CFP: 7 SESSIONS AT RSA CONFERENCE (BERLIN, MAR 15)

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1 1 5 CFP: 7 SESSIONS AT RSA CONFERENCE (BERLIN, MAR 15) 61st Annual Meeting of the Renaissance Society of America (RSA), Berlin, March 26-28, 2015 Call for Papers for the sessions: [1] Early Modern Visual Arts and Poetics [2] Boredom and Banality [3] Quadri laterali [4] Early Modern Collections and the Trade in 'Collectibles' [5] L'Ornement et ses contraires à la Renaissance française [6] Renaissance Images as Indices to Phenomenological Experience [7] From Avant-garde to Retrograde? Florentine Art around 1600 [1] From: Jodi Cranston <cranston@bu.edu> Subject: CFP: Early Modern Visual Arts and Poetics Deadline: May 20, 2014 Early Modern Visual Arts and Poetics Historians of early modern art often lament the dearth of writing of documents, commentary, personal responses, etc. that could provide insight into the earlier life of the artwork; even though, as we know well, the early modern period first announced its arrival through texts and also drew enormous inspiration from earlier poetry and writings on poetics. These poetic texts often supplied the subjects, competitive exemplars, generic modes, and/or the affective structures of these artworks. Artists, for example, attempted to re-create the vivid scenes furnished by the ancient exercise of ekphrasis and to find bodily expression for rhetorical figures, such as antithesis. Not just instances of illustration, these artworks often operate as visual translations of poetic situations; as figurations of emotional conditions, modes of address, and boundaries of the inexpressible. This panel welcomes papers that address historical considerations of poetics and the visual arts such as the visualization of poetic tropes in early modern art, the impact of early modern artworks on contemporary poetic theory, the role of poetics in shaping viewer reception as well as critical and theoretical reflections on the (mis)alignment of the two fields. Please submit abstracts of no more than 250 words to Christian Kleinbub (kleinbub.1@osu.edu) and Jodi Cranston (Cranston@bu.edu) before May 20th.

2 [2] From: Lisa Andersen/ Heather Muckart Subject: CFP: Boredom and Banality 2 5 Deadline: Jun 3, 2014 The banal that which is seen to lack any originality is often considered both an undesirable and uncritical quality in an artwork. This negative interpretation can be partially attributed to the avant-garde preference for the new and a modern valuation of art based in the art market. Likewise, the experience of boredom in viewing an artwork where a lack of interest dominates the viewing experience is seen as the mark of artistic failure. Boredom, however, can act as the impetus to both art s production and its contemplation. Similarly, it is the repetitious nature of the banal that often connects a work to a larger artistic oeuvre or tradition. Upon close analysis, the concepts of boredom and banality betray a complex, often complimentary relationship to notions such as attentiveness, affect, imagination, and meaning. From a reconsideration of Dutch realism to the exploration of Renaissance and Rococo ornament, recent theoretical interventions have begun to reevaluate boredom and banality as potentially resituating or broadening our understanding of the role and experience of art. We invite proposals for papers that consider art and its production and experience in the early modern period in relationship to the terms of boredom and banality, and the related concepts of the copy, repetition, melancholy, and the commonplace. Please send your paper title, abstract (150-word maximum), keywords, and a brief CV (300-word maximum) to Heather Muckart and Lisa Andersen at boredomandbanality@gmail.com by June 3, [3] From: Andreas Henning <andreas.henning@skd.museum> Subject: CFP: Quadri laterali Deadline: Jun 1, 2014 Quadri laterali Considering the Lateral Walls of the Chapel From the late 15th century in Italy, the chapel is often a three-dimensional space opening from the nave of a church. If the central, axial altarpiece has been the natural focus of visitors and scholars, the decoration of chapel's side walls have received scant attention. Notable exceptions, like Caravaggio s lateral paintings for the Cerasi and Contarelli Chapels or the decorations of the scuole in Venice, suggest that there is much to be learned from considering this category. How do artists deal with site-specific issues such as lighting conditions and oblique sightlines; what can thinking laterally, instead of axially, tell us about how a chapel was commissioned, conceived, designed, executed, coordinated; what is the hierarchy of parts in the ensemble of a chapel; what factors determine whether fresco or canvas; what happens when components by different artists. Organized by Gail Feigenbaum, Getty Research Institute, and Andreas Henning, State Art Colllections Dresden. Abstracts for studies on chapels and oratories in all regions of Italy, and especially would be most welcome. Please contact Gail Feigenbaum (gfeigenbaum@getty.edu) or Andreas Henning (andreas.henning@skd.museum) for more information and to submit an

3 abstract. 3 5 Deadline: June 1, Please send an abstract (150-word maximum) and brief curriculum vitae (300-word maximum). Participants are responsible for their own travel and accommodation and must be members of the RSA at the time of the conference. For more information about the RSA conference, please consult [4] From: Christina M. Anderson <cm.anderson@usa.net> Subject: CFP: Early Modern Collections and the Trade in 'Collectibles' Deadline: Jun 2, 2014 This panel will explore the trade in objects that became part of early modern collections. Papers can address anything from exotica like feathers from South America and curiosities such as branches of coral to the cabinets of Philipp Hainhofer, whose contents were designed according to specific themes. Further collectibles may include paintings, antiquities, precious stones or animals, among other things. We welcome papers that explore the ways in which these items were sourced, commissioned, transported, marketed, priced, paid for and/or delivered. In focusing on the activities that brought objects into a collection, this panel aims to investigate, among other things, the ways in which taste was formed and information was circulated; whether collectibles were handled like any other commodity or whether their trade required specialist knowledge; and the relative influence and importance of the suppliers to the culture of collecting. Looking at the background to the formation of early modern collections, this panel also seeks to understand the role of collecting in the relationships between individuals of different social classes, and the ways in which collecting was embedded in other early modern activities such as travel, diplomacy and the trade in commodities. Interested participants should send proposals, of no more than 150 words, and a short CV, no longer than one side of an A4 sheet of paper, to the organisers, Christina Anderson, University of Oxford (cm.anderson@usa.net) and Michael Wenzel, Herzog August Bibliothek (mwenzel@hab.de ) by 2 June the latest. [5] From: Kelly D Cook <kdc25@umd.edu> Subject: CFP: L'Ornement et ses contraires à la Renaissance française Registration deadline: Jun 1, 2014 L'Ornement et ses contraires à la Renaissance française [English version below] Sous François Ier, l'ornement en France subit une réexamination intensive au sein des cercles royaux et humanistes, et devient un aspect central de la culture visuelle et des stratégies rhétoriques des milieux intellectuels. Cette session examinera les fondations intellectuelles, et les usages sociaux, culturels et politiques de l'ornement, mais voudra aussi analyser les antithèses de l'ornement afin d'explorer les controverses qui entourent son utilisation, ses limites distinctes, et ses manques conceptuels. Des contributions sont sollicitées depuis des disciplines diverses, y compris la littérature, l'histoire de l'art, l'histoire des sciences et intellectuelle. Les communications peuvent porter sur l'ornatus et le rôle du corps,

4 l'ornement comme gaspillage, les expérimentations formelles avec l'ornement (au sens de la proportion et des dimensions), les vides et la vacance, l'excès, la vanité et l'abondance. 4 5 Cette session aura lieu dans le cadre du colloque annuel de la Renaissance Society of America, à Berlin, du 26 au 28 mars Les communications seront donc en anglais, ainsi que les propositions de contribution. Les propositions de contribution doivent être adressées à Kelly D. Cook (kdc25@umd.edu) et Pauline Goul (pg323@cornell.edu) avant le 5 juin Under Francois I, ornament in France underwent an intensive reexamination within royal and humanist circles, becoming an important aspect of visual culture and rhetorical strategies within intellectual circles. This session examines the intellectual foundations, and the social, culture and political uses of ornament but also aims to examine ornament's antithesis in order to explore controversies surrounding its usage, its definable limits and its conceptual gaps. Papers are solicited from diverse fields including literature, art history, history of science and intellectual history. Themes that may be broached include ornatus and the role of the body, waste in/of ornament, formal experimentation with ornament, including scalar and dimensional aspects, vacancy and voids, excess, vanity, and abundance. Please send abstracts (150 words) and CVs to Kelly D. Cook (kdc25@umd.edu) and Pauline Goul (pg323@cornell.edu) by June 5th. [6] From: Michael Grillo <grillo@maine.edu> Subject: ANN: As Part of the Viewer's World: Renaissance Images as Indices to Phenomenological Experience Deadline: May 31, 2014 As Part of the Viewer s World: Renaissance Images as Indices to Phenomenological Experience Of the three three semeiotic typologies identified by Charles Saunders Peirce, History of Art has focussed primarily on two: the mimetic, which links sign to subject through optical verisimilitude, and the symbol, which marks meaning through cultural conventions. In The Art of Describing, published forty years ago, Svetlana Alpers considered how we might see images instead as a form of mapping, in an approach that recalls Peirce s third typology, the indexical, which affords meaning by considering how images might direct attention to the personally experienced world in a variety of ways. As Part of the Viewer s World seeks to explore how Renaissance audiences constructed meaning in images that specifically referenced their immediate environment. These pointers to the world of the viewer could take place through mimetic representations, as in the background setting of the Piazza della Signoria in Ghilandaio s Confirmation of the Franciscan Rule, or though subtle metonymy, such as the plaid blanket and fan in Pietro Lorenzetti s Birth of the Virgin that signal the world of Siena, or by more abstracted aesthetic means, as in the presence of Classical Rome in Mantegna s S. Zeno Altarpiece. Each of these images engages its viewers through the mediation of the world that they know phenomenologically in personal experience. Papers should focus on how aspects of Renaissance images work as indices, pointing viewers to their habitual experiences in their

5 physical world, whether in daily life or ritualistic practice. Explorations of pictorial indexicality should open up new ways of understanding what images afforded Renaissance audiences, in manners complementary to those of iconic manifestation and pictorial representation. 5 5 Please send a 150 word prospectus, keywords, and a short 300 word c.v. to Michael Grillo, University of Maine, at Michael.Grillo@umit.maine.edu buy 31 May, [7] From: Fabian Jonietz <fabian.jonietz@khi.fi.it> Subject: CFP: From Avant-garde to Retrograde? Florentine Art around 1600 Deadline: May 30, 2014 From Avant-garde to Retrograde? Florentine Art around 1600 After emphasizing the innovative potential and impact of Florentine art over the course of the fifteenth and the beginning of the sixteenth centuries, traditional art historical narratives turn away from Florence in order to focus upon the emergence of the Baroque style in Rome and Bologna at the end of the sixteenth century. This session invites papers that address the often overlooked decades between Vasari's death in 1574 and the recurrence of the plague in Our objective is to examine the status of Florentine art at the turn of the seventeenth century from various vantage points in order to gain a more precise image of the period. As a result, we welcome analyses of particular artists, works, patrons, or workshops, as well as papers that address historiographical questions and the history of style. Some themes to be considered include the relationship of artists of this period to previous generations of Florentine artists, the effect of large workshops (Vasari's, Allori's) on individual styles, the introduction of new iconography and/or the retention of traditional iconography, local preferences for particular media (i.e., fresco), the role patronage (ducal, ecclesiastical, and individual) played in promoting or suppressing innovation, and the ramifications of church reform for art. Preference will be given to papers that explore themes relevant to the status of Florentine art of this period through close readings of particular monuments, individuals, and concepts. Please submit abstract (150 words maximum), keywords, and short CV (300 words maximum) to both organizers by May 30. Authors will be notified of acceptance by June 3. Fabian Jonietz (Kunsthistorisches Institut in Florenz Max-Planck-Institut) fabian.jonietz@khi.fi.it; Douglas Dow (Kansas State University) ddow@ksu.edu. REFERENCE: CFP: 7 sessions at RSA Conference (Berlin, Mar 15). In: ArtHist.net, May 10, 2014 (accessed Dec 26, 2018), <