culture (4)
This study day aims to gather researchers around the subject of the printed image since the 1880s. With particular attention to material bibliography and production techniques, we seek to better understand how illustrations contribute to the formation of meaning and discourses within different contexts from illustrated newspapers to etiquette manuals, from scientific journals to children’s books.
Straddling the disciplines of literary studies, art history, bibliography, and library sciences, the field of illustrated print culture is a privileged inroad to social history. We are inspired by the foundational work of Richard Benson’s The Printed Picture (MoMA, 2008) as well as recent scholarly interest in vernacular media, such as Sarah Mirseyedi and Gerry Beegan’s important contributions on the development of photomechanical reproduction and Thierry Gervais’ edited volume The “Public” Life of Photographs (The MIT Press, 2016). Heeding the call of rare books specialist Roger Gaskell, who has identified the need to develop a “bibliography of images,” we invite contributions in French and English that address any aspect of mass-produced visual materials as well as the diverse industrial or manual processes that enabled their production.
The Image on the Page: A Study Day Around Illustrated Print Culture
Friday 13 October 2023
Concordia University (Montréal, Canada)
Proposals for 20-minute papers (in English or French) can be sent to stephanie.hornstein@concordia.ca before 15 July 2023.
They should include a title followed by an abstract (200 words max.) and a short biography (100 words max.).
Organizing committee:
- Stéphanie Hornstein, PhD candidate, Department of Art History, Concordia University and Concordia Library’s Researcher-in-Residence 2022-2023.
- Michel Hardy-Vallée, PhD (art history), Visiting scholar, Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, Concordia University.
Complete CFP and info here: https://library.concordia.ca/about/news/#guid=https://library.concordia.ca/about/news/%23i28_Apr_2023_11:44:00_EDT
Image: Gabor Szilasi, Photos chez l'imprimeur, 1966. Fonds Ministère de la Culture et des Communications, Office du film du Québec, BAnQ Vieux-Montréal, Montréal. Licensed under CC BY-NC-ND 4.0.
As a photographer who engages with culture and tradition in my work, I am, not unnaturally, aware that there is some point where contemporary photography becomes the stuff of photographic history.
In this spirit, I should like to draw fellow members' attention to my exhibition PHOTOGRAPHIES (details in events). The exhibition contains four sets of prints (Surreal?, Voiture, Oradour, ART) looking at ways photography relies on perception, realism, cultural reference and time.
You may view the exhibition online at this private gallery link: PHOTOGRAPHIES
A pdf briefing on the exhibition is available HERE
An afterthought: does anyone else see E H Shepard's Piglet (from Winnie the Pooh) in the shadow of the Miro? As cross-cultural references go, that may be somewhat extreme, but now I've seen it, I can't "un-see" it....
Call For Papers.
(De)constructing the Archive in a Digital Age.
September 10th 2010, School of the Arts Loughborough University, UK.
Organised by Iris www.irisphoto.org.
Paper Submission Deadline; Friday 30th July 2010
One-day debate on the possibilities of the archive.
This event aims to provide an environment for sharing information whilst stimulating debates about the role of the
archive within art, culture and design.
Possible topics of enquiry may include but are not limited to;
· The discussion about how the archive should respond to the digital age continues. How does the physical archive change and adapt in the face of new
technologies?
· When is the archive not an archive? What is the difference between the archive and the collection?
· How should we respond to the growing number of images available to us in the digital archive, as increasingly we are exposed to photographs for which
there are no original viewing contexts available? What is the value of these
decontextualised and dematerialised documents to the researcher as historical
evidence?
·How is the institutional archive to respond to questions about the democratization of the archive, not only through the process of digitisation
and online access but also the growing use of more interactive forms of viewing/sharing
with web 2.0?
Paper presentations, abstracts of 200-300 words may be submitted for a 30-minute paper presentation.
Panel submissions abstracts for a 90-minute colloquium, which is to consist of 5 participants (1 chair and 4 presenters; each presenter taking no more than 15 minutes) may be
submitted. Abstract length should be 250-350 words.
Poster presentations, 200 word abstracts for a themed poster to be shown at the conference will be accepted.
Artworks, submissions for artworks related to the topics will be considered, please send a 200 word abstract. Include details of medium, size and installation requirements on a separate
sheet.
Please send abstracts (clearly marked as to which category you are interested in) and a brief C.V. to;
OR
Mort Marsh, IRIS.
Loughborough University
School of the Arts
Edward Barnsley Building
Epinal way
LE11 3TU.
Iris is an internationally focused research resource dedicated to promoting the work of women artists using photographic-based media.
