Born in London in 1931, Bridget Riley rose to prominence in the early 1960s for artworks that seemed to defy known formal parameters for abstract painting. Her first solo exhibitions in London (Gallery One, 1962, and Robert Fraser Gallery, 1966 and 1967) and inclusion in seminal group exhibitions of the decade (Bryan Robertson’s The New Generation, Whitechapel Gallery, 1964, and Painting and Sculpture of a Decade 1954–1964, at the former Tate Gallery, 1964) brought her into aesthetic conversations with peers and set the tone for her paintings to be considered and well-received by national audiences. Notably, international attention commenced the following year, 1965, when she was included in the Museum of Modern Art’s pioneering show of contemporary art, The Responsive Eye. Among the ninety-nine artists from fifteen countries selected by William Seitz, Riley stood out for the inclusion of one of her paintings, Current (1964), on the cover of the exhibition catalogue and the wide discussion of it in the critical reaction to the show. Chief among the group, her paintings seemed to best fulfill the show’s curatorial premise of presenting objects as “generators of perceptual responses in the eye and mind of the viewer.” In 1968, she co-represented Britain at the Thirty-Fourth Venice Biennale (along with Phillip King), where she was the first living British painter and first woman to be awarded the International Prize for Painting. After 1968, Riley would no longer be considered only a British artist.

To mark the occasion of the Yale Center for British Art’s exhibition Bridget Riley: Perceptual Abstraction (March 3–July 24, 2022), this one-day symposium aims to generate new scholarship by recontextualizing and interrogating the impact of transatlantic and international experiences and relationships on the artist’s practice. Riley has long advocated for the primacy of the subjective painting experience, recalling that the post-war interest in perception was international and dynamic with markedly similar works of art being produced on either side of the Atlantic. At the center were Riley’s paintings, privileging the sensorial act of viewing.

We welcome proposals that situate Riley within US and/or global frameworks—by examining her relationships to artists, collectors, and gallerists; her traveling exhibitions and international shows; her exposure to historic painting and international artworks and artistic traditions—and explore how these connections and experiences have governed and continue to govern her practice and the reception and interpretation of her paintings and drawings. One of the goals of the symposium is to produce the widest possible understanding of Riley.

Dr. Kaley Kramer (Sheffield Hallam University, k.a.kramer@shu.ac.uk), Dr. Adam James Smith (York St John University, a.smith3@yorksj.ac.uk), and Dr. Rachel Stenner (University of Sussex, rachel.stenner@sussex.ac.uk) are seeking contributions for an ‘Element’ in the Cambridge University Press Publishing and Book Culture series.

The volume, which is contracted to CUP, is entitled The People of Print in the Seventeenth Century. It will be comprised of 10 x 2,750 word essays, each of which will profile one significant figure from the book and print trades (broadly defined) in the seventeenth century. Seeking in particular to recover neglected figures and hidden histories, the volume will be an intervention in the fields of book and print trade history and culture, rather than a comprehensive or ‘complete’ encyclopaedia. The volume will begin to recover the diversity of the book and print trades as well as the richness of material, cultural, and ideological networks in which they were situated.

The People of Print in the Seventeenth Century is intended to provide an inclusive, but necessarily partial, introduction for students and scholars of book and print trade history and culture. To that end, at least half of the figures profiled will be female. Each chapter will provide a succinct critical biography, historical context, and information about key networks and outputs for previously under-studied or under-represented figures who are significant for cultural, historical, social, or political reasons. This volume extends the editors’ research for Print Culture, Agency, and Regionality in the Hand Press Period (currently in press); contributions that explore the trades outside of London are especially welcome.

We intend The People of Print in the Seventeenth Century to be the first in a series of volumes which will ultimately include the sixteenth, eighteenth, and nineteenth centuries.

To propose a 2,750 word essay that profiles one figure, please email the editors by the 21st January 2022 with one short paragraph outlining why you think that figure should be included. You are welcome to propose a contribution for the Seventeenth Century and / or subsequent volumes (though the editors will prioritise responses for the Seventeenth Century).

A bio is not necessary, but please list up to 3 relevant publications or research projects. Submissions from PhD students and postdoctoral students are warmly encouraged. Submissions from researchers currently underrepresented in the relevant fields are also warmly encouraged, for instance researchers who identify as an ethnic minority; researchers with a disability; researchers of diverse gender identities and expressions.

Essays will be due by April 22nd 2022.

The Historians of Eighteenth-Century Art and Architecture (HECAA) is soliciting proposals for the next season of our ongoing Zoom Event Series. We welcome a range of formats and topics, and are particularly open to events that engage with issues of diversity, equity, and inclusion in eighteenth-century studies. This could mean a research panel on historically marginalized subjects, a roundtable discussion on inequities in the archive, or a workshop on anti-racism in the eighteenth-century art history classroom. It could also mean a proposal on visual culture unconstrained by the art history canon. Collaborative projects with other organizations may be proposed. We encourage proposals at any stage of development as we can help with soliciting participation, as well as advertisement and social media presence for the event itself. You bring the ideas; HECAA provides Zoom hosting and logistical support! If you are interested, we encourage you to submit a proposal by January 5, 2021.
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The proposal should include:
1. Event title
2. Names and CVs for the organizer(s) and any other confirmed participants
3. Proposed date (Events should fall between March 2022 and September 2023. Please keep in mind that the spring semester is often quite full, so events for the summer and fall are highly encouraged.)
4. A 500-word abstract describing the proposed topic and format for the event.
5. A draft call for papers of approximately 300 words
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We look forward to reviewing submissions. Should you have any questions, please feel free to contact HECAA VP and event coordinator, Elizabeth Bacon Eager (eeager@smu.edu).
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June 2-4, 2022: Labor in the Space Between, Case Western Reserve University

Hosted by the Space Between Society and the Medical Humanities Program at Case Western Reserve University, the 2022 Labor in the Space Between meeting will be held at Case Western Reserve University in Cleveland, Ohio. Our conference encourages prospective applicants to critically examine labor practices between 1914 and 1945 and the ways these practices have shaped our constructions of society, the body, and the self. While economics and the social sciences have been the privileged disciplinary frameworks for thinking about labor, this conference invites scholars working in the various humanities to imagine what our diverse disciplines have to contribute to contemporary critical thinking about labor. Some questions we hope to examine include:

How does cultural production between 1914 and 1945 reflect cultural attitudes toward art and labor?
How were cultural movements like Futurism, Modernism and the new Documentary affected by and engaging with labor movements?
How do race, gender, class, disability, and national, ethnic and religious identities intersect with labor and its representations?
What are the tensions between representations and constructions of labor and the actual performance of labor?
What can labor activism’s past tell us about casualization and union-busting in our own era?
How can the intersectionality of the various fields of the humanities serve to enhance our understandings of and relationships to work and labor?

Cleveland, a major center of industrialization, has been a city defined by labor, and allows us to think of many of the intersections of labor and culture between 1914 and 1945. It is a city where Russian Jews fled to from the pogroms of the early 20th century and where Black Americans escaping harsh, Southern segregationist laws and racism sought new opportunities during the Great Migration. It is a city whose universities and hospitals were instrumental in medical and nursing advances in both the First and Second World Wars, and whose manufacturing industries profited hugely from WWII. It is a city that has always opened its arms to refugees, including 995 Afghans who have recently arrived to build new lives. Cleveland is but one illustration of how labor markets were disrupted in myriad ways between 1914 and 1945. These shifts and disruptions resulted in social and cultural upheavals that were addressed by writers, artists, journalists, and other individuals in a range of forms of cultural production.

Themes this conference will explore include Labor and

Medicine: disability, reproductive, war and medicine, war nursing
Migration
War: military production, resistance, collaboration, propaganda, killing, memorialization
Enslavement, indentured servitude, camps, forced, prison, concentration camps, ghettos, and gulags
Communism, and its representation
Postwar planning and rebuilding
Foodways: culinary production, agriculture
Technology: mass production versus individualism
Creativity: literature, cinema, fashion, the arts, academic production
Historicization
Hierarchies: service versus creative/research/generative
Domesticity: household economies, servants, gendered spheres
Working class art and literature
Invisibility: Hidden, silent, undocumented, emotional, and affective

Please note that, as of now, plans are for an in-person meeting. Case Western Reserve University requires meeting attendees to follow university COVID-19 protocols including masking and providing proof of vaccination.

Please submit a 300-word abstract and a 100-word bio to Ravenel Richardson at mrr82@case.edu by December 15, 2021.

The Broadside Day is the annual one-day conference for people interested in Street Literature and Cheap Print in all its fascinating aspects - broadsides, chapbooks, songsters, woodcuts, engravings, last dying speeches, catchpennies, news (real and fake), almanacs, carol sheets, wonder tales, and all kinds of cheap printed ephemera sold or distributed to ordinary people in the streets and at fairs, from pedlars’ packs, and in back-street shops, up and down the country.

Organised jointly by the Vaughan Williams Memorial Library and the Traditional Song Forum, next year’s Day will be an in-person event (with live online streaming) on Saturday 12th February, at the Centre for Printing History and Culture, at the University of Birmingham.

Papers of 20 minutes length are invited on any aspect of our broad subject, including the content, the technology, the artifacts, the trade, the sellers, the audience, the illustrations, or on any other features of this diverse field. We hope to be able to accommodate remote presentations from those who cannot get to Birmingham.

Please send a proposal of not more than 250 words to Steve Roud (steveroud@gmail.com) by Friday 19th November 2021; indicating also whether you hope to be there in person or can only offer a remote presentation.

As with previous conferences, we plan to make selected papers available in the Street Literature series published by The Ballad Partners (theballadpartners.co.uk) in due course.

Conveners:
Nancy Siegel, Towson University, Towson, Maryland (nsiegel@towson.edu) ; Allison Stagg, Technische Universität Darmstadt, Germany (stagg@kunst.tu-darmstadt.de)


Satirical prints, whether published in Britain, Europe, or America during the long eighteenth century were widely consumed, circulated, and collected. Displayed and presented in various formats for a growing consumer audience, these works from the “golden age of caricature,” demonstrate the manner in which print culture functioned as a disseminating voice for satirists who used comedic and often bawdy imagery to express criticism and dissent during the turbulent end of the eighteenth century and beginning of the nineteenth century. Giving visual form to critiques and commentaries on current events, contemporary affairs, public figures and politicos, satire gave voice to the body politic.

Through explorations of how the visual culture of satirical prints functioned in the long eighteenth century, we invite papers from scholars at all ranks, affiliated and independent, that address inquires such as how were collections amassed, to whom did satirical prints appeal, and what characteristics contributed to their enduring popularity? By what means were prints advertised, displayed, and discussed? Further, what was the role of the print seller? What was the market for such prints? While there is little dispute over the enduring popularity of eighteenth and nineteenth-century satirical prints and caricatures, this session considers the role of the collector and collecting and what is known of individual collectors. Often dismissed or relegated to a caption or footnote, these individuals, for whom such artistry or content was eye catching, are largely responsible for the existence of the satirical impressions found in museum collections today.

Please send abstracts of no more than 250 words to Nancy Siegel at nsiegel@towson.edu or Allison Stagg at stagg@kunst.tu-darmstadt.de.

Tamarind Institute invites applications for artist collaborations with its skilled student printers. During the spring semester, three visiting artists will individually participate in two-week residencies in the workshop, each working with a team of two student printers under the close supervision of a Tamarind Master Printer. Visiting artists will be invited to create two print editions with a team of printers who provide guidance on using lithographic drawing materials and oversee all technical aspects of the printing process.

At the completion of the two-week residency the artist will sign off on a trial proof, and the edition will be printed after the artist leaves. The editions will be completed by the end of May 2022, at which time the artist will receive all of the prints and proofs for signing. With the exception of one record impression for the Tamarind archive and one printer’s proof retained by the printer, all of the prints will
be the property of the artist.

The workshop fee is a flat $2,000 covering workshop materials. All travel and living expenses are the responsibility of the participating artist. $1,000 is due when the residency begins, and the remainder is due upon completion of the prints. The prints will be inspected by the Tamarind Curator for printing quality and consistency, and a documentation sheet will be prepared for the artist and printer to sign. The prints will be chopped with Tamarind’s contract chop.

The $2,000 workshop fee includes the following:
- 2 editions, each in an edition of 10-15 prints
- Each edition includes one artist proof, one printer’s proof, and one record impression for the Tamarind archive
- 30 x 22 inch maximum paper size from available paper stock
- 4-5 press runs maximum
- 5 trial proofs maximum (additional trial proofs will be charged at the current rate)
- Use of all standard lithographic drawing materials and processes is included in the workshop fee; for use of special photographic processes or special techniques such as image reversal, chine colle, etc, surcharges may be added. The Tamarind Curator will oversee printing costs during the project, to determine any additional costs.

APPLICATION PROCESS
Please submit a resume and a letter outlining your previous experience and interest in collaborative printmaking. Include a one-page proposal outlining what kind of project you would like to explore at Tamarind, and how working with a team of printers would allow you to expand your practice. Include 10-15 images of recent work.
No previous experience in printmaking necessary.

Three residencies available, please specify preference for one of the following 2022 dates, and indicate if there is flexibility for second/third choice of dates:

January 31-February 11
February 21-March 4
March 13-25

Application deadline October 31, 2021. Notification by November 15, 2021

Submit applications to tamarind@unm.edu with subject heading STUDENT PRINTER COLLABORATION PROPOSAL

This issue of the Art Institute Review addresses the concept of in situ—a natural, original, or existing position or place. The notion relates to basic questions art historians, conservators, curators, and other cultural heritage professionals ask about all works of art: Where were they installed or exhibited? How were they experienced in their original time and location? To what extent did these initial contexts orient and shape artistic intent? Location and place may change over time. What happens when the physical context of a work of art is interrupted or upended? What are the stakes surrounding its placement and/or displacement? Research and analysis are themselves informed by position and place. How are art historical, conservation, and material science methods shaped in situ? How must they change when addressing a work of art that has been removed from its original context(s)?

Such questions regarding the past, present, and future of artworks have always been important in art history and related disciplines, but they have taken on even greater weight in our particular moment. What does it mean to recontextualize works in new spaces? What happens when we privilege one point in an artwork’s history over another—or when we deprioritize or disregard that history? How can digital tools and technologies help us better understand, question, and critique the “place” of art?

The third issue of the Art Institute Review invites you to consider, interrogate, and visualize the concept of in situ, understood broadly. We welcome topics from an expansive geographical, temporal, and theoretical range that could include: archaeological investigation and research, theoretical and practical projects of restitution and decolonization; community-based conservation; site-specific artworks and interventions, Gesamtkunstwerk, and land art projects; digital and material re-creations of artistic sites and architectural settings; and more. We especially welcome proposals focused on historically underrepresented objects or narratives, proposals from emerging scholars, and proposals that optimize the digital platform. Not only is the digital realm itself a place ripe for critical exploration through the theme, but it also supports innovative technological experiments and creative realizations of historic, contemporary, and imagined spaces.

This issue is co-edited by Elizabeth McGoey, Associate Curator of Arts of the Americas, the Art Institute of Chicago, and Jeanne Marie Teutonico, Associate Director of Strategic Initiatives and Publications at the Getty Conservation Institute.

For more information and to access a submission link please visit the external link below.

The session invites new scholarship on the publishing, commerce, and distribution of prints to investigate the network of collaborations within global print markets during the long 18th century.Authors might also consider how market interactions highlight the role of prints in facilitating aesthetic, intellectual, and cultural dialogues of the Enlightenment.

Please send abstracts of no more than 250 words to Susanne Anderson-Riedel at ariedel@unm.edu

This session will interrogate the interstices of printmaking across geographies and time periods. David Landau and Peter Parshall’s foundational text, The Renaissance Print, 1470–1550, suggests that “printmaking developed early on as a trade capable of eluding conventional practices and consequently attracting artisans with the initiative to work in the shadowy interstices that lay between the guilds and local governments” (12: 1994). From this early history of the medium to the present, printmaking has had an ability to produce and thrive within interstitial spaces both for working artists and in the art historical canon. Interstices are also essential to printmaking’s technical processes. For example, in aquatint, the interstices between resin grains that the acid etches into create the print's design. Yet, scholars and collectors have tended to overlook interstitial objects that fall between the categorical boundaries of intaglio, relief, planographic, and stencil printing.
This session invites papers that examine printmaking and its interstices across a wide range of visual and material cultural practices. Examples of welcome topics include but are not limited to the following: gaps in canonical art historical narratives; liminal spaces of making, such as Mabel Dwight’s movement between her home and studio while creating lithographs; physical intervals between printed marks, such as cross-hatching used to depict the Black body in Phillis Wheatley’s engraved frontispiece to Poems on Various Subjects, Religious and Moral (1773); and hybrid works that push against conventional print taxonomies such as Giovanni Benedetto Castiglione’s seventeenth-century monotypes and Pati Hill’s xerographs from the 1970s–80s.

CO-CHAIRS:
Sarah Nuessle Bane, University of California, Santa Barbara - sbane@ucsb.edu
Michelle Donnelly, Yale University - michelle.donnelly@yale.edu

HOW TO APPLY:
To submit, gather the following and send via email to the chair(s) listed before Thursday, September 16, 2021.
Completed proposal form (available on CAA site).
A shortened CV (close to 2 pages).
[Optional] Documentation of work when appropriate, limited to five images as a single PDF, especially for sessions in which artists might discuss their own practice.

Upon acceptance, presenters must join or bring their CAA memberships up to date, (you may apply with a non-member ID). Only CAA members can present in a Session.

For more information please visit the external link below.