Calls for Papers

Workshop: Das Klischee in Bewegung. Zur Dynamisierung von Schrift-Bild-Beziehungen in illustrierten Journalen und Büchern (1830-1860) nach oben

Universität Bochum, 22. - 23. Mai 2019
Eingabeschluss: 15. Februar 2019

Veranstaltet im Rahmen der DFG-Forschergruppe 2288 ›Journalliteratur. Formatbedingungen, visuelles Design, Rezeptionskulturen‹, Teilprojekt 4: ›Text/Bild-Konkurrenzen‹, von PD Dr. Andreas Beck zusammen mit PD Dr. Madleen Podewski (FU Berlin).

Die Entwicklung des Holzstichs und der im früheren und mittleren 19. Jahrhunderts boomende internationale Handel mit Bildklischees gelten als Motor einer Bilderpopularisierung im abendländischen Kulturkreis und als Initiator der Ausbildung neuer Schrift-Bild-Konstellationen. Dies lassen die in den 1830ern aufkommenden xylographisch illustrierten Journale (vom Typ des Penny-Magazine und der Illustrated London News, Karikaturzeitschriften, später auch Familienblätter) und Bücher (z.B. L’Histoire de l’empereur Napoléon oder Les Petites misères de la vie humaine) erkennen. Zufriedenstellend erforscht ist dieser Prozeß einer zunehmenden Durchbilderung von Printprodukten nicht. Was seine Sachgeschichte angeht, finden zwar mitunter Verfahren der Klischeeherstellung Aufmerksamkeit (Papierstereotypie, Galvanoplastik etc.), doch ökonomische, marktstrategische und logistische Aspekte des Stereotypenhandels werden kaum untersucht. In konzeptgeschichtlicher Hinsicht wiederum stellen Arbeiten zur Bedeutung des Bildklischees für die aufstrebende visuelle Kultur ab dem zweiten Drittel des 19. Jahrhunderts ein Desiderat dar.

Hier möchte der Workshop detaillierte Erschließungsarbeit in Gang setzen bzw. fortführen. Untersuchungen zum Bildklischee sind in besonderer Weise geeignet, um die historische Spezifik der visuellen Kultur jener Zeit im printmedialen Bereich zu greifen. Das international gehandelte Klischee mobilisiert Schrift-Bild-Beziehungen (mindestens) europaweit und zudem medienübergreifend: Zunächst macht es das Aufkommen des Phänomens und des Begriffs ›Illustration‹ im 19. Jahrhundert technisch und ökonomisch überhaupt möglich. Dabei fördert es Verfahren des Rearrangements von Schrift- und Bildelementen. Sie können in (Doppelseiten-)Layouts verschiedener Journale und Bücher ähnlich bis grundverschieden neu konstelliert und paratextuell gerahmt werden. Das verändert die Visualität von Schrift und Bild und flexibilisiert deren Beziehungen: von der strikten Subordination des Bildes unter die Schrift bis hin zum Hervorheben optischer Qualitäten auch der Schrift. Die Beobachtung solcher Druckpraktiken bietet somit Gelegenheit, das Sich-Einspielen von Zügen einer internationalen Schrift-Bild-Syntax sowie die Herausbildung lokaler verbalvisueller Idiome zu studieren.

Zu diesen bzw. verwandten Themen werden Beiträge (in deutscher oder englischer Sprache) erbeten v.a. aus Buch-, Kunst-, Literatur- und Mediengeschichte, die Wanderbewegungen von Bildklischees im 19. Jahrhundert mit ihren Konsequenzen für die Geschichte printmedialer Schrift-Bild-Verhältnisse in den Blick nehmen. Willkommen sind insbesondere Studien zu exemplarischen Fällen in der Printlandschaft des abendländischen Kulturkreises. Großes Interesse besteht an Darlegungen zu ökonomischen und marktstrategischen Aspekten des Bildklischeehandels: zu offenen oder exklusiven Handelsnetzwerken, zu Betriebsabläufen und ihren unterschiedlichen Geschwindigkeiten und zu den schrift-bildlichen Innovationen, die mit solchem (markt)ökonomischen Handeln rund um das Klischee einhergehen.

Eine Publikation der Beiträge ist im E-Journal der Forschergruppe PeriodIcon. Studien zur visuellen Kultur des Journals / Studies in the visual culture of journals vorgesehen.

Beitragsvorschläge im Umfang von ca. 500 Wörtern zusammen mit einem kurzen CV erbitten wir bis zum 15. Februar 2019 an:
PD Dr. Andreas Beck: andreas.beck@rub.de
PD Dr. Madleen Podewski: madleen.podewski@fu-berlin.de

—- English Version:

Stereotypes in Motion. On changing letterpress/image relations in illustrated magazines and books (1830-1860)

workshop, hosted within the DFG-funded research unit “Journal Literature: Rules of Format, Visual Design, and Cultures of Reception” by the sub-project “Text and Image in ‘Konkurrenz’”, PD Dr. Andreas Beck (Universität Bochum), in cooperation with PD Dr. Madleen Podewski (Freie Universität Berlin)

In the early and mid 19th century, the increasing adoption of wood engraving and the booming transnational trade in stereotypes (casts from wood engravings) effect a popularization of pictures throughout western culture. Moreover, this mediated migration of xylographic illustrations pushes forward the formation of new modes of combining letterpress and images on pages and on openings. This development becomes obvious on any reading-viewing of illustrated periodicals (of the Penny Magazine and of the Illustrated London News genre, of caricature magazines, and later on of ‹Familienblätter›: family magazines such as Gartenlaube) and books (for example Laurent’s/Vernet’s Histoire de l’Empereur Napoléon or Old Nick’s/Grandville’s Petites misères de la vie humaine). Nevertheless, little research has been done to investigate the changes that stereotyped wood engravings brought to the visuality of print culture. There are some studies in manufacturing processes (paper stereotyping, electrotyping), but little in marketing strategies and their logistic and economic aspects. And almost no attention has been paid to the important role that stereotyped wood engravings play in the ambitious and dynamic visual culture of the 19th century.

We expect our Workshop to continue and/or initiate detailed explorative research in this field. Studies in stereotypes are particularly suitable to grasp the specificity of the print-media aspect of the visual culture of the period. Transnational trade in stereotypes provoked a cascade of changes in the relationship between letterpress and image in Europe and beyond. Both in terms of technical possibilities and in terms of the economics of publishing, it makes possible the emergence of the phenomenon, and of the term, ›illustration‹. In the process, the transnational flow of stereotypes encourages rearrangements of pictorial and verbal elements which are recombined and paratextually framed in convergent or divergent ways in different magazines and/or books in different locations. These recombinations alter the visual qualities of both typeset text and images, and draw attention to the flexibility of their relations, ranging from strictly word-governed pictures to typography with emphatic visuality. Analyzing these layout practices offers the opportunity to observe the emergence of a transnational verbal-visual syntax, as well as to witness the formation of local verbal-visual idioms.

We call for proposals for papers (in English or German) from book and media studies, from art and literary history, concerned with these or related topics. Papers should focus on the migration of stereotypes (principally of wood engravings), and its effects on the relations between letterpress and picture, or word and image, in the print-media culture of this period. Studies in economic aspects and market strategies of stereotype trading are most welcome, for example investigations of trade networks, or of logistic aspects of export/import practices. We will welcome studies which explore the impact of stereotype trading’s economic dimension on the visual design of illustrated magazine pages/openings. 

Contributions will be published in the research unit’s e-journal PeriodIcon. Studien zur visuellen Kultur des Journals / Studies in the visual culture of journals.

Please submit your proposal (max. 500 words) and a short CV by February 15, 2019 latest to:
PD Dr. Andreas Beck: andreas.beck@rub.de
PD Dr. Madleen Podewski: madleen.podewski@fu-berlin.de

Workshop: Prints and Drawings Curatorship nach oben

Harvard Art Museums, Cambridge, MA, USA, 9. - 11. Juli 2019
Bewerbungsschluss: 25. Januar 2019

Call for Participants: The Potential of Technical Studies and Conservation for Prints and Drawings Curatorship: A Professional Workshop (Harvard Art Museums)

The Potential of Technical Studies and Conservation for Prints and Drawings Curatorship is an intensive three-day international workshop to support up to 16 early and mid-career curators in the fields of prints and drawings. The program is scheduled to take place July 9-11, 2019 at the Harvard Art Museums in Cambridge, Massachusetts. The workshop is funded by the Getty Foundation through The Paper Project: Prints and Drawings Curatorship in the 21st Century.

A vital part of a curator’s responsibility as the steward of a collection is not only to understand an object within historical, creative, and cultural contexts, but also to consider its material qualities and how a work of art might change over time. A good understanding of the technical and conservation issues of a collection enables curators to partner better with all colleagues involved in the care of objects. The workshop will build upon curators’ experience and training to date, augmenting it with the skills necessary for a holistic approach to any collection.

The main goal of this workshop is to help close a gap by exploring the fundamental points of intersection between conservation and curatorial practice. Activities and discussions will focus on issues related to preservation, acquisition, and interpretation (research, cataloguing, and publication), which includes understanding the physical structure and condition of a work, ideal storage, possible treatment needs, and display.

These aims will be achieved through a variety of experiences. Hands-on examination of artworks representative of the broad range of mediums that participants are bound to encounter in their careers is planned in the Art Study Center with objects from the museums’ collections. Practical drawing and printmaking experiences will be offered in the museums’ Materials Lab. Close looking with the aid of a variety of technical tools, will be undertaken in the Straus Center for Conservation with the goal of teaching the participants how to undertake basic technical examinations on their own. And throughout the course, participants will engage in discussion with curators, academic art historians, conservators, conservation scientists, and artists committed to the flourishing of the graphic arts.

The workshop will be led by the curators, conservators, and other members of the technical studies team responsible for overseeing and interpreting the Harvard Art Museums’ graphic arts collections, which span both Western and non-Western fields, from the late-medieval to contemporary periods. The project team consists of Francesca Bewer, Research Curator for Conservation and Technical Study Programs, and Director of the Summer Institute for Technical Studies in Art; Penley Knipe, Philip and Lynn Straus Senior Conservator of Works of Art on Paper and Head of Paper Lab, Straus Center for Conservation and Technical Studies; Edouard Kopp, Maida and George Abrams Curator of Drawings; and Elizabeth Rudy, Carl A. Weyerhaeuser Associate Curator of Prints. (In January 2019, Kopp will become the John R. Eckel Jr. Foundation Chief Curator of the Menil Drawing Institute in Houston.)

Confirmed specialists will include Scott Rosenfeld: Lighting Designer at The Smithsonian American Art Museum and The Renwick Gallery in Washington D.C.; Ad Stijnman: independent scholar, printmaker, and print historian; and Joan Wright: Bettina Burr Conservator, Asian Conservation, Museum of Fine Arts, Boston. Other guest specialists are to be confirmed.

Eligibility and Application Process
Early and mid-career curators from institutions of various sizes worldwide are invited to apply. Specialties in prints and drawings of any scope of time and geography are welcome. No background in science or conservation, or access to in-house conservation resources, is required. A maximum of 16 participants will be admitted to the program. Applicants are evaluated on the basis of their academic accomplishments to date and on their expressed interest in integrating technical studies in their curatorial pursuits.

To apply, please send a letter of interest along with a current résumé/CV via email to am_europeanamerican@harvard.edu. Applications will be accepted through January 25, 2019, and notifications will be made in February.

Selected participants who are not U.S. Citizens or Permanent Residents must ensure their immigration status allows them to receive payments from Harvard University, such as a B1 visa or visa waiver for business. B visa holders or visa waivers may not qualify for certain payments if activities at Harvard exceed 9 days and participants have received payments from more than 5 U.S. organizations within a 6-month period.

Haunted: Cross-Historical and Cross-Cultural Specters in Print Practice nach oben

Session, College Art Association Annual Meeting, New York City, 13.-16. Februar 2019
Eingabeschluss: 6. August 2018

The portability of artists' prints and printmaking projects (from comics to librettos, artists' books to 'zines) allows them to traverse borders and boundaries. But what remains attached to, and within, a print as it circulates, and how does it resurface, sometimes much later? An apprentice printmaker’s works, for instance, (covertly or overtly) bears the stamp of the master under whom she studies. A zine or broadsheet reveals layers of appropriation. This panel, then, attends to an important but neglected aspect of prints’ mobility: it puts the ways that prints were fabricated and the stories of their local origins in dialogue with their histories of circulation. From practitioners and historians, e seek discussions of images, designs, and materials of various “others” that lie within a print’s construction.

Inspired by voices speaking to the ghostly residues upon objects from Gloria Anzaldúa, to Jacques Derrida, to Luce Irigaray, to Harold Bloom, we solicit proposals that approach the haunting of printed material in various ways. In addition to semantic or metaphorical hauntings, we welcome papers that consider pedagogical haunting—that is, the things that viewers of printed material are supposed to learn and how—or the ways that prints have contributed to the unsettling of certain cultural forms. The aim is to exhume and revive the mis-identifications that printed materials have instigated over time.

Please email Katie Anania (katie.anania@gcsu.edu) and Alexis Salas (alexisnsalas@gmail.com) by August 6, 2018 with a paper title, abstract (max. 300 words), and CV.

Graphic Encounters nach oben

La Trobe University, Melbourne, Australia, 7.-9. November 2018
Eingabeschluss: 15. August 2018

Graphic Encounters conference
Presented by La Trobe University's department of Archaeology and History, and the Centre for the Study of the Inland

Convenor: Dr Liz Conor, Senior Researcher, La Trobe University
Keynote speakers: Dr Greg Lehman and Professor Jane Lydon

Until the widespread use of photographic reproduction from the later nineteenth century, visual imagery of the colonial encounter was disseminated through printed means, including woodcuts, engravings, etchings and the newer technique of lithography. In recent years considerable attention has been given to colonial photography depicting Indigenous Australians, yet relatively little has been undertaken into the earlier and formative archive of colonial-era prints of Indigenous Australians.

This conference will bring together scholars, curators, librarians, artists, collectors, dealers and anyone with an interest in print media and visual culture to explore the production, circulation, collection, publication and exhibition of prints of Indigenous peoples in transnational circuits of communication. While some academic papers will be presented, we're hoping to include a wide range of perspectives on this colonial visual archive at the conference. Attention to the mobility of technologies, techniques and technicians along with traces of resistance and assertions of sovereignty are encouraged. We seek to interrogate how settlers inscribed ‘prospects for settlement’ and the ways they ‘put themselves in the picture’ of colonial incursion. The conference is interested to explore all aspects of racialized thought within the production and dissemination of the foundational and formative visual library of colonial prints.

The 2018 Graphic Encounters conference is joint hosted by the History program and the Centre for the Studies of the Inland at La Trobe University, providing a forum for a much needed examination of this overlooked archive of inscribed Indigenous peoples. The conference is designed to encourage reflection on Australian prints in transnational circuits, and those produced in prints workshops around the world and the impacts of these imaged meanings across disciplines. The movement of images and artists, printers, publishers and collectors through these ‘webs of empire’ through networks of dispersed yet intersected publics as they competed to lay claim to the New World will be showcased through the conference. It will focus on hundreds of well-known and still unknown and startling images, yielding new understandings about settler impressions of Aboriginality, race relations and their sense of place in New Holland/Australia.

Panels and papers are invited which address the following themes in historical/cultural perspectives and contemporary debates:

- Sovereignty and resistance
- Periphery and portrait
- Technicians, techniques and technologies
- Mobility and trade
- Printing and publication
- Collecting and exhibiting
- Local and global connections

Further details of the submission guidelines are available at: https://www.latrobe.edu.au/archaeology-and-history/research/graphic-encounters/conference

The End of Architectural Drawings? nach oben

Rom, Bibliotheca Hertziana, 21.-23. November 2018
Eingabeschluss: 30. Juni 2018

Das Ende der Architekturzeichnung? Darstellungsmodi und Baupraxis zwischen 20. und 21. Jahrhundert

Gernsheim-Studientage, 21.–23. November 2018

Konzept und Organisation: Tatjana Bartsch, Johannes Röll, Anne Scheinhardt, Vitale Zanchettin

Die in den letzten Jahrzehnten zu beobachtende massive Verbreitung elektronischer Hilfsmittel zur Datenverarbeitung in der Baupraxis scheint traditionelle Techniken der Handzeichnung und des Modellbaus an den Rand gedrängt zu haben. Erfassung, Planung und Visualisierung von Objekten und Gebäuden wirken heute förmlich von digitalen Technologien und semi-automatischen Herstellungsweisen dominiert: von digitalen Aufnahmemöglichkeiten über parametrische oder algorithmische Entwurfsmethoden bis hin zu interaktiven Modellanimationen und automatisiertem Druck in 2D und 3D.

Angesichts dieser flächendeckenden und tiefgehenden technologischen Entwicklungen, die einen epochalen, vermeintlich irreversiblen Wandel kennzeichnen, stellt sich die Frage, ob damit tatsächlich auch Umbrüche in den Wissensformen verbunden sind oder ob neue Darstellungsmittel nicht eher manuelle und mentale Konventionen der Zeichentradition übernehmen. Im Kontext der Baustelle fällt beispielsweise auf, dass die Kommunikation zwischen Ausführenden und Planenden nach wie vor an die Projektionszeichnung gebunden ist, die im Wesentlichen seit Jahrhunderten unveränderten Sehgewohnheiten und Arbeitsweisen folgt. Auch die Bildschirmansicht des vektorbasierten Zeichenprogramms AutoCAD, das in Layern bedient wird, verweist auf die Bauzeichnung auf Transparentpapier und Reißbrett, die das ganze 20. Jahrhundert über Anwendung fand. Die aktuelle Praxis wie auch die Interaktionen zwischen automatisierter und manueller Zeichnung in Lehre, Bauaufnahme und Projektplanung schreiben den neuen Technologien folglich keineswegs einen Ausschließlichkeitsanspruch zu.

Das Ziel dieser Tagung ist es, ausgehend von verschiedenen disziplinären Standpunkten und folgenden Fragen Reflektionen über moderne Architekturdarstellungen zu befördern: Inwiefern sind die neuen Hilfsmittel in enger Abhängigkeit von einem über die Jahrhunderte hinweg konsolidierten Substrat aus Wissenspraktiken zu betrachten? In welchen Bereichen wird die Zeichenpraxis mit traditionellen Materialien und Techniken fortgeführt? Welche Rolle nehmen jüngste Phänomene in der Architekturgeschichte ein, in denen ein verstärktes Interesse an der Handzeichnung für Projektentwurf, Bauaufnahme und architektonischer Darstellung aufscheint? In welchen Zusammenhängen treten Wechselwirkungen zwischen Digitalem und Manuellem zu Tage?

Über den Vergleich unterschiedlicher Zeichenpraktiken (von spezifischen individuellen Erfahrungen bis hin zu lokalisierbaren Tendenzen, Projekte verschiedener Größenordnungen und Bauaufgaben) möchte die Tagung die Architekturzeichnung innerhalb spezifischer Kontexte in den Blick nehmen, in denen die Handfertigkeit im alltäglichen Umgang mit Architektur sowie Konzepte der Urheberschaft von Grund auf zur Disposition gestellt zu sein scheinen. Es werden Vorträge von maximal 30 Minuten erbeten, die sich mit Fallbeispielen oder theoretischen Fragestellungen zur modernen und zeitgenössischen Zeichenpraxis und ihren Beziehungen zur Vergangenheit auseinandersetzen.

Bitte senden Sie bis zum 30.06.2018 Ihren Beitragsvorschlag in Form eines Abstracts (circa 300 Wörter) mit einem kurzen Lebenslauf an gernsheim@biblhertz.it.

Die Bibliotheca Hertziana übernimmt die Kosten für Reise (economy class) und Unterbringung gemäß den Vorgaben des deutschen Gesetzes zur Übernahme von Reisekosten.

The end of architectural drawings? Representation and construction in the 20th and the 21st century

Gernsheim Study Days, November, 21 – 23, 2018

Conception and Organization: Tatjana Bartsch, Johannes Röll, Anne Scheinhardt, Vitale Zanchettin

In the last decades, the far-reaching diffusion of electronic data processing instruments seems to have supplanted traditional methods of manual drawing and three-dimensional architectural model making. The capturing, planning and visualization of objects and buildings appears to be positively dominated by digital technologies and semi-automatic production methods, ranging from parametric and algorithmic modelling systems and digital recording tools to interactive animations and automatic 2D and 3D printing.

In view of these extensive and pervasive technological developments which appear to highlight an epochal and seemingly irreversible change, the question arises as to whether these new means of representation also reveal an inherent change in the forms of knowledge or, rather, if they do not simply adopt manual and conceptual conventions derived from the architectural drawing tradition. Notably, in the context of construction sites, the communication between the executing and the planning party continues to be linked to the graphical projection, following practices that have been essentially unchanged for centuries. Even the screen view of the vector-based drawing program AutoCAD, which is operating in layers, points to the method of projection drawing on transparent paper that was diffused throughout the 20th century. Both on-going practice and recent experiences with the combined use of manual and digital drawings in teaching and project planning seem to call into question the superior position of these modern technologies.

The upcoming conference hopes to encourage a reflection on modern forms of architectural representation, starting from a variety of disciplinary approaches and focusing in particular on the following issues which, until now, have been answered only partially: to what extent should the new technological instruments be viewed as based on a substrate of practices consolidated in the course of centuries? In which sectors does the drawing practice continue to use traditional materials and techniques? What is the role of recent phenomena which seem to reveal a renewed importance of manual drawings for project planning, capturing and architectural representation? In which context do interaction and contamination occur between the digital and the manual?

By comparing different drawing practices (from specific individual experiences to traceable tendencies, projects in different scales and for various architectural purposes), the conference intends to focus on the role of architectural drawing within a historical context that appears to challenge both manual dexterity in its daily use and the concept of intellectual authorship. Talks should not exceed 30 minutes and focus on either specific case studies or theoretical questions pertaining to the methods of modern or contemporary architectural drawing and their relation with the past.

Interested speakers are invited to send a short CV and an abstract of their proposed talk (c. 300 words) to gernsheim@biblhertz.it by June 30 2018). Languages: English, German, Italian.

The Bibliotheca Hertziana is willing to cover the costs for both travel (economy class) and accommodation, in accordance with the provisions of the German Travel Expenses Act (Bundesreisekostengesetz).

Touring Belgium. A nation’s patrimony in print, ca. 1795-1914 nach oben

Ghent, 23. November 2018
Eingabeschluss: 15. Juni 2018

 

We invite contributions to a study day intending to examine how and why, over the course of the long 19th century, a variety of actors ranging from tourists over writers to artists and historians, explored the nascent architectural and artistic patrimony of Belgium. This process occurred at the very time a patrimony was established by such diverse forces as emerging tourism, the historical endeavours of learned societies and academia, the imagination of literary authors, official heritage policies, and the building of (subsequent) new nations (the Austrian Netherlands were annexed in 1795 to the French Republic, and became part of the (United) Kingdom of the Netherlands in 1815, until in 1830 an independent Belgian state was declared).

More in particular, we are interested in how different printed media – from travel guides and travel literature to albums and illustrated newspapers – contributed to inventorying, debating, broadcasting, promoting, and ultimately constructing this patrimony in a national and international context, in word and image. How did the printed medialisation of a nascent architectural and artistic patrimony affect historical artefacts and the ways in which they were preserved, transformed, collected, viewed and experienced?

We also hope to clarify how in printed media ‘Belgium’ operated as a notion that invited reflection on art and architecture from outsiders looking in – such as the numerous French authors who visited Belgium in the 19th century, Hugo and Baudelaire chief amongst them – and from insiders, ‘Belgians’, addressing their fellow country(wo)men or looking outward and defining the significance of a national patrimony in an international context.

We invite 500 word proposals for 25 minute presentations at a study day jointly organized by the Department of Architecture and Urban Planning of Ghent University and the Chair of the History and Theory of Architecture of the ETH Zürich, and sponsored by Printing the Past. Architecture, Print Culture, and Uses of the Past in Modern Europe (PriArc), an international, multidisciplinary research project funded by the Humanities in the European Research Area Program (HERA).

Proposals should be sent to ben.vandenput@ugent.be and nikolaos.magouliotis@gta.arch.ethz.ch by June 15th, 2018. Notification of acceptance will follow by June 25th.

Organizing committee: prof. Maarten Delbeke (ETH), prof. Maarten Liefooghe (UGent), Nikolaos Magouliotis (ETH), Ben Vandenput (UGent), dr. Jan Vandersmissen (UGent)

Call for Applications: Workshop and Traveling Seminars in the Study of Sixteenth-Century Italian Drawings nach oben

Workshop mit Exkursionen, Dresden, 29. November - 8. Dezember 2018
Reiseseminar, Juni-Juli 2019
Bewerbungsschluss: 31. Mai 2018

The Dresden Kupferstich-Kabinett (Museum of Prints, Drawings and Photographs of the Staatliche Kunstsammlungen Dresden) invites applications for a program dedicated to drawings connoisseurship and curatorial practice, with a main focus on Italian drawings of the sixteenth century. It will be led by the Kupferstich-Kabinett’s director Stephanie Buck and curator Gudula Metze who will pair up with specialists Chris Fischer (Head of the Center for Advanced Studies in Master Drawings, Copenhagen) and Heiko Damm (lecturer at the Johannes Gutenberg University of Mayence). The program’s topic is chosen because of the rich yet insufficiently explored holdings of Italian Renaissance drawings in Dresden, an important selection of which will be on view in the upcoming exhibition In the Realm of Possibilities: Sixteenth-Century Italian Drawings (October 26, 2018 to January 20, 2019).

The program consists of two parts: a ten-day workshop/traveling seminar (November 29 to December 8, 2018) and an eight-day traveling seminar (mid June/July 2019).

Part one will begin with a two-day international workshop to be held in the Dresden Kupferstich-Kabinett from November 30 to December 1, 2018, bringing together curators and academics to discuss connoisseurial questions such as attribution. It will also address more general challenges in researching drawings, particularly those of large and complex museums with a long history like the Dresden Kupferstich-Kabinett, founded in 1720. The workshop will be followed by a day with the museum’s paper conservators to focus on the drawings’ materiality, exploring in detail questions related to technique and condition. The group will then set off for a traveling seminar to be held from December 3 to 8, 2018 with visits to the major collections of prints and drawings in Berlin (Staatliche Museen, Kupferstichkabinett) Leipzig (Museum der Bildenden Künste), and Budapest (Szépművészeti Múzeum). Whilst the seminar will focus on Italian sixteenth century drawings, it will also provide insight into the specific strengths of each collection.

The second part of the program will take place in mid June/July 2019. The group will reconvene for an eight-day traveling seminar with visits to some of the many important collections in West and/or South Germany, including the Städel Museum in Frankfurt, the Hessisches Landesmuseum in Darmstadt and Museum Kunstpalast in Düsseldorf. The group will be joined by curators from the visited institutions.

This program is tailored to early and mid-career curators in the field of Old Master drawings and less than eight years of full-time museum work experience, particularly colleagues who work in "departments of one" where they may not have many opportunities for collection study with other specialists. Advanced graduate students pursuing a doctoral thesis in which Italian sixteenth century drawings play a critical role are also encouraged to apply.

The goal of the program is to provide an opportunity for the intensive study of Old Master drawings in the original. By discussing the works with peers and senior experts, it allows participants to train their eye, strengthen their expertise in Italian Renaissance drawings, and further develop skills necessary when researching towards collection catalogues, crucial for a career as curator in this field. This includes the study of the physical object as well as the interpretation of archival evidence. The program will also allow the participants to develop their network in the closely knit community of Old Master curators.

The working languages are English and Italian. German reading skills are of advantage. The participants will be asked to prepare two short presentations on selected works. Travel, accommodation and meal expenses will be covered by the program.

Applications shall be sent electronically, in a single pdf document, to kk.disegno@skd.museum, containing:

- A letter of intent (in English or Italian) summarizing your interest in the program, with an explanation of how participation in it will help you achieve your career goals.
- A curriculum vitae (in English or Italian) that includes your name, title, affiliation, email address, and nationality/citizenship.
- A writing sample on a topic related to the program (up to 3 pages).

Application deadline: May 31, 2018.

Participants will be selected and notified by the end of June. Questions about the program may be directed to kk.disegno@skd.museum.

This program is supported by a major grant from the Getty Foundation, as part of The Paper Project: Prints and Drawings Curatorship in the 21st Century.

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Workshop e seminari itineranti sul disegno italiano del Cinquecento Il Kupferstich-Kabinett Dresden (Gabinetto dei disegni, delle stampe e delle fotografie delle Collezioni d’Arte Statali di Dresda) invita a presentare candidature per la partecipazione ad un programma di studio sulla connoisseurship del disegno e sulla pratica curatoriale, con particolare attenzione al disegno italiano del Cinquecento. Il corso avrà luogo sotto la guida di Stephanie Buck, direttrice del Kupferstich-Kabinett, e della curatrice Gudula Metze, insieme agli specialisti Chris Fischer (direttore del Centro di Studi Avanzati sul Disegno, Copenaghen) e Heiko Damm (docente all’Università Johannes Gutenberg di Magonza). Il tema del corso è suggerito dall’importante fondo di disegni italiani del Rinascimento del Kupferstich-Kabinett: un nucleo ricco ma ancora poco noto, del quale sarà presentata un’importante selezione nella mostra “Nel regno delle possibilità. Disegni italiani del Cinquecento” (26 ottobre 2018 – 20 gennaio 2019).

Il programma è articolato in due parti: un workshop/seminario itinerante di 10 giorni (29 novembre – 8 dicembre 2018) ed un seminario itinerante di 8 giorni (metà giugno/luglio 2019).

La prima parte inizia con un workshop internazionale di due giorni al Kupferstich-Kabinett di Dresda, dove specialisti di ambito universitario e museale potranno entrare in dialogo su questioni di connoisseurship e attribuzione. Si discuteranno anche le sfide più generali della ricerca e della prassi museale nel campo dei disegni, con particolare riferimento al caso di collezioni ricche, complesse e di antica tradizione come è quella del Kupferstich-Kabinett, la cui fondazione risale al 1720. Il giorno successivo al workshop, i partecipanti avranno l’occasione di incontrare i restauratori del museo, per approfondire temi relativi alla materialità dei disegni, alle tecniche di esecuzione e alle condizioni di conservazione. A seguire, il gruppo partirà per un viaggio di studio (3–8 dicembre 2018) con visite alle importanti collezioni di disegni e stampe di Berlino (Staatliche Museen, Kupferstichkabinett), Lipsia (Museum der Bildenden Künste) e Budapest (Szépművészeti Múzeum). Il tema principale del seminario rimarrà il disegno italiano del Cinquecento, ma nel confronto con i rispettivi curatori emergeranno gli specifici punti di forza di ogni collezione.

La seconda parte del programma avrà luogo verso metà giugno/ inizio luglio del 2019, quando il gruppo si riunirà di nuovo per un viaggio di 8 giorni. Si prevedono visite in alcune importanti collezioni tedesche, tra cui il Museo Städel di Francoforte, lo Hessisches Landesmuseum a Darmstadt ed il museo Kunstpalast di Düsseldorf. I curatori delle istituzioni visitate parteciperanno ai lavori.

Il programma si rivolge a curatori a inizio o metà carriera nel campo del disegno antico e moderno, con meno di 8 anni di esperienza professionale a tempo pieno, e in particolare ai colleghi che lavorano in realtà piccole, dove possono essere rare le opportunità di studiare le collezioni insieme ad altri specialisti. Sono invitati a partecipare anche dottorandi o neo-addottorati la cui tesi affronta problemi di disegno cinquecentesco.

Lo scopo del corso è offrire un’occasione per lo studio intensivo dei disegni davanti agli originali. Confrontandosi con colleghi e con specialisti più esperti, i partecipanti avranno modo di allenare lo sguardo, approfondire la loro expertise sul disegno italiano del Rinascimento, e affinare le abilità necessarie per un lavoro di catalogazione di una collezione, compito centrale per un conservatore impegnato in questo campo. Questo lavoro comprende sia lo studio dell’oggetto fisico sia l’interpretazione di evidenze d`archivio. Il programma offre inoltre l’occasione di espandere e rafforzare i propri contatti nella comunità dei curatori di “Old Master Drawings”.

Le lingue di lavoro del corso saranno inglese e italiano. La comprensione del tedesco scritto costituisce un vantaggio. Ai partecipanti si chiederà di presentare due brevi relazioni su oggetti selezionati. Le spese di viaggio, vitto e alloggio saranno coperte dal programma.

Le candidature vanno spedite via mail, in un unico documento PDF, al seguente indirizzo: kk.disegno@skd.museum

Il documento deve comprendere

- una lettera di motivazione (in inglese o italiano) in cui il candidato espone il suo interesse per il corso, specificando in che modo la partecipazione contribuirà al raggiungimento dei propri obiettivi professionali
- un curriculum vitae (in inglese o italiano) con nome, titolo accademico, affiliazione universitaria/professionale, indirizzo e-mail, nazionalità/cittadinanza
- una prova scritta su un tema legato al programma (massimo 3 pagine)

La data di scadenza per le candidature è il 31 maggio 2018.

I partecipanti saranno selezionati e avvisati entro la fine di giugno. Per domande e chiarimenti sul programma si prega di rivolgersi a kk.disegno@skd.museum.

Questo programma di studi è realizzato grazie al generoso sostegno della Getty Foundation, come parte del Paper Project: Prints and Drawings Curatorship in the 21st Century.

Printed Images and Cultural Transfer in the Early Modern World nach oben

Session SCSC, Albuquerque, NM, 1.-4. November 2018
Eingabeschluss: 27. März 2018

The availability of what William Ivins famously called “exactly repeatable visual statements” produced a technological revolution that transformed communication in the early modern world in ways no less significant than the internet has done for modern life. Travelers from Europe carried images with them around the globe to maintain awareness of their own culture and to share ideas and information with those they encountered. Returning explorers circulated their discoveries through prints and illustrated books. This phenomenon has been the subject of much study in recent years, but often, researchers focus on specific cultural interactions, such as Jesuit preaching in Mexico or Dutch perceptions of China.

This session marks the beginning of a project to develop an on-line network for researchers concerned with how images contributed to cultural transfer in the early modern world. We hope that sharing of publications and information about specific projects can lead to collaborative research and identification of global patterns of communication and exchange.

This session seeks to bring together researchers concerned with the impact of European visual imagery in colonial settlements or other contact zones throughout the world in the early modern period (16th-18th centuries). Paper topics might address instances of either visual communication between cultures or the collecting and dissemination of visual imagery to sustain awareness of European culture among settlers. We are especially interested in research using digital humanities methods, but all approaches are welcome.

Abstracts of up to 250 words in length, together with a CV, should be sent to: Stephanie Dickey at: dickey.ss@gmail.com and Arvi Wattel at: arvi.wattel@uwa.edu.au. Deadline: March 27, 2018.

The Printed and Digital Page: Reassessing Form, Content and Methodologies nach oben

London, Kingston School of Art, Kingston University, 27. April 2018
Eingabeschluss: 11. März 2018

"The Printed and Digital Page: Reassessing Form, Content and Methodologies" will focus on printed and digital pages as both subjects and objects of research, ranging from magazines, newspapers, periodicals, books, zines and photo books to websites, databases and content management systems. Such artefacts raise methodological questions around the use of their content, as well as their design, production, materiality and consumption, in design historical doctoral research. This TECHNE supported PhD training day will consist of discussions on the challenges of working with printed and digital pages with PhD students and academics in design history and related areas in humanities, art and design. The event will attend to issues such: as the design, production and consumption of pages, including their imagery, typography, materiality and readerships; and how they can be both the medium, and result, of practice-based research. Looking at these objects 'close-up' will offer students the opportunity to discuss strategies for researching the printed page as both object and subject.

ELIGIBILITY
The day is aimed at doctoral students focused on, or interested in, design history and practice and whose research involves close study of the form and content of print and digital publications from the 18th century to digital equivalents in the 21st century. The day is open to students who are TECHNE studentship holders as well as PhD students more generally at TECHNE's partner universities (Royal Holloway, University of London; Kingston University; Royal College of Art; University of the Arts London; University of Brighton; University of Roehampton; University of Surrey).

APPLICATION PROCESS
Please send the following information to: Cat Rossi (c.rossi@kingston.ac.uk) and Vanessa Van den Berghe (k1436023@kingston.ac.uk) by 5pm on 11th March 2018:

- Name
- Affiliation
- Title of PhD research
- Short abstract of your research (max. 150 words)

Organisers: Vanessa Van den Berghe, Lucia Savi, Catherine Sidwell, and Dr Sarah Teasley, Dr Annebella Pollen, Professor Jeremy Aynsley, Dr Catharine Rossi.

The event is funded by the TECHNE Doctoral Training Partnership and organised by Kingston University, London, the Royal College of Art and the University of Brighton.

The Profession of the Print Publisher in the long 16th century nach oben

Session at the Annual Meeting of The Sixteenth Century Society & Conference (SCSC)
Albuquerque, NM, 1.-4. November 2018
Eingabeschluss: 15. März 2018

Organized by: Femke Speelberg, Dept. of Drawings and prints, The Metropolitan Museum of Art
Session co-sponsored by the Association of Print Scholars (APS)

One of the most revolutionary changes to the field of printmaking over the course of the long sixteenth century was the growing role and influence of the print publisher. While still a rare, or almost undocumented phenomenon around 1500, by the turn of the following century the print market was largely controlled by individual entrepreneurs and well-established publishing firms. The business of print production necessitated new structures of organization, a division of labor and the creation of sales and marketing techniques that profoundly influenced choices of style, technique, subject matter and formatting, as well as taste and collecting practices.

While neglected in early print scholarship in favor of the artistic contributions of the inventor and or printmaker, in recent years much new information about the role of the publisher has come to light through conferences, exhibitions and publications. Much of this work is (by necessity) of monographic nature, focusing on individual publishers and their output. This session seeks to highlight in particular new research that further elucidates the wide-ranging functions performed by the early-modern print publisher, and through a combination of papers expand our comprehension of the local, national and transnational influence of this new profession on the print market. 

Papers are encouraged to focus on:
- Early print publishers and entrepreneurs
- Specialized publishers
- Publishers commissioning prints
- Working relationships between publishers and printmakers
- (Exclusive) Collaborations with individual artists
- Publishers shaping the print market / collecting practices
- Publishers influencing format / specialized subject matter
- Publishers sourcing prints from elsewhere
- Networks of Print Publishers
- Rivalry and Competition between Print Publishers
- Selling techniques
- A Publishers Print stock and stock lists

Please submit an abstract (max. 200 words) and a brief bio (not to exceed 300 words) to Femke Speelberg (Femke.Speelberg@metmuseum.org) by March 15, 2018.

Papers will be chosen for one or possibly two sessions to be held during the annual meeting of the Sixteenth Century Society in Albuquerque, New Mexico. You will receive notification from the conveners by April 2, 2018.

«Grafica d’Arte», Rivista di storia dell’incisione antica e moderna e storia del disegno (2018) nach oben

Eingabeschluss: 30. April 2018
graficadarte.it

«Grafica d’Arte», Rivista di storia dell’incisione antica e moderna e storia del disegno (2018)

Direttore responsabile: Paolo Bellini
Ed. Edi.Artes, Milano
http://graficadarte.it

Descrizione della Rivista:
La nostra rivista, «Grafica d'arte», è stata fondata nel 1990 da Paolo Bellini, per anni docente di Storia dell’Incisione all’Università Cattolica di Milano e tuttora direttore di «Grafica d’arte»; annualmente pubblichiamo 4 fascicoli (ciascuno di 52 pagine), intervallati da 4 supplementi - «L’occhio nel segno» (ciascuno di 32 pagine), diffusi solo per abbonamento (euro 59 per l’Italia). 

Contenuti dei possibili contributi:
La Rivista invita a presentare contributi relativi alle seguenti aree di ricerca:

A. Aspetti di storia dell’incisione e del disegno dal XV al XX secolo, con particolare interesse per contributi su singoli argomenti iconografici o scoperte storico-artistiche.
B. Grafica d’arte italiana e contemporanea: contributi su singoli artisti, su particolari tematiche, su serie di opere, su scuole.
C. Rapporto tra grafica d'arte e scienza: soggetti ispirati alla geologia, ai fenomeni naturali.

Dettagli tecnici:
I contributi, redatti in lingua italiana, dovranno essere inediti e saranno da inviare, in formato docx oppure in pdf, a info@graficadarte.it entro il 30 aprile 2018. Alla sopra citata mail si dovranno far pervenire cinque files distinti:

1) Testo del contributo (in questo file non utilizzare il comando automatico delle note, ma inserire manualmente i numeri di nota nel testo, ponendoli in apice).
2) Note.
3) Le didascalie delle opere citate (nome e cognome dell’autore, titolo, tecnica, anno, eventuale ubicazione).
4) Le immagini (in formato TIFF, possibilmente in Photoshop, con una risoluzione minima di 300px e con una base minima di cm. 12).
5) Dati dell’autore del contributo. nome, cognome, affiliazione, curriculum (che non superi le 4.000 battute), indirizzo Mail e indirizzo civico.
La lunghezza massima dei testi inerenti all’area A è di 15.000 battute (spazi inclusi e note comprese); la lunghezza massima dei testi inerenti all’area B è 12.000 battute (spazi inclusi e note comprese).

Processo valutativo:
Gli esiti della valutazione saranno resi noti entro il 30 ottobre 2018.
Ciascun contributo verrà valutato in forma anonima da due esperti del settore, motivo per cui il testo non deve contenere alcun riferimento identificativo dell’autore stesso.

La pubblicabilità di ogni testo sarà valutata in base all’interesse scientifico.

Al termine della valutazione, a ciascun autore verrà comunicato se il proprio articolo è:
- pubblicabile
- pubblicabile con lievi modifiche (che verranno indicate)
- pubblicabile con sostanziali modifiche
- non pubblicabile

Per un’anticipata comunicazione dell’argomento e per eventuali dubbi, è possibile contattare info@graficadarte.it

Libri di Disegni e Album di Disegni nell'Età Moderna, 1550-1800. Nuove prospettive metodologiche e di esegesi storico-critica nach oben

Accademia di Belle Arti di Roma, 31. Mai - 01. Juni 2018
Eingabeschluss: 09. Dezember 2017


Libri di Disegni e Album di Disegni nell'Età Moderna, 1550-1800.
Nuove prospettive metodologiche e di esegesi storico-critica

Workshop Internazionale

 

La netta distinzione tipologica e terminologica tra libri di disegni e album di disegni è stata dimostrata dalla storiografia artistica contemporanea sulla base di evidenze documentarie e letterarie italiane, cinque e seicentesche. Nell'Età moderna sono gli artisti stessi o i conoscitori del calibro di Filippo Baldinucci ad utilizzare l'espressione 'libro de' disegni' per indicare le raccolte rilegate della produzione grafica di pittori, scultori o architetti, ben prima che i termini taccuino, carnet, skizzenbuch, note-book e simili, venissero introdotti più tardi dal collezionismo, dalla letteratura artistica e dalla storiografia.

Nella fase attuale, con l'espressione 'libro di disegni', drawing-book in inglese, si tende a indicare a book of original drawings in a bound volume (book, codex), consisting of one or more quires (gatherings), which are predominantly filled with drawings, irrespective of the age, intention and profession of a draughtsman ... whether the structure has been consolidated before or after the drawing process, protected by a leather binding or a simple parchement or paper cover (Elen, 1995).

Mentre i libri di disegni, integri nella loro configurazione originaria, sono piuttosto rari o poco conosciuti e studiati (non ne esiste a oggi un censimento sistematico e ragionato), molto più numerosi sono gli album di disegni, monografici o collettanei, raccolti da eruditi, conoscitori, curatori e collezionisti nei secoli XVII-XIX, all'interno dei quali sono confluiti singoli fascicoli o singoli fogli provenienti da libri di disegni più antichi. La capillare presenza di libri di disegni e album di disegni, giunti in forme più o meno frammentarie e dopo molti passaggi proprietari nelle print rooms e nelle biblioteche di tutto il mondo, invitano oggi a indagarne e analizzarne compiutamente gli sviluppi storici delle forme, dei contenuti, delle funzioni, e a studiarli anche sotto gli aspetti della fortuna critica e materiale, della storia del gusto, del mercato dell'arte e del collezionismo.


Il Workshop Internazionale si propone di porre in evidenza, attraverso i contributi originali dei maggiori specialisti dell'argomento, l'imprescindibile circolarità esistente tra la conoscenza e lo studio analitico dei 'libri de' disegni' di singoli artisti e la conoscenza e lo studio analitico degli album di disegni formatisi in epoche successive, al fine di avanzare nuove e non ancora esplorate prospettive di ricerca, individuazione, classificazione tipologica, analisi storica, storico-critica, collezionistica e materiale, che possano contribuire ad ampliare la nostra comprensione del fenomeno, delle teoriche e delle prassi operative, soprattutto ma non solo di bottega e di matrice accademica, degli artisti italiani dell'Età moderna, e dei percorsi, il più delle volte molto articolati e complessi, di creazione e di costituzione delle raccolte e delle collezioni internazionali di grafica, a partire dalla dispersione del ricco patrimonio di volumi rilegati di disegni lasciati in eredità dagli artisti del passato.

Per le proposte di intervento, sono indicate di seguito alcune delle possibili linee di approfondimento:
- Questioni terminologiche e tipologiche tra fonti documentarie, letteratura artistica, prassi collezionistiche, storia dell'arte, archeologia del libro, connoisseurship;
- Codex, libro, album: disegni originali, modelli e copie d'après;
- Libri di disegni e album di disegni: forme, funzioni, temi e soggetti;
- Analisi tipologica, strutturale, tecnica, materiale di uno o più libri e/o album di disegni, tra storia dell'arte e del disegno, archeologia del libro, scienza codicologica;
- Analisi funzionale, stilistica, iconografica di uno o più libri e/o album di disegni, tra storia dell'arte e del disegno, metodo del conoscitore, scienza dell'attribuzione;
- Le collezioni pubbliche e private di libri e album di disegni: gli allestimenti originali, le filiazioni, i percorsi di ricognizione e catalogazione, i progetti di digitalizzazione;
- Ipotesi di ricostituzione virtuale di libri di disegni italiani smembrati tra raccolte pubbliche e private;
- Libri di disegni e album di disegni come fonti visive per la teorica e la pratica del disegno degli artisti italiani, tra la seconda metà del Cinquecento e il primo Ottocento;
- Libri di disegni e album di disegni come fonti visive per l'insegnamento e l'apprendimento del disegno, e per la trasmissione dei modelli e dei repertori visivi, dentro le botteghe, le accademie, gli ateliers;
- Disegni rilegati in volume e autonomia del disegno: il processo creativo dell'artista tra ricerca-ideazione autofondata e verifica-progetto dell'opera d'arte finita;
- Il ruolo di eruditi, conoscitori, collezionisti, conservatori dei secoli XVII-XIX nella formazione delle raccolte e album di disegni, tra fortuna critica e fortuna materiale, dinamiche del gusto, del mercato dell'arte e del collezionismo pubblico e privato.


Gli studiosi sono invitati a far pervenire, entro e non oltre il 9 dicembre 2017, le proposte di intervento - un abstract di max 500 caratteri (spazi inclusi) in italiano o in inglese - al seguente indirizzo di posta elettronica:

drawingsbook.abaroma2018@gmail.com

Entro il 20 dicembre 2017, a seguito della selezione svolta dal Comitato Scientifico, l'accettazione degli interventi prescelti sarà comunicata via email agli interessati.

Coordinamento scientifico:
Vita Segreto (Accademia di Belle Arti di Roma)

Graphic Mimicry: Intermediality in Print and the Art of Imitation (Print Think 2017) nach oben

Tyler School of Art, Temple University, 21. bis 22. Oktober 2017
Eingabeschluss: 01. Juli 2017


Conference description

Graduate Student Sessions


Print Think 2017 is co-organized by Amze Emmons and Ashley West, bringing Tyler School of Art’s Art History Department in collaboration with our Printmaking program. This year’s conference, titled Graphic Mimicry: Intermediality in Print and the Art of Imitation, will examine the intervisual dialogue between prints and other media from both a historical and contemporary perspective of the medium. At the heart of this year’s conference is the fundamental question of how printmaking from its earliest years defined itself in relationship to existing and historically more prominent technologies and media, such as drawing, painting, metalwork, sculpture, and tapestry design.
Over the course of two days, the conference will include a first day of discussions and panels on Saturday, October 21, featuring keynote speakers Susan Dackerman and Christiane Baumgartner; several scholarly panel discussions and talks featuring Anders Bergstrom, Shira Brisman, Phyllis McGibbon, Madeleine Viljoen, and Imin Yeh; and workshop demonstrations. The second day of the conference, Sunday, October 22, will focus on the work of graduate students, with two sessions organized by Devon Baker, Maeve Coudrelle, and Natalia Vieyra, advanced doctoral students in the Art History department.
CFP for Graduate Student Sessions:
We seek papers from graduate students and very recent graduates (within the past two years) that examine how printmaking processes have appropriated and translated aspects of other media. Whether aiming for the scale of frescoes or architectural monuments in multi-block oversized woodcuts; the modeling of an ancient sculpture or medallion through the language of hatching and cross-hatching; or searching for flat areas of tone through chiaroscuro, aquatint, mezzotint, or manners of color printing to simulate qualities of drawing, innovations in printmaking over the past five centuries often have been motivated by a desire to imitate or critique the distinctive visual effects or processes of other artistic techniques and materials. Staking a claim for itself as a medium to be taken seriously, printmaking also seems to have asserted its ability to do the high-minded theoretical work usually enjoyed by these other media, for which there were ample written treatises. But rather than rely on a textual tradition, printed images proved their ability to do their own theorizing, by referencing their processes of making and by commenting upon their ambitious position among the arts by visual means.
Questions to consider:
- How did this ability of print to adeptly mimic nearly every other art form and to assert itself within the discourses of other mediums become one of its greatest strengths and a critical tool for contemporary printmaking?
- How does print mimic, counterfeit, or copy?
- To what end do certain printmakers “quote” or allude to other media processes in their graphic work?
- What is the long-standing relationship between print and our mimetic faculties?
- Under what circumstances is it fruitful to examine print through an intermedia lens?


We welcome papers from graduate students in Art History, as well those pursuing an M.F.A. We hope to include papers addressing a range of time periods and regions, from the Renaissance through to the present day.


Please email abstracts (400 words maximum) and a C.V. to both Maeve Coudrelle (maeve.coudrelle@temple.edu) and Natalia Vieyra (nataliavieyra@temple.edu) by July 1, 2017. Selections will be shared in late July.

Printing Colour 1700–1830: Discoveries, Rediscoveries and Innovations in the Long Eighteenth Century nach oben



Conference: 10–11 April 2018 (Senate House, London)
Object sessions: 12 April 2018 (London collections)
Detailsbit.ly/PC1700-1830
Deadline: 1 October 2017, via bit.ly/PC1700-1830-Submit


Keynote: Dr Margaret Graselli (National Gallery of Art, DC)
Convenors: Dr Elizabeth Savage (Institute of English Studies) & Dr Ad Stijnman (Leiden University)

Eighteenth-centurydiscoveries in archives, libraries and museums are revealing that bright inks were not extraordinary. Artistic and commercial possibilities were transformed between rapid technical advances around 1700 (when Johannes Teyler and Jacob Christoff Le Blon invented new colour printing techniques) and 1830 (when the Industrial Revolution mechanised printing and chromolithography was patented). These innovations added commercial value and didactic meaning to material including advertising, books, brocade paper, cartography, decorative art, fashion, fine art, illustrations, medicine, trade cards, scientific imagery, texts, textiles and wallpaper.

The saturation of some markets with colour may have contributed to the conclusion that only black-and-white was suitable for fine books and artistic prints. As a result, this printed colour has been traditionally recorded only for well-known ‘rarities’. The rest remains largely invisible to scholarship. Thus, some producers are known as elite ‘artists’ in one field but prolific ‘mere illustrators’ in another, and antecedents of celebrated ‘experiments’ and ‘inventions’ are rarely acknowledged. When these artworks, books, domestic objects and ephemera are considered together, alongside the materials and techniques that enabled their production, the implications overturn assumptions from the historical humanities to conservation science. A new, interdisciplinary approach is now required.

Following from Printing Colour 1400-1700, this conference will be the first interdisciplinary assessment of Western colour printmaking in the long eighteenth century, 1700–1830. It is intended to lead to the publication of the first handbook colour printmaking in the late hand-press period, creating a new, interdisciplinary paradigm for the history of printed material.

Abstracts for papers or posters are encouraged from historians of all kinds of printed materials (including historians of art, books, botany, design, fashion, meteorology, music and science), conservators, curators, rare book librarians, practising printers and printmakers, and historians of collecting. Registration fee waived for speakers and poster presenters, transport and accommodation also offered to speakers. Please submit abstracts by 1 October 2017 at http://bit.ly/PC1700-1830-Submit.

This conference is sponsored by the Fritz Thyssen Foundation.

Recasting Reproduction 1500-1800 nach oben

The Courtauld Institute of Art, 18. November 2017
Eingabeschluss: 06. Juli 2017

The contested concept of “reproduction” stands at a critical nexus of the conceptualisation of Early Modern artistic thought. The early modern period has been characterised by the development of novel and efficient reproduction technologies, as well as the emergence of global empires, growing interconnectedness through trade, warfare and conquest, and the rise of new markets and cultures of collecting. This ethos of innovation and cultural exchange was, however, contextualised against myriad contemporary ideologies still rooted in the values and legends of narratives of the past. Reproduction stood at the centre of this dichotomy. Set against the context of changing cultural tastes and the increasingly overlapping public and private spheres, ‘reproductions’ were involved within changing viewing practices, artistic pedagogy, acts of homage and collecting.

The idea of reproduction connotes a number of tensions: between authenticity and counterfeit; consumption and production; innovation and imitation; the establishment of archetype and the creation of replica; the conceptual value of the original and the worth of the reproduction as a novel work of art; the display of contextualised knowledge and the de-contextualisation of the prototype. At the same time, production is shaped historically through practices and discourses, and has figured as a key site for analysis in the work of, for example, Walter Benjamin, Richard Wolin, Richard Etlin, Ian Knizek and Yvonne Sheratt. Participants are invited to explore reproduction ‘beyond Benjamin’, investigating both the technical and philosophical implications of reproducing a work of art and seeking, where possible, a local anchoring for the physical and conceptual processes involved.

We welcome proposals for papers that investigate the theme of reproduction from the early modern period (c.1500-1800), including painting, print making, sculpture, decorative arts, architecture, graphic arts and the intersections between them. Papers can explore artistic exchanges across geopolitical, cultural and disciplinary divides and contributions from other disciplines, such as the history of science and conservation, are welcome. Topics for discussion may include, but are not limited to:

The conceptualisation and processes of reproduction and reproduction technologies before and at the advent of ‘the mechanical’;
Reproduction in artistic traditions beyond ‘the West’;
The slippage between innovation and imitation;
Part-reproduction and the changing, manipulation and developments of certain motifs;
Problematizing the aura of ‘authenticity’ and the ‘value’ of the original, copies and collecting;
Fakes and the de-contextualisation of a work through its reproduction;
Reproduction within non-object based study e.g. architecture;
Theoretical alternatives and the vocabulary used to describe the process and results of reproduction in contemporary texts.
Please send proposals of no more than 300 words along with a 150 word biography by 6th July 2017 to kyle.leyden@courtauld.ac.uk and natasha.morris@courtauld.ac.uk

Organised by Kyle Leyden, Natasha Morris and Angela Benza (The Courtauld Institute of Art)

Drawing conversations 2: body, space, place nach oben

Coventry, 8. Dezember 2017

Eingabeschluss: 15. September 2017

The Institute for Creative Enterprise (ICE), Coventry University Technology Park, Puma Way CV1 2NE, UK

DRAWING CONVERSATIONS 2: BODY, SPACE, PLACE.

Lead conveners: Professor Jill Journeaux, Dr. Helen Gorrill, Dr. Imogen Racz, Dr. Sara Reed.

Papers are invited for this one-day symposium intended to consider interrelationships of drawing, body, space and place. At the heart of this will be the body acting as the conduit between interior and exterior, private and public. Drawing in this sense can therefore be elastic in definition, from two-dimensional mark-making, to more spatial languages that might involve capturing movement, three-dimensional drawing, or indeed understanding the processes of making the movement, mark or gesture. How do these gestures make meaning? What impulses from a particular space or place impelled the drawing? What is the relationship of the final work to a space or place?

Twenty-minute papers are invited from practitioners, historians and theoreticians. They can include projects undertaken, or be about particular works or ideas by others.

Themes:

What happens when we draw with or from the body? How is conversation formed and understood?

How is the mark or gesture suggestive of a response to place?

How is the notion of the individual reshaped within a collective or collaborative drawing process?

Gender, drawing conversations and collaborations: what is the nexus of feminism, drawing and connectivity?

Exploring gendered spaces through drawing or performing the mark, such as the body and home, or, the body within ‘public’ spaces – that might be places of exclusion/inclusion at particular times.

Choreography as drawing with and from the body

Performative drawing: Witness or viewer?

The body and the breath.

Redrawing the body for well-being.

This is not an exhaustive list so if you have an idea that does not easily fit into this list and you are unsure about submitting a proposal please feel free to contact Jill Journeaux on j.journeaux@coventry.ac.uk to discuss your proposal.

Following on from the success of Drawing Conversations 1 which took place in December 2015, and the book Drawing Conversations: Collective and Collaborative Drawing in Contemporary Practice, due to be published in Spring 2018, we intend to apply for a second publication. If you wish to be considered for a future publication, please make this clear in your proposal and ensure that you submit a full-length proposal of 700-750 words.

All proposals for papers will be peer reviewed. Please submit a proposal of up to 750 words outlining your paper/ presentation, including 6 keywords and a title. Include your name and address, email address and institutional affiliation if appropriate.

Please send the proposals to Dr. Helen Gorrill at drhelengorrill@hotmail.com

The closing date for receipt of proposals is Friday 15th September 2017.

Das Anatomische Zeichnen nach oben

Symposium Dresden, 16. - 17. November 2017
Eingabeschluss: 15. Juni 2017

Das Anatomische Zeichnen
Symposium an der Hochschule für Bildende Künste Dresden
16. und 17. November 2017

Der Wissensdurst, den menschlichen Körper zu ergründen und zu verstehen, ist seit jeher und in nahezu allen Kulturen groß. Mediziner, Philosophen und nicht zuletzt Künstler und Künstlerinnen haben sich intensiv mit den Geheimnissen des menschlichen Körpers beschäftigt.

Von den Gründungen europäischer Kunstakademien an bis ins 20. Jahrhundert hinein gehörte die Künstleranatomie zu den wichtigsten Grundausbildungsfächern. So war und ist es auch in der Geschichte der über 250 Jahre alten Dresdener Kunsthochschule. Das anatomische Zeichnen hat hier eine bedeutende Tradition, und auch aktuell ist das Interesse von Studierenden an der zeichnerischen Aneignung der menschlichen Anatomie groß. Seit 1764 führen und lehren Künstler und Mediziner in Dresden mit unterschiedlichen Konzepten und Auffassungen das Fachgebiet „Künstleranatomie“. Zugleich wurde eine anatomische Lehrsammlung gegründet und ständig erweitert und ergänzt. Während sich die meisten Kunstakademien nach dem zweiten Weltkrieg ihres materiellen Gedächtnisses in Form ihrer Lehr- und Abguss-Sammlungen entledigt haben, hat die Dresdener anatomische Sammlung sich als einzige ihrer Art in Deutschland erhalten und ist nach wie vor bedeutsam für die Lehre. Nachdem die Hochschule 2014 der Geschichte und Bedeutung anatomischer Sammlungen eine internationale Tagung gewidmet hat, ist es das Ziel des geplanten Symposiums, das anatomische Zeichnen unter künstlerischen, theoretischen und historischen Gesichtspunkten zu diskutieren und es neu zu hinterfragen. Lange Zeit wurde die Künstleranatomie als „Flaggschiff“ des Akademismus gehandelt. Hiervon hat die Kunsthochschule längst Abstand genommen und nutzt das Material beispielsweise der Anatomiesammlung nicht für „kleinliches“ Kopieren in Verbindung mit einem akademischen Regelwerk, sondern für eine anschauliche Vermittlung eines Verständnisses für körperliche Form- und Funktionszusammenhänge. Die Zeichnung ist wegen ihrer Unmittelbarkeit und Spontanität wie aufgrund ihrer gestalterischen und zugleich ordnenden Kapazitäten seit Jahrhunderten das wichtigste Darstellungsmittel in der künstlerischen und wissenschaftlichen Erforschung des menschlichen Körpers. Die Methoden des anatomischen Zeichnens sind jedoch permanent im Wandel und beschränken sich keineswegs auf statisch und inventarhaft wirkenden Kopie-Zeichnungen von anatomischen Objekten.

Eingeladen zu dem Symposium sind Künstlerinnen und Künstler, die sich professionell mit der anatomischen Zeichnung beschäftigen, sich hierin eine Welt erschließen, die das eigene künstlerische Werk bereichert. Die Künstleranatomie soll ihnen empirisch-visuell als Formgeschehen zugänglich sein und nicht auf Oberflächenanatomie beschränkt, die im Bemühen wurzelt, diese für Maler und Bildhauer praktikabel zu machen. Es sind weniger die klassischen Schablonen gefragt, sondern eine kunstanatomische Auseinandersetzung mit diesem Fach und eine Praxis, die von aktueller Relevanz sein kann. Denn noch immer ist der menschliche oder auch der tierische Körper begehrte Projektionsfläche, und es gibt nach wie vor ein großes Interesse an figürlicher Darstellung. In diesem Zusammenhang sind Aktsäle und anatomische Sammlungen nicht zwangsläufig Orte der Abseitigkeit, können vielmehr Orte zur Verankerung künstlerischer Praxis bieten. Eingeladen sind aber auch Wissenschaftlerinnen und Wissenschaftler, die sich theoretisch oder in historischer Perspektive mit der Künstleranatomie und dem anatomischen Zeichnen auseinandergesetzt haben.

Wir bitten um Abstracts für einen Vortrag von 1 bis 2 Seiten postalisch oder per Email bis zum 15. Juni 2017 an:

Sándor Dóró
Hochschule für Bildende Künste Dresden
Postfach 160153
01287 Dresden
doro@hfbk-dresden.de

Sculpture in Print 1480-1600 nach oben

Renaissance Society of America (RSA) Conference, New Orleans, 22. - 24. März 2018
Eingabeschluss: 21. Mai 2017

 

Throughout the 16th century, the translation of sculptures, especially contemporary ones, into prints was quite uncommon – compared to the vast reproduction of paintings or drawn inventions in engravings or woodcuts. Sculpture posed more difficulties to the printmaker. First of all, he had to render a three-dimensional object into two dimensions. Moreover the artist had to decide whether to complement his model: be it the fragmentary state of an ancient statue or the placing of a modern sculpture into a landscape or other setting. In many cases, printmakers even designed a whole narrative to round off their work. In addition to that, they had to choose the proper or best possible viewpoint. All these decisions were based on the strategies of the sculptor or printmaker regarding the publication of the print and its intended audience.

An essential aim of this session is to assess these and other related questions by analyzing prints produced between 1480-1600 in Europe and beyond. The session will continue a fruitful discussion started at the RSA conference 2016 in Boston, which included sculpture-related terminology in print inscriptions, the transformation of ancient sculpture in the early 16th century in Italy, and contemporary sculpture and its reception and interpretation via prints.

If interested, please send an abstract (150-word maximum) with paper title, keywords, and a brief curriculum vitae (300-word maximum) by May 21 to Anne Bloemacher (annebloemacher@uni-muenster.de) and Mandy Richter (richter@khi.fi.it). Submissions must be in English.

ECR Training Day: Using Historical Matrices & Printing Surfaces in Research nach oben

 

Senate House, London, 1. Dezember 2017
Deadline/Anmeldeschluss: 01. September 2017

Call for participants
ECR Training Day: Using Historical Matrices & Printing Surfaces in Research
Senate House, London, 1 December 2017
Deadline: 1 Sept 2017

Convenor: Elizabeth Savage, Institute of English Studies
Facilitators: Giles Bergel (Oxford) and Roger Gaskell (Roger Gaskell Rare Books)

This free, hands-on, object-based training day will introduce 10 ECRs to the research of historical matrices/printing surfaces (e.g. cut woodblocks, etched metal plates, litho stones). The emphasis is pre-1830. By analysing the objects and resulting impressions, participants will learn how to describe them; identify how they were made, used and copied; relate them to printed content; and use them as primary material in their own research. The interdisciplinary remit includes text and image, as well as decorations, initials, medicine, music, mathematical symbols, scientific imagery, and more. This event is the first application of a new research framework, which will later be published open access. Participants will learn new research skills and, through their feedback, help shape the future of research in fields related to print heritage.

Registration is free, lunch and a wine reception are provided, and transport is reimbursable up to £50. Participants must be current PhD students or have taken their PhD less than 10 years ago (i.e., in or after 2007). Apply online (deadline 1 September 2017) at http://tinyurl.com/ECRmatrices .

This event is funded by a British Academy Rising Star Engagement Award (BARSEA) for 'The Matrix Reloaded: Establishing Cataloguing & Research Guidelines for Artefacts of Printing Images’, http://www.ies.sas.ac.uk/research-projects-archives/matrix-reloaded-establishing-cataloguing-research-guidelines-artefacts .

Empty Spaces in the Graphic Arts – The Function, Aesthetics, and Meaning of Unmarked Surface nach oben

Workshop, Florenz, Kunsthistorisches Institut – Max-Planck-Institut, 18. - 19. Januar 2018
Eingabeschluss: 6. Juni 2017

(deutsche Version weiter unten)

That drawing and print illustration are constituted by the presence and absence of marks, while compositional structure emerges out of their correlation and balance: this is probably the simplest way of defining these genres. Within this basic condition, the interplay of form and non-form does not necessarily lend the blank sheet a subordinate role with respect to the drawn line. The purpose of the workshop is to address the forms and functions of this unmarked space in the graphic arts of the Early Modern period. Central questions and problematics may include:

- What types of empty spaces exist and how do they differ semantically?
- What aesthetic potential does empty space hold in the work of art? Possible issues here would be its relationship to surface, its role as a spatial or perspectival element, or its chromatic values.
- Does the relationship between graphic content and empty space presuppose a space for abstraction?
- How does empty space serve as a vehicle for the aesthetic imagination of the artist and/or beholder? Could empty space be the place where an artistic 'idea' crystallizes?
- What kinds of empty spaces are technically conditioned? How can they be distinguished in drawing or print?
- How do we deal with non-artistic aspects of the empty image surface (the structure of paper and its color, watermarks, ageing, etc.)?
-What are the implications of cutting an image support?
- What role might the 'verso' play as an empty space?
- How can metaphors ("blinder Fleck," et al.) and philosophical ideas and concepts ("horror vacui") be related to Early Modern drawings and prints?
- What is the role of empty space in the Early Modern discourse on drawings and prints?

The two-day event offers the possibility to develop a 20-minute presentation in German, Italian, or English on these and other themes concerning the technical, aesthetic, and theoretical empty spaces in the graphic arts of the Early Modern period. In addition there will be an opportunity to select objects for view in a collective working conversation at the Gabinetto dei Disegni e delle Stampe degli Uffizi.

Please send an abstract (max. 500 words) and a short CV in a single PDF by 06/06/2017 to lisa.jordan@khi.fi.it and elvira.bojilova@khi.fi.it. The Kunsthistorisches Institut in Florenz – Max Planck Institut will cover travel costs (economy class) and accommodation in accordance with the provisions of the German Travel Expenses Act.

Leerstellen graphischer Künste – Funktion, Ästhetik und Bedeutung des nicht bezeichneten Raumes

Dass sich Zeichnung und Druckgraphik aus dem Setzen und Nicht-Setzen einer Spur konstituieren und damit kompositorische Gefüge aus Verdichtung und Entzerrung entstehen lassen, ist die wohl einfachste Explikation dieser Gattungen. Innerhalb dieses grundlegenden Dualismus nimmt die freie Fläche nicht zwangsläufig die untergeordnete Rolle gegenüber der zeichensetzenden Linie im Nebeneinander von Form und Nicht-Form ein. Ziel des Workshops, der seinen historischen Schwerpunkt in der Frühen Neuzeit setzt, ist es, der nicht bezeichneten Stelle in ihren Ausdrucksformen und Funktionen nachzugehen. Zentrale Fragen und Problemstellungen können dabei lauten:

- Welche Arten von Leerstellen gibt es und wie sind ihre semantischen Differenzierungen?
- Welches ästhetische Potenzial entfalten Leerstellen im Kunstwerk? Mögliche Aspekte wären hier: Leerstelle vs. Fläche, Leerstelle als räumlich-perspektivisches Prinzip, chromatische Tonwerte
- Bildet der Übergang von zeichnerischer Äußerung und Leerstelle einen für Abstraktion prädestinierten Bereich? Wie fungiert die Leerstelle als Vehikel für künstlerische und/oder rezeptionsästhetische Imagination? Kann die Leerstelle der Kristallisationspunkt der künstlerischen 'idea' sein?
- Was sind technisch bedingte Leerstellen? Wie lassen sie sich jeweils in Zeichnung oder Druckgraphik charakterisieren?
- Wie gehen wir mit außerkünstlerischen Phänomenen des leeren Zeichenträgers selbst um (Papierstruktur und ihre Färbung, Wasserzeichen, Alterungserscheinung, etc.)?
- Welche Implikationen hat das 'cutting' eines Bildträgers?
- Welche Rolle spielt das Verso als mögliche Leerstelle?
- (Wie) Lassen sich Metaphern ("blinder Fleck", et al.) und philosophische Ideen und Konzepte ("Horror vacui") mit frühneuzeitlicher Graphik in Verbindung bringen?
- Welche Leerstellen frühneuzeitlicher Diskurse von Graphik gibt es?

Die zweitägige Veranstaltung bietet die Möglichkeit, diese und weitere Themenbereiche zu technischen, ästhetischen sowie theoretischen Leerstellen graphischer Künste der Frühen Neuzeit in 20-minütigen Vorträgen in deutscher, italienischer oder englischer Sprache zu behandeln. Zudem besteht die Gelegenheit, selbst ausgewählte Objekte in einem gemeinsamen Arbeitsgespräch im Gabinetto dei Disegni e delle Stampe degli Uffizi in den Blick zu nehmen.

Bitte senden Sie ein Exposé (max. 500 Wörter) und kurzen Lebenslauf in einem einzelnen PDF bis zum 06.06.2017 an lisa.jordan@khi.fi.it sowie elvira.bojilova@khi.fi.it. Das Kunsthistorische Institut in Florenz – Max-Planck-Institut übernimmt die Kosten für Reise und Unterkunft gemäß den Vorgaben des Bundesreisekostengesetzes.

Session at CAA 2018 nach oben

College Art Association (CAA) conference 2018, Los Angeles, 21. - 24. Februar 2018
Eingabeschluss: 31. März 2017

The Association of Print Scholars (APS) invites proposals for its sponsored session at the 2018 CAA conference.

APS-sponsored session proposals may be related to any period, theme, or aspect of print scholarship. We encourage proposals that transcend chronological or geographic boundaries, as well as those that engage current theoretical interests in materialism, archival theory, bibliographic studies, history of ideas, or social history, including feminisms and critical race studies.

If you have a topic or theme that you would like to propose, please submit a title and 250-word abstract that describes the subject of your session. Co-chaired sessions are welcome. Submissions should include a CV and should be sent to info@printscholars.org. Chair or co-chairs must be members in good standing of APS and CAA.

The deadline for consideration is Friday, March 31, 2017.

Farbe auf Zeichnungen der frühen Neuzeit – Symbiose und Antagonismus nach oben

Rom, Bibliotheca Hertziana, 25. - 27.10.2017
Eingabeschluss: 18. April 2017

Die diesjährigen Gernsheim-Studientage widmen sich dem Aspekt der Farbe in der Handzeichnung der frühen Neuzeit, deren Struktur und Erscheinungsform in einem genuin nicht farbigen Medium punktuell wie prinzipiell untersucht werden sollen. Insofern Farbe über Naturnachahmung hinaus mit Kostbarkeit oder gar Überschwänglichkeit konnotiert ist, wird diese „optionale“ Zutat auf Handzeichnungen zu einer spannungsgeladenen Darstellungskomponente. Nicht zuletzt stellen sich dabei verschiedentliche Diskrepanzen zwischen kunstkritischen Schriften und Kunstwerken, zwischen Theorie und Praxis, heraus. Es soll daher der Frage nachgegangen werden, welche Aufgabe Kolorierungen in Zeichnungen übernehmen und ob sie Hinweise auf den Status der Blätter selbst geben können. Handelt es sich beispielsweise um Studienmaterial aus einem auf eine Malerei gerichteten Werkprozess – lässt sich also mit einer Kolorierung eine spezifische Nähe zum Zielmedium vermuten –, oder alternativ um ein abgeschlossenes Werk. Insbesondere an das im 16. Jahrhundert noch junge Phänomen der Sammlerzeichnung knüpfen sich Überlegungen zur (Eigen-)Wertigkeit von Bildgehalt und -gestalt, zu Semantik und Ästhetik und ihrem jeweiligen Bezug zu einer etwaigen Öffentlichkeit.

Interpretationszusammenhänge von gesteigertem Realitätsniveau versus Abstraktion, Evokation versus Distanzierung, oder Medienreferenz versus Faktur sollen zentrale Aspekte der Vorträge sein. Nicht zuletzt der künstlerische Austausch über die Alpen hinweg macht eine transregionale Betrachtung erforderlich, um Differenzierungen in produktions- wie rezeptionsästhetischem Hinblick vornehmen zu können.

Der Diskurs zielt vorrangig auf die Verwendung farbiger Zeicheninstrumente wie Tinten, Kreiden, Wasserfarben, Gouache etc. ab, farbige Grundierungen sollen nur am Rande eine Rolle spielen. Folgende Fragen stehen im Zentrum der Tagung:

Welche Aspekte sind der Verwendung von Farbe in Zeichnungen eingeschrieben und welche zunächst heuristischen Kategorien lassen sich daraus bilden? Hebt sich Farbe als eigenes Darstellungsmittel ab oder fügt sie sich symbiotisch in den graphischen Modus ein?

In welcher Hinsicht wirkt sich Farbe als Evidenzfaktor aus, wo und wie erfolgt der Aushandlungsprozess mit der Wirklichkeit als sichtbarer Bezug einer ästhetischen Kategorie?

Von welchen Motivationen hängt der Gebrauch oder die Vermeidung von Farbe in Zeichnungen ab? Öffnet Farbe einen Denkraum über das zu Bezeichnende hinaus?

Schließlich lässt sich fragen, ob Ressentiments gegenüber dem Gebrauch von Farbe, wie sie etwa in Vasaris Einschätzung zum Verhältnis von colore – disegno zum Ausdruck kommen, den Umgang mit Farbe für die nachfolgende Zeichenkunst veränderten. Wenn Karel van Mander bereits der Zeichnung malerische Qualitäten zuspricht, inwiefern bleibt Farbe dann eine potentielle Hinzufügung? Und laufen Kolorierungen Gefahr, über die graphischen Eigenheiten der Zeichnung hinwegzutäuschen?

Bitte senden Sie bis zum 18.4.2017 Ihr Exposé mit Lebenslauf an gernsheim@biblhertz.it . Die Bibliotheca Hertziana übernimmt die Kosten für Reise (economy class) und Unterbringung gemäß den Vorgaben des deutschen Gesetzes zur Übernahme von Reisekosten.

Konzept und Organisation: Iris Brahms (Kunsthistorisches Institut der Freien Universität Berlin), Tatjana Bartsch und Johannes Röll (Fotothek der Bibliotheca Hertziana)

 

Drawing Millions of Plans nach oben

Royal Danish Academy of Fine Arts (KADK), Kopenhagen, 1. - 3. November 2017
Eingabeschluss: 15. Mai 2017

This conference invites scholars and practitioners to investigate and discuss contemporary architectural drawing and, in particular, the drawn plan. We will consider various types of drawing ranging from the sketch to the working drawing as an epistemic and/or generative device, and look at the role of drawing in relation to 3D techniques and drawing in the spectrum between representation and simulation. What types of contemporary plan drawing practices do we know exist today – or should be developed – in relation to architectural education, as well as to design work and actual building practices situated in professional offices?

“A plan calls for the most active imagination,” wrote Le Corbusier in "Towards A New Architecture". To Le Corbusier, the plan was essential to any architectural project and its agency comparable to that of a generator. Indeed, historically speaking, plans, whether they are floor plans, site plans or others, have been of unquestionable importance to the discipline of architecture. Yet, what is the agency of the plan today? May we still consider it a generator, a promotor of our imagination, or with the advent of digital design possibilities, has it merely lost its previous status as a privileged tool for developing and communicating about architecture?

Traditionally, the architectural plan was executed through the process of analogue hand drawing supported by geometrical tools. What are the implications for drawn plans and the processes of design and conceptualisation connected to plan drawing given that many professional architects today consider computers their privileged (drawing) tools? Do architects still use tracing paper (or napkins!) for sketching, and has the role of the sketched plan become purely diagrammatic, or turned into prototyping?

In a digital context, how have architectural offices changed their practice of drawing plans? What new kinds of drawing have been developed, and do they still possess the same aspects of ambiguity often associated with the hand-drawn sketch? Moreover, architects look at buildings orthogonally through plans. This projective way of looking is closely linked to traditional geometrical drawing tools. Yet, when tools change and projections persist, as with a lot of design software today, what are the consequences?

Drawn architectural plans may be considered as aesthetic objects worth contemplating and even exhibiting. They may be described as beautiful, which would imply that the plan possesses certain graphic and/or organisational qualities. This points to the plan as an object of meaning and imagination, and apt for interpretation, as stated by Le Corbusier. Such immaterial, almost existential aspects of the plan were emphasised by John Hejduk, who argued, “the plan shows the death of the soul of architecture. It is an X-ray of the soul.” Just as actual X-rays require skilled interpretation, what sort of hermeneutic measures does the drawn plan call for?

We invite scholars and practitioners to submit proposals for papers and/or to submit actual drawings. The conference will consist of academic and work-based sessions, with the latter including presentations of submitted drawings. The drawings will be installed in a pop-up exhibition at the Royal Danish Academy of Fine Arts, School of Architecture (KADK). Selected papers and drawings will be published in a peer-reviewed catalogue after the conference.

The conference will be hosted by the School of Architecture at the Royal Danish Academy of Fine Arts (KADK) in Copenhagen, Denmark. Organising committee: Jacob S. Bang, Associate Professor, Anna Katrine Hougaard, PhD and Martin Søberg, PhD, Assistant Professor (martin.soberg@kadk.dk)

Skizzieren, Zeichnen, Skripten, Modellieren Artefakte des Entwerfens und ihre Wissenspraktiken 4. FORUM ARCHITEKTURWISSENSCHAFT nach oben

Technische Universität Berlin, 16. - 18. November 2017
Eingabeschluss: 31. März 2017

Call for Papers and Artefacts

Tagung: 16. bis 18. November 2017, TU Berlin
Ausstellung: 16. November bis 21. Dezember 2017 im Architekturmuseum der
TU Berlin Hauptvortrag: Jane Rendell, Bartlett, UCL

Das 4. Forum Architekturwissenschaft widmet sich Artefakten in Entwurfsprozessen der Architektur, des Designs und des Ingenieurwesens. Im Zentrum stehen damit Skizzen, Zeichnungen, Blaupausen oder Collagen, Skripte, Renderings, Modelle und Simulationen. Gekoppelt an unterschiedliche Medien, Techniken und Methoden sollen die Entwurfsartefakte sowohl als gegenwärtige Wissenspraktiken als auch in
ihrer historischen Entwicklung untersucht werden.

Das Format verbindet Tagung und Ausstellung, um theoretische Beiträge und Artefakte in einem Diskursraum zu präsentieren. Dies ermöglicht, praktische Aspekte und Erfahrungen mit theoretischen und historischen Fragestellungen zu verknüpfen und wechselweise aufeinander zu beziehen. Für das 4. Forum Architekturwissenschaft können sowohl Vorschläge für theoretische Beiträge als auch Artefakte eingesendet werden. Die Artefakte werden auf der Tagung in Kurzvorträgen kontextualisiert und sind Teil der Ausstellung in den Tagungsräumen, die nach Abschluss der Tagung im Architekturmuseum der TU Berlin gezeigt wird. Das Forum verfolgt das Thema anhand von drei Schwerpunkten:

Operativität
Artefakte des Entwerfens entfalten in ihrer Handhabung eine hohe epistemische Wirksamkeit. Sie stellen nicht nur dar, sondern eröffnen Räume, um das Dargestellte zu explorieren und weiterzuentwickeln. Damit ergibt sich sowohl eine instrumentelle als auch eine generative Operativität, die in einem Wechselverhältnis stehen. In ihrer instrumentellen Operativität erlauben sie, Information und Wissen zu dokumentieren, zu vermitteln und Handlungen anzuleiten. Durch die generative Operativität werden Artefakte des Entwerfens bereits in ihrer Entstehung zu Wissenswerkzeugen und Reflexionsinstrumenten. Doch welchen Einfluss haben die unterschiedlichen Entwurfstechniken auf die jeweilige instrumentelle und generative Operativität? Wie gestaltet sich das Spannungsverhältnis zwischen der Fixierung von Wissen einerseits und der Methode der Wissensgenerierung anderseits? Können dadurch Skizzieren, Zeichnen, Pausen, Tuschen, Scripten, Rendern, Modellieren oder Simulieren zu Forschungstechniken werden? Inwiefern erlaubt die Operativität der Entwurfsartefakte die Balance zwischen Regelhaftigkeit und Regelfolgen einerseits und intuitiven, emotionalen, spontanen, spielerischen und immer auch grenzüberschreitenden Arbeiten anderseits?

Medialität
Die Art und Weise, wie und womit geplant wird, wird zum Bestandteil des späteren Bauwerks. Inwieweit bestimmt bereits die Wahl des Mediums und des Materials den Entwurf? Welche Reflexions- und Darstellungsräume eröffnen und verschließen sie? Und welche je unterschiedlichen Entwurfsergebnisse sind bereits durch die jeweils gewählte Darstellungsform bedingt? Zu bedenken ist auch der historische Aspekt. Wenn sich Medien und Manifestationsformen im Entwurf historisch nicht einfach nur deshalb verändern, weil neue technische Werkzeuge zur Verfügung stehen, dann erlaubt die Bevorzugung bestimmter Entwurfsweisen auch Rückschlüsse auf Ideologien und Selbstverständnisse des Entwerfens. Wie entwickelten sich Praktiken des Entwerfens in geschichtlicher Perspektive? Was können Entwurfswerkzeuge, Entwurfsmedien und Notationstechniken über die Architektur der Zeit aussagen?

Methodik
Entwerfen stellt die Forschung vor große methodische Herausforderungen. Wie lassen sich die ephemeren Prozesse der Herstellung beschreiben und dokumentieren? Stellen Selbst- und Fremdbeobachtung angemessene Verfahren dar? Wie kann die Rolle der Entwurfsmedien untersucht werden, wo doch alle Zwischenprodukte als Arbeitsmaterialien nach ihrer Nutzung meist umgehend in den Papierkorb wandern? Welche zusätzlichen Schwierigkeiten bereiten digitale Verfahren, die in der überwiegenden Zeit ihres Gebrauchs auf keine manifesten Produkte zurückgreifen und deren zugrundeliegenden Modelle im Entwurfsverlauf einem permanenten Wandel unterliegen? Was bereits bei der Erforschung aktueller Entwurfsphänomene nach neuen Herangehensweisen verlangt, wirft insbesondere in der Rekonstruktion historischer Entwurfsprozesse zusätzliche Probleme angesichts der Quellenlage auf. Da bei der Archivierung das Resultat im Vordergrund steht und nicht der Weg dorthin, stellt sich die Frage, ob die wenigen überlieferten Manifestationen des Entwurfs eine ausreichende Basis für die Entwurfsforschung bilden können. Welche anderen Quellen können und müssen hinzugezogen werden? Wie lassen sich zeitgenössische und historische Entwurfsforschung sinnvoll ergänzen? Wir möchten Forschende aus Architektur, Kunst, Entwurfsforschung, Philosophie, Kultur- und Medienwissenschaften sowie verwandter Bereiche zur Diskussion ihrer Forschungsprojekte einladen. Beiträge können hierfür in zwei Formaten eingesendet werden: als Abstract für 'klassische' Vorträge (max. 20 Minuten) oder als Artefakt für die parallel stattfindende Ausstellung mit Abstract für eine Kurzvorstellung im Tagungsprogramm (ca. 10 Minuten).

Call for Papers
Wir bitten um die Einsendung eines Abstracts (bis max. 500 Wörter) für den Vortrag sowie einen kurzen CV.

Call for Artefacts
Wir bitten um die Einsendung eines Abstracts (bis max. 500 Wörter) für den Kurzvortrag sowie einen kurzen CV. Darüber hinaus bitten um 3−8 Abbildungen (jpg-Format), Angaben zu den Dimensionen des Werks (HxLxB) sowie eine Schätzung seines Wertes in Euro. Die Artefakte werden während der Ausstellung versichert sein, bezüglich Fracht werden individuelle Vereinbarungen getroffen.

Alle Einsendungen erbitten wir bis zum 31. März 2017 an: <forum2017@architekturwissenschaft.net>.
Die Benachrichtigung über die Annahme der Beiträge erfolgt bis Mitte Mai
2017.
Eine Veröffentlichung der ausgearbeiteten Beiträge sowie eines Ausstellungskatalogs ist als Print- und Open-Access-Publikation in Kooperation mit dem Architekturmuseum der TU Berlin in der Reihe Forum Architekturwissenschaft geplant, die im Universitätsverlag der TU Berlin erscheint.
Das Forum Architekturwissenschaft ist eine Veranstaltung des Netzwerks Architekturwissenschaft e.V. (www.architekturwissenschaft.net). Als Plattform des wissenschaftlichen Austauschs und der Vernetzung greift es im regelmäßigen Turnus relevante Themen der Architekturwissenschaft auf. Dabei möchte es die Reflexion von Architektur über Disziplingrenzen hinweg anstoßen und unterschiedliche Forschungspraktiken und -methoden in einen Dialog bringen.

Veranstalter
Netzwerk Architekturwissenschaft e.V. (www.architekturwissenschaft.net) in Kooperation mit dem Architekturmuseum der TU Berlin sowie der Hybrid Plattform der Universität der Künste Berlin und der TU Berlin

Konzept & Organisation
Sabine Ammon, Ekkehard Drach, Lidia Gasperoni, Doris Hallama, Anna Katrine
Hougaard, Florian Kossak, Ralf Liptau

Laid Down on Paper: Print Making in America, 1800 to 1865 nach oben

Symposium, Cape Ann Museum, Gloucester, MA, 28. Oktober 2017
Eingabeschluss: 1.April 2017

Organized in conjunction with the Cape Ann Museum’s special exhibition "Drawn from Nature & on Stone: The Lithographs of Fitz Henry Lane," this conference will explore the print world in America during the first half of the 19th century and the importance of printmaking to the growing nation.

This symposium seeks papers that present original research on nineteenth-century American prints. We encourage new voices and perspectives and seek submissions from a wide range of disciplines including art, social and cultural history, communications, music and maritime history. Possible topics might include the work of Fitz Henry Lane’s print making contemporaries, specific collections of prints, the relationships between artists and printmakers in Boston and elsewhere, influences on Lane’s style, the publication and reception of prints, the intersection of commercial and art worlds, the role of prints in the home, abolition, industrialization, advertising, global circulation and exchange and the gendering of prints.

Scholars, independent researchers, artists and graduate students from diverse fields including American art history, American studies and material culture that engage critically with these potential topics are urged to submit proposal papers. Papers may be on any aspect of American print culture during the first half of the 19th century and should be able to be presented in 20 minutes. Selected papers will be published by the Cape Ann Museum approximately 18 months after the symposium.

Submission instructions:

Please send in one email an abstract (one page) of your proposed contribution and a short CV (two pages) to marthaoaks@capeannmuseum.org by April 1, 2017.

CAPE ANN MUSEUM, 27 Pleasant Street, Gloucester, MA
01930 (978) 283-0455, www.capeannmuseum.org

Le collezioni degli artisti in Italia nach oben

Rom, BSR British School at Rome, 22. Juni 2017
Eingabeschluss: 28. Februar 2017

Le collezioni degli artisti in Italia: trasformazioni e continuità di un fenomeno sociale tra Cinquecento e Settecento.

Convegno a cura di Francesca Parrilla e Matteo Borchia
in collaborazione con The British School at Rome (BSR)
su iniziativa del Rome Art History Network (RAHN)

Un aspetto tra i più affascinanti del collezionismo in età moderna riguarda le raccolte assemblate da artisti. L’analisi di varie tipologie di fonti e in particolare la consultazione degli inventari permette di osservare da un punto di vista privilegiato la personalità e il ruolo sociale del collezionista, risultando di grande interesse nel caso in cui il creatore della raccolta sia un artista. Nelle abitazioni, nelle botteghe e negli studi si incontrano, insieme ai beni attinenti alla pratica del mestiere, opere esposte seguendo validi criteri di allestimento, oltre a pezzi d'antichità e oggetti di varia natura. Non sempre si tratta di un’accumulazione arbitraria, ma generalmente il possesso di queste opere riflette una precisa volontà collezionistica, frutto di orgoglio personale, di pura speculazione commerciale o del desiderio di collocarsi a un livello più alto nella scala sociale.
Nonostante la vasta bibliografia presente sull'argomento, il fenomeno merita di essere approfondito, considerando come tra il Cinque e il Settecento si è modificato il modo di operare degli artisti nelle diverse realtà italiane. Il convegno intende affrontare i molti aspetti di un tema delicato e problematico e fornire l'occasione di un valido confronto tra epoche e contesti cittadini diversi dal punto di vista sociale. L'emergere di differenze e analogie nel complesso panorama italiano permetterà di osservare i vari profili assunti dagli artisti (dal conoscitore all'antiquario, dall'intellettuale al mercante).

Gli interventi possono sia affrontare casi già conosciuti ma analizzati con un approccio innovativo, sia presentare documentazione inedita, utile ad ampliare la conoscenza del tema. Saranno accolte in particolare proposte relative ai seguenti argomenti:

ARTISTI-COLLEZIONISTI: quali artisti in Italia si distinsero come collezionisti?

DOCUMENTAZIONE: notizie che mettano in luce la tipologia della collezione.
- Inventari di artisti dal ‘500 al ‘700: confronti o singoli casi; interpretazione del loro contenuto: interesse per le opere originali - copie da altri maestri – non finiti – antichità - naturalia e curiosa – medaglie – libri; la casa dell’artista (disposizione degli oggetti all'interno dei vari ambienti);
- Testamenti: la famiglia, vicende ereditarie;
- Testimonianze epistolari;

SFERA SOCIALE: notizie che mettano in luce la situazione sociale e intellettuale dell’artista (botteghe – studi – accademie, commercio antiquario).
- Quanto incisero i rapporti con mercanti e agenti, con famiglie nobili o con cardinali?

Il convegno è a cura di Francesca Parrilla (Fondazione 1563 per l’arte e la cultura della compagnia San Paolo) e Matteo Borchia (Sapienza Università di Roma), in collaborazione con The British School at Rome, su iniziativa del Rome Art History Network (RAHN).

Le proposte dovranno essere inviate in forma di abstract (max 2000 battute) unitamente ad un breve CV entro il 28 febbraio 2017 ai seguenti indirizzi: francescaparrilla83@gmail.com e matteo.borchia@gmail.com .
I contributi potranno essere presentati in italiano, inglese, francese o tedesco. L’organizzazione non coprirà le spese di viaggio e di soggiorno.
Le relazioni saranno incluse nel volume "Le collezioni degli artisti", curato da F. Parrilla e M. Borchia, la cui pubblicazione è prevista entro il 2018.

Architectural Fantasies nach oben

 

The Courtauld Institute of Art, 13. - 15. Juni 2017
Eingabeschluss: 26. Januar 2017

Fantasy in Reality: Architecture, Representation, Reproduction

From the capriccios of Piranesi and Canaletto to Vladimir Tatlin’s Monument to the Third International, Archigram’s drawings in the 1970s, and contemporary video game architecture, architectural fantasies have been produced and reproduced for centuries. On the one hand, architectural fantasies stir the imagination, represent future possibilities, and utopian dreams, on the other, they reflect and reproduce political ideologies, societal aspirations and anxieties. Though by definition, fantasy relates to that outside reality, or beyond possibility, the examples listed above engage directly with reality and they exist as realised projects in the form of architectural representations – on paper, as models, as reproductions or as digital files.

This symposium aims to consider the intersection of fantasy and reality by examining a broad range of architectural production from the middle ages to the present day across different cultures and media. It invites explorations of the often blurred lines, or tensions between fantasy and reality in architecture and its representation. This could include, the consideration of fantasy architecture in all its multi-media forms as ‘realised’, looking at the ways in which built projects are rendered fantastic through representation and reproduction, or the ways in which fantasy architecture engages with reality by highlighting society’s aspirations or anxieties.

Architectural fantasies created in drawings, paintings, computer renders, etchings, photographs and films and three dimensional examples in models, pavilions, or virtual reality will be considered, along with built structures, as vital forms of architectural production that both reflect and produce reality. How does the production of architectural fantasies relate to reality and attempt to shape it? How do representations of architecture construct or perpetuate fantasies of the built environment? How have architects, city planners and/or politicians and rulers used architecture to reinforce fantastical notions of reality? What is the role of the mass media in the production and dissemination of architectural fantasies in popular culture? In what ways do representations of built or soon to be built projects contribute to the construction of fantasy? The conference seeks to address these questions and more.

Topics could include, but are not limited to:

- Unbuildable architecture
- Architecture as symbol
- The use and abuse of digital renderings and 3D modeling in contemporary architecture
- Architectural photography and the construction of mediated views of architecture
- The reproduction of architecture in mass media
- Architecture in film and theatre sets
- Paper architecture
- Architectural models for built and un-built architecture, models as tools for teaching,
- The Pavilion as a test bed for architecture, and/or as an expression of National mythology
- Dolls houses and play houses, or other examples of architecture and play
- Architecture and taste, class, and consumption
- Futurism, historicism, utopisanism and distopianism
- Representations of architecture in popular culture

The first day of the symposium, 13 June will be an opportunity for the participants to visit architectural collections in London. This will be followed by presentations of papers on 14 and 15 June.

Proposals are welcome from postgraduate, early-career and established researchers working in all relevant disciplines. Please send a title and an abstract of no more than 300 words together with a short CV and 100 word biography to Marie Collier (marie.collier@courtauld.ac.uk) by Thursday 26 January 2017. Successful candidates will be notified in mid-February. Papers should not exceed 20 minutes in length.

Partial funding may be available to cover some travel costs.

Diesseits und jenseits von Reproduktion. Druckgrafik und der Kanon der europäischen Malerei (ca. 1500 – 1810) nach oben

Tagung, Dresden, 18.-19. September 2017
Eingabeschluss: 15. Februar 2017

[English version below]

Tagung für Doktoranden und Wissenschaftler an Museen und Forschungseinrichtungen im Kupferstich-Kabinett der Staatlichen Kunstsammlungen in Zusammenarbeit mit dem Institut für Kunst- und Musikwissenschaft der TU Dresden

Werden Gemälde reproduziert, weil sie berühmt sind, oder sind sie berühmt geworden, weil sie (wieder und wieder) reproduziert wurden? Im Rahmen der Tagung soll nach der Bedeutung grafischer Interpretationen von Gemälden für deren Rezeption und damit nach dem Stellenwert der Grafik im Prozess der Kanonbildung gefragt werden. Daneben sollen künstlerisch-technische Aspekte der Über- und Umsetzungsleistung untersucht werden.

Der zeitliche Rahmen erstreckt sich dabei vom frühen 16. Jahrhundert bis in die Gründungszeit der ersten Lithografischen Anstalten im frühen 19. Jahrhundert. Geografisch beziehen wir uns auf Europa; hinsichtlich der druckgrafischen Techniken wird keine Einschränkung gemacht. Im Gegenteil, die Spezifika der einzelnen grafischen Techniken in Bezug auf ihre Eignung und Verwendung für die Wiedergabe von Gemäldevorlagen bilden einen wichtigen Fragekomplex.

Gesucht wird gleichermaßen nach konkreter Auseinandersetzung mit den grafischen Kunstwerken (Einzelblätter oder Serien) wie nach neuartigen theoretischen Annäherungen und methodisch vielversprechenden Fragestellungen in Bezug auf die Interpretationsgrafik, um deren Potential – als Quelle und als Forschungsgegenstand – für die kunstwissenschaftliche Forschung auszuloten.

Mögliche Schwerpunkte könnten sein:

Einmal mehr: Das Original und seine grafischen Interpretationen:
Wie stellt sich der Grafiker in seinem Werk selbst dar, wie geht er mit den Vorgaben des Originales um, welche Freiheiten hat er oder nimmt er sich? Wie bildet sich Zusammenarbeit und Konkurrenz (unter Grafikern bzw. zwischen Malern und Grafikern) im Blatt ab? Versteckten die Grafiker mitunter gar kritische oder satirische Botschaften in ihren Interpretationen?

Stilfragen und Techniken:
Wie ist das Verhältnis von grafischer Technik zum malerischen Stil oder zur Gattung des Vorbildes? Gibt es Raum für graphisch-technische Experimente? Welche Rolle spielen spezielle Techniken: z.B. Umrissradierung, Aquatinta oder farbiger Druck bzw. Kolorierung?

Rezeption:
Wie wurden stilistische und kompositorische Differenzen zwischen Original und Reproduktion vom zeitgenössischen Betrachter aufgenommen? Gab es Wechselwirkungen der Drucke mit den theoretischen Schriften zu bestimmten Gemälden oder der Malerei? Und welchen Einfluss haben beigegebene Bildunterschriften auf die Rezeption der Darstellungen?

Potentialanalyse:
Welche Potentiale haben Reproduktionsgrafiken für neue Ansätze in der kunsthistorischen Forschung und insbesondere für Forschungsrichtungen wie Kanonforschung und (kunst-) historische Netzwerkforschung? Wie lassen sich die in den Blättern enthaltenen bildlichen und textlichen Informationen sinnvoll erheben und forschungspraktisch nutzbar machen?

Die Konferenz zielt auf eine bessere inhaltliche Vernetzung und den beruflichen Austausch zwischen der Forschung an Universitäten und Museen für Berufseinsteiger und Erfahrungsträger. Bewerbungen von Doktoranden der Kunstgeschichte oder Kunstwissenschaft und von Masterstudenten, die eine Promotion auf dem Gebiet der grafischen Künste anstreben sind daher ebenso erwünscht wie solche von Kuratoren und postgraduierten Wissenschaftlern an Museen und Forschungseinrichtungen. Vorschläge aus den Medienwissenschaften, der Philosophie und der Geschichtswissenschaft werden ebenfalls gern in die Auswahl einbezogen.

Wir freuen uns über die Einsendung Ihrer Vorschläge von maximal 400 Wörtern Länge, zzgl. einer Kurzvita. Gern können Sie diejenigen Grafiken benennen, die nach Möglichkeit im Original herangezogen werden sollen. Alle Unterlagen senden Sie bitte in englischer oder deutscher Sprache im pdf-Format bis zum 15. Februar 2017 an folgende E-Mail-Adresse: beyond-reproduction-2017@gmx.de.

Susanne Magister und Sabine Peinelt-Schmidt – Doktorandinnen am Institut für Kunst- und Musikwissenschaften der TU Dresden

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Beyond Reproductive Printmaking. Prints and the Canon of European Painting ( ca. 1500-1810)

Conference for Ph.D. students, postgraduates and researchers at museums and universities in the Kupferstich-Kabinett (Museum of Prints, Drawings and Photographs) of the Staatliche Kunstsammlungen Dresden (Dresden State Art Collections) in colaboration with the TU Dresden Institute of Art and Music, Dresden, 18-19 September 2017.

Are paintings reproduced because they are famous, or have they become famous because they have been reproduced over and over again in the past centuries? The aim of this conference is to throw light on the status of reproductive prints in the process of the formation of (an) artistic canon(s). It aims at exploring artistic and technical aspects of the creative and innovative making process, including the printmakers’ ability to translate the original work into a new pictorial language and to the history of both reception and transmission of works of art.

The conference will cover the period running from the early 16th century to the introduction of the first lithographic press in the early 19th century. Geographically, the focus is on Europe. No restrictions are imposed concerning printing techniques – on the contrary, the characteristics of each technique as well as its ability and uses for reproducing original paintings constitute an important topic.

We invite submissions of papers drawing from current research on specific prints or series of prints as well as on new theoretical approaches and methodologically promising developments in the study of interpretative prints, also exploring their potential as a source and as a subject matter of art history.

In particular we welcome submissions in (but not limited to) the following areas:

Yet again:
The original and its graphic interpretation(s): How are collaboration and competition amongst the printmakers themselves, and between the engravers and the painters represented in the prints? To what extent did the engravers take liberties with the paintings’ details? Did printmakers even perhaps hide critical or satirical messages in their interpretations?

Questions of style:
How is the painterly style of the original expressed in the graphic medium? What is the relationship between the printmaker’s technique and the pictorial style or the genre of the original? Is there experimental ground for innovations in new printmaking techniques? What role do special printmaking techniques - e.g. outline etching, aquatint or colour(ed) print – play in the processes of translation and interpretation?

Reception:
How were differences in style and in composition between the original and its reproduction perceived by the contemporary viewer? Is it possible to identify links between prints and theoretical writings on certain paintings or painting in general? Which influence do captions have in the process of reception?

Reproductive prints as a source for new approaches in scholarship:
What potential do reproductive prints have as a source for the study of canon formation and for (art) historical network research? How can the pictorial and textual information contained in those prints be gathered, and how can this be made accessible for practical use?

An important objective of the conference is to encourage networking between academic researchers and museum professionals. Proposals by both doctoral candidates in art history and aesthetics as well as students aiming at a Ph.D. in the field of the graphic arts are welcome. We also invite applications from curators and postgraduate researchers at museums and other research institutions and we are pleased to receive papers from colleagues working in media studies, philosophy and history.

Please submit your proposal in the form of a 400-word abstract and a short CV and send it in English or German as a PDF file to: beyond-reproduction-2017@gmx.de by 15 February 2017.

Please indicate in your proposal those prints that you wish to discuss in the original. We will be happy to check if they are available in the Kupferstich-Kabinett.

Susanne Magister and Sabine Peinelt-Schmidt – doctoral candidates at the Institut of Art and Music at the TU Dresden

Protestantische Bilderwelten. Glaube und Selbstverständnis im Spiegel der Druckgraphik nach oben

Tagung, Coburg, 9. - 10. Oktober 2017
Eingabeschluss: 8. Januar 2017

[English version below]

Veranstalter: Kunstsammlungen der Veste Coburg und Forum Bild–Druck–Papier in Kooperation mit dem Haus der Bayerischen Geschichte.

Das 500. Jubiläum von Luthers Thesenanschlag wird weltweit von vielzähligen Veranstaltungen begleitet. Im kommenden Jahr wird die Veste Coburg, wo Luther während des Augsburger Reichstages 1530 fast ein halbes Jahr verbrachte, Schauplatz der Bayerischen Landesausstellung „Ritter, Bauern, Lutheraner“ sein. Anlässlich des Reformationsjahres und während der Laufzeit der Landesausstellung veranstalten das Kupferstichkabinett der Kunstsammlungen der Veste Coburg und das Forum Bild – Druck – Papier in Kooperation mit dem Haus der Bayerischen Geschichte eine internationale Tagung. Die Epoche der Reformation erscheint untrennbar verbunden mit den druckgraphischen Porträts ihrer Protagonisten. Vor allem die Cranach-Werkstatt schuf Werke von geradezu ikonischer Qualität. Sie bestimmten – im wahrsten Sinne des Wortes – das Image Luthers und seiner Mitstreiter. Hinzu kam eine schier unermessliche Fülle an polemischen und propagandistischen illustrierten Flugblättern. Die Reformation war somit die erste große geschichtliche Umwälzung, die durch das Medium des gedruckten Bildes begleitet und vorangetrieben wurde.

Auch in der Folgezeit findet das Selbstverständnis des Protestantismus auf vielfältige Weise seinen Ausdruck im gedruckten Bild. Verwiesen sei auf die Gedenkblätter und Faltbriefe zur Erinnerung an die Übergabe des Augsburger Bekenntnisses oder an die Folgen mit Szenen aus dem Leben Martin Luthers. Von großer Bedeutung sind zudem Bibelillustrationen und andere biblische Bilder.

Die geplante Tagung will die protestantischen Bilderwelten vom 16. Jahrhundert bis heute in den Blick nehmen. Der Fokus liegt auf Graphiken und Objekten aus Papier. Inhaltlich soll das Thema dabei möglichst weit gefasst werden. Über die Behandlung religiöser und ideologischer Aspekte hinaus sind auch Vorträge willkommen, die Zweck und Gebrauch der Bilder in den Blick nehmen. Interessant sind in diesem Zusammenhang insbesondere Buchillustrationen, Flugblätter, Konfirmationsandenken, Gedenkblätter, Faltbriefe, Schulwandbilder und Wandbildschmuck.

Angefragt sind Fachvorträge mit einer Länge von 20 Minuten.

Bitte senden Sie ein Abstract (max. eine Seite) inkl. Kurzvita mit einer Liste der wichtigsten Publikationen bis zum 8. Januar 2017 per Mail an PD Dr. Stefanie Knöll: s.knoell@kunstsammlungen-coburg.de

Vorbehaltlich der Förderung der Tagung sollen Reise- und Übernachtungskosten der Referentinnen und Referenten erstattet werden.

—-

Conference
Protestant Images. Faith and self-image in printed works of art

Organiser: Kunstsammlungen der Veste Coburg and Forum Bild – Druck – Papier in cooperation with Haus der Bayerischen Geschichte.

Deadline for abstracts: 8. January 2017

The 500th anniversary of Luthers’s posting of the 95 theses is celebrated all over the world. Veste Coburg, where Luther spent half a year during the Diet of Augsburg in 1530, will also be the site of a major exhibition by the Haus der Bayerischen Geschichte (Centre of Bavarian history). The international conference is hosted by the Kunstsammlungen der Veste Coburg and the Forum Bild – Druck – Papier in cooperation with the Haus der Bayerischen Geschichte. It takes place on the occasion of the Reformation jubilee and during the exhibition period.

The Reformation period is intrinsically linked with the printed portraits of its protagonists. It was the Cranach workshop, first of all, which created works of iconic quality. They defined the public image of Luther and his fellow campaigners. Furthermore, the Reformation period saw the production of an overwhelming amount of polemic and propagandistic illustrated broadsheets. Thus, the Reformation was the first historic turnover which was accompanied and advanced by printed images.

In the following centuries the Protestant self-image was likewise expressed in prints, e.g. sheets commemorating the Augsburg Confession or visualizing scenes from the life of Martin Luther. Furthermore, bible illustrations and other biblical images were of great importance.

The conference will take a close look at Protestant images from the 16th century to today. The focus is on prints and other works on paper. We welcome papers (20 minutes) on religious and ideological aspects as well as papers focusing on the function and use of such objects. Book illustrations, broadsheets, commemorative sheets and decorative prints are of particular interest here.

Please send an abstract (max. 1 page) plus short CV and publication list to PD Dr. Stefanie Knöll: s.knoell@kunstsammlungen-coburg.de

Deadline is January 8, 2017.

Subject to successful financing of the conference, we will reimburse invited speakers for their travel and accommodation expenses.

Working Group "Color Printing and the Global Eighteenth Century" nach oben

Call for Participants, Philadelphia, PA, 12. - 15.  Oktober 2017
Eingabeschluss: 25. Oktober 2016

Working Group Organizers: Marie-Stephanie Delamaire (Winterthur Museum) & Jeannie Kenmotsu (Royal Ontario Museum)

Conference "Bibliography Among the Disciplines", 12–15 October 2017, Philadelphia, PA

The long eighteenth century was a period of major breakthroughs in the domain of color printing in several parts of the world. In Asia and Europe, various relief and intaglio techniques were adapted to full color printing and achieved widespread uses in the visual arts. Multiple-block color printing techniques were explored in seventeenth-century Chinese painting manuals; these relief techniques were later seen in Japanese sheet prints and illustrated books on a far greater scale in the eighteenth century, from the poetry anthologies illustrated by Katsuma Ryūsui to Suzuki Harunobu's vividly colored "brocade pictures". Printing à la poupée was practiced in the Low Countries, Italy, Britain, and France among others for decorative printing as well as lavishly illustrated botanical and ornithological volumes such as those of Pierre-Joseph Redouté. Jacob Christoph Le Blon and his successors experimented with multiple-plate intaglio printing, and produced color prints in collaboration with leading artists.

Although scholars have increasingly studied eighteenth-century knowledge of the properties, meanings, and uses of colors, the materials and practices involved in the production and reception of color-printed images have received comparatively less attention. This project will bring together scholars from a range of disciplines and fields (printing history, book history, critical bibliography, history of art, history of technology, etc.) to explore the proliferation of color-printed images in the long eighteenth century. How do we understand the emergence of widespread color-printing practices across the globe approximately at the same time? What were the economic, social, or political factors that facilitated color printing as a major medium for visual creation? What were the taxonomic, semantic, and aesthetic consequences of printing in color as opposed to hand painting in color? We encourage submissions that engage with the specific material practices of color-printed images that emerged in Europe and Asia between the second half of the seventeenth century up to the early nineteenth century, while reflecting on the broader questions they raise with regards to our knowledge of the period and the validity of current approaches.

Possible topics might include but are not limited to: the production and consumption of color-printed images; color printing as a mode of cultural exchange; the materiality of color printmaking and the production of knowledge (including, but not limited to, spheres of natural history, the fine arts, mapmaking, color theory, and connoisseurship etc.); book illustration versus sheet prints; the relationship between printing in color and painting; conservation issues particular to color-printed works as they relate to methods and approaches to historical inquiry; changes in disciplinary perspectives concerning color printing and the eighteen century.

Participants should be able to commit to attending all sessions of the working group:

Thursday, 12 October 2017, 2:00-3:30pm, 4:00-5:00pm
Friday, 13 October 2017, 10:45am-12:15pm
Saturday, 14 October 2017, 8:30-10:00am

Participants should further be able to commit to meeting again one year after the conference to work toward a publication of the results of the working group. In their statements of interest, participants should indicate their availability to meet during the year following the conference (e.g., will you be abroad - if so, when, and do you anticipate that you will have sufficient internet connectivity to meet virtually?).

In order to be considered please submit proposals for participation by 25 October 2016 to: http://rarebookschool.org/bibliography-conference-groups/

Proposal should include a brief 2-page CV and a statement of interest of no more than 500 words, outlining your relevant research, what you hope to contribute toward the group, and what you hope to take away from it (including potential project ideas you hope the group may pursue).

"Bibliography Among the Disciplines", a four-day international conference, will bring together scholarly professionals poised to address current problems pertaining to the study of textual artifacts that cross scholarly, pedagogical, professional, and curatorial domains. The conference will explore theories and methods common to the object-oriented disciplines, such as anthropology and archaeology, but new to bibliography. The program aims to promote focused cross-disciplinary exchange and future scholarly collaborations. Bibliography Among the Disciplines is supported by the Andrew W. Mellon Foundation, and organized by the Andrew W. Mellon Fellowship of Scholars in Critical Bibliography at Rare Book School. For more information, please visit: http://rarebookschool.org/bibliography-conference-2017/

Graphic Growth: Discovering, Drawing, and Understanding Nature in the Early Modern World nach oben

Session at CAA 2017 (College Art Association Annual Conference), New York, NY, 15. - 18. Februar 2017
Eingabeschuss: 30. August 2016

Chairs: Catherine Girard, Williams College; Jaya Remond, Max Planck Institute for the History of Science
Emails: catherine.girard@yahoo.com; jremond@mpiwg-berlin.mpg.de

This panel explores how drawing and related graphic media were used to gain insight into nature during the early modern period. Naturalists and artists faced a natural world in expansion, which they sought to describe in detail as new realms of natural history emerged, facilitated by a conjunction of events ranging from geographic explorations to the invention of the microscope. As rich scholarship in the history of science and of art has shown, images could function as powerful instruments of knowledge and as repositories of newly gained information about plants, animals, and minerals.

Addressing the epistemological encounter between artists, scientists, and the natural world, this panel zooms in on how this moment of intersection called for innovative strategies of visualization and shaped new graphic conventions in the production of images. It interrogates how techniques of up-close observation, connected to technological progress, informed innovative modes of depiction and vice-versa, as exemplified by figures as diverse as Robert Hooke, Claude Aubriet, and Maria Sybilla Merian. When exposed to lush tropical botany or seemingly hybrid organisms (such as polyps and corals), how did naturalists and artists use drawing to stabilize nature? What were the operations that transformed observation into a graphic act? How did experienced observers respond to this abundance of information and translate into lines the sensorial overload triggered by unfamiliar morphologies?

Papers using interdisciplinary approaches and with a focus on France and Northern Europe in a global context are particularly welcome. Paper abstracts (250 words max.), a brief letter explaining your interest and expertise in the topic, a short CV, and the completed session participation proposal form should be sent by August 30, 2016 to both chairs. Chairs will reply to all applicants by September 15, 2016.

Make sure your paper title, abstract, and name appear exactly as you would like them published in the conference program. No changes will be accepted from you or your session chairs after September 15, 2016. Please note that all conference participants must be current members of the CAA through February 18, 2017.

For submission guidelines: http://www.collegeart.org/pdf/2017-call-for-participation.pdf

Expanding Modernism: Printmaking in America, 1940-60 nach oben

Session at CAA 2017 (Annual Conference of the College Art Association),  New York, NY, 15. -18. Februar 2017
Eingabeschluss: 30. August 2016

Chair: Christina Weyl, Independent Scholar
Email: Christinaweyl@gmail.com

Experimental prints made in America during the 1940s and 1950s do not fit neatly into studies of postwar art or the history twentieth-century printmaking. This period of printmaking activity is often overlooked as a “messy” aberration, bracketed between the graphic arts workshops of the Work Progress Administration and the collaborative printmaking studios opened in the 1960s, such as Tamarind Lithography Workshop, Gemini G.E.L., and Universal Limited Art Editions. Made in the two decades preceding the Print Council of America’s standard-setting publication "What is an Original Print?" (1961), these midcentury prints also do not conform to today’s guidelines for printed editions: impressions are often unique and part of unnumbered editions of unknown quantities. Despite midcentury prints becoming peripheral to the mainstream history of postwar modernism, artists explored printmaking with zeal and enthusiasm.

Their prints traversed the United States and the globe in the postwar decades, evangelizing unfettered modernist expression and American democracy. The government recognized this diplomatic potential, and the United States Information Agency (founded 1953) amassed a collection of more than one thousand six hundred prints to hang in American embassies around the world.

This session welcomes a broad range of papers that will open scholarly inquiry into this understudied period of printmaking in America. Case studies could focus on artists (both Americans and international artists working in America), known and under-known communal or academic printmaking workshops, the midcentury print market and collecting activities of curators and individuals, and exhibitions of prints in the United States or abroad.

Deadline for abstracts (250 words) is August 30.

Le XIXe siècle en lumière : redécouverte et revalorisation de l’enluminure médiévale en France au temps du livre industriel nach oben

Université Rennes 2, 18. - 19. Mai 2017
Eingabeschluss: 5. Oktober 2016

Moins connu que la réhabilitation de l’architecture gothique ou la redécouverte des tableaux des Primitifs, le regain d’intérêt pour l’enluminure médiévale fut pourtant l’une des manifestations majeures du vaste mouvement de « retour au Moyen Âge » qui gagna l’Europe presque toute entière au XIXe siècle. Mais si ce phénomène est aujourd’hui bien identifié pour l’Angleterre et la Belgique, les recherches spécifiques sur la France demeurent encore peu nombreuses malgré un patrimoine exceptionnel.

En lien avec l’exposition "Trésors enluminés de Normandie" qui se tiendra au Musée des Antiquités de Rouen du 5 décembre 2016 au 19 mars 2017, ce colloque a pour ambition d’établir une première synthèse d’envergure sur la connaissance et la compréhension que les Français avaient de cet art, des années 1800 jusqu’à la veille de la première guerre mondiale, en envisageant le problème sous tous ses aspects, depuis la bibliophilie jusqu’aux entreprises éditoriales, en passant par les travaux d’érudition ou encore la pratique artistique.

La réflexion s’articulera autour de cinq axes dont l’examen conjoint devrait aboutir à une approche globale du sujet.

Axe 1 : Les précurseurs
L’engouement de la France du XIXe siècle pour l’enluminure médiévale est le résultat d’un processus qui avait émergé bien avant, au XVIIe siècle, dans le milieu des antiquaires, autour de personnalités comme Fabri de Peiresc et surtout François-Roger de Gaignières. Une mise au point préliminaire sur l’intérêt et la compréhension de cet art au XVIIe et au XVIIIe siècles s’avère donc nécessaire pour mieux appréhender les enjeux du siècle suivant.

Axe 2 : Marché de l’art et collectionneurs
Il s’agira d’analyser ici la place du manuscrit à peintures dans les catalogues de ventes et dans les collections privées françaises du XIXe siècle. La valeur marchande acquise par l’enluminure médiévale entraîna l’apparition sur le marché de l’art de miniatures découpées. Le processus qui mena à ces démembrements, l’usage et la fonction de ces nouvelles pièces de collections seront à éclaircir. Autre conséquence de l’augmentation de la valeur marchande de l’enluminure médiévale à interroger : la fabrication de faux manuscrits et de fausses miniatures du Moyen Âge.

Axe 3 : Le regard des érudits
L’intérêt des historiens et des historiens de l’art pour ces œuvres fut divers. Certains, dans le prolongement de Bernard de Montfaucon, s’emparèrent de ces images à des fins prosopographiques dans le but d’étudier les mœurs de leur nation passée. D’autres, se mirent à s’intéresser au style et à l’iconographie de ces peintures. Il s’agira d’étudier ici les travaux de ces érudits dans leur ensemble, non seulement leurs textes, mais aussi la place qu’ils ont donnée à l’image dans la publication de leurs ouvrages.

Axe 4 : Fac-similés et copies
Signes de l’engouement du public pour cet art : le nombre de fac-similés édités et de miniatures reproduites dans les publications. On pourra s’interroger sur la fonction de ces copies, leur fidélité à leur modèle ainsi que le rôle des nouvelles techniques, en particulier la chromolithographie et la phototypie, dans la perception et la diffusion de ces images.

Axe 5 : Les artistes et l’enluminure médiévale
L’enjeu de ce dernier axe de réflexion est d’analyser comment les artistes français du XIXe siècle se sont réappropriés ces œuvres et comment ils ont réadapté ces sources pour leurs propres créations.

Les actes du colloque feront l’objet d’une publication.

Modalités de soumission :
Les propositions de communication sont à envoyer sous la forme d’un résumé (3000 signes maximum, espaces compris), en français ou en anglais, avec un C.V. court (1 page), aux deux adresses suivantes : marie.jacob-yapi@univ-rennes2.fr et nathalie.pineaufarge@gmail.com avant le 5 octobre 2016.

Les propositions devront mentionner clairement l’axe dans lequel elles s’inscrivent.

Comité d’organisation :
Marie Jacob (Université Rennes 2)
Nathalie Pineau-Farge (Institut catholique de Paris)

Comité scientifique :
Bruno Boerner (Université Rennes 2)
Marie Jacob (Université Rennes 2)
Nathalie Pineau-Farge (Institut Catholique de Paris)
Patricia Plaud-Dilhuit (Université Rennes 2)
Isabelle Saint-Martin (Ecole Pratique des Hautes Etudes, Paris)
Dominique Vanwijnsberghe (Institut Royal du Patrimoine Artistique, Bruxelles)

Prints in Books: The Materiality, Art History and Collection of Illustrations nach oben

All-Day Session at AAH 2017 (Association of Art Historians - Annual Conference and Book Fair)
Loughborough University, 6. - 8. April 2017
Eingabeschluss: 7. November 2016

Convenor: Elizabeth Savage (British Academy Postdoctoral Fellow, Cambridge University, leu21@cam.ac.uk)

Book illustrations, especially from the hand-press period (1450-1830), are an essential but traditionally overlooked source of art historical information. Although the hierarchies of fine art over popular art are dissolving and modern disciplinary distinctions between text and image (or art and book) are giving way to cross-disciplinary and holistic approaches to printed material, printed images that happen to be inside books often fall outside the remits of art historical, literary, bibliographical and material research.

One reason is that practical and academic barriers impede access to the art historical information that book illustrations can provide. Due to incompatible cataloguing standards dopted by libraries and art museums, researchers can struggle to identify book illustrations across collections. Cataloguing protocols may reduce hundreds of significant woodcuts in a book to the single word ‘illustrated’; some world-leading graphic art digitisation initiatives exclude book illustrations. As the global digitised corpus expands, will book illustrations be more represented in print scholarship or will they continue to fall into the gap between art and book? As material objects and visual resources, should they be considered bibliographical, art historical or iconographical material? And how do such classifications influence their interpretation?

This interdisciplinary, all-day session seeks to establish a platform for discussion about the position of printed book illustrations in graphic art scholarship. Theoretical and object-based papers related to any aspect of collecting, cataloguing and interpreting printed book illustrations, broadly defined, are welcome, as are papers that explore the materiality, iconography, historiography or art history of pictures printed inside books.

Please email 250-word paper proposals, including your name, affiliation and email, to the convenor by 7 Nov 2016.

Full guidelines at http://www.aah.org.uk/annual-conference/sessions2017/session25.

Abbreviaturen, Formeln und Chiffren in der Zeichnung der Frühen Neuzeit nach oben

Rom, Bibliotheca Hertziana, 16. - 18. November 2016
Gernsheim-Studientage
Eingabeschluss: 17. Juli 2016

(English and Italian version see below)

„… es entstehen dabei jene Abbreviaturen, die zwar beim Formerhaschen oder Komponieren die notwendige Voraussetzung bilden, um dem Fluge der Phantasie rasch mit dem Stifte folgen zu können, aber leicht zu leeren Formeln werden, sei es durch Mangel an lebendiger Empfindung, sei es durch Nachahmung vorhandener Ausdrucksweisen.“ (Joseph Meder, Die Handzeichnung. Ihre Technik und Entwicklung, Wien 1919, S. 19)

Die diesjährigen Gernsheim-Studientage sind dem Thema der Abbreviatur in der Zeichnung der Frühen Neuzeit gewidmet. Künstler verwenden häufig Bildzeichen und Chiffren als Stellvertreter oder normiertes Verabredungskürzel, für Andeutungen, intendierte Ausstreichungen oder Omissionen. Dahinter stehen oft komplexe Sachverhalte, die, destilliert auf das Wesentliche, als kurze Formel Gestalt gewinnen. Dies kann beispielsweise aus Gründen der Platz- und Zeitökonomie geschehen, einer besseren Einprägsamkeit dienen oder in einer künstlerischen oder lokalen Tradition bedingt sein. Die Bedeutungsinhalte von Abbreviaturen können hierbei so vielfältig sein wie ihre Erscheinungsformen knapp, sie sind im Medium der Zeichnung auf besondere Weise explizit.

Im Rahmen der Tagung soll der Begriff der Abbreviatur in der Zeichnung bewusst weit gefasst werden. Motivation und Intention, Bildinhalte, Verwendungskontexte, Tradierung und mögliche Formen von Chiffrierung und Dechiffrierung sollen einbezogen werden. Dies kann sowohl innerhalb eines einzelnen Oeuvres als auch in der Fokussierung auf ausgewählte Phänomene in größeren zeitlichen oder räumlichen Bereichen erfolgen. Mögliche Aspekte sind:

- Die Abbreviatur als Mittel der Arbeitsökonomie, etwa bei Bauaufnahmen oder Entwürfen für Werke der Malerei und Skulptur
- Die Abbreviatur als narrative Chiffre, die tradiert und entschlüsselt werden kann
- Die Abbreviatur als „leere Formel“
- Die Abbreviatur im Werkstattzusammenhang
- Die intendierte und die zufällige Abbreviatur
- Die Abbreviatur des Marginalen
- Die Abbreviatur als Pars pro toto
- Die Abbreviatur im Kontext der künstlerischen Nachahmung
- Die Abbreviatur als Stilmittel einzelner Künstler oder lokaler Traditionen
- Die Abbreviatur von Schrift im Bild

Bitte senden Sie bis zum 17.7.2016 Ihr Exposé mit Lebenslauf an Dr. Tatjana Bartsch (bartsch@biblhertz.it) und Dr. Johannes Röll (roell@biblhertz.it). Die Bibliotheca Hertziana übernimmt die Kosten für Reise (economy class) und Unterbringung gemäß den Vorgaben des deutschen Gesetzes zur Übernahme von Reisekosten.

Abbreviation, Contraction and Formula in Early Modern Drawings Gernsheim Conference at the Bibliotheca Hertziana, 16–18 November 2016

“The abbreviations necessary to clarify form and composition, which is essential if the hand is to follow the rapid flight of the imagination, (can) turn all-too-easily into empty formulas, either because the draughtsman is insensitive or over-sensitive (to special requirements) or because he accepts too readily certain conventions of expression.” (Joseph Meder, Die Handzeichnung. Ihre Technik und Entwicklung, Vienna 1919, p. 19).

The theme of this year’s Gernsheim Conference is the abbreviation in drawings of the early modern period. Artists often use graphic marks and ciphers as substitutes or normative shortcuts codified as references, deliberate exclusions, or omissions. Lying behind them are often complex issues, which once distilled to an essence take on the form of short formulas. This practice may, for instance, be conditioned by local traditions and can happen for reasons of spatial and temporal economy, or to lend greater trenchancy to the drawing. The expressive contents of the abbreviations, being particularly explicit in the graphic media, are potentially as varied as their exterior form is economical.

In the framework of the conference, the concept of abbreviation must be broadly understood, in consideration of factors such as motivation and intention, iconographic subject, context of use, transmission, and possible forms of coding and deciphering. This may be done through the examination of a single object, but also by focusing attention on selected phenomena within more extensive spatial and temporal frameworks. Potential aspects for consideration include:

- The abbreviation as a labor-saving device, such as in architectural drawings or sketches for painting and sculpture
- The abbreviation as a narrative figure that can be passed down and deciphered
- The abbreviation as “empty formula”
- The abbreviation related to workshop practice
- The intentional vs. the random abbreviation
- The marginalia abbreviation
- The abbreviation as Pars pro toto
- The abbreviation in the context of the artistic copy
- The abbreviation as a stylistic device of an individual artist or of local traditions
- The abbreviation of the writing within an Image

Please send your proposal and CV to Dr. Tatjana Bartsch (bartsch@biblhertz.it) and Dr. Johannes Röll (roell@biblhertz.it) by July 17 2016. The Bibliotheca Hertziana will cover travel costs (economy class) and accommodation in accordance with the provisions of the German Travel Expenses Act (Bundesreisekostengesetz).

Abbreviazioni, formule e segni nella grafica della prima età moderna Giornate di studio Gernsheim presso la Bibliotheca Hertziana dal 16 al 18 Novembre 2016

“…nascono così quelle abbreviazioni che, nel cogliere le forme e nella composizione, plasmano sì i necessari presupposti per poter seguire rapidamente il volo della fantasia con il segno della matita, ma si tramutano facilmente a vuote formule sia per la mancanza di un sentimento vivo che per l’imitazione di preesistenti mezzi espressivi.” (Joseph Meder, Die Handzeichnung. Ihre Technik und Entwicklung, Wien 1919, p. 19)

Le giornate di studio Gernsheim di quest’anno sono dedicate al tema dell’abbreviazione nella grafica della prima età moderna. Gli artisti usano spesso segni grafici e sigle come sostituti o abbreviazioni codificate al fine di abbozzare, escludere volutamente, o omettere. Dietro a ciò, si trovano spesso rapporti complessi che, ricondotti all’essenza, assumono la forma di brevi formule. Ciò, ad esempio, può essere condizionato dalla tradizione locale ed avvenire per motivi di economia spazio-temporale o per conferire maggiore incisività al disegno. I contenuti significativi delle abbreviazioni, essendo particolarmente espliciti nel medium della grafica, possono essere tanto molteplici quanto le loro forme esteriori esigue.

Nell’ambito del convegno, il concetto di abbreviazione deve essere consapevolmente inteso ad ampio spettro, nella considerazione di: motivazione, intenzione, contenuti grafici, contesti di utilizzo, trasmissione e possibili forme di cifre e decifrazioni. Ciò può avvenire nella disamina di un singolo oggetto, ma anche nel riservare il focus su fenomeni scelti all’interno di più vasti quadri spazio-temporali. Possibili aspetti da indagare sono:

- L’abbreviazione come mezzo di economia del lavoro, ad esempio nei disegni di architettura o bozzetti di pittura e scultura
- L’abbreviazione come cifra narrativa, che può essere tramandata e decifrata
- L’abbreviazione come “vuota formula”
- L’abbreviazione rispetto alla bottega dell’artista
- L’abbreviazione intenzionale o casuale
- L’abbreviazione a margine
- L’abbreviazione come Pars pro toto
- L’abbreviazione nel contesto della copia artistica
- L’abbreviazione come mezzo stilistico di singoli artisti o di una tradizione locale
- L’abbreviazione della scrittura nell’immagine

Si prega di inviare, entro il 17.7.2016, il proprio curriculum vitae e la proposta di intervento alla Dr. Tatjana Bartsch (bartsch@biblhertz.it) e al Dr. Johannes Röll (roell@biblhertz.it). La Bibliotheca Hertziana rileva i costi del viaggio (economy class) e del pernottamento, secondo le vigenti normative del diritto tedesco relativo all’assunzione delle spese di viaggio (Bundesreisekostengesetz).

Landscape in Print nach oben

Session, International Association of Word and Image Studies / Association Internationale pour l’Etude des Rapports entre Texte et Image (IAWIS/AIERTI), Lausanne, 10. - 14. Juli 2017
Eingabeschluss: 31. August 2016

Convenor: Patricia Mainardi, pmainardi@gc.cuny.edu

The focus of this session will be on printed landscape imagery in the “long nineteenth century” (ca. 1780 to 1914), encompassing all geographic regions, with special attention to its purpose, audiences, technology, derivation, and distribution. While images of landscape were widespread in the print trade from the Renaissance onward, “art” prints (such as Rembrandt’s landscape etchings) had small editions; engravings could be printed in much larger editions but tended to focus on culturally significant sites, such as major monuments or historically significant locations such as Greece, Rome or the Holy Land. With the invention and development of new printing technologies in the nineteenth century—lithography, wood engraving and photography—prints became cheaper and widely diffused, appealing to a wider audience and serving a broad variety of functions. Collections of landscape imagery were published throughout Europe, and focused as well on Asia, the Americas, North Africa. They invented new imagery, but also perpetuated landscape tropes that had been familiar for centuries, regularly exchanged between paintings and the printed page. Corot’s Rome landscapes, for example, reproduced sites already familiar from guidebooks, and, in turn, inspired generations of artists and amateurs to depict the same locales. Drawing manuals published models for landscape depictions— plants and trees, geologic formations, typical inhabitants; these were often borrowed from paintings but were then recycled into new paintings, drawings, photographs, prints.

Possible topics for presentation could include: printed landscape imagery in colonialism, nationalism, global consciousness; images in guidebooks and drawing manuals; the role of new print technologies in the circulation of landscape imagery; landscape reproductions in the periodical press, their derivation, purpose, and context; the mutual interdependence and exchanges of printed landscape imagery with other forms of visual art; the proliferation, derivation, and function of publications combining text and landscape imagery.

Proposals can be submitted, in English or in French, using this on-line form: https://docs.google.com/forms/d/1vote850Mssh1r1oLZe3fiKnrpPdSt_WSTBNQNQ_eC14/viewform?c=0&w=1 See

Guidelines for submitting proposals: http://wp.unil.ch/reproduction2017/program/panels/

'More than meets the page': Printing Text and Images in Italy, 1570s-1700s nach oben

Coventry, University of Warwick, 4. März 2017
Eingabeschluss: 31. August 2016

A one-day interdisciplinary conference

Key-note speakers: Dr Marika Keblusek (Leiden University) and Dr Angela McShane (RCA/V&A)

For Italy, the 'long seventeenth century' was a period of considerable financial challenges. This was especially evident on the book market. Nevertheless, thanks to new techniques and formats which mutually related text and images within the same publication, innovative genres were born that were marketed towards both ends of the audience spectrum, from the learned to the illiterate.

'More than meets the page: Printing Text and Images in Italy, 1570s-1700s' aims to investigate the ways in which the consolidation of the book and print trade influenced the development of such new book genres from the late sixteenth to the early eighteenth century. The products emerging in the wake of these processes reached consumers throughout distant countries, between Italy and the rest of Europe. Moreover, various professionals and skilled workers earned their living thanks to the print market, from the production to the distribution of printed items. The new commercial items also contributed to the spread of cultural phenomena, such as the Grand Tour through its souvenir prints that were sometimes incorporated in atlases.

This one-day interdisciplinary conference seeks to examine these matters by focusing on the products, audiences and professionals involved. The conference promotes a multidisciplinary perspective, bridging the gaps between art history, history of the book and other disciplines such as intellectual history and communication studies. By doing so, it sets out to lay the foundations for a shared history of printed products and markets in the early modern period by focusing on the influence of Italy from a pointedly European perspective.

We invite papers addressing, although by no means limited to, questions such as:

- Who were the publishers that specialized in the new genres, both in earnest or merely to face the financial challenges they encountered from the late sixteenth century onwards? Can specific socio-geographical patterns be discerned (through either individual case studies or larger scale data analysis)?

- In what ways was the book trade on a whole influenced by booksellers' increasing reliance on book fairs and news correspondents, and by the emergence of bookselling as a separate profession? And what was the relevance of supplementary trades, such as paper production?

- To what extent did the production methods and channels of distribution used in the book- and print trade overlap during this period?

- What was the impact of collecting on the physical appearance of print products, such atlases and albums, and on the demand for already circulating books?

- Were certain of the new genres specifically targeted towards particular audiences? Can cheap print in its various shapes, such as news printing, be considered as reaching a shared audience between different social classes?

- In what ways did figures active within cities or in areas between city and countryside, like street singers, performers, public news readers, and pedlars, contribute to the book- and print trade?

- How can the status of Italy, which despite its waning glory was still able to remain one of the leading players on the book- and print market, in all this be understood?

We invite papers from both established and emerging scholars in universities, museums, galleries, and other related institutions. Accepted speakers will be expected to pay the conference fee and fund their own travel; bursaries for postgraduate students might be offered to help with travel expenses, however this is not guaranteed. All accepted speakers are encouraged to apply to their institutions for subsidies to attend the conference.

Abstracts for 20-minute papers, not exceeding 300 words, accompanied by a brief academic cv (100 words), should be sent by 31 August 2016 to: meetsthepage@gmail.com

Organized by HRC Doctoral Fellows Rebecca Carnevali and Gloria Moorman. (Centre for the Study of the Renaissance, University of Warwick)

The Luther Effect, Printmaking, and the Arts nach oben

Panel, Renaissance Society of America (RSA) 2017 Conference, Chicago, The Palmer House Hilton, Chicago, 30. März - 1. April 2017
Eingabeschluss: 25. Mai 2016

 Lucas Cranach the Elder opened his 1509 book on Saxon Elector Friedrich the Wise’s famed reliquary collection with a woodcut of the Wittenberg Schlosskirche. Eight years later, its portal is where Martin Luther is said to have nailed his 95 Theses against Catholic excesses such as the sale of indulgences, liturgical sartorial opulence, and the hoarding of the very relics the church contained. The 95 Theses soon circulated as a printed document, becoming one of the most influential letterpress broadsides ever issued, ushering in the Protestant Reformation.

In honor of this momentous 500th anniversary, we propose a Renaissance Society of America session on the ways Luther's declaration and the mode of its distribution affected artists and artisans in all media around 1517, especially those with connections to the Saxon court. Papers on printmakers and publishers are particularly welcome, as well as others comparing the paper record with extant examples of the lavish church clothing and ritual decorative arts that Luther rebelled against.

A copy of Cranach's Wittenberger Heiligthumsbuch will be on display at the Art Institute of Chicago during the conference.

Please submit an abstract of no more than 150 words and a short one-page c.v. by Wednesday, May 25, 2016, to:

Suzanne Karr Schmidt, Art Institute of Chicago, skarrschmidt@artic.edu and Freyda Spira, Metropolitan Museum of Art, freyda.spira@metmuseum.org

Paper in the Artist's Workshop nach oben

Panel, Renaissance Society of America (RSA) 2017 Conference, Chicago, The Palmer House Hilton, Chicago, 30. März - 1. April 2017
Eingabeschluss: 1. Juni 2016

This panel seeks to consider paper across the early modern world and how artists utilized paper not only as a support for drawing and printmaking but also as a material that already had embedded meaning in its production. Paper defined early-modern mobility from the innovations in papermaking in the Arabic World to the import of paper in the New World for the first printing presses; from the Japanese paper used by the VOC to wrap goods to its mobilization in artistic production by artists such as Rembrandt. Frequently paper carried in it the traces of the season in which it was made, minute hairs from felt fibers, and the waste running through the watermill used to process the paper. With the invention of watermarks, paper began to carry the impression of local places and customs. Paper was also frequently made from the debris of the shipping industry: sailors’ uniforms; rigging; ropes and sails. In turn, this brown or blue paper was then utilized for the packaging and shipment of goods. Paper was a made product already stamped with an artisan’s mark and carrying with it traces of its local environmental conditions. This panel suggests that artists were well aware of the multiple qualities of paper and sought to examine and exploit these particularities of paper in the workshop.

Topics of particular interest are transregional studies of paper; theoretical studies of watermarks; paper as a device for wrapping; paper as a substance created through local environmental waste and reused by artists.

Please submit abstracts of 150 words and a short CV to Caroline Fowler, Postdoctoral Associate in the Physical History of Art, Yale University: covertonfowler@gmail.com. Deadline: June 1.

Studienkurs zu Theorie und Praxis der Zeichnung. Kennerschaft – Sammlungsdiskurse – Kuratorische Praxis nach oben

Wien, 1. - 5. August 2016
Bewerbungsende: 10. Juni 2016

Veranstalter: Albertina und Institut für Kunstgeschichte der Universität Wien, mit großzügiger Unterstützung der Wolfgang Ratjen Stiftung

Der neue Studienkurs richtet sich an Doktoranden und jüngere Postdoktoranden, die sich in ihren Forschungen mit Fragen der Zeichnung befassen und an einer Tätigkeit in Grafischen Kabinetten interessiert sind. Dabei sollen neue Forschungen diskutiert und zugleich ein umfassender Einblick in die kuratorische Praxis an einer der weltweit bedeutendsten Grafischen Sammlungen vermittelt werden. Der Studienkurs wird vom Institut für Kunstgeschichte der Universität Wien gemeinsam mit der Albertina veranstaltet und von der Wolfgang Ratjen Stiftung großzügig gefördert.

Die Teilnehmer sollen einerseits im Rahmen des Studienkurses einen Aspekt ihrer Forschungen in einem 30-minütigen Vortrag zur Diskussion stellen. Andererseits stehen die gemeinsame Arbeit mit ausgewählten Zeichnungsbeständen der Albertina und der Einblick in den kuratorischen Alltag im Zentrum des Kurses: Konzeption und Durchführung von Ausstellungsprojekten, Publikation von Ausstellungs- und Sammlungskatalogen, Restaurierung und Marketing, Sammlungsgeschichte und Provenienzforschung.

Neben der Unterbringung in Wien werden nachgewiesene Reisekosten (Economy Flug, 2. Klasse Bahn) bis zur Höhe von 400 Euro übernommen. Die Kurssprache ist Deutsch, die Vorstellung der eigenen Forschungsprojekte kann auch in Englisch, Französisch oder Italienisch erfolgen.

Die wissenschaftliche Leitung des Studienkurses liegt bei Univ.-Prof. Dr. Sebastian Schütze. Bewerbungen sind mit CV, kurzer Darlegung des zeichnungsrelevanten Forschungsthemas und Empfehlungsschreiben eines Hochschullehrers bis zum 10. Juni 2016 per e-mail zu richten an Univ.-Ass. Mag. Gernot Mayer: gernot.mayer@univie.ac.at

Die Bewerber erhalten Mitte Juni Bescheid über die Teilnahme.

From Prints to Paintings in Fifteenth-Century Northern Italy nach oben

Renaissance Society of America Annual Meeting, Chicago, 30. März - 1. April 2017
Eingabeschluss: 20. Mai 2016

This session considers the impact of prints on fifteenth-century Northern Italian painting. Topics may include, but are not limited to:

- The use of prints as substitutes for workshop drawings

- The transmission of Northern European visual culture via prints

- The role of prints in the regional dissemination of artistic ideas

- The appropriation of specific motifs

- Prints as sources of inspiration or points of departure

By May 20, please send your paper title, abstract (150-word maximum), keywords, and a brief curriculum vitae (300-word maximum) to:

Daniel Wallace Maze (danielwallacemaze@gmail.com).

Anfänge und Neuanfänge im Comic nach oben

Christian-Albrechts-Universität Kiel, 09. - 11. September 2016
Eingabeschluss: 30. April 2016

Anfänge und Neuanfänge im Comic
Opening sequence, Origin story und Reboot – wie fangen Comics an?

Alles auf Anfang! In keinem anderen narrativen Feld gilt diese Maxime wie im grafischen Erzählen – erst 2012 ließ beispielsweise das amerikanische Verlagshaus DC 52 seine Serien neu beginnen. Doch nicht nur im Kontext der seriellen Kunst der Superheldengeschichten werden die Elemente des ›Anfangs‹ oder ›Neuanfangs‹ zum prägenden Aspekt; auch vor einem historischen Hintergrund ist es gerade die Frage nach dem ›Anfang‹, mit der sich der Comic und die Comicwissenschaft immer wieder auseinandersetzen müssen.

Die vom 09.-11. September 2016 in Kiel stattfindende Konferenz wird sich den beiden Themenschwerpunkten ›Anfang‹ und ›Neuanfang‹ im Comic widmen und fächerübergreifende Herangehensweisen an diese Fragestellung suchen. Neben Ansätzen, die den ›Anfang‹ eines Comics als formales Mittel annehmen und seine erzähltheoretischen und stilistischen Auswirkungen im Gesamtkonstrukt des Comics in den Vordergrund stellen, soll genauso die Frage nach einem Anfang der Comicwissenschaft oder des -mediums gestellt werden, wie auch ein ›Anfang‹ oder ›Neuanfang‹ als Motiv thematisiert werden kann.

Wir bitten um Vorschläge für Beiträge, die sich schwerpunktmäßig mit den folgenden Fragestellungen beschäftigen:

- Der ›Anfang‹/›Neuanfang‹ als Formel: Wie beginnen Comics (neu)? Wie ›beginnen‹ Comichel-den (neu)? Wie gestalten sich Auftakte/Anfänge von Heftserien – immer wieder?

- Der ›Anfang‹/›Neuanfang‹ als narrative, formale, visuelle Strategie: Ist immer ein Beginn erkennbar oder notwendig? Wie beginnt ein Comic?

- Historische ›Anfänge‹/›Neuanfänge‹: Wer spricht ab wann vom Comic – und warum? Welche Themen initiiert der Comic (neu)? Wie beginnt der Comic (im Web, transmedial, kulturell) zurzeit neu?

- Formale ›Anfänge‹: (Ab) Wann ist ein Comic ein Comic?

- Intermediale ›Anfänge‹: Was passiert, wenn der Comic das Trägermedium verlässt und Film wird (Anfänge der Verfilmung von Comics und des Comicfilms, Adaption der Vorlage, Ein-binden oder Ausblenden von Origin Stories und Reboots etc)?

Die Tagungssprachen sind Deutsch und Englisch. Bei Interesse senden Sie bitte ein Abstract für einen 20-minütigen Vortrag in deutscher oder englischer Sprache (Umfang des Abstracts max. 500 Wörter) sowie eine kurze bio-bibliographische Angabe bis zum 30.04.2016 an: closure@comicforschung.uni-kiel.de

Im Anschluss an die Tagung ist die Veröffentlichung ausgewählter Vorträge im e-Journal CLOSURE, Ausgabe #4 (Nov. 2017) vorgesehen. Weitere Informationen zum e-Journal sowie die bisherigen Ausgaben finden Sie unter: www.closure.uni-kiel.de

In Einzelfällen kann ein Zuschuss zu den Kosten für Reise und Übernachtung für Teilnehmer_innen und Nachwuchswissenschaftler_innen gewährt werden. Bitte fügen Sie gegebenenfalls eine kurze formlose Bewerbung für diese Förderung Ihren Unterlagen hinzu.

The lettering of prints. Forms and functions of writing in the printed image in 16th-century Europe nach oben

Paris, Centre André Chastel, Institut national d'histoire de l'art (INHA), 17. - 18. November 2016

Eingabeschluss: 31. März 2016

Words, titles, legends, commentaries, artists’ names, privileges - necessarily - fine speeches, addresses to the "reader", showy dedications. Cursive and typographic writing, large and small typefaces, ligatures, numbers and measures. Added words, associated with figures or set apart by a frame, words that one notices, that one watches, that one sometimes discovers within an image… What if prints were also a question of words, of written composition, of comparative reading within the written and figurative space of an image?

Before the relationship between artistic creation and writing was completely rethought by the avant-gardists, prints were long the only visual art in which words could be freely associated with figures and in which the parts of the text, inserted in the composition, could form a visual, logical and semantic whole with the drawing. This capacity of prints to accommodate within a single graphical composition a great variety of signs, forms and written material is primarily due to the conception of printing plates and to the technical properties of engraving. At a time when a mimetic conception of representation which led more often than not to the exclusion of text from the figurative field of the image was becoming widespread in Europe - painted, inscribed or drawn text often relegated to the margins, hidden in a detail or set apart by a frame - prints continued to accommodate words, to draw texts to figures, to include inscriptions in the very composition of engraved plates. During the Renaissance, professionals of the genre showed remarkable wit and inventiveness in the artistic conception of writing, the articulation of graphic registers and the complementarity of written and figurative languages which generally make up the printed image.

From this point of view, prints occupy a very specific place in artistic production, visual culture and practices of writing in modern Western society. We may even see in them the possibility of bringing together in a single medium different forms of expression and dialogue which were always deeply connected in the Middle Ages, which is one of the reasons behind the economic success of prints and their rapid assimilation by European society. For all those who needed both written resources and images, prints offered a new medium, itself a subtle intermediary between printed text and drawing. The 16th century in Europe was not only the golden age of the printed book: it also marked the application of engraving techniques to all sorts of iconographies, the introduction of printed images in numerous spheres of activity, as well as the birth, derivative of prints, of a new social practice of images.

The goal of the conference is to study the place of writing, its forms and functions in 16th-century prints, from the production of images to their use in extremely varied socio-cultural contexts. The propositions of presenters, whether dedicated to specific corpuses or treating the question in a more cross-sectional manner, should be founded on consultation of engraved or etched inscriptions which constitute the "lettering" of prints; on technical, linguistic and iconographic analysis of these inscriptions in relationship to the images they accompany; on historical interpretation of the objects, processes and artistic and cultural phenomena thus brought to light. We invite specialists in prints to widen their scope by taking into consideration objects and inquiries from other disciplines: literary history, history of the book, history of science (from medicine to cartography via antiquarian studies), religious history or political history may all contribute to collective thinking on the place of writing in the conception and use of printed images in the 16th century.

Proposed themes for presentations:

- The lettering and the printmaker: is there a technique of writing in the printed images of the Renaissance?
- How and why are images designed? The conception of the title, its function and uses in prints.
- Signatures, addresses and privileges: affirmation of the "name" (of the artist, printmaker, publisher, printer) and its signification in prints.
- Texts with or without frames? The conception of frontispieces, commentaries and legends.
- Readings, functions, uses: what knowledge of the lettering contributes to the historical comprehension of printed images.
- The address to the "reader": appeal to the client, promotion of the artist or author, dialogue with the spectator and reader.
- The place of commentary, its literary form and its function within the printed image. - The cartographic lettering: seeing and describing the world in the Renaissance (maps, views, maps of the world).
- The poetic lettering: poems, couplets, dedications, emblems in the 16th-century printed image.
- The religious lettering: the functions of writing in 16th-century religious images, teaching and devotional practices.
- The political lettering: images and dissemination of propaganda in the 16th-century European print.

Organization: Marianne Grivel and Emmanuel Lurin (Paris-Sorbonne university, Department of Archaeology and History of Art)

Papers submission: Proposals (title and summary of roughly 1000 characters, accompanied by a brief curriculum vitae, should be addressed before Thursday March 31, 2016 to the following addresses:

emmanuellurin@yahoo.fr
Marianne.Grivel@paris-sorbonne.fr

NB: The conference proceedings will be published (language of publication: French and English).

Paragons and Paper Bags. Early Modern Prints from the Consumer’s Perspective nach oben

Rijksmuseum, Amsterdam, 9. Juni 2016

Eingabeschluss: 1. März 2016

Early modern prints were a widespread and artistically diverse medium and the creative process of a print did not stop after printing. Researching the creative afterlife of prints is therefore an essential development in the study of early modern visual culture. Although the consumption and reception of early modern books has received increasing attention in the past decades, only some scholars such as Peter Schmidt (Gedruckte Bilder in handgeschriebenen Büchern. Zum Gebrauch von Druckgraphik im 15. Jahrhundert, 2003), Jan van der Waals (Prints in the Golden Age. From Art to Shelf Paper, 2006), Kathryn Rudy (Virtual Pilgrimages in the Convent. Imagining Jerusalem in the Late Middle Ages, 2011), and Suzanne Karr Schmidt (Altered and Adorned. Using Renaissance Prints in Daily Life, 2011) have integrated the consumer’s side of the print market and the concrete use of prints in their research.

In order to stimulate this promising evolution, the Rijksmuseum Amsterdam is organising an international conference on early modern prints, ranging from precious artistic prints that were carefully collected to cheap printed images that were used and discarded. 'Paragons and Paper Bags. Early Modern Prints from the Consumer’s Perspective' will take place at the Rijksmuseum on Thursday 9 June 2016. The aim of this symposium is to further develop this new approach in order to achieve new insights on target audiences, the application and usage of prints, and special collection practices.

The organisers particularly welcome object-based proposals regarding printed pictorial material or written primary sources. Topics for discussion may include, but are not limited to:

Techniques

 - Prints with particular engraving or printing techniques, colouring, or multi-sheet compositions, resulting in a special visual or practical experience

Usage and manipulation

 - Prints that were applied to objects, furniture or walls

 - Prints that were altered by the consumer, deviating from the printmaker’s intentions such as censoring, colouring and cutting

 - Manuscripts and printed books in which prints were added and integrated

 - Prints as a source of inspiration for other forms of art

 - Prints depicted on other works of art

 - Printed primary sources or archival documents on the intended use of specific prints

Target audiences and collection practices

 - Print albums that reveal particular contemporary collection practices or the target market for specific prints or print genres

 - Prints or primary sources on prints that were created on the initiative of a private individual or professional organisation with a particular purpose in mind

 - The appreciation and appraisal of specific prints and printed oeuvres - Printed primary sources or archival documents on the consumers of early modern prints

 - Printed primary sources or archival documents on target audiences of specific prints

The organisation will consider proposals for 20-minute papers, presenting the findings of new or ongoing research. The application, consisting of a proposal abstract (maximum 300 words and an image) and a concise curriculum vitae, should be sent to mailto: j.luyckx@rijksmuseum.nl before the 1st of March 2016. The final program of the conference will be announced later that month.

Scientific committee: Thomas Döring (Herzog Anton Ulrich-Museum, Braunschweig), Erik Hinterding (Rijksmuseum Amsterdam), Huigen Leeflang (Rijksmuseum Amsterdam), Ger Luijten (Fondation Custodia, Paris), Jeroen Luyckx (Rijksmuseum Amsterdam/ Illuminare – University of Leuven), Mark McDonald (The Metropolitan Museum of Art, New York), Jane Turner (Rijksmuseum Amsterdam), An Van Camp (Ashmolean Museum, Oxford), Peter van der Coelen (Museum Boijmans Van Beuningen, Rotterdam), Jan Van der Stock (Illuminare – University of Leuven), Joris Van Grieken (Royal Library of Belgium, Brussels), Joyce Zelen (Rijksmuseum Amsterdam/ Radboud University Nijmegen)

For more information, please visit the conference website: www.rijksmuseum.nl/en/paragons-and-paper-bags

The German Graphic Novel nach oben

German Studies Association Conference, San Diego, California, 29. September - 2. Oktober 2016
Eingabeschluss: 05. Mai 2016

German Studies Association Conference
Panel Series: The German Graphic Novel

In the past decade there has been an explosion of comics production in German-speaking Europe. The impressive artistic quality and thematic breadth of comics coming out of Germany, Austria, and Switzerland today has attracted public and critical attention, both domestically and internationally. From historical comics that open new perspectives on the GDR and reunification to comics journalism on right-wing extremism; from biographies of Martin Luther, Fidel Castro, and Johnny Cash to adaptations of Goethe, Kafka, Schnitzler, Thomas Bernhard and beyond; from Berliner vampires to time traveling Junge Pioniere, the landscape of German comics is vibrant, diverse, and challenging. As comics are increasingly incorporated into university curricula, as well as into the fields of inquiry of Literary and Media Studies, German Studies is also beginning to recognize comics as a legitimate object of scholarly analysis. For the third consecutive year, we invite papers on German-language comics old and new, organized around three thematic constellations: Gender and Sexuality – Age – Nation and Identity. We include individual calls for papers for each panel, and submissions of approximately 250 words—as well as a short bio—should be directed to the appropriate organizer by February 5, 2016.

[I]
The German Graphic Novel (I): Gender and Sexuality
Organizer: Julia Ludewig (jludewi1@binghamton.edu)

Even though issues of gender and sexuality as well as comic studies have gained traction in German studies, the intersection of these two fields is still in its infancy. This panel invites scholars to present analyses of one or several comics or graphic novels from the German-speaking world that tackle themes of gender and sexuality. Prominent examples of such novels include Ulli Lust’s "Heute ist der letzte Tag vom Rest deines Lebens", the erotica series Springpoem to which Lust contributed as well, Anke Feuchtenberger’s "Die Hure H.", Manuel Fiore’s "Fräulein Else", Jakob Hinrich’s "Traumnovelle", the anthology "Bettgeschichten", Ralf König’s "Der Bewegte Mann", Suskas Lötzerich’s "Hexenblut", or even more or less reverent fairy tale adaptations. Possible lines of inquiry include, but are not limited to the following questions:

- gender identity and transgender
- heteronormativity and its alternatives
- artistic techniques: interpretative process, mis-en-page, realism vs. abstraction etc.
- area/culture-specific trends in gender/sexuality-themed comics
- theoretical concepts across the disciplines (e.g. gaze theory, plaisir and juissance)
- the boundary between pornography and art
- adaptions from or into other media (e.g. literature, film) of comics on gender and sexuality
- alternative comic formats (e.g. web comics)
- pedagogy for comics on gender and sexuality: challenges and chances

[II]
The German Graphic Novel (II): Age
Organizer: Brett Sterling (bsterli@uark.edu)

Since its beginnings, the graphic novel has been used frequently as a vehicle for “life writing,” that is, for personal stories, autobiographies, and memoirs. This is especially true in German-speaking Europe, where numerous artists have interpreted their own stories through comics (ex. Ulli Lust’s "Heute ist der letzte Tag vom Rest deines Lebens", Simon Schwarz’s "drüben!", Volker Reiche’s "Kiesgrubennacht", etc.). Each of these comics, as the story of a lived life, is inherently concerned with the passage of time, of aging. The theme of age opens up a range of fruitful topics which can be discussed in the context of comics: from “coming of age” stories (Mawil’s "Kinderland", Lukas Jüliger’s "Vakuum", etc.) to comics about dementia (Flix’s "Don Quixote"), the aging European population (Marijpol’s "Eremit"), mortality and the afterlife (Felix Pestemer’s "Staub der Ahnen"), to the evolution of life and the human species (Jens Harder’s "Alpha: Directions and Beta: Civilizations"). This panel invites papers on the theme of age in German comics, topics for which could include, but are not limited to:

- Reflection, recollection, remembering - The fallibility of memory - Life writing - Generations, generational conflicts - Age groups, cohorts - Youth vs. maturity - Stages of life and development - Death and dying - Vitality and the decline of the body - Depictions of time - Past – Present – Future - (D)evolution - How themes, styles, and works age

[III]
The German Graphic Novel (III): Nation and Identity
Organizer: Elizabeth (Biz) Nijdam (enijdam@umich.edu)

With its close relationship to caricature, the comics medium has been linked to concepts of nation and national identity since its inception. Furthermore, in light of the recent attack on the Paris headquarters of satirical magazine Charlie Hebdo and subsequent "Je suis Charlie" campaign, it’s clear that comics and cartoons still play an important role in matters of nation and national identity. In the German-speaking context, national history has become particularly significant in negotiating national identity in contemporary comics. Since the 20th anniversary of the fall of the Berlin Wall, East German authors have engaged the medium to represent the East German past and complicate the portrayal of citizens of the German Democratic Republic as supporters of the regime (Simon Schwarz’s "drüben!", Thomas Henseler and Susanne Buddenberg’s "Grenzfall", Mawil’s "Kinderland"). More recently, graphic novels have also begun to offer a space for the representation of marginalized members of the German public, and the fringes of German national identity are finding their voice within panels. Yi Luo’s "Running Girl" recounts the author’s immigration from Tianjin, China to Augsburg, while both Paula Bulling’s "Im Land der Frühaufsteher" and the Comic Festival Munich’s recent exhibition and anthology “Gestrandet and Verwurzelt” chronicle the lives of Germany’s refugees. Moreover, the German government has turned to comics to educate the population. In the German Federal Agency for Civic Education’s fictive world of Hanisauland, for example, children learn about governmental systems as hippos, hares and wild boar attempt to build a democracy. The Interior Ministry of Nordrhein-Westfalen, on the other hand, has published three issues of their comics series Andi instructing on Islamicism and right-wing and left-wing extremism.
This panel invites scholars to consider the role of nation and national identity in German comics today. Topics include but are not limited to the following:

- German national identity in contemporary German comics
- German stereotypes at home and internationally
- Comics and (im)migration
- Comics and diaspora
- Comics, politics and the state
- Caricature in the German context
- Comics and East German identity
- Comics and national history
- Comics and refugees
- Comics and marginalized voices
- The German comics scene as a national movement
- Comics educating German citizens
- Comics reportage

 

Dürer-Vorträge 2016: Buch – Kunst – Markt. Albrecht Dürer und das „Leitmedium“ seiner Epoche nach oben

Nürnberg,  20. August 2016
Eingabeschluss: 02. Mai 2016

Die jährlich stattfindenden „Dürer-Vorträge“ sind seit 2002 zu einer international beachteten Veranstaltung geworden. Sie werden gemeinsam vom Kulturreferat der Stadt Nürnberg, den Museen der Stadt Nürnberg und der Albrecht-Dürer-Haus-Stiftung Nürnberg e.V. veranstaltet.

Die Vorträge widmen sich wechselnden Schwerpunkten, um so den vielfältigen Verbindungen zwischen dem Künstler Albrecht Dürer, seinem Werk, seiner Wirkung, sowie seiner Mit- und Nachwelt aufzuspüren. Gerne möchten wir insbesondere Fachleute aus den angrenzenden Wissenschaften auffordern, sich mit dem Thema Dürer aus der Perspektive ihres Faches auseinander zu setzen.

Thema 2016
Buch – Kunst – Markt. Albrecht Dürer und das „Leitmedium“ seiner Epoche

Dürers Taufpate war Anton Koberger, einer der größten Drucker und Verleger Europas, und zu den frühesten Werken des Nürnberger Universalgenies gehören Buchillustrationen. Seine berühmten Holzschnitte und Kupferstich beschreiten im Grunde die gleichen Vertriebswege und richten sich an dieselben Adressaten wie das Buch. Aber auch Dürers letzte Werke, die drei großen Lehrwerke, sind Bücher.

Die diesjährigen Dürer-Vorträge untersuchen das besondere Nahverhältnis Dürers zu diesem Medium, das sich um 1500 seiner enormen technischen Möglichkeiten bewusst wird. Fünf Vorträge sollen diesen zentralen Aspekt der Frühmoderne interdisziplinär beleuchten.

Es werden Themenvorschläge von maximal 200 Wörtern aus den kulturwissenschaftlichen und historischen Fächern erbeten.

Die einzelnen Vorträge sollen maximal 45 Minuten dauern und bei allem wissenschaftlichen Anspruch auch für ein breiteres Publikum verständlich sein. Anschließend sind 15 Minuten für die Diskussion vorgesehen.

Es kann ein Honorar von 200 Euro je Vortrag gezahlt werden. Reise- und Hotelkosten werden übernommen. Eine spätere Publikation wird angestrebt.

Bitte senden Sie Ihre Vorschläge bis zum 31. Juli 2013 an:
thomas.schauerte@stadt.nuernberg.de
oder postalisch an:
Stadt Nürnberg
Museen der Stadt Nürnberg
Kunstsammlungen
Dr. Thomas Schauerte
Äußere Sulzbacher Str. 60
D-90491 Nürnberg


Veranstaltungsort:

Albrecht-Dürer-Haus, Albrecht-Dürer-Haus 39, 90403 Nürnberg

 

 

Call for Applications: Printmaking Workshop for Early-Career Scholars nach oben


Providence, RI, USA, 20. und 21. Mai 2016

Anmeldeschluss: 31. Januar 2015

 

Knowledge of printmaking techniques is integral to a scholarly understanding the field. Print enthusiasts frequently find it necessary to “dissect” a print—count the number of layers used in a screenprint, examine the fineness of a line in a woodcut, or guess how many plates were implemented in the printing of a color etching. Despite this inherent focus on process, many scholars have never had the opportunity to make a print themselves due to issues of time, funding, or resources.

The Association of Print Scholars (APS) is pleased to announce a two-day intensive workshop that will provide early-career scholars with a brief introduction to printmaking techniques. The workshop will begin with a kickoff reception on Thursday evening at Cade Tompkins Projects, a gallery that represents contemporary printmakers including Daniel Heyman, Allison Bianco, and Nancy Friese.

Participants will spend the first day focusing on intaglio processes, with a special presentation on engraving by Andrew Raftery, Professor of Printmaking at the Rhode Island School of Design (RISD), held at Overpass Projects, a new printshop founded by RISD printmaking MFA alumni. The second day will focus on lithography. The workshop will be led by Brian Shure, Assistant Professor and Graduate Program Director in Printmaking at RISD, and a former master printer at Crown Point Press. The number of participants will be limited to ensure a hands-on experience with each demonstration and access to individualized attention.

Who: Graduate students currently enrolled in art history, visual culture, or material culture doctoral programs in the United States or early-career professionals who graduated within the last ten years. Applicants must be members of APS.

Fees: Participants will be responsible for travel expenses to Providence and lodging. Stipends will be offered, by application, to offset these costs for those without institutional support.

Application: To apply, please submit the following documents:
- a brief statement (500 words or less) describing your research and how it would be enriched by this workshop
- a current CV
- one letter of reference (sent directly to info@printscholars.org)
- a proposed budget for your expenses (only required if you would like to be considered for a stipend)

Please send your application as a single PDF attachment to info@printscholars.org with the subject line “Providence printmaking workshop.” Applications are due by January 31, 2016. Applicants will be notified by February 15, 2016.

This workshop is sponsored by a generous grant from The Wolf Kahn and Emily Mason Foundation.

Curating graphic arts! Le arti grafiche al museo nach oben

Rom, Istituto Centrale per la Grafica, 19. - 20. April 2016
Eingabeschluss: 30. Januar 2016

Ars Graphica’s symposium

Organised by Alexandra Blanc

Scientific committee: Alexandra Blanc (Université de Neuchâtel), Fabio Fiorani (Istituto Centrale per la Grafica), Ludovica Tiberti (independent scholar), Simonetta Tozzi (Museo di Roma)

In collaboration with the Istituto Centrale per la Grafica, Ars Graphica is organising a symposium for young scholars and curators/conservators dedicated to the graphic arts held in cultural institutions. Curating graphic arts! Le arti grafiche al museo will focus on research related to prints and drawings (from the 15th century to the present) as objects of study and on the curatorial/conservative duties. We want to reflect on the various challenges in the field of cataloguing, curating and exhibiting graphic heritage. Which are the current and specific issues of works of art on paper?

We welcome proposals from all areas of relevance to this topic, including but not limited to:
- Studying works on paper (past and present): tendencies, methods and instruments
- Curating, cataloguing and exhibiting drawings, prints and plates
- Graphic arts in conservation
- Professional prospects in the field of graphic arts: reflections and experiences

A short abstract (200-300 words) together with a brief CV should be sent to ars.graphica@gmx.ch by January 30, 2016.
We look forward to 20-minute papers. Presenters will have to be members of Ars Graphica by the time of the symposium. The conference will be held in Italian and English. Unfortunately, Ars Graphica will not be able to cover the speakers’ travel and stay costs.

Curating graphic arts! Le arti grafiche al museo is the second event of a two-part series held in collaboration with the Association of Print Scholars. The series, entitled “New Impressions: Emerging Research on Prints,” aims to shed light on innovative research currently being completed around the globe about the graphic arts. The first part of the series, sponsored by APS, took place on November 7, 2015 at the Hunter College in New York.

Experimentelle Positionen der DDR-Grafik nach oben

Kunstmuseum Albstadt, 23. Januar 2016
Eingabeschluss: 22. Dezember 2015

Auf dem Feld der Grafik experimentieren

Die Ausstellungen „Clara Mosch 1977–1982. Zwischen Repression und Selbstbestimmung“ (bis 28. Februar 2016) und „Individueller Strich – Autonome Form: Zeichnungen und Druckgraphik Dresden 1945–1989“ (Eröffnung am Sonntag, den 24. Januar 2016) im KUNSTMUSEUM ALBSTADT rücken die Grafik aus der Zeit der DDR in den Blickpunkt. Die Albstädter Graphische Sammlung wurde schon früh, kurz nach der Museumsgründung vor 40 Jahren, durch einen bemerkenswerten Schwerpunkt Dresdner Kunst geprägt. Dazu zählt neben Werken der Künstlergruppe Brücke und dem bedeutenden Otto Dix-Bestand auch eine in der damaligen BRD einzigartige Sammlung mit Werken von Künstlern, die jenseits der deutsch-deutschen Grenze lebten und arbeiteten.

Im Rahmen des nationalen Verbundprojekts „Land der Grafik“, welches sich grafischen Sammlungen mit Kunst aus der DDR widmet, möchte das Albstädter Symposium am 23. Januar 2016 experimentelle und nonkonforme grafische Arbeiten zur Diskussion stellen. Experimente können dabei formaler wie auch technischer Art sein. Wesentliches Kriterium ist die bewusste Abkehr von Traditionen und die Hinwendung zu innovativen Formen, Motiven und Techniken. Zu den Hauptzielsetzungen zählt dabei die kritische Diskussion von experimentellen Positionen in der DDR-Grafik. Zu fragen ist vor allem, inwiefern das Experiment als gesellschaftskritische Praxis verstanden werden kann.

Erwünscht sind insbesondere Beiträge zu den Künstlern der CLARA MOSCH (Carlfriedrich Claus, Thomas Ranft, Dagmar Ranft-Schinke, Michael Morgner, Gregor-Torsten Kozik) sowie zu Künstlern, die in der Karl-Marx-Städter Produzentengalerie ausgestellt oder im künstlerischen Zusammenhang von gemeinschaftlichen Aktionen der Pleinairs, Auktionen oder Künstlerfesten etc. agiert haben.

Weiterhin von großer Relevanz für das Symposium sind Beiträge zu Dresdner Künstlern, die sich zwischen 1945 und 1989 innerhalb oder außerhalb des akademischen Umfelds künstlerisch nonkonform äußerten und auf dem Feld der Grafik experimentierten.

Hierzu zählen beispielsweise Gerhard Altenbourg, Horst Bartnig, Wolfgang E. Biedermann, Manfred Butzmann, Lutz Dammbeck, Eberhard Göschel, Dieter Goltzsche, Hermann Glöckner, Ernst Hassebrauk, Josef Hegenbarth, Gerhard Kettner, Hans Körnig, A.R. Penck (Ralf Winkler), Wolfgang Petrovsky, Karin Plessing, Wolfram A. Scheffler, Peter Schnürpel, Klaus Hähner-Springmühl, Hans-Theo Richter, Wilhelm Rudolph, Gil Schlesinger, Max Uhlig, Ralf-Rainer Wasse, Claus Weidensdorfer, Albert Wigand, Werner Wittig.

Über monografische Herangehensweisen hinaus sind motiv- oder technikbezogene Ansätze willkommen, die sich u. a. mit der Rolle der Collage, der Mail Art, der Plakatkunst, der Fotografie, zeichnerischen Neuerungen (z. B. Tuschlavage bei Michael Morgner) oder intermedialen Kooperationsformen (z.B. Mappenwerke, Editionen) zwischen zwei oder mehreren Künstlern zuwenden.

Bitte senden Sie Ihr Exposé von max. 400 Wörtern sowie eine Kurzbiografie unter dem Stichwort LAND DER GRAFIK bis spätestens Dienstag, 22. Dezember 2015, an galerie@albstadt.de.

Anfang Januar 2016 werden alle BewerberInnen benachrichtigt und das Tagungsprogramm bekannt gegeben. Anreise und Übernachtungskosten werden vom Veranstalter übernommen. Die Tagungsbeiträge mit einer Rededauer von ca. 20 min sollen in einer abschließenden Podiumsdiskussion zur Debatte gestellt und nach der Tagung veröffentlicht werden.

Bei inhaltlichen Fragen kontaktieren Sie bitte die Leiterin des Kunstmuseums Albstadt, Dr. Veronika Mertens (Kuratorin der Ausstellung DRESDEN 1945-1989), oder Jeannette Brabenetz M.A. (Kuratorin der Ausstellung CLARA MOSCH 1977-1982. Zwischen Repression und Selbstbestimmung).

Organisatorische Fragen richten Sie bitte an:
Galerie Albstadt
Jeannette Brabenetz M.A.
Kirchengraben 11
72458 Albstadt
Tel.: 07431-160-1496
Fax: 07431-160-1497
E-Mail: jeannette.brabenetz@albstadt.de
www.galerie-albstadt.de

in Kooperation mit "Land der Grafik 2015-2017"

Placing Prints: New Developments in the Study of Print, 1400-1800 nach oben

The Courtauld Insitute of Art, 12. bis 13. Februar 2016
Eingabeschluss: 22. November 2015

Placing Prints: New Developments in the Study of Print, 1400-1800

Traditionally, the history of printmaking has fallen in the space between art history and the history of the book. Often ‘reproductive’ and multiple in nature, prints have long been marginalized in art historical scholarship in favour of the traditional ‘high’ arts. The inherent complexities in the manufacture and sale of print, often involving multi-faceted networks of specialist craftsmen, artists, publishers and sellers, has also led to much confusion. Not knowing how prints are made has affected our ability to understand the medium and its aesthetic qualities. However, recent scholarship has opened up new avenues for placing prints in Renaissance and Early Modern Europe. From the techniques applied in the making of prints to the individuals involved in their production, distribution and use, current research is continuing to shape our understanding of this complex field.

This conference aims to showcase new developments in the study of prints, challenging and developing traditional approaches. We are looking for papers that address a wide variety of issues and plan, over the course of the two-day conference, to have a series of panels devoted to different themes. Some issues to consider include, but are not limited to, the following:

- the question of the ‘reproductive’ print and the idea of originality
in printmaking
- the print in art criticism
- the development of new genres of print
- the question of the ‘popular’ print and the place of cheap prints on
the early modern market
- the relationship between word and image in print
- the social uses of prints, in collections and other environments
- seriality and sequencing in prints
- the role of prints as transmedial agents, triggering the production
of the same composition in different media
- techniques and innovations in the making of prints
- networks and relationships behind the production and sale of prints;
the notion of collaboration
- colour: coloured printing, hand-coloured prints and processes of
translating colour into in a monotone linear medium

The conference will include a pop-up display in the Courtauld Gallery’s print room, curated for the occasion. This will provide the opportunity to engage directly with objects related to the themes discussed.

We invite papers from both established and emerging scholars in universities, museums and galleries. Our aim is to provide a platform for sharing approaches and developing future collaborations between scholars working with prints. For this reason, we are also willing to consider papers delivered in French, Italian and German. However, speakers must provide an English translation of their text and be willing to answer questions and contribute to discussions in English.

Unfortunately, funding for speakers is not available and speakers from outside London are encouraged to apply to their institutions for subsidies to attend the colloquium.

Abstracts for 20-minute papers, not exceeding 250 words should be sent with a brief academic CV (100 words) by 22 November to: placingprints@courtauld.ac.uk

Organised by Naomi Lebens, Tatiana Bissolati, Bryony Bartlett-Rawlings and Chloe Gilling. (The Courtauld Institute of Art)

Kolloquium zur Renaissance-Forschung Neue Wege – Neue Perspektiven nach oben

Leipzig, 23. - 24. Juni 2016
Eingabeschluss 06. Januar 2016

Kolloquium zur Renaissance-Forschung: Neue Wege – Neue Perspektiven

Kooperation der Institute für Kunstgeschichte der Universität Leipzig und der Julius-Maximilians-Universität Würzburg

Am 23./24. Juni 2016 wird in Leipzig das Kolloquium zur Erforschung der Kunst und Kultur der Renaissance wieder ins Leben gerufen. In Zusammenarbeit mit dem Institut für Kunstgeschichte in Würzburg wird diese Tagung künftig alternierend an beiden Standorten stattfinden. In der Neuauflage des 2002 begründeten Leipziger Kolloquiums soll auf eine regionale Eingrenzung bewusst verzichtet werden. Ziel ist es vielmehr, ein möglichst breites Spektrum aktueller Forschung und neuer Forschungsansätze zur Epoche zu präsentieren und ein offenes wissenschaftliches Diskussionsforum vor allem auch jungen Forscherinnen und Forschern zu bieten. Gleichzeitig sind dabei fachübergreifende Themen und Beiträge verwandter Forschungsdisziplinen ausdrücklich erwünscht.
Die Relevanz interdisziplinärer Methoden, wie Bildtheorie, Material Studies und Digital Humanities für die Kunstgeschichte soll auf dem Prüfstand stehen. Daher soll der Fokus der Veranstaltung 2016 auf der praktischen Anwendung dieser Methoden sowie auf den sich daraus ergebenden neuen Blickwinkeln innerhalb der Renaissanceforschung liegen. Erwünscht sind ausdrücklich auch Beiträge zu sammlungsgeschichtlichen Fragestellungen. Daher begrüßen wir Vorschläge, die sich insbesondere mit dem räumlichen Kontext von Kunst und anderen kulturrelevanten Objekten sowie mit dem Verhältnis zwischen Kunst und Parerga beschäftigen.

Um Raum zur Diskussion zu geben, sollten die Vorträge eine Länge von 20 Minuten nicht überschreiten. Die Beiträge können auf Deutsch, Englisch sowie Italienisch und Französisch gehalten werden.
Vortragsvorschläge mit einem Exposé von max. 2000 Zeichen und einem kurzen CV erbitten wir bis zum 6. Januar 2016 an:

PD Dr. Michael Lingohr (Institut für Kunstgeschichte Leipzig)
lingohr@rz.uni-leipzig.de

Dr. Daniela Roberts (Institut für Kunstgeschichte Würzburg)
daniela.roberts@uni-wuerzburg.de

Modern and Contemporary Print Collecting: Fine Art and Ephemera nach oben

Session bei der Konferenz "Creating Markets, Collecting Art: Celebrating 250 years of Christie's"
14. - 15. Juli 2016
Christie's, 8 King St, St. James, London SW1Y 6QT

Eingabeschluss 7. Dezember 2015

Ruth E. Iskin, Department of Arts, Ben-Gurion University of the Negev and
Britany Salsbury, Department of Prints, Drawings, and Photographs, Art
Museum, Rhode Island School of Design
Contact: ruth.e.iskin@gmail.com / britanys@gmail.com

The ubiquitous presence of prints in everyday life as well as the
transformation of printmaking from a reproductive to an increasingly
experimental artistic medium brought about dramatic changes in collecting
the graphic arts beginning in the nineteenth century. As artists began to
experiment with the modern fine art print and the art market developed,
publishers and galleries provided new opportunities for artists and
collectors, and what was formerly largely an aristocratic practice became
accessible to a wider range of social classes. Increasing numbers of
enthusiasts began to see prints as an affordable means to amass a
sophisticated collection of contemporary art. In addition, collectors
acquired not only art prints but also posters, books, and diverse ephemera.
From the late nineteenth century onwards, the interest in collecting prints
was supported by a network and an emerging art market that included
specialized dealers who were often also publishers, and specialized
publications—both journals and reference texts that catalogued and
explained aspects of the graphic arts.

This panel seeks to explore various aspects of print collecting from the
nineteenth century to the present, including collecting practices; types,
social classes, and individual collectors; collecting by museums; and the
wide range of printed materials collected from fine art to the everyday,
including, for example, advertising posters, political posters, and
caricatures.

Papers may address any aspect of print collecting, including (but not
limited to) collecting practices, the changing market, notable collectors
and collections, journals for collectors, marketing, reception, museums
collecting prints, and the historiography of relevant texts. We invite
papers on case studies, and papers that integrate history, analysis of
discourses, theoretical issues, and the social history of collecting.

Please send abstracts of no more than 250 words and a cv to both organizers
at the email addresses listed above no later than December 7, 2015.


Style as History: Self-reflective moments in drawing nach oben

Session at Association of Art Historians (AAH) 2016 Annual Conference and Bookfair, University of Edinburgh, 7. bis 7. April 2016
Eingabeschluss: 09. November 2015

Since the Renaissance drawings have been inextricably linked with their authors. Drawings were thought to embody in a seemingly direct and unmediated way the artist’s pictorial thinking. They were understood as both traces of the process of artistic creation and highly idiosyncratic demonstrations of the manipulation of line, form and texture. More recently, increased attention has been paid to drawing as a discipline replete with its own tacit conventions and handed-down formulae that not only guides the learner in the acquisition of a certain facility and skill but also reveals the collective aspect of the art as a system of rule-bound notations. Concurrent with the efforts of academies to promote drawing as a universal visual language, the drawing collections of the 16th and 17th centuries and more particularly the great 18th-century cabinets, along with the ensuing publications by renowned collectors and connoisseurs, fostered an historical understanding of this art.

This session explores how artists across Europe have dealt with these developments. How have they reacted to different conceptions of stylistic formation when developing their own manner of drawing or engaging with drawing styles of the past? What kind of role has the recourse to – or rejection of – past traditions of drawing played in the construction of artists’ identities and their self-positioning within the competitive arena of contemporary draughtsmanship? This session invites papers that examine how the historicity of form is reflected in drawings from the early modern period to the present day.

Please email paper propsals to the session convenors Amy Concannon (Tate Britain, amy.concannon@tate.org.uk) and Iris Wien (Institut für Kunstwissenschaften und Historische Urbanistik, Technical University Berlin, iris.wien@tu-berlin.de) by 9 November 2015.

Download a Paper Proposal Guidelines

See more at: http://www.aah.org.uk/annual-conference/sessions2016/session26

Egon Schiele Research Symposium 2015 nach oben

Wien, Albertina / Neulengbach, Galerie am Lieglweg, 27. - 28. November 2015
Eingabeschluss: 05. Oktober 2015

 

Das

4th International
EGON SCHIELE RESEARCH SYMPOSIUM 2015
(ESRS 2015)

wird am Freitag und Samstag, den 27. und 28. November 2015 in Wien und Neulengbach stattffinden: der erste Tag in der ALBERTINA in Wien, der zweite Tag in der Galerie am Lieglweg in Neulengbach.

Call for papers für Vorträge: Abstract mit Titel und ca. 1000 Wörtern bis 5. Okt. 2015 bitte an:
symposium@egon-schiele-jahrbuch.at

See http://www.egon-schiele-jahrbuch.at/symposium_2015.html.

Das Sammeln von Graphik in historischer Perspektive Forschung und Digitalisierung im Dialog nach oben

Wolfenbüttel/Braunschweig, 20. bis 22. Oktober 2016
Eingabeschluss: 30. November 2015

Veranstalter: Herzog August Bibliothek Wolfenbüttel, Herzog Anton Ulrich-Museum Braunschweig,
Georg-August-Universität Göttingen - Kunstgeschichtliches Seminar und Kunstsammlung,
Philipps-Universität Marburg - Deutsches Dokumentationszentrum für Kunstgeschichte - Bildarchiv Foto Marburg

Ort: Herzog August Bibliothek Wolfenbüttel, Herzog Anton Ulrich-Museum Braunschweig
Termin: 20.–22. Oktober 2016
Dauer: 3 Tage
Sprachen: Deutsch und Englisch
Deadline für die Beitragsvorschläge: 30.11.2015

In den letzten Jahren hat die Idee eines digitalen Kupferstichkabinetts weltweit Gestalt gewonnen – ein Beispiel hierfür ist das Virtuelle Kupferstichkabinett / Virtuelle Zeichnungskabinett des Herzog Anton Ulrich-Museums Braunschweig und der Herzog August Bibliothek Wolfenbüttel (www.virtuelles-kupferstichkabinett.de). Im Forschungsverbund mit dem Bildarchiv Foto Marburg und der Georg-August-Universität Göttingen wird die Online-Veröffentlichung weiterer druckgraphischer Blätter und Zeichnungen mit ikonographischer Erschließung und universitärer Forschung zum frühneuzeitlichen Sammeln von Druckgraphik verknüpft.

Doch wie können sammlungsgeschichtliche Forschung und digitale Erschließung im Dialog voneinander profitieren? Wie kann die Erschließung auf die Erfordernisse der Forschung eingehen? Diese Fragen sind der Ausgangspunkt der geplanten Tagung.

Folgende Aspekte können in vergleichenden Betrachtungen oder Fallbeispielen berücksichtigt werden:

• Theorie und Praxis des Sammelns in der Frühen Neuzeit
• Fallbeispiele: Fürsten, religiöse und weltliche Orden, Bürger, Künstler und Universitäten als Sammler von Graphik
• Netzwerke und personelle Strukturen: Kunstagenten, Händler, Berater
• Erschließung und Vermittlung von graphischen Sammlungen: Vom „Recueil“ zur Onlinedatenbank
• Wie können die Erschließung und online Präsentation auf die Erfordernisse der Forschung eingehen?
• Funktion und Ordnungssysteme graphischer Sammlungen
• Erforschung und Dokumentation von Provenienzen

Wir erbitten Beiträge, die sich mit einem 20-minütigen Vortrag den oben genannten Themen widmen. Vorschläge (maximal 500 Wörter) mit Titel, ggf. Institution, Postanschrift, E-Mail und kurzem CV sind bis zum 30.11.2015 einzureichen an: vkk@hab.de. Das Programm der Tagung wird im Frühjahr 2016 auf der Konferenz-Website veröffentlicht:
//diglib.hab.de/?link=046

 

ENGLISH VERSION

The collecting of graphic arts from a historical perspective
Research and digitisation in dialogue

Organisers: Herzog August Bibliothek in Wolfenbüttel, Herzog Anton Ulrich-Museum in Braunschweig, University of Göttingen (Georg-August-Universität Göttingen) - Kunstgeschichtliches Seminar und Kunstsammlung, University of Marburg (Philipps-Universität Marburg) - Deutsches Dokumentationszentrum für Kunstgeschichte - Bildarchiv Foto Marburg

Location: Herzog August Bibliothek in Wolfenbüttel, Herzog Anton Ulrich-Museum in Braunschweig
Dates: 20-22 October, 2016
Length: 3 days
Languages: German and English
Deadline for submission of paper proposals: 30 November 2015

The idea of creating a digital gallery of prints and drawings has in recent years become a reality on a global scale – for example the virtual gallery of the Herzog Anton Ulrich-Museum in Braunschweig and the Herzog August Bibliothek in Wolfenbüttel (www.virtuelles-kupferstichkabinett.de). A collaborative project of these two institutions, along with the University of Marburg - Bildarchiv Foto Marburg and the University of Göttingen, is currently linking the online publication of prints and drawings from the collections of Braunschweig and Wolfenbüttel with iconographic indexing and academic research into the early modern collecting of prints.

The conference will take as its starting point two key questions. How can research into the history of art collecting and digital indexing work together to form a mutually beneficial partnership? How can indexing adapt to the demands of the research community?

Papers on the following subjects and case studies will be welcome:

• The theory and practice of collecting in the early modern period
• Case studies: religious and secular orders, private individuals, artists and universities as collectors of graphic arts
• Networks and trade structures: art agents, dealers, advisers
• The indexing and publicising of graphic collections: from the ‘Recueil’ to the online database
• How can indexing and online publication adapt to the demands of the research community?
• The functionality and organisational systems of graphic collections
• The research and documentation of provenances

We invite proposals for 20-minute papers devoted to the subjects mentioned above.

Proposals (maximum of 500 words) with the title of the paper, institutional affiliation (if applicable), postal and email address and a short CV can be sent up to 30 November 2015 to: vkk@hab.de. The conference programme will be published in early 2016 on the conference website:
//diglib.hab.de/?link=046


Satirical Images: Between Sociability, Animosity, and Entertainment nach oben

Sesscion at the American Society for Eighteenth-Century Studies (ASECS) Annual Conference Pittsburgh,31. März bis 3. April  2016
Eingabeschluss: 15. September 2015

 

Session:
“Satirical Images: Between Sociability, Animosity, and Entertainment”
Kathryn Desplanque and Jessica Fripp

The use of graphic satire proliferated in the eighteenth century, from the caricature and portrait charges of the Grand Tour (Pier Leoni Ghezzi, Thomas Patch, Francois-Andre Vincent), to political caricature on the continent and in England, to the verbal-visual puns of broadside imagery and street cries series, to the complex allegories that criticized and supported the French Revolution. These different genres of graphic satire are difficult to reconcile because they vary widely in tone: some are oppositional, others are sociable, and others still seemed destined primarily for entertainment. Scholarship on eighteenth-century graphic satire has privileged oppositional and political imagery, neglecting the prolific sociable, amusing, and cultural caricatures whose imagery and tone are often more challenging to decode. Recent scholarship, such as The Efflorescence of Caricature (2010), The Saint-Aubin ‘Livre de caricatures’ (2012), L’Art de la caricature (2014), and Ann Bermingham’s 2015 Clifford Lecture, “Coffee-House Characters and British Visual Humor at the End of the Eighteenth Century,” has begun to bridge persistent gaps in the study of graphic satire, putting into conversation formerly disparate genres of satirical imagery. This panel seeks papers that nuance, overturn, or refine the categories applied to graphic satire—oppositional versus entertaining; political versus cultural; sociable versus slanderous. Possible topics might include, but are not limited to: satire (especially political satire) in the light of sociability; how the circulation of these images through commercial or social exchange relates to their format, including tone or medium; and how satire informs our understanding of relationships between individuals and groups, such as friendship, enmity, rivalry, or camaraderie.

Please email proposals to kathryn.desplanque@duke.edu AND j.fripp@tcu.edu by September 15, 2015

Satire and the City: Representations of Cities and Urban Life in the Comical Press, 18th – 20th centuries nach oben

Panel at the European Association for Urban History (EAUH), 13th International Conference, Helsinki, Finland, 24. bis 27. August 2016
Eingabeschluss: 31. Oktober 2015

CFP for Panel at EAUH '16:

Satire and the City: Representations of Cities and Urban Life in the Comical Press (18th – 20th centuries)

The recent attack on the satirical magazine Charlie Hebdo tragically brought the satirical press and its agency to the forefront of the political debate. Comical newspapers have long played an important role in commenting and testing cultural and socio-political practices. Caricature and satirical print culture date back to the Enlightenment, however, it was in the nineteenth century when it became an urban phenomenon and an object of mass consumption due to the advances in reproduction techniques. Across European and Western cities the comical press became a dominant form of popular culture and was, ultimately, an antecedent to twentieth-century forms of entertainment and socio-political critique like comics and cartoons.

While scholarship has focused on print culture’s relation to social satire and class, or the stylistics of caricature, the relation between comical journals and the city have received less attention. As examined in the volume Rire en Ville, rire de la ville (Histoire Urbaine, no. 31, 2011) humor sheds light on how urban identities and modernization were negotiated in everyday life. Thus, we propose a more nuanced look at the subject of satire and the city through its most far-reaching, popular, and metropolitan vehicle: the comical press. Not only were comical periodicals an essentially urban phenomenon on account of their methods of distribution and places of production, but also in what relates to its central subject matter, the vicissitudes of urban life.

This session will explore how the caricatures reproduced in the comical press articulated ideas of urbanity, place and lived experience, and changing socio-spatial relations in modern cities throughout the eighteen to the twentieth centuries. The purpose of this session is to examine the satirical press and its ability to comment, shape and test cultural boundaries, social conventions and power relations. We welcome interdisciplinary approaches that explore images of street scenes and city dwellers; the presence of women in public space; issues of class, urban leisure and consumption; the critique of urban projects; everyday practices like strolling and window-shopping or other significant themes of urban reality. Papers may also look at representations of place and the articulation of cultural memory through humor, such as the reworking of urban archetypes and customs or the treatment of places of memory that were bound to urban identity. We welcome both specific and comparative studies that establish connections between cities and the visual tropes used to express concerns regarding urban life.

Session organizers: Paulo Jorge Fernandes, Universidade Nova de Lisboa, Portugal; Vanesa Rodríguez-Galindo, UNED, Madrid

Deadline paper proposals: October 31, 2015
Notification of paper acceptance: December 15, 2015

Abstracts of paper proposals should not exceed 300 words. To submit a paper proposal, registration in the conference management system is required: https://www.conftool.pro/eauh2016/. The authors of the accepted paper proposals will be invited to submit the full text (max. 5000 words) to the conference management system by August 15, 2016.

Paper proposals and full texts can only by submitted online, via the EAUH2016 website: https://eauh2016.net/programme/call-for-papers/

ICAF: International Comic Arts Forum 2016 nach oben

University of South Carolina, Columbia, 14. bis 16. April  2016


Eingabeschluss: 06. November 2015

 

The International Comic Arts Forum (ICAF) invites proposals for scholarly papers for its eighteenth annual meeting, to be held at the University of South Carolina in Columbia, from Thursday, April 14, through Saturday, April 16, 2016. Confirmed guests include comics artists Howard Cruse, Keith Knight, Cece Bell, and Prof. Michael Chaney of Dartmouth College.

ICAF welcomes original proposals from diverse disciplines and theoretical perspectives on any aspect of comics or cartooning, particularly studies that reflect an international perspective. Studies of aesthetics, production, distribution, reception, and social, ideological, and historical significance are equally welcome, as are studies that address larger theoretical issues linked to comics or cartooning, for example in image/text studies or new media theory.

Among the thematic panels we hope to offer are Comics and the American South, Digital and Online Comics, and Superheroes; proposals are especially welcome in these areas.

PROPOSAL GUIDELINES: ICAF prefers argumentative, thesis-driven papers that are clearly linked to larger critical, artistic, or cultural issues; we avoid presentations that are summative or survey-like in character. We only accept original 20-minute papers that have not been presented or accepted for publication elsewhere. Presenters should assume an audience versed in comics and the fundamentals of comics studies. Where possible, papers should be illustrated by relevant images on PowerPoint. Proposals should not exceed 300 words.

REVIEW PROCESS: All proposals will be subject to blind review. Due to high interest in the conference, in recent years ICAF has typically been able to accept only about half of the proposals received.

SEND ABSTRACTS (with contact information, including state, province, or country of residence in the body of the email) by 6 November 2015, to C.W. Marshall, ICAF Academic Program Director, via email at <toph.marshall@ubc.ca>.

Receipt of all proposals will be acknowledged. Applicants should expect to receive confirmation of acceptance or rejection by December 14, 2015.

ICAF also sponsors the John A. Lent Scholarship in Comics Studies. This scholarship is awarded to a current student who has authored, or is in the process of authoring, a substantial research-based writing project about comics. Applications for this scholarship are due by 8 January 2016. For more information and details of the application process, please visit our website: http://www.internationalcomicartsforum.org

Jenseits des disegno? Die Entstehung selbständiger Zeichnungen in Deutschland und Italien im 15. und 16. Jahrhundert nach oben

Kunsthistorisches Institut in Florenz, Max-Planck-Institut, 03. - 05. März 2016
Eingabeschluss: 10. August 2015

Jenseits des disegno? Die Entstehung selbständiger Zeichnungen in Deutschland und Italien im 15. und 16. Jahrhundert

Der disegno steht schon seit einigen Jahrzehnten im Fokus der Forschung. Seine zentrale Rolle für die Kunst der italienischen Renaissance und für das System der Künste bis in die Moderne hinein lässt sich nicht bestreiten. Doch von ihm unabhängige künstlerische Entwicklungen entgleiten leicht unserer Aufmerksamkeit. Dies gilt besonders für die selbständigen Zeichnungen. So wurde kaum registriert, dass in Deutschland nach 1500 in großer Zahl selbständige Zeichnungen entstanden, diese aber in Italien eine Ausnahme blieben. Der gegenteilige Befund wäre zu erwarten, gab es doch in Italien eine hochentwickelte Zeichnungskultur: Die Künstler verfügten über distinkte Zeichnungsmedien und Zeichnungstypen. Zeichnungen wurden gesammelt, Hilfsmittel wie Kartons wurden öffentlich ausgestellt und im Falle Michelangelos zur „scuola del mondo“ erklärt. Doch wurden Zeichnungen fast ausschließlich innerhalb des Werkprozesses verortet und trotz aller Aufwertung des disegno als ein schlussendlich zweckgebundenes und werkvorbereitendes Medium verstanden.

Im deutschen Sprachraum existiert zur Zeit der Ausbreitung der selbständigen Zeichnungen dagegen keine nennenswerte Kunsttheorie, aber ein weit differenziertes Angebot an Druckgraphiken und vermutlich ein kleiner Markt für Zeichnungen. Diese Diskrepanz soll mit dieser Tagung erstmalig thematisiert werden. Damit ist nicht nur intendiert, einen schärferen Blick auf die Praxis der Zeichnung, ihre Rezipienten und ihr Verhältnis zur Druckgraphik zu werfen, sondern auch danach zu fragen, welche Rolle die Kunsttheorie tatsächlich spielte. Denn offensichtlich haben der Kult der Zeichnung und das Ideal des disegno in Italien nicht dazu geführt, dass sich auch dort die selbständige Zeichnung etablierte.

Wir freuen uns über Vorträge, die komparatistisch angelegt sind oder signifikante Einzelfälle untersuchen und sich u. a. mit folgenden Problemfeldern beschäftigen:

- Wie lassen sich Kriterien für die Unterscheidung von selbständigen und werkvorbereitenden Zeichnungen gewinnen? War eine solche Differenzierung für die Zeitgenossen relevant? Welche Rolle spielen hierbei Monogrammierungen und Datierungen durch die Künstler? Welche Faktoren begünstigten oder erschwerten den Prozess der Verselbständigung? Gibt es und warum regionale Sonderentwicklungen?

- In welchem medialen Umfeld lassen sich die selbständigen Zeichnungen verorten? In welcher Relation stehen sie zu Druckgraphik, Buchillustration und kleinformatigen Tafelgemälden? Gab es bevorzugte Medien der selbständigen Zeichnung, etwa die Helldunkelzeichnung oder das Aquarell, und was machte sie so geeignet?

- Welche materiellen und kulturellen Praktiken waren mit Zeichnungen verbunden und was lässt sich dadurch über ihren Status erkennen? Unter welchen Umständen wurden sie verschenkt, gerahmt, beschriftet, gesammelt, verkauft, eingeklebt, kopiert oder ausgestellt?

- Weisen selbständige Zeichnungen spezifische Motive, Kompositionsmuster, Zeichnungsstile oder narrative Strategien auf? Was für Rezeptionsangebote machen sie, wie interagieren sie mit den Adressaten?

Die Tagung findet mit freundlicher Unterstützung der Max-Planck-Gesellschaft vom 3.-5. März am Kunsthistorischen Institut in Florenz in Kooperation mit dem Gabinetto Disegni e Stampe degli Uffizi statt. Vorschläge für einen Vortrag sollten nicht mehr als eine Seite umfassen und durch einen kurzen Lebenslauf sowie ggf. eine knappe Skizzierung des Forschungsrahmens ergänzt werden. Doktorand_innen und andere Forscher_innen am Anfang ihrer Karriere sind ausdrücklich eingeladen sich zu bewerben. Tagungssprachen sind Deutsch, Englisch und Italienisch. Kosten für Reise und Unterkunft der Referent_innen werden übernommen.

Konzeption: Daniela Bohde, LMU München/Goethe Universität Frankfurt und Alessandro Nova, Kunsthistorisches Institut Florenz, Max-Planck-Institut. Einsendungen sind bis zum 10. August erbeten an Daniela Bohde (bohde@kunst.uni-frankfurt.de).

 

Inaugural Symposium of the Association of Print Scholars nach oben

Hunter College, City University of New York (CUNY), New York, NY, 7. November 2015
Eingabeschluss: 15. August 2015

November 7, 2015, 10 am-6 pm

Organized by Maeve Coudrelle (Tyler School of Art, Temple University), Allison Rudnick (The Graduate Center, CUNY and The Metropolitan Museum of Art), Britany Salsbury (RISD Museum), and Christina Weyl (Independent Scholar).

The Association of Print Scholars (APS) is pleased to announce a symposium to support new critical ideas and research about printmaking. The event will occur during Print Week in New York, which includes major events such as the IFPDA Print Fair, the E/AB Fair and more. We invite two types of proposals:

- 20-minute papers for a scholarly panel that respond to the CFP (see below) entitled “Method, Material and Meaning: Technical Art History and the Study of Prints”
- 5-minute presentations for the Graduate Student Lightning Round. Proposed papers should come from current graduate students at the dissertation stage.

Interested participants are invited to submit an abstract of no more than 500 words along with a CV or brief biographical statement by August 15 to symposium@printscholars.org. Please indicate in the subject line which type of paper (scholarly session or lightning round) you are proposing and apply to only one session type. Non-members may submit abstracts, but presenters must be APS members by the time of the symposium.

Method, Material, and Meaning: Technical Art History and the Study of Prints

Technical art history, an interdisciplinary methodology with growing popularity among scholars, curators, and conservators, draws connections between an object’s making and its interpretation. The application of technical art history to the study of prints is particularly fruitful as printmakers often draw upon diverse and complex techniques in order to generate imagery. From the sixteenth-century engravings of Hendrik Goltzius, who skillfully imitated other media, to the prints of contemporary artist Kiki Smith, who produces fleshy bodies on thin, skin-like Gampi paper, printmakers throughout history have engaged a variety of processes and materials in order to elicit particular ideas, emotions, or interactions. The selection of technique, matrix, ink, varnish or support may have a profound effect on the final product and its meaning.

This conference seeks to investigate the relationship between specific technical choices made by printmakers, printers, or publishers in order to rethink more broadly the relationship between process, material and meaning in the graphic arts. We seek papers that focus on a wide range of chronological periods and geographic locations in order to highlight overarching methodological issues.

Questions to consider:
- How can technical analysis aid in understanding artists’ strategic decisions, including their use of printmaking within a larger multimedia practice?
- What can conservation science tell us about the life and contemporary importance of a print?
- How has print scholarship grown beyond connoisseurship, towards a more holistic account of engagement with the viewer?
- How does the transfer of information from the matrix to the receiving surface affect the resulting imagery and its significance?

APS is a nonprofit members’ group for enthusiasts of printmaking that brings together the diverse print community: curators, collectors, academics, graduate students, artists, conservators, critics, independent scholars, and art dealers. APS’s goals are to encourage innovative and interdisciplinary study of printmaking and to facilitate dialogue among its members.

 

Chiaroscuro als ästhetisches Prinzip (1300-1600) nach oben

Bern, 29. - 30. April 2016
Eingabeschluss: 15. August 2015

Das Helldunkel gehört spätestens seit Leon Battista Albertis „De pictura“ (1435) in der italienischen Kunstproduktion und Kunsttheorie zu den Prinzipien, die die Malerei und Skulptur wesentlich bestimmen. Es betrifft in erster Linie die Artikulation plastischer Werte, das Formulieren eines rilievo, sowohl in Malerei als auch Skulptur. In der nordalpinen Tradition kommt dem Helldunkel ebenfalls ein hoher Stellenwert zu. Mittels des Helldunkels werden die Texturen und die strukturelle Oberflächenbeschaffenheit von Materialien einschließlich ihrer schillernden Erhöhungen evoziert. Chiaroscuro geht einher mit der Steigerung optischer Werte.

Im Cinquecento erfährt das chiaroscuro in seiner Signifikanz eine bedeutsame Veränderung. Das Evozieren von Plastizität und Körperlichkeit mittels eines rilievo schaffenden chiaroscuro wird nun teilweise von einem tonal definierten chiaroscuro ersetzt, das weniger auf plastische, sondern malerische Werte fokussiert. Das ist beispielsweise in der Clair-Obscur-Graphik der Fall, die in der nordalpinen und der italienischen Kunst gleichermaßen entwickelt wird. Hier zeigen sich unterschiedliche Erscheinungsformen von chiaroscuro, verbunden mit je anders fundierten ästhetischen Prämissen.

Innerhalb des vorskizzierten Kontextes möchten wir das chiaroscuro in seiner jeweiligen Eigenheit als ästhetisches Prinzip erfassen. Dabei beschränken wir uns auf den zeitlichen Rahmen 1300 bis 1600.

Das chiaroscuro soll in folgenden thematischen Zusammenhängen analysiert werden:

- chiaroscuro und monochrome Malerei
- chiaroscuro im Kontext von Zeichnung und Druckgraphik
- chiaroscuro und Skulptur
- chiaroscuro in der Kunst Leonardo da Vincis

Weitere relevante thematische Zusammenhänge können noch hinzugefügt werden. Vorschläge werden gerne entgegengenommen.

Interessierte Wissenschaftlerinnen und Wissenschaftler sind herzlich eingeladen, ihre Arbeiten und Ideen im Rahmen der Tagung zu präsentieren. Bitte senden Sie Ihr Abstract (max. 300 Wörter) für einen ca. 20-minütigen Vortrag sowie Ihr Curriculum Vitae bis zum 15. August 2015 per Mail an: claudia.lehmann@ikg.unibe.ch

Die Auswahl und Benachrichtigung der Referentinnen und Referenten erfolgt Anfang September.

 

Preparatory drawing, proof print & counterproof - Le matériel graphique de l’artiste nach oben

Universität Basel, 23. - 25. Juni 2016
Eingabeschluss: 15. Juli 2015

Preparatory drawing, proof print & counterproof - Die Arbeitsblätter des Künstlers

Vorzeichnungen, Probedrucke und Gegendrucke gehören wie die Druckplatten selbst zum Arbeitsmaterial des Künstlers. Aufgrund dieser Funktion gelten sie nicht a priori als Kunstwerke. Ihr Status ist ambivalent. Einerseits sind sie Mittel zum Zweck, weil sie der Hervorbringung von Kunst dienen, seien es Druckgraphiken, Gemälde oder Skulpturen. Andererseits werden sie als wertvolle und erhaltenswerte Werke wahrgenommen. Die Künstler waren sich dieser Wahrnehmung und des am Kunstmarkt bestehenden Interesses durchaus bewusst. Sie spielten mit der Möglichkeit der Vervielfältigung der Arbeitsblätter, um die Schritte des künstlerischen Schaffensprozesses zu dokumentieren und für Sammler nachvollziehbar zu machen.

Es ist das Ziel der Sektion, dieses graphische Material im Hinblick auf folgende möglichen Aspekte zu untersuchen:

- Funktion: Entstehung und Verwendung durch die Künstler
- Stellenwert: der ambivalente Status
- Rezeption: der Wert am Kunstmarkt, der Platz in Sammlungen und die Erhaltung über die Jahrhunderte
- Forschungsgegenstand: methodische Überlegungen und historiographische Beispiele

Beiträge können zu allen Epochen und geographischen Gebieten vorgeschlagen werden. Der wissenschaftliche Nachwuchs wird besonders berücksichtigt.

Vom 23. bis 25. Juni 2016 gastiert der Dritte Schweizerische Kongress für Kunstgeschichte in Basel. Der von der Vereinigung der Kunsthistorikerinnen und Kunsthistoriker in der Schweiz VKKS sowie dem Kunsthistorischen Seminar der Universität Basel organisierte Kongress richtet sich an Kunsthistorikerinnen und Kunsthistoriker aller Fachrichtungen und Institutionen. Sie alle sind eingeladen, einen Vortragsvorschlag (Vorträge à 20 Minuten) für eine der dreizehn Sektionen bis zum 15. Juli 2015 einzureichen. Mögliche Vortragssprachen sind Deutsch, Englisch, Französisch und Italienisch. Mehrsprachigkeit der Sektionen, eine institutionelle Vielfalt sowie die Förderung des wissenschaftlichen Nachwuchses wird angestrebt.

Bitte senden Sie ein Abstract (1 Seite, max. 3000 Zeichen), eine Kurzbiographie einschliesslich Institutionszugehörigkeit sowie Ihre Kontaktdaten bis zum 15. Juli 2015 an: ars.graphica@gmx.ch mit Cc an: vkksgeschaeftsstelle@gmail.com.

Sektionsleitung | Direction de la section:

Alexandra Blanc, Ars Graphica – Réseau pour la recherche en arts graphiques / Université de Neuchâtel
Christian Féraud, Ars Graphica – Réseau pour la recherche en arts graphiques / Universität Bern

Kontakt | Contact: ars.graphica@gmx.ch

 

The circulation of plant sources: manuscripts, print and dried herbaria in Modern Europe (XV-XVII c.) nach oben

Session beim Renaissance Society of America Annual meeting, Boston, USA, 31. März bis 2. April 2016

Eingabeschluss 7. Juni 2015

Plants have always been represented in different ways, through manuscripts, woodcuts, engravings and the actual dried specimens in herbaria. The circulation of these kinds of sources involved a wide range of people (physicians, apothecaries, herbalists, charlatans, botanists, women) as the producers or consumers of these products, and the actual objects themselves: herbal manuscripts, herbaria (printed or dried, with actual specimens), notebooks, letters, plants, seeds and so forth.
The production, consumption and use of these sources and their circulation can be examined from different points of view and from different disciplines: botany, history (particularly the history of science), art history, linguistics and many others. Through a micro analytical lens we can examine the objects (herbals, archival documents) in sufficient detail so as to understand where they were produced, in which context (landscape, archives, people) and with which purposes.

This panel seeks to put together new and original contributions so as to better understand the circulation of these botanical sources through different approaches and studies but with the attention to the detail and at a micro-scale. However, original contributions discussing wider developments of circulation of botanical sources are welcome, as well. Papers on the early periods are particularly encouraged.

Proposals should include the author’s name, professional affiliation, and contact information, including email address; the paper’s title (15-word maximum); an abstract (150-word maximum); a brief CV (300-word maximum); and any applicable keywords. Please submit proposals to session organizers Dominic Olariu (olariu@staff.uni-marburg.de) and Raffaella Bruzzone (raffaella.bruzzone@nottingham.ac.uk) by June 7, 2015.

 

Italian Caricatura: Material Practice, Collectors, and Art Theory nach oben

 

Session at RSA 2016 Boston, 31. März bis 2. April 2016

Eingabeschluss 3. Juni 2015

 

Drawing from scholarship on the socio-cultural aspects of collecting early
modern drawings in Europe (Warwick, Feigenbaum), this session aims to focus
on the heretofore unexplored material practices associated with the
production and collection of the most ephemeral type of drawings: ritratti
carichi and caricature.
Proposals are invited for papers to explore key issues, including: the
performative ways of producing and assembling caricature; the identity and
social networks of individual collectors (Lelio Orsini, Cesare Malvasia,
Filippo Baldinucci, Padre Resta); the status of caricature vs disegno in
major collections of drawings; the relationship between collecting
caricature and the rise of theoretical reflection on art as expounded by
the writings of Malvasia and Baldinucci.
Please submit proposals electronically to both Sandra Cheng
(schengnyc@gmail.com) and Katarzyna Murawska-Muthesius
(k.murawska-muthesius@bbk.ac.uk) by June 3rd, 2015.

Each proposal should include the paper title, a short abstract (150 word
maximum), a list of keywords, a brief curriculum vitae (300 word maximum),
A/V requirements, and contact information.

The Illustrator as Public Intellectual nach oben

Rhode Island School of Design, Providence, RI, USA, 6.- 7. November  2015


Eingabeschluss: 01. Juni 2015

Illustrators and all who study their work have long understood the importance of pictures to communicate ideas and shape opinion, and to possibly provoke the viewer in unpredictable ways. What should illustrators say in the public sphere? What forces limit the illustrator's expression of thought? What are the key issues and debates around the communication of ideas through illustration?

Organized and hosted by the Illustration Research Network and RISD Illustration, the 6th annual International Illustration Research Symposium invites proposals for papers, panels, round tables, and visual presentations on the theme of the illustrator as not only conveyor of established intellectual thought in the public sphere, but also as a vital, potent voice in public discourse and the author of content through independent provocation, seduction and persuasion.

This symposium proposes that illustrators are empowered as originators and purveyors of unique thought. The visual languages of the illustrator not only translate content, they transform it, indelibly inscribing ideas with force and conviction at the intersection of visual and verbal thinking. 

Email 300-word abstracts to:
irsymposium@risd.edu by Monday, 1 June 2015.

The definition of illustration is open to wide interpretation by participants, but as a general guideline illustration may be provisionally defined as fabricated images primarily created to elucidate and communicate an idea, narrative, mood, information, and/or opinion through publication.
Studies on the illustration of any era or place are welcome.

Proposals for 20-minute academic papers and practice-based presentations are invited, and may address the following questions, or others that the presenter feels are warranted:

Studio Practices
- How do different forms, techniques, and materials affect attitudes, feelings, ideas and the legitimacy of messages?
- How is "thought" manifested in an illustration—how do creative and visual thinking processes comprise unique forms of cognition?
- What is the relationship between the canon of intellectual thought and illustrators' methodologies?
- In what ways does an image embody a philosophy?
- What emerging technologies might further or hamper the intellectual reach of illustration?
 
Public Sphere
- How do ethics and social responsibility impinge upon illustrators?
- If an audience misinterprets an illustrator's intentions, is the audience's reading valid?
- What happens when the interests of the intended audience are at odds with the interests of a wider audience?
- What is the impact of technologies of dissemination, old and new, on audiences, creators, and messages?

Creative and Intellectual Communities
- When, where, and how do illustrators participate in important political, social, and intellectual debates?
- What is the intellectual
community of illustrators and what challenges do they face, particularly in educating
illustration students?
- Can intellectual partnerships between illustrator, designer, author, and/or publisher exist?
- What is the appropriate balance between an illustrator's personal satisfaction and the client's wishes, and what is at stake when a clash occurs?
- What are future directions for the field of practice as a forum for public intellectual discourse?
 
 
Proposals are blind peer-reviewed. Selected papers and presentations will be considered for publication in forthcoming issues of the peer reviewed ?Journal of Illustration. 

More information and submission details: http://illustrationresearch.co.uk/index.php/call-papers-illustrator-public-intellectual/

Sketching prohibited! Militärische Zeichenverbote und künstlerische Praxis in der europäischen Geschichte von der Frühen Neuzeit bis zur Gegenwart nach oben

Freie Universität Berlin, Kunsthistorisches Institut,  05. - 06. November 2015
Eingabeschluss: 25. Mai 2015

English version below.

Zeichenverbote, die sich auf Topographien oder Architekturen beziehen, sind in Kunstgeschichte und Bildwissenschaften bisher kaum zum Thema geworden, obwohl sie in Europa seit dem 16. Jahrhundert nachweisbar sind. Gerade diese Verbote bezeugen jedoch die Wirkungsmacht, die man Vor-Ort-Zeichnungen zuschrieb. Sie wurden erlassen, um Militärspionage zu verhindern und reagieren damit auf die spätestens seit der Renaissance und bis heute gängige Praxis, im Rahmen der militärischen Aufklärung nicht nur Karten, sondern auch Ansichten von Landschaften, Städten, Festungen oder Häfen potentieller Kriegsgegner anzufertigen, zu sammeln und zu speichern, um sie im Falle eines Krieges zu nutzen. Man muss davon ausgehen, dass diese militärischen Restriktionen die Kunstausübung direkt betrafen und sowohl den überlieferten Bestand an Landschafts- und Stadtansichten und Architekturzeichnungen als auch künstlerische Praktiken des Vor-Ort-Zeichnens (mit) bestimmt und geformt haben.

Während Zeichenverbote bis zum 18. Jahrhundert offenbar eher lokal oder regional erlassen wurden, finden sie sich im 19. Jahrhundert in Militärgesetzen mit nationaler Reichweite niedergelegt. Sie existieren trotz der Erfindung der Fotografie und der nahezu für alle nutzbaren GPS-gestützten Kartennavigation bis heute fort, so etwa im geltenden Spionagegesetz der U.S.A., wo in Chapter 37; 795 „Photographing and sketching defense installations“ geregelt sind.

Durch eine genauere Kenntnis von militärischen Zeichenverboten lässt sich präziser einschätzen, welche Rolle und auch Macht bildlichen Darstellungen von Topographien und Architekturen historisch zugeschrieben wurden. Anhand des überlieferten Bildbestands können die Auswirkungen von Zeichenverboten auf die Darstellung betroffener Orte exemplarisch untersucht und dadurch auch die Bedeutung solcher Restriktionen für die historische Wahrnehmung von Landschaft, Städten und Bauwerken neu bestimmen werden.

Das Colloquium möchte das Thema militärischer Zeichenverbote durch die Darstellung von Fallbeispielen angehen, um in einer ersten Annäherung ganz grundsätzliche Fragen zu klären:

- Wo und durch welche Instanzen wurden Zeichenverbote erlassen und niedergelegt?
- Wie wurden sie kommuniziert und verbreitet?
- Wie und für welche Fälle waren Ausnahmen, d.h. Zeichenerlaubnisse, möglich und geregelt?
- Was berichten ZeichnerInnen über ihren Umgang mit Zeichenverboten?
- Lassen sich Auswirkungen von Zeichenverboten auf die Ikonographie von Zeichnungen ausmachen?
- Sind Umgehungstaktiken oder spezifizierbare ästhetische Strategien nachweisbar?
- In welcher Weise prägten Zeichenverbote die Wahrnehmung spezifischer Landschaften und Architekturen?
- Muss man mit der Kenntnis von Zeichenverboten den Bestand der überlieferten Repräsentationen betroffener Regionen neu interpretieren?
- Welche Rolle kommt dem Zeichenverbot aktuell zu?

Erbeten werden Beiträge aus der europäischen Kunstgeschichte, der Militär- und Geheimdienstgeschichte, Kartographiegeschichte, oder den Surveillance Studies, die sich mit einem 30minütigen Vortrag den oben genannten Fragen in der Zeit zwischen 1500 und heute widmen.

Abstracts von 1/2 Seite Länge in Deutsch oder English sowie ein kurzer wissenschaftlicher CV werden bis zum 25.05.2015 per Email erbeten an: Dr. Ulrike Boskamp (ulrike.boskamp@fu-berlin.de) und Prof. Sebastian Fitzner (sebastian.fitzner@fu-berlin.de).

——————————————————

Sketching prohibited! Military interdictions of drawing and artistic practice in European history from Early Modern times to the present

The prohibition of drawing, referring to topographies or architecture, has rarely been a topic of art history or visual studies, although it can be accounted for in Europe since the 16th century. But such interdictions prove the power that was ascribed to on site-drawings. They were decreed to impede military espionage, in reaction to the practice of producing, collecting and storing not only maps, but also images of the landscapes, cities, fortifications, and harbours of potential enemies, in order to be used in case of a military conflict. It can be assumed that these military restrictions of civilian artistic practices not only shaped those historic representations of land- and cityscapes and of architecture that exist in collections and archives today, but that they also shaped artistic practices of drawing on the spot.

While early examples of prohibitions of drawing seem to have been issued more locally, they can be found in national laws since the 19th century. In spite of photography, handycams and GPS navigation, they still exist today, for example in the United States’ law against spying, where chapter 37; 795 regulates „Photographing and sketching defense installations“.

Through a more precise knowledge of military interdictions of drawing, a new assessment of the role and power that were historically ascribed to visual representations of architectures and topographies will be possible. The effect of these interdictions can then be investigated on the basis of historical views of exemplary places that were affected by such restrictions. New insights into the historical perception of landscape, cities and buildings can be expected.

The colloquium sets out to investigate military interdictions of drawing through a series of case studies, in order to get first answers to very basic questions:

- Where and through which authorities were interdictions of drawing issued?
- How were such interdictions communicated and spread?
- How and in which cases were exceptions, i.e. permissions to draw, possible, and how were they given?
- What do draughtsmen and -women report about their handling of such prohibitions, did they circumvent them, and if so, how?
- How did prohibitions influence the production, the iconography, and maybe the aesthetic strategies of drawings?
- How did prohibitions of drawing mould the perception of specific landscapes and architectures?
- Do drawings that represent places referred to by prohibitions need to be reinterpreted?
- What role does the interdiction of drawing play today?

We are looking for contributions from European Art History, from Military and Espionage History, History of Cartography, Surveillance Studies, etc. Papers should concern the above questions in the period between 1500 and today.

Please submit your abstract of 1/2 page in German or English and a short CV to: Dr. Ulrike Boskamp (ulrike.boskamp@fu-berlin.de) and Prof. Sebastian Fitzner (sebastian.fitzner@fu-berlin.de) until May 25, 2015.

The Illustrator as Public Intellectual nach oben

Rhode Island School of Design, Providence, RI, USA, 5. bis 7. November 2015
Eingabeschluss: 1. Juni 2015

Keynote Speaker: Rich Poynor, Visiting Professor in Critical Writing in Art & Design at the Royal College of Art, London

Illustrators and all who study their work have long understood the importance of pictures to communicate ideas and shape opinion, and to possibly provoke the viewer in unpredictable ways. What should illustrators say in the public sphere? What forces limit the illustrator’s expression of thought? What are the key issues and debates around the communication of ideas through illustration?

Organized and hosted by the Illustration Research Network and RISD Illustration, the 6th annual International Illustration Research Symposium invites proposals for papers, panels, round tables, and visual presentations on the theme of the illustrator as not only conveyor of established intellectual thought in the public sphere, but also as a vital, potent voice in public discourse and the author of content through independent provocation, seduction and persuasion.

The Illustrator as Public Intellectual questions the common misconceptions that the illustrator’s mind and hand are wholly guided by editors, art directors, and clients; and that their work is subordinate to the texts they illustrate. This symposium proposes that illustrators are empowered as originators and purveyors of unique thought.

The visual languages of the illustrator not only translate content, they transform it, indelibly inscribing ideas with force and conviction at the intersection of visual and verbal thinking. And yet, public exposition is dogged by inevitable challenges, including balancing profundity and accessibility, intention and misinterpretation. Papers may embrace or reject the concept of the public intellectual, while addressing relationships between communicative intention and audience reception.

The definition of illustration is open to wide interpretation by participants, but as a general guideline illustration may be provisionally defined as fabricated images primarily created to elucidate and communicate an idea, narrative, mood, information, and/
or opinion through publication. Studies on the illustration of any era or place are welcome.

300-word proposals for 20-minute academic papers and practice-based presentations are invited, and may address the following questions, or others that the presenter feels are warranted:

Studio Practices

  • How do different forms, techniques, and materials affect attitudes, feelings, ideas and the legitimacy of messages?
  • How is “thought” manifested in an illustration—how do creative and visual thinking processes comprise unique forms of cognition?
  • What is the relationship between the canon of intellectual thought and illustrators’ methodologies?
  • In what ways does an image embody a philosophy?
  • What emerging technologies might further or hamper the intellectual reach of illustration?

Public Sphere

  • How do ethics and social responsibility impinge upon illustrators?
  • If an audience misinterprets an illustrator’s intentions, is the audience’s reading valid?
  • What happens when the interests of the intended audience are at odds with the interests of a wider audience?
  • What is the impact of technologies of dissemination, old and new, on audiences, creators, and messages?

Creative and Intellectual Communities

  • When, where, and how do illustrators participate in important political, social, and intellectual debates?
  • What is the intellectual community of illustrators and what challenges do they face, particularly in educating illustration students?
  • Can intellectual partnerships between illustrator, designer, author, and/or publisher exist?
  • What is the appropriate balance between an illustrator’s personal satisfaction and the client’s wishes, and what is at stake when a clash occurs?
  • What are future directions for the field of practice as a forum for public intellectual discourse?

Email 300-word abstracts to irsymposium[at]risd.edu by Monday, 1 June 2015. Proposals are blind peer reviewed. Selected papers and presentations will be considered for publication in forthcoming issues of the peer reviewed Journal of Illustration.

Continuous Page. Scrolls and scrolling from Papyrus to Hypertext nach oben

London, 22. Juni - 22. September 2015
Eingabeschluss: 17. April 2015

CALL FOR PROJECT PARTICIPANTS

Continuous Page. Scrolls and scrolling from Papyrus to Hypertext


Scrolls encompass in one sweep the oldest and the most contemporary ideas about images and image-making. On the one hand, some of the most enduring artefacts of the ancient world adopt the scroll form, evoking long-standing associations with the Classical tradition, Eastern and Middle Eastern cultures, theatrical oration, and the word of the law. Yet today, scrolling is also the single most common interaction between people and their digital media: fingers routinely swipe across trackpads and touch-screens through reams of infinite hypertext. In between these two extremes too, we find a plethora of different artists and craftsmen turning and returning to the medium, from medieval medical treatises and Japanese emakimono to 19th-century wallpaper or Jack Kerouac’s continuously-typewritten draft of On The Road.

Participants are sought to take part in a collaborative investigation into the intriguing format of the scroll and the act of scrolling across different cultures and periods, considering both the timeless material object and its infinite conceptual space. Participants are sought from any field or discipline, and are likely to be academics (at all stages of their careers), museum professionals, or practicing artists.

- Meetings and Outputs -
The project is formed of two parts. The first is a pair of two-day workshops based at The Courtauld Institute of Art, including keynote lectures, handling sessions in London museums, and fifteen-minute papers from participants on their research. Papers might consider - but are by no means limited to - the following ideas:

Workshop 1- ‘Scroll as Object’
(22-23 June, 2015)

· Dead Sea Scrolls, Egyptian papyrus, Torah
· Medieval genealogical rolls, legal rolls, medical rolls
· Japanese Emakimono, Chinese handscrolls
· Fabric rolls, wallpaper, other decorative rolls
· Newspapers, type-written rolls, and other production line objects
· Canvas rolls, 70s cut-to-order painting
· Hypertext, online scrolling, Internet art

Workshop 2 - ‘Scroll as Idea’
(21-22 September, 2015)

· Continuous page, continuous narrative, continuous text
· History, law, authority
· Papyrus, paper, pixel
· Infinity, digital, touchscreen
· Speech, theatre, oration
· Mass creation, production lines, rolling type

The second element of the project will be the creation of an online exhibition to be launched in December 2015 entitled Continuous Page, presenting a series of digitised scrolls from a variety of places and periods. Drawing on the research and expertise of the workshop participants, the exhibition will be a critical online resource and lasting record of the project, showcasing the potential for combining new media practices and digital ‘scrolling’ with the continuous page of the material scroll. Over the course of the workshops we will also be developing plans for a publication to coincide with the project.

Interested participants should send a short statement of interest in the project (no longer than one page) outlining your current research and the ways it aligns with the project’s themes, workshops, and outcomes, as well as a full academic CV, to jack.hartnell@courtauld.ac.uk (Project convenor, Andrew W. Mellon Foundation Postdoctoral Fellow) by Friday 17 April 2015.

Limited funds may be available to support participation from scholars based outside the UK.

Session on Printmaking College Art Association Annual Conference 2016 nach oben

Washington, D.C., 3. bis 6. Februar 2016


Eingabeschluss: 01. Mai 2015

The Association of Print Scholars (APS) is currently accepting submissions for its 1 1/2 hour professional session at the 2016College Art Association Annual Conference, which will take place February 3-6, 2016 in Washington, DC. We welcome proposals on any aspect of the history, theory, or practice of printmaking from any chronological or geographic category. Preference will be given to proposals that call for a wide array of papers covering printmaking's rich history.

Details:

Individual or co-chaired sessions are welcome
Proposals should include a title for and a short description of the session (no more than 500 words)
Chairs and co-chairs must include CVs with submission
Chairs and co-chairs must be active members of CAA and APS at the time of the annual conference.

Deadline for proposals: May 1, 2015

To ask questions or submit a proposal, please email info@printscholars.org

Printmaking in Scotland in the 18th Century nach oben

University of St Andrews, School of Art History

4. Dezember 2015

Eingabeschluss: 1. Juni 2015

This conference will explore the rich world of printmaking and its
development in Scotland in the 18th Century. While a good deal of
research exists on printmaking in England there is very little on the
relationships between artists, printmakers, publishers and collectors in
Scotland.

Besides contributions on the work of individual artists, we seek in
particular to explore the development of a market for prints. We invite
papers on all aspects of the subject, but we are especially interested
in contributions that will address the following questions:

- Who were the engravers and etchers, the teachers, publishers, dealers,
collectors of prints and suppliers of materials?
- How was the print trade between Scotland, London and the continent
supported?
- Were there printmakers working outside Edinburgh and Glasgow?
- Where could artists see the work of other printmakers?
- What kind of prints were they making: landscapes and prospects,
antiquities, portraits, satires, drawing manuals, book illustrations and
book plates, trade cards?
- In what ways did prints contribute to the 'discovery' of Scotland, the
Jacobite cause?

To submit a proposal for a 20-minute presentation, please send an
abstract not exceeding 300 words and a one-page CV to:
avg1@st-andrews.ac.uk

A selection of papers will be edited for publication by the conference
organisers.

For further details, contact: Ann Gunn, School of Art History,
University of St Andrews: avg1@st-andrews.ac.uk

Renaissance-Zeichnungen für und nach Skulptur nach oben

Gernsheim-Studientagung an der Bibliotheca Hertziana vom 11.–13.11.2015

Eingabeschluss: 6. April 2015

Seit 2002 verwaltet und erschließt die Fotothek der Bibliotheca Hertziana das Corpus Photographicum of Drawings von Walter und Jutta Gernsheim, das über 190.000 Fotografien nach Künstlerzeichnungen, Architektur- und Antikennachzeichnungen vorwiegend des 16. und 17. Jahrhunderts sowie aus späteren Epochen umfasst. Seit 2012 begleiten jährlich stattfindende Tagungen und Studienkurse zur Zeichnungsforschung das Projekt.
Im Mittelpunkt der diesjährigen Gernsheim-Studientagung steht die zeichnerische Auseinandersetzung mit bildhauerischen Werken, deren Anfänge zu Beginn des 15. Jahrhunderts fassbar werden und die im 16. Jahrhundert einen ersten Höhepunkt erfährt, bevor sie in die zunehmend reglementierte Akademisierung des 17. Jahrhunderts mündet. Die Sicht des zeichnenden Künstlers auf die Skulptur – sei es im Entwurf, sei es im Studium, der Adaption und Interpretation eines dreidimensionalen Objektes – methodisch zu analysieren und in ihrer Medialität zu benennen ist das Ziel der Tagung. Dies kann sowohl auf der Basis von Fallstudien zu einzelnen Personen oder Werkgruppen als auch mittels vergleichender Betrachtungen oder der syn- bzw. diachronen Analyse konkreter Phänomene erfolgen. Hinsichtlich der Herkunftsländer der zeichnenden Künstler sowie des Entstehungskontextes der vorbildlichen plastischen Werke (Antike oder zeitgenössische Skulptur) sind keine Grenzen gesetzt, den zeitlichen Rahmen für die zu untersuchenden Zeichnungsbestände bildet die Renaissance.


Folgende Fragestellungen können berücksichtigt werden:
- Welchen Platz nehmen die Studien im künstlerischen Werkprozess ein, handelt es sich z.B. um bildhauerische Entwurfs- oder um Rezeptionszeichnungen? Welche Kriterien lassen sich zu ihrer Differenzierung benennen?
- Welche ästhetischen und intellektuellen Prozesse sind bei der Transformation der vorbildlichen Form in verschiedene Medien zu konstatieren?
- Welche Funktionen können Nachzeichnungen einnehmen, etwa als Resultate der künstlerischen Schulung oder als Komponenten visueller Wissensspeicher? Inwiefern sind oder werden sie Schöpfungen produktiver Rezeption und Transformation und somit Ausgangspunkt für neue Werke?
- Welche Auswahlpräferenzen und Aneignungspraktiken sind zu beobachten? Welche Eigenschaften der Studienobjekte, z.B. ikonografischer, materieller oder stilistischer Art, schreiben sich beim Zeichnen fort, welche werden betont, welche vernachlässigt, welche ignoriert?
- In welchem Kontext stehen die Vorbilder, welche Umwidmungs- und Umdeutungsprozesse finden statt? Zu fragen wäre beispielsweise nach dem Studium vollplastischer Figuren als Äquivalent zu dem des menschlichen Aktes oder dem von Reliefkompositionen und deren Umsetzung in neue narrative Zusammenhänge.
Aspekte zeichnerischer Materialien und Techniken sollen ebenso im Fokus stehen wie kunsttheoretische Positionen zum Studium der Skulptur von Alberti bis van Mander.


Keynote-Speaker: Prof. Dr. Michael Cole (Columbia University New York)


Bitte senden Sie bis zum 6. April 2015 Ihr Exposé mit Lebenslauf an Dr. Tatjana Bartsch (bartsch@biblhertz.it) und Dr. Johannes Röll (roell@biblhertz.it). Die Bibliotheca Hertziana übernimmt die Kosten für Reise (economy class) und Unterbringung gemäß den Vorgaben des deutschen Gesetzes zur Übernahme von Reisekosten.

 

Satire and Caricature as Mediators of Cultural Trauma nach oben

Pittsburgh, Pennsylvania,  21. - 24. Oktober 2015
Eingabeschluss: 20.04.2015

SECAC 2015

Satire and Caricature as Mediators of Cultural Trauma

This panel examines the function and capacity of caricature to articulate the experience of cultural trauma during the modern era. The verbal-visual dynamic of caricatures in daily news journals increases reader sensibility toward satirized topics. Satirical caricatures commented on and shaped dialogue regarding social, cultural, and political issues, and, in particular, the traumatic process of urbanization and modernization during the second-half of the nineteenth century. Cultural trauma involves a lived event that shatters and fragments social cohesion. Cultural trauma demands distance, mediation, and representation. The satirical caricatures in the popular press news journal functioned to mitigate the visceral experience of trauma through satire. At the same time, these satirical images were a visual representation of real trauma generated by modernization. This panel invites papers that investigate how caricatures overtly and covertly mediated cultural trauma, undermined power relations, and provided critical distance and laughter; how caricature shaped social dialogue and visual imagery.

Please use SECAC's online form and submit your abstract and CV no later than midnight EDT on April 20, 2015.

Session Chair: Jennifer Pride, Florida State University, jsp06c@my.fsu.edu

 

 

Zeitschrift Senza Cornice Ausgabe Drawing in Contemporary Art nach oben

Eingabeschluss Arbeitstitel 1. Januar 2015

Eingabeschluss Artikel 15. Januar 2015

The theme of the next issue will be the “drawing”, whose definition below. Anyone interested to propose an article about this topic can send to our editors, by 1st January 2015, the working title, and, by 15th January 2015, the final versionof the article according to the editorial guidelines indicated at the bottom (pdf) and together with a curriculum vitae. Even the artists are invited to participate. They can send to the editorial staff their works, inspired by the theme proposed, which will be selected as the cover of the review. For those who want to submit an article that is outside the theme proposed, they may contact our editors for a possible publication in the “Fuoritema” (Off Topic) section of the review.

Languages: Italian, English, French.

Drawing: The term “drawing” generally alludes to a graphic representation of elements, real or imaginary, by different tools or supports. In the visual arts “drawing” has a double meaning, signifying whether an autonomous artistic expression, or the preparatory study of an artwork realized by other techniques (painting, sculpture, etc.). In this second case, the term is associated with the concepts of “project”, “model” and “program”, founding a corresponding sphere of application in architecture and design. The “line” is a constitutive element of drawing, through which are traced - and therefore materialized - the form boundaries, as well as its inner details.

Beyond Connoisseurship: Rethinking Prints from the Belle Épreuve nach oben

The Graduate Center, CUNY, New York, NY

Organisation: Allison Rudnick and Britany Salsbury

7. November 2014

Eingabeschluss: 1. August 2014

Modernism brought about radical transformations in print culture. Once relegated primarily to the field of image reproduction, the graphic arts were taken up by large numbers of artists who experimented with diverse forms of printmaking: from the deluxe belles épreuves of the etching revival to Jules Chéret's mass-produced posters, Andy Warhol’s silkscreened canvases to Tracey Emin’s monoprints. Despite the prevalence of printmaking as a constant in artists' practices, however, it is still often perceived as secondary to painting and sculpture and interpreted using traditional, connoisseurial approaches. As a result, prints seem fated to be seen as parallel to, rather than integrated within, the scholarship of modern and contemporary art.

This conference, which will coincide with the 2014 IFPDA Print Fair, seeks to present alternatives by highlighting the work of scholars who are engaging innovative methodologies to address printmaking (from ca. 1875 to the present) and connect it to broader theoretical trends within art history. Confirmed speakers include Jay A. Clarke (Sterling and Francine Clark Art Institute) and Ruth E. Iskin (Ben-Gurion University).

Advanced graduate students, academics, and curators are invited to submit papers; an interdisciplinary focus is especially encouraged. Suggested topics may include, but are not limited to:

- Continuities and discontinuities in printmaking from the nineteenth century to today;

 - Exhibitions, collecting practices, and reception history; - Questions of multiples, editions and distribution;

 - The impact of new technologies (e.g., scanners, three dimensional prints) and artistic experimentation with nontraditional print media;

- The use of feminist theory, media theory, queer theory, social art history, thing theory/speculative realism and other interdisciplinary methodologies as applied to the study of prints;

 - The role of prints in artistic thinking; their relationship to other works of art (e.g., sculpture, drawing, painting, installations, archives, performance, jewelry and textiles, etc.)

Interested participants are invited to submit an abstract of no more than 500 words along with a CV or brief biographical statement by August 1, 2014. Please direct all submissions and inquiries to printconference2014@gmail.com.

 

Conceptions of Reality: Prints in Nineteenth-Century Europe nach oben

Southeastern College Art Conference, (SECAC) 2014

Sarasota, Florida, USA, 8.-11. Oktober

Session
Conceptions of Reality: Prints in Nineteenth-Century Europe


Eingabeschluss: 20.04.2014

 

In nineteenth-century urban Europe prints revolutionized the way people communicated information and understood their city, country, and world. The medium not only allowed a wider audience distribution but it also enabled the public to scrutinize their government, analyze classes, and create identifiable visual stereotypes. Today we use these prints to gain insight into different conceptions of the time and to aid us in our understanding of the complicated social dynamics that are not typically portrayed in the fine arts of the time. This panel invites papers that investigate how prints constructed reality, conceptualized the city, portrayed
types of people, and conveyed information through formal and stylistic choices. Proposals that use interdisciplinary research methods are encouraged and welcome.

Session Co-Chairs: Katherine Inge, University of Arizona and Courtney Acampora, University of Arizona. Contact:
katherineinge@email.arizona.edu

Please use SECAC's online form and submit your abstract (maximum of 200 words) and CV no later than midnight EDT on April 20, 2014.
http://www.secollegeart.org/conference

 

Gedruckt und Erblättert nach oben

Gedruckt und Erblättert. Das Fotobuch als Medium ästhetischer Artikulation seit den 1940er Jahren

Zentralinstitut für Kunstgeschichte, München, 17. - 18.10.2014

Eingabeschluss: 15. Mai 2014

Tagung am Zentralinstitut für Kunstgeschichte, Studienzentrum zur Moderne – Bibliothek Herzog Franz von Bayern, in Kooperation mit dem Institut für Kunstgeschichte der LMU

Fotografie im Buch spielt seit ihrer Erfindung eine zentrale Rolle in der Entwicklung und Vermittlung einer visuellen fotografischen Kultur. Seit dem 19. Jahrhundert fanden Fotografien ihre weiteste Verbreitung in Alben, Portfolios und Büchern, zunächst als originaler Abzug und später in qualitativ immer hochwertigeren Reproduktionen. Heute noch nehmen wir Fotografien hauptsächlich über deren Reproduktionen in Zeitschriften, Magazinen und nicht zuletzt in Büchern wahr, zunehmend auch in digitalisierter Form.

Angesichts der immensen Bedeutung und Popularität der gedruckten Fotografie ist es umso erstaunlicher, dass bis heute noch wesentliche Fragen über das Fotobuch offen sind. So besteht ein Bedarf an weiterführenden wissenschaftlichen Untersuchungen, welche nach der spezifischen Form der Inhaltsvermittlung fragen und Fotobücher im Feld ihrer Entstehungsbedingungen, intendierten Rezeptionsweisen und jeweiligen Funktionen untersuchen. Die Disziplin der Kunstgeschichte ist es zwar gewohnt, in Büchern abgebildete Fotografien zu betrachten. Sie tendiert aber nach wie vor dazu, deren materielle Präsenz als Objekt und ihre spezifische Veröffentlichung in Form eines Buches, eingereiht in eine Folge von Bildern und Texten, zu vernachlässigen.

Zu den am besten erforschten Gebieten der Publikation von Fotografie in Buchform zählen bis dato die Frühzeit der Fotografie in der zweiten Hälfte des 19. Jahrhunderts sowie die Avantgarde der 1920er und 1930er Jahre in Europa und den USA. Ausgehend von der Ausrichtung des Studienzentrums zur Moderne und den Beständen der Bibliothek am Zentralinstitut für Kunstgeschichte in München, die erst kürzlich durch die Schenkung des Fotografen Stefan Moses eine wichtige Erweiterung erhielt, legt die Tagung einen Schwerpunkt auf die Fotobuchproduktion seit den 1940er Jahren, ohne jedoch die Kontinuitäten und Brüche zu „klassischen“ Epochen des Fotobuches aus dem Auge zu verlieren.

Im Vordergrund der Tagung steht das Fotobuch als Medium ästhetischer Artikulation, in dem sich die Interessen der Bild- und Textautoren, kulturhistorische Kontexte, gesellschaftliche und politische Agenden, die materielle Besonderheit von Präsentation und Rezeption als Buch, dessen haptische Qualitäten und spezifischen Narrationsformen sowie die jeweiligen Produktionsbedingungen niederschlagen. Neben Einzelanalysen von Fotobüchern wird die Tagung Entwicklungslinien nachzeichnen und die einzelnen Forschungsgegenstände in Beziehung miteinander setzen.

Gerade in Hinblick auf Fotobücher seit den Vierziger Jahren ergeben sich zahlreiche spannende und bislang nur wenig erforschte Fragestellungen, die in der Tagung breiteren Raum finden können. Dazu zählt das Verhältnis von Fotobuch und Fotojournalismus, das Fotobuch als Leitmedium der aufkommenden Autorenfotografie in den Fünfziger Jahren und die Entwicklung des subjektiven Fotobuchs oder visueller Erzähltechniken des „stream of consciousness“. Welche Entwürfe von Geschichte oder nationaler Identität werden über Fotobücher kommuniziert – beispielsweise in den Büchern der Trümmerfotografen oder Kriegsberichterstattern, die nach Ende des Zweiten Weltkrieges in großer Zahl veröffentlicht wurden, aber auch in zahlreichen national ausgerichteten Bildbänden über Landschaften und Städte zu Tage treten? Welche Rolle spielt das Künstlerbuch als Medium der Kritik an der Massenkultur und wie gestaltete sich das wechselseitige Verhältnis von konzeptueller Kunst und Fotobuch in den Sechziger und Siebziger Jahren? Auch die Materialität des Fotobuchs und dessen Veränderung seit dem Aufkommen der Digitalisierung bilden einen lohnenswerten Diskussionsbereich. In welchem Verhältnis steht das Fotobuch zum Medium der Ausstellung, wie wird es selbst in Ausstellungen oder Publikationen rezipiert? Abschließend gilt es zu überdenken, ob und in welcher Form medienspezifische Aspekte der Fotografie wie Indexikalität oder Authentizitätsversprechen in Fotobüchern eine Rolle spielen.

Die Tagung richtet sich schwerpunktmäßig an DoktorandInnen und NachwuchswissenschaftlerInnen aus den Kunst-, Kultur- , Bild- und Medienwissenschaften und will ein Forum bieten, neue, frische Perspektiven auf das Fotobuch zu entwickeln, zu diskutieren und in Beziehung zu setzen. Auf diese Weise soll der Austausch und das Netzwerk der ForscherInnen, die sich im deutschsprachigen Raum mit dem Fotobuch beschäftigen, gestärkt und dem Forschungsgegenstand mehr Sichtbarkeit verliehen werden.

Konzeption und Organisation:

Prof. Dr. Burcu Dogramaci (Projektmentorin), Désirée Düdder, Stefanie Dufhues, Ann-Katrin Harfensteller, Maria Schindelegger, Anna Volz

Abstracts (max. 300 Wörter) für einen 30 minütigen Vortrag und ein kurzer Lebenslauf werden bis zum 15. Mai 2014 per E-Mail erbeten an: fotobuch@zikg.eu

Ein Zuschuss zu Reise- und Übernachtungskosten ist vorgesehen. Bei Fragen kontaktieren Sie bitte das Organisationsteam unter fotobuch@zikg.eu.

Collecting Prints and Drawings nach oben

Kloster Irsee, 13.-15. Juni 2014

Eingabeschluss: 30. November

Interdisciplinary conference organised by Collecting & Display in collaboration with Schwabenakademie Kloster Irsee Organisers: Andrea M. Gáldy - Sylvia Heudecker - Angela M. Opel

Cabinets of prints and drawings belong to the earliest art collections of Early Modern Europe. From the sixteenth century onwards some of them acquired considerable fame which necessitated an ordered and scientific display. This interdisciplinary conference brings together art historians, historians, curators and collectors and explores topics such as: when, how and why did cabinets of prints and drawings become a specialised part of princely and private collections? How important were collections of prints and drawings for the self-representation of a prince or connoisseur among specialists and social peers? Is the presentation of a picture hang in a gallery, for example by Charles Eisen for the Royal Galleries at Dresden, to be treated as documentary evidence? In how far do we find art historical approaches of systematisation or aesthetic concepts realised within the collections? Are there notable differences in the approach to collecting, presentation and preservation of prints and drawings in diverse parts of the world? What was the afterlife of such collections? What is the interest of institutions in pursuing the activities of art collecting and sponsorship today (banks, industry, foundations, universities)?

Please send your 250-word proposal on these and related themes together with a one-paragraph bio to the organisers at collecting_display@hotmail.com by 30 November 2013.

Fragmentierung in der Reproduktionsgraphik nach oben

Mainz, 3.-5. April 2014

Eingabeschluss: 15. September 2013

Sektion der Jahrestagung, Forum Kunstgeschichte Italiens 2014 „Übersetzen als kulturelle, künstlerische und wissenschaftliche Praxis“

 Die Fragmentierung ist eine häufige Methode bei der Übersetzung von Bauwerken und deren wandfester Ausstattung in die Druckgraphik. Wird beispielsweise ein Freskenzyklus in das kleinformatige Medium des Kupferstichs übersetzt, geschieht dies durch die Auswahl eines Ausschnittes oder gar durch die Aneinanderreihung solcher Fragmente in einer Serie.

Der Architekturstecher wiederum „zerlegt“ Großbauten, um eine vollständige, detaillierte und maßstäbliche Darstellung zu ermöglichen. Auf der Grundlage von Projektzeichnungen entstehen Serien aus Aufrissen, Grundrissen und Querschnitten, d. h. eine sukzessive Darstellung, die der Betrachter im Geist zusammensetzt. Das dabei entstehende Bild entfernt sich zuweilen weit vom realen Bau.

In unserer Sektion soll die Wahl und Darstellung eines Ausschnittes als künstlerische Strategie der Reproduktionsgraphik untersucht werden. Wie funktioniert Fragmentierung als Übersetzung, d. h. als Interpretation? Welche Instanzen und Belange bedingen die Auswahl und Inszenierung der Fragmente? Und wie wirkt sich schließlich diese Art der Übersetzung auf die Rezeption des „Originals“ aus?

Folgende Themen können als Anregung dienen:

- Christof Thoenes hat die Projektzeichnungen für St. Peter als „Momentaufnahmen aus dem Entwurfsprozess“ bezeichnet. Die druckgraphische Architekturdarstellung erfolgt häufig auf der Grundlage solcher Fragmente aus der Planungsgeschichte, die in der Regel auch nur einen geringen Teil des gesamten Baus betreffen. Wie werden diese zu einem vermeintlich kohärenten Bild eines Baus zusammengesetzt, wie Unstimmigkeiten und Lücken gefüllt? Welche Interessen (z. B. des Bauherrn oder des Architekten, des Dedikanten der Publikation oder des Verlegers) bedingen die Art der Darstellung?

- Das Phänomen der Fragmentierung beschränkt sich nicht auf Serien zur gebauten Architektur und ihrer Ausstattung. Ebenso illustrierte Architekturtraktate und Modellbücher sind zu berücksichtigen. Welche Rolle spielen bei der druckgraphischen Architekturdarstellung des 16.-18. Jahrhunderts jene Parameter, die seit der Renaissance in der römischen Architekturzeichnung erarbeitet wurden? Ein Beispiel wäre dabei das bei perspektivischen Ansichten zu beobachtende Phänomen der Aufbrechung von Mauern, um Einblick in das Gebäude-Innere zu gewähren.

- In Bezug auf Ornamentstiche und Modellbücher kann untersucht werden, wie Ausstattungsdetails aus ihrem realen Kontext herausgenommen und für die Verwendung als Modell aufbereitet werden. Inwiefern wird die Erkennbarkeit des Vorbildes angestrebt? Welchen Parametern folgt seine Verfremdung?

- Mittels welcher Strategien werden umfangreiche Dekorationsprogramme oder großformatige Fresken in das kleinformatige Medium der Druckgraphik übertragen? Welche Auswahl trifft der entwerfende, nicht selbst stechende Künstler, um sein Bildprogramm und seine formale Invention und Innovation angemessen repräsentiert zu sehen? Findet die Auswahl durch den reproduzierenden Künstler statt, stellt sich die Frage, wie er das Werk durch seine Selektion interpretiert. Beispielsweise überträgt der Kupferstecher Marcantonio Raimondi die von Raffael und seiner Werkstatt freskierten Zwickel der Loggia di Psiche (Villa Farnesina) anhand der ihm zur Verfügung gestellten zeichnerischen Entwürfe in eine ganze Reihe von Stichen, während er aus Michelangelos Cascina-Schlacht eine Einzelfigur und eine kleinere Figurengruppe auswählt, die sich besonders wirkungsvoll in kleinem Format präsentieren lassen.

- Im Anschluss an solche Überlegungen stellt sich auch die Frage: Wie wirkt sich die Interpretation des auswählenden, reproduzierenden Künstlers auf die Rezeption des ursprünglichen Werkes durch wiederum andere Künstler aus? In welche neuen Kontexte inhaltlicher und formaler Art werden die Fragmente überführt?

- Die Fragestellung lässt sich über die Frühe Neuzeit hinaus behandeln: Welche Rolle spielt die Fragmentierung für die technischen Reproduktionsmethoden? Die druckgraphische und die fotographische Interpretation von Kunstwerken können verglichen, Konstanten und Entwicklungen von Übersetzungs- und Fragmentierungsstrategien herausgearbeitet werden.

Wir bitten um Vorschläge für Vorträge (20 Minuten) in Form eines maximal einseitigen Exposés plus Lebenslauf und Publikationsliste (Word- oder PDF-Dokumente) bis zum 15.9.2013 an Dr. Kristina Deutsch (kristina.deutsch@uni-muenster.de) und Dr. des. Anne Bloemacher (annebloemacher@uni-muenster.de). Beiträge von NachwuchswissenschaftlerInnen sind ausdrücklich erwünscht.

Renaissance Portrait Drawings - Italy and the North, 1400 - 1550 nach oben

New York, 27. bis 29. März 2014

Eingabeschluss: 31. Mai 2013

Panel beim 60. Jahrestreffen der Renaissance Society of America

During recent years, the genre of the Renaissance portrait has received growing attention. Painted and sculpted portraits have been given greatest consideration, while portrait drawings have been more marginally treated.

During the Quattrocento in Italy and northern Europe artists explored different media and techniques to draw their sitters' or their own likenesses: metalpoint, brush, pen and ink, as well as charcoal/black chalk and red chalk were used. Techniques were developed and exchanged between artists from different environments, as was the case with brush drawings, initially typical for Venice and eventually diffused throughout much of Europe.

Drawn portraits were executed as preparatory studies to be translated into other media, but in some cases there is evidence that they were also regarded as autonomous works of art: in a letter of 1477, Andrea Mantegna asks Ludovico Gonzaga whether the portraits he had commissioned were to be painted or rather drawn, since haste was required: »[…] chome volendo far queli ritrati, non intendo, volendolj la S. vostra si presto, in che modo habia a fare, o solamente disegn[a]ti o coloriti in tavola o in tela […]«.

Portrait drawings were a much desired subject for collectors, and were also collected by the artists themselves, as the inscription on the earliest self-portrait drawing of Albrecht Dürer reveals: »Dz hab Ich aus eim spigell nach mir selbs kunterfet im 1484 Jor, do ich noch ein Kint was« (»In this I portrayed myself from a mirror in 1484 when I still was a child«).

This RSA panel invites papers that examine any aspect of portrait drawings during the Renaissance period (1400–1550) in Europe. Topics may include, but are not limited to the following:

- Written sources regarding technical approach and sitters' specifications;

- Theory;

- Drawing techniques;

- Inscriptions;

- Underdrawings;

- Function (e.g. preparatory, autonomous, as tools of transfer to other media);

- Display of portrait drawings;

- Collecting of portrait drawings;

 

A round table discussion is planned to conclude the panel.

Please send a paper title, an abstract (150-word maximum) and a brief CV (300-word maximum) to zgraja@biblhertz.it and claudia.lehmann@ikg.unibe.ch by Friday, May 31.

Reexamining the Early Modern Ornament Print nach oben

Tagung, Renaissance Society of America, New York, 27.-29. März 2014

Eingabeschluss: 24. Mai 2013 

Session at the Renaissance Society of America conference

The large and varied corpus of works that fall under the rubric of “ornament prints”, “Ornamentstiche” or “Ornamentale Vorlageblätter” have been variously catalogued and recorded since the early nineteenth century. These important studies give us a general overview of when and where the prints were made, the artists who made them and their probable functions. Many critical questions remain, however, not least the fundamental problem of what constitutes the genre itself. Rudolf Berliner’s notion of the ornament print as a template, for example, has proven to be overly one-dimensional and not representative of historic practice. Is it possible to define or formulate specific parameters for the genre as a whole? This session invites papers that take a wide view on the theme of non-architectural ornament prints from the fifteenth through seventeenth centuries. Questions and topics to be considered could include:

• what is an ornament print?
• the origins of the genre
• the imagery of ornament prints
• the relationship of ornament prints to the other arts
• the creators of ornament prints, e.g. the goldsmith-printmaker
• the purpose and utility (or lack thereof) of ornament prints
• early collectors of ornament prints
• copying versus ownership of design

Please submit an abstract (max. 150 words) and a brief CV (max. 300 words) to Femke Speelberg (Femke.Speelberg@metmuseum.org) and Madeleine Viljoen (madeleineviljoen@nypl.org) by May 24, 2013.

For information about RSA submission guidelines, please see http://www.rsa.org/?page=2014NewYork.

Prints as Agents of Cross-Cultural Exchange nach oben

Tagung, Renaissance Society of America, New York, 27.-29. März 2014

Eingabeschluss: 31. Mai 2013

Session at the 2014 Renaissance Society of America conference

That printmaking’s ease of replication and comparatively inexpensive nature facilitated widespread dissemination of printed works within Europe is common knowledge. Yet this dissemination also occurred beyond the borders of Europe, with European prints making their way to areas as varied as Ottoman Turkey, India, China and the Americas. This panel aims to explore the transmission of knowledge, whether written or visual, between Europe and the rest of the world by means of prints in the early modern period. Of particular interest are examples of European prints that are re-contextualized and re-framed in non-European settings, or papers that explore the mechanics and significance of this type of exchange.

Please send an abstract (150 words maximum) and a brief cv by May 31st to Heather Madar, Humboldt State University: hm28@humboldt.edu

Naturwissenschaft und Illustration im 15. und 16. Jahrhundert nach oben

Tagung, Kunsthistorisches Institut, Universität Marburg, 08.-09. November 2013

Eingabeschluss: 27. April 2013

Mit dem Umbruch vom Manuskript zum gedruckten Buch werden nicht nur das Buch und die Schrift, sondern wird auch das Bild großen Veränderungen unterzogen; dies sind bekannte Prämissen. Wenig Aufmerksamkeit ist hingegen den naturwissenschaftlichen Illustrationen dieser Zeit aus kunstwissenschaftlicher Perspektive gewidmet worden. Einer der Gründe dafür ist vielleicht, dass das Konzept der „naturwissenschaftlichen Illustration“ erst im 15. Jahrhundert eine entscheidende Entwicklung erfährt und noch gar nicht als solche rezipiert worden ist. Die einzelnen Disziplinen der Botanik, Zoologie, Medizin, Kartographie usw. haben sich vor allem unter fachspezifischen Gesichtspunkten mit den Traktaten dieser Periode auseinandergesetzt. In einer interdisziplinären Begegnung und Diskussion soll der Fokus in erster Linie auf die Illustrationen dieser wissenschaftlichen Werke gelegt werden.

Die Naturphilosophie nimmt seit dem Spätmittelalter die Naturbeobachtung zusätzlich als eines ihrer Prinzipien auf. Die Beschreibung des physischen Äußeren gesellt sich zur älteren, traditionellen Auflistung anderer Aspekte, wie z.B. in Werken wie De rerum proprietatibus des Bartholomeus Anglicus oder De plantis und De animalibus des Albertus Magnus. Diese textuellen Erweiterungen sind eine mögliche Erklärung für das Einfügen von Visualisierungen in Enzyklopädien und naturwissenschaftliche Schriften des Spätmittelalters. Die Produktion von Illustrationen für naturwissenschaftliche Abhandlungen steigt jedenfalls seit dem 15. Jahrhundert rasant an, unter anderem gefördert durch das wachsende Buchwesen sowie die Einführung des Buchdrucks und des Drucks von Bildern.

Trotz der angedeuteten Wandlungen, die plausible Erklärungen bieten können, sind für den Bereich der Visualisierung naturwissenschaftlicher Informationen noch viele Themengebiete unerforscht. So sind die Käufer- und Leserkreise insbesondere der frühen Bücher wenig bekannt. Das Einfügen der Illustrationen selbst wirft Fragen auf: zum einen weil sich die Traktattexte vor dem 15. Jahrhundert kaum von den späteren unterschieden, aber ohne Bildmaterial auskamen; zum anderen weil ein und dieselbe Abbildung oft für unterschiedliche Objekte verwendet wurde. Die Illustrationen scheinen daher auch textunabhängig einen eigenen Entstehungsdynamismus gebildet zu haben. Die angewandten Strategien zur optischen Veranschaulichung des Wissens – vor allem im Übergang von der Handschrift zur Druckpublikation – können bezüglich der Entwicklung des Layouts, der Erarbeitung einer spezifisch „wissenschaftlichen“ Formensprache, des Verzichts auf Farbe, der Assimilation der Drucktechniken (besonders des Holzdrucks) vertiefenden Analysen unterzogen werden.

Im Zentrum der Tagung soll die Untersuchung von Prozessen stehen, die sich mit den Illustrationen wissenschaftlicher Werke des 15. und 16. Jahrhunderts verbinden lassen. Dabei sollen bewusst Vorgänge unterschiedlicher Wissenschaftszweige thematisiert werden, weil eine gegenseitige Beeinflussung in der anvisierten Periode anzunehmen ist. Über visuelle Disziplinen wie die Kunstwissenschaft hinausgehend richtet sich die Tagung besonders auch an Forscher der Botanik, Zoologie, Naturkunde, Medizin, Kartographie und Astronomie.

Beiträge zu folgenden Untersuchungsfelder sind willkommen:

- Entwicklungsdynamik der Illustrationen
- Verhältnisse Seitengestaltung, Text, Illustrationen
- Naturähnlichkeit bzw. Naturferne der Illustrationen
- Drucktechnische Aspekte der Illustrationen
- Kopieren, Übernehmen, Modifizieren von Illustrationen

Beiträge können auf Deutsch oder Englisch vorgetragen werden.

 Bitte senden Sie ein Abstract (ca. 300 worte) bis zum 27.04.2013 an die folgende E-Mail-Adresse: olariu@staff.uni-marburg.de. Jeder Beitrag sollte nicht länger als 30 Min. sein; Diskussionszeit im Anschluss an den Vortrag ist vorgesehen.

Bei weitere Fragen oder Auskünften richten Sie sich bitte an: olariu@staff.uni-marburg.de

Dr. Dominic Olariu
Philipps-Universität Marburg
Kunstgeschichtliches Institut
Biegenstrasse 11
D-35037 Marburg Germany

Science, Imagination, and the Illustration of Knowledge nach oben

Symposium, Oxford, UK, 7. und 8. November 2013

Eingabeschluss: 5. Juli 2013

4th International Illustration Symposium. Organised by Illustration
Research, in collaboration with University of Oxford Museums and
Collections.

‘Every great advance in science has issued from a new audacity of the
imagination.’
John Dewey

The Science, Imagination and the Illustration of Knowledge symposium will consider the contemporary and historical role of illustration in relation to the collection, processing, understanding, and organisation of knowledge and associated questions of epistemology and pedagogy. The symposium is organised by Illustration Research in collaboration with the Oxford University Museum of Natural History, the Pitt Rivers Museum, and the Museum of the History of Science and these world famous collections will provide an important context for the exploration of these issues alongside presentations from curators.

We therefore invite submissions of papers on any of the following
themes, and/or the suggestions of panels (three speakers):

• Drawing as a means of investigating the world
• Diagrams, working drawings and field notes
• Books and manuals, info-graphics, instructional and pedagogic
material
• Visual taxonomies, classification and differentiation of
categories of knowledge
• Visualising the invisible
• Visualising the body
• Phantasms, grotesques, shadows: the imagined body
• Science and magic
• Healing images
• Darwin’s legacy

Papers are invited from practising illustrators, from scientists and
from academics. Please submit 500 word proposals for papers and/or
panels to Adrian Holme: a.holme at camberwell.arts.ac.uk by Friday July 5, 2013.

The Journal of Illustration Papers selected for presentation will also be considered for submission to the forthcoming Journal of Illustration (Intellect) http://www.intellectbooks.co.uk/journals/view-Journal,id=233/ .
University of Oxford Museums and Collections
http://www.museums.ox.ac.uk/

Illustration Research

Illustration Research is an international network of academics, researchers and practitioners in the field of illustration. It has held annual International Symposia for the past three years: 2010 (Cardiff), 2011 (Manchester MMU), 2012 (Krakow Ethnographic Museum, Poland). http://www.illustrationresearch.com/

 

Holbein und die Folgen: Die Rezeption der 'Bilder des Todes' nach oben

Tagung, Graphiksammlung „Mensch und Tod“ der Heinrich-Heine-Universität Düsseldorf, 20.–21. Februar 2014

Eingabeschluss: 10. Mai 2013

Die um 1524–1526 entstandenen und als Bilder des Todes bekannten Darstellungen Hans Holbeins d.J. waren durch ihre Ausführung in der Technik des Holzschnitts von vornherein für eine große Verbreitung bestimmt. Wohl noch vor der Erstausgabe von 1538 wurden ab den 1520er Jahren Kopien und Paraphrasen – auch in anderen Medien – geschaffen. Neben den Ausgaben von den Originalstöcken entstanden im Laufe des 16. Jahrhunderts diverse Nachdrucke mit kleineren und größeren Änderungen an Bildern und Texten. Die europaweite Rezeption der Bilder des Todes wurde in den folgenden Jahrhunderten durch zahlreiche Reproduktionen fortgeführt.

Da die nichtmechanische Reproduktion immer auch die Inventio, die schöpferische Leistung und Interpretation, beinhaltet, entstanden durch den jeweils eigenen Übersetzungscharakter gleichzeitig neue Originale. Dieser besondere Interpretationscharakter ist in herausragenden Adaptionen wie den Kupferstichen Heinrich Aldegrevers, den Radierungen Wenzel Hollars, oder den Zeichnungen von Peter Paul Rubens und Stefano della Bella deutlich erkennbar. Dennoch wurden auch diese Werke bislang kaum in den Blick genommen und vielfach als bloße ‚Kopien’ abgetan. Es fehlen daher immer noch detaillierte Beschreibungen vieler Werke, die doch die Grundvoraussetzung bilden für weitergehende Analysen der Übersetzungsprozesse und die Entschlüsselung komplexer bildwissenschaftlicher Verflechtungen.

Die geplante Tagung will Holbeins Werk als Auslöser internationaler Rezeptions- und Übersetzungsprozesse bis um 1800 unter die Lupe nehmen. Schwerpunkte liegen auf den unterschiedlichen Ausgaben der Bilder des Todes sowie auf den von diesem Zyklus inspirierten Werken. Dabei reicht das Spektrum von der Graphik bis zur monumentalen Wandmalerei. Besonderes Augenmerk verdienen die Übersetzung in andere Medien oder (druck-)graphische Techniken, die Anpassung an konfessionelle Kontexte, die Bedeutung von Farbe (beispielsweise bei kolorierten Ausgaben oder der Übertragung in die Malerei), die Schöpfung neuer Zyklen durch Kombination unterschiedlicher Vorlagen und schließlich auch das Verhältnis von Text und Bild.

Als Vortragende zugesagt haben: Prof. Dr. Oskar Bätschmann, Prof. Dr. Bernd Lindemann und Prof. Dr. Volker Manuth.

Bewerbungen mit einer einseitigen Vortragsskizze sowie einseitigem Lebenslauf (Kurzvita und wichtige Publikationen) werden bis zum 10.5.2013 erbeten an:

Dr. Stefanie Knöll: stefanie.knoell@uni-duesseldorf.de

Abstract:

The conference sets out to investigate the role of Hans Holbein’s Pictures of Death in international processes of reception and translation.

Special attention will be paid to the translation into other media or printing techniques, the appropriation for religious contexts, the importance of colour, the creation of new cycles by combination of different models, and the relationship between image and text.

Please send an abstract of ca. 300 words plus short CV by May 10th 2013 to Dr. Stefanie Knöll, stefanie.knoell@uni-duesseldorf.de

Objectifying Prints: Hybrid Media 1450-1800 nach oben

Annual Conference of the Chicago Academy for the Arts, Chicago,
12.-15. Februar 2014

Eingabeschluss: 6. Mai 2013

Printed artworks were often by nature ephemeral, but in early modern Europe, they commingled with other media, setting off chain reactions of related imagery that endured. Paintings, sculpture, decorative arts, musical or scientific instruments, and armor exerted their own influence on prints, while prints provided artists with paper veneers, templates, and sources of adaptable images. This interdisciplinary session analyzes the effect of prints on more traditionally valued objects, and vice-versa. Repeat iterations across conventional geographic, temporal, and material boundaries lead to a new kind of objectification in which original “meanings” were lost, reconfigured, or subverted in surprising ways. Prints–reproducible products of hybridity and collaboration–were singularly disposed to unleashing transformations. This session is not primarily concerned with copying or copyright, but rather with the fluid redefinition and re-purposing of original designs and ideas permitted by prints’ pervasive availability. Papers exploring collaborations between multiple workshops combining printing and other media are welcome.

For further information and application procedure, see: http://www.collegeart.org/proposals/2014callforparticipation

Contact: Suzanne Karr Schmidt, Art Institute of Chicago: skarrschmidt@artic.edu; and Edward Wouk, University of Manchester: edward.wouk@manchester.ac.uk.

Repetition nach oben

Second Annual Art History Graduate Student Conference,
University of California, Riverside, 18. Mai 2013

Eingabeschluss: 15. März 2013

Repetition, as both logic and device, has played a significant role in the history of art. As logic, repetition underlies the very possibility of artworks as meaningful objects, as it is through repeated acquaintance with an object or form that it gains meaning in a prescribed context. And as stylistic device, the use of repetition has transcended historical periods and visual cultures. From prehistory to the present, the repetition of forms and objects has been used by practically all cultures as a way to define common identities, establish order, and inscribe sense and meaning into the world. The use of repeated forms stands at the center of, for instance, practices and objects as distinct as Inca tunic design, Buddhist and Hindu mandalas, Outsider art and 1960s Minimalism. Yet repetition was also part of painterly strategies in the Renaissance and Baroque periods and pervades the concepts of Early Modern print culture as well as sculptural practices. These various examples serve to highlight our expanded approach to the idea of repetition as an integral aspect of a series of diverse practices, including pattern design, seriality, doubling, mirroring, symmetry, recursion, copying and reproducibility.

Moreover, the significance of repetition extends to the present moment as the concept has occupied an important place in the theorizing of modern existence—as commodity or behavior, for instance. More specifically within the visual arts, the advent of photography in the mid-19th century has led thinkers to theorize the effects of the repeated and repeatable image in modern life, often with inconclusive or contradictory results. While Benjamin argued in 1936 that, “the technology of reproduction detaches the reproduced object from the domain of tradition,” making a case for the revolutionary potential of the technology of photography, Adorno and Horkheimer contended some years later that in contemporary existence, “what is new is that the irreconcilable elements of culture, art and distraction are subordinated to one end and subsumed under one false formula: the totality of the culture industry. It consists of repetition.”

We invite abstracts of no more than 300 words for papers dealing with the intersection of art and repetition in any of its forms. Topics from all art historical periods and geographical regions are encouraged, in particular those dealing with the significance of repetition as an artistic and critical strategy in early modern, modern and contemporary art.

Please e-mail abstracts to ahgsa.ucr@gmail.com by March 15. The conference will be held at the California Museum of Photography in Downtown Riverside on May 18, 2013.

Quelle: arthist.net/archive/4739

 

The Comics of Joe Sacco: Journalism in a Visual World nach oben

Beitrag zur Buchserie "Critical Approaches to Comic Artists", University Press of Mississippi

Eingabeschluss: 25. März 2013 

The Comics of Joe Sacco: Journalism in a Visual World is a proposed volume in a new book series, Critical Approaches to Comics Artists, at the University Press of Mississippi. This volume will contain an array of critical essays on the comics of Joe Sacco, best known for his comics journalism in works such as Palestine and Safe Area Gorazde. Essays from many disciplinary and interdisciplinary perspectives are welcome, including critical approaches from comics studies, art history, cultural studies, literary studies, history, political science, communications and journalism, international relations, and peace and conflict studies.

Essays that address the following questions are especially welcome:

How does Sacco's work negotiate and synthesize journalistic, documentary, and graphic narrative form?

How can Sacco's work be read in relation to underground comix, the New Journalism, documentary film, and/or investigative reporting?

How do Sacco's works negotiate and represent journalistic ethics, questions of veracity, war crimes, and human rights violations?

What is Sacco's relationship to the tradition of investigative reporting, "submersion" or "immersion" journalism, social realism, and/or autobiographical comics?

In what ways can Sacco's works be read as a response to the contemporary "crisis" in the print news media?

What kinds of history does Sacco privilege, and how do his works engage with international relations?

How do Sacco's works present history and make complex histories present?

How does Sacco's developing career and work, from his early satirical comics and music journalism to his more recent reportage about war and poverty, reflect the increasing legitimacy of comics in art and literary cultures?

Or, alternately, how is Sacco’s work misrecognized as comics rather than journalism?

Please send a 500-1000 word abstract, CV, and contact information to Daniel Worden at dworden@unm.edu by March 25.

Accepted abstracts will be used in a formal book prospectus, and the deadline for full-length essays will be negotiated shortly thereafter.

Contact
Daniel Worden
Assistant Professor
Department of English University of New Mexico
MSC 03 2170
Albuquerque, NM 87131-0001
dworden@unm.edu

SEN. On Lines and Non-Lines nach oben

International Conference organized by Marzia Faietti and Gerhard Wolf, in collaboration with Shigetoshi Osani

19. bis 21. September 2013, Tokyo, Japan

Eingabeschluss 15. Januar 2013

"SEN" will be the third and last of a series of conferences that study the dynamics of lines in a dialogue of art historians, historians of science, philosophers and scholars of other disciplines. Lines and Non-Lines is conceived as a cross-cultural and transhistorical investigation, with a focus on past and present East Asian, Islamic and European concepts of linear and non-linear configuration of surfaces. It explores the borders and passages between drawing and writing, in regard to different scriptural and graphic cultures, as well as the linear construction or deconstruction of meaning. Lines assume a major role in shaping signs and symbols, but they also continuously blur them. Linear structures are extremely codified or regulated, but in the same time lines have the potential to liberate themselves to perform in polymorphic and proteiforme ways, beyond the volute, the arabesque, the serpentine line. Lines are potentially infinite but they circumscribe territories or define planes and bodies.

LINEA III approaches these dialectics with a special interest in the interplay of lines and surfaces. On the one hand lines tend to materialize, dissolve or transform in threads, marks, traces, notches, or strokes (and thus finally become non-lines), on the other hand they articulate, ornate and transfigure animate or inanimate surfaces. This does not only refer to paper, stone, fabric or skin, but also to urban textures, etc. The conference will study these dynamics between and beyond the lines, and by doing so it will also address the gestural dimension of lines as well as non-lines.

Conference language: preferably English. Scholars interested in participating in the conference are invited to send a proposal of 250 words, their CV and a list of publications to the following address by January 15, 2013: dirwolf@khi.fi.it (Prof. Dr. Gerhard Wolf).

 

Comics Arts Conference WonderCon nach oben

29. bis 31. März 2013, Anaheim, CA, USA

Eingabeschluss 1. Dezember 2012

 

100 to 200 word abstracts for papers, presentations, panels, and poster sessions taking a critical or historical perspective on comics (juxtaposed images in sequence) are being accepted for a meeting of scholars and professionals at WonderCon, held next spring in Anaheim, CA, from March 29-31. We seek proposals from a broad range of disciplinary and theoretical perspectives and welcome the participation of academic and independent scholars. We also encourage the involvement of professionals from all areas of the comics industry, including creators, editors, publishers, retailers, distributors, and journalists. The Conference is designed to bring together comics scholars, professionals, critics, and historians to engage in discussion of the comics medium in a forum that includes the public. Proposals are due December 1. Please submit all proposals to http://www.surveymonkey.com/s/BZ8XV9N. For more information, please contact Dr. Kathleen McClancy at comicsartsconference@gmail.com.



Die Farbe Grau

Tagung am Institut für Kunstgeschichte der Johannes Gutenberg-Universität Mainz in Kooperation mit dem Institut für Kunstwissenschaft und Historische Urbanistik der Technischen Universität Berlin

Mainz, 18.–20. April 2013

Einsendeschluss  31. Oktober 2012

In Werken der Kunst kann Grau die Abwesenheit von Farbe sein oder selbst eine Farbe, ein Nullpunkt der Malerei oder ihre Summe. Es ist zugleich ein Mittel der (Material)Imitation und der Abstraktion, ein Modus der Reflexion und ein Medium der Darstellung von Wirklichkeit. Seit dem Erscheinen von Michaela Kriegers Buch „Grisaille als Metapher“ ist das Thema immer wieder in der Forschung aufgegriffen worden und in Ausstellungen auch einem breiteren Publikum nahegebracht worden – man denke nur an die vom Guggenheimmuseum Berlin ausgerichtete Schau „Gerhard Richter, Acht Grau“ (2002) oder an die großen Ausstellungen zu Grünewald in Karlsruhe („Grünewald und seine Zeit“,  2007/08) und zu Hans Holbein d. Ä. in Stuttgart („Hans Holbein d. Ä.: Die Graue Passion in ihrer Zeit“, 2010/11). Es erscheint daher an der Zeit, eine Zwischenbilanz zu ziehen und die Vielgestaltigkeit und die Virulenz des Phänomens und seiner ästhetischen Implikationen zu untersuchen, aber auch die Anwendbarkeit der Deutungsmuster kritisch zu hinterfragen   Das Konzept eines bewussten Farbverzichts reicht bis in die Antike zurück. Folgt man Plinius d. Ä., dann standen die „monochromata“ – Bilder, die mit wenigen Farbtönen auskamen oder gar nur in einer einzigen Farbe gemalt waren – sogar am Beginn der Malerei.  Eine Reduktion auf unterschiedliche Grautöne hingegen lässt sich erst seit Beginn des 14. Jahrhunderts historisch fassen – zunächst in der Buchmalerei, dann aber auch auf Außenseiten von Flügelaltären und auf Fastentüchern, schließlich in Ölskizzen oder graphischen Verfahren. Als Phänomen begegnet sie bis heute etwa in den Werken Gerhard Richters. Die mittelalterlichen und frühneuzeitlichen Quellen sprechen meist von Malerei in Schwarz und Weiß oder von „steinfarbigen“ Bildern, in Frankreich taucht ab dem 17. Jahrhundert der Begriff grisaille auf; Gerhard Richter spricht von „Grauen Bildern“. Schon die Begrifflichkeit lässt auf unterschiedliche Konzepte schließen, die nach unterschiedlichen Begründungen verlangen. Tatsächlich hat die Forschung in den letzten zwanzig Jahren eine Vielzahl von Aspekten diskutiert, wobei bisweilen außerästhetische Anforderungen an die Kunst – etwa die Bildskepsis kirchlicher Reformbewegungen oder liturgische Vorgaben – im Vordergrund stehen, bisweilen die maltechnische Seite (im Sinne eines „rilievo“ oder der „faktura“) hervorgehoben oder auf genuin ästhetische Erklärungsmodelle abgezielt wird (Paragone, Kostbarkeitsmetapher, intellektuelles Konzept versus sinnliche Farbe). Die Entscheidung für die Grisaille bedeutet jedoch stets auch eine Repräsentationsstrategie, die eine Reflexion der Bildaufgabe – der Spannung von Bild und Abbild, von Wirklichkeit und Bewusstsein, von Illusion und Zeichenhaftigkeit – voraussetzt; sie erscheint als künstlerisches Mittel, um diese Differenz zu thematisieren und im Farbverzicht zu überhöhen. Dementsprechend kann gerade der Verzicht auf Buntfarbigkeit einen höheren Wirklichkeitsgehalt der Darstellung garantieren. In gewisser Weise setzt sich diese Tradition der Steigerung des ästhetischen Vermögens von Kunst durch die Verwendung der Farbe Grau noch in Fotografie und Film fort. So stellt die Ästhetik des Schwarzweiß-Fotos und des schwarz-weißen Dokumentarfilms rhetorisch den besonderen Wahrheitsgehalt des Gezeigten aus und hebt zugleich die Form hervor.

Dem hier skizzierten Paradox des künstlerischen Farbverzichts mittels der Farbe Grau will eine gemeinsam vom Institut für Kunstgeschichte der Johannes Gutenberg Universität, Mainz und dem Institut für Kunstwissenschaft und Historische Urbanistik der TU Berlin veranstaltete Tagung nachgehen und zugleich das Phänomen in seiner historischen Dimension und Vielgestaltigkeit thematisieren. Sie ist bewusst gattungs- und epochenübergreifend angelegt und nimmt die materiellen wie auch die kunsttheoretischen und ästhetischen Aspekte des Grau in der Kunst in den Blick.

Alle diejenigen, die Interesse haben, an der Tagung mit einem Referat teilzunehmen, sind herzlich aufgefordert, ein kurzes Exposé (1–2 Seiten) einzureichen. Der Einsendeschluss ist der 31. Oktober 2012. Nach Auswahl der Vorschläge werden die Teilnehmer unverzüglich unterrichtet.

Prof. Dr. Gregor Wedekind
Johannes Gutenberg Universität
Institut für Kunstgeschichte
Binger Str. 26
55122 Mainz 

Prof. Dr. Magdalena Bushart
Technische Universität Berlin
Institut für Kunstwissenschaft und Historische Urbanistik
Sekretariat A 56
Straße des 17. Juni 150/152
10623 Berlin

Comics Forum 2012 Multiculturalism and Representation: A Conference on Comics

15 -16 November 2012, Leeds

Eingabeschluss 16. Juli 2012

Multiculturalism, and the representation of it, has long presented challenges for the medium of comics (including manga and bande dessinée). Questions surround the ways in which characters of differing cultures and/or nationalities can and should be presented; answers to which have ranged from anthropomorphism to xenophobia. Issues also exist around the diversity of creators and characters, and the (lack of) visibility for characters that do not conform to particular cultural stereotypes. At Comics Forum 2012, the fourth event in the Thought Bubble conference series, we will attempt to draw out some of the complexities of this field in order to better understand both the problems and the achievements of the medium in dealing with multiculturalism.

Subjects for discussion may include, but are not limited to:

• Cultural diversity (or lack thereof) in comics, manga and bande
dessinée
• Ways in which multiculturalism has been represented, visually and/or
linguistically in comics
• Moves towards increasing the representation of particular cultural
groups in comics, either as creators or characters (e.g. Milestone
Comics)
• The modification of existing comics and properties to address new
markets (e.g. Spider-Man: India)
• Controversial representations of cultures and relations between
cultures (e.g. Tintin au Congo)
• The modification of existing works in new-media representations (e.g.
the omission of Ebony White in the film version of The Spirit; the
controversies surrounding Idris Elba’s role as Heimdal in Thor)

Proposals of 250 words are invited for talks of 15-20 minutes in
length, and should be emailed along with a short biography (around 100 words) to Ian Hague (Department of History, University of Chichester) at: I.Hague@chi.ac.uk. The deadline for submission is 16/07/2012 and notification of acceptance or rejection will be emailed by or before 30/07/2012.

Website der Konferenz

Visual Narratives and Illuminated Manuscripts A session at the annual meeting of the Renaissance Society of America.

4. bis 6. Juni 2013 San Diego, USA

Eingabeschluss: 01. Juni 2012

Drawing from the works on text and image from Visual Culture scholars, this panel aims to understand and analyze this multifaceted art form, the illuminated manuscript. All papers addressing the various aspects of the fraught and complex relationship between text and image in the illuminated manuscripts (from Medieval to the Renaissance period as well as Eastern illuminated manuscripts, i.e. Turkish, Arabic, etc.) are welcomed.

All papers from a variety of disciplines (Art History, Comparative Literature, History, Depts. of Languages & Literature, English, etc.) and approaches are encouraged. Interdisciplinary and cross-cultural approaches are especially welcome.
Please e-mail an abstract and a brief curriculum vitae to Nhora Serrano and Martine van
Elk at Nhora.Serrano@csulb.edu and Martine.vanElk@csulb.edu as soon as possible, but no later than June 1, 2012.

This session will be sponsored by the Center for Medieval and
Renaissance Studies at California State University, Long Beach

For more information, see the conference website: www.rsa.org

Internationales Colloquium "I love thinking on my feet. Dance and Drawing since 1962"

Universität Genf, 31. Mai bis 1. Juni 2012

Eingabeschluss: 24.02.2012

Dance and drawing are intimately linked to the gesture that performs them. The dancing body creates a figure in space and leaves an impact on a site, while the action of the artist sets a point into motion and captures an ephemeral event, later reproduced in graphic or visual form.

Throughout the 20th century, the performing arts and the visual arts converged in many instances. As artists investigated the embodied and energetic value of form, dancers and choreographers experimented with the interface between sign and action, between annotation and improvisation, between a spatial sense of self and an architectural configuration of movement. The hybridization of dance and drawing quickened from mid-century onwards, as performance art introduced innovative practices and as borders between disciplines were worn thin, causing intermedial forms to emerge.

The body of the artist, whether a dancer or a visual artist, is thus shared by these practices and has become the instrument of their simultaneous realization. Drawing has indeed collided with dance in opening up to three-dimensional space, integrating surfaces (floor, ceiling, walls) as well as volumes into its process. It is this encounter that is the focus of this colloquium: it aims to evaluate and discuss the specific interaction of the two media and the ways in which their practices have become diversified since 1962, namely since events coinciding with the first public performance of the Judson Dance Group in New York.

To obtain or to intentionally create a drawing is not always, however, the aim of a dance. Drawing has traditionally been considered as what survives on a surface, while the movement giving rise to it has been ignored – as if dance, within the framework of process art, was but a means among others, and not a purpose. Yet what happens if we reverse this thought? If we value what precedes the drawing? If dancing is not subordinated to drawing, but that the latter, as a trace, contains the memory of the former? Beyond the metaphor, how have dancers and visual artists applied physical movement and drawing in alternative ways, inverting these as improvisational tools or notational supports? What happens when drawing uses everything but paper. In turn, what remains when the tangible body has disappeared? What distinguishes dancers who draw and visual artists who dance? And is this distinction not fading ever more today? Is there a drawing without a gesture and a movement without a body? And what can be said about mechanical ballets: are drawing machines dancers, complete with a set of more or less programmed gestures? May the notion of "choreography" ultimately serve as a model, useful if partial, to theorize the correlation between dance and drawing?

Such questions are crucial towards an integrated understanding of the arts of the 20th and 21st centuries. The transversality of dance and drawing releases new correspondences, as many studies and exhibitions are currently demonstrating.Researchers, art historians and dance historians are invited to propose a contribution that explores the connections of dance and drawing, understood as broadly as possible, as well as the reception of one by the other, from 1962 to today. Exchanges between diverse positions in Art history and in Dance history are encouraged, as well as non-Western perspectives.

The colloquium is organized by the Department of Art History and Musicology of the Université de Genève (Switzerland) and will be held May 31st-June 1st, 2012, in French and in English. Abstracts for 20-minute papers (maximum 400 words) in either language must be received by February 24th, 2012, along with a complete curriculum vitae. Notices of acceptance will be sent out by March 19th, 2012. Please address abstract and CV in PDF format and by email to the organizers, Sarah Burkhalter (sarah.burkhalter[at]unige.ch) and Laurence Schmidlin (laurence.schmidlin[at]gmail.com).

>>"I love thinking on my feet. Dance and Drawing since 1962"

 

Internationale Konferenz des Arbeitskreises für niederländische Kunst- und Kulturgeschichte (ANKK) Postersektion

30. September - 2. Oktober 2011, Frankfurt am Main, Goethe-Universität und Städel-Museum

Für die Internationale Konferenz des Arbeitskreises für Niederländische Kunst- und Kulturgeschichte (ANKK) vom 30. September bis 2. Oktober 2011 in Frankfurt am Main ist eine Postersektion geplant, die zur Diskussion aktueller Forschungsfelder während des Kongresses beitragen soll. Die Postersektion möchte Doktoranden, Post-Doktoranden sowie bereits etablierten Wissenschaftlern Gelegenheit geben, neue Forschungsergebnisse sowie laufende Projekte und Forschungsvorhaben, welche sich der niederländischen beziehungsweise flämischen und holländischen Kunst und Kultur widmen, vorzustellen. Die in Form eines Posters zu präsentierenden Themen dürfen allen Epochen angehören; außerdem können sie die Kunst und Kultur benachbarter Regionen betreffen, sofern sie einen niederländischen Bezug aufweisen. Eine Anbindung an das Konferenzthema ist willkommen, aber nicht zwingend erforderlich.

Die Poster werden während des gesamten Konferenzzeitraums ausgestellt sein. Darüber hinaus wird es einen im Programm angekündigten Termin geben, an dem die Tagungsteilnehmer mit allen Präsentierenden eingehend über deren Poster und Projekte sprechen können. Da der Verein es sich zum Ziel gesetzt hat, den wissenschaftlichen Nachwuchs zu fördern, möchte die Sektion insbesondere jungen Akademikerinnen und Akademikern eine Kommunikationsplattform bieten.

Poster- und Reisekosten können leider nicht erstattet werden; die Tagungsgebühr wird dank der zugesagten Förderung durch die Deutsche Forschungsgemeinschaft (DFG) für alle Kongressteilnehmer jedoch moderat ausfallen. Weitere Informationen zur Konferenz sind der Homepage des Vereins www.ankk.org zu entnehmen.

Bewerbungen in Form einer Projektskizze (max. 300 Wörter) sowie eines kurzen Lebenslaufs sind bis zum 10. Juli 2011 als PDF- oder Worddokument an die beiden Organisatorinnen zu richten:

Dr. Heike Schlie: h.schlie(at)gmx.de
Sandra Hindriks M.A.: hindriks(at)uni-bonn.de
Eingabeschluss: 10. Juli 2011

>> Internationale Konferenz des Arbeitskreises für niederländische Kunst- und Kulturgeschichte (ANKK) Postersektion

 

Workshop Druckvorgänge. Drucktechniken vor 1600

1. - 2. November 2011, Justus-Liebig-Universität Gießen
Technische Aspekte des Druckens werden in der Graphikforschung oft nur beiläufig behandelt, so dass der Eindruck entstehen mag, das Fachwissen der druckgraphischen Abzugstechniken sei Allge­meingut. Wer sich in Sammlungen und Bibliotheken intensiv mit gedruckten Originalen beschäftigt, kennt jedoch die Probleme einer exakten Bestimmung der Abzugstechnik aus der eigenen Arbeit. Oft stellt sich im Einzelfall die scheinbar simple Frage danach, wie was in welcher Folge wovon auf was gedruckt wurde, komplexer dar, als dies im ersten Moment erscheinen mag. Schon mehrere Abzüge von ein und derselben Platte (Druckstock) sind nie vollkommen identisch; gerade die Druck­graphik des 15. Jahrhunderts zeichnet vielfach ihr experimenteller Charakter aus.
An diesem Punkt setzt der Workshop Druckvorgänge an, indem er den Vorgängen der technischen Reproduktion sowie des transkulturellen Wissenstransfers von Drucktechniken im 15. und 16. Jahr­hundert nachgeht. Die Zielsetzung des zweitägigen Workshops, der vom 1. bis 2. November 2011 an der Justus-Liebig-Universität Gießen stattfinden wird, besteht darin, den Blick nicht ausschließ­lich auf die nordalpine Graphik zu richten, sondern auch die transalpinen und ferner die sich in den asiatischen Raum erstreckenden Verflechtungen zu berücksichtigen. Insgesamt versteht sich der Workshop als ein Forum, das sich nicht nur der signierten Künstlergraphik widmen will, sondern auch dem Austausch über die anonyme Druckgraphik des 15. Jahrhundert ausreichend Gelegenheit einräumt.
Das vorrangige Ziel des Workshops besteht darin, sich über die technischen Vorgänge des Druckens auszutauschen und das technische Verständnis der Drucktechniken zu fördern. Es gilt den Blick für die technischen Besonderheiten der drucktechnischen Verfahren bis zum Ausgang des 16. Jahrhunderts durch vergleichendes kollektives Sehen zu fördern.

Es werden Einzelvorträge im Umfang von 20 Minuten erbeten, die ihrerseits zu einer etwas 20-minütigen Diskussion anregen sollen. Bitte senden Sie Ihre kurze Beitragsskizze bis zum 15. Juli 2011 an: Andreas Uhr, M.A., Graduiertenkolleg Transnationale Medienereignisse von der Frühen Neuzeit bis zur Gegenwart, Justus-Liebig-Universität Gießen, Otto-Behagel-Str. 10 C1, 35394 Gießen, Tel.: 0641/99-28142, AndreasUhr@gcsc.uni-giessen.de

>>Workshop Druckvorgänge. Drucktechniken vor 1600

Druckgraphik-Workshop detaillierte Ankündigung als PDF
Eingabeschluss: 15. Juli 2011