Whether shop window or display case, the vitrine has turned up as medium and subject matter in a variety of art forms, from Eugène Atget’s surrealist photographs to Richard Estes’s photo-realist paintings; from Joseph Cornell’s shadow boxes to Arman’s accumulations; from Damien Hirst’s preserved animal carcasses to Tilda Swinton’s performance pieces. In the modern era, vitrines have appeared in and as artworks as a means of critiquing commodity culture, redoubling the act of looking, or simply framing objects for visual consumption. This panel invites papers that address the different ways in which the vitrine bears meaning for the work of art. Possible topics of consideration include but are not limited to: mediation; delimitation; proximity and distancing; attraction and repulsion; spectacle; commodity fetishism; objectification; signification; and more.
This panel will be held at Southeastern College Art Conference (SECAC), October 25-28, 2017, Columbus OH
Abstracts (maximum 200 words) must be submitted through the SECAC website: https://secac.memberclicks.net/2017-call-for-papers%23/#/
Abstracts due April 20, 2017
Do NOT email abstracts directly to the session chair.
More information about the conference and a full listing of panels can be found here: http://www.secacart.org/conference
Panel Chair: Jennifer Watson Wester, Assistant Professor of Art History, Notre Dame of Maryland University