Entries Tagged as 'Call for Papers'

Arts and Artistic Techniques, 1430-1550

CALL FOR PAPERS: Interdependences – Arts and Artistic Techniques 1430-1550, Conference of the Faculty of Art History, Institut für Kunstwissenschaft und Historische Urbanistik at the Technische Universität Berlin, 9 – 10 December 2011.

Materials and techniques are more than “coefficients of friction within the total product”, to which Alois Riegl once wished to degrade them. They have, on the contrary, permanently influenced the history of the arts. Technical innovations have not only permitted new processes in the creation of art, but have continuously opened up new possibilities of design. At the same time they have had knock-on effects on other techniques, media and genres of art – e.g. the role that copper engravings in the fifteenth century had for woodcuts and painting or the model role that sculpture assumed for the development and formulation of the gravure process. A project on the history of artistic techniques at the Institut für Kunstwissenschaft und Historische Urbanistik at the Technische Universität Berlin is specifically dedicated to the study of interdependencies of this kind. Its aim is to analyse parallel phenomena in the genres of the figurative arts through the centuries, to consider the innovative potential of different processes and inquire into their importance for transformations in style, iconography and function.

The project opens with a conference that first approaches the question for the period between 1430 and 1550, i.e. the period in which differences between artistic concepts and their practical execution first became perceptible. So, on the one hand, there were experiments with new materials and processes, such as the increasing use of oil as a binder in pigments, the introduction and further development of printing processes in the graphic arts, or the further development of large-scale cire perdue casting in bronze. And on the other, there were theoretical models that systematically demanded a dematerialization of art and that therefore promoted the marginalization, or depreciation, of its handicraft and technical aspects. The symposium aims to elucidate this tension between theory and practice, to analyze the role of artistic techniques and to pose questions about the relation between technical and artistic innovations: How do technical innovations influence established forms of artistic creation – within the individual genres, but also in ways that transcend them? What new visual experiences do they make possible, what new aesthetic standards do they put in place? What capacities for adaptation do they demand of artists? What role is played by the idea of progress – is it overtly embraced in the work of art or is it concealed? How are new processes reflected? What repercussion do they have in the literature of artistic theory?

The conference will be held on Friday, 9 December and Saturday, 10 December 2011 in the rooms of the Faculty of Art History, Institut für Kunstwissenschaft und historische Urbanistik, Technische Universität Berlin, Straße des 17 Juni 150/152, 10 623 Berlin.

Proposals (not exceeding a maximum of 2500 characters) are invited and should be sent to Prof. Dr. Magdalena Bushart. Deadline: 15 June 2011.

Source: H-ArtHist

Generosity in the Early Modern Period

CALL FOR PAPERS: Generosity in the Early Modern Period (RSA Washington 2012).

This panel is devoted to exploring anthropological and economic theories of generosity useful for understanding the complex manifestations of power at work in the acts of giving and receiving in the early modern world.  Among the questions this panel seeks to ask are: What logic informed gift-giving practices during the period? What is the distinction between economic and non-economic exchange in the early modern period?  How do intellectual and material modes of exchange make authority legible? We welcome case studies of individual instances of gift exchange as well as papers that examine larger theoretical concerns bearing on the study of early modern generosity broadly.

Please send a 150 abstract, paper title and CV to both Jessica Keating and Touba Ghadessi by 31 May 2011.

Source: H-ArtHist

Early Modern Merchants as Collectors

The Ashmolean Museum announces its CALL FOR PAPERS for the conference Early Modern Merchants as Collectors. The conference will be held 15-16 June 2012 in Oxford (UK), at the Ashmolean Museum.

In 1615, Vincenzo Scamozzi highlighted the importance in Venice of the merchant-collectors Bartolomeo dalla Nave and Daniel Nijs by including descriptions of their collections in his L’Idea della architettura universale.  Scholarship has also moved beyond the consideration of the artist and the patron as the principal protagonists in the history of collecting.  As a result, merchants are now being regarded by historians as influential collectors in their own right.

With the 1985 publication of The Origin of Museums, a collection of conference papers edited by Oliver Impey and Arthur MacGregor, the Ashmolean Museum became established as a leading institution for research in the history of collecting.  Recently re-opened with innovative galleries displaying objects exploring the theme ‘Crossing Cultures Crossing Time’, the new Ashmolean now affords an opportunity to re-visit the 1985 conference topic and not only to update but also to expand it into this fresh area of research and debate.  This interdisciplinary conference will explore early modern merchants as collectors across a wide range of geographical regions and collecting categories, investigating whether there are any patterns connecting these merchant-collectors of the early modern period and what theoretical frameworks can be applied to them.

This will be a unique opportunity for interdisciplinary and international discussion of an emerging, yet proven, line of research.  Accordingly, scholars working on merchants who were active in any region of the world and whose collections included objects from any collecting category are invited to submit proposals.

Papers may address the collecting of a single merchant or group of merchants and should fall within the period circa 1450-1650, although topics falling outside of this date range will be considered if a compelling reason for their inclusion can be made.  Contributions may be based on inventories but, equally, they may address the cultural context or any other aspect of a merchant’s or merchants’ collecting activities.

Proposals should be no longer than 500 words in length and must be accompanied by a CV.  Proposals and queries should be addressed, electronically only, to Dr. Christina Anderson, Honorary Research Fellow at the Ashmolean Museum. The deadline for submission is 31 May 2011.  Those submitting proposals will be contacted as soon as possible thereafter.

The Call for Papers is availabe on the conference website.

Laughter in Renaissance Paintings

CALL FOR PAPERS: Laughter in Renaissance Paintings, International symposium, Paris, Deutsches Forum für Kunstgeschichte, Université de Paris I, HICSA, Centre d’Histoire de l’Art de la Renaissance (C.H.A.R.), 8-10 March 2012.

Laughter during the Renaissance period has been the subject of many in-depth studies in literature and cultural history, whereas in art history only some specific aspects have received consideration. This situation is due notably to the absence, during this period, of one of the must common forms of mockery: caricature, which only appeared at the end of the 16th century in the work of the Carracci. Another reason may be the fact that genres were not yet defined and classified in the hierarchy which subsequently, during the 17th century, justified the representations of less ‘noble’ subjects but relegated them to a lesser artistic category.

Laughter escapes all sorts of uniform classification, as Daniel Ménager remarks in his book La Renaissance et le rire, and during the Renaissance one used to laugh with pictures in many different ways. The comical language of images, with its witticisms, inversions, and parodic inventions, is comparable to the language of comic theatre, burlesque literature, carnival culture and farces, but it also has its own distinctive structures and a specific vocabulary for pictorial syntax. Therefore it will be interesting to examine the many ways in which figurative language produces laughter, whether it be ‘vulgar laughter’ or ‘erudite laughter’ or contaminations of the two.

The symposium intends to analyse the different expressions of laughter in the visual arts as well as the response to images that were expected to produce laughter and their use in 15th and 16th century Europe. It is particularly open to new outlooks and to approaches that will encourage a debate between the visual arts and literature.

Text: 2.000 characters at most; curriculum vitae: 1 page at most. Contacts: Diane Bodart and Francesca Alberti. Deadline: 1 March 2011.

More information

CFP: An Iconology of the Textile

CALL FOR PAPERS: The Image Split. Textile Openings in Aesthetic Discourse, International Conference, Institute of Art History, University of Zurich, 24 – 25 November 2011.

ERC Project: Textile: An Iconology of the Textile in Art and Architecture.

In his commentary to Gilles Deleuze’s Différence et répétition (1968), Michel Foucault pictures Ariadne hanging herself in despair with a rope braided by her own hands. In consequence, her thread breaks, Theseus ultimately loses his way and the whole philosophical discourse assumes a form of a shadowy, collage-like theatre of mistakes. The contemporary implicitness and frequency of textile-oriented metaphors within the debate on the media of the invisible, like disguise, veiling, vesting, or transparency, seem to confirm this vision. Accordingly, the cultural discourse at the time of the crisis of transcendency and representation is centered around the model case of the veil as an ultimately deceptive figure of inaccessibility. In this context, the question of validity, efficiency, or idleness of the notion of representation is still an issue.

The conference is meant to be an opportunity for cross-disciplinary perspectives among art history, Bildwissenschaft, image theory and culture studies. It will discuss the problem of disintegration and dissolution of philosophical and pictorial structures, which are literally or figuratively conceived as textile intertwining. Based on the act of cutting as the second productive principle of textile production – following the connective actions of knitting, weaving and braiding – the focus of the symposium will be set on textile rupture as a matter of historical and contemporary aesthetic experience, image criticism and artistic practice. Its point of departure will be a theoretical question of differences between such notions as cut, split, stab, fissure and break in this context and whether they may be treated equally as synonyms in respect to the textile surface.

Tearing as a form:
The mechanical interference in the woven structure of the artwork should not be reduced to its merely iconoclastic or erotic interpretations. The disrupted, fragmented or slashed textile surface, as for example the canvas of the painting, can also be defined as a place for image’s self-recognition and transition of the genre’s limits, as in the already well established image formulas by Lucio Fontana, Alberto Burri or other modern practices dealing with image’s texture. The theoretical approach to the critically motivated conscious act of textile rupture and cutting up also introduces the issue of image’s vulnerable corporeality, which corresponds with the beholder’s bodily self-reflection. Such manifestation can therefore also be discussed as a dialectical approach to restore the lost aura of an image.

Self-reflection of decomposition:
How can the common notion of decomposition be applied to the textile metaphors of the visual? The cut implies a textile disruption of an image as a forming principle and as such contributes to the negation of the textile surface as an image carrier. The possible focal questions in this context concern the creation of fragmentary cross-border forms of images that in terms of mechanical decomposition are meant to specifically disturb the traditional primacy of the canvas as a framed and consistent textile place of representation.

Textile interruptions:
The conference’s themes and topics will also include artistic practices that, in contrast to the above, accentuate or simulate the presence of the canvas insofar they play with its structured grating pattern, at the same time diminishing the power of image’s representational values. It is another kind of textile split, when from behind the painted surface being a place of pictorial corporeality of the layered paint, there appears a textured and interwoven inner flesh of the work and thus the image reveals itself as a painting. In this respect, such ‘anatomical’ procedures as visualization and simulation of textile interlacings within an image, or un/folding and unrolling of the area of depiction, which are meant to qualify or even dissolve the clothing
level of mimesis are of special relevance in both theoretical and historical perspectives.

Summing up, the main question remains to what extent can the image’s textile split, being a mark of negation, fragmentation and heterogeneity, be considered in terms of a statement of its self-recognition? Does such a textile disruption of an image let it go beyond the principles of representation due to the indexicality and unrepeatability of this individual act? Does an image speak of itself as a tableau through its wounds, scars, stigmata and visceral disrobement?

Please send your proposal for a 20 minutes paper (max. 300 words) together with a short CV and list of publications to Mateusz Kapustka. Conference languages are German and English. The organizers will apply for funding as to cover travelling and lodging expenses. The deadline for the proposals is 1 March 2011.

Source: H-ArtHist

CFP: Forum Kunstgeschichte Italiens

CALL FOR PAPERS: Forum Kunstgeschichte Italiens auf dem 31. Deutschen Kunsthistorikertag in Würzburg, 23.-27. März 2011.

Auf dem Kunsthistorikertag in Würzburg soll in der Sektion des Forums Kunstgeschichte Italien unter anderem das nächste, 3. Jahrestreffen 2012 des Forums geplant werden. Vorgesehen sind für diese zweitägige Arbeitstagung (nach dem Modell des letztjährigen Kolloquiums in Bonn) wieder drei bis vier Untersektionen mit jeweils mehreren Beiträgen.

Gesucht werden Vorschläge und Verantwortliche für die thematische Ausrichtung dieser Untersektionen. Wünschenswert wäre, daß diese  Sektionen nicht zu eng konzipiert sind und größere Zusammenhänge und  Perspektiven in den Blick nehmen.

Die Vorschläge sollten in Form eines maximal zweiseitigen Exposés eingereicht werden. Im Anhang an das Exposé können bereits konkrete  Namen von Vortragenden genannt werden, es ist aber auch eine spätere  offene Ausschreibung denkbar.

Bitte senden Sie Ihre Vorschläge bis 28. Febr. an:
Prof. Dr. Alessandro Nova
Prof. Dr. Ulrich Pfisterer
Prof. Dr. Georg Satzinger

Deadline: 28 February 2011.

Source: H-ArtHist

Between Drawing and Writing

CALL FOR PAPERS: Aesthetics and Techniques of Lines between Drawing and Writing, International Conference (CIHA, Comité d’histoire de l’art – Colloquium), Florence, The Kunsthistorisches Institut in Florenz – Max-Planck-Institut and the Gabinetto Disegni e Stampe degli Uffizi, 30 June – 2 July 2011.

Lines and lineaments are fundamental concerns in many cultures. They can be constitutive elements of pictorial and scriptural systems, as well as of a combination of both. Lines can separate or intersect, they can connect or link. Drawn, inscribed, incised or woven into a surface they create or articulate space, denote orientation or movement, they present or represent, they signify or carry out meaning, they cancel or cross out. Lines are, geometrically spoken, one-dimensional, but in scripture and drawing they are material as is the ground on or in which they appear. In this sense one can speak of techniques of “making lines” which condition the aesthetics of lineaments as much as the latter contribute to the invention and transformation of such techniques. Under these premises, the conference will discuss the differences, similarities and open borders between writing and drawing, their techniques and aesthetics, especially in European, Islamic and East Asian cultures. Given that lines play an important but not exclusive role in this relationship, papers could also discuss the limits of linear systems or explore alternative models as for example the transition between line, brush stroke, mark or spot. The major aim of the conference is to envisage a dialogue among specialists of different cultures and academic fields, questioning the role of lines in an intercultural perspective, from an historical as well as theoretical point of view.

The following list of arguments which could be addressed in the conference is far from being exhaustive, it rather wants to invite to further thoughts and critical considerations:

• Visualizing language, picturing texts, iconic letters and words, texts as icons, writing in pictures, scriptural drawings, signatures, profiles etc.
• Pictograms and graphic signs
• Techniques of drawing and writing in relation to various supports (papyrus, parchment, paper, walls etc.)
• Scribbling, sketching, etc.
• Modes of correcting and reworking
• The art of calligraphy and the aesthetics of writing in a comparative perspective
• Ornament between scripture, decorative lineaments and figurative elements
• Techniques and aesthetics of reproduction for written text and images
• Delineating the past (and the future): pictorial and scriptural memories
• Delineating Nature: writing and drawing between art and science
• Modes and media of intra- und intercultural transmission
• Self-reflection of writers, draftsmen and visual artists
• Ontologies and theologies of the line, in relation to scripture and image
• Non-linear concepts of writing and imaging.

Scholars interested in participating in the conference are invited to send a proposal of 250 words, their CV and a list of publications to the following address by 15 December 2010: dirwolf@khi.fi.it

The conference has been organized by Gerhard Wolf and Marzia Faietti. The conference languages will be: Italian, German, English and French.

Further information

CFP: The Medieval Copy (Colloquium)

CALL FOR PAPERS – 16th Annual Medieval Postgraduate Colloquium: The Medieval Copy, The Courtauld Institute of Art (Somerset House, Strand, London, WC2R 0RN), Kenneth Clark Lecture Theatre, Saturday 5 February 2011.

Copies, mass-production, emulation, and originality have been significant and problematic concepts for the reception of medieval art and architecture in both its academic study and popular understanding. They continue to exert their influence on perceptions and scholarship, particularly in functioning as commonplaces for periodization, and in privileging the ‘original’ and ‘originality’. This colloquium aims to balance such tendencies, bringing together approaches from a broad chronological and geographic range of sources – Late Antique, Medieval, Byzantine, Islamic and Renaissance – both to the idea of imitation and to the study of individual works that involve emulation, reproduction and mass-production.

Topics for discussion might include:

* Mass-production
* Works of multiple impressions: woodcuts, badges, tokens, coins, seals, printed books
* Workshop practices, exempla and model-books
* Medieval conceptions of the copy, emulation and invention
* Imitations among artistic media
* Cross-cultural exchange
* Antiquarianism
* ‘Architectural copies’
* Iconographic borrowing and repetition
* Forgery
* The historiography of emulation, copying and originality in medieval art.

The Medieval Colloquium offers the opportunity for research students at all levels from different universities in the UK and abroad to present their research and receive feedback in a friendly and constructive environment.  The Institute cannot offer travel subsidies for speakers, however students from outside London are encouraged to apply to their institutions for funding to attend the colloquium.

Please send proposals of 200–300 words, for papers of 15–20 minutes, to  Jessica Berenbeim by the closing date of 1 December 2010.

Further information

Früh- und hochmittelalterliche Buchmalerei

CALL FOR PAPERS: XXXI. Deutscher Kunsthistorikertag, Würzburg, Julius-Maximilians-Universität, 23.-27. März 2011. E-Mail: info@kunsthistoriker.org.

GENIUS LOCI

In Würzburg und seiner Region ist seit dem frühen Mittelalter in bemerkenswerter Dichte und Kontinuität eine häufig internationalen Maßstäben standhaltende Kunsttätigkeit möglich gewesen. Dieses reiche und vielschichtige Patrimonium hat die Sektionsthemen provoziert. Sie nehmen dezidiert von solchen Aspekten der Würzburger Kunstgeschichte ihren Ausgang, die in weitere Horizonte führen und damit prinzipielles Interesse beanspruchen, zugleich neue Einsichten und methodische Reflexion fördern können. Besonders willkommen ist, daß dabei wichtige Arbeitsbereiche diskutiert werden, die auf Kunsthistorikertagen bislang kaum vertreten waren. Auch die Problematisierung des heutigen und künftigen Umgangs mit dem Erbe und nicht zuletzt unsere Verantwortung für die bildungspolitischen Voraussetzungen drängen sich in einer Stadt wie Würzburg geradezu auf. Das Motto beschwört also in erster Linie die gewiß inspirierende Substanz der Würzburger Kunstgeschichte, mit der sich zu konfrontieren auch Orts- und Museumstermine, Ausstellungen und Exkursionen Gelegenheit geben werden. Es regt darüber hinaus die Auseinandersetzung mit der Frage an, wie wir uns in Zeiten einer sich an globale, manchmal ortlos verschwimmende Weiten gewöhnenden Kunstwissenschaft der Herausforderung des historisch gewachsenen, komplexen Systems einer lokalen Identität angemessen stellen können.

Sektion 1: Früh- und hochmittelalterliche Buchmalerei, Wolfgang Augustyn, München / Fabrizio Crivello, Turin

Würzburg war seit Gründung des Bistums im 8. Jahrhundert ein wichtiges Zentrum der Buchmalerei, wie illuminierte Handschriften des 8. und 9. Jahrhunderts belegen; bekannt sind illuminierte Handschriften aus Würzburg ebenso aus ottonischer Zeit wie aus dem 13. Jahrhundert. Der Tagungsort lädt zur Frage ein, welche Bedeutung Kathedrale und Klöstern bei der Buchproduktion von der ottonischen Zeit bis ins ausgehende 12. Jahrhundert zukam und welche Anregungen dabei berücksichtigt wurden. Neben den Problemen von Stil und Ikonographie rückten in den letzten Jahren in der Forschung zur Buchmalerei vermehrt auch Fragen zur Funktion des Buchschmucks und zur Organisation und Arbeitsweise von Ateliers in den Blick. Neue Fallbeispiele können die vielfach ungeklärten Entstehungs- bedingungen von Handschriften im Hoch- und Spätmittelalter weiter erhellen. Welche Rolle spielen laikale, nicht bei geistlichen Gemeinschaften angesiedelte Buchmalerateliers in den Städten? Inwieweit kam es zu Herstellung und Buchschmuck unter Bedingungen von Arbeitsteiligkeit und Spezialisierung? Welche Verbindungen – Beziehungen, Abhängigkeiten, Differenzen – gibt es in dieser Zeit zwischen Buchmalerei und Wandmalerei?

Interessierte Kolleginnen und Kollegen sind herzlich aufgefordert, ihr Exposé (1-2 Seiten) an die Geschäftsstelle des VDK zu senden. Die Auswahl der Vorschläge (pro Sektion sind fünf 30-minütige Vorträge möglich) nehmen in gemeinsamer Sitzung die Sektionsleiter/innen und die Vorstandsmitglieder vor. Einsendeschluß für Exposés: 25. Mai 2010.

Meher Informationen

CFP: RSA 2011 – The Divine Painter Figure

CALL FOR PAPERS – 2011 Annual Conference of the Renaissance Society of America, 24-26 March, Montreal (Quebec, Canada): The Divine Painter Figure. Demiurgical Portrait and Self-Portrait.

Few people have risen the question of the Renaissance self-portrait from the point of view of the scenario of production, in the sense of Victor Stoichita’s terms. By involving the idea of a learned visual assembly established by the artist, the scenario of production takes its own line on the painting and on the figure of the artist. In the context of the new status of painting in the Quattrocento as a liberal art, we propose to examine how the artist presents himself in his own pictorial scenography.

With this in prospect, the christomorphism of Dürer and its strategy which consists in using the very strongly stressed religious imaging’s connotations is well known. But how acts more precisely the painter who watches himself painting, the one who plays with usurpation and camouflage of identity and disguised himself as saint Luc or as other sacred characters? Within the genre of the self-portrait, how to consider the emphasis placed on a physical motive, the painter’s hand, which refers inexorably to the artistic literature of the period and to the inseparable link between concetto (the designo, design and invention) and componimento inculto? And if we return to Aby Warburg’s sentence, “God is in the details”, what can reveal the intimist micrography of the Northern artists about their artistic position in the realization of self-portraits within the painted mirrors?

Particularly welcomed are the papers dealing with anthropological modalities of the portrait and self-portrait as a demiurge, in the visual arts of the Renaissance. From the notions of ressemblance and identification, we would like to analyze the pictorial dispositives and the discourses on art in order to understand the aesthetic motivations of the artists to represent themselves as the alter-ego of the God of the Judeo-Christian thought.

Topics may include, but are not limited to:
- The literary or philosophical use of the demiurgic metaphor
- The painter and the Imitatio Christi
- The self-portrait as a saint and the variants assimilating the painter to the divine
- The «mise en abyme» of the iconography of saint Luc by the painters
- The legends relative to the Mandylion of Edessa, to Veronica’s veil, to the real portrait of the Christ
- The notion of resemblance and fictious resemblance
- The avatars of the demiurgical analogy in the Icon or in the Non-Western Arts during the modern period, and also the posterity and the reception of this ancient paradigm until contemporary period.

Please send an abstract (150 words maximum) and a CV (including and institutional affiliation and contact information) by 21 May 2010 simultaneously to the organizers: Florence Chantoury-Lacombe (invited professor, Department of art history and cinematographic studies, Université de Montréal) and Natacha Pernac (Université Paris-Sorbonne / Université Lille 3). Speakers must be members of the RSA at the time of the conference.

Click here for more information.

CFP: RSA 2011 – The Arts of Other Friars

CALL FOR PAPERS – 2011 Annual Conference of the Renaissance Society of America, 24-26 March, Montreal (Quebec, Canada): The Arts of the Other Friars: Cultural Production of the Smaller Mendicant Orders. Contact: Joseph Hammond (University of St Andrews). Co-Organiser: Arnold Witte (University of Amsterdam).

This panel will examine the differing approaches and roles that Mendicant Orders other than the Franciscans and Dominicans took to the arts in the Renaissance. Many such smaller Orders, for example the Carmelites or the Servites, proliferated from the fifteenth until the seventeenth centuries, and their involvement with, use of, and impact on the cultural productions of the time has received relatively little study in comparison with the two largest Mendicant Orders. This panel will take both an exploratory and comparative approach, considering such questions as: how and in what ways do these Orders manifest similarities to, or differences from, the artistic productions of their larger mendicant brothers? Do the same paradigms of corporate identity and promotion still apply? How are they influenced by specific locations? What is distinctive about their liturgical and devotional practices that is reflected in their cultural productions?

All areas of cultural production (painting, sculpture, music, manuscripts, architecture, etc), locations and mendicant orders besides the Franciscans and Dominicans will be considered. Please send abstracts (of 150 words maximum) for a 20 minute paper. Provide a brief CV, with full name, email address, institutional affiliation, title of paper and any A/V requirements you may have. Deadline: 17 May 2010.

Click here for more information.

CFP: Conference on Trecento Art

CALL FOR PAPERS: Conference on Trecento Art in Memory of Andrew Ladis, The Georgia Museum of Art and The University of Georgia11-13 November 2010.

The Georgia Museum of Art and the University of Georgia have sponsored symposia on Italian art for almost two decades. In 2010, to honor the memory of Andrew Ladis (d. 2007), they are returning to the original concept: art of the fourteenth century. The fourteenth century the organizers have in mind is a long one, from roughly 1260 through 1453. Rather than focusing on a single city, style, medium or artist, the conference will be open to any topic related to art produced in the Mediterranean basin that in some way reveals the impact of, exchange among, or presumed  hegemony of Italian art.

The conference will meet in Athens (Georgia) in the campus of the University of Georgia. Opening events are scheduled for Thursday, November 11, 2010, and papers will be sented on Friday and Saturday, November 12 and 13, 2010.

Proposal abstracts are to be submitted by 8 May 8 2010. To send proposals or for further information, contact: Shelley E. Zuraw or Asen Kirin, Lamar Dodd School of Art, 270 River Road, University of Georgia, Athens, GA 30602.

Click here for further information.