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[caption id="attachment_4746" align="aligncenter" width="500"] Jean-Baptiste Lesueur, La plantation d'un arbre de la liberté en 1790.[/caption]Type : 4 Appels à communicationDate de l'événement : 21 - 24 février 2018Lieu : Los Angeles106th College Art Association Annual Conference, Los Angeles, February, 21 - 24, 20181. Historicizing Loss in Early Modern EuropeSubmission Deadline: August 14, 2017Chair: Julia Vazquez, Columbia UniversityThe history of art and architecture in Baroque Madrid is bookended by two major events: the fire that burned down the Pardo Palace in 1604 and the fire that burned down the Alcázar Palace in 1734. Resulting in the loss of dozens of paintings by Titian, Antonis Mor, and Velázquez, in addition to the buildings themselves, these events represented unprecedented moments of loss to the historical record of this period.Scholars that work in this field usually lament losses like these for their historiographic repercussions. This panel aims, instead, to resituate loss in its historical context. How can the loss of any one object transform the reception of others in their own historical period? How do patrons and artists respond to the destruction of objects? How are losses narrativized, and how do they transform existing narratives? When and under what circumstances does the destruction of existing artworks stimulate the production of new ones?Are objects ever recuperated or reconstituted, and if so, how? Although organized by a scholar of the Spanish Baroque, I invite scholars working in any period of early modern Europe to propose papers dealing with these or related questions.Paper proposals are due by August 14 to Julia Vazquez at jmv2153@columbia.edu. For full submission guidelines, see http://www.collegeart.org/pdf/call-for-participation.pdf.2. The 1790s.This session will be submitted as a pre-formed affiliated society panel for ASECS at the 2018 College Art Association Annual ConferenceSubmission Deadline: August 25, 2017Session abstract: An eventful decade in the 'Age of Revolutions,' the 1790s were a time of 'commotion' (so-characterized by Benjamin Henry Latrobe) that shifted national boundaries, transformed structures of power, and cast individuals of all ranks from one end of the globe to the other. Many travelers sought to escape misfortune, others voyaged in the service of their political ideals, and still others merely hoped to peacefully continue with routine trade and other activities. As a transitional decade, the culture of the 1790s is rich with both ideas that do not survive the eighteenth century and those that flourish in the nineteenth. In the production and consumption of art and architecture, these years brought pronounced changes. Neoclassicism flourished in a variety of forms and in the service of (sometimes subtly) differing ideologies or ideals. The medium of transparent watercolor rose to new heights, particularly in Britain, where it also began to take on a patriotic valence. In both France and the United States, artists and their publics struggled to give visual form to the idea of the 'Republic,' in light of the long tradition of art in the service of monarchy. This panel seeks to bring together new perspectives on the art and architecture of the 1790s. Scholarship that traces the chaos, innovation, and creative aspirations of this period, in lieu of pursuing long-established artistic canons or national schools is particularly desirable. Papers may consider artists from, or working in, any geographic location and in any medium.To submit a proposed paper, please send a 250 word abstract, your College Art Association Member number, and a brief CV to Julia Sienkewicz: julia.a.sienkewicz@gmail.comCircumventing Censorship in Global Eighteenth-Century Visual CultureSubmission Deadline: August 14, 2017 3. Time, Space, Movement: Art Between Perception, Imagination, and FictionSubmission Deadline: August 14th, 2017Chair(s): Nathaniel B. Jones, Washington University in St. Louis, nbjones@wustl.edu; James P. Anno, Museo e Real Bosco di Capodimonte, james.philip.anno@gmail.comIn the study of the visual arts, the relationship between time and space has always been uneasy. In the mid-eighteenth century, for example, Gotthold Lessing's "Laocoo?n" cast them as irreconcilable categories. Painting, sculpture, and the other plastic arts, Lessing argued, had spatial but not temporal extension, and should be limitedto the depiction of individual moments. Literature was better suited tothe narrative representation of change over time. In this opposition of time and space, movement was counterpoised with stillness, and fluxwith permanence. Today, Lessing's position may seem little more than an artifact of its era. Rather than a transcription of perception, even the most illusionistic art has been revealed as a carefully constructed, highly ideological fiction. And since the invention of the cinema, both temporal duration and movement have become natural-seeming elements of the modern image world. But pressing questions remain. What is the time of art? In what ways is that time mutually implicated with space, and to what extent is that relationship mediated by real or suggested motion? To what degree are time and movement neglected aspects of the question of mimesis? And in what sense are artistic temporality and spatiality both fictive and constitutive of fiction?This session solicits proposals for papers reflecting on any aspect of the interrelationship of time, space, and movement in the visual arts; papers on premodern and non-Western topics are especially welcome.Please see the link for full submission details: http://www.collegeart.org/pdf/call-for-participation.pdf4. Circumventing Censorship in Global Eighteenth-Century Visual CultureSubmission Deadline: August 14, 2017Chair(s): Lauren Kilroy-Ewbank, Pepperdine University, lauren.kilroy@pepperdine.edu; Kristen Chiem, Pepperdine University, kristen.chiem@pepperdine.eduChair(s): Lauren Kilroy-Ewbank, Pepperdine University, lauren. kilroy@pepperdine.edu; Kristen Chiem, Pepperdine University, kristen.chiem@pepperdine.eduToday, we recognize many pervasive subjects and decorative motifs from the eighteenth century as lacking radicalized or subversive content. However, many of them emerged within inquisitorial atmospheres that accompanied political revolutions, colonial projects, the enlightenment, and religious transformations. Censorship of artists and images occurred in many instances to maintain or advance dominant ideologies, yet there are also cases where it proved ineffectual. We seek papers that highlight these less successful or futile cases of censorship in global eighteenth-century visual culture, especially of Asia, Africa, and the Americas. Specifically, we are interested in how artists resisted or subverted authoritative ideologies by crafting images that were thoroughly interwoven into the visual and social fabric so as to seem commonplace and unobjectionable. How did artists use innocuous images to implicitly critique power structures or subvert authority? In what ways did censorship that targeted texts or social practices shape visual culture more broadly? How did inquisitorial attempts unintentionally draw attention to the very ideas they aimed to suppress? This panel encourages a rethinking of imagery perceived as decorative, trivial, or benign and the impact of censorship in the eighteenth century.Proposals for papers are due to both session chairs by August 14.Please include the following (as noted on the CAA call for participation): Completed session participation proposal form (located at the end of this brochure). Make sure your name appears EXACTLY as you would like it listed in the conference program and conference website Make sure your affiliation appears as the official, recognized name of your institution (you may not list multiple affiliations). Make sure to include an active CAA Member ID (all participants must be current members through February 24, 2018; inactive or lapsed members will be pulled from participation on August 28, 2017). Paper/project abstract: maximum 250 words, in the form of a single paragraph. Make sure your title and abstract appear EXACTLY as you would like them published in the conference program, Abstracts 2018, and the CAA website. Email or letter explaining your interest in the session, expertise in the topic, and availability during the conference. A shortened CVMore information on CAA 2018 can be found here:http://www.collegeart.org/pdf/call-for-participation.pdf