The Historians of Eighteenth-Century Art and Architecture are delighted to announce that the Call for Papers for “HECAA@30: Environments, Materials, and Futures in the Eighteenth Century” is now available. Please visit the link below for a list of open sessions and details. Applications for participation are due to session chairs by April 1, 2023.

This in-person conference will take place in Boston, Cambridge, and Providence from October 12-14, 2023, with morning plenary sessions followed by gallery sessions, tours, and architectural site visits each afternoon.

On the land of the Massachusett and neighboring Wampanoag and Nipmuc peoples, Boston developed in the eighteenth century as a major colonized and colonizing site. Its status today as a cultural and intellectual hub is shaped by that context, making it a critical location to trace the cultural legacies of racism and social injustice between the eighteenth century and today. For whom is “eighteenth-century art and architecture” a useful category? What eighteenth-century materials, spaces, and images offer tools or concepts for shaping our collective futures? In considering these questions, we aim to expand HECAA’s traditional focus on Western European art and architecture and specifically encourage proposals from scholars working on Asia, Africa and the African diaspora, Indigenous cultures, and the Islamic world.

We welcome proposals for contributions to panels, gallery sessions, roundtables, and workshops. Scholars at any career stage, and all geographic and material specializations, are encouraged to apply. We look forward to seeing you in Boston!

The deadline for submitting articles for the Fall 2023 issue of Nineteenth-Century Art Worldwide is March 15, 2023. 
Founded in 2002, Nineteenth-Century Art Worldwide (NCAW) is a scholarly, refereed, open-access journal devoted to studying the art of the long nineteenth-century, from the American and French Revolutions to the outbreak of World War I. NCAW encourages examinations of visual culture across the globe, covering a wide range of topics with regard to makers, consumers, media, and points of view. Open to various historical and theoretical approaches, the editors welcome contributions that reach across national boundaries and illuminate intercultural contact zones in the broadest sense of that term.

NCAW also welcomes suggestions and contributions for digital art history projects and book and exhibition reviews, and for its featured sections Practicing Art History and New Discoveries.

Submission guidelines for articles can be found at the link below. 

For volume XV of Hemisphere: Visual Cultures of the Americas, we welcome submissions that focus on visual and material communication in the Americas from the ancient, Indigenous pre-contact period through European conquest and colonization and up to the present. Advanced graduate students enrolled in degree-granting institutions in the U.S. and abroad are invited to submit papers that examine Indigenous visual communication systems transhistorically and from a range of perspectives, including studies of later artists who emulate these forms of communication in their work.

The full call for papers, along with additional information can be found at https://digitalrepository.unm.edu/hemisphere/aimsandscope.html

Hemisphere: Visual Cultures of the Americas is an annual publication produced by graduate students affiliated with the Department of Art at the University of New Mexico.

Send completed materials to hmsphr@unm.edu.

Digital art history, word-image studies, architectural history, and book history meet in The Digital Piranesi, a developing digital humanities project devoted to the complete works of Giambattista Piranesi. With funding from the Kress Foundation, six collaborators will be invited to contribute to the project. Following an introductory in-person workshop in Columbia, SC, in late Summer 2023, regular virtual meetings through Summer 2024 will be dedicated to writing brief, impactful scholarly essays about each image in the first volume of his Roman Antiquities. Travel and accommodation will be supported by grant funds. Each image appears with original annotations and (in metadata) English translations here, below further information about the Kress-funded project.
Please send a cv and one-page statement detailing qualifications, experience, and interest to jbritton@mailbox.sc.edu by March 1, 2023.

The question of color has been at the center of artistic debates at least since the seventeenth century, and it has remained a key issue in the historiography of art. What may be at stake in reconsidering color in its historical dimensions now? Recent research on the issue has gone in two directions. On the one hand, color has been studied as a material substance and a technology. Scholars have documented the relation between technological, industrial, and commercial developments and the quality, range, and availability of pigments and colorants available to artists, manufacturers, and consumers. Another approach has focused on the key role of color in the construction of social, racial, and gender hierarchies. Recent scholarship has revealed the intimate connection between aesthetic debates on chroma and the development of the modern discourse of race. Moreover, the eighteenth century’s feminization of color entangled with the notions of make-up and artifice has been reexamined. Clearly, it is no longer viable to think of color in purely aesthetic, ideologically innocent terms.

This issue of Journal18 aims to consider how the current interest in materiality and the matter of art could be harnessed to alter–enrich, complicate, or challenge–our understanding of the historical functions and social and cultural meanings of color in the long eighteenth century. In what ways may the materialist discussion of color as a substance inflect the account of its ideological and discursive functions? What were the new meanings and effects of color as the physical product and sign of growing global trade networks, colonial and slave economies, and expanding empires? How did colored materials­­––pigments, dyes, feathers, shells, minerals––serve as tools of hybridity and a means to delineate cultural difference? Can color’s inherent capacity for infinite nuance offer modern art historians alternative lenses onto to the past? We welcome papers that are attuned to color’s mobility, look beyond Western Europe, and decentralize Euro-centric narratives. We are especially interested in papers that consider the broader methodological questions raised by their subject and seek to develop tools to address the urgent issues posed by color.

Issue Editors
Ewa Lajer-Burcharth, Harvard University
Thea Goldring, Harvard University

Proposals for issue #17 Color are now being accepted. Deadline for proposals: April 1, 2023.

To submit a proposal, send an abstract (250 words) and brief biography to the following three addresses: editor@journal18.org, burchart@fas.harvard.edu, and tgoldring@g.harvard.edu. Articles should not exceed 6000 words (including footnotes) and will be due by September 1, 2023. For further details on submission and Journal18 house style, see Information for Authors.

The Association of Graduate Art Students (AGAS) at the University of Georgia, in partnership with the Georgia Museum of Art, invites emerging scholars to submit proposals for papers that contribute to the discussion of new perspectives and interpretations on African American, Euro-American and Native American art. The symposium will be presented in conjunction with the traveling exhibition “Object Lessons in American Art: Selections from the Princeton University Art Museum,” on view February 4 – May 14, 2023.

Our symposium will expand the scope of the exhibition by using contemporary lenses to rethink preconceived notions of American visual and material culture. Conventional approaches to the art of the United States have often focused upon Eurocentric artists and consequently advanced colonizing perspectives on this material. Yet, America’s rich history gives way to new studies that break these long-standing conceptions and allow for more representation that is reflective of the diverse society of the past and present.

This symposium aims to enrich and reframe the Eurocentric traditions associated with American visual and material culture by advancing contemporary perspectives and considering American art in light of the pressing issues of our day. Such perspectives will afford new insights into US history and push forward experimental approaches for the future.

Our symposium encourages submissions that discuss specific works of art or themes related to “Object Lessons in American Art: Selections from the Princeton University Art Museum.”
Other relevant topics include but are not limited to:

- Women artists in America/the Americas
- Race, identity, and the role of African American and Native American artists
- Past and present diversity in American art
- Ecological and ecocritical approaches to American art
- Global and hemispheric perspectives on American art and the art of the Americas
- Expressions of American patriotism and imperialism

Current graduate students and other emerging scholars should submit abstracts (maximum 300 words) and an up-to-date CV to ldsoa.agas@gmail.com by December 30, 2022. Applicants will be notified of the committee’s decision by January 15, 2023.

Visit the link below for the symposium schedule.

In conjunction with the exhibition "Pressing Politics: Revolutionary Graphics from Mexico and Germany," on view from October 29, 2022 through July 22, 2023, LACMA and the Association of Print Scholars are pleased to convene a one-day symposium exploring the role of graphic art during periods of political transformation. The symposium will bring together scholars, curators, and conservators to examine the exhibition’s themes in a broader geographical and temporal context.


ABOUT THE EXHIBITION
"Pressing Politics: Revolutionary Graphics from Mexico and Germany" explores the shared subjects and visual strategies of two key moments in 20th-century political printmaking: the revival of German Expressionist graphics in response to a nationwide revolution in 1918, and the formation of the Taller de Gráfica Popular (People’s Print Workshop) in Mexico City in the late 1930s. Although rooted in distinct social and historical contexts, artists in both countries responded to their respective upheavals in print to communicate to a mass audience in forceful visual terms.

Examining direct and indirect points of exchange, "Pressing Politics" considers the iconographic precedents for these artists’ political imagery, the range of printed works they produced, and the conditions that gave rise to their art. Drawn primarily from LACMA’s collection, the exhibition underscores the enduring power of the printed image and highlights the contributions of Mexican and German artists to a global iconography of political graphics.


ABOUT THE SYMPOSIUM
The one-day convening will be held on April 29, 2023, at LACMA’s satellite gallery at Charles White Elementary School and will build on themes presented in "Pressing Politics: Revolutionary Graphics from Mexico and Germany." Expanding beyond Germany and Mexico, the symposium will consider the role of print media during times of revolution and social change from a global perspective in the 20th and 21st centuries. It will also explore questions related to the materials and processes of print production in these contexts. Proposals beyond the exhibition’s geographic scope are encouraged.

Topics may include, but are not limited to the following:
- The role of transnational political networks in the development of political graphics.
- The impact of the materiality of political prints on their meaning and reception.
- How digital technologies have transformed the material character and function of political graphics.
- The role of art collectives in graphic activism.
- The conservation of political graphics and ephemera, in particular the challenges of preserving modern political graphics and other ephemeral works on paper.

Proposed talks can also discuss graphics created in time-based or born-digital media.

Please send a 300-word abstract and a CV to events@printscholars.org by December 16, 2022. Notifications will be emailed in early to mid-January 2023. Funds for travel assistance will be available.

The exhibition is made possible with support from the Getty Foundation through The Paper Project initiative. Additional support for the symposium is provided by the IFPDA Foundation and the Robert Gore Rifkind Foundation.

The HASTAC Scholars program is an innovative student-driven community of graduate and undergraduate students. This year, scholars will be participating in the program via HASTAC Commons. The 2022 - 2024 cohort will be the first to operate entirely via the new site! Because the site migration to Humanities Commons is complete, no new sign-ups are being accepted on HASTAC.org from this point on.

Each year, around 100 new Scholars are accepted into a new 2-year cohort of the program. HASTAC Scholars come from dozens of disciplines and have been sponsored by over 200 colleges and universities ranging from small liberal arts colleges to large research universities.

New HASTAC Scholars will contribute to building a community that works at the intersection of technology and the arts, humanities, and sciences. HASTAC Scholars host online forums, organize collaborative book reviews, write blog posts, share their research and interests on scholar spotlight, participate in Digital Fridays (now Commons Fridays!), and much more. Selected HASTAC Scholars will participate in the program from December 2022 to December 2024.

Please apply at the link below.

The third and final roundtable session from our 2022 series is coming up! Join us via Zoom on Tuesday 15 November at 18.00 CEST/ 12.00 EDT.

Do you want to pitch a project or idea, or present a paper?

In this informal session, you can pitch your work-in-progress idea, paper, or project to a small international group of professionals in the field for feedback.

RSVP by submitting the form at the link below. On the form, you can propose a pitch or paper to present or choose to listen in and partake in the discussion.

We are seeking submissions of pitches or papers by students, specialists, researchers and curators in prints of early modern Northern Europe, from the fifteenth to seventeenth centuries.


In a pitch, you briefly state your project and one or two questions you would like to bring to the group (5 mins), followed by time for discussion (15 mins). For some inspiration: previous pitches included exhibition ideas, PhD topics, career development questions and discussions on public engagement.


Alternatively you can take a (conference) paper or presentation for a try-out in the session (ca 20 mins). If you have something coming up that you would like to present as a test-run, please do not hesitate to indicate this on the form.

We hope this format encourages informal, lively conversation that can contribute to problem-solving challenges and moving projects forward, whilst strengthening the international network. If you know others who might be interested in taking part in these sessions, please do not hesitate to forward this invitation.

An event link and programme will be provided to attendees before the session.

CFP | ASECS 2023 | St. Louis, MO (March 9 -11, 2023)
Session 84 | Print Albums: From Artistic Collaboration to Geo-political Ramifications, Susanne Anderson-Riedel, University of New Mexico, ariedel@unm.edu

Print albums and printed and bound gallery collections are among the most prestigious and valuable graphic productions from the 17th to the early 19th century, before they were replaced by reproductive photo albums. Publishing print albums raised the reputation of art collections, collectors, artists, and publishers alike, whether the publications focused on individual artists (such as the “Recueil Julienne,” publishing Watteau’s paintings and drawings in prints) or on entire collections (such as the print folios “Le Cabinet du Roy,” “La Galerie de Florence,” “Shakespeare Gallery,” “Le Pitture Antiche d’Ercolano,” et.al). Print albums posed new and innovative questions for their time. They competed with older publications in terms of content and technique. They played a significant role in cultural politics. Not only did print albums contribute to making the reproduced artworks known beyond the region, but the prints contributed to the arts’ global visibility due to their multiplicity and wide dissemination. Thus, they shaped the teaching at art academies and applied arts schools worldwide, forming the first canon of European vs non-European art. From the perspective of their audiences, print albums influenced tastes, shaped artistic perceptions and expectations, and constructed cultural cognition. From the viewpoint of the producing artists (draughtsmen and engravers), authors, publishers, and editors, the collaborative print publications allowed for intense professional networking. We invite scholarship on the production, collaboration, dissemination, and the market of print albums and/or art books during the long 18th century, along with inquiries on theoretical frameworks that scholarship applies to understand the cultural, trans-regional, and geo-political ramifications of print publications.

Please find the full list of sessions and the abstract submission form at the link below.