Recent Opportunities

  • Cook Cup for Outstanding Restoration

    Dates: 01 Dec, 2017 – 08 Jan, 2018

    Indiana Landmarks seeks nominations for its annual Cook Cup, a prestigious prize for exemplary restoration of a historic Indiana structure.

    The nonprofit organization awards the Cook Cup for Outstanding Restoration to the owner of a historic structure whose revitalization meets the highest restoration standards in method, materials and design and beneficially impacts a neighborhood or community.

    Cook Cup nominees may be an individual, corporation or partnership, nonprofit organization or a governmental entity. The restoration must have been completed within the past two years, and the structure must be in active use. Self-nominations are welcome.

    Indiana Landmarks inaugurated the Cook Cup for Outstanding Restoration in 2007, when the prize went to the award’s namesake family in honor of its transformation of the West Baden and French Lick Springs hotels in southern Indiana. Previous winners have included Richard Ford for the Charley Creek Inn in Wabash, Butler University for Hinkle Fieldhouse, and the Delphi Preservation Society for the Delphi Opera House restoration.

    The Cook Cup winner will receive a large, engraved silver cup on April 28, 2018, at Indiana Landmarks’ annual Rescue Party in Indianapolis, where a short video produced by Road Pictures will highlight the before-and-after restoration.

    Nomination forms are available at The deadline for nominations is Jan. 8, 2018.

  • CFP: 2018 IAWA Symposium - Women Inventors in Architecture 1700-2000

    Blacksburg | Dates: 01 – 15 Dec, 2017

    Women Inventors in Architecture 1700-2000

    2018 IAWA Symposium – March 28-30, 2018      

    The International Archive of Women in Architecture (IAWA) Center
    School of Architecture + Design at Virginia Tech, Blacksburg, VA 

    The IAWA invites abstracts for the 2018 IAWA Symposium - Women Inventors in Architecture 1700-2000

    Abstract Deadline: December 15, 2017

    Selection announced: December 20, 2017

    For centuries, women in architecture have been involved in pushing the boundaries of architecture and architectural practice. Whether as registered architects, members and leaders of architectural firms, academics and scholars, or in any of the less conventional capacities, women have helped transform the discipline of architecture and the related design fields shaping the built environment. The 2018 IAWA Symposium invites abstracts that address specific women or gendered natures of architectural invention. We welcome papers that tackle subjects or inventions generated between the years 1700-2000, and that are international or domestic in scope.

    We seek papers that conceptualize architectural invention in its many guises, including (but not limited to) ideas, technology, form-making, modes of professional practice that present views into and histories of practices of women in architecture. We encourage abstracts that address how women’s practices have been expanded through invention, as well as how architectural practice has been expanded or impacted by inventions by women. 
    Please email 300-word abstract and a one-page CV to: (subject heading: 2018 IAWA Symposium)

  • Announcing the Publication of the SAHANZ 2017 Annual Conference Proceedings

    Dates: 01 Dec, 2017 – 01 Dec, 2018

    Gevork Hartoonian and John Ting would like to announce the publication of the SAHANZ 2017 annual conference proceedings. The conference was hosted by the Faculty of Arts and Design at the University of Canberra, and held at the Shine Dome in July.

    The online version of the proceedings is  available at:

    Printed versions of the proceedings are available on a print-on-demand basis - please email John Ting at

  • GLI 2018 - Executive Education for Museum Leaders

    Claremont | Dates: 14 May – 23 Jun, 2018

    The renowned Getty Leadership Institute for executive leaders is entering its 39th year. The program is designed to help experienced top-level executives become better leaders to strengthen their institutions’ capabilities and advance the field.

    This intensive management program is for CEOs, Directors, COOs, and senior-level museum executives who influence policy, effect change, and are in the first two to seven years of their position. Program participants take four weeks of intensive courses that address current trends and challenges in the museum field. The program blends two weeks online and two weeks of residency at CGU, and includes practicum sessions at Los Angeles area institutions. Academically rigorous, the program emphasizes leadership, strategy, organizational culture, and change management.

    The selection process aims at creating a class of participants that fosters the best peer learning experience for all. GLI strives to include participants with a range of specializations, sizes, budgets, and geographical locations. We actively seek the participation of museum professionals from racially and ethnically diverse backgrounds. Selection preference will be given to qualified candidates from art institutions.

    Have questions about GLI 2018 and the application process? Join us for an informational webinar. Click here to learn more.

    Applications due January 24, 2018.
  • NextGen2018 - Executive Education for the Next Generation of Museum Leaders

    Claremont | Dates: 05 – 31 Mar, 2018

    NextGen 2018 is a blended-learning experience for the museum field’s emerging top talent. The program is designed for mid-level staff with three to five years of museum management experience and extraordinary leadership potential as recognized by senior-level executives.

    The program blends one week of online learning and one week of residency in a collegial environment at CGU. The curriculum is intensive, while also offering time for self-reflection and practical application of materials and concepts. Participants examine their individual leadership styles, team dynamics, institutional needs and perspectives, and the future of the museum field. Course modules focus on leadership assessment and development, design thinking and strategy, team leadership, negotiation and influence, fundraising, audience engagement and development, and innovation.

    The selection process aims at creating a class of participants that fosters the best peer learning experience for all. GLI strives to include participants with a range of specializations, sizes, budgets, and geographical locations. We actively seek the participation of museum professionals from racially and ethnically diverse backgrounds. Selection preference will be given to qualified candidates from art institutions.

    Applications due January 3, 2018.
  • CFP: Fall 2018 Issue of Exhibition

    Dates: 01 Dec, 2017 – 04 Jan, 2018


    Proposals due January 4, 2018

    Research suggests that interactivity in museum exhibitions fosters learning, engagement, and understanding. And, too, interactivity is a buzzword that excites many a board and fundraising pitch. But what really makes a great interactive? And when might the interactive quest lead us astray?

    In this issue, we take on interactivity (which we are defining as a physical interaction on the part of a visitor in a physical exhibition) in its many forms: digital and analog; simple and complex; high budget and D.I.Y.; immersive or participatory; and more.

    Papers might discuss best practices in conceptualizing, developing, designing, testing, and building successful interactive elements; how to tailor interactive elements to different audiences and learning styles; how to create interactives that promote conversation and collaboration between visitors; the role of accessibility and Universal Design; how to determine when and if an interactive is the best choice to convey an interpretive point or engage a specific audience; or something else.

    While typically the journal seeks papers of 2,000 words in length accompanied by four to five high-resolution images, for this issue we will consider approaches that use fewer words in favor of more images.

    Articles might focus on a specific exhibition or provide an overview of practices. In all cases, articles must be both descriptive and analytical; should describe the interpretive and visitor goals behind an element/s; and evaluation, even if informal, must evidence arguments for the strengths and weaknesses of the project.    

    The exhibitions/installations analyzed can be of any size, and take place in any of a variety of spaces: museums of all disciplines, historical sites, galleries, institutions that collect and display living collections, outdoor public spaces, or other physical environments. Proposals might come from designers, architects, developers, interpretive planners, curators, writers, educators, collection managers, or others who create and contribute to exhibitions.

    Proposals of 250 words maximum (submitted as Word documents) must:

    • tell how the proposed article would relate to the issue’s theme;
    • indicate the approaches, strategies, or knowledge that readers would take away from the article;
    • convey how the article would raise questions or illuminate larger issues that are widely applicable (especially if the proposal focuses on a single project or institution);
    • take into account that articles will be expected to provide critical, candid discussions about issues and challenges; and
    • include a proposed title.


    Proposals are due January 4, 2018. Along with your proposal, briefly describe your background and your qualifications for writing the article (please do not include resumes or cvs).

    Our editorial advisory board will vet proposals in a blind review, and you will be notified of acceptance or non-acceptance. If your proposal is accepted, articles will be due March 30, 2018.


    Ellen Snyder-Grenier (, Editor, Exhibition.
    Submissions from colleagues and students around the world are welcomed and encouraged.

  • CFP: Reformatting the World: An Interdisciplinary Conference on Technology and the Humanities

    Toronto | Dates: 01 – 08 Dec, 2017

    The Graduate Program in Humanities and the Humanities Graduate Student Association (HuGSA) at York University are pleased to announce an interdisciplinary conference interrogating the critical role of technology, both past and present, in shaping human culture and society. Technology, in the broadest sense, has enriched our lives by opening up new vistas of knowledge about ourselves (or our selves) and the natural world. Digital technologies, for example, have made possible new, highly-advanced forms of social organization. They have also revolutionized almost every aspect of our lives, from travel, communication, entertainment, culture and the arts to food, medicine, education, politics, and science.

    However, technology is also associated with the rise of technical rationality and a cold, calculating approach to the creation and application of technological innovation. From the industrial revolution to the development of the atomic bomb, politics in alliance with private interests have wreaked havoc on the environment, peoples and communities across the world, and threatens to alter or destroy the things we value the most. Where, for instance, is the place for privacy, freedom, spirituality, and other aspects of the human experience as we move forward in increasingly technologically administered bodies and societies? Are we destined to become slaves to our own creations, the “sex organs of the machine world,” as Marshall McLuhan predicted? Can humanism and morality withstand—or even make use of—technology for the genuine betterment of humankind?

    Or, perhaps it is technology itself that must be rethought. What changes if we conceive of a technology as anything instrumental (a material, tool, text, medium, digital platform, etc.) and/or social (writing, discourse, institution, etc.) that exerts its own subtle pressure, penetrating deeply into in human experience or culture? What happens when our discourses of social/political/cultural technological “progress” are supplemented with that of “affordances” and “constraints?” In other words, can we attend to the stakes of technicity itself as an increasingly prominent (and often assumed) conceptual framework? How can such interdisciplinary approaches trace the real and imagined effects of a given technology across past and present human societies, and where do discourses and practices of technology and the humanities converge?

    Panel themes and topics might include (but are not limited to):

    • Digital Humanities: collaboration, new perspectives and communicative technology
    • Technology and the Arts: literature, fine arts, music, film, theatre, sound, fashion, etc.
    • Human–Machine Interaction: cyborgs, the social and the technological,
    • Biotechnology and Biopolitics: policies, ethics and technologies of living organisms
    • Epistemologies: disciplines, divides and the production of knowledge
    • Media Studies: communication and culture, social impact of media
    • History and Philosophy of Technology: past and present perspectives
    • Profit and loss: Potentials of new technologies and what is made antiquated in turn
    • Prophets and the lost: how varieties of spirituality have adapted with/to technology

    We welcome submissions from graduate students of any level, as well as early career researchers, from a wide cross-section of disciplines, fields and critical approaches, including (but not limited to) anthropology, art history, classics, communications and culture, comparative literature, critical theory, cultural memory, digital humanities, education, film studies, fine arts, futurism, historicism, history of science and technology, media studies, medical humanities, medicine, philosophy, popular cultural studies, religious studies, representation studies, sociology, translation studies, and women’s studies.

    Submissions may take the form of 20-minute papers, or 12–15 minute roundtable papers in either English or French. Those wishing to participate are invited to submit a 250-word abstract to by 8 December, 2017. Submissions must be accompanied by

    • the presenter’s name
    • institutional affiliation, program and level of study
    • e-mail address
    • tentative title
    • a short (150-word) bio
    • as well as an indication of whether any computing or electronic equipment (e.g., laptop, projector) is needed

    We are also very pleased to welcome practitioners of digital technologies who wish to present their work. We are offering access to the Digital Media Studio in the York University School of the Arts, Media, and Performance & Design building in the evenings for post-panel workshops. This room is equipped with Oculus Rift and Vive virtual reality hardware and Unreal virtual reality software. For those wishing to organize such a session, please contact us with technology requirements [etc.?]. Other submissions, in the form of poster sessions, visual art, or performance, will also be considered.

  • Women Architects and Politics in the long 20th Century, Deutsches Architekturmuseum (DAM)

    Frankfurt-am-Main | Dates: 17 – 19 Jan, 2018
    The conference will be held at the DEUTSCHES ARCHITEKTURMUSEUM (DAM) as part of the current exhibition, FRAU ARCHITECT. Over 100 years of Women Architects 1907 - today. The Exhibition will be open until March 8. 2018

    Politics, and especially gender politics, were animating forces in the 20th century. Many women navigated modernity by defining a place for themselves in professional work and embracing politics --- sometimes even extreme positions. The symposium explores how women architects confronted such upheaval to question traditional gender roles and to forge a place for themselves in architecture. Today women have established themselves in this profession and now comprise the majority of architecture students. The following questions arise: How did politics impact the rise of the "modern woman architect"? And, how has feminism in the last 40 years impacted the writing of architectural history?

    Speakers and moderators include: Hilde Heynen, Irene Nierhaus, Despina Stratigakos, Karl Kiem, Ines Weizman, SIgal Davidi, Edina Meyer-Maril, Kathleen James Chakroborty, Eliana Perotti, Katja Frey, Helena Mattsson, Mariann Simon, Lynne Walker, Elizabeth Darling, Harriett Harriss, Ruth Morrow, Sandra Schuster, Torsten Lange, Elke Krasny, Carsten Ruhl, Wolfgang Voigt and Regina Stephan.
  • Latrobe Chapter Lecture: Follies of Belief

    Washington | Dates: 05 – 05 Dec, 2017

    Follies of Belief: Architecture, Religion, and Humor in Modern America

    Lecture by Margaret M. Grubiak

    Tuesday, December 5, 2017

     Following the 2015 Islamic extremist attacks on the French satirical newspaper Charlie Hebdo, Pope Francis asserted “there is a limit to free speech” when it comes to religion and that we “cannot make fun of faith.” But is this true in the American context? In this talk, we will explore follies of belief in the United States—the Washington, D.C. Mormon Temple, which graffiti compares to The Wizard of Oz; the so-called “Touchdown Jesus” mural at the University of Notre Dame; Jim and Tammy Faye Bakker’s Heritage USA Christian theme park; and Oral Roberts University—to understand the ways Americans have responded to religious difference using humor and satire. Our reactions to the images of religion we see in our landscape suggest that Americans can and do make fun of faith productively, helping us to negotiate religious difference and take steps toward realizing religious pluralism.

     Dr. Margaret Grubiak is an associate professor of architectural history at Villanova University and author of White Elephants on Campus: The Decline of the University Chapel in America, 1920–1960. She lives in Alexandria, Virginia with her husband. Her current book project on the humor and satire of American religious architecture was inspired by frequently passing the Mormon Temple along Washington’s Beltway on her commute to Philadelphia.

     The First Congregational United Church of Christ

    945 G Street NW, Washington, DC 20001

    6:30 pm – reception, 7:00 pm – brief annual meeting lecture

     Reservations are not required. $10.00 for Latrobe Chapter members, student members (full time) free with ID, $15.00 for non-members (reduced admission for non-members!).
  • 2018 NHA Annual Meeting and Humanities Advocacy Day

    Washington | Dates: 11 – 13 Mar, 2018
    Join us in Washington, D.C. this March to advocate for the humanities! This year’s event will provide ample opportunity to connect with a growing number of humanities advocates from around the country. Together, we will explore approaches to year-round advocacy on college campuses and in local communities while also preparing for Capitol Hill visits. On March 13, we will visit House and Senate offices to make a persuasive case for federal funding for the humanities.
  • Workshop on Vernacular Balkan Architecture: Rhodope Mountains

    Dolen | Dates: 25 – 25 May, 2018

    Dates: 14 - 28 July 2018 

    Southeastern Europe, also known as the Balkans, has been a crossroads of human migration and a pivot point of civilizations since the dawn of time. Here, central and eastern Europe have met the Mediterranean and western Asia for many millennia, sometimes resulting in conflict, but above all bringing together a unique blending of cultures, religions, languages, folklore, traditions and crafts. Traditional architecture in Bulgaria is part of the common Balkan heritage. More preserved in the mountain areas, it’s characterized by its harmonic connection with nature, fascinating interior features and picturesque settlement configurations. Bulgarian traditional architecture stems from ancient Thracian and Roman tradition, and has evolved through the centuries within the Byzantine, medieval Bulgarian and later the Ottoman world, coming in contact with many influences in these vast and diverse empires. From the Middle Ages onward, itinerant Bulgarian builders and craftsmen have crisscrossed the Balkans and the Eastern Mediterranean, spreading their work throughout three continents, but also gathering and exchanging knowledge and techniques as far as Italy to the west, Armenia to the east, Vienna to the north and Egypt to the south. Closely and sustainably interacting with nature, combining functional simplicity, comfort of use and delicate and harmonious aesthetics perfected through the ages, Bulgarian traditional architecture is not only interesting to discover and study, but also very compatible with modern building practices tending toward a sustainable, ecological way of life.

    Today, the Rhodope Mountains mark the border between Bulgaria and Greece, but have also acted as an interface as well as a boundary throughout the ages. Here, in Orpheus’ homeland, all the influences that have swept the Balkans over the centuries have accumulated and interwoven rather than wiping away one another, giving birth to a unique amalgamation of architectural traditions and techniques, but also of cultures and beliefs. Here, coexisting with their modern lifestyle, the sturdy mountain people still preserve knowledge and ways of life that have long been forgotten elsewhere. The village of Dolen, an architectural reserve with remarkable authenticity, is a particularly interesting illustration of the rich, multi-layered history of the Rhodopes and the Balkans in general. Within the tiny boundaries of this village, one can discover key elements and processes that have shaped the Bulgarian and Balkan traditional architecture, approach traditions and folklore still carrying the echo of ancient times and feel the magic of the Rhodope Mountains.

    The Field School is comprised of:

    • - Fieldwork in surveying & recording of vernacular architecture. In the course of the Workshop, participants will have the opportunity to work on the analytical architectural documentation of Rhodopean architecture in the village of Dolen. They will be able to acquire skills in architectural documentation, material and historical research and analysis.
    • - Specialized lectures on southeast European late medieval history, architectural typology, traditional building techniques and natural materials
    • - Study visits to significant historical and natural sites in the Rhodopes and the Pirin mountains      
    • - Workshops in conservation and restoration of vernacular architecture - Building techniques and the specific use of materials in the Balkans have been developed by generations of craftsmen. Large bands of builders (called “tayfi”) used to travel across the Ottoman Empire, trading their craft. These groups applied their knowledge wherever they went, but they had to also conform to the wishes of their clients. Still, improving structural efficiency and spatial functionality were the main vectors of development for the building principles. During the workshops supervised by local craftsmen, specialized in the restoration of traditional architecture participants will be able to try working with different traditional building techniques and materials, characteristic to the region – wood, stone and clay   

  • VAF Access & Ambassadors Awards

    Alexandria | Dates: 28 Nov, 2017 – 01 Feb, 2018

    The Vernacular Architecture Forum (VAF) announces two awards to support attendance at its annual meeting, which will take place in 2018 in Alexandria, Virginia, May 2 –5, 2018 ( The Access Award ( supports first-time attendance by scholars and students with limited professional exposure to the fields of architectural history and vernacular studies, as well as by practitioners and independent scholars in the field. The Ambassadors Awards ( provide funding for student groups (undergraduate and graduate) from North American institutions, with a faculty sponsor, to attend VAF's annual conference. Applications for both awards are due February 1, 2018. For full instructions and more information visit VAF on the web.

  • Robert Rettig Fellowship

    Dates: 27 Nov – 22 Dec, 2017

    The Robert Rettig Student Annual Meeting Fellowship helps graduate students or emerging professionals attend the annual meeting of the Society of Architectural Historians in Saint Paul, Minnesota (April 18-22, 2018). Eligibility is limited to graduate students in architectural history or a related field at a New England college or university, or recent graduates who are now living in New England. Applicants who are not currently enrolled students must have completed a relevant graduate degree within the last five years. The Rettig Fellowship includes support of $400, plus a registration fee waiver. Applicants should submit a statement (not to exceed two pages, typed and double-spaced) explaining how their studies or work will be enhanced by attendance at the upcoming SAH annual meeting and indicating the source and amount of any other funding the applicant may receive. Applicants should also include a curriculum vitae and the name and email address of their faculty advisor or current employer. All files are to be submitted as one pdf document.


    Due:  December 22, 2017

    Email to: Anne-Catrin Schultz, NESAH Fellowship Coordinator:

    Call for fellowships also on:

  • John Coolidge Research Fellowship

    Dates: 27 Nov – 22 Dec, 2017

    The John Coolidge Research Fellowship assists graduate students at a New England college or university working on topics in architectural history, the built environment, or a related field through an award of $500 to $1,000 to support their research. Applicants should submit a proposal (not to exceed three pages, typed and double-spaced) that explains the significance of their overall project, its current stage of development, plans for its completion, and a detailed plan of work that addresses how the funded research will fit into their larger project. Applicants should also submit a budget, a curriculum vitae, the source and amount of any other current or potential funding for the project, and one letter of reference (preferably from the student’s advisor). All files are to be submitted as one pdf document.

    Due:  December 22, 2017

    Email to: Anne-Catrin Schultz, NESAH Fellowship Coordinator:

    Call for fellowships also on:

  • Nineteenth Century Magazine, peer-reviewed

    New York | Dates: 27 Nov, 2017 – 15 Jan, 2018

    Science Issue coming up.  We are open to submissions from scholars in the fields of cultural and social history of the United States from 1837 to 1917.  Nineteenth Century, published by the Victorian Society in America, is in its 37th year of publication and can be found in 250 libraries.  We publish features reflecting current research on architecture, fine arts, decorative arts, interior design and landscape architecture.  Our next issue is devoted to the topic of science in these fields.  2,000 to 6,000 words.  Due January 15th, 2018.  Apply to Warren Ashworth, Editor at


  • Bishir Prize for best juried article

    Dates: 01 Dec, 2017 – 01 Feb, 2018


    The Bishir Prize is awarded annually to the scholarly article from a juried North American publication that has made the most significant contribution to the study of vernacular architecture and cultural landscapes. Work published as a chapter in a book is eligible along with journal articles. Nominations should be based on primary research, break significant new ground in interpretation or methodology, and contribute to the intellectual vitality of vernacular studies. Entries may come from any discipline concerned with investigating vernacular architecture/landscape. Nominated pieces must bear the publication imprint of 2016 or 2017.

    Deadline for submission is 1 February 2018. Send an electronic copy of the work to the prize committee: Elizabeth Collins Cromley (, Joseph Sciorra (, and Richard Longstreth, chair ( Please provide the author’s contact information along with your own. Note that the committee automatically considered all refereed articles appearing in the VAF’s journal, Buildings + Landscapes.

    The prize winner and nominator will be notified in early March. The award will be presented at the Vernacular Architecture Forum annual meeting in early May, 2018.
  • CFP: Connecting across Europe? Ceiling Painting and Interior Design in the Courts of Europe around 1700

    Hanover | Dates: 22 Nov – 23 Dec, 2017

    Hannover-Herrenhausen, 13.09.-15.09.2018

    International Symposium organized by The Corpus of Baroque Ceiling Painting in Germany (CbDD) from Ludwig-Maximilians-Universität in Munich and The Bavarian Academy of Sciences and Humanities in cooperation with

    ●  der Landeshauptstadt Hannover, Herrenhäuser Gärten,

    ●  The Institute of History of Art and Musicology – IKM of the Austrian Academy of Sciences (ÖAW), and

    ●  The Research Group for Baroque Ceiling Painting in Central Europe (BCPCE).


    Mural Painting as a medium of social distinction of European courts around 1700

    The Corpus of Baroque Ceiling Painting in Germany (CbDD) regards painting on walls and ceilings as a medium. In a courtly context, mural painting would serve the sovereign to define his status within the court society, just as he did otherwise in the fields of architecture or interior design.

    Around 1700, a formal and thematic change can be observed in the choice of these media of social distinction, especially at the courts North of the Alps. In the field of mural painting it is striking in which way the ceiling is now no longer divided into multiple fields, but preferably dominated by one single monumental painting. This way mural painting can define the room. Monumentality resides in scale, and a new form of illusionism becomes important. The 'inganno degli occhi', a highly sophisticated form of illusionism prevails. Mural painting on ceilings gains autonomy and as a medium it follows its own logic. Furthermore, walls and ceiling can now be set into one integrating decorative scheme. This change is not just a matter of form, but also a matter of content: Glorifications and personifications are no longer represented in the old-established way and subject to dynastic formulas but become more and more individualized and tailored for a specific patron.

    Moreover, within the larger European context, mural painting should not be misunderstood as exclusively made in fresco or secco technique, or studied in isolation. The decision for oil painting on canvas or on walls seems - for a longer period of time - not only to have been a question of quality or of the possibility to hire a specialist, but also a question of esthetics. A large number of paintings on ceilings and especially on walls in Central- and Northern Europe have been painted on canvas and were adjusted on ceilings and walls. Stucco does also play an important role here, and seems to have been applied also in rooms of ' higher rank'.


    Possible reasons for the change in interior decoration

    The Corpus of Baroque Ceiling painting in Germany (CbDD) wants to connect the described transformation in the field of mural painting with the political changes in Europe around 1700. This shift of focus occurs parallel to a new position of power established by the monarchs and their states. The sovereigns are now striving for an acknowledgment of their newly achieved status. Numerous territories and new princes within the Holy Roman Empire want to effect their new rights of sovereignty, just as the kingdoms of Sweden and England, or the court of the House of Orange in the Netherlands and, later, in England. Despite their basically anti-catholic orientation, motifs once established to mark protestant ideals, vanish, and patterns, before decidedly perceived as catholic, are taken over, and new forms of a supra-national and trans-confessional court culture of the nobility and the higher nobility develop in Western Europe.

    It could be the case - so a central thesis - that the rise of new dynasties and powers was responsible for the developments described above. The rise of the house of Bourbon and the house of Savoy and the descent of the Spanish Habsburgs to their extinction - re the most striking examples. An independent trend seems to be the decline of artistic influence from the Netherlands in Northern Europe, giving way to anew influx of aesthetic ideas from France and Italy, depending on political alliances, as for example in England or in Brandenburg-Prussia.

    It seems to be at least partially a fact, that the rising powers emphasize their new status while the old-established elites restrain themselves until new standards have had their break-through. Several of these new powers try to establish themselves in this way: Prussia, Poland under the house of Wettin, Russia, Sweden, England, France, Savoy and the house Braganza in Portugal. Within the Holy Roman Empire, as well as in the heritary lands of the house of Habsburg in Austria, several new princes can be named, but also the Elector of Bavaria and the Elector of Hannover.

    Since these innovations take hold of Western Europe in general, we may consider them as part of a more general cultural adjustment process. It is therefore important to discuss, who set these new benchmarks (and why in this way) and who refused or opposed (and why). The deviation from the norms should not necessarily be misinterpreted as provinciality. It may eventually be a well-calculated instrument of princely authority. For it is the magnificence of the dynasties that it is all about. Here, an international comparison promises new insights.

    In order to secure comparability, studies should focus exclusively on sovereigns and their courts. A 'Landesherr' or sovereign is an independent ruler in Europe or within the territories belonging to the Holy Roman Empire of German Nation, ruled and governed by a monarch or sovereign, therefore also including the republics of Genova and Venice. Furthermore, it makes no difference, whether the buildings decorated with mural painting were set on their own territories or in other residential cities or estates, for example in Vienna or in Prague.


    The Location of the Symposium

    The Conference will take place at the so-called Galeriegebäude in Hannover-Herrenhausen. This festive building for the Electors of Hannover is an outstanding example for the change in court culture around 1700. The lost main building as well as the preserved Gallery-building, originally the Orangerie, were erected towards the end of the 17th century in the course of a rise in status and decorated with mural paintings by Tommaso Giusti. Around 1700, Elector Ernst August of Hannover took a bearing on Italy and commissioned a festive building entirely decorated with mural painting inside in the manner of country houses in Northern Italy or a Villa in the Veneto. His son Georg Ludwig, who in 1714 was to climb the throne of England as king Georg I, did not decide to have the main building of the residential palace of Herrenhausen erected in Italian forms after the death of his father. Instead, he choose to preserve the Gallery-building in the first decade of the 18th century, showing a more conservative attitude, reinforced a painted decoration on walls and ceilings after models from the Netherlands and France. In Herrenhausen we may therefore study two different role models side by side.

    It is not widely known, that the court of Hannover was around 1700 a cultural center within the courtly world of Europe, well-connected and related with the most eminent dynasties in Central- and Northern Europe, as well as with the Imperial house of Habsburg. Around 1700, Hannover takes its place at the intersection of European powers and their strategies of visual representation; and the location of the conference itself will also be the subject of discussion.


    Subjects for Conference Papers

    The conference aims at taking a look at mural painting at European courts around 1700 in the form of detailed case studies and to put them in a wider European setting in order to identify analogies and differences. On the other hand, general surveys are most welcome which undertake the effort to put singular phenomena into a bigger picture. What did the patron want to achieve and why was this solution chosen and not another one? Where these solutions appropriate, and have they been accepted? How were they received?


    We are looking forward to papers on courtly objects from across Europe, secular as well as sacred. The discussion should focus on the question at what times and in which cases artists from Italy or France were hired by the respective court, whether or not local artists were sent abroad for study to Italy or France. In spite of the dominant influence of French court art and culture all over Europe, this seems not the case in the field of mural painting. What are the reasons?

    Papers may focus on the following questions, and related subjects:

    ● Dynastic connections: Are there specific patterns of representation which could be related to dynastic connections? Have dynastic marriages any impact on the choice of decorative schemes?

    ● The impact of Confessions: Does the confession play a role in mural painting, for example in the representation of heaven: Did Catholics prefer to take a look into godliness, while Protestants depicted an image of divinity? In which way do pictorial strategies follow confessional patterns or are they just following a fashion?

    ● Iconographical and iconological Questions: What can we learn from a comparison of scenes from mythology, literature, personal and dynasty-related subjects, such as cycles from the Life of Eneas, the Fall of Phaeton, the apotheosis of an individual or a dynasty, personifications and allegories of the four seasons or the elements ecc., discussed from a transnational and trans-confessional point of view?

    Project directed by:

    Prof. Dr. Stephan Hoppe (Munich), Dr. Herber Karner (Vienna), Dr. Heiko Laß (Munich/Hannover)

    How to apply:

    Presentations are welcome in German or English, and should not exceed the time frame of 25 minutes. Suggestions from no more than 1 page please send until 23.12.2017 to:

    Corpus der barocken Deckenmalerei in Deutschland

    Dr. Heiko Laß

    Institut für Kunstgeschichte

    Ludwig-Maximilians-Universität München

    Zentnerstr. 31

    D-80798 München


  • CFP: Ephemeral Exhibition Spaces (1750-1918)

    Geneva | Dates: 22 Nov – 01 Dec, 2017

    During the last decades of the Ancien Régime and throughout the long nineteenth century, people in Europe marveled at absent worlds or past events that were reenacted visually or mentally in a variety of ephemeral exhibition spaces, like temporal museums, exhibits, (private) cabinets and, most strikingly, panoramic theaters and dioramic constructions. The latter installations or decors visually imitated reality, rather than represent it, like art would do, and with their illusory optical effects they were very popular with the big audience. They were however also criticised by those who stressed the imaginative, mental nature of vivification against forms of visual mimicry. From the very outset, reenactment in these spaces comes forward as an ambiguous, multifaceted and conflictive strategy. In the new public and private spaces of the nineteenth century, ephemeral exhibition spaces or spaces with an exhibitional dimension par excellence fitted more encompassing epistemological and experiential strategies of reenactment. Within a wide scope of cultural practices, they provided new spatial frameworks of understanding and experiencing reality, of imagining, of identification and control. It is however still a matter of debate how the epistemological, visual and experiential dimensions of reenactment interrelated, conflicted and coincided in these spaces. Reenactment in ephemeral exhibition spaces was caught between visual and mental strategies, between material tangibility and imagination. Reenactment in these spaces was also at the same time a tool of (scientific) knowledge and of subjective experience. Imagination could in this context strongly relate to the sensation of the uncanny, to aesthetic rapture, to (ideological and political) identification and to personal memory or even, in particular cases, to solipsist isolation. These spaces, finally, precisely because of their exhibitional nature, are also revealing of a dynamic of control, of voyeurism, of a problematic dealing with otherness, difference and absence, of people, of cultures or of the past.

    Our symposium intends to discuss a wide variety of ephemeral exhibition spaces or spaces with a distinctively exhibitional dimension, such as for example dépôts, derelict gardens, ruins, boudoirs, museums, exhibits, private interiors, cabinets, antique stores… against a broad cultural background and treated from various interdisciplinary angles within the humanities, including cultural history, history of art, literary studies and comparative literature, intellectual history, material culture studies, museum studies and others. We particularly, but certainly not exclusively, welcome papers, either in English or in French, on the following topics:

    - Ambiguous, multifunctional, liminal or hybrid spaces, in-between spaces, spaces between public and private uses, as well as the cultural practices they are connected with.

    - Imagery spaces, for example in written or visual sources (literature, catalogues, guides, travel literature, letters, art, images etc.) or material spaces that are able to stage the role of the imaginary in the construction of cultural practices.

    - Mediating spaces that worked as catalysts for interaction and interrelation between a number of categories such as gender and social classes.

    There is no registration fee for the conference

    Final papers, either in French or English, will be published in an edited volume with a reputable editor.

    Proposals (maximum 250 words) have to be sent to Camilla Murgia ( and Dominique Bauer ( by December 1, 2017. Those who submitted their proposal will be notified of their acceptance by December 20

    Conveners: Dr. Camilla Murgia, University of Geneva and Prof. Dominique Bauer, Catholic University of Leuven

  • Harvard University Graduate School of Design 2018 Wheelwright Prize

    Dates: 22 Nov, 2017 – 14 Jan, 2018

    The Harvard Graduate School of Design (GSD) is pleased to announce the 2018 cycle of the Wheelwright Prize, an open international competition that awards $100,000 to a talented early-career architect to support travel-based research. The 2018 Wheelwright Prize is now accepting applications; Deadline for submissions is January 14, 2018. This annual prize is dedicated to fostering new forms of architectural research informed by cross-cultural engagement.

    The Wheelwright Prize is open to emerging architects practicing anywhere in the world. The primary eligibility requirement is that applicants must have received a degree from a professionally accredited architecture program in the past 15 years. An affiliation to the GSD is not required. Applicants are asked to submit a portfolio, a research proposal, and a travel itinerary that takes them outside their country of residence. Finalists will be asked to travel to the GSD for finalist presentations on March 5, 2018.

    In 2013, Harvard GSD revamped the Arthur W. Wheelwright Traveling Fellowship, which was established in 1935 in memory of Wheelwright, Class of 1887. Intended to encourage the study of architecture outside the United States at a time when international travel was difficult, the award was available only to GSD alumni; past fellows have included Paul Rudolph, Eliot Noyes, William Wurster, Christopher Tunnard, I. M. Pei, Farès el-Dahdah, Adele Santos, and Linda Pollak.

    An international jury will be announced in January 2018. In addition to Wheelwright Prize Organizing Committee members Dean Mostafavi and Professors K. Michael Hays and Jorge Silvetti, previous juries included the following: Gordon Gill, Mariana Ibañez, and Gia Wolff (2017 jury); Rafael Moneo, Kiel Moe, Jeannie Kim, Benjamin Prosky, and Eva Franch i Gilabert (2016 jury); Craig Evan Barton, Preston Scott Cohen, Sarah Herda, and Elisa Silva (2015 jury); Iñaki Ábalos, Sílvia Benedito, Pedro Gadanho, Linda Pollak, and Shohei Shigematsu (2014 jury); Yung Ho Chang, Farès el-Dahdah, Farshid Moussavi, and Zoe Ryan (2013 jury).

    Applicants will be judged on the quality of their design work, scholarly accomplishments, originality or persuasiveness of the research proposal, and evidence of ability to fulfill the proposed project. Applications are accepted online only, at Finalists MUST be available to travel to Cambridge, Massachusetts, for finalist presentations on March 5, 2018, at the GSD. A winner will be named in Spring 2018.

  • Thesaurus Poloniae Fellowship Program

    Krakow | Dates: 22 Nov, 2017 – 21 Jan, 2018
    Thesaurus Poloniae is a three-month-long Fellowship of the Minister of Culture and National Heritage of the Republic of Poland implemented by the International Cultural Centre in Krakow in autumn 2009. The programme is addressed to non-residents of Poland  who conduct their research on culture, history and multicultural heritage of the Republic of Poland as well as on Central Europe. Both the researchers who deal with practical aspects of management and protection of cultural heritage, and theoretists dealing with history, sociology, ethnography, anthropology etc. are welcome to apply and participate in the programme. Thesaurus Poloniae Fellowship is run in two categories: Senior Programme addressed to university professors and senior lecturers/PhD holders, and Junior Programme addressed to PhD candidates. 69 researches from 28 countries (Armenia, Azarbajdzan, Belarus, Belgium, Canada, China, Croatia, the Czech Republic, Egipt, Estonia, France, Georgia, Germany, Great Britan, Hungary, Iran, Italy, Japan, Lithuania, Moldova, Russia, Romania, the Slovak Republic, Serbia, Spain, Syria, Ukraine and the USA) have participated in the programme so far.
SAH thanks The Richard H. Driehaus Foundation Fund at The Chicago Community Foundation for its operating support.
Society of Architectural Historians
1365 N. Astor Street
Chicago, Illinois 60610
Copyright - (c) 2012