Kansas City |
Dates: 09 Dec, 2013 – 07 Feb, 2014
Material and Metaphor from Forest to Fireside and Beyond
“The German Forest has moved into the German living room,” wrote liberal politician Friedrich Naumann in response to a 1906 exhibition of modern wooden furniture designed by the progressive Munich architect Richard Riemerschmid and fabricated with the help of machines. What might sound at first like a humorous (or even ironic) comment on the overabundance of natural wood visible in Riemerschmid’s modern “machine furniture,” was actually freighted with economic, social, and cultural weight. For the material product of the “German Forest” – wood – was not only an important resource and major export of the lately established German nation, it had also constituted the utilitarian backbone of German domestic life for centuries; and its cultural resonance was rooted in the legendary Battle of the Teutoborg Forest, when Germanic tribes, emerging from the trees (as the story goes), had vanquished the Roman legions of Ceasar Augustus. But like the account of the Teuton victory – part history, part myth – the notion of a “German Forest,” as historian Jeffrey K. Wilson has recently shown, was a cultural construct: an abstract (though powerful) idea – not a concrete thing. The German lands enclosed a variety of wooded territories, each distinct in its topography and biology. But there was, in actuality, no single “German Forest”; the concept had been cobbled together – like the German nation itself – from various regional examples and traditions to form an ideal or myth of unity, ripe for public figures (like Naumann) to exploit.
This interdisciplinary, diachronic panel will probe the paradox of abstract and concrete embodied by the entry of the “German Forest” into the “German living room.” Its aim is to reveal and untangle the interlaced complexities inherent in wood as indigenous material, utilitarian product, and cultural symbol. Proposals are welcome that consider the significance of “German wood” from any period and in any manifestation, in its dual role as object and concept. Topics might examine the role that German wood has played in confrontations between: past and future; the domestic and the wild; authenticity and artificiality; the living and the inert or “wooden”; naturalism and folklore; history and myth; the utilitarian and the symbolic; the prosaic and the poetic; the everyday and the marvelous; the vernacular and the cosmopolitan; science and spirituality. Historiographical and theoretical investigations, as well as specific case studies, will be considered. Proposals are encouraged that move beyond the reductive nationalist rhetoric of “the German Forest” to problematize images of Germans and their trees from the Teutons to today.
Please email a C.V. and proposal of no more than 400 words by Friday, February 7, 2014 to:
Post-Doctoral Fellow in Material and Visual Culture, Parsons The New School for Design
*You must be a current GSA member (2014 dues paid) at the time of application.
Saint Louis |
Dates: 09 Dec, 2013 – 02 Jan, 2014
The deadline for submissions to the Midwest Art History Society Annual Conference has been extended to Thursday, January 2, 2014.
The conference will convene in Saint Louis, April 3-5, 2014 at the Saint Louis Art Museum.
In addition to six thematic sessions, there are seventeen “open” sessions addressing broad periods and general topics.
Proposals of no more than 250 words and a recent CV are due by Thursday, January 2, 2014 electronically to the respective chairs of individual sessions. The conference schedule and complete information for the call for papers is available on the society’s website.
Dates: 09 Dec, 2013 – 31 Jan, 2014
Abstracts of papers are invited by 31 January 2014.
The aim of this colloquium is to draw attention to small buildings in residential complexes –
small in size but not in importance – which were meant only for temporary, seasonal use, unlike
the permanent use of the main palace. The role of the palazotto (literally, “small palace”, a term
coined by Joseph Furttenbach in 1640) was to be a place of rest, leisure and repose, but
sometimes it also took on a representative role similar to the main palace. These “satellites”
were usually new buildings, and not rebuilt older structures; therefore they offer a much clearer
view of the incentives, intentions and concepts of the clients and can be regarded as ideal
models, or miniatures, of the main palace. No study of the early modern palace can be complete
without taking them into account.
The colloquium will study the relationship of the satellite to the palace and examine its
function as pendant but also as counterpart or even opposite to large palatial buildings. The
small palace usually made it possible to develop certain ideological and spiritual programmes
that would have been difficult to achieve within the large palace. Only residential complexes that
contained not just the main palace but also the palazotto, aspired to create symbolic images of
the universe, the earthly paradise. There was a “dialectic unity” between the main palace as the
permanent residence and the smaller, temporary and occasional house; the existence of a
palazotto constituted an “added value” to the actual residence, the palatium.
Abstracts of papers are invited by 31 January 2014. We welcome proposals that are
comparative and synthetic, as well as detailed studies of particular cases. Abstracts should be limited to 300 words, and should be headed with the applicant’s name, his or her professional
affiliation, and the title of the paper. All abstracts must be in English, which will be the working
language of the conference, and the language in which papers will be delivered. All papers will
be 20 to a maximum of 30 minutes in length. This should be borne in mind when writing your
abstract. Abstracts should define the subject and summarize the questions to be raised in the
proposed paper. With the abstract please submit a one‐page curriculum vitae, with your full
contact details, including an e‐mail address. Send your proposal by e‐mail to the conference
chair, Dr. Ivan Prokop Muchka (email@example.com), with copies to the conference coordinator
Dr. Sylva Dobalová (firstname.lastname@example.org) and the PALATIUM coordinator Dr. Pieter Martens
(email@example.com). Only one submission per author will be accepted. All
applications will be held in confidence during the selection process. All applicants will be
notified of the acceptance or refusal of their proposal by 1 March 2014. Accepted abstracts will
be published for open access on the PALATIUM website.
Dates: 06 Dec, 2013 – 02 Feb, 2014
December 6, 2013 – February 2, 2014
Ukrainian Institute of Modern Art in Chicago (UIMA) presents the exhibition Ceramics / Glass. This exhibit focuses on the medium of ceramic or glass in contemporary art – mediums that require high temperatures, special tools, kilns and specialized studios. UIMA has selected some distinctive personal styles from numerous glass / ceramics studios in Chicago and from artists working in national and international cities.
Brent Rogers, Alex Trommler and Aaron Wolf-Boze are from Chicago, showcasing art glass that was created in Ignite Glass Studios. Ignite Glass Studios (founded 2012) is already building reputation as a ‘hot’ art glass studio in the U.S.. Eric Bladholm is from Chicago Glassworks, a state of the art glass blowing facility and artist’s studio, custom built into a former iron foundry. He will present glass works combined with various metals. Nikki Renee Anderson will present multiple piece ceramic installation and Robert Pulley will exhibit one of his larger ceramic garden sculptures. Both artists are from Chicago Sculpture International and focus on the sculptural aspect of working with ceramics. Michael Janis, an ex-Chicago artist (now Co-Director of the Washington Glass School in Washington, DC) will present fused glass with glass powder imagery. Xavier Monsalvatje lives in Spain and works in traditional ceramic techniques which reflect industrial aesthetic designs reminiscent of the works of Mexican Muralists. Yurij Musatov and Anna Lypko, both from Ukraine, are two contemporary artists working in ceramics.
Dates: 05 Dec, 2013 – 10 Jan, 2014
Crafting the Look: Styling as Creative Process
Keynote by Juliet Kinchin, Curator of Architecture & Design, MoMA
This conference seeks to analyse the creative process of styling – the purposeful construction of a ‘look’ – whether it be in dress, space, or object.
In his theoretical writings on fashion, Roland Barthes underscored the complexities of how style is consciously constructed, for example observing that dandyism manifested in the careful selection and combination of particular sartorial items and conventions, with a keen attention to detail; that it was ‘not only an ethos… but also a technique.’ Today we might call this process ‘styling’, and those who engage in the practice professionally, or personally, ‘stylists’. In contemporary visual culture, the professional Stylist is familiar largely within fashion, but can also be found in other design fields such as architecture, interiors, product design, film, journalism, and commercial photography. The Stylist is perhaps an overlooked creative figure, although many artists and designers have themselves been Stylists of a sort in their own practice. Yet the act of styling as a form of creative production has had extremely limited discussion.
The ultimate goal of the conference is to gain a more nuanced and interdisciplinary understanding of styling, problematizing accepted views of the creative acts that lie at the heart of artistic production. We seek papers that will explore this gap in knowledge, and consider styling across disciplines and from the broadest span of history, with particular interest in those focused on styling and identity. Research need not be limited to the strict definition of ‘Stylist’ as it might be known today, as we hope to explore diversified acts of styling, and welcome topics that investigate this idea from disciplines beyond those typically associated with visual culture.
Key questions to be explored include: Can styling itself be considered a mode of creative process and practice? Can we employ styling as a theory to re-examine and unpack complicated issues surrounding the identities we construct through our clothes, homes, offices, and even personal effects? How does styling differ between creative disciplines?
To what extent is identity performed through the act of styling? How do issues such as class, gender, geography and national identity affect styling?
Papers may include but are not limited to the following topics:
• Historical examinations of styling in all aspects of visual culture
• Self-styling through the details of an ensemble or space
• (Re)styling architecture and/or interiors for new or alternative
purposes, such as urban renewal
• Styling as collaborative process
• The influence of pop culture and/or subcultures on styling
• Style and technology (technological devices as accessories, for
• Styling and identity in the blogosphere
• Elements of chance in styling
• Styling as a means of social/political resistance
• Linking space, place, object, and/or dress through styling
• Theoretical approaches to styling
Abstracts of no more than 300 words and CV should be sent by 10 JANUARY to firstname.lastname@example.org. Please send via pdf or doc, and make sure to include your name, title, email address, and affiliation. Successful applicants will be allotted 20 minutes to present their papers.
Scholars, academics, practitioners and postgraduate students are all encouraged to apply.
Dr Robyne Calvert
Dr Rachael Grew
Dates: 12 Dec, 2013
George H. Marcus, adjunct professor, History of Art, University of Pennsylvania, and William Whitaker, curator of the University of Pennsylvania's Architectural Archives, will give a presentation on their book The Houses of Louis Kahn
Thursday, December 12, 2013 at 6:00 p.m.
Harvey & Irwin Kroiz Gallery, The Architectural Archives, University of Pennsylvania
220 South 34th Street at Smith Walk (lower level of the Furness Library)
Free for Philadelphia Chapter SAH members; $5.00 for all others
Checks are payable to Philadelphia Chapter SAH.
Please register for this event with Mary Anne Eves at email@example.com
or call 610-566-2342.
St. Augustine |
Dates: 02 Dec, 2013 – 15 Jan, 2014
The College of Design, Construction and Planning, University of Florida, USA with support from Flagler College in St. Augustine, Florida, is hosting the 2014 IPHS Conference, July 20-23, 2014. The conference theme, “Past as Guide to Sustainable Futures” links with the role of the St. Augustine community as a window into development of cities in North America with the influence of multiple cultures.
The conference city is a model of sustainability and adaptation. Founded in 1565, St. Augustine is the oldest continuously occupied city in North America and whose town plan is recognized on the US National Historic Register. The IPHS conference will occur in the midst of a four-year remembrance that includes the 200thanniversary of the Spanish Constitution, the 500th anniversary of the landing of Juan Ponce de Leon in Florida and by official accounts North America, the 50th anniversary of the 1964 Civil Rights Act (which had direct ties to St. Augustine) and the 450thanniversary of the founding of St. Augustine by Don Pedro Menendez de Aviles. St. Augustine remains a vibrant walkable city with a rich array of historic sites of national importance, including the Castillo de San Marcos situated along the city’s waterfront. There are several other forts in the city and adjacent area. St. Augustine boasts historic houses and structures preserved and managed by an array of local organization, museums that showcase different phases of St. Augustine’s development. The city’s signature complex, the Hotel Ponce de Leon and its companion buildings (opened in 1888) now function as the academic buildings of the Flagler College campus. Two other Flagler structures serve the city, one being the main offices of city government and a museum, and the other a high-end hotel, the Casa Monica.
The Conference will use many parts of this walkable city. For example, the Flagler College campus classrooms, auditorium and the Ponce itself, will accommodate many of the conference activities. Yet, adjacent to the Flagler campus is Government House, a historic structure that previously served as a post office and then as government offices (including those of the local preservation officials) which is being restored and converted into a multi-use space under the stewardship of the University of Florida. Indeed, the University of Florida, in partnership with the City of St. Augustine, is engaged in improvements and management of more than thirty historic and re-production structures within the main historic core of St. Augustine. The intent of the conference is to embed participants, even for their short stay, in the life of this historic walkable city.
Dates: 02 Dec, 2013 – 11 Mar, 2014
Proposals for individual papers or panels on any aspect of Illinois'
history, culture, politics, geography, literature, and archaeology are requested for
the Conference on Illinois History. The Conference welcomes submissions from
professional and avocational historians, graduate students, and those engaged in
the study of Illinois history at libraries, historic sites, museums, and historical
To submit your proposal for a paper, panel, or teacher workshop, send:
1. A summary of the topic
2. A one-page resume of participant(s)
3. Paper summaries should include a description of major primary and secondary
The deadline for proposals is March 11, 2014.
Send proposals to:
Conference on Illinois History
Illinois Historic Preservation Agency
1 Old State Capitol Plaza
Springfield, IL 62701
Dates: 29 Nov, 2013 – 31 Jan, 2014
The Society of Architectural Historians of Great Britain is pleased to announce that the second annual Graduate Student Research Forum will be held in Cambridge on Friday, 2 May 2014. This is a student-led event that offers post-graduate students in architectural history an opportunity to present their research while engaging with others studying and working in the field. The Forum will break away from more traditional conference models by creating a lively and friendly event where students, established academics and professionals can exchange knowledge, skills and experiences. The conference aims to provide a supportive atmosphere in which to discuss all the trials and pleasures of research in architectural history.
The day is structured to include a number of student presentations covering a wide range of topics. The format consists of ‘lightning round’ talks where each student is given ten minutes to present their research; grouped sessions will be followed by a fifteen-minute discussion period. Lighting rounds will be interspersed with keynote panels led by scholars and professionals from the architectural history field who will discuss their personal experiences while providing useful insight for navigating research, publication and career opportunities.
Proposals are welcomed from students studying for a PhD or Masters degree in any aspect of architectural history. Papers may cover the entire scope of a research project or focus on individual issues. We encourage submissions that present work in progress, as well as more finished research. The programme will include a broad selection of presenters at various stages in their degrees. Each talk should be accompanied by a visual presentation composed of a careful selection of key images.
This year’s student organisers are Richard Butler, Bridget Hembree and Otto Saumarez Smith. Please submit inquiries or proposals (maximum 300 words) to SAHGBforum2014@gmail.com no later than 31 January 2014.
Forum Venue: Lecture Theatre, Old Divinity School, St. John’s College, 9:00am-6:00pm
Evening Reception: Main Hall, Old Divinity School, St. John’s College, 6:00pm-7:00pm
Dinner: Hall, St. John’s College, 7:30pm-9:00pm (Optional; approximately £15)
An architectural tour of Cambridge will be given the following morning from 9:30am-11:30.
Dates: 28 – 29 Nov, 2013
The Research Centre for the Humanities, Institute of Art History, Hungarian Academy of Sciences, in cooperation with CentrArt Association - New Workshop for Art Historians, is organizing an international symposium entitled Ephemeral Architecture in Central-Eastern Europe
in the 19th and 20th centuries.
1st Day - Thursday, 28th November 2013
9:00 Welcome speaches
Dr. Miklós Székely PhD (Organizer of the Conference),
Dr. István Kenyeres PhD (Director General of the Budapest City
Dr. József Sisa DSc (Director of the Institute of Art History, Research
Centre for the Humanities, Hungarian Academy of Sciences)
Anna Korndorf, Ekaterina Viazova (Department of Russian Art and
Architecture, State Institute of Art History, Moscow)
Utopia of Transparency: 19th-Century Exhibition Pavilion Architecture as
Section 1. Architecture, origins, materials
Chair: Dr. József Sisa DSc
Dr. Gianenrico Bernasconi (Institut für Populäre Kulturen, Universität
The tent room
Magdalena Żakowska (Central and Eastern Europe Department, Faculty of
International and Political Studies, University of Łódź)
Austrian and Russian National Pavilions as Mediums of National
Self-Representations at the Vienna World Exposition 1873
11.00-11.30 Coffee Break
Section 2. The Hungarian Millennium at the Crossroad of Nation Buildings
Chair: Dr. Pál Lővei DSc (Institute of Art History, Research Centre for
the Humanities, Hungarian Academy of Sciences)
Paolo Cornaglia PhD (Turin Polytechnic, Department of Architecture and
Franczia étterem: the French restaurant by Karman & Ullmann in the
National Hungarian Exhibition of 1896
Dragan Damjanović PhD, doc. (Art History Department, Faculty of
Humanities and Social Sciences, Zagreb University)
Croatian Pavilions at the 1896 Millennium Exhibition in Budapest
Miklós Székely PhD (Institute of Art History, Research Centre for the
Humanities, Hungarian Academy of Sciences)
Representation reduced and exported: The re-setting of the Main
Historical group of the Millennium Exhibition at the 1900 Paris
12.50-13.50 Lunch break
Section 3. "Western Venues, Eastern Nations"
Chair: Miklós Székely
Cosmin Tudor Minea MA (Central European University, Budapest)
Creating a National Architecture : the Pavilions of the Balkan Countries
at Two 19th Century Universal Exhibitions
Dr. Aleksandar Ignjatovi? (University of Belgrade)
Competing Byzantinisms: Architectural Imagination of the Balkan Nations
at the Paris World Exhibition in 1900
Ágnes Sebestyén (University of Bern, Institute of Art History)
The Pavilion of Bosnia and Herzegovina at the Universal Exposition of
1900 in Paris: a Case Study
Cristiana Volpi PhD (University of Trento, Department of Civil,
Environmental and Mechanical Engineering)
The Hungarian Pavilion at the Venice Biennale. Tradition and modernity
during one century
15.30-16.00 Coffee break
Section 4. "Eastern Venues, Eastern Nations"
Chair: Dr. Aleksandar Ignjatović
Deniz Türker PhD candidate (Harvard University, Center for Middle
Eastern Studies and the History of Art and Architecture Department &
Dumbarton Oaks Tyler Fellow)
The 'Ottoman' Pavilions at the Turn-of-the-Century
Silvija Grosa, Dr. art (Art Academy of Latvia)
Between National Romanticism, Modernist Tendencies and Traditionalism -
Two Exhibitions in Riga at the Turn of the 20th Century
Weronika Grzesiak, MA (Art History Institute, Jagiellonian University in
National Representations on the General Provincial Exhibition (Lviv
2nd Day - Friday 29th November 2013
9:00-9.30 Keynote Speech: Ágnes Anna Sebestyén (Archaeolingua
Shaping Ephemeral Architecture by the Media
9.30-9.50. Tamás Csáki (Budapest City Archives)
Ephemeral architecture of the Metropolis: plans for urban pavilions by
Bertalan Árkay from the 1920s
9.50-10.20 Coffee break
Section 6. Rise, Fall and Shift of Ideologies
Chair: Ágnes Anna Sebestyén
Marta Filipová, PhD (University of Wolverhampton)
From the national village house to the international expo pavilion:
Mgr. Petra Nováková (Palacký University of Olomouc, Czech Republic,
Department of the History of Art)
State propaganda at the background of the Czechoslovak temporary
exhibition installations at La Triennale di Milano, 1923-1968
Aleksandra Stamenković MA (Faculty of Philosophy, University of
Belgrade, Department for Art History)
Ephemeral Structure of National Pavilions on World Fairs 1918-1941
11.40-12.40 Lunch break
Section 7. Bridges over the Iron Curtain I
Chair: Pál Ritoók (Hungarian Museum of Architecture)
Nikolas Drosos (Graduate Center, City University of New York, 2013-15
Chester Dale Fellow, Center for Advanced Study in the Visual Arts,
National Gallery of Art, Washington)
Modernism with a Human Face: Communist Europe at the 1958 World Fair
Péter Haba (Lecturer at Department of Design and Art History, Institute
of Theoretical Studies, Moholy-Nagy University of Art and Design,
The rise of aluminium, Pavilions by ALUTERV in the Budapest City Park
trade fair centre
Mirna Meštrović, DipArch MS, Aleksander Laslo DipArch (Development
Department of Zagreb City Administration)
Fairground as Geopolitical Playground: Zagreb International Trade Fair
and Cold War Circumstances
14.00-14.30 Coffee break - Meanwhile: Optional guided visit in the
storage of Budapest City Archive exclusively for conference speakers by
Section 8. Bridges over the Iron Curtain II
Chair. Marta Filipová
Katarzyna Cytlak, PhD (Universidad Nacional de San Martin, Centro de
Estudios sobre los Mundos Eslavos y Chinos, Buenos Aires)
The American Pavilion for the International Fair Trade in Poznan, 1957:
Richard Buckminster Fuller's Legacy in Central Europe
Doc. ing. arch. Radomíra Sedláková, CSc. (National Gallery in Prague,
curator of the collection of Architecture, Prague technical University,
Faculty of Civil Ingeneering, department of Architecture)
Two czecoslovaks pavilons / two different ideological fates
Lara Slivnik PhD (University of Ljubljana, Faculty of Architecture,
Architecture, Competition, Pavilon: Yugoslav Pavilion at Montreal Expo
15.50-16.20 Coffee break
Section 9. Contemporary Reception of Ephemerity
Chair: Hajnalka Somogyi (freelance curator)
Helena Postawka-Lech, M.A. (International Cultural Centre in Krakow,
Institute of Art History, Jagiellonian University (Krakow)
Papier-mâché hammer and sickle. Decorations and temporary architecture
of official gatherings, parades and festivals in Krakow between 1968 and
Dr. Ayse Nur Erek (Yeditepe University, Humboldt University)
The Afterlife of Ephemeral Architecture: The Pavilion in the Context of
a Contemporary Art Exhibition
Dr. Bahar Beslioglu (Faculty of Architecture at M.S.G.S.U, Istanbul)
The Pavilion in the Context of a Contemporary Art Exhibition
Dr. Roula Matar-Perret PhD (Université Rennes 2 / ENSA Paris La
David Maljkovic's attempt to reanimate Sambito's pavilion in Zagreb
18:00 Closing remarques
Conference hall of Budapest City Archives
(H-1139 Budapest, Teve str. 3-5.)
Dates: 26 Nov, 2013 – 17 Jan, 2014
The protest movements that have recently broken out in different regions of the world including the Arab Spring, the occupy movements and the recent Gezi protests in Istanbul have brought onto the agenda the potential of creative resistance. Particularly the advent of digital technologies has enabled rapid production and widespread distribution possibilities. As such these demonstrations have proceeded with their own peculiar visual culture, icons and symbols. Protests which were set off by strong economic and political concerns were marked by the creative use of artifacts, images and spaces. The most pertinent aspects in terms of design studies were the elements of humor, play and creativity that prevailed during the struggles.
In this sense we had a striking encounter with the dissident face of design apart from its conventional conception as a marketing and styling tool. This creates an opportunity to discuss design’s relationship with the cultivation, organization and expression of social dissent. An examination of the role of design in political outcries requires questioning both established boundaries of design discipline and practice and conventional conceptions of political struggle. Questions regarding the issue include examining the representative and/or constitutive roles of design practices, the ways design addresses and transforms power relations within a given society/social order and the transformations that design thinking and practice undergo during periods of strong social dissent.
Some of the issues contributors are invited to address are as follows:
Resistance with design
The role of design in representing dissent
Visual languages and styles of resistance
The subversive role of design in given power relations
Designer as a political identity
Resistance in design
Dialogues between conflicting design approaches
Power relations in design praxis
Critiques of mainstream design approaches
Resistance to design
Users’ responses to/negotiations with design
CALL FOR PAPERS
Those who are interested in contributing papers to the ninth 5T Congress are invited to submit a title and an abstract of 250-300 words through EasyChair [an on-line conference organizing system http://www.easychair.org/] by January 17th 2014. Registration to EasyChair is essential in order to submit abstracts. The conference language is English, therefore all abstracts, presentations and papers should be in English. For any further questions please contact Instr. Bahar Emgin (firstname.lastname@example.org). Selected proposals will be announced on February 17th, 2014.
The conference fee is 100 Euro or 270 Liras. It covers lunch, tea and coffee services throughout the event, the conference dinner (May 15) and the closing reception (May 16).
Dates: 08 – 08 Jan, 2014
Aarhus, ARoS Aarhus Kunstmuseum, January 8, 2014
Nordic Cosmopolitans: art and internationalism in Scandinavia and Finland at the ‘long fin-de-siècle’
This workshop brings together academics and curators to discuss the most recent scholarship on art and internationalism in Scandinavia and Finland at the ‘long fin-de-siècle’ (c.1870-1920).
Topics range from the Pre-Raphaelite influence on Danish painting, to neo-classicism in Finnish architecture, Scandinavian artists in Paris, Scandinavian colonial visual culture, and an inside perspective on the recent exhibition Nordic Art: The Modern Breakthrough (Munich and Groningen, 2012-13). The workshop is convened by Ingeborg Bugge (Aarhus University, Denmark) and Rosie Ibbotson (University of Canterbury, Aotearoa New Zealand), in collaboration with the Internationalism and Cultural Exchange research network (ICE).
Speakers include: Charlotte Ashby, Åsa Bharathi Larsson, Ingeborg Bugge, Jan Cox, Hannah Heilmann, David Jackson, and Vibeke Röstorp.
To register, please email email@example.com by 15 December 2013. There will be a subsidised registration fee of £30, or £15 for concessions.
Dates: 26 Nov, 2013 – 07 Jan, 2014
Memory matters. It matters because memory brings the past into the present, and opens it up to the future. But it also matters literally, because memory is mediated materially. Materiality is the stuff of memory. Meaningful objects that we love (or hate) function not only as aide-mémoire but as memory itself.
The international conference Things to Remember: Materializing Memories aims to explore a sustained focus on the materiality in and of memory. Such a focus helps to understand memory as a vibrant process, by analysing the active, creative and popular forms of remembering and forgetting. At the same time a materialist focus entails recognising certain forms of agency in material objects. As Bill Brown argues, a culture constitutes itself through its inanimate objects: ‘culture as it is objectified in material forms'. In this conference we want to draw cultural memory into the discourse of ‘new materialism', inquiring how we remember with and through things. Here we avoid simple dualisms by foregrounding the intersections between the material and immaterial, natural and cultural, living or inert. Things make us remember (and forget), yet we also use things to bring about remembrance or forgetfulness. We therefore argue that memory is both mental and material.
The conference foregrounds the materiality of memory by investigating the vital relations between past and present, absence and presence, and remembrance and object. We thus interrogate the material transfers through which cultural memories of the past are expressed and circulated in art, media and popular culture. These transfers produce, re-present and transform mediated memories, literally giving shape to them in words, images, and objects. The conference pays as much attention to how we remember, create and re-create memories as to what we remember. Cultural memory is taken as both an active process and a dynamic practice. In such processes and practices of remembering, objects and things are endowed with meaning, agency and affect. As Bergson put it poetically, recollection is like ‘a fold in a material'. This raises the question how cultural memory plays a role in the social and cultural life of objects. Or, vice versa, what is the role that material things and objects play in ‘doing' memory? That role will entail a study of the interaction between the materiality of memory, its affective nature, and its ideological frameworks. The conference will explore how memory unfolds time in its objectified materializations, both looking forwards and backwards, and realizing the affective dimensions of the here and now.
Deadline for paper proposals: January 7, 2014
Dates: 26 Nov – 01 Dec, 2013
Lexington, Kentucky, June 19 - 21, 2014
Deadline: Dec 1, 2013
Reconsidering the United States Chancery in London
Panel at the
Society for Historians of American Foreign Relations Annual Conference
Deadline for panel submission: December 1, 2013
In 2009, English Heritage recognized the United States Chancery in London (1955-60) as a building of special interest that merits “every effort to preserve it.” The move to classify Eero Saarinen’s controversial building on Grosvenor Square came in the wake of the U.S.
Department of State’s announcement of a competition for a new facility.
This year the closure of the Grosvenor Square embassy was assured when ground was broken for the new building in South London.
In recognition of one of the most important diplomatic buildings realized during the Cold War, this panel seeks papers that reconsider not only the chancery’s architecture, but also the public programs and activities (including exhibitions) held in it, and the diplomatic missions that were launched and pursued in it. The SHAFR conference offers an excellent opportunity to bring a variety of disciplinary approaches, among them the history of American Foreign Relations, and architectural and art history, to the building and its legacy.
Please contact Cammie McAtee (firstname.lastname@example.org) if you are interested in participating in this panel.
Ann Arbor |
Dates: 26 Nov, 2013 – 01 Jan, 2014
Call for Presenters
University of Michigan Doctoral Studies in Architecture and Urban Planning
Triennial Graduate Student Conference, Ann Arbor, MI, April 4-5, 2014
The Doctoral Programs of the Taubman College of Architecture and Urban Planning are pleased to announce a graduate student conference: BANKRUPT.
In the context of government shutdowns, debt ceiling debates, and the largest municipal bankruptcy in American history, we propose a fresh start. To do this, BANKRUPT asks: How are power relations negotiated through the built environment in a context of crisis? Must democracy be circumvented in bankruptcy? Does insolvency open opportunities for new politics, reinvented institutions, or opportunistic practices? Does austerity create possibilities for innovative building techniques? How do architecture and the city reveal or conceal traumatic economic change? We look to emerging graduate student research on buildings, cities, and landscapes for new ways of thinking about our assets and liabilities.
This conference is open to current doctoral and master’s degree students from a range of disciplines whose research concerns the built environment including architecture, planning, urban studies, sustainability, and natural resources to name a few. We seek twenty-minute paper presentations from researchers whose work reflects on the theme.
Graduate students are invited to submit an abstract (300 words max.) of their proposed presentation to BANKRUPT2014@gmail.com by January 1, 2014. Applicants will be notified of the status of their submission by February 1, 2014. While no travel stipend can be offered to accepted presenters, the College is happy to extend free registration for this event and refreshments to presenters and all attendees.
Dates: 20 Nov – 01 Dec, 2013
The Charles C. Eldredge Prize is awarded annually by the Smithsonian American Art Museum for outstanding scholarship in the field of American art. A cash award of $3,000 is made to the author of a recent book-length publication that provides new insight into works of art, the artists who made them, or aspects of history and theory that enrich our understanding of America's artistic heritage.
The Eldredge Prize seeks to recognize originality and thoroughness of research, excellence of writing, clarity of method, and significance for professional or public audiences. It is especially meant to honor those authors who deepen or focus debates in the field, or who broaden the discipline by reaching beyond traditional boundaries.
Funding for the Charles C. Eldredge Prize is provided by the American Art Forum, a patrons' support organization of the Smithsonian American Art Museum. The prize was instituted to honor Charles C. Eldredge, who founded the American Art Forum in 1986 during his tenure as director of the museum.
December 1 is the deadline for nominations.
Dates: 20 Nov, 2013 – 10 Jan, 2014
Led by Alina Payne, Harvard University
This research seminar zeroes in on rivers as the cultural infrastructure of the Mediterranean world in the early modern period, as carriers of people, things, and ideas tying geographies and cultures together. The king of such rivers was undoubtedly the Danube, running a parallel course to the Mediterranean and cutting across Europe from West to East.
Flowing into the Black Sea, it entered the system of communicating vessels of the Mediterranean—the old Roman mare nostrum itself, the Sea of Marmara, the Black Sea, and, the last ripple that separates and unites three continents, the Sea of Azov.
But the Danube was not alone in swelling the Mediterranean world with the cultures along its shores. The Sava, the Adige, the Neretva, the Pruth, the Dniester and Dnieper, and the Don (which flows into the Sea of Azov) etc. connect the "traditional" Mediterranean cultures—the Italian, the Ottoman, the Greek/Byzantine, the French and Spanish—with the world of the Balkans and beyond. Starting from this perspective, this seminar seeks to develop a framework for understanding how the Balkans and its northern neighbors mediated between East and West, as well as the region's contribution to the larger Mediterranean cultural melting pot in the early modern period.
The premises underlying this seminar are twofold: 1) that the contours of the Mediterranean Renaissance need to be re-drawn to include a larger territory that reflects this connectedness; and 2) that the eastern frontier of Europe extending from the Mediterranean deep into the interior played a pivotal role in negotiating the dialogue between western Europe, Central Asia and Ottoman Turkey. On the cusp between cultures and religions, Balkan principalities, kingdoms, and fiefdoms came to embody hybridity, to act as a form of buffer or cultural "switching" system that assimilated, translated, and linked the cultures of near and Central Asia with those of Western Europe. Taking a trans-regional approach, this project aims to reconstruct the fluid ties that linked territories in a period in which hegemonies were short-lived and unstable, and in which contact nebulas generated artistic nebulas that challenge traditional historical categories of regional identities, East/West and center/periphery.
The seminar will run from spring of 2014 to summer of 2015 and will be guided by a distinguished group of scholars. Participants are invited to propose their own projects related to these themes on which they will work during this period. We seek contributions on building types (eg.
carvanserais/ hans), infrastructure (bridges, fortifications and roads), domestic architecture (villas/palaces), religious and domed structures, etc., building practices, materials and artisans, on Kleinarchitektur and portable architectural objects. Proposals are also invited from participants working on spolia, on "minor" arts—cloth/silks, goldsmithry, sculpture, leather, gems and books—as well as on collecting and treasuries, that is, on artworks and luxury items that allowed ornamental forms and formal ideas to circulate and created a taste for a hybrid aesthetic, as well as on historiography.
The countries under consideration here are: Albania, Bulgaria, Croatia, Hungary, Moldova, Poland, Romania, Russia, Serbia, Slovenia, and Ukraine.
The seminar involves three stages: 1) a two-week "mobile" workshop traveling along the Dalmatian coast and using this region as case study of the issues, historiography and methodologies that this project seeks to foreground (May/June 2014); 2) a two and a half week stay at Harvard University (2 day workshop focusing on interim presentation of participants' findings and 2 week library access in January/February 2015); and 3) a final conference (presentation of developed individual
projects) and short trip to key sites on the Black Sea. On-going participation in the seminar will be based on the quality of scholarly contribution and on the level of engagement with the group.
Applicants should be post-doctoral scholars working in the Eastern European countries on which the project focuses (maximum 10 years from a doctoral degree; doctoral degree must be in hand at time of application). Travel expenses are covered. The seminar language is
English: participants will need to demonstrate a strong command of the language to enable wide-ranging discussion with the other members of the seminar. Facility with languages of the region is an asset. Applications must include: CV, personal statement, description of proposed project
(500 words + one page bibliography), one published writing sample and three letters of reference are due no later than January 10, 2014.
Finalists will be interviewed; participants will be notified by early February.
Please send applications to the attention of Elizabeth Kassler-Taub, Department of History of Art and Architecture, Harvard University, email@example.com.
This project is supported by a Connecting Art Histories grant from the Getty Foundation.
New York |
Dates: 20 Nov, 2013 – 01 Mar, 2014
The Beaux-Arts Atelier is a one-year, full-time program in the study of classical architecture, art, and design following the method of the École des Beaux-Arts. It is housed in the NYC landmark headquarters of the Institute of Classical Architecture & Art in midtown Manhattan, adjacent to some of the city's most storied examples of classical construction.
Areas of study include the following: Architectural Drafting, Drawing & Sculpture, Ornament & Relief, the Classical Orders, Literature & Theory of Classical Architecture, Reading Architecture: Masterpieces of New York, Architectural Rendering in Wash, Master Copying, Shades & Shadow, and Propotion.
Applications are now being accepted for the 2014-2015 academic year, and will be reviewed on a rolling basis until March 1, 2014.
Financial Assistance is available to accepted applicants according to merit and need. One regional scholarship designated for a student hailing from the Northern California region is also available.
Dates: 18 – 29 Aug, 2014
The 2014 Croatia Study Tour explores the transformation of Croatia's rich built environment in harmony with the beauty of the natural environment along the Adriatic Sea Coast from Dubrovnik to Venice with visits to many of the UNESCO World Heritage sites. Read More
Dates: 07 Feb, 2014
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The Miami Study Day offers a rare opportunity for SAH members to tour two extraordinary buildings designed by Herzog & de Meuron and to meet the clients who commissioned both projects. Terry Riley, who as director of the Pérez Art Museum Miami (PAMM) spearheaded the recently-completed building's construction, and Robert Wennett, the dedicated developer who created 11 11 Lincoln Road, will discuss their collaboration with the Pritzker Prize-winning Swiss architects. We will have a chance to explore both buildings in their urban contexts—such as the transformation of Lincoln Road by Morris Lapidus, which inspired the design of 11 11 (its branded name separates the 11s) —and will be able to study both structures' responses to South Florida's sub-tropical climate.
To call 11 11 Lincoln Road a garage is to do it an injustice. It is an addition to a 1960s bank building, a “curated” collection of boutiques and restaurants, a site for displaying art, and housing. Above all, 11 11 is a landscape extension to the region’s most popular pedestrian street, which turned a neglected piece of Miami Beach into an important gateway and landmark. What makes the project so special is the way it approaches each of these roles with conceptual clarity and aesthetic rigor. As an addition, 11 11 has the extraordinary quality of both joining the original building seamlessly and maintaining its autonomy as an independent structure. 11 11 reinterprets the streetscapes and experiences of South Beach. The two interlocking spiraling paths through the building – one a ramp for cars, the other a stair for people – echo the separation of the adjacent streets into the vehicular thoroughfare of Alton Road and the pedestrian mall of Lincoln Road. The building turns the configuration of the streets into vertical processions whose alternating floor heights and shifting views reflect the changing densities and vistas across the ground plane of the city. The boutique store midway up the building and the apartment at its apex extend the metaphor of the city rotated vertically.
The Pérez Art Museum Miami opened in December during the annual Art Basel Miami Beach art fair and has quickly earned critical and popular praise. The building is an essay in creating public space in a tropical city. The museum transforms its site - previously a neglected open space separated from the city by busy roads - in a way that restores the waterfront to the public and begins to redeem the neighboring highway. The building's exterior spaces provide the city with a new "front porch" and a belvedere from which to view the port and bay. Aerial and terrestrial gardens by Patrick Blanc are integrated into the building's canopy and verandahs, linking the museum to the surrounding landscape in a celebration of the sub-tropical climate.
This Study Day is designed to allow us to enjoy lunch on Lincoln Road, one of Miami’s premier shopping and dining destinations, and ends at the Pérez Art Museum Miami so participants may enjoy drinks on the waterfront terrace. Expect warm temperatures, bright sunlight, and an unforgettable architectural experience. Read More
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