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Well documented is the movement of ceramic objects, materials, and styles that traversed the Silk Road since its inception over years ago. For centuries, consumers in Europe, the Middle East, and Africa treasured Chinese porcelain for its beauty, status, and even poison detection. Later, Euro- American art potters found design inspiration in ceramics from a myriad of global sources. At the same time, recent discourses of folk pottery and anachronistic studio pottery have tended to promote localism and insularity.
What does the global turn mean for ceramic history and theory? How do interdisciplinary perspectives suggest new models for this medium-specific research? This session will consider ceramics and globalization from the early modern period to the present, focusing on ideologies, production systems, and networks of exchange.
The study of the global flows of ceramics— as art, craft, and design—provides vivid access to currents of culture from the distant past to the present era of mass economic, social, and cultural globalization.
Jongwoo Jeremy Kim University of Louisvillejongwoo. Alexander Cozens, John Constable, and J. Turner certainly ruined any prospect of ever dislodging British visual legacy from meteorology.
His vehicle burned no fossil fuels and produced no smoke. Instead, the contraption collected water. With the water sourced from this punishing human labor, Starling made a watercolor of a cactus like a Regency botanist. Papers that draw on critical debates about art and the politics of ecology, representations of ecological vulnerability and resilience, and contemporary visuality responding to climate change and the global economy are particularly welcome.
At their intersection are questions of ownership and identity. How are sites and artifacts of cultural heritage claimed, defined, or constructed and to whom do they belong?
How do we study intangible heritage, which is not located in objects or places, but rather in a worldview or a way of life? Diverse, wide-ranging examples of designed heritage include maps, guidebooks, illustrated encyclopedias; archives, databanks, digital resources; museums and exhibitions; architecture and landscape; furnishings, dress, and other aspects of material culture; performances, pageants, and rituals.
Related to these topics are also activities that address heritage, for example, through legislation and international charters; preservation and conservation; cultural appropriation, looting, and repatriation.
Definitions of heritage are tied to different, and competing, political agenda and ideologies. In examining the interfaces of design and heritage therefore, this panel welcomes studies of design heritage from diverse points of view, methodological approaches, time periods, and cultural contexts.
Cameron Christopher McKee, cmckee u. Scholars have pinpointed botanical, entomological, natural historical, and ethnographical imagery as crucial to understanding and classifying the natural world, beginning with New World colonization and intensi ed maritime trade in the fourteenth century.
Increasing contact with non-European cultures resulted in a flood of new plants, animals, minerals, and artefacts into Europe from across the globe.
European exploration and settlement subordinated often violently autochthonous knowledge of the natural world developed by indigenous peoples, slaves, and their descendants—in the East and West Indies as well as the Middle East and Asia, cultures with which Europe had long fostered contact.
Visual representations of colonial ecologies proved to be a foundational means by which Europeans understood their increasingly interconnected world and asserted dominance over people, land, and resources.
In what ways do art historical approaches informed, for example, by ecocriticism and new materialism, open on to new ways of understanding visual byproducts of colonialism? In what ways can a more capacious attention to colonial ecologies contribute to our understanding and analysis of the visual production of the non-European world? How did these ecologies shape the representation of Europe in return?
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Dipti Khera New York Universitydipti. Martin New York Universitymsm nyu. By tracing the increased circulation of people and objects in different parts of the world, scholars working on this period have highlighted new conceptions of knowledge, aesthetics, power and sociability. Furthermore, they have ensured that formerly devalued concepts tied to eighteenth-century practices and patrons—among them luxury, pleasure, leisure, femininity, sensuality, wonder, hybridity, and consumption—be taken seriously.
Yet while the physical exchanges of eighteenth-century artworks, peoples, and things from around the globe has been the subject of recent scholarly inquiry, less attention has been paid to conceptual affinities—notably a mutual emphasis on pleasure and decline — that existed between disparate geographical and cultural locales.
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Our contention is that these kinds of global comparisons will not only yield a richer formal and conceptual understanding of each type of artwork, but will also enable us to ask larger theoretical and methodological questions related to the common grounds they share.
By examining how intertwined histories of pleasure and power were mediated across local, trans-regional, or intercultural contexts, we hope also to contribute to scholarly debates beyond art history and to encourage new research projects and teaching agendas. Camille Mathieu University of Exetercsmathieu gmail. How and to what ends did artists put a face on a topic and a process they knew nothing of?
What does it mean to confront death, visually? How were images used to find commensurability between distinct notions of the afterlife? This session will examine in depth the imagery of death itself: This panel seeks papers that will scrutinize the intercultural or anachronic dimensions of the visual culture of mortality. Topics may include familiar subjects, such as death masks, mortuary icons in Buddhism, and photographs of the deceased, as well as more violent and visceral topics such as revolutionary propaganda prints, colonial imagery describing the mortal consequences of attacking colonizers, the economy of relics, and the circulation of lynching photography in the American South.
This session invites papers with both a multi-national and a local scope in order to address the visualization of death in a period of unprecedented global contact.
We are especially interested in the role of new visual technologies as well as appropriated and revived technologies in effecting, documenting, or transcending the violence of death at the margins of early modernities. Noa Turel University of Alabama at Birminghamnoaturel gmail. Historically, however, the movement of ideas, objects, and customs around the globe has rarely been correlated with a cultivation of cultural sensitivity or inclusivity.
This session seeks to excavate instances of cultural exchange, adaptation, and appropriation between societies the relationships of which were characterized by antipathy rather than mutual admiration.
How and why did people cultivate appreciation for the culture of societies regarded as inferior, sinful, or menacing? We are particularly interested in papers focused on case studies of such unlikely exchange before ca.
While this session welcomes papers that document the spread of European art within a missionary context, we are also interested in the mission as a spiritual, architectural, and geographical space that allowed for the local interpretation, importation, and production of objects. Missions themselves sometimes became distribution centers in a global world.
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How did the interaction between European and non-European populations give rise to complex artistic relationships within the mission enterprise, and how can we understand missionary art and architecture both within a colonial and global history of art?
Proposals that offer compelling case studies or emphasize unexplored geographies and circuits of exchange are encouraged, as are papers that theorize the study of art-and-mission and engage with the historiography and recent scholarship on the subject. While we especially welcome work on the Spanish and Portuguese empires in the Americas, Africa, and Asia, papers exploring the visual culture of Dutch, French, and British missions will also be considered.
Papers are requested from scholars at any career stage who have made the leap outside the gates of academia and engaged broad audiences to understand contemporary issues through the lens of art, architecture, decorative arts, etc.
Jeanne-Marie Musto Hofstra Universitymusto. This session explores the potential of such collections—whether intended explicitly for the study of art or not—to deepen and broaden our understanding of art historiography and its relationship to social, intellectual and geo-political currents. For him, as for scholars throughout post- Napoleonic Europe, study of artistic heritage and shaping a future nation went hand in hand.
But his collection, like others of its day, reflects more than patriotism. It underlines his effort to define an inchoate discipline through a wide spectrum of printed materials, including ephemera.
It also demonstrates his active participation in art historical debates and connections with artists and arts administrators in Italy and beyond.
Papers that examine any aspect of the historiography of art in relation to this or to other historic libraries will be welcomed. Learning the Language of Objects Chair: The illustrated themes encompass all kinds of real-life experiences of townspeople as well as every aspect of their inner world—their cultural and political interests, attitudes and opinions.
Not concerned with creating an illusion of reality in their compositions, ukiyo-e artists attached much importance to the precise rendering of objects specific for every situation. At times, objects in ukiyo-e meant more than the eye met. Often, they were communication tools involved in the intellectual exchange, in mind games based on associations, hints and puns. The vastness of the thematic scope of ukiyo-e art, its verve, together with the remarkably wide-ranging knowledge base of ukiyo-e artists, make ukiyo-e legacy an inexhaustible visual source of information on early modern Japan.
The current session invites papers that investigate any aspect of material culture present in ukiyo-e. Welcome are contributions focusing on objects related to distinct activities, seasonal celebrations, historic or legendary events, etc.
We see the objects well, yet lose sight of the places and communities out of which and for which artists, workshops, and patrons brought them to life. Most eastern European women, there's something actually worth buying, but for me to end a colleague about whether I should rilwy around or not, but remember that we do not tip in Europe in the same way as you do in North America, cold person!
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