Category Archives: Call for Papers

CFP: Ars et Scientia (Cleveland, 27 Oct 17)

oresmeCase Western Reserve University, Cleveland, OH, October 27, 2017
Deadline: Jul 16, 2017

Ars et Scientia: Intersections of Science and the Visual Arts

October 27th, 2017

Despite the semantic divide that seems to separate art and science in modern culture, the boundaries between the two disciplines have always been fluid and permeable. From the earliest recorded botanical illustrations, painted on papyrus scrolls in Egypt in the 2nd century AD, to contemporary artist Josh Kline’s use of 3D printing in his work, art and science have long been used in tandem to make sense of the world and explore our place within it. The working notes of printers like Louis-Marin Bonnet as they experimented with the technique of chalk-manner engraving resemble nothing so much as a scientist recording data and observations for his experiments. Representations of the scientist at work in his laboratory also abound, from Pieter Bruegel’s Alchemist to Joseph Wright of Derby’s An Experiment on a Bird in the Air Pump, and serve as social commentaries on the role of the scientist in society. More recently, scientific technologies have proven to be invaluable tools for the modern art historian and museum curator, allowing us to better understand artists’ working methods and materials through the use of imaging technology and chemical analysis. This symposium seeks to foster a re-examination of the complex interactions between artistic and scientific disciplines that are more interdependent than they first appear.

We welcome innovative research papers from graduate students of all disciplines that challenge the divide between humanities and STEM fields. Papers may explore aspects of this topic across any time period, medium, or geographical region.

Topics may include, but are not limited to:

  • depictions of scientists, doctors, astronomers, engineers, etc. at work
  • visual evidence for the transmission of scientific knowledge between cultures scientific diagrams: anatomical, botanical, astronomical, alchemical, etc.
  • technical art history
  • art that incorporates the use of novel technologies: for example early printing or photography, video art, 3D printing aestheticized technology, such as astrolabes and globes microphotography or photographs of patients/specimens
  • descriptions of artistic methodologies in terms of scientific

    For consideration, please submit a 350-word abstract and CV to by July 16, 2017. Selected participants will be notified by early August. Paper presentations will be 20 minutes in length, and participants will be invited to author a blog post about their research to be published at

    Please direct all questions to Aimee Caya and Erin Hein at

CFP: The Image of the Multitude in Art and Philosophy (London, 10 Mar 18)

medieval peasant revolts.jpgThe Courtauld Institute of Art, London., March 10, 2018
Deadline: Sep 15, 2017

Imago Multitudinis. The Image of the Multitude in Art and Philosophy

An International Conference at the Courtauld Institute of Art London, on the 10th of March.

The Courtauld Institute of Art, The British Academy and the Collège International de Philosophie are pleased to announce a one-day interdisciplinary conference focusing on the philosophical representation and the artistic conceptualisation of the multitude and its associated concepts: the many, the masses, the crowd, the mob and the commonality.

A spectre is haunting our times: the spectre of the multitude. Uprisings, popular unrests, mass migrations, revolutions—the past ten years have been marked by unprecedented quests for freedom, embodied by unconventional political subjects pointing to the possibility of alternative outcomes of the crisis of both authoritarian regimes and representative democracies. Through the masterful drawing of Abraham Bosse, Hobbes attempted to tame the multitude forever. Constrained within the body politic of the monstrous Leviathan (1651), the multitude was transfigured into an obedient people and its potentia was (apparently) usurped. Yet, the multitude resisted—and still resists—this movement, challenging the predominant definitions of sovereignty. Following the collapse of modern master narratives, such as in the nascent seventeenth century, the multitude has returned.

Our investigation revolves around the political and aesthetic meanings of this omnipresent, if elusive, collective being. In particular, we would like to ask the following questions: how do philosophers represent the multitude and translate their concepts into cogent images? How do artists think about the multitude and its agency? This enquiry, which spans from the Middle Ages to the present, concentrates on the way in which images and iconographic motifs are elaborated in philosophy, as well as how political concepts are articulated in the visual arts. In order to understand the images pervading, and the concepts informing, recent collective political action (from Tahrir Square to the streets of Tunis, New York, Madrid, Ferguson via Rojava and Lampedusa), we intend to focus on their modern and contemporary genealogies. This is not only a historical enquiry. The history of the multitude can help us better understand the present. The aesthetic, agency and ambitions of this political subject do not only survive in books and museums, they also live on among us. The multitude resists, and if this is the conflict that characterises political modernity, then modernity has begun again.

Invited speakers: Horst Bredekamp (Humboldt-Universität); Claire Fontaine (artist); Sandro Mezzadra (Università di Bologna).

We invite submissions on the following topics including, but not limited to:
– Political iconography (from the Revolt of the Ciompi to the Arab Spring via the German Peasants’ War),
– Feminism and the multitude,
– The multitude in the USSR,
– The multitude and the English Civil Wars,
– Hobbes’ Behemoth,
– Spinoza’s, Machiavelli’s, Negri’s, Deleuze’s and Schmitt’s depictions of the multitude,
– The “popular hydra” in nineteenth-century Paris,
– Baroque and the multitude,
– The multitude and migrations in contemporary art.

Please send a title and an abstract of no more than 500 words together with a short CV to by the 15th of September. Successful candidates will be notified in early October. Papers should not exceed 25 minutes in length.


In occasione di PISTOIA CAPITALE ITALIANA DELLA CULTURA 2017, il Gruppo di Ricerca NUME ha ottenuto la concessione dal Comune di Pistoia per l’organizzazione di una sessione di conferenze (con data da definirsi) che abbiano per oggetto la Pistoia medievale.


Pistoia fu già a partire dal V secolo sede vescovile, e vide avvicendarsi numerosi popoli conquistatori, tra Goti, Bizantini, Longobardi, Franchi. Da libero comune nel 1105 alla dominazione fiorentina e lucchese, secondo Villani proprio a Pistoia nacque la lotta tra guelfi e ghibellini. La sua storia e le sue testimonianze materiali sono l’oggetto della nostra indagine.

1. I temi accettati possono spaziare dalla pittura, all’architettura, all’urbanistica, alla storia medievale di Pistoia. Particolare attenzione sarà data ai contributi che affrontino il culto di San Jacopo, patrono della città, e di cui si conserva lo splendido Altare argenteo (1287-1456) nella cattedrale di San Zeno. Il tema può essere affrontato sotto molteplici sfaccettature, dalla questione iconografica a quella storica, dalla dimensione sociale e politica ai rapporti con le grandi vie di pellegrinaggio;

2. Si ricercano massimo n. 5 relatori;

3. Ogni intervento dovrà avere durata massima di 30 minuti;

4. Per partecipare, si prega di inviare un abstract di 300 parole, corredato di un CV, all’indirizzo di posta elettronica:

5. Il termine ultimo per l’invio di una proposta è il 10 MAGGIO 2017;

6. Entro il 15 MAGGIO sarà comunicato l’esito della valutazione. Il giudizio del Gruppo NUME è insindacabile;

7. Il Gruppo NUME si riserva l’utilizzo futuro (previa comunicazione all’autore) del materiale che gli perviene, in pubblicazioni cartacee o sul web.

Maggiori informazioni sul progetto PISTOIA CAPITALE ITALIANA DELLA CULTURA 2017 all’indirizzo web:

CFP: St Luke Drawing the Virgin and Child (County Durham, 19 Jun 2017)

St Luke Drawing the Virgin and Child' by Dieric Bout the Elder

‘St Luke Drawing the Virgin and Child’ by Dieric Bout the Elder

County Durham, The Bowes Museum, Barnard Castle, June 19, 2017
Deadline: May 8, 2017

CVAC Study Day ‘St Luke Drawing the Virgin and Child: Constructing Narratives’

Following an export bar in July 2016, The Bowes Museum acquired the outstanding painting, ‘St Luke Drawing the Virgin and Child’ by Dieric Bout the Elder with support from the the Art Fund, Heritage Lottery Fund and a number of private donors. The painting is of major importance due to its connection with the artist, deemed one of the leading and most influential Netherlandish painters of his time.

This interdisciplinary study day aims to look at the painting ‘St Luke Drawing the Virgin and Child’ in the broad context of visual culture: exploring sainthood and investigating visual representations of sanctity, looking at perspective, with a particular attention to interiors and architecture in early modern Europe, and analysing identity and self-imagery.

The event is designed to be a cross- and inter-disciplinary study day where scholars, postgraduate and early career researchers can meet, debate, and collaborate on all issues pertaining to visual culture.

The Bowes Museum and CVAC invite proposals for thirty-minute papers from scholars, postgraduate and early career researchers that address any aspect of art, literature, history, and culture, with a particular attention to:

–    Sainthood from Medieval to contemporary time;
–    Visual representation of saints;
–    Architecture and interiors in early modern Europe;
–    Portraiture and identity;
–    The theory and practice of perspective;
–    Patronage and trade and circulation in early modern Europe.

The study day will take place at The Bowes Museum on 19 June 2017, with a number of thirty-minute papers, followed by discussion, and including lunch and morning and afternoon refreshments.

Abstracts of up to 200 words along with a brief biography should be submitted in the body of an email to .

The closing date for submissions is Monday 8 May 2017, at 5pm.

For more details, please contact

CFP: Leo Steinberg’s Sexuality of Christ Revisited (New Orleans, 22-24 Mar 18)

steinbergNew Orleans, Louisiana, USA, March 22 – 24, 2018
Deadline: May 10, 2017

Renaissance Society of America Annual Meeting, New Orleans, Louisiana, 22 (Thursday) -24 (Saturday) March  ’18

Leo Steinberg’s Sexuality of Christ Revisited

Despite the controversy that it provoked more than thirty years ago, Leo Steinberg’s insight about ostentatio genitalium has become almost a commonplace.  Through that motif, Steinberg claimed, artists created what was prominently preached from roughly 1400 to 1600, a theology of palpable Incarnationism.  Critics countered variously: Textual evidence supporting his conclusion was weak.  Treatment of sexuality was too narrowly male.  The visual evidence itself was too inconsistent and unconvincing.  Others simply found the entire subject discomforting.

Today among Renaissance specialists Steinberg’s insight is more invoked than examined, though new reasons to interrogate it have emerged. Medievalists have called attention to the nudity of Christ in earlier centuries.  The body of Christ was not just a penis.  The relationship between the religious and the sensuous is an increasingly vibrant subject of research.  Studies of sexuality and gender have become more finely granular.  In contrast to the parochially western Christian and Greco-Latin perspectives that have heretofore dominated, specialists have started to incorporate other ancient influences, notably Egyptian, as well as interactions within all-Christendom and between it and Judaism/ Islam.  The lives of the great art historians have been explored to offer insight into their scholarship.  Provocative and wide-ranging proposals integrating these and related approaches are welcome.

Proposals (MS Word attachment ONLY — no PDF or Google Doc) submitted to Benjamin Braude <>, before 10 May, must include name and affiliation, short title (15 word max), abstract (150 word max), cv (not in prose, 300 word max), e-address, cell and land line numbers, keywords, as well as scheduling and a-v needs.  To participate one must be a member of the RSA.

CFP: Vital Constitutions (Houston, 13-14 Oct 17)

healthOctober 13-14, 2017 | Rice University | Houston, TX

Call for Submissions

Interdisciplinary Graduate Conference

Deadline June 16, 2017

Rice University  |  Houston, Texas

Hosted by the Department of Art History

Rice University’s Department of Art History is delighted to introduce its inaugural graduate conference, Vital Constitutions, which seeks to problematize the nature of “health.” All living forms—from biological to social bodies—realize unique ways to survive and at times thrive in tenuous and hostile environments. Vital Constitutions aims to explore the conference title broadly in relation to structures by which bodies, communities, societies and environments have adapted, and been sustained, when such structures become precarious. We hope to challenge claims of normativity by considering how objects, institutions, and the “natural” environment affect conceptions of vitality. Questions for consideration include: How have representations of the well, the sick, treatment, and contagion been visualized? In what ways have discursive languages surrounding “health” expanded and contracted, and to what societal effect? How do terms such as “anthropocene,” “global warming,” “climate change,” or “preservation” impact ecological debates and actions? When and through what methods have humans placed needs for “health”—be it of the biological or social body—above all else? How have artists, scientists, activists, grassroots leaders, and intellectuals grappled with representations and realities of care and castigation visually and conceptually across time and geography?

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CFP: Session at SECAC (Columbus, 25-28 Oct 17)

Secac_2017SECAC 2017 – Columbus, Ohio
73rd annual SECAC Conference, October 25-28, 2017.

Exploring/Expanding Neuroaesthetics and Art Historical Studies

Since the 1990s, neuroscientists have explored the mind-body responses to visual-cum-artistic imagery. Neuroaesthetics has emerged from this venture. Although interdisciplinary in spirit, few art historians have joined scientists in empirical research projects. Consequently, neuroaesthetics remains dominated by scientists whose research is limited by small samplings from visual culture. Art historian trailblazers John Onians and David Freedberg have also been limited by the models the scientists have fostered, such as mirror neurons. This session seeks to expand both the artistic media of scientific research and the neuroscientific models for art historical research. We propose
an exploration of the efficacy of neuroscience from the side of the viewer’s reception. How do neuroscientific models offer a way of approaching the experiential/embodied effect of art objects that exceed the pictorial frame? Can neuroscience help to better articulate both sensory impressions and the transformative effects of an art-viewing experience? To what extent can neuroscience reify a lived experience within a historical context?  In the absence of raw empirical data, responses to these questions and others may be speculative or hypothetical. Paper topics should use individual case studies to speculate the efficacy of neuroscience in relation to an expanding field of art historical studies.
Please click URL link for full conference information and instructions for paper proposals.

Organizer: Professor Lauren S. Weingarden
Department of Art History
Florida State University<>