Archives de catégorie : Appels à contribution

LUXURY AND EXOTICISM: TEXTILES AND DRESS IN MUSEUMS AND HISTORIC HOUSES

CHORD Workshop and Call for Papers:

Thursday 8 June 2017

University of Wolverhampton

CHORD invites submissions for a workshop that explores luxurious and ‘exotic’ textiles and dress in the collections of museums and historic houses.

Papers focusing on any historical period or geographical area are welcome. We define luxury and exoticism broadly, including luxury items with no exotic connotations, and everyday or mass-produced ‘exotic’ items. Both textiles and clothing, decorative and ‘useful’ items are of interest. Museum professionals, conservators, students, academic scholars or anybody with an interest in the topic are warmly invited to submit a proposal. We welcome both experienced and new speakers, including speakers without an institutional affiliation.

Potential speakers are welcome to discuss their ideas with the organiser before submission (please see details below). Some of the themes that might be considered include (but are not limited to):

§ The care, display and interpretation of precious, rare or exotic textiles and dress

§ Chinoiserie, empire and imported luxuries

§ The changing nature and perceptions of luxury and exoticism

§ Fancy dress and masques

§ The conservation, repair and care of luxury dress and textiles.

§ Ethnographical items and collections

§ Haute couture and designer fashions.

§ Collections and collectors, historical and contemporary

To submit a proposal, please send title and abstract of c.300 to 400 words to Laura Ugolini, at l.ugolini@wlv.ac.uk by 10 March 2017.

Individual papers are usually 20 minutes in length, followed by 10 minutes for questions and discussion. We also welcome shorter, 10 minute presentations, also followed by ten minutes of discussion, which might focus on a specific collection, object, new project or work in progress.

If you are unsure whether to submit a proposal or would like to discuss your ideas, please e-mail Laura Ugolini at l.ugolini@wlv.ac.uk

Small bursaries will be available for speakers to subsidise the cost of travel (within the UK) and the workshop fee.

The workshop will be held on Wolverhampton City Campus, University of Wolverhampton, a short walk from Wolverhampton’s bus and train stations.

News about CHORD events, as well as blogs based on past conference papers, can also be found here:
http://retailhistory.wordpress.com/about/

For further information, please see http://home.wlv.ac.uk/~in6086/textiles2017.htm
or e-mail Laura Ugolini at: l.ugolini@wlv.ac.uk

LUXURY AND EXOTICISM: TEXTILES AND DRESS IN MUSEUMS AND HISTORIC HOUSES

Thursday 8 June 2017

University of Wolverhampton

CHORD invites submissions for a workshop that explores luxurious and ‘exotic’ textiles and dress in the collections of museums and historic houses.

Papers focusing on any historical period or geographical area are welcome. We define luxury and exoticism broadly, including luxury items with no exotic connotations, and everyday or mass-produced ‘exotic’ items. Both textiles and clothing, decorative and ‘useful’ items are of interest. Museum professionals, conservators, students, academic scholars or anybody with an interest in the topic are warmly invited to submit a proposal. We welcome both experienced and new speakers, including speakers without an institutional affiliation.

Potential speakers are welcome to discuss their ideas with the organiser before submission (please see details below). Some of the themes that might be considered include (but are not limited to):

§ The care, display and interpretation of precious, rare or exotic textiles and dress

§ Chinoiserie, empire and imported luxuries

§ The changing nature and perceptions of luxury and exoticism

§ Fancy dress and masques

§ The conservation, repair and care of luxury dress and textiles.

§ Ethnographical items and collections

§ Haute couture and designer fashions.

§ Collections and collectors, historical and contemporary

To submit a proposal, please send title and abstract of c.300 to 400 words to Laura Ugolini, at l.ugolini@wlv.ac.uk by 10 March 2017.

Individual papers are usually 20 minutes in length, followed by 10 minutes for questions and discussion. We also welcome shorter, 10 minute presentations, also followed by ten minutes of discussion, which might focus on a specific collection, object, new project or work in progress.

If you are unsure whether to submit a proposal or would like to discuss your ideas, please e-mail Laura Ugolini at l.ugolini@wlv.ac.uk

Small bursaries will be available for speakers to subsidise the cost of travel (within the UK) and the workshop fee.

The workshop will be held on Wolverhampton City Campus, University of Wolverhampton, a short walk from Wolverhampton’s bus and train stations.

News about CHORD events, as well as blogs based on past conference papers, can also be found here:
http://retailhistory.wordpress.com/about/

For further information, please see http://home.wlv.ac.uk/~in6086/textiles2017.htm
or e-mail Laura Ugolini at: l.ugolini@wlv.ac.uk

Fabrications: Designing for Silk in the Eighteenth Century

Saturday 5 March, 2016
A conference at The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN

CALL FOR PAPERS

Joubert de la Hiberderie’s Le Dessinateur d’étoffes d’or, d’argent, et de soie (1765) was the first book to be published on textile design in Europe.  In preparation for the publication of an English translation and critical edition of the text this one day conference calls for papers that will analyse, critique, contextualise, review or otherwise engage with the Le dessinateur in the light of its themes: production, design, technology, education, botany and art.  Joubert’s manual argues for both a liberal and a technological education for the ideal designer.  Such a person must, he argues, have detailed knowledge of the materials, technologies and traditions of patterned silk in order successfully to propose new designs; he or she must also have taste and an eye for beauty, which call, he says, for travel in order to see both the beauties of nature and those of art gathered in the gardens and galleries of Paris and the île de France.

We invite contributions from historians – of the book, of art and design, of science, of technology, and of matters social, industrial and economic.  General questions we hope the conference will consider are: Who did Joubert hope to address through his book and to what end?  What was the international reach of the book?  And what other texts were its competitors?  What does Le Dessinateur tell us about the status, role and skills of the designer?  How did attitudes to gender inform Joubert’s notion of design and manufacture?  How did his ideal designer compare to what we know about the careers and livelihoods of designers at Lyons and elsewhere?  What relationship did Joubert envisage between design and technology, drawing and weaving?  We welcome proposals that address silk in its uniqueness and also those attentive to its relations of difference and similarity to other textile technologies.  Finally, we welcome submissions from writers and critics on contemporary textiles interested in thinking about issues of fabric threaded through concerns and examples from the past.

Whatever the historical perspective, we  call for submissions that engage with the priorities and explicit arguments of Joubert’s text and also those that look at it awry: for example, with a view to the phenomenology as well as the technology of production, or with respect to the cut, tuck and fold as well than the plane in design, with regard also to the iterations of pattern in use as well as the invention of singular design motifs, or to give one last example, in relation to tradition and memory as well as novelty and fashion.

Please send your proposed title, a brief 150 word abstract and a short CV to Katie Scott (katie.scott@courtauld.ac.uk) and Lesley Miller (le.miller@vam.ac.uk) by Friday 4th September.  Some financial support for travel expenses may be available.
Organised by Professor Katie Scott and Lesley Miller (The Courtauld Institute of Art).

Image caption: Point paper design, France, about 1760-65 (V&A T.423-1972)

Les métiers du corps de l’Antiquité à nos jours

Appel à communications
Les métiers du corps de l’Antiquité à nos jours
Université Paris Diderot-Paris 7 / USPC / Université d’Orléans
Depuis une vingtaine d’années, le concept de « technique du corps » forgé par Marcel Mauss a été régulièrement mobilisé par les historiens pour analyser les pratiques corporelles des sociétés du passé, dans la double dimension qu’il avait définie, c’est-à-dire lorsque le corps lui-même se fait le dispositif central d’une technique ou bien lorsqu’il reçoit une technique. Pour autant, les métiers du corps, qu’il s’agisse des professionnels qui confectionnent les objets et les produits grâce auxquels le corps devient technique, ou qu’il s’agisse de tous ceux qui modèlent leur propre corps, n’ont pas suscité le même intérêt. Ce programme de recherche leur est consacré, dans une perspective comparatiste, pluridisciplinaire et diachronique. Il sera décliné suivant trois axes. Le premier sera consacré aux métiers dédiés à la fabrication des parures du corps et autres objets voués à son entretien, à son bien-être, à son embellissement voire à sa transformation et à ceux qui manipulent le corps ou prodiguent des conseils en vue de sa modification et/ou de son perfectionnement : parfumeurs, barbiers, miroitiers, fabricants d’éventails, de cosmétiques, de masques, de perruques, couturiers, « modistes », tatoueurs, prothésistes, chirurgiens esthétiques, coachs, entraîneurs, diététiciens, etc. Le second s’attachera aux métiers qui s’exercent à partir du corps lui-même et/ou qui reposent sur une performance corporelle : prostitué(e)s, courtisanes, acteurs, chanteurs, sportifs, etc. Le troisième, enfin, propose de déplacer le regard vers les lieux de l’exercice des professionnels du corps (échoppes, ateliers, boutiques, officines, maisons closes, gymnases, théâtres, etc.), en analysant leur inscription dans le paysage ou le tissu urbain et leur rôle comme lieux de sociabilité.
La première journée d’étude aura lieu fin mars 2015 (probablement le 21 mars), la seconde fin mars 2016. Les voyages et le logement seront pris en charge par nos institutions le cas échéant.
Les propositions de communication ne doivent pas excéder une vingtaine de lignes. Elles sont à envoyer à Florence Gherchanoc (fgherchanoc@free.fr), Catherine Lanoé (catherine_lanoe@hotmail.com) et Maaike van der Lugt (vanderlugt@univ-paris-diderot.fravant le 21 septembre 2014 en vue de l’établissement d’un programme définitif au plus tard à la fin du mois d’octobre.

Le comité scientifique est composé de : Anna Caiozzo ; Florence Gherchanoc ; Catherine Lanoé ; Liliane Pérez ; Maaike van der Lugt.

Lace and Commerce in 18th Century Europe

Rotterdam, The Netherlands, July 27 – 31, 2015

Deadline: Jun 16, 2014
CFP: “The International Thread: Lace and Commerce in Eighteenth-Century
Europe”
Opening Markets: Trade and Commerce in the Eighteenth Century
ISECS Quadrennial Congress, on the Enlightenment, Rotterdam, the
Netherlands, 27 – 31 July 2015
Chairs: Tara Zanardi, (Department of Art & Art History, Hunter
College/CUNY 695 Park Avenue, New York, NY 10065;
tzanardi@hunter.cuny.edu), and Michael Yonan, (Department of Art
History and Archaeology, University of Missouri, 21 Parker Hall,
Columbia, MO, 65211; yonanm@missouri.edu)
Enormous amounts of lace flooded the marketplaces of eighteenth-century
Europe, which fostered a vibrant international trade. This marketplace
centered on competition between the Low Countries (especially the
regions that now comprise Belgium) and northern France, two areas that
included Europe’s most technically accomplished lacemaking centers,
including Alençon, Argentan, Brussels, Mechlin, and Valenciennes.
These towns exported huge quantities of lace to an international
clientele and competed with locally manufactured lace. Our panel seeks
papers that examine how lace operated within eighteenth-century
mercantile networks, economic systems, and black markets. What were
the trade factors the affected the distribution of lace, both locally
and globally, and how did those factors affect working conditions,
design choices, and the objects created? How did these market
conditions affect what lace was used for, be it garments, decorative
items, or household textiles? Topics might include treatments of lace
and lace making in gendered terms, as statements of regional or
national pride, labor practices in lacemaking, techniques and
materials, and the industry’s global ambitions. Interdisciplinary
papers are especially welcome.
For more information, see the congress websites:

Artefacts

Artefacts est un projet participatif d’Encyclopédie en ligne des petits mobiliers archéologiques, couvrant une chronologie et une aire géographique étendues (Europe et Méditerranée, de la fin de la préhistoire à l’époque moderne), dont l’ambition est de fournir à terme un site de référence pour les différentes catégories d’objets, leur typologie et leur chronologie, le tout étayé par une bibliographie scientifique.

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