CFP: MAAM 2015 Annual Conference

MAAM 2015 Annual Conference: Building Communities: Embracing Diversity in All We Do

Proposals due: April 2, 2015
Conference held: October 21-23, 2015

Philadelphia, PA

Call for Proposals!

Join MAAM in Philadelphia this October as we discuss Building Communities: Embracing Diversity in All We Do. We invite you to contribute to the dialogue with a conference session proposal. Please consider a submitting a proposal on one of the following Building Communities topics:

  • Creating pathways for new audiences
  • Engaging community members
  • Reflecting diversity in boards, staff, programming, collections, and/or outreach
  • Accessing new fiscal resources
  • Social justice issues in museums

The annual meeting is the perfect opportunity to introduce theoretical or philosophical frameworks that explore daily issues shared by all. Sessions should present differing perspectives that constructively embrace controversy, enliven the session, and reflect the conference theme. You do not need to be the “expert” to propose or organize a session. Vendors are also welcome to submit proposals, but all panels should include at least one museum professional. The MAAM Program Committee, comprising recognized museum professionals, will review all proposals. Click here to download the 2015 Call for Proposals.


CFP: Trimmings: Adorning the Fashionable Figure in the 17th Century

Conference Call for papers
Trimmings: Adorning the Fashionable Figure in the 17th Century

Abstracts due: March 31, 2015
Conference held: June 6-7, 2015
Plymouth, MA

Plimoth Plantation’s 17th-Century Trimmings Conference will take place on June 6th and 7th, 2015. The process and purpose of adorning oneself with decorative and embellished wardrobes was an important part of the post-medieval world. The trimmings trade contributed to a global economy, supported a complex guild structure, and bolstered expressions of social and economic class.

We are seeking submissions for a series of academic presentations to be given at the conference. Topics are not limited to the 1620s, but may range from the 16th to the 18th century. Both theoretical and practical topics will be considered; we are looking for papers or projects that are informational, creative and innovative! Topics of interest include, but are not limited to:

Production: material sourcing, mechanical innovations, creation and skill
Economics: global trade, social capital, tradesmen and guild structures
Symbolism: Military or religious meaning, vanity and morality, adornment in current popular culture

The deadline for abstract submission is March 31, 2015, and notification of acceptance will occur by April 15. Please send your proposal abstract by filling out a submission form. Only abstracts using the form will be accepted. Length of presentations: 20 minutes.

Plimoth Plantation is unable to pay for any expenses involved in the preparation and presentation of papers. Please obtain all necessary permissions for use of images before the presentation is given. Participants will receive free admission to the trimmings conference.


CFP: Exploring Nostalgia

July 3-5, 2015

Mansfield College, Oxford, United Kingdom

We have all probably had conversations with aged relatives and friends resulting in the oft repeated words “I remember when….”, spoken either as an illumination of the progress of the present in comparison to seeming simplicity of the past or a wistful longing for the past to be alive again in the midst of the present. Often focused on differences between generations and triggered by specific events and objects, there is an overpowering sense that things are not what they used to be. This can be a positive experience, for example, being impressed at technological progress, or conversely confusingly negative, for example, the sense of frustration with the same technology and a hankering for times when things were perceived to be much simpler and easier.

Nostalgia is an extremely powerful feeling; it can in equal measure lift us up, make us feel safe, create fond memories and/or it can bring us down, make us feel intensely isolated, lonely, left behind and depressed. There is nostalgia for things that are no longer with us and people who are no longer with us (individually and collectively). There is the sense that things that are out of place — and not only out of place but also out of time. It can be both missing things and the missing of things. Yet it can also be a real and quite intense force which forms the present and informs the future.

At the launch of this biennial project our interest is to begin to map the boundaries of nostalgia, explore the parameters within which it takes place and tentatively assess the consequences for ways of thinking, living and feeling in the 21st century. Nostalgia is being approached as a multi-layered phenomenon which consequently requires multiple insights and perspectives from academic disciplines, professional practice, NGO and voluntary activities, artists, song writers, performers and any one who engages with forms and varieties of nostalgia.

An indicative list of potential areas for exploration could include:

Exploring Nostalgia:
What is it? What triggers it? What motivates it? Nostalgia, perception and reality; nostalgia and meaning; nostalgia and emotion.

Nostalgia and Physical and Mental Health:
nostalgia, illness and disease; nostalgia and the impact of dementia, Alzheimers and neurological problems; nostalgia and the role of memory; nostalgia and the impact of age; nostalgia and trauma; nostalgia as therapy; nostalgia and health practices; nostalgia and reminiscence; reminiscence centres; managed nostalgia and therapy.

Nostalgia and Contemporary Culture:
Aesthetics of nostalgia: creating the look and feel of the past in visual culture.

Nostalgia as Business:
The Retro clothing movement, “vintage” stores, the “classic” sales movement; the antique trade, shabby chic and classic merchandise; classic cars; Nostalgia and business; advertising; selling; design; Nostalgia and reverence for the past

Nostalgia and Media:
genres of film, media, literature, visuals arts, music that are rooted in nostalgia, or which critique, supplement or illuminate the phenomenon, music studies — new artists with old sounds, vinyl records, placing old artists on new media: film — use of taboo words in classic film vs today, making modern films “true” to an old era: bloggers who reminisce of the past.

Negative Nostalgia:
Nostalgia and politics: conservatism and the call to return to ‘the way things used to be’; nostalgia as a cloak for racism, sexism, homophobia and xenophobia; nostalgia and revisionism; rewriting history; nostalgia and false memory.

Preserving Nostalgia:
nostalgia, memory and childhood; growing up and growing old; personal narratives, family histories and transmitting memories nostalgia and public memory; commemoration; memorials (physical and digital); spaces and places of remembrance; architecture and nostalgia.

The meeting will form an opening opportunity to develop a variety of further events, meetings, courses, activities, collaborative ventures, publications and other forms of activity which will enable us to explore nostalgia in all its various shapes and forms better.

The Steering Group welcomes the submission of proposals for short workshops, practitioner-based activities, performances, and pre-formed panels. We particularly welcome short film screenings; photographic essays; installations; interactive talks and alternative presentation styles that encourage engagement.

What to Send:
Proposals will also be considered on any related theme. 300 word proposals should be submitted by Friday March 13, 2015. If a proposal is accepted for the conference, a full draft paper of no more than 3000 words should be submitted by Friday May 22, 2015. Proposals should be submitted simultaneously to both Organising Chairs; proposals may be in Word or RTF formats with the following information and in this order:

a) author(s), b) affiliation as you would like it to appear in programme, c) email address, d) title of proposal, e) body of proposal, f) up to 10 keywords.

E-mails should be entitled: NOSTALGIA1 Proposal Submission.

All abstracts will be at least double blind peer reviewed. Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs:
Rob Fisher:

Cristina Santos:

The conference is part of the Making Sense of: programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All proposals accepted for and presented at the conference must be in English and will be eligible for publication in an ISBN eBook.  Selected proposals may be developed for publication in a themed hard copy volume(s). All publications from the conference will require editors, to be chosen from interested delegates from the conference.

Inter-Disciplinary.Net believes it is a mark of personal courtesy and professional respect to your colleagues that all delegates should attend for the full duration of the meeting. If you are unable to make this commitment, please do not submit an abstract for presentation.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.


Springtime in London: Women of the World, Fashion in Film, Alexander McQueen and Fashion Symposia

It’s exciting to finally see the dark evenings receding, spot little floral bursts of white, purple and yellow amongst the grassy urban verges and feel like my winter coat’s days are swiftly numbered!  To celebrate this arrival of spring, here are some interesting events related to fashion taking place in the capital this month.

The first is the Women of the World Festival at Southbank, in central London, which takes place this week 1st – 8th March.  In its fifth year, the WOW Festival celebrates women and girls through a range of talks, workshops and performances that draws upon the global and local.  Two interesting exhibitions about gender, identity and dress include the early 20th century self-portraits of artist Claude Cahun and Sara Shamsavari’s contemporary portraits of hijab styles as worn by young Muslim women in London, Paris and New York.  Both of these are free and run throughout the festival.  On Saturday 7th March, there is a specific talk on the power of fashion and a workshop on finding new ways to portray women in underwear to avoid objectification, both of which you can join by purchasing a day ticket for £20.

Lernert & Sander’s work featuring in Clothes on the Move: What’s Behind the Production of Fashion Films? 17 March

Later on this month is the Fashion in Film Festival, which launches on 17 March until 24 March across three London locations: Central Saint Martins, Somerset House and Hackney Picture house.  Also in its fifth year, this festival aims to explore the recent rise of the moving image in the fashion industry and get behind-the-scenes insights into the production of fashion films” through a series of talks and conversations curated by Hywel Davies and Marketa UhlirovaFeaturing speakers such as Caroline Evans, Nick Knight, Caryn Franklin, Pamela Church-Gibson, Oriole Cullen and Agnes Rocamora, the festival draws upon their views as historians, journalists, designers, image makers and theorists to debate the role of the moving image in fashion.  It will be an exciting programme of free events and I was particularly pleased to see the use of different London locations, making it possible to see much more!

Jacket, Alexander McQueen, It’s a Jungle out there, Autumn/Winter 1997-8. Image: firstVIEW

On Saturday 14 March, the V&A Museum will welcome visitors to the eagerly awaited exhibition Alexander McQueen: Savage Beauty, which runs until 4 August.  I can still remember booking my ticket this time last year for what will definitely be one of the most talked about fashion related events this year.  It will be interesting to see what the V&A’s fashion curator Claire Wilcox has done with the exhibition given its new European location.

Fashioning Professionals Symposium, 27th March Gaby Schreiber Industrial/Interior Designer (1916-1991). Photographer: Bee & Watson, 1948. Design Council Archive, University of Brighton Design Archives.

Finally, Friday 27th March is a popular day for fashion symposia here in the city!  Competing for our attention is Fashioning Professionals at the Research Department in the V&A Museum and Fashion and the Senses at London College of Fashion.  As it was impossible for me to be at both, I decided to attend Fashioning Professionals as this is more closely related to my research interests.  I will report back in April, hopefully along with a review of McQueen.

Happy Spring!


CFP: Fashion and Art History

June 29-30, 2015

University of York, UK

Fashion and art often follow a shared trajectory of social, political, and historical circumstances. In collaboration with the University of York, the AAH’s annual Student Summer Symposium will explore the relationship between fashion and art, by inviting papers that engage with this subject across a wide range of chronological and theoretical perspectives.

The influence of fashionable dress on artists and patrons of art has recently become a popular and productive avenue for research in art history, while fashion designers have likewise been shown to engage continuously with historical and fine art as sources of inspiration.

‘Fashion and Art History’ invites papers that build upon these conversations while also addressing questions that continue to be debated in art and fashion history circles: What evidence does art provide for how dress operates within society? Is fashion ‘art’? Should fashion history be taught alongside art history in academic curricula? When should these objects be displayed in galleries alongside each other, and how does this change the way we understand artworks and fashionable dress? Finally, how might the tools and methodologies of these related disciplines aid the study of their respective subjects?

We welcome contributions from all periods and contexts that engage with the relationship between art and fashion within aesthetic, cultural, social, and material frameworks.

Topics may include, but are not limited to:

The engagement of artists, sitters, and patrons of works art with fashion

Artworks and visual imagery as evidence for understandings of historical dress

Artists as fashion designers and style setters.

The dissemination of fashionable dress through artworks

Fashion designers as artists and the status of fashion as an art

Historical revivals in fashion and the role of visual culture in this process

Exhibitions devoted to fashion history, and the display of fashion in art galleries

Developing relationships between fashion and art and its histories.


No more than 250 words for 20-minute papers plus a 100-word biography should be submitted as a single Word document to Anna Bonewitz, Serena Dyer, Sophie Littlewood, and Sophie Frost at by March 27, 2015. The symposium is open to all, however speakers are required to be AAH members.


CFP: 2015 Annual Design History Society Conference

2015 Annual Design History Society Conference; “How we live, and How we might live”: Design and the Spirit of Critical Utopianism

California College of the Arts, San Francisco

Proposals due: February 28, 2015
Conference held: September 11–13, 2015

Inherent in every act of design is a vision–however modest, however inarticulate–of a better world: We design because we believe that travel might be made more comfortable, work more efficient, information more accessible, experiences more fulfilling, spaces more convivial, and people’s lives more meaningful. By addressing the needs of the present, designers are, inescapably, envisioning the future.

By definition, a vision of a better future is grounded in a critique of the present, insofar as the prevailing organization of social resources obstructs the full realization of our potential to lead productive, enjoyable, and fulfilling lives. William Morris was the first to link a critique of “How we live” to a vision of “How we might live” through the medium of design, and this impulse continues to inspire design practice today.

California College of the Arts, which is at once the westernmost outpost of the Arts and Crafts Movement and the gateway to Silicon Valley, is pleased to host the 2015 conference of the Design History Society. Inspired by the spirit of critical utopianism that connects the 19th century reformers to the 21st century techno–visionaries, this multidisciplinary conference will explore the diverse ways in which designers have sought to balance critical realism with utopian idealism. The 2015 Annual Design History Society Conference seeks to explore this Utopian spirit in all of its many aspects, while engaging with the broadest possible definitions of “design. ” The themes and research methodologies of the conference will be of relevance to scholars as well as practitioners, and it will engage historians as well as futurists. It will also build in the themes of previous Annual Design History Society Conferences which have explored design as resistance, design as a postcolonial phenomenon, and design for war and peace. We invite submissions from academics, archivists, curators, journalists and independent researchers from every discipline, every part of the world, and at every stage of their careers. Possible topics include, but are by no means limited to:

Postwar, pacifism, and visions of conflict-free futures
Constructions of the post–colonial future (and the pre–colonial past).
Design as resistance; the consequences of transcending the boundaries of the prevailing social order.
Environmental and sustainable utopias
Design in film and fiction; design and the literary imagination; science fiction; design fiction; speculative design.
Design Dystopias– projects which exclude and discriminate
Urban communities-examples informed by the global history of architecture, urbanism, and design.
Technology and utopia; projects that harness the supposed power of technology to perfect the human condition.
Idealism, ideology, and education; curricula for the design of future designers.
Visionary projects involving tactical or strategic alliances between designers and practitioners from other disciplines.
New ways of thinking about the relationships between designer, client, and the public such as Critical Design, Participatory Design, the Maker’s Movement, and Design Thinking;
Globalism/Tribalism: the International Style as design imperialism; expressions of critical regionalism; design for social impact.
Design and the human condition: forces still active that nourish the spirit of utopian optimism.

Proposals for individual 20 minute papers, or for 3 person panels organized around a common theme, should be submitted by February 28, 2015, and should include the following:

An abstract not exceeding 400 words
A brief professional biography (not exceeding 50 words)
All abstracts will be refereed through an anonymous, double-blind review. Proposals are encouraged from across the entire spectrum of design and we invite submissions from established scholars but also doctoral and post-doctoral researchers; the Design History Society offers a number of bursaries (grants) to support DHS student members whose abstracts are accepted.

For further information, please refer to the conference website. Additional information about Design History Society, its activities and publications, may be found on the DHS website.

Questions may be directed to:


CFP: Hillwood Museum Scholar-in-Residence

Hillwood Scholar-in-Residence Program, Washington​, D.C.

Application Deadline Extended: March 2, 2015

Hillwood Estate, Museum & Gardens announces a new scholar-in-residence program. PhD candidates or higher and any qualified applicants are encouraged to apply. There is no application form. Applicants should submit a curriculum vitae and a proposal, not to exceed 500 words, stating the necessary length of residence, materials to be used and/or studied, and the project’s relevance to Hillwood’s collections and/or exhibition program including, but not limited to: art and architecture, landscape design, conservation and restoration, archives, library and/or special collections, as well as broader study areas such as the history of collecting or material culture. The project description should be accompanied by two letters of recommendation and will be reviewed by the selection committee.

There are three potential types of awards:

Type #1: 1- 2 weeks 
Hillwood will arrange and pay for travel costs to and from the museum; housing near campus; shop and café discounts; free access to all public  programs.

Type #2: 1-3 months
Hillwood will arrange and pay for travel costs to and from the museum; shop and café discounts; free access to all public programs; a stipend of up to $1,500 per month depending on length of stay.

Type #2: 3-12 months 
Hillwood will arrange and pay for travel costs to and from the museum; shop and café discounts; free access to all public programs; visa support (if necessary); a stipend of up to $1,500 per month depending on length of stay.

Hillwood is in a special class of cultural heritage institution as a historic site, a testament to the life of an important 20th century figure, an estate campus, magnificent garden, and a museum with world renowned special collections. Founded by Marjorie Merriweather Post (1887-1973), heir to the Post Cereal Companies that later became General Foods, the Museum houses over 17,000 works of art. It includes one of the largest and most important collections of Russian art outside of Russia, comprising pieces from the pre-Petrine to early Soviet periods, an outstanding collection of French and European art, and jewelry, textile, fashion and accessories collections. As part of the visitor experience, and in conjunction with a robust offering of public and educational programs, the Museum presents two changing special exhibitions annually that bring together objects and thematic content that highlight the acknowledged strengths of its permanent collection.

Scholars will have full access to Hillwood’s art and research collections. The Art Research Library has over 38,000 volumes including monographs, serials, annotated and early auction catalogs, and electronic resources; the Archives contain the papers of Marjorie Merriweather Post, her staff, and family members.

We will announce the award recipient(s) by March 17, 2015

For inquiries or to submit an application please contact one of the following:

Wilfried Zeisler
Associate Curator of 19th Century Art

Kristen Regina
Head of Archives & Special Collections


CFP: Dressing Global Bodies

Dressing Global Bodies: 

Clothing Cultures, Politics and Economies in Globalizing Eras, c. 1600s-1900s

July 7-9, 2016, University of Alberta, Edmonton, Canada

Co-Organized with the Pasold Research Fund, UK

The clothes on our backs are intimately connected with bodily experiences, cultural, social and gender portrayals, as well as the economies of fashioning and re-fashioning across place and time. Garments reflect the priorities of local and international economies, collective and personal inclinations, religious norms and conversions. These materialities are shaped by global flows of cloth and beads, furs, ready-made and second-hand apparel, in dynamic processes of fashion exchange. Dress is a charged cultural instrument, as evident in colonial and decolonization processes, social and political agendas, animated by cross-cultural and commercial flows, industrial and institutional innovations.

This international conference will showcase new historical research on the centrality of dress in global, colonial and post-colonial engagements, emphasizing entangled histories, comparative and cross-cultural analyses. This scholarship redefines national and collective communities, in the practice of fashion and the dynamics of re-fashioning and re-use, from the seventeenth through the twentieth century.

Themes could include, but are not limited to:

Cross-cultural practices and patterns of dress and / or body adornment, production and distribution of clothing (across cultures, entangled, comparative), gendered and ethnic shaping of dress and dress practice, fashion politics of dress in globalizing contexts, circulation and re-use of dress and dress idioms, design in globalized contexts, representations of clothing cultures, appropriation/acculturation of designs, materials, motifs, dress in colonial / post-colonial contexts.

  • We especially welcome themed panels, maximum three speakers.
  • We welcome individual papers as well.

Submission Requirements:

For individual speakers: a 200-word proposal and a 1 page CV

For full panels: a 200-word panel rationale, plus 200 word proposals for each panel participant along with their individual 1 page CVs.

Send all submissions to:

Deadline for submissions: October 1, 2015.

Acceptances of papers to be announced: December 1, 2015.


CFP: Fashion, Style & Popular Culture/Critical Studies in Men’s Fashion Joint Issue

Call for Papers for Special Joint Issue: Masculinities

Over the past three decades, masculinity has developed from a burgeoning area of scholarship to a comprehensive one. Researchers have explored how men’s enactment of masculinity reveals that expressions of gender are numerous and fluid; moreover, they have revealed that women can also express masculinity. While researchers have investigated how people experience and enact masculinity in a range of contexts (e.g., relationships and education), limited research still exists on the construction and expression of masculinity through fashion and style in popular culture. In an attempt to rectify the gap, these combined special issues of Fashion, Style & Popular Culture and Critical Studies in Men’s Fashion seeks to explore the myriad ways in which masculinities are represented, experienced and enacted in popular culture through fashion and style. Contributions are accepted from any discipline and methodological approach.

Potential topics for the special issues include but are not limited to: men’s cosmetics and grooming products; male models; male beauty ideals and body image; social media and the selfie; representations of heroes in film, music and video games; marginalized masculinities and their expression through fashion and style; team sports, uniforms and face paint; masculinity in fashion magazines, fashion shows and/or reality television; masculinity and fashion consumption; masculinity, style and cars; boys, blue and trucks on t-shirts; material culture and menswear; masculinity and appearance management; women’s and queer expressions of masculinity and drag kings.

Manuscripts should be between 5000-7000 words and prepared using the Intellect Journal House Style.

Deadline for submissions: May 1, 2015.

Please send manuscripts to Ben Barry at, Joseph H. Hancock II at and Marvin Taylor at

For questions regarding submissions or inquires regarding the journals, please contact Founding Editor of Fashion, Style & Popular Culture, Joseph Hancock at

The original Call for Papers can be found here.


Call for Submissions: British Art Studies

British Art Studies: announcing a new online journal

Call for Submissions
Deadline for the first issue is March 31, 2015

The Paul Mellon Centre for Studies in British Art and the Yale Center for British Art are pleased to announce their collaboration on a new online, open access and peer-reviewed journal. The aim of British Art Studies is to provide an innovative space for new research and scholarship of the highest quality on all aspects of British art, architecture and visual culture in their most diverse and international contexts. The journal will reflect the dynamic and broad ranging research cultures of the Paul Mellon Centre and the Yale Center for British Art, as well as the wider field of studies in British art and architecture today.

The editors are keen to encourage submissions that will make the most of the journal’s online format and want to publish articles that propose visually stimulating ways of presenting art historical research. British Art Studies will be one of the few completely open access journals in the field of art history, providing a vital forum for the growing debate about digital scholarship, publication and copyright. An editorial group based in London and New Haven will manage the journal and an international advisory board will offer advice and support.

The first issue of British Art Studies is planned for Autumn 2015. Texts should be between 5000 and 8000 words in length (although the editors are willing to discuss shorter and longer formats). Authors must include a list of proposed images and sources. See the full call for writing guidelines and a style guide.

For all enquiries about British Art Studies, contact Dr Hana Leaper,