The Historians of Eighteenth-Century Art and Architecture (HECAA) announce an open call for panel proposals for our quinquennial conference, to be held in Boston from October 12–15, 2023.

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 be deliberate about expanding 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 invite proposals for panel topics that engage with any of the above questions from various cultural perspectives. Topics could focus on “environments” (e.g., workshops, urban spaces, oceans, religious spaces, domestic spaces), “materials” (e.g., silver, sugar, canvas, wood, paper), “futures” (e.g., period visions of the future or new directions in the field); or “actors” (e.g., artists, workers, makers, patrons). We encourage creative and expansive ways of thinking about these topics. We also welcome panel proposals addressing other questions and approaches that are vital to eighteenth-century art and architecture.

Selected organizers will be asked to form panels of 3–4 speakers delivering 15-minute papers, or a roundtable session, from a separate open call for papers that will be publicized widely in Fall 2022.

In addition to plenary sessions, the conference will feature visits to area museums and architectural sites; panels that connect to collections or places in or around Boston, Cambridge, Salem, and Providence are welcome. Panel organizers should expect to attend the conference in person.

Interested panel organizers should submit a one-page abstract describing the topic and proposed format to Stacey Sloboda (stacey.sloboda@umb.edu) and Susan Wager (susan.wager@unh.edu) by September 1, 2022. Organizers of successful panels will be asked to join HECAA if they are not already members.

It's time to submit your proposal for the $1,000 Ursula Hoff Essay! All we need is a 300-400 word proposal outlining what aspect of Australian print culture you would focus on if successful, and a previous writing sample. Get published in IMPRINT and share your knowledge with the world!

The proposal and resulting essay must be original, and entirely the work of the author. Proposals should not be based on an existing or previously published essay.

This opportunity is open to all Australian and international applicants. The successful applicant selected to write the Ursula Hoff Essay for IMPRINT must be or become a Print Council of Australia member. The award has been generously funded by The Ursula Hoff Institute.

Submissions close 5pm AEST, Wednesday 6 July
View details and submit your proposal via external link below.
IMPRINT September 2016 (Vol. 51 / No. 3) p. 24, introduction to an essay on Dr Ursula Hoff by Cathy Leahy, Senior Curator Prints and Drawings at the National Gallery of Victoria.

CALL FOR PAPERS

European Postwar and Contemporary Art Forum (EPCAF)
Graphic Images: WWII and the Holocaust in Print

Chair: Rachel E. Perry, University of Haifa. perryrub@bezeqint.net

Immediately after WWII, small-press albums were drawn, printed, and published by artists from all nationalities across Europe, the Soviet Union and in the DP camps and Mandatory Palestine. Small in size, weight and print-runs, they were bought and displayed as testimonial and commemorative objects recounting an individual and collective history that had not been able to be documented in real time.

Related to the wordless novels of Frans Masereel (Destins, 1940 and Remember!), albums covered the liberation as well as the fallen heroes and victims. Some are well known, like those by Boris Taslitsky, Zinovii Tolkachev, Violette Rougier-Lecoq, Simon Wiesenthal or Lea Grundig. Others by Fiszel Zilberberg, Renato Guttuso, Ágnes Lukács or Elsbieta Nadel less so. From Calvo’s La Bête est morte to Jean-Louis Chancel’s Livre noir, how do albums represent the perpetrators vs. the victims? What are their “missing images” and what tropes, motifs and metaphors predominate? How is gender represented and how did it affect these publications both in content and in representation? How did Jewish and non-Jewish artists envision and address their audiences differently?

Constituting a short-lived but widespread transnational phenomenon to create a portable memorial culture, graphic albums belie the persistent “myth of silence” of the early postwar years. Largely neglected by both Holocaust and Genocide Studies (which privilege textual, oral and video testimonies) and Art History (which privileges unique paintings), they constitute one of the most important and overlooked mediums of early memory, testimony and representation of World War II and the Holocaust.

The deadline for submissions is September 14, 2022.

The Hamilton Wood Type & Printing Museum Wayzgoose will take place live and in-person in Two Rivers, Wisconsin November 4-6, 2022. Wayzgoose is Hamilton Wood Type & Printing Museum’s annual conference where print and design experts worldwide gather to share their knowledge with type, graphic design, and letterpress enthusiasts.This year we are excited to accept proposals for 20-minute speaking topics and full-day, hands-on workshops. Apply by July 12, 2022.

If you have any questions, please contact the museum at info@woodtype.org or at (920) 794-6272.

Follow the link below for more information and to submit your proposal.

Variety, Variation, Multiplication in the art of the 14th to 18th centuries shall be the subject of the seventh conference in the series "Interdependencies. The arts and their techniques". Instead of focusing on the standardising effect of reproduced artworks and printed images (e.g. through the establishment of certain types of images and the standardisation of knowledge), we want to question the variants and their variances arising through printing and moulding processes or further processing. On the one hand, we are interested in the differences between the originals and the repetitions. On the other hand, we want to explore the margin opened up by the respective production process as well as by the possibilities of further handling: How do the products relate to their “prototype” and each other? Do the variances result from intentional interventions or, the production process? What is the function of the medium of transfer? What is the effect of the change in materiality? What forms of further processing can be observed? How can common and singular characteristics of the reproduced works be described? What connects two- and three-dimensional reproductions and how do they differ? And last, but not least: How has the tension between similarity and deviation been received? Did it play a role in the perception of contemporaries or was it ignored?

All those interested in the conference are invited to submit an abstract of no more than 5,000 characters together with a short CV. Please send your proposal by August the 1st, 2022, to: Prof. Dr. Magdalena Bushart (magdalena.bushart@tu-berlin.de) und Dr. Andreas Huth (andreas.huth@tu-berlin.de).

Please visit the link below for more information.

The expression "danse gravée" has long designated the dance notation practices of the 18th century, since the diffusion of the Feuillet notation from 1700. The repertoire of engraved contredanses, published and distributed in the form of collections, small notebooks or booklets, notably from the 1760s and the Répertoire des bals by de La Cuisse, is relatively well known. However, the technique itself, the networks of collaboration between engravers and dance masters remain little studied: engravers in music, in mathematics, in geography, masters in writing, are also engravers in dance, when it is not the dance masters themselves who practice intaglio. The place of women engravers, editors and booksellers (Mme Castagnery) will be widely discussed during these days. The aim here is to understand the way in which choreographic practices in the 18th century fit into a network of printmaking know-how, professional and amateur practices, by questioning the modalities of dance engraving in a wider field of technical engraving, in geography, in science, or in music. The commissions made by dance masters to certain engravers also indicate a desire to move from a technical image to an artistic one, shaping works with sometimes very different costs and uses. Particular attention will be paid to the French and British contexts and to the circulation of plates and models from one side of the Channel to the other.

These days intend to bring together scholars from different disciplines who share the same field of research around printmaking, beyond the choreographic field. As there are very few works on printmaking in dance, these two days will also be considered as moments of collective reflection to which researchers not working specifically on choreographic practices are warmly invited.

Follow the link below to learn more about the event.

CALL FOR APS-SPONSORED SESSION PROPOSALS

The Association of Print Scholars invites submissions for its sponsored sessions at the Renaissance Society of America conference, to be held in San Juan, Puerto Rico from 9 to 11 March, 2023.

APS-sponsored session proposals may be related to any theme of Renaissance and Early Modern printmaking, or any aspect of print scholarship for the era 1300–1700. RSA is a multidisciplinary society, and we especially welcome session proposals that transcend geographic and disciplinary boundaries, as well as those that engage current theoretical interests in historiography, materialism, archival theory, bibliographic studies, or social history.

Series of sessions in honor or in memory of an individual scholar are limited to two sessions per honoree. Co-chaired sessions are welcome; junior and senior scholars are encouraged to collaborate.

You do not need to be a member of RSA to submit a session proposal to APS, but all accepted participants must become RSA members for 2023 and register for the conference. Please note that proposing a session or a paper indicates your commitment to attend.

Chair or co-chairs must be members of APS, however, please note that those currently serving as APS officers, whether elected or appointed, may not submit conference proposals for panels sponsored by the organization during their tenure, although are welcome to participate in the selected panel.

How to submit a session proposal for APS sponsorship:
To propose an APS-sponsored session, please submit your session title along with a 250-word abstract describing the topics and issues of printmaking that your session will address. Applicants do not need to propose a full panel of presenters in order to submit a session proposal. Submissions should include a two-page CV for each chair. In the subject line, please indicate “APS-Sponsored session proposal RSA 2023” and send to rsacoordinator@printscholars.org

DEADLINE:
Submission deadline for all session proposals is:
Friday, 1 July 2022

Acceptance decisions will be communicated to submitters by Friday, 15 July 2022.

The California Society of Printmakers is soliciting proposals for the 2023 annual issue, Shifting Gears. Sometimes a major shift in your thinking moves your work in a new or unexpected direction. This could be due to a new technique or material, a novel idea or even just a major mistake on your part. How has this change affected your work and its future direction?
They would like proposals by print artists and are also seeking recommendations of artists (including their website) who could contribute to this topic. Your work will be judged on its quality and how well it relates to this year’s theme. Articles would be 700–1200 words.
Accepting proposals until August 30, 2022. Please include:

- How your article will address the theme
- Outline or short narrative (about 200 words)
- Website address
- 5 or more jpegs (at least 3MB image size) relating to your proposal content, submitted as a separate attachment
- Artist bio with contact information

If you are considered, your finished article would be due November 1, 2022.

Submission deadline: August 30, 2022
Submit to: Bob Rocco, Editorial Board, California Society of Printmakers, bobroccoart@gmail.com.

Pasados: Recovering History, Imagining Latinidad
Call for Papers

We are delighted to invite submissions for a new journal, Pasados: Recovering History, Imagining Latinidad. Published by the University of Pennsylvania Press and in collaboration with the Recovering the U.S.-Hispanic Literary Heritage Project, Pasados is an open access, peer-reviewed journal dedicated to scholarship on the long history of Latinx literature and culture, with a special focus on questions related to archival recovery. It centers scholarly inquiry on pre-1980s Latinx literary and cultural histories, extending from the colonial era through the twentieth century. Along with scholarly essays, we encourage submissions across a range of formats and approaches, including translations, teaching aids, bibliographies, reviews of archival sites, and forum/dossier proposals.
Appearing twice annually beginning in Spring 2023, Pasados will highlight decolonial and other theoretical approaches to Latinx archives, historically-informed pedagogies, and praxis-based recovery work, both in academic and non-academic spaces. The journal will provide a venue for scholars to build upon and extend existing approaches to this interdisciplinary field, while also acting as a forum for new theoretical, methodological and analytical insights into the histories and archival knowledges of Latinx literature and culture. Pasados will be of interest to academics, libraries and associations, national and local public institutions, community activists and organizers, and readers interested in Latinx studies.

Send questions to pasadosjournal@gmail.com

Please visit the external link below to learn more details.

We are inviting the first round of submissions to the newly founded Belvedere Research Journal (BRJ), a peer-reviewed, open access e-journal. We seek articles that shed new light on the visual culture of the former Habsburg Empire and Central Europe broadly defined from the medieval period to the present day. We especially welcome contributions that situate Austrian art practices within the broader international context. Moreover, we are interested in innovative approaches to art history, such as the decentralization of established narratives or the investigation of transnational transfers that reveal the interconnected and cross-cultural character of the art world. Finally, the BRJ seeks contributions that draw attention to artists and agents whose activities have previously been overlooked, especially women. We support interdisciplinary research that introduces novel theoretical approaches by combining art history with methodologies from other disciplines, such as the digital humanities, social sciences and cultural economics among others.

Each issue of the BRJ will consist of up to ten articles and provides two different publication formats: research articles (between 20,000 and 50,000 characters, incl. endnotes and spaces) that will undergo strict double-blind peer-review, and discoveries (approximately 15,000 characters, incl. endnotes and spaces) which are subject to editorial review and are directly focused on works in the Belvedere collection (https://sammlung.belvedere.at/). In addition to established scholars, we aim to involve early career researchers, including PhD students.

After the first issue, which has a submission deadline of Sept. 30, 2022, the BRJ will accept manuscripts on a rolling basis. The language of publication is English, with the BRJ arranging translation for accepted manuscripts. All articles receive professional copy-editing and appear in an open annual issue immediately after their final acceptance (running from Jan. 1 to Dec. 31). The BRJ manages the acquisition of image rights. We do not charge any article processing charges (APC).

Accepted submissions will be published under the Creative Commons License CC BY 4.0. The copyright remains with the author(s).

The editors welcome informal enquiries regarding potential proposals. Articles and enquiries should be sent to: journal@belvedere.at. For further information, please see the website of our journal: https://journals.ub.uni-heidelberg.de/index.php/brj/index

Managing Editor: Christian Huemer (Belvedere, Vienna)

Editors: Johanna Aufreiter, Anna Ewa Dyrko, Anna-Marie Kroupová (Belvedere, Vienna)

Editorial Board: Éva Forgács (Art Center College of Design, Pasadena), Ivan Gerát (Slovak Academy of Sciences), Julie M. Johnson (University of Texas at San Antonio), Eva Kernbauer (University of Applied Arts Vienna), Lukas Madersbacher (University of Innsbruck), Nicholas Sawicki (Lehigh University, Pennsylvania), Matthew Rampley (Masaryk University, Brno), Mirjana Repanić-Braun (Institute of Art History, Zagreb), Werner Telesko (Austrian Academy of Sciences, Vienna), Markéta Theinhardt (Sorbonne University, Paris), Anselm Wagner (Graz University of Technology)

The journal is published in collaboration with arthistoricum.net / Heidelberg University Library.

For more details, see external link.