Type : 3 Appels à communication
Date limite de l’appel : 14 août 2017
Date de la manifestation : 21 – 24 février 2018
Lieu : Los Angeles
106th College Art Association Annual Conference Los Angeles, February, 21 – 24, 2018
1. Travel, Diplomacy, and Networks of Global Exchange in the Early Modern Period.
Early modern artists were known to travel alongside ambassadors on diplomatic missions, in accompaniment of explorers, or as entrepreneurial merchants on solo expeditions. Works of art likewise toured en route with artists, were produced amid voyages, or at times illustrated the arrival of foreigners in new lands. This panel seeks to explore the role visual culture played vis-à-vis travel, trade, diplomacy, and transcultural encounters in the early modern period. In what ways did the movement of artists contribute to the construction of aesthetic hybridism and early cosmopolitanism? If art forms such as Japanese Namban screens and Ottoman costume albums divulge a cultural encounter, do they presuppose a burgeoning “global public”? Taking into account that global art history is not, to use the words of Thomas DaCosta Kaufmann, “the reverse side of Western art history,” but instead contrary to national art and its incumbent limitations, this panel seeks contributions from scholars interested in a horizontal approach to artistic exchange where emphasis is placed on the interconnectedness of visual cultures, styles, and techniques.
Contributors to this panel may deal with any aspect of global travel and exchange in the early modern period (1450–1800). Papers might address the visual manifestations of political diplomacy, art as foreign reportage, the adaption of foreign artistic techniques, or the role of the court as a contact zone for cross-cultural exchange. Topics may include a discussion of an individual work of art or artist, or can consist of more theoretical discussions of travel in the early modern world.
Please send your proposal to Justina Spencer, Carleton University:
Submissions should follow the general guidelines for participants as detailed in the 2018 CAA Call for Participation:
2. Art, Agency, and the Making of Identities at a Global Level, 1600-2000
Co-Chairs: Yaëlle Biro, Metropolitan Museum of Art, New York; Noémie Etienne, Bern University, Switzerland
Circulation and imitation of cultural products are key factors in shaping the material world – as well as imagined identities. Many objects or techniques that came to be seen as local, authentic and typical are in fact entangled in complex transnational narratives tied to a history of appropriation, imperialism, and the commercial phenomenon of supply and demand. In the 17th century, artists and craftspeople in Europe appropriated foreign techniques such as porcelain, textiles, or lacquers that eventually shaped local European identities. During the 19th century, Western consumers looked for genuine goods produced outside of industry, and the demand of Bourgeois tourism created a new market of authentic souvenirs and forgeries alike. Furthermore, the 19th and 20th centuries saw the (re)-emergence of local « Schools » of art and crafts as responses to political changes, anthropological research, and/or tourist demand.
This panel will explore how technical knowledge, immaterial desires, and political agendas impacted the production and consumption of visual and material culture in different times and places. A new scrutiny of this back and forth between demanders and suppliers will allow us to map anew a multidirectional market for cultural goods in which the source countries could be positioned at the center. Papers could investigate transnational imitation and the definition of national identities; tourist art; the role of foreign investment in solidifying local identities; reproduction and authenticity in a commercial or institutional context; local responses to transnational demand; as well as the central role of the makers’ agency from the 17th to 20th centuries.
250-word proposals should be sent with a short academic CV to Noémie Etienne (email@example.com) and Yaëlle Biro
(firstname.lastname@example.org) by 14th August 2017.
3. All in the Family: Northern European Artistic Dynasties, ca. 1350-1750
In early modern northern Europe, many artists followed fathers, uncles, brothers, sisters, and spouses into the family business of art-making.
From the Netherlandish brothers Herman, Pol, and Jean de Limbourg, to the Vischer family of sculptors in Nuremberg, to the Teniers dynasty of Flemish painters, artists all over the north learned from and collaborated with family members over the course of their careers. For a young artist, family associations helped ease entry into the profession and art market and provided a built-in network of contacts and commissions. However, these connections could also constrict innovation when artists were expected to conform to models set by preceding generations.
This session welcomes proposals for papers that deal with questions of northern European artists’ familial relationships, in all their rich variety of forms. Some issues that may be explored in the panel
include: Did artists seek to differentiate themselves from their pasts, or integrate themselves into a dynastic narrative? What kinds of dynamics were at play when family members collaborated on projects or commissions? How did familial ateliers organize themselves? In what ways were family traditions valued in the marketplace? To what extent did working in a family “style” (evident for example in the work of Pieter Brueghel the Younger) benefit or hinder artists? Where in specific artworks do we see artistic debts to previous generations or deliberate breaks with the past?
The deadline for abstracts is August 14, 2017. For more information and instructions for submitting a proposal, please visit CAA’s 2018 Call for Participation website:
http://www.collegeart.org/pdf/call-for-participation.pdf. Questions may be directed to the session chair, Catharine Ingersoll (email@example.com).