Clearing a Path Through the Copyright Jungle
A unique collaboration between two contrasting organisations wanting to cast light on the tangled world of copyright permissions and payments bears fruit today (30 April 2008) with the publication of a set of Joint Guidelines on Copyright and Academic Research.

The collaborators are the Publishers Association, the leading trade organisation serving book, journal and electronic publishers in the UK, and the British Academy, which speaks nationally for the humanities and social sciences - he discipline areas where copyright issues have caused most confusion.

Designed to clear a path through the complex jungle of copyright legislation, the Joint Guidelines set out to provide practical, objective guidance for the layman and woman, endorsed both from the perspective of the academic researcher and that of the publisher and copyright 'guardian'.

Authors, publishers and researchers frequently face daily uncertainty as to their respective rights and obligations regarding copyright. The Guidelines address the most frequent problems encountered, including fair dealing exemptions, the terms of protection for different types of materials, widespread confusion over copyright for material held in digital form, and difficult ownership issues, including the troublesome subject of "orphan works".

Free copies of Joint Guidelines on Copyright and Academic Research can be downloaded from the British Academy website at:
www.britac.ac.uk/reports/copyright-guidelines

For further information please contact Tim Brassell, Director of External Relations (020 7969 5253) or Vivienne Hurley, olicy Manager (020 7969 5268)

We welcome papers (30 minutes) on any aspect of the topic, and especially from postgraduate students. Please email your proposal (with a brief abstract) to Susie West or Janet Huskinson.

Conference details can be found at www.open.ac.uk/Arts/classical-collections/

Paper proposal deadline: 1 September 2008

Classical Collections and British Country Houses and Gardens
One-day Conference, The Open University, Milton Keynes
12 December 2008
Call for Papers

Papers are invited for a one day research seminar on 'Classical Collections and British Country houses and Gardens' to be held at in the Arts Faculty, the Open University in Milton Keynes on Friday 12 December 2008. We plan to consider the relationship between classical collections (of statuary, coins, architectural fragments or archaeological material), their historical context at key points in the formation of the British country house and its setting, and their present survival as historic collections. Questions we hope to address include: Do these collections acquire new meanings for each generation? Are they necessarily 'closed collections' in the range of meanings they can support today? How do we respond to themes of nation, identity and memory, for instance, as part of the cultural work produced by their historic owners?

We welcome papers (30 minutes) on any aspect of the topic, and especially from postgraduate students. Please email your proposal (with a brief abstract) to Susie West (S.West@open.ac.uk) or Janet Huskinson (J.A.R.Huskinson@open.ac.uk)
Conference details can be found at www.open.ac.uk/Arts/classical-collections

Paper proposal deadline: 1 September 2008

V&A becomes first museum to have in-house training accredited nationally

The Qualifications and Curriculum Authority (QCA) has announced, on 29 July 2008, that the Victoria and Albert Museum (V&A) has become the first museum able to have its in-house training nationally accredited.

The museum's in-house training already sets the standard for curatorial training nationally, with both V&A employees and other museums undertaking their training programmes. By working with exam board EDI to develop the new qualification, the V&A will be able to have this training recognised as a nationally accredited qualification for the first time.

The qualification, a Level 4 Diploma for the V&A Assistant Curator Development Programme, covers a wide range of curatorial responsibilities. The announcement is part of the QCA's employer recognition scheme which has been developed to strengthen the role of employers in education and training.

By becoming awarding bodies in their own right, such as McDonalds, Network Rail and the Ministry of Defence, or by working with existing awarding bodies in the way the V&A has. The QCA is encouraging other employers to get involved.
For more information on how to get in-house training nationally recognised please visit www.qca.org.uk/recognition or email recognition@qca.org.uk

Details about the qualifications reform can be found at www.qca.org.uk/qcf.

Artists' Writings 1750-present
Courtauld Institute of Art, 5 - 6 June 2009

Despite Matisse's warning that 'he who wants to dedicate himself to painting should start by cutting out his tongue', artists in the modern period have frequently expressed themselves in writing (whether memoir, fiction or theory). This conference will ask what motivates artists to write, how they view the relation between their visual and textual practice, and how they use writing to manipulate or challenge the public reception and critical interpretation of their work. Challenging the myth of the visual artist as an intuitive anti-intellectual, it will demonstrate the extent and diversity of artists' contributions to modern literature and criticism in various languages. It will also investigate how scholars interpret these texts: are they works of art in themselves or simply evidence about the artist's life and craft? Do they conceal as much as they reveal? How has the role and perception of artists' writings changed over time?
Topics could include, but are not limited to:

Questions of genre; Public versus private writing; Authorship, authority and intention; Writing as justification / explanation / polemic; Writing as obfuscation; Self-expression versus silence; Fact and fiction; Life-writing; The politics of identity (ethnicity, gender, sexuality); Travel writing; Ekphrasis / transposition d'art / synaesthesia; Interchange and rivalry between the arts; The artist as critic; Artists' interviews; Public lectures, instruction and guidance; Manifestos and treatises; Text-based art works and artists' books; Writing and visuality; Writing and performance.

Contributions are invited from art historians, literary scholars and artists. Please send proposals (max 300 words) for presentations of 20 minutes to Linda.Goddard@courtauld.ac.uk by 15 September 2008

City Limits: Urban Identity, Specialisation and Autonomy in Seventeenth-Century Dutch Art - Call for Papers
School of Art History and Cultural Policy, University College Dublin
& National Gallery of Ireland, Dublin
25 April 2009

Seventeenth-century Dutch art has long been recognised as a distinctly urban form of visual expression. Rapidly expanding cities and towns were the main location for artists, patrons, and the market, while much of the subject matter of Dutch art reflects the experiences and aspirations of middle-class urban elites. It has become commonplace to use urban origins as one of the key criteria in classifying Dutch art. Artists working in close proximity in a common style and with shared iconographic interests are grouped together under such designations as "the Leiden fijnschilders2 and "the Utrecht Caravaggisti". Others have gone further to assign labels to entire communities and coin terms such as 2the Haarlem School" or "the Delft style". Influential surveys of Dutch art, such as Bob Haak's The Golden Age: Dutch painters of the seventeenth century (1984), have largely focused on major centres of production rather than discussing the exchange of artistic ideas across broader geographical areas. Likewise, the last two decades have seen many exhibitions that reappraised the art of a single town or city: Enkhuizen (1990), Dordrecht (1992), Rotterdam (1994), Utrecht (1997), Zwolle (1997), The Hague (1998), and Delft (1996 and 2001).

This symposium has three main areas of focus. Firstly, the question of urban self-representation will be addressed. How did individual cities and towns construct a distinct identity through images? What were the processes and motivations involved in attaching certain modes of representation and subject matter to particular urban centres? Secondly, the conference intends to examine the rationale behind local tastes and trends. Why did certain (sub)genres emerge and flourish in a given artistic centre at a specific time, and others did not? The third theme will be the validity of approaching seventeenth-century art through the prism of "local schools". Are such divisions justifiable given the short distances between the major centres of production in the Dutch Republic? While itinerant artists are known to have adjusted their style and working methods to local tastes, did others not deliberately follow trends from out of town in order to distinguish themselves from their local colleagues?

Confirmed speakers: Professor Eric Jan Sluijter, University of Amsterdam, Dr. Walter Liedtke, Curator of European Paintings, Metropolitan Museum of Art, New York, Professor Wayne Franits, Syracuse University

Paper Proposal Deadline: Abstracts between 250-500 words are sought for 25-30 minute paper presentations. Notification of acceptance will be 1 December, 2008. Please send your abstract electronically as a Word-document to either Dr. John Loughman (UCD School of Art History and Cultural Policy) or Dr. Adriaan Waiboer (National Gallery of Ireland).

The deadline for abstracts is 1 November, 2008

Masters of Light Study Tour
October 10 - 18, 2008
Rome, Italy

Join American Institute of Architects (AIA) Interfaith Forum on Religious Art and Architecture (IFRAA) for a study tour of one of world's most significant religious capitals. Attendees will experience first hand the masterworks of Bernini and Borromini, as well as those of such contemporary masters as Renzo Piano and Richard Meier. Guided by Dr. Donald J. Bruggink, Hon. MAIA, Hon. IFRAA, this conference presents a truly unique opportunity to explore Rome with architects, clergy, artists, and designers.

Visit http://www.aia.org/ifraa_a_080201_rome for more information.

The Viennese Café as an Urban Site of Cultural Exchange
Victoria & Albert Museum and Royal College of Art, London
17 and 18 October 2008

The cultural significance of the café provides a central theme for scholars from the fields of visual, social, literary and cultural history to meet and explore the similarities, differences and shared points of interest in recent research into Vienna 1900. Although the Viennese coffeehouse has long been recognised as a site of importance, there has as yet been no in-depth scholarly investigation of how it functioned in relation to the broader culture of the city at this time. The programme examines the café from a variety of perspectives, with the aim of deepening our understanding of the nature of this urban space, and the cultural exchanges and performances that went on there.

Keynote speakers: Dr Steven Beller, independent scholar, Washington DC and Professor Edward Timms, University of Sussex.

The conference is part of the programme of research of the AHRC-funded Vienna Café Project, which is run jointly by the School of History of Art, Film and Visual Media, Birkbeck, University of London and the Department of Design History at the Royal College of Art. It is organised to coincide with the exhibition Vienna Café 1900, which will be shown in the galleries of the RCA between 13 - 24 October 2008. Booking is now open. For further details of the programme and registration please visit: www.rca.ac.uk/viennacafe/conference.html
Or contact Angela Waplington.

The ICON Paintings Group
Working for Hitler: The Restoration Profession and the Nazi Looting Machine
21 October 6pm, ICON Painting Group Office, London

The ICON Painting Group invite you to attend a one day talk, presented byMorwenna Blewett. Nazi looting of cultural property during World War II functioned to meet several objectives that ranged from collecting ideologically desirable art for their new museums and private collections, removing works deemed 'degenerate', hence unpalatable to the National Socialist regime, and this mechanism of theft was also used to suppress and persecute Jews and other groups as their household goods and art collections were sequestered. In addition it offered the financial benefits as 'unwanted', looted works were sold to create capital.

Together with specialists, such as art historians, dealers and curators, restorers from both the commercial and institutional worlds took up theft and profiteering at this time. Some restorers worked for the Nazis under duress, their good reputations making them vulnerable to forcible employment orders, while others identified actively with National Socialism for careerist motivations or monetary gain.

Using previously classified material and recently rediscovered papers and photographs, this talk will explore the context of looting during this period and then describe conservators' and restorers' roles within this highly organized and ruthless programme.

Tuesday, 21st October 2008 at 6pm prompt at the ICON Office
1 London Bridge, London SE1 9BG
Tickets: ICON members: £5, non members: £10
Please register with Clare Finn – FinnClare@aol.com or 020 7937 1895
to be sure your name is on the security list at the door
Booking deadline: no later than Thursday, 18th October 2008

Magic of The Viennese Cafe Comes to London
Vienna Cafe 1900
13 - 24 October 2008
Royal College of Art, Kensington Gore, London SW7 2EU
Open: 10am-6pm daily

This autumn the Royal College of Art will be hosting an exciting new exhibition, Vienna Café 1900, exploring the culture and design of the Viennese coffeehouse around the turn of the last century.

To find out more about events taking place visit www.rca.ac.uk/viennacafe or call Tel: 020 7590 4444.

Call for Papers
The Society for Textual Scholarship
Fourteenth Biennial International Interdisciplinary Conference
18 - 21 March 2009, New York University
Program Co-Chairs: Andrew Stauffer, Boston University; John Young, Marshall University

The Program Chairs invite the submission of full panels or individual papers devoted to interdisciplinary discussion of current research into particular aspects of textual work: the discovery, enumeration, description, bibliographical analysis, editing, annotation, and mark-up of texts in disciplines such as literature, history, musicology, classical and biblical studies, philosophy, art history, legal history, history of science and technology, computer science, library science, lexicography, epigraphy, paleography, codicology, cinema studies, media studies, theater, linguistics, and textual and literary theory. The Program Chairs are particularly interested in papers and panels, as well as workshops and roundtables, on the following topics, aimed at a broad, interdisciplinary audience:

Textual production and the social sphere Textual cultures Digital editing and textuality The production and editing of "minority" texts Theoretical and practical intersections between textual scholarship and book history Textual scholarship and pedagogy.

Papers should be no more than 20 minutes in length. Panels should consist of three papers or presentations. Individual proposals should include a brief abstract (one or two pages) of the proposed paper as well as the name, e-mail address, and institutional affiliation of the participant. Panel proposals, including proposals for roundtables and workshops, should include a session title, the name of a designated contact person for the session, the names, e-mail addresses, and institutional addresses and affiliations of each person involved in the session, and a one- or two-page abstract of each paper to be presented during the session. Abstracts should indicate what (if any) technological support will be requested.

Inquiries and proposals should be submitted electronically to:

Professor Andrew Stauffer
Department of English Bos
ton University
236 Bay State Road
Boston, MA 02215
and
Professor John Young
Department of English Marshall University
One John Marshall Drive Huntington, WV 25755
T: (304) 696-2349
F: (304) 696-2448

All participants in the STS 2009 conference must be members of STS. For information about membership, please contact Secretary Meg Roland at or visit the Indiana University Press Journals website and follow the links to the Society for Textual Scholarship membership page.

For conference updates and information, see the STS website.

Papers presented at the conference will be considered for publication in TEXTUAL CULTURES.

Deadline for Proposals: October 31, 2008

Visual conflicts: art history and the formation of political memory
University College London, 7 March 2009
Call for Papers

At a time when issues concerning memory formation and the visual mediation of conflict are attracting a great deal of attention, we wish to explore ways in which visual culture has engaged with armed conflict and politically-motivated acts of violence of all types. The conference aims to provide a platform for developing links between issues of memory formation, the politics of violence and visual representation. Working with the analytical framework of the discipline of art history, we nevertheless wish to consider the entire field of visual representation, to include, for instance, documentary film, reportage as well as images produced by individual agents but that were made public in one way or another.

We wish to consider questions such as how pre-existing narratives of conflict condition the way in which we derive meaning from representations of politically motivated acts of violence and to explore the implications for art historical inquiry posed by shifts in imaging technologies and of the experience of war itself. While this call for papers is open to any suggestions that engage with this topic, we are particularly interested in receiving proposals that challenge received ways of thinking about the relationship between visual culture and the construction of narratives of conflict.

Abstracts of no more than 250 words, for 20 minutes presentations, from academics and postgraduate students, should be submitted to both conference organisers by 1 November 2008: Paul Fox or Gil Pasternak.
Deadline for submission: 1 November 2008

Envisioning Utopia: British Art and Socialist Politics, 1870-1900
A Walter Crane Study Day at the Whitworth Art Gallery, University of Manchester
Friday 5 - Saturday 6 December 2008

The Whitworth Art Gallery at the University of Manchester will open a new display on August 16, 2008 entitled "'Art and Labour's Cause is One:' Walter Crane and Manchester, 1880-1915." Crane was one of the most important, versatile, and radical artists of the nineteenth century, and this exhibition explores the central role played by Manchester in Crane's fusion of art, labour, and politics.

On December 5 and 6, 2008, the Whitworth will host a related conference, "Envisioning Utopia: British Art and Socialist Politics, 1870-1900." This conference will examine the dynamic between the urban and the pastoral in utopian visions of a socialist future and explore the role of visual art in formulating and articulating these political ideals.

Keynote address Friday at 5:30 by Professor Tim Barringer (History of Art, Yale University). Speakers include Dr. Matthew Beaumont (English, UCL), Dr. Jo Briggs (Yale Center for British Art), Professor Michael Hatt (History of Art, Warwick), Dr. Ruth Livesey (The Victorian Centre, Royal Holloway, University of London), Sarah Turner (Courtauld Institute), and Dr. Anna Vaninskaya (King's College, Cambridge University Victorian Studies Group).

Registration fee £20, concessions £10. Registration includes reception on Friday and refreshments and lunch on Saturday. For more information, email waltercranearchive@gmail.com.

This event is supported by the Paul Mellon Centre for Studies in British Art.

1789, 1989, 2009: Changing Perspectives on Post-Revolutionary Art
Symposium at The Courtauld Institute of Art
Friday 12 - Saturday 13 June 2009
Call for Papers

Thanks to the pioneering scholarship produced after the bicentenary of the French Revolution and the ending of the Cold War in the 1990s, the critical categories of gender, class, race and sexuality are firmly entrenched in the study of the period. But in a post-9/11 world, scholars within the field find themselves at a crossroads between these established methodological approaches and a shifting political landscape. This conference, organised by The Courtauld Institute of Art Research Forum in collaboration with University College London (UCL), seeks to understand how contemporary political exigencies impact the social, psychoanalytic and gender-based scholarship that took as its principal object of inquiry the artistic production of Post-Revolutionary France (1789-1852). Can methodologies that privilege subjectivity, the body and desire be developed to articulate current global concerns or should these be supplanted by new interpretative models?

Debates concerning individual liberty and government authority, the development of newspapers and print technologies, and the emergence of consumerism as a mode of modern experience in Post-Revolutionary France all resonate in the present. During the past decade, Anglo-American scholars have explicitly drawn connections between visual culture in the Revolutionary and Napoleonic states and the recent rise of government-instituted programmes of surveillance and legitimisation of aggressive, interventionist foreign policies. We seek to question whether these parallels amount to anything more than historical equivalence or if they are motivating deeper methodological change in the study of Post-Revolutionary France.

Keynote Speakers: Professor Susan Siegfried, University of Michigan
Professor Darcy Grimaldo Grigsby, University of California, Berkeley
Opening Address: Dr. Satish Padiyar, Courtauld Institute of Art
Academics and postgraduate students are invited to submit abstracts of no more than 300 words, for 20 minutes presentations, together with a CV, to c19conference2009@gmail.com before 1 November 2008. We welcome proposals for papers that are unpublished and have not been previously presented.

For more information please see: www.courtauld.ac.uk/researchforum/calls_paper/index.shtml
or email the organisers at c19conference2009@gmail.com
Paper Proposal Deadline: 1 November 2008

Symposium: Ottoman Istanbul and British Orientalism,
27 - 28 November 2008, Pera Museum, Istanbul, Turkey

Colleagues are invited to attend a symposium on Ottoman Istanbul and British Orientalism. This two-day Symposium is planned to accompany the exhibition "The Lure of the East: British Orientalist Painting" at the Pera Museum in Istanbul. Having shown previously at the Yale Center for British Art and Tate Britain, the Turkish context for this exhibition provides a unique opportunity to examine Istanbul as a destination for British artists in the nineteenth century. The symposium will also address broader questions of cultural exchange between Ottoman and European cultures in this period. Although this travelling exhibition is focused primarily on British art, the symposium will situate this work in relation to Ottoman art patronage and the development of art education and museum display in the Ottoman capital. Taking a transdisciplinary approach, the symposium includes leading scholars from art history, cultural studies, literature, architectural history, and Ottoman history, as well as museum professionals.

Organising Committee: Prof. Zeynep Inankur (Mimar Sinan Güzel Sanatlar University, Istanbul), Prof. Reina Lewis (London College of Fashion, University of the Arts, London), Prof. Mary Roberts (University of Sydney), Özalp Birol (Pera Museum).

There is no charge to attend this symposium, but places are limited and advance reservation is essential. To book a place and for more information go to
www.britishorientalism.org

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