provides a forum for investigating the full scope of medieval and early modern play, from toys and games to dramatic performances, from etiquette manuals and literary texts to bulls and tractates, from jousting to duels, and from education to early scientific investigation. Inspired by the foundational work of Johan Huizinga as well as later contributions by Roger Caillois, Eugen Fink, and Bernard Suits, this series publishes monographs and essay collections that address the ludic aspects of premodern life.

The accent of this series falls on cultural practices that have thus far eluded traditional disciplinary models. Our goal is to make legible modes of thought and action that until recently seemed untraceable, thereby shaping the growing scholarly discourses on playfulness both past and present.

For more information, please click on the 'External Link' below.

Please contact Erika Gaffney, egaffney@aup.nl, with any questions, or to submit a proposal.

es which mimic and attempt to siphon off that authority and authenticity. In late medieval and early modern European culture (1400-1750), this potential was realized in new and unprecedented ways. Social, technological, and intellectual developments forever altered many activities which fall under the remit of forgery and fabrication, spurring lively debate about truth and falsity. The printing press transformed the production, distribution and marketing of texts and images. Heightened interest in classical antiquity changed how scholars interacted with and assigned value to artifacts originating in past cultures. Legal developments altered how artworks and documents were policed, and how authorship and authenticity were instantiated.

The conference "Faking it. Forgery and Fabrication in Late Medieval and Early Modern Culture", held in Gothenburg from the 15th to the 17th of August 2019, seeks to explore the many and varying ways in which legitimate forms of production spawned illegitimate ones in late medieval and early modern culture. The conference is hosted by The Early Modern Seminar at The University of Gothenburg. We welcome proposals on all types of cultural production stemming from all cultural ambits, provided that they are connected with the later medieval and early modern world.

Topics may include, but are not limited to:
• The terminology of spuriosity
• Developments in criticism as a response to forgery
• The fake as a foil to the authentic
• Connections between literary forgery and forgery in the visual arts
• The relationship between lying and forgery
• Grey areas: where production becomes fabrication
• Legal and economic perspectives on fabrication
• Fakes and fabrications in arts and sciences
• The personality cult of the forger

We invite abstracts of up to 250 words, accompanied by a title and a 50-word biographical statement, to be sent to forgeryconference@lir.gu.se. Note that presentations must last no more than 20 minutes. The deadline for submitting an abstract is the 30th of January, 2019. Enquiries may be sent to the same address or made directly to Matilda Amundsen Bergström (matilda.amundsen.bergstrom@lir.gu.se) or Philip Lavender (philip.lavender@lir.gu.se).

e birth of English art historian John Ruskin, whose love for the city of Venice was a central theme in the recent exhibition held at Palazzo Ducale in Venice (“John Ruskin. Le pietre di Venezia” 10 March-10 June 2018, curated by Anna Ottani Cavina), as an occasion to reflect on how Venetian artworks and artists of the Renaissance period were viewed in the 19th century. Starting points for this area of research are two recent works: Emma Sdegno’s volume about Tintoretto ("Looking at Tintoretto with John Ruskin", Venezia 2018; in English, French and Italian) and a collective volume on "Tiziano, Canova e la basilica dei Frari nel 19° secolo" (edited by Elena Catra, Isabella Collavizza e Vittorio Pajusco, Treviso 2018). As these and other works show, studies devoted to the 19th century reception of Venetian masters of the Renaissance have the potential to make significant and innovative contributions both to research on single works and artists and to our understanding of cultural history more broadly.

For the forthcoming monographic issue of the Journal we welcome original, unpublished contributions which focus, for instance, on the interest developed in the 19th century for individual artists and architects, or for single works of art and architecture; also relevant are aspects of art criticism and art literature, as well as topics concerning collections or museums, or restoration projects; further, contributors might wish to focus on the role played by artists and artworks in the thought and writings of historians of art and architecture, as well as of intellectuals, artists and architects, active in the 19th century.

A list of suggested topics, by no means exhaustive, includes:
o the 19th century reception of individual artists, architects, artworks;
o the 19th century art market: collections, museum acquisitions, exhibitions and installation projects;
o the function and role of non-specialist publications (tourist guidebooks, brochures, pamphlets, catalogues etc.) in the 19th century;
o the use and role of photography in the 19th century in familiarising the general public with works of art and architecture;
o thinking and teaching about individual masters and works within Art Academies in the 19th century;
o the influence of individual masters and works on the artistic development of 19th century artists and architects.

We welcome submissions for papers in Italian, English, French, Spanish and German.

ABSTRACT SUBMISSION | Please submit an abstract concerning the topic you propose with a provisional title and a short autobiography. The abstract should not exceed 3,000 characters (spaces included). Files should be submitted by 2 December 2018 to the Editorial Board. The authors of selected abstracts will receive a reply by the end of the month. The editorial rules concerning the text and any images the author might wish to include are available (in Italian, English and Spanish) via the 'External Link' below.

Papers should be of a length between 20,000 and 40,000 characters. All articles will undergo a double peer review process prior to publication. Articles should be uploaded on the MDCCC1800 platform by 31 March 2019.

Please do not hesitate to contact us at the following email address mdccc1800@unive.it with any queries you might have regarding the application or any further stage of the process.

otion was used to indicate a range of different kinds of places, including artists’ workshops, art academies, cities, regions and nations in Europe. Its application was far from standardized, however, as evidenced by the broad debates, negotiations and contestations amongst scholars, collectors, dealers, agents and artists concerning the nature, prestige and identity of art and artists. Depending on the contexts in which such debates took place (e.g. scholarship, collecting, the market or aesthetics), the notion of school could be associated with issues of taste and civilization, human variety and national character, nature and climate, and commerce or knowledge. The concept of school was thus based on the location of certain practices and modalities of art, although it was equally suited to the active shaping of ideas about the European art world and, possibly, even about the nations of Europe. The early modern concept of school thus did not coincide with the modern notion of national school. The extent to which it influenced modern forms of national-school classifications of art and national art history (which are currently under critical scrutiny by art historians with a geographical interest in the artistic exchange, transfer or circulation of early modern art) is open to debate (Gaehtgens 1993, Kaufmann 2004, Maës 2010).

Of special interest for this conference – and the planned publication of its proceedings – are case studies devoted to art collections and art literature, as well as the often-close connections between them. Case studies of collections may comprise those of an encyclopaedic nature, as well as those devoted to prints, drawings or paintings. Several approaches are considered particularly relevant to the geographical analyses of the case studies. First, the conceptual approach to the art-geographical notion of school, which has come to imply places of artistic tuition and modalities of art, as well as publics of art, as it became tied to the notion of nation (Peltre/ Lorentz 2007, Brunner/Koselleck 1972-97, Leerssen 2006). Second, the rise of art connoisseurship supplied an instrument for evaluating art works, artists and schools in Europe through mutual comparison and critical assessment (Griener 2010, Michel 2014, Smentek 2014). Third, the aspect of trans-local, trans-regional and/or trans-national networks has shaped geographies of art through travel, debate, correspondence, trade or agency in various parts of Europe (Meyer/ Savoy 2014, Keblusek 2011).

Papers may focus on but need not be limited to:
- collections of prints, drawings, paintings or other art works, including within the context of encyclopaedic collections;
- works of art literature in the widest sense of the term;
- geographical arrangement as a form of mapping European art;
- trans-local, trans-regional or trans-national discourses of art;
- the concepts of art, school and nation, as well as the connections between them;
- identity formation through artistic concepts of school, character, style or taste;
- European networks of collectors, curators, scholars, dealers and artists;
- increasing public access to collections and/or museums;
- the rise of art connoisseurship and the critical evaluation of art;
- values of art on the market;
- the early-modern roots of modern national (and nationalistic) histories of art.

Proposals for papers should be submitted before 15 November 2018 (i.r.vermeulen@vu.nl). They should contain an abstract of no more than 300 words, as well as a brief biography (no more than 200 words). The costs of travel and accommodation will be covered for researchers whose proposals are selected.

inscribed and recorded in official documents and elsewhere; the mimesis of the “handwritten” in artist's books and digital typeface plugins; the adoption of handwriting practices by recovery communities; the declarations of nostalgia for personal connection signified by the handwritten letter. These are just a few of the uses and futures of handwriting that mark a time of digital media shift. But what is new or transformative regarding this "old" media practice?

The Futures of Handwriting brings together an interdisciplinary array of scholars working in media theory, historical studies, art practice, pedagogy, and other fields in order to address four interrelated questions. The first entails a theorizing of the media itself: what are the futures of handwriting's meanings and affordances? The second pertains to the history of lived experience: how do scribal practices contribute to the futures and/or foreclosures of various peoples and communities? The third is a matter of our own intermedial literacies: how does handwriting figure within larger media ecologies, and relatedly, what is the place of manuscript cultures for establishing communicative forms, from language, to codices, to the very idea of “writing”? The final question is a meta-commentary on the symposium itself: how does handwriting and allied forms of expression together contribute to a sense of time itself? If manuscript comes “after” print, as Peter Stallybrass has claimed, then where are we today?

While each of these questions are posed in the present tense, this symposium seeks to establish connections between present and past experiences of the "newness" and the "possibility" of handwriting. Thus, in addition to studies of the possible futures for handwritten forms and formats, this symposium will feature historical research into past scribal futures and futurities, which have marked contexts as varied as the rise of middle-class epistolary culture; the birth and death of the author; the adoption of printing, telecommunications, and phonography; the networking of Enlightenment science; the scenes of colonial encounter and contestation; the invention of the news; and the formation of modern scholarly disciplines. By developing a history of the future of handwriting – from The Phaedrus to the grocery store checkout line and beyond – this symposium explores how a vital media practice has been and remains crucial to our understandings of communication, cultural difference, and social order.

Please submit your 300-word abstract and 2-page curriculum vitae to thefuturesofhandwriting@gmail.com by the extended deadline of October 8, 2018. Papers addressing “the futures of handwriting” in any historical period or context will be given due consideration. In addition to papers rooted in scholarly disciplines such as literature, history, archive studies, library science, art history, anthropology, archaeology, communication and media studies, bibliography, and paleography, any papers or any presentations of “creative projects” (analog and/or digital) that rigorously address the conference theme are welcome.

The conference will provide presenters with hotel accommodations and meals during the symposium. The organizing committee asks that selected participants with access to institutional funding cover the costs of travel. Remaining conference funds will be used to cover “need-based” travel costs. Please include a brief statement alongside your abstract that explains the need for travel aid, if applicable.

hem being the first handiwork of the architect, not enough attention is given to discussions about the sites of drawing activity, or to the matter of housing them, which is essential to the active relations between drawing and buildings, building and drawings, before, during and after construction.

Expanding on the well-established discussion of the translation from drawings to buildings, the Frascari Symposium IV questions the significance of the lives of drawings and models- before, during and after construction. Where drawings and models dwell in relation to buildings, impacts their seminality and their potential future translations, from drawing to building, building to drawing. In this process of multi-directional and multi-temporal constructions, who has ownership of the drawings and models, and where do they belong?

The Frascari Symposium IV, taking place in mid-June 2019 at the School of Architecture and Landscape at Kingston University, London, UK, invites scholars, educators, curators and practicing architects to submit an abstract in English of up to four hundred seventy-four words and up to two images addressing one of the four categories of the event:

• Drawing sites and sites of knowledge construction: the drawing, the office, the laboratory, and the construction site.
• The afterlife of drawings and models: archiving, collecting, and exhibiting.
• The architect’s ethical responsibilities: authorship, ownership, copyrights and rights to copy.
• Tools of making: Relations between architectural representations and their apparatus over time.

Please submit abstracts for blind peer review no later than October 11, 2018 by emailing a pdf (5MB max.) of your abstract to both contacts below:

Federica.Goffi@Carleton.ca
M.V.Johnson@kingston.ac.uk (cc.)

Abstracts will undergo a blind peer review process. Please identify the author name(s), institution(s), abstract title, and the chosen session in the body of the email and omit references to the author/institution in the abstract pdf document. The abstract can only be submitted to one session topic. The organizers reserve the right to assign the proposed abstract to a different session topic based on suitability. Selected authors will be invited to develop a full paper (max. 3011 words) to be delivered at the Frascari Symposium IV.

Presentations will be twenty minutes long, including questions and discussion. Each symposium session will include four to six presentations. Selected presentations will be invited to contribute a full paper towards a future publication.

Notices of acceptance will be sent to authors by November 22, 2018.

information)
Articles: 1500 word max.
Reviews: 750 word max.
Announcements/Opportunities should be brief and in a workable document format.

Submit by email to editor@sgcinternational.org. View past issues online at https://sgcinternational.org/newsletter/graphic-impressions/



All submissions included in the newsletter are at the discretion of the editor and all questions regarding your submission can be directed to editor@sgcinternational.org. You can also find past issues on our website, www.sgcinternational.org. Active members of SGCI get priority consideration for publication.

Intended for individuals in the early stages of their curatorial careers, the 2018 Thaw Colloquium will consider the traditional skills of looking and evaluating, generally referred to as connoisseurship, with special reference to the building and shaping of print collections in museums. Not only does connoisseurship serve as the basis for determining
aesthetic quality and advancing art historical interpretation, but the close and comparative examination of technique, style, condition, and impression quality functions as a critical tool in assessing institutional holdings, evaluating potential acquisitions on the market and in private collections, developing and tailoring collection specific acquisition strategies, and organizing exhibitions.

This three-day seminar, limited to a select number of participants, will feature presentations by curatorial and conservation staff with reference to Old Master, nineteenth-century, and modern prints from the National Gallery’s collections. The National Gallery of Art will cover participants’ travel (national or international), accommodations, and daily expenses.

Requirements: Participants will have a demonstrated commitment to prints and drawings, including at least two years of curatorial experience in a department of works on paper and advanced academic study in art history concerning the graphic arts.

Applicants should send a letter of interest and CV by September 14, 2018 to:
Mollie Berger Salah
Curatorial Assistant
Division of Prints and Drawings
National Gallery of Art
m-salah@nga.gov

Applicants selected to participate will be notified of their acceptance to the 2018 Thaw Colloquium on Connoisseurship by October 5, 2018.

sts Publication Series is only open to individuals who reside in the five boroughs of New York City.

This program is made possible with support from the Jerome Foundation and the New York City Department of Cultural Affairs.

Program Overview The Emerging Artists Publication Series supports early career artists in realizing an artists’ book project. Four compelling book proposals will be selected by Printed Matter staff and a guest jury to be developed and published under our imprint in 2019-20. Applicants will be practicing artists but will not have major gallery representation, a significant solo exhibition history or an extensive book publishing practice. First publications are welcome.

Proposed books may be in progress—a final design is not required—however applications should be for book projects developed beyond the idea stage. Though we expect that selected projects will continue to evolve during the working period, submissions should be carefully considered and successfully illustrate to the jury what the completed project will look like. Applications may also describe production aspects of the book, including size and format, printing method and binding.

In support of your application, please provide an overview of any work that’s been done to date, and a brief breakdown of what you see the remaining work areas to be (research phase, writing period, commissioning of texts, etc.) with an indication of how project material will be sourced.

We will only be able to review submissions for artists’ books—works that are conceived as artworks in their own right. Works of fiction, non-fiction, poetry, catalogs of artwork, monographs, as well as limited edition, deluxe, or hand-crafted book objects will not be eligible as these are outside the program’s scope. Please visit www.printedmatter.org for more information on Printed Matter and artists’ publications.

Application Requirements —A detailed summary of the proposed project (up to 500 words) —A short status report on progress to date (up to 200 words) —PDF sample pages or PDF of images that directly relate to or demonstrate some aspect of the proposed project, including brief captions (up to 15 pages) —Artist website or CV

Available Support Four projects will be selected and published under Printed Matter’s imprint, with all production and design expenses covered (within budget).

Artists receive a fee of $1,500, and 5% of the edition.

br> GUEST CURATOR: Kaly Scheller-Barrett, Hashimoto Contemporary Kaly Scheller-Barrett is a visual artist and secret poet hailing originally from Bavaria. Drawing heavily from her extensive training in craft technique, Kaly’s work attempts to blur the boundaries between fine art and craft practices, asking the viewer to un- and re-frame their preconceptions of material. Kaly recently completed an MFA in Sculpture at California College of the Arts where she taught Craft Theory and is currently the Associate Director of Hashimoto Contemporary.

About Create! Magazine We connect our artists to a larger audience by featuring work in an archival limited edition print, our website, and social media platforms. We are passionate about providing opportunities for emerging and mid-career artists. Create! Magazine is a bimonthly digital and print independent publication for artists, designers and creative entrepreneurs. Our issues have been featured by Art Miami Fairs, Apartment Therapy, Stack Magazines, Study Breaks, Secrets of Green and more.

WHERE TO FIND: Copies will be available in our online shop and at several retail locations in Miami, London, New York, Amsterdam, Wilmington (DE), Philadelphia and more.

FEE: $35

ELIGIBILITY: Artists 18 and older are welcome to apply with works in any medium: painting, sculpture, digital, printmaking, fiber, photography, mixed media, installation and more. Artists from all countries are welcome to submit. All themes are welcome.

SELECTED ARTISTS: Artists selected by the guest juror will receive a 2-page spread including a brief bio, website, and 2 images in print and digital formats. Published artists will receive a complimentary digital issue and will be listed with images, details and information on our website/social media for life. All featured artists will automatically be considered for any upcoming curatorial projects and exhibitions organized by our team.