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MAT-REN  October 2019

MAT-REN October 2019

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Subject:

CFP: Artists' collections; Interdisciplinary research (RCSC); Artists as dealers/agents (AAH)

From:

Rupert Shepherd <[log in to unmask]>

Reply-To:

[log in to unmask]

Date:

Fri, 4 Oct 2019 18:18:16 +0100

Content-Type:

text/plain

Parts/Attachments:

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text/plain (331 lines)

Künstlersammlungen: Objekte, Ordnungen, Programmatiken / Artists’ 
Collections: Objects, Frameworks, Ideas

(English version below)

Künstlersammlungen: Objekte, Ordnungen, Programmatiken

München, 26.-27.6.2020

Call for papers

KünstlerInnen haben seit jeher die unterschiedlichsten Dinge gesammelt: 
Schöne, seltene und „exotische“ Artefakte und Naturalia, Meisterwerke, 
Memorabilia, Künstler-Reliquien, Paraphernalia, Bildmaterial, Fundstücke 
und Nippes. Wie andere Sammlungen auch schwanken Künstlersammlungen 
häufig zwischen Kontingenz und Kohärenz, sie etablieren Ordnungsentwürfe 
und verstoßen gegen andere. Darüber hinaus treten hier jedoch Rezipieren 
und Produzieren in ein besonders spannungsvolles Wechselverhältnis: 
Künstlersammlungen versprechen einen Einblick in die Genese neuer Werke, 
dienten sie ihren BesitzerInnen doch oftmals als Inspirationsanlagen, 
als Labore für künstlerische Ideen und Verfahren, oder, besonders in 
früheren Zeiten, als Lehr- und Vorlagensammlungen. Zugleich weisen sie 
zeittypische Geschmacks- und Interessenskonjunkturen im Umgang mit dem 
auf, was für sammelwürdig erachtet wird. Auch in künstlersoziologischer 
Hinsicht bieten Künstlersammlungen reiches Material: Sie zeugen mitunter 
von sozialem Aufstieg, sie machen künstlerische Netzwerke sichtbar und 
sie zeigen sich als Schauplätze von Geselligkeit, Kennerschaft und 
künstlerischem Wettstreit. Kurz: Sie stellen einen besonders 
aufschlussreichen Sonderfall des Sammelns dar – nicht zuletzt, weil das 
Sammeln KünstlerInnen die Möglichkeit gibt, das eigene Werk zu 
kuratieren, es in Kontext zu setzen und damit Einfluss auf die Rezeption 
ihres Werks zu nehmen.

Das bisherige Interesse an Künstlersammlungen konzentriert sich 
vornehmlich auf prominente Fälle wie etwa Vasari, Rubens, Le Nôtre, 
Degas, Liebermann, Warhol oder Baselitz. Dieses Kolloquium möchte 
erstmals Beiträge vereinen, die eine umfassendere Perspektive auf 
Künstlersammlungen von der Frühen Neuzeit bis heute anbieten: Was 
motiviert Künstlerinnen und Künstler dazu, eine Sammlung 
zusammenzustellen, ihr gar eigens einen Aufbewahrungs- und 
Präsentationsort zu widmen? Folgen sie hierbei gängigen Sammelmoden oder 
erschließen sie neue Sammelfelder? Wie verhalten sich künstlerisches 
Schaffen und Sammelaktivitäten zueinander: Kann das Sammeln als 
Fortsetzung des künstlerischen Werks mit anderen Mitteln betrachtet 
werden oder kontrastiert es mit diesem? Auf welche Weise formt die 
Sammlung den Blick auf das eigene Œuvre – und umgekehrt? Wie wirkt die 
Sammlung in die Rezeptionsgeschichte fort?

Gerade auch für die Kunst der Gegenwart, wo finanzkräftige 
PrivatsammlerInnen das Feld dominieren, erscheint ein Blick auf 
KünstlerInnen als SammlungsakteurInnen interessant, agieren diese doch 
längst als wichtige LeihgeberInnen nicht nur ihrer eigenen Werke, 
sondern auch ihrer Sammlungsobjekte. Gleichzeitig können 
Künstlersammlungen auch als dem Kunstmarkt zumindest vorübergehend 
entzogene Objektzusammenstellungen fungieren, die, oftmals aus 
Geschenken unter befreundeten KünstlerInnen entstanden, primär einer 
Logik des Tausches und der Gabe gehorchen.

Besondere Aufmerksamkeit möchte unser Kolloquium dem Sammlungsdisplay – 
als räumlicher Manifestation des Sammlungskonzepts und Kontaktfläche zum 
Publikum – widmen. Im Sinne eines erweiterten Werkbegriffes soll 
untersucht werden, inwiefern KünstlerInnen sich durch das Sammeln, 
Ordnen, Kompilieren und Präsentieren Objekte oder Werke Anderer aneignen 
– und diese in Dialog mit dem eigenen Werk bringen. Doch auch jenseits 
offensichtlicher szenografischer Setzungen soll die Eigenreferenzialität 
künstlerischer Sammelpraktiken herausgearbeitet werden.

Willkommen sind Themenvorschläge zu Künstlersammlungen aller Epochen und 
geografischer Kontexte, die einen rein sammlungsmonografischen 
Blickwinkel verlassen, um sich mit Fragestellungen grundsätzlicherer 
Natur auseinandersetzen. Diese können sich beispielsweise an den 
folgenden Aspekten orientieren:

- Sammlung im Bild / Sammlung als Bild: Wie präsentiert das 
Sammlungsdisplay das Sammlungskonzept und seine Interaktion mit dem 
eigenen künstlerischen Werk – und wie wird das Display weiter medial 
verstetigt?

- Status von Original und Reproduktion: Welchen Stellenwert hat es für 
KünstlersammlerInnen, authentische Werke und Hinterlassenschaften 
anderer KünstlerInnen zu besitzen, wann wird ihr Sammeln primär von 
ikonografischem oder materialästhetischem Interesse angetrieben?

- Bildnerische Aneignungspraktiken: Inwiefern lassen sich 
Reproduktionen, Retuschen, Übermalungen, Restaurierungen, Kompilationen 
von Sammelgut als Fortsetzung sammlerischer Praxis betrachten?

- Figurationen des Künstlersammlers/der Künstlersammlerin in Bild und 
Text: Wie setzen sich KünstlerInnen mit den Werken ihrer KollegInnen und 
Vorbilder ins Bild – bzw. werden ins Bild gesetzt? Wie imaginiert die 
(Kunst-)Literatur die Figur des Künstlersammlers/der Künstlersammlerin – 
zwischen Künstlermythen und Sammlerklischees?

- Inklusionen und Exklusionen: Welche Rolle spielen Geschlecht und 
Herkunft beim Sammeln? Verfestigen Künstlersammlungen bestehende 
(homosoziale) Netzwerke? Wann orientieren sich KünstlerInnen im Sammeln 
an einem globalisierten Sammlungsgeschmack, wann greifen sie auf lokale 
Traditionen zurück?

- Sammlungen als Schauplätze künstlerischen Wettstreits: Wie messen sich 
KünstlerInnen in ihrem Sammlungsarrangement mit „der Antike“, den 
ProtagonistInnen der Kunstgeschichte, ihren ZeitgenossInnen?

- Kanonisierungsprozesse und Gegenerzählungen: Inwiefern erproben 
KünstlerInnen mit ihrer Sammlung alternative kunsthistorische Modelle 
und Genealogien, wann werden in ihren Sammelpraktiken Strategien der 
Selbstmusealisierung greifbar?

Die Tagung findet vom 26.-27. Juni 2020 in München statt und wird 
organisiert von Dr. Ulrike Keuper und Dr. des. Léa Kuhn, Institut für 
Kunstgeschichte der LMU München. Teilnehmerinnen und Teilnehmern werden, 
vorbehaltlich der Mittelzusage, die Übernachtungs- und Reisekosten 
erstattet.

Bitte senden Sie Ihren Themenvorschlag für einen 25-minütigen Vortrag 
bis zum 3.11.2019 als Abstract von 300 Wörtern auf Deutsch, Englisch 
oder Französisch gemeinsam mit einem knappen CV an die beiden 
Organisatorinnen: [log in to unmask], [log in to unmask]

—-

Artists’ Collections: Objects, Frameworks, Ideas

Munich, June 26-27, 2020

Call for papers

Artists have always assembled a range of artefacts and naturalia: 
beautiful, rare or “exotic” things, memorabilia, works by other artists, 
paraphernalia, studio materials and models, artists’ “relics,” found 
objects and knick-knacks. Like other collections, those of artists often 
oscillate between contingency and coherence, and between establishing 
epistemic categories or rejecting them. However, artists’ collections 
are spaces in which the production and the reception of artefacts 
intersect in particularly productive ways. Indeed, since they are often 
installed for the purpose of inspiration, a study of them has special 
potential to reveal the dynamics through which new works are formed. 
They serve as laboratories for ideas and artistic methods, or, in 
earlier times, as educational sites and repositories for models. At the 
same time, they reflect common collecting tastes and norms of their 
time. Artists’ collections are a rich field for sociological inquiry: 
They can be seen as material (auto)biographies that bear witness to 
artistic careers and social advancement; as spaces of sociability, 
connoisseurship, and artistic rivalry, they make artistic networks 
visible. What makes them exceptional cases of collecting is the fact 
they give artists the chance to curate their own work: through 
collecting, artists create a context for their art-making and thus exert 
influence on the perception and reception of their oeuvre.

The interest in artists’ collections has thus far focused primarily on 
prominent cases such as Vasari, Rubens, Le Nôtre, Degas, Liebermann, 
Warhol, or Baselitz. This symposium seeks to open the field by 
assembling papers that offer a more inclusive perspective on the 
collecting practices and spaces of artists from the early modern period 
to today. Why do artists collect? Do they create spaces specifically 
designed for the display of their collections? To what extent do they 
follow common collecting tastes, or establish new or unusual areas of 
collecting? How do collecting and art-making interact? Is the art-making 
process informed by collecting—or the other way around? To what extent 
do artists’ collections affect the wider perception of their works?

The artist as collector seems a topic particularly relevant to the 
contemporary art world, with its potent private collectors that dominate 
the field. Recently, artists have also emerged as lenders not just of 
their own works but also of works from their collections. Since artists’ 
collections often include gifts from artist friends, they can however 
also function as repositories that are to some extent separate from the 
flow of commodities, informed more by the logic of donation and exchange.

Our symposium will treat such collections both as spatial manifestations 
of underlying concepts and as spaces of interface with the public. We 
would like to investigate the ways artists appropriate objects and the 
works of others by collecting, arranging, compiling and curating them. 
Is a collection describable as a body of work in its own right, and if 
so, who is its author? Strong emphasis will thus be placed on the 
self-referential nature of artistic collecting practices.

We welcome proposals that go beyond a monographic approach to address 
fundamental issues of artists’ collecting practices. This could include 
the following:

- Displays of display: How does the display of a collection represent 
underlying ideas? What kind of interactions does it stimulate between 
items in the collection and the owner’s own works? What types of media 
are used to generate the public image of a collection?

- Original and copy: What importance do artists place on possessing the 
authentic works and material traces of other artists? When do they 
collect more for the purpose of assembling interesting models or materials?

- Appropriation practices: To what extent is the copying, retouching, 
overpainting, restoration or compiling of collection items an extension 
of collecting practices?

- The image of the artist-collector: How do artist-collectors represent 
themselves in pictures, or how are they represented by others? How are 
they imagined in (art) literature?

- The politics of otherness: How do artist-collectors act in relation to 
homosocial or ethnocentric networks that inform collecting practices? To 
what extent are such networks reproduced or disrupted in collecting 
practices?

- Staging rivalry: How do artists use collections to stage competitions 
between their own works and those of their peers, or other protagonists 
of art history or antiquity?

- Collecting and the canon: Do artists’ collections produce 
counter-narratives to the dominant canon? When is artistic collecting a 
form of self-museification?

The international symposium will take place June 26-27, 2020 in Munich, 
Germany. The organizers are Ulrike Keuper, Ph.D., and Léa Kuhn, Ph.D, 
member of the art history department of LMU Munich. Travel and 
accommodation expenses will be reimbursed subject to the commitment of 
funding.

Please send CVs and abstracts of no more than 300 words in German, 
English or French for a circa 25-minute presentation to 
[log in to unmask] and [log in to unmask] no later than 
November 3, 2019.


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~


The Huntington Library, Art Museum, and Botanical Gardens, March 21, 2020
Deadline: Nov 1, 2019

Renaissance Conference of Southern California
64th Annual Conference
Saturday, 21 March 2020
The Huntington Library, Art Museum, and Botanical Gardens
San Marino, CA

PLENARY ROUNDTABLE
Interdisciplinary Research and the Renaissance: How to Do It
Amy Buono (Art History, Chapman University)
Katherine Powers (Music, California State University, Fullerton)
Martine van Elk (English, California State University, Long Beach)

CALL FOR PAPERS
The RCSC, a regional affiliate of the Renaissance Society of America, 
welcomes proposals for individual papers as well as complete panels on 
the full range of Renaissance disciplines (Art, Architecture, History, 
Literature, Music, Philosophy, Religion, Science). In keeping with the 
2020 Plenary Roundtable theme, papers and panels that employ 
interdisciplinary modes of inquiry are especially encouraged. The RCSC 
promotes the study of the period c. 1300–1800, broadly interpreting the 
Renaissance within a global framework.

Please note that membership in the RCSC is required for conference 
participation. Please see our website for membership details.

Individual paper submissions should include:
- abstract of approximately 250 words
- contact information and one-page CV

Panel Submissions are welcome and should include:
- contact information and one-page CV for organizer / chair
- names and abstracts (c. 250 words) for all presenters
- one-page CVs of all presenters
- title and short (c. 150 word) description of the panel itself

Please submit all application materials on our website 
(http://rcsconline.org/), where you can also find more information about 
the conference.

Deadline for submissions: November 1, 2019

If you have any questions, please contact the RCSC president, Heather 
Graham ([log in to unmask]).


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

AAH 2020 Newcastle


1-3 April 2020

Exploring the Plurality of Artists’ Practices: Artists as Dealers and Agents

Tropes from the Romantic era depicted artistic practice as an expression 
of the artists’ ‘isolated genius’ which, in sociological terms, 
translated into the ‘autonomisation of intellectual and artistic 
production’, as a form of ‘auto-normativity’. This session, however, 
aims to subvert such compartmentalisation of artistic activities and 
think about artistic practices- in the plural- which extend beyond the 
intellectualisation of ‘disegno’. In particular, we would invite papers 
which seek to bridge seemingly disparate areas of artistic practice and 
explore the activities of artists as commercial agents.

Artists were involved in negotiating the complex art worlds of their 
day, cultivating patrons, creating support networks or supplementing 
their incomes through dealing in art. From the Renaissance, artists 
often acted for the patrons in both the primary and secondary market for 
collecting, shaping the taste and opportunities for artists other than 
themselves. Indeed, their knowledge and experience as artists was highly 
valued as Giovanni Maria Sasso or Gavin Hamilton operated simultaneously 
as restorers, dealers, agents or collectors.

This session thus invites papers covering all periods of art history and 
exploring plural notion of ‘artistic practices’ as means to expanding 
its meaning and application. We are particularly interested in how 
artists’ shaped taste and collections, acted as dealers, or revised 
their own practices in response to an increasingly international art market.

Session Co-Convenors:
Adriana Turpin (IESA, Paris)
Marie Tavinor (Christie’s Education, London)

To Submit a Paper:
Your proposal should be submitted at: [log in to unmask] by 
Monday 21 October 2019, using the "Proposal Form" available on the 
Association for Art History website.

Please make sure that your proposal contains a title, and abstract (max. 
250 words), your name and affiliation (if applicable).

The Proposal Form may be downloaded at: 
https://forarthistory.org.uk/our-work/conference/2020-annual-conference/exploring-the-plurality-of-artists-practices/

-- 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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