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»