Lily Crowther

@lilcrowther.bsky.social

Historian, curator, museum trustee, Yiddishe mama. Museums, craft, design, architecture, making, teaching with objects.

Pls spread word. Three digits can help protect you from scams: 159. If you're suspicious of a 'call from your bank', politely hang up and dial 159. It connects you to a switchboard that puts you through to your bank's real number. Watch the video for why its extra protection

Call for chapters: "The Aesthetics of Modern Monarchies: c. 1842-1952" @livsmitch.bsky.social and I are inviting chapter proposals for a volume on the ways that global 'modern monarchies' (defined broadly) self-presented and were presented through visual culture. Full details below - please share!

Call for Chapters: The Aesthetics of Modern Monarchies: c. 1842-1952 (This volume is being
proposed as a submission to the Palgrave Studies in Modern Monarchy series at Palgrave
MacMillan)
This is an invitation for proposals for chapters for an innovative, forthcoming collection on the
connected aesthetic histories of rulers, royalty, monarchs and consorts. In 1842, the French king
Louis-Philippe I was the first reigning monarch to be photographed, with the British Prince Albert
photographed in the same year. Over a century after these first royal photographs, the aesthetics of
modern monarchies now had to contend with the advent of televisual media, which covered
moments of triumph as much as of weakness. The referendum on Belgian king Leopold III’s rule in
1950 and his abdication the following year was widely covered by the international media; just a year
later, Elizabeth II, Queen of the United Kingdom and Commonwealth Realms was the first monarch
to have their coronation ceremony fully broadcast on television.
Between these two moments of mediatised royal presentation, this was a period of seismic change
for royalty and rulers across the world who were subject to expanding and diminishing empires, the
threat of revolutions and nationalism, the fall of dynasties as well as the ongoing impact of wars,
trade and politics. Visual culture, including but certainly not limited to photography and televisual
media, became increasingly integral to the image of monarchy as the rise of new technologies and
communications shaped the way rulers were presented and could present themselves to broad
audiences, domestically and globally. This collection will assess varied forms of visual culture
during this transitional period, exploring the ways that royalty could be defined and redefined as well
as connected on a global scale.The editors define ‘modern monarchies’ for this collection as including absolute or constitutional
monarchs, members of royal families, emperors/empresses, deposed monarchs,
ceremonial/puppet monarchs and consorts. Studies of non-European royals are particularly
welcomed. This excludes histories of recent remembrance of these royals. Chapter proposals must
contain a visual component to this study inclusive of but not limited to:
• Photographs
• Paintings/drawings/illustrations
• Prints (including newspaper print)
• Caricatures
• Clothing
• Loot
• Architecture
• Coinage
• Cinema/television
• Theatre/pantomime
• Posters
• Medals/jewels
Studies on royals are inclusive but not limited to:
• Displays of gender
• Politics and authority
• Resistance and revolution
• Charity and humanitarianism
• Nationalism
• Colonialism and empire
• Religion
• Race and racism
• Succession, coronation, and
abdication
• Scandal and public image
• Domesticity
• Modernity
• Class/poverty
Please send detailed chapter proposals of 350 words and a 100-word biography to Dr Olivia Mitchell
and Dr Will Clement at aestheticsmonarchy@gmail.com with the header ‘Aesthetics of Modern
Monarchies’ by 1 October 2026. Informal enquiries may also be sent to the editors at this address.
Contributors will be notified of the outcome by 1 December 2026 with full chapters of 8,000-10,000
words due from accepted proposals by summer 2027.

Remembering my first visit to Hockney’s studio in the 90s; I was interested mainly in his charming little dog. A kind man and a good friend to my father, whose advancing age is increasingly marked by the deaths of the people whose conversation he values most.

Please read the 🧵 below and consider joining me in supporting this vital organisation. Even a small monthly pledge will help young people from working class and marginalized backgrounds access arts education, networking opportunities and careers. You can change a young artist's life.

Arts Emergency@artsemergency.bsky.social · 2mo ago

Privilege doesn't trickle down on its own. Someone has to actively share it. That's why Arts Emergency exists.

Handwritten note reading 'KEEP HOPE ALIVE!' with Arts Emergency log in top left corner

👀 Nice historical research role: "‘The Making of Natural History, 1797 - Present' traces the rise of natural history in Britain in the nineteenth century, as a richly interdisciplinary subject that combined field observation of flora & fauna with local history, literature and illustration."

Centre for Place Writing@centreplacewriting.bsky.social · 2mo ago

New Research Associate position with Dr Francesca Mackenney, Centre for Place Writing - new Leverhulme funded project - The Making of Natural History, 1797 - present: #AcademicSky #NatureWriting PleaseShare! manmetjobs.mmu.ac.uk/jobs/vacancy...

A quick note from our friends at the Ceramics Research Centre and the Future Ecologies of Clay project: travel bursaries and free entry are available for any museum professionals who'd like to attend their forthcoming conference on 24-26 June. For more details, email ceramics@westminster.ac.uk.

Travel bursaries available for museum professionals to attend Permanence/Impermanence: Collecting and archiving contemporary clay practices conference, 24-26 June in London. For more details email: ceramics@westminster.ac.uk

The real solution to helping historians do research is actually pretty simple: give archives more money. Money for conservation, preservation, storage (physical an digital), climate controlled facilities, and staff (paid at a living wage). You don't need LLMs, you need money.

Register now for the Future Ecologies of Clay project conference! London, 24-26 June. Keynotes include Florence Peake, Alun Graves, Keith Harrison, Daniel F. Herrmann, Deborah Smith, Phoebe Cummings, Emily Stone, Alexandra Hodby, Hanna B. Hölling, Clare Twomey and Linda Sormin.

Permanence/Impermanence: Collecting & archiving contemporary clay practices

The three-day conference addresses how artworks in the ‘expanded field of clay’ can be made accessible to current and future audiences.

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Fully-funded AHRC PhD scholarship at Swansea University in conjunction with Amgueddfa Cymru - Museum Wales, examining the imperial and colonial associations of their natural sciences collections. Please share widely, and get in touch if you want to know more. Closing date 22 May.

History and Heritage Studies: AHRC Collaborative Doctoral Partnership Studentship (Fully Funded) in History with Museum Wales (RS951) - Swansea University

We offer a wide range of funded and fully funded research scholarships in all subject areas. Explore your options and apply now.

swansea.ac.uk