CFP 04.07.2021

7 Sessions at RSA 22 (Dublin, 30 Mar-2 Apr 22)

Dublin, 30.03.–02.04.2022

ArtHist.net Redaktion

[1] Printmaking as Passe-Partout: Leveraging Skill and Knowledge in Artists’ Migration
[2] Discipline of Emblems Sessions
[3] Venetian Disegno: Expanding the Frontier
[4] The Sculptor as Architect
[5] Architectural design theory beyond the treatise
[6] Synagonism in Early Modern Art
[7] Nonextant

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[1] Printmaking as Passe-Partout: Leveraging Skill and Knowledge in Artists’ Migration

From: Femke Speelberg
Subject: CFP: APS-sponsored RSA Panel: Printmaking as Passe-Partout: Leveraging Skill and Knowledge in Artists' Migration
Deadline: Jul 26, 2021

During the early-modern period, the growing and increasingly international market for prints offered artists a means to find employment in many different places. The widespread availability of presses eliminated the need to travel with heavy equipment or to establish a workshop of one’s own, thus allowing printmakers to maintain and further their careers from multiple locations, sometimes staying only briefly before migrating again. Whether simply seeking new professional opportunities, or fleeing from religious persecution and/or the destruction of war, the ability to supply (new) content through the mediums of woodcuts, engravings and etchings could open doors to court appointments, collaborations with established artists and printer-publishers, and new groups of customers. Framing printmaking as a vehicle of access, this panel seeks to explore how artists in the period from the late fifteenth- to the early eighteenth century leveraged their practical skills and specialized knowhow as they sought domicile in new cities and/or countries across Europe, and beyond.
Papers for this panel might address ways in which individual printmakers sought to (re-)shape their identity through the proliferation of specific subject matter, advertised their skill by adhering to the current style and taste in their place of origin, or made use of existing (international) networks of contacts to guide their way to new opportunities. Also of interest are instances in which artists active in other disciplines turned to printmaking, specifically because of the flexibility of the medium.

Contributions that take a macro approach, addressing particular groups of artists, centers of printmaking or (changing) currents over a longer period of time are also greatly encouraged.

Proposals should include:
• Paper title (15-word maximum)
• Paper abstract (150-word maximum)
• Resume (.pdf or .doc upload)
• PhD or other terminal degree completion year (past or expected)
• Full name, current affiliation, and email address
Primary discipline

Please send your proposal to:
Femke.Speelbergmetmuseum.org and Julia.Lilliemetmuseum.org.

Deadline: 26 July 2021

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[2] Discipline of Emblems Sessions

From: Tamar Cholcman
Subject: CFP: Call for Papers: Discipline of Emblems Sessions at RSA Dublin 2022
Deadline: Jul 28, 2021

The Discipline of Emblem Studies invites papers and panels for its sessions at the annual meeting of the Renaissance Society of America conference in Dublin, 30 March-2 April 2022.. We may submit up to four panels. We invite papers and panels on any subject appropriate to our discipline and especially welcome those that address the following:
- Pre- and/or Proto- Emblematics: The Origins of Emblems
- Emblem Theory Then and Now
- The Migration of Emblems
- Emblems and the Natural Sciences
- New perspective on emblem books
- Practice and Theory of Emblem Digitization.
Panels must be organized by a current member of the Renaissance Society of America. Panels should ordinarily include no more than three presenters.
Please submit the following:
A session title no longer than 15 words;
150 word abstract for description of the panel;
150 word abstract for each of its papers;
300 word curriculum vitae for each presenter, including full name, affiliation, and email address;
any audiovisual requirements;
session keywords.
Papers may be submitted by anyone. Graduate students should be doctoral candidates (post prelims).
Please submit the following in a single Word document:
150 word abstract of the paper;
300-word curriculum vitae, including full name, affiliation, and email address;
any audiovisual requirements;
paper keywords.
Send all materials to Tamar Cholcman (cholcmantauex.tau.ac.il). The deadline for submissions is 28 July 2021. Decisions on submissions will be sent out at least one week before the RSA submission deadline of 10 August 2021.
All participants in the Dublin conference must be members of the Renaissance Society of America.
Please note: RSA rules allow a participant to present only one paper.

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[3] Venetian Disegno: Expanding the Frontier

From: Genevieve Verdigel & Thomas Dalla Costa
Subject: CFP: 'Venetian Disegno: Expanding the Frontier'
Deadline: Jul 31, 2021

Organised by: Genevieve Verdigel (British Museum) and Thomas Dalla Costa (Independent Art historian and Curator)
It is beyond reasonable doubt that disegno was fundamental to the art of Renaissance Venice and the Veneto. Surviving drawings by artists working across the region bear witness to a diverse and innovative use of media and technique, while consideration of the methods of producing artistic output such as painting, sculpture and architecture shows that a design phase was essential. In turn, recognising the importance of itinerancy and peripheries challenges long upheld theories on Venetian disegno vis-à-vis draftsmanship in other artistic centres.
This RSA panel will seek to further forward the scholarship on this topic explored at the two days conference ‘Venetian Disegno: New Frontiers’ held digitally at The Warburg Institute in May 2021. The ultimate goal is to continually draw attention to the novel scholarship on the role of disegno to all aspects of artistic production across the Veneto in order to reshape this rich if somewhat established field.

To do so, we are seeking for innovative papers exploring, yet not necessarily limited to, the following topics topics:

- Printmaking: the importance of preparatory drawings; collaborations between designers and printmakers; the perception of prints as disegni stampati
- Theory: reappraisals of the disegno vs colore debate; Venice and the Academy
- Itinerancy: the uptake and innovation in media and technique first deployed beyond the Veneto; artists from the ‘peripheries’ such as Pordenone, Paolo Farinati,
- Drawings for diverse outputs: sculpture, tapestry, illumination
- Technological Study: infrared, x-ray
Papers should be no longer than 20 minutes.

Paper proposals, consisting of a brief abstract (300 words max.) with a short CV and affiliation, should be sent as either a PDF or Word to venetian.disegnogmail.com by 31 July 2021.

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[4] The Sculptor as Architect

From: Elizabeth Merrill
Subject: CFP: The Sculptor as Architect
Deadline: Jul 26, 2021

Early modern architects were never just architects; they were also painters, carpenters, sculptors, goldsmiths, instrument makers and decorators. In recent years, scholars have dedicated considerable attention to the relationship between painting (and more fundamentally, disegno) and the production and presentation of architecture. But there remains a significant lacuna in the scholarship regarding the intersection between sculpture and architecture, or more broadly, between the facture of artistic objects – carved, cast, molded or poured – and the construction of architectural spaces.
How did the skills of the goldsmith or sculptor transfer to the production of architecture?

This session invites contributions that consider how the skills inherent in the practices of early modern of sculpture transferred to the production of architecture. Possible areas of inquire include:
- the production of models and their employment in sculpture and architecture
- foundry practices and casting techniques that were applied in sculpture, artillery and architecture
- the training and skills of specific sculptors/founders/architects
- the relationship between Kleinarchitektur, architectural models and actual buildings
- material knowledge and the production of sculpture and architecture
- the distinction (theoretical and physical) between sculpture and architectural ornament

Session sponsored by the European Architectural History Network.

Please send proposals by 26 July 2021 to Elizabeth Merrill (elizabethmerrill11gmail.com) and Nele De Raedt (nele.deraedtuclouvain.be). Your proposal should include a title, 150-word abstract, and one-paragraph biographical CV.

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[5] Architectural design theory beyond the treatise

From: Elizabeth Merrill
Subject: CFP: Architectural design theory beyond the treatise
Deadline: Jul 26, 2021

Research on Renaissance architectural design theory has long been dominated by studies that focus on the architectural treatise as a literary genre. This focus has contributed to two predominant implications within the field. For one, it links the emergence of prescriptive architectural design theory to a strong genealogical narrative that places its origin in fifteenth-century Italy when authors of various professional backgrounds began to produce literary imitations along the lines of Vitruvius' de architectura libri decem. Secondly, it limits the scope of architectural design theory and the means by which it is formulated; historians of early modern architecture only seem to consider those texts which explicitly take architecture as their principal subject.
This session invites contributions that consider the various literary formats in which architectural design theories were formulated during the Renaissance (ca.1300-1700). Authors may address, but need not limit themselves to, the following themes: the implications of a given literary format on the form and content of the architectural theory it presents; the professional background of different authors of architectural theory and the intended audience of their texts; what different commentaries and texts on architecture reveal about professional, political or social issues at stake; and the interactions between architectural design theories and other disciplines, such as moral or political theory. Contributions that extend the focus to explore how architectural design theories relate to building practice are also specifically welcome.

Session sponsored by the European Architectural History Network.

Please send proposals by 26 July 2021 to Elizabeth Merrill (elizabethmerrill11gmail.com) and Nele De Raedt (nele.deraedtuclouvain.be). Your proposal should include a title, 150-word abstract, and one-paragraph biographical CV.

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[6] Synagonism in Early Modern Art

From: Joris van Gastel
Subject: CFP: Synagonism in Early Modern Art
Deadline: Jul 28, 2021

Panel for the 2022 RSA conference in Dublin, organized by: Joris van Gastel (Zurich), Yannis Hadjinicolaou (Hamburg) and Markus Rath (Basel)

This panel seeks to make productive the recently coined concept of synagonism (from “σύν”, “in company with, together with” and “ἀγών”, "struggle”) for exploring the exchanges between early modern painting, sculpture, architecture, and other art forms. In doing so, it will build on current insights regarding the so-called paragone debate, seeing this, however, as only one, too narrow perspective on early modern artistic production. Without ignoring the actual social and economic “struggle” between artists for a recognition of their respective technical practices, competition is here understood not only as a striving towards differentiation or distinction, but also and more readily as a productive force, challenging artists to look beyond the boundaries of their own art, thus promoting comparison and exchange, bearing fruit for both sides. Synagonism implies also the breaking up of all too schematic connections between art forms and the individual senses, such as vision and painting, touch and sculpture. As early modern art – in contrast with the later formal guidelines of the academy – time and again bears traces of an openness towards diverse materials, objects and natural phenomena, as painting takes on sculptural elements and sculpture becomes painterly, questions regarding the multimediality and intersensoriality of art, as well as the relationship between image and body become pressing. Moreover, synchronic collaboration and diachronic interplay between artists go hand in hand, it is argued, with the more general question of interdisciplinarity, as well as of that of the socio-historical interwovenness of maker, recipient, and artistic form.

Proposals for contributions can be sent to Joris van Gastel (joris.vangastelkhist.uzh.ch), Yannis Hadjinicolaou (hadjinicolaoubilderfahrzeuge.org) and Markus Rath (markus.rathunibas.ch) by the 28th of July and should include the following:
- paper title (15-word maximum)
- full name, current affiliation, and email address
- paper abstract (150-word maximum)
- resume (.pdf or .doc)
- PhD or other terminal degree completion year (past or expected)
- primary RSA discipline (see: www.rsa.org/page/DisciplineReps)

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[7] Nonextant

From: Dana E. Katz
Subject: CFP: NONEXTANT
Deadline: Jul 30, 2021

What do we learn from the study of objects, images, texts, and performances that no longer exist? How do we write histories of things that are absent, silent, destroyed, or lost? What kinds of methodologies do studies of nonextant materials employ? How do ekphrasis, iconoclasm, memory, re-enactment, and reconstruction factor into such work?

We are organizing two panels for the Renaissance Society of America conference in Dublin on March 30 – April 2, 2022 that explore things that are no longer extant. We encourage papers in the field of art history that test new methodologies and/or consider the implications of the nonextant in the historiography of our discipline. Please send a 150-word abstract and short CV to Dana E. Katz (katzdareed.edu) and Dawn Odell (dvolclark.edu) by Friday, July 30, 2021.

Quellennachweis:
CFP: 7 Sessions at RSA 22 (Dublin, 30 Mar-2 Apr 22). In: ArtHist.net, 04.07.2021. Letzter Zugriff 29.03.2024. <https://arthist.net/archive/34528>.

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