Call for Papers - The Uses of Pathology

 
CAA Los Angeles, 25. bis 28. Februar 2009

As a term, idea, or description, pathology usually bears negative connotations. Yet for certain artists and critics in the modern period, pathology was practically and theoretically generative, a tool for accessing and examining what was difficult to see or understand. This panel will consider the uses of pathology - as a concept or vocabulary - in seeing, understanding, and making art. We seek proposals that go beyond socio-historical analyses of the diseased or degenerate body and, instead, engage pathology as a rich critical or formal language. How might the idea of pathology have been methodologically or hermeneutically useful? How did different definitions of pathology impinge on the possibilities for artistic and critical practice? And how might attention to the uses of pathology reveal the ways in which the fundamental methods and operations of art and science - their modes of thinking and making - were mutually implicated and informed? (Aus der Ankündigung)

 
Deadline: 9. Mai 2008

Call for Papers - Art and Art History after Hegel

Conference of the College Art Association, Los Angeles, California, February 25-­28, 2009

Georg Wilhelm Friedrich Hegel (1770-1831) was arguably the founder of modern art history: he was the first to fold an account of art's  internal development into a larger cultural and intellectual history, while attempting to examine the entirety of the world¹s artistic  production and rigorously explore the differences between artistic  mediums. We invite papers that explore Hegel's importance both to art  history as a discipline and to the history of nineteenth- and  twentieth-century art.  We are especially interested in papers on  specific artists and works that directly engage Hegel's Aesthetics ­ including its controversial claim that "art is and remains for us, on  the side of its highest vocation, a thing of the past." (Aus der Ankündigung)

Deadline: 9. Mai 2008

Call for Papers -
Reinventing the Old Master: Fact, Fiction, and Fabrication in the Afterlives of the Early Modern Artist

 
UCLA & The Getty Museum, Malibu, 19. bis 21. März 2009
(Renaissance Society of America)

Scholars have long recognized that the nineteenth century saw a surge of interest in the lives of Renaissance and Early Modern artists, an interest made manifest in a variety of media, including painting, prints, critical biographies, popular literature, theater, opera, and caricature.  Much attention, for instance, has been paid to the proliferation of imagery recreating episodes from biographies of artists from Giotto to Rembrandt. Of particular import is the recognition that the majority of these interpretations adhere to traditional literary topoi and biographical patterns, such as the artist as madman, bohemian, child prodigy, or sexual deviant.  These later interpretations present themselves as history, but, in actuality, fact, fiction, and fabrication are inextricably entwined in the nineteenth-century Nachleben of the Early Modern artist.  How do we reconcile contradictions between the popular perception of the artist and historical evidence? (Aus der Ankündigung)

 
Deadline: 23. Mai 2008
 

März 2010, Paris

Les expositions universelles en France, au XIXe siècle.
Techniques, publics, patrimoine

Par leur prestige international, par l’attrait qu’elles ont exercé sur le monde du négoce et de l’industrie, par leur capacité à rassembler peuples et objets, par les millions de visiteurs qu’elles ont attirés, les expositions universelles ont été des dispositifs majeurs de médiatisation au XIXe siècle. Toutefois, nous en connaissons encore mal à la fois l’ampleur médiatique (nationale et internationale) et l’impact effectif sur les publics.

Deux séries d'interrogations guident ce projet:

1 - La technique et ses publics dans les expositions universelles Quel a été l’impact réel des expositions universelles dans l’émergence
d’audiences pour la technique ?

2 – Les expositions universelles et les collections techniques Sur ce point, l’ambition du colloque est double : interroger l’histoire des collections issues des expositions et leurs modes de valorisation actuels dans différentes institutions.

(Aus der Ankündigung)

Deadline: 15.Oktober 2008