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CFP | ASSOCIATION FOR ART HISTORY 2026 ANNUAL CONFERENCE

  • Call for Papers | Association for Art History 2025 Annual Conference
  • 8-10 April, 2026
  • University of Cambridge
  • Call for Papers deadline: Sunday 2 November 2025

We are delighted to announce Call for Papers for our next year’s conference which will be held in collaboration with the History of Art department at the University of Cambridge. 

The Association for Art History’s Annual Conference brings together international research and critical debate about art history and visual culture. A key annual event, the conference is an opportunity to keep up to date with new research, hear leading keynotes, broaden networks and exchange ideas. 

The Annual Conference attracts around 400 attendees each year and is popular with academics, curators, practitioners, PhD students, early career researchers and anyone engaged with art history research. Members of the Association get reduced conference rates, and members and non-members are welcome to attend and propose sessions and papers. Convenors are limited to convening one session, and we ask that speakers give a paper in one session only. 

We actively encourage applications from candidates who are Black, Asian, minority ethnic or from other groups traditionally underrepresented within art historical roles in the UK, as well as new partnerships from those representing these groups. We also welcome session proposals from art associations, societies and networks. 

Scope/Provocation 

The Annual Conference reflects the Association for Art History’s commitment to a broad and inclusive art history. We therefore strive for sessions, across all areas of research and practice, from the ancient to the contemporary and on all forms of artistic media and including those which focus on practice outside of Europe and North America. In a 21st century facing multiple global challenges, the recognition and support of inter-sectional arts histories are of critical importance, and we welcome submissions that engage with race and gender, the environment, AI, and social activism. 

A word from our hosts 

Established in 1970, the Department of History of Art at Cambridge offers a rich object-led programme of diverse content from the early Middle Ages to the present day to a growing community of undergraduates and postgraduates. Although originally focused on western art, today the Department teaches and researches varied regions of the world, making full use of Cambridge’s unique holdings of art and architecture. These include the Fitzwilliam Museum, Kettle’s Yard, the Museum of Archaeology and Anthropology, the Women’s Art Collection and the University Library, as well as Cambridge’s thirty-one Colleges. The Hamilton Kerr Institute, which is dedicated to the research and conservation of easel paintings, contributes to the Department’s teaching and research, as well as offering its own Masters in the Conservation of Easel Paintings. We are thrilled to be hosting the AAH Conference and look forward to welcoming you to our artistically vibrant city. 

Paper Proposals 

The 2026 Annual Conference is open to all, members and non-members of the Association for Art History. Anyone can submit a paper. Speakers, delegates and conveners pay to attend. 

We’ve had an unprecedented number of excellent session proposals. A complete list of Sessions to which to submit can be downloaded here including information on how to submit a paper directly to the Session Convenor, and contact details for all Session Convenors. 

Please include in your paper proposal: 

  • Title of your paper (please make sure the title is concise and reflects the contents of the paper because the title is what appears online, in social media and in the digital programme). 
  • Brief abstract (max 250 words) 
  • Your name 
  • Affiliations (or if independent/freelance) 
  • Email address for your convenor to contact you 
  • Social media handles 

For more information and to submit a proposal see the 2026 Paper Proposal Form or contact conference2026@forarthistory.org.uk.

Sessions: 

A Call to Action: Transnational Artistic Solidarities and Decolonial Alliances, 1960s–1970s 

Africa, Art History, and the (University) Museum: approaches to object-led teaching and display  

AI and the Artworld: Art History and the Generative Imagination  

AI in the Art History Classroom  

Always Connect? Relational Paradigms in Art History  

Animal Representation in the Global Middle Ages: Bridging the Natural and Social Worlds 

Aqueous Worlds: Art, Fluidity and Empire c.1600-1900  

Archive as Method: Rewriting the Self in East Asian Art Practice

Archiving the Women Artist: Historiographic Negotiations in the Global South  

Art History Warmed Up?

Art History: Facts and Fiction?  

Art is Dead: Long Live the Artist – Creativity in the Times of AI  

Art Writing: Beyond the Crisis?  

Art, Activism, and Power in the Contemporary Post-Soviet Space  

Artistic Exchanges during the Global Cold War: Eastern Bloc, Northern Africa, and West Asia 

At the Service of Art: Domestic Servants and Their Artists

Beyond Barbie: Queer, Crip, Feminist and Anti-Racist Approaches to Pink

Blue Aesthetics: Art and Aquatic Life 

Book-objects: Bookness and artmaking

British Art, Incorporated

Britishness, Empire & the Picturesque  

Carrying Across: Translation as Material Practice in the Pre-/Early Modern World  

Chinatowns in Global Imagination  

Co-creation: Human and non-human making processes and their environmental entanglements  

Concepts of Nature in German Art at the Intersection of Colonialism, Lebensreform, and Evolutionary Theory  

Confounding Images: Frustration as Art Historical Method  

Connecting Ecocritical Art Histories  

Contemporary Proto-Feminisms: Reclaiming Historical Femininity in Practice and Criticism 

Creative Resistance: Responding to Protracted Violence Through Art  

Critique, Homage, Iconoclasm? The reuse of 19th-Century Photography in Contemporary Art and Visual Culture  

Curating as Pedagogy  

Curating with AI: Risks and Opportunities

Decolonising Art History – Continuing the Conversation  

Dis-ease: Art, Illness, and Abstraction  

Early Modern Artists’ Signatures  

Early Modern Caribbean Material Culture, c.1600-1830  

Eco-art-histories: Plants and Paintings in the Arts of Asia

Eighteenth-Century Italian Art and Artists in Global Contexts   

Embodied Histories, Dislocated Objects: Creative Practice and the Legacies of Empire in South Asia and its Diasporas  

Embracing the World: East European Women Art Collectors as Social Influencers (19th-21st Century)  

Empire, Art, and Nature: Specimens and their Proxies  

Environmental Approaches to the Eastern Mediterranean Landscape, 1750-1920  

Errors, Glitches, Blurs: The Art of Failure  

Esotericism, Creativity, and Artistic Practice 

Every Fiber of Our Being: Textile Traditions, Ethnonationalism, and Exclusion  

Facing the Mongol Empire: The Role of Art History  

Fashionability and the Art Market  

Feminism in the Art Institution 

Feminism, Art, and Politics: Critical Engagements with Heresies (1977-1993)  

Feminist Art History Now  

Gender and South Asian Visual Cultures in the Twentieth Century  

Geoaesthetics: Art and Environmental Change in East and Inner Asia (14th–19th Centuries) 

Horizontal Art History in Global Context: East Central Europe in the Present  

How British is British Surrealism, 1936-2026?  

How to Research Tapestries  

Images and Pictures  

Indigenous Subversions: Counter/Retrocolonization in Artistic Practice  

Intermedia Dialogues in Art and Architecture  

Irish Women Artists and their International Networks, 1870 – Present  

Islands in Relation: Art, Memory, and Environment  

Jews and Heritage in Twentieth-Century Britain: Collections, Aesthetics, Narratives  

Jungle Ruins and Sacred Forests: Ecologies of the Forgotten Monument  

Landscapes of Extraction: Colonial and Industrial Histories of British Landscapes, 1700-1900 

Laughing From all Our Mouths  

Learning to Look, Looking to Learn: The Power of Observation

Local Studies 

Mapping Human and Non-Human Migration in Contemporary Art  

Materiality of the Unseen in the Long Nineteenth Century  

Narrative Plasterwork in the Early Modern World  

Patterning Worlds: Non-Figurative Art in Cross-Cultural Perspective  

Performing Otherness in Contemporary Art  

Practice Research at 100: Writing the long history of practice research in the art school  

Premodern Portraits: New Approaches to Identity and Patronage  

Private Collecting into Public Collection  

Prototypes: Artist Information Strategies  

Questioning the Illusion/Materiality Polemics in a Transcultural Art History

Reassessing Heroism in Medieval Art  

Recentering Central Asia in Postwar Art Exchange  

Reclaiming Craft: Decolonial Perspectives on Heritage and Innovation in the Islamic World 

Re-contextualising Steles: Media, Memory, and Materiality  

Reforms, revivals and returns revisited  

Reimagining the fragment 

Reimagining the Posthuman Body in the Digital Age  

Rethinking History in Modernism  

Situated Feminisms: Rethinking Art, Gender, and History in China  

Sound, Vision, and the Spatial Imagination  

South American Biennials: Dispositifs of Resistance and Diplomacy  

Technical Art History: Integrating Art History with Scientific Inquiry  

The Contemporary Turn in Historical Collections: Postcolonial Geographies  

The Epic as Form in Modern and Contemporary Art  

The essay-film, then and now  

The Expanded Print  

The History of Museum Access  

The Internationalisation of Spanish and Latin American Art in the Long Nineteenth Century 

The Proclivities of Pleasure in Early Modern Art  

The Product Worlds of Art  

This Must Be The Place: Beyond local/global binaries in ecocritical art history  

This was Tomorrow: Reframing Pop  

Trans (In)visibility in Medieval and Early Modern Visual Cultures  

Transcultural Abstraction, Colonial Histories

Transcultural Mobilities: People, Artifacts, Materials, 1300-1750  

Transparent Flesh: Reimagining the Medical Image in Contemporary Art  

Uncovering the Victorian Art-Workman (session in the morning followed by visit to David Parr house in the afternoon)  

Unstable Monuments. Nation, States, Spaces, and Conflicts in Public Sculpture, 1811-1947 

Victorian Art after Trans Studies  

Visual Art and South Asian Textiles  

Where Photography Happened: Sites of Photographic Experimentation and Pedagogy, 1950–1980  

Wildfires in Contemporary Art: New Directions for Eco-Aesthetics  

Women in printing before 1800  

Word Acts: Text in Visual Art at the Intersection of Histories and Geographies  

Key Dates

DateActivity
29 SeptemberSessions listed on AAH website and social media. Call for Papers announced.
2 NovemberCall for Papers deadline.
3 November – 7 December Session convenors select papers and contact speakers.
7 December  Session and paper abstracts sent to AAH deadline.
December  Full details of sessions on AAH website.
Tickets/registration opens.
8-10 April 2026AAH Conference.

Image: Photo by Meet Cambridge.

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