Dear Friends and Colleagues,
Below you will find our usual list of CFPs, conferences, and scholarships. We would particularly like to draw your attention to the Southeastern College Art Conference’s CFP.
For four years EPCAF has participated in SECAC, it is an excellent opportunity to organize a panel on a broad topic, at a national or possibly international venue, and to connect to scholars from around the world.
The deadline is January 1st, and we would like to encourage you all to submit proposals, so that European postwar and contemporary art continues to be well represented. If you have questions, just let us know, we would be happy to discuss it with you.
Please also note a new conference for graduate students studying in France and England entitled View: A Festival of Art History.
We wish you a relaxing and productive holiday break.
Catherine Dossin & Victoria H.F. Scott
CALL FOR PAPERS
Sessions for MACAA-Conference
San Antonio, October 22 – 25, 2014
Deadline: Dec 13, 2013
The Mid-America College Art Association (MACAA) will hold its biennial conference, “Mash-up: Navigating Art and Academia in this Millennium,” October 22-25, 2014 in San Antonio, Texas. The University of Texas at San Antonio is pleased to host this event. MACAA invites proposals to chair a session. All are welcome, including present and former members as well as first-time participants. The call is open to the full array of themes and disciplines current in all areas of the study, teaching, and practice of studio art, design, and art history. Programming will include featured speakers, panels, poster presentations, and a membership exhibition. San Antonio offers visitors a rich and resonant blend of cultural histories and a dynamic contemporary arts scene.
Since the 1930s, the Mid-America College Art Association has provided a forum to discuss and debate the issues of our profession, to share ideas and information and to affirm the friendships and collegiality that bind us together.
Session proposals are to be submitted via e-mail to firstname.lastname@example.org with subject line “MACAA 2014 Session Proposal” no later than December 13, 2013.
Details at: http://art.utsa.edu/macaa2014
Kinetic Art: Then and Now
Session at the Midwest Art History Society Annual Conference, St. Louis, MO
April 3 – 05, 2014
Deadline: Dec 16, 2013
In the mid-1950s and 1960s kinetic art became an international phenomenon. With no single leader, manifesto, or aesthetic the term covers a wide range of works involving actual and optical movement, as well as works that demand collaborative engagement in the form of audience interaction. Tracing a lineage through early twentieth century avantgarde artists, such as Marcel Duchamp, Naum Gabo, and Laszlo Moholy-Nagy, the revival of interest in kinetic practices in the postwar period was manifest throughout Eastern and Western Europe, the United States, and Latin America. The Mildred Lane Kemper Art Museum has recently acquired a number of significant kinetic works from the 1960s, including artworks by Robert Breer, Davide Boriani, Karl Gerstner, Julio Le Parc, and Man Ray that reflect a range of experimental approaches emerging in the postwar period.
In light of the appearance of several major exhibitions of kinetic and Op art in Europe and the United States in the past decade, as well as these new acquisitions at the Kemper, it seems time to reflect on the resurgence of interest in and contemporary resonance of this movement.
This panel seeks papers that examine the diversity of approaches, strategies, and social and political agendas articulated by various artists throughout the twentieth and twenty-first centuries who engage with the production of kinetic works. Papers might consider topics including the split character of much kinetic art, between scientific attitudes and a positivist embrace of technology on the one hand, and an interest in play and chance, on the other; or the relationship between the populist tenets often underscoring the conception of kinetic works and their critical reception. Papers that address the ways in which contemporary artistic practices embrace or integrate movement, technology, and audience interaction are also welcome.
Send proposals of no more than 250 words and a recent CV by 16 December to Meredith Malone, Mildred Lane Kemper Art Museum, Washington University in St. Louis email@example.com.
For more information: http://www.mahsonline.org/call_for_papers_2014.asp
Postwar – Art between the Pacific and the Atlantic
Munich, May 22 – 24, 2014
As part of the research and exhibition project, a broad spectrum of events, conferences, and publications have been planned of which the “Postwar – Art between the Pacific and Atlantic, 1945-1965” symposium is the first. Convened at the Haus der Kunst in collaboration with the Tate Modern on 22-24 May, 2014, the symposium is an attempt to reconsider and re-examine the two decades following World War II. If we are to remap the cartographies of postwar modernism, what sort of methodologies might we deploy? How, we might ask, were radical aesthetics iterated and to what extent did the political exert pressure on the aesthetic, the cultural on the artistic? In turn, how did artists, critics, and intellectuals negotiate, resist, or even subvert political ideologies? How were artistic practices and aesthetic frameworks re-construed in dispersed political and cultural contexts, especially in response to hegemonic paradigms? Conversely, how did artistic and intellectual movements from the former colonial peripheries impact the terrains of modernism? How then did the circulation of art, objects, discourses, and ideas shape the global contours of postwar modernism? What, if any, were the connections between form and context in the postwar world?
The symposium (22-24 May, 2014) welcomes papers that draw on new and original research to address any aspect of these questions through specific case studies or by adopting a comparative approach. Please submit a 500-word paper proposal and a two-page CV to Atreyee Gupta at firstname.lastname@example.org by December 15, 2013. Symposium participants will also have the opportunity to submit their papers for inclusion in an edited volume, which will join a cluster of publications, both in print and online, that have been planned around the “Postwar – Art between the Pacific and Atlantic, 1945-1965” research and exhibition project.
The project “Postwar — Art between the Pacific and Atlantic, 1945-1965” is funded by the German Federal Cultural Foundation and the Goethe-Institut.
Link to our website: http://www.hausderkunst.de/index.php?id=1467&L=1
Contemporary Art and Politics
Session at the Midwest Art History Society Annual Conference, St. Louis, MO
April 3 – 05, 2014
Deadline: Dec 16, 2013
Okwui Enwezor, artistic director of documenta 11, demonstrated, with his 2002 iteration of one of the most important exhibitions of international contemporary art, the acuity and significance of contemporary political art. While primarily focusing on art that employs documentary means, he exhibited a broad range of art forms that included multi- and single-screen video projections, photography, performance, and cross-disciplinary practices as well as more conventional mediums such as painting and sculpture. The art assembled at documenta 11 was in large part the result and consequence of radical political changes brought about by the end of communism in 1989/90, the decisive moment that for many marked the end of history as it terminated the competing political systems of communism and democracy and their respective promise for human betterment. Profoundly transforming nations and societies, the end of communism in Eastern Europe gave rise to escalating violence and accelerated worldwide terrorism and economic and political inequality between North and South.
Triggered by fast-paced globalization, these conditions have significantly contributed to individual experiences that are dominated by trauma, statelessness, and daily exposure to political violence and conflict. This situation created an urgency on the part of artists to participate in, visualize, and engage political realities. This panel seeks papers that examine contemporary political art in all media and from a wide range of artists working within and at the margins of the globalized and networked art world. Preference will be given to proposals that not only explore political themes but also analyze the aesthetic means through which artists conceptualize and visualize today’s political realities as well as past histories of violence and conflict that are inscribed in the political and geographical landscape of our shared global world.
Send proposals of no more then 250 words by 16 December to Sabine Eckmann, Mildred Lane Kemper Art Museum, Washington University in St. Louis, Eckmann@wustl.edu
For more information: http://www.mahsonline.org/call_for_papers_2014.asp
Qu’est-ce qu’un dispositif (dans l’art contemporain)?
Appel à contribution pour le n° 20 de la revue Marges
Deadline: Dec 20, 2013
La notion de dispositif est souvent évoquée pour penser les structures visibles et invisibles que juxtaposent le pouvoir et le savoir. Développée notamment à partir des textes de Foucault , elle nomme un espace institutionnel qui fonctionne sur le modèle de machines à faire voir et à faire parler. De manière générale, cette notion inclut des pratiques discursives et non discursives qui peuvent être conformes à un ensemble d’institutions, de dispositions architecturales, d’énoncés scientifiques, de propositions philosophiques, etc. Cependant, la définition du dispositif avancée par Foucault reste hétérogène et difficilement saisissable car elle traverse son œuvre ; c’est pourquoi elle est l’objet de débats ainsi que la source de divers prolongements théoriques . Dans ce numéro, nous voulons interroger le fonctionnement des dispositifs dans le champ de l’art, leur opérativité stratégique, plus particulièrement, les effets qu’ils induisent dans la manière de percevoir et d’interpréter leur présentation. Quelle est l’autonomie et/ou l’hétéronomie de l’œuvre vis-à-vis du dispositif ?
Les propositions devront nous parvenir sous forme d’une problématique résumée (5.000 signes maximum, espaces et notes compris) avant le 20/12/2013 par courriel à Cindy Théodore (email@example.com) et à Angelica Gonzalez (firstname.lastname@example.org). Les textes sélectionnés (en double aveugle) feront l’objet d’une journée d’étude à l’INHA le 22/02/2014. Le texte des propositions retenues devra nous parvenir le 14/02/2014 (40.000 signes maximum espaces compris). Certaines des contributions seront retenues pour la publication du numéro 20 de Marges. La revue Marges (Presses Universitaires de Vincennes) fait prioritairement appel aux jeunes chercheurs des disciplines susceptibles d’être concernées – esthétique, arts plastiques, philosophie, design, architecture, sociologie, histoire de l’art, sciences de la communication, médiation culturelle …
Graduate Student Symposium
University of Oregon, Eugene, Oregon
April 17 – 18, 2014
Deadline: Dec 20, 2013
The University of Oregon Department of the History of Art and Architecture invites papers for its 10th Annual Graduate Student Research Symposium. This cross-cultural, interdisciplinary symposium will explore the theme of “the copy,” interpreted in the broadest sense to include any form of replication, reproduction, or forgery across all time periods, media and geographic regions. While both the art market and the art historical discipline have tended to prioritize the value of the original art object over its copy, an increasingly globalized society saturated with easily available reproductions in a variety of media requires us to reconsider the complex relationship between the copy and its original. Applicants may consider but are not limited to the cultural, theoretical, historical and commercial aspects of this topic.
For consideration, please submit a 250-300 word abstract and curriculum vitae as PDF attachments to email@example.com by December 20, 2013. Selected participants will be notified by January 15, 2014, and the full paper will be due no later than April 11, 2014. We look forward to your submission.
Journal of the Scottish Society for Art History
Scottish Artists Past and Present
Deadline: Dec 20, 2013
The theme of the 2014/15 edition of the Journal of the Scottish Society for Art History will be Scottish artists past and present. For this broad theme we invite contributors to address any period in history, including the historical dimension of contemporary art, and will consider any approach to the study of an artist’s life and work.
This issue of the journal seeks to show the vibrancy of current art historical research on Scottish art. Papers that are concerned with artists that have not previously been given sufficient attention in the existing literature are particularly welcome, as are papers that consider previously overlooked periods in an artist’s life and work.
If you would like to contribute to this edition of the journal, please send a short abstract of 250-300 words to our editor Helen Scott (Helen.Scott@edinburgh.gov.uk) and/or guest editor Ben Greenman (firstname.lastname@example.org). The deadline for abstracts is 20th December 2013, and the notification of accepted papers will be sent out in the first half of January 2014.
Accepted papers should be 3,000-4,500 words in length, and may include up to 6 b/w illustrations (copyright to be cleared by the authors). The deadline for the submission of papers will be 25th April 2014.
Documents of culture/Documents of barbarism
The Art History Graduate Student Association 39th Annual Symposium University of California, Santa Barbara
April 25 – 26, 2014
Deadline: Dec 31, 2013
“There is no document of culture which is not at the same time a document of barbarism. No cultural history has yet done justice to this fundamental state of affairs, and it can hardly hope to do so.” Written in 1937 on the precipice of total war in Europe, Benjamin’s now famous statement continues to challenge art historical scholarship to reimagine itself beyond a long-standing framework that privileged an autonomous creator and an elite consumer. The criticism he posed to cultural history has been taken up in many ways: it has led to efforts to move beyond the hegemony of the canon and to produce accounts that examine canonical works in relation to social forces of the most diverse kinds. Scholarship has attempted to include all that had been previously excluded from inquiry, whether “low-art” imagery and practices, work from non-Western cultures and, even within Western art, from marginalized groups. On what is perhaps an even deeper level, art and architectural history has tried to break down discursive structures and to “open” the object to the diverse narratives implicit within it.
We are seeking paper proposals relating to all historical periods of art and architectural history and visual culture as well as those that think through these issues in new media and from multi-disciplinary perspectives.
Please submit abstracts of no more than 300 words for 20-minute papers along with a CV to email@example.com and firstname.lastname@example.org by December 31, 2013. We will contact all submitters by February 1, 2014. We will ask that papers, including images, be submitted to conference organizers at least one week in advance of the symposium.
Giulio e Anna Paolini Foundation
Deadline: Jan 31, 2014
The Giulio e Anna Paolini Foundation announces a new series of publications entitled “In collezione” (Italian/English) with the launch of the first Call for papers for an essay dedicated to a work by Giulio Paolini in the Foundation collection.
The Call is open to international researchers and scholars with a graduate (i.e. Master’s and or Ph.D.) degree in art history.
Candidates are invited to send in their abstract by 31 January 2014.
See the Foundation website for further information on the competition and the work in question:
SECAC 2014 Call for Session Proposals
Deadline, January 1, 2014, midnight, EST
Ringling College of Art and Design is pleased to be hosting the 70th annual Southeastern College Art Conference (SECAC 2014), to be held October 8-11, 2014 at the Hyatt Regency in Sarasota, Florida. The 2014 theme, NEXUS: From Handmade to High-Tech, explores the creative intersection of handmade and high-tech applications in the practice and study of the visual arts. We anticipate hundreds of attendees representing diverse arts disciplines, offering them multiple opportunities for dynamic discourse, national exposure for academic research, and valuable networking opportunities with peers and leaders from higher education.
The agenda will include several days of inspiring speakers, practical workshops, and experiential events at the conference hotel, on the Ringling College of Art and Design campus, and at various other venues in this beautiful city by the sea. We are especially proud to announce our keynote speaker for the 2014 SECAC Conference, Brandon Oldenburg, a distinguished graduate of Ringling College of Art and Design. Brandon is Creative Partner of Moonbot Studios, and his work includes the Academy Award-winning animated short film The Fantastic Flying Books of Mr. Morris Lessmore. Nearby exhibitions showcasing the work of internationally acclaimed artists James Turrell and Patrick Dougherty will be highlights of the numerous tours being planned for conference attendees. The SECAC 2014 Juried Exhibition will be held at the Art Center Sarasota, walking distance from the conference hotel.
Here is a direct link: 2014 Call for Session Proposals
Art Criticism Now
Department of Art History, University of Nottingham
March 26, 2014
Deadline: Jan 1, 2014
Art criticism now has a confusingly disparate public identity: on the one hand, highly visible populist journalism, obsessed with blockbusters and the commodified clichés of Hirst-Emin; on the other hand, theory-heavy analysis, often academic. And then there is ‘Artwriting’, which fuses creative writing with an ideology of anything goes. Should we share Doris Day’s sense of resignation: Is that all there is?
What would a more inclusive map of contemporary criticism look like?
What do we expect of criticism? Who is it for? Who writes it? Where is it published? How have new media changed the status of criticism? Can we compare criticism across different media? Are there examples from the past which suggest how criticism should or should not engage with art and artists, according to what criteria? What has happened to Baudelaire’s injunction that criticism should be ‘partial, passionate and political’? Proposals from critics, editors, readers, artists alike are welcome addressing any aspect of recent art criticism.
Please send proposals to Richard Wrigley (email@example.com)
Institut français du Royaume-Uni, 8–9 February 2014
Deadline: Jan 6, 2014
The Institut français du Royaume-Uni in London is proud to announce the launch of its annual art history festival.
VIEW will explore the multiple facets of art history through debates, talks, film screenings, an ‘art lab’ (see below) and an art book fair. Exclusive tours echoing the topics broached during the festival at the Institut will also be organised in and by London’s great museums during the weekend.
From academics, curators, collectors, museum directors and art dealers to writers, film directors, artists and journalists, the greatest European personalities in the field of art history will be present to share their knowledge, debate and shed light on key issues.
The Art Lab is a dedicated space at the festival in which the work of some of the best young researchers in art history will be showcased. Twenty short talks (c. 15 minutes each) will be selected by a jury through a special call for papers and presented by their respective authors at the Institut over the weekend of
8–9 February 2014.
Entries can focus on any period of art history and any medium (painting, sculpture, performance, etc.), analyse a single work of art, or artist, a whole movement, or explore an aspect of the chosen theme by bringing together particular works and concepts across the entire spectrum of art history.
Supported by visual material, entries should be stimulating, original, and accessible to an interested non-academic audience.
Entries are invited from undergraduate and postgraduate students of Art History and Visual Culture, enrolled on either practice-based or theoretical courses in the UK or in France whose work is on some aspect of art history in its broadest sense.
Entries should be no longer than 2,500 words and be submitted before Monday 6 January 2014, in English or in French, by emailing firstname.lastname@example.org
Please email your essay, all accompanying visual material and a brief up-to-date CV (all in pdf format) to
The Enlightened Image: History and Uses of Projection
Université du Québec à Montréal, Canada, May 22 – 23, 2014
Deadline: Jan 6, 2014
The purpose of this conference is to reflect on the issues concerning the projection of still images as this way of presenting images, used by museums and universities, plays an increasingly important role in the visual landscape. A projection can be part of an exhibition by artists or curators, its vocation can be recreational or educational, in any situation, the projection still monumentalises the image, which is placed in the heart of a collective experience. Thus, from the early development of magic lanterns in the middle of the seventeenth-century, the intermedial transposition has made the projection dedicated to the collective use of the image and gives it a status of mediator to the public.
The expected contributions will explore various aspects of the projection and its history through specific cases (exhibitions, art history lectures, etc.), narratives or representation of projections (advertising posters, scenes in novels, etc.), specific relationships between projection and print, photography or soundscape, technical developments (Kodachrome, e-readers, etc.) or metaphorical uses of the word “projection” (psychoanalysis, etc.).
Organised by Joanne Lalonde, Vincent Lavoie and Érika Wicky (Department of Art History, UQAM), this conference is held under the auspices of RADICAL (Repères pour une articulation des dimensions culturelles, artistiques et littéraires de l’imaginaire contemporain), a component of FIGURA, centre de recherche sur le texte et l’imaginaire. 300 words proposal in English or in French, with a brief CV, should be submitted by the 6th January 2014 to email@example.com.
Jacques Rancière and the Politics of A-disciplinarity
The Seventh Annual Comparative Literature Graduate Conference
Binghamton University SUNY, March 28 – 29, 2014
Deadline: Jan 10, 2014
Interdisciplinarity has become a buzzword across the humanities; the term usually implies that scholars make use of the tools of another discipline while remaining within the boundaries of their own. The French philosopher Jacques Rancière points to the impossibility of this project, describing his work as “a-disciplinary” or “in-disciplinary.”
We propose a conference about Rancière for three reasons: firstly, he takes up questions and concepts that belong to multiple disciplines; secondly, his ideas have been adopted within different disciplines; and lastly, Rancière himself theorized the nature of disciplines and disciplinary boundaries.
Please send an abstract of at least 250 words along with your C.V. to firstname.lastname@example.org by January 10th.
Crafting the Look: Styling as Creative Process
The Glasgow School of Art, Scotland, April 24 – 25, 2014
Deadline: Jan 10, 2014
This conference seeks to analyse the creative process of styling – the purposeful construction of a ‘look’ – whether it be in dress, space, or object.
In his theoretical writings on fashion, Roland Barthes underscored the complexities of how style is consciously constructed, for example observing that dandyism manifested in the careful selection and combination of particular sartorial items and conventions, with a keen attention to detail; that it was ‘not only an ethos… but also a technique.’ Today we might call this process ‘styling’, and those who engage in the practice professionally, or personally, ‘stylists’. In contemporary visual culture, the professional Stylist is familiar largely within fashion, but can also be found in other design fields such as architecture, interiors, product design, film, journalism, and commercial photography. The Stylist is perhaps an overlooked creative figure, although many artists and designers have themselves been Stylists of a sort in their own practice. Yet the act of styling as a form of creative production has had extremely limited discussion.
Abstracts of no more than 300 words and CV should be sent by 10 JANUARY to email@example.com. Please send via pdf or doc, and make sure to include your name, title, email address, and affiliation. Successful applicants will be allotted 20 minutes to present their papers.
Scholars, academics, practitioners and postgraduate students are all encouraged to apply.
Conference Organisers: Dr Robyne Calvert and Dr Rachael Grew
Keynote by Juliet Kinchin, Curator of Architecture & Design, MoMA
For more information: http://gsastyling.wordpress.com/
Authorship on Display
New York, CUNY, Graduate Center, April 7, 2014
Deadline: Jan 10, 2014
In the last two decades, the study of exhibition history has grown exponentially: a recent surge of publications, conferences, courses, and reconstructions of historical exhibitions has fostered a new body of knowledge. However, discussions on exhibition history are conspicuously bifurcated, shuttling between a small coterie of curators on the one hand, and a select number of scholars on the other. In curatorial circles, discourse often focuses on individual practices, with little sustained reflection on their broader historical and museological implications. Meanwhile, in academic circles, the history of exhibitions is often situated in terms of spectatorship, without directing attention to the various forms of authorship involved in exhibition making. This conference seeks to sketch a typology of authorial roles in contemporary exhibition practice by assembling a range of perspectives—artists, curators, art historians, and emerging scholars—for a day-long conversation.
Interested participants are invited to submit a paper no longer than 3,000 words along with a CV to firstname.lastname@example.org by Friday, January 10, 2014.
All-over. Magazin fuer Kunst und Aesthetik, Nr. 6
Deadline: Jan 15, 2014
all-over ist ein unabhängiges und nichtkommerzielles Onlinemagazin im Diskursfeld von Kunst und Ästhetik. In Form von Essays, Ausstellungsbesprechungen, Interviews und Buchrezensionen verbindet die halbjährlich erscheinende Publikation verschiedene Beiträge aus den Disziplinen Kunstgeschichte, Bild- und Medienwissenschaften, Ästhetik und Philosophie. Ziel ist eine kritische und reflektierte Auseinandersetzung mit bildender Kunst und ästhetischer Theorie.
all-over bietet jungen WissenschaftlerInnen die Möglichkeit, Textbeiträge zu publizieren, die im Sinne der Open-Access-Bewegung einer breiten Leserschaft kostenlos zugänglich gemacht werden. Das Magazin ist im Volltext sowohl online als auch als PDF-Download verfügbar. Alle publizierten Ausgaben und Beiträge sind zudem im Archiv abrufbar.
Der Umfang eines Textes sollte sich im Bereich von 5 bis 10 Seiten bewegen (dies entspricht ca. 10 000 – 20 000 Zeichen). Weitere Informationen sowie die redaktionellen Richtlinien sind abrufbar
Peer-reviewed online academic journal “View. Theories and Practices of Visual Culture” issue 5
Deadline: Jan 20, 2014
In this fifth issue of the journal “View. Theories and Practices of Visual Culture,” we invite contributions about queer images and images of queers. We’re looking forward to reading articles, which criticize normative images of non-normative identities, but also those which look for queerness in normativity; articles about images fighting for emancipation, but also about those bashful and introvert ones; texts about images created as a result of deep intellectual engagement with queer theory, but also about campy images, brought into being by pure accident.
Exchanging Photos, Making Knowledge (1890-1970)
Leicester, UK, June 20 – 21, 2014
Deadline: Jan 26, 2014
This two-day conference will explore how collectivities of photography such as camera clubs, photographic societies, commercial photographic studios, and other groups of practitioners produced knowledge about world phenomena, about local and historical events, new technologies, visual practices and techniques, as well as about photographic history itself. In recent years scholars have begun to explore the ways in which photographs have been set in motion since the early nineteenth century in a range of circumstances, both social and cultural.
Foregrounding detailed information about some of the main social conditions that enmeshed the use of photography within complex networks of institutional authorities, these accounts have shown how photographic practices and meanings were created jointly, by powerful groups of professionals and organisations. While such studies have clarified that the apparatus of photography and its various functions developed through institutional negotiations with sociocultural and economic forces, systematic interrogations of more prosaic, private exchanges that influenced the development and emergence of photographic enterprises are sparse.
The conference organisers welcome proposals for papers exploring any period in photographic history, in particular from the period 1890-1970. Topics may include the popularisation of cameras, photographic technologies and processes and its impact on shared photographic conventions; photographic education, publications, exhibitions and world fairs as sites in which sociocultural and visual values are exchanged and negotiated; as well as the making of scientific or popular knowledge through photography. However, we also welcome papers on other related topics.
Abstracts should be sent via email to Dr Gil Pasternak email@example.com by Sunday, 26th of January 2014. Submissions should be of 300 words in Microsoft Word or PDF format, and include your name, title, email address, academic position and affiliation.
Successful applications will be allotted 25 minutes to present their papers. Scholars, academics, and postgraduate students are all encouraged to apply. Applicants must propose new and original empirical research that draws on interaction with primary sources.
For future information follow us on Twitter @PHRC_DeMontfort and Like our Facebook page: https://www.facebook.com/PhotographicResearch
The International Journal of Cultural and Creative Industries
Call for papers for special issue – Contemporary Curation: Theory and Practice
Deadline: Jan 28, 2014
The International Journal of Cultural and Creative Industries (IJCCI) is a new international journal organized by the Institute of Creative Industries Design, National Cheng Kung University, Taiwan. The journal is a multidisciplinary, double-blind peer-reviewed journal which aims to facilitate scholarly works and discussions related to academic research and practical insights from the field of cultural and creative industries (CCI). The journal aims to reach both professional and academic audience and to bring together interdisciplinary and multinational perspectives. IJCCI publication activities are organized by the Institute of Creative Industries Design at National Cheng Kung University in Taiwan.
The topic of the next special issue for The International Journal of Cultural and Creative Industries is “Contemporary Curation: Theory and Practice”. We welcome academic articles, case studies, and viewpoints about the current practices and the challenges.
The special issue explores both theoretical and practical aspects on contemporary curation. It covers key aspects of the history, theory and practice of curating from the 20th century up to the present day. We welcome papers that research and reflect upon a wide range of curatorial contexts from exhibitions, off-site projects, events, festivals, etc. The focus of this special issue is the application and dissemination of defined curatorial contexts and strategies from policy, strategic, experimental, empirical or theoretical perspectives.
We welcome papers from curators, historians, critics, artists and event organizers to explore the shifting forms and diverse challenges of contemporary curation.
To express interests in contribution, please email a 400-word abstract to the editor of the special issue by 28 January 2014: Dr Ming Turner, National Cheng Kung University, firstname.lastname@example.org
Full paper is due by 30 April 2014.mThe special issue will be published in September 2014.
For more detailed information about the journal and the submission guidelines, please visit http://www.ijcci.net/
CURATING AND THE AFFECTIVE TURN
The Journal of Curatorial Studies
Edited by Jennifer Fisher and Helena Reckitt
Deadline: Feb 1, 2014
The Journal of Curatorial Studies seeks original research articles for a special thematic issue on how the affective turn has influenced curating and exhibitions.
From immersive installations to phantasmagoric projections, intimate performance to site-based biennials and civic events, contemporary curating increasingly operates within the realms of affect. Curators configure atmospheres in a number of ways – to situate artworks, attract audiences and mediate social bonds. Curatorial labour also extends to mobilizing personal networks, where generating emotional climates produces forms of symbolic capital essential to underwriting curatorial production in often under-funded and precarious conditions.
Timeline: February 1, 2014, abstracts due (250 words) September 1, 2014 manuscripts due (5-6000 words) Publication in issue (4)3 Fall 2015
Please send submissions and correspondence to: Jennifer Fisher, Associate Professor of Contemporary Art and Curatorial Studies, York University, Toronto email@example.com and Helena Reckitt, Senior Lecturer in Curating, Art Department, Goldsmiths, University of London firstname.lastname@example.org
For more information about the Journal of Curatorial Studies, please visit: http://www.intellectbooks.co.uk/journals/view-Journal,id=205/
German Wood: Material and Metaphor from Forest to Fireside and Beyond
German Studies Association Thirty-Eighth Annual Conference, Kansas City, Missouri
September 18-21, 2014
Deadline for Proposals: February 7, 2014
“The German Forest has moved into the German living room,” wrote liberal politician Friedrich Naumann in response to a 1906 exhibition of modern wooden furniture designed by the progressive Munich architect Richard Riemerschmid and fabricated with the help of machines. What might sound at first like a humorous (or even ironic) comment on the overabundance of natural wood visible in Riemerschmid’s modern “machine furniture,” was actually freighted with economic, social, and cultural weight. For the material product of the “German Forest” – wood – was not only an important resource and major export of the lately established German nation, it had also constituted the utilitarian backbone of German domestic life for centuries; and its cultural resonance was rooted in the legendary Battle of the Teutoborg Forest, when Germanic tribes, emerging from the trees (as the story goes), had vanquished the Roman legions of Ceasar Augustus. But like the account of the Teuton victory – part history, part myth – the notion of a “German Forest,” as historian Jeffrey K. Wilson has recently shown, was a cultural construct: an abstract (though powerful) idea – not a concrete thing. The German lands enclosed a variety of wooded territories, each distinct in its topography and biology. But there was, in actuality, no single “German Forest”; the concept had been cobbled together – like the German nation itself – from various regional examples and traditions to form an ideal or myth of unity, ripe for public figures (like Naumann) to exploit.
This interdisciplinary, diachronic panel will probe the paradox of abstract and concrete embodied by the entry of the “German Forest” into the “German living room.” Its aim is to reveal and untangle the interlaced complexities inherent in wood as indigenous material, utilitarian product, and cultural symbol. Proposals are welcome that consider the significance of “German wood” from any period and in any manifestation, in its dual role as object and concept.
Please email a C.V. and proposal of no more than 400 words by Friday, February 7, 2014 to:
Freyja Hartzell, Post-Doctoral Fellow in Material and Visual Culture, Parsons The New School for Design email@example.com
RIHA-Journal, issue: Beyond boundaries
Deadline: Feb 28, 2014
RIHA Journal (http://www.riha-journal.org/) invites submissions for its Special Issue “Beyond boundaries. Artists and art critics from Central and Eastern Europe in the West”
The aim of the Special Issue is to present artists and art critics from Central and Eastern Europe who gained a special position in the Western Art World and played an important role in the development of art and art criticism. Many of them, well-known in the West (i.e., France, Germany, Great Britain), stayed almost unknown in their homelands although their output was imposing. The Special Issue is not confined to one particular period or one country. Submitted papers may deal with figures active through all the centuries (from the Middle Ages to contemporary times).
We welcome papers in English, French and Polish. Suitable submissions will be sent to two expert peer reviewers for blind peer review.
Texts should not exceed 50,000 characters (incl. footnotes and spaces) and include no more than 15 images. For the format of bibliographic references please consult the RIHA Journal style guide at http://www.riha-journal.org/about/for-authors/style-guide.
No particular electronic formatting is required. Please keep the electronic formatting of your manuscript as simple as possible.
The Special Issue will be edited by the Institute of Art, Polish Academy of Sciences, Warsaw (ISPAN).
Please send your submissions to: Prof. Dr hab. Anna Wierzbicka and Dr Dariusz Konstantynów, Institute of Art, Polish Academy of Sciences (ISPAN), Warsaw mailto:firstname.lastname@example.org
Feminism in the 21st Century: Art, Visibility, Diversity
Feminist Art Conference, now in its second year, solicits submissions for its upcoming publication.
Deadline: Apr 15, 2014
Following the success of the first Feminist Art Conference in March 2013, FAC committee was approached by commissioning editor of Cambridge Scholars Publishing to prepare a volume of essays based on the materials of the conference. As a result, FAC committee is starting preparatory work on the future publication which will feature main themes, artworks, and ideas from the two conferences (one from the past 2013 and from the upcoming one 2014).
We are soliciting submission for two types of contributions for this publication. The first one is an academic essay up to 8,000 words in length. The essays can deal with the issues outlined above or can be related to other ideas and themes. We are asking that the essays be based on the artworks and performances from either conference of 2013 or 2014. The artwork exhibited in 2013 conference can be found online at http://factoronto.org/149-2/. The artwork that will be exhibited during 2014 conference will be available on www.factornto.org in later February/Early May. In addition, the essays can discuss other works of art, theories, media presentations, performance pieces, and other content.
The second type of contribution is the artists’ panel discussion. We are looking for artists, scholars, and performers who will discuss the connections between their work and current aspects of Feminist art. The discussions will be facilitated by one of the editors and will happen either as a public event, or as an informal discussion. The summaries/transcripts of these discussions will be then published in the volume. This strategy was devised to augment traditional academic discourse of analyzing artworks. We believe that panel discussions around specific topics will give voice to artists whose approach includes feminist ideas and theoretical concepts. The transcripts of these discussions will be published in the volume.
Submission procedures for academic papers: Submit abstracts minimum 300 and maximum 500 words and your CV in PDF file.
Submission procedures for panel discussions: Submit expression of interest of up to 200 words. In your submission please explain how your work relates to at least one of the mentioned above themes of the volume and CV in PDF file.
ADVERSITY AND CREATION
39th annual meeting of the International Merleau-Ponty Circle
Geneva, Switzerland, August 28 – 30, 2014
Deadline: Apr 30, 2014
In September 1951, Maurice Merleau-Ponty gave a lecture in Geneva entitled “Man and Adversity”, later published in Signs. For the 39th conference of the Merleau-Ponty Circle, to be held for the first time in a francophone context, the topic will be “Adversity and Creation”, thereby focusing on the present day’s situation in human sciences, politics and art. As Merleau-Ponty did in the middle of the last Century, we are facing the challenge to identify the source of the present aporias, in politics, art and human sciences. This is why the present call for papers focuses on the two fundamental dimensions of
action: adversity, since one always acts in front of or against something, and creation, since, as the philosopher wrote, “Being requires creation from us, in order to allow us to experience it”.
Completed papers, no longer than 4000 words / 25000 characters (with spaces) will be given priority, around the topic “Adversity and Creation” as well as on the links between Merleau-Ponty and contemporary issues. Please format papers for blind review and send with a cover letter to the conference director at Merleau-Ponty2014@unige.ch
The conference features the annual M. C. Dillon Memorial Lecture – an honor and monetary award for the best graduate student submission. Graduate students who wish to be considered for the Dillon award should indicate this in their cover letter.
Keynote speakers: Vivian Sobchack (UCLA), Gottfried Boehm (Basel) Invited speakers: Guy Félix Duportail (Paris 1), Sara Heinämaa (Helsinki)
The Journal of the Archives and Records Association
Deadline: Jul 31, 2014
Recent years have seen a rise in the profile of the visual arts archive. From a specialist sector, the field has become a site of rich convergence for many current issues affecting archives, such as interdisciplinary encounters with notions of the archive, and the archive as a site of creative practice. Contributions are invited to a special issue of Archives and Records (formerly the Journal of the Society of Archivists) on the theme of the visual arts archive.
Articles might consider aspects of this field of archival practice, or engage with discussions about visual arts archives that have taken place outside the archival profession. The issue particularly seeks to foster interdisciplinary debate, so contributions are encouraged from within and outside the archival profession, especially where they engage with aspects of archival practice.
Prospective authors are invited to contact the Editor of this special issue, Sue Breakell (email@example.com) to discuss potential articles. The deadline for submissions is 31st July 2014. All submissions will be double blind peer-reviewed and should be presented in line with Archives and Records style guidelines, available at:
Open Inquiry Archive: Review Section
The Open Inquiry Archive has just launched a new review section and is seeking reviews (see: http://openinquiryarchive.net/review-section/).
In addition to traditional reviews, our goal is to provide longer reviews that delve into thematic and interdisciplinary issues in depth. All reviews are thoroughly vetted and edited in consultation with one or more of the OIA Review Editors. Interested in proposing a review? Contact the Editors by sending an email to Ben Harvey (firstname.lastname@example.org) or Kirstin Ringelberg (email@example.com).
Open Inquiry Archive is an independent online project aimed at publishing scholarly occasional papers, working papers, and position papers on topics related to culture, broadly construed.
The Open Arts Journal
The Open Arts Journal addresses the demand for a rigorously compiled, peer-reviewed platform for arts scholarship open to diverse participants. Our dissemination is global, spanning multiple communities including practitioners of art, architecture and design, curators and arts policy-makers, and researchers in the arts and heritage sectors.
With an administrative home in the Department of Art History at The Open University, the Open Arts Journal makes an alternative, distinctive offer. Ours is a robust and imaginative response issuing from within the arts community, with an ethos of ‘openness’ toward those who may benefit from genuine ‘open access’ scholarly activity online.
Published twice a year, each edition tackles a key theme, issue or critical debate. Submissions undergo thorough, in-depth peer review in consultation with an esteemed international editorial board. We warmly welcome responses and proposals for future such issues at:
To join the Open Arts Journal distribution list, visit www.jiscmail.ac.uk/OPENARTSJOURNAL
Cultural Exchange: Russia and the West II
Cambridge, University of Cambridge
December 10, 2013
Organised by Theodora Clarke (PhD candidate, University of Bristol) and Cinthia Willaman Baltaxe (PhD candidate, University of Cambridge). This conference has been kindly sponsored by Russian Art and Culture and the History of Art Department at the University of Cambridge.
More information on the day here:
This conference forms part of the CCRAC conference series. For more information please visit http://www.ccrac.hoart.cam.ac.uk
L’histoire de l’art est-elle sexiste ? Par Abigail Solomon-Godeau (UCSB/Santa Barbara)
Les conférences de la Ligne générale – L’histoire de l’art : un langage du pouvoir ?
11 décembre 2013, 18h – 20h
Auditorium de la Galerie Colbert, 2, rue Vivienne, 75002 Paris
L’art d’Occident est un art misogyne. Il n’a cessé d’exclure les femmes des ateliers d’artistes sous des prétextes douteux qui sont généralement d’ordre moral. Cette exclusion séculaire n’a pris fin qu’à une date récente, où les femmes ont fait une irruption décisive sur la scène artistique. Or l’histoire de l’art a le plus souvent justifié, amplifié, magnifié le sexisme implacable de cet univers masculin : discours disciplinaire où la différence sexuelle n’est au mieux que l’alibi commode d’un langage répressif qui corrompt jusqu’au regard lui-même. On tente ici de montrer, à partir d’exemples historiques, comment voir les productions artistiques d’un autre œil que l’œil du maître, qui est avant tout l’œil du mâle.
Abigail Solomon-Godeau a publié entre autres de nombreux essais critiques sur la photographie ancienne et contemporaine, ainsi qu’un ouvrage séminal, qui a fait date, sur la notion de gender dans la peinture néo-classique : Male Trouble. A Crisis in Representation (1997).
Ecrans Exposés. Cinéma et art contemporain
18 décembre 2013, 17h30-20h
Galerie Colbert, Salle Giorgio Vasari, 2, rue Vivienne, 75002 Paris
À partir de la notion d’écran exposé, ce séminaire cherche à mettre en avant la convergence et les processus d’hybridation entre le cinéma, l’art contemporain et les médias pris dans une perspective archéologique. Plus précisément, il s’agira de s’intéresser à la notion d’écran, en en retraçant la généalogie, en s’interrogeant sur leur nature, format et mise en espace : des écrans pré-cinématographiques à celui du téléphone portable, en passant par les écrans multiples des installations. Ce sont donc également les nouvelles pratiques et les nouveaux usages de l’image via un écran qui seront ici questionnés.
Élément constitutif des salles de cinéma, puis des installations dans les galeries d’art, l’écran, aujourd’hui, est en effet partout jusqu’à devenir partie intégrante de notre expérience quotidienne. Cette prolifération, et l’élargissement de son champ, nous obligent à décloisonner les disciplines et leurs méthodologies afin de repenser l’écran et ses dispositifs, le régime d’images ainsi que la manière de regarder qui lui sont liés. En croisant les approches – histoire de l’art et histoire du cinéma, esthétique et archéologie des médias –, ce séminaire voudrait ainsi participer à une réécriture de l’histoire des images en mouvement aux 20e et 21e siècles.
2ème séance : Rythme et image de la pensée : repenser les débuts du cinéma.
Laurent Guido (Université de Lausanne) : « L’espace rythmique, entre scène et écran. »
Pascal Rousseau (Université Paris I) : “La psyché à l’écran. Cinématographie et visualisation de la pensée au passage du siècle. »
Rendez-vous: an International Seminar on French Art (18th -20th Centuries)
New York University, Institute of Fine Arts, Loeb Room
October 8, 2013 – April 8, 2014
In Fall 2013, the Institute of Fine Arts, NYU inaugurates Rendez-vous, a seminar on French art (18th to 20th Centuries) held monthly throughout the 2013-2014 academic year. International scholars are invited to present their research in an informal and creative setting for approximately 30 minutes, followed by an open discussion with students and colleagues. Rendez-vous focuses on French art in the broadest sense: ‘French’ is interpreted in an extensive way, including global exchanges, political dimension and colonial history, and ‘Art’ includes painting, architecture and sculpture, but also material and visual culture. Rendez-vous offers an occasion to learn about current innovative research by international and engaging scholars. The seminar aims to open up an exchange of methodologies, thoughts and ideas in a participatory atmosphere.
Rendez-vous is organized by Noémie Etienne, IFA/Mellon Postdoctoral Fellow (2013-2015). These lectures begin at 12:30pm in the Loeb room at the Institute of Fine Arts. They are open to the public, but RSVPs are required.
For more information, click: http://www.nyu.edu/gsas/dept/fineart/events/rendezvous-french-art.htm
Denkmalpflegerische Praxis der Nachkriegsmoderne II
Weimar, Bauhaus Universität, 31.01. – 01.02.2014
Registration deadline: Jan 10, 2014
Architektur und Städtebau der 1960er bis 1970er Jahre genießen mittlerweile eine große fächerübergreifende Aufmerksamkeit. Auch sind sie längst in der Praxis der Denkmalpflege angekommen. Den hierbei auftretenden Fragen widmet sich die zweite Tagungsveranstaltung von „Denkmal Ost- Moderne“: Welche Praxis der Denkmalpflege gibt es bereits? Wie sind beispielsweise die erhaltungswürdigen Bauten und Ensembles der DDR-Moderne zu ermitteln und nachvollziehbar zu begründen? Schließlich sind diese Bauten massenhaft und teilweise identisch gebaut worden. Ein ebenso zentrales Problem, das neben der praktischen Denkmalpflege auch die Inventarisation beeinflusst, ist die angeblich besonders schlechte Prognose nachkriegsmoderner Bauten hinsichtlich ihrer Denkmaleigenschaften. Dies betrifft einerseits die ganz grundsätzlichen Erhaltungschancen in nicht prosperierenden Regionen, andererseits die Sanierungsbilanz. Wie aber können Erhaltungsmaßnahmen denkmalgerecht gelingen und wie bereits vorhandene Erfahrungen für die breite Praxis produktiv gemacht werden?
Weitere Informationen unter: http://www.uni-weimar.de/de/architektur/professuren/denkmalpflege-und-baugeschichte/professur/denkmal-ost-moderne/
Workshop : Medium vidéo – Art vidéo en Suisse
24 mai 2014, Lausanne
Date limite: 15 janvier 2014
Dans le cadre du projet de recherche intitulé Medium vidéo – Art vidéo en Suisse conduit par l’Institut d’histoire de l’art et de muséologie de l’Université de Neuchâtel, en partenariat avec la Section d’histoire de l’art de l’Université de Lausanne et l’Institut d’histoire de l’art de l’Université de Berne, l’Université de Lausanne accueille le samedi 24 mai 2014 un workshop. L’orientation thématique du workshop rassemble des questions de premier plan concernant d’une part la catégorie, les stratégies de présentation et les formats d’exposition de la vidéo, d’autre part l’histoire spécifique de l’art vidéo en Suisse, ses lieux, ses protagonistes, ses expositions, ses concepts et ses méthodes.
Le workshop visera à faire le point sur l’état actuel de la recherche concernant la vidéo et l’art vidéo en Suisse, et d’aborder les axes d’étude à explorer ainsi que les outils de méthode adéquats. La journée sera organisée autour de sept à huit conférences de 30 minutes et se terminera par une table ronde réunissant différents commissaires d’exposition et conservateurs de musée ayant exposé de l’art vidéo.
L’appel à contributions s’adresse à tout chercheur (jeune ou confirmé) abordant le domaine vidéographique, que ce soit sous l’angle historique, méthodologique ou analytique, tous domaines confondus (histoire de l’art, histoire du cinéma, sciences sociales, sciences de la communication, histoire, muséologie, cultural studies). Les personnes intéressées sont priées d’envoyer à l’adresse : firstname.lastname@example.org :
- un projet de présentation, en français ou en allemand, avec intitulé (2’000 signes au maximum, notes de bas de page et espaces compris, en format PDF) ;
- un curriculum vitae avec coordonnées complètes.
L’objet de l’exposition
vendredi 11 avril 2014
Université François-Rabelais de Tours
Cette journée d’étude s’inscrit dans le cadre du séminaire « L’objet de l’exposition », qui réunit les étudiants de l’option « Médiation culturelle et Pratiques de l’exposition » du master en histoire de l’art de l’Université de Tours et de master Art de l’Ecole Nationale Supérieure d’Art de Bourges. Elle bénéficie du soutien du laboratoire InTRu (EA 6301).
« L’objet de l’exposition » porte une réflexion sur l’exposition comprise en tant qu’objet d’étude à part entière. Celle-ci n’est pas seulement envisagée comme un matériau privilégié de l’histoire de l’art ou de la muséologie, mais comme une pratique qui est, par essence, aux croisements de différentes disciplines et qui génère donc des questionnements qui lui sont propres. Au regard de son histoire, qui l’a vue s’affirmer de plus en plus comme une pratique discursive avec ses méthodes, sa grammaire – jusqu’à donner à son créateur le statut d’auteur (le curateur) – l’exposition est considérée comme un objet complexe et questionnée à travers toutes ses composantes, de sa production à sa réception. Dans ce but, le séminaire cherche à croiser les points de vue en sollicitant des chercheurs, des commissaires d’exposition, des responsables d’institutions culturelles, des scénographes, des artistes…
Chaque année, le séminaire se propose d’aborder ce vaste champ de recherche à travers le choix d’une thématique particulière, reprise lors d’une journée d’étude qui clôture le cycle. Pour une seconde année, c’est « l’architecture exposée » qui est étudiée, en partenariat avec le Fonds Régional d’Art Contemporain de la région Centre et le Centre de Création Contemporaine de Tours.
Programme du séminaire 2012/2013
Programme de la première journée d’étude du 3 mai 2013
Faculty Teaching Fellowship in Art History
Deadline: Review of applications will begin on January 10, 2014.
This one-year teaching fellowship is open to art historians at the beginning of their careers, either at the ABD or post-doctoral stage. The half-time teaching load (one course in the fall and two in the spring) will allow the recipient to strengthen teaching skills while also working on professional publications. The Fellow will be expected to engage actively in the intellectual life of the college and will have the opportunity to participate in college-wide teaching colloquia and humanities writing workshops while being part of a small and mutually engaged department.
The area of specialization is open, but the ability to teach topics in Ancient and World Art or Modern and Contemporary Art is preferred. The 1/2 teaching load will include at least two art history courses and possibly one Humanities core course with a focus in art history.
The salary will be competitive and the Fellow will also receive health and other benefits, a travel and research stipend of $2000, an allowance for moving expenses, and a private office with computer in the Art Department.
Send the following as email attachments (.doc, .docx, or .pdf) to Dr. Elise Smith, Professor of Art History, Chair of the Art Department, email@example.com: letter of application, CV, statement of teaching philosophy, evidence of teaching effectiveness (sample syllabi, assignments, and/or student evaluations), list of college courses taught, and statement of research interests. Please indicate in your letter of application whether you will be attending the College Art Association meeting in February. Also have three recommenders send letters of recommendation as email attachments to Dr. Smith.
GWU-Phillips Collection Post-doctoral Fellowship
The Phillips Collection
Application deadline: Jan 15, 2014
The fellowship is open to untenured scholars who have received their PhDs within the past five years. Applicants must have received their PhD by the time they submit their applications (no later than January 15, 2014). Preference will be given to applicants whose projects focus on subjects related to the museum’s areas of collecting and reinterpret the topic via innovative methodological approaches or alternative perspectives that may cross national boundaries and art historical time periods.
The next fellowship opportunity is July 2014 through June 2015.
To apply, send a cover letter, CV, a one-page research proposal, a sample syllabus for a proposed undergraduate or graduate course, and two letters of reference.
All application materials must be sent electronically in one PDF document to firstname.lastname@example.org
Goethe-Institut Fellowship, Haus der Kunst Munich
Application deadline: Jan 15, 2014
Supported by the Goethe-Institut, the Goethe-Institut Fellowship at Haus der Kunst is designed for international emerging scholars whose research focuses on global perspectives on modern and contemporary art in the second half of the 20th century and 21st century.
The fellowship shall concentrate on the research for a comprehensive exhibition project on the global art historical developments of the Post-war era. The Post-war project is substancially supported by the German Federal Cultural Foundation and the first of a trilogy whose second and third chapters will be devoted to the periods of Post-colonialism and Post-communism. One of the main tasks is the research and organisation of a series of seminars and colloquia in preparation for the project.
Interested scholars are invited to send their application via email to Isabella Kredler under email@example.com. The application should be in English and include a Curriculum Vitae, bibliography, reference letters and a cover letter explaining the motivation for the application. The application deadline is January 15, 2014.
The William R. Levin Award for Research in the History of Art
Thanks to the generosity of William R. Levin, Professor Emeritus at Centre College, Danville, KY, an award of an annual total of $5,000 to one or more art historians who are members of the organization. Dr. Levin has been a member of SECAC since 1987; served on the Board of Directors; published in the scholarly journal The Southeastern College Art Conference Review; and been recognized with two of the organization’s highest honors, the Excellence in Teaching Award and the Exemplary Achievement Award.
Levin endowed this award in 2013 to encourage and recognize research in art history. Applicants may be established scholars or those newer to the field. On a yearly basis, each applicant will propose one project that may be in the planning stage or partially realized. The purpose of the award is to enable completion of the proposed project likely resulting in publication, and to this end funds may be used for travel, supplies, fees, assistance, or other purposes. At its 2013 annual meeting, convened in Greensboro, NC, the Board of Directors of SECAC approved application procedures and deadline as well as the composition of a review committee. Directions for applying for this award are on the SECAC website. The first recipient of the Levin Award will be named at the 2014 meeting in Sarasota, FL.
Eligibility Any member of SECAC may apply. SECAC membership must be current at the time of application and at the time of the use of the funds. Once the grant has been in place, previous grant recipients must wait 3 years before re-applying.
Responsibility of Grantee No restrictions are made by SECAC on how the fellowship funds are expended. Conference papers and publications based on the project are encouraged. SECAC requests that fellows provide a brief report describing how the funds were spent during the fellowship period (one year from receipt of fellowship money). There is no fee for application for the fellowship.
Responsibility of SECAC The full amount of the fellowship will be paid to the fellow when the fellow agrees to accept the award and the conditions of the award.
To Apply: Create a single PDF with the following information:
- A 2-3 page CV of the applicant including all contact information (email, mailing address, phone number, etc.)
- A project proposal, limited to one page in length. Clearly describe the project and the intentions for the fellowship funds
- A selected bibliography, one page
- Additional supporting materials, limited to ten (10) pages
- Entries must be submitted as one PDF document
Title your PDF exactly as such:
Email your file to: firstname.lastname@example.org. Make your subject line state your Lastname.Firstname Levin Award application. (for example, Fahlman.Betsy Levin Award application)
DEADLINE: Entries must be submitted by March 1, 2014 at midnight EST. The award winner is recognized at the annual meeting and all applicants are notified of the committee’s decision within 60 days of the end of the meeting.