Customize Consent Preferences

We use cookies to help you navigate efficiently and perform certain functions. You will find detailed information about all cookies under each consent category below.

The cookies that are categorized as "Necessary" are stored on your browser as they are essential for enabling the basic functionalities of the site. ... 

Always Active

Necessary cookies are required to enable the basic features of this site, such as providing secure log-in or adjusting your consent preferences. These cookies do not store any personally identifiable data.

No cookies to display.

Functional cookies help perform certain functionalities like sharing the content of the website on social media platforms, collecting feedback, and other third-party features.

No cookies to display.

Analytical cookies are used to understand how visitors interact with the website. These cookies help provide information on metrics such as the number of visitors, bounce rate, traffic source, etc.

No cookies to display.

Performance cookies are used to understand and analyze the key performance indexes of the website which helps in delivering a better user experience for the visitors.

No cookies to display.

Advertisement cookies are used to provide visitors with customized advertisements based on the pages you visited previously and to analyze the effectiveness of the ad campaigns.

No cookies to display.

Back to Opportunities

CFP: Materiality & Mediums in 19th Century Art: Matters of Substance (CAA, Chicago, 12–15 Feb 2020)

The 19th century witnessed an explosion of mediums and materials with which artists could creatively engage. The age was bracketed by the emergence of the new media of photography near the beginning of the century and moving pictures at its end. There was a heightened interest in paper as the stratum for artworks. Pastels, watercolors and a variety of printmaking techniques began to occupy a more prominent place in exhibitions and the marketplace. Alongside marble or bronze sculpture new substances proliferated, from plaster or parian (bisque porcelain) for inexpensive multiples to photosculpture, a process using photography to produce a small statuette. Paint technology was being revolutionized, as tube paints and a vast range of new colors become available, while Japanese paper, carved wood from India and beads from Africa were appropriated by artists in the West. As artworks became increasingly mobile, how did the their materials -- oil paint, shells, paper or stone – shift in meaning as their migrate between contexts? What does the increased popularity of trompe l’oeil painting -- in which the artist deploys one material pretending to be another – tell us about cultural values? Papers might also address cross-disciplinary questions including art history’s relation to material culture, or insights an art historian can gain from collaboration with conservationists. Ultimately we are pondering whether, by turning our attention to the materiality of the art object, we can gain new insights into their meaning(s).

Chair: Katherine E. Manthorne, Graduate Center, City University of New York

Please submit proposals to Katherine Manthorne via email (kmanthorne@gc.cuny.edu) by July 23, 2019.

Include the following materials:
1. Full name
2. Affiliation
3. Email (please use the email associated with your CAA membership account)
4. CAA member ID# (you must be a current individual member)
5. Presentation Title
6. Presentation Abstract (250 words maximum)
7. Statement on why your proposal is a good fit for this session (100 words maximum)
8. Brief cv (2-3 pages)

Please visit the 'External Link' below for more information.
[ssba]

Leave a Reply