LUXURY: Call for Papers
LUXURY: History Culture Consumption will be the first truly interdisciplinary, peer-reviewed, academic journal devoted to luxury, and will satisfy the demand for scholarly, unbiased and penetrating thinking on the subject. The journal will consider luxury in broad socio-cultural contexts, exploring and interrogating both our historical and contemporary understanding of the term.
Within the context of the contemporary global economic recession our consumption of luxury is being questioned and indeed transformed, notions of ‘affordable luxury’, ‘sustainable luxury’ and even ‘luxury for less’ suggest a new discourse, which this journal will provide a challenging and exciting forum for. And yet the demand for luxury goods and services on a global scale is at an unprecedented level, to that end LUXURY will examine all aspects of luxury; its historical formation and understanding, its contemporary global political and economic function, alongside an exploration of how the concept of luxury remains an impetus for design, popular culture, literature and fine art.
The journal will embrace serious, thought provoking investigations spanning the Medieval concept of luxus and luxuria, implying excess, to contemporary concepts of ‘minimal luxury’, implying restraint, and not unlike the Renaissance wunderkammer will display a diverse array of texts that will articulate a new understanding of the term. Topics will range in chronology from Classical Greece and Rome, through the Medieval, early Modern and 18thcentury manifestations of luxury, to the contemporary luxury landscape, and will interrogate what luxury means within a broad range of contexts including, the luxury goods industries (automotive, culinary, tourism, accessories and so on), alongside the growing body of critical material arising from the study of brand management, marketing, advertising and those investigating the spaces of consumption. The networks of luxury, its production, sale, transformation, reproduction and dissemination will also be a vital topic that will be addressed both historically and in its contemporary manifestations. Similarly the relationship between luxury and class, gender and desire will be a consideration underpinning many of the arguments raised by the featured articles.
LUXURY welcomes proposals from scholars, writers, practitioners and historians working directly within the remit of luxury as well as those from disciplines such as geography, anthropology, sociology, gender studies, literary theory, cultural anthropology, economics and design studies for example. Contributions from those working in areas previously regarded as remote from considerations of luxury, but who recognise the importance of the subject to contemporary society, and who wish to join an international forum of thinkers eager to explore this increasingly contested subject will be especially welcome.
Articles should be between 5,000 and 7,000 words in length.
Initially, please submit an abstract of between 300-500 words, accompanied by a C.V. to Dr. Jonathan Faiers (j.faiers@soton.ac.uk). If you would like your article to be included in the first volume of LUXURY then abstracts should be submitted no later than 15 May 2013. Full manuscripts would need to be submitted no later than 30 June 2013.
Friday, May 3, 2013
CFP: Reexamining the Early Modern Ornament Print (RSA 2014)
New York, March 27 - 29, 2014
Deadline: May 24, 2013
Reexamining the Early Modern Ornament Print (RSA 2014)
The large and varied corpus of works that fall under the rubric of
“ornament prints”, “Ornamentstiche” or “Ornamentale Vorlageblätter”
have been variously catalogued and recorded since the early nineteenth
century. These important studies give us a general overview of when
and where the prints were made, the artists who made them and their
probable functions. Many critical questions remain, however, not least
the fundamental problem of what constitutes the genre itself. Rudolf
Berliner’s notion of the ornament print as a template, for example, has
proven to be overly one-dimensional and not representative of historic
practice. Is it possible to define or formulate specific parameters for
the genre as a whole? This session invites papers that take a wide
view on the theme of non-architectural ornament prints from the
fifteenth through seventeenth centuries. Questions and topics to be
considered could include:
• what is an ornament print?
• the origins of the genre
• the imagery of ornament prints
• the relationship of ornament prints to the other arts
• the creators of ornament prints, e.g. the goldsmith-printmaker
• the purpose and utility (or lack thereof) of ornament prints
• early collectors of ornament prints
• copying versus ownership of design
Please submit an abstract (max. 150 words) and a brief CV (max. 300words)
to Femke Speelberg (Femke.Speelberg@metmuseum.org) and Madeleine
Viljoen (madeleineviljoen@nypl.org) by May 24, 2013. For information
about RSA submission guidelines, please see
http://www.rsa.org/?page=2014NewYork.
Deadline: May 24, 2013
Reexamining the Early Modern Ornament Print (RSA 2014)
The large and varied corpus of works that fall under the rubric of
“ornament prints”, “Ornamentstiche” or “Ornamentale Vorlageblätter”
have been variously catalogued and recorded since the early nineteenth
century. These important studies give us a general overview of when
and where the prints were made, the artists who made them and their
probable functions. Many critical questions remain, however, not least
the fundamental problem of what constitutes the genre itself. Rudolf
Berliner’s notion of the ornament print as a template, for example, has
proven to be overly one-dimensional and not representative of historic
practice. Is it possible to define or formulate specific parameters for
the genre as a whole? This session invites papers that take a wide
view on the theme of non-architectural ornament prints from the
fifteenth through seventeenth centuries. Questions and topics to be
considered could include:
• what is an ornament print?
• the origins of the genre
• the imagery of ornament prints
• the relationship of ornament prints to the other arts
• the creators of ornament prints, e.g. the goldsmith-printmaker
• the purpose and utility (or lack thereof) of ornament prints
• early collectors of ornament prints
• copying versus ownership of design
Please submit an abstract (max. 150 words) and a brief CV (max. 300words)
to Femke Speelberg (Femke.Speelberg@metmuseum.org) and Madeleine
Viljoen (madeleineviljoen@nypl.org) by May 24, 2013. For information
about RSA submission guidelines, please see
http://www.rsa.org/?page=2014NewYork.
CFP: "Invisible Designs: New Perspectives on Race and American Consumer Capitalism"
Call for Papers:
"INVISIBLE DESIGNS:
New Perspectives on Race and American Consumer Capitalism"
Interdisciplinary Graduate Student Conference
University of Chicago
October 24-25, 2013
Plenary Panelists: Davarian Baldwin (American Studies, Trinity College), Jacqueline Goldsby (English, Yale University), Nicole Guidotti-Hernandez (American Studies, University of Texas at Austin), Paul Mullins (Anthropology, Indiana University-Purdue University, Indianapolis), Lauren Sklaroff (History, University of South Carolina)
"Design" as an object and a theme has begun to shape analysis about race across the disciplines and has generated searching questions about the nature of American culture and life: What has attracted manufacturers, advertisers, artists, and consumers to reproduce certain images of race? How has racialized imagery sustained the work of capitalism and American dreams of the "good life"? Taking advantage of recent humanistic and social scientific attention to material and visual culture, to the cultural analysis of capitalism, and to conceptions of race beyond "black and white," this conference will take stock of the latest scholarly conversations about race and capitalism and explore paths for future inquiry. Ultimately we aim to unpack the premises, stakes, and potential of studying graphic materials, consumer practices, and modes of production as means to uncover the otherwise “invisible” cultural logics and historical processes which have woven racial difference into the fabric of American life.
We welcome proposals for presentations from graduate students in all areas of the humanities and social sciences. The conference is organized to foster conversations between established scholars and emerging graduate students. Our program will consist of five panels comprised of invited faculty and graduate students; students will be matched with invited faculty according to broad methodological or thematic affinity. We therefore encourage graduate students to propose presentations which reflect ongoing dissertation research.
Possible topics include, but are by no means limited to:
-Archaeological or provenance studies of racialized consumer goods or artifacts
-The role of the culture industries in “designing” race
-The home and interior design as sites for race-making
-Affective and/or erotic dimensions of racial design
-Intersections between racial design with gender and sexuality
-Consumerism as a forum of racial self-fashioning and public discourse
-Immigration, citizenship, and iconography
-Production of graphic arts by Latino/a Americans, African Americans, Native Americans, Asian Americans, Jewish Americans and other minority groups
-The remembrance, archiving, and refabrication of racialized consumer goods
-The racial politics of museum and gallery representation
We invite you to submit a 250-word abstract for 20-minute paper presentations, along with a one-page CV, to conference organizers Chris Dingwall and Korey Garibaldi at invisibledesigns2013@gmail.com by no later than *May 31, 2013.* Successful applicants will be informed in late June.
"INVISIBLE DESIGNS:
New Perspectives on Race and American Consumer Capitalism"
Interdisciplinary Graduate Student Conference
University of Chicago
October 24-25, 2013
Plenary Panelists: Davarian Baldwin (American Studies, Trinity College), Jacqueline Goldsby (English, Yale University), Nicole Guidotti-Hernandez (American Studies, University of Texas at Austin), Paul Mullins (Anthropology, Indiana University-Purdue University, Indianapolis), Lauren Sklaroff (History, University of South Carolina)
"Design" as an object and a theme has begun to shape analysis about race across the disciplines and has generated searching questions about the nature of American culture and life: What has attracted manufacturers, advertisers, artists, and consumers to reproduce certain images of race? How has racialized imagery sustained the work of capitalism and American dreams of the "good life"? Taking advantage of recent humanistic and social scientific attention to material and visual culture, to the cultural analysis of capitalism, and to conceptions of race beyond "black and white," this conference will take stock of the latest scholarly conversations about race and capitalism and explore paths for future inquiry. Ultimately we aim to unpack the premises, stakes, and potential of studying graphic materials, consumer practices, and modes of production as means to uncover the otherwise “invisible” cultural logics and historical processes which have woven racial difference into the fabric of American life.
We welcome proposals for presentations from graduate students in all areas of the humanities and social sciences. The conference is organized to foster conversations between established scholars and emerging graduate students. Our program will consist of five panels comprised of invited faculty and graduate students; students will be matched with invited faculty according to broad methodological or thematic affinity. We therefore encourage graduate students to propose presentations which reflect ongoing dissertation research.
Possible topics include, but are by no means limited to:
-Archaeological or provenance studies of racialized consumer goods or artifacts
-The role of the culture industries in “designing” race
-The home and interior design as sites for race-making
-Affective and/or erotic dimensions of racial design
-Intersections between racial design with gender and sexuality
-Consumerism as a forum of racial self-fashioning and public discourse
-Immigration, citizenship, and iconography
-Production of graphic arts by Latino/a Americans, African Americans, Native Americans, Asian Americans, Jewish Americans and other minority groups
-The remembrance, archiving, and refabrication of racialized consumer goods
-The racial politics of museum and gallery representation
We invite you to submit a 250-word abstract for 20-minute paper presentations, along with a one-page CV, to conference organizers Chris Dingwall and Korey Garibaldi at invisibledesigns2013@gmail.com by no later than *May 31, 2013.* Successful applicants will be informed in late June.
The Histories of Material Culture and Collecting, 1700 – 1950 (call for submissions)
Call for submissions
Book series from Ashgate Publishing
The Histories of Material Culture and Collecting, 1700 – 1950
Series Editor:
Michael Yonan, University of Missouri
The Histories of Material Culture and Collecting, 1700- 1950 provides
a forum for the broad study of object acquisition and collecting
practices in their global dimensions from the eighteenth through the
mid-twentieth centuries. The series seeks to illuminate the
intersections between material culture studies, art history, and the
history of collecting. HMCC takes as its starting point the idea that
objects both contributed to the formation of knowledge in the past and
likewise contribute to our understanding of the past today. The human
relationship to objects has proven a rich field of scholarly inquiry,
with much recent scholarship either anthropological or sociological
rather than art historical in perspective. Underpinning this series is
the idea that the physical nature of objects contributes substantially
to their social meanings, and therefore that the visual, tactile, and
sensual dimensions of objects are critical to their interpretation.
HMCC therefore seeks to bridge anthropology and art history, sociology
and aesthetics. It encompasses the following areas of concern:
1. Material culture in its broadest dimension, including the high arts
of painting and sculpture, the decorative arts (furniture, ceramics,
metalwork, etc.), and everyday objects of all kinds.
2. Collecting practices, be they institutionalized activities
associated with museums, governmental authorities, and religious
entities, or collecting done by individuals and social groups.
3. The role of objects in defining self, community, and difference in
an increasingly international and globalized world, with cross-cultural
exchange and travel the central modes of object transfer.
4. Objects as constitutive of historical narratives, be they devised
by historical figures seeking to understand their past or in the form
of modern scholarly narratives.
The series publishes interdisciplinary and comparative research on
objects that addresses one or more of these perspectives and includes
monographs, thematic studies, and edited volumes of essays.
A list of current and forthcoming titles in the series can be viewed at:
http://www.ashgate.com/Default.aspx?page=4163
Proposals should take the form of either:
1. a preliminary letter of inquiry, briefly describing the project; or
2. a formal prospectus including: abstract, brief statement of your
critical methodology, table of contents, sample chapter, estimated word
count, estimate of the number and type of
illustrations to be included, and a c.v.
Please send a copy of either type of proposal to the series editor and
commissioning editor:
Professor Michael Yonan, yonanm@missouri.edu
Margaret Michniewicz, Commissioning Editor, mmichniewicz@ashgate.com
Reference / Quellennachweis:
CFP: Histories of Material Culture and Collecting. In: H-ArtHist, May
3, 2013. <http://arthist.net/archive/5248>.
____________________________________________________________________
H-ARTHIST
Humanities-Net Discussion List for Art History
E-Mail-Liste für Kunstgeschichte im H-Net
Editorial Board Contact Address / Fragen an die Redaktion:
hah-redaktion@h-net.msu.edu
Submit contributions to / Beiträge bitte an:
http://arthist.net/mailing-list/mode=contribute
Homepage: http://arthist.net
Book series from Ashgate Publishing
The Histories of Material Culture and Collecting, 1700 – 1950
Series Editor:
Michael Yonan, University of Missouri
The Histories of Material Culture and Collecting, 1700- 1950 provides
a forum for the broad study of object acquisition and collecting
practices in their global dimensions from the eighteenth through the
mid-twentieth centuries. The series seeks to illuminate the
intersections between material culture studies, art history, and the
history of collecting. HMCC takes as its starting point the idea that
objects both contributed to the formation of knowledge in the past and
likewise contribute to our understanding of the past today. The human
relationship to objects has proven a rich field of scholarly inquiry,
with much recent scholarship either anthropological or sociological
rather than art historical in perspective. Underpinning this series is
the idea that the physical nature of objects contributes substantially
to their social meanings, and therefore that the visual, tactile, and
sensual dimensions of objects are critical to their interpretation.
HMCC therefore seeks to bridge anthropology and art history, sociology
and aesthetics. It encompasses the following areas of concern:
1. Material culture in its broadest dimension, including the high arts
of painting and sculpture, the decorative arts (furniture, ceramics,
metalwork, etc.), and everyday objects of all kinds.
2. Collecting practices, be they institutionalized activities
associated with museums, governmental authorities, and religious
entities, or collecting done by individuals and social groups.
3. The role of objects in defining self, community, and difference in
an increasingly international and globalized world, with cross-cultural
exchange and travel the central modes of object transfer.
4. Objects as constitutive of historical narratives, be they devised
by historical figures seeking to understand their past or in the form
of modern scholarly narratives.
The series publishes interdisciplinary and comparative research on
objects that addresses one or more of these perspectives and includes
monographs, thematic studies, and edited volumes of essays.
A list of current and forthcoming titles in the series can be viewed at:
http://www.ashgate.com/Default.aspx?page=4163
Proposals should take the form of either:
1. a preliminary letter of inquiry, briefly describing the project; or
2. a formal prospectus including: abstract, brief statement of your
critical methodology, table of contents, sample chapter, estimated word
count, estimate of the number and type of
illustrations to be included, and a c.v.
Please send a copy of either type of proposal to the series editor and
commissioning editor:
Professor Michael Yonan, yonanm@missouri.edu
Margaret Michniewicz, Commissioning Editor, mmichniewicz@ashgate.com
Reference / Quellennachweis:
CFP: Histories of Material Culture and Collecting. In: H-ArtHist, May
3, 2013. <http://arthist.net/archive/5248>.
____________________________________________________________________
H-ARTHIST
Humanities-Net Discussion List for Art History
E-Mail-Liste für Kunstgeschichte im H-Net
Editorial Board Contact Address / Fragen an die Redaktion:
hah-redaktion@h-net.msu.edu
Submit contributions to / Beiträge bitte an:
http://arthist.net/mailing-list/mode=contribute
Homepage: http://arthist.net
Wednesday, April 17, 2013
NOTICE OF Helen Louise Allen Textile Collection PROJECT ASSISTANTSHIP
Supervisor: Liese Pfeifer, Collections Manager HLATC
FALL 2013 and SPRING 2014
33% appointment, 13.3 hrs/week. Tuition plus PA association salary rate
The HLATC assistant will work as part of a team and jobs will vary throughout the year. This is an opportunity to develop expertise across a wide range of duties.
Duties:
1) Maintain and rotate tasks in-house (every semester or upon request)
a) Research choices through data base (Tirus)
b) Create proper labels and didactic material
c) Mount works if needed
2) Prepare and present class visits and tours
a) Handle incoming requests via email
b) Pull items, log on various forms and update data base
c) Clean tables, present items and stay with collection while class is in session
d) Return items to original location and finalize all paperwork.
3) Assist with collection development
a) Research and document HLATC holdings related to possible accessions
b) Research and document possible acquisitions
4) Assist with relevant Design Gallery shows and lending
a) Assist with curating
b) Assist with sending textile collection items out on loan
5) Answer email requests:
a) Process photo requests
b) Process info requests
6) Assist with event marketing
a) Update Website
b) Create signage for events
7) Assist with arrangements for Harris Lecture
a) Travel arrangements
b) Lecture location
c) Reception
Additional HLATC tasks will vary and include all aspects of caring for a textile collection such as conducting weekly cleaning, Monitoring pest traps, etc.
Qualifications
Preparing for a career in object studies, curating or museum studies
Interest in the study of textiles and clothing across cultures and time periods
Organizational skills: very detailed oriented
Maintain full time graduate student status
Strong writing and editing skills
Strong computer skills
Data entry skills
Careful object handling skills
Ability to maintain focus in group work area
Qualifications desired:
Knowledge of textiles and design
Previous course work in museum studies, object conservation, art history
Familiarity with relational database software
Web development skills
To apply, email resume and cover letter to hlatc@sohe.wisc.edu with PA Job in subject line.
Write your cover letter stating what skills you have that is applicable.
Application Deadline: April 29, 2013
Position Contingent upon Adequate Funding
Friday, April 12, 2013
Subscribe to:
Posts (Atom)