 |
 |
College Art Association Annual Conference, Hilton Midtown, New York 13-16 February 2019 Proposed Session “Reconsidering the Status of the Artist in Early Modern Iberia and Latin America (1500-1800)“ Chair: Lisandra Estevez, Assistant Professor of Art History, Winston-Salem State University, email: [log in to unmask] <mailto:[log in to unmask]> The status of the artist remains a central question in the history of both early modern Iberian [includes both Spain and Portugal] and Latin American art. While most studies have certainly (and rightly) recognized Diego Velázquez (1599-1660) as the painter par excellence of the Golden Age, the field of inquiry can be broadened to include other artists of the period to illuminate different models of the artistic subject. The construct of the "artist" in the early modern period was not a fixed one but one that fluctuated and changed in complex and paradoxical ways because it was subject to and conditioned by cultural, economic, ethnic, religious, social, and political factors. The session seeks to re-engage with this topic by examining the careers of artists who present alternative or comparative models of artistic identity in Spain, Portugal, and Latin America. Papers can address the lives of artists working in and across different media (painting, sculpture, architecture, printmaking, etc.). Topics for consideration, more broadly, can include the economic, business, and legal lives of artists; style as a marker of individuality and/or erudition; self-portraits and signatures as bearers of meaning; critical fortunes and reception as constructed in early modern art biographies and other relevant texts; collaboration, competition, and rivalry among artists; the emergence of art academies; and the ethnic identity of the artist (i.e. artists who were of African, Amerindian, and/or diverse ancestries and religious backgrounds who were active in Spain, Portugal, and Latin America). Interdisciplinary approaches to this topic are especially welcome. Please submit the following materials for consideration in this proposed session as follows: 1) a. Make sure your name appears exactly as you would like it listed in the session submission. b. Make sure your affiliation appears as the official, recognized name of your institution (you may not list multiple affiliations). c. Make sure to include an active CAA Member ID (if applicable). 2) Paper/project abstract: maximum 250 words, in the form of a single paragraph. 3) A brief explanation of your interest in the session, expertise in the topic, and availability during the conference. 4) A shortened CV. The deadline for abstract submissions to me is Monday, April 16, 2018. Notifications of acceptance will go out by Monday, April 23, 2018. Complete session information will be submitted to CAA by Friday, April 27, 2018. If you have any questions, please send me an email ([log in to unmask] <mailto:[log in to unmask]> ). ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Session at the Southeastern College Art Conference (SECAC), University of Alabama at Birmingham, United States 17-20 October 2018 "Art from Across the Oceans: Connections between the Americas, Europe, and Asia" Chairs: Bradley Cavallo, PhD ([log in to unmask] <mailto:[log in to unmask]> ) Travis Nygard, PhD ([log in to unmask] <mailto:[log in to unmask]> ) The scholar Ricardo Padrón recently argued that Spanish galleons trading between Manila and Acapulco imagined the Pacific Ocean using real objects, creating what Homi K. Bhabha might call a Third Space that connects two cultures while creating a new one. In this session we take this idea seriously, interrogating examples of art that crossed the oceans. Was a single culture understood to dominate the network of places where ships stopped to exchange art, other goods, and ideas, or was a multi-polar system understood to exist? How did paintings, sculptures, and decorative objects make these realities understandable? What do archives reveal about the availability of material goods from foreign markets? In at least one instance a sherd from a Chinese porcelain vessel was knapped in the Americas to become an arrow point. Are there other instances of foreign works of art used in un-traditional ways? By answering such questions we hope to understand how objects became meaningful in the hybrid, in-between, spaces of global oceanic trade, and ultimately enrich our knowledge about the global exchange of artistic techniques, styles, motifs, and ideas. Presentations may address any time period from the sixteenth century to today. Proposed presentation abstracts of no more than 200 words (excluding title) should be submitted via the SECAC 2018 conference website 1 along with a PDF version of your CV by April 20, 11:59 pm EDT. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Artistic Trade between Spain and its Viceroyalties from 1500 to 1800 Keynes Hall, King's College, University of Cambridge, Cambridge 22 June 2018 This is the first conference in the United Kingdom devoted to artistic trade between Spain and its viceroyalties. Referring to Cambridge’s Spanish and colonial art collections and with the indispensable support of the King’s College Nigel Glendinning studentship, this conference brings together scholars specialized in the art from the Spanish Viceroyalties. The speakers will trace the artworks from their production, their movement with the help of agents and their collection and display at their destination. Such approach avoids setting an epicentre and periphery but establishes an equalitarian platform on the movement of art within the Spanish Empire. PROGRAMME 8:30-9:15 - Registration. Introductory remarks: 9:15-9:30 - Akemi Herráez Vossbrink (University of Cambridge) Keynote speaker: 9:30-10:00 - Luisa Elena Alcalá (Universidad Autónoma de Madrid) Passageways of Art in the Atlantic world: Artists, Patrons and Agents. 1. Workshops and Artists Producing Art for the Spanish Viceroyalties and Transitory Spaces. Chaired by Akemi Herráez Vossbrink (University of Cambridge) 10:00-10:30 - Holly Trusted (Victoria and Albert Museum), Shipwrecked Ivories: The Confluence of East and West. 10:30-11:00 - Piers Baker Bates (The Open University), Traveling between the Viceroyalties: Artistic Translation in the Sixteenth-century Hispanic World. 11:00-11:30 - Escardiel González Estevez (Universidad de Sevilla), Alonso Vázquez between Seville, Mexico and Manila (1603-1608): The Paradigm of a “Global Artist”. 11:30-12:00 - Questions. 12:00-13:30 - Lunch break. 2. The Role of Agents Commercializing Artworks between Spain and its Viceroyalties. Chaired by José Ramón Marcaida López (University of Saint Andrews) 13:30-14:00 - Sandra Van Ginhoven (Getty Research Institute, Research Associate), Spanish Transatlantic Agents and the Flemish Guilliam Forchondt in the Overseas Paintings Trade. 14:00-14:30 - Corinna Gramatke (Technical University of Munich Chair of Conservation-Restoration), “The Portable Europe”: European Artworks for the Jesuit Province of Paraguay (1608-1767). 14:30-15:00 - Eduardo Lamas Delgado (Royal Institute for Cultural Heritage, Brussels), Madrilenian Painters and America: Artistic Production for Overseas Trade Networks and their possible Agents. 15:00-16:00 - Questions followed by a coffee break. 3. Collecting and Display in Private, Civil and Religious Spaces in the Spanish Viceroyalties. Chaired by Jean Michel Massing (University of Cambridge) 16:00-16:30 - Kathryn Santner (Leverhulme Trust Fellow, ILAS, London), Conventual Art Collections and Artistic Exchange in the Colonial Viceroyalties. 16:30-17:00 - Isabel Oleas Mogollón (University of Delaware), The Divine and the Self: Uses and Meanings of Mirrors in Quito’s Jesuit Church. 17:00-17:30 - Veronika Winkler (Ludwig-Maximilians-Universität, München), Witnessing the Saint’s Life: Patrons and Hagiographical Painting Cycles of Viceregal Peru. 17:30-18:00- Final questions and closing remarks. You can register for free via Eventbrite: https://www.eventbrite.co.uk/e/artistic-trade-between-spain-and-its-viceroya lties-from-1500-to-1800-tickets-44303891131 For further information please contact Akemi Herráez Vossbrink at [log in to unmask] <mailto:[log in to unmask]> . ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~