental reveries when reflecting on Spain’s Islamic past (711–1492) and admiring its ‘Moorish’ remains at the Alhambra palace in Granada, the mosque/cathedral in Cordoba, or the Giralda in Seville. For the Spaniard, however, this Islamic heritage raised potentially disorientating questions about cultural roots and national identity. Spanish attitudes to the Islamic past were further complicated by Spain’s ambivalent relations with the Islamic present in Morocco, ranging from war and conflict (1859–60) to Franco’s recruitment of Moroccans at the start of the Spanish Civil War.
This session builds on recent research by historians of art, literature and culture, whose work has revealed that the European discourse on the Islamic world is much more polyphonic than traditional postcolonial theory assumed. The session invites papers that examine 19th- and 20-century visual responses to Spain’s Islamic past and Spain’s nearest ‘Orient’, Morocco, by both Spanish and non-Spanish artists across all media (architecture, fine art, illustrated books, photography, film, fashion etc.). How did artists translate Spain’s Islamic world into visual formats? How was such imagery produced, viewed, and marketed? What were the artistic, ideological, political, and social positions on which visual responses were grounded? How important were they in the formation of broader attitudes to the Islamic world?
The first in a series of lectures on Spanish medieval architecture, hosted by the Courtauld Institute, and sponsored by Coll & Cortes
Since the late 19th century, scholarship on 13th– and 14th-century Spanish architecture has largely depended on formal analysis and systems of cataloguing. From this have emerged fundamental studies of cathedrals, including those of Burgos, León and Toledo, of monasteries such as Las Huelgas in Burgos, or of parish churches such as Santa Maria del Mar in Barcelona. But what are the premises of such approaches? As interest in gothic architecture wanes amongst early 21st-century art historians, some of Spain’s most significant buildings still lack basic analysis. And yet perhaps the biggest problem is not the absence of studies but their methods, mediated by contemporary contexts.
The lecture is open to all and free to attend, though it is recommended that you arrive by 5.20 in order to secure a seat.