Journée d’études, vendredi 12 mars 2021 – Musée de Grenoble
Organisateurs : Alice Ensabella (Université Grenobles-Alpes), Paula Barreiro Lopez (Université Grenobles-Alpes), Sophie Bernard (Musée de Grenoble)
Date limite : 20 novembre 2020
Organisée dans le cadre de l’exposition Giorgio Morandi. La collection de Luigi Magnani au Musée de Grenoble (12 décembre 2020 – 14 mars 2021), cette journée d’études a pour but de réunir un ensemble de réflexions récentes autour de la question des stratégies de présentation des collections privées d’art contemporain (XXème-XXIème siècles) dans les institutions muséales françaises et internationales. L’exposition présentée au Musée de Grenoble, consacrée à l’artiste italien Giorgio Morandi, est l’occasion de découvrir la collection privée de l’un des plus éminents collectionneurs italiens de son œuvre, celle du musicologue, historien de l’art et professeur Luigi Magnani. Comptant une cinquantaine d’œuvres du peintre bolognais, elle permet d’appréhender et de représenter toutes les périodes de sa carrière. L’amitié du peintre et du collectionneur, ainsi que la démarche de ce dernier constituent un des axes forts de l’exposition. Continuer la lecture de « CFP : Du privé au public. Enjeux et stratégies dans la présentation des collections privées d’art contemporain dans les institutions publiques (Grenoble, 12 mars 2021) »
Association for Asian Studies 2021 Seattle, 25 – 28 mars 2021
Patterns of Patronage in Qing Beijing: A New Map
Convenors: Michele Matteini (NYU/IFA), Stephen Whiteman (Courtauld Institute of Art)
In the study of Qing art, Beijing has often been described as the stronghold of conservative artistic trends or the stage of spectacular courtly fantasies. Certainly the court’s immense resources defined much of what was created or came through the capital, but the city’s status as an artistic community and network in its own right is not well understood. Recent scholarship reveals that the artistic landscape of Qing Beijing was less homogeneous than previously thought and was shaped by the interaction and competition of different social forces, in which the court was but one agent. To draw a different map of Qing Beijing, this panel asks what other institutional or private spaces existed for the creation and circulation of art in the capital and what were the relationships among them. Questions to be considered could include: the activity of artists between court and private patrons; the role of imperial princes as taste-makers or collectors; art collections at religious institutions; the sponsorship of independent artists by dealers at the Liulichang market; temple fairs, celebratory parades, and other occasions for displaying art in public spaces; and art production and entertainment in Southern City’s opera houses, among others.
The study of women in pre-modern times is a well-established field that has generated important scholarship. But, as ongoing research shows, there is no shortage of new material yet to be analysed, or existing evidence that can be nuanced in the light of new methodological approaches. And whilst recent monographic exhibitions attest to the enduring appeal of ‘female artists’ in the ‘genius’ tradition (e.g. Anguissola, Gentileschi), new and ongoing work in the field points to different ways that women’s interaction with visual and material culture can be approached. The application of new digital and mapping technologies, meanwhile, is enabling scholars to propose alternative, non-linear narratives of pre-modern women’s lives.
Renaissance Society of America Conference
Dublin, 7–10 avril 2021
Collecting and Display of Small, Portable Objects (15th–17th century)
The taste for small objects, such as gems, jewels, coins, small antiquities, statuettes and miniature works of art is evident in leading collections from the fifteenth through the seventeenth centuries. The materiality of small precious objects and their portability raise questions about the dynamics and the reasons behind the taste for small things, addressing concepts of intimacy, privacy and public access in relation to the display of these objects, as well as questions about their significance in periods of uncertainty. Long-standing scholarship on collections has focused on their legacies, while less attention has been paid to the status of these objects and to the way in which objects may have been valued for their diminutive size, movability, or even disposability. The topic for these sessions raises new questions about the appeal of collecting and displaying such works of art.
We invite proposals that consider the following:
The significance and value of gems, cameos, medals, and other small works of art, as contrasted to paintings or large-scale sculpture
Collecting reduced copies of well-known sculpture and the ways in which these miniatures altered the collector’s relationships with and perceptions of the original
Collecting across different scales and the display of miniature collections
Moveable works of art and mobility of works of art within a collection
The transformation of collections through small, precious objects during periods of change
Collections perceived as disposable and exchangeable
The safeguard of inheritances and collections
Dislocation and re-interpretation of collections
Proposals should be for 20-minute papers and must include a title, abstract of no more than 150 words, keywords and a one-page CV. Speakers will need to be members of RSA and members of The Society for the History of Collecting at the time of the conference.
College Art Association, Annual Conference New York City, 10–13 février 2021
The Evolving House Museum: Art Collectors and Their Residences, Then and Now
The National Trust for Historic Preservation estimates that more than 15,000 house museums exist in the United States. It is an astounding figure that, as one writer has noted, exceeds the country’s number of McDonald’s fast-food restaurants. House museums are founded for a variety of reasons, from preserving architecturally significant structures to safeguarding the former homes of historically or culturally noteworthy men and women and their legacies. In other cases esteemed art collectors, such as Henry Clay Frick or Albert C. Barnes, established museums in their former residences to house their collections in perpetuity rather than donating them to preexisting institutions. While many successful examples like the Isabella Stewart Gardner Museum continue to thrive, other lesser-known house museums do not attract enough support to remain operational. House museums, it seems, must evolve in order to remain relevant and to continue to attract visitors.
This session encourages participants to explore a variety of themes relating to art collectors as founders of house museums in the United States and elsewhere. Questions to consider include, but are not limited to: What motivates collectors to establish private house museums instead of donating their collections to preexisting institutions? How have collectors’ original intentions manifested themselves in their museums and to what extent have founder mandates contributed to the survival or demise of their institutions? How have house museums’ collections or buildings evolved over time, and how have museums reinterpreted their collections to remain relevant to contemporary and diverse audiences? Are these changes in keeping with or a departure from their founders’ visions? And how have major historic events like the 2008 financial crisis or the recent COVID-19 pandemic impacted house museums?
Please send your proposal of ca. 250 words as well as your CV (3–5 pages) before July 20, 2020 to Margaret Iacono and Esmée Quodbach (firstname.lastname@example.org).