Winterthur Museum, Garden & Library: March 29-30, 2018.
In partnership with LARCA (Laboratoire de recherches sur les cultures
anglophones), Université Paris Diderot
This project aims to bring together scholars from a range of
disciplines and fields (printing history, art history, law, literature,
visual culture, book history, etc.) to explore the cultural and legal
consequences of the proliferation of images in the long 19th century.
Our geographic focus will be on Great Britain and the United States in
connection with the wider world, not only their colonies and
territories, but also their commercial and artistic links with other
countries. Contributions that consider the transnational circulation of
images, or provide a comparative perspective on copyright, are most
welcome, as are case studies that reveal the local factors that shaped
attitudes and practices related to the circulation of images. In
referring to the “long 19th century,” we want to encourage specialists
of earlier and later periods to help us elucidate the broader history
of imaging and printing techniques and the legal and cultural norms
that surrounded them.
The following list is in no way exhaustive, but reveals some potential
lines of inquiry:
· To what extent did changes in imaging and printing techniques
affect the status of images as understood by those who made them and
those who viewed them?
· What norms did artists, architects, photographers, engravers and
others establish to govern the circulation and reproduction of their
· How were copyright and/or patent law understood by the people
who produced, distributed, and viewed images of various kinds?
· Was there a sense of a “public domain” in the realm of visual
culture, and if so how was this articulated?
· How did attitudes toward the authorship and attribution of
images evolve during this period?
· What were the perceived boundaries between legitimate and
illegitimate copying, and how did these vary across media?
· In cases where the law was silent or ambiguous, what cultural
practices and commercial strategies were developed, either to promote
the ownership of images or to contest it?
Please send an abstract (one page) of your proposed contribution and a
short CV (two pages) to email@example.com by February 1, 2017. We
will notify accepted participants by June 1, 2017.
Questions may be addressed to firstname.lastname@example.org.
Co-conveners: Stephanie Delamaire (Winterthur Museum, Garden & Library:
http://www.winterthur.org) and Will Slauter (LARCA, Univ. Paris Diderot,
Reference / Quellennachweis:
CFP: Images, Copyright,& the Public Domain in the 19th Cent
(Winterthur,29-30 Mar 18). In: H-ArtHist, Oct 25, 2016.