maandag 10 juli 2017

CFP: Male Bonds in Nineteenth-Century Art

'Male Bonds in Nineteenth-Century Art'
Organized by Ghent University and the European Society for Nineteenth-Century Art (ESNA)

In cooperation with the University of Antwerp and the Museum of Fine Arts, Ghent
15-16 May 2018, at the Museum of Fine Arts, Ghent, Belgium
URL of the conference website



Aimé-Jules Dalou, Brotherhood (La fraternité), 1883, plaster. Paris, city hall of the Xth arrondissement. Credit: Coyau / Wikimedia Commons / CC BY-SA 3.0

Male Bonds is a two-day international conference that aims to explore the place of male bonds in nineteenth-century artistic practice and visual arts. The conference invites participants to reflect on the ways in which changing notions of masculinity and male sexuality impacted forms of sociability between men in the artistic scene of the long nineteenth century. In so doing, it seeks to build a bridge between traditional art-historical scholarship and the fields of gender and gay and lesbian studies: an interdisciplinary exchange of which the full potential for scholarship on the nineteenth century remains to be exploited.

Male homosociality helped structure nineteenth-century European and American society. Its pre-eminence at that time follows, inter alia, from the general separation between men and women in social roles if not in social spheres, and from the lack of a strictly binary view of male sexual orientation. The personal lives and careers of men bore the marks of their relations with other men: with brothers, friends, colleagues, pupils, business associates and many others. Such relations were characterized both by the dynamics of comradeship and by the hierarchies of class, age, race, professional status, etc. They were both established between individuals and in collectivities, especially as fraternal organizations flourished from the late eighteenth century onwards. So intense could men’s relations be that they seem to have included possibilities of a romantic and erotic kind that are foreign to normative relationships between men today, even if male-male intimacy relied upon women’s bodies for its consolidation.

Especially in the fast-paced decades around the turn of the century, changes arose in Europe and the United States that affected male homosociality to varying degrees. Categories such as ‘inversion’ (i.e. the reversal of masculine gender identity) and ‘homosexuality’ came into being through the interplay of increasingly visible queer subcultures and of a discursive explosion emanating from the fields of medicine, psychiatry, law, etc. The increasing conception of same-sex sexualities coincided and intermingled with other challenges to traditional notions of manhood - e.g. fears of degeneration, women’s entry into education, politics and the work force - to such an extent that scholars have described a wide-ranging fin-de-siècle “crisis of masculinity”. Men’s answers to these challenges altered the ways in which they related to other men, establishing for instance a “rough and tough” hegemonic masculinity and what Eve Kosofsky Sedgwick has designated a “male homosexual panic”.

This conference strives to probe, challenge and expand upon this academic grand narrative of male homosociality through the lens of art history. It aims to establish a multifaceted survey of the male bonds that underpinned nineteenth-century art, and to consider the theoretical and methodological implications of the study thereof. Gender studies, queer theory and gay and lesbian studies have made available a great many histories and concepts with which to critically examine the specificity of gender and sexuality in art: an exchange through which all disciplines involved stand to be enriched. We welcome papers that undertake this interdisciplinary endeavor, and mark men in art history as gendered historical subjects.

Topics may include, but are not limited to:
- Friendships, professional ties and family relations
- The artist’s society, the brotherhood, the academy, the studio
- Links with architecture, music, literature, applied arts, etc.
- Links with politics, law, religion, medicine, sports, the military, etc.
- Intersectionality and the role of class, race, sexuality, age, power, etc.
- Ethnicity, colonialism, orientalism and intercultural encounters
- Homophobia and homoeroticism, same-sex desire, queerness
- Women among men, as solvent and/or detractor of men’s bonds
- Male bonds as an artistic theme, the portrait and Freundschaftsporträt, the male nude

We invite proposals for 20-minute papers in English, to be sent to malebonds@ugent.be by October 15. Please combine in one single pdf file: a 300-word abstract, 1 or 2 images, and a 100-word bio. We also welcome proposals for presentations in French and German, but - if accepted - ask that the accompanying PowerPoint be in English. Selected speakers will be contacted in the course of December. Following the conference, a selection of papers will be peer reviewed and published in a journal or edited volume.

Confirmed keynote speakers: Anthea Callen (University of Nottingham and the Australian National University) and Michael Hatt (University of Warwick)

Organizing committee: Thijs Dekeukeleire (Ghent University), Henk de Smaele (University of Antwerp), Rachel Esner (University of Amsterdam), Peggy Hobbels (Museum of Fine Arts, Ghent), Katharina Pewny (Ghent University), Lisa Smit (Van Gogh Museum), Marjan Sterckx (Ghent University)

Scientific committee: Jan Dirk Baetens (Radboud University Nijmegen), Gert Buelens (Ghent University), Anthea Callen (University of Nottingham and the Australian National University), Johan De Smet (Museum of Fine Arts, Ghent), Thijs Dekeukeleire (Ghent University), Henk de Smaele (University of Antwerp), Stefan Dudink (Radboud University), Rachel Esner (University of Amsterdam), Michael Hatt (University of Warwick), Mayken Jonkman (RKD-Netherlands Institute for Art History), Katharina Pewny (Ghent University), Jenny Reynaerts (Rijksmuseum), Abigail Solomon-Godeau (University of California, Santa Barbara), Lisa Smit (Van Gogh Museum), Marjan Sterckx (Ghent University), Maite van Dijk (Van Gogh Museum), Catherine Verleysen (Museum of Fine Arts, Ghent), Kaat Wils (University of Leuven)

donderdag 6 juli 2017

Call for PhD proposals UGent-Verona

De call voor het gloednieuwe UGent-Verona joint PhD programma is online geplaatst. Passende voorstellen voor doctoraatsonderzoek zijn welkom!
Alle info via deze link

dinsdag 30 mei 2017

EXH: Walther Vanbeselaere, Verzamelaar voor de staat 1948-1973

'Walther Vanbeselaere, Verzamelaar voor de staat 1948-1973'
Sint-Martens-Latem, Museum Dhondt-Dhaenens, i.s.m. het KMSKA
2 juli 2017 – 1 oktober 2017

Deze zomer presenteert het museum Dhondt-Dhaenens van 2 juli tot 1 oktober de moderne kunstcollectie van het Koninklijk Museum voor Schone Kunsten Antwerpen, voor een belangrijk deel samengebracht onder hoofdconservator Walther Vanbeselaere tussen 1948 en 1973. Zijn ideeën over de moderne Vlaamse kunst waren bijzonder invloedrijk en hebben de kunstgeschiedschrijving en de canon in België in de 20ste eeuw meebepaald. Ook op de vorming van de verzameling Dhondt-Dhaenens had Vanbeselaere een zeer grote invloed. Door de belangrijke rol die hij in deze instellingen heeft gespeeld, kunnen tussen beide collecties parallellen getrokken worden.

De tentoonstelling brengt werk van Belgische moderne topkunstenaars zoals James Ensor, Henri Evenepoel, Léon Spilliaert, Edgard Tytgat, Jean Brusselmans en Rik Wouters – kunstenaars die Vanbeselaere bijzonder hoog in het vaandel droeg. De conservator had evenwel ook oog voor de internationale kunstcontext van die tijd. De rijke collectie Belgische kunst werd door Vanbeselaere aangevuld met werk van kunstenaars als Edgar Degas, Hans Hartung, Karel Appel, Ben Nicholson en Giacomo Manzù.

Voor de presentatie van deze tentoonstelling werden drie hedendaagse kunstenaars uitgenodigd om de museumruimte naar hun hand te zetten. Kunstenaars Oleg Matrokhin, Bart Lodewijks en Jacqy duVal treden in dialoog met de collectie Vanbeselaere a.d.h.v. architecturale, coloristische en tekenkundige ingrepen.

Kunstenaars in de tentoonstelling
Henri De Braekeleer, Jan Stobbaerts, James Ensor, Henri Evenepoel, Léon Spilliaert, Valerius De Saedeleer, Gustave Van de Woestyne, Jakob Smits, Albert Servaes, Frits Van den Berghe, Gust. De Smet, Constant Permeke, Hippolyte Daeye, Edgard Tytgat, Jean Brusselmans, Henri-Victor Wolvens, Rik Wouters, Edgar Degas, Hans Hartung, Karel Appel, Ben Nicholson, Odilon Redon, Georges Grard, Giacomo Manzù en Marino Marini.

Publicatie
Ter gelegenheid van de tentoonstelling, verschijnt ook een publiekscatalogus. Met teksten van o.a. Tanguy Eeckhout (curator Museum Dhondt-Dhaenens), Dr. Herwig Todts (conservator KMSKA), Evita Piscador, Thijs Dekeukeleire, Pepa De Maesschalck, Katrien Denayer, Céline Vermeire, en Eline Stoop.

vrijdag 12 mei 2017

CONF: Food, glorious food: Food at the heart of nineteenth-century art

'Food, glorious food: Food at the heart of nineteenth-century art'
Organized by ESNA (European Society for Nineteenth-Century Art)
Antwerp, MAS (Museum Aan de Stroom)
June 8-9, 2017

Check out the full programme and registration details for this year's ESNA conference here.

Organized in conjunction with the exhibition 'Antwerp à la carte' at Antwerp's MAS, this 2-day international conference examines the various and complex relations between food, the experience of eating, and 19th-century art. Modern phenomena such as industrialization, liberalization of the market, urbanization, rise of the middle class, issues of nationality and gender, leisure time and economic upheaval affected the gastronomic field as well as the depiction of it in the visual arts. This new fascination for food was reflected in the entire panoply of the artistic field, ranging from recipes, food literature, decorative arts and interior design to works of art and art criticism.

Organizing committee: Leen Beyers (MAS, Antwerp), Allison Deutsch (University College London), Maite van Dijk (Van Gogh Museum, Amsterdam), Mayken Jonkman (RKD-Netherlands Institute for Art History, The Hague), Lisa Smit (Van Gogh Museum, Amsterdam).

Scientific committee: Jan Dirk Baetens (Radboud University Nijmegen), Leen Beyers (MAS, Antwerp), Ilja van Damme (University of Antwerp), Allison Deutsch (University College London), Maite van Dijk (Van Gogh Museum, Amsterdam), Rachel Esner (University of Amsterdam), Mayken Jonkman (RKD-Netherlands Institute for Art History, The Hague), Jenny Reynaerts (Rijksmuseum, Amsterdam), Lisa Smit (Van Gogh Museum, Amsterdam), Marjan Sterckx (Ghent University).

Registration
Regular: € 60 (both days) - € 40 (1 day)
Student: € 40 (both days) - € 25 (1 day)
Tickets are available via the RKD webshop

donderdag 11 mei 2017

CFP: Revisiting Rediscovery: Early Netherlandish Art in the Long 19th Century

'Revisiting Rediscovery: Early Netherlandish Art in the Long 19th Century'
Historians of Netherlandish Art Conference, Ghent, Belgium
May 24-26, 2018


Panel Chairs: Edward Wouk, Assistant Professor, The University of Manchester; Alison Hokanson, Assistant Curator, The Metropolitan Museum of Art

Francis Haskell famously argued that the “rediscovery” of early Netherlandish painting in the nineteenth century was central to the notions of history and culture that undergirded the rise of the modern nation-states of Belgium and the Netherlands. This view has been enriched by recent scholarship on the medieval and Renaissance revivalist movements that took hold in both countries from about 1840 through the early years of the twentieth century. Yet the complex relationship between artistic and literary practices of the period and the emergence of a distinctly northern European history of art remains largely unexamined, and its implications unacknowledged.

As Léon de Laborde, Camille Lemonnier, Émile Verhaeren, Hippolyte Fierens-Gevaert, and, slightly later, Johan Huizinga published pioneering investigations into the world of Van Eyck, Memling, and Rubens, a similar retrospective spirit animated the artistic imagination. Painters from Henri Leys to Fernand Khnopff and writers from Charles De Coster to Maurice Maeterlinck embraced northern precedents as a key source of inspiration for works that were at once contemporary and rooted in a rich regional heritage.

This panel aims to explore the interplay between the visual arts and the nascent field of art history in Belgium and the Netherlands. It seeks twenty-minute papers which address how artists, critics, historians, and others working in the Low Countries and abroad developed diverse perspectives on their past that continue to shape our understanding of the subject. Papers addressing specific instances of revivalism and historicism are welcome, as are broader studies of historiographical and literary trends, which offer insight into how one era may mediate and even define our vision of another.

To submit a proposal for consideration, please send a 250 word abstract, a 100 word bio, and a 1-2 page CV to rediscoveryhna@gmail.com by June 1, 2017. Papers must be based on ongoing research and unpublished. Participants must be HNA members at the time of the conference.