TOC: Art History Supplement 4.3, May 2014

Table of Contents

Editorial board. 2

Editorial in absentia. 3

Małgorzata Rychert: The Mill and the Cross: an in-depth film analysis of Peter Brueghel’s painting The Way to Calvary. 5

Kathleen O’Neil: A suggestion for a classical source for Donatello’s Judith and Holofernes, the Mithraic Tauroctony. 17

Giorgio Bacci, Davide Lacagnina, Veronica Pesce, Denis Viva: Spreading visual culture; a digital project for contemporary art, literature and visual culture. State of the art, perspectives and collaborations. 27

Books received. 53

Call for manuscripts. 55

Louis Marin and the material condition. 55

Unorthodox Autobiographies. 57

Call for guest editors. 60

Call for artists. 61

 
Read online or download a PDF via GoogleDrive
http://www.arths.org.uk/about/arthsa/issue43

 

///

 

CFP: Unorthodox Autobiographies

CFP: Unorthodox Autobiographies
Art History Supplement, November 2014

Contact: Matthew Ryan Smith, Guest Editor, matthewryansmith733@gmail.com

Deadline for abstracts: July 1, 2014
Deadline for papers: September 1, 2014

Launched in 2011, Art Histories Society (ArtHS) is a free, independent, online non-profit, educational, open network; working towards a public understanding of arts and their histories. ArtHS promotes, through its website, social media and its e-journal, advances in the science of history of art. ArtHS also proposes a critical direction towards the study of public and oral art history; and towards a hypothesis that personal stories and interpersonal relations shaped and constructed the science of art history.

Art History Supplement (Online edition: ISSN 2046-9225) is a bimonthly scholarly e-journal, published by Art Histories Society.

Issue 4.6, “Unorthodox Autobiographies” welcomes papers that engage an interdisciplinary and unconventional approach to the study of autobiography in art history and visual culture. “Unorthodox Autobiographies” is intended to challenge conventional discourses of autobiographical studies by rupturing its definitions, and thus opening it up to new lines of flight and states of inquiry. We aim to provide a scholarly venue for papers that would not rest comfortably in other, more traditional, scholarly publications. This issue of Art History Supplement is specifically intended to contribute to the growing discipline of autobiography, a typically literary-based disciplinary field of knowledge, in the visual sphere.

For the forthcoming issue of Art History Supplement, we seek submissions from scholars, visual artists, artists, and art critics. Possible topics or areas of interest include, but are certainly not limited to, the following subjects:

– Dynamic representations of memory or affect
– Communications of historical or structural trauma
– ‘Selfies’ and self-portraiture
– Social networking and online presence
– Autobiography as Otherness
– Queering autobiography
– Politics of public / private autobiographies
– Relationships between literary autobiography and visual autobiography
– Self-representation, psychotherapy, and confession
– Image archives and image banks
– Narcissism and overrepresentation
– Truths and falsehoods
– Technological mediations of identity

Submissions should consist a minimum of 3000 words, a 100-150 word abstract, and a list of illustrations. Files should be submitted in English and in Microsoft WORD format. Each image should be sent as a separate file; jpeg or .tiff (min. 300 dpi). Please note that all necessary copyright documentation for all quoted material and / or all illustrations must be included in the submission package. For more information, visit: http://www.arths.org.uk/about/journal/author-s-guidelines

 

///

CFP : Paragone Studies (Quebec, 18-20 Sep 14)

Quebec City, Canada, September 18 – 20, 2014

Deadline: Apr 1, 2014
Paragone Studies Conference

Papers are invited for The 3rd Annual International Conference in Paragone Studies, to be held at the Musée des beaux-arts du Québec (Museum of fine arts of Québec: http://www.mnbaq.org/en), just outside of the old quarter of the City of Québec in Canada.

The conference’s purpose is to support the scholarly investigation of the paragone, or rivalry in the arts, as it has been manifested in all media across history. The conference will also include a round-table session featuring artists who choose to discuss how competition in the arts, past or present, has impacted their work or their professional lives.

To apply: Submit a 300-word abstract using the paper or round-table presenter appropriate form on the conference website
(http://blogs.umflint.edu/paragonestudies/) and send to paragonestudies@gmail.com. Please include a c.v.

 

Reference:
CFP: Paragone Studies (Quebec, 18-20 Sep 14). In: H-ArtHist, Mar 6, 2014 (accessed Mar 6, 2014), <http://arthist.net/archive/7133>.

 

 

 

TOC : Art History Supplement, 4.2, March 2014

Art History Supplement, vol. 4, issue 2, March 2014

Table of Contents

 

1. Editorial. 4

2. G.M.P. (1911-1912), by Gertrude Stein. 11

3. The unknown masterpiece, by Honoré De Balzac. 94

4. A Manual of the Historical Development of Art, by Gustavus George Zerffi. 122

5. “Of Exotic and New Styles in Venice,” by Luigi Antonio Lanzi. 136

6. “How I met Enriqueta Harris and Tomas Harris,” by Nigel Glendinning. 166

7. CFP: Representations of the life of Leonardo da Vinci in motion pictures. 170

8. CFP: Louis Marin and the material condition. 173

9. Call for guest editors. 175

10. Call for artists. 176

11. Support us. 177

 

Read online or download as PDF via Google Drive
http://www.arths.org.uk/about/arthsa/issue42

 

 

///

CFP : Louis Marin and the material condition

Art History Supplement, September 2014

Deadline for final submission of manuscripts: August 15, 2014

Contact: Ioannis Tzortzakakis, editor@arths.org.uk

 

 This issue of Art History Supplement seeks to address issues regarding the work of French philosopher and art historian Louis Marin (1931 – 1992) and the material shift in art history. What do we actually mean by the study of material culture in history of art? One may support that the artefacts that are not considered art are part of the material culture.  However, do we subsequently, if not intentionally, tend to separate the notions of art and material? Whilst, despite art being “mirror” or representation, it is primarily of a material nature.

Combining the research of Bourdieu and Damisch on the “structure as representation,” Louis Marin had noted, among others, in his De la représentation (1994, Paris: Seuil/Gallimard) that:

“Structured and structuring, produced and producing, the “cultural” dispositions constitute, between material structures and social practises, behavioral and representational schemas or matrices that function as authentic mediations in the materialist dialectic of society. […]”[1]

And

[…]

“Thus the process through which pictorial practice is developed, structured by the habitus of representation, in a purely symbolic activity misrecognizing both its character as practise and its material conditions of possibility, is the consequence or the effect of that process of mutation through which economic structures become autonomous.”[2]

However, Marin’s starting point could be traced back to the reading of Foucault’s Cours de linguistique générale; to the best of my understanding, for the gap between sign and signifier / or the “real-world object.” One may also discuss on the relation between Marin and Roman Jakobson. Yet, if this schism, between material and representation (as meaning), exists, indeed, the problem, once again, remains to be sought in between. The poles of materiality and meaning are thus being constructed. How are these two poles being connected and under which mechanisms? Can we discover anew instances in history, where a change in the material-ity of an artwork generated an alteration also in its meaning – whether in its original setting and context, or not? This change in material could be made possible through natural causes or by human integration via restoration or conservation.

Furthermore, following this distinction between material and representation / meaning, if we are to approach them as separate beings in an artwork, there is, once again, a latent, in the epistemological sphere, distinction between theoretical discourse and practical application in art history.

 

Papers submitted must contain a minimum of 3,000 words. Authors are responsible for securing high-quality digital images and securing rights to reproduce them digitally. Additional author guidelines and editorial procedures can be found here: http://www.arths.org.uk/about/journal/author-s-guidelines

 

 


[1] Louis Marin, On Representation, translated by Catherine Porter (2001), Stanford, California: Stanford University Press, p. 26.

[2] op.cit. p. 30.