Past Conferences

Often the annual business meeting has also been used to host sessions, most commonly around the scholarship of emerging scholars.

17 February 1994, New York
British Art Comes of Age: The State of British Art Today
Chairs: Jody Lamb (Ohio University) and Debra Mancoff

This was the first HBA session at CAA; the following day included a gathering at the Yale Center for British Art in New Haven.

January 1995, San Antonio
British Art and National Identity
Chairs: Laurel Bradley (School of the Art Institute) and John Wilson (Cincinnati Art Museum)

22 February 1996, Boston
British Colonialism and Cross-Cultural Exchanges, 1500–2000
Chairs: Julie Codell (Arizona State University) and Dianne Sachko Macleod (University of California, Davis)

22 February 1996, Boston
The Politics of Place
Chairs: Robert Mode (Vanderbilt University)

The 1996 conference included a visit to the Fogg Art Museum at Harvard University for the exhibition Pre-Raphaelite Paradise and a visit to the Boston Public Library to see John Singer Sargent’s Triumph of Religion murals and a selection of prints.

February 1997, New York
Art and Life à la Mode: A Tercentennial Celebration of William Hogarth
Chair: Anthony Gully (Arizona State University)

The 1997 conference included a day of talks and tours at The Metropolitan Museum of Art.

25 February 1998, Toronto
Tourist Spaces: Narratives of Travel and Encounter in British Art
Chair: Andrew Stephenson (University of East London)

February 1999, Los Angeles
British Art and Constructs of Modernity
Chair: James Steward (Berkeley Art Museum)

February 2000, New York
John Ruskin at the Millennium: A Centennial Commemoration and Analysis of His Legacies
Chair: Alice Beckwith (Providence College)

February 2001, Chicago
‘Cool Britannia’: New Directions in British Art History
Chair: Anne Helmreich (Texas Christian University)

February 2002, Philadelphia
What Is British Art? Art Histories on Display, 1066–2002
Chairs: Julia Marciari Alexander (Yale Center for British Art) and Kimberly Rhodes (Hollins University)

22 February 2003, New York
Multiculturalism and the Arts in the Colonial/Post-Colonial Age
Chair: Jennifer Way (University of North Texas)

February 2004, Seattle
British Visual Culture, the Public Sphere, and Visuality
Chair: Julie Codell (Arizona State University)

February 2005, Atlanta
New Directions in British Art History
Chair: Anne Helmreich (Texas Christian University)

February 2006, Boston
The Trouble with Genre
Chairs: Melinda McCurdy (The Huntington) and Anne Nellis

15 February 2007, New York
A Nation of Shopkeepers: Innovation and the Art Market in Great Britain
Chair: Pamela Fletcher (Bowdoin College)
• Anne Helmreich (Case Western Reserve University), Goupil at the Intersection of the London and Parisian Art Markets, ca. 1857–1901
• Patricia de Montfort (University of Glasgow), Negotiating a Reputation: Whistler, Rossetti, and the Art Market, 1860–1900
• Martina Droth (Henry Moore Institute), Sculptural Innovation and the Market for Statuettes in Late 19th-Century Britain
• Ysanne Holt (University of Northumbria), The Chenil: An Artists’ Colony for Chelsea
• Andrew Stephenson (University of East London), Strategies of Display and Modes of Visuality in London Art Galleries in the Interwar Years

22 February 2008, Dallas
For Love and Delight: Amateurs, Dilettantes, and the Story of British Art
Chairs: Juilee Decker (Georgetown College) and Craig Hanson (Calvin College)
• Jason Kelly (Indiana University and Purdue University at Indianapolis), The Society of Dilettanti and the Culture of Dilettantism in the British Enlightenment
• Alicia Weisberg-Roberts (Yale Center for British Art), The Moral Economy of Mary Delany
• Leah Modigliani (State University of New York, Stony Brook), Painting Improved Breeds in the Age of Enlargement
• Renate Dohmen (Birkbeck College), Aesthetic Pursuits at the Margins: Amateur Arts in British India in the Early 20th Century
• Mark Edwards (University College London), Jeremy Deller’s Folk Archive: A New British Art

February 2009, Los Angeles
Rethinking the Archive: Methodological Problems and Practical Strategies
Chairs: Ann Helmreich (Case Western Reserve University) and Craig Hanson (Calvin College)
• Shelley Bennett (The Huntington)
• Marcia Reed (The Getty)

The 2009 conference included a visit to The Huntington with a tour led by Melinda McCurdy.

11 February 2010, Chicago
British Art: Survey and Field in the Context of Glocalization
Chair: Colette Crossman
• David Bindman, British Art and the Uncertainties of Britishness
• Sara N. James (Mary Baldwin College), Art on the Margins: The Paradoxical Canon of Early British Art
• Andrea Wolk Rager (Yale Center for British Art), 1870–1910: The Lost Decades of British Artistic Modernity
• Alice Correia (University of Sussex and Gimpel Fils), Zarina Bhimji: Broadening Definitions of Britishness?
• Neil Mulholland (Edinburgh College of Art), Neomedieval Art after Britain
Discussant: Jennifer Way (University of North Texas)

10 February 2011, New York
British Art: Seeing through the Medium
Chairs: Imogen Hart (Yale Center for British Art) and Catherine Roach (Cornell University)
• Holly Shaffer (Yale University), Ta’ziyeh: Reference and Resemblance in North Indian Ephemeral Shrines, 1770–1830
• Andrew Stephenson (University of East London), Ciné-Texts: The Permeability of Modern Art, Film, and Snapshot Cultures in 1920s–1930s London
• Elyse Speaks (University of Notre Dame), Dissolution, Disillusion, and Deflation: Damien Hirst’s Double Act

23 February 2012, Los Angeles
Future Directions in the History of British Art
Chair: Peter Trippi (Fine Art Connoisseur and Projects in 19th-Century Art, Inc)
• Roberto C. Ferrari (The Graduate Center, CUNY), Reconsidering John Gibson, Remolding British Sculpture
• Cristina S. Martinez (University of Toronto ), Legal Thinking: The Rise of Eighteenth-Century British Art
• Corey Piper (Virginia Museum of Fine Arts), Doing the Thing and the Thing Done: The Social World of the British Sporting Print, 1750–1850
• Irene Sunwoo (Princeton University), From the ‘Well-Laid Table’ to the ‘Market Place’: The Architectural Association Unit System
• Amy M. Von Lintel (West Texas A&M University), Art within Reach: The Popular Origins of Art History in Victorian Britain
Discussant: Kimberly Rhodes (Drew University)

14 February 2013, New York
Parallel Lines Converging: Art, Design, and Fashion Histories
Chair: Julie Codell (Arizona State University)
• Matthew Reeve (Queen’s University), Gothic Architecture, Ornament, and Sexuality in the Circle of Horace Walpole
• Stacey Sloboda (Southern Illinois University), St. Martin’s Lane: Artists and Artisans in Mid-Eighteenth-Century London
• Brigid von Preussen (Columbia University), ‘A Wild Kind of Imagination’: Fashionable Eclecticism and Excess in Thomas Johnson’s ‘English Rococo’ Designs
• Susanna D. L. Cole (Columbia University), Roses and Castles Art: The Floating Population’s Claim to Citizenship
• Ysanne Holt (University of Northumbria), ‘A Bon-vivant in a Buttoned-down City’: F. C. B. Cadell’s Paintings of Edinburgh Interiors in the 1920s
• Susan King Obarski (University of California, Irvine), Art as Fashion in the Name of Social Revolution: Eileen Agar’s Angel of Anarchy and Ceremonial Hat for Eating Bouillabaisse

12 February 2014, Chicago
Queer Gothic
Chairs: Ayla Lepine (University of Nottingham) and Matthew Mark Reeve (Queen’s University)
• Dominic Janes (Birkbeck, University of London), The Perverse Visibility of William Beckford,
• Ayla Lepine (University of Nottingham), Neither Sorrow Nor Crying: Twentieth-Century Gothic Bodies and Heavenly Visions
• Sarah E. Thompson (Rochester Institute of Technology), Soi-disant Gothicisms: The Rejection of Gothic Hybridity in the Nineteenth Century
• Jongwoo Jeremy Kim (University of Louisville), Medieval Monstrosity: Francis Bacon’s Flesh

12 February 2015, New York
Home Subjects: Domestic Space and the Arts in Britain, 1753–1900
Chairs: Morna O’Neill (Wake Forest University) and Anne Nellis Richter (American University)
• Stephen M. Caffey (Texas A&M University), Astonishing Moderation: Robert Lord Clive at Claremont
• Emilie Oléron Evans (Queen Mary University of London), Housing the Art of the Nation: The Home as Museum in Gustav F. Waagen’s Treasures of Art in Great Britain
• Nicholas Tromans (Watts Gallery), ‘An Alien in the Decorative Community’: The Problem of Pictures in British Domestic Advice Literature
Discussant: Melinda McCurdy (The Huntington)

6 February 2016, Washington, D.C.
Reforming Pre-Raphaelitism in the Late 20th and 21st Centuries: New Contexts, Paradigms, and Visions
Chair: Susan Casteras (University of Washington)
• Robyn Asleson (CASVA, National Gallery of Art), Popular Music and Pre-Raphaelitism(s) in England, 1972–2012
• Madeleine Pearce (The Burlington Magazine / Visual Resources Journal), Digital Curation and the Pre-Raphaelites
• Alison Syme (University of Toronto), Our English Ghosts: The Pre-Raphaelite Landscape in Drowning by Numbers
• Elisa Korb (Misericordia University), Animated Archetypes: Disney and the Pre-Raphaelites

More information for events from 2016 is available here»

15 February 2017, New York
Conflict as Cultural Catalyst in Britain
Chair: Michael J. K. Walsh (Nanyang Technological University)
• Frances Spalding (The Burlington Magazine), The Spanish Civil War, Three Guineas, and the Arrival of Guernica in Britain
• Rachel Warriner (National College of Art and Design, Dublin), Feminism in a Context of Conflict: The Orchard Gallery and Nancy Spero’s Notes in Time on Women
• Jonathan Black (Kingston University London), ‘We Are All Engaged in the Battle of Life’: Imperialism, Social Darwinism, and Visualisations of Conflict in the First World War Memorial Sculpture of Eric Kennington (1888–1960) and Charles Sergeant Jagger (1885–1934)
• Jiyi Ryu (University of York), Within, Within, Within: The Principle of Visualising the British Imperial World
Discussants: Holly Schaffer (Dartmouth College), Joan DelPlato (Bard College at Simon’s Rock), and John Klein (Washington University St. Louis)

16 February 2017, New York
Transglobal Collecting: Co-Producing and Re-visioning British Art Abroad
Chair: Julie Codell (Arizona State University)
• Kathleen Stuart (Denver Art Museum), The Berger Collection at the Denver Art Museum: British Art in the Rocky Mountain West
• Elizabeth A. Pergam (Sotheby’s Institute of Art, New York), The British Model of Collecting: Importing British Art to America
• Andrew Stephenson (University of East London), ‘A Thing That Racially Belongs to Us More Than Any of the Latin Styles’: Collecting and Displaying English Art in Private Collections in the United States, c.1890–1926
• Nancy Scott (Brandeis University), Paintings across the Pond: Anchoring J. M. W. Turner in American Collections

More information for events from 2017 is available here»

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