Dear SHERA Members,
Panel proposals for a SHERA sponsored panel for the 2019 CAA Annual Conference in New York, February 13-16, are invited.
We encourage submission of proposals discussing issues of art or art history in any of the fields SHERA as a Society covers. The organizer of the panel must be a CAA member (membership number must be provided) as well as member of SHERA.
Please submit your panel proposal to email@example.com by April 15, 2018. While SHERA’s Board will select the panel to be submitted on our Society’s behalf to CAA, be reminded that the ultimate decision of acceptance is CAA’s.
The SHERA Board is pleased to announce the SHERA-sponsored panel to be held at the meeting of ASEEES in Boston from December 6-10 as well as two runners-up. While ASEEES does not have a mechanism for noting runners-up in the convention’s online or printed schedules, we would like to recognize particularly interesting panels as well as alerting the membership to their colleagues’ current and ongoing research. Thank you to everyone who took the time to submit a panel.
Final confirmation of acceptance of panels will not be announced until June 1. After that time, SHERA’s board members will pull together a list of all panels potentially of interest to the membership. Members are all invited to announce their panels, together with dates and times, on H-SHERA after acceptance notifications are sent out in early May.
The panel selected for 2018 is:
The Passion for Collecting: Collectors and Their Collections in Imperial Russia (1800-1917)
The panel is devoted to the history of private collections in the long nineteenth century in imperial Russia. It discusses collections, collectors and their collecting practices in order to explore collectors’ purposes and intellectual pursuits, the exhibiting and popularization of collected objects, art and artifacts, and debates triggered by collections’ display.
Chair: Kyeann Sayer, PhD Candidate (University of Hawai’i at Manoa)
Laura Schlosberg, PhD (Stanford University), “Zinaida Volkonskaia’s Allée de Souvenirs at the Villa Wolkonsky in Rome”
The paper examines Volkonskaia’s Allée de Souvenirs as a historical and autobiographical creation, a collection with both personal and educational purposes. While Diego Angeli identified the Allée as an expression of Volkonskaia’s nostalgia, the Allée presents a historical narrative, one in conversation with its Roman setting connecting Russia to European civilization.
Hanna Chuchvaha, PhD (Independent scholar), “Craftswomen and Stitches: Print Collections of Female Crafts in Late Imperial Russia (1860-1917)”
The paper analyzes the specific female collectors’ focus on objects associated with women, their pastimes, domesticity and femininity understood as an expression of both self and group identity. The paper explores the printed albums of female crafts collected and published by Sofia Davydova, Olena Pchilka, Princess S. N. Shakhovskaia, Natalia Shabel’skaia’s daughters, and Ebba Salwen.
Isabel Stokholm, PhD Candidate (University of Cambridge), “‘Having glimpsed the light, one does not wish for darkness’: Reform and Rehang in the Tretyakov Gallery, 1913-1917”
The paper explores four years of upheaval and change in the Tretyakov, bookended by the publication of its first scholarly catalogue in 1917. It examines how Russia’s artistic community engaged with the gallery when it was still finding its feet in the transition from private to national, following the death of Pavel Tretyakov fourteen years prior.
Discussant: Alla Myzelev, PhD (SUNY, Geneseo)
As noted above, we hope that all those attending the 2018 meeting will note the two submitted panels selected as runners-up:
Culture’s Industry, Industry’s Culture: Negotiation of Art, Craft and Industry through the Soviet Mid-Century
Christianna Bonin, Presenter and Chair, PhD Candidate, Massachusetts Institute of Technology
Olivia Crough, Presenter, PhD Candidate, Harvard University
Suheyla Takesh, Presenter, SMArchS Candidate, Massachusetts Institute of Technology
Dr. Maria Mileeva, Discussant, Teaching Fellow, University College London
Perhaps more than any other topos, the industrial factory has shaped conceptions of Soviet art in historical and contemporary imaginations. Its salience is evident in the divergent ways that artists, critics, and political officials debated and performed the effects of industrial mass production on art-making across the Soviet mid-century: from the 1920s, when the production line became the key to training “engineerartists” and socializing art by removing it from allegedly backward handcraft and bourgeois studio practices; to the 1960s, when a growing number of historians and preservationists viewed industrialization as a threat to traditional cultures and craft skills. Questioning culture’s changing relationship to labor and industry, this panel examines the effects of the industrial factory as both a real and imagined site on artists and their work. Our case studies focus on artists from or practicing across Central Asia, Russia, and the Middle East because their work critically reveals the extent of Soviet cultural and industrial hegemony, as well as shifts in the utility of local practice to industry before and after World War II. In each of our case studies, we consider the circulation and commoditization of objects and practical knowledge into market goods, collectibles and tourism industries. Countering the belief that modern industry eliminates craft or tradition, this panel reveals how these concepts operate in tandem in the Soviet context.
The first paper considers Varvara Stepanova’s role in the state publishing industry, as a woman designer and art director, parsing how publications such as 10 years of Soviet Uzbekistan (1934) produces relations between Central Asian culture, craft, and the cotton industry in the 1930s. The second paper analyzes a hybrid form of painting made by a young generation of Kazakh artists in 1960s Almaty. Aware that the introduction of industrial labor and a system of fine art education had deskilled or eliminated certain forms of Kazakh carpet-making, this group combined older carpet-making techniques with the primitivist aesthetics of Western artists in their paintings in order to perform their modernity internationally, while also appealing to state-led craft revival programs. The third paper examines the work of Iraqi artist Mahmoud Sabri, who studied in Moscow in the 1960s under socialist realist painter Aleksandr Deineka” and utilized the aesthetic and craft technique of Orthodox icon painting in works attending to the trauma of Communists’ repression in Iraq.
Exhibiting Artistic Change: Social and Aesthetic Dimensions of Art Exhibitions in Imperial Russia
This panel aims to explore the changing role, function, and format of art exhibitions in Imperial Russia. Advocating an interdisciplinary approach, the panel will address both the aesthetic and the social aspects of art exhibitions. The aesthetic aspect will include examination of the manner in which the state, academies, voluntary societies, art groups and individual artists represent their aesthetic agenda through the exhibition medium; the extent to which the exhibition can be instrumental in constructing and promoting national identity; and the ways in which art exhibitions affected the development of the art historical narratives. The social aspect will explore both the political and commercial dimensions of the exhibition practice: to which extent did art exhibitions contribute to the expansion of the public art scene in Russia? What was the role of the art market, state (censorship), voluntary societies, artists, critics and viewers in this process? How did the art exhibition as a marketing tool change over time and what were the social and artistic implications?
Chair: Aglaya Glebova, UC Irvine
Margaret Samu, The New School, Parsons School of Design, Art Exhibitions at Auctions and Estate Sales in St. Petersburg 1750–1850
Where could St. Petersburgers see and learn about works of art in the eighteenth and early nineteenth centuries? Most scholarly literature about this period dwells on the absence of art on public view in the capital, relieved only by the triennial exhibitions at the Imperial Academy of Arts. Recent research, however, shows that exhibitions held before auctions and estate sales served as important venues for members of the literate classes to develop their knowledge of art and hone their connoisseurial skills. Because these exhibitions did not charge admission, nor require viewers to make purchases, they allowed non-elite classes the same opportunity to view art as the nobility who bought works for their collections. Drawing on newspaper announcements, sale inventories, and other primary sources, this paper will examine the role of these exhibitions in the development of taste and visual literacy in St. Petersburg before the mid-nineteenth century.
Nikita Balagurov, Higher School of Economics Saint Petersburg, Inventing the Russian School of Art at the 1882 All-Russian Exhibition
Abstract. In Moscow in 1882, the state-sponsored All-Russian Exhibition for the first time showcased achievements in the arts, along with those in heavy and light industries. Celebrating Tsar Alexander II’s reign, this Art Section, entitled “Twenty-Five Years of Russian Art”, became the first comprehensive survey of contemporary Russian art. By reconstructing the ideological, social and aesthetic aspects of the section, this paper scrutinizes this earliest attempt to formulate a narrative of a Russian “national school of art,” which was then further developed by the critic Vladimir Stasov in his influential essay by the same title (1882–1883) and in the founding of the Russian Museum of Alexander III in Saint Petersburg in 1898.
Andrey Shabanov, European University at St Petersburg, The End of the “Salons” in Russia and Western Europe
Abstract. The most defining professional emancipation of Russian artists in the late nineteenth century occurred with the privatization of art exhibitions — from an exhibition ruled by the Academy or other state-sponsored institutions, to one that was independently run. This change was realized by the Peredvizhniki (known in English as the Wanderers or Itinerants), which consisted of Moscow and St Petersburg artists who organized touring art exhibitions. The present paper will explore this major shift in exhibiting practices in Russia and its broader aesthetic and social implications. It will also examine how these changes related to similar late nineteenth-century institutional developments in Western Europe.
Maria Mileeva, University College London, Research and Teaching Fellow
Jane Sharp, Rutgers University
SHERA invites our members to submit session proposals for a SHERA-sponsored session at the Society of Architectural Historians SAH 72nd Annual International Conference in Providence RI, April 24-28, 2019. Session proposals should be submitted to the SHERA Board at: [firstname.lastname@example.org] (email@example.com) by SHERA deadline - December 10, 2017, and should comply with the instructions found below in the SAH Call for Sessions. The chair (co-chairs) of the selected proposal will be notified ASAP, for timely submission on the SAH website.
The individual proposing a SHERA-sponsored session must follow the same selection process for SAH conference sessions proposed by organizations as those proposed by individuals. Acceptance is not guaranteed. A Conference session selected by SAH Conference Committee is considered an academic achievement.
Session proposals must include the following elements:
- A session title not longer than 65 characters, including spaces and punctuation
- Summary of the subject and the premise in no more than 500 words
- Name, professional affiliation (if applicable), address, telephone, and email address (if your session is sponsored by SHERA, you also have to become a SAH member, and ensure that the information you are providing matches an existing SAH profile/membership account to avoid misdirecting communications.
- A current CV (2 pages maximum)
Although the SAH membership is international, the annual conference is conducted in English. Therefore, all session proposals must be submitted in English and, if accepted, conducted in English.
SAH Call for Sessions SAH 2019 Annual International Conference
SAH Submission Deadline: January 16, 2018, at 5 pm CST.
The Society of Architectural Historians will offer a total of 36 paper sessions at its 2019 Annual International Conference in Providence, Rhode Island. The Society invites its members, including graduate students and independent scholars, representatives of SAH chapters and partner organizations, to chair a session at the conference. As SAH membership is required to chair or present research at the annual conference, non-members who wish to chair a session will be required to join SAH next August 2018 when conference registration opens for Session Chairs and Speakers. Since the principal purpose of the SAH annual conference is to inform attendees of the general state of research in architectural history and related disciplines, session proposals covering every time period and all aspects of the built environment, including landscape and urban history, are encouraged.
Sessions may be theoretical, methodological, thematic, interdisciplinary, pedagogical, revisionist or documentary in premise and ambition and have broadly conceived or more narrowly focused subjects. Sessions that embrace cross-cultural, transnational and/or non-Western topics are particularly welcome. In every case, the subject should be clearly defined in critical and historical terms.
Since late submissions cannot be considered, it is recommended that proposals be submitted well before the deadline. Last-minute submissions that fail posting in the online portal or are sent in error via email cannot be considered. Only proposals submitted through the online portal can be considered. To ensure broad participation in the SAH Annual International Conference, individuals are limited to the role of either a session chair OR a speaker. If you are selected as a session chair you may not submit a paper abstract to other sessions to be considered for speaking. Each Session Chair and Speaker is expected to fund his or her own travel and related expenses to participate in the conference. A copy of the Session Chair and Speaker Agreement that includes deadlines and step-by-step processes will be distributed to both Session Chairs and Speakers. Session Chairs and Speakers are required to join SAH and pre-register for the conference starting in August 2018.
SAH Key Dates October 03, 2017, 3 pm CDT - Call for sessions opens January 16, 2018, 5 pm CST - Deadline to submit a session proposal February 23, 2018 - Session selection notification March 9, 2018, 5 pm CDT - Revised session proposals due April 3, 2018, 3 pm CDT - Call for papers opens June 5, 2018, 5 pm CDT - Deadline to submit a paper abstract June 7, 2018 - Session Chairs start reviewing paper submissions July 13, 2018 - Session Chairs make final selection of papers and notify speakers August 1, 2018 - Session Chair & Speaker registration opens September 27, 2018 - Session Chair & Speaker registration closes
The SHERA Emerging Scholar Prize was awarded to Christina E. Crawford (Emory University) for her article “From Tractors to Territory: Socialist Urbanization through Standardization,” Journal of Urban History (January 2018).
The jury consisted of Carolyn C. Guile, Janet Kennedy, Juliet Koss, Marie Alice L’Heureux, and Colleen McQuillen.
Jury commendation: Rigorously researched and theoretically astute, Christina Crawford’s essay “From Tractors to Territory: Socialist Urbanization through Standardization” (Journal of Urban History) is the Award Committee’s unanimous choice for the First Annual SHERA Emerging Scholars’ Essay Prize. Examining the design and construction of both the Kharkiv Tractor Factory (1930-31) and the neighboring planned city for its workers, Crawford details the importation of a Fordist model of industrial standardization into a Soviet context and demonstrates how the concept of priviazka, taken from contemporaneous architectural discourse, was productively applied to other spheres in order to facilitate rapid growth in manufacturing and distribution. Her essay illuminates the importance of adaptability within the ostensibly standardized design practices that fueled the breakneck tempo of industrialization and urbanization during Stalin’s first Five-Year Plan. Innovative and authoritative, Crawford’s scholarship offers a methodological model for considering the relationship of architectural design and economic development during the process of early Soviet industrialization.
Next Emerging Scholar Prize deadline: September 30, 2018
SHERA Supports European University at St. Petersburg
The European University at St. Petersburg https://eu.spb.ru/en/ is an important institution for research and higher education, respected in Russia and around the world. Its scholars participate in major international conferences alongside members of SHERA and publish their work in prestigious journals and with major presses. We have all benefitted from the scholarship produced by its faculty, associates, and alumni; their work makes a significant and lasting contribution to our field.
For over 20 years, the EUSP has trained both Russian and non-Russian graduate students at the highest international level. Its educational ideal of promoting the best of Russian and Western scholarship promises to produce students who are fluent in the discourses that shape society and culture around the globe today. Foreign students who enroll in the EUSP’s programs such as its International MA in Russian Studies (IMARES) https://eu.spb.ru/en/international/academics/imares benefit from study in Russia and access to St. Petersburg’s immense cultural resources. More importantly, they gain a deep respect and appreciation for Russian history and culture in a way unparalleled by any other program.
The EUSP’s proud history and record of success make it all the more concerning that on February 10th the Moscow Arbitration Court did not support the university’s evidence of compliance with areas (registering degrees with the VAK, employing faculty practicing in their field, and maintaining a gym) that had been disputed by the Ministry of Education’s inspectorate, Rosobrnadzor. The Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA) supports the EUSP’s decision to appeal the court’s finding. We trust that further court hearings will remove the current obstacles and allow the university to continue its vital work of teaching and scholarly research.
Happy Holidays from SHERA!
SHERA is pleased to announce the receipt of its first donation, in honor of Maya Semina
An anonymous donation has been made in honor of Maya Semina, an art historian from Russia, whose book about Filipp Maliavin was published by Moscow’s BooksMArt Press in 2014. The donation will support one graduate student’s travel to any conference listed on the SHERA’s News Blog. The procedure for selecting a grantee will be elaborated during a SHERA membership meeting at ASEEES in November 2016 and announced shortly thereafter.
Please send your proposals to firstname.lastname@example.org by January 20, 2016.
SHERA is looking for volunteers to chair or co-chair a 2.5- hour SHERA-sponsored panel for CAA 2017 and to come up with a broadly-formulated theme that explicitly appeals to the full range of our members’ interests, both geographical and chronological. Since our resurgence 2 years ago, we have been successful in soliciting excellent proposals from our members, both for 1.5 and 2.5-hour sessions. As a reminder and an inspiration, I am sending you a list of SHERA-sponsored sessions we’ve organized so far:
1.5-hour session: “Decentering Art of the Former East.” Co-chaired by Kristin Romberg and Masha Chlenova;
1.5-hour session: “Infiltrating the Pedagogical Canon.” Chaired by Marie Gasper-Hulvat;
2.5-hour double session: “Reconsidering Art and Politics: Towards New Narratives of Russian and Eastern European Art.” Chaired by Maria Taroutina and Galina Mardilovich;
2016 1.5-hour session: “Collecting, Curating, Canonizing, Critiquing: The Institutionalization of Eastern European Art.” Chaired by Ksenia Nouril;
2.5-hour double session: “Exploring Native Traditions in Eastern Europe, Russia, and Eurasia.” Chaired by Alison Hilton.
We will send out calls for short sessions in April of 2016, but meanwhile we are looking forward to receiving your proposals for the 2.5-hour slot.
Once the SHERA officers make a selection, they will write a letter of support to the CAA conference committee, so that the proposed session has a better chance of being accepted. As can seen from our record, so far this tactic has worked. If it does not, it will be possible to resubmit the proposal next year or during our short-session call in April.
The Malevich Society will host “100 Years of Suprematism,” a conference organized in celebration of the centenary of Kazimir Malevich’s invention of Suprematism and the first public display of his Suprematist paintings in December, 1915. The two-day conference, organized in association with the Harriman Institute, the Lazar Khidekel Society, and SHERA, will be held on Friday and Saturday, December 11-12, 2015, at the Davis Auditorium, Schapiro Center, Columbia University, New York City (directions: http://apam.columbia.edu/directions-davis-auditorium-cepsr.
The conference promises to be an historic event, featuring presentations by an international and renowned group of scholars. Among them are leading researchers in the field from the United States, Russia, and the United Kingdom. The event will also include a presentation of Kazimir Malevich: Letters and Documents, Memoirs and Criticism (London: Tate, 2015).
The conference program, abstracts, and registration are available on The Malevich Society’s website. Although registration will be available at the door on December 11 and 12 (based on space availability), registration online is encouraged to ensure a seat. Attendance is free.
Questions can be sent to email@example.com.
The increased presence of Eastern European art in international public and private collections has generated a multitude of responses in the forms of exhibitions, symposia, research programs, publications, as well as endowed positions for curators, professors, and graduate students. From Catherine the Great, the Tret’yakov brothers, and George Costakis to Norton Dodge, Peter Ludwig, and Dasha Zhukova, collectors along with the curators who work with their collections have framed and reframed narratives of Eastern European art for both local and global consumption. Artists, too, have participated through self-institutionalizing initiatives, including collective practices and the founding of archives and independent art spaces.
This panel seeks to engage questions regarding the institutionalization of Eastern European art both inside and outside the region. What have been some of the challenges, triumphs, and failures in the pursuit of both private and public collections? What roles have curators, collectors, dealers, critics, and artists played in this process? What strategies have been most effective in establishing and sustaining critical and constructive dialogues within and beyond this network of individuals? What legacies and lessons have more historical examples, such as Imperial and Soviet collections, left for us today? In what ways does museum programming affect scholarship and pedagogy and vice versa? This panel aims to create a space for debate around the presence and presentation of Eastern European art that will brainstorm ways for further advancing our field through institutional relationships.
This panel invites papers that address both practical and theoretical issues from scholars, curators, critics, collectors, dealers, and artists. Papers can examine specific case studies or address larger methodological or terminological problems. While this panel is not strictly focused on the art market, papers addressing auctions, art fairs, biennials, and other commercial ventures will be considered. Submissions from all chronological periods are welcome.
Please, submit abstracts of 300 words or less and a current CV to Ksenia Nouril, Rutgers, The State University of New Jersey. Submissions must be received by Friday, June 5, 2015.
This panel is a 1.5-hour special session affiliated with SHERA (The Society of Historians of East European, Eurasian, and Russian Art and Architecture). All are encouraged to apply; however, membership to SHERA will be required if accepted.