Book Award Winners for 2016 Publications

The Historians of British Art is pleased to announce Book Award winners for publications from 2016. Awards are granted in three categories:

Pre-1800

Marcia Kupfer, Art and Optics in the Hereford Map: An English Mappa Mundi, c. 1300 (New Haven: Paul Mellon Centre for Studies in British Art, 2016), 240 pages, ISBN: 978-0300220339, $85.

Post-1800

Lucy Curzon, Mass-Observation and Visual Culture: Depicting Everyday Lives in Britain (New York: Routledge, 2016), 182 pages, ISBN: 9781472436504, $150.

Catherine Roach, Pictures-within-Pictures in Nineteenth-Century Britain (New York Routledge, 2016), 218 pages, ISBN: 9781472454690, $150.

Multi-Author

Eleanor Hughes, ed., with contributions by Eleanor Hughes, Richard Johns, Sophie Lynford, John McAleer, Christine Riding, Catherine Roach, Geoff Quilley, and Pieter van der Merwe, Spreading Canvas: Eighteenth-Century British Marine Painting (New Haven: Yale University Press, 2016), 312 pages, ISBN: 9780300221572, $75.

Details are available here»

HBA at CAA 2018, Los Angeles

In 2018, CAA will return to LA for its 106th Annual Conference. The four-day event will be held at the Los Angeles Convention Center from Wednesday, February 21 through Saturday, February 24. HBA will be represented by an affiliate session , a business meeting that will include a conversation with the editorial team of British Art Studies, and an off-site visit to the LACMA’s Study Center for Photography and Works on Paper. Note: Please confirm times and locations with the conference program.

The Image of the American Indian in Nineteenth-Century Britain: New Critical Perspectives
Thursday, 22 February 2018, 8:30–10:00am, Room 506

Chairs: Martina Droth (Yale Center for British Art) and Michael Hatt (Warwick University)

The study of the representation of American Indians has gained increasing attention in recent scholarship. This history, however, has been almost exclusively written from a North American perspective. In nineteenth-century Britain a widespread fascination with Native American cultures was connected to wider debates about empire and the transatlantic world. But what Kate Flint termed the ‘Transatlantic Indian’ in her pioneering study has remained largely unexamined. This interdisciplinary session seeks to explore the various ways in which native peoples from the United States and Canada, and the artifacts of their cultures, were being represented, portrayed, studied, and collected in Britain in the long nineteenth century.

• Scott Manning Stevens (Syracuse University), Resisting the Declension Narrative: The Image of the Iroquois in the Victorian Age
• Dominic Hardy (Université du Québec à Montréal), British Satirical Reception of North American Indigenous Performers and Their Work in the 1840s: Methodological Perspectives
• Emily L. Voelker (Crystal Bridges Museum of American Art), William Blackmore and Transatlantic Networks of Creation and Dissemination in William Henry Jackson’s Photographs of North American Indians (1877)

HBA Field Trip
Curator-led session at the LACMA Study Center for Photography and Works on Paper
Thursday, 22 February 2018, 2:30–4:30pm

In this private study session, LACMA Curator Britt Salvesen will discuss highlights from LACMA’s collection of British photographs and works on paper. The event is limited to 10–15 members of the Historians of British Art. Please RSVP to Emily Talbot, etalbot@nortonsimon.org, by 1 February 2018.

HBA Business Meeting
Friday, 23 February 2018,12:30–1:30pm, Room 407

HBA Business Meeting Special Event | Publishing on British Art in a Global Context: A Conversation with the Editorial Team of British Art Studies
Friday, 23 February 2018,1:00–1:30pm, Room 407

Join Martina Droth, Sarah Turner, and the editorial team of British Art Studies for a discussion of the challenges and opportunities in publishing on British art in the era of transnational, digital, and global art history. The conversation will encompass new digital innovations in British art publishing, the importance of Empire histories, and a re-evaluation of the definition of ‘British Art’ in the current moment.