Calls for Papers, Posters, and Proposals
The Art History Information Exchange
People, committees and even acronyms are all out there seeking valuable input from you. Aside from sharing knowledge, Calls are also golden opportunities to network in a tight job market. In an effort to facilitate this professional 'matchmaking,' each time a pertinent Call for Papers, Proposals, or Posters 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: I will not post any CFP if its stated deadline is less than two weeks from the time it was submitted to me.
Posted: 02/12/12
CFP:
Branching Out: Botany and the Sculptural Object
Henry Moore Institute, Leeds
Saturday, October 27, 2012
This conference examines the ways in which botany has acted as a continuing source of inspiration in sculpture, concentrating on sculpture produced between the mid-nineteenth and mid-twentieth century.
Please consult the following website for the complete Call for Papers:
Deadline for submissions is Monday 2 April 2012. To apply, please send a 300 word abstract and one page CV to Dr Elizabeth McCormick, Henry Moore Institute Post-Doctoral Research Fellow: elizabeth@henry-moore.org.
Posted: 02/12/12
Announcing the Third Annual
FEMINIST ART HISTORY CONFERENCE
at American University in Washington DC
Friday-Sunday, November 9-11, 2012
CALL FOR PAPERS: please submit via email a one-page, single-spaced proposal and two-page curriculum vita by May 15, 2012 to fahc3.cfp@gmail.com. Notification of acceptance by July 1, 2012
This conference builds on the legacy of feminist art-historical scholarship and pedagogy initiated by Norma Broude and Mary D. Garrard at American University. To further the inclusive spirit of their groundbreaking anthologies, we invite papers on subjects spanning the chronological and geographic spectrum to foster a broad dialogue on feminist art-historical practice. Speakers may address such topics as: artists, movements, and works of art and architecture; cultural institutions and critical discourses; practices of collecting, patronage, and display; the gendering of objects, spaces, and media; the reception of images; and issues of power, agency, gender, and sexuality within visual cultures.
Keynote address:
"Guess Who's Coming to Dinner? Feminism, Art History and the Story of a Book"
Whitney Chadwick, Professor Emerita of Art History
San Francisco State University
Sessions and keynote will be held on AU's campus with additional events at the National Museum of Women in the Arts in conjunction with its 25th Anniversary celebration
Sponsored by the Art History Program, Department of Art, College of Arts and Sciences at American University Organizing committee: Kathe Albrecht, Juliet Bellow, Norma Broude, Kim Butler, Mary D. Garrard, Namiko Kunimoto, Helen Langa, and Andrea Pearson
Posted: 02/05/12
CALL FOR PAPERS
Early Exposure: The Emergence of Photography as Art
Session chair: Evan D. Williams (evan@evandwilliams.com)
Southeastern College Art Conference
Durham, North Carolina October 17-20, 2012
Throughout its 170-year history, photography has repeatedly faced the criticism from scholars and laypeople alike that it is too facile, mechanical, or literal to be considered a true art form. This session calls for papers that explore people, institutions, or events that demonstrated the medium’s immense creative potential to skeptical audiences. Participants may, among other possibilities, consider the earliest examples of fine art photography in the 1840s, the advent of Pictorialism in the 1880s, the establishment of the first commercially viable photography galleries in the 1970s, and the dawn of the digital image in the 1990s.
Presentations will be 15-20 minutes in length (2,000-2,500 words).
The deadline for proposals is April 20, 2012.
200-word abstracts should be submitted here: http://www.secollegeart.org/forms/secac2012-Durham-Call-for-Papers-Proposal-form&info.pdf
CVs should be submitted in .PDF or .DOC form to: evan@evandwilliams.com
The complete list of SECAC 2012 CFPs may be found here: http://www.secollegeart.org/forms/secac2012-Durham-Call-for-Papers-SESSION-LIST.pdf
General information about the conference may be found here: http://www.secollegeart.org/annual-conference.html
Posted: 02/05/12
Lex-ICON :
treating text as image & image as text
International interdisciplinary conference
7 - 9 June 2012
Université de Haute-Alsace, Mulhouse, France.
(Paper proposals due Feb 25th 2012)
Multidisciplinary conference on text and image creation, use and reception in ultra-contemporary literature and visual art (works created in the 21st century). http://lex-icon21.blogspot.com/
« The sum of human wisdom is not contained in any one language, and no single language is CAPABLE of expressing all forms and degrees of human comprehension. »
— Ezra Pound
As Pierre Garnier wrote almost 50 years ago, « la nouvelle poésie s'alimente, quant à son origine, dans les langages typiques d'autres arts, en particulier celui des arts plastiques, qui lui permettent d'atteindre la dimension d'objet récusant la "lecture". » Since then, many movements have given a central place to the use of the word rather than that of any other visual form. As Johanna Drucker wrote, by the beginning of the 1960s « artistic activity […] had dissolved the boundaries between disciplines which had rigidly distinguished high modern visuality from high modern literariness at mid-century […] the experimental innovation had inbred so successfully with other artistic sources […that] current work actually blends visual and verbal elements into what is an increasingly synthetic unity ».
Is it emphatic attention to the physical substance of language that draws authors and visual artists together today? Or are there very different modes of representation and conceptual creation engendering cultural upheavals in artistic and literary practice?
This conference will unite researchers from varied disciplines in order to begin formulating a new criticism for the 21st century's authors and visual artists who are given to making texts to see as if they were geometric forms, or forms to read, colors and visual sequences whose nature it had once been to reach spectators and their perceptions with an inherent immediacy.
In particular, Lex-ICON will focus on the reception of hybrid works, asking whether language and words are necessary to say or communicate things and ideas or even to think. Can one simply feel thought through the gaze without ever really having the words, the grammar and thus language itself to describe it? Is a process of translation from the visual to linguistic necessary for thought to take place? The fluid nature of articulation emerges at this time when language has taken center stage in visual art and where graphic gestures dominate literary works. The debates which have surrounded the treatment, classification, teaching, economy and reception of such works are not new, but they are increasingly becoming the motifs of ultra-contemporary art and literature. The theories on lexiconographic work have long lived in separate ponds, but the idea is to unify them and seek a common cross-disciplinary discourse.
The goal is therefore to contribute to the development of theoretical reflection regarding the effect produced by the intersemioticity of verbo-visual practices. Discussions and panels will be joined by a series of artistic and literary presentations and performances during and around the conference in the region of Alsace and the city of Mulhouse.
Potential presentation topics include :
- The use and novelties of visual protocols (typographic plays, scribbling, collages, importation of images, etc.) in ultra-contemporary literature.
- The borders of the visual form of letters in books and out.
- The multimediality of the page as a space for redefinition.
- The stakes and the modality of an image-rhetoric in the context of emerging screen cultures.
- Textual processes which lead to "unreadable" readings, to illegible texts.
- Art for art: metafiction within verbo-visual artwork.
- The genre of the rebus as narrative rediscovery (hommages to Magritte).
- Emergent modes of lexiconographic reading..
- The new relationship to languages—perhaps "a corollary to travel and to the planetarization of culture" (Edeline)?
- The phenomena of simplification of complex thought or of complexification of reading image and text as applied to the creation of lexiconographic works.
- Identity (and the interrogation of identity) of the author-artist by these verbo-visual creative practices.
- New narrative forms in lexiconographic work.
- The Lyricisms of a lexiconographic text or piece of art.
Artists to study ? :
Works created since the year 2000 by lexiconographic artists and authors such as Rosaire Appel, Julien Blaine, Marcel Broodthaers, Sophie Calle, Amélie Dubois, Brendan Fernandes, Kathleen Fraser, Jenny Holzer, Susan Howe, Vannina Maestri, Jacques Sivan, Nico Vassilakis, Lawrence Weiner, or, among those who showed language-based artworks at the Art Basel 2011 expo : Vito Acconci, Kader Attia, Martin Boyce, Tacita Dean, Matias Faldbaklen, Claire Fontaine, Doria Garcia, Ryan Gander, Liam Gillick, Philip Goldbach, Leon Golub, Shilpa Gupta, On Kawara, William Kentridge, Sean Landers, Mark Leckey, Fabian Marti, Sara Morris, Michael Müller, Yoshitomo Nara, Jack Pierson, Jaume Plensa, Richard Prince, Allen Ruppersburg, David Shrigley, Rirkrit Tiravanija, Barthélémy Toguo and others.
Paper proposals (250-300 words) in French or English should be emailed before the 25th of February 2012. They should be sent to both Jennifer K Dick (jennifer-kay.dick@uha.fr or fragment3@yahoo.com) and to Océane Delleaux (oceane.delleaux@wanadoo.fr).
Co-organised by Jennifer K Dick (UHA/ILLE), Didier Girard (UHA/Ille), Océane Delleaux (UHA/CREM/Edith), Eric Suchère (École Supérieure d'Art et Design de Saint-Étienne) and Fréderique Toudoire-Surlapierre (UHA/Ille).
The organizers will confirm the final programme by the 15th of March 2012.
All of the information concerning this conference will be posted on our blog at : http://lex-icon21.blogspot.com/
Posted: 02/05/12
REVISITING THE CLOISTER
Monastery and Convent Architecture in Nineteenth-Century Britain
Victorian convent and monastic buildings embodied diverse theological, social, cultural and gender discourses within nineteenth-century Britain, yet these structures have received limited academic attention. On Saturday 6 October 2012 in London, The Victorian Society will host a wide-ranging symposium to explore these multi-functional sites – spaces not only of devotion, contemplation and leisure but also of artistic production, education, industry and social care – from an ecumenical perspective. Too often, scholarship in nineteenth-century religious architecture has been divided across denominational lines. 'Revisiting the Cloister' seeks to engage with the productive cross fertilization of aesthetic and theological ideas arising from an interlaced rather than sectarian social milieu.
This symposium invites papers that consider the patronage, design and construction of both male and female religious houses in the nineteenth century. Papers that explore themes of gender, agency, community, artistic and industrial innovation, continuity and change are particularly welcome. Proposals for 20-minute papers should be emailed to the organisers no later than 29 February 2012.
Organised by:
Ayla Lepine (The Courtauld Institute of Art) & Kate Jordan (The Bartlett School of Architecture)
Contact details: ayla.lepine@courtauld.ac.uk & katejordan77@gmail.com
Posted: 02/05/12
CFP: Art, Criticism and the Forces of Globalization (Liverpool, 10-14 Sep 12)
Winchester School of Art and Tate Liverpool, September 10 - 14, 2012
This conference, organized jointly by Winchester School of Art, Tate Liverpool and the Archives of Art Criticism at the University of Rennes, seeks to investigate the historical and contemporary relations of art production and critical writing in the era of globalization. The Liverpool Biennale, opening at the time of the conference, is also focused on a global theme, 'hospitality in all its dimensions,' and will be integrated into the programme. You are invited to submit a title and 100 word abstract for twenty-minute papers to be presented within the following sessions. Further sessions may be announced and related events in Winchester and Liverpool will be integrated into the conference's proceedings, including the Liverpool Biennial 2012.
Deadline for abstracts is 1 March 2012. Please send abstracts to Dr August Jordan Davis at A.J.Davis@soton.ac.uk and Dr Stefanie Van de Peer at S.E.Van-de-Peer@soton.ac.uk
Organisers
Jonathan Harris, Winchester School of Art (WSA)
August Jordan Davis, WSA
Jean-Marc Poinsot, University of Rennes Archives of Art Criticism
Lindsey Fryer, Tate Liverpool
Please send all correspondence to:
Dr August Jordan Davis, Senior Research Fellow, WSA
Email: A.J.Davis@soton.ac.uk
Dr Stefanie Van de Peer, Senior Research Fellow, WSA
Email: S.E.Van-de-Peer@soton.ac.uk
Sessions
Day 1 (10 Sept; Winchester) Globalization and Art in the Twentieth Century
(Convenors: Jonathan Harris, University of Southampton and Dr Paula Barreiro-López, CCHS-CSIC)
How have recognisably 'global' and 'globalizing' processes and forces shaped art & criticism in the twentieth century? Is the term of analytic value or historical validity in examining practices in art and criticism from before the 1970s? Papers are invited on art practices and critical writing in any country, and may focus on artists, artworks, critics or the place of specific institutions or other mediating organizations. Proposals, however, should clearly differentiate notions of the 'global' and 'globalization' from antecedent but related terms such as 'modern,' 'international' and 'cosmopolitan.'
Day 2 (11 Sept; Winchester) Globalization and Contemporary Art
(Convenor: Anna Maria Guasch, University of Barcelona)
Contemporary art, in recent critical studies by, e.g., Terry Smith and James Elkins, has been identified closely with notions of the 'global' and 'globalization'. Papers are invited for this session, which will investigate the connections, but also disconnections, that characterise contemporary art production and its critical reception around the world. How might 'local' and 'provincial', or 'traditional', practices and values have been maintained within contemporary art - or transformed by the networks of the global art market and its relationship to 'gate-keeper' institutions such at Tate and The Museum of Modern Art, New York? Proposals dealing with north-south cultural and artistic relations are particularly welcome.
Day 3 (12 Sept; Winchester) Globalization and Asian Art
(Convenor: Menene Gras, Casa Asia, Madrid)
Contemporary Asian art has been a mainstay of the global art market for more than a decade now. How have Asian artists and their works achieved this success and prominence? What visibility do these marketed artists have in countries such as China, South Korea and Taiwan? This session also welcomes papers on contemporary Asian art criticism – its forms, locations, and means of dissemination. Papers are also welcome that deal with the politics of contemporary Chinese art education: its openness to western models, and resistances in terms of practices and values.
Days 4 /5 (13/14 Sept; Tate Liverpool) The Artist as Critic / The Critic as Artist
(Convenor: To be announced)
Congruent with holding the last day and a half of our conference at Tate Liverpool, a globally successful venue for modern and contemporary art and its critical understanding, this session invites papers by artists talking about their own work, or the work of others, or artists talking about critics and critical writing on art. Though the twentieth century has thrown up many examples of highly articulate artists - e.g., Robert Smithson and Robert Morris in the US - this session particularly invites papers from artists outside Europe and North America. Papers relating to art displayed in the Liverpool Biennial will also be very welcome.
Posted: 02/05/12
Performing Art History II: Conveying Research, Communicating Collaboration
A conference organised by the Performing Art History Special Interest Group
To be held on Friday 18 May 2012, Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London WC2
Building on a further year of workshops and seminars, the Performing Art History Group present a second conference that seeks to explore the clarity, diversity, and freedom that can come from presenting art historical research directly to an audience, as opposed to through traditional publishing routes in books or journals.
This year the conference will have an additional focus on collaboration. The topics of previous workshops, focusing on Television, Radio, and Internet Art History all address media that inevitably require creative alliances between different individuals with different skills. Likewise, the shift from more static forms of analysis encouraged by the limitations of print-based media and the subsequent rise of new technologies at the disposal of researchers, allows for interesting and diverse partnerships to emerge both within the discipline of art history and beyond it.
As such, the conference will give an opportunity for scholars at all stages of their careers to experiment with dynamic, alternative methods of conveying research and communicating collaborations, with the format of papers able to both reflect and directly comment upon the subject presented.
Abstracts are invited for short 15 minute papers from all areas of the discipline. In each case the art historical research presented should be further elucidated through novel and alternative presentation method, be it visual, aural, or action-based. Joint papers or collaborations between art historians, or between art historians and practitioners from other disciplines (visual arts, history, sciences, etc.) are especially encouraged.
Possible papers:
• 'Miro and the Sea: A Picture Essay'
• '21st-Century Collage: a lecture on multi-media given in multi-media'
• 'The Poetry of the Parthenon: an architectural analysis in verse by historian and poet'
• 'Between Rubens and Poussin: a live debate'
• 'The Mediterranean Character of Picasso: a lost lecture by the artist'
• 'Technical Advances and Musical Collaborations: recent x-ray examinations of a 14th century altarpiece accompanied by a new musical arrangement
Presentation techniques could include
(but are not limited to):
• a collaborative lecture between two speakers or performers
• a picture essay or photo essay
• an accompanying visual montage, movie, animation, or artwork
• accompanying sound, music, or performance
• original use of digital or presentation technologies (PowerPoint, etc.)
• an online paper
• an improvised lecture
• a lecture in character
Applicants should send an abstract of around 300 words clearly outlining the art historical focus of the paper, the paper's presentational technique, and the nature of the collaboration (if relevant), alongside a short biography, to jack.hartnell@courtauld.ac.uk. Deadline: 12th March 2012
Posted: 02/05/12
Decadence, Degeneration and the End: Studies in the European Fin de Siècle
Edited by Marja Härmänmaa and Christopher Nissen
Cambridge Scholars Publishing
Although the millennial musings of the past decade have led to a renewal of interest in the cultural consciousness of the late nineteenth and twentieth centuries, studies dealing with the full panoply of the European decadent-symbolist experience, including literature, the visual arts and philosophy, have generally been lacking.
The editors propose to seek the common thread within this diverse movement through an interdisciplinary anthology of essays in English from scholars in a variety of fields, including English, French, German and Italian literature,as well as the visual arts, philosophy and the place of the arts in society, with special emphasis on the themes of decadence, degeneration and death or finality.
Those interested in contributing to this volume are requested to send a 250 word abstract to the editors:
Marja Härmänmaa (marja.harmanmaa@helsinki.fi) or Christopher Nissen (cnissen@niu.edu) by March 31, 2012.
Posted: 01/22/12
Organized by
Department of Art History and Archaeology
Section Art History
Prof. Dr. Anne-Marie Bonnet and HD Dr. Katharina Corsepius
Rheinische Friedrich-Wilhelm University of Bonn
IRANIAN CONTEMPORARY ART
Symposium
Bonn
May 19-20, 2012
CALL FOR PAPERS
The symposium is addressing art historians as well as adjacent disciplines that deal with questions regarding Iranian contemporary art and its function within a global context. The objective of this interdisciplinary symposium is to screen and evaluate the actual artistic positions as well as to reflect the methodological fundamentals of art history.
The interest into Iranian art, literature and culture has increased enormously in areas located outside of Iran over the course of the last years. However, in many respects, systematic scientific research, which justly considers the specific historical, political and cultural roots of its emergence and reception, is lacking. Furthermore, its investigation is often characterized by stereotypes, western categorization models and hierarchical development ideas where a supposed continuously changing progressive occident is confronted with a static concept of the orient that remains in archaic basic patterns.
In order to break traditional views and generate new theses considering actual developments adequately, German, Iranian and international scientists should focus on highly specific concepts that have hardly gained any attention in international research so far. These include concepts, such as identity, tradition, document, space, body, global art or construction / deconstruction of authorship and recipient. All these belong to the central aspects of Iranian artistic positions in the context of current scientific discourses regarding pictures.
We invite contributions dealing with the following issues or group of themes and even topics that go beyond the suggestions, but are relevant within the broader context:
• Positions of contemporary Iranian art
• The role of "Iranian Art" in an international frame of reference (reflections on the art market, social and societal determinants in the reception process etc.)
• The case of "identity" / concepts of representing artistic identity
• Artists between Iran and Diaspora / self-image and image of the others
• Female artists / perception of women
• Concepts of "tradition"
• Symbolism and metaphors in contemporary Iranian art
• The relationship between language and image / literature and art
• The function of digital media in the artistic discourse
• Research on orient / orientalism / postcolonialism
Please email your abstract with 400 words in maximum and a short CV until February 20, 2012 to:
Elahe Helbig M.A.
ehelbig@uni-bonn.de
Selected participants will be notified by March 10.
Travel and accommodation expenses of presenters can be partly refunded by the organizer.
Posted: 01/08/12
CFP: From Influence to Translation: Art of the Global Middle Ages
University of Edinburgh
16-18 May 2012
European, Islamic and Chinese societies engaged in a broad practice of cultural, artistic and ideological exchange during the period that was known in Europe as the "Middle Ages" and that coincided with classical phases in eastern and western Asia. Adopting and passing on traditions through trade, pilgrimage and a range of other encounters, peoples of diverse backgrounds developed patterns of representation and exchange that have attracted the interest of scholars for several centuries.
Beginning with suggestions of influence and evolving through to theories of translation, the study of societal interactions during this period has been a transitional one. As such, this conference seeks to explore the embodiment of cultural exchange through the art and architecture of the medieval period as well as the methodological shifts that have occurred in the study of this period of wide multi-cultural engagement.
Papers focusing on a particular historical moment in China, India, Central Asia, the Middle East or Europe will be welcome. Themes include, but are not limited to:
- The exchange of visual and material culture through diplomatic gifts, pilgrimage, commerce and conquest
- Conceptions of influence, appropriation and translation in scholarly discourse and curatorial practice.
- Patterns of encounter and the process of exchange
We invite abstracts of 250 words to be submitted to gmaconference@gmail.com by February 28, 2012. If you wish to be added to a mailing list or have questions regarding this conference, please contact the conference organizers, Heather Pulliam (h.pulliam@ed.ac.uk) and Emily Goetsch (E.Goetsch@sms.ed.ac.uk).
Heather Pulliam
Lecturer, History of Art
Programme Director, MSc Art in the Global Middle Ages
http://www.ed.ac.uk/schools-departments/edinburgh-college-art/history-art/postgraduate/taught-degrees/global-middle-ages
Posted: 01/08/12
CALL FOR PAPERS
Renwick Gallery Symposium:
Nation Building: Craft and Contemporary American Culture
November 8-9, 2012
Smithsonian American Art Museum, Washington, D.C.
Paper submissions from senior and emerging scholars are invited for this symposium, which will examine craft's increasingly urgent role within contemporary American culture. Coinciding with the 40th anniversary of the Renwick Gallery, American Art's branch museum for contemporary craft and decorative arts, this program seeks to broaden the dialogue surrounding craft’s recent histories, and to articulate rapid changes to the field since the advent of the current century.
Scholarship is invited that complicates our understanding of modern craft as a response to mass culture, and that probes the evolution of the field beyond the studio movement. Investigations of post-studio practice, craft education, "craftivism," DIY (Do-It-Yourself) and Slow movements, converging practices in craft, design, and contemporary art, and shifting attitudes towards technology, skill, and materiality are welcome. How making engages gender, identity, class, politics, economics, the environment, and everyday life are also possible subjects of inquiry. The title of this symposium references modern craft's history as a regenerative (and often political) force in society, but also Hannah Arendt's assertion that what fundamentally distinguishes us as a species is our capacity for "world-building." The value of craft as evidence of diverse human agency is at the heart of this project. Ultimately, this program seeks a pluralist view of craft’s impact on the contemporary American experience.
Please email a two-page, double-spaced abstract (300-500 words) and short C.V. to Nicholas R. Bell, the Fleur and Charles Bresler Curator of American Craft and Decorative Art at the Renwick Gallery of the Smithsonian American Art Museum at CraftSymposium@si.edu
Proposals must be received by April 2, 2012. Confirmed speakers will be required to submit the text of their 20-minute symposium presentations by October 8, 2012. A final text of the essay with endnotes will be due January 2, 2013, for possible publication in the symposium proceedings. The symposium will be available for viewing in a simultaneous and, later, an archived webcast.
Posted: 12/04/11
Edited Collection on Dave the Potter: Slavery, Poetry, and Pottery
Michael A. Chaney (Dartmouth College)
contact email:
michael.chaney@dartmouth.edu
The editor invites chapter proposals for an edited collection exploring the work of Dave the Potter, or David Drake (ca. 1800-1874), a nineteenth-century African American slave and potter who worked in Edgefield, South Carolina. In addition to making some of the largest hand-built pottery of the period, Drake incised writing onto his storage jars and pots—signatures, proverbs, couplets of poetry, and witticisms. Some of this writing is documentational, but much of it is proverbial and poetic. Overtly disobeying prohibitions against slave literacy, these inscriptions range in tone from the audacious ("I made this jar" or "Cash Wanted") to the absurd ("Making this Jar--I Had All Thoughts/Lads & Gentlemen—Never Out Walks"). Save for a few commentators, such as craft historian John Vlach, journalist and fiction writer Leonard Todd, McKissick Museum curator Jill Beute Koverman, and my own chapter in Fugitive Vision (Indiana, 2008), Dave the Potter and the implications of his art and writing have hardly been discussed by the scholarly community. This collection is an attempt to rectify that scarcity of commentary.
Possible topics include:
*Dave the Potter as subject of contemporary art and writing in Leonard Todd's Carolina Clay, or Laban Carrick Hill and Bryan Collier's award winning children’s book Dave the Potter, or Chicago artist Theaster Gates's exhibit and installation "To Speculate Darkly".
*Dave's place in a revamped art history or literary canon of the US, of South Carolina, of African Americans, or of the Diaspora
*Comparisons of Dave and other artisans, artists, or writers
*Dave's work as the site for an intervention into theories or methods of critical race studies, history, art history, slave signatures, inscriptions, poetry, heroic couplets, hybridity, pottery, colonoware, ceramic form, notions of interdisciplinarity, fungibility, canonicity, Diaspora, etc.
*Analyses (from a range of approaches) of Dave's poetic inscriptions as well as his vessels
This list is more suggestive than exhaustive: the editor and the university presses interested in this collection welcome a range of topics, approaches, and disciplines.
Queries should be submitted to michael.chaney@dartmouth.edu.
Please send 400-600 word proposals as well as a C.V. to the same email address by March 1st 2012. Completed chapter-essays for accepted proposals will be due by June 1st 2012.
