#11   THE ARCHITECTURAL REFERENCE (Spring 2021)

This issue explores architectural referentiality, a concept that encompasses such phenomena as historicism, translation across media, and cross-cultural borrowing and adaptation. From Neo-Palladian treatises to Mughal microarchitecture to chinoiserie and turquerie, the eighteenth century witnessed multiple modes of architectural referentiality that both reflected and contributed to broader trends in the period’s visual and material cultures. In this age of intensified mobility and exchange, designers, patrons, viewers, and consumers were primed to (re)consider their own traditions in light of new models and information at their disposal. Such sharpened aesthetic consciousness gave rise to—and was itself facilitated by—various kinds of referencing associated with the emergence of novel styles, typologies, and techniques.

We welcome proposals that address this theme as it relates to any region, context, or medium. What forms did architectural referentiality take in the eighteenth century, and what was at stake in the processes and works involved? How did referentiality figure into architectural practice, the construction of historical narratives, and the representation of alternative temporal or geographic sites? Essays might investigate architectural plans and models, depictions on paper, microarchitectures, revivalist styles, transregional aesthetics, manuals, textual histories, or any other relevant topic situated in the long eighteenth century.

Issue Editors
Chanchal Dadlani, Wake Forest University
Ünver Rüstem, Johns Hopkins University

Submissions for issue #11 THE ARCHITECTURAL REFERENCE are now closed.


#12   THE “LONG” 18TH CENTURY? (Fall 2021)

This issue takes off from the ubiquity of the phrase “the long eighteenth century.” Proliferating in calls for participation and panel descriptions—not to mention its prominent position in the description of this journal—if the mark of an elongated eighteenth century is inescapable, we propose that this terminology merits further scrutiny. What is meant by the “long” eighteenth century? From which vantage points, and for whom, is it long? And to what ends has this elongation been directed?

It is our contention that we must understand the rise of a “long” eighteenth century alongside the significant transformation of art historical inquiry into expanded geographical and cultural terrains. Since 2003, the study of eighteenth-century art has been enriched by a new commitment to “worlding,” even if decolonizing art histories remains an ongoing and incomplete project. As a result, habitual chronological slices, whether defined by European political history or by European stylistic shifts (e.g., Baroque, Rococo, Neoclassical), have been ripe for reconsideration as scholars have asked new questions about the transmission and sedimentation of practices, experiences, and art objects around the world. When the focus on histories of colonialism and slavery forces us to look anew at the bodies, lands, and knowledge presented in art, how do our narratives change and how do the sites and objects of our inquiry shift? What are the implications of this broadened scope of inquiry for habits of locution and the habits of mind that underwrite them? While the habitual slicing up of Britain’s eighteenth century to 1688-1815 is not that far out of alignment with France’s 1643-1815, it looks very different from the perspective of, for instance, South Asia, where an end point has tended rather to be located in the 1830s. What impact, if any, has a “worlding” of art history had upon our thinking about the relative length or shortness, narrowness or breadth, of the eighteenth century? What conceptually binds an eighteenth century once we have taken up the project of tracking the entanglements of art, commerce, and empire across worlds? For whom is the eighteenth century long, from what vantage points, whether local, regional, or transregional, and to what ends? And what relationship does this designation have to the equally omnipresent “long” nineteenth century, as well as to accounts of the Enlightenment, its seductions, and its repercussions?

We invite contributions that reflect upon a “long” and “broad” eighteenth century—its contours, analytic possibilities, and limits. We particularly welcome submissions that explore new models for tracking intellectual and artistic through-lines and inheritances, and that spur us to rethink periodization, or stylistic terminology that has been too often limited in its utility by being yoked to the goal of a successional narrative telos. Authors are encouraged to explore this wide-angle view by way of one term, one object, one phenomenon, or one margin. We welcome interventions that originate in art history or in other allied humanistic disciplines.

Issue Editors
Sarah Betzer, University of Virginia
Dipti Khera, New York University

Submissions for issue #12 THE “LONG” 18TH CENTURY? are now closed.


#13   RACE (Spring 2022)

Representation and Possession in the French Colonial Empire

This special issue consolidates new research on the visual culture of race in France and its colonies during the long eighteenth century. It is oriented around two key terms, “representation” and “possession,” and their many resonances­­—artistic, political, legal, and relational. Although firmly rooted in a specific set of interrelated eighteenth-century visual and political practices, this topic is one whose urgency remains vivid today. We invite proposals for essays to explore how art objects articulated, contested, and disseminated changing notions of racial identity and citizenship in France and its global networks.

Over the past several years, scholars have examined the role of pictorial representation in shaping ideas of race, identity, indigeneity, and slavery in the context of the eighteenth-century British empire. However, as Anne Lafont observes in her recent book (L’Art et la race, 2019), the French case has received relatively less sustained attention. There are many reasons for this deficit, some stemming from the formation of the archive itself, and others from contemporary politics in France. Indeed, since the late eighteenth century, race and racial difference have sat uneasily within celebratory accounts of the French Enlightenment and its “cosmopolitanism.” Bringing together new scholarship that builds upon recent precedents, we aim to address a deliberately expansive geographical notion of French visual culture, one that includes the Caribbean, New France, Canada, and the Indian Ocean in addition to sites within the “metropole” such as Paris and Nantes. Fostering a dialogue between art history, indigenous studies, and critical race theory, this special issue will provide a crucial scholarly platform for research that can inform pedagogy, curatorial practice, and future scholarship.

Issue Editors
Susannah Blair, Columbia University
Stephanie O’Rourke, University of St Andrews 

Proposals for issue #13 Race are now being accepted. Deadline for proposals: April 2, 2021.

To submit a proposal, send an abstract (250 words) and brief biography to [email protected] and [email protected]. Articles should not exceed 6000 words (including footnotes) and will be due on September 10, 2021. For further details on submission and Journal18 house style, see Information for Authors.


#14   SILVER (Fall 2022)

Silver has held an illustrious place within early modern decorative arts as well as histories of empire, slavery, and colonialism. From cutlery and serving dishes to liturgical goods and medals, silver graced the collections of rulers and churches. During the eighteenth century, silver’s mutability lent itself well to the rococo’s penchant for metamorphosis. Highly regarded for its pliability, sheen, and virtuosity, silver was also esteemed for its inherent value. Silver’s capacity for transformation—from raw material into objects of beauty or currency—made it a valuable medium for artists, a tool for global expansion, and income for rebuilding state treasuries. As a currency standard in the eighteenth century, silver did not share the same vacillations as paper money, but it was subject to the fluctuation of quantities available in quarries, such as Zacatecas or Potosí, since its mining production could directly impact the consumption of goods for which it was traded.

In addition, silver’s mineralogical value became a source of appreciation so that silver, in its raw form, was placed in natural history cabinets. Complementing developments in the natural sciences, including geology and mineralogy, as they became more specialized, silver invited close scrutiny by artists, natural historians, and collectors. Silver’s discovery in quarries sparked the development of silversmithing sites, terrestrial exploration, and mining activities, including novel processes for extraction and the growth of enslaved labor and human trafficking. This intermingling of silver’s multifaceted roles—silver as a source of artistry, revenue, curiosity, and subjugation—positions it directly within the complexities of the eighteenth-century global world.

We welcome proposals for contributions that examine silver from diverse perspectives—metallurgical, artistic, imperial, and financial—and within a wide range of geographical locales. By situating silver within the context of geopolitics, economics, diplomacy, newly specialized sciences, and art, we aim to offer a broad analysis of silver’s vital roles in scientific, economic, and artistic circles across the eighteenth-century world.

Issue Editors
Agnieszka Anna Ficek, The Graduate Center, City University of New York
Tara Zanardi, Hunter College, City University of New York

Proposals for issue #14 Silver are now being accepted. Deadline for proposals: September 1, 2021.

To submit a proposal, send an abstract (250 words) and brief biography to [email protected] and [email protected]. Articles should not exceed 6000 words (including footnotes) and will be due by March 1, 2022. For further details on submission and Journal18 house style, see Information for Authors.


Further future issues will be advertised soon.