Essays from Woolfians greet the new year

Blogging Woolf is back from a holiday hiatus made longer by a bout with On Being Ill — the virus, not the Virginia Woolf essay published in 1930  by the Hogarth Press. But now that we are back, we recommend a couple of essays for your edification in this new year.

The first, “1913–What year…“ by Kathleen Dixon Donnelly on the SuchFriends blog, takes an in-depth look at the New York Armory Show in February 1913, connecting it to Bloomsbury Group painters Vanessa Bell, Duncan Grant, Roger Fry, etc. who closed London’s Second Post-Impressionist Exhibit early so many of the paintings could be sent on to New York.

Donnelly promises to post updates all year on what was happening to writers in 1913. You can also check out the Such Friends page on Facebook.

The second is Blogging Woolf contributor Alice Lowe‘s latest published work, “On the Road Again,” which appears in the current issue of The Feathered Flounder.

Lowe notes that “being the mother of a daughter and the daughter of a mother is a rich source of reflection.” In this latest poignant essay, she draws on those dual experiences, as well as “from those other gems, memory and aging” to wonder whether she has encountered the beginning of her dotage.

Related articles

• Woolf-inspired journal launched – in print (bloggingwoolf.wordpress.com)

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Woolf and collage

Night and Day: Monk’s House, Rodmell (2011), an original cut paper collage by Amanda White that is part of her Writers' Houses series. See more at http://www.amandawhite-contemporarynaiveart.com.

Woolf and collage, anyone?

That was the question that came up on the VWoolf Listserv a few weeks ago. Other list members promptly and generously shared information on the topic of Woolf and modern collage.

Here are the highlights of that discussion, along with some details I have added:

• Brenda Helt cited Woolf’s writing about the 1910 and 1912 Post-Impressionist Exhibitions and the Omega Workshop.  Specifically, she mentioned the
  sometimes snide and snarky commentary” in Volumes 1 and 2 of Woolf’s letters, indexed as “Post-impressionist Exhibition” and “Omega Workshop,” and “her later more complex and appreciative understanding” included in the chapters on Post-impressionism and the Omega in Woolf’s biography of Roger Fry.
• Vanessa Bell, Duncan Grant and other post-impressionists worked with collage. Both used collage in objects sold at the Omega Workshops and in decorating furniture at Charleston Farmhouse and elsewhere.
• Woolf knew of early Cubist collage, but would have been most familiar with applied arts such as collage through Bell’s and Grant’s work, as well as the work of other Bloomsbury artists.
• Three examples of Bell’s and Grant’s collages from 1912, 1914 and 1915 are included in the exhibition catalog for A Room of Their Own: The Bloomsbury Artists in American Collections. You can read a post about the last stop on that exhibit’s 2010 cross-country tour here. Collage examples in the exhibition catalogue include:
  • Bell’s Composition (1914), oil and gouache on cut-and-pasted paper, Page 124
  • Grant’s In Memoriam: Rupert Brooke (1915), oil and collage on panel, Page 176
  • Grant’s Design for a Fire Screen (1912), watercolor, gouache and collage, Page 220
• Christopher Reed, associate professor of English and visual culture at Penn State, discusses and shows examples of others in Bloomsbury Rooms: Modernism, Subculture, Domesticity. They include:
  • Grant’s On the Mantelpiece, 46 Gordon Square (1914), oil and collage on board, Page 149.
  • Roger Fry’s Essay in Abstract Design (1915), oil and collaged bus tickets, Page 155.
  • Grant’s Abstract Kinetic Collage Painting with Sound (1914), gouache, watercolor and collage on paper, Page 156
  • Grant’s Abstract (1914-5), paint, fabric and collaged paper on board, Page 158
  • Grant’s Interior at 46 Gordon Square (1914-5), collaged paper on board, Page 159
• In Bloomsbury Rooms, Reed discusses Grant’s use of a piece of foil from a cigarette pack liner in In Memoriam as its only collaged element and says it is echoed in Woolf’s review of Edward Marsh’s 1918 memoir on Brooke (161). He also mentions that reviewers unanimously dismissed Grant’s abstract collages in the 1915 Vorticist exhibition, calling them a foreign joke (162).
• Other important research sources on this topic include:
  • Frances Spalding’s biographies of Bell and of Grant
  • Simon Watney’s The Art of Duncan Grant
  • Douglas Turnbaugh’s Duncan Grant and the Bloomsbury Group
  • Richard Shone’s The Art of Bloomsbury
  • Bell and Nicholson’s Charleston

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Woolf and the Chaucer Horse: The painting and the commentary

Editor’s Note: This commentary and photo were contributed by Suzanne Bellamy who exhibited her painting, “Woolf and the Chaucer Horse,” at the 21st Annual International Conference on Virginia Woolf.

"Woolf and the Chaucer Horse" by Suzanne Bellamy

The research

Researching illuminated manuscripts and Psalters opened the vision of the written page to the visual world that has always been there for me in Woolf as a reader. The page drips with image and interaction with other form, and as a writer of that tradition she embodies that now invisible world. Woolf says in ANON that the printing press ultimately took that rich layered other dimension away, but she is still soaked in it in her visual invocations, in her synaesthesic imagination.

The painting

I started working on the painting as I was reading the scholarship around Between The Acts, the late 1930s and Woolf’s last writings. Seeing her riding on Chaucer’s horse, as the Chaucer of her times, came visually first, then all else flowed from that. The Chaucerian trope of the stories wrapped within the journey infuses all Woolf’s work, as also in the essayistic form itself, street haunting being an expression of the pilgrim’s way.

The painting is as much an illuminated manuscript as a map… as a collage of layered memory, where everything happens and all at the same time, as in the novel. In harmony with the 1930s’ rural revivalism and sensitivity to possible loss of cultural heritage, the spirit of continuity is challenged by the threat from the planes and the coming war. But the land itself holds the dream of a common culture which is soaked in Nature and wild forms, animals birds, structures and sounds.

Some images swirled around in my head for weeks but never made it onto the canvas much as I tried to force the issue. The old wall and the ladder, the horse with the green tail, Sohrab the dog, the greenhouse, Mrs. Swithin’s hammer, and also Mrs. Swithin’s criss-cross letter (a term from ancient manuscripts), imps, elves, demons and mirrors, all the flowers, cars, the barn, the pub, the megaphone, Giles feeling chained to a rock, the white lady — those never made it but are in there somehow.

But the stegasaurus and the mammoth made it, and the fossils, the Roman roads, the planes, the pond, the house (taken from Vita Sackville-West’s book on English Country Houses), the cows, the Ouse and the map of the Sussex coast, and then the Celtic maze which held it all together. The maze, the Chaucerian horse, and the lines of the Prologue were the moments that gave it all a structure. The idea that words came from hearing birdsong drawn from the core of the maze holds the centre.

There are several examples of doubling and tripling images, as for example with the Uffington White Horse, the Guernica Horse and the Chaucer Horse. Also with the Circle of Birds and the formation of Lancaster Bombers over the English Channel, as contrary formations. The South Downs, the coastline, the map of Sussex, Lewes and Rodmell, the River Ouse and tributaries, prehistory, mastodons, cars and Roman roads, images improvised from medieval illuminated manuscripts. I used the Oxford Ellesmere text for the five lines of the Prologue to the Canterbury Tales. Copying those five lines straight onto the canvas from the Prologue to the Canterbury Tales, from the online Oxford site of the Ellesmere text, was a deep thrill.

The exhibit

The painting, which measures two by four metres, was planned to act as a set canvas behind the pageant performance, but that proved to be technically impossible. In the end it hung in the Bute Hall below the stained glass windows, close to the window of Chaucer. The light streamed through the image of Woolf on her horse, the Chaucer of her times, and all was well.

More coverage of the 21st Annual International Conference on Virginia Woolf on Blogging Woolf:

• Order new books by Cecil Woolf Publishers
• Annual Woolf Conferences: Comment if you were there
• Conference organizers post photos online
• Take a peek at more photos from Contradictory Woolf
• Take a look at the 21st Conference: Contradictory Woolf
• In unequivocal praise of the Contradictory Woolf conference

  

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Vote for Valentina — and her Virginia Woolf bust

Valentina Mazzei and her Woolf bust

Today is the last day to vote for Valentina Mazzei, in the Art Takes London competition.

Her Virginia Woolf bust charmed conferencegoers at the 20th Annual International Conference on Virginia Woolf in Georgetown, Kentucky, last June. Vote here by clicking on the stars in the upper right hand corner of the page.

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Woolf on a plate and on a couch

Ilana Simons' Woolf painting as it appears on Flickr

Ilana Simons, sent out an invite to a Jan. 14 gallery opening in Chelsea featuring the work of 11 visual artists and her own stitching series, “Let Me Self Soothe Without Self-Harm.”

I live too far away to attend, but I’m wondering if any Blogging Woolf readers stopped by last Friday. The exhibit included Simons’ most recent painting of Woolf.

Simons has painted Woolf before. On paper plates, in fact. Two Woolf portraits are included in Simons’ collection of 50 portraits of authors on plates, which she created one summer using 99-cent tubs of acrylics.

A literature professor and the author of  A Life of One’s Own: A Guide to Better Living Through the Work and Wisdom of Virginia Woolf (2007), Simons also writes weekly for the Barnes and Noble Unabashedly Bookish blog.

Writing and art are not Simons’ only interests. She is a trained therapist and writes the Literary Mind blog for Psychology Today.  Simons mentions Woolf in some of her posts. “Painting Might Help You Find Flow” and ”A Therapist Should be a Good Storyteller” are two I noticed.

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Last stop for Bloomsbury artists exhibit

Tomorrow, you can decorate your own Bloomsbury plate. Yesterday I heard a lecture on Bloomsbury artists.

These are some of the final activities during the final days of the final stop on the cross-country tour of the traveling exhibit, A Room of Their Own: The Bloomsbury Artists in American Collections.

The exhibit will be at the Palmer Museum of Art at Pennsylvania State University in University Park, Pa., through Sept. 26. After that, all the artwork, books, fabric and furniture will be carefully packed and returned to their owners. Artist Jasper Johns, for example, will be reunited with his Omega Workshop pottery.

When Benjamin Harvey, associate professor of art history at Mississippi State University,  reviewed the exhibit for Blogging Woolf nearly one year ago, he recommended that Bloomsbury afficionados “make every effort to see it.”

Riders on the storm

Early Thursday evening, I took his advice, setting off from Ohio to Pennsylvania in a violent rainstorm — the one that brought tornadoes to the East Coast — with the expectation that we would view the Bloomsbury exhibit the next day. We did, despite the unfortunate weather that kept us on the edge of our car seat the entire way.

It was worth the trip.

I have been to Charleston Farmhouse and Monk’s House, so I have seen many original works of Bloomsbury art. But this exhibit was different. It displays a large collection of Bloomsbury art together in a gallery setting, which gave me the chance to step back and appreciate it one piece at a time without feeling overwhelmed or rushed by tour guides.

As a result, I felt a new appreciation for the artistry of Vanessa Bell. I clearly saw that her artwork stands on its own rather than in the shadow of Duncan Grant.

Giant canvas greeting

© 2010 by Nasher Museum Blogs

Visitors to the Penn State exhibit are initially greeted by a giant Duncan Grant painting that depicts an exuberant male nude holding cymbals. Although it dwarfs even the tallest art lover, the painting is just one part of the 1937 original oil on canvas, which was commissioned to hang over the massive fireplace in the first-class lounge of the Queen Mary, according to Christopher Reed, associate professor of English and visual culture at Penn State and co-curator for the exhibit.

Along with other commissioned designs, such as upholstery fabric of cotton velveteen patterned with an obviously Bloomsbury design, and carpeting, it was never used on the ship. Cunard, the ship’s owner, changed course and decided to use an art deco look for the first-class quarters instead.

Grant’s massive painting featuring the nude cymbal player and other elements was discovered years later in the barn of Kenneth Clark, English art historian. It was covered with pigeon droppings, so had to undergo extensive restoration before it was fit for exhibition, Reed explained.

Drawn into Bloomsbury

A multi-media display greets visitors to the Bloomsbury exhibit.

A multi-media display introduces visitors to the actual exhibit, and it draws them into the Bloomsbury scene with its life-size graphics of a Charleston Farmhouse bedroom. Just below the window ledge is  a video screen where a slide presentation shows scenes from the early 20^th-century era, photographs of Bloomsbury Group members, examples of their art and quotes that help illuminate their thinking.

Even the display tables that hold important artifacts are decorated in Bloomsbury style. They were loaned to the Penn State exhibit by Cornell. Inside the glass cases resting on the decorated display tables are letters from Leonard and Virginia Woolf, Roger Fry and others, as well as numerous volumes published by the Hogarth Press. These included Virginia’s novels with dust jackets decorated by Vanessa Bell, along with the English translations of the works of Sigmund Freud.

Influence of Bloomsbury artists

Joyce Robinson and Christopher Reed, co-curators of the Bloomsbury exhibit at Penn State

In his noon lecture, Christopher Reed, associate professor of English and visual culture at Penn State and co-curator for the exhibit, discussed the influence of Bloomsbury artists on early twentieth-century thinking about art and the art of home decoration.

He also noted their appreciation for the unique imperfections of handmade art – from Omega Workshop pottery to the utilitarian shutters painted by Vanessa Bell.

While some items that were included in earlier installations were not part of the Palmer exhibit — such as Woolf’s writing desk decorated by Quentin Bell — three paintings that did not appear in earlier exhibits are part of this one. All three were loaned by an individual who viewed an earlier exhibit and noted that he had several paintings by the same artist at home.

The three turned out to be the work of Duncan Grant. They are:

• “Hatbox”
• “Still Life with Jug”
• “Paul Roche in the Bath”

Joyce Robinson, curator at the Palmer, gave visitors insight into how Vanessa and Virginia worked together. She quoted Woolf as saying the sisters had the same eyes but wore different spectacles.

Palmer's Bloomsbury bookmark

In particular, she cited the edition of Kew Gardens decorated by Vanessa Bell. Robinson said Vanessa and Virginia worked on the layout together, making sure that Vanessa’s decorations and Virginia’s hand-set type complimented each other both visually and symbolically.

More on Woolf and knitting

Another interesting item from the exhibit, in light of the ongoing discussion on the VWoolf Listserv regarding Woolf and knitting,  is a pencil drawing by Roger Fry depicting his daughter, titled “Pamela Knitting and Reading.”

Reed, author of Bloomsbury Rooms: Modernism, Subculture, and Domesticity, said some argue that paintings depicting Virginia knitting really show her engaged in book binding.

Welcome commodification at the museums

Bloomsbury 2010 tattoo

To view more artwork from the exhibit visit the Nasher Museum exhibit page. The Duke University museum was the first stop on the tour. You can also purchase the exhibit catalogue from Cornell.

However, unless you make a trip to the Palmer soon, you will have no chance to get the freebies they gave out: an exhibit bookmark and a Bloomsbury 2010 temporary tattoo that features Woolf. I can’t wait to apply mine.

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Gorey illustrations of Woolf in Freshwater

Virginia Woolf and Edward Gorey. I know something about both. But I did not know there was a connection between them until now.

It turns out that Gorey, known for his charmingly off-kilter stories and illustrations, created illustrations for the 1985 edition of Virginia Woolf’s play Freshwater: A Comedy. Woolf’s farce about her famous great-aunt Julia Margaret Cameron was her only work for the stage.

First performed in 1935 for one of the Bloomsbury Group’s theatrical evenings, Woolf’s lone play was later produced in New York. It is still being staged today, although not everyone appreciates its wit and humor.

Gorey, of course, is still popular, perhaps thanks to his animated credits for the PBS show “Mystery.” An exhibit of his work, “Elegant Enigmas: The Art of Edward Gorey,” opens today at the Orlando Museum of Art in Orlando, Fla., and will run through Oct. 31.

A catalog of the exhibit, which contains 175 reproductions, is also available. And you can shop for all sorts of thrilling items at the Edward Gorey House Store in Yarmouthport, Mass. One of my favorites is a set of note cards titled “Neglected Murderesses.”

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Last call for Bloomsbury Artists exhibit

Time is running out to see “A Room of Their Own: The Bloomsbury Artists in American Collections” exhibit. The largest collection of Bloomsbury art to have been shown in the states for almost a decade, the exhibit will be in the U.S.  through Sept. 26.

Here are the details:

What: A Room of Their Own: The Bloomsbury Artists in American Collections
Where: Palmer Museum of Art, The Pennsylvania State University, University Park, Pa.
What: An exhibition of paintings, watercolors, drawings and books from the Hogarth Press and decorative works and designs from the Bloomsbury Group

Special events are planned as part of this exhibition. They include:

• Bloomsbury guided tours of the exhibition
• gallery talks by co-curator Christopher Reed and others
• furniture-painting workshop a la Bloomsbury for adults
• T-shirt and box painting and collage workshops for children
• discussion of A Room of One’s Own
• a film series, including “Carrington,” “The Hours,” “Maurice” and “A Passage to India.”

Read Benjamin Harvey’s review. Get the exhibit catalogue, the cover of which is pictured above.

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Swimming in deep water with Virginia Woolf

Diana Swanson of Northern Illinois University presents the closing keynote, "The Real World: Virginia Woolf and Ecofeminism."

Going to a Virginia Woolf conference is like long-distance swimming in deep water. It is both exhilarating and exhausting.

That’s how I felt after this year’s Annual International Conference on Virginia Woolf, held at Georgetown College in Georgetown, Ky., and organized by Kristin Czarnecki, a member of the English faculty there.

The sensation of swimming in deep water also goes along with the theme for the conference, which was “Virginia Woolf and the Natural World.” That means we heard much about Woolf and flowers, Woolf and fauna, Woolf and birds, Woolf and water and even Woolf and weather, one of my favorite topics. In fact, Gill Lowe, of University Campus Suffolk presented a paper on “Wild Swimming” as part of the first panel of the conference.

Woolf’s depth and stamina were illustrated by the variety of papers, panels, presentations and keynote speeches given at the conference. Here are some sparse notes on just a few.

Elisa Kay Sparks actually counted Woolf’s references to individual varieties of flowers for her presentation, “Virginia Woolf’s Literary and Quotidian Flowers: A Bar-Graphical Approach,” which included a spectacular slide show.

Ecofeminism — and Woolf’s connection to it — were the topics of Bonnie Kime Scott, whose keynote opened the conference, and Diana Swanson, who closed it. Scott made the point that Woolf fuses her natural images with the manmade world, and Swanson said Woolf inspires us to protect our fragile environment, an especially poignant message as oil from BP’s exploded well continues to pollute the Gulf of Mexico.

Valentina Mazzei and her Woolf bust

An opening night reception at the Anne Wright Wilson Fine Arts Gallery on campus featured glorious artwork from numerous artists around the world. Valentina Mazzei of Rome exhibited her delicately beautiful bronze bust of Woolf, which attracted much attention.

A fantastic panel on nature in both urban and rural environments — and the conflict between the two — featured papers by Teresa Boyer, Tonya Krouse and Mark Hussey. Discussion ranged from the street singer in Mrs. Dalloway to the way weather interrupts the narrative in The Years to the reflection of the public discussion of concerns surrounding the demise of the countryside in the 1920s and 1930s in Between the Acts.

War as the ultimate anti-pastoral was Kimberly Coates‘ theme, while Austin Riede discussed the debilitating effect of shell shock on its victims.

Beth Rigel Daugherty’s rapid-fire delivery of Woolf quotes about horses and “taking her fences” energized and entertained the audience, while Emily Bingham‘s surprising talk about Henrietta Bingham’s connection to the Bloomsbury Group set everyone buzzing.

As usual, Cecil Woolf was in top form as he told stories that brought his renowned aunt and uncle to life again — and made them even more endearingly human. Near the end of his talk, he did what I imagined as a perfect imitation of Leonard’s voice.

Patrizia Muscogiuri, who presented a paper about Woolf's thalassic aesthetics, and Cecil Woolf, publisher

Keiko Okaya Tanaka, Vanessa Underwood and Drew Patrick Shannon were part of an illuminating panel about St. Ives, the Isle of Skye and To the Lighthouse. And after Shannon explained the obvious but heretofore unrecognized connections between Woolf’s novel and Jill Paton Walsh’s children’s books, Goldengrove and Unleaving, many listeners probably added them to their Woolf-related reading lists.

During a panel that included Diane Gillespie and Jane Goldman, Leslie Kathleen Hankins shared slides of two drawings she discovered while leafing through Woolf’s original reading notebooks.

Verita Sriratana, Ph.D. candidate at the University of St. Andrews, Scotland

And I was thrilled to discover another Woolf reader and scholar who is exploring Woolf’s use of weather in her novels. Verita Sriratana presented a well-researched paper on weather in The Years, and she plans to include her work as a chapter in her Ph.D. thesis, “`Making Room’: Virginia Woolf and Technology of Place.” As part of our “Weather and Woolf” panel, I discussed Woolf’s use of weather in Mrs. Dalloway, To the Lighthouse and Orlando.

These are just a few highlights of a wonderful conference that left me refreshed, exhilarated, exhausted, and dizzy with ideas. For more, read Vara Neverow’s post-conference blog post and listen to Kristen Czarnecki’s pre-conference interview with NPR affiliate WUKY-FM.

Special thanks to Valentina Mazzei; Patrizia Muscogiuri; Verita Sriratana; and Catherine Hollis,  author of Leslie Stephen as Mountaineer: ‘Where does Mont Blanc end, and where do I begin?’, for the photos that appear on Blogging Woolf and Flickr.

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Woolf & Natural World exhibition part of June conference

Virginia Woolf & the Natural World: An Exhibition in Conjunction with the 20th Annual International Annual Conference on Virginia Woolf: Woolf and the Natural World is scheduled for May 13 -June 9 at the Anne Wright Wilson Fine Arts Gallery at Georgetown College in Georgetown, Ky.

The hours and schedule

The exhibit is free and open to the public. Hours are Monday through Friday, noon-4:30 p.m. and by appointment. Special hours during the conference weekend are  June 3, 6:30-8:30 p.m.; June 4 and 5, noon-5 p.m.; and June 6, 11 a.m.-1 p.m. For an appointment, contact the gallery via e-mail at galleries@georgetowncollege.edu or by phone at 502-863-8173.

The exhibition of fine art, rare books and other printed material has been curated by Dr. Juilee Decker, chair of the art department at Georgetown College. The juried show features 32 pieces, many for sale, by regional, national and international artists.

Free exhibition events include:

• Opening reception on June 3, 6:30-8:30 p.m.
• Closing reception and keynote address by Diana Swanson of Northern Illinois University on June 6, 11 a.m.-1 p.m.

The art on exhibit

Virginia Woolf bust by Valentina Mazzei

A range of works include representations of Woolf in the following media:

• a bronze bust
• a drawing of the author created in one sitting and using more than 20 pencils
• a digital print from several perspectives
• an oil on panel.

Artwork responding to Woolf’s writing and the conference theme include:

• a visual tribute to The Waves
• abstract and representational mixed media on panel
• acrylic and graphite on paper
• watercolor landscapes
• digital prints that blend word and image
• several finely woven works that incorporate white oak, reed, maple, macaw and copper
• a six-foot wide installation of carved wooden leaf-like forms arranged in a circle on the floor with a 12-inch opening in the center that subtly suggests the void from where a tree trunk might emerge.

The artists

Artists whose work was selected for the exhibition are: Bill Andrus (Lexington, Ky.), Jennifer Barnett Hensel (Altadena, Calif.), Ashley Bell (Baton Rouge, La.), Diana S. Brennan (Greenville, R.I.), Herb Goodman (Richmond, Ky.), Mille Guldbeck (Bowling Green, Ohio), John Higdon (Pensacola, Fla.), Cynthia Kukla (Bloomington, Ill.), Lauren Garber Lake (Gainsville, Fla.), Liz Lee (Fredonia, N.Y.), George Lorio (Brownsville, Texas), Valentina Mazzei (Rome, Italy), Linda Stein (New York, N.Y.), and Kim Rae Taylor (Cincinnati, Ohio).

In addition, two works by Isota Tucker Epes (1918-2009) have been lent from the collection of J. J. Wilson.

The printed work on display

The Hogarth Press housed at Sissinghurst

Printed material will be on view from private and public collections, including the Special Collections Library at the University of Kentucky, the Ekstrom Library at the University of Louisville and the Cincinnati Public Library.

First editions published in London and New York will be displayed, including a number of works printed by the Woolfs and at the Hogarth Press:

• Woolf’s Common Reader (Hogarth Press, 1925)
• Monday or Tuesday with woodcuts by Vanessa Bell (Hogarth Press, 1921)
• the sketch of Kew Gardens, number 12 in an edition of 500 copies decorated by Vanessa Bell.

The publications disclose, further, the range of activity printed by the Woolfs on behalf of the Bloomsbury Group, including Roger Fry (The Artist and Psycho-Analysis, 1924). Works by a larger circle of intellectuals will be included in this exhibition. Included are the work of John Carl Flugel, whose The Psychology of Clothes was published by the Institute of Psycho-Analysis in 1930.

Of special mention is the collection of Victorian photographs taken by Julia Margaret Cameron and printed by Leonard and Virginia Woolf at their press in 1926.

The conference

Cecil Woolf

While the exhibition and closing keynote are free and open to the public, a full slate of speakers and presentations is available to conference attendees.

Noted scholars Bonnie Kime Scott  of San Diego State University, Carrie Rohman of Lafayette College and Christina Alt of the University of Ottawa will offer keynote addresses.

In addition, Cecil Woolf, publisher of the Bloomsbury Heritage Series and a nephew of Leonard and Virginia Woolf, will give a talk.

Registration and more information

The deadline for advance registration is April 25. After that date, the registration fee will increase $30. Individuals interested in hearing conference talks may take advantage of daily, on-site registration at $55 per day.

Fuller conference details are available from the conference organizer, Dr. Kristin Czarnecki at Kristin_Czarnecki@georgetowncollege.edu.

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