COLL: « Disseminating Expressionism: The Role of Prints » (New York, MoMA, 6 May 11)

Friday, May 6, 2011, 1:00­5:00 p.m.
The Museum of Modern art, New York, NY
Theater 3 (The Celeste Bartos Theater), mezzanine, The Lewis B. and Dorothy Cullman Education and Research Building

This half-day symposium centers on the potential of the print as a medium for the dissemination of art and ideas. Scholars will address the prints ability to represent formal innovations and aesthetic goals, to communicate issues of war and national pride, and to appear alongside news, commentary, and literature in publications and periodicals. Participants include Shulamith Behr, Timothy Benson, Meike Hoffmann, Peter Jelavich, Rose-Carol, Washton Long, and Christian Weikop. Moderated by Starr Figura.

For more information, or to purchase tickets, visit

Program Schedule

1:05­-1:20 p.m.

Welcome and introduction, Starr Figura

1:20-­1:45 p.m.

Meike Hoffmann, Kunsthistorisches Institut, Freie Universität Berlin

« Early Expressionism between the Artist and the Audience »

1:45-­2:10 p.m.
Christian Weikop, Visiting Lecturer, University of Edinburgh

« Making Use of Prints in the Struggle for Modern Art »

2:10-­2:35 p.m.

Timothy O. Benson, Curator, The Robert Gore Rifkind Center for German Expressionist Studies, Los Angeles County Museum of Art,

« Expressionist Periodicals and the Intersection of Literature, Prints, and Politics »

2:35­-2:50 p.m.

Coffee break, Education and Research Building, mezzanine

2:50­3:15 p.m.

Shulamith Behr, Senior Lecturer in German 20th-Century Art, The Courtauld Institute of Art

« Between Authenticity and the Multiple: Käthe Kollwitz, Graphic Dissemination, and Dealership »

3:15­3:40 p.m.

Peter Jelavich, Professor of History, Johns Hopkins University

« Graphic War »

3:40­-4:05 p.m.

Rose-Carol Washton Long, Professor of 19th- and 20th-Century European Art, Department of Art History, The CUNY Graduate Center

« Prints and Politics in the Immediate Postwar Era »

4:05­-4:40 p.m.

Moderated discussion

4:40­-5:00 p.m.


5:00-­6:00 p.m.

Reception, Education and Research Building, mezzanine

In conjunction with the exhibition German Expressionism: The Graphic Impulse Tickets ($10; $8 members; $5 students, seniors, staff of other museums) can be purchased online or at the lobby information desk and the film desk.

Source: CONF: « Disseminating Expressionism: The Role of Prints » (New York, 6 May 11). In: H-ArtHist, 28.04.2011.

AC/CFP: « The Challenge of Nazi Art » (CAA/Los Angeles, 22-­25 février 2012)

ATTENTION: Date limite de remise des propositions : 02.05.2011

« The Challenge of Nazi Art, » College Art Association, Los Angeles, 2012

Art produced in Nazi Germany has posed many problems to the discipline in the past and continues to do so in the present. This panel seeks papers that assess where we stand today. What objects do we mean by Nazi art? How do we make sense of artistic and institutional choices? What do we know of contemporary discourses, what of the art market? How do we discuss Nazi art in relationship to broader state policies and goals? Which tools of analysis exist, which need to be developed? While case studies are considered, the session invites proposals that explore the broader picture and fundamental issues. We especially encourage papers that address the field of Nazi art as a challenge to the discipline, problematizing the modernist narrative or, indeed, any existing metanarrative of twentieth-century art.

Please submit a one- or two-page proposal with a completed session participation proposal form (available at, cover letter explaining the speaker’s interest and expertise, and CV to:
Asst. Prof. James A. van Dyke, University of Missouri-Columbia, Department of Art History and Archaeology, 109 Pickard Hall, Columbia, MO 65211-1420, U.S.A.
Dr. Christian Fuhrmeister, Zentralinstitut für Kunstgeschichte, Katharina-von-Bora-Str. 10, 80333 Munich, Germany

Source: CFP: « The Challenge of Nazi Art » (CAA/Los Angeles, 22­25 Feb 12). In: H-ArtHist, 28.04.2011.

COLL: Artistic Exchange between the U.S. & Latin America – Smithsonian American Art Museum, Washington, D.C., October 5-06, 2011

This two-day symposium will examine artistic exchange between Latin America and the United States from the late nineteenth century to the present. Papers will consider how artists and artworks have crossed the border separating the U.S. and Latin America (defined as Mexico, Central and South America, and the Caribbean), creating new artistic dialogues and influencing each other’s work in meaningful ways.

Encuentros is the third of five Terra Symposia on American Art in a Global Context, which are supported by a generous grant from the Terra Foundation for American Art.

The event is free and open to the public. Online registration will open May 1st. The symposium also will be available for viewing in a
simultaneous and, later, an archived webcast. For more information, visit

Wednesday, October 5

10 a.m., Morning tours (schedule to come)

1–3 p.m., New Approaches: Latin/American Art and its Intersections

Welcome, Elizabeth Broun, The Margaret and Terry Stent Director, Smithsonian American Art Museum

Katherine Manthorne, professor of modern art of the Americas, City University of New York Graduate Center
« Ambas Américas: A Proposal for Studying the Nineteenth Century »

Deborah Cullen, director of curatorial programs, El Museo del Barrio
« Contact Zones: Places, Spaces, and Other Test Cases »

E. Carmen Ramos, curator for Latino art, Smithsonian American Art Museum
« Inside and Out: The Latino Presence in American Art »

3:30–5:30 p.m., National Identities and International Relations

Edward J. Sullivan, Helen Gould Sheppard Professor of the History of Art, New York University, Institute of Fine Arts
« Conflicted Affinities: Francisco Oller and William McKinley »

Kirsten Einfeldt, program coordinator, Haus der Kulturen der Welt, Berlin
« The Transformed Landscape: Nineteenth-Century U.S. Photography and Mexican Art and Identity »

Maria Gaztambide, director, International Center for the Arts of the Americas Documents Project, Museum of Fine Arts, Houston
« Exporting the New Deal to the Tropics? The Legacy of Roosevelt-era Art Programs in Puerto Rico »

Itala Schmelz, director, Museo de Arte Carrillo Gil
« Luis Márquez in the World of Tomorrow: Mexican Identity and the 1939–40 New York World’s Fair »

5:30–6:15 p.m., discussion

Thursday, October 6

10:30 a.m.–noon, The Artist/Traveler

Mary Kate O’Hare, associate curator of American art, Newark Museum
« Unity in Art: Alejandro Otero and Ellsworth Kelly in Dialogue »

Laura Roulet, independent curator
« Ana Mendieta as Cultural Connector with Cuba »

Sarah Montross, Ph.D. candidate, Institute of Fine Arts, New York University
« Atlas and Archive: Juan Downey’s Video Trans Americas »

1:30–3 p.m., Contact Zones: Workshops and Art Schools

Alison McClean, fellow, Harry Ransom Center at the University of Texas at Austin
« Good Neighbors: The Taller de Gráfica Popular in the U.S.A., 1936–45 »

Michael Wellen, Ph.D. candidate, University of Texas at Austin
« The Pan American Promise of Modern Art: José Gómez Sicre and Caracas’s El Taller Libre de Arte »

Dorota Biczel and Emilio Tarazona, independent curators
« Chicago Effect: Teresa Burga before and after the School of the Art Institute »

3:30–5:30 p.m., Transnational Encounters in the American Metropolis

Valerie Fraser, professor of art history, University of Essex
« Stanley William Hayter and Chilean Printmakers: New York, Paris, Santiago, 1940–55 »

Ana Franco, Ph.D. candidate, Institute of Fine Arts, New York University
« The New York/Bogotá Nexus: Geometric Abstraction in Colombian Art of the 1950s and 1960s »

Abigail McEwen, assistant professor of art history, University of Maryland, College Park
« Havana-New York: Los Once and Abstract Expressionism in Cuba, 1953–63 »

Luis Camnitzer, artist
« The Diaspora Muse »

5:30–6 p.m., closing discussion

6–8 p.m., reception, Smithsonian American Art Museum

Encuentros is the third of five Terra Symposia on American Art in a Global Context organized by the Smithsonian American Art Museum with a generous grant from the Terra Foundation for American Art.

Source: H-ArtHist, Apr 21, 2011. <>.

Rappel: Intervention de Monsieur Didier Schulmann dans le cadre du groupe de contact « Relire l’entre-deux-guerres » – Lille 3, 15 avril 2010

Intervention de Monsieur Didier Schulmann dans le cadre de la séance de séminaire coorganisée par le groupe de contact Relire l’entre-deux-guerres et le séminaire d’Histoire du goût ce vendredi 15 avril de 14h30 à 17h à l’Université Charles-de-Gaulle – Lille 3 (salle A3 101, locaux de l’IRHiS).

Monsieur Didier SCHULMANN, conservateur au Musée national d’art moderne, directeur de la bibliothèque Kandinsky, abordera la question de l’utilité de l’étude et de la recherche dans les revues pour mieux appréhender l’histoire de l’art de l’entre-deux-guerres.

Un café sera proposé à l’entrée de la salle à partir de 14h15.

Au plaisir de vous voir nombreux,
Bien cordialement,

François Robichon et Céline De Potter

Télécharger l’annonce au format pdf: HG+RE2G_Annonce 15 avril 2011

COLL: The Smithsonian Fellows Lectures in American Art (Washington, 19-20 May 11)

Please join us for two afternoons of lectures on American art organized by the Smithsonian American Art Museum. The talks will take place in the museum’s McEvoy Auditorium, 8th and G Streets NW, Washington, D.C. This event is open to the public, and no reservations are required. For more information, please email . A wine reception will conclude the series on Friday evening.

THURSDAY, MAY 19, 2011

1 to 2 PM, Discussion moderated by George Gurney, Senior Curator, American Art Museum

Katie Wood, Patricia and Phillip Frost Predoctoral Fellow, University of Delaware
« Benjamin West: Sculptor of Empire »

Susanne Scharf, Terra Foundation for American Art Predoctoral Fellow, Goethe-Universität Frankfurt am Main
« A Foreign Affair: The 1910 Exhibition of American Art in Berlin »

2:30 to 4 PM, Discussion moderated by William Truettner, Senior Curator, American Art Museum

Maggie Cao, Predoctoral Fellow, Harvard University
« Managing Invisibility: Abbott Thayer and the Slippery Grounds of Camouflage »

Lacey Baradel, Wyeth Foundation Predoctoral Fellow, University of Pennsylvania
« The Mobile American: Problems of Place in Eastman Johnson’s Genre Paintings »

Kim Sels, Predoctoral Fellow (at National Portrait Gallery), Rutgers University
« Assembling Identity: The Object-Portrait in American Art, 1917-27 »

FRIDAY, MAY 20, 2011

1 to 2:30 PM, Discussion moderated by Frank Goodyear, Associate Curator, National Portrait Gallery

Mazie Harris, Predoctoral Fellow (at National Portrait Gallery), Brown University
« The Politics of Promotion: Photographic Experiments by Titian Ramsay Peale »

Sara Beth Levavy, Predoctoral Fellow, Stanford University
« Visualizing Reportage: news, News, and ‘news’ in the Interwar Newsreel »

Camara Holloway, Postdoctoral Fellow, University of Delaware
« Putting on the Ritz: Dandies, Race, and Modernism »

3 to 4:30 PM, Discussion moderated by Virginia Mecklenburg, Senior Curator, American Art Museum

Emily Moore, Predoctoral Fellow, University of California, Berkeley
« Indian Art of the New Deal, Indians in New Deal Art »

Breanne Robertson, Douglass Foundation Predoctoral Fellow, University of Maryland
« Pan-Americanism and Prejudice in Southern California, 1933-45 »

Austin Porter, Sara Roby Predoctoral Fellow in Twentieth-Century American Realism, Boston University
« Divided Demographic: African Americans and World War II Propaganda »

Source: « CONF: The Smithsonian Fellows Lectures in American Art (Washington, 19-20 May 11). » In: H-ArtHist, Apr 11, 2011.

AC/CFP: « The Modern Gesamtkunstwerk », College Art Association, Los Angeles, CA, Los Angeles, CA, February 22-25, 2012

Deadline: May 1, 2011

The Gesamtkunstwerk – the “total artwork” conceived by the composer Richard Wagner in the mid-nineteenth century – presents a challenge to  traditional conceptions of modernist art history.  A synthetic,  multimedia entity, the Gesamtkunstwerk clashes with the autonomy and medium specificity that critics such as Clement Greenberg and Michael Fried identified with twentieth-century modernism.  At the same time, this art form’s drive toward aesthetic totality fits uncomfortably with the anti-art stance and politically revolutionary ideals imputed to the “historical avant-garde.” Indeed, like Wagner himself, the Gesamtkunstwerk long suffered from its association with totalitarian politics.  What, then, should we make of artists’ avid engagement with forms of the total artwork during the late nineteenth and early twentieth centuries?  Examples of this experimentation include domestic and theatrical decorative programs of the French Nabis and Dutch artists affiliated with de Stijl; performative events from the collaborative productions of Serge Diaghilev’s Ballets Russes, to interactive Dada evenings in multiple world capitals, to theatrical revelry on and off stage at the Bauhaus; and exhibition installations at the Sturm Gallery in Berlin or by Surrealist artists in New York and Paris.

This panel aims to re-examine the Gesamtkunstwerk as a theoretical and practical model for artists from the time of Wagner to the end of the modernist period.  We seek to build upon recent scholarship that refines our understanding of Wagner’s original conception, as well as later permutations of the Gesamtkunstwerk, with papers that explore this paradigm’s aesthetic and political dimensions.

Contributions may conceive of the Gesamtkunstwerk broadly, to include not only decorative programs, art installations, and theatre pieces, but also architectural
ensembles, collaborative studio practices, communal artistic retreats, and political rallies or spectacles.  How did modern artists envision the Gesamtkunstwerk, and how did they bring their concepts to fruition? What are the stakes for current scholars of considering such a variety of practices through the lens of this theoretical model?  Does the Gesamtkunstwerk demand new definitions of modernism – and postmodernism?  Proposals that consider postmodern instances of the Gesamtkunstwerk that shed light on modern precedents also will be considered.

To be considered, please submit a preliminary abstract of 1-2 double-spaced pages to and  For more on the CAA application process, see or contact the panel conveners.

Juliet Bellow
Assistant Professor of Modern European Art History
American University
4400 Massachusetts Avenue NW
Washington DC 20016

Source : H-ArtHist, Apr 5, 2011.

JE « Actualité des études sur l’art américain », Université François-Rabelais, Tours, 8 avril 2011

Actualité des études sur l’art américain

Vendredi 8 avril, 2011

Université François Rabelais, Tours

Salle 325, site Tanneurs

La journée d’études sur l’actualité de la recherche sur l’art américain en France, organisée par le laboratoire InTRu, avec le soutien de la fondation Terra, aura pour objectif de mettre en valeur certains

travaux les plus récents d’américanistes, chercheurs, enseignants-chercheurs et doctorants, travaillant sur l’art américain des XIXe et XXe siècles.

10h00-10h30 Introduction par France Nerlich, Maître de conférences en Histoire de l’art contemporain, directeur adjoint du laboratoire InTRu, et Veerle Thielemans, Head of International Academic Programs, Terra Foundation for American Art

10h30 – 11h00 Emily Burns, University of Washington in St. Louis, Naive

Vision and the Wandering Boat in Late Nineteenth Century American Painting Abroad

11h00-11h30 Kate Lemay, Indiana University

The American Cemeteries in France from World War II and Postwar French Memory

11h30-12h00 Discussion

14h00-14h30 Fanny Drugeon, laboratoire InTRu

Ellsworth Kelly à la cathédrale de Nevers, histoire d’une rencontre manquée

14h30-15h00 Jody Patterson, Terra Foundation Postdoctoral Teaching Fellow in American Art

Revolution on the Walls: Muralism in Popular Front Paris and New York

15h00-15h30 Discussion

15h30-16h00 Emilie Bouvard, Université Paris I – Panthéon Sorbonne

“Angry Women”, les années 1960 aux Etats-Unis, une décennie douloureuse pour les artistes femmes

16h00-16h30 Pauline Chevalier, Université François-Rabelais, Tours

Narrativités, du film à la performance : les voix de l’autobiographie dans l’art américain de la fin des années 1960 et des années 1970

16h30-17h00 Discussion

Pour plus d’informations sur la journée et sur les activités du laboratoire InTRu :

Source: H-ArtHist, Apr 6, 2011. <>.

RAPPEL: Création d’une nouvelle rubrique: « Soutenances de thèses », ouverte à toutes les universités

Jeunes docteurs ?

N’hésitez pas à nous envoyer un document contenant le titre de votre thèse, le nom de votre directeur de recherche, le jury et la date de la soutenance, un résumé de 1 à 2 pages  en français et en anglais et votre adresse mail. Les informations seront aussitôt mises sur le site.

Au plaisir de vous lire,

Céline De Potter

SOUT: Sylvie Dumaine, « Luc-Albert Moreau (1882-1948), un peintre dans la Grande Guerre », Université Charles-de-Gaulle – Lille 3, 22 mars 2011

Thèse de doctorat en histoire de l’art soutenue à l’Université Charles-de-Gaulle – Lille 3 le 22 mars 2011

Sous la direction de M. François Robichon (Université de Lille 3)

Jury :

Christian BENOIT, Expert, Armée de Terre-Services Historiques Paris

Marianne GRIVEL, Professeur, Université de Paris 4 – Sorbonne (rapporteur)

François ROBICHON, Professeur, Université de Lille 3

Bertrand TILLIER, Professeur, Université de Bourgogne (président et rapporteur)

Résumé en français:

L’œuvre de Luc-Albert Moreau consacrée à la Grande Guerre se compose de peintures, de dessins et d’illustrations. Né à Paris en 1882, mort en 1948, l’artiste ne revendique pas une appartenance à un mouvement artistique du XXe siècle, mais, il demeure un artiste moderne.

Son œuvre est singulier, en ce sens qu’il peut apparaître comme la synthèse des différentes problématiques posées par la première guerre moderne : guerre invisible, guerre indicible ? La question est étudiée, jusqu’alors sur le fondement de l’opposition entre les artistes avant-gardistes et les artistes « classiques ». Luc-Albert Moreau transcende ce clivage et révèle d’autres oppositions aussi fondamentales comme la postérité ou la simultanéité de l’œuvre artistique au regard de l’événement historique, la rivalité entre l’esprit Ancien Combattant et les autres. Il est un artiste et un soldat de Verdun qui a peint la guerre, après son retour du front. Il dément ainsi la thèse jusqu’alors établie selon laquelle les artistes n’auraient pas représenté la Première Guerre mondiale. Il est également un excellent lithographe en illustrant un ouvrage majeur, Le Chant Funèbre pour les morts de Verdun d’Henry de Montherlant.

Résumé en anglais:

The work of Luc-Albert Moreau dedicated to the Great War consists of paintings, drawings and pictures. Born in Paris in 1882, died in 1948, the artist does not claim any affiliation to an artistic movement of the XXth century, but he remains a modern artist.

His work is singular, to the extent that it can appear as a synthesis between the different issues raised by the graphic representation of the first modern war: invisible war, or inexpressible war? Hitherto, the question was analyzed on the basis of the opposition between the avant-garde artists and the classical ones. Luc-Albert Moreau goes beyond this divide and reveals other oppositions just as essential, such as the posterity and the simultaneity of the artistic work in the light of the historical event, the rivalry between the spirit of the Veteran and the others. He is an artist and a soldier of Verdun who painted the war, following his return from the front. He thus contradicts the thesis so far established that artists did not represent the First World War. He is also an excellent lithographer, for having illustrated a major book, the “Chant Funèbre pour les morts de Verdun”, by Henry de Montherlant.

Contacter l’auteur:

CONF: « Cultural Exchange: Russia and the West », University of Bristol, 11 April 2011

University of Bristol, April 11, 2011
Registration deadline: Apr 4, 2011

Cultural Exchange: Russia and the West

Booking is now open for the University of Bristol’s postgraduate conference ‘Cultural Exchange: Russia and the West’.

With a diverse range of speakers and topics and free registration we encourage all postgraduate students to attend.

This one-day conference aims to explore the nature of cultural exchanges between Russia and the West. This unique conference is an opportunity to re-examine artistic creativity during the twentieth century, a time of revolutionary and ideological change, and to look at cultural connections between Russia, Europe and the United States.

Three panel sessions:
-Cultural Connections: Russia and the European avant-garde
-Art, Patronage and Display: Cultural exchange between Russia and the United States
-Stalin and the West: Interpretation and Representation of the Soviet Union


Keynote: Dr Mike O’Mahony (University of Bristol)

Natalia Murray, Courtauld Institute of Art
Nikolay Punin- The Man who died for Cézanne

Cinthia Willaman Baltaxe, University of Cambridge
A Russian Welcome in Paris: Sonia and Robert Delaunay’s Artistic Exchange with Russian Artists in the Parisian, German and American Avant-Garde, 1909-1914

Louise Hardiman, University of Cambridge
Gossamer Wings or Feet of Clay?: British Portraits of Pavlova and Nijinsky

Annie Blood, Courtauld Institute of Art
Moscow/New York: Russo-American Cultural Exchange in the 1920s

Theodora Clarke, University of Bristol
Katherine Dreier and Kandinsky: American Patronage of Russian Art

Julia Bailey, UCL
The Art of Peaceful Existence: The Display of Socialist Realism in America during Khrushchev’s Thaw

Samantha Sherry, University of Edinburgh
Instrumentalism and anxiety: censorship of western literature in the Soviet Union

Maria Starkova, Courtauld Institute of Art
Imagining the Foreign and the New Soviet citizens: Illustrations of Internationalism in Children’s Periodicals of the First Two Decades of the USSR (1922-1941)

Ariane Galy, University of Edinburgh
The Soviet Union, Stalin and the West: creating the Western  historiography of Stalin and Stalinism

For further information

Hosted by the Graduate School of Arts and Humanities and sponsored by the Bristol Institute for Research in the Humanities and Arts, the Transnational Modernisms Research Cluster, University of Bristol and the British Association for Slavonic and East European Studies.

Source : H-ArtHist, Mar 29, 2011. <>.