| Art History Information Exchange - Calls for Papers, Posters and Proposals | |
People, committees and even
acronyms are all out there seeking valuable input from you. Each time
a pertinent Call for Papers crosses my inbox, it will be posted here, the most
recent request being placed first.
If you are in charge of posting a Call of interest to art historians,
please contact
me with your information. I will be happy to post your notice, verbatim,
right here. Please note: In consideration of potential
submitters, I will not post any CFP if its stated deadline is less than two
weeks from the time it was submitted to me.
Posted: 10/12/08
Seeing You, Seeing Me
Visual Culture and the Formation of Identities
Ninth Annual Mark Roskill Symposium at the University of Massachusetts, Amherst
March 06, 2009
Identity is a dynamic process of projection and perception, a kaleidoscopic ensemble of ourselves and others. Conceptions of identity are a critical part of our experience and impact the development and understanding of our surrounding environment. This symposium will examine the role of art and visual culture in crafting personal and communal images and how the propagation of those images affects the understanding of transnational societies.
The graduate students of the program in Art History at the University of Massachusetts, Amherst welcome the submission of abstracts for papers investigating the cultural construction of identity through the visual world. We encourage broad historical and contemporary inquiries from a variety of diverse perspectives and academic disciplines.
Topics may include but are not limited to:
Transnationalism and its Influence on Cultural Understanding
National Identity and Culture The Media’s Effect on Cultural Understanding
Socioeconomic Effects on Creation and Reception of Identity Cultural Responses to Conflicting Identities
Touba Ghadessi Fleming, assistant professor of Art History at Wheaton College in Norton, Massachusetts will be this year’s symposium keynote speaker. Professor Fleming’s research focuses on deformities and monstrosities, the history of anatomy, gender definitions and gender ambiguity in the Early Modern period.
Deadline for submissions is November 30, 2008 at 5:00 pm.
Please provide a current CV, complete contact information, and an abstract no longer than 300 words. Submissions can be made to symposium coordinators Rebecca Hiester and Marissa Patterson at umassarthistsymposium@gmail.com.
Posted: 10/12/08
Michelangelo's Neoplatonism: Theory and Practice (SCSC, Geneva, May 09)
Sixteenth Century Society Conference 2009 28-30 May 2009 Geneva, Switzerland
Michelangelo's Neoplatonism: Theory and Practice
Whereas the impact of Neoplatonism on Renaissance culture has always been emphasized by researchers of the history of literature and philosophy, it has been repeatedly ignored or even challenged by art historians. With regard to Michelangelo's art, for instance, the influence of Neoplatonism has been rejected alltogether by Eugenio Garin and Horst Bredekamp, although his lyrics bespeak a thorough knowledge of neoplatonic theories.
Apart from the disregard of the results of research done in other fields, the reason for this seems to be the misconception that the interpreter of Renaissance art must decide between Neoplatonism and Christian Orthodoxy although it is one of the most outstanding characteristics of Neoplatonism to successfully connect philosophy with Christian tradition.
This call welcomes papers on all aspects regarding the interrelation or non-relation between Michelangelo's philosophical or theological thinking and artistic practice, be it case studies or more general approaches. Interdisciplinary approaches are especially welcome.
Please send abstract of no more than 200 words and curriculum vitae to Berthold Hub/ETH Zurich:
berthold.hub@gta.arch.ethz.ch
Deadline: 2 November 2008
Selected speakers must be member of the SCS at the time of the conference.
Posted: 10/12/08
Public Disorder : Post-World War II European Art and its Publics
AAH 2009 : Intersections
Following the end of World War II, artists across Europe, both east and west, sought to re-imagine the identity of the public. The internationalist utopia of the historical avant-garde had not come to pass, the populism of the national socialist model had been discredited by Fascism and Nazism, and it was yet unclear what shape the burgeoning commercial public would take in either soviet block or western nations.
This panel seeks to foster a multidisciplinary conversation on the problem of the post-World War II "public disorder". This necessitates crossing disciplinary boundaries in order to :
1) Assess the relevance of current theories of the public and counter-public spheres in relation to the art production of this period
2) Develop new models of mediation to elucidate the relationship between artistic practice and the socio-political sphere and to elaborate on the models of publicity that emerged within the specific conditions of individual countries
3) Identify intersections between post-World War II paradigms of the public and their contemporary reception and critique. It might also entail considerations of art works that deliberately disdain public aspirations to explore the realm of privacy as a potential locus of political engagement.
For example, what practices and sites did artists employ to engender a new, often multiple, public body ? How did this endeavour intersect with specific historical events - i.e., the various wars of independence, establishment of the European Community, construction of the Berlin Wall, events of 1968 ?
We seek papers that engage with specific case studies, employ new theoretical approaches, and develop original methodological models.
For more information, please check the AAH website :
http://www.miriad.mmu.ac.uk/aah09/
250 word abstracts should be sent by November 10, 2008 to :
Noit Banai
Noit.Banai@Tufts.Edu
Department of Visual and Critical Studies, Tufts University/School of the Museum of Fine Arts, Boston
Hannah Feldman
H-Feldman@Northwestern.Edu
Department of Art History, Northwestern University
Posted: 10/12/08
CFP: AAH 2009 Intersections Conference
http://www.aah.org.uk/future-conferences/index.php
http://www.miriad.mmu.ac.uk/aah09/session.php?id=9
Panel: Intersectional Queer Visualities
Michael du Plessis, University of Southern California duplessi@usc.edu
Robert Summers, University of California, Los Angeles robtsum@ucla.edu
This session will highlight different articulations of art-historical understandings of subject/object relations, theory, and visuality as those terms themselves have been transformed through an intersection with queer. We wish to trace passages to critical thinkers (e.g., Derrida, Cixous, Deleuze, Rancire, Nancy, Agamben, Ettinger, among others) and the modalities of their projectsand to ask what queer practices can, or have, emerge from such critical and creative crossovers into art history? How have theories on, and around, the visual by these critical thinkers working outside of art history been queered and put to work in the practice of (un-)doing art historywhich is to ask how has the discipline of art history become un-disciplined, queered? Furthermore, how is queer in theory and visuality thought differently when further intersected with post-colonial theories and/or feminisms? Indeed, how has queer been (re-) opened to issues such as race, ethnicity, the nation-state, and sexual difference? How have these multiple intersections with queer and/in art history transformed it? Do such multiple crossings, thinkings, and doings by way of creative connections and intersections radically change the project and trajectory of art history as a disciplineif only in some of its modes and movements? If so, then what are the ramifications for the future/s of art history and its institutions? These are some of the questions that we want to explore in this session.
Deadline for proposals: 10 November, 2008
Posted: 10/05/08
CFP: Student Session: Intersections, AAH (Manchester April 09)
Association of Art Historians Annual Conference 2009: Intersections
Manchester Metropolitan University, 2-4th April 2009
Student Session Call for Papers
And you call yourself an Art Historian?
Navigating the terrain of "cross/trans/inter-research"
Every academic discipline has its boundaries: what happens when you cross them? Those who do may find themselves entering a minefield, at constant risk of being deemed "pseudo-academic" or "non-specialist". Can you be a successful art historian while also being a capable writer who can tell a good story? Is it possible to produce findings that are relevant to a larger and possibly diverse audiences, without sacrificing the depth of your argument? Is it possible to work across multiple fields, deploying the ideas and methodologies of other disciplines, without threatening or diluting academic research?
We invite papers that come up against the visible as well as the implicit boundaries of art history: they may operate on the border of other disciplines (whether it be archaeology or neuroscience); may be termed sensationalist (because of writing style or the controversial nature of the topic); or engage with different or multiple methodologies.
This session will look beyond the (unwritten) rules of art history, providing a forum for postgraduates who are navigating the terrain of "cross/trans/inter-disciplinary research" while still defining themselves as historians of art.
Deadline for proposals: 10th November 2008
To submit a proposal for this session, please download the AAH09 Paper
Proposal Form from www.aah.org.uk/conference/index.php and send to:
Lara Eggleton, University of Leeds: laraeve8@googlemail.com
Clare O'Dowd, University of Manchester: clare.o'dowd@postgrad.manchester.ac.uk
Posted: 10/05/08
CFP: Art of Gender VI
October 2, 2008
Dear Colleagues:
On behalf of the Conference Committee, I am pleased to announce a call for papers for a multidisciplinary conference, The Art of Gender in Everyday Life VI, to take place at Idaho State University (ISU), April 2 & 3, 2009. In addition to sessions, the conference will include: a keynote, "Strong Women And How They Did It," by Dr. Emily Toth (A.K.A. Ms. Mentor), Professor of English at the Louisiana State University, on the evening of Friday, April 3 and an April 2 talk by an ISU faculty member and a screening of LUNAFEST on Thursday evening.
The Conference Committee invites abstracts from university faculty and staff as well as from graduate and advanced undergraduate students. ALL submissions related to the art of living gendered lives will be considered. This year, given our keynote speaker, we are especially interested in submissions that address gender and career and/or gender and higher education. We are also very interested in submissions that explore gender identities (including masculinities) and gender activism. Abstracts must be postmarked by November 10, 2008.
This conference is an occasion to showcase current work being done in the area of gender studies. Participants from past years have consistently commented on the friendly atmosphere at The Art of Gender in Everyday Life conferences, and it is our principal mission to continue our tradition of creating a collegial, supportive and nurturing environment for the discussion of gender issues across the disciplines.
The Art of Gender in Everyday Life VI is a special opportunity to network with colleagues in the relaxed setting of Pocatello, Idaho, nestled in the picturesque Bannock Range of the Rocky Mountains. We are pleased to announce that again this year participants will have the opportunity to register for a day trip to nearby Lava Hot Springs. Those taking part in the trip will experience a day of relaxation in the naturally-occurring mineral hot springs, the temperatures of which range from 102-112 degrees. More information about Lava Hot Springs is available at http://www.lavahotsprings.com/hotpools.html.
A formal call for papers, an announcement of our student paper competition, and a registration form can be found on our website at http://www.isu.edu/andersoncenter. Please feel free to contact us at either gndrctr@isu.edu or 208-282-2805 if you have any questions.
On behalf of the entire Conference Committee, I invite you to join us for this important event.
Kind regards,
Rebecca Morrow, Ph.D.
Director, Anderson Center
Posted: 10/05/08
Intersections
Manchester Metropolitan University, MIRIAD
2 - 4 April 2009
Poster Session
Veronica Davies, The Open University
Veronicadavies4@aol.com
Dennis Wardleworth, Independent Art Historian
denniswworth@bournemouth-net.co.uk
It is proposed that, at the 2009 Conference, there should be a poster session. For those not familiar with the concept of a conference poster session, we would be asking participants to prepare a poster, a combination of textual and visual material, which could be displayed on an allotted area of wall space at the conference venue. These could then be viewed and read by conference delegates, and the authors could make themselves available, at times of their choosing, to discuss the poster content. The poster session will therefore provide delegates with an opportunity to participate in the conference as an author without preparing and presenting a full paper in one of the conventional sessions. It would be possible to present some aspect of your present or past work to potentially all the delegates at the conference.
We are therefore calling for abstracts for the poster session. The poster should address the general theme of the conference, Intersections. We would particularly welcome posters which explored the intersection between art history and art practice. Joint authorship of posters would also be welcomed.
Deadline for proposals: 10 November 2009
Proposal forms and further information about the conference can be found at http://www.aah.org.uk
Posted: 10/05/08
CFP: Realisms and gender in the 20th century painting
Workshop
the 20th of March 2009 in the University of Amiens
Realisms and gender in the 20th century painting
Historians of art that developped a reflection on sexual gender based it on a study of the 19th century realism. This contributed highly to renew knowledge on realism. That approach suggests an historical affinity betwen realism issues and gender issues. A reflection on gender nourrishes questions about realism, while realist paintings seem to be a place where gender tensions express themselves.
This conference will focus on that historical affinity in 20th century, a period that marks the end of the social constitution of the gender.
Furthermore, it is also the moment when several political projects tried to question inequalities between men and women, and even, sometimes, to deny sexual identities. Some other political projects, on another hand aimed to take advantage of an intensification of these identities.
During the 20th century, the realist trend appears periodically. It emerges in various contexts and can take really diverses shapes, such as social realism, magical realism, critical realism, radical realism, hyperrealism...
A specific feature of realism consists in its will of not deforming bodies and their environment. This principle distinguishes realism from the other trends of figurative painting. In general, desire appears as a central device in figurative representation of the human body: A clear relationship exists between the viewer’s desire of possession of the depicted figure and a desire of appropriation of the opera. In that configuration, the relationship between genders can remain the same as it is in society, for instance when the representation insists on some features which are traditionnally attributed to each gender. But the situation can be challenged, in many cases of subversions such as homoerotic pictures or other.
How the different kinds of realism reflect relationships between men and women in a given society? Does the realism deliver a specific speech on gender compared to the other artistic trends of the twentieth century? What do we learn from a gender approach of the realism paintings on the artists position in their societies?
Posted: 09/28/08
Call for Papers
Le Corbusier - February 29- March. 2, 2009- Southern Polytechnic State University
A utopian visionary, Le Corbusier was both innovative and influential in architecture, urbanism, art and theory. Across the world, his revolutionary designs were radical yet practical making him an instrumental figure in the development of Modernism. His buildings are credited with expressing a complex understanding of Modernity's impact. Many of his ideas on urban living became the blueprint for post-war reconstruction, while the failures of his imitators led to his being blamed for the problems of modern urbanism. Since his death in 1965, Le Corbusier's contributions have been hotly contested making him without a doubt one of the most admired and most maligned figures of the twentieth century. This symposium will explore the work, writings and legacy of this important and controversial modernist and their relationship to contemporary architecture, art and urbanism.
Topics may include but are not limited to:
History/Theory-
The Machine Aesthetic: High Tech and BeyondThe
House as Type: Standardization and Mass Production‐
Tectonics: Construction and Materiality‐
The Role of Nature in Le Corbusier's work, writing and legacy‐
Architecture and Urbanism‐
Architecture, Art and Photography
Submissions- Authors should submit four copies of both a complete draft (3,000- 4,500 words) and a concise 250 word abstract. Submissions should be prepared for 'blind' jury review. All submissions must be accompanied by a separate cover sheet with the title and sub- theme category, author's name(s), affiliation, postal and email addresses, telephone and fax numbers, and authors signature. Submissions must arrive by Wednesday Dec. 10, 2008.
Submissions should be sent to: Le Corbusier; Dept of Architecture; School of Architecture, CET & Building Construction; Southern Polytechnic State University; 1100 South Marietta Parkway; Marietta, GA 30060-2896
For Additional information: See our website at:
http://architecture.spsu.edu\annualdeanssymposium
Posted: 09/28/08
CALL FOR PAPERS
THE SPLENDOUR OF BURGUNDY (1419-1482). A MULTIDISCIPLINARY APPROACH
International conference, Bruges, 12-14 May 2009
Organised by the Musea Brugge and the Alamire Foundation (Katholieke Universiteit Leuven), in collaboration with the Concertgebouw Brugge and the Radboud Universiteit Nijmegen
In the framework of the exhibition 'Charles the Bold. The splendour of Burgundy' (27 March 21 July 2009, Bruges, Groeninge Museum and Church of Our Lady; in cooperation with Historisches Museum Bern and Kunsthistorisches Museum Vienna).
CONFERENCE THEME
In the course of the fifteenth century, the reputation of the Burgundian court rose to an unprecedented level, catapulted forward by ever growing territorial ambitions and accumulation of wealth. This reached a climax during the reign of Charles the Bold (1433-1477), the living embodiment of the pomp and pageantry of the Burgundian court and a generous patron of the fine arts.
Rather than focusing on a single domain, the conference aims to shed light on Burgundian court culture as an organic whole, between the start of the reign of Philip the Good (1419) and the death of Mary of Burgundy (1482). It is intended to provide a forum for new research from the fields of History, History of Art, Literature and Musicology. To this end, two plenary assemblies will present a multidisciplinary approach to the topics of 'Power of/and representation' and 'Feast culture', while a number of specialised sessions will allow in-depth exploration and discussion of more specific aspects of the conference theme.
CALL FOR PAPERS
For the specialised sessions, we invite proposals for panel sessions as well as for individual papers of thirty minutes (excl. discussion time). The function and meaning of concepts and artefacts (or their portrayal) in the context of the Burgundian court culture can be discussed from multiple perspectives and (inter-)disciplinary approaches. Possible themes include (but are not limited to) the relationship between courtly and urban networks; gift exchange and its remnants in artefacts, literature and music; liturgical history of the court and its related institutions; administrative and governmental history.
Proposals for both panel sessions and individual papers in the form of an abstract not exceeding 300 words should be sent as an e-mail attachment to symposium@brugge.be by 15 December 2008. Notification of acceptance will be given by 30 January 2008. The conference language is English.
Programme Committee:
- Prof. dr. Wim Blockmans, NIAS Royal Netherlands Academy of Arts and Sciences, Leiden University (NL)
- Till-Holger Borchert, Musea Brugge/Groeningemuseum (B)
- Prof. dr. David Fallows, Manchester University (UK)
- Nele Gabriëls, Katholieke Universiteit Leuven, Alamire Foundation (B)
- Prof. dr. Eberhard König, Freie Universität Berlin (D)
- Prof. dr. Johan Oosterman, Radboud Universiteit Nijmegen (NL)
- dr. Manfred Sellink, Musea Brugge (B)
- Anne van Oosterwijk, Musea Brugge/Groeningemuseum (B)
- dr. André Vandewalle, Stadsarchief Brugge (B)
Organisation Committee
- Bart Demuyt & Nele Gabriëls (Katholieke Universiteit Leuven, Alamire Foundation; B)
- Till-Holger Borchert, Manfred Sellink, Anne van Oosterwijk & Elviera Velghe (Musea Brugge, B)
- Jeroen Vanacker & Katrien van Eeckhoutte (Concertgebouw Brugge, B)
For further information, please send an e-mail to symposium@brugge.be
Additional information
Dates: Tuesday 12, Wednesday 13 and Thursday 14 May 2009
Start: Tuesday 12 May (afternoon) at the City Hall, followed by conference dinner
Location: Concertgebouw Bruges, Belgium
Concerts: 13 May: Psallentes, Concertgebouw Bruges
14 May: La Morra, Concertgebouw Bruges
Nocturne: On 13 May, participants of the conference have the possibility to visit the exhibition from 17.30 to 19.30h.
Registration: Before 1 May; places are limited: max. 150 participants allowed.
Language: English
Posted: 09/21/08
Call for Papers
Per Speculum in Mediaevum: Discourses of Mirroring in the Middle Ages
Keynote Speaker: Marina Brownlee; Topic TBA
Medievalists @ Penn (M@P) invites submissions for the graduate conference in Medieval Studies at the University of Pennsylvania, February 6-7, 2009. All abstract submissions (max. 250-300 words) must be received by November 14th, 2008. All submissions to mapmirrors@gmail.com.
The figure captured in the Latin word speculum, meaning both 'mirror' and 'encyclopedia,' is central to medieval culture. From St. Paul's foundational "per speculum in aenigmate" to Ovid's version of the Narcissus myth to Jean de Meun's re-titling of the Romance of the Rose as Le Miroer aus Amoreus, the problematic of reflection cuts across medieval regional and discursive boundaries. This traveling topos pervades medieval cultural expression, from religious thought to the production of visual and textual artwork to music and philosophy. The implicit or explicit articulation of this fascinating figure nevertheless differs as it enters (or is re-evaluated within) varying discourses. This conference invites submissions concerning one or more formations of the 'mirror.' We seek to encourage a plurality of perspectives from medievalists of all disciplines in recognition of the profound 'interdisciplinarity' of our common object of study: the Middle Ages. Topics might include, but are not limited to:
-encyclopedias and summae
-advice for princes and conduct manuals
-scientific treatises and astrology
-(Ciceronian) friendship
-reproduction and repetition
-twins and doubling
-vanity and the Narcissus myth
-reflection and replication
-representation and mimesis
-specularity and visuality
-recognition and self-consciousness
-the mirror of the soul and mysticism
-mirror as distorted image, figura, and metaphor
Posted: 09/21/08
1789, 1989, 2009: Changing Perspectives on Post-Revolutionary Art
June 12-13, 2009
Courtauld Institute of Art, Research Forum, in collaboration with UCL
Keynote Speakers:
Professor Susan Siegfried, University of Michigan Professor Darcy Grimaldo Grigsby, University of California, Berkeley
Opening Address: Dr. Satish Padiyar, Courtauld Institute of Art
The coincidence of the bicentenary of the French Revolution and the ending of the Cold War in the 1990s promoted a climate of renewed interest in issues of the relations between representation and subjectivity in Post-Revolutionary France. Thanks to this pioneering scholarship, the critical categories gender, class, race and sexuality are firmly entrenched in the study of the period.
In a post-9/11 world, scholars within the field find themselves at a crossroads between these established methodological approaches and a shifting political landscape. This conference seeks to understand how contemporary political exigencies impact the social, psychoanalytic and gender-based scholarship that took as its principal object of inquiry the artistic production of Post-Revolutionary France (1789-1852). Can methodologies that privilege subjectivity, the body and desire be developed to articulate current global concerns or should these be supplanted by new interpretative models?
Debates concerning individual liberty and government authority, the development of newspapers and print technologies, and emergence of consumerism as a mode of modern experience in Post-Revolutionary France all resonate in the present. During the past decade, Anglo-American scholars have explicitly drawn connections between visual culture in the Revolutionary and Napoleonic states and the recent rise of government instituted programs of surveillance and legitimisation of aggressive, interventionist foreign policies. We seek to question whether these parallels amount to anything more than historical equivalence or if they are motivating deeper methodological change in the study of Postrevolutionary France.
This conference will stimulate debate on whether new approaches are needed for the study of this period. We are interested in new approaches to the materiality of objects, the relationship between different forms of media and their interaction with other domains of culture, and new understandings of empire and nation. We seek to interrogate why the authors of many influential studies of post-revolutionary European art have moved on to research different periods, while other established scholars continue to locate new interpretive models for the art of the period.
Although our focus is on the problem of interpreting French art, we are interested in the ways that global perspectives and interdisciplinary approaches are shaping new scholarship on this period. We are also open to proposals that engage with the memory of this period from the later nineteenth and twentieth centuries.
Topics for discussion may include (but are not limited to):
- New perspectives on nationalism and imperialism
- Beyond history painting?
- The status of gender as an area of inquiry
- The contemporary relevance of militarism and empire
- The impact of "queer theory"
- Beyond the body?
- Landscape and conceptions of power
- The Memory of Slavery
- Reframing the idea of "aftermath"
- French and Anglo-American scholarship - a methodological divide?
- The fate of Marxist and materialist interpretations and their place in the field today.
Academics and postgraduate students are invited to submit abstracts of no more than 300 words, for 20 minutes presentations, together with a CV, to c19conference2009@gmail.com before November 1, 2008. We welcome proposals for papers that are unpublished and have not been previously presented.
For more information:
http://www.courtauld.ac.uk/researchforum/calls_paper/index.shtml
Organised by:
Katie Hornstein, University of Michigan
Dr Satish Padiyar, Courtauld Institute of Art
Melanie Vandenbrouck-Przybylski, Courtauld Institute of Art
Sue Walker, University College London)
Posted: 09/21/08
Modernism and Antropofagia: Visual Culture and Authenticity in Latin America
35th Association of Art Historians Annual Conference
2 - 4 April 2009
Manchester Metropolitan University
This session invites proposals that address the study of modernism and avant-garde movements in Latin America. Papers may investigate the gradual incorporation of new media and technologies as practices that mediated between local and external discourses on art and modernity; and the way in which the avant-garde's experimentation with industrial materials, for example, often responded to the artist's response to cosmopolitan modernism and his/her identification or rejection of national stereotypes. Studies may also look at the debates and the significance of abstraction as a language denoting universal and aesthetic principles, and figuration as a way to express ideologies and explicit references to cultural authenticity. Following Oswald de Andrade's concept of Antropofagia this session will therefore present an opportunity to address the significance of visual culture in Latin America, as a means to mediate and articulate local and external discourses, acknowledging in this way its contribution to the history of modern art.
If you would like to offer a paper, please send an abstract of your proposed paper in no more than 250 words, and your name and institutional affiliation (if any) to:
Fabiola Martinez
martinezf@madrid.slu.edu
Deadline for submission of papers: 10 November 2008
Posted: 09/14/08
Fourth Annual
Medieval Graduate Student Symposium
University of North Texas
January 30th and 31st, 2009
Dear Colleagues,
We are happy to announce that the College of Visual Arts and Design of the University of North Texas will be sponsoring our 4th Annual Medieval Graduate Student Symposium. In honor of UNT’s two new Graduate Student Scholarships for the study of Islamic or Middle Eastern Art History, the topic for this year’s Symposium will be "East Meets West in the Middle Ages," and will feature a keynote address by Dr. D. Fairchild Ruggles from the University of Illinois, Champagne-Urbana. Her lecture is to be titled "The Stratigraphy of Forgetting: the Construction and Afterlife of the Mosque/Cathedral of Cordoba" and will be delivered at 5:00 P.M. on Friday, January 30th. The Graduate Student Symposium will take place on Saturday, January 31st from 10 AM until 4PM, at which time Dr. Ruggles will conclude the symposium with discussant remarks for our student presenters. We hope that you will put both the Symposium and Dr. Ruggles’s keynote address on your calendar.
NEW!! Announcement of Travel Stipend Competition Additionally, we are happy to announce that through the support of the Wells Fargo Foundation, we are able to award a $500.00 travel stipend to the author of the most outstanding paper submission.
The College of Visual Arts and Design will again be providing lunch for the break in our symposium day. With the success of last year’s symposium they are looking forward to another day of interesting conversation and graduate student interaction. We hope that you can join us.
Call for Papers
We also ask that you alert your graduate students to the opportunity to submit an abstract for a 20 minute, conference-type paper. While we will entertain papers from any discipline of Medieval Studies and on any topic, we particularly welcome those that engage the intersections of the East and the West. We encourage submission of papers that have been submitted and/or delivered elsewhere. The deadline for submission is November 1st, 2008. Paper Abstracts should be sent to: Abel@unt.edu or
Dr. Mickey Abel
Department of Art History
University of North Texas
1155 Union Circle #305100
Denton, TX 76203-5017
Posted: 09/14/08
*Ambiguous Territories: Articulating New Geographies in Latin American Modern Architecture and Urbanism*
Columbia University, New York
March 27-28, 2009
CALL FOR PAPERS
Deadline: November 1, 2008
We invite the submission of papers that consider the modern architecture and urban design of Latin America in the 19th and 20th Centuries.
In some formulations of architectural history and theory Latin America endures as a category of analysis and as a delimited cultural territory.
Alternative discourses resist the term Latin America; revisionist positions attempt to sweep away the residues of this grand narrative through the presentation of individual or singular experiences that reorganize connections and associations, and present new geo-cultural assemblies. Intra- and extra-regional networks, the emigration and immigration of ideas, architects and designers, the reorganization of the nation-state, the collapse of the politics of modernism, help to contest but also to reassert the idea of Latin America. The tension between these approaches to the architecture and urbanism of the "region" has rarely been critically examined. This conference calls upon scholars to situate their research in this contested geographical, cultural, political, and ontological imaginary called Latin America. It asks researchers to examine their work in relation to other possible geographies (pan, national, regional, or international zones of identification, or other imagined or repressed configurations) that help identify or dissolve, assert or disregard, manifest or negate, this simple yet haunting enunciation.
Paper proposals will be accepted in English, Spanish, Portuguese and French. Presentations are to be given in English. Financial assistance will be available to participants in support of travel expenses.
Submissions from emerging scholars and doctoral students are particularly encouraged.
Deadlines:
Paper proposals/abstracts (max. 500 words): November 1, 2008 Acceptance notifications: December 1, 2008 Paper deadline: February 1, 2009
Paper proposals should be sent via email in MSWORD or PDF format to:
ambiguousterritories@gmail.com
*Ambiguous Territories: Articulating New Geographies in Latin American Modern Architecture and Urbanism* is* *organized by the doctoral students in architectural history and theory at the Graduate School of Architecture, Planning and Preservation (GSAPP) at Columbia University.
The conference is supported by the GSAPP, the Temple Hoyne Buell Center for the Study of American Architecture, and the Graham Foundation for Advanced Studies in the Fine Arts.**
Posted: 09/07/08
Call For Papers:
"Multiplying the Visual in the Nineteenth Century"
Columbia University, April 17-18, 2009
Deadline for Abstracts: November 30, 2008
The Department of Art History and Archaeology at Columbia University is pleased to announce an upcoming conference, "Multiplying the Visual in the Nineteenth Century."
Nineteenth-century France - or more accurately, Paris - has long been associated with an explosion of the visual. In the wake of the French Revolution, a combination of complex political, economic, social and cultural forces initiated an acceleration and multiplication of visual production and consumption. Crucial for this emerging culture of the visual was a shift from craft-based production to an industrial model of image-making centered on seriality and repetition. The fraught relationship between the rise of mass-reproduction and the formation of the modern institution of the museum, as well as the often contrary demands of the market, produced an unprecedented anxiety over issues of authenticity and originality. Perception itself increasingly unfolded in a murky atmosphere of proliferating copies, imitations, counterfeits and simulacra. For the nineteenth-century observer, modernity meant the traversal of these endlessly mirrored halls. This event will provide a timely reflection upon and reconsideration of modern theorizations of reproduction, from the suggestive and influential writings of Walter Benjamin to the more recent interventions of historians such as Stephen Bann.
One goal of this event is to provide a venue in which graduate students can closely interact with more established members of the academic community. To that end, the conference will take place in two parts.
First, four invited professors will present papers related to our theme.
These speakers will raise broad questions that will be debated throughout the remainder of the conference. We are pleased to announce that the speakers are:
Keynote Address:
Eduardo Cadava, English Department, Princeton University Jonathan Crary, Art History and Archaeology, Columbia University Peter Geimer, Swiss Federal Institute of Technology, Zürich Jennifer Roberts, History of Art and Architecture, Harvard University
In the second half of the proceedings, our topic will be explored in relation to specific historical examples in six small-group seminars.
These seminars will allow graduate students to present their work and create an opportunity for discussion of specific themes within the topic of nineteenth-century vision and multiplicity. In each of these seminars, two graduate students will present research on a panel moderated by a Columbia faculty member and attended by the invited speakers from our morning sessions. Seminars will run simultaneously, and conference participants will be given a choice of which to attend when registering.
We are now inviting submissions for graduate student papers for these seminars. Individual seminar themes will be decided after all the proposals have been received. Topics could include, but are not limited to:
the status and definition of the "copy" (imitation, citation, replication, reproduction) law and copyright mass-reproduction dislocation and reproduction internationalism mimesis/realism relationships among media reproducing science multiplying architecture; reproduction and pre-fabrication
The deadline for submissions is November 30, 2008. An abstract of no more than 500 words, along with the applicant's current C.V., should be
sent to: multiplyingthevisual@gmail.com.
The website for the conference can be accessed at:
www.learn.columbia.edu/multiplyingthevisual
Posted: 09/07/08
Call for Papers:
Popular Art, Architecture and Design
New Orleans, April 8-11, 2009
We are now calling for papers in the area of Popular Art, Architecture and Design for the 2009 National Conference of the Popular Culture Association and American Culture Association, to be held at the New Orleans Marriott Hotel (New Orleans, Louisiana) April 8-11, 2009.
Popular Art, Architecture and Design is concerned with the aesthetics of material culture in the everyday world of the past, present and future.
Scholars from such disciplines as Architecture, Art History, Fine Art, Industrial Design, and Interior Design are invited to submit proposals. At previous conferences topics have included World Fairs, architectural follies, urban image, baseball parks, fashion design, Buckminster Fuller, urban memory, Disneyland, railroad stations, Frank Lloyd Wright, literary architecture, shop-houses, mobile homes, folk art, Orientalism, and the effect of television on the home. It is truly a broad arena!
Please e-mail a cover letter with contact information and 150-word abstract of your proposed paper to both Dr. Loretta Lorance at llorance@earthlink.net and Dr. Derham Groves at derham@unimelb.edu.au. NO ATTACHMENTS.
The deadline for abstracts is November 30, 2008.
Posted: 08/24/08
Public Disorder: Post-World War II European Art and Its Publics AAH 2009 : Intersections Manchester Metropolitan University April 2-4, 2009
Following the end of WWII, artists across Europe, both east and west, sought to re-imagine the identity of the public. The internationalist utopia of the historical avant-garde had not come to pass, the populism of the national socialist model had been discredited by Fascism and Nazism, and it was yet unclear what shape the burgeoning commercial public would take in either soviet block or western nations.
This panel seeks to foster a multidisciplinary conversation on the problem of the post-WWII 'public disorder.' This necessitates crossing disciplinary boundaries in order to 1) assess the relevance of current theories of the public and counter-public spheres in relation to the art production of this period; 2) develop new models of mediation to elucidate the relationship between artistic practice and the socio-political sphere and to elaborate on the models of publicity that emerged within the specific conditions of individual countries; 3) identify intersections between post-WWII paradigms of the public and their contemporary reception and critique. It might also entail considerations of art works that deliberately disdain public aspirations to explore the realm of privacy as a potential locus of political engagement.
For example, what practices and sites did artists employ to engender a new, often multiple, public body? How did this endeavour intersect with specific historical events – i.e., the various wars of independence, establishment of the European Community, construction of the Berlin Wall, events of 1968? We seek papers that engage with specific case studies, employ new theoretical approaches, and develop original methodological models.
For more information, please check the AAH website:
http://www.miriad.mmu.ac.uk/aah09/
250 word abstracts should be sent by November 10, 2008 to:
Noit Banai
Noit.Banai@Tufts.Edu
Department of Visual and Critical Studies, Tufts University/School of the Museum of Fine Arts, Boston
Hannah Feldman
H-feldman@northwestern.edu
Department of Art History, Northwestern University
Posted: 08/17/08
Popular Art, Architecture and Design
We are now calling for papers in the area of Popular Art, Architecture and Design for the 2009 National Conference of the Popular Culture Association and American Culture Association, to be held at the New Orleans Marriott Hotel (New Orleans, Louisiana) April 8-11, 2009.
Popular Art, Architecture and Design is concerned with the aesthetics of material culture in the everyday world of the past, present and future.
Scholars from such disciplines as Architecture, Art History, Fine Art, Industrial Design, and Interior Design are invited to submit proposals. At previous conferences topics have included World Fairs, architectural follies, urban image, baseball parks, fashion design, Buckminster Fuller, urban memory, Disneyland, railroad stations, Frank Lloyd Wright, literary architecture, shop-houses, mobile homes, folk art, Orientalism, and the effect of television on the home. It is truly a broad arena!
Please e-mail a cover letter with contact information and 150-word abstract of your proposed paper to both Dr. Loretta Lorance at llorance@earthlink.net and Dr. Derham Groves at derham@unimelb.edu.au. NO ATTACHMENTS. The deadline for abstracts is November 30, 2008.
Posted: 07/27/08
Center for the History of Collecting in America
The Frick Collection and Art Reference Library
New York
Call for Papers for a Symposium
"The American Artist as Collector,
from the Enlightenment to the Post-War Era"
March 6–7, 2009
The Center for the History of Collecting in America at The Frick Collection and Art Reference Library is seeking proposals for papers to be presented at a symposium on “The American Artist as Collector, from the Enlightenment to the Post-War Era,” scheduled for March 6 and 7, 2009. The purpose of this symposium is twofold: to examine the collecting tastes of specific artists who amassed collections of note, and to explore the impact of artist-advisers on the acquisition patterns of other collectors.
Papers should address the historical context of artists as collectors, while exploring the special contributions made by American painters, sculptors, and architects to the history of collecting. The symposium will examine two broad categories: the artist-collectors, e.g., Benjamin West, Charles Willson Peale, Frederic Church, William Merritt Chase, Stanford White, and Alfred Stieglitz; and the artist-advisers to individual collectors, e.g., Mary Cassatt (Henry O. and Louisine Havemeyer), Joseph Woodwell (Henry Clay Frick), and George Henry Boughton and Julian Alden Weir (Henry G. Marquand).
It is expected that the papers will weave together new material on the motivations for collecting and the cast of mind of individual artists, as they will also offer new scholarly insights into the role artists played as collecting consultants. Papers will be 40 minutes in length. The Center intends to publish the proceedings.
The symposium will take place over two days at The Frick Collection. Speakers will receive a modest honorarium and will be reimbursed for their travel and hotel expenses.
The Center for the History of Collecting in America has hosted three exceptionally successful symposia to date, and plans are in place for a fourth, "Collecting Spanish Art: Spain's Golden Age and America's Gilded Age," which will take place in November 2008. Thus, the symposium on "The American Artist as Collector" will join the distinguished roster of events, which, combined with other programs sponsored by the Center, are reinforcing the history of collecting as a significant area of intellectual inquiry that crosses many disciplinary boundaries.
Please send the title of your paper, an abstract of 600 words, and your curriculum vitae not later than November 1, 2008, to:
Inge Reist, Director of the Center for the History of Collecting in America
Frick Art Reference Library
10 East 71st Street
New York, NY 10021
Or email to callforpapers@frick.org, with the subject heading "Artist as Collector symposium"
Also see http://www.frick.org/center/american_artist.htm
Posted: 07/27/08
Call for Papers
AAH 2009 Intersections Conference, Manchester, 2 - 4 April 2009
Panel: Intersectional Queer Visualities
This panel will highlight different articulations of art-historical understandings of subject/object relations, theory, and visuality as those terms themselves have been transformed through an intersection with "queer." We wish to trace passages to critical thinkers (e.g., Derrida, Cixous, Deleuze, Rancière, Nancy, Agamben, Ettinger, among others) and the modalities of their projects—and to ask what "queer" practices can, or have, emerge from such critical and creative crossovers into art history? How have theories on, and around, the visual by these critical thinkers working outside of art history been "queered" and put to work in the practice of "(un-)doing" art history—which is to ask how has the discipline of art history become un-disciplined, "queered"? Furthermore, how is "queer" in theory and visuality thought differently when further intersected with post-colonial theories and/or feminisms? Indeed, how has "queer" been (re-)opened to issues such as race, ethnicity, the nation-state, and sexual difference? How have these multiple intersections with "queer" and/in art history transformed it? Do such multiple crossings, thinkings, and doings by way of creative connections and intersections radically change the project and trajectory of art history as a discipline—if only in some of its modes and movements? If so, then what are the ramifications for the future/s of art history and its institutions? These are some of the questions that we want to explore in this session.
Deadline for proposals: 10 November, 2008
Please email proposal to BOTH
Michael du Plessis, University of Southern California duplessi@usc.edu
Robert Summers, University of California, Los Angeles robtsum@ucla.edu
For more information on the AAH 2009 Conference and other details go to http://www.aah.org.uk/future-conferences/index.php
http://www.miriad.mmu.ac.uk/aah09/session.php?id=9
Posted: 07/20/08
C-HIM: Conference on the Historical Use of Images
Where? FARO - Vlaams Steunpunt voor Cultureel Erfgoed (Brussels) When? 11th of March
This international workshop addresses the importance, significance and value of images for contemporary historical and archaeological research and the study of cultural heritage (1880-1980), focusing both on the positive insights that might be garnered from visual material as well as on the possible difficulties.
Photographs, posters, drawings, comic book illustrations et cetera will be examined on different levels: the author and his/her intentions, the representation of a reality, the construction of identities, rights and inequalities and the reception of images. The workshop aims at debating and evaluating various methodological and theoretical approaches to using images as historical sources and interpret the images as valuable historical evidence that is equal to and supplements other sources available to historians, archaeologists and researchers in the field of cultural heritage.
The morning session consists of a masterclass, conducted by dr. Anne Cronin (Department of Sociology, University of Lancaster, UK) ), and a lecture by dr. Marga Altena (Working group Visual Culture) (under reserve) . In the afternoon, dr. Kees Ribbens (historian, The Netherlands Institute for War Documentation) will talk about his experience in the field of popular culture and cultural heritage and about how visual sources determine our vision of the past. Thereafter, PhD and Master students and other researchers are invited to present their research.
We invite paper submissions on a range of topics related to the use of images as historical evidence and encourage papers on the following themes:
- aspects of everyday life (e.g. housing)
- material culture and the cultural life of objects
- advertising
- the impact of visual sources on our vision of the past
- cultural and representational issues (gender, ethnicity, sexuality, power)
- consumer culture
- methodological approaches to visual sources
- images as cultural heritage
The format is a 20 minute paper presentation followed by 10 minutes of questions and discussion. PhD and Master students and other young researchers are particularly encouraged to respond. The language of communication is English.
A selection of the papers will be published (in English) in a special issue of the Revue Belge de Philologie et d'Histoire.
Abstracts and papers
Interested students and researchers are expected to submit a short curriculum and an abstract in English of approximately 300 words in electronic form to: c-him@vub.ac.be by 20 Octobre 2008. Submission should inlcude the author's name, affiliation, address, phone number and e-mail.
Succesful applicants will be notified by 25 Octobre 2008 and are asked to submit a paper of approximately 6000 words in electronic form to the same address by 4 March 2009
Fees
Registration and lunch: 15 euro
Posted: 07/06/08
CFP: Post-Revolutionary Art Conference
1789, 1989, 2009: Changing Perspectives on Post-Revolutionary Art
June 12-13, 2009: Courtauld Institute of Art, Research Forum, in collaboration with UCL
Keynote Speakers:
Professor Susan Siegfried, University of Michigan Professor Darcy Grimaldo Grigsby, University of California, Berkeley
Opening Address: Dr. Satish Padiyar, Courtauld Institute of Art
The coincidence of the bicentenary of the French Revolution and the ending of the Cold War in the 1990s promoted a climate of renewed interest in issues of the relations between representation and subjectivity in Post-Revolutionary France. Thanks to this pioneering scholarship, the critical categories gender, class, race and sexuality are firmly entrenched in the study of the period.
In a post-9/11 world, scholars within the field find themselves at a crossroads between these established methodological approaches and a shifting political landscape. This conference seeks to understand how contemporary political exigencies impact the social, psychoanalytic and gender-based scholarship that took as its principal object of inquiry the artistic production of Post-Revolutionary France (1789-1852). Can methodologies that privilege subjectivity, the body and desire be developed to articulate current global concerns or should these be supplanted by new interpretative models?
Debates concerning individual liberty and government authority, the development of newspapers and print technologies, and emergence of consumerism as a mode of modern experience in Post-Revolutionary France all resonate in the present. During the past decade, Anglo-American scholars have explicitly drawn connections between visual culture in the Revolutionary and Napoleonic states and the recent rise of government instituted programs of surveillance and legitimisation of aggressive, interventionist foreign policies. We seek to question whether these parallels amount to anything more than historical equivalence or if they are motivating deeper methodological change in the study of Postrevolutionary France.
This conference will stimulate debate on whether new approaches are needed for the study of this period. We are interested in new approaches to the materiality of objects, the relationship between different forms of media and their interaction with other domains of culture, and new understandings of empire and nation. We seek to interrogate why the authors of many influential studies of post-revolutionary European art have moved on to research different periods, while other established scholars continue to locate new interpretive models for the art of the period.
Although our focus is on the problem of interpreting French art, we are interested in the ways that global perspectives and interdisciplinary approaches are shaping new scholarship on this period. We are also open to proposals that engage with the memory of this period from the later nineteenth and twentieth centuries.
Topics for discussion may include (but are not limited to):
- New perspectives on nationalism and imperialism
- Beyond history painting?
- The status of gender as an area of inquiry
- The contemporary relevance of militarism and empire
- The impact of ?queer theory?
- Beyond the body?
- Landscape and conceptions of power
- The Memory of Slavery
- Reframing the idea of ?aftermath?
- French and Anglo-American scholarship - a methodological divide?
- The fate of Marxist and materialist interpretations and their place in
the field today.
Academics and postgraduate students are invited to submit abstracts of no more than 300 words, for 20 minutes presentations, together with a CV, to c19conference2009@gmail.com before November 1, 2008. We welcome proposals for papers that are unpublished and have not been previously presented.
Organised by:
Katie Hornstein, University of Michigan
Posted: 06/22/08
CALL FOR PAPERS
CITY LIMITS: URBAN IDENTITY, SPECIALISATION AND AUTONOMY IN SEVENTEENTH-CENTURY DUTCH ART
School of Art History and Cultural Policy, University College Dublin & National Gallery of Ireland, Dublin
25 April 2009
Deadline: 1 November, 2008
Seventeenth-century Dutch art has long been recognised as a distinctly urban form of visual expression. Rapidly expanding cities and towns were the main location for artists, patrons, and the market, while much of the subject matter of Dutch art reflects the experiences and aspirations of middle-class urban elites. It has become commonplace to use urban origins as one of the key criteria in classifying Dutch art. Artists working in close proximity in a common style and with shared iconographic interests are grouped together under such designations as "the Leiden fijnschilders" and "the Utrecht Caravaggisti". Others have gone further to assign labels to entire communities and coin terms such as "the Haarlem School" or "the Delft style". Influential surveys of Dutch art, such as Bob Haak's The Golden Age: Dutch painters of the seventeenth century (1984), have largely focused on major centres of production rather than discussing the exchange of artistic ideas across broader geographical areas. Likewise, the last two decades have seen many exhibitions that reappraised the art of a single town or city: Enkhuizen (1990), Dordrecht (1992), Rotterdam (1994), Utrecht (1997), Zwolle (1997), The Hague (1998), and Delft (1996 and 2001).
This symposium has three main areas of focus. Firstly, the question of urban self-representation will be addressed. How did individual cities and towns construct a distinct identity through images? What were the processes and motivations involved in attaching certain modes of representation and subject matter to particular urban centres? Secondly, the conference intends to examine the rationale behind local tastes and trends. Why did certain (sub)genres emerge and flourish in a given artistic centre at a specific time, and others did not? The third theme will be the validity of approaching seventeenth-century art through the prism of "local schools". Are such divisions justifiable given the short distances between the major centres of production in the Dutch Republic?
While itinerant artists are known to have adjusted their style and working methods to local tastes, did others not deliberately follow trends from out of town in order to distinguish themselves from their local colleagues?
Confirmed speakers:
. Professor Eric Jan Sluijter, University of Amsterdam . Dr. Walter Liedtke, Curator of European Paintings, Metropolitan Museum of Art, New York . Professor Wayne Franits, Syracuse University
Paper Proposal Deadline:
Abstracts between 250-500 words are sought for 25-30 minute paper presentations. The deadline for abstracts is 1 November, 2008.
Notification of acceptance will be 1 December, 2008.
Posted: 06/15/08
Call for Papers
Imag(in)ing Asia and the Pacific: Emerging Visualities and Art Perspectives
Department of the History of Art and Visual Studies Annual Graduate Symposium
Cornell University
February 20-21, 2009
The symposium addresses the 20th century processes of decolonization, modernization, and nation-building that characterized the regions of Asia and the Pacific. These structures are revisited in the 21st century in the wake of globalization, and art practice in recent years has sought to address these questions, variously embracing or resisting their assumptions, politicizing their implications, or challenging discourse around such formulations. Not only are the cities of Asia and the Pacific growing, but have also become major centers of art, with mega-exhibitions and biennales that crucially forge regional identities and affinities. The symposium aims to explore these emerging visualities in the light of the complex, and changing socio-political and economic issues that affect countries, peoples, institutions and practice in the region.
Keynote speaker to be announced
We encourage submissions that focus on visuality and can be from a range of disciplines, including but not limited to Asian Studies, Pacific Studies, History of Art, History, Visual Studies, Anthropology, Sociology, Studio Art, Architecture, Literature, Theatre, Film, and Dance.
Of the many possible engagements with our theme, some include, but are not limited to:
- Classifications, geographies and identities – Possibilities of “Asian” and/or “Pacific” art: art and the archive (Hong Kong), and the museum (Fukuoka, Wellington, etc.).
- Forging regional “cultural” alliances: Inter-Asia theatre, Asia Pacific Triennial, Pacific Arts Festival, etc.
- Art and the city – cities as sites, cities as centers. Global cities and new urbanities (e.g. Shanghai, Mumbai, Auckland, Sydney, etc.) Cities as sites of public art. Exhibitions such as Cities on the Move, Paradise Now?, etc. Biennales such as Singapore, Gwangju, Sydney and new biennales and triennials being planned.
- Traditional Practices, New Media, and Art against the grain. Negotiation of tradition and technology in practice. Space for national heritage and culture and emerging alternative spaces/media for art.
- Economies of Art: The movement of art from the region across the global art market and the recent booms. The role of museums, galleries and auction houses.
Posted: 05/25/08
CALL FOR PAPERS
parallax. a journal of metadiscursive theory and cultural practices
Disturbing Spaces, Impossible Strategies:
Disturbing spaces: a metaphor for the challenge of structures and a symptom of spatial difference when operating within set frames. The manipulation of the space of activity, of the 2-D page, of the 3-D room, the juxtaposition of words, pictures, objects, bodies; the spatial and temporal configuration of things, their distance. But also, the metaphorical space of reflection, of ordering and classification, of orthodoxy and the canon; the domain of methodologies and typographies, of linguistic orders, of visual structures, of cognitive processes.
How does one, as a philosopher, a writer, an artist move in-between spaces, from the mental space of the formulation of ideas and rhetorical operations to the embodied space of physical impact and back again? And how does one act on the metaphysical space of theory from within the space of experience? This issue of parallax wishes to invite a discussion on strategies that by disturbing the spatio-temporal configuration of experienced space open up the space for critical reflection, or confront the canon with a premise that nourishes the possibility of doubt. What demands does the frame (of reference, of regulations, of limitations) make on the structure of the physical object? What are the frame/object?s internal and external limits and how can one invent and sustain alternative conditions of meaning and intelligibility?
Disturbing spaces entails knowledge of the object's physical location and therefore depends on the context of its experience and the conditions of its exposure. Thus, one may arrive at a disjointed critical stand by way of upsetting the order of things, yet this disruption of the frame of reference will also cause one to fall back to a provisional starting point. Is it, then, possible to retain this experience and to use it in order to reflect on and repeat such a performance? Where would one locate strategies that disturb the embodied/mental space and that tease out their distance? Would a self-reflective operation create a new space, reconfigure the same space anew or remain in a conceptual space?
Questioning the notion of impossibility and of impossible strategies, not as a prohibition but as a tangent, this issue of parallax allows its own space to become a meta-space of dialogue across philosophy, literary and art criticism, semantics and discourse analysis.
Submission Deadline: 1 April 2009
Potential contributors are encouraged to contact:
Eve Kalyva
parallax
Centre for Cultural Studies
School of Fine Art, History of Art and Cultural Studies Old Mining Building University of Leeds Leeds LS2 9JT UK
Email: parallax@leeds.ac.uk
____________________________
parallax is edited by a team at the School of Fine Art, History of Art and Cultural Studies at the University of Leeds. parallax publishes themed issues that aim to provoke exploratory, interdisciplinary thinking and response, providing a forum for a wide spectrum of perspectives on a topical question or concern. The journal is of interest to those working in cultural studies, critical theory, cultural history, philosophy, gender studies, queer theory, post-colonial theory, English and comparative literature, aesthetics, art history and visual cultures.
ISSN: 1460-700X (electronic) 1353-4645 (paper) Publication Frequency: 4 issues per year
Subject: Cultural Theory;
Publisher: Routledge
Editors: Ignaz Cassar, Mark Dawson and Eve Kalyva Arts Editor: Lynn Turner Reviews Editor: Marcel Swiboda Executive Editors: Barbara Engh, Martin McQuillan
Editorial Board:
Mieke Bal, Andrew Benjamin, Rachel Bowlby, Elisabeth Bronfen, Ian Buchanan, Susan Buck-Morss, Elizabeth Cowie, Omayra Cruz, Barry Curtis, Jonathan Dollimore, Simon Frith, Sue Golding, Ray Guins, Mark Little, Joanne Morra, Frank Mort, Christopher Norris, Peter Osborne, Kristin Ross, Marquard Smith, Allan Stoekl, Valerie Walkerdine, Jeffrey Weeks, Lola Young.
Posted: 05/04/08
MEDIA ART HISTORY 09 Re:live
Third International Conference on the Histories of Media Art, Science and Technology, Melbourne 26-29 November 2009
Call For Papers - Deadline 19th December 2008 http://www.mediaarthistory.org
Sponsored by Leonardo and the Victorian College of the Arts (University of Melbourne)
Following the success of Media Art History 05 Re:fresh in Banff and Media Art History 07 Re:place in Berlin, Media Art History 09 Re:llve in Melbourne will host three days of keynotes, panels and poster sessions Media Art History 09 - Re:live, a refereed conference, is calling for papers, panels and posters on the histories of digital, electronic and technological media arts. With the theme of Re:live we are especially interested in expanding the range of topics to include sustainability, live arts and the technological arts of life, both organic and nonorganic.
How do the media arts change? Through innovation, accident, discovery, mutation or crisis? How did contemporary media arts come to look and sound like they do? What options and potentialities and eccentricities in the history of media have been lost or overlooked or suppressed? What hopes have been realised and which dashed? What is the history of speculation on alternate histories, and how have they altered the course of media art history?
Participants are asked to address at least one the following areas in their abstract:
- histories of the art-science-technology connection in particular works, careers, exhibitions and institutions, especially in national and regional perspective
- histories of biology, the life sciences and bioart in relation to media arts
- histories of the environment, environmental sciences, ideas of sustainability and ecology in the discourses and practices of media arts
- histories of liveness and performance in relation to media arts theory and practice, including network performance, multimedia performance and the relation of media to the histories of theatre
- histories of the life of machines, cyborgs, virtual communities and the arts of transmission
- histories of the liveness of real-time arts and art-science-technology collaborations in such areas as earth sciences, meteorology and astronomy
- histories of innovation, accident, discovery, and speculation on alternative futures in media arts
We particularly wish to encourage presentations from and about these histories in the Asia-Pacific region. Proposals are welcomed from artists, curators, arts organisers and researchers in media, art history, performance studies, literature, film, and science and technology studies.
Selected papers from the conference will be published in Leonardo (MIT Press). We are negotiating with academic presses for one or two anthologies from the conference.
Submissions: A dedicated website with updates and online paper submission system is available at http://www.mediaarthistory.org.
Abstracts of proposals, panel presentations and posters should be submitted in either text, RTF, PDF or Word formats
Deadline for 200 word abstracts: 19th December 2008. Please submit proposals at http://moodle.donau-uni.ac.at/relive/openconf.php
Sean Cubitt and Paul Thomas, conference co-chairs.
