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Sculpture (2 calls: Leeds, UK, and CAA Conference, Seattle)
martina droth (Seattle)
The Henry Moore Institute in Leeds, UK, is calling for papers for the two following events:
(1)
"Nature made Strange: Exploring the Sculptural in Ornament from Cellini to Carabin"
A conference at the Henry Moore Institute, A Centre for the Study of Sculpture, Leeds, UK, on Friday 17 October 2003
Deadline for receipt of proposal March 1st 2003.
Throughout modern art history, a recurrent predilection for opulent forms, richly embellished surfaces, luxuriant materials and colors, has found its most vivid expression in sculptural ornament, both in the making of actual objects, and their evocations in literature. From Renaissance candlesticks, baroque picture frames and art nouveau furniture, there is a preoccupation with the strange, the fantastic, and the grotesque, often drawing on but denaturing organic, natural forms, to suggest a dream-like underworld, a collapsing of the aesthetic and the psychological. This conference raises the notion of ornament as a specific, plastic language in the visual arts and literature from the Renaissance to the early twentieth century. Papers are invited that examine sculptural ornament through literary, visual or art historical sources, as well as sculpture and design history, so as to
facilitate a broad exploration of the way in which meanings and perceptions of sculptural ornament have developed and shifted over the last 500 years.
Please send proposals of no more than 500 words, preferably by email.
(2)
"A Fragile Alliance: Porcelain as Sculpture 1700 to 1900"
Session at the CAA 92nd Annual Conference, Seattle, 18-21 February 2004 Deadline 12 May 2003.
ArtHist.net
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Throughout the recent history of sculpture, porcelain has played a significant role in the oeuvres of some of the most influential artists of the 18th and 19th centuries, including Bustelli, Falconet, Flaxman, Carrier-Belleuse and Rodin. Yet despite our knowledge of the working relationships that existed between artists and ceramic firms throughout the period, the decorative connotations of porcelain have largely overshadowed its place in sculptural aesthetics. Both in art history and in museological practice, porcelain objects tend be regarded as a homogenous group, classed by period and manufacturer, rather than as distinct artistic endeavours.
While this is partly a consequence of the systems by which porcelain is produced, it has also resulted in the oversight of particular genres within these systems, notably porcelain’s position as a sculptural material. This conference proposes to reconsider the role of porcelain as a sculptural material between 1700 and 1900.
We seek papers that explore the position of porcelain in the history of sculpture, by questioning the implications of sculptors’ relationships with ceramic firms; for example, what attracted sculptors to work with porcelain firms, and how did their ceramic work relate to their academic careers? What role did porcelain play in commercial sculpture reproductions? Were
porcelain sculptures included in art criticism - and if not, how and where were they discussed? Papers are invited that explore these and related issues through case studies or broader theoretical discussions.
Please send a proposal of no more than 400 words preferably by email to:
Dr Martina Droth
Research Co-ordinator (External) Henry Moore Institute
74 The Headrow Leeds LS1 3AH Tel: 0113 2467467 Fax: 0113 2461481
Email: martina@henry-moore.ac.uk
Reference:
CFP: Sculpture (2 calls: Leeds, UK, and CAA Conference, Seattle). In: ArtHist.net, Jan 11, 2003 (accessed Feb 27, 2022), <https://arthist.net/archive/25460>.
