Circulaire #33

Dear Friends and Colleagues,

Last month, Sophie Cras (Assistant Professor, Université Paris 1 Panthéon Sorbonne) and Emmanuel Guy Assistant Professor, Parsons-Paris The New School) organized the EPCAF panel at the annual conference of the College Art Association that took place in New York. The panel which featured Nicolas Ballet (Institut National d’Histoire de l’art, Paris), Angela Bartholomew (Vrije Universiteit, Amsterdam), and Sara Blaylock (University of California, Santa Cruz) was, as I heard from many of you, a great success. We want to thank Sophie and Emmanuel for putting together such a wonderful session.


During CAA, Lily Woodruff also ran the EPCAF business meeting. We are grateful to those who attended the meeting and shared with us their ideas and visions for the group. This conversation will be very helpful in defining EPCAF’s strategic plan for the coming years. The minutes of the business meeting, along with the minutes of the CAA’s Affiliated Societies can be accessed.


Over the past few years, EPCAF has also organized a panel at the annual meeting of the Southeastern College Art Conference. For the 2017 SECAC Conference, which will take place at Columbus College of Art & Design on October 25-28, I am organizing a panel on European postwar abstraction. See below for more details on the panel, the conference (including all the other panels), and how to apply.



Catherine Dossin




EPCAF’s at SECAC: Call for Paper:


“Art, a language that should unite:” The Diversity of European Postwar Abstractions

In the catalogue of the 1948 Venice Biennale, Giovanni Ponti declared: “Art invites all mankind beyond national frontiers, beyond ideological barriers, to a language that should unite it in an intense humanism and a universal family against every Babel-like division and dissonance.” After five years of brutal conflicts and the mounting threat of the Soviet Union, the Western world was indeed in dire need of unity and solace. In this context, abstract art was often presented in the West as a universal language able to overcome national divisions and unite humankind.

But could abstract art have overcome the divisions engendered by the Second World War and the Cold War? Could American Abstract Expressionism have served as the West’s shared language against Soviet Social Realism? Even if abstraction dominated Western postwar art scenes, didn’t it assume different forms and meanings on each national scene? All the more so, since the interruption of international artistic exchanges during the War had led to independent and singular artistic developments.

Taking on these questions, this panel seeks to question the myth of abstract art universality by showcasing the diversity and richness of European postwar abstract practices that the triumph of American Abstract Expressionism has eclipsed.


73rd SECAC Conference

Columbus, OH October 25-28, 2017

Deadline: April 20, 2017







Dear EPCAF members,

EPCAF held a business meeting at the College Art Association conference in New York this past February 2017. Here are a few comments addressing questions that came up in the meeting, along with the EPCAF meeting minutes, and items from the CAA Affiliate Societies business meeting that may be of interest.

In 2017-2018, EPCAF will undergo a transformation in leadership and governance. In June, the counselors will vote on new by-laws, and in the following year it will be time for several of the counselors to step down from their current positions, which are limited to 2 year periods. This means that we will be looking for new people who are interested in helping to shape the future of EPCAF.

The book that Catherine has edited, Remapping France, will be print-on-demand by our publisher, AC Institute. The books will cost about $30 or $400, but a free copy of each will be provided to each author. If it is out in time, there will be a launch for it at the colloquium that EPCAF is organizing in Paris in June.

EPCAF meeting minutes
College Art Association conference, 2017

New York, NY

Meeting called to order at 12:15pm

In attendance: Rosemary O’Neill, Martina Tanga, Adrian Duran, Rebecca DeRoo, Lily Woodruff

Scribe: Lily Woodruff

It was suggested that we should recruit more members who work on Eastern Europe.

We should create a business card for EPCAF that we can distribute to people whom we think might like to join.

Regarding Remapping France, it was suggested that there should be a launch party at CAA 2018 in LA.

There were questions about its distribution, and whether or not it would be distributed to major international libraries. It was asked if there would be will there be free books for the authors. Some authors may have promised copies to people that provided resources, such as images. Will authors have to purchase their own copies? Will the book, or parts of it be open source? Doing so could be good for promotion.  How much will the book cost?

It was discussed that in the future we might seek to publish with a press that offers wider distribution, advertising, and a table at book fairs such as that at CAA. Those suggested were Bloomsbury, Taylor Francis, Purdue.

Future book topics might include: books on transnational subjects, such as Europop, Europe in the 1980s (perhaps Emmanuel and Sophie would be interested in organizing this?).

Grants for future publications might potentially come from the Alliance Française, Italian Cultural Institute, French Ministry of Culture. We could learn more by asking the Seelangs listserv, whose members are professional translators.

It was proposed that it would be nice if the books could be translated into other languages, in particular the languages of countries that form the subject of certain books.

We should get more involved with Italian Art Society and Center for Italian Modern Art (CIMA), which runs study days on subjects such as the Italian postwar period. Adrian will take care of this.

Would we want to charge fees for EPCAF membership? It is standard among affiliate societies. Fees could pay for things like publicity, book launches, prizes, CAA affiliate

We would like to perform data analysis on our members so that we can see what our target research areas are, and where we could stand to expand.

According to the bylaws, it is time for some of the EPCAF leadership to turn over. We will need to nominate members take on these roles.

Meeting adjourned at 2:15pm

CAA Affiliate Societies business meeting notes:

The Affiliate Society program began in 1978. There are currently 85 Affiliate Societies. There are 9,700-10,000 individual members of CAA (there was a decline in membership after 2008).

Affiliate Societies with fewer than 100 members pay $55 in dues annually.

At the 2017 CAA conference there were 25 business meetings, 46 affiliate panels, and 250 academic sessions total. This is 40% more than last year because the sessions are shorter (90 minutes instead of 150).

If they wish, Affiliate Societies may use their business meetings as second panels, although it is undecided whether or not the time slot would be labeled as anything other than a “business meeting.” The possibility of using the name of the Affiliate Society in a second accepted panel was discussed.

It is possible that there could be theme groupings (such as 1968) at future conferences. We can write to CAA (specifically Elizabeth Schlatter to let CAA know that we would like to see thematic groupings. Otherwise, the preponderance of panel proposals on certain themes will demonstrate interest.

In the future there may be panels on Sunday, into the evenings, possibly as late as 10pm. They are talking about shortening time between sessions to 15 minutes.

They plan on bringing together clusters of affiliate societies, and facilitating online meetings among them. They are hoping to do this by next October. This will involve including an affiliate representative on the CAA board.

CAA needs to know which of our affiliate society members are CAA members. Website redesign will include a stronger presence of affiliates.


Circulaire #32

Dear Friends and Colleagues,

The annual meeting of the College Art Association will take place on February 15 – 18 in New York City. Please note that CAA is introducing a Pay-As-You-Wish Day Pass this year:


On this occasion, EPCAF is sponsoring a panel on the European Eighties, organized by Sophie Cras and Emmanuel Guy, which seeks to demonstrate that a historical reassessment of the European Eighties is a necessary step towards a better understanding of the globalization that shapes today’s art world, as well as the challenges that western democracies are currently facing: extreme far-right identity politics, the migrant crisis, and uncertainty around the future of the EU.


EPCAF will also hold a business meeting that everyone (members and/or not-yet-members) is welcome to attend. It will be the occasion for us to meet, discuss EPCAF’s upcoming events, including our Second June Colloquium in Paris, and on-going projects such as our book series, on which Stephanie Jeanjean has been working diligently over the past months so much so that the first books are ready to come out this year. We will thus be seeking your book proposals, as well as asking you to share with us any ideas you might have for our association and its future.


Below you will find below our usual list of announcements.



Catherine Dossin


European Eighties

Co-Chairs: Sophie Cras and Emmanuel Guy

Date and Time: Wednesday, 02/15/17: 3:30–5:00 PM

Room: Bryant Suite, 2nd Floor, New York Hilton Midtown


EPCAF Business Meeting

Chair: Lily Woodruff

Date and Time: Friday, 2/17/17: 12:00 – 1:30 PM

Room: Regent Parlor, 2nd Floor, New York Hilton Midtown






Séminaire Années 80

Mondays, from 5 to 7 pm
Parsons Paris, 45 rue Saint Roch



Calls for Paper:


Artistic Subversion: Exposing Conditions & Cracking the Frame
Kunstlicht Vol. 38 (2017) no. 1
Deadline: 21 February 2017



Jean Dubuffet vs. The Culture

University of Rennes 2 (France), April 06, 2017

Deadline: Feb 28, 2017


International Students Sessions in Art History, The Art History Festival, 7th edition

Fontainebleau, France June 2-3-4, 2017

Deadline: March 15, 2017


Diasporas, Displacements, and Migrations

45th Annual Conference Western Society For French History
Reno, Nevada, 2-4 November 201
Deadline: April 1, 2017


“Art, a language that should unite:” The Diversity of European Postwar Abstractions

SECAC 2017

Columbus, OH October 25-28, 2017

Deadline: April 20, 2017

Circulaire #31

Dear Friends and Colleagues,

We are seeking proposals for the EPCAF sponsored panel at the 2018 College Art Association meeting, which will take place in Los Angeles.


If you are interested in chairing the EPCAF panel please send us an email by December 15. At that point it does not need to be a formal proposal, just a description of what you would like to do in the framework of that EPCAF panel.


The EPCAF counselors will select the panel we will endorse. The chair(s) of the selected panel will then submit an official proposal to CAA, along with a letter of support from EPCAF. As an affiliated society, we are guaranteed a panel at the yearly CAA meeting.


We look forward to receiving your proposals. In the meantime, you will find below our usual list of announcements.



Catherine Dossin





Doing Performance Art History. A Congress of Actors and Observers

Cabaret Voltaire, Zürich

November 3 – 05, 2016


Humor & Subversion in Kunst & Design

BTK-Hochschule für Gestaltung, Hamburg,

November 4-5, 2016


Capitales européennes de la culture. Et après ?

Université Libre de Bruxelles

November 16, 2016 at 7pm

Faculté d’architecture ULB, 19 Place Flagey, auditoire Flagey


Artists’ Writings on Materials and Techniques

The Edith O’Donnell Institute of Art History, The University of Texas at Dallas

February 24 – 25, 2017



Calls for Paper


Identities and Identifications: Politicized Uses of Collective Identities

Fifht Euroacademia International Conference

Centro Congressi Piazza di Spagna, Rome, Italy, December 9 – 10, 2016

Deadline: November 1, 2016


Mutating Ecologies in Contemporary Art

MACBA Museum of Contemporary Art, Barcelona, December 1, 2016

Deadline: November 1, 2016


AAH2017 Annual Conference and Art Bookfair
Loughborough University, 6 – 8 April 2017

Deadline: November 7, 2016


War, Revolution and Memory: Post-War Monuments in Post-Communist Europe

International Conference, Zagreb, February 17 – 18, 2017

Deadline: November 1, 2016


Pornography – Interdisciplinary Perspectives

Book editor : Frank Jacob, History Department, QCC-CUNY (

Deadline: November 15, 2016


(Post)secular: Imagining Faith in Contemporary Cultures

University of Warwick (UK), June 8 – 10, 2017

Deadline: November 15, 2016


L’avventura internazionale: Italian Artistic Identity since WWII

American Association of Italian Studies Conference 2017

Panel Organizer: Adrian R. Duran (

Columbus OH, April 20 – 22, 2017

Deadline: November 15, 2016


Digital Darkness

View. Theories and Practices of Visual Culture 16

Editor of issue: Lukasz Zaremba

Deadline: November 15, 2016


Italian Art Society at AAIS 2017 and CAA 2018

Columbus, Ohio / Los Angeles

Deadline: November 18, 2016


Feminism and Museums: Intervention, Disruption and Change

Editor: Dr Jenna Ashton, Manchester Metropolitan University

Deadline: November 21, 2016


Trashed: Rejection and Recovery in the History of Art and Architecture

The 33rd Annual Boston University Graduate Symposium in the History of Art and Architecture

Boston University, March 24 – 25, 2017

Deadline: November 21, 2016



Workshops in Rennes, Marseille, Paris, April 7 – June 29, 2017

Deadline: November 30, 2016


Beyond Established Narratives

Graduate Conference in European History (GRACEH) 2017

The 11th annual Graduate Conference in European History (GRACEH),

European University Institute (EUI, Florence), April 27–29 2017

Deadline: December 1, 2016


The Spatial Turn

Washington University Graduate History Conference:

St. Louis, Missouri, March 31st-April 1st 2017

Deadline: 1 December 2016



Colloque interdisciplinaire – Angers, 27-29 mars 2017

LICIA (Langages, interactions culturelles, identités et apprentissages) UCO (Université catholique de l’Ouest), Angers

Deadline: December 4, 2016


The Aesthetics of Surveillance: German Perspectives

Graduate Student Conference of Department of Germanic and Slavic Languages at Vanderbilt University

Nashville TN, 24–25 March 2017

Deadline: December 8, 2016


Critical Distance: New Explorations in Documentary Theory and Practice

Volume edited by: Dr. Gerda Cammaer, Ryerson University, and Dr. Blake Fitzpatrick, Ryerson University, and Dr. Bruno Lessard, Ryerson University

Deadline: December 9, 2016


Shaping Identities – Challenging Borders. Photographic histories in Central and Eastern Europe

Institute of Art History, The Czech Academy of Sciences, Prague in association with Liber pro Arte (Warsaw) and Humboldt University (Berlin), May 9 – 10, 2017

Deadline: December 15, 2016


Crossing Borders, Challenging Boundaries

The International Graduate Historical Studies Conference

Central Michigan University in Mt. Pleasant, Michigan, March 31-April 1, 2017

Deadline: December 19, 2016

(see attachment)


Realism in the arts (and beyond)

Special issue of Costellazioni, Rivista di Lingue e Letterature

Deadline: December 31, 2016


Les images vivent aussi

Images re-vues

Special Issue Editors: Bérénice Gaillemin and Elise Lehoux

Deadline: January 15, 2017


Art and Presence. A conference on art, atmosphere, museums and presence

SDU Syddansk Universitet og Faaborg Museum, September 15 – 16, 2017

Deadline: January 15, 2017


2017 UCSB/GWU/LSE International Graduate Student Conference on the Cold War

University of California, Santa Barbara, April 27-29, 2017.

Deadline: January 27, 2017 for CCWS for GWCW


Focus on German Studies Graduate Student Journal vol. 24 (March 2017)

Deadline: March 11, 2017


Reformation, Revolution and Crisis in European History, Culture and Political Thought

International Conference, the University of Sydney, 29 November to 1 December 2017

Deadline: April 30, 2017

(see attachment)


Res Publica / Public Thing

2016 Art History Graduate Students Association Interdisciplinary Symposium

University of Illinois at Chicago, April 28, 2016

Deadline: May 1, 2017


Rules of Engagement: Art, Process, Protest


Issue Editors: Melissa Lee, Jonathan P. Eburne, Amy J. Elias

Deadline: June 1, 2017





















Circulaire #30

Dear Friends and Colleagues,

We hope you had a restful and productive summer and we wish you the very best for the fall term.


To give a bright start to the new academic year, why not join EPCAF on Academia?


Over the past years, many of you have told me that you would like to know who else is in Epcaf, on what they are working, and be able to access their writings. Instead of creating a directory that we would have to maintain and update regularly, we decided to use Academia and created a “European Postwar and Contemporary Art” research interest:


We realize that not every EPCAF member is on Academia and that Academia has its problems, but for those of us who are already using Academia, we will just need to follow that research interest and use it as a keyword when we post papers. It is a simple but efficient way to connect with other scholars who share our interests.


And remember you can use EPCAF new Facebook page to share relevant news and information, and do not hesitate to send me any cfp or announcement you would like to see included in our monthly Circulaire.


Below you will find our usual list of announcements.



Catherine Dossin





The Legacy of Cobra

University of Massachusetts, Amherst

Friday September 16, 2016

A Symposium convened by Karen Kurczynski in connection with the exhibition “Human Animals: The Art of Cobra and Its Legacy” at the University Museum of Contemporary Art at UMASS Amherst


Memories and Politics of Exile Symposium

George C. Marshall Center, Parsons Paris, and Musée d’Art et d’Histoire du Judaïsme, Paris

October 6th – October 7th, 2016

Jointly organized by Parsons Paris, the École des Hautes Études en Sciences Sociales and The New School for Social Research, the symposium will focus on the intellectual history of artistic and scholarly migrations during the Second World War and the potential for design and the humanities to address today’s refugee crisis.



Calls for Paper


New Scholarship in British Art History Conference

Friday, January 27 & Saturday, January 28, 2017, University of North Carolina at Chapel Hill

Deadline: September 15, 2016


Le Sens et les sens / Sense and the Senses: International Colloquium for 20th and 21st Century French and Francophone Studies

April 6-8, 2017, Indiana University – Bloomington

Deadline: September 15, 2016


Interartive, Issue #87: Street Art and its Languages

Deadline: Sep 20, 2016


Artist Films and Video in Tuscany 1960-1990

Florence, Auditorium di Sant’Apollonia, November 22 – 23, 2016

Deadline: September 26, 2016


Trajectories of Antifascism

3-4 March 2017, Rutgers University – New Brunwick

Deadline: September, 30 2016


The Society for French Historical Studies: Sixty-Third Annual Meeting

Thursday, April 20 through Sunday, April 23, 2017, Washington Court Hotel in Washington, D.C.

Deadline: October 1, 2016


III International Congress Picasso: Picasso and Identity

Barcelona and Caldes d’Estrac, April 27 – 29, 2017

Deadline: October 15, 2016


Dia.gnosis: Carolina Conference for Romance Studies

March 30 – April 1, 2017, University of North Carolina at Chapel Hill

Deadline: November 30, 2016


Revue exPosition, N° 3: Le peintre, le tableau et son accrochage

Editor : Hélène Trespeuch

Deadline: January 2, 2017


Esse magazine #90: Feminisms/Feminismes

Deadline: January 10, 2017

Website :

Circulaire #29

Dear Friends and Colleagues,

As mentioned in our last Circulaire, we have set up a new Facebook page for our group: here. Feel free to use it to share relevant news and information, and do not hesitate to send me any cfp or announcement you would like to see included in our monthly Circulaire.

Below you will find our usual list of announcements. For detailed information on these different opportunities, you may click on the logos.

I wish you a restful and productive summer.

Catherine Dossin

Kunstlicht, Vol. 37, 2016, no. 2 

Translation as Method
Deadline:  August 1, 2016

Art Outside the Gallery (Plymouth, 25 Nov 16)

Plymouth University, November 25, 2016
Deadline:  August 1, 2016

Nierika. Revista de Estudios de Arte

Late Modernism
Deadline:  August 15, 2016

French Historical Studies

Special issue on May 1968
Deadline:  September 1, 2016

The editors of French Historical Studies seek articles for a special issue on the theme of May 1968, which will appear on the fiftieth anniversary of these events. We welcome research that offers new interpretations of the events of the spring of 1968, but also work  that examines in new ways the relationship of May 1968, broadly conceived, to developments before and after and that situates May 1968 in relation to developments in postwar France and globally. Many questions about May 1968 remain unasked or unanswered.  Authors may wish to consider some of the questions posed here but are encouraged to pose new questions that open up discussion of May 1968.

What do we learn about French politics and culture by comparing “1968” in France to “1968” elsewhere?  What was the May 1968 of those who lived it without making it their own or who actively opposed May movements as they were taking place? How did non-French citizens in the hexagon and citizens of French departments outside of the hexagon experience and give meaning to the events of May 1968? What is the nature and importance of communities that draw their identities from reference to May 1968, and how have such communities and references changed over time? How have such communities constituted themselves through various forms of representation, including in the visual sphere, and did May 1968 bring about any lasting changes in codes of representation? How have individuals incorporated the experiences and identities of May 1968 into a sense of the self in succeeding years? To what extent has the concept of generation enriched and limited research and limited analysis of 1968?

Authors might also explore historiographical questions and those concerned with legacies. For example, is the héritage of May 1968 more or less pervasive in the history of post-1968 decades than the existing historiography makes it out to be? Does changing the focus of investigation from its classic sites – politics, the universities, the unions – to others, such as those of cultural production, illuminate significant but lesser known impacts of May 1968?  What impact does the type of evidence chosen – whether literary, artistic, cinematic, or theoretical – have on the utility of notions of continuity versus rupture in understanding May 1968?  Or are the understandings of the héritage of May 1968 used by historians themselves what obscure the significance of the event?  Is May 1968 and more generally a putative 1968 generation in France a subject whose importance has diminished over time and will continue to recede as succeeding anniversaries take place?  What is the heuristic value of “May 1968” to studies in history and cognate disciplines, and how might broadening the compass of the term complicate or enhance existing understandings?

We are particularly interested in research that puts in dialogue research in social, cultural, political and intellectual history, work that draws on new source bases, including in the arts, architecture, mass media, and performance, and work that uses the methods of neighboring disciplines in the humanities and social sciences to inform and challenge historical understanding(s).  We also encourage studies that both approach and question “May 1968” as discursive entity from the perspective of critical race, gender, and post-colonial theory, among others.

To submit an article, please visit www.editorialmanager/fhs.  After registering, follow the submission instructions under “Instructions for Authors” on the website.  Articles may be either in English or in French but must conform to French Historical Studies style (for details, see and must be accompanied by titles and 150-word abstracts in both French and English.  Manuscripts should be no longer than 10,000 words excluding notes and no longer than 14,000 words including notes.  For the inclusion of illustrations, the author must obtain written permission for both print and online publication from the relevant persons or institutions.  The deadline for submissions has been extended to September 1, 2016.

Colleagues planning to take advantage of the extended deadline are asked to contact the guest editors, Donald Reid ( and Daniel Sherman (, as soon as possible with a short description of their article, so that arrangements can be made for timely review of all submissions.

Art and the Environment in Britain. 1700-Today 

Rennes 2 University, Rennes, France, March 2 – 03, 2017
Deadline:  September 3, 2016

Fifth Euroacademia Forum of Critical Studies: Asking Big Questions Again

Palazzo Bernardini, Lucca, Tuscany, Italy,  11 & 12 November 2016
Deadline:  September 9, 2016

Hans Hartung et l’abstraction (Paris, 12 – 13 Jan 17)

Colloque international au Centre allemand d’histoire de l’art Paris, January 12 – 13, 2017
Deadline:  September 12, 2016

Mediterranean Reception of Lucio Fontana’s Baroque Continuum

University of Malta, Malta, December 15, 2016
Deadline:  September 15, 2016

Migration im Bild – eine Fachtagung zum aktuellen Stand der Diskussion um Bild und Migration aus erziehungswissenschaftlicher Perspektive

Universität zu Köln, Humanwissenschaftliche Fakultät, 30. – 31.03.2017
Deadline:  September 30, 2016

Les conflits de mémoire : arts, histoire, commémorations » (Le Mans, 6-7 avril 2017)

Le Mans, Université du Maine, 6-7 avril 2017
Deadline:  October 15, 2016

Edition 6 of Contemporaneity: Historical Presence in Visual Culture

“Who, When, and Where: Art and Identification across Borders”
Deadline:  October 31, 2016

Grand Narratives, Posthumanism, and Aesthetics

Aarhus University, Denmark, March 22 – 24, 2017
Deadline:  November 1, 2016

Une nouvelle histoire de la critique d’art à la lumière des humanités numériques ?

18-19 mai 2017, Paris, INHA, Galerie Colbert
Deadline:  November 2, 2016

Art History and Socialism(s) after World War II

Time:  October 27 – 29, 2016
Location: Estonian Academy of Sciences main hall (Kohtu 6, Tallinn)

Circulaire #28

Dear Friends and Colleagues,


As I mentioned earlier, this year is an exciting year for EPCAF with many things happening:


  1. EPCAF Website:

We are launching a new website:  The site was designed and created by France Languérand, a Paris based artist and a friend, who generously offered to create a more dynamic and engaging social platform for EPCAF, along with a new logo, and a new Circulaire. We are extremely grateful for all the time, energy and creativity she has dedicated to the EPCAF.

The new website is organized in six parts:

About: information on the forum and its working.

Books: information on the new EPCAF book series.

Conferences: information on past and future EPCAF events.

Discussions: links to our new Circulaire, Facebook page, and Tweeter account, as well as our new Academia research interest.

E-Resources: links to pertinent grants, fellowships, dissertations search engines, and databases.

Terms & Conditions: information on our terms of use, privacy statement, and by-laws.

As you go through the site, don’t hesitate to share with us any ideas and suggestions. And especially send us any additional resources we should add to our current list at


  1. EPCAF Book Series:

As mentioned in previous email and during our EPCAF’s panel at CAA, we are starting a book series in collaboration with AC Institute, an independent publisher based in New York. This initiative will provides scholars working in this rather heterogeneous field with a platform to develop exciting projects that will showcase both the diversity of European artistic practices since 1945 and the wealth of new scholarship that is being produced on postwar European art.

The first books will come out in the fall. At that point we will send a formal call for proposal. In the meantime, any inquiry about the book series should be addressed to the Book Series Editor at


  1. Academia Group:

For years, we have been saying how much we would like to know who else is in EPCAF, on what they are working, and be able to access their writings. Instead of creating our own database (which will require us to maintain it and update it rather regularly), we thought we could use Academia.

We thus created within Academia a “European Postwar and Contemporary Art” research interest:

I realize that not everyone is on Academia and that Academia has its problems, but for those of us who are already using Academia, we will just need to follow that research interest and use it as a keyword when we post papers. It is easy, takes no time, but it is an efficient way to connect with other scholars who share our interests.


  1. June Colloquium in Paris:

To supplement our yearly US panel at CAA, we are starting a yearly June Colloquium in Paris. The first EPCAF Paris Colloquium will take place on Tuesday, June 14 in the morning and will be hosted by Parsons Paris – The New School.

It will be the opportunity to meet, present some of the EPCAF forthcoming books, and confer about current and future EPCAF initiatives.

We are particularly delighted that Fred Forest will be participating to a roundtable on what will be the first book in English on the Sociological Art Collective. The editors, Maud Jacquin and Stéphanie C. Jeanjean, have compiled new contextual and analytical essays and collected a wide range of primary sources (most translated into English for the first time), along with rare visual documentation of the Collective’s actions drawn from the artists’ archives.


EPCAF June Colloquium in Paris

Tuesday, June 14th 9:30 am to 12:30pm

Parsons Paris – The New School.



9h30- 10h30: Roundtable on Remapping France: Essays on Postwar and Contemporary Art with Sophie Cras, Emmanuel Guy, Noémi Joly, and other contributing authors.


10h30 -11h30: Roundtable on The Sociological Art Collective with Stéphanie C. Jeanjean and Fred Forest.


11h30-12h30: Open discussion on EPCAF’s present and future initiatives with a presentation of the new EPCAF website by France Languérand, EPCAF’s Artistic Director.




Yours sincerely,
Catherine Dossin


Circulaire 27

Dear Friends and Colleagues,

A few months ago, I sent a message requesting ideas regarding the future of Epcaf. I wanted to thank everyone for their suggestions, and let you know that as a result many things will happen this year including, but not limited to, a new website, a new logo, and most importantly a book series. We will send you more information on all these exciting things in the coming months.

In the meantime, I am delighted to announce that Epcaf will be represented at the next CAA meeting with two panels. The first one organized by Lily Woodruff and Daniel Quiles on Geometric Abstraction, Op, and Kinetic Art in Transnational Perspective will take place on Thursday, February 4 at 9:30am. This panel seeks to understand the influence of European constructivisms across the globe.

The second panel organized by Stéphanie Jeanjean and entitled Publishing in European Postwar and Contemporary Art: New Prospects in Research and Translation will present the new Epcaf book series. It will be the opportunity to learn about some of the books that will be coming out this year and next, and start thinking about book projects for Epcaf book series. This panel will take place on Friday, February 5 from 5:30pm to 7pm.

After Friday panel, please join us for drinks to continue the conversation.

In the meantime, I wish you all the best for the new year.

Yours sincerely, Catherine Dossin

Geometric Abstraction, Op, and Kinetic Art in Transnational Perspective

During the 1950s and 1960s, geometric abstraction, Op and kinetic art flourished as international styles that linked artists across the globe. These practices were animated by socialist and phenomenological discourses that appealed to visual perception and interactivity as ways to democratize artistic culture. Eliminating elite cultural references, these artists aimed to train or stimulate perception as a gateway toward broader viewer participation. Recent scholarship has brought attention to how these rationalized visual languages became prominent outside of the North Atlantic due to the internationalization of a network of artists and collectives. Has the appeal to the eye been accompanied, however, by universalist assump- tions that flatten local particularities? We encourage papers that demonstrate how geometric, Op, and kinetic practices connect or break with the historical avant-gardes, while situating their innovations with- in broader social constellations such as urbanism, cybernetics, or labor.


Synthesis in Parallax

Monica M. Amor, Maryland Institute College of Art

Cosmopolitanism and Belonging in South American Abstraction

Megan A. Sullivan, University of Chicago

Op Art on the Other Shore: Masking Vision in the Revolutionary Mediterranean

Anneka E. Lenssen

The Poetics and Politics of Light: The Center for Advanced Visual Studies and the Global Cold War
John Blakinger, Stanford University

Colorful Montreal: Modern Architecture, Urban Life, and the 1960s Abstract Murals of Jean- Paul Mousseau
Nicola Pezolet, Concordia University, Montreal

Discussant: Kaira M. Cabanas, University of Florida, Gainesville


Publishing in European Postwar and Contemporary Art: New Prospects in Research and Translation

Since its creation in 2010, as a forum for exchange between scholars working on European postwar and contemporary art worldwide, Epcaf has organized numerous conferences and panels on this topic, in the United States and in Europe. In order to continue its mission—to ease access to the history of European art to a wider readership—Epcaf is now launching a book series combining translations into English, monographs, edited volumes, and anthologies of original documents.

This initiative aims at providing scholars working in this rather heterogeneous field a cogent platform to develop exciting new projects that showcase not only the larger diversity of European artistic practices since 1945 than what is acknowledged, but also the wealth of young scholarships on this subject. Eventu- ally, the series intends to contribute to the larger history of recent art and, beyond Europe, consider ques- tion such as: what constitutes an artistic practice based on differential contexts and historiographies of postwar art.

The panel will introduce three edited book projects that exemplified different research carried by Epcaf members. We welcome suggestions and initiatives, and seek propositions on how Epcaf can participate in a better representation of the entire European postwar and contemporary art territory.


Rewriting the Arts in France since 1945

Catherine Dossin, Purdue University

« If you can remember anything from the sixties, you weren’t really there »

Emmanuel Guy, Parsons-Paris The New School

Rediscovering the Sociological Art Collective Maud Jacquin & Stephanie Jeanjean

Circulaire 26

Dear Friends and Colleagues, 

Last month, Karen Kurczynski (Assistant Professor of Art History, University of Massachusetts, Amherst) organized the second Epcaf panel at the annual conference of the College Art Association that took place in New York. 

The panel which features Axel Heil (artist, Fluid Studio/Professor of Experimental Transfer Processes, Art Academy of Karlsruhe), Brenda Zwart (Independent Curator, Zwart Projects, Amsterdam), Steven Jacobs (Assistant Professor of Modern and Contemporary Art, Department of Art, Music, and Theater Studies, Ghent University, Belgium), and Janna Schoenberger (Core Faculty Member, Amsterdam University College/PhD Candidate, City University of New York) was, I heard, a great success. We want to thank Karen for putting together such a wonderful session. 

As already mentioned, Lily Woodruff will chair the 2016 Epcaf panel at CAA with a panel on Geometric Abstraction, Op, and Kinetic Art in Transnational Perspective (see the call for paper for this session below). The deadline for proposals of papers and presentations for the conference is Friday, May 8, 2015. 

You can access the complete call for paper for the next CAA at: 

Also note that we will soon be seeking proposals from our members for the 2017 Epcaf panel at the CAA Conference, which will take place in . So if you are interested in chairing the EPCAF panel, you may start thinking about possible topics. 

Finally, at the CAA’s Affiliated Societies Meetings last month, the need for feedback from AC Committee on rejected sessions was discussed. Many affiliated societies vet the sessions that are submitted by their associations and select those they designate as the best in relation to their field. These pre-vetted sessions should not be included in the AC Committee peer review process since there is no reason to double vet them. It was suggested that all pre-vetted sessions should just be accepted by the AC Committee thus giv- ing weight to the decisions that the affiliates make for their own associations. So we will see what happens… 

Yours sincerely, Catherine Dossin

Epcaf President : 

European Postwar and Contemporary Art Forum 

Geometric Abstraction, Op, and Kinetic Art in Transnational Perspective 

Lily Woodruff, Michigan State University; and Daniel Quiles, School of the Art Institute of Chicago. Email: and 

During the 1950s and 1960s Geometric Abstraction, Op art, and kinetic art flourished as international styles that linked artists across the globe. These practices were animated by socialist and phenomenologi- cal discourses that appealed to visual perception and interactivity as ways to democratize artistic culture. Eliminating elite cultural references, these artists aimed to train or stimulate perception as a gateway to- ward broader viewer participation. Recent scholarship has brought attention to how these rationalized visual languages became prominent outside of the North Atlantic due to the internationalization of a net- work of artists and collectives. Has the appeal to the eye been accompanied, however, by universalist as- sumptions that flatten local particularities? We encourage papers that demonstrate how Geometric, Op, and kinetic practices connect or break with the historical avant-gardes, while situating their innovations within broader social constellations such as urbanism, cybernetics, and labor. 



Proposals for participation in sessions should be sent directly to the appropriate session chair(s). If a ses- sion is cochaired, a copy should be sent to each chair, unless otherwise indicated. Every proposal should include the following five items:
1. Completed session participation proposal form, located at the end of this pdf, or an email with the re- quested information. 

2. Preliminary abstract of one to two double-spaced, typed pages.
3. Letter explaining speaker’s interest, expertise in the topic, and CAA membership status.
4. CV with home and office mailing addresses, email address, and phone and fax numbers. Include sum- mer address and telephone number, if applicable.
5. Documentation of work when appropriate, especially for sessions in which artists might discuss their own work. 

The 2016 Annual Conference will be held in Washington, DC, Wednesday–Saturday, February 3–6, 2016. Sessions are scheduled for two and a half hours. Chairs develop sessions in a manner that is appropriate to the topics and participants of their sessions. A characteristic, though certainly not standard, format in- cludes four or five presentations of twenty minutes each, amplified by audience participation or by a dis- cussant’s commentary. 

More information at: 

Circulaire 25

Dear Friends and Colleagues,
Epcaf has now been in existence for four years.

During these past years, our membership has grown to about 160. We created a website with resources for scholars working on European postwar and contemporary art; we organized a number of conference panels in the United States and Europe; we became an affiliated society of the College Art Association (our second panel will take place at the CAA meeting in New York in February); we established an Epcaf book series with an independent publisher in New York (more on this subject will follow); and last but not least, many of us have met new colleagues through Epcaf.

It thus seems timely to rethink Epcaf, its mission, scope and future. We are eager to hear your thoughts: Is the website useful to you? Would you be interested in a directory of members that would list their research interests? Do you find the Circulaires helpful? Would you be interested in an Epcaf conference? What would you like Epcaf to do for you?

Please, send me your ideas and suggestions at Yours sincerely,

Catherine Dossin


The artist’s book & materiality 

Kunstlicht, Volume. 36 (2015) no. 1 Deadline proposals: 17 October 2014

In a world in which our existence seems to be taking place mostly online and our memories and activities are kept ‘within the cloud’ – a new movement has emerged with a tendency towards the ana- logue. ‘Material’ itself has become source of fascination and identification. However, it would be too sim- ple to explain the world in terms of this online and offline divide, rather, its interweaving shows that ma- teriality actually traverses the border of what is called ‘real’ and ‘virtual’. Materiality is by no means an  outdated subject if its renewed attention – for example visible in the domain of the arts with the artist’s book – could be used in addressing these new matters.

When talking about the book as artistic medium, often Ed Ruscha’s Every Building on the
Sunset Strip
(1966) and Dieter Roth’s deconstructed crafty novels are mentioned – however, artists have been part of this process of book production much longer. For example, illuminated

manuscripts in the early Middle Ages were made accessible to the larger public through its
integration of text, image and form. In the 18th century, the artist’s book was represented by
William Blake’s richly illustrated books and in the early 20th century France, the ‘livres d’artiste’
were highly popular. Only the second half of the 20th century presented the artist’s book in the way as we know it nowadays.

If we would address the questions of our times through the lens of a new analysis of the
artist’s book, we should first be asking ourselves if the materiality of the object would actually be
attractive at all compared to the ‘bodyless’ existence of blogs and social media? Or could perhaps
the current focus on the artist’s book represent a romantic counter movement to this development?
Are the freedoms and practicalities of the virtual perhaps overrated, and is an artist therefore
better served with a physical product? These and other questions could direct research on the role and position of the artist’s book in the 21st century.
For the first issue of 2015, Kunstlicht invites academics and artists to relate to the diverse histories of the artist’s book and its role in light of the current digital world. Both reflections and opinions on the form and look of the artist’s book as well as proposals on the meaning of such an object in its current form are welcome. Even so, Kunstlicht will also distance itself to critically reconsider its material form. The artist’s book will be central in a magazine that examines its form as codex – a work of bundled pages – in the light of digital possibilities.

Writers and researchers are asked to send their proposals (200-300 words) including CV to before October 17th 2014. Selected authors will then be asked to
write an article of 2000-3000 words (footnotes not included). Texts in both English and Dutch are wel- come, however, we request Dutch writers to write in their mothertongue. Authors will receive three issues after publication. Kunstlicht does not provide copyright fees. Published articles will be added to the free online archive after three years.


The Geographical Information of Art History: How and Why to Retrace the Circulation of Knowledge and Facts.
Artl@s Bulletin 4, 2 (Fall 2015).

Deadline: December, 8 2014

“Traces by the thousands… it’s the dream of any researcher”, but the way to go from the archives or the field is seldom straightforward: “the physical pleasure of salvaging a lost trace is followed by feelings of perplexity and impotence of not knowing what to do with it”[1]. The spatial turn in humanities has enticed various disciplines to deconstruct the making of artistic facts: studying the circulation of artworks and artists now appears to be a fertile way to uncover the rationales, the constraints and the transgressions that shape the historical geography of art[2]. This ‘return to facts’[3] calls for a closer examination of the methods used to identify, collect, re-assemble and interpret the geographical information produced by artistic activity. To examine the traceability of artistic knowledge and facts is the primary aim of this issue of the Artl@s Bulletin.

Depending on the spatial and chronological framing of their studies, researchers are led to work on a vari- ety of documentary material that can inform on the circulation of art: such traces can be written, pictorial, photographic, cinematographic, institutional, individual, collective, etc. In each case, the traces available can be partial and only give access to specific types of information: origin, extension, destination, net- work, economic model, value, hierarchy, etc. It can consequently hinder or bias our understanding and analysis of artistic facts. The diversity of sources matches the surprising abundance of our conceptual and methodological approaches.

For this issue, we want to confront a wide range of sources (catalogues, institutional archives, photo- graphs, interviews, etc.), methodologies (qualitative, quantitative, comparative, multi-situated, carto- graphic, etc.) and areas of investigation (careers, movements, markets, etc.) in order to highlight the piv- otal and problematic role of traceability in the spatial study of art. Contributors from all the disciplines involved in the spatial turn are invited to submit essays that address one or several of the following ques- tions:

● Who produces the traces of art history? Who inscribes art in space? How does that ‘situ- ate’ our scholarship?

● Does the study of specific traces induce specific observation protocols and analysis?

● How can different methods make traces speak? Can a single trace therefore lead to multi- ple and contradictory conclusions?

● Putting scattered or disparate traces together exposes us to a “biographical illusion”[4] and the risk of artificially creating meaning. In what conditions can we establish the coherence between traces and trajectories or networks?

● What sense can be made out of the distribution of recorded traces through cartographic representations? Can they give substance to diffusionist notions that have riddled art history such as ‘style’, ‘influence’ or ‘school’? Are they able to contradict or nuance dominant models of think- ing such as centre/periphery? Or do they only mirror the situatedness of their recording process?

● Can we index traces in a comparative and global perspective or should the methods relat- ing to traceability take into account the specificities of local inscriptions?

● How far can/should the quest for traceability go? How do linguistic, cultural or material boundaries affect the legibility of traces? How to balance empirical data and theory?

The Artl@s Bulletin is a multi-lingual, peer-review journal co-published by the ENS and the CNRS, devot- ed to spatial and transnational questions in the history of the arts. The journal promises to never separate methodology and history, and to support innovative research and new methodologies. Its ambition is two- fold: 1. a focus on the “transnational” as constituted by exchange between the local and the global or be- tween the national and the international, and 2. an openness to innovation in research methods, particu- larly the quantitative possibilities offered by digital mapping and data visualization. By encouraging scholars to continuously shift the scope of their analysis from the local and the national to the transna- tional, Artl@s Bulletin intends to contribute to the collective project of a global history of the arts. The Artl@s Bulletin is a free online journal supported by Purdue Press. Currently in its fourth year, it has al- ready a great visibility (more than 5,000 single downloads of articles from December, 2013, to July, 2014).

For all queries, feel free to contact Olivier Marcel, the Guest Editor of this special issue, at:
Please submit your article by December 8 at:
For guidelines and publishing policies, see:

The World Goes Pop – Tate Papers 

Deadline: May 1, 2015

In September 2015 Tate Modern will present the exhibition The World Goes Pop, a ground-breaking reas- sessment of pop art. By mapping the pop phenomenon from a global perspective – encompassing pop art produced in the 1960s and 1970s in Eastern Europe, Latin America, Asia and the Middle East, as well as Western Europe and the US – the exhibition will seek to challenge historiographic narratives that affirm the hegemonic position of New York art and will explore pop beyond the mainstream.

The often ambivalent and subversive nature of these global manifestations of pop is of particular im- portance. Reacting to the growing dominance of the American post-war economy and media around the world, pop art sometimes took the form of a destabilising reversal of the normative messages associated with American mass culture and consumerism. This approach was effectively and memorably put to use by feminists, political groups and independence movements in order to simultaneously critique the he- gemony of the West while drawing on its aesthetic mass appeal and graphic clarity. By surveying these global engagements with pop, the exhibition will offer an opportunity to re-examine pop’s origins and pol- itics, as well as question its existence and significance as a global movement.

To accompany this exhibition, Tate Papers aims to publish a range of scholarly articles addressing pop as a truly global phenomenon.

Questions and issues that may be addressed in the papers include:

  • How did national traditions and differing social and political contexts inform local manifestations of pop art? How did these manifestations cohere and/or differ from one another? Case studies may include (but are not limited to) Brazil, Argentina, Mexico, Mali, Nigeria, France, Spain, Ger- many, Belgium, Czech Republic, Poland, the former Yugoslavia, Slovenia, Russia, Iran, China and Japan.
  • How did pop art reinforce or undermine conceptions of gender in these different contexts?
  • Was pop art an international language and if so what were its defining traits?
  • How could pop art aestheticise commodity culture and yet be a tool for political opposition? How
    could these two conditions co-exist in different settings and to what extent did they influence or
    impair each other?
  • How can we define the reciprocal influence between pop art and manufacturing and technology,
    news media, and mass communications?
  • What was the relationship of pop art to performance and film?
    Tate Papers is an online, peer-reviewed research journal that publishes scholarly articles on subjects that reflect Tate’s collection, exhibition programme and activities as an art museum.
    If you are interested in submitting an article, please contact the Managing Editor, Christopher Griffin, at
    Please note that articles should be c. 4,000–8,000 words in length and written in English. Articles accept- ed for publication following peer review will be published in the autumn issue of Tate Papers in 2015. Further information about the journal and the submission process can be found here:
    Pop Europe?
    Wolverhampton Art Gallery, December 2, 2014 Deadline: Oct 3, 2014
    In conjunction with Wolverhampton Art Gallery’s exhibition POP EUROPE!
    This symposium reviews the idea of Pop Art existing beyond Britain and America, addressing the issues concerning the geographical confinement of Pop Art. How did pop culture manifest itself artistically in Europe?
    Were there specific cultural parameters that enabled Pop to ferment?
    Exploring the relationship between Pop in Britain, America and Europe, the day aims to re-evaluate the limitations and boundaries.
    We invite proposals for 20-minute papers that explore the theme of Pop Art in Europe. Please send ab- stracts (no longer than 300 words) accompanied by a short biography to Connie Wan at con- by Friday 3 October 2014. Submissions from postgraduate students and researchers working within art history and related disciplines are encouraged.

Circulaire 24

Dear Friends and Colleagues,

Our panel at CAA was wonderful. What emerged from the excellent presentations of Adrian Duran, Noit Benai, and Benjamin Lima, and the lively discussions that followed was the dynamism of the field in both Europe and the US, with innumerable publications, exhibitions, and other initiatives. But it also showed that there are still many questions left to be answered. Including the most pressing: What is Europe? Or, maybe more precisely: Who is Europe?

A complicated question that some of us are starting to answer, including Hannah Feldman with her new book, for which we are pleased to offer below a special coupon from Duke University Press.

Below you will also find the minutes of the meeting for the CAA’s Affiliated Societies, which took place in Chicago last month. We included them because we thought you might be interested in the discussion regarding the ways in which panels are accepted, and the current policies of CAA. After receiving input from members, including EPCAF’s affiliated members, they added language concerning diversity and job precarity.

Our listing includes calls for papers for the SECAC and CAA conferences, highlighting interesting panels, among which many organized by EPCAF members.

Yours sincerely,
Catherine Dossin & Victoria H.F. Scott


Anne Goodyear reviewed the Fair Use Initiative. She requested that each Affiliated Society review the draft of the new Strategic Plan and send comments and suggestions to CAA, as well as attend the Annual Members Business Meeting. She described the effort to restructure the membership levels and asked everyone to vote on the change of By-Laws to allow this to happen.

A request was raised that Affiliated Society members receive a special discount for CAA membership. Anne described the advantages of the new membership structure and indicated that the dues are, and will be kept, as low as possible but that it was not feasible to provide a discount for 76 Affiliated Societies.

A question was raised regarding how to successfully submit a session proposal. There were some Affiliated Societies that had submitted two years in a row and were rejected by the Annual Conference Committee. DeWitt Godfrey described the session submission process. Apparently, all the Affiliated Societies were not aware that each has an automatic 90-minute session on a topic of their choosing that is not vetted by the Annual Conference Committee. It is only the 2.5 hour sessions that are vetted and limited in number. There are about 400 session proposals that are submitted for the 2.5 hour slots, and the conference can only accommodate around 120 of these sessions. Jacqueline Francis, VP for Committees, offered to meet with any of the representatives of the Affiliated Societies who wanted more information and guidance.

A request was made for a means of communicating among the Affiliated Societies. The existing listserv was described, and DeWitt encouraged its use for discussions amongst the members.


Use coupon code E14EPCAF (offer expires 5/31/14) when you order from

From a Nation Torn: Decolonizing Art and Representation in France, 1945-1962 

Author: Hannah Feldman $27.95, paperback

From a Nation Torn provides a powerful critique of art history’s understanding of French modernism and the historical circumstances that shaped its production and reception. Within art history, the aesthetic practices and theories that emerged in France from the late 1940s into the 1960s are demarcated as postwar. Yet it was during these very decades that France fought a protracted series of wars to maintain its far-flung colonial empire. Given that French modernism was created during, rather than after, war, Hannah Feldman argues that its interpretation must incorporate the tumultuous “decades of decolonization” and their profound influence on visual and public culture. Focusing on the Algerian War of Independence (1954–1962) and the historical continuities it presented with the experience of the Second World War, Feldman highlights decolonization’s formative effects on art and related theories of representation, both political and aesthetic. Ultimately, From a Nation Torn constitutes a profound exploration of how certain populations and events are rendered invisible and their omission naturalized within histories of modernity.

Hannah Feldman is Associate Professor of Art History at Northwestern University.


Crossing Borders—Blurring Borders 

Annual Conference of the Austrian Studies Association (2015) University of Michigan-Dearborn, Dearborn, Michigan March 26-29, 2015

In her novel Engel des Vergessens Maja Haderlap writes of crossing the border from Carinthia into Slovenia,“Das Überschreiten der Grenze ist hier kein natürlicher Vorgang, es ist ein politischer Akt” (220). In addition to being a political act, a border crossing or blurring can be an aesthetic act, a collaborative act, a historical act, or a combination of the above. The conference topic is conceived to elicit submissions reflecting the widest variety of disciplinary as well as multi- and interdisciplinary perspectives. Papers may address mixed genres, artistic collaborations across borders, cultural transfers in Austrian Studies and between Austrian Studies and other area studies. They can also focus on literal border crossings involved in experiences of exile, property restitution, and travel literature. Talks on crossing or blurring borders of gender are also welcome. The Conference Committee particularly looks forward to receiving proposals on the work of the conference’s guest speakers, author Maja Haderlap, artist Ursula Hübner, and actor/director Karl Markovics.

Submit full abstracts (English or German) of 400 words maximum, with a title and a short (200 word) biography suitable for an introduction to: by September 15, 2014.

Presenters are required to be members of the Austrian Studies Association by subscribing to its journal. Conference organizer: Jacqueline Vansant (


EMAJ (e-melbourne art journal), Issue 8 

Deadline: Mar 31, 2014

The editors of EMAJ (e-melbourne art journal) are now calling for articles to be submitted for EMAJ 8 to be published in November 2014.
EMAJ welcomes monographic articles about specific artists or art collectives as well as thematic or theo- retical analyses of art history from any historical period. Established and emerging researchers working within the fields of art history, architectural history, curatorship, politics and aesthetics, visual culture, philosophy, historiography and museum studies are encouraged to submit.

See previous editions on the website:
EMAJ particularly encourages submissions from early career scholars.
Manuscripts must be submitted by email to as word documents (.doc) only. Articles can be between 5000-10000 words in length (if shorter or longer please email the editors to dis- cuss your article before submitting) and accompanied by: 200 word abstract; brief biographical state- ment.
For more information and style guide see


Paragone Studies Conference 

Quebec City, Canada, September 18 – 20, 2014 Deadline: Apr 1, 2014

Papers are invited for The 3rd Annual International Conference in Paragone Studies, to be held at the Musée des beaux-arts du Québec (Museum of fine arts of Québec:, just out- side of the old quarter of the City of Québec in Canada.
The conference’s purpose is to support the scholarly investigation of the paragone, or rivalry in the arts, as it has been manifested in all media across history. The conference will also include a round-table session featuring artists who choose to discuss how competition in the arts, past or present, has impacted their work or their professional lives.

To apply: Submit a 300-word abstract using the paper or round-table presenter appropriate form on the conference website
( and send to Please include a c.v.


The European Way – Identitarian Representations of Europe in Visual Arts, Performing Arts and Literature
As part of The 4th Euroacademia Global Conference Europe Inside-Out: Europe and Europeaness Ex- posed to Plural Observers 

Athens, Greece,23-24 May 2014

In contemporary Europe some of the main indicators of the lack of a unitary identity come from the defi- cit of symbols, images, artistic representations or literary writings that would pin-point towards a unity of sensibility and of artistic perception. Europe appears through visual representations as a divided conti- nent coming from an extremely diverse universe of imaginary indicators that act through difference andoften in contra-point to the claimed unity. The creation of national identities often involved an increasing differentiation through localized symbols and foundational representations.
However, identifiable traces of Europeaness can be recovered through specific representations like the visual repetition of European denominators in paintings, photography and literary characters that are often considered as part of the European imaginary patrimony. The visual representations of the Myth of Europa in paintings are a part of the many signs of looking at a common European inheritance. Some- times the European unity of representation and the Europeaness in arts and literature are better observed from outside Europe by artists that named, indicated or differentiated from the symbols of Europe. This panel seeks to bring into discussion the visual and literary representations of Europe and search into the imaginary universe for identifiable signs of a real or imagined Europeaness.

Please apply on-line or submit abstracts of less than 300 words together with the details of affiliation by 11h of April 2014 to
For complete details before applying please see:


Art in Transfer: Curatorial practices and transnational strategies in the Era of Pop Conference
Södertörn University, Stockholm, November 6 – 08, 2014
Deadline: Apr 15, 2014

The conference Art in Transfer. Curatorial Practices and Transnational Strategies in the Era of Pop, takes place at Södertörn University Campus and Moderna Museet, Stockholm, November 6-8, 2014. Organizers are the department of Art history together with the Centre for Baltic and East European Studies at Söder- törn University. The conference is generously supported by the Terra Foundation for American Art.

Art in Transfer proposes to take a new look at exchange practices in the long 1960s – a decade stretching back to the 1950s and forth into the 1970s. The “Era of Pop” gets its name from its reputation for a new, intense, artistic engagement to and from the USA. The conference concept departs from the breakthrough of American art and popular culture in Europe, specifically perceived through the lens of the Stockholm art scene of the long 1960s. This is a time and place where the Cold War atmosphere of arms and space race was constantly felt in political and cultural affairs, through varying tension and relative openness. Cultural exchange offered ground for diplomacy as well as counter cultures. The Stockholm art scene also offers a spatio-temporal model of how power structures were reshuffled, as new production forms, posi- tions and liaisons emerged on the markets and in the fields of art. The Swedish capital, located in a (sup- posedly) neutral country between the USA and the Soviet Union, will be taken as a point of departure to reassess East-West transnational strategies with regards to the Neo-Avant-garde, exhibition forms, new media and novel artworks, and not least new theories and ways of mapping of cultural relations. In the Era of Pop, artistic regeneration spread in networks both outside and inside institutions, between me- tropolises and peripheries.

The conference will explore the topics above through a wide gathering of scholars on art. Confirmed key- note speakers are Hiroko Ikegami, Kobe University; Branden W. Joseph, Columbia University, New York; and Piotr Piotrowski, Adam Mickiewicz University, Poznan.
CFP is due on April 15st, 2014. For instructions and further information on the conference theme, see


The Hand and the Machine: Tensions in Interwar Design 

Southeastern College Art Conference 2014 Sarasota, FL, October 8 – 11, 2014 Deadline: Apr 20, 2014

The story is familiar: modernism’s post-World War I fascination with machines and technology — in architecture, industrial design, the decorative arts, and fashion — dissipated in the 1930s, replaced by a valorization of handicraft and a reemergence of the human subject.
Where the machine aesthetic dominated design in the early 1920s, artists grew disenchanted with the signs of industry in the 1930s, focusing instead on the human subject, and crafting work to show the “hand” of the maker. But is this tale of a “return to the hand” universally true? Are there certain mediums or national traditions that trouble the story? This session solicits papers that examine the precarious dynamics of industry and the hand-made in the applied arts between the wars. We encourage a variety of perspectives within or beyond the powerhouse industrial economies of the West, and we hope, through the breadth of papers, to reassess the standard narrative of interwar design.

Session Co-Chairs: Toby Norris, Assumption College and Rachael Barron-Duncan, Central Michigan University.


The Color of Sculpture 

Southeastern College Art Conference 2014 Sarasota, FL, October 8 – 11, 2014 Deadline: Apr 20, 2014

In 1862, British sculptor John Gibson shocked attendees of the London International Exhibition with his Tinted Venus, a marble sculpture of a female nude painted to give the appearance of warm flesh. Although it was by this time common knowledge that ancient Greeks and Romans had employed polychromy in their statues, Londoners used to white marble found Gibson’s statue vulgar. The Athenaeum even characterized the sculpture as a ‘naked, impudent Englishwoman. But by the early twentieth century, as sculptors moved beyond the traditional marble and bronze and experimented with new materials, they increasingly incorporated color into their work. How does sculpture’s three-dimensionality influence the interplay of color and form? And how does the understanding of polychromy in sculpture shape the trajectory of Western art at various points in its history?

This session invites papers that explore the issue of color in the work of nineteenth- and twentieth- century European and American sculptors. Possible subjects may include: monochrome versus polychrome sculpture; methods of tinting or painting sculpture; the representation of race through sculptural materials; workshop and display practices; and reception of sculptural works.

Session Co-Chairs: Sarah Beetham, University of Delaware, Amanda Douberley, University of Texas at Austin. Contact:


Affective ReVisions: The Archive in Modern and Contemporary Art 

Southeastern College Art Conference 2014 Sarasota, FL, October 8 – 11, 2014 Deadline: Apr 20, 2014

Hal Foster has claimed that postmodern conditions have pushed artistic practices and critical discourse into the realm of ethnography, where artists use archival models to investigate culture as both image and text. Artists have looked to the archive throughout modernism, but since the 1960s, there has been an increased interest in archival practices as a means to move beyond conventional art institutions and engage with a more socially oriented aesthetic. This panel, therefore, seeks to explore the ways in which varying understandings of the archive manifest themselves in the production, dissemination and display of modern/contemporary art. We invite papers that examine the archive as a discursive model for artistic production, as well as those that consider the relevance of archival methods for contemporary artists. Possible subjects include: the performativity or affect of archives; archiving around absence or ruin; the archive as a correlative to memory; the archive as collection or document; and the archive as critique of socio-political discourses.

Session Co-Chairs: Helena Shaskevich, CUNY-Graduate Center and Rachel Boat, New York University. Contact:


SECAC des Refusés 

Southeastern College Art Conference 2014 Sarasota, FL, October 8 – 11, 2014 Deadline: Apr 20, 2014

Beginning in the 1830s, Salon des Refusés afforded artists an opportunity to display their work, even if they fell outside of French Academy standards. This idea of giving a place to showcase the rejected, the dismissed, and those that do not fit into predet ermined categories has inspired us to consider those that have once been rejected by SECAC and CAA. In that vein, we are looking for the odd balls, the rebels, the agitators, the dissenters, the revolutionaries, including those who call into question the major tenet s of the institution and the academy. This is a place to reconsider a rejected proposal, while confronting the potential reasons for its rejection. Topics from any time period, style, or location are desired which address mediums that are not typically covered in sessions, such as tattoos, fashion, print and popular culture, and interdisciplinary topics. Furthermore, it is necessary to examine the historical and hierarchical structure of the annual SECAC and CAA conferences. What ideas and positions have shaped the structures of these conferences and allowed for these exclusions to develop? By broadening the subject matter discussed and addressing institutional biases, art history can become more inclusive, relevant, and introspective of our own discipline.

Session Co-Chairs: Emily L. Newman, Texas A&M University-Commerce and Mary Frances Zawadzki, The Graduate Center, CUNY. Contact:


Columbia Seminar for Modern Italian Studies, 2014-2015 Season 

New York City, September 12, 2014 – March 13, 2015 Deadline: Apr 25, 2014

For those interested in presenting a paper at the Columbia Seminar in Modern Italian Studies, please submit an abstract of what you propose by April 25, 2014. The abstract should be no more than 300 words. In your email please also include a copy of your CV, and two suggestions for a respondent to your paper with their email information. All materials should be emailed to For your information, the mission statement of the Seminar is as follows:

This seminar is concerned with political, social, cultural, and religious aspects of Italian life from 1815 to the present. In recent years, the seminar has stressed an interdisciplinary approach to Italian studies, increasing the participation of anthropologists and scholars of art, film, and literature. The seminar meets on the second Friday of the month during the academic year to discuss a paper presented by a member or an invited speaker. Papers cover a wide range of topics, approaches, and methodologies.

Columbia Seminar in Modern Italian Studies Link:
Chair: Professor Ernest Ialongo, Assistant Professor, Hostos Community College, CUNY, History


Seeing Others Seeing: Interpersonal Experience in Contemporary Art 

CAA 103rd Annual Conference
New York, New York, February 11-14, 2015 Due May 9, 2014

By the end of the 1960s, reflective sculptures, light environments, performances, and art and technology projects called viewers’ attention to how they perceive at a subjective and intersubjective level. Influenced by Gestalt psychology and the philosophy of Merleau-Ponty and Husserl, artists pursuing phenomenological inquiries took human perception to be their primary material. Phenomenal art not only questioned the premise of art as representation; it showed that aesthetic experience is contingent upon variable factors that escape the artist’s direct control (e.g., body motion and social circumstances). The largely introspective and self-referential phenomenal art practices of the 1960s and 1970s have proved consequential for a more recent generation of artists who cultivate sensorial uncertainty and interpersonal awareness. This panel invites papers on the genealogy of phenomenal art and the transformations in art viewership it posits. What might be appropriate methodological tools for interpreting the reception of phenomenal art? How do art participants act in the context of art environments that set their emotional and behavioral responses on display? Why has the phenomenal tendency been revitalized in recent decades?

Cristina Albu, University of Missouri-Kansas City; and Dawna Schuld, University of Indiana, Bloomington. Email: and


Art Collectives and the Contemporary World 

CAA 103rd Annual Conference
New York, New York, February 11-14, 2015 Due May 9, 2014

This panel addresses how art collectives negotiate the demands of a contemporary world strongly marked by moments of crisis and uncertainty. Instances of creative, collaborative resistance have multiplied exponentially over the last fifty years—from art solidarities formed in response to specific political regimes to collectives tackling broader issues such as the planet’s ecological sustainability. What different shapes have art collectives, beyond a modern or

postmodern format, taken in the contemporary world? Which aspects of collectivity have allowed art to confound the reorganization of world power by a post-1989 neoliberal imaginary? How useful has art- historical scholarship been in analyzing collaborative art’s social and political efficacy, and what other modes of scholarly investigation offer insight into such questions? By situating histories of collective art practice and theories of artistic collectivity relative to reconfigurations of global power, papers should address how art collectives are reflecting the poetics/politics of upheaval typical of our contemporary world.

Brianne Cohen, Université Catholique de Louvain; and Robert Bailey, University of Oklahoma. Email: and


Making and Being Made: Visual Representation and/of Citizenship 

CAA 103rd Annual Conference
New York, New York, February 11-14, 2015 Due May 9, 2014

Traditionally defined by an individual’s membership and lev-2015 Call For Participation 7
el of participation within a community, “citizenship” results in access to benefits or rights, as described by scholars such as Eric Hobsbawm. Yet citizenship moves beyond political framings. According to Aiwha Ong, cultural citizenship is a “dual process of self-making and being-made” but done so “within webs of power linked to the nation-state and civil society.” Taking citizenship as a political position, cultural process, and intertwining of both, this panel examines
the role of art and visual culture in reflecting, confirming, or challenging ideals of citizenship across historical periods and media. We seek proposals that engage with the questions: How does citizenship inform artistic and visual practices? And how do images inform citizenship? Topics may include but are not limited to nation building, civic practices, transnationalism, civil rights, politics of identity, labor, border zones, affects of belonging, and activism.
Corey Dzenko, University of North Carolina, Greensboro; and Theresa Avila, independent scholar. Email: and


In the Field: Artists’ Use and Misuse of Social Science since 1960 

CAA 103rd Annual Conference
New York, New York, February 11-14, 2015 Due May 9, 2014

Two simultaneous turns occurred in the 1960s and 1970s: a social turn in the arts and a cultural turn in the social sciences. Although vitally important to multiple intellectual histories, the transformative overlaps between the visual arts, sociology, and anthropology are rarely explored in depth. They have informed artistic and research practice from the 1960s to the present, shaping conceptual art, institutional critique, social art practice, new-media art, and curatorial strategies. We invite papers that examine artistic appropriations of theories, methods, and ways of visualizing data from sociology and anthropology, and interrogate their ramifications for disciplinary boundaries. How have artists in the field used and misused the social sciences? In what ways have they assumed or subverted the sociological gaze to negotiate gendered, national, and neocolonial perspectives? What are the consequences of reconceiving established categories like land art and public art as social science enterprises?

Ruth Erickson, University of Pennsylvania; and Catherine Spencer, University of St. Andrews. Email: and


Semiautomatic Images: Making Art after the Internet 

CAA 103rd Annual Conference
New York, New York, February 11-14, 2015 Due May 9, 2014

This session will explore developments in recent art by looking at the increasingly permeable boundaries between artistic, commercial, and automated processes. Web 2.0 and social media has not only altered the way that some young artists now share their work with peers, public, galleries, and collectors but also altered the very processes of making and distributing work and the aesthetic forms it may take. Tumblr- style image streams, existing content readily available on the Web, and the high-res, high-production aesthetic of commercial and stock photography have become a central area of enquiry for internationally exhibiting artists such as Ed Atkins, Ryan Trecartin, and Helen Marten. Papers might address the emergence of the prosumer and its impact on spectatorship and models of labor; the use of algorithmic, outsourcing, and crowdsourcing processes in artistic production; the internet as moving image/time- based medium; stock or commercial images; and precedents and points of comparison from art history. Cadence Kinsey, University College London; and John Hill, Lucky PDF. Email: and


Fashion and the Contemporary Avant-Garde 

CAA 103rd Annual Conference
New York, New York, February 11-14, 2015 Due May 9, 2014

In the words of the critic and art historian Hal Foster, there is a “need for new narratives” in the history of the avant-garde. This session provides a platform for fashion within theoretical discussions of the contemporary vanguard and posits that fashion is one such genealogy of the avant-garde. However, the term “avant-garde” has become a catchall in fashion discourse for conceptual, experimental, or intellectual practices. A more critically rigorous definition of the avant-garde in fashion is needed for these new narratives to be possible, one which (re)draws the connections between the vanguard and its social and political aims. In this vein, papers from across disciplines are welcome, proposing topics including but not limited to art and fashion, curatorial studies, display culture, performance and theater studies, popular culture, and wearable technology. Art and design historians, artists, critics, curators, and designers are invited to apply.

Charlene K. Lau, York University,


The “Posthumous Author-Function”: Artists’ Estates and the Writing of Art History 

CAA 103rd Annual Conference
New York, New York, February 11-14, 2015 Due May 9, 2014

When scholars and curators study artists whose place in the critical record has yet to be established, those artists are uniquely empowered to mediate the construction of their histories by granting interviews and access to primary documentation. This relationship becomes even more complex when the role of mediator falls to an executor commissioned to represent the artist’s interests in his or her absence. These agents may elevate to public attention projects previously considered private or sequester evidence deemed potentially damaging to a reputation or the market. Regardless of motivation, each intervention conditions subsequent scholarship. This session will consider critical and ethical issues associated with what Caroline A. Jones termed the “posthumous author-function.” Papers 16 2015 Call For Participation may address any aspect of the problematic, including the impact of artists’ wishes, the influence of their estates, the discovery of previously unknown material, and the production of posthumous works of art. Rachel Middleman, Utah State University; and Anne Monahan, independent scholar. Email: and


Games and Gambits in Contemporary Art 

CAA 103rd Annual Conference
New York, New York, February 11-14, 2015 Due May 9, 2014

Elements of games and game theory are increasingly important to contemporary art: rules of participation, complex systems analysis, strategizing tactics, chance, alternative realities, problem solving, competition, role play, and fun. This panel seeks to reconsider vital relationships among the aesthetics of art, gaming, and play. How can the discourse on participatory art practices be developed through a greater understanding of art’s use of game and play logics to explore systemic relationships between representation and reality and individual and collective agency? How does art address questions of who is “being played” as much as who is “playing”? We invite papers that explore topics in a wide range: from art invested in open-ended structures of play to art that allegorizes the “game of life.” Papers might discuss global multiplayer, real-time computer gaming, or more symbolic uses of chess gambits, sports, racing, and puzzles, from case-specific, historical, and theoretical perspectives.
Jaimey Hamilton Faris, University of Hawaii; and Mari Dumett, Fashion Institute of Technology, State University of New York. Email: and


Collecting and the Institutionalization of Contemporary Art (1990–2015) 

CAA 103rd Annual Conference
New York, New York, February 11-14, 2015 Due May 9, 2014

This session will analyze the relation between collecting and the institutionalization of contemporary art in both the United States and Europe. While sometimes controversial, institutional acquisitions from private collections can lead to significant issues about museum policy and public response as well as the time gap in acknowledging the new art forms. What is the role played by collectors in museums’ acquisitions? What are the challenges faced by a museum in acquiring the recently collected artworks? Addressing the changing role of collectors and museums, this session investigates their confluence, thus fostering an interdisciplinary approach. Starting from an evaluation of the agreement between the Whitney Museum and the Met, the panel analyzes issues such as the collector as curator, the artist as collector, and the institutional reframing of a collection. We welcome contributions from art historians, curators, collectors, artists, and dealers examining historical antecedents and future perspectives. Roberta Serpolli, Ca’ Foscari University, Venice; and Eleonora Charans, University of Milan. Email: and


Motion Pictures: Contemporary Visual Practices of Movement and Stillness 

CAA 103rd Annual Conference
New York, New York, February 11-14, 2015 Due May 9, 2014

In Western culture the depiction of movement in art offers the image of progress, change, and aliveness; stillness, in turn, signifies retreat, rest, and contemplation. This panel will consider movement and stillness in contemporary visual practices, not purely as themes to be represented but also as kinesthetic and affective forces shaping the engagement between images and their viewers. Artworks have played and continue to play a major role in educating the senses, and, by way of this capacity, have the power to challenge the dichotomy of motion and stasis. How does contemporary art render palpable various kinds of corporeal, material, and affective mobilities? How do images “move” us but also “still” us, inviting a state of contemplation and pause? We seek contributions that address contemporary practices ranging from film and photography to performance, installation, and multimedia art to further our insights into the aesthetic experience of movement and stillness.

Marta Zarzycka, Utrecht University; and Bettina Papenburg, Heinrich-Heine-University Düsseldorf. Email: and


Art during Francoism: Trends outside the State 

Espacio, tiempo y forma. Serie VII. Historia de l’arte2014 – Issue N.2 Madrid
Deadline: Jun 30, 2014

“Art during Francoism: Trends outside the State Ideology” is the title of the themed volume that will accompany the second issue of the journal that has recently entered a new era. It will be guest-edited by Víctor Nieto Alcaide, Professor of History of Ar and Genoveva Tusell García, Associate Professor of History of Art (Universidad Nacional de Educación a Distancia), who have proposed the following thematic framework for this special issue:

After the Spanish Civil War, contemporary art in Spain regained its momentum. The new State promoted a number of artistic manifestations sharing a distinct style that was in line with the regime’s goals. Regardless of this type of academicism which followed its own course, there were, nonetheless, innovative forms of painting and sculpture that developed outside the official program and were based on the principles of modernity and the avant-garde. Avant-garde art was soon incorporated to official exhibitions, thus displacing the ideologically-charged art that had followed the Civil War. Several trends therefore entered the international art scene and, at the same time, played a part in the internal modernizing efforts that were appreciated in Spanish art during those years.

The present issue intends to stress the significance of these approaches within their historical and political context, spanning from 1939 to 1975, with the aim of highlighting the important role these trends played in an art scene that developed under Franco’s dictatorship. This issue will focus on this unique characteristic of postwar Spanish art, which, on the contrary, did not occur under other totalitarian regimes like Nazi Germany or Stalinist Russia, where all forms of art were subject to state power.

Please circulate this Call for Papers widely. Once you have registered and consulted the Instructions for Authors, submit your proposal on our online journal platform:
If you have any enquiries, please contact the journal editor, Inés Monteira; for queries regarding the e-platform, contact Jesús López


Kress Language Fellowships for Art History Students 

Middlebury, June 20 – August 16, 2014 Application deadline: Apr 1, 2014

Middlebury College is pleased to announce the Kress Fellowships for language study, made possible by a generous gift from the Samuel H.
Kress Foundation. Five fellowships are available for art history graduate students to attend the Middle- bury summer Language Schools, in French, German, Italian, Portuguese, or Spanish during the summer of 2014.

These fellowships are intended for graduate students in art history with a proposed focus on European art history. Preference will be given to graduate students who have recently been accepted or are currently enrolled in the requisite program at a Ph.D.-granting institution in the United States. In exceptional cases advanced undergraduates in art history who are preparing for graduate study in the same field may also be considered.

Fellowships cover the comprehensive fee (tuition, room, and board) at the Middlebury summer Language Schools. They are merit-based and intended for exceptionally qualified individuals.
For more information about the Fellowships, please visit For more information about the language pro- grams, including specific dates and site for each language, please visit


Irmgard Coninx Prize for Transregional Studies, Berlin 

Application deadline: Apr 30, 2014

The Berlin-based Forum Transregionale Studien and the Irmgard Coninx Foundation invite postdoctoral researchers in the humanities and social sciences to apply for the first Irmgard Coninx Prize Fellowship for Transregional Studies.
In an age of increasing interconnectedness and globalization, cross-border processes and the mobility of things, persons, and ideas have transformed individual life worlds and whole societies. Exchange and interaction, entanglement and networks characterize our world.

This requires a fundamental thematic and conceptual reconfiguration of the academic disciplines, which largely continue to analyze the world within the framework of nation-states.
The Forum Transregionale Studien aims to contribute to such a revision that includes curriculum reform, terminological innovation, and a rethinking of the prevailing narratives of social change. By bringing scholars from a variety of disciplines and from different locations to Berlin, the Forum promotes intellectual dialogue across fields of specialization and between area studies and the systematic disciplines. The aim is to arrive at a novel understanding of the interrelated processes that have shaped social dynamics locally and globally.

The Irmgard Coninx Prize Fellowship for Transregional Studies consists of a research fellowship of up to 10 months and is awarded for a project on a particular research question that in an exemplary way relates disciplinary and area-based knowledge in mutually beneficial ways.
The winner of the award will be able to carry out a research project of his or her own choice and to participate in the scholarly activities of the research programs and initiatives at the Forum. Like the other Fellows, he or she will be affiliated with a research institution in Berlin. The prize will be awarded by a joint jury of the Forum and the Irmgard Coninx Foundation.

Applicants should be at the postdoctoral level and should have obtained their doctorate within the last seven years. As a rule, the fellowships start on 1 October 2014 and end on 31 July 2015.
Postdoctoral fellows will receive a monthly stipend of 2,500 € plus a supplement depending on their personal situation. Organizational support regarding visa, insurances, housing, etc. will be provided. Fellows are obliged to work in Berlin and to contribute to the ongoing discussions at the Forum. The working language of fellowship is English.

For more information on the ForumTransregionale Studien, please see:
For further information, please see


Staging a Rescue From Obscurity: The Effort to Resurrect the Sculptor Germaine Richier 

The New York Times Review MARCH 20, 2014

“Germaine Richier” is on view through April 12 at Dominique Lévy and Galerie Perrotin, 909 Madison Avenue, at 73rd Street; 212-722-2004,, and 212-812-2902, “Tsuyoshi Maekawa” is also at Dominique Lévy through April 12. richier.html?smid=tw-share&_r=1

Circulaire 23

Dear Friends and Colleagues,

In less than two weeks EPCAF will host its first panel at the College Art Association conference in Chicago; the very city where everything started.

Our panel will take place on Friday February 14 from 5:30 to 7:00pm, in Boulevard C, on the 2nd Floor of the Chicago Hilton. It will address a topic that should be of interest to most of us, namely European Postwar and Contemporary Scholarship in a Global Context.

We are delighted that Adrian Duran, Noit Benai, and Benjamin Lima have accepted our invitation to launch the discussion on this important question by sharing their thoughts on the situation in their respective fields. We hope you can join us and take part in the conversation.

This panel will also be the occasion to announce some exciting news about the future of EPCAF, and to celebrate four years of the EPCAF adventure. After the panel, please join us for drinks at the Kitty O’Shea Pub, in the Chicago Hilton (

In the meantime, we wish you all the best for the new semester.

Below you will find our usual lists of announcements.

Yours sincerely,

Catherine Dossin & Victoria H.F. Scott



Second Euroacademia International Conference ‘Identities and Identifications: Politicized Uses of Collective Identities’

Pisa, Italy, 7-8 March 2014

Deadline: Feb 6, 2014

If interested in participating, please send a maximum 300 words abstract together with the details of your affiliation until 6th of February 2014 at

For full details of the conference and on-line application please see:



Museums and Photography: Displaying Death Edited Volume

Deadline: Feb 10, 2014

This is an open call for submissions for an edited volume on the ways in which death is displayed in museums through photography. The editors seek submissions that investigate theoretically and/or through specific international case studies the complexities of displaying photographs of death in a museum context. Submissions are expected to contribute to our understanding of the changing role of photography in museums and of the museum’s ethical, pedagogical and political responsibilities for addressing diverse audiences with the display of death through photography.

Please submit an abstract of 300 words and a short biography of no more that 150 words to Elena Stylianou at and to Theopisti Stylianou-Lambert at by February 10, 2014.



Bodies in Between: Corporeality and Visuality from Historical Avant-garde to Social Media

Conference, 29-31 May 2014

Department of Cinematography and Media, Faculty of Theatre and Television, “Babes-Bolyai” University, Cluj-Napoca, Romania

Deadline: Feb 15, 2014

The conference is an inter-disciplinary forum for academics and practitioners working in the fields or at the intersection of cinema, performing arts, visual arts and media. The conference aims to explore the role of the body in articulating and reflecting the changes in contemporary arts and media practices as well as the theoretical discourses they generate.

In this sense, the body is seen as a discursive field for thinking about the various avatars of the image and visualization process in the contexts of the recent cinematic productions and new media facilities, about the dynamics that confronts the concept of avant-garde and its constant undermining by postmodernism, about the actual dimensions of the dispute between classical theatricality and contemporary performativity, about the intricate relations between authorial discourse and expanded spectatorship, about interactivity as a catalyst for multimediality and remediation, and about the tensions between public space and intimacy when engaging with (social) media environments.

The conference is conceived as a dynamic platform that includes equally panels for the presentation of papers, keynote speeches, round tables and workshops. Thus, the conference provides an excellent opportunity for both theorists and practitioners to disseminate their research output and to showcase their work in a dynamic context that facilitates dialogue, professional exchanges and future collaborations.

Please upload an abstract of no more than 300 words, together with a short bio and author’s affiliation in English or French at:

Selected papers will be published in an edited volume and in a special issue of the journal EKPHRASIS. Images, Cinema, Theatre, Media.



EASA-Konferenz: Collaborative place-making between art, qualitative research and politics

Tallinn, (Estonia): July 31 – August 3, 2014

Deadline: Feb 27, 2014

Since its emergence in the late 1960s, “participation” has become a key concept in various fields of social action and cultural production. Our panel focuses on urban development as a field of action, where participatory strategies have gained particular popularity and are employed today on a regular basis – often through collaborations of stakeholders as diverse as public administrations, urban activists, artists, scientists, and local inhabitants.

Critical reflections on the following issues of these prominent, yet ambivalent collaborations between art, qualitative research and politics are invited:

– What distinct models and methods of participation have been developed within and between the particular fields of politics/activism, art and qualitative research in order to involve local residents to participate in urban development processes?

– How do diverging interests and power-relations – with respect to the unequally distributed political, economic, social and cultural capital

– play out between the different actors? What kind of relations are produced for whom and why?

– Who moderates the heterogeneous communication process and who decides, finally, what to do? How is representation negotiated and enacted in the final form/outcome of participatory projects?

– What visual, emotional, symbolic expressions do the different actors create or adopt to produce a feeling of belonging to a place, a group or even movement? What role does art, visual and media culture play as social glue between the often multi-located actors?

– And how do we anthropologists define our multiple encoded roles as “participant observers”, civic participants or even activists within these contexts of both, collaboration and conflict?

Convenors und Kontakt: Judith Laister, Universität Graz, and Anna Lipphardt, Universität Freiburg,

Proposals müssen über die EASA Website eingereicht werden:

Nähere Informationen zur EASA 2014:


Thinking with John Berger

A 2-day conference at Cardiff Metropolitan University Cardiff, Wales, UK

4-5 September 2014

Deadline: Mar 1, 2014

John Berger presents a uniquely diverse model of critical artistic and intellectual work. He is, variously, artist (and a philosopher of drawing); art critic/theorist; ‘art geographer’ (Edward Soja); novelist (although preferring to call himself a storyteller); poet and dramatist; film-maker; photographic collaborator; theorist of migration; political activist in the domains of anti-capitalism and human rights.

The conference therefore takes an exploratory approach to the question of how we might, as educators, use, discuss, learn from and continue to develop Berger’s thought. In what ways might that thought help to transform curricula, pedagogy, and our work as writers, artists and teachers? How pertinent is it, for example, to the growing internationalisation of the academy and to questions of global educational citizenship? Or how relevant as a critical resource within the context of a new, corporate and marketised environment in education? Might Berger’s ‘radical humanism’ (Tilda Swinton) help to carve out alternative futures?

Proposals for 20-minute papers are invited. The conference is open to contributors from all subject areas and disciplines, though it is anticipated that it will be of principal appeal to those interested in Berger’s impact upon the following fields: literary studies; visual arts; art history; philosophy; creative writing; film production and education; performance; drawing; photography; cultural geography; critical and cultural theory.

Proposals should be no more than 300 words in length, and should be sent to the conference email address: Deadline for proposals: 1 March 2014

The conference website, with information regarding fees, accommodation and logistics, is at



The Third Annual International Conference in Paragone Studies

18-20 September, 2014

Québec City, Canada

Deadline for applications: April 1, 2014

Papers are invited for The Third Annual International Conference in Paragone Studies, to be held at the Musée des beaux-arts du Québec (Museum of fine arts of Québec:, just outside of the old quarter of the City of Québec in Canada, and is one of the oldest cities in North America.  The conference’s purpose is to support the scholarly investigation of the paragone, or rivalry in the arts, as it has been manifested in all media across history. Studies in all disciplines relevant to the history of competition in the arts, as well as inter-arts rivalry, will be featured. These include art history, visual culture, comparative literature, philosophy, aesthetics, the performing arts, critical theory, communication, cultural studies, linguistics, spoken-word, and musicology, amongst others.  For instance, scholars might consider rivalries between individual artists, patrons of the arts, or nationalistic competition, hierarchies of the senses or media in aesthetic theory, arts-related organisations, debates over the superiority of one art versus another, ut pictura poesis and word/image studies, etc.  Please note that all conference presenters must have current membership status in the Society for Paragone Studies.

The journal Paragone: Past & Present seeks submissions for its bi-annual issues. The journal is published by the Society for Paragone Studies (an academic association dedicated to furthering study of the history of artistic rivalry) in collaboration with the Flint Institute of Arts. It produces two issues per year in both online and hard copy format. Hard copies may be purchased at a discount to Society members (who may also subscribe to regularly receive hard copies), through the Society website, and is available in online format to all Society members. The journal is an inter-disciplinary journal for post-graduate (post terminal degree) scholars.  Graduate students are invited to apply to the journal Paragone: Emerging Scholars, also published by the Society.

Application forms available at:

To apply to present a paper: Submit a 300-word abstract using the paper presenter appropriate form on the conference website to  Please include a curriculum vitae.



SECAC 2014 Conference

Deadline: April 20, 2014

Call for Papers is now available at:, as well as on the SECAC Conference page:



The Art Market Past and Present: Lessons for the Future?

London, October 31, 2014

Deadline: Jun 30, 2014

A one-day conference on relations between the art market in history and the art market today, organized by Sotheby’s Institute of Art – London and The Burlington Magazine, to be held at Sotheby’s Institute of Art – London on Friday 31 October 2014.

The aim of this joint conference is to explore critically what the history of the art market can teach us about the behaviour of the art market today, and vice versa. We hope to bring together historians of the art market working on a wide range of historical periods and places, and utilising varying methodologies, and to engage them in creative dialogue, via thematic groupings, with present-day art market experts of different kinds. We hope that a wide range of expertise and interests will be represented from both the past and the present dimensions of this subject.

Papers engaging with some aspect of these themes should be a maximum of 20 minutes in length. Preference will be given to those which stimulate dialogue and engage with broader topics. Please send enquiries and proposals of no more than 250 words, indicating which session your paper relates to, by 30 June 2014, to



Italian and West German Aural & Visual Culture in the 1970s

Deadline: Jun 30, 2014

“Palinsesti” is a peer-review journal dedicated to historical studies on Italian Art since 1960. Its fourth thematic issue is entitled: The Years of Lead: Italian and West German Aural & Visual Culture in the 1970s

The 1970s often appear to be a lost decade. Bracketed on one side by the revolutionary impulses and pluralist art practices of the late 1960s, and on the other by a conservative return to order and the retrenchment of authoritative painting in the 1980s, the 1970s is an era without a clear identity. In both Italy and West Germany, countries whose intellectual and linguistic disparities belie a comparable political fallout after World War II, these years have been retrospectively referred to as “leaden.” Die bleierne Zeit (Anni di Piombo) was the title of a 1981 film by Margarethe von Trotta about far-left German revolutionaries. The phrase was subsequently taken up to represent the preceding decade because it speaks of the continued economic stagnancy in Europe, as well as the devolution of the broad social movements of the 1960s into ever more radical activist groups like the Red Brigades (BR, Brigate Rosse) and the Red Army Faction (RAF, Rote Armee Fraktion). As the stuff of ammunition, lead is also evocative of those high profile acts of public violence that were carried out by such terrorist organizations throughout the 1970s. In art, this same period witnessed the dissolution of collective artistic attitudes like Arte Povera and Fluxus into the disparate orbits of individual careers, and to the re-emergence of expressionist painting as the allegorical figure par excellence of such alienated ambition.

What happened in art and related visual and aural production between the protested 1968 Venice Biennale and that of 1980, in which both Italian and German representatives marshaled a new chapter of painting’s reappearance, this time as neo-expressionist? Is it useful to weigh the cultural production of the decade against the socio-political backdrop?

What do we learn by looking at these two countries together, where similar trajectories can be traced from the idealism of social collectivity to marketable artists and artworks, or from heightened radicalization to political violence? Are the 1970s more than just a stage on which the endgames of modernism are performed?

The on-line journal Palinsesti invites proposals for contributions (max 40,000 characters) that explore the aural and visual culture of these “Years of Lead” in Italy and/or West Germany. For submission instructions, please, sign in at; for other details contact




Second Euroacademia International Co

War Graves, War Cemeteries, and Memorial Shrines as a building task (1914 to 1989)

Berlin, 19. – 20.02.2014

Despite the spadework of scholars such as Meinhold Lurz, Monika Kuberek, Joachim Wolschke-Bulmahn, and Christian Fuhrmeister, the analysis of war graves and soldier cemeteries still is a desideratum in the fields of art history and architectural history. Particularly in reference to the centennial of the events of World War I and the concomitant centenary of the Volksbund Deutsche Kriegsgraeberfuersorge e.V. (German War Graves Commission, founded 1919), a critical reflection on the current state of research is essential. The colloquium will discuss this theme from different perspectives and methodical approaches, with a focus on an analysis of memorial architecture as well as the full range of traditional visual and textual sources. The central question is to what extent an approach that is genuinely centered on objects and sources related to soldier graves, collective cemeteries, and war gravesites of the first and second World Wars can contribute to our understanding of the history of war and death in the 20th century.

Other academic fields dealing with this subject area – such as garden history, landscape and open space planning, anthropology and empirical cultural studies as well as military, social and contemporary history – provide important interdisciplinary points of contact for the colloquium. In individual cases a decidedly comparative perspective will be required in order to distinguish the singularities of the semi-governmental German commemoration of the dead from the commemorative architecture of other nations. Finally, given the current tendency towards an increasingly virtual memory culture, the history of the use of these necessarily “uncomfortable” facilities – somewhere between political funerary cult, the right of eternal rest, architectural monument, cultural heritage, and international learning center – must be addressed.

The first part of the colloquium will be hosted by the Institut fuer Kunst- und Bildgeschichte, Humboldt-Universitaet Berlin on February 19th and 20th, 2014. The second part will take place at the Zentralinstitut fuer Kunstgeschichte in Munich on September 11th and 12th, 2014.



Circulaire 22

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.

Yours sincerely,

Catherine Dossin & Victoria H.F. Scott


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 with subject line “MACAA 2014 Session Proposal” no later than December 13, 2013.

Details at:



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

For more information:

Postwar – Art between the Pacific and the Atlantic

Munich, May 22 – 24, 2014
Deadline: 15.12.2013

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 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:


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,

For more information:



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 ( et à Angelica Gonzalez ( 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 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 ( and/or guest editor Ben Greenman ( 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 and 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.



“In collezione”

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 (




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

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



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 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 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:



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 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




Queer Images

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 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:



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,

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




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 and Helena Reckitt, Senior Lecturer in Curating, Art Department, Goldsmiths, University of London

For more information about the Journal of Curatorial Studies, please visit:,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



RIHA-Journal, issue: Beyond boundaries

Deadline: Feb 28, 2014

RIHA Journal ( 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

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



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 The artwork that will be exhibited during 2014 conference will be available on 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.




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

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 ( 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:
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 ( or Kirstin Ringelberg (
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




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


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:



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:




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 : :

  • 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

Millsaps College

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, 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



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 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:


Example: Falhman.Betsy_LevinAward.pdf

Email your file to: 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.



Circulaire 21

Dear Friends and Colleagues,

Here is our monthly selection of call for papers, and announcements for conferences and grants. Please remember to send us anything you would like to include. Even if you are just looking for an apartment in Europe for research.

We also would like to draw your attention to our Facebook page, where we post daily announcements, articles, interviews, and exhibitions. We already have 75 followers!

Please check it out:

Also: near the end of the month we will be getting ready for our annual event at the Southeastern College Art Conference (a.k.a. SECAC). This year we are chairing a double panel on Public Sculpture in Europe after 1945. It is scheduled to take place on the morning of Saturday, November 2, and we are planning to hold our annual meeting immediately afterward. We will send you more information on the conference and the different panels, and where and when the meeting will take place.

All our best!

Catherine Dossin & Victoria H.F. Scott


North Street Review: Arts and Visual Culture – Volume 17 (2014)

University of St. Andrews

Deadline: Oct 14, 2013

The North Street Review is a peer-reviewed annual publication for original and innovative postgraduate scholarship in the field of art history. Founded as Inferno in 1994, and published as the St. Andrews Journal of Art History and Museum Studies from 2009-2013, the North Street Review publishes essays representing the diverse approaches to all facets of art history within the University of St. Andrews, the United Kingdom, and abroad. Inclusive and interdisciplinary, the Review encourages research from all methodological perspectives and invites contributions pertaining to art history across all time periods and geographical areas.

We hereby invite submissions of essays (2,000 – 5,000 words, including endnotes) from the discourses of art and visual culture, including work that spans interdisciplinary and intermedial boundaries, and with no constraints on time period and geographical location.

Submissions must be made at,

Any queries or enquiries should be made to the editors of the North Street Review, Kristen Adlhoch and Michael Nott, through the Review website, or by email at


Art as Cultural Diplomacy: (Re)Constructing Notions of Eastern and Western Europe

Prague, Czech Republic

November 15 – 16, 2013

Deadline: Oct 15, 2013

The panel “Art as cultural diplomacy” seeks papers that explore the function of art (in its broadest definition) as an instrument of cultural diplomacy by the state and, especially, by nongovernmental actors. The main theme of the session is the question of art and diplomacy in Europe before and after the fall of the Berlin Wall. Papers are welcome which explore issues related to the role of art, diplomacy and the politicization of the European Union and its candidate countries, as are those which consider how the arts have pursued or resisted East-West dichotomies and other narratives of alterity in Europe and worldwide. The panel seeks to combine a wide range of interdisciplinary perspectives to explore how art—its various practices, history, and theory—are an important area of inquiry in the expanding field of cultural diplomacy. Selected papers will be invited for publication in a book.

Please submit abstracts of less than 300 words by October 15, 2013 to Panel Organizer, Cassandra Sciortino, University of California, Santa Barbara

As part of the Second Euroacademia International Conference ‘Re-Inventing Eastern Europe’ to be held at Grand Majestic Plaza, Prague, Czech Republic, 15-16 November 2013


Contemporary Art and History Panel-Nordic and Baltic Art

SASS/AABS 2014 Conference at Yale

March 13-15 2014

Deadline: Oct 23, 2013

We are seeking papers for a panel at the joint Society for the Advancement of Scandinavian Studies and Association for the Advancement of Baltic Studies conference at Yale University, March 13-15, 2014.

This panel will explore the relationships between contemporary art in the Nordic and Baltic regions produced since 1989 and different modes of temporality. Papers may deal with these or related questions: How do contemporary artists visualize, critique, or reimagine the past, particularly the recent past? How are artists exploring the legacies

of communism or modernism?   How do they imagine the future and its

relationship to the past and present? How do they engage or critique nostalgic and utopian desires? How do recent theories of contemporaneity (e.g. Terry Smith) shape contemporary art practices or impact art historical research in the region?

Please send abstracts of proposed papers (250 words or less) to the panel organizers: Paul Wilson ( and Leena-Maija Rossi ( by October 23, 2013.

For more information on the conference visit:


Future Bourgeois: A Symposium and Workshop for New Work on Louise Bourgeois


February 07, 2014

Deadline: Oct 30, 2013

This autumn The Scottish National Gallery of Modern Art and The Fruitmarket Gallery, both in Edinburgh, Scotland, will host complementary exhibitions of the work of artist Louise Bourgeois.

On the occasion of these two exhibitions, there will be a one-day symposium workshop showcasing new research on Bourgeois and related themes and ideas. We now invite proposals for papers for this event from researchers developing new work on the artist. Proposals from PhD students or from individuals working with an interdisciplinary approach, from conservators or from artists, as well as from art historians are particularly welcome. Informal presentations, lasting no more than 15 minutes, can be on any aspect of Bourgeois’s production or explore the relationship between it and the wider field of modern and contemporary practices. Equally welcome would be discussions of the idea of artists whose work flourished late in their lives, the appropriation of psychoanalytic ideas as the content of art, the critical fortunes of Bourgeois in relation to feminist, psychoanalytic and other art histories, and work on the technical and collaborative aspects of Bourgeois’s practice (casting, construction, printmaking etc.). On the day, immediate or speculative responses to individual works on display in Edinburgh will also be valued as part of this event.

Proposals should be submitted by 30 October 2013 to

UK travel and two night’s accommodation will be provided for all speakers.


Culture clash? Contemporary arts in historic contexts

Greenwich, London

February 14, 2014

Deadline: Oct 31, 2013

To coincide with the latest in a series of contemporary interventions, Yinka Shonibare MBE at Greenwich, Royal Museums Greenwich is organising a conference on 14 February 2014 to explore the role of contemporary art outside the white cube.

In recent years it has become increasingly popular for museums and historic buildings to invite living artists to respond to their buildings or collections by curating, creating or performing on site.

What has been the impact of this popular collaborative trend for artists, museums and their audiences?

Themes addressed by the conference may include (but are not restricted to): the artist as curator/the curator as artist; contemporary art, memory and commemoration; the relationship between artists, museums and the market; artists’ residencies and audience engagement.

We welcome submissions for papers and less-formal presentations from curators, artists and other specialists in the fields. Proposals from postgraduate students and early career scholars are encouraged.

Proposals of no longer than 250 words, for presentations of 20 minutes, should be sent to no later than Thursday, 31 October 2013.


News Pictures

Los Angeles, University of Southern California

May 4 – 05, 2014

Deadline: 1 Nov. 2013

News pictures promise to make the world, through the faculty of vision, at once immediate and knowable. Few would dispute that the news picture, whether static or moving, photographic or autographic, is one of the most ubiquitous, powerful and controversial kinds of images today and that there is a long and complex history of the news picture still to be analyzed and explained.

This two-day conference seeks to classify and comprehend those pictures that are news with attention to their production and material history. The decline of print journalism, the rise of the Internet and the advent of digital photography suggest that our current moment presents an obvious turning point in the history of news pictures and yet we lack a clear narrative of its earlier history. While research has examined photojournalism through thematic priorities in the representation of historical events – war, catastrophe, atrocity, and exoticism – we seek papers that focus as much on the form, practice and material history of news pictures as on the images’ content. We are also interested in reception as it relates to contextual definitions of news and the value of its pictorial communication.

We invite submissions from junior scholars and graduate students in their final year working across all times and places on « news pictures. »

Please send a 250-word abstract and CV by November 1, 2013 to include « News Pictures » in the email title. Travel and expenses will be paid. Papers will be pre-circulated and commented upon and there is an expectation that participants will read the papers of other participants (between 10-12 papers). They will be due April 25, 2014.



What Images Do

The Royal Danish Academy of Fine Arts, Copenhagen

March 19 – 21, 2014

Deadline: Nov 1, 2013

Confirmed keynotes: Georges Didi-Huberman – Jonathan Hay – Jacques Rancière

The aim of this symposium is to contribute to our understanding of what the image does (its pragma). The awkward entanglement of being and non-being (Plato) calls for an examination of the image as an act or event. Through its event, the image-act instigates an image-related reflection upon the issues of being and non-being, physis and semiosis, actuality and potentiality. The concept of iconic difference as coined by art historian and philosopher Gottfried Boehm is vital to our concern. Iconic difference embraces an internal effect in the formation of images as an entanglement of being and non-being, matter/perception, imagination/representation, but also externally in the relations between images, language, and concepts.

Today, educational institutions within the fields of art, design, and architecture may no longer simply approach image making intuitively, but are requested to engage in a dialogue with academic research and science. Such primarily verbal discourse may, at best, support rather than suppress insights into the unique potentials of the image. Yet a prolific dialogue would not sustain the identity of the image as an already established reality (as re-presentation), but moreover articulate the particular behaviours of the image.

Submit your abstract (max. 400 words + a short CV) to Martin Søberg, by November 1, 2013. NB: There will be a moderate registration fee for participation in this symposium, covering lunches and a symposium dinner, etc.

WHAT IMAGES DO follows upon the work of an international research network established in 2012 in collaboration between NCCR Iconic Criticism ‘eikones’ in Basel, TU Delft, Kunstakademie Düsseldorf, and The Royal Danish Academy of Fine Arts. The network and its activities are funded by The Danish Council for Independent Research | Humanities (FKK).


Within a frame. Boundary, interaction and transition between art and its surroundings

40th Association of Art Historians Annual Conference

Royal College of Art, London

April 10 – 12, 2014

Deadline: Nov 11, 2013

The relationship between an artwork and its frame continues to be a matter for on-going academic discussion. With the introduction of detachable frames, which opened up the possibility of replacing original frames, often for the reason of taste or to suit a collection display, the continuity between painting and frames has been increasingly overlooked. Seeing art and its surroundings together, an original frame as well as a replacement frame, provides references about purpose, context, significance, mise-en-scène or the viewing angle of the painting both originally intended or later applied.

Whilst the frame sometimes complements the original artwork occasionally in the form of an extended image support, the artwork was sometimes designed from the outset with the frame in mind. The way the frame defines the border of an image and integrates the artwork into a spatial context evokes questions about the integrity of art and its aesthetic interplay between its physical and artistic aspects.

The panel seeks to examine the frame as an integral and historic part of the artwork and the role of the frame in facilitating and expanding the meaning, perception and impact of the artwork. We encourage an interdisciplinary approach regarding display practice and parameters for framing, involving also the interrelationship between picture, frame and its backdrop. The panel would like to discuss these viewpoints from a diverse range of disciplines and particularly invites curators and frame conservators to take part. Any views regarding time periods and media that deal with these themes are welcomed.

Please submit abstracts for consideration to Session Convenors: Dr Daniela Roberts (Civic museum Brunswick): and Stuart Ager (National Portrait Gallery): by November 11, 2013.

For more information on the conference and details on how to submit an abstract, please see the AAH website:


The Reception of German Art, Art Theory, and Philosophy by the Americas in the 20th Century

Panel at the AAH Annual Conference, London, Royal College of Art

April 10 – 12, 2014

Deadline: Nov 11, 2013

The panel considers the impact of German Art, Art Theory, Aesthetics, and Philosophy on the Americas. The goal is to focus on German cultural transfer and influence in American Art History and Philosophical discourse. In the 20th century, many German artists and art theorists had to emigrate to the Americas. This contributed to the dissemination of Germany Art and Art Theory in the Americas.

We are trying to examine critically the dialog between American and German Art using Marcusian terms. World Wars I and II are very important to understanding German exile, as well as emigration and dissemination of German culture in the Americas. Moreover, the subject of German exile is not restricted to “escape” from the wars or political persecution, but it also reflects a strong nostalgic feeling for Germany and how this is represented in American visual art.

Another important factor is the fundamental role of American museums, galleries, collectors, art markets, and the discipline of German Studies in America. The interactions between these institutions promote awareness of inter- and trans-cultural issues not commonly understood about German art. German emigration contributes to the dialog in modern and contemporary contexts and the concept of cultural issues in national and local discourse in our globalized world. Papers should address one or more of the following topics: German Art, Art Theory, and Aesthetics in the Americas.

Abstracts (max. 250 words) for papers of 20 minutes are to be sent to Tatiane de Oliveira Elias ( and to Fernando Scherer ( by 11 November 2013.

For more information on


Un thème : collectionner – Un pays invité : la Suisse

4e édition du Festival de l’histoire de l’art

Fontainebleau, 30 mai – 1er juin 2014

Deadline : November 25, 2013

Le Festival explore chaque année un thème, en 2014 « Collectionner », et propose trois rendez-vous annuels : le Forum de l’actualité, qui accueille un pays invité, cette année la Suisse, le Salon du livre et des revues d’art et Art & Caméra la section film et vidéo du Festival. Le Festival est aussi l’occasion de propositions pédagogiques pour l’enseignement de l’histoire des arts à l’école, à travers une Université de printemps et des ateliers pédagogiques proposés et soutenus par le ministère de l’Éducation nationale.
L’appel à communication s’adresse à des chercheurs français et étrangers, de préférence francophones, confirmés ou débutants. Les propositions de jeunes chercheurs, conservateurs ou encore restaurateurs seront examinées avec une attention particulière.

Information :


Art Brut et Matérialité

Carleton University (Ottawa)

June 11-12, 2014

Deadline: 30 November 2013

This symposium seeks to reorient our understanding of ‘art brut’ by shifting scholarly focus to the concrete aspects of artworks and to different meanings of ‘materiality’. It aims to develop new lines of inquiry on ‘art brut’ and to question our discipline’s conventions. In foregrounding the concept of ‘materiality’, we will refer to the history of this concept, especially the philosophical opposition of matter/mind, as well as to recent theories that have emphasized the role of objects in the constitution of scientific knowledge, society and identity (Latour, Gell, Miller). The materiality of ‘art brut’ itself will be considered as a means of knowledge, and as a medium that may be unfolded according to different approaches. We suggest different paths of reflection.

These study days will be interdisciplinary and international. Researchers coming from different countries and different fields (Art history, literature, psychoanalysis, philosophy, cultural studies, material culture studies, film studies, etc.) are invited to send their paper proposals before November 30, 2013 to or to the organisers of the symposium, and

Proposals should be one page (single-spaced) and indicate the title of their presentation and the author’s information (name, university, position, discipline, current research, publications).


The ‘Mediatization’ of the Artist

EYE Film Institute, Amsterdam/Netherlands Institute for Art History (RKD), The Hague Sandra Kisters, University of Utrecht Rachel Esner, University of Amsterdam

19-20 June 2014

Deadline: 13 December 2013

The international conference The Mediatization of the Artist aims to examine the various aspects of the visual-media presence of the artist from the nineteenth century to today. With the rise of notions of artistic autonomy and the simultaneous demise of old systems of patronage, artists increasingly found themselves confronted with the necessity of developing a public image. At the same time, new audiences for art discovered their fascination for the life and work of the artist. The rise of new media such as the illustrated press, photography and film meant that the needs of both parties could easily be satisfied in both words and images. This led to a transformation of the artist from a mere producer of works of art into a widely recognized celebrity.

We invite contributions that critically examine these forms of mediatization, their pros and cons, as well as their historical dimensions. We encourage an interdisciplinary, trans-historical, and trans-national approach, and welcome papers that are either theoretical or more case-study based.

Please send an abstract of no more than 300 words (for a 20-minute paper) and a CV to: Sandra Kisters ( and Rachel Esner ( no later than 13 December 2013.

Speakers will be notified by the end of January 2014.

A publication inspired by this conference is foreseen; therefore please indicate in your abstract whether you would be interested in further developing your paper for a book of collected essays after the event.


Constructions of the Exotic in Europe and North America

Material Culture Review

Deadline: December 15, 2013

Material Culture Review solicits articles for a special issue on the theme of constructing the exotic. We are looking for articles that examine the question of how a person, an object or a work of art comes to be seen as exotic. How is “foreignness” constructed? How is one culture appropriated and domesticated by another? The goal here is not to show the constructed nature of the concept of the exotic. Rather, papers should emphasize the processes by which something is made exotic, including the stories that surround an object, the ways in which an object is exhibited, and how the representation of an object affects whether or not it is perceived as foreign. We invite papers that examine exoticization and domestication in relation to territory and place, agency and identity – papers that examine not only what is exoticized but also who does the exoticizing and how they do it.

We are particularly interested in analyses of the exotic in Europe and North America that are grounded in social and political contexts.

Articles should be 20-30 double-spaced pages, including endnotes. Articles are expected in English or French. Please submit manuscripts by December 15, 2013 to Noémie Etienne at


Pluralité des arts, singularité des oeuvres.

Louvain-la-Neuve, Institut supérieur de philosophie

28-30 mai 2014

Date limite: 31 décembre 2014

Ce colloque entend rassembler des artistes, des philosophes, des historiens et autres théoriciens autour d’une pluralité d’arts et de pratiques dans leur spécificité ou leur singularité, sans exclusive a priori.

Puisqu’il faut bien reconnaître que les « Beaux-Arts » traditionnels ne sont plus guère évoqués que dans les dénominations de certaines institutions, on se propose d’aborder la question de l’hétérogénéité –passée et présente– et de la diversité des œuvres, des arts, des techniques, afin d’envisager le devenir contemporain de l’ancien « système des Beaux-Arts » ainsi que le devenir problématique de la notion même d’art dans les discours et les pratiques actuelles. On prend donc ici le parti de mettre entre parenthèses les approches frontales et générales des questions, distinctes mais liées, de l’unité des arts et de la définition de l’Art pour se pencher davantage sur les spécificités des pratiques artistiques d’aujourd’hui. Il s’agit donc de privilégier les approches théoriques et artistiques de la spécificité et la diversité des pratiques, des œuvres, des techniques et supports.

Les propositions de communications (maximum 2500 caractères espaces compris) sont à adresser, exclusivement à l’adresse suivante : en annexe à un mail et accompagnées d’un bref CV, pour le 31 décembre 2013 au plus tard.

Comité organisateur : Pr D. Lories (Université catholique de Louvain), Pr R. Steinmetz (Université de Liège), Pr C. Thérien (Université du Québec à Trois-Rivières)


Oscar Cahén (b.1916, Copenhagen-d.1956, Toronto)


Deadline February 9, 2014

The Cahén Foundation is inviting researchers to produce in-depth scholarship on Oscar Cahén, who came to Canada as a refugee in 1940, and he established himself as a leading illustrator and abstract painter.

We welcome ideas from authors. Possible topics could include Oscar Cahén’s

  • European roots, especially training at Dresden, art scenes in Copenhagen and Stockholm and Prague 1930-1938, teaching at Rotter School in Prague 1938 • Engagement with Expressionism and other European modernisms • Relationships with Painters Eleven and/or other Toronto artists • Awareness of New York School art movements • Place in Jewish diaspora studies • Life in Montreal 1942-1945; relation to Les Automa- tistes • Fame/loss of renown/recuperation in relation to institutions and/or market • Sculptures and/or ceramics • Relation to the subconscious or psychoanalytical theory • Religious identity, themes, and imagery • War posters • Magazine covers and interiors • Illustrations for Canadian literature • Sojourns in Florida, associations with other artists in the Naples and Venice area of Florida • Textbook illustrations • Treatment of jazz in paintings and illustrations • Iconographies of grief, prayer, family, birds, etc • Works for children • Portrayal of ethnic minorities in illustrations • Relationship to issues in Canadian identity • Use of humour/irony/cartoon/caricature • Technical experimentation, media, and form; and is- sues in conservation

We will provide access and research assistance to our holdings (original figurative and abstract art, original illustration art, mss, oral histories, family history, photographs, exhibition catalogs, correspondence, published illustration). Much of this can be conducted remotely through our extensive digital offerings.

A colloquium is planned for April 26, 2014, and submissions will also be considered for an edited book. Chosen participants will be awarded honoraria. Research with especial promise on European topics may qualify for limited funding.

Please visit for complete details.


The Future of Art & Science collaborations

October 7 – 10, 2013

Leiden / Amsterdam / The Hague

The Future of Art & Science Collaborations is a series of double lectures by eminent international researchers and practitioners from the field where art and science interact. From October 7-11 October the Lorentz Centre (Leiden) welcomes 25 researchers and practitioners to explore future benefits and challenges, processes and politics and collaborations between art and science. Every evening two experts talk about their distinct field of work related to a theme that is at stake concerning art & science. The presentations take place at institutions that position themselves in the midst of the development of art & science interactions in Leiden, The Hague and Amsterdam.


Form Finding, Form Shaping, Designing Architecture Experimental

October 10 – 11, 2013

Mendrisio, Switzerland

In the early 1950s the German architect FREI OTTO (born 1925) developed the concept of «FORM FINDING». He defined this concept in opposition to the shaping of forms, which in his eyes could only result in a deformation. Otto wanted to find, to explore and to optimize form instead. In the meantime, contemporary architecture has seen an emergence and increasing prevalence of seemingly or factually arbitrary forms. The workshop takes Frei Otto’s influential concept as the starting point for a critical assessment and investigation into POSTWAR AND RECENT CONCEPTIONS of the GENESIS OF ARCHITECTURAL FORM. Researchers and practitioners from different fields will discuss the following

questions: How unrestricted, how random should or can architectural form be? Which processes lead to form? Which considerations influence the process of design? Which part does the «design tool» play? Are there aesthetical and ethical criteria which can be influential to form?

More information:


L’Artiste en revues. Fonctions, contributions et interactions de l’artiste en mode périodique

Université libre de Bruxelles

28-30 octobre 2013

Ce colloque interroge les différentes modalités de collaborations d’artistes et leurs réalisations écrites dans une publication périodique. Sous la désignation d’« artiste » sont ici pris en compte tant peintres que sculpteurs, musiciens, compositeurs, cinéastes… dont la majeure part de la production ne relève pas du champ littéraire. Ce projet transdisciplinaire considère les contributions d’artistes dans la diversité de leurs formes et modalités afin de mettre au jour le rôle des revues et de la presse quotidienne dans la structuration de la vie artistique ainsi que dans les trajectoires individuelles des artistes.

Le colloque envisage le périodique comme un outil de promotion, mais aussi comme un lieu d’échange et de rencontre avec le public, ainsi qu’avec d’autres artistes, d’autres disciplines artistiques, avec l’actualité et surtout, avec l’écriture. Les interventions s’inscrivent dans une longue période, de 1830 à nos jours, en comprenant l’objet des publications périodiques dans leur sens le plus large, c’est-à-dire en incluant revues artistiques et littéraires, mais aussi journaux et revues généralistes, « petite presse » et magazines.

Renseignements : Clément Dessy,


Autour des figurations : critiques d’art et artistes dans la France d’après-guerre

Toulouse-II Le Mirail

21-22 novembre 2013

Dans le domaine des arts plastiques, les conquêtes menées par les artistes d’avant-garde au lendemain de la seconde guerre mondiale ont fini par éclipser toute une production figurative qui, pourtant, occupait le devant de la scène aux yeux des contemporains. L’histoire de l’art qui a été écrite depuis près d’un demi-siècle a eu tendance à accréditer la thèse du grand transfert atlantique de l’art moderne, qui, de Paris à New York, se serait accompagné du délaissement inéluctable des figurations au profit des abstractions et, bientôt, des diverses formules de l’art conceptuel. La présence des choses et des êtres traduite par le peintre, le graveur, le sculpteur, ne serait plus, dès lors, qu’une survivance du passé, tout comme la notion de sujet avec son contenu politique, social ou religieux. Peut-on se contenter d’une vision de l’histoire aussi exclusive ? Il est temps aujourd’hui, nous semble-t-il, de réexaminer les forces en présence afin de commencer à restituer la pluralité historique des années 1945-1960, leur richesse, leur diversité. Tout ne se résume pas aux artistes qui ont cherché la rupture à tout prix et la novation radicale. Ceux qui ont été en quête de leur propre singularité dans la continuité, voire dans un certain respect de la tradition, méritent peut-être d’être reconsidérés. C’est du moins l’un des paris de ce colloque. Pari d’autant plus nécessaire que les artistes figuratifs des années 1945-1960, négligés par les études académiques, ouvrent pour l’avenir un vaste champ de recherche.

Contacts : ;


Bourses de recherche du Centre Pompidou

Bibliothèque Kandinsky, Paris

Dans le cadre de sa politique de soutien à la recherche, le Centre Pompidou propose trois bourses destinées à des doctorants inscrits au moins en deuxième année de thèse, dans une université, française ou étrangère, pour l’année universitaire 2013-2014.

–     Bourse d’études « Histoire et sociologie de l’art »

–     Bourse d’études « Histoire des expositions »

–     Bourse d’études « Mondialisation et Etudes culturelles »

Pour en savoir plus et déposer votre candidature, suivez le lien :


Post-doc position, ERC-project “To each his own reality”

Deutsches Forum für Kunstgeschichte (German Center for Art History), Paris

Application deadline: Nov 22, 2013

Starting with an analysis of the notion of the real in a variety of forms that use the concept (e.g. performance art, integrating objects in art, figuration, etc.) and from these multiple interpretations in France, West Germany, East Germany and Poland, the project (see description below) aims to develop an understanding of sharing, exchanges as well as misunderstandings and common points on both sides of the Iron Curtain. By focusing on a single concept, the project aims to analyse the possible relationship between separate formal practices, to question the relevance of certain similarities between neighbouring art practices and to investigate why this notion was significant between 1960 and 1989. With this in mind, it will be important to analyse the ways in which the artistic, cultural, theoretical, political and ideological issues of the day fit together.

The postdoctoral researcher will be hired full-time. The position is for a fixed duration of 2 years. The position will be subject to a 6-month probationary period. Candidates must have submitted their thesis and hold a PhD. It will be particularly helpful if the candidate speaks French and one of the two languages of the project (Polish or German) as this would contribute to ensuring a rigorous analysis of the dialogue between the four countries and to facilitate communication within the team.

The application must include a description of a research project specifying the research year, an estimation of the number of remaining years (max. 4 pages), a cover letter in which the candidate explains how this project will enrich and supplement his/her own research, a CV (max. 4 pages) and two letters of recommendation.

Applications must be sent by email to no later than 22 November 2013.

For further information see:

Circulaire 20

Dear Friends and Colleagues,

Earlier this year we were very gratified to become affiliated with the College Art Association, but now we have more great news: this year EPCAF will presenting a panel at the 3rd Festival de l’histoire de l’art in Fontainebleau.

Our panel is on Sunday morning in the Salle d’honneur of the Mairie (see more details below). This makes EPCAF officially transatlantic. We are thrilled because this has always been one of our main objectives.

For those unfamiliar with the Festival, it is a free three-day public event. More information is available at

On this occasion we would also like to have our annual EPCAF spring meeting on Friday, May 31st at the Relais Odéon restaurant starting at 5:45pm. The perfect time for a celebratory aperitif! It is indeed at the Relais Odéon restaurant that EPCAF was founded three years ago. Please join us to meet, chat, and celebrate EPCAF’s accomplishments so far.

Below you will find the usual announcements and listings.

All our best, and looking forward to seeing you soon!

Catherine Dossin & Victoria H.F. Scott


Lecture Series “Art – Research – Gender”


01.10.2013 – 30.06.2014

Deadline: Jun 2, 2013

This series of lectures focuses on a broad range of questions pertaining to the practice of art and the study of art: to procedures of subjectivization of materials on a concrete level; to approaches to ‚new‘ materials or the rebellious appropriation of approved materials; to the crucial feminist concept of re-appropriating one’s own body and its subversive use as material and medium, for example for script, for literal inscriptions into skin, under the deployment of abjection.

Interest is also focused on new looks at the historical discourse surrounding a female aesthetics, which centered on materials and qualities such as viscosity, tactility, and specific artistic techniques. The subject matter also encompasses the great attention textiles have recently attracted both in artistic and scholarly practice as well as the issue of the im/materiality of projection. Not least, interest is directed at considerations and case studies on the relationship of material, medium, and the movement of the commodity; at concepts and modes of work, which are already inscribed in the raw material; and at the relationship of material aesthetics and processes of fetishization.

Usually, eight lectures are selected for each academic year, which are held on Wednesdays at the University of Applied Arts in Vienna. We expect talks to take up to 60 minutes; a discussion follows.

Please submit your proposal by email on or before June 2, 2013, to Please include:

– Working title; Abstract (300 words); Short biography; Your contact data

Submissions are accepted in German or English.


Becoming-Image: Contemporary Performance and Its Formalization

2013 UAAC/AAUC Conference, Banff Centre, Banff, Alberta

October 17 – 20, 2013

Deadline: Jun 4, 2013

Studies of performance art have long been mired in questions of documentation, repetition, and reification. Scholars such as Sven Lütticken, Rebecca Schneider and Judith Butler have addressed a “repeat performance” that pervades all social relations under capitalism. In response, recent works by a number of artists show a changed approach in which live performance art is already an image or object designed for display or reproduction. This panel sets out to discuss the becoming-image or becoming-object of ephemeral, body-based work through such topics as: artistic engagements with repertories of gesture drawn from high culture and popular media or with historical systems of formal notation; the commodification of performance art within an “experience economy”; the institutional development of specific vocabularies and formal aesthetic criteria; and attempts to codify durational works for re-enactment by other bodies in other contexts. We welcome papers and artistic contributions that engage with new thinking on contemporary performance and its formalization in a broadly geographic, political and interdisciplinary sense.

Please submit abstracts (150-word maximum) for 20-minute papers directly to the session chairs, along with a brief curriculum vitae (300-word maximum) that specifies your rank and institutional affiliation (if applicable).

Jessica Santone, Instructor, School of the Art Institute of Chicago,

Milena Tomic, Independent Scholar:


Pyrotechnic Sculpture

November 21, 2013

Leeds, Henry Moore Institute

Deadline: Jun 14, 2013

This one-day symposium coincides with the Henry Moore Institute exhibitions: Dennis Oppenheim; Thought Collision Factories, Jean Tinguely: Spiral and Stephen Cripps: Pyrotechnic Sculptor. All three of these sculptors pushed the boundaries of sculpture not only by employing purpose-built mechanised objects and kinetic contraptions, but also through pyrotechnics. Each of them turned to fireworks, explosives, flares, fires and other kinds of combustibles and detonations to make temporary sculptural works, the sparks of which shone brightly across the landscape of contemporary sculpture in Europe and North America throughout the 1960s, 1970s and 1980s. Fire, flare and smoke were all harnessed by these artists for visual, sonic, material and spatial effects, in fascinating, ambitious and imaginative ways, with associations and meanings that extend well beyond their more literal ‘dematerialising’ qualities.
We welcome thirty minute papers that look at examples of pyrotechnic sculpture found across the modern and contemporary period, both before and after the work of these three artists. We are seeking new and original research on this kind of work, interested in its deployment of kinetic sculptural form and use of activated assemblage, its accounts of temporality and ephemerality, its collision of object and event, sculpture and performance, its modes of staging, display and re-display, and finally, in the on-going life of this kind of work today, as well as its recent history.

Please email a 250 word abstract and a copy of your CV, by Friday 14th June 2013, to


Image and Word: The Fourth International Graduate Symposium of Art History

October 11-13, 2013

Peking University

Deadline: June 15, 2013

The studies on image and word went hand in hand with the development and transformation of humanistic disciplines. In Art History, the theory of Iconology has close affinity with the contemporary visual/linguistic theory such as Semiotics. However, the latter is different from the former in a traditional Art-Historical sense, in that the latter’s scope of study goes beyond the image’s formation, symbolism, visual source, and meaning to include the relation between image and word; it also includes the function of image in the process of human cognition, as well as the ideology of image, and the roles the image plays in an era of visual world. In addition, visual/linguistic theory addresses issues such as whether image (the visual) is a kind of narrative, the relation between image and cinema (motional pictures), and the analogy of visuality of image to that of language, etc. Moreover, visual/linguistic theory addresses an interdisciplinary approach to the above issues. Image and word, to some extent, have shaped a cross-disciplinary field in the humanities, which has drawn scholarship from philosophers, literary critics, and art historians. In those studies, the essential issue is about the relation between word and image, or, textuality and visuality. How to reexamine those issues in art-historical studies is what is at stake of our intellectual goals of this symposium.

The 2013 Peking University Graduate Symposium aims to providing young scholars with an intellectually engaging platform, where they can exchange ideas and share their own research across the theme of “Image and Word.” We are now open to accept proposals from graduate students both in China and overseas.

During the symposium, we will offer accommodations to the invited participants, including food and lodging. In addition, we will cover costs for a field trip for the participants, which will be organized following the symposium. The working language will be both Chinese and English.

Potential participants should submit a proposal of 1000-word and current curriculum vitae to: by June 15, 2013. A confirmation email will be sent to applicants after the proposals are selected.

If you have any questions, please contact: Mr. Wu Yanwu: or Mr. Liang Shuhan:


Architecture of Centrality: The Transformation of City Centers in Postwar Europe.

Poznan, September 20 – 21, 2013

Deadline: Jun 15, 2013

While European city centers have for centuries been the sites of buildings designed with respect to their central location, the notion of centrality underwent a considerable change during the second half of the 20th century.

This problem has gathered a special meaning after the war, when huge destruction of cities had caused the necessity of their transformations. The reconstruction of damaged parts had to refer to historical heritage, but it was also a chance to create a new idea of a city. These issues are important with regard for the change of a life style, but also for the power of financial capital or for the influence of ideology on shaping the image of the cities.

Please submit abstracts of less than 500 words by June 15, 2013 to Piotr Marciniak


2013 Annual Conference of the Association for the Study of Modern Italy

22-23 November 2013

University of London

Deadline: July 15, 2013

This conference will explore the many different ways in which images and symbols have circulated in modern Italy since 1800. The intention is to consider images of all types and explore their role in generating perceptions of Italy and the Italians, creating a shared visual culture, articulating political battles and ideologies, embodying gender differences and giving shape to commercial culture. It is expected that a significant part of the conference will be devoted to photography (Alinari brothers, Luce Institute, humanist photography, street photography and paparazzi images, and glamour imagery) and to iconic photographs (for example, Mussolini harvesting, Aldo Moro as prisoner of the Red Brigades). However, space will also be devoted to other media including popular illustration and cartoons, advertising, party symbols and election posters, postcards, art, magazine and book covers, graffiti and cinema. The aim is to explore the genesis and meaning of images which for one reason or another have become widely known and which occupy – or have occupied – a place in the collective imaginary. These may include particular advertising campaigns, movie stills or scenes, brand images and star portraits as well as images, moments or people who for a brief moment captured national or international attention.

Religious imagery is important as are images and visual clichés inherited from the recent and remote past. Among these will be triumphs (in sport for example) and tragedies (such as disasters and certain deaths), and representations of the physical environment, including changing cities and the landscape.

The conference will aim to attract contributions on a wide range of topics with the intention of bringing the visual and symbolic dimension of different events and experiences to the fore, as well as exploring case studies, professional trajectories and the present-day visual landscape.

Please send your 200-300 word proposals and a brief biography (including present status and any institutional affiliation) specifying if you plan a paper or short presentation in English or Italian by 15 July 2013 via email to: Alessandra Antola Swan, Royal Holloway University of London, Martina Caruso, Camberwell College of Arts, University of the Arts of London,


EAHN Third International Meeting

Turin, June 19 – 21, 2014

Deadline: Sep 30, 2013

The European Architectural History Network is organizing a third international meeting in Turin, Italy, in 2014. In accordance with the EAHN mission statement, this meeting proposes to increase the visibility of the discipline, to foster transnational, interdisciplinary and multicultural approaches to the study of the built environment, and to facilitate the exchange of research results in the field.

The call for papers is now open: abstracts are invited for the 24 thematic sessions and 3 round tables. Members of the larger scholarly community are invited to submit proposals related not only to Europe’s geographical framework, but also to its transcontinental aspects.

Abstracts of no more than 300 words should be submitted by September 30, 2013 through the Conference website.

The complete Call for Papers can be downloaded from the Conference website:


75 Anniversary of the End of the Spanish Civil War

Madrid, April 3 – 05, 2014

Deadline: Sep 30, 2013

The conference is intended to provide a forum for reflection on recent contributions to the study of the consequences of the Spanish Civil War. The aim of the event is to discuss new trends in Spain’s post-war history. The Conference will be divided into eleven parallel sessions on the following topics:

I. The bankruptcy of Spanish Modernity after the Civil War, 1900-1936

II. Resistance, Repression and Social Control

III. The Scientific and Cultural Exile

IV. Historiographies: The Spanish postwar in the context of global post wars

V. Workshop on the Teaching of the Spanish Civil War and Francoism

VI. Insertion, Isolation, and International condemnation

VII. Mass Media, Propaganda and Religion

VIII. Women, Sexuality and National Identity

IX. War, Popular Culture and National Reconstruction

X. Traumatic Memory, Conflict and Post-conflict

XI. Spanish postwar literature: Tolerance, Resistance and Collaboration with the ‘legitimacy discourse’

Abstracts of a maximum of 350 words must be submitted via email to Abstracts should include title, name, affiliation, and email contact. All abstracts must indicate clearly the addressed Conference topic. Abstracts and papers are accepted in English, French and Spanish. The language of the conference will be Spanish.

For further details please visit the Conference Website:


Lire Debord

24-25 May, 2013

BNF and l’Institut suédois, Paris

Suite à l’acquisition de ses archives, la BnF rend hommage à l’auteur de La Société du spectacle à travers une exposition, Guy Debord. Un art de la guerre, et un colloque dont la seconde journée se tient à l’Institut suédois. C’est en Suède, à la conférence de Göteborg en 1961, que l’Internationale situationniste, avant-garde artistique fondée à l’initiative de Guy Debord, se déplace sur un terrain plus proprement politique. C’est en Suède encore, à Drakabygget, que les dissidents de l’I.S. fondent peu après un « Bauhaus situationniste » qui prolonge les recherches artistiques des premiers moments du mouvement. C’est en Suède enfin, sur l’île de Gotland, que Guy Debord passa de nombreux étés à s’entretenir avec son ami, l’artiste danois Asger Jorn.

Ce colloque international rassemble des chercheurs de disciplines variées (histoire, philosophie, littérature, sociologie, études théâtrales ou cinématographiques, etc.) ainsi que des passeurs de la pensée situationniste, dont le Suédois Olov Hyllienmark, traducteur de La Société du spectacle en suédois. Renseignements :


Pour une poésie précaire et fugitive du quotidien: Artistes français des Trente Glorieuses

02/06/2013 – 10h30 à 12:30

Mairie de Fontainebleau – Salon d’Honneur (80 places)

Dans la France des Trente Glorieuses, des artistes s’efforcèrent de capturer, voire de monumentaliser, la poésie précaire et fugitive d’une vie quotidienne en pleine transformation, posant ainsi la double question d’une possible permanence de l’éphémère et du rôle de l’art dans la société.

Intervenants: Jill Carrick, Catherine Dossin, Rosemary O’Neill, Lily Woodruff


Die Bildhauer. Kunstakademie Duesseldorf, 1945 bis heute

Kunstakademie Düsseldorf

16.04. – 09.07.2013, Jeweils Dienstag, 18.00 Uhr

Ergänzend zur Ausstellung »Die Bildhauer. Kunstakademie Düsseldorf, 1945 bis heute« im K20, Kunstsammlung Nordrhein-Westfalen, hat die Kunstakademie Düsseldorf eine Vortragsreihe zur Bildhauerei nach 1945 konzipiert, die zentrale Aspekte der historischen Entwicklung ebenso wie Fragen der Öffentlichkeit und Präsentation von Skulptur thematisiert. Die Bildhauerei an der Kunstakademie Düsseldorf wird dabei im internationalen Rahmen der Skulptur nach 1945 diskutiert.

Der Eintritt ist frei, eine Anmeldung ist nicht erforderlich


Oskar Hansen: Opening Modernism

Museum of Modern Art in Warsaw

June 6 – 07, 2013

The first international conference devoted to the oeuvre of Oskar Hansen (1922-2005), architect, artist and educator affiliated with the milieu of Team 10, which acquired seminal importance to post-war modernist architecture. Gathering outstanding researchers in art and architecture history, the conference provides a platform to investigate anew selected aspects of Hansen’s practice – position it among the work of other Central-Eastern European architects connected with Team 10; discuss designs that merge architecture and the media; and last but not least, depart from investigations into his teaching activity at Warsaw’s Academy of Fine Arts in order to enquire if a Hansen’s tradition exists in visual arts.


Vom Wirtschaftsboom zur Wachstumsgrenze


6-7 June 2013

Am 6. bis 7. Juni 2013 veranstaltet Forum Stadt – Netzwerk historischer Städte e.V. seine Internationale Städtetagung 2013 zum Thema “Vom Wirtschaftsboom zur Wachstumsgrenze. Bauten der 1960er und 1970er Jahre in Klein- und Mittelstädten”.


Bohemianism in Central Europe

Special issue of the Slovak journal Ars edited by Kasia M

Table of Contents:

About Ars:


BnF – Art optique, cinétique, lumino-cinétique – Bibliographie

La tendance artistique polymorphe de l’art optique est née dans les années1950. Elle s’intéresse au mouvement apparent ou réel et joue sur l’ambivalence de la perception.

Art impersonnel, expérimental, interactif, à la portée de tous, né de la société technique, en dialogue avec la science, il est issu de l’Abstraction géométrique. Par le recours à des procédés optiques, il place le spectateur au centre de fortes expériences sensorielles, le rendant co-créateur de l’œuvre.

Réalisée à l’occasion des nombreuses expositions consacrées à l’art cinétique au printemps 2013 à Paris, cette bibliographie sélective recense des ouvrages disponibles en Bibliothèque d’étude.


Alain Badiou. Change, Aesthetics and Politics

Alain Badiou, French philosopher, mathematician and author, answering students’ questions about the philosophical concept of change. In this lecture, Alain Badiou discusses change within the field of aesthetics, the relationship between mathematics and art, genericity in politics, affirmative dialectics and the relationship between philosophy and art in relationship to Karl Marx and Georg Cantor focusing on truth, universality, generic sets, collectivity, the public, multiplicity, subjectivity, set theory, the proletariat, negativity, revolutions, the imitation of nature, painting, capitalism, technology and death.


Centre Pompidou Virtuel – Simon Hantaï


Carla Accardi – Rebecca Ward:Women’s Genius

One step beyond, 18 maggio | 7 settembre 2013, Bibo’s Place, Todi—rebecca-ward.htm


Boris Vian

BNF in Paris


Tàpies. Lo sguardo dell’artista

1 giugno – 24 Novembre 2013, Palazzo Fortuny, Venezia–lo-sguardo-dell-artista.htm


New Museum for Giorgio de Chirico


L’esprit de l’Est londonien

M le magazine du Monde

12.10.2012 à 12h02


Trois questions à Ronan et Erwan Bouroullec

Adeptes du slow design, les deux frères, héros très discrets d’un design français, sont exposés dans le monde entier. Ils sont mis à l’honneur jusqu’en septembre par le Musée des arts décoratifs, à Paris


A Conversation with Tony Cragg

American Academy Artist Talk with Tony Cragg Sculptor and Director, Kunstakademie Düsseldorf. Moderated by Ulrich Krempel, Director, Sprengel Museum Hannover…


Circulaire 19

Dear Friends and Colleagues,

Below you will find our usual listing of CFP, conferences, exhibitions, etc. We would especially like to draw your attention to the panel we are organizing for the Southeastern College Art Conference this year, which will be on Public Sculpture in Europe after 1945.

There are also several other interesting panels, and we have listed those we think might interest you. A list of available sessions can be found at

Catherine Dossin & Victoria H.F. Scott


Public Sculpture in Europe after 1945 

SECAC Annual Meeting in Greensboro NC

October 30 to November 2, 2013

Deadline: April 20, 2013

In 1964 Martin Heidegger wrote in his Remarks on Art—Sculpture—Space that the sculptor’s confrontation with their environment disrupted the smooth functioning of its spatial plan or setting. In other words, that sculpture challenged the very physicality of the social order and created a place apart: a place that disturbs the “seamless field over which proceeds the unending circulation of ersatz commodities.” Public monuments have always had a special place in Europe. However, they were never as controversial as following the Second World War during the reconstruction of bombed cities and the urban boom of the fifties and sixties. Heidegger’s analysis formed part of his critique of consumer culture, now it provides a useful philosophical lens through which we can begin to rethink and reassess the relationship between the beholder and the work of art anew.

Papers that examine the role and different historical traditions of public sculpture throughout Europe will be enthusiastically welcomed. Together we will consider modern and contemporary sculpture from every angle: its technical construction, its relation to monuments, as architectural elements and components of public gardens and landscaping, as well as its significance as sites of contemplative refuge: as sources for renewal, literally and metaphorically.

Information about SECAC, abstract guidelines and submission procedures is available at: Please use SECAC’s online form and submit your abstract and CV no later than midnight on April 20, 2013.

Session chairs: Catherine Dossin, Purdue University,, and Victoria H.F. Scott, EPCAF Director of Research,


Sculpture’s Multiples

SECAC Annual Meeting in Greensboro NC

October 30 to November 2, 2013

Deadline: April 20, 2013

In a 1968 letter to the editor of Artforum, Barnett Newman declared, “I do not believe in the unique piece in sculpture when sculpture is cast or fabricated. The unique piece in sculpture can exist only when one is carving stone.” Newman objected to critic Andrew Hudson’s characterization of one of the two exemplars of Broken Obelisk as a “copy.” Instead, Newman felt both sculptures in the edition were in fact originals, calling them “identical twins.”

This idea would have been completely foreign to nineteenth-century sculptors working in Italy with huge teams of carvers to churn out multiples of neoclassical works such as Hiram Powers’ Greek Slave or Randolph Rogers’ Nydia. Why did Newman feel the need to qualify “copies” vs. “editions,” and what happened in sculpture in the decades before he made that statement to make that qualification necessary?

To answer these questions, this session invites papers that examine the place of multiples in sculpture during the nineteenth and twentieth centuries. Questions addressed might include: how to distinguish between copies, originals, editions, and replicas; how sculpture’s multiplication has affected its reception or commodity value; factors that have influenced sculptors’ decisions involving multiples; methods of replicating sculpture; and workshop practices.

Information about SECAC, abstract guidelines and submission procedures available at: Please use SECAC’s online form and submit your abstract and CV no later than midnight on April 20, 2013.

Session chairs: Amanda Douberley, University of Texas at Austin,  and Sarah Beetham, University of Delaware,


“Eew, gross!” Disgust in Art since the 1960s

SECAC Annual Meeting in Greensboro NC

October 30 to November 2, 2013

Deadline: April 20, 2013

Even though the emotion of disgust, which is one of the most intriguing and socially significant emotions of humans, has become an integral part of the arts over the past decades, it has stayed remarkably absent from art historical, philosophical or pedagogical discourse. As a countercultural aesthetic practice, an instrument of social or political criticism, a medium to question concepts of social or gender roles and identities, disgust in art is a difficult, yet important topic that calls for closer examination. Therefore, this panel aims at exploring the emotion of disgust in art since the 1960s and invites papers from a variety of disciplines and cultural angles that investigate topics like different forms of disgust in art, meanings and functions, triggers and significance of disgust in art in relation to a respective cultural and social environment, or the special situation that disgusting art creates with regard to its reception.

Information about SECAC, abstract guidelines and submission procedures is available at: Please use SECAC’s online form and submit your abstract and CV no later than midnight on April 20, 2013.

Session chair: Anja Foerschner, The Getty Research Institute,


New Research on the Cold War of the 1970s and 1980s 

Blaubeuren, Germany

September, 13-15 2013

Deadline: 15 March 2013

The year 1983 marked a dramatic climax in the “Second Cold War”. Ronald Reagan called the Soviet Union an “evil empire”, announced the Strategic Defense Initiative, and a Korean passenger plane was shot down by Soviet Air Defense Forces. In November, Soviet-American tensions escalated during the NATO command post exercise Able Archer 83. High-ranking Soviet military and intelligence officers feared that the West was preparing for a nuclear first strike. Thus, some historians consider this crisis the most dangerous moment in the Cold War since the Cuban missile crisis.

The events of 1983 mark the culmination of tensions, which had already started with the crisis of détente in the 1970s. However, the beginning of a new American-Soviet rapprochement also made the year a turning point in the Cold War. Understanding 1983 as a watershed year thus points to phases of confrontation and cooperation in East-West relations. This workshop takes the 30th anniversary of these events as an opportunity to discuss new approaches to the Cold War of the 70s and 80s.

We especially invite contributions that encompass transnational and cultural perspectives on the Cold War, and/or consider actors who have been neglected in historical research.

Junior researchers and young academics (advanced graduate and postdoc level) are kindly invited to apply with a short abstract (approx. 300 words) by 15 March 2013. The conference will be held in English.

The CRC 923 ‘Threatened Order. Societies under Stress’ will cover travel expenses and accommodation.

Contact: Martin Deuerlein and Roman Krawielicki, CRC 923,University of Tübingen


Jacques Rancière’s work

2014 annual MLA convention

Deadline: March 15, 2013

This special session seeks submissions that discuss themes of vulnerability, resistance and social change in Jacques Rancière’s work. Approaches from various disciplines across the humanities and social sciences are welcomed. Please submit a 300-word abstract for a 20-minute presentation along with a 1-2 page C.V. to Haythem Guesmi ( by March 15, 2013.

Please note that this CFP is for a proposed, not a guaranteed, special session for the 2014 annual MLA convention. It is contingent on approval by the MLA Program Committee (which will make its decisions after April 1). All prospective presenters must be current MLA members by no later than 7 April 2012.


Futures past: Design and the Machine 

MIT, Cambridge, Massachusetts

November 21-23 Nov 2013

Deadline: March 29, 2013

In 1960, the readers of the IRE Transactions on Human Factors in Electronics encountered J.C.R. Licklider speculating on the future. “The hope,” he contended, “is that, in not too many years, human brains and computer machines would be coupled together very tightly and the resulting partnership will think as no human brain has ever thought.” He called this new cooperative interaction between the human and the computer a “symbiosis.”

This conference invites papers that inquire into the past that preceded, the present that coexisted with, and the future that followed Licklider’s proposition. We are interested in explorations of the assumptions and hypotheses that conditioned the coupling of humans with computational machines, and the debates around the roles of design and designer. Papers that investigate the institutional and intellectual history of human-machine systems and/or situate them within the social and economic context of the second half of the 20th century, are particularly welcome.

Please submit your CV and an abstract of 500 words to by March 29, 2013. Accepted participants will be notified by April 26.


Estrangement & Appropriation 

84th Kunsthistorischer Studierendenkongress (KSK)

Zurich, Switzerland, June 13 – 16, 2013

Deadline: Mar 31, 2013

 “Every nation is a lie that time and history have given – as in old myths or classical legends – an appearance of truth” (Mario Vargas Llosa, Nationalism and Utopia, 1992). Still, the nation as a construct seems nevertheless a fundamental reference point for traditional art history. Artifacts are often classified based on geographic criteria and the complexity and openness of political and cultural boundaries rarely discussed. At the same time, however, phenomena of exchange, communication and processes of translation are crucial for creative work. The story of globalisation is as old as the history of cultures, yet the attention to this development and those of digital networking in recent decades appears to stand in contrast to the simultaneous manifestation of nationalist-dominated views. As a country of immigrants and a federalist state with four (linguistic) cultures, Switzerland can serve as a model case for the discussion of the tension between local tradition and global context. As is evident in recent research (Homi K. Bhabha, Thomas DaCosta Kaufmann, David Summers and others), an examination of mobility, migration and exile as basic conditions of cultural processes is more relevant than ever before.

The thematic approach is consciously global, encompasses all epochs from the Middle Ages to the present and sees art as a broad area with the goal of encouraging papers concerning not only traditional media

such as painting, sculpture, and architecture, but also those concerning craft, design, film, photography and performance.

We welcome submissions including a synopsis of no more than one page and a brief curriculum vitae (preferably sent together as one PDF) until 31 March 2013 via email to

Concept and Organisation KSK Committee 2013, Art Historical Institute of the University of

Zurich. For more information, please see


East-Central European Criticism After the Fall of Communism 

EKPHRASIS. Images, Cinema, Theatre, Media

Issue 1(8)/2013

Deadline: May 30, 2013

East-Central European Criticism After the Fall of Communism: Cinema, Theatre, Visual Arts, Literature.

After the fall of Communism in East-Central Europe, the newly gained liberty of expression has generated both a creative euphoria and a liberalization of critical interpretation. Since everything had to be rebuilt in keeping with the democratic principles after forty years of totalitarianism, criticism – in all fields, from visual arts to literature or cinema – has remained, at least in the 1990s, a sort of old acquaintance somehow useless for the making of the new society. Only after the year 2000, when the economical, social and political transition became relatively stable for the majority of the countries in the region, critical reflection gained more legitimacy, acquired a certain sense of adequacy and redefined its social function.

Therefore, can we speak about critical methodologies that are specific for this intellectual geographical area, in the post-censorship decades? Is the recent Eastern-European criticism an interdisciplinary and cross-cultural effort, one that is easily exportable to the West? Or is it an intellectual model that is coherent only for an autochthonous paradigm? How the critical thinking models practiced mostly in the West (such as Postcolonialism, Critical Theory, Feminism or Cultural Studies) have entered and changed the East-Central European criticism? And finally, does criticism remain only a strong academic discipline or does it still hold resources for shaping the public taste?

The articles, written in English or French, together with the summary and key-words, should be sent to, and

The word limit is 5000-8000 words of text (including references).

The articles should be original material not published in any other media before.

Ekphrasis is a peer-reviewed academic journal, edited by the Faculty of Theatre and Television, “Babes-Bolyai University”, Cluj-Napoca, Romania.

For more information and submission guidelines, please visit:


Benjamin, Barthes, and Fashion

University of Manchester

June 28, 2013

Deadline: 1st April 2013.

Both Barthes and Benjamin wrote on fashion’s relationship to temporality, memory and history, and both critically investigated the potential of dress as metaphor in literary and visual analysis.  In the vein of such work as Caroline Evans’ Fashion at the Edge (2003), which utilizes Benjamin’s writing on fashion and time, and Malcolm Barnard’s Fashion as Communication (1996), which engages with Barthesian semiology, this conference invites new critical readings of fashion that engage with Benjaminian and Barthesian theories.

For this conference we invite researchers in fashion studies, dress history, costume studies, art history, visual studies, cultural studies, history, literature or other relevant disciplines to submit papers that engage with themes of temporality/chronology, semiotics, history, memory, and the process of fashion.  In addition to papers that apply Benjaminian and Barthesian theories, we also encourage papers that present critical readings of Benjamin’s and/or Barthes’ writing on fashion and clothing. .

Caroline Evans is our confirmed keynote speaker.

Please email a 300 word abstract with Name, Title, and Affiliation to both organisers by 1st April 2013.

Wendy Ligon Smith  and Gizem Kiziltunali


Popular Culture and Post-Socialist Societies 

Prague, Czech Republic

October 18 – 19, 2013

Deadline: May 15, 2013

We invite researchers to share their papers and panel proposals related to the conference theme, including but not limited to such topics as:

Culture Transfer: Westernization and Commodification of the “East”, Culture of the Post-Socialist New Rich: Continuities with Late State Socialism and Neoliberalism, Re-traditionalization, Nationalism, Exclusion and Mobilization in Popular Culture, Fostering Free-market Ideology through Popular Culture, Conflicting Memories of Anti-/Post-communism in Popular Culture, Reflections of Sexuality and Gender in Popular Culture, Exploitation Culture as Reply to Fast Changes in Post-Socialist Societies, Visual Culture of  Post-Socialist Societies of East-Central Europe, Popular Culture in East-Central Europe as Commodity, Travelling Cultural Theory (East West).

Deadline for abstracts is 15 May 2013. Deadline for panel proposals is 15 April 2013.

You may find further information here enclosed or at the conference  website:


Ephemeral Architecture in Central-Eastern Europe 

Budapest City Archives, Budapest

November 28 – 29, 2013

Deadline: Jun 15, 2013

The Research Centre for the Humanities, Institute of Art History, Hungarian Academy of Sciences, in cooperation with CentrArt Association – New Workshop for Art Historians, is organizing an international symposium entitled Ephemeral Architecture in Central-Eastern Europe in the 19th and 20th centuries.

It will focus on Central-Eastern Europe as a fluid geo-political conception and politically unstable territory with constantly shifting borders within the given timespan. Recognizing the growing interest in the latest research on ephemeral architecture, this conference will focus on temporary constructions erected for national and international exhibitions as a means of conveying ideas to an immediate audience. In this perspective the pavilion will be considered as a hub of architectural and artistic trends, political visions and cultural and social issues. Its complex political, cultural, social, economic and urban context will be analyzed: the exterior and interior design of an exhibition pavilion, along with its location within the exhibition park and neighboring edifices, its function as projecting regional, national or corporate representation.

Deadline: 15 June, 2013. Please send an abstract of no more than 300 words and a current CV of no more than 2 pages to Miklós Székely, organizer of the conference (  cc to Confirmations will be sent out by the end of June, 2013.


Invitation to the Seminar of LUCE IRIGARAY

University of Bristol

9-15 June 2013

The framework of the seminar is this: A group of at most fifteen researchers, doing their PhD on the work of Luce Irigaray, stay one week on the university campus. The timetable includes a presentation by each researcher of the aspect of their PhD which most focuses on the work of Luce Irigaray, the discussion of this presentation by the group, the comments of Luce Irigaray herself and her answers to the questions asked by each one, and also sessions devoted to an explanation of some key-words or key-thoughts chosen by the participants. Personal meetings with Luce Irigaray are organized on the last day. The participants pay for their travel, but receive, at least in part, hospitality from the university. The language of the seminar is English.

The participants in the seminar come from different regions of the world, they belong to different cultures, traditions and fields of research – Philosophy, Gender Studies, Religious Studies, Literature, Arts, Critical and Cultural Studies, etc.

If you are interested and would like to participate in such a seminar please send as soon as possible a CV, a PhD abstract (1 page) and a presentation of the issues and arguments of your PhD that most focus on the work of Luce Irigaray (5 – 6 pages) to Luce Irigaray (by mail: 15, rue Lakanal, 75015 Paris, France). After receiving this material, Luce Irigaray will tell you if you can participate in the seminar of 2013. You will be in contact, for further practical information, in the Spring after the selection of the candidates.


31st Annual Art History Graduate Symposium

Florida State University

October 18 – 19, 2013

Deadline: Aug 1, 2013

The Art History faculty and graduate students of The Florida State University invite students working toward an MA or a PhD to submit abstracts of papers for presentation at the Thirty-First Annual Art History Graduate Student Symposium.

Paper sessions will begin on Friday afternoon, October 18, and continue through Saturday, October 19, with each paper followed by critical discussion. Symposium papers may come from any area of the history of art and architecture. Papers will then be considered for inclusion in Athanor, a nationally-distributed journal published by the Department of Art History and the FSU College of Visual Arts, Theatre & Dance. Keynote Speaker: Magali Carrera, Chancellor Professor of Art History at the University of Massachusetts, Dartmouth

The deadline for receipt of abstracts (maximum 500 words) is August 1, 2013. Please include the title of the talk, graduate level, and whether the subject originated in thesis or dissertation research.

Send the abstract by email to:


The Matter of Contradiction / War against the sun 

David Roberts Art Foundation, London

 March 1 – 03, 2013

The Matter of Contradiction is a series of seminars initiated by Sam Basu, Fabien Giraud, Ida Soulard and Tom Trevatt. This third event, The Matter of Contradiction: War against the sun, is organised in collaboration with Inigo Wilkins.

The Matter of Contradiction/War against the sun consists in a public conference at the David Roberts Art Foundation (Friday evening and Saturday all day) and a workshop (Sunday all day) at Mute magazine office at Limehouse Town Hall followed by an After party organised by Tim Goldie.


Former West. Documents, Constellations, Prospects 

Haus der Kulturen der Welt Berlin

March 18 – 24, 2013

Even though the world turned on its pivot in 1989, the West has held onto the fiction of its own superiority. FORMER WEST investigates how contemporary art has been unsettling this reality and imagining its prospects otherwise.

FORMER WEST (2008–2014) is a long-term research, education, exhibition, and publication project aimed at a critical reinterpretation of post-1989, post-Cold War histories around an artistic imaginary of “formerness,” countering the persistent hegemonies of the so-called “West” within a global context.

Artworks, talks, discussions, rehearsals, and performances in various constellations of documents and prospects offer a multitude of encounters with the public for negotiating the way of the world from 1989 to today, and thinking beyond.

Documents, Constellations, Prospects is organized into five currents. Each day, students are involved in Learning Place – realized in collaboration with international cultural institutes, universities, and art academies – folded into contemporary negotiations on Art Production, Infrastructure, and Insurgent Cosmopolitanism. In addition, Dissident Knowledges contributions propose dynamic interventions into the ongoing program with artworks, performances, and statements.


Werkverzeichnisse der Moderne

München, Zentralinstitut für Kunstgeschichte

March 13, 2013

Welche Anforderungen werden heute an Werkverzeichnisse gestellt? Das 1. Forschungsgespräch des DFG-Projekts „Kommentiertes Werkverzeichnis der Möbel und Möbelentwürfe Mies van der Rohes“ stellt sich dieser Frage. Gerade kunstgeschichtliche Bestandsaufnahmen von Werkkomplexen der Moderne sehen sich nicht nur den Anforderungen der Forschung ausgesetzt. Auch die Praxis der „Anwendung“ im Fach, bei Sammlern, in Museen und Auktionshäusern ist zu berücksichtigen. Auf wissenschaftlicher Ebene wurde dies bisher kaum reflektiert.

Im ersten Teil des Forschungsgespräches diskutieren Experten aus Wissenschaft (Forschung/Museen) und Kunsthandel über die verschiedenen Erwartungen, die an ein Werkverzeichnis gestellt werden und die sich daraus ergebenden Herausforderungen im Zusammenhang mit Erstellung, Publikation und Gebrauch eines Werkverzeichnisses der Moderne.

Im zweiten Teil werden Konzepte und Lösungen anhand konkreter kunsthistorischer Werkverzeichnisse von Möbeln der Moderne erörtert. WissenschaftlerInnen berichten aus laufenden und abgeschlossenen Werkverzeichnisprojekten, sprechen über Erfahrungen und die sich wandelnden Problemstellungen.


Global Pop Symposium 

Tate Modern, London

March 14 – 15, 2013

This two-day symposium explores Pop beyond the mainstream. Organised in collaboration with the Royal College of Art, London, this event engages with new research in different fields and geographies to rethink orthodoxies as well as develop new interpretations of ‘Pop’. Of particular importance is the often critical nature of these global engagements with Pop. Reacting to the increasing dominance of the American post-war economy and media around the world, Pop art sometimes took the form of a destabilizing reversal of the normative messages associated with American culture and consumerism. This dialectic was effectively and memorably put to use by feminists, political groups and independence movements in order to simultaneously critique the hegemony of the West while drawing on its aesthetic mass appeal and graphic clarity. To date, the history of Pop art has tended to affirm the hegemonic position of New York. In an attempt to challenge the simple linear trajectory of influence that has dominated most accounts, this symposium will explore Pop beyond the mainstream and open the definition of Pop to critical re-thinking.


Die Skulptur Projekte und ihr Archiv

Münster, LWL-Landeshaus

March 19-20 2013

Die 1977 von Klaus Bußmann und Kasper König begründeten Skulptur Projekte Münster zählen zu den inter­national einflussreichsten Aus­stellungen der Gegen­warts­kunst. Sie spielen als „Langzeitstudie“ zum Span­nungs­­feld von Kunst und Öffentlichkeit seit den 1970er Jahren ­eine zentrale Rolle im weltweiten Kunst­geschehen. Die bis­her vier Ausstellungen der Skulptur Projekte Münster sind so zum Impulsgeber für zahl­reiche weitere Ausstel­lun­gen im öffentlichen Raum geworden.

Die Tagung „Die Skulptur-Projekte und ihr Archiv. Potenziale und Perspektiven“ widmet sich der Ge­schichte der Skulptur Projekte anhand ihres Archivs und wirft darauf aufbauend einen freien Blick in zu­künftige Neukonfi­gura­tio­nen zum Thema Kunst und Öffentlichkeit. Die Poten­ziale des Archivs dienen als Ausgangspunkt für die Debatte um zu­künftige Frage­stellungen in der öffentlichen Rezeption von Kunst.

TeilnehmerInnen: Claudia Blümle, Melanie Bono, Maria Eichhorn, Kurt W. Forster, Brigitte Franzen, Johann F. Hartle, Georg Imdahl, Suchan Kinoshita, Kasper König, André Rottmann und Karin Stengel.

Das gesamte Programm finden Sie unter:


Piero Gilardi, Collaborative Effects 

Nottingham Contemporary

March 23, 2013

Piero Gilardi’s work is synonymous with the term Arte Povera – but his distinct, multifaceted contribution to the context in which that movement was created is rarely examined in depth. Collaborative Effects brings together new thinking by established and emerging researchers. It departs from Gilardi’s work as artist, activist, exhibition organiser and alternative theorist of Arte Povera.

By examining his understanding of notions of living, play, and inhabitation contributors will draw out links between art, politics, and the Radical Design movement in Italy and seek to identify the continuing concerns of his work – from deinstitutionalization and ‘relational’ art to his role as artistic director of Parco Arte Vivente, a living art park founded in 2008 as a new public space and open-air exhibition site occupying a post-industrial wasteland in Turin.


Zirkulierende Bilder. Die Zeitschrift als Katalysator bildnerischer Konzepte

Kunsthistorisches Institut, Zürich

Datum: 27.2, 13.3, 20.3, 10.4, 24.4, 15.5, jeweils ab 18.15 Uhr

Zeitschriften übernehmen als chronologisches, kollektives und hybrides Kommunikationsmedium eine zentrale Rolle für die Verbreitung von ästhetischen und ideologischen Diskursen. Ihre spezifische Medialität zeichnet sie immer auch als Zeitdokument aus; dabei spielen das Verhältnis von Bild und Text, die Blicklenkung oder auch die Bildmontage zentrale Rollen. Bilder in Zeitschriften prägen immer wieder die visuelle Kultur verschiedenster Gesellschaften.

Die Veranstaltung wird verschiedene kunsthistorische Positionen der Zeitschriftenforschung vom 18. bis zum 21. Jahrhundert präsentieren. Die Vortragsreihe fokussiert dabei auf die Rolle der Zeitschrift als Katalysator unterschiedlicher bildnerischer Konzepte, deren Verbreitung wesentlich durch Zeitschriften ermöglicht wurden und nun als historische Dokumente untersucht werden können.


Bourses du DFK sur le thème de la répétition

Paris, September 1,  2013- September 1, 2014

Deadline: April 8, 2013

Dans le cadre du sujet annuel 2013/2014  RÉPÉTITION,  sous la direction d’Andreas Beyer (DFK) et Etienne Jollet (Université de Paris I Panthéon-Sorbonne), coordination scientifique par Markus Rath (DFK), le Centre allemand d’histoire de l’art à Paris offre, à partir du 1er septembre 2013, plusieurs bourses de recherche (durée de 12 mois). Si vous êtes diplômé en histoire de l’art ou une autre discipline proche (Master 2 ou doctorat)  et si vos recherches portent sur le sujet annuel, nous vous invitons à nous adresser votre candidature (Curriculum vitae, diplômes, liste des publications, deux lettres de recommandation établies par des professeurs d’université), ainsi qu’un projet de recherche (3 pages maximum suivies d’un échéancier et d’une bibliographie) avant le 8 avril 2013.

Le Centre Allemand d’Histoire de l’Art accepte également les candidatures hors du sujet annuel, mais dont les sujets sont susceptibles de correspondre avec d’autres thèmes de recherche promus par le centre.

Merci de nous envoyer votre candidature sous forme électronique à l’adresse suivante :

Plus d’informations :


Jesús Rafael Soto 

Centre Georges Pompidou, Paris

27 février 2013 – 20 mai 2013

Jesús Rafael Soto (1923-2005) a été l’un des principaux protagonistes du renouveau de l’art cinétique en Europe durant les années 1950 et 1960. Il crée, à partir de 1967, les célèbres Pénétrables, volumes suspendus dans l’espace et constitués de centaines de fines tiges verticales susceptibles d’être traversées par le spectateur. Aujourd’hui, l’entrée dans la collection du Centre Pompidou de vingt oeuvres-clés, datées de 1955 à 2004 et proposées en dation à l’État par la famille de l’artiste, comble une lacune importante et éclaire son parcours. C’est cet ensemble exceptionnel que le Centre Pompidou expose, pour la première fois.


Opere dalla XXIV Biennale di Venezia.1948

Museo di Ca’ Musei Pesarofino

From April 28 2013

In this Biennale year, Ca’ Pesaro will be offering a cycle of exhibitions in Room 10 that focus on the city’s cultural production through some of the major events of the late 20th century in Venice.

It will examine a fundamental group of works which entered the Gallery’s collections in 1948, during the 24th Venice Biennale. These are Trinité-sur-Mer – Breton port (1947) by Renato Birolli (Verona 1905 – Milan 1959), Homage to Sara (1948) by Mario Deluigi (Treviso 1901 – Venice 1978), Interior (1947) by Giuseppe Santomaso (Venice 1907 – 1990) and The ford (1948) by Emilio Vedova (Venice 1919 – 2006), which for the museum represent the start of its most recent history, coinciding with a broadening of its identity to include some of the most incisive works of the post-war period, with a focus that was at once international, national and local.

Making full use of the archive and documentary resources of the museum, the exhibition offers an instrument to reconsider and examine the links between the history of the collection and that of the Biennale, which have for many years been inextricably bound together.

Curated by Laura Poletto, Cristiano Sant


Silks & Prints from the Abraham Archive: Couture in Colour 

MOMU Fashion Museum Antwerp

March 13 to August 11 2013

During the 1950s and 1960s, the couturiers Christian Dior, Hubert de Givenchy, Yves Saint Laurent and Cristóbal Balenciaga all worked together with the Swiss firm, Abraham, for their exclusive fabrics. This company was specialized in printing silks. Today, the Abraham archives, an impressive collection of sample books, couture photographs and textiles, are housed at the Swiss National Museum in Zurich.


ARMANDO PIZZINATO (1910-2004) Nel segno dell’uomo

PArCo – Galleria d’arte moderna e contemporanea di Pordenone “A. Pizzinato”

February 9 to June 9 2013

More Information:


Franz West – Who is mein Achetr

Vienna, Mumok

February 23 to May 26, 2013

More Information:


I MESTIERI DELLA MODA con Agatha Ruiz de la Prada

Museo Correr, Venezia

March 8 to May 5, 2013

More Information:


The Revolution of Everyday Life: Donald Nicholson-Smith in conversation with T. J. Clark

London Review Bookstore

Tuesday 26 March at 7.00 p.m.

More Information:


Inventing a Heritage: Patrimoine, History and Memory in France by Jacques Revel 

Columbia University

Tuesday, April 16, 6-7:30 p.m.

East Gallery, Buell Hall,

Main campus entrance at Broadway and 116th st.

Jacques Revel is a Professor of History and former President of the École des Hautes Etudes en Sciences Sociales in Paris. His scholarship centers on historiography and the social and cultural history of Early and Modern Europe. His publications include Jeux d’échelles: La micro-analyse à l’expérience (1996), Histories: French Constructions of the Past, with Lynn Hunt (1996), Fernand Braudel et l’histoire (1999), Les usages politiques du passé (2001), and Penser par cas (2005).


Cabañas, Kaira M. The Myth of Nouveau Réalisme: Art and the Performative in Postwar France. New Haven: Yale University Press, 2013.

Keeney,Gavin. Dossier Chris Marker: The Suffering Image. Newcastleupon Tyne: Cambridge Scholars Publishing, 2012.


Hollywood’s German Influence

Exposition Giacometti au Musée de Grenoble
Daniel Buren on his work for Louis Vuitton.
A rare documentary made for German TV, is one of the earliest films devoted entirely to the work of John Cage (1966).
Lucio Fontana: la rivista “Pirelli
Louis Althusser, recorded 1962-63
Bosnia-Herzegovina’s Cultural Institutions in Crisis

Circulaire 18

Dear Friends and Colleagues,

As a note of warning this Circulaire is very long but it is full of very interesting announcements, so make sure to look through it carefully. We want to thank everyone who sent us items to include and encourage all of you to let us know about your upcoming conferences, publications, exhibitions, or anything else that would be of interest to EPCAF members. We are happy to spread the word.

For those of you attending the CAA conference, we will send a special issue later in the week to announce the time and place of the EPCAF meeting as well as recommendations for the conference. If you have a panel or know of anything happening in New York that would be of interest, please let us know.


Catherine Dossin & Victoria H.F. Scott


Unfolding the Medium: Contemporary Perspectives on the Visual Arts

Montréal, Université de Montréal
March 22, 2013

Deadline: Feb 3, 2013

Despite its dismissal by postmodernist critics, the notion of ‘medium’ has never been discarded from visual arts’ discourses and practices. As Alex Potts (2004) shrewdly pointed it, abolishing medium specificity, which characterized Greenbergian modernism, does not mean putting an end to the concept of ‘medium’ itself. The 1970s art criticism indeed could not help referring to it and naming it. Yet the persistence of the medium seems to be accompanied by a confusion in its uses and functions, be it in the form of denial or abuse, default or habit. How can we analyze and clarify this discursive ambiguity? Is it the symptom of a true obsolescence? Or else – our hypothesis: is it an indication that despite its complex history, ‘medium’ is still a concept, not only useful but also critical to the artistic field? How can we reflect on the medium in ‘the age of the post-medium condition’ (Krauss, 1999)?

It is obvious that ‘medium’ in art history does not function anymore as it used to, i.e. neither as a criterion of differenciation between the fine arts according to materials, techniques and skills (the metier), nor as the modernist principle establishing a hierarchy in the artistic field (de Duve, 1994). We must now take into account an enlarged field of the medium, due to the increasingly hybrid artistic practices peculiar to the 20th century. We must also consider the development and theorization of communication means (McLuhan, Ivins); the ‘iconic turn’

in art history which reevaluates the medium as the image-making’s milieu and catalyst (Boehm, Mitchell, Belting); and the rise of intermedial theories (Müller, Moser, Méchoulan). Hence the contemporary stakes of the medium seem to target the relation and the porosity between the mediums in a network of medial practices, including yet exceeding the visual arts. Medium would therefore function less in terms of identity – providing specificity – than as a transforming agent for the image, or as an intention – a factor of dissemination.

This symposium aims to examine the notion of ‘medium’ in a contemporary perspective, and its relevance for art history and its methodologies, as well as for artistic practices.

We invite art historians, art critics, curators and artists to send their paper proposals (300 words maximum) in pdf or word (.doc), designed for a 15 to 20-minute oral presentation, in French or in English. We will consider papers presenting achieved results, as well as ongoing research. The proposal must be accompanied by a curriculum vitae. Both documents will be sent jointly to the organizers, Ji-Yoon Han ( and Laurence Schmidlin (, by February 3, 2013. The participants will be notified by February 6, 2013. Please note that we will unfortunately not be able to take charge of travel and accommodation costs.


Performanz und Performativität in der Kunst der Frühen Neuzeit

Institut für Kunstgeschichte, Universität Bern

14 Jun 2013

Deadline: Feb 10, 2013

Die Begriffe „Performanz“ und „Performativität“ erfahren seit den 1990er Jahren als Analysekategorie kultureller und sozialer Phänomene eine geradezu inflationäre Verwendung in den Geisteswissenschaften.

Während Philosophie, Linguistik und Soziologie, ausgehend von Austins Sprechakttheorie, insbesondere die Frage nach den Gelingensbedingungen sprachlicher Handlungen stellen, beschäftigen sich die kultur- und medienwissenschaftlich orientierten Disziplinen mit der Prozesshaftigkeit und Wirklichkeit konstituierenden Funktion körperbezogener Handlungen, Aufführungen und Inszenierungen.

Die Kunstgeschichte hat in diesem Kontext in erster Linie die Performance-Kunst ab der zweiten Hälfte des 20. Jahrhunderts fokussiert sowie die Inszenierungsstrategien der sogenannten Neuen Medien im Hinblick auf die Generierung und Speicherung von Wissen untersucht. Die methodischen Zugriffe für die Untersuchung der Wirkmächtigkeit und des handlungsstiftenden Potentials frühneuzeitlicher Kunst erfordern dagegen angesichts der aktuellen bildtheoretischen Konzepte von Bildakt bzw. Blickakt eine dezidiert gegenstandsbezogene Spezifizierung und Differenzierung. Darüber hinaus bleibt die Vielschichtigkeit der inszenatorischen Strategien von Objekten angewandter Kunst, die vor allem in zeremoniellen und rituellen Handlungen eine bisher kaum untersuchte performative Valenz besassen, ein Forschungsdesiderat des Faches. Eine gezielte Fokussierung der konkreten historischen Aufführungssituation könnte gerade in diesem Zusammenhang die einzelnen Kunstwerke aus ihrer kanonisch-gattungshierarchischen Einordnung lösen und deren Verständnis als konstitutive Teile einer komplexen Handlungseinheit von Objekt, Körper und Raum, insbesondere in der Frühen Neuzeit, fördern.

Der Studientag möchte Nachwuchswissenschaftlerinnen und Nachwuchswissenschaftlern die Möglichkeit bieten, aktuelle Forschungsprojekte zu diskutieren, in welchen auf methodischer Ebene eine performative Perspektive für die Interpretation von Kunstwerken der Frühen Neuzeit fruchtbar gemacht wird. Mit Impulsreferaten und konkreten Fallstudien möchten wir einen intensiven Austausch zu Methoden und Konzepten des Performativen anregen sowie eine stärkere Vernetzung der Forschenden ermöglichen. Interessierte Wissenschaftlerinnen und Wissenschaftler sind daher herzlich eingeladen, Ihre Arbeiten und Ideen im Rahmen des Studientags zu präsentieren.

Bitte senden Sie Ihr Abstract (max. 300 Wörter) für einen ca. 30-minütigen Vortrag sowie Ihre Kurzvita bis zum 10. Februar 2013 per Mail an:  und


Kunstlicht Journal

Mind the Map | Vol. 34 (2013) no. 2

Deadline proposals: 15 February 2013

Publication: Fall 2013

For centuries the map was an instrument of which neither the function nor the method of operation was questioned. Scientists and adventurers forced the terra incognita into confinement, and cartographers tamed the new worlds using nothing but a ruler and compass. A turn came during the twentieth century. It has since been said that the map covers (Jorge Luis Borges) or even replaces (Jean Baudrillard) the terrain, while others have argued that topography (literally: place writing) does not only describe our world, but writes it into existence. ‘Critical’ or ‘radical’ cartography shifted the focus from the map as an arrested status quo, to ‘mapping’ as a performative and political act. More recently, also outside geography notions such as ‘story maps’, ‘narrative cartography’ and ‘soft atlas’ pop up ever more. In anthropology, for instance, cartography has been used as an instrument to fathom the subjective experience of the everyday surroundings.

These developments are reflected in the visual arts. Stanley Brouwn’s This Way Brouwn (1961) already alluded to an alleged relation between cartography and the individual perception of space long before this became a topos in anthropology. Walter Benjamin’s wish to graphically express the ‘bios’, the Raum des Lebens, on a map, has curiously come true in the Situationist International’s psychogeographical collages, in Richard Long’s ‘hiking maps’, and in On Kawara’s cartographic diaries (I Went, 1968-1979). In her essay ‘Farewell to Modernism’ (1979), Kim Levin considered the map an ‘emblem’ of Postmodernism. For her and her contemporaries, the map symbolized the urge to look outward, and escape from the self-reflexivity of the artwork as sanctioned by Modernism. Art with cartographic material is no longer a rarity. The map is more interesting than the territory is the title of the first solo exhibition of Jed Martin, the protagonist in Michel Houellebecq’s La carte et le territoire (2010). Why do so many artists find the map so interesting? What explains the remarkable renaissance of this ‘medium’?

With Mind the Map, Kunstlicht aims to investigate the power of the map. The board of editors welcomes proposals for theoretical discussions on, among other topics, the changing ontological status of the map, or on the map as a device to order and visualize information. Art-historical analyses and original takes on specific case studies are also anticipated.

Proposals (200 – 300 words) with attached résumés can be sent to   before 15 February 2013. Selected authors will be invited to write a 2,000 – 3,000-word paper (excluding notes). Papers may be written either in English or in Dutch, although we prefer native Dutch speakers to write in their native language. Authors who publish in Kunstlicht will receive three complimentary copies. Kunstlicht does not provide an author’s honorarium. Two years following publication, papers will be submitted to the freely accessible online archive at


The city in photographic albums

Catania, Italy

September 12 – 14, 2013

Deadline: Feb 16, 2013

This session invites papers about photograph albums as representational tools that portray the city variously.  Tourist albums construct canonical sites in a city’s self-representation; albums of parades and festivals record events historiographically; private albums imagine city life outside the public sphere. Questions to be addressed include such issues as identifying the commissioners, the photographers, and their audiences; specifying the narrative created about the city; describing the spatial and temporal sequencing of the images; analyzing the relationship between text and image.

La session invite des textes sur les albums photographiques qui fonctionnent comme outils de représentation. Albums touristiques construisent des sites canoniques dans l’auto-représentation de la ville; albums de parades et festivals enregistrent les évènements historiographiquement; albums  privés imaginent la vie publique en dehors le domaine publique. Les sujets qui seront adressés recouvrent:

identifier les commanditaires, les photographes et leur clients; spécifier les narratifs construits sur la ville; décrire la séquençage spatiale et temporelle des images ; analyser la relation entre texte et image.

Go to:

Associazione Italiana di Storia Urbana


Avant-garde discourses in Spain and Latin America

Madrid, Museo Reina Sofía

July 11 – 13, 2013

Deadline 28th of February 2013

This international conference brings together the Colección Patricia Phelps de Cisneros, CSIC, St. Louis University and the Reina Sofía in order to investigate the artistic and intellectual dialogue between Spain and Latin America during the twentieth century. It forms part of the Reina Sofía’s mission to become a platform for the study and representation of Latin American art in Europe. The conference has been planned to coincide with the exhibition La invención concreta:

Colección Patricia Phelps de Cisneros in 2013. In this way the studies and debates here proposed will help to rethink dominant historiographies of modernism and modernity – a revisionist undertaking that has been promoted by the Reina Sofía through its exhibitions, public programs and publications.

A growing interest in the study of modern art from Latin America has helped to question the legacy of Modernism, and the way in which the formalist canon has legitimized boundaries between centre and periphery. The relationship between the avant-gardes and Modernism has been a complex history of competing narratives which continue to debate the political and aesthetic agendas of the avant-garde. Resisting absorption into the Modernist canon, championed by Greenberg’s notion of ‘self-criticism’, many avant-garde practices in Spain and Latin America were fueled by utopian desires to create a new society through the agency of art. Their experimentations gave rise to innovative and radical practices which have helped to revise dominant historiographies of modern art. Many of these works were the result of transatlantic encounters between artists, critics and curators working from these two geopolitical spheres.

Rather than looking at specific movements, this conference aims to explore the notion of the avant-garde as it relates to the experience of modernity, and the way in which a political and aesthetic vanguardia was shaped by post-war art and politics between 1920 and 1970. The specific nature of avant-garde and neo avant-garde practices, and the way which transnational dialogues helped to delineate artistic discourses in Spain and Latin America, will be the guiding reflections behind this event. Through keynote speakers and papers, the different sessions aim to present the most current research contributing in this way to a better understanding of Modernism from a transnational perspective.

Proposals must consist of a 500 word abstract and CV (two pages maximum). Please send to Paula Barreiro López  The official language of the conference will be Spanish but papers in English will be accepted.

The results will be communicated on the 25th of March.


Creative Processes in Art International Colloquium

Lisbon, Faculty of Fine-Arts

September 12 – 13, 2013

Deadline: Feb 25, 2013

The Center for Research and Studies of Fine Arts of the University of Lisbon and the Nucleus of Research in Painting and Education of the Federal University of Uberlandia are jointly organizing a two-day international Colloquium on Creative Processes in Art.

The aim of this event is to provide an interdisciplinary platform to the discussion of artistic creative processes. By bringing together artists, art educators, philosophers and art theorists, we intend to trace a comprehensive overview of this theme and, therefore, we are inviting submissions focusing on, but not limited to, the following four headings:

1- Aesthetics and Philosophy of Art

2- Artistic Practice

3- Artistic Education

4- Science and creativity

Abstracts are due by February 25, 2013 and should be submitted (Word or RTF format) by e-mail to

Papers which have been accepted will be published in the Seminar Proceedings, with ISBN.

Submission Guidelines. Please include: 1st page: 1. The proposed title of the paper in the language it will be presented. 2. A 150 to 300 words abstract in English for a 20-minute paper. 2nd page: 1. Author; 2. Email address 3. Institutional affiliation 4. Brief biographical note (100 words)

For further information and inquiries please e-mail us at

or contact: CIEBA Faculdade de Belas-Artes da Universidade de Lisboa Largo da Academia Nacional de Belas-Artes 1249-058 Lisboa | Portugal Tel.:+351 213 252 100


Public Art and Art’s Public: Annual Art History Association Symposium

San Jose State University

April 13, 2013

Deadline: Feb 28, 2013

In light of the increasing interest in public art and related problems of defining publicness and public space, we would like to explore the relationship, both between art and its publics and between contemporary spaces and public art. Each type of interaction, broadly considered, may serve to deepen a discussion as to how art functions and circulates in contemporary society, or how it has done so in previous periods and cultures. This topic addresses both the current and historical expectations regarding the efficacy of artworks in the public realm, as well as assumptions as to who these publics are or how they might be shaped. How do we define the ‘space’ of art and how are publics defined by their interactions with such art? Some examples of possible paper topics may include: how differing publics reacted to a certain exhibition or artwork; the interaction between diverse viewers and public art; how artworks transform landscapes and cities; how informal artistic practices and performances in public interact with officially sanctioned public art; how technology mediates space and publicness; how monuments signify in the political realm; or how art and ritual engage in constructing social identities. Papers covering a wide variety of cultures and historical periods are welcome.

Applicants can send their submissions to:

Our departmental website is:

Dept. of Art & Art History

San José State University

One Washington Square

San José, CA 95192-0089


L’artiste en revues. Fonctions, contributions et interactions de l’artiste en mode périodique

Université libre de Bruxelles

October 28 – 30, 2013

Deadline: Mar 1, 2013

Cet appel à communication s’inscrit à la fois dans la continuité des travaux du groupe de contact FNRS «écrits d’artistes » et du projet Pictoriana, ainsi que dans celle des recherches récentes qui ont mis en évidence les interactions entre presse et littérature, mais aussi entre art et revues. À la suite de ces travaux, ce colloque interrogera les différentes modalités de collaborations d’artistes et leurs réalisations concrètes dans une publication périodique. Sous le terme d’« artiste », on prendra en compte peintres, sculpteurs, musiciens, compositeurs, cinéastes, chorégraphes, danseurs… dont la majeure part de la production ne relève pas du champ littéraire. Ce colloque transdisciplinaire s’intéressera davantage à l’écrit et aux dispositifs qui l’encadrent dans la mesure où les contributions des artistes par l’illustration ont déjà été traitées (Stead et Védrine, 2008). Toute analyse mettant en jeu l’illustration se devra donc d’être pensée en connexion avec son environnement textuel.

De même, si les écrits critiques d’artistes ont pu faire l’objet d’analyses monographiques, force est de constater qu’une étude systématique des différents types d’interventions d’artistes dans les périodiques fait encore défaut, notamment en ce qui concerne le rôle des artistes dans la gestion ou l’organisation d’un périodique. Il s’agira d’interroger ces contributions dans la diversité de leurs formes et modalités, afin, notamment, de mettre au jour le rôle des revues et de la presse quotidienne dans la structuration de la vie artistique ainsi que dans les trajectoires individuelles des artistes.

Les travaux se concentreront non seulement sur les contributions écrites des artistes dans l’espace qui leur est traditionnellement imparti, comme celui de la critique d’art, mais aussi, et de façon plus innovante, dans tous les autres lieux d’action possibles (direction de revue, constitution du réseau de la rédaction, critique littéraire, publicité, tribunes politiques, enquêtes et tout type d’écriture journalistique). On envisagera en outre le périodique comme un outil de promotion, mais aussi comme un lieu d’échange et de rencontre avec le public, avec d’autres artistes, d’autres disciplines artistiques, l’actualité et surtout, avec l’écriture.

Le présent appel invite à considérer ces interventions sur la longue durée, de 1830 à nos jours, dans les publications périodiques, entendues au sens large : revues artistiques et littéraires, mais aussi journaux et revues généralistes, « petite presse » et magazines (pour la seconde partie du XXe siècle). L’aspect contemporain n’est pas à négliger, si l’on songe, par exemple, au débat médiatique suscité en

2011 par Jean Birnbaum, quand il a pris la direction du Monde des Livres, et y a accueilli les critiques littéraires du chorégraphe Jean-Claude Galotta et, en 2012, du chanteur Dominique A et des comédiens Denis Podalydes et François Morel.

Les propositions de communications (d’environ 500 mots), en français ou en anglais, seront envoyées sur une page anonyme, accompagnée d’une page indépendante reprenant les coordonnées personnelles et une brève biobibliographie.

Elles devront parvenir à Clément Dessy (  et à Clara Sadoun-Édouard ( pour le 1er mars 2013. Une réponse sera adressée aux auteurs à la fin du mois du mars.

Une publication d’une sélection des travaux issus de cette journée est prévue sous la forme d’un dossier thématique de revue.


Identity in the Visual as part of the Euroacademia International Conference ‘Identities and Identifications: Politicized Uses of Collective Identities’

Panel Organizer: Daniela Chalániová, Anglo-American University, Prague

Zagreb, Croatia

April 18 – 20, 2013

Deadline: Mar 1, 2013

Ever since the so called ‘linguistic turn’ in the 1970s, majority of research on identity in political and social sciences has been focused on language and text – as language has been considered the primary tool for meaning formation, and ideas exchange. Today, we are twenty years from a digital revolution of the 1990s, which on the one hand, made communication faster, more efficient and more global, on the other hand made the linguistic exchange just one of many possibilities. While arguably some visual elements such as symbols and flags have been recognized as important for collective identification, the impact of journalist, fashion and travel photography, films, comic books and documentaries, billboards and brands, sports and arts,has largely been neglected by mainstream political science scholars, who viewed images as something rather suspicious. However, with increasing interest in the visual/aesthetic aspects of political and social life (the so called ‘visual/aesthetic turn’ of the late 1990s) it is only logical to take a hard look at identity beyond language, that is, from an interdisciplinary visual perspective.

Thus, this panel aims at a more inclusive interdisciplinary approach to identity building, especially in terms of the empirical scope. The goal is to collect empirical as well as theoretical and methodological papers on political and social identity, focused on visual aspects of identity construction.

Please submit abstracts of less than 300 words together with details of affiliation by March 1st, 2013 to

For more details see:


Graduate student seminar: Coloring Color

New Haven, Yale Center for British Art

June 17 – 21, 2013

Deadline: Mar 4, 2013

In June 2013, the Yale Center for British Art will offer a week-long graduate student seminar, open to doctoral candidates interested in color and its historical development, manufacture, and use in a range of art works in the eighteenth, nineteenth, and twentieth centuries.

The seminar is organized by the YCBA’s Conservation Department, and concentrates on the physical materials of color, as well as historic and scientific perspectives.

The seminar dates are June 17-21, 2013. Applications are welcomed from current PhD students anywhere in the world, whose doctoral research focuses on issues relating to painterly practice and the materiality of paintings and works on paper. Participants will be provided with economy airfare, ground transportation, meals, and accommodation at Yale.

The deadline for applications is March 4, 2013.

Full details are available at

Enquiries should be sent to Marinella Vinci at


Enchanted Modernities: Theosophy and the arts in the modern world

A Conference at the University of Amsterdam

 25-27 September 2013

Deadline for paper proposals: Friday, 1st March 2013

This is the first conference of the newly established research network, Enchanted Modernities: Theosophy, modernism and the Arts c. 1875-1960, funded by the Leverhulme Trust. The conference will be organized in collaboration with the Centre for the History of Hermetic philosophy and related currents, University of Amsterdam. Building on a very successful exploratory colloquium at Liverpool Hope University in December 2010, this conference will explore what the arts can tell us about the complex relationships between Theosophy, modernity and artistic culture c. 1875-1960. The purpose of this conference is to bring together an international group of scholars working on Theosophy and the arts across the globe in this period, and as a result, map the rich variety of artistic responses to the influence of Theosophy and the Theosophical movements in the modern world. The connections between Theosophy and modernist aesthetics have been well documented in relation to certain artists such as Kandinsky and Mondrian, as well as composers like Scriabin and Rudhyar. However, the purpose of this conference is to develop a more nuanced and complex picture of the multiple layering of art, modernity and mysticism in a range of artistic practices in the nineteenth and twentieth centuries. The wider critical significance of the relationships between painting, sculpture, applied and decorative arts, music, architecture on the one hand and Theosophy on the other, with the exception of a few well known case-studies, is still largely to be explored, possibly because, as the historian Alex Owen has suggested, ‘the very notion of mysticism and the occult seem to run counter to our conception of modern culture and the modern mind set’.

We plan to publish the proceedings of this conference. Please indicate whether you are interested in developing your paper, if accepted, for a publication of collected essays after the conference.

In 2015, the network will hold another conference at Columbia University, New York, which will focus more on literature and text.

Proposal format: abstract (300 to 500 words ) and a short bio (100 to 200 words)

Please send your proposals to Dr. Marco Pasi:


Der dokumentarische Film im Medienwandel

CfP für das Buchprojekt

Deadline: Apr 15, 2013

Der dokumentarische Film im Medienwandel. Neue Formen, neue Perspektiven, inter- und transdisziplinäre Ansätze Herausgegeben von Dr. Carsten Heinze und Prof. Dr. Thomas Weber, Universität Hamburg,  geplantes Erscheinungsdatum Ende 2014, in Kooperation mit dem DFG Projekt ”Geschichte des dokumentarischen Films in Deutschland 1945 – 2005” (Teilprojekt 3: Themen und Ästhetik) und dem Forum Medienkulturforschung.

Dokumentarische Filme finden sich in den letzten Jahren in einer kaum mehr überschaubaren Anzahl und Vielfalt in den unterschiedlichsten Medien. Von der Kino- und Fernsehdokumentation bis hin zu Industriefilmen, Lehrfilmen oder sogenannten How-To-Filmen auf YouTube, von videographierten Zeugenaussagen der Shoah-Foundation oder der Organisation WITNESS bis hin zu den hybridisierten Formaten des Reality TV reicht inzwischen ein komplexes Feld ganz unterschiedlicher Produktions-, Distributions- und Rezeptionspraktiken des Dokumentarischen. Doch was macht den dokumentarischen Film heute aus?

Gibt es eine allgemeingültige Definition? Oder müssen wir unser Verständnis seinen jeweiligen Praktiken anpassen?

Das geplante Projekt möchte eine Bestandsaufnahme der neuen Ansichten des dokumentarischen Films versuchen:

Wie brauchbar ist der Begriff des Doku­men­tarischen aus heutiger Sicht zur Unterscheidung nichtfiktionaler wie fiktionaler Formen? Ist diese Unterscheidung angesichts einer fortlaufenden Hybridi­sierung überhaupt noch sinnvoll? Gibt es erkenntnistheoretisch über­greifende Konzepte, die den dokumentarischen Film unabhängig von seinen vielfältigen praktischen Verwendungsweisen auszeichnen und ein Festhalten an diesem Begriff rechtfertigen? Welche technischen, ökonomischen, institutio­nellen, sozialen und auch ideologischen Bedingungen prägen seine ästhetische Form? Wie werden dokumentarfilmische Formen in sich wandelnde mediale Praktiken eingebunden und welche kommunikativen Funktionen erfüllen sie? Wie lässt sich der dokumentarische Film aus Sicht der Produktion, dem Produkt Film und der Rezeption konzeptualisieren? Und welchen Stellenwert haben dokumentarische Filmformen heute für die Diskussion in den verschiedenen Disziplinen?

Vorschläge für Beiträge aus allen geistes-, kultur- oder sozialwissenschaftlichen Disziplinen sind willkommen. Bitte schicken Sie uns Ihre Abstracts (bis max. 1500 Zeichen) mit einer Kurz-Biographie bis zum 15. April 2013 zu. Sie erhalten bis zum 15.

Juni Antwort von der Redaktion, ob Ihr Vorschlag zur weiteren Ausarbeitung ange­nommen worden ist. Die fertigen Manuskripte werden bis Januar 2014 erwartet.

E-Mails bitte an:  oder


Renaissance of Roland Barthes 

CUNY Graduate Center

April 25th-26th 2013

Deadline: March 1, 2013

The students of the Comparative Literature and English departments at the City University of New York Graduate Center present the second annual interdisciplinary conference on Critical Theory, to be held April 25-26, 2013. The conference will be devoted to the writings of French literary theorist and critic Roland Barthes.

Speakers: Jonathan Culler, Diana Knight, Rosalind Krauss, D.A. Miller, and Lucy O’Meara

Please submit a 300 word abstract for a 15-20 minute paper by March 1, 2013 to Proposals should include the title of the paper, presenter’s name, institutional and departmental affiliation, and any technology requests. We also welcome panel proposals of three to four papers.


Penser l’exposition. Points de vue pragmatiques : Journée d’étude interdisciplinaire

Université Paul Valéry – Montpellier 3

February 15, 2013

De sa production à sa réception, en passant par sa mise en espace, toute exposition nécessite l’intervention de plusieurs professionnels du monde de l’art (artistes, commissaires/conservateurs/collectionneurs, architectes/scénographes, critiques/historiens de l’art). Toutefois, ces derniers ont rarement l’occasion d’échanger sur leurs exigences spécifiques. Car il est indéniable qu’en fonction de son champ de spécialité, chacun pose un regard très différent sur les expositions. Une telle journée d’étude vise donc à croiser les regards, pour un enrichissement professionnel réciproque. Il s’agira de mettre en valeur la large gamme de critères d’évaluation à laquelle est soumise toute exposition, selon les professionnels qui l’envisagent.

Programme détaillé consultable à l’adresse suivante :


The politics of the social in contemporary art

Tate Modern, Starr Auditorium

Friday 15 February 2013, 10.30 – 19.00

Can art intervene in social relations? What are the implications of involving art and its audiences in an ethical problem? And how do such practices relate to art’s social institutions? This symposium examines the turn towards participatory and collaborative art forms and the ethical questions that raises.

Featuring a keynote by Professor Shannon Jackson and contributions from Wafaa Bilal, Not an Alternative, Wochenklausur, Ztohoven, Renzo Martens, Grupo Etcétera, Gavin Grindon and Anja Kanngieser.

The symposium will be followed by film screenings by the day’s speakers.

 Initiated by Adventures of Seeing and the Visual and Material Culture Research Centre, Kingston University.



Bildende Kunst in Westdeutschland 1945-1964:  Akteure, Institutionen, Ausstellungen und Kontexte

Kolloquium der TU Dresden, Hörsaalzentrum – Raum 103

28 Feb-1 Mar 13

Registration deadline: Feb 17, 2013

Im Rahmen des DFG Projektes: “Soziale Geburt der ‘Westkunst’. Netzwerke bildender Kunst in Westdeutschland 1945-1964”

Prof. Dr. Karl-Siegbert Rehberg, Institut für Soziologie der Philosophischen Fakultät der Technischen Universität Dresden

Kontakt: ,



The First Bi-annual Lovis Corinth Colloquium on German Modernism

Emory University, Department of Art History & Carlos Museum

March 8th-9th


Considine, Liam. New Realisms: Pop Art in France, 1962-1968. Institute of Fine Arts, New York University, 2012, 313 pages; AAT 3546389.


Kress Language Fellowships for Art History Students

Middlebury College Language Schools

June 21 – August 16, 2013

Application deadline: Apr 1, 2013

Middlebury College is pleased to announce the Kress Fellowships for language study, made possible by a generous gift from the Samuel H. Kress Foundation. Five fellowships are available for art history graduate students to attend the Middlebury summer Language Schools, in French, German, Italian, Portuguese, or Spanish during the summer of 2013. These fellowships are intended for graduate students in art history with a proposed focus on European Art History. Preference will be given to graduate students who have recently been accepted or are currently enrolled in the requisite program at a Ph.D.-granting institution in the United States. In exceptional cases advanced undergraduates in Art History who are preparing for graduate study in the same field may also be considered. Fellowships cover the comprehensive fee (tuition, room, and board) at the Middlebury summer Language Schools. They are merit-based and intended for exceptionally qualified individuals.

For more information about the Fellowships, please visit

For more information about the language programs, including specific dates and site for each language, please visit


Salzburg Summer Academy – Grants

Bassam El Baroni

22 July – 3 August 2013

Dealdine: 10 April 2013

Bassam El Baroni is developing a curatorial practice course with an emphasis on art theory, philosophy, pedagogy and exhibition making. Some 90 grants, usually covering tuition costs only, are available for participation in one of the classes at the Summer Academy. Additional subsidies for travel and living costs are offered by the American Austrian Foundation (AAF), ERSTE Foundation, Free State of Bavaria, and Münster Academy of Fine Arts. Applications for these grants should be made directly to the granting bodies, according to their guidelines and closing dates. The Eastern Europe grants awarded by the Summer Academy also include travel and living costs.

Applications for all other grants should be made, online only, via the Summer Academy.

The grant application also counts as the application for a class (so need not be made separately).

The closing date for all applications is 10 April 2013.

It is not necessary to apply for a special grant, applications should  contain the following:

Application form for grants

Brief informative curriculum vitae

Statement on the reason for applying and what you expect from participation in a course at the Summer Academy

Portfolio, approximately 10 photographs of your work (for the curatorial courses a portfolio is not necessary)


Bourses 2013 / archives de la critique d’art 

Deadline: 10 février 2013

Les Archives de la critique d’art, avec le soutien de la Fondation Bettencourt Schueller, ont convenu de soutenir la recherche sur leurs ressources documentaires par l’attribution de plusieurs bourses chaque année…


Mythmaking Eastern Europe: Art in Response

Institute of Art History at the University of Zurich, October 18, 2012

Report by: Ana Bogdanovic, Berlin

The last large Eastern European art exhibition took place at the Centre national d’art et de culture Georges Pompidou in Paris in 2010. The curators of this ambitious show, Christine Macel and Joanna Mytkowska, declared that “Eastern Europe does not exist” [1]. Nevertheless they recovered the myth of the deceased region by displaying a problematic understanding of contemporary art from Eastern Europe based on East-West stereotypes as well as on the artist vs. state apparatus antagonism shown through the exhibition narrative. [2] The dissolution of any non-Western geo-political region appears to be proclaimed by the Western art establishment at the moment its exotic or commercial potential has been emptied out. At the same time, the regional art historical research, in this case the scholarship of the art in former Eastern Europe, bears the difficulty of constructing the collective, generalized characteristics of art rather than scrutinizing the many aspects of its multifaceted complexity…


Report Faults German Governments and Museums on Handling of Nazis’ Loot

By Patricia Cohen


Vous avez manqué la conférence avec Guiseppe Penone du 17 janvier? 

Retrouvez la vidéo complète sur CentrePompidou@centrepompidou


Gilles Caron’s first major retrospective opens at Musée de l’Elysée in Lausanne

January 31, 2013


“We Went Back: Photographs from Europe 1933-1956″ by Chim on view at the International Center of Photography   January 26, 2013

A new home for the National Archives of France by Massimiliano and Doriana Fuksas:


Nazis Collecting Art: Art Dealer Gustav Cramer’s Wartime Records

Isabella Zuralski August 27, 2012


Presente e futuro di Artefiera | Artribune

By Antonio Grulli

Ha creato un certo clamore la lettera aperta di Antonio Grulli pubblicata qualche giorno fa sull’atpdiary. Alfredo Cramerotti lo ha intervistato, per capire come si potrebbe imprimere una svolta alla città di Bologna, e ad Artefiera in particolare. Magari con una quadriennale che faccia il punto sul……


Rheinländerin in New York – Charline von Heyl im Bonner Kunstverein


Vom Ideal des reinen Lichts – die Künstlergruppe ZERO


Munich to get its own Fourth Plinth

Scandinavian artists Elmgreen and Dragset are organising temporary art commissions in Germany

By Clemens Bomsdorf. Web only

15 January 2013 The Art Newspaper



By Fan Zhong

January 9, 2013 The Daily W

“Electricity Paper Vinyl…,” opens tomorrow at both Bortolami Gallery and the new Friedrich Petzel space in Chelsea.…


European History Online


Contemporary Art Daily

January 28th, 2013

Bernard Piffaretti at Cherry and Martin


Metasuche für elektronische E-Dissertationen in Europa

“Access to 374738 open access research theses from 527 Universities in 27 European countries”


Ebooks in Foreign Languages: Electronic Books Online: Public Domain Texts


off topic

Focused on media art, in which the variety of electronic and digital art forms are explored in practice and theory. The magazine is published by the Academy of Media Arts Cologne, and picks up on the current developments and events, providing both insight into the activities and projects of the university.



Diaphanes was founded in 2001 and has since gained a high reputation for independent publishing in the field of literature, contemporary philosophy, academic studies and the arts within the German-speaking area. At present, some 50 publications are being released annually.


Geschlossene Gesellschaft

Video by Berlinische Galerie:

20. Januar 2013 von interfilm

Unbedingt hingehen und die Künstlerische Fotografie in der DDR 1949-1989 anschauen – läuft noch bis 28. Januar! Und nicht verpassen, die längere Doku im Kinosaal anzuschauen – in der Berlinischen Galerie


Challenging dominant discourses of the past: 1968 and the value of oral history

Edited by: Andrea Hajek


Guy Debord’s The Society of the Spectacle (1973)

La Société du Spectacle (Society of the Spectacle) is a black and white 1973 film by the Situationist Guy Debord based on his 1967 book of the same title. It was Debord’s first feature-length film. It uses found footage and detournement in a radical criticism of mass marketing and its role in the alienation of modern society.


Dior – Collection automne-hiver 1961 

Présentation de la collection Dior automne-hiver 1961 dans les salles grecques du Musée du Louvre.


Universität Mainz: Neue Plattform für Frankreichforschung geplant 

Mainz University Library receives DFG funding for the expansion of the “collective focus research France” to a broad platform for france-related activities at the Johannes Gutenberg-University



Bowling Green State University…

I just signed a petition to Mary Ellen Mazey, BGSU President, Rodney Rogers, BGSU Provost, William J. Primrose III, BGSU Chairman of the Board of Trustees, and Name, Title or Position (optional): In opposition to Bowling Green State University President Mary Ellen Mazey’s announcement to terminate 1…


Circulaire 17

Dear Friends and Colleagues,

Happy New Year! We hope that you had a fantastic break!

For those who missed the emails we sent in December regarding the Herbert Mayer Collection at Colgate University, we are re-sending the list of artworks. As mentioned earlier, Amanda Douberley is currently assessing the scholarly potential of the collection, which has been underutilized in the past. She would love to be in touch with scholars working on or interested in any of the artists that are featured in the collection.

The Mayer collection is one of the few holdings in the United States that focuses so heavily on postwar European art (many Italians, Belgians, French, Greeks, etc.). It could be a wonderful resource for us and we can active play a role in its future. You can email Amanda at

In the coming weeks we will send you an email regarding the CAA conference in New York. We would like to organize a meeting there to discuss and plan future panels now that we are officially affiliated!

If you plan on being in New York, please let us know your availability so that we can schedule a time that works for most of us.

Below you will find our usual listings.


Catherine Dossin & Victoria H.F. Scott


Geist and the Machine: A Graduate Student Conference on German Cinema and Film Theory

University of Pennsylvania

March 15, 2013

Deadline: Jan 15, 2013

The German term Geist bears no simple translation into English. From spirit to mind to ghost to intellect, it exists both as a singular philosophical concept and an elusive shapeshifter. In The Spirit of Film, Béla Balázs writes that “the camera can photograph the unconscious,” citing cinema’s ability to use technology in order to reveal immaterial thoughts and desires, while placing it in a penetrating relationship to the idealist and invisible nature of Geist.

Throughout film’s relatively short history, discussion and theorizing of the impact of the intrusive nature of the medium on individuals and society at large has remained ever-presently suspect. Yet writers such as Walter Benjamin offer an alternative approach to this seemingly symptomatic problem by proposing that the film actor is not exploited by technology, but rather “preserve[s] one’s humanity in the face of the apparatus,” and furthermore, offers the spectator a chance to regain one’s own humanity by proxy. This conference seeks to animate the debate surrounding film’s value for society by exploring the relationship between technology and imagination as illuminated by cinema.

While the focus of the conference is on German cinema and film theory, we encourage submissions from other disciplines, not limited to: art history, cinema studies, media studies, philosophy, history, communications, sociology, comparative literature, and theology. We welcome topics on the translation of German film theory and its influence, non-German films and theoretical writing inspired by the German film canon and its deviations, and methodologies that question cinema as an institution and its relationship to marginalized spectators. We also welcome submissions from practicing film-makers, animators, and video artists whose work is influenced by the German philosophical tradition of Geist and the technological experimentation of German directors.

Please send your 250-300 word abstracts in both the body of the e-mail and as an attachment to Jehnna Lewis and Roksana Filipowska at by midnight on January 15, 2013. Submissions should include the paper title, author’s name, affiliation, and e-mail address. Those whose submissions are accepted will be notified within the week.


« But is it art ? » 

New York, New York University

 8-9 mars 2013

Date limite: 15 janvier 2013

Le département de littérature française de New York University  a l’honneur d’annoncer son colloque annuel organisé par les doctorants : « But is it art ? » (Mais est-ce de l’art ?). Nous recherchons des interventions qui s’intéressent aux pratiques, institutions, et définitions de l’art dans le contexte du monde français et francophone. Nous nous intéressons particulièrement à l’établissement et aux glissements des frontières entre le domaine de l’art et celui de tout ce qui en est séparé, et nous accepterons avec plaisir des propositions traitant d’oeuvres ou de concepts issus de toutes périodes et de tous les arts et médias.

Quelques questions auxquelles nous nous intéressons dans le cadre de ce colloque :

Comment les artistes insèrent-ils leurs oeuvres dans un paysage artistique qui leur préexiste ? Est-il absolument nécessaire pour un écrivain de se situer dans le cadre d’une conception particulière de l’art ? Pourquoi certaines oeuvres sont-elles rangées sous l’étiquette d’« art », tandis que d’autres ne le sont pas, et quelles sont les conséquences qui découlent de ce clivage ? Une oeuvre peut-elle jamais exister dans un domaine autonome et séparé d’autres domaines du savoir, voire du réel ? Comment des phénomènes non artistiques peuvent-ils être interprétés selon une grille d’analyse artistique, et vice versa ? Comment l’institutionnalisation de l’art détermine-t-elle notre expérience des oeuvres ? Comment les définitions de l’art ont-elles évolué au fil du temps ?

Les interventions peuvent être faites soit en anglais, soit en français, et doivent être comprises entre 8 et 10 pages. Les participants auront l’option de faire un discours dans un format traditionnel ou de discuter de leurs idées avec d’autres dans un format plus proche de celui d’un séminaire.Veuillez envoyer vos propositions à avant le 15 janvier 2013. Les propositions ne doivent pas dépasser 250 mots, et mentionner le nom, l’école et l’adresse e-mail du candidat, ainsi que la préférence de format.


Netzwerke der Westkunst 1945-1964

Technische Universität Dresden

28.02. – 01.03.2013

Deadline: Jan 20, 2013

Workshop im Rahmen des DFG Projektes: „Soziale Geburt der ‚Westkunst’. Netzwerke bildender Kunst in Westdeutschland 1945-1964“ Prof. Dr. Karl-Siegbert Rehberg, Institut für Soziologie der Philosophischen Fakultät der Technischen Universität Dresden

Die Entwicklung der bildenden Kunst in Westdeutschland stand nach dem Zweiten Weltkrieg durch die veränderten politischen Rahmenbedingungen unter neuen Vorzeichen. In der Kunstwelt trafen Brüche mit der Vergangenheit auf Wiederanknüpfungsversuche an Vorkriegstraditionen.

Künstlerische Praxis, institutionelle Umfelder und Vermittlungsformen wurden teils neu definiert und formten sich in vielfältigen, sich öffnenden Beziehungskonstellationen, die in der Öffentlichkeit schließlich das Bild einer eigenständigen „Westkunst“ entstehen ließen.

Im Kunstbetrieb entwickelte sich ein starker Focus auf abstrakte Gegenwartstendenzen, welche in der Gegensatzspannung gegenüber dem Osten zunehmend politisch instrumentalisiert wurden. Die von den Zeitgenossen verschieden gedeutete und bis heute unterschiedlich bewertete Phase soll durch Analysen der zugrunde liegenden sozialen Beziehungsgeflechte mit ihren dynamischen und strukturbildenden Prozessen der Vernetzung in der damaligen Kunstwelt und Gesellschaft empirisch aufgeschlossen werden.

Zu fragen wird sein, welche sozialen Kräfte die den Zeitgenossen oft unwahrscheinlich erschienene Entwicklung beeinflusst haben. Auf welche Weise förderten oder hinderten die Rahmenbedingungen das Entstehen dieser Kunstwelt? Durch wen und wie wurden Traditionen wiederbelebt und welche Beziehungen brachten neue Anfänge hervor oder unterstützten diese?

Aus dem DFG-Projekt werden dazu Rekonstruktionen von Beziehungsnetzwerken vorgestellt, die im Kontext weiterer Analysen und empirischer Forschungen diskutiert werden sollen. Wir laden zu einem Workshop ein, um uns über Beziehungen zwischen Akteuren, Institutionen und Vermittlungsformen von Kunst, die Teil der oben genannten Entwicklung waren, auszutauschen.

Auch Beiträge aus anderen Disziplinen sind ausdrücklich erwünscht.

Abstracts für höchstens dreißigminütige Vorträge sind bis zum 20.01.2012 an unten stehende Adressen zu senden.

Weitere  Auskünfte erteilen:

Dr. Gerhard Panzer:

Franziska Völz:  


 (Re)Viewing Expanded Cinema : Art, Film, and Video
Symposium international / International symposium

Institut national d’histoire de l’art (INHA),

Paris, June 27 – 28, 2013

Deadline: Jan 20, 2013

This symposium focuses on the issues of perception and consciousness within Expanded Cinema. The term “Expanded Cinema” covers a variety of experimental practices in the fields of film, video, and new media that emerged in the United States in the 1960s before spreading to Europe and the rest of the world. Over the past decade, several exhibitions and publications have begun to examine Expanded Cinema from the
perspective of art history in a manner representative of the discipline’s extension to encompass moving images and live performance. These investigations have started to bring to light Expanded Cinema’s
historical contribution to the dismantling of high modernism. In particular, they have shown how Expanded Cinema explored questions relating to site and medium, challenging both the model of the film
theater and that of the “white cube,” as well as the notion of medium-specificity. However, there has been comparatively less attention devoted to the psychic, mental, and perceptual aspects that were a crucial concern of the early practitioners and theoreticians of Expanded Cinema. This symposium intends to examine notions such as the “spiritualization of the image” (Mekas, 1964), “expanded consciousness”
(Youngblood, 1970), and “visionary cinema” (Sitney, 1974) that were attached to Expanded Cinema in the 1960s and ’70s. The aim is to recover the original meaning and specific social and political context
of the aspiration to create “mind-manifesting” art through the use of film, video, and new image processing technologies. This discourse, it is suggested, reflects an important shift away from representation toward a direct engagement with perception and consciousness. In this respect, Expanded Cinema heralds the increasing focus of contemporary artists and art historians on the perceptual and cognitive aspects of
the viewer’s experience.
Papers may address topics that fall within the following categories :Vision and Visionariness; “Art, science, and metaphysics”; Activism, Materialism, Utopia.
This symposium invites cross-disciplinary perspectives on Expanded Cinema. Likewise, we intend the scope to be international.
Special consideration will be given to papers addressing the art historical and cultural contexts in which Expanded Cinema emerged, and the artistic, scientific, literary, and philosophical sources that
inspired the movement’s practitioners. We also seek papers that examine the current relevance of Expanded Cinema and the legacy of the movement’s visionary dimension in contemporary art.
Abstracts (250 words) along with a short bio and list of publications should be submitted by January 20, 2013 to :,, and


Meta-Tinguely: Jean Tinguely & transformations in art and culture, 1960-present

Museum Tinguely

Basel, March 20 – 23, 2013

Deadline: Jan 29, 2013

The Museum Tinguely (1), Basel, the Métamatic Research Initiative (2) and the VU University (3), both from Amsterdam, jointly organize a three-day symposium to be held in Basel March 20 to 23, 2013.

The symposium aims to bring together a group of scholars (including the visiting professors), artists and people working in the arts to further explore artistic, cultural and social issues that were at stake in Tinguely’s work and related to practices during the 1960s, as well as the trajectories they have taken into the present. In this symposium, the MRI artists can present the results of their artistic research and academics can present and discuss the progress of their research.

This interdisciplinary symposium aims to explore above-mentioned topics in depth and will also consider and discuss the reception and interpretation of Tinguely’s works in contemporary art.

Apart from panel sessions, the keynote speakers will be Pamela M. Lee (Professor, Stanford University) and artist Thomas Hirschhorn, who will elaborate on his recent commission from the MRI foundation.

Deadline proposals: January 29, 2013.

– Proposals (with a maximum of 2.500 characters) with a short CV and list of publications can be sent to:

– Proposals may be presented in English, French or German

– Selected speakers are invited to present their research in a 20-25 minute talk followed by a discussion

– The edited papers and conference results will be presented in a subsequent publication

– Speakers’ fee and travel expenses are paid


Media Art Histories 2013: RENEW

The 5th International Conference on the Histories of Media Art, Science and Technology

Riga, October 8 – 11, 2013

Deadline: Jan 25, 2013

The 5th International Conference on the Histories of Media Art, Science and Technology, Renew, will be hosted by RIXC and held in Riga, Latvia, October 8 – 11, 2013, coinciding with the international festival for new media culture Art+Communication. It will host three days of keynotes, panels and poster sessions on the histories of networked digital, electronic and technological media arts.

Besides general topics of the call, the theme of Renew, Media Art History 2013 addresses current tendencies in sustainability quests from various perspectives. As media art is based on increasingly out-dating technology and it is dependent on energy (electricity) the conference will discuss sustainable approaches towards the issues of producing, preserving and representing media  artworks – how to ‘renew’

them through both – tools and histories. By focusing on networked media arts, the Renew conference will cover a broad range of topics to include early communication art (mail, fax, radio, satellite, etc.), and, open source and network culture, locative media and wireless communities, hybrid networks and electromagnetic art, and last but not least – artistic investigations in sustainability, and future visions of art within the convergence of information and energy technologies.

DEADLINE for abstract proposals: January 25, 2013. Notification of acceptance will be announced in March 25, 2013.

Individual proposals should consist of a 250-word abstract with title.

Proposals and inquiries regarding submissions should be made on web-site.

Selected papers from the conference will be published in Acoustic Space and other venues. Founded in 1998 by E-Lab as artistic journal for sound art, networked audio experiments and new media culture, since 2007 Acoustic Space comes out as peer-reviewed journal for transdisciplinary research on art, science, technology and society, published by RIXC & Art Research Lab of Liepaja University.

The conference will be complemented by a variety of affiliated events, including the Art+Communication festival, with a thematically related media art exhibition, experimental film and video screening programme, live performances, concerts and workshops.

More info: &


Negotiating Boundaries – The Plural Fields of Art History

University of Birmingham, Barber Institute of Fine Art

Monday 1st – Tuesday 2nd July 2013

Deadline: Feb 22, 2013

The formation of art history as a discipline was underpinned by the claim to a special area of expertise which, in the late nineteenth and twentieth centuries, was accompanied by the development of particular concepts and methods, from the formal and spatial analysis of Wölfflin, Riegl or Schmarsow to the iconology of Panofsky. Linked to the emergence of the concept of autonomous art, the establishment of the discipline was achieved by means of certain exclusions; a rigid line of demarcation was drawn between art history and archaeology, aesthetic judgments were deemed irrelevant and, in a mirroring of Kantian thought, the decorative and applied arts became the objects of a separate, less prestigious, domain of inquiry.

For all the recent talk of interdisciplinarity, these exclusions still shape the terrain of scholarship, producing numerous incongruities. Art historians still seldom discuss the applied arts, while in the Anglophone world architectural history remains a separate subject (with its own professional and discursive institutions). Prehistoric art and the art of the classical worlds are still topics mostly of interest for archaeologists rather than art historians, while the division between fine art and the applied arts has produced a caesura between the ‘traditional’ and the ‘modern’ in the historiography of, for example, the art of the Islamic world or China.

This conference is not concerned with calling for a renewed embrace of interdisciplinary thinking, but rather with considering the implications of the status quo. Why are certain art historical topics still the domain of researchers in other disciplines? What are the consequences? Given the contemporary skepticism towards totalizing forms of thought, should it be even seen as a problem that discourse on art is so plural?

Proposals are invited that address either general theoretical issues or which examine specific case studies that case light on the wider questions of historiography.

Proposals should be submitted to Matthew Rampley, University of Birmingham.



Light Colour Line – Perceiving the Mediterranean: Conflicting Narratives and Ritual Dynamics

5th International Conference of Mediterranean Worlds

Department of the History of Art, TransMediterraneanStudies, University of Bern.

September 9 – 11, 2013

Deadline: Mar 1, 2013

In collaboration with The Mediterranean Seminar, University of California Santa Cruz; Department of History, 29 Mayis University; Eastern Mediterranean University, Famagusta and University of Colorado at Boulder.

The theme of this interdisciplinary conference will focus on three issues:

1. The light, the colour, the horizon line are parameters for the perception of the Mediterranean.

2. Using narrative forms of representation, literary, filmic and photographic media require modes of perceiving the Mediterranean that in comparison with perceived reality reveal – on both sides – fractures and contradictions, conflicting narratives.

3. The title colour line is deliberately ambivalent, touching in equal measure on both the history of perception, epistemology, social anthropology and the political history of the Mediterranean.

Participants are invited to submit 300-word abstracts for 25-minute presentations. Abstracts should include at least three descriptive keywords, the presenter’s name, organization, email and mailing address. The language of the conference will be English. Please send your abstracts to:



Art Review Call for Papers

 Art Review is a bilingual academic journal initiated by Sichuan University (China), and co-founded with Ball State University (United States) and Concordia University (Canada). Art Review is interested in English-language submissions pertaining to all areas and stylistic periods of Art, Art History, Visual Studies, Art Criticism, and Art Theory. We are particularly interested in essays that take an interdisciplinary approach or focus upon the international exchange of art and/or the work of Chinese artists overseas.

Art Review advocates a broad definition of “Art,” with no constraints placed upon genre, subject matter, or time period. We accept essays dealing with the traditional arts, but also those pertaining to film, television, performance, installation, design (advertisements, packaging, corporate images, posters, industrial design, etc.), environmental art, digital multi-media art and fashion. We welcome contributions from all over the world and accept submissions from individuals, artistic organizations, art galleries and exhibition curators both home and abroad. Contributors may submit feature articles, short essays, interviews, or relevant exhibition or book reviews.

 Art Review is a printed journal with full-color illustrations. Contributions do not need to meet a certain word-count or page-length, but should follow the Chicago Manual of Style. Please direct any questions you may have regarding contributions to:

Dr. Natalie E. Phillips, Ph.D.

Department of Art

Ball State University


Questioning Cold War Art (1945-1965)

University of Copenhagen and National Gallery of Denmark, Copenhagen

March 8 – 09, 2013

The international conference Questioning Cold War Art (1945-1965) will be held in Copenhagen the 8th and 9th of March 2013. The aim of the conference is to create an environment for open, penetrating and interdisciplinary discussion of Cold War art in the period 1945-1965.

Keynote speakers: Professor Serge Guilbaut and historian and journalist Frances Stonor Saunders

Introduction: What is Cold War art? Did such a thing exist, and if so, how can it be defined, investigated and discussed? These questions are of key relevance in light of the growing interest in the Cold War within the field of art history. Whilst the political history of the Cold War is well documented, the nexus of art, culture and politics remains relatively under-researched, not least in a Danish context.

Much cultural research has been focused on propaganda, Americanisation and popular culture, while high culture – and in particular the visual arts, which are the central focus of this conference – have received less attention. It is our hope that through this conference we can contribute to a clarification of how the objects of art-historical inquiry can be linked to political history, the history of ideas and cultural research into the first decades of the Cold War.


Comprendre le XXe siècle des musées

séminaire de recherche d’Agnès Callu

Paris, Institut national d’histoire de l’art

November 13, 2012 – May 28, 2013

Choisir d’installer sur la table universitaire le musée du XXe siècle comme objet historique suppose d’apprécier les enjeux politiques, sociaux, culturels et économiques qu’il suscite, à l’échelle de l’État comme des collectivités territoriales, dans une société ouverte à la novation esthétique et patrimoniale en même temps qu’elle adopte l’acculturation des codes hiérarchiques et les évolutions entrepreneuriales ou technologiques. Outre le commentaire, sur le mode historiographique, de la production scientifique du domaine – plurielle car distribuée, parfois en tensions, autour de deux pôles souvent opposés : l’Histoire culturelle et l’Histoire de l’art – un panorama des matériaux disponibles à la recherche s’avère l’indispensable préalable. Puis, prenant appui sur des fondations méthodologiques dès lors posées, plusieurs thèmes sont abordés, questionnant, en longue durée, le musée et ses représentations, entre élitisme social, promotion de la culture pour tous ou merchandising des biens culturels.

Sont alors ouvertes et/ou creusées – souvent en diachronie à l’aide du témoignage d’anciens acteurs – plusieurs pistes de réflexion amenant à discuter la figure du musée dans les imaginaires collectifs, le capital symbolique d’un geste architectural, le trilogue entre l’œuvre, l’artiste et le conservateur ou bien encore la place des hommes : érudits, bâtisseurs ou décideurs dans la structuration et le fonctionnement de celui qui, entre désir et pédagogie, se définit comme « une institution permanente […] au service de la société et de son développement, ouverte au public, qui acquiert, conserve, étudie, expose et transmet le patrimoine matériel et immatériel de l’humanité et de son environnement à des fins d’études, d’éducation et de délectation […] ».

Séance 5). 5 février 2013. Favoriser les musées

Egohistoire d’une collection privée (Pierre Bergé [sous réserve] et Laurent Le Bon, Centre Pompidou Metz)

Séance 6). 26 février 2013. Musées et lieux de création

Exposer/créer : nouveaux espaces et concepts (Jean-Manuel Gonçalvès, directeur du CentQuatre et Agnès Callu)

Séance 7). 5 mars 2013. L’artiste dans le musée

 « L’entrée » au musée : fonctions et significations (Julian Schwarz [sous réserve], Agnès Callu et Emmanuelle de l’Ecotais, musée d’art moderne de la Ville de Paris)

Séance 8). 19 mars 2013. Scénographier le musée

Créer pour valoriser la création : scénographe de musées (Richard Peduzzi [sous réserve])

Séance 9). 9 avril 2013. Design/musée : consolidation d’un tandem

Acculturation du « beau dans l’utile » (Christine Colin, ministère de la Culture et Claire Leymonerie, CNRS/CERTOP)


Graduate fellowship

Indianapolis, IN

September 03, 2013

Application deadline: Mar 29, 2013

The Indianapolis Museum of Art is pleased to announce a one-year curatorial fellowship. The fellowship supports scholarly research related to the Clowes Collection at the IMA and provides curatorial training in the field of European painting and sculpture. The Clowes Fellow is fully integrated into the curatorial division of the Museum and has duties comparable to those of an assistant curator, ranging from collection research and management to exhibition development and the preparation of interpretive materials and programs.

To be eligible for the fellowship, the applicant must be enrolled in a graduate course of study leading to an advanced degree in the history of art or a related discipline, or be a recent degree recipient (within the last two years). Applicants must demonstrate scholarly excellence and promise, as well as a strong interest in the museum profession. U.S. citizenship is not required.

 The Clowes Fellow will receive a stipend of $25,000 and an educational travel allowance of $2,000. Housing is provided in a scholar’s residence on the grounds of the museum. The one-year fellowship period will begin September 3, 2013. The appointment is renewable.

Applications should include a cover letter explaining your interest in the fellowship, a curriculum vitae, a writing sample, a concise statement describing your area of research and its relationship to the Clowes Collection, and three letters of recommendation (academic and professional). Applications must be received by March 29, 2013.

Please send application materials to:

Ronda Kasl

Senior Curator of Painting and Sculpture before 1800 Indianapolis Museum of Art

4000 Michigan Road

Indianapolis, IN 46208-3326


Research Grant

Columbia University, NY

 July 1, 2013 – January 1, 2014

Application deadline: Feb 15, 2013

The Columbia University Libraries (CUL) invites applications from scholars and researchers to a new program designed to facilitate access to Columbia’s special and unique collections.  CUL will award ten (10) grants of $2500 each on a competitive basis to researchers who can demonstrate a compelling need to consult CUL holdings for their work.

Participating Columbia libraries and collections include those located on the Morningside Heights campus: the Avery Architectural and Fine Arts Library, The Burke Library at Union Theological Seminary, Butler Library, the Lehman Social Sciences Library, the Rare Book & Manuscript Library, the C. V. Starr East Asian Library, and the Libraries’ Global Studies Collections.

Applications will be accepted until February 15, 2013.  Award notifications will be sent to applicants by April 19, 2013 for research conducted at Columbia during the period July 1, 2013 – June 30, 2014.



Bourses d’étude et de recherche

En France, plusieurs institutions, musées et fondations proposent des bourses d’études ou des bourses doctorales et postdoctorales destinées à aider des étudiants, des doctorants et/ou de jeunes docteurs à mener à bien des projets de recherche originaux et innovants.


Antonio Saura: Die Retrospektive

30. November 2012 bis 7. April 2013

Das Museum Wiesbaden zeigt im Herbst 2012 die erste umfassende Retrospektive des Lebenswerkes von Antonio Saura (1930–1998) in Deutschland.

Der im Spanischen Huesca geborene Saura gehört zu den bedeutenden Künstlern des 20. Jahrhunderts und zu den prägendsten Exponenten der spanischen Malerei seiner Epoche.

Antonio Saura beginnt seine künstlerische Tätigkeit im Jahre 1947 als Autodidakt unter dem Einfluss von Yves Tanguy und Joan Mirò. Er experimentiert zunächst mit verschiedenen Techniken – vor allem Grattagen und Rayogrammen – und wendet sich um 1950 auf der Suche nach der „wahren Landschaft des Unbewussten“ kurzzeitig dem Surrealismus zu.

Ab 1956 beginnt er mit den thematischen Zyklen der Damen und der Selbstbildnisse ein eigenständiges, expressiv-gestisch strukturiertes Werk zu entwickeln.

Drei Jahre später, ab 1959, widmet er sich dann grossformatigen Zyklen, wie den Kreuzigungen, den Bildnissen, seinen Akt-Landschaften und den Menschenmassen, auf deren Thematik er in seinem späteren Werk immer wieder zurückgreift.

Die Ausstellung präsentiert sämtliche Schaffensphasen Antonio Sauras.

Sie stellt seine grossen Bildserien in Hauptwerken dar, zeigt aber auch Aspekte seines illustrativen und zeichnerischen Oeuvres.

Überdies stellt die in Zusammenarbeit mit dem Kunstmuseum Bern und der Stiftung archives antonio saura, Genf organisierte Ausstellung mit über 200 Werken die bisher umfassendste Retrospektive des Künstlers dar und leuchtet so das Gesamtwerk Antonio Sauras in seiner ganzen Breite und Komplexität aus.


Roberto Pinto, Nuove geografie artistiche

Interview published in Argomenti with Roberto Pinto about his new book.

Le mostre al tempo della globalizzazione. Un libro di Roberto Pinto che analizza molte mostre internazionali raccontandole anche come “ciò che è successo e che ho in parte contribuito a fare”.



revue franco-allemande de sciences humaines et sociales

Deutsch-französische für Geistes und Sozialwissenschaften

Éditée par les Éditions de la Maison des sciences de l’homme avec le concours de partenaires allemands et français, la revue électronique Trivium publie des traductions d’articles. Elle se conçoit comme un instrument d’échanges, de coopération entre les communautés de recherche francophone et germanophone et de communication en sciences sociales et humaines.

Die mit Unterstützung deutscher und französischer Partner von den Éditions de la Maison des sciences de l’homme herausgegebene Online-Zeitschrift Trivium veröffentlicht Übersetzungen aus Fachzeitschriften. Sie versteht sich als Medium des Austauschs und der Kooperation zwischen deutsch- und französischsprachigen Forschungsgemeinschaften in den Geistes- und Sozialwissenschaften.


Jonathan Woodham Design Histories University of Brighton

Quite a lovely short film about design histories and archives at Brighton University.

Jonathan Woodham is Professor of the History of Design at the University of Brighton Faculty of Arts and a key figure in the early development of design history as a discipline. His over-riding research interests are national and global design policies and what he terms ‘lost’ or ‘hidden’ histories which have been important in those countries where they have been enacted but have failed to register in the wider studies of the history of design. In this short film Jonathan demonstrates his work in these areas through current exhibitions and collections.


Michelangelo Pistoletto – “Il Terzo Paradiso”

A short video about the origins of Pistoletto’s recent project at the Louvre.

“Il Terzo Paradiso” di Michelangelo Pistoletto alla Biennale di Venezia, 2005 “The Third Paradise” by Michelangelo Pistoletto, Venice Biennial 2005


Visites de grandes expositions

Ces programmes multimédias interactifs proposent la visite en streaming

d’une grande exposition organisée par la Réunion des musées nationaux-Grand Palais.

Ils offrent aux enseignants et aux élèves des outils de découverte d’un artiste ou d’un grand

sujet de l’histoire de l’art, sous la forme d’un film commenté et de contenus intéractifs

(analyses d’oeuvres, jeux, mini-sujets…).


French/German Publications Listings from the Centre Allmand d’histoire de l’art in Paris


Circulaire 16

Dear Friends and Colleagues,

We hope that you had a terrifying Halloween and that your term is going swimmingly.

Our panel on German Art after 1945 in Context at the Southeastern College Art Conference (SECAC) was a great success, as was the panel Art in Three Crises: 30-70-Now organized by Ruth Erickson, and all the other presentations of our members.

Below you will find our usual listings.

Warm wishes,

Catherine Dossin & Victoria H.F. Scott


Art History in Italian Studies 

Art History in Italian Studies/Italian Studies in Art History

Eugene, OR, April 11 – 14, 2013

Deadline: Nov 15, 2012

This panel explores the intersection of Art History and Italian Studies, their inherent interdisciplinarity, shared subjects and methodologies, and the logistics and structures of our institutions, professional associations, and disciplinary conferences that often separate us. Scholars from all disciplines are invited to submit and bridge these divisions.

Send proposals (ca. 300 words) to: Adrian R. Duran, University of Nebraska-Omaha. For conference information:


Transnational Flows  

Association of Art Historians Annual Conference 2013

University of Reading, April 11 – 13, 2013

Deadline: Nov 12, 2012

This panel will explore developments in European fine art education in the 20th century. It will seek first to examine national pedagogical models, identifying already established transnational strategies and flows. Further, it will work to build useful comparative models, identifying convergences and divergences, to reveal something of the often shifting and contested field of European fine art education.

Panel topics will range widely. Possible topics might include – but are not limited to the influence of the US and conceptual art in 1960s European art education; the so-called free academies in Paris in the early 1900s; the atelier of Matisse, Academie Colarossi, Academie Libre, etc. that attracted young artists from all Europe, e.g. Russia, Germany, the Nordic countries but also the USA; Bauhaus pedagogy beyond the UK; the legacy of the Moscow Vhuktemas; or, the little-known exchanges between Weimar and Calcutta, especially through Rabindranath Tagore in the early 1920s and the emergence of basic design training in India.

Taking a largely discursive format, this international roundtable invites participants to prepare ten-minute presentations on their fields of expertise. These short ‘position papers’ will provide extensive time for debate and discussion. With the precise objective of identifying common interests, the panel will also aim to establish directions for possible comparative studies and to move towards future research collaborations for its contributors. Participants are therefore also welcome to shortly comment in their proposals areas of interest that could be developed in such collaborations.

Marta Edling, Uppsala University, Maria Görts, Dalarna University, Hester Westley, Tate Research, Beth Williamson, Tate Research,


Thinking and Rethinking Exhibition Histories

Association of Art Historians Annual Conference 2013

University of Reading, UK, April 11 – 13, 2013

Deadline: Nov 12, 2012

Exhibitions of contemporary art over the last 50 years are increasingly a focus for academic study. This session seeks to reflect on this development, addressing what it might mean to analyse contemporary art not in the context of when and where it is made, but of its public display. At a moment when a new field of exhibition studies seems to be emerging, and when art history is turning to exhibitions as legitimate research ‘outputs’, it is time to consider the historiographic question of the relationship between exhibition studies and neighbouring fields: art history, of course, but also sociology, philosophy and visual and cultural studies.

Attention needs to be paid to the distinctive nature of exhibitions as time-based and spatial entities involving artists, curators, designers and, not least, publics. This begs questions of definition, and prompts us to ask what kind of histories might be made out of, say, a performance at an opening or exhibitions produced solely for publication, television or the internet. Debating the implications of a history premised on ‘landmark’ exhibitions will be central to this session, as will exploring the use in exhibition studies of methods of historical enquiry that privilege the transient and ‘minor’ over the canonical. Moreover, roles for archaeology, genealogy, or theories of the event or ‘longue durée’ might be addressed.

We invite papers from art historians, curators and others interested in thinking through or rethinking existing historiographic models for the study of exhibitions from a variety of geopolitical perspectives.


Landscape and Economy

Association of Art Historians Annual Conference 2013

University of Reading, UK, April 11 – 13, 2013

Deadline: Nov 12, 2012

This panel seeks papers that examine the myriad ways that landscape art has creatively engaged the modern economy. How have artists used the frame of the landscape to visualise the complicated relationships of the capitalist market? How have landscapes given spatial or pictorial form to economic phenomena such as risk and insurance, speculation and investment, profit and insolvency? In what ways and under what circumstances have landscapists addressed the abstract processes of finance? How have landscape tropes – such as the ‘horizon’, ‘frontier’, or ‘prospect‘– structured economic thinking in the two-and-a-half centuries since the rise of capitalism?

Papers might also consider the ways that aesthetic categories such as the sublime inform modern economics; artistic explorations of the spatial conditions of ‘unevenness‘ and ‘uneven development‘ (from Trotsky to Neil Smith); and the role of religion and economics in landscape representation.

We are particularly interested in papers that closely entwine the visual and the economic, that move beyond Marxist approaches of the 1950s to 1970s, and that engage contemporary methodological approaches to economics (e.g. David Harvey on neoliberalism). Though we are privileging discussions of the ‘modern‘ and contemporary economy (c.1750 and after), papers from any culture and time period that deal with the theme of the landscape will be considered.

Please send proposals by 12 Nov 2012 to the session chairs, Dr. Kevin Chua (Texas Tech University, and Dr. Ross Barrett (University of North Carolina at Chapel Hill,


Global Pop Research Symposium

Tate Modern/Royal College of Art
London, March 14, 2013

Deadline: Nov 30, 2012

This research symposium at Tate Modern is part of a two-day event exploring the many manifestations of ‘Global Pop’. Organised in collaboration with the Royal College of Art, London, it will offer a unique opportunity for scholars working in different fields and geographies to develop new interpretations of ‘Pop’ in advance of The World Goes Pop, a major exhibition opening at Tate Modern in summer 2015. By exploring contemporaneous engagements with Pop throughout the globe in the 1960s and 1970s, the exhibition will examine not only the phenomenon in Western Europe and the US but also survey Pop developments in Eastern Europe, Latin America, Asia, Africa and the Middle East. Of particular importance is the often critical nature of these global engagements with Pop. Reacting to the increasing dominance of the American post-war economy and media around the world, Pop art sometimes took the form of a destabilizing reversal of the normative messages associated with American culture and consumerism. This dialectic was effectively and memorably put to use by feminists, political groups and independence movements in order to simultaneously critique the hegemony of the West while drawing on its aesthetic mass appeal and graphic clarity.

To date, the history of Pop art has tended to affirm the hegemonic position of New York and London. In an attempt to challenge the simple linear trajectory of influence that has dominated most accounts, this symposium will explore Pop beyond the mainstream and open the definition of Pop to critical re-thinking.

We invite 20-minute presentations from academics, research students, curators, artists and other professionals in relevant fields – including art, design, architecture and social sciences– that focus on global engagements with Pop. We particularly welcome papers that propose ways to re-examine both the origins and socio-political underpinnings of Pop or question its existence and significance as a

global ‘movement.’ This includes interrogations of how Pop might be understood afresh and what the relation between Pop and ‘the popular’ could be, and what the relationship is between the commodity culture of advanced capitalism and other forms of mass media.

Please submit abstracts of up to 300 words together with a 100 word biography by Friday 30 November 2012 to Anna Murray (, with CfP Global Pop Research Symposium in the subject line.


Boston University, March 1-2, 2013

Submission Deadline: 5pm, November 12, 2012

The 29th Annual Boston University Graduate Student Symposium on the History of Art & Architecture invites submissions exploring questions of accessibility or inaccessibility of works of art, objects, and the built environment.  While some works communicate directly to a broad audience or privilege an exclusive experience, others seem to mediate both poles of this dynamic.  In/Accessible seeks to examine those works that make accessibility part of their interpretive structure.

Possible subjects that investigate the theme of accessibility include, but are not limited to: public art and architecture; travel and pilgrimage; forms of mass production; and the interface between high and low art. Conversely, papers could explore issues of limited accessibility such as esoteric references; religious or ritual objects intended only for the initiated; restricted architectural spaces; secretive artistic alliances; private erotica; theories of domesticity; institutional exclusivity; and art that renders ephemerality permanent.

We welcome submissions from graduate students at all stages of their studies, working in any area or discipline.  Presentations will be 20 minutes and will be followed by a question and answer session.  The Symposium will be held March 1-2, 2013, with a keynote lecture (TBD) at the Boston University Art Gallery at the Stone Gallery on Friday evening and paper presentations on Saturday in the Riley Seminar Room of the Museum of Fine Arts, Boston.

Abstracts of no more than 300 words and a CV should be sent to  Deadline for submission is 5pm EST, Monday, November 12, 2012.  All abstracts will be peer-reviewed and successful applicant will be notified before January 1, 2013.


The Reflexive Photographer

Edited by Rosie Miller, Jonathan Carson and Theresa Wilkie
School of Art & Design, University of Salford, UK

Deadline: Dec 10, 2012

We invite international submissions to be included in this forthcoming book, to be published by MuseumsEtc ( in 2013. Proposals are welcomed from writers, academics, photographers, curators, artists and other visual practitioners.

This book will bring together the varied ways in which reflexivity manifests itself within photography and the photograph.  In this instance we are taking a broad approach to the term (as evidenced in the suggestions below), where ‘reflexivity’ is used to describe: The methods and dialogues that practitioners use to interrogate their own work; and, the manner in which these devices enable the photographer to

engage in an exchange with the work of others and with the world around them.

We are seeking chapters that deal with a wide range of issues in relation to the principle of the reflexive photographer.

If you are interested in being considered as a contributor, please submit a proposal (using Microsoft Word) of between 300-500 words with a short biography and CV (which, combined, must not exceed two sides of paper).

The deadline for submissions is 10 December 2012. Please email your proposal to If you have any queries please email Rosie Miller at


The Collecting Impulse, Graduate Symposium

University of Illinois, Urbana-Champaign, March 8-10, 2013

Proposals due by Monday, December 17, 2012

Keynote Speaker: Bill Brown, Karla Scherer Distinguished Service Professor in American Culture at University of Chicago in the departments of English and Visual Arts, and Co-Editor of Critical Inquiry

 “Every passion borders on the chaotic, but the collector’s passion borders on the chaos of memories.”  – Walter Benjamin, “Unpacking My Library”

This symposium investigates a resurgence of interest in possession, accumulation and hoarding, in the wake of an international financial crisis that dispossessed millions of their homes, savings, and sense of security.  If we look at the contemporary art world, for example, revenues at auctions have reached unprecedented highs.  During a global recession, art fairs have closed with record-breaking attendance, and art world darlings like Damien Hirst have offered collectors incentives like the “Spot Challenge,” in which gallery-goers who have the means to visit the artist’s retrospective in each of Gagosian Gallery’s eleven global locations earn a signed spot print dedicated personally to the collector.  The collecting impulse, however, has not only exploded in the elite sphere of the contemporary art market.  Popular television shows like Hoarders, Storage Wars, and Antiques Roadshow evidence a growing interest in the culture of collecting.  Current scholarship also reflects this trend in the growing interdisciplinary field of material culture and the expansion of museums and museum studies.

While the phenomenon of collecting has long fascinated scholars, the topic has become increasingly visible in recent years and therefore warrants renewed attention.

We invite 20-minute graduate papers from all periods and disciplines in the humanities to be presented at this symposium.  Presenters will also have the opportunity workshop and discuss their own scholarship dealing with issues of collecting, as well as some of the methodological questions arising from this preoccupation at a more intimate roundtable and lunch with our keynote speaker, Bill Brown.

 Please send your abstracts of 250-300 words and a short biography to<> by Monday, December 17, 2012.  Please direct any other questions to Ellen Martin at<>.



Experience and Experimentation: Alternative Artistic Practices

University of Oregon, Eugene OR, USA, April 25 – 26, 2013

Deadline: Jan 2, 2013

The Art History Association of the University of Oregon is pleased to announce its 9th annual interdisciplinary student symposium, Experience and Experimentation: An Investigation of Alternative Artistic Practices on Thursday and Friday, April 25th and 26th 2013 at the Jordan Schnitzer Museum of Art (JSMA) in Eugene, Oregon.

This year’s symposium is inspired by and will be held in conjunction with West of Center, an exhibition that highlights the art of the 1960s and 70s counterculture, particularly of the western United States. It is the goal of this symposium to expand upon a number of the broad themes addressed in the exhibition, particularly unconventional art practices, art as lived experience, and the role of art within a social fabric. Papers are sought which develop upon these expansive themes, going beyond the particular chronological and geographic boundaries that frame the exhibition, engaging with art as the prime context for experimentation. Through an inclusive and diverse approach, the symposium aims to illustrate the presence and unique methods of countercultures throughout history and around the globe.

The Art History Association is honored to welcome Elissa Auther as this year’s keynote speaker. Professor Auther is the co-editor of West of Center: Art and the Counterculture Experiment in America, 1965-1977, a collection of essays that expounds upon the multitude of ways in which the subjective experience was reconsidered during the post-war period on the West Coast. Professor Auther is currently an Associate Professor of Contemporary Art at the University of Colorado, Colorado Springs as well as an Adjunct Curator at the Museum of Contemporary Art, Denver.

Her book, String, Felt, Thread: The Hierarchy of Art and Craft in American Art, considers the historical status of craft and the social ramifications of the shifting notions regarding its material, makers, and function.

Electronic submissions (Please send to both addresses): Kelsie Greer –

Jordan Koel –


Historiographies of New Media (Chicago Art Journal)

Deadline: Dec 17, 2012

The Chicago Art Journal, the annual publication of the University of Chicago Department of Art History, is seeking submissions of original work by graduate students and faculty. The 2012-2013 edition asks how new media have affected not only the production of art, but also the production of knowledge about art. What is at stake in approaching art history through the concept of new media?

Particularly in the post WWII period, the term “new media” has been applied to a range of formats—from photography, to video, to the Internet—that have revolutionized the modes of transmission and reproduction of “old” media of art. The concept of new media seems to promise a mass media address, yet artists have often emphasized the limits of circulation—for instance, in closed-circuit television, or in zines that were produced via Xerox processes and yet distributed to small networks. Such a dialectical relation escapes media theory’s emphasis on mass distribution and gestures instead toward sites of friction between the imaginative and material aspects of new media, which the discipline of art history may be particularly well-equipped to explore.

Furthermore, the formation and performance of art history has been contingent upon pivotal introductions of reproductive media, from the double-slide lecture to the publication of photographs in books, from the use of facsimiles in the classroom to broadcasts of “art on television.” In turning with fresh eyes to the idea of new media, we consider art history’s rhetorics of description and display. How might we effectively attend to the aesthetic and pedagogical aspects of new media in the wake of communications theory and concepts such as interactivity?

Just as recent scholarship has addressed the nuances of “pre-modern” and modern notions of mediality—including forms of mechanical reproducibility and audiovisual displays emergent in the Middle Ages—so might we aim to reframe more contemporary art historical categories of “lateness” such as the post-medium condition.

We are especially interested in papers that diverge from the well-known chronologies of Euro-American technological developments.

Papers must follow The Chicago Manual of Style and should not exceed 5000 words. Each submission should include an abstract of approximately 500 words. Both Word documents and PDFs are acceptable.

Please send submissions to the graduate student editor Solveig Nelson at by December 17, 2012, 5 p.m.


 War in the Visual Arts

Cork, Ireland, September 13 – 14, 2013

Deadline: Feb 14, 2013

An interdisciplinary conference will be hosted at University College Cork, Ireland to bring together multiple perspectives on representations of war in visual culture. It is intended that the conference will lead to the formation of a multi-disciplinary, international scholarly community with its own calendar of events and

digital presence.

Speakers will include: Dr Laura Brandon, Canadian War Museum; Dr Sabine Kriebel, University College Cork; Dr Éimear O’Connor, Trinity College Dublin; and Dr David Woods, University College Cork

Topics may include but are not exclusively restricted to the following: Art history, political and military history; social and cultural history; religious history; discourse analysis; legacy, memory; propaganda, the perspectives of colonial powers and the colonised in the visual art; the perspectives of war artists, both as participants in warfare and as official war artists; war trauma; Irish and international perspectives on Northern Ireland.

The visual arts for the purpose of this conference will include the fine arts, cinema, advertising, graphic design and photography (to include photojournalism) and documentary.

We welcome all suggestions for the conference as well as offers to chair sections and round-table discussions.

Abstracts should be no longer than 500 words, including references. It will greatly assist the conference committee if proposals are as concise as possible (e.g. fit on one A4 page).

Please address all initial enquiries to: Ann Murray, Department of History of Art, University College Cork


Art Writers in Britain (London 2013)

Workshop Series: Call for Papers

Deadline: Dec 31, 2012

Tate plans to hold a series of workshops in 2013 about art writers based in Britain from 1900 to the present day.

The series aims to stimulate new research – particularly archive-based research – about the work and influence of individual art writers.

Each workshop will focus on individual writers, though the series as a whole will provide a forum for investigating the history, reception and impact of art writing in Britain and elsewhere. The workshops will ask, for example, how have different authors approached the task of responding in writing to art? What impact or influence did they have?

How can the relationships between different forms of art writing be characterised, and how can a history of art writing be conceptualised?

How has the emergence of different forms of dissemination over the twentieth century – from illustrated art magazines to websites and blogs – affected the nature of art writing and the social function of the art writer? These are broad questions that can be addressed in numerous ways, and we welcome the participation of specialists and postgraduate students from a range of disciplines and subject areas.

Tate’s Archive holds the papers of a number of important art critics, historians, theorists and commentators, including Roger Fry, Robert Melville, Adrian Stokes, J.P. Hodin, Kenneth Clark, John Rothenstein, David Sylvester, Barbara Reise, John Russell and Charles Harrison.

Presentations on these figures are particularly welcome, although the series is by no means limited to writers represented in Tate’s Archive.

 If you would like to lead a workshop or make a short presentation on a particular art writer or related theme, please send an email with details of your proposal (approximately 250 words) and a short CV to as soon as possible and no later than 31 December 2012.


Esthetique et deconstruction. Parages de l’art et de la philosophie

Université Paris I – Panthéon Sorbonne, Centre Saint Charles

December 6 – 07, 2012

Ce colloque vise à explorer les articulations, les croisements et les interférences entre, d’une part, des questions liées à la théorie et la pratique artistiques et, d’autre part, les perspectives, les enjeux et les modes opératoires de la déconstruction. Dans quelle mesure ces derniers peuvent rendre compte des mécanismes internes du processus créatif, de ses indéterminations et de ses contradictions ? Et, inversement, comment peut-on envisager la déconstruction comme modalité esthétique, tout en problématisant le rapport du discours théorique à l’expérience sensible, à l’histoire et à la société ? En mettant l’accent sur la diversité des approches et des ramifications de la critique déconstructive (une diversité qui n’a pas manqué de surprendre Jacques Derrida lui-même), l’objectif de ce colloque est, au-delà des idées reçues, de privilégier les nuances critiques, les points de passage et les régions de tension qui se profilent dans les parages de l’art et de la philosophie.

Dans le cadre du colloque sera présentée la vidéo de Bruno Pelassy Sans titre, Sang titre, Cent titres (1995), Courtesy galerie Air de Paris.


Ausstellungswesen und Sammlungspolitik nach dem 2. Weltkrieg

Museum Ludwig, Köln

09. – 10.11.2012

1946 schenkte der Jurist Josef Haubrich der Stadt Köln eine einzigartige Sammlung der klassischen Moderne und legte damit den Grundstein für eine neue moderne Abteilung im Wallraf-Richartz-Museum. Die Sammlung wurde jüngst einer detaillierten Untersuchung unterzogen und im Museum Ludwig, in dem sie seit 1986 beheimatet ist, neu präsentiert.

In diesem Symposium möchten wir Haubrich und seine wegweisende Schenkung in einen größeren Zusammenhang stellen.

Im Mittelpunkt steht die Frage, wie deutsche Museumssammlungen in den Jahren 1945-55 aufgebaut wurden. Was waren die spezifischen Motive, treibenden Kräfte und institutionellen Rahmenbedingungen des deutschlandweiten musealen „Wiederaufbaus“, der laut Aussage des früheren Generaldirektors der Kölner Museen, Hugo Borger, „einfach an[fing], ohne viele Worte“? Wie stand es um Personal- und Raumsituation, welche Kriterien bestimmten die Ankaufspolitik? Und in welchem Maße wurde parallel zu einer Rehabilitierung der klassischen Moderne zeitgenössische Kunst gesammelt? Auch in welchem Umfang die Besatzungsmächte kulturpolitisch Einfluss nahmen, soll diskutiert werden.

Abgerundet wird das Symposium durch Beiträge zum Umfeld der Museen – zu Großausstellungen, kunsttheoretischen Fragestellungen und der Rezeption der Moderne. Die Veranstaltung möchte eine kritische Plattform zum Austausch bieten und einen ersten, repräsentativen Querschnitt von musealer Sammlungstätigkeit der unmittelbaren Nachkriegszeit erarbeiten.

Weitere Informationen unter


Feminist Literature and Film Gegen den Glauben/Against Belief 

Glaubenssysteme/Belief-Systems Annual Conference for the Austrian Studies Association
University of Waterloo, Waterloo, Ontario, Canada

May 2-5, 2013

This panel will investigate how gendered or feminist perspectives shape, contradict, explore, or circumnavigate various Glaubenssysteme. Against can be read literally or figuratively: It can mean opposed to certain beliefs, but also mean something that comes in contact with or is adjacent vis-à-vis another thing. Some questions to consider would be: How have other forms of protest given women a voice? How do notions of gender inform reactions to, for, or against Glaubenssysteme? The central focus of inquiry will be how feminists and gender scholars have engaged with a diverse system of Glaubenssysteme.

Max 300 word abstract and 1 paragraph bio sent electronically to both organizers (below). Abstracts due Dec. 15, 2012. Accepted panelists informed by Dec. 22.

Papers accepted in German or in English. Presenters must be members of Austrian Studies Association.

Panel Organizers: Beret Norman Associate Professor of German Boise State University, Boise ID 83725 208-426-1072 Nicole McInteer PhD Candidate in German Literature and Culture The Pennsylvania State University


Szenenbilder & –bildner in Babelsberg
Filmmuseum Potsdam, Kinosaal

Spielräume. Szenenbilder und –bildner in der Filmstadt Babelsberg Die Filmszenographie – Räume und Architekturen im bewegten Bild – ist nicht nur einer der wesentlichen Akteure im kinematographischen

Bildgeschehen, sondern auch eines der filmischen Elemente, die sich am intensivsten im visuellen Gedächtnis des Publikums festsetzen. In letzter Zeit ist die szenographische Komponente des Films verstärkt in den Blick sowohl der filmwissenschaftlichen wie auch der kunsthistorischen Forschung genommen worden. Das Forschungsprojekt Spielräume. Szenenbilder und –bildner in der Filmstadt Babelsberg,

eine von der VolkswagenStiftung geförderte Kooperation zwischen dem Institut für Kunst- und Bildgeschichte der Humboldt-Universität zu Berlin und dem Filmmuseum Potsdam, widmet sich am Beispiel der ostdeutschen Filmproduktion der DEFA dem komplexen Wechselspiel zwischen den Bildwelten graphisch autonomer Entwürfe, produktionstechnisch eingebundener Zeichnungen und Modelle und den vom bewegten Blick der Kamera erfassten Bildräumen, wie sie im Film umgesetzt wurden. Das Projekt kann hierfür auf den reichen Materialfundus des Filmmuseums zugreifen, der zugleich von herausragender Bedeutung für die Historiographie des gesamtdeutschen Nachkriegsfilms ist. Im Rahmen eines Workshops stellt das Projekt mit Forschungsbeiträgen zu vier sehr unterschiedlichen Jahrzehnten der DEFA-Spielfilmproduktion Ansatz und Ergebnisse seiner Arbeit zur Diskussion. Mit diesem Panorama zur Babelsberger Filmszenographie will das Projekt exemplarisch auch übergeordnete Fragen an das

kinematographische Szenenbild stellen und einen Beitrag zur Neubestimmung des Verhältnisses von Kunst- und Filmgeschichte leisten.

Weitere Informationen finden Sie unter oder unter

Bei Fragen wenden Sie sich bitte an Corinna A. Pohl (


Die Ringvorlesung des Graduiertenkollegs „Materialität und Produktion“
Düsseldorf, 07.11.2012 – 16.01.2013

(GRK 1678) an der Philosophischen Fakultät der Heinrich-Heine-Universität Düsseldorf ist in diesem Semester dem Thema „Produktion“ gewidmet. Renommierte Wissenschaftler aus Deutschland und

Frankreich behandeln in ihren Vorträgen Fragen der literarischen und künstlerischen Produktion im 20. Jahrhundert und in der Gegenwart. Zudem wird es um die Produktion von Geschichte durch Bilder und um die Produktion von physischen und psychischen Deformationen durch die sozialen Medien gehen.


Transcultural Constructivism: International Contexts of Swiss Konkrete Kunst

University of Zurich, December 3 – 04, 2012

Camille Graeser Lectures 2012

International Conference

University of Zurich, Karl Schmid-Strasse 4, Room KO2-F-152

(access also through the main hall of the Rämistrasse 71)


Die Ausstellungskopie. Mediales Konstrukt, materielle Rekonstruktion, historische Dekonstruktion?

Hochschule für Bildende Künste, Braunschweig

5., 6. und 7. Dezember 2012

Sie begegnen uns in Museen, Kunsthallen und Kunstvereinen: Ausstellungskopien. Die so genannte Medienkunst kommt nicht ohne reproduzierbare Datenträger aus. Mit der Möglichkeit, ‘verlustfreie’ Kopien in beliebiger Auflagenhöhe für Ausstellungen, zum Verkauf oder zu Forschungszwecken erstellen zu können, gehen Fragen nach dem Verhältnis sowie der Definition von Original und Reproduktion einher. Was geschieht nach Ablauf einer Ausstellung mit den verwendeten DVDs? Werden sie archiviert oder entsorgt? Inwieweit werden Eigentums- und Autorenrechte tangiert? Vor einem derart medienreflexiven Hintergrund sollen nicht nur Kunstwerke, die unter den Bedingungen der Digitalisierung entstanden sind, sondern auch Ausstellungskopien, die in materieller wie in handwerklicher Hinsicht aufwendig gefertigt wurden, um materiell verloren gegangene oder nicht ausstellbare Kunstwerke zu ersetzen, untersucht werden. Denn auch sie sind Ergebnis eines komplexen medialen Transformationsprozesses. So wurden museal präsentierte Anschauungsobjekte wie Vladimir Tatlins Eck-Konter-Relief oder László Moholy-Nagys Licht-Raum-Modulator, die nachhaltig das Bild der ‘klassischen Moderne’ geprägt haben, im Abstand von Jahrzehnten auf der Grundlage von historischen Fotografien neu hergestellt. Auch Arbeiten der 1960er und 1970er Jahre – einst konzipiert, um Zustände der Veränderung zu durchlaufen und mit Ablauf einer Ausstellung materiell zu verschwinden – werden inzwischen von Museen, Ausstellungshäusern und Galerien in Form von Ausstellungskopien rekonstruiert. Ist dies eine dienliche Form, historische Ausstellungssituationen nachvollziehbar zu machen? Oder verstellt die Ausstellungskopie gar den intellektuellen und imaginativen Zugang zu einer künstlerischen und kuratorischen Praxis der 60er Jahre, die, wie Lucy Lippard vermutete, in einem Vorgang namens Dematerialization of the Art Object ein alternatives Produktionsmodell zu initiieren suchte? Welchen Status haben Ausstellungskopien? Handelt es sich um ästhetische Phänomene oder um historische Dokumente? Um Kunstwerke? Um Rekonstruktionen? Oder gar um Fotografien, die in die Dreidimensionalität überführt wurden? Und welchen Zeitbegriff verkörpern sie? Sind sie Eingeständnis an die Bedürfnisse der Gegenwart? Oder Signale aus der Vergangenheit? Fragen wie diesen soll im Rahmen der Tagung nachgegangen werden.


“Deutsch-französische Freundschaft 20 Jahre Centre Marc Bloch in Berlin”

Das 1992 vom französischen Staat in Berlin gegründete Centre Marc Bloch forscht zu den gesellschaftlichen Folgen der friedlichen Revolutionen von 1989. Jetzt sucht es neue Perspektiven, kürzlich wurde ein Projekt zu Europa in der Krise gestartet.


Alex Kitnick “Another Time”

Art Journal 71, 2 (Summer 2012): 32-43.

A discussion of the collages and other work of Scottish-Italian artist Eduardo Paolozzi (1924-2005).


Jacopo Galimberti “The N Group and the Operaisti: Art and Class Struggle in the Italian Economic Boom”

The Grey Room


Prix de thèse du CIERA 2013

Délai de candidature : 31 janvier 2013

Le CIERA décerne un prix de thèse destiné à distinguer un travail doctoral parmi les recherches universitaires en lien avec le monde germanique. Sont éligibles au prix de thèse du CIERA les thèses de doctorat rédigées en français et issues de toutes les disciplines des sciences humaines et sociales.

Le prix prend la forme d’une publication de la thèse primée dans la collection du CIERA, Dialogiques, aux Éditions de la Maison des sciences de l’homme.

Le CIERA prend en charge les frais de composition, d’édition et de promotion de l’ouvrage. Il assure un suivi auprès de l’auteur pour la transformation du travail de doctorat en livre destiné à être publié et pour toutes les étapes de la publication.

Le prix de thèse du CIERA 2013 est ouvert aux thèses de doctorat soutenues entre le 1er janvier 2011 et le 31 décembre 2012.


Wolfgang-Ratjen-Preis 2013

Application deadline: March 1, 2013

Internationaler Nachwuchsförderpreis des Zentralinstituts für Kunstgeschichte in München für herausragende Forschungsarbeiten auf dem Gebiet der graphischen Künste, gestiftet vom Verein der Freunde des Zentralinstituts für Kunstgeschichte e.V. CONIVNCTA FLORESCIT

Ziel der Preisvergabe ist, die wissenschaftlichen Auseinandersetzung mit dem genannten Fachgebiet zu fördern. Der Name des Preises erinnert an Dr. Wolfgang Ratjen (1943-1997) und würdigt dessen Verdienste als Mitgründer des Vereins Conivncta Florescit und als bedeutender Sammler von Handzeichnungen alter und neuer Meister.

Ausgezeichnet wird eine Forschungsarbeit zur Handzeichnung und/oder Druckgraphik (Dissertation, Magisterarbeit, größerer Aufsatz). Der Preis wird an eine/einen Graduierte/n vergeben und besteht in einem dreimonatigen Forschungsstipendium am Zentralinstitut für Kunstgeschichte. Das Stipendium ist mit insgesamt EUR 5.000,- dotiert. Bei ausländischen Preisträgern kann gegebenenfalls zusätzlich ein

Reisekostenzuschuss gewährt werden. Über die Vergabe entscheidet eine unabhängige Fachkommission. Der Antritt des Stipendiums kann nach Absprache individuell gewählt werden, sollte jedoch innerhalb eines Jahres nach der Preisvergabe erfolgen.

Bewerbungen mit den üblichen Unterlagen (Lebenslauf, Zeugnisse, Publikationsverzeichnis) und einem Exemplar der Forschungsarbeit werden bis zum 1. März 2013 erbeten an den

Direktor des Zentralinstituts für Kunstgeschichte, Katharina-von-Bora-Str. 10, 80333 München


Orbituary: Gae Aulenti


There is a threat to end art history at the University of Sardinia.

Please sign this petition against it.


Secure the EU research budget – for a future-oriented Europe!

Priority for the research budget is crucial for achieving economic prosperity and solutions for global challenges.Read thetext of the petition and voice your concerns on the EU budget to the heads of states or governments.


Circulaire 15

Dear Friends and Colleagues,

We hope your term is going swimmingly!  The Southeastern College Art Conference (SECAC), which is taking place this year in Durham North Carolina, is just around the corner (October 17-20).

On Thursday afternoon we will host a panel on postwar German art. In addition, several of our members will be chairing panels and presenting papers. Ruth Erickson, for example, will be co-chairing a panel Art in Three Crises: 30–70–Now on Thursday afternoon, and Rosemary O’Neill will present on Friday morning. In fact there are an unprecedented number of papers addressing European art this year, and this is one of the reasons why SECAC is a very special place for us. For your interest, we have listed a few of them below.

Since many of us will be in Durham, we would like to organize an informal EPCAF gathering on Friday afternoon. We will meet at 2 pm at Beyu Caffe, which is located on Main Street, a block away from the conference hotel ( Please feel free to join us and don’t hesitate to bring your friends.

Below you will find our usual listings.

Warm wishes,

Catherine Dossin & Victoria H.F. Scott

SECAC 2012 

German Art since 1945 in Context

Co-Chairs: Catherine Dossin & Victoria H.F. Scott

Restaging the Avant-Garde: Subjektive Photography, 1951-1958

Chu-Chiun Wei, The Graduate Center of The City University of New York

Postwar German Art and Cultural Diplomacy: Exhibitions at the Tate and the Museum of Modern Art, 1956-57

Jennifer McComas, Indiana University Art Museum

The GDR at the Biennale de Paris: Between Individual Subversion and National Representation

Julie Sissia, Sciences Po and German Forum for Art History, Paris

Ulrike Rosenbach: The German Feminist Art Movement

Kathleen Wentrack, Queensborough C.C., The City University of New York

Refracted Histories: Parody and Authorship in the Work of Martin Kippenberger

Natalie Dupêcher, Williams College Graduate Program in the History of Art

The Void: The Relationship between Daniel Libeskind’s Jewish Museum in Berlin and Arnold Schoenberg’s Opera ‘Moses und Aron’

Meredith Mowder, The Graduate Center, The City University of New York


Street Art and Urban Action

Chair: Jeffrey P. Thompson, Sewanee: The University  of the South

Phyllis Yampolsky’s “Events in the Open Air”

Amanda Douberley, The University of Texas at Austin

From Poetry to Performance: Vito Acconci and the 1969 Event Street Works

Kate Green, The University of Texas at Austin

Extramural Operations: Italian artistic practices during the 1970s

Martina Tanga, Boston University


Seeing the Connection (Undergraduate Session 2)

Chair: Paul Manoguerra, Georgia Museum of Art

Matisse as Interdisciplinary Artist: Exploring Color through Diverse Media

Chloe Courtney, Auburn University

Yves Klein: Trickster or Trailblazer?

Catherine DeSilvey, Randolph College

Jasper Johns: Encaustic Influences.

Kristen Gallagher, Meredith College

The End of Art: Duchamp’s Fountain as an Answer to the Exhaustion of Painting by the Monochrome

Abed Haddad, Millsaps College


Contemporary Art Open Session

Chair: Preston Thayer

Christian Marclay’s Video Quartet: An Orchestrated Experience of the Sublime

Emelie Matthews, University of Georgia

On Your Mark: Images of Sports in Contemporary Art

Rosemary O’Neill, Parsons The New School for Design

How Soccer Explains the World: Contemporary Art and the Beautiful Game

Daniel Haxall, Kutztown University of Pennsylvania

Deconstructing Contemporary Art in Mozambique: How Recycling and Bricolage in Art-making Reveal Distinct Mozambican Histories and Contemporary Identities

Amy Schwartzott, University of Florida


Multiple ‘Realisms’

Chair: Elizabeth Berkowitz, The Graduate Center, CUNY

Picturing “Reality”: Multiple Realisms in Weimar and Nazi Art

Michelle Vangen, The Graduate Center, CUNY

Lifelike: Modes of Realism in the Work of Thomas Demand

Carrie Robbins, Bryn Mawr College

Socialist Realism for Postmodern Critique: Komar and Melamid and the Simulacrum of Nostalgia

Lina Grant, Bryn Mawr College

Figuring the City: Karl Hubbuch, Realism, and Regional Identity between Karlsruhe and Berlin

Shannon Connelly, Rutgers University


Art in Three Crises: 30–70–Now

Co-Chairs: Ruth Erickson, University of Pennsylvania; Emilie Anne-Yvonne Luse, Duke University

The Speculative Canvas: Antisemitic Critiques of the Parisian Art Market between the Two World Wars

Emilie Anne-Yvonne Luse, Duke University

Art and Real Estate in the 1970s

Rachel Wetzler, The Graduate Center, CUNY

How ROCKY Neo-liberated the Individual from Industrial Precisionism

Grant Wiedenfeld, Yale University

Alternative Art / Alternative Economies

Lauren Rosati, The Graduate Center, CUNY


To Each His Own Reality

Centre Allemand d’Histoire de l’Art, Paris

11, 12 and 13 April, 2013

Deadline: October 15

The ERC-Starting Grant project To Each His Own Reality, a research study exploring the notion of reality(ies) and the real in art between 1960 and 1989 in France, West Germany, East Germany and Poland, is organising an international meeting to be held in Paris at the Centre Allemand d’Histoire de l’Art on 11, 12 and 13 April, 2013. This meeting will be structured around three Research Workshops bringing together established researchers, postdoctoral researchers and PhD students, focusing on the following themes: Reality(ies), Fiction and Utopia.

While there will obviously be some crossover in topics discussed, the workshops will highlight the wide range of viewpoints that provide insight into the plurality of these realities. Presentations in English, French or German shall be of 25 minutes duration. Travel and hotel expenses will be covered by the project. Six weeks prior to the workshop, each guest speaker is required to submit a source text or reference artwork, which will be circulated to all participants to serve as a set of core documents to guide discussions. All proposals (comprising an abstract of 2,000 characters, including spaces), which address the notion of reality in artistic practices between 1960 and 1989 in France, West Germany, East Germany and Poland, whether approached from a historiographic point of view, as an analysis of artistic exchanges during this period or a study of specific artworks, must be submitted complete with a title (provisional if necessary) and accompanied by a short biography by electronic mail to Mathilde Arnoux:  or Clara Pacquet: no later than 15 October, 2012


Art & Market 

Kunstlicht | Vol. 34 (2013) no. 1

Deadline proposals: 22 October 2012

Publication date: 15 June 2013

Art is a luxury good. During every period of economic stagnation the cultural sector’s dependence on money is painfully emphasized. The two traditional benefactors, the state and the private sector, are subject of an age-old debate: is it preferable to be endorsed by state money or by the market? Art that is independent of commerce is of vital importance for society, is how the maxim goes; therefore this freedom should be secured with public funds. Directly opposing this belief is the neoliberal conviction that artist and institution should be able to stand on their own two feet; art that is important enough will be supported by individuals and private parties, the argument goes. This ideological division of opinions has animated the art world since at least the nineteenth century, and now the line between public and private is about to be unsettled once more. Public actors disappear or are withdrawn in the expectation that the market will take control of the no-man’s land.

Proposals (200 – 300 words) with attached résumés can be sent to before 22 October 2012. Selected authors will be invited to write a 2,000 – 3,000-word paper (excluding notes).


Museum Narratives for the Twenty-first Century

Institut national d’histoire de l’art, Salle Vasari, Paris.

December, 5 2012

Deadline: Oct 25, 2012

Organized by Dominique Poulot, University Paris 1 Panthéon-Sorbonne, HiCSA

What new paradigms are being established and whose voices can be heard in the stories being told by museums at the beginning of the twenty-first century? In the last decade, new museum-types have flourished, establishing “migration”, “world cultures”, “transnational”

and “memory” as key words, whilst developing a discourse that abounds in references to diversity and dialogue. The museum is no longer an “attic full of facts”, to adopt Lucien Febvre’s expression, or the presentation of what Pierre Nora famously termed as the “roman national” that is a “history that can be seen with the eyes” (Jules Michelet), but rather it has become a clinic for acts of memory (Marie-Claire Lavabre) and first and foremost those memories that are felt as most traumatic, related to issues under public discussion – post-colonial, post cold-war and post-national etc.

These are by their very nature contested and may be considered from a wide range of perspectives. The museum however provides an authoritative voice that speaks for the state or other official organisation. This greatly reinforces its capacity to establish a narrative that can be felt by the visitor to be representative of the collective, in as much as it is anonymous. Opening up the museum to narratives that are inclusive of multicultural communities and contested or traumatic pasts remains difficult. Contributions should focus on strategies related to the plurality of the museum’s voice or discourse.

This one-day event follows on from a series of conferences devoted to the notion of great narratives in national museums across Europe, from the nineteenth century up until today, and the representation of contested histories. The focus here will be on new museums and displays of the last two decades, in order to examine a new generation of establishments more set on provoking memory than on providing a kind of unified narrative.

 Please send abstracts in French or English of no more than 300 words to Felicity Bodenstein, by the 25th of October 2012. Presentations may be given in either language.

See call online:


Fallout: Visions of Apocalypse 

12th Annual York University Art History Graduate Student Symposium

York University, Toronto, Canada, March 09, 2013

Deadline: Dec 3, 2012

Across cultures and historical periods, apocalyptic and post-apocalyptic narratives explore what happens when the status quo breaks down. Far from timeless or abstract, apocalyptic narratives embody a particular society’s worst fears and greatest anxieties: monstrous figures populate these narratives, wreaking havoc by transgressing moral, sexual, economic, political, ecological, religious or scientific orders. While apocalyptic anxieties can fuel oppressive regimes of fear and paranoia, the heralding of the end of civilization is often commensurate with revolutionary ideas. The destruction of apocalypse is never total, the end never ultimate; there is always another side to apocalypse, a renewal after the destruction. Even as the projected date of each apocalypse passes, predictions never seem to wane. In popular media, predictions about the end of the Mayan calendar on December 12, 2012 loom large (and we boldly schedule our symposium some four months later). Eurocentric visions of apocalypse largely reinforce dominant Judeo-Christian values, and the appropriation of the Mayan calendar end date as a site for apocalyptic speculation suggests a further need to engage with diverging notions of the apocalypse across cultures and societies. Further prevalent contemporary narratives envision the end of civilization through divine judgement, pandemics, ecological disasters, technological revolts, attacks of the undead and the self-extinction of humans—each of these incorporating its own ideological underpinnings. In the current moment of speculation about the world’s end which seems ever-increasing, we recognize the need for theoretical and thematic engagement with the apocalyptic.

We invite presentations of contemporary and historical studies in a range of formats: traditional paper presentations, workshops, artistic interventions or performances and other experimental formats. While an emphasis will be placed on these discourses in art and visual culture, we also welcome cross-disciplinary interpretations of the theme.

Please send a 250-word abstract of your paper along with a working title, curriculum vitae, and contact information to Specify the format of your presentation, keeping in mind that it should be no longer than 20 minutes in length.

A selection of Fallout presentations will be published in a special issue of FUSE Magazine, to be released in June 2013. All symposium participants will be invited to submit their presentation for review by the FUSE editorial committee.


Festival de l’histoire de l’art  

Fontainebleau, May 31 – June 2, 2013

Deadline: Dec 31, 2012

The Ministry of Culture and Communications, the National Institute of Art History and the Chateau of Fontainebleau, with the support of the Ministry of Higher Education and Research are jointly organising the third Art History Festival. Originally conceived as a meeting point and knowledge crossroads, these three days will include conferences, debates, concerts, exhibitions, film shows, lectures and meetings in the chateau and at several sites in the town of Fontainebleau.

The Festival explores a different theme every year, in 2013 it will be “The Ephemeral” and there will be three annual meetings: The Art History Forum, a rendezvous for all the latest news in the world of the arts; the Book Salon and art reviews and Art & Camera, a wide-ranging look at cinema and art and future prospects.

The Festival also includes training offerings for art history teachers in schools in the form of Spring University sessions and training workshops provided and supported by the Ministry of Education.

All these events are viewed from the perspective of a guest country: in

2013 this guest country will be the United Kingdom. Work involving British research or concentrating wholly or partly on the United Kingdom will be particularly welcome.

This Call for Papers is intended for preferably French-speaking, experienced and novice French and foreign researchers. Contributions by young researchers, conservation specialists or restorers will be given especially careful consideration.

Submitted projects must be presented as follows: project title, summary in 300 characters, description of no more than one page (3500 characters), CV. Submissions must be sent exclusively by e-mail to: before 31 December 2012. They must be written in French. The Scientific Committee will notify its decisions from 15 February 2013 onwards. A list of members of the Scientific Committee in 2013 and the schedule for the 2012 edition can be found at:


Visual Culture in Crisis: Britain c.1800-Present

University of York, May 10, 2013

Deadline: Dec 10, 2012

The word ‘crisis’ is frequently invoked to assess Britain’s current place in the world: crises in finance, journalism, politics and geopolitics dominate the media, all of which see the term used both to reflect, and manipulate, a sense of uncertainty and confusion on personal, national, and global levels. Taking its cue from Hardt and Negri’s location of ‘crisis’ as central to European modernity, this conference seeks to explore how visual cultures in Britain during the 19th and 20th centuries have simultaneously responded to – and emerged from – the successive crises that have been deemed to constitute the country’s (post)colonial modernity. Crisis might signify avant-garde break-through and embrace of modernity.  It might impel artistic breakdown or flight from modernity, anarchic celebration, or resistance in the form of protest. Crisis in visual culture could above all be emblematic of the contingent nature of personal and political identities. As both a product and a precipitant of the inter-state and inter-subjective networks that have emerged in conjunction with imperialism and economic globalisation, crisis can articulate a disharmony between metropole and colony, centre and periphery, state and individual, working constantly to disrupt the geographical, cultural and class boundaries of ‘Britain’

Please email abstracts of up to 500 words to Sean Willcock and Catherine Spencer at by Monday 10th December 2012. For more information, please see our website


Crossroads: Europe, Migration and Culture

Two-day conference at The University of Copenhagen October 24-25, 2013.

Deadline: Jan 31, 2013

Willingly or unwillingly, people have migrated to, from and within Europe for centuries, but with the downfall of empires and the rise of the European welfare states in the second half of the 20th century, migration to Europe – especially from the former colonies – reached an unprecedented scale. In addition, the fall of the Berlin Wall, the subsequent dismantling of communism, and the enlargement of the European Union have also led to a significant increase in intra-European migration – a phenomenon that the current economic crisis is likely to intensify even further. Meanwhile, refugees from the world’s conflict zones and destitute areas are continually setting out on journeys of hope to what they imagine to be a European Eden, only to discover that contemporary Europe is in many ways more of a well guarded fortress.

These different kinds of migratory movements have thrown European

culture(s) into flux. A variety of cultures which previously had little or no contact with each other are brought together on European soil where they intersect, confront each other, ‘cross-polinate’, and/or live entirely parallel, separate lives right next to each other.

Under the heading Crossroads the conference wishes to address this cultural flux. The emphasis is on the aesthetic expressions of the migrant experience as such as well as on the consequences of migration for European cultures and identities at large. While contributions may, of course, take their cue from sociological and anthropological research, the focus of the conference is distinctly cultural and aesthetic. Not only because these aspects seem to be somewhat under-investigated, but also because cultural artefacts have the potential to make visible what is otherwise largely hidden, even to thorough sociological analyses – aspects such as emotions, attitudes, hope, resentment, longing, etc.

We invite both theoretical contributions and analytical papers addressing singular or comparative case studies of the cultural and aesthetic dimensions of migration to and within Europe. The conference is cross-disciplinary and includes both literature, theatre, cinema, music, the visual arts, electronic and digital media, etc.

We welcome proposals of no more than 300 words. Please include a one-page CV with contact details (mail, email and telephone) and information regarding institutional affiliation. All files must be submitted in .pdf format to no later than January 31, 2013. Approved participants will be notified by early March, 2013.

The conference is organised by the Network for Migration and Culture (, which is funded by the Danish Research Council.

For more info contact Frauke under


In Search of the Former East in the Former West (Boston, 21-23 Mar 13)

Boston, Massachusetts, Tufts University, March 21 – 23, 2013

Deadline: Sep 30, 2012

Northeast Modern Language Association Convention 2013

Chair: Corina L. Apostol, Ph.D student, Art History Department, Rutgers


In the past two decades, artists from Eastern Europe and Russia have been discovered and rediscovered in the West many times over. To this date, there have been over 25 major group exhibitions mounted on the topic of art from these regions before 1989, while many more books,

articles, reviews have been published and significant conferences organized. Moreover, artists from these regions have entered in the collections of major museums in the West. From Berlin to Chicago, from Paris to New York, there seems to be a boundless interest on the part

of scholars working in the Western cannon of art history to present eastern art production before the fall of the Iron Curtain – and thus come to terms with their former Other. By now, this series of grand, ambitious projects amounts to more than just a way for the West to satisfy the need for covering this so-called “uncharted territory” or the desire for the new in contemporary art. The diversity in strategies on how to approach these regions attests to a lingering anxiety on both sides on how to re-define the former East. These enunciations are important both from a geo-political perspective, manifested through art, and a historical one – which parts of Cold War history still need to be re-considered and re-written? This panel invites a thoughtful dialogue on the re-presentations of Eastern European and Russian art through curatorial and scholarly investigations mounted outside the realities in which it is grounded. According to which criteria, or whose criteria are these (art)histories constructed and to what ends? And what implications do these gestures have for the West to rearticulate itself as the “former West”?

Please send inquiries or 250-500 word abstracts (preferably in MS Word

or PDF) to Corina L. Apostol,

About NeMLA:


Russian Art & Culture Postgraduate Writing Competition

Deadline: Oct 15, 2012

Russian Art and Culture, the largest Russian art website in the UK, is launching a new graduate writing competition to coincide with our official launch event in November 2012. This prize is intended to give graduates an opportunity to have academic work published.

Entries must relate to Russian/Soviet art (i.e. painting, sculpture, architecture, film, design or photography) and are invited from all recent (within the last 12 months) or current History of Art graduates enrolled on a Masters course or PhD. Submissions will be judged by a panel of experts in the field of Russian art.

The prize winning entry will receive a £400 cash prize as well as publication of the essay on Russian Art and Culture website and in the first issue of a new online journal of graduate writing launched by the website in November.

For full guidelines and details see or contact with queries or submissions to


Prix Marc de Montalembert 2013

Institut national d’histoire de l’art (INHA), Paris

Deadline: Nov 1, 2012

La Fondation Marc de Montalembert et l’Institut national d’histoire de l’art se sont associés pour l’attribution du Prix Marc de Montalembert d’un montant de 8 000 euros. Ce prix soutient l’achèvement d’un travail de recherche qui contribue à une meilleure connaissance des arts et de la culture du monde méditerranéen. La Fondation Marc de Montalembert offre en outre au lauréat la possibilité de séjourner à son siège à Rhodes, en Grèce.

 Les candidat(e)s doivent :

– être né(e)s dans un pays riverain de la Méditerranée, ou en avoir la

  nationalité ;

– avoir moins de 35 ans au 1er novembre 2012 ;

– être titulaires d’un doctorat ou en avoir le niveau

La Réception des candidatures s’effectue du 1er septembre au 1er novembre 2012.

Vous trouverez toutes les informations relatives à ce prix dans le document joint, ainsi que sur le site de l’INHA et sur le site de la Fondation Marc de Montalembert


Christian Boltanski: 6 Septembres

Carpenter Center for the Visual Arts, Harvard University

November 1–December 20, 2012

Carpenter Center Lecture: An Eveing with Christian Boltanski

Thursday, November 15, 6 pm, reception with the artist to follow


Aspen Magazine: 1965-1971

Whitechapel Gallery, London

11 September 2012 – 3 March 2013

The cult 1960s magazine Aspen featured contributions by prolific artists, musicians and writers including Peter Blake, William S. Burroughs, John Cage, Ossie Clark, Marcel Duchamp, David Hockney, John Lennon, Lou Reed and Yoko Ono.


La ville Schöfférienne – Schöffer dans le monde

Paris – Institut Hongrois

13 octobre 2012 au 25 octobre 2012

Cette exposition est un hommage rendu à l’artiste franco-hongrois, Nicolas Schöffer, pour le centenaire de sa naissance le 6 septembre 1912 à Kalocsa en Hongrie. Cet hommage s’adresse avant tout au créateur d’idées toujours innovantes qui ont surpris, émerveillé, enthousiasmé, mais aussi interloqué, outré, révolté, tout en révélant et « modifiant » souvent, parfois jusqu’à aujourd’hui, le contexte de notre vie.


Picasso/Duchamp “He Was Wrong” 

Moderna Museet Stockholm

Stockholm 25 August 2012 – 3 March 2013

In the exhibition Picasso/Duchamp “He Was Wrong”, Moderna Museet in Stockholm is exhibiting the two giants Pablo Picasso and Marcel Duchamp together for the first time. They are often regarded as the two most influential artists of the 20th century – Picasso, who personified the modernist painter, and Duchamp, the indifferent ironist and chess genius, who challenged painting and transformed art into a maze of intellectual amusements. Now, visitors to Moderna Museet have a unique opportunity to witness this battle of giants and see where it leads.


Mellon-CES Dissertation Completion Fellowships in European Studies

The Council for European Studies (CES) invites eligible graduate students to apply for the 2013 Mellon-CES Dissertation Completion Fellowships in European Studies.  Each fellowship includes a $25,000 stipend, paid in six (6) bi-monthly installments over the course of the fellowship year, as well as assistance in securing reimbursements or waivers for up to $3500 in eligible health insurance and candidacy fees.

Winners of the Mellon-CES Dissertation Completion Fellowships will also be expected to participate in a number of professional development activities organized by the Council for European Studies for the benefit of its fellows and designed to support early career development.  These activities include: publishing in Perspectives on Europe, a semi-annual journal of the Council for European studies; presenting at the International Conference of Europeanists, hosted by the Council for European Studies; and participating in several digital and in-person career development seminars and/or workshops.

Application period opens September 3, 2012.  Applications are due (along with all supporting materials) on or before February 4, 2013.


Molly Warnock, “Displace, Disclose, Discover: Acts of Painting, 1960–1999”Artforum October 2012

Molly Warnock, “CLOSE-UP: MANIFOLD ADDRESS on Simon Hantaï’s Étude, 1969

Wood Roberdeau, “Poetic Recuperations: The Ideology and Praxis of Nouveau Réalisme”

“April Eisman studies East German Cold War art”

April Eisman, assistant professor of integrated studio arts, will spend a year in Germany doing research for a book about female artists during the Cold War in East Germany.


Provenienz- und Sammlungsforschung in München (III)

Kolloquium am Zentralinstitut für Kunstgeschichte

Mittwoch, 31. Oktober 2012, 16:30 Uhr



Köln, Wallraf-Richartz-Museum, 19. – 20.10.2012

Jahrestreffen des Arbeitskreises Niederländische Kunst- und Kulturgeschichte (ANKK) 2012



Vortragsreihe: Picturing Italy (Zürich)

Universität Zürich, 04.10. – 13.12.2012

Geography of Photography – Ritratto italiano: Picturing Italy


CAA @collegeart

Position statement from the Graduate Student Advocacy Committee of the Society of Contemporary Art Historians:


Circulaire 14

Dear Friends and Colleagues,

We hope you had a restful and productive summer and we wish you the very best for the fall term.

We know you are all very busy, but we still wanted to draw your attention to two important opportunities with looming deadlines.

Firstly: You still have until September 14 to propose a panel for CAA 2014. We wholeheartedly encourage you to submit projects related to your research interests in order to guarantee strong representation of postwar European art history at the conference.

Secondly: Beaubourg has opened a new doctoral scholarship for French and international art students and the deadline is September 30. Please see the link below for more information in French and English.

Below you will find our usual list of announcements.


Catherine Dossin & Victoria H.F. Scott


Man in crisis? Modern masculinities as image

University of Potsdam, Germany

May 16-18, 2013

What does a modern man look like? A simple question the ever-growing number of men’s fashion magazines and fashion guides, as revenues suggest, are trying to answer. There is no question, however, that the image of woman has undergone radical changes in recent years, but what about man in/as image? Images of masculinity circulating in the contemporary arts, in film and television are in need of critical analysis from a cultural-historical and gender-political perspective. Why is it, for example, that Jon Hamm, the actor who plays the suit-clad, savvy advertising strategist, Don Draper, in the US television series Mad Men, was christened GQ’s International Man of the Year 2010? Is this the sign of a backlash that would do away with the feminized man of more recent times to reintroduce a traditional ideal of masculinity? Was the “new man” nothing more than a chimera?

From the beginning, gender studies focused its attention on representations of “man.” In the words of Irit Rogoff, their goal was to no longer leave “masculinity” as “the unarticulated” but to develop differentiated categories and tools for the analysis of the representation of “man” through interdisciplinary gender research. In the mid- to late 1990s, the impact of these efforts on the fields of cultural studies and art history was made visible in a series of publications examining a broad historical range of images of “man”.

Taking these findings as its point of departure, the conference will examine the visual representations of masculinity from 1900 to the present, as well as the artistic and socio-political strategies associated with these representations. Particular attention will be given to the notions of “hegemonic masculinity,” the “masquerade of masculinity,” and the “crisis of masculinity,” concepts borrowed from sociology, literary studies and history, and the applicability of these concepts for the analysis of visual representations of masculinity. The publication of conference papers is planned.

Please submit an abstract of not more than a page and a short biography by the 15th of September 2012 to the conference organizers: Dr. Änne Söll, University of Potsdam and PD Dr.Gerald Schröder, Ruhr-University of Bochum



Art & Death: A series of three workshops

London, The Courtauld Institute of Art, Research Forum
November 1, 2012 – May 23, 2013

Deadline: Sep 20, 2012

A series of three workshops will be held at the Courtauld Institute of Art in 2012-2013 to explore the inter-relationship between art and death. These workshops have arisen from an informal group of doctoral students with shared interests in funerary monuments. The workshops will be structured to recognize that the certainty of death is accompanied by the foreknowledge and uncertainty of what may come after, and that visual representations of these phases have varied over time and between countries. The first workshop will focus on the images and objects related to the impact that the certainty of death has on individuals and the community; the second on art in the context of dying, death and burial; and the final one on representations of the perceived fate of body and soul after death, as well as the continuation of a relationship (if only in memory) between the living and the dead.

Subjects for the workshops could include, but are not limited to:

Workshop 1 (1 November 2012): Anticipation and Preparation

• Death insurance? Religious gifts and foundations

• Protective objects and amulets

• Tombs commissioned during a lifetime, testamentary desire and fulfillment

• Contemplating images of death, warnings to the living

• The cult of the macabre, images of illness and decay

• Apocalyptic visions

Workshop 2 (21 February 2013): Death and Dying

• A ‘good death’

• War and violence

• Funerals/Professional mourners

• Funerary monuments, memorial architecture, cemetery design

• Post-mortem portraits

• Images of the corpse in painting, sculpture, film, photography, etc

• Crucifixion imagery

• Death in museum collections

Workshop 3 (23 May 2013): Life after Death

• Images of the soul /resurrected or re-incarnated body

• Depictions of the afterlife

• The incorruptible body, saints, relics and reliquaries

• Remembering the dead, commemoration in art and/or performance

• The ‘immortality’ of the artist, post-mortem reputations

Format and Logistics:

• Length of paper: 20 minutes

• Four papers per workshop

• Location: Research Forum, Courtauld Institute of Art

• Timing: 10am-midday

• Expenses: funds are not available to cover participants’ expenses

We welcome proposals relating to all periods, media and regions (including non-European) and see this as an opportunity for doctoral and early post-doctoral students to share their research.

Please send proposals of no more than 250 words to: and



The Art Press in the Twentieth Century

Sotheby’s Insitute of Art, London, United Kingdom

February 1st, 2013

A one-day conference on the mediation of art history, criticism and the art market in magazines and journals organised by The Burlington Magazine and Sotheby’s Institute of Art on 1st February 2013

The Burlington Magazine is one of Britain’s oldest monthly art-historical publications. Founded in 1903 by a group of art writers that included Robert Dell, Roger Fry, Bernard Berenson and Herbert Horne, its aim was to cover all aspects of the fine and decorative arts, to combine scholarship with critical insight and to treat the art of the present with the same seriousness as the art of the past. Sotheby’s Institute of Art in London was founded by Sotheby’s auction house in 1969. It is now an independent not-for-profit institute and offers six MA programmes across a range of visual art disciplines and art business, together with semester and summer courses. These are validated by the University of Manchester with whom there is also a joint PhD programme. Research and teaching at Sotheby’s Institute focuses on the art work and its context within the framework of the art world and market. The aim of the joint conference is to explore how the international press, via art-historical writing and criticism in magazines and journals, has intersected with the reception and understanding of art, collecting, the art market and the teaching of art history.

Preference will be given to submissions based on art publications from the twentieth century, although proposals outside of this time period will be considered.

Papers should be no longer than 20 minutes. Please send proposals of no more than 250 words by 30th September 2012 to Anne Blood (



Envisioning Peace, Performing Justice  

Southern Illinois University Carbondale

Deadline: Nov 1, 2012

The Peace History Society seeks proposals for panels and papers from across the humanities, social sciences, and fine and performing arts disciplines that reveal both the artistic and performative dimensions of peacemaking and the vital roles that artists and activists have played as visionaries, critics, interpreters, and promoters of peacemaking efforts around the world.

Artists of all kinds—from celebrated professionals to folk, outsider, underground, and guerilla artists—have long put their creative powers in the service of initiatives for peace and justice.  At the same time, politicians and peace activists have continually crafted modes of communication, confrontation, celebration, and commemoration that employ elements of theater, fashion, music, dance, visual art, creative writing and, more recently, digital media.  These “exhibitions” and “performances” have been presented to audiences of all kinds, in venues as varied as the world’s great museums and performance halls, formal ceremonies and tradition-steeped rituals, university commons and the Internet, as well as coffeehouses, houses of worship, and the streets.

Prospective participants are encouraged to conceptualize “artistry,”

“envisioning,” “performance, “representation,” “activism,” and “memorialization” in broad terms that will expand historians’ view of peacemaking and activism as art forms and of artistic production as peace activism. We invite critical reflections on, as well as appreciations of, the intersections of oppositional politics with visionary and performative identities and acts.

The Program Committee wishes to emphasize that the theme of “artistic production” is intended to be broadening, not restrictive.  Proposals for papers that address variations of the conference theme or issues in peace history outside of this specific theme are also strongly encouraged.

Strong conference papers will be considered for publication in Peace and Change to be co-edited by the program co-chairs and Robbie Lieberman, Southern Illinois University Carbondale.

For conference updates, visit the PHS website, at

Please forward proposals for individual papers or a panel to both program committee chairs by November 1, 2012. Heather Fryer and Andrew Barbero



The Photograph & the Album

Deadline: Oct 1, 2012

We are seeking proposals for chapters for the book: The Photograph & the Album. Proposals are welcomed from writers, academics, photographers, artists and other visual practitioners. The book will be published by MuseumsEtc ( and edited by Rosie Miller, Jonathan Carson & Theresa Wilkie (School of Art & Design, University of Salford, UK).

The photograph album carries the potential to convey meaning beyond the images contained within it. However, the long history of the photograph and the album is currently changing because of the way in which we are now making and using photographs. This could be seen as a challenge to the album or viewed as an opportunity to take us in new directions and offer alternative interpretations.

We are seeking chapters that deal with a wide range of issues in connection to the photograph and the album and the relationship between them.

Please submit a proposal of between 300-500 words with a short biography and CV (which should not exceed 2 sides of A4). Should your proposal be accepted the word length of a chapter will be 2000-6000 words or, if you are proposing a visual work, you will have between 6-8 pages. Please prepare proposals with these restrictions in mind.

Deadline for submissions is 1st October 2012. Please email your proposal to



Estetika: The Central European Journal of Aesthetics

Estetika is an international peer-reviewed journal devoted to philosophical aesthetics. The journal’s main ambition is to publish the best research from the many diverse and rich European traditions in aesthetics. It welcomes contributions in English on all topics related to aesthetics and the philosophy of art. Reviews of books – significant non-English publications included – are also welcome!

Under the new Editor-in-Chief, Fabian Dorsch, Estetika has adjusted its submission process. Estetika is now open to submissions all year round (submission deadlines have been abandoned). We aim at informing the authors whether their paper has been accepted for peer-reviewing within two weeks’ time and keep the evaluation period under four months.

Submission guidelines:

To view the table of contents of the current issue, visit

Should you have any questions, do not hesitate to contact Jakub Stejskal:




Nach 1945. Revisionen der Nachkriegsmoderne

Berlin, Neue Nationalgalerie, 31.07. – 04.12.2012

Wirtschaftswunder und Bau der Mauer, Kuba-Krise und Vietnam-Krieg, Sputnik und Apollo, Kennedy und Mao – schroffe Kontraste und harte Fronten prägten die Jahre zwischen 1945 und 1968. Dies gilt nicht weniger für die Kunst dieser Zeit: Abstraktion versus Figuration, die Verwendung neuer Materialien im Gegensatz zur klassischen Malerei, Konsumkritik und Kommerzialisierung. Gegensätze und Gleichzeitigkeiten: Welches Bild machen wir uns von der Nachkriegsmoderne? Welche „Hauptwege“ (Werner Hofmann) führen durch die Kunst nach 1945 – und welche Nebenwege sind zu beschreiten? Wie lässt sich die Fülle ihrer Stile und Kunstformen, ihrer Materialien und Programmatiken – gerade auch vor dem Hintergrund gesellschaftlicher Entwicklungen – sinnvoll fassen? Und wie lässt sich die Kunst nach 1945 jenseits einer etablierten Kunstgeschichte und von starren Epocheneinteilungen befreit begreifen?

Die Neue Nationalgalerie nimmt ihre Präsentation „Der geteilte Himmel.

1945-1968. Die Sammlung“ zum Anlass, in einer Vortragsreihe auf die Kunst nach 1945 zurück zu blicken. Renommierte Wissenschaftlerinnen und Wissenschaftler sind eingeladen, zentrale Aspekte der Nachkriegsmoderne aus heutiger Perspektive zu betrachten und die bisherige Geschichtsschreibung der Kunst zwischen dem Ende des Zweiten Weltkriegs und den gesellschaftlichen Umbrüchen der Sechziger Jahre grundlegend auf ihre Tragfähigkeit hin zu befragen.

Dienstag, 31. Juli 2012, 18:15 Uhr, Eintritt frei Neue Materialitäten – Offenheit als Prinzip, Referentin: Prof. Dr. Nike Bätzner, Kunsthochschule Halle

Dienstag, 14. August 2012, 18:15 Uhr, Eintritt frei Licht und Bewegung, Referentin: Prof. Dr. Annemarie Bonnet, Universität Bonn

Dienstag, 9. Oktober 2012, 18:15 Uhr, Eintritt frei Materialität des Absoluten. Werkpräsenz und Abstraktion bei Barnett Newman und in der Minimal Art, Referent: Prof. Dr. Sebastian Egenhofer, Universität Wien

Dienstag, 6. November 2012, 18:15 Uhr, Eintritt frei „Zerreißprobe“: Happening und Performance im Kalten Krieg, Referent: Prof. Dr. Philip Ursprung, ETH Zürich

Dienstag, 4. Dezember 2012, 18:15 Uhr, Eintritt frei Zwischen Demokratieversprechen und Mitmachfolklore. Aktivismus und Partizipation in der Kunst nach 1945, Referent: Prof. Dr. Lars Blunck, TU Berlin



The root and branch effect: Giuseppe Penone, a key figure in ‘Arte Povera’, is now creating new work for the Whitechapel Gallery 

By Rachel Spence

Financial Times, August 24, 2012

For more stories on the British art world, you can follow the Art Counsel @artcounsel on twitter



Art of Another Kind: International Abstraction and the Guggenheim, 1949–1960

Guggenheim Museum, New York

June 8–September 12, 2012

In relation to the exhibition, curators Tracey Bashkoff and Megan Fontanella discuss key artists and works from the exhibition Art of Another Kind: International Abstraction and the Guggenheim, 1949–1960, and the development of the Guggenheim collection.



Manifesta 9: a rich seam of art in a disused mine: This year’s Manifesta is an exploration of coal-mining, featuring dodgy DIY prosthetics, John Coltrane and WH Aude

by Adrian Searle

The Guardian, August 6, 2012

An article about this year Manifesta curated by Cuautéhmoc Medina


Circulaire 13

Dear Colleagues,

As promised we are working on our College Art Association (CAA) affiliation. This would increase our visibility, broaden the audience for the conferences, and publications we are planning, and allow us to organize panels at the annual convention.

The first step is to compile a directory of our members with information regarding their CAA affiliation. To do so we need your help. We have created a survey to gather information including: your name, position, affiliation, email, address, and CAA membership status.

We know most of you, so we could fill out the form on your behalf; however it would save us a lot of time if you could take two minutes (truly!) to fill out the form.

Here is the link:

The second step is to draw up the bylaws. We are currently working, and will submit them to you for your comments and vote in the coming weeks.

Since both of us will be in Paris at the end of June we thought it would be a nice opportunity to meet with members that happen to be town, and welcome new or potential members.

Our working plan is to get together the afternoon of Saturday June 30. We promise not to discuss the bylaws, but we would love to hear about your projects, and how EPCAF can better serve you.  If you are in Paris and want to help us organize, let us know.

In the meantime, you will find below the usual: calls for papers, conference announcements, and miscellaneous information.

Have a relaxing and productive summer!

Catherine Dossin & Victoria H.F. Scott



In Sight/On View: The Museum as Site of Inquiry

University of Illinois at Chicago Art History Graduate Student Association Symposium with the Museum and Exhibition Studies Program and the College of Architecture and the Arts, October 25 – 26, 2012

Deadline: Jun 15, 2012

The Art History Graduate Student Association at the University of Illinois at Chicago is pleased to announce “In Sight/On View: The Museum as Site of Inquiry,” an interdisciplinary symposium that will investigate museum practices and the evolving social and cultural contexts of today’s institutions. As museums confront changing demographics, new technologies, challenges to traditional narratives, and shifting patterns of cultural consumption, fundamental and sometimes uncomfortable changes are necessary. These paradigm shifts require a reassessment of the ideologies that have informed the collection, presentation, and interpretation of culture in museums. We invite graduate students at all levels of study to submit proposals that identify emerging as well as historical issues, highlight problems within the field, and propose possible methodological shifts.

Possible topics may include: • Exhibition design and alternative spaces • Revisions of historical modes of classification, collections, preservation, and display • Museums as spaces of interactivity and social engagement • Designing, building, and operating museums of the future • New uses of digital technology • Museums as targets for and sites of critique • Exhibition narratives that challenge cultural hierarchies

 Please submit your CV (maximum 3 pages) and 300-word abstract for a twenty-minute presentation by June 15, 2012 to Betsy Stepina at Accepted papers will be announced by July 30, 2012.


Rutgers Art Review

Deadline: September 30, 2012

Rutgers Art Review a journal of graduate research in art history, hereby invites all current graduate students, as well as pre-professionals who have completed their doctoral degrees within the past year, to submit papers for its 30th edition.

Papers may address the full range of topics and historical periods within the history of art and architecture, material culture, art theory and criticism, aesthetics, film, and photography.

Interdisciplinary studies concerning art and architecture written by students in other fields are also welcome. To be considered for publication, submissions must represent original contributions to existing scholarship. We encourage submitters to ask their advisor or other faculty member to review the paper before submission.

Visit our website for more information:


States of Suspension: Politics and Histories, Aesthetics and Affects (Graduate Conference)

November 15 – 16, 2012, University of Chicago, Departments of English and Art History

Deadline: August 1, 2012

Suspension is a state of exception, anticipation, or absorption. It hovers, pauses, interrupts, creating a liminal space often outside historical time and physical place. In political terms, suspension indexes the revocation of legal protections or rights of citizenship, the dissolution of recognized forms of governance, and the adoption of emergency measures during times of crisis. Since the 18th century, aesthetic encounters have been conceived of as a suspension of one’s understanding before the sensible experience of the artwork—a convention retained in the institution of the museum or gallery. While theatrical performances bracket reality for the duration of their staging, the photograph, like the ekphrastic moment in a text, enacts a suspension of time by isolating an image from its historical index.

Scholastic practices like periodization, formalism, taxonomizing, etc. are means of extracting and suspending moments and objects under study. Religious discourses conceptualize states of liminality and the kinds of knowledge they can impart in terms of pilgrimage, purgatory, and penance. Affective experiences characteristic of everyday life—from boredom, deferment and waiting to captivation and anticipation—can be understood as sites producing forms of suspension.

Please send 250-300 word abstracts to by August 1, 2012. Presentations should be no longer than 20 minutes in length (8-10 double-spaced pages).


From Utopian Teleologies to Sporadic Historiographies: “Interfaces” of Art and Cybernetics

39th Annual AAH Conference & Bookfair University of Reading, Reading, 11 – 13 April 2013

Deadline: 12 November 2012

It has been more than six decades since cybernetics was introduced to the English-speaking world by Norbert Wiener, Claude Shannon, and Warren Weaver.  Stimulated by the information explosion in the 195Os, it grew as an international phenomenon that challenged disciplinary boundaries and preconceptions.  Cybernetic models of “self-reproducing automata” brought about an enhanced understanding of informational and communication systems, engendered artificial intelligence and machine-biological interfaces (cyborgs), and impacted game theory. In the West, cybernetics had a lasting effect on art and popular culture from interactive art, performance, and computer art, to telematic art and American Idol.  The “new science,” however, received a different reception in USSR.  After its initial hostility, the Soviet government endorsed cybernetics as a panacea ensuring the rational control of a failing centralized economy. The interdisciplinary umbrella of Soviet cybernetics protected underground art—from kinetic constructions and installations, to conceptual art and performance.

The session redresses a lack of attention to cybernetics globally.  It invites presenters in the visual arts and from non-art disciplines to reconsider or generate new knowledge about generations and geographies of art and cybernetics, including practices that create, distribute, and theorize art forms, concepts, and histories. Papers may explore cybernetic phenomena in artistic environments; examine artistic play on logic and reason; consider how art or non-art agents treat cybernetics as a social and cultural paradigm, or question how cybernetics is presented in historiographies of recent art and what interfaces of cybernetics and art bode for intra- and inter-disciplinary research and practice.

Send your proposal to Maia Toteva, Assistant Professor, University of Cincinnati, Blue Ash College, ( and Jennifer Way, Associate Professor, University of North Texas, ( Your proposal should include: 1. Preliminary abstract of one to two double-spaced, typed pages; 2. Letter explaining speaker’s interest and expertise in the topic; 3. CV with home and office mailing addresses, email address, and phone and fax numbers. Include summer address and telephone number, if applicable; 4. Documentation of work when appropriate, especially for sessions in which artists might discuss their own work.

For more information on the conference:



Voir ne Pas Voir

June 4-5, 2012

INHA, Paris

Ces journées d’étude proposent de questionner l’impact des stratégies de choix, conscientes, mais aussi inconscientes, à l’oeuvre dans la réalisation d’une exposition. Quelles conséquences dans la connaissance et la réception de l’oeuvre d’un art, d’un artiste ou d’un groupe d’artistes ces stratégies ont-elle eues ? Absence, perception tronquée, rapprochements entre des oeuvres en réalité très différentes, ces choix ont pu être à l’origine d’importants malentendus mais aussi d’approches nouvelles et originales. Ce sont ces modalités de choix, et leurs conséquences, que nous nous proposons d’étudier. L’exposition peut tout d’abord n’avoir jamais eu lieu, et le choix est alors de ne pas montrer. Comment, dès lors, travailler sur une absence, et quel est alors le rôle de l’historien d’art face aux documents d’archives ? L’exposition participant d’une stratégie de légitimation d’un art à un moment donné, quel impact le fait de retenir telle oeuvre au détriment d’une autre a-t-il sur la perception de l’art en question ? Quels sont les acteurs qui ont alors fait ces choix, et pourquoi ? Ce choix est-il personnel ou institutionnel ? Relève-t-il de raisons artistiques, économiques, politiques ? Quelle image d’un art ou d’un artiste veut-on alors donner, et l’exposition a-t-elle eu l’impact escompté ? On mettra également l’accent sur les questions méthodologiques à l’oeuvre dans la constitution de la mémoire des expositions, à l’heure où l’usage des courriers électroniques tend à modifier en profondeur la nature même des archives réunies à l’attention des futurs historiens. En ce sens, les réflexions d’acteurs culturels sur leur propre pratique contemporaine sont les bienvenues. Pour ces premières journées d’étude, on choisit une large perspective afin de pouvoir confronter, méthodologiquement et dans leurs résultats, des cas divers. On s’intéresse aussi bien à l’art français qu’à l’art étranger, y compris extra-occidental, des années 1920 à nos jours.

For more information:


ARTL@S Presents ARTL@S

June 7, 2012

Ecole normale superieure, Ulm, Paris

Artl@s est un projet collectif d’histoire spatiale et transnationale des arts et des lettres, fondé sur la pratique conjointe des approches quantitative et cartographique. Nous voulons mettre en évidence, grâce à l’analyse spatiale, l’articulation entre création et espaces sociaux, en variant toujours les échelles : du local au global, de l’oeuvre à son milieu, il ne peut y avoir de cloisonnements.

Financée depuis 2011 par le Labex TransferS, l’Ecole Normale Supérieure et l’Agence Nationale pour la Recherche (projet ANR – Jeunes chercheurs), l’équipe Artl@s se réunit pour présenter ses outils de recherche, ses principaux programmes et ses premiers résultats.

For more information:


“The Challenge of the Object”

33rd Congress of the International Committee of the History of Art CIHA 2012

Nuremberg, July 15th-20th, 2012

The focal point of the conference is the notion of the object. On the one hand, we shall investigate material objects and on the other hand, the topic in its broader sense. It is the point of departure and at the same time, the subject of art historical research by which the discipline  must prove itself repeatedly, even though like every other scholarly discipline, it constructs its subject matter. The treatment of material objects, be it a building, painting, sculpture, or any other artefact – whether a cult object, a collected piece, or an item of daily use – is a touchstone for art historical research. Objects are thought to exist within their specific materiality, their  historical context, and their history, but in the same time they are constructed by diverging academic viewpoints that are central to the conference and its sections.

The analysis of objects can ensue from many viewpoints and requires the respective cooperation of researchers from the most diverse fields. In each of these areas, objects are constituted  by means of specific questions and approaches toward the object. The conference offers an opportunity for the presentation of and debate between differing perspectives and methodologies.

For more information


Archives orales de l’art de la période contemporaine, 1950-2010

29 et 30 juin 2012

Salle Vasari, INHA, Paris

Dans le cadre du programme de recherches « Archives orales de l’art de la période contemporaine, 1950-2010 » créé en septembre 2010, l’Institut national d’histoire de l’art organise deux journées d’étude interdisciplinaires qui s’attacheront à mettre en valeur les enjeux et les apports de la constitution d’une histoire orale de l’art. Si l’entretien est loin d’être un phénomène nouveau pour la discipline, la théorisation du recours de plus en plus systématique aux sources orales et dialogiques reste balbutiante en France, alors même que les travaux se sont multipliés dans le champ élargi des sciences humaines depuis le début des années 1980. De Pierre Bourdieu ou Alain Blanchet à Florence Descamps, la question de l’entretien a notamment été largement étudiée en histoire et en sociologie. L’étude de plusieurs fonds d’archives orales en histoire de l’art et des enjeux de leur valorisation scientifique pour la discipline, ouvre actuellement le champ d’un renouvellement des méthodes, des outils et des analyses d’une histoire de l’art du temps présent.

For more information:



La deuxième édition du ‘Workshop – Bourses et Stages aux États-Unis

aura lieu le jeudi 7 juin de 14h00 à 16h30 à la salle Vasari (INHA).

For more information:


Hans PeterFeldman in conversation with Hans Ulrich Obrist is available at:


A brief note about Olivier Mosset and his obsession with motorcycles is available at:


The Proceedings from the Marxism and New Media 2012 conference, organized by Duke University Graduate Program in Literature, have all been uploaded at:

For more information on this conference:


Circulaire 12

Dear Colleagues,

Please find below calls for papers, announcements for conferences, exhibitions, fellowships, and other opportunities.

CAA has just published their CFP for the 2013 conference that will take place February 13-16 in New York. Below we have identified two panels that might interest EPCAF members, but as you may note, neither deal specifically with European art after 1945.

The lack of visibility and presence of European postwar and contemporary art at this major international conference reinforces our determination to affiliate EPCAF with CAA. This would guarantee that scholars working on European art have a yearly opportunity to present their work to the larger community. We will be submitting the paperwork over the summer, with the goal of having the first EPCAF meeting at CAA 2014.

All our best for the end of the semester.


Catherine Dossin & Victoria H.F. Scott



German Art since 1945 in Context

Due Date: April 20
Durham, North Carolina
October 17-20, 2012.
Since the Reunification, German art has been the subject of several reevaluations, but most studies tend to focus on the relationship between East and West Germany and the Cold War. Although it is difficult to escape this political and ideological framework and consider German art outside its relationships to the Soviet Union and the United States, scholars are beginning to reassess the significance of German art in its broader geographical and philosophical context. What were its connections to other national art scenes, particularly within Europe? Which historical events and social factors affected artists, beyond WWII and the ideological divide? Taking on these questions and others, our panel seeks to provide a comprehensive picture of postwar art in East and West Germany by placing artists production in a larger cultural and art historical perspective. We invite papers that consider any aspect of the visual arts in both Germanys since 1945. Proposals addressing German contributions to major postwar trends and practices, especially those that have not yet received the attention they deserve, are encouraged. Ultimately, our ambition is to bring together historians of German art to take stock of current scholarship, survey the field, and open up new avenues for future research.
For more information: Catherine Dossin, Purdue University,  and Victoria H.F. Scott, Emory University,
Submission information at:

Art in Three Crises: 30–70–Now

Due Date: April 20
Durham, North Carolina
October 17-20, 2012.
This panel proposes to consider art practices at three paradigmatic moments of financial and social crisis: the 1930s, the 1970s, and the present. By highlighting the intersection of art with economic conditions, we seek to uncover historical and theoretical relationships between culture and capital, and by addressing the repetition of certain artistic practices and gestures from the historical avant-garde to the neo-avant-garde to the present, we wish to examine relationships between these three periods. Our objective is to explore collisions between past and present artistic responses through the axe of art and economics. This panel takes its starting point from a series of seminars initiated by Brian Holmes during the fall 2011 at Mess Hall, Chicago, in conjunction with the Occupy movement. Extended economic crises punctuate the development and expansion of capitalism during the twentieth century, from the 1929 crash and subsequent depression to the 1971 eradication of the gold standard and 1973 oil embargo to the 2000 dot-com bubble burst and 2008 recession, and responses to these crises shape the subsequent years. We believe there are specific and revealing connections between these economic histories and those of art, and we invite presentations that probe such connections.
For more information: Ruth Erickson, University of Pennsylvania, and Emilie Anne-Yvonne Luse, Duke University,
Submission information at:

Conflict, controversy, dissent: art as a disturbance
Deadline: Apr 22, 2012

Swiss Institute for Art Research (SIK-ISEA), Zurich
November 8 – 09, 2012
The conference aims to illuminate the various fields of conflict from the points of view of different disciplines and sharpen people’s awareness of the problems. It is primarily concerned with demonstrating the productive dimensions of conflicts and investigating dispute as a precondition for discourse and a constructive new consensus in art and in (academic) everyday art research. Case studies and theoretical discussions will be taken into equal account. It will focus not only on the history of art and architecture but also on legal, social and economic factors.
The conference will focus on the following fields of conflict:
•Art (history) / Architectural history vs. Justice
•Art criticism / Art and architectural history vs. Market
•Art history vs. History of art
•Art / Architecture vs. Society
Interested academics are invited to submit papers (max. 1 page) in German, French or English with a short CV per e-mail by 22 April 2012 to 30 minutes have been scheduled for each presentation. The organisers will pay a flat rate for travelling
and accommodation expenses depending on the sum total of grants received from third parties.

Topographisches Regulativ. Die Skulptur Projekte Muenster und ihr Archiv
Deadline: Jun 1, 2012

LWL-Landesmuseum Münster und Kunstakademie Münster
20. – 22.11.2012
Die 1977 von Klaus Bußmann und Kasper König begründeten Skulptur Projekte Münster zählen zu den international einflussreichsten Ausstellungen der Gegenwartskunst. Sie finden alle zehn Jahre statt und haben in ihrer 40-jährigen Geschichte umfangreiches und aufschlussreiches Quellenmaterial zur Entwicklung der zeitgenössischen Kunst hervorgebracht. Einzelne der temporären Werke wurden im Stadtraum erhalten, wie etwa die titellose Arbeit Donald Judds von 1977, die er selber als „topographisches Regulativ in Form von zwei Betonringen” beschrieben hat. Einblick in diese verschiedenen Entstehungsprozesse und Dokumentationen der Zeit gewährt das umfangreiche und noch nicht erschlossene Archiv der Skulptur Projekte des LWL-Landesmuseums in Münster. Hier haben sich zu allen, auch den nicht realisierten Projekten Briefe, Skizzen, Fotografien, Modelle und Filmaufnahmen erhalten. Die Tagung „Topographisches Regulativ. Die Skulptur Projekte Münster und ihr Archiv“ widmet sich dieser Geschichte der Kunst im öffentlichen Raum und ihrer theoretischen Neukonfiguration. Die Fragen, die sich im historischen Rückblick ergeben, können im weitesten Sinne an die Zusammenführung von Kunst und Öffentlichkeit im 20. Jahrhundert anknüpfen. Es sind daher nicht nur Forscherinnen und Forscher aus dem Bereich der Kunstgeschichte und Kunstwissenschaft, sondern auch aus den Bereichen der Kulturwissenschaft, Philosophie, Geschichte, Politikwissenschaft und anderen Gebieten eingeladen. Im Rahmen der Tagung werden das Skulptur Projekte-Archiv vom LWL-Landesmuseum vorgestellt sowie Künstler und Kuratoren in einer Podiumsdiskussion zur Thematik befragt.
Um Einreichung eines Vortragskonzepts im Umfang von maximal 300 Wörtern zusammen mit einem kurzen Lebenslauf wird bis zum 1. Juni 2012 gebeten.
Bitte senden Sie die Unterlagen an:

Central Europe’s Others in Art and Visual Culture

Historians of German and Central European Art and Architecture
Deadline: May 4, 2012
CAA, New York, Feb. 13-16, 2012
From Charlemagne to Schengen, Central Europe’s borders have been hotly disputed. Equally fraught notions of Central European national and individual identity have been shaped through notions of race, ethnicity, nation, temporality, religion, gender, and sexuality. For this panel we seek new research on concepts of the Other and related ideas of insiders and outsiders in representations from any time period from the Middle Ages to the present. Contributors might address the influence of trade, crusades, colonialism, postcoloniality, or tourism. They may investigate how supranational constructs of ethnicity, gender, or sexuality were played out in relation to representations of nation or Volk. Panelists in this session could also explore challenges to established institutions and conventional power dynamics, or examine how visual materials enabled those considered marginal to engender agency through subcultures or other sites of resistance.
For more information: Elizabeth Otto, University at Buffalo, State University of New York; and Brett Van Hoesen, University of Nevada, Reno. Email: and

Abstraction and Totality
Deadline: May 4, 2012

CAA, New York, Feb. 13-16, 2012
This panel addresses the paradoxes of abstract art’s relationship to ideology in the early and middle twentieth century. It considers the shifting service of abstract practices to a totalizing politics—whether radical or reactionary, whether capitalist, fascist, or communist—and investigates the circumstances under which abstraction has operated as an ideal vehicle of state ideology or an ostensible recoil from its insidious reach. Along with specific histories in context, we aim to address the abiding perception that abstraction is inherently resistant to historical interpretation. We welcome papers from a spectrum of national and cultural cases, both within European and American settings, but also beyond that limited geographic frame, including work on individual artists or collectives as well as on a variety of media, including the plastic arts, architecture, and cinema.
For more information: Ara H. Merjian, Department of Italian Studies, New York University, and Anthony White, University of Melbourne, School of Culture and Communication. Email: and

The Spaces of Arts: Thinking the National and Transnational in a Global Perspective 

Deadline: May, 15 2012
Purdue University
September 27-29, 2012
Is art history global enough to take up the challenge of cultural mixing, transnationalism, internationalization, and globalization, without neglecting cultural nationalisms and artistic territorialization processes, which are the fabric of our discipline? How do we understand the relationships between circulations, globalizations, and the production of ethnicity or nationality in the arts? What strategies can we develop, besides narration and description, to write a new history of the arts that escapes both historiographical nationalism and blind globalism, while paying due to the national and transnational dimensions of artistic creation?
In response to these questions the École normale supérieure in Paris (ENS-Ulm) and Béatrice Joyeux-Prunel launched a vast research project in 2009. The ambition was to study arts and letters in a socio-spatial perspective that takes into account the spatial turn of Social Sciences. The result is ARTLAS, a digital atlas of arts and literature history which combines spatial, social, cultural, and esthetic questionings, with a narrative/descriptive approach, and visualization techniques, including charts and maps created with GIS technologies (Geographic Information Service).
The reliance on a cartographic approach and multi-scale analysis grows from the conviction that we can transform the geohistorical reflections that Thomas DaCosta Kaufmann presented in Toward a Geography of Art (2004) into maps, and that the atlas model can contribute to meeting the challenge of global art history James Elkins exposed with Is Art History Global? (2006). Still, the format of ARTLAS is motivated by the conviction that we cannot separate the analysis of artistic circulations and globalization from the study of territorialization of artistic practices.
In order to present ARTLAS on the American continents and engage in a dialogue with American scholars, the ENS is teaming with Purdue University to organize a conference which will take place on September 27-29, 2012 at Purdue. We have invited Professor DaCosta Kaufmann and Professor Elkins to present their respective takes on a global art history and the use of maps as art historical tools, while philosopher Edward S. Casey will address the links between art and maps.
We are now inviting scholars, whose research is grounded in socio-spatial analysis and/or aims at meeting the daunting challenge of ubiquity in art history, to join the conversation and offer their perspectives. We welcome papers that explore the connection between the national and transnational in a global perspective for any object, period, and place in the history of arts and letters.
Please send inquiries and proposals of no more than 500 words, along with a short CV, to the conference organizers, Catherine Dossin ( and Béatrice Joyeux-Prunel ( before 15 May 2012.
For more information on the conference, see:
For more information on ARTLAS, see:


British Art As International Art, 1851 to 1960
Postgraduate Symposium — The British Art Research Group

University Of East Anglia, Norwich, UK, April 20 – 21, 2012
Friday 20th and Saturday 21st April 2012
There has been two decades of vigorous interest in British art history, but up to now this has tended to assume a more or less unproblematic category of national identity and has not enquired closely into the elusive idea of ‘Britishness’. More recently, the concept of the transnational has proved to be a productive way for art historians in the 21st century to reflect not only on contemporary art, but also that of previous centuries. This graduate conference will address the extent to which these two approaches overlap in British art between 1851 and 1960, not only in terms of British artists working abroad and non-British artists adopting Britain as a base, but also in less tangible or previously unconsidered ways.
Between 1851 and 1960, Britain’s global position altered radically – from the early consolidation of British imperial power in the mid-nineteenth century, through two world wars, the rise of the US to the reassessment of Britain’s political and cultural position in the post-war world, against a background of increasingly porous national and cultural boundaries. In this context, British art’s relationship with ‘the international’ seems a pertinent topic to consider, particularly from our own, increasingly ‘transnational’ perspective. ‘Transnational’ and ‘international’ are problematic terms here – the former reflects our own, more fluid concept of nationhood in the 21st century, while the latter offers a clearer definition of how nations were considered between 1851 and 1960. But is it possible to study British art of this period from our ‘transnational’ viewpoint? Can we talk of British art as separate from Britain as a nation or nationality? If British art between 1851 and 1960 cannot be considered ‘transnational’ in our terms, nor wholly ‘British’, how can it be considered in ‘international terms’?



Michael Fried, “Sala with Schiller: World, Form, and Play in Mixed Behavior


Modern Art History, Ben-Gurion University, Israel

Deadline: 17 May 2012
The Arts Department at Ben-Gurion University in Israel seek to fill a full-time tenure track position in the field of modern art history (late 18th century to 20th century). The successful candidate must have a Ph.D. in art history, a demonstration of teaching experience, and an ability to teach in Hebrew.  Closing date of applications: 17 May 2012
Please send a letter of interest, curriculum vitae, philosophy of teaching, syllabi of 1-2 courses as well as three letters of recommendations to Daniel Unger, the department chair, at



2012-2014 Stefan Engelhorn Curatorial Fellowship 

The Busch-Reisinger Museum/Harvard Art Museums
Application deadline: May 4, 2012
The Curatorial Fellowship Program at the Harvard Art Museums is designed to broaden the experience of persons embarking on professional and scholarly careers in art history who are considering the museum profession. The Fellow shares fully in the range of curatorial activities including acquisitions and documentation of the permanent collection, and in answering scholarly inquiries and general correspondence. The Fellow also undertakes a collections-related
project. The 2012-2014 Stefan Engelhorn Curatorial Fellowship project will concentrate on research, cataloging, and interpretive materials related to the permanent collection of the Busch-Reisinger Museum to be installed in the museum’s new facility at 32 Quincy Street. Applicants should have an interest in the art of German-speaking countries and related cultures of central and northern Europe in all media, as well as aspects of exhibition design and provenance research.
The Harvard Art Museums, with the Straus Center for Conservation and Technical Studies, is a major center for art historical research and training. Fellows engage in close study and analysis of objects and their institutional frameworks, as well as broader issues of museum practice and museology. The term of the fellowship in the Busch-Reisinger Museum is 22-months, beginning no later than September 4, 2012. Summer start date strongly preferred. The Museums are  currently undergoing a major renovation and access to the collection will be limited during this term. Basic Qualifications: M.A. and graduate training in art history or related field.

2012-2014 Renke B. and Pamela M. Thye Curatorial Fellowship 

The Busch-Reisinger Museum/Harvard Art Museums
Application deadline: May 4, 2012
The Curatorial Fellowship Program at the Harvard Art Museums is designed to broaden the experience of persons embarking on professional and scholarly careers in art history who are considering the museum profession. The Fellow shares fully in the range of curatorial activities including acquisitions and documentation of the permanent collection, and in answering scholarly inquiries and general correspondence. The Fellow also undertakes a collections-related
project. The 2012-2014 Renke B. and Pamela M. Thye Curatorial Fellowship project will focus on the Busch-Reisinger Museum’s extensive holdings of multiples by Joseph Beuys. In addition to completing cataloging research and interpretive materials, the Fellow will explore broader questions related to the nature of these objects and offer insight into their care and display in the museum’s new building at 32 Quincy Street. The Renke B. and Pamela M. Thye Fellow will work collaboratively with a fellow appointed concurrently at the Pinakothek der Moderne in Munich. Applicants should have a strong interest in the work of Joseph Beuys and the multiple as an art form.
The Harvard Art Museums, with the Straus Center for Conservation and Technical Studies, is a major center for art historical research and training. Fellows engage in close study and analysis of objects and their institutional frameworks, as well as broader issues of museum practice and museology. The term of the fellowship in the Busch-Reisinger Museum is 22-months, beginning no later than September 4, 2012. Summer start date strongly preferred. The Museums are currently undergoing a major renovation and access to the collection may be limited during this term.
Basic Qualifications MA and graduate training in art history or related field required, Ph.D. past qualifying paper preferred. Candidates for the fellowship must be European citizens.

Tainted Goods: Contemporary Sculpture and the Critique of Display Cultures in Germany and Europe 

York University
May 10-11, 2012
Among the most challenging of contemporary art practices are sculptures that comprise sprawling accumulations of objects. The purpose of this conference is to investigate this practice. Straying from the cultures of monumentality, cutting-edge technologies, and crowd-pleasing spectacles associated with the globalized industry of “installation art,” the sculptural works of particular concern in “Tainted Goods” subvert display cultures by provoking viewing experiences that are neither seamless nor easily consumed. This seemingly tainted array of imagery and materials—often things literally left on the side of the road according to the relentless logic and progress of the capitalist machine—are combined in ways that allow each element to retain a degree of empirical specificity. There are gaps between images and referents that create the potential for a crossing of semantic switches or a perceptual friction that generates cognitive sparks and insights. While the artistic materials tend to be fragmentary and are juxtaposed with other items that initially may seem incompatible, in the end, they “say” nothing with communicative clarity. This “materialist” approach to art-making may interpreted with the aid of remarkably different aesthetic and philosophical approaches, from those rooted in Frankfurt School notions of the dialectical image to those grounded in the thinking of Gilles Deleuze or Manuel de Landa, to name only a few.
Conference participants will reflect on the experience of specific artworks and exhibitions. We wish to maintain an emphasis on exploring the forms and the aesthetic demands placed on the viewer of such “tainted” sculptural works. We seek to develop a broader range of aesthetic models through which these sculptures can be understood to function critically, whether as commentaries on capitalist or communist economies, as anthropologies of everyday life, as critiques of the practices of museum collecting and interpretation, as twisted replications of sales strategies from advertising, stores, and television shopping networks, or as surrenders to the psychologies of accumulation, be they sumptuous pleasure, emotional displacement, or pathologized hoarding behavior. The works treated in “Tainted Goods” perform their critique of display cultures through the stark juxtaposition of artistic and non-artistic materials that have not been permitted to blend seamlessly into a coherent compositional whole that may be consumed or marketed with ease.


Critique and Crisis. Art in Europe since 1945

30th Council of Europe Art Exhibition
An exhibition of the German Historical Museum
Curator: Prof. Dr. Monika Flacke
The exhibition “Critique and Crisis” is an initial attempt to take a look at European art since 1945 without the usual ideological demarcation lines that came about with the Cold War. Twelve chapters will examine the different ways in which artists have dealt with the ideals of Enlightenment and the belief in universal human rights, freedom, equality and democracy. Selected works will be seen within the framework of the project as visual expressions of ideas and concepts that have the potential to change the world. The artworks come from almost all of the European countries – from Portugal to Russia, from Scotland to Albania and Greece. Thus the exhibition also taps into the art of often neglected regions of Europe and in this way overcomes the separation of art into East and West, North and South, which has been a common practice since the Cold War. National background of the artists, chronologies and artistic schools do not play a role.
The exhibition is the centrepiece of an international cooperation, coordinated by the German Historical Museum, in which ten museums, galleries, research and cultural institutes from Germany, Poland, Estonia, Italy, Croatia, Serbia, the Czech Republic, Greek, Schweden and Hungary are participating. Besides the exhibition, which will travel from Berlin to Warsaw, Tallinn and Milan, further individual aspects will be presented in smaller satellite exhibitions as well as in the context of workshops and conferences.
Accompanying the exhibition will be an extensive catalogue as well as a bilingual German-English publication that will most likely also be translated into the languages of the exhibition’s further stations. An interactive website dealing with the project as a whole and a closing conference will round off the wide range of individual projects.

Groupe Signe 1971–1974

Nouveau Musée National de Monaco

21 April–17 June 2012
The Nouveau Musée National de Monaco presents its latest exhibition, Groupe Signe 1971–1974 which will be held at Villa Paloma, NMNM from April 21st to June 17th 2012.
The Groupe Signe is a group of artists created post-1968 in Monaco, led by the painters Claude Rosticher and Roland Marghieri and the photographers Michel Cresp and Pierre Lequien. They acted collectively between 1971 and 1974 in reaction to advertising and social conformity through iconoclastic actions leading to the creation of more poetic worlds.

Circulaire 11

Dear Colleagues,

After discussions with EPCAF members in Los Angeles it became clear that the next step for the organization is to affiliate with CAA in order to enjoy the full benefits that such an association would provide. We are going to work on this in the coming months, and as the project develops we will keep you updated.

Continuing our series on European art we are organizing a panel on German art after 1945, as part of the SECAC 2012 conference in Durham. Below you will find our call for papers. Please, forward it to anyone who might be interested. We have also listed a few other pertinent panels. We encourage you to have a look at the entire call for papers and to consider participating, because the conferences are always very good, and the organization is very supportive of young scholars.

Below, you will find our usual listings of CFPs, conferences and publications, seminars, book reviews, and other opportunities.

The summer is coming and many of us are traveling. We are starting to receive requests for sublets (see below). Please to not hesitate to use EPCAF to advertise or inquire about apartments.

All our best,

Catherine Dossin & Victoria H.F. Scott



German Art since 1945 in Context

Due Date: April 20

Durham, North Carolina

October 17-20, 2012.

Since the Reunification, German art has been the subject of several reevaluations, but most studies tend to focus on the relationship between East and West Germany and the Cold War. Although it is difficult to escape this political and ideological framework and consider German art outside its relationships to the Soviet Union and the United States, scholars are beginning to reassess the significance of German art in its broader geographical and philosophical context. What were its connections to other national art scenes, particularly within Europe? Which historical events and social factors affected artists, beyond WWII and the ideological divide? Taking on these questions and others, our panel seeks to provide a comprehensive picture of postwar art in East and West Germany by placing artists production in a larger cultural and art historical perspective. We invite papers that consider any aspect of the visual arts in both Germanys since 1945. Proposals addressing German contributions to major postwar trends and practices, especially those that have not yet received the attention they deserve, are encouraged. Ultimately, our ambition is to bring together historians of German art to take stock of current scholarship, survey the field, and open up new avenues for future research.

For more information: Catherine Dossin, Purdue University,

 and Victoria H.F. Scott, Emory University,


Colliding in Space: History and the Public Monument in the Modern State

Due Date: April 20

Durham, North Carolina

October 17-20, 2012

The repeated creation (and destruction) of public monuments over the past two centuries testifies to their cultural significance as bearers of meaning. At their inception, monuments inscribe social values and ideologies on the memorial sphere and later become available as sites of memory, markers of history, and vessels for nostalgia. Through their occupation of shared, living spaces, however, monuments purport a collective and continuing experience. They constantly assert a historical presence that persists beyond their specific moments of creation, but one that may clash with changing cultural perspectives and circumstances. These collisions may, among other things, add new layers of meaning to the memorial landscape or force contemporary viewers to negotiate their relationship to a commemorated past whose ideologies may differ from their own. This session will explore how historic monuments intervene in later public discourse by complicating cultural and spatial intersections of past and present in denotative physical landscapes. Examples might include the legacy of monuments to empire in London or Paris, the consequences of political change for statues of Marx and Stalin in Berlin or Moscow, or the impact of new attitudes towards war or race for the Mall in Washington, DC.

For more information: James Hargrove, Roanoke College,  and Andrew Eschelbacher,University of Maryland,


Shopping for the Contemporary in an Antique Market

Due Date: April 20

Durham, North Carolina

October 17-20, 2012

Within the past ten years, the European art market initiated a growing trend to exhibit contemporary art in historic spaces. For instance, in 2010 Takashi Murakami exhibited his manga-inspired sculptures at Versailles. Historic sites like the Markets of Trajan and the Coliseum in Rome are given new meaning as exhibition spaces for a series of contemporary installations. For some, the anachronism of a contemporary exhibition in a historic space is problematic and deters from the historical significance and function of the space itself. Often times, the art on display provides no direct commentary on or interaction with the history of

the space. The papers in this session are not limited to, but will address the following issues in specific ways: Does this anachronism problematize the overall experience of these heritage sites? Do these contemporary exhibitions attract more visitors to the sites and/or increase interest in the contemporary art shown? Moreover, does the display of contemporary art at heritage sites provoke a meaningful conversation between contemporary art and its relationship to the art historical canon at-large? What are some of the motivations behind this exhibition trend?

For more information: Kathryn Hall,University of Georgia,


Art for the Public Sphere

Due Date: April 20

Durham, North Carolina

October 17-20, 2012.

In the 1960s, Jürgen Habermas initiated a conversation about the historical transformation and character of the public sphere. He identified an ideal public forum that initially formed when individuals united in rational critical debate to identify common concerns and influence political action. After a tumultuous year of protest and revolution throughout the world from Tahrir Square to Zuccotti Park, the radical potential of the public sphere and the identification with a physical place has again been confirmed. Within this socio-political discourse, this session explores the role of art throughout world history in promoting an ideal public sphere. Taking a broad perspective, it welcomes papers that examine art and architecture designed to engage public space and promote public discourse in a variety of historical and cultural contexts. Possible questions include: What is the position of art in the public sphere and what is its role and efficacy in articulating common concerns or a common good? What is the power of public space and place, and how have artists used them to provoke a larger discourse and affect change in physical and/or conceptual terms? How has an art for the public sphere evolved over time in terms of medium, message, and audience?

For more information: Margaret Richardson, Virginia Commonwealth University,, and Nicole De Armendi, George Mason University,


Photographieren in der DDR

Leipzig, 09. – 10.11.2012

Deadline: Mar 19, 2012

9.–10. November 2012

Welche Rolle spielte die Photographie in der DDR zwischen ideologischer  Bildpropaganda und Ausdruck eines individuellen Lebensgefühls, zwischen  agitatorischer Dokumentation und künstlerischer Position? In welche Traditionen der Moderne stellten sich die Photographen und welches visuelles Erbe haben sie hinterlassen? Von diesen Fragen ausgehend,  möchte die 4. Tagung des “Arbeitskreises Kunst in der DDR” untersuchen, inwieweit die Photographie als ideologisches Instrument des „Klassenkampfes“ und „sozialistischen Aufbaus“ von der SED-Medienpolitik instrumentalisiert und von der Zentralen Kommission Photographie unter dem Verdikt des Realismus formalästhetisch und inhaltlich gesteuert wurde.

Bitte richten Sie Ihr Exposé zu einem 25minütigen Vortrag (max. 1 Seite) sowie eine kurze wissenschaftliche Vita bis zum 19. März 2012 an  beide der folgenden Adressen: Prof. Dr. Martin Schieder, Universität Leipzig ( ) & Prof. Dr. Sigrid Hofer, Philipps-Universität Marburg (


International Conference: Migration, Memory and Place

University of Copenhagen / Ishøj (Denmark), December 6 – 07, 2012

Deadline: May 1, 2012

6 – 7 December 2012

The increasingly complex relationship between the local and the global, ‘the near’ and ‘the far away’, has emerged as one of the defining characteristics of contemporary societies. With globalization’s increased mobility of people and speed of information exchange, and the

cultural encounters resulting from it, traditional essentializing and stabilizing definitions of terms such as ‘home’, ‘belonging’, ‘place’, ‘identity’ and ‘memory’ have long become problematic and more adequate understandings of these conceptions are much sought after.

The conference invites papers from scholars working with art, literature, film, media, cultural representations or cultural performance and cutting across fields such as studies in culture, media and the arts, migration studies, cross-cultural studies, post-colonial  studies, cultural geography, place theory, cultural anthropology, urban studies, cultural sociology and philosophy.

For further information on the conference and the networks, see our  websites:  &


On the Spiritual in Russian Art

University of Cambridge, United Kingdom, September 7, 2012

Deadline: Apr 15, 2012

Date: 7 September 2012

Location: Pembroke College, University of Cambridge, United Kingdom

This conference, CCRAC’s first in Cambridge, takes as its theme the  concept of the ‘spiritual tradition’ in Russian art, in celebration of  the centenary of Vasilii Kandinskii’s seminal text, Über das Geistige  in der Kunst (On the Spiritual in Art) (1910-12) – arguably one of the most influential works of Russian artistic thought in the context of international modernism. We propose this banner as a stimulus for a  broader discussion of the intersection between spirituality and Russian art, which ranges beyond the extensive and enduring impact of Kandinskii’s well-known manifesto for new directions in art.

We invite papers on a wide range of subjects, periods, artists and media which engage with the subject of religiosity or spirituality in Russian and Soviet art.  Abstracts of up to 300 words should be sent to Louise Hardiman ( and Nicola Kozicharow ( by 15 April  2012. Please include the title of your proposed paper, your name, institutional affiliation and full contact information (address, phone number, and email).


Australian and New Zealand Art Association

Sydney Australia, July 11 – 14, 2012

Deadline: Mar 30, 2012

Held in the third week of the Biennale of Sydney (11-14 July 2012), Together<>Apart will address major debates and issues raised by this year’s biennale theme “all our relations.” The conference will focus on the very broad idea of relations and relationships as well as allied terms such as collaborations, networks and partnerships.

Propose a paper to one of the panels listed here, deadline 30 March:


International Conference: 100 Years of Abstract Art

School of Humanities and Social Sciences, Jacobs University, Bremen,

Germany, May 9 – 13, 2013

Deadline: Mar 31, 2012

It was one hundred years ago that the public for the first time was confronted with non-objective painting.  The conference will examine the role that abstract art has played in visual art and culture of the last one hundred years with a particular focus on the following aspects of abstract art:  Origins and concepts; As style or process and concepts of creativity; Metaphysical thought and modern science; Art instruction and reform education; Anthropology and concepts of interculturality; Twentieth-century ideological battles;  Today and beyond (21st century)

We invite paper proposals to the sessions specified above from a variety of fields, including art history, philosophy, cultural history, visual culture, media studies, and practicing artists. Please submit an abstract (300 words) plus a brief CV (300 words) along with your contact information in one single Word or PDF file by March 31, 2012, to


Deutsch-Französisches Treffen von Nachwuchswissenschaftlern

2. Festival de l’histoire de l’art in Fontainebleau, France

01. – 03.06.2012

Deadline: Mar 20, 2012

In diesem Jahr steht das Festival unter dem Thema des „Reisens“ in Kunst, Film und Literatur; das diesjährige Gastland ist Deutschland. Mit freundlicher Unterstützung der Gerda Henkel-Stiftung ist im Rahmen des Festivals ein deutsch-französisches Treffen von Nachwuchswissenschaftlern des Faches Kunstgeschichte vorgesehen. Französischen und deutschen Studierenden soll dabei die Möglichkeit eröffnet werden, am Angebot des Festivals zu partizipieren und im Dialog mit den Kommilitonen des jeweils anderen Landes die wechselseitige Kenntnis von Inhalten und Methoden der Kunstgeschichte zu vertiefen. Bei exklusiv für die Teilnehmer ausgerichteten morgendlichen Seminaren werden ausgesuchte Referenten aus beiden Ländern Einblick in die aktuelle Forschung geben.

Für diese Begegnung können sich Nachwuchswissenschaftler (Master / DoktorandInnen) bewerben. Die Nähe ihrer Forschungen zum diesjährigen Thema des „Reisens“ oder zum Gastland ist wünschenswert, aber nicht zwingend notwendig; Französischkenntnisse sind Voraussetzung.

Die Bewerbung (CV und Motivationsschreiben) schicken Sie bitte auf elektronischem Weg bis zum 20. März 2012 (Betreff: Rencontre franco-allemande) an die folgende Adresse:



Kunstlicht Journal: Artists and Writers: Interdisciplinary Exchanges

Kunstlicht invites academic reflections on works and practices that resulted from encounters

between visual artists and writers, and academic reflections that lay bare artists’ and institutions’ networks of exchange. We also look forward to essays that focus on theoretical examinations and examinations of theory. Both analyses of historical cases as well as reflections on the present will be considered. Furthermore, we encourage authors to propose research beyond these guidelines.

Proposals (200 – 300 words) can be sent to before 23 March 2012. Selected authors will be asked to write a 2,000 – 3,000-word paper (excluding notes).


Open Inquiry Archive, Humanities Journal

Open Inquiry Archive is currently lining up papers for 2012 publication. Authors wishing to inquire about submitting a paper for consideration should contact us:

They are interested in publishing papers on culture and the arts, and especially pieces that explore areas that may cross disciplinary boundaries, or that offer new insights into aspects of the author’s own discipline and beyond. Articles that examine or reframe topics in new ways, or that explore connections between areas that are usually treated separately, or that offer reasoned critiques of prevailing perspectives are among the types of work that will be considered. Papers treating topics in the humanities, arts, and social sciences are welcome. Some articles may have been presented previously in a conference or symposium setting, while others may have not before been made public.



Quelle actualité pour les années 1960 et 1970 dans l’art contemporain ?

Séminaire doctoral et post-doctoral

Organisée par Katia Schneller et Vanessa Théodoropoulou, membres associées à l’HiCSA

Les années 1960 et 1970 sont aujourd’hui historicisées et célébrées comme une période «mythique » en ce qui concerne le potentiel politique de l’art. Tandis que des expositions rétrospectives et des études académiques en proposent des bilans, depuis plus de vingt ans, des artistes ne cessent de s’y référer dans leurs œuvres, en les célébrant, discutant, citant, rejouant… Que peut-on comprendre de la convocation explicite ou implicite de ce passé dans sa charge politique ? S’agit-il d’une pure réification nostalgique de « gestes », ou bien peut-on envisager ce phénomène comme un moteur de renouvellement des sujets et des formes du politique ?

Vous trouverez le programme au lien suivant:



Sarah Wilson: The Visual World of French Theory: Figurations


New Yves Bonnefoy book: The Pursuit of the Present


Donald Kuspit Review of Jean Dubuffet




ZK/U Berlin – Residencies for Scholars, Artists and Practitioners

A new, innovative venue offering artistic and research residencies of 2–12 months duration for art production at the interface of urban research will open its doors in summer 2012 in the district of Moabit in Berlin-Mitte, on the edges of Berlin‘s largest inland port, Westhafen.

Located in a former railway depot surrounded by a freshly landscaped park, the ZKU – Center for Art and Urbanistics – is the linchpin of a concept developed by Berlin-based artists‘ collective KUNSTrePUBLIK.

Analogous to the nineteenth-century transport of goods by rail, this unique new venue is set to become a lively hub for the transport of ideas and ideals in the postindustrial era.



Victoria is looking for a studio apartment for the month of July in Paris. If you know of anything, please contact her at


Circulaire 10

Dear Colleagues,

We wish you the best for the beginning of the New Year and the spring term.

The College Art Association conference (CAA) is coming up (Feb 22 to Feb 25 in LA) and we would like to invite those of you who will be in Los Angeles to an informal EPCAF gathering at the Biltmore Millennium Gallery Bar and Cognac Room, Thursday night, Feb 23, starting at 8:30pm. It will be a chance to meet in person and continue our conversation about the present and future of EPCAF. Please find a map below.

In this circulaire you will find a long list of calls for papers, fellowship opportunities, information on new exhibitions, and other miscellaneous announcements.

All our best,

Catherine Dossin & Victoria H.F. Scott


Biltmore LA Gallery Bar and Cognac Room:                                                                                           




Art – Image – Politics, Postgraduate Conference

University of Southampton, England, March 10, 2012

Deadline: Jan 30, 2012

This one day symposium will address the ways that artists in 21st Century are using new technologies, reflecting new political agendas, and are constructing imagery or concepts to represent the current world situation. If you are interested in contributing to the conference, please send proposals of no more than 250 words and your institutional affiliation to the conference convenor Peter Jones by email at

For more information:


Photography and the Unrepresentable: A History of Photographic (Mis)representation

Colchester, United Kingdom, May 15, 2012

Deadline: Jan 30, 2012

This conference aims not only at interrogating contradictions and arbitrariness inherent in the idea of the unrepresentable, but also at opening up new perspectives on the relationship between photography and the unrepresentable in artistic, cultural and social practices today.

Please send 300-word abstracts of 20 minute-papers accompanied by a short CV to


Cultures of Decolonisation, c.1945-1970

Institute of Commonwealth Studies, University of London, Senate House

London, 30 May 2012

Keynote Speaker: Dr Bill Schwarz, Queen Mary, University of London

Deadline: 30 January 2012

This symposium will bring together scholars with an interest in the cultural practices, performances and material cultures of decolonisation, c.1945-1970. While the problems of ‘empire’ and ‘the postcolonial’ have come under increasing scrutiny in the humanities and social sciences in recent years, and debate about the political and economic processes of decolonisation is well established, the cultural sites, spaces and social practices of this process in the middle years of the twentieth century have often been overlooked.

Please send abstracts of 250 words or expressions of interest to Dr Ruth Craggs, St Mary’s University College ( and Dr Claire Wintle, University of Brighton (

Symposium Website:


Encounters in Art History & Visual Culture

International Symposium, Department of Art History, Haifa University,

Haifa, Israel, May 22 – 23, 2012

Deadline: Jan 31, 2012

Encounters: Representations, Performances and Conceptualization of Encounters in Art History and Contemporary Visual Culture. Art represents encounters between the individual and the communal, artists and patrons, different classes, societies and cultures. It stages encounters among dominant groups in society and between the forsaken and the redeemed, the accepted and the refused. It is created by an encounter of the artist and his or her materials, and between his or her artwork and his or her current cultural values.

Please send your abstract to:

For more information please contact the symposium coordinators: Mrs. Zufit Furst and Mrs. Sharon Melamed-Oron:


 Marx and the Aesthetic

Universiteit van Amsterdam, May 10 – 13, 2012

Deadline: Jan 31, 2012

The aim of this conference is twofold: on the one hand, to analyse the role of the aesthetic in the writings of Marx and, on the other, to examine works of art and literature which are based on, or have been directly inspired by, Marx’s writings. At the core of this conference, then, is an attempt to think the immanent relation between the aesthetic and emancipatory conceptions of politics.

Please send your abstract (max. 500 words) including information about institutional affiliation and field of scholarship) before January 31st to


The Medium of light and the neo-avant-garde 1950/60s

Duesseldorf, Germany, 28-31 Jun 2012

Deadline: Jan 31, 2012

The international ZERO movement formed between the end of the 1950s and the mid-1960s a neo-avant-garde in the European art scene in which light plays a central role. The focus on light in art after 1945 has a connection with the political, social and cultural situation of the post-war period, but this art is not without precursors: Earlier in the twentieth century, artists of the classical avant-gardes already engaged with the medium of light. In the framework of the symposium, the ZERO artists’ treatment of light is to be contextualized and also historically situated.

The conference is being organized by the ZERO foundation Düsseldorf in collaboration with the Institute for Art History at the Heinrich Heine University Düsseldorf within the framework of the graduate program Materiality and Production on 28 June 2012 (

The papers should not be longer than 20 minutes. Please send your proposals for a talk (maximum of 2,000 characters) to:


Cultures of Curating: Curatorial Practices and the Production of Meaning c. 1650-2000

Museums & Galleries History Group

University of Lincoln, UK, July 12 – 13, 2012

Deadline: Feb 1, 2012

While museum history now acknowledges the constructed nature of the museum narrative, and maintains that museum work such as cataloguing, conserving and displaying is not neutral, but actually produces meaning, relatively little work has examined the ways in which curatorial practices have developed, and the specific consequences for museums. Display has attracted most of the work that has been done, but ‘behind the scenes’ activities have not been investigated in such depth. We seek submissions which investigate any aspect of the developing work of the curator, from creating an acquisitions policy, to labelling and documentation, to publicity work, as we wish to explore curating as both craft and profession.

Please send abstracts of no more than 300 words to or Kate Hill at


 “Get In Touch – Objects, Places, People”

Postgraduate Program in Conjunction with the 33rd International Art History Conference (CIHA)

Nuremberg, Germany

July 15-20, 2012

Deadline: February 15


Ritualistic Experience:  The Making and Viewing of Art and Art History

Arizona State University

Tempe, Arizona, March 30th, 2012

Deadline: February 15th, 2012

The Council of Graduate Art Historians in the Herberger Institute for Design and the Arts at Arizona State University will be holding our 6th Annual symposium. We approach this topic from a broad perspective.  We are interested in how cultural rituals not only influence the creation of art but how viewing and studying that art has become a ritual of itself.  With a topic like this, we hope to approach all facets of art history as well as studio art and anthropology.  Additionally, we are interested in how the museum and other public spaces have become locations where the ritual of viewing art has become commonplace in today’s society.

We invite graduate students from a range of disciplines to submit abstracts. For more information, please visit our website,, or email Larissa ScordatoCoGAH President, at


Visual Culture & Politics

Art History Graduate Forum of Georgia State University Annual Visual Culture

Museum of Contemporary Art of Georgia, Atlanta

Sunday, March 18, 2012

Deadline for Abstracts: February 15, 2012

Because visual culture and politics intersect and manifest in a variety of forms and processes, this symposium is eager to bring together papers that span a range of disciplines, methodologies, time periods, and cultures. Papers may choose to approach the intersection of politics and visual culture from a variety of angles, ranging from visual censorship to spatial politics of inclusion and exclusion, to political propaganda, to political developments in arts criticism. We are interested in all aspects of the practice, production, deployment, consumption, reception, and analysis of visual content. We encourage both graduate and undergraduate students from all areas of visual culture studies to submit papers, and welcome all matter of topics: from ancient to contemporary, from local to global, from the built environment, to traditional works of ‘fine art,’ to the everyday object.

Please contact Rachel Chamberlain ( with any questions or concerns.


Dance and Drawing since 1962

International colloquium, University of Geneva, May 31 – June 1, 2012

Deadline: Feb 24, 2012

“I love thinking on my feet. Dance and Drawing since 1962”

Dance and drawing are intimately linked to the gesture that performs them. The dancing body creates a figure in space and leaves an impact on a site, while the action of the artist sets a point into motion and

captures an ephemeral event, later reproduced in graphic or visual form.

Please address abstract and CV in PDF format and by email to the  organizers, Sarah Burkhalter (sarah.burkhalter[at] and  Laurence Schmidlin (laurence.schmidlin[at]


Korea: Art and artistic relations with Europe/Poland

The State Museum of Ethnology

Warsaw, Poland,

October 25 – 27, 2012

Deadline: Apr 30, 2012

The Conference offers an ideal opportunity for scholars from the European Union, South  Korea, the countries of  Asia as well as other parts of the world to meet and exchange ideas and results of their

research on Korean art. Poland has a long-standing tradition of research in Asian studies

The registration forms including short abstracts will be expected by April 30, 2012. They should be sent to: For the form go to

The organizers plan to publish the contributions in a separate conference volume.



Sejour de recherche a Paris

Institut National d’Histoire de l’Art, Paris

January 20 – December 31, 2012

Application deadline: Feb 15, 2012

Pour effectuer un séjour de recherche à Paris durant l’année 2012, l’Institut national d’histoire de l’art (INHA) met à la disposition de chercheurs résidant hors Ile-de-France, deux défraiements de 500 euros (remboursement sur justificatifs).

Pour tout renseignement complémentaire, vous pouvez contacter le secrétariat du Département des études et de la recherche par courrier électronique :


The Chateaubriand Fellowship

Deadline: February 1st, 2012

More information and application:

The Chateaubriand Fellowship Program of the French embassy is intended for PhD students registered in an American university who wish to conduct their research in a French laboratory for a 4 to 10 month period.


Allem Whitehill Clowes Curatorial Fellowship

Curatorial Fellowship, Indianapolis Museum of Art

Indianapolis, IN, September 04, 2012

Application deadline: Mar 30, 2012

The Indianapolis Museum of Art is pleased to announce a nine-month curatorial fellowship. The fellowship supports scholarly research related to the Clowes Collection at the IMA and provides curatorial training in the field of European painting and sculpture.

Please send application materials to:

Ronda Kasl, Senior Curator of Painting and Sculpture before 1800



Spirits of Internationalism:  6 European Collections 1956–1986

M HKA, Antwerp: 19 January–6 May 2012

Van Abbemuseum, Eindhoven: 21 January–29 April 2012

This exhibition takes place simultaneously in two venues and shows art from six European collections: four museums and two artist archives. It presents art made between 1956 and 1986, a period in which artists sought to come to terms with fast economic and technological development and severe international political tension.

For more information and images, please visit: or


Alberto Burri Retrospective 

Estorick Collection, London

Alberto Burri (1915-1995) revolutionised the artistic vocabulary of the post-war art world. During the 1950s his celebration of humble materials such as sacking and tar created a new aesthetic, rich in expressive power, that was later to prove decisive for artists associated with the Arte Povera movement. Despite his importance, this exhibition is the first major retrospective of the artist’s work to be held in the United Kingdom. It offers a comprehensive overview of Burri’s achievement through works spanning four decades: from rare, figurative pieces of the late 1940s to the ground-breaking abstract works for which he is best known.



Perspective 2010/2011-4:  Les Pays-Bas


Tabula Quarterly is an international review of exhibitions and books on art.



A new listserv for German contemporary art & architecture:


A trailer for the new Italian film, Senza Arte Ne Parte featuring some greats from postwar Italian art history.


An interview on radio MACBA about ‘1395 Days without Red’ a cinematic project by Šejla Kamerić and Anri Sala in collaboration with Ari Benjamin Meyers.


Circulaire 9

Dear Friends & Colleagues,

As you may have noted the EPCAF meeting was tweeted by CAA last week, thanks to one of our active members who spread the word. And it was indeed a meeting worth attending.

For all those who missed it here is a little update: we planned on organizing more panels on topics such as German, Italian, & Spanish art in the United States and in Europe. We also decided to try to affiliate ourselves with CAA, so we could have greater visibility and make a real impact on the profession, as well as hold an EPCAF meeting during the CAA annual conferences. In addition, we  envisioned the inauguration of a series of publications and translations. All these are exciting projects, and we are grateful to all of you who came out and contributed with your ideas and enthusiasm.

Also following the meeting, at the urge of some of our members, we launched a Facebook site. You can “like” us here:

Below you can find our usual list of call for papers, conferences, fellowships, & announcements.

Happy Thanksgiving!

Catherine Dossin & Victoria H.F. Scott



The Flaneur Abroad 

University of Nottingham, UK, July 6 – 07, 2012

Deadline: Dec 30, 2011

The Flâneur Abroad: international and historical perspectives on an urban archetype

This conference aims to map some of the flâneur’s travels and transpositions. In doing so, it may be possible to clarify how far the flâneur is dependent on Paris as a milieu.

The conference is intended to be interdisciplinary, bringing together scholars from art history, history, literary studies, film, history of photography, music, historical and cultural geography. Research students are encouraged to offer work in progress papers.

For more information:

Please send proposals (c.250 words) by December 30th 2011 to: Richard Wrigle


Music in Visual Culture and Architecture

Deadline: November 16, 2011

Kunstlicht is a scientific journal dedicated to the visual arts, visual culture and architecture. It is affiliated with VU University Amsterdam’s department of Arts & Culture.

The first issue of Kunstlicht in 2012 focuses on the unique relationship between music, visual arts, visual culture and architecture.

Kunstlicht invites (young) scholars from various disciplines like music, visual art, architecture and design, to submit a proposal for a scientific paper on this topic. Proposals (200-300 words) can be submitted to redactie@tijdschriftkunstlicht.nlThe deadline is November 16, 2011. Selected authors will be asked to write a paper of 2.000-3.000 words (excluding endnotes). The deadline for the first draft is January 6. Proposals and papers may be written in either English or Dutch.

For more information:


Chicago Art Journal: Historiographies of New Media

Department of Art History at the University of Chicago is seeking submissions of original work by graduate students and faculty for its 2011-2012 edition. This year’s issue asks how new media have affected not only the production of art, but also the production of knowledge about art. What is at stake in approaching art history through the concept of new media?

Full papers must follow The Chicago Manual of Style, and should not exceed 4000 words. Each submission should include an abstract of approximately 500 words.

For more information:

Please send submissions to the graduate student editors Solveig Nelson and Stephanie Su at by November 28, 2011


Shift: Graduate Journal of Visual and Material Culture

Shift welcomes academic papers, exhibition and book reviews, as well as discussions concerning other art-related events from current graduate students.

This journal is an online publication. All manuscripts should be sent by email to Papers must be submitted to the editors of Shift by 01 March 2012. The journal launch will take place 01 October 2012.

For more information:



Postgraduate Study in London (Royal College of Arts)

RCA School of Humanities announces call for applications for Postgraduate study with bursaries for Academic Year 2012-13.

Open days are held in November and December, and the priority application deadline is January 2012, although applications are considered throughout the year.

For further details or to book an open day place, visit  or contact


Andrew W. Mellon Curatorial Fellowships at the Art Institute of Chicago

The Art Institute of Chicago is pleased to announce two postdoctoral fellowships, funded by the Andrew W. Mellon Foundation, for outstanding scholars who have recently earned PhDs (or equivalent degrees from foreign universities) and wish to pursue curatorial careers in art museums. These three-year Fellowships will support scholarly research related to the collections and projects of the Art Institute of Chicago and will provide curatorial training.

Apply online at:



POP? International Symposium on the Reception of Pop Art in Belgium (1960 – 1970)

On 1 and 2 December 2011 the Royal Museums of Fine Arts of Belgium organise the international symposium “Pop? On the reception of Pop Art in Belgium (1960-1970)”. At this symposium, internationally renowned lecturers and young researchers will focus on the reception of Pop Art in Belgium and Europe.

Keynote speakers will be Allen Jones (English Pop artist) and  Marco Livingstone (independent curator and writer of many books on Pop art and its leading artists).

For more information:



Fondazione Giorgio e Isa de Chirico

On the occasion of its 25th anniversary, Fondazione Giorgio e Isa de Chirico is pleased to announce the launch of its new website:

The bilingual (English-Italian) website is structured in three main sections dedicated respectively to Giorgio de Chirico, the Foundation and the periodical Metafisica, and offers a wide range of original documents and images, as well as the latest news regarding the life and œuvre of the creator of Metaphysical Art.


Pratiques interculturelles dans les institutions patrimoniales

Cet appel, lancé par le ministère de la culture (département de la recherche, de l’enseignement supérieur et de la technologie) vise à mieux connaître la façon dont les institutions patrimoniales (musées, centres d’archives, bibliothèques, les services patrimoniaux de collectivités locales) prennent en compte la complexité des sociétés contemporaines et les changements culturels mondiaux. Il souhaite développer une démarche partagée entre institutions patrimoniales, laboratoires de recherche, associations et ouvrir de nouveaux champs de recherche en sciences humaines et sociales. Le texte de l’appel à projets de recherche et le formulaire de réponse sont téléchargeables sur le site avant le 20 décembre 2011

For more information:



e-Newspaper covering: “news & views on e-books, libraries, publishing and related topics.”


The Archigram Archival Project 

Makes the work of the seminal architectural group Archigram available free online for public viewing and academic study. The project was run by EXP, an architectural research group at the University of Westminster. It was funded by the Arts and Humanities Research Council and made possible by the members of Archigram and their heirs, who retain copyright of all images.


Circulaire 8

Dear Alles,

We hope that you are having a productive and lively term. Please find below the usual listings of CFPs, new book titles, exhibitions, and conferences.

We would also like to let you know that EPCAF will be hosting its annual meeting at the 2011 SECAC conference in Savannah November 9-12. This will be an opportunity to meet with current and prospective members, and to discuss some new and exciting projects. Even if you cannot attend the Savannah meeting please do not hesitate to share your ideas and suggestions with us.

In addition we will be chairing a panel titled, “European Art & Philosophy after 1945,” and Stéphanie Jeanjean and Raffaele Bedarida are chairing a panel provocatively titled: “With or Without Greenberg: Beyond Anglophone Art History” (for more information, please see below). So the European contingent will be in force.

Yours Sincerely,

Catherine Dossin & Victoria H.F. Scott



Festival de l’histoire de l’art 2e édition

Fontainebleau, 25-27 mai 2012

Deadline: Nov 2, 2011

Le Ministère de la Culture et de la Communication, l’Institut national d’histoire de l’art et le Château de Fontainebleau s’associent pour proposer la deuxième édition du Festival de l’histoire de l’art. Conçu comme un carrefour des publics et des savoirs, ces trois journées offrent conférences, débats, concerts, expositions, projections, lectures et rencontres dans le château et dans plusieurs sites de la ville de Fontainebleau.

Le Festival explore chaque année un thème, en 2012 « voyages », et propose trois rendez-vous annuels : le Forum de l’histoire de l’art, rendez-vous de toute l’actualité du monde des arts ; le Salon du livre et des revues d’art et Art & Caméra, panorama et perspectives sur le film et l’art. Le Festival est aussi l’occasion de propositions pédagogiques pour l’enseignement de l’histoire des arts à l’école, à travers une Université de printemps et des ateliers pédagogiques proposés et soutenus par le Ministère de l’Éducation nationale.

L’ensemble des manifestations est placé sous le regard privilégié d’un pays invité : en 2012, l’Allemagne. Les interventions intégrant des recherches allemandes ou concernant en tout ou partie le domaine allemand seront les bienvenues.

L’appel à communication s’adresse à des chercheurs français et étrangers, de préférence francophones, confirmés ou débutants. Les propositions de jeunes chercheurs, conservateurs ou encore restaurateurs, seront examinées avec une attention particulière.


Academic Culture and International Relations – A Transatlantic Perspective

Amerika-Institut/ Lasky Center for Transatlantic Studies Ludwig-Maximilians Universität, Munich

Deadline: November 11, 2011

More often than not national interests and political ideologies have compromised the integrity of the idealized ‘republic of letters’, still, academic culture continues to be perceived as an international, even transnational sphere. It, therefore, presents a unique space for the study of international relations at the intersection of culture, politics and diplomacy. The conference poses two guiding questions: In what ways has academic culture provided a framework for international politics and/or how and when did universities or scholars become themselves diplomatic agents?

Proposals (500-750 words) accompanied by a short CV may be sent to Charlotte Lerg ( the deadline being Nov.11, 2011. Notification of participation will be given before the end of the year.


Tenth Annual Material Culture Symposium for Emerging Scholars.

Deadline: Wednesday, November 16, 2011.

The Center for Material Culture Studies at the University of Delaware invites submissions for papers to be given at the Tenth Annual Material Culture Symposium for Emerging Scholars.

Object-based research has the potential to expand and even reinvent our understanding of culture and history. In honor of the tenth anniversary of the MCSES, we seek a broad range of papers from emerging material culture scholars. Whether exploring the latest theories, viewing existing material through a new lens, or reinterpreting standing historical conversations with an object-based focus, proposed papers should exemplify the possibilities in material culture research. In exploring these material matters, we hope to promote an interdisciplinary discussion on the state of material culture studies today.

More information can be found online:


Beyond Borders: The Impact of Cultural Exchange in Art History

The University of Cambridge Graduate Student Conference in History of Art, May 10-11, 2012

Deadline: December, 1 2011

The conference will address cross-cultural influences within thenvarious art disciplines over a far-reaching geographical and chronological spectrum. The aim of the conference is to provide, and promote, an interdisciplinary forum for scholars investigating issues that may include, but are not limited to Museum studies (ownership of art and repatriation issues); Artistic influences (appropriation of styles or motifs from other cultures); Topography, travel, exploration, colonization; To changing taste and collecting/patronage; Cross-cultural influences as expressed in various media.

Each presentation will be 20 minutes long with an additional 10 minutes reserved for questions and discussion. The sessions will be chaired by senior scholars within the University of Cambridge History of Art Department. We plan to pursue the possibility of publishing papers from the conference in a book of proceedings. Please email for further information regarding the conference, or to submit a 300-word abstract and a CV of maximum one page in length by the 1st of December 2011.


10th Annual LSE-GWU-UCSB Graduate Conference on the Cold War

London School of Economics, April, 19-21 2012

Deadline: December 15, 2011

ALA LHRT Research Forum – Intellectual Freedom and Libraries in America and Abroad : Historical Perspectives. The Library History Round Table (LHRT) of the American Library Association invites submissions of scholarly papers related to the history of intellectual freedom as evidenced in the concerns and actions of libraries, librarians, and library associations. Subjects may include historical studies of events, movements, individuals or groups (i.e. librarians, library associations, library educators, library supporters) pertaining to censorship, banned books, freedom of information, freedom to read, the Library Bill of Rights, and related topics.

For more information:


1st. International Congress for Young Researchers in the Humanities

Universitat Pompeu Fabra Campus Ciutadella, Barcelona, April 18 – 20, 2012

Deadline: December 31, 2011

Journal Forma, University Institute of Culture (IUC) and the Department of Humanities are hosting the 1st. INTERNATIONAL CONGRESS FOR YOUNG RESEARCHERS IN THE HUMANITIES, which will take place in April 2012 at the Campus Ciutadella in the Pompeu Fabra University (Barcelona, Spain). This event intents to set a space in which students and scholars starting their research in the Humanities will be able to contrast their results, methodologies and points of question.

The Scientific Board invites everyone who shares these academic interests to send their proposal in 250 words, and a CV of ca. 100 words, written in English or any Romanic language. Submissions will be received by December 30th 2011 and sent to the following mailbox:


The birth of art criticism Art History Supplement (Online Journal)

Deadline 25 November 2011.

This is an open call for papers for the fifth Art History Supplement (AHS) issue. The proposed theme, but not limited to, is “The birth of art criticism.”

What’s the difference between art history and art criticism? When did art criticism start as a practise, as a concept, as an academic field of studies? An answer could clearly be along with the art. More, almost every “country” (represented by art historians in this case) for almost the same any reasons could promote a starting point for (both art and) art criticism. What are these reasons and which starting point can be linked to a certain art historian, how and why?

AHS publishes material, dealing with all time periods and/or methodologies, media (incl. cinema, photography, music), techniques, debates within the field of art history. Contributions to AHS from any other science or discipline (humanitarian or not) corresponding to visual culture or representations of it are more than welcome. Refer to the new Art Histories Society website ( for more information



Utopia II: Russian Art and Culture 1930-89

The Courtauld Institute of Art, London, November 25 – 26, 2011

Following in the footsteps of the conference Utopia I: Russian Art and Culture in 1900-1930 – held at The Courtauld Institute of Art in May 2011 – UTOPIA II is designed as a chronological extension of the themes and topics raised by the notion of utopia as a specifically Russian construct. The period covered in the papers of the conference – from 1930s until 1989 – will span the final half-century of the Soviet regime. Intended as a broad interdisciplinary project, the conference will investigate Soviet notions of utopia and dystopia, through social, artistic, literary  and ideological intersections. Potential subjects to be examined in the context of Utopia in Russian art and culture include: philosophy, painting, architecture, town planning, theatre, music, literature, and cinema.


With or Without C. Greenberg: Beyond Anglophone Art History

Chairs: Raffaele Bedarida, The Graduate Center, CUNY; Stéphanie Jeanjean, The Graduate Center, CUNY

2011 SECAC Conference, Savannah, November 9-12, 2011

Adrian R. Duran, Memphis College of Art

The Same, Only Different: (Greenbergian?) Binarism in Post-War Italy

Catherine Dossin, Purdue University

Without Greenberg: The French Reception of Abstract Expressionism, 1948-1959

Davide Lacagnina, Università degli Studi di Siena

A Transatlantic Smash: Joan Miró Between Clement Greenberg (1948) and Juan-Eduardo Cirlot (1949)

Raffaele Bedarida, The Graduate Center, CUNY

The Politics of Italian Kitsch in the 1960s

Riccardo Venturi, George Washington University

Minimalia as a Threat to Modernism. On the Absence of Greenberg in Italian Post-War Debate


European Art and Philosophy since 1945

Chairs: Catherine Dossin, Purdue University; Victoria H. F. Scott, Emory University

2011 SECAC Conference, Savannah, November 9-12, 2011

Emmanuel Guy, Université Paris 13 & 10/Bibliothèque Nationale de France

Dépassement de l’art, Réalisation de la Philosophie: Guy Debord and the Revolution of Everyday Life

Rosemary OʼNeill, Parsons The New School for Design

Claude Viallat and Marcelin Pleynet: Thinking About Painting as a System and Site

Laura Moure Cecchini, Duke University

Vincenzo Agnetti and the Italian Response to Consumer Society: “Zeroing” as Aesthetic Alienation

Ruth Erickson, University of Pennsylvania/Centre Georges Pompidou

Social Theory/Social Practice: The Sociological Art Collective in 1970s France

Paula Carabell, Florida Atlantic University

Thomas Struthʼs Unconscious Places

Arnaud Gerspacher, The Graduate Center, CUNY

Grace Notes: Artur Żmijewski’s Singing Lesson



The Indiscipline of Painting is an international group exhibition including works by forty-nine artists from the 1960s to now. Selected by British painter Daniel Sturgis, it considers how the languages of abstraction have remained urgent, relevant and critical as they have been revisited and reinvented by subsequent generations of artists over the last 50 years. It goes on to demonstrate the way in which the history and legacy of abstract painting continues to inspire artists working today.



Clement Greenberg. L’avventura del modernism.

A cura di Giuseppe Di Salvatore – Luigi Fassi

Clement Greenberg (1909-1994) è unanimemente riconosciuto come il più autorevole critico d’arte americano del XX secolo. La sua attività critica ha inizio nel 1939 con il celebre articolo Avangard and Kitsch, pubblicato in Partisan Review, nel quale Greenberg delinea il percorso innovativo del suo pensiero, incentrato su una riformulazione del Modernismo storico e, al contempo, sull’entusiastico accoglimento dell’Espressionismo astratto newyorkese.


Guerra, monumenti, ricostruzione Architetture e centri storici italiani nel secondo conflitto mondiale.

A cura di Lorenzo De Stefani, Carlotta Coccoli

Il volume raccoglie gli esiti della ricerca PRIN finanziata dal Ministero dell’Università e della ricerca scientifica Danni bellici e restauro. Opere di difesa, pratiche d’intervento edilizio e urbano nel secondo dopoguerra che ha visto il contributo di docenti universitari e studiosi in collaborazione tra le Facoltà di Architettura e società (Politecnico di Milano), Facoltà di Architettura (Università degli studi di Napoli “Federico II”), Facoltà di Ingegneria (Università degli studi di Brescia), Facoltà di Architettura (Politecnico di Torino), Facoltà di Architettura (Università Iuav di Venezia). In oltre cinquanta saggi sono affrontate le questioni relative all’impostazione teorica in tema di restauro architettonico alla data del conflitto e la loro evoluzione a fronte delle vicende belliche e dell’entità dei danni, sulla scorta della disamina della pubblicistica di settore (in particolare mediante un capillare spoglio dei contributi apparsi su riviste e periodici) non mancando di approfondire le ricadute imposte dalla complessiva politica economica adottata nella ricostruzione postbellica.


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Dear Friends & Colleagues,

Welcome back! We hope that your semester has got off to a swashbuckling start!

Over the summer we have been updating and transforming the EPCAF website. We invite you to take a look, and see if there is any additional information you think we should add:
And please, share EPCAFcentral with colleagues, students, librarians, and anyone else who might be interested.

We have a few exciting projects coming up in the next few months, but for the time being find below some calls for papers, new publications, and diverse announcements. Remember to send us any information you would like us to include in the next circulaire. Don’t be shy if you have a new publication you would like to share with the EPCAF group.


Catherine Dossin & Victoria H.F. Scott



East-West Cultural Exchanges and the Cold War

International conference in the University of Jyväskylä Finland

Thursday 14– Saturday 16 June 2012.

The deadline for proposals is 1 December 2011.

Call for papers available at


POP?  International Symposium on the Reception of Pop Art in Belgium 

(1960 – 1970)

Royal Museums of Fine Arts of Belgium and Vrije University Brussels

Thursday 1- Friday 2, 2011

The deadline for submission is 21 October 2011.

Call for papers available at



Paris Unraveled: The Student’s Guide to Living and Studying in France 

A new e-book and community for Anglophone students studying abroad. Paris Unraveled offers information on everything from the administrative procedures of coming to France to job and internship opportunities and events for students.


Ellipsis: An Undergraduate Journal

Ellipsis… is a new online, peer reviewed journal for undergraduate research in the Humanities It invites scholarly original research and narratives on the research process from all branches of the Humanities to be submitted for consideration. Ellipsis… seeks to engage Undergraduates in research and provide a place to share their findings in an interdisciplinary setting.

For submission guidelines:


Michael Fried, Four Honest Outlaws: Sala, Ray, Marioni, Gordon

Fried’s new book addresses two European contemporary artists:


Stephanie Jeanjean, “Disobedient Video in France in the 1970s: Video Production by Women’s CollectivesAfterall, Summer 2011



Museum of Parallel Narratives: In the Framework of L’Internationale

14 May–2 October 2011

MACBA, Barcelona

The exhibition Museum of Parallel Narratives presents a selection of works from the Arteast 2000+ Collection of the Moderna galerija in Ljubljana, the first-ever collection of postwar avant-garde Eastern European art, and seeks to discover what sort of art system, if any, accompanied the production, presentation and musealisation of these artworks.


 A chacun son réel: Research Seminar

The project “To each his own reality” – ERC Starting Grant is pleased to invited you to its next seminar on September, 29 at 5pm at the Centre allemand d’histoire de l’art,10 place des Victoires 75002 Paris. It will feature Antje Kramer, maître de conférences en histoire de l’art contemporain à l’Université Rennes II, who will talk about “Les visions du réel au sein du Nouveau Réalisme,” and Marta Dziewanska, conservateur et responsable des publications, Musée d’Art Moderne de Varsovie, who will present her research on “Alina Szapocznikow: Sculpter le ‘réel’.”

For more information:


Google Groups for Scholars in Europe

Google Groups that serve English-language scholars doing work in Europe. The group are conceived as a message board to facilitate the logistics of coming to and living in Paris as a scholar. If you would like to join the groups, please visit the groups’ homepages:

Paris Group:

Berlin Group:


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Dear Friends & Colleagues,

Please find below calls for papers, conference listings, exhibition announcements, some videos, and other miscellaneous information like apartment listings for those of you heading to Paris.

We wish you all the best for the end of the semester.


Catherine Dossin & Victoria H.F. Scott



Reminder deadline is on May 2

Avant ’68: France and the Transnational Flow of

Culture in the “Long Sixties”

Noit Banai, Tufts University; and Hannah Feldman, Northwestern University; and

This session considers aesthetic practices in France between 1954 and 1972 as constitutive components of the “Long Sixties,” a global period of immense social, political, and economic transformations. We seek papers examining relationships between lesser-known art of the French Long Sixties and new sociopolitical paradigms, theories, and models that informed the global events of 1968 in order to complicate dominant narratives about French culture within a more fluid exchange between local and global phenomena. How did specific objects, spaces, images, performances, films, and sound represent the French public in relation to other communal, national, and transnational configurations; negotiate the intensification of consumption and globalized investment, urban- and suburbanization; or elaborate alternative iterations of power, inclusion, and exclusion? Analyses of display, access, distribution, reception, mediation, and circulation are welcome, as are methodological and theoretical frameworks for articulating similarities and differences between art production in France and other transformative practices across the globe.



Donna Gustafson, Zimmerli Art Museum, Rutgers University; and Jacquelynn Baas, independent scholar; and

Fifty years after the first Fluxus festivals in Europe, Fluxus has transformed from a radically avant-garde, intermedia association of artists, musicians, poets, and performers into an art movement represented in archives and collections including the Getty Research Institute, Harvard University Art Museums, the Hood Museum at Dartmouth, the Museum of Modern Art, and the Walker Art Center. Numerous exhibitions, catalogues, and books have attempted to codify wide-ranging Fluxus practice. How has Fluxus fared in this transformation, and how has Fluxus instigated change in the academic and art museum communities? This session proposes a re-view of Fluxus and the process of its absorption by art history and museum practice. We seek papers that address the poetic and political definitions of Fluxus, the legacy of George Maciunas and the continuation of Fluxus activities after Maciunas’s death, the institutional challenges presented by Fluxus objects and ideologies, and the continuing relevance or irrelevance of Fluxus in the twenty first century.


Sigmar Polke: (Art) History of Everything?

Charles W. Haxthausen, Williams College; and Marcelle Polednik, Monterey Museum of Art; and

In a career spanning nearly half a century, the German artist Sigmar Polke unsettled many of the traditional concepts and categories that art historians work with—style, medium, the binary oppositions subject/object, art/nature, painting/photography, even the status of the art object as a stable and discrete visual and physical entity. With his death in June 2010, Polke has now become historical, but his sprawling polymorphous oeuvre remains a challenge to the writing of art history that is as pressing as before. The drolly absurd title of Polke’s two-part painting History of Everything I and II (2002) aptly captures the teeming messiness of his oeuvre and suggests the virtual futility of encompassing it within the discursive frame of art history. This panel, which invites papers dealing with various aspects of Polke’s production, is intended to provide a forum to address this challenge.


Pop and Politics

Allison Unruh and Kalliopi Minioudaki, independent scholars, and

Pop art has been variously celebrated and derided for its focus on surface, too often at the cost of overlooking its critical content. The infamous “cool” of American Pop has been read as an expression of an inherently passive consumer position, limiting the way that such work can be seen as having meaningful political resonance. Although Pop’s political dimensions have been more easily acknowledged in other national contexts, a number of studies have foregrounded the criticality of Pop. This session promotes analysis of previously overlooked intersections of Pop and politics in varied international manifestations and forges new ways of thinking about the political in the context of Pop. We invite a range of approaches, from studies of individual works of art, artists, or national contexts to critical investigations of the historiography of Pop. Topics may address how cold war politics, civil rights struggles, decolonization, the Cuban revolution, student protests, and gender and sexuality are imbricated in Pop art and its discourses.



Transatlantic Dialogues in the History of Art
Paris, May 12–13, 2011 

Reprising the theme Transatlantic Dialogues in the History of Art, these ‘journées d’études’ will bring together a range of American and European scholars, both junior and senior, working on diverse aspects of American art and culture. The event, organized by Jody Patterson, Terra post-doctoral fellow at Université Paris Ouest for the joint program in 2010-2011, will provide a forum for a series of presentations and discussions on current research and methodologies with the aim of fostering dialogues around the ways in which both art and its histories are traversed by cross-cultural exchanges.


1ère édition du Festival national de l’histoire de l’art
Fontainbleau, May 27-29, 2011

Cette première édition sera consacrée à la Folie. Le festival marquera le 500e anniversaire de la parution de L’Éloge de la folie d’Érasme, parallèlement aux célébrations organisées par l’UNESCO, ainsi que le 50e anniversaire de la parution de L’Histoire de la folie à l’âge classique de Michel Foucault. Au cœur du mythe occidental de la création, le thème de la folie sera exploré selon trois directions : le créateur fou (revendiqué ou jugé comme tel) ; l’œuvre insensée, hors normes ; l’iconographie de la folie et le regard de l’artiste sur la folie du monde. Outre les conférences, débats et tables rondes, des ateliers originaux, intitulés « L’œuvre d’art au crible des regards », présenteront une même œuvre interprétée par trois regards différents, témoignant de la diversité des approches et des différentes méthodes et techniques d’analyse des œuvres d’art.




FelixArt Museum, Belgium, May-June 2011

Le premier avant-gardiste belge à utiliser la technique du collage fut Paul Joostens (Anvers, 1889 -1960). L’exposition ‘Paul Joostens : les collages’ offre un aperçu de son art collagiste : de ses premières œuvres cubistes et dadaïstes (années ’20) à ses œuvres ‘gotique-surréalistes’ plus tardives (1937-1958). Nous souhaitons ainsi rendre hommage à un des artistes belges les plus individualistes et polyvalents de la première moitié du 20e siècle.


Moderns: Painting in Estonia before Glasnost

Zimmerli Art Museum, Rutgers, The State University

Estonia became an important center for underground art in the late 1960s. Turning to painting, artists reclaimed this medium from official Soviet Realism, reviving the European, painterly origins of Estonia’s avant-garde past. Painting constituted a laboratory for artists to reject or assimilate contemporary trends from the West. They adapted Pop, Conceptualism,

hard-edge abstraction, and Minimalism to a unique culture of nationalist

opposition to Soviet power.

Moderns: Painting in Estonia before Glasnost, curated by Dodge Lawrence Fellow Jeremy Canwell, draws on rarely-seen works from the museum’s Dodge Collection of Soviet Nonconformist Art.



Serge Guilbaut: Is the War Over?

The author of the book De cómo Nueva York robó a París la idea de arte modern (Madrid, 1990) and the curator of the exhibitionBajo la bomba: el jazz de la guerra de imágenes transatlantic, 1946-1956 (MACBA and Museo Reina Sofía, 2007) talks about the new post-war scenario in dispute, in which there is a convergence of realism, abstraction and traces of an historical avant-garde that shows clear signs of exhaustion.

Related exhibitions:

Is the war over? Art in a divided world. Collection 1945-1968

Related publications:

Jesús Carrillo; Rosario Peiró (eds.).Is the war over? Art in a divided world.


Andreas Huyssen on modernism and postmodernism

Structured around various core ideas, this interview with the author of the book Modernismo después de la postmodernidad (2011) shows the dilemmas arising between a revision of the melancholic and contemplative past, returned in the form of the architectural memorial, and a critical reading from the museum, in which history and memory are confronted. Huyssen discusses the foundations of a new modernism, which has future prospects and projects but lacks a geographical centre and power hierarchies.



New Book

Elizabeth Campbell Karlsgodt, Defending National Treasures: French Art and Heritage under Vichy (Stanford University Press, ISBN 9780804770187, cloth $60). Discusses continuities in French preservation policy from Vichy to the postwar period, particularly with regard to “ownerless” works of ar from Jewish collections.

You can find a summary, review and the table of contents on the SUP web site, .

See also her newly created cultural property blog at<>.


Apartment in Paris

One of our members, who was awarded a Smithsonian Research Fellowship, is trying to sublet her Parisian apartment for the summer. The apartment is 30 square-meter, with a living room, one bedroom, a small bathroom and an independent kitchen, fully equipped (oven, microwave oven, washing machine, etc.). It is located in the center of Paris, in the Marais district, in a calm and beautiful art-gallery neighborhood (metro: Saint-Sébastien Froissart).

The apartment will be available from June 1st to the end of September. The price is 900euros per month. This includes all facilities (water, electricity, and wireless internet).



Circulaire 5

Dear Friends & Colleagues,

We hope you are enjoying the first days of sun. Along with the spring blossoms we offer you a few calls for papers, conference and exhibition announcements, and some miscellaneous information regarding jobs and travel. If you have any information you would like to share, interesting new publications and/or events,  please don’t hesitate to send them. Likewise if you have questions or comments send them along!


Catherine Dossin & Victoria H.F. Scott



L’Art contemporain et la Côte d’Azur – Un territoire pour l’expérimentation, 1951-2011

Organisé en partenariat par l’Université de Nice Sophia- Antipolis et l’association l’Art contemporain et la Côte d’Azur

September 29,- October 1, 2011

Deadline: March 31 2011

Contact : colloque.acetca


The Inconvenient Politics of Modern European Artists and Writers

Modernist Studies Association conference, Buffalo, NY

October 6-9, 2011

Deadline: 2011-04-07



With or Without C. Greenberg: Beyond Anglophone Art History

The Southeastern College Art Conference (SECAC) Savannah, Georgia

November 9-12, 2011, in 

Deadline: April 20, 2011



European Art and Philosophy since 1945

The Southeastern College Art Conference (SECAC) Savannah, Georgia

November 9-12, 2011, in 

Deadline: April 20, 2011




Art Across Frontiers: Cross-Cultural Encounters in America

An international symposium funded by the Terra Foundation for American Art

University of Nottingham, University Park, 27-28 April 2011


French Theory : réception dans les arts visuels aux États-Unis entre 1965 et 1995

11-14 mai 2011

Bozar – Wiels, Bruxelles\




is happy to announce that these two outstanding artists will again work together at the occasion of their show ERRÓ / JEAN-JACQUES LEBEL 1955–2011, opening on Friday March 18, 2011 at 7 p.m.


Blinky Palermo: Retrospective 1964-1977

at the Hirshhorn, February 24, 2011 to May 15, 2011



Lectureship in History of Art

Modern and/or contemporary field (1900-the present)

University of York – Department of History of Art


Travel to Paris

short term apartment for rent in Paris


Movies and French History

Film and Fiction for French Historians: A Cultural Bulletin.


Circulaire 4

Dear Friends & Colleagues,

We are thrilled to announce that EPCAF will have a strong presence at the 2011 Southeastern College Art Conference, which will take place from November 9th to 12th in Savannah, Georgia. This conference devoted to text and texture will be hosted by the Savannah College of Art and Design.

There will first be two sessions on postwar European Art: “Without or Without C. Greenberg: Beyond Anglophone Art History,” organized by Stéphanie Jeanjean and Raffaele Bedarida, and “European Art and Philosophy since 1945” we are putting together.

There will also be an EPCAF meeting that would allow us to discuss the state and future of our project.

We encourage you to submit proposals. Please circulate the calls for papers listed below. You can also access them and all the others on the SECAC website:

We are still working on the bibliographies and lists of dissertations and continue to welcome your contributions. You can also send us any information you would like to share. For instance, you can send us abstracts of your publications, or summaries of events you are organizing or attended (exhibitions, conferences, lectures, etc.).

Very best wishes,

Catherine Dossin & Victoria H.F. Scott



With or Without C. Greenberg: Beyond Anglophone Art History

Post-World War II Anglo-American art criticism and history have been articulated around Clement

Greenberg’s Formalism and the reactions it provoked in the following decades. This has especially helped formulating concepts of Modernism in the 1950s and 60s and Post-Modernism in the 1970s and 80s as they have been applied to Western Art History. However, beyond the Anglophone world, Greenberg’s reception was neither immediate nor uniform. His influential collection of essays, Art and Culture, released in English in 1961, for example, became available much later or never in other languages – 1988 in French; 1991 in Italian; 2002 in Spanish, etc. The result was either a postponed reception of his oeuvre or a total disregard for his principles, which caused non-Greenbergian interpretations of post-war art movements such as Abstract Expressionism, and eventually brought to different formulations of Post-Modernism. We welcome proposals that, by studying the causes, modality, or consequences of this phenomenon, address the topic of the absence of Greenberg in the construction of Modernist and Post-modernist art historical narratives outside the Anglophone world. This might include examples beyond Europe and the Western world.

Stéphanie Jeanjean and Raffaele Bedarida, The Graduate Center, CUNY, New York,,


European Art and Philosophy since 1945

As part of the 2011 SECAC Annual Conference devoted to text and texture, this panel proposes to consider parallel developments in European art and philosophy since 1945. We wish to examine the exchanges that took place between European thinkers and artists who were products of similar zeitgeist and often belonged to the same social and cultural circles. Our objective is to highlight the multiple ways their intellectual and artistic creations echoed and/or influenced one another. We believe that critical analyses of the direct interactions between postwar European artists and philosophers can lead to a more nuanced understanding of the artistic and philosophical landscape of the period and thereby advance both art history and philosophy.   We welcome presentations that address the dynamic relationships between European art and philosophy in all their varied aspects.
Papers might proceed along three axes of investigation: examination of European thinkers’ writings on European artists (i.e. Sartre writing on Wols, Eco on Morandi, Deleuze on Bacon, etc.); discussion of European artistic practices informed by European thinkers (i.e. Cobra and Gaston Bachelard, the Situationists and Walter Benjamin, Joseph Beuys and Rudolf Steiner, Rachel Whiteread and Melanie Klein, etc.); and finally, propositions of heuristic correlations between European theories such as the Frankfurt School, Post-structuralism, or Relational Aesthetics with contemporary European visual arts.
Catherine Dossin and Victoria H.F. Scott, Purdue University (Dossin), Virginia Commonwealth University (Scott);,

Send a 200-word (maximum) proposal to the panel chairs using the form found on the SECAC website by April 20, 2011


Circulaire 3

Dear Friends & Colleagues,

Happy New Year!

We are delighted to announce that EPCAF now has more than 80 members from all over Europe, North America, as well as Taiwan and Israel. We are committed to continuing to reach out to scholars around the globe. Attached is an invitation letter, please send it along to whoever you think might be interested in learning about our project, joining the group, or simply visiting the website.


Update: Dissertations

We have recently added new listings for dissertations in Spain (Barcelona) & the Netherlands, and are now working on creating a list for German dissertations. If you have not yet had a chance to look at the dissertation section of the website, we encourage you to do so. It is fascinating to compare and contrast what people are working on around the world:

We would love to expand this section further. However, we have not yet found the search engines that would enable us to do so. If you know them, please pass along the information. We do not claim that these lists are exhaustive. We try but the search engines do not provide perfect results. If you are interested in a particular topic, you may want to conduct your own search using the links we have provided. And if you know or discover a dissertation we have missed, send it to us and we will add it.


Update: Bibliographies

We have also posted bibliographies for Belgium, France, Italy & Germany. We thank everyone who sent us their comments and suggestions. We would particularly like to extend our thanks to Adrian Duran and Antje K. Gamble for their help with the Italian bibliography.

Of course, the posted bibliographies are not definite yet and we invite you to look at them, to see if there are any titles we should add. We would also love to create bibliographies for other countries, such as, England, the Netherlands, Poland, Spain, Portugal etc. So if you have a working bibliography or just a title, on any European country, please share them.


Update: Journals & News

If you visit the website, you will see that we have expanded and organized the Journal and News section. We are grateful to those who sent us titles of European publications and look forward to receiving your suggestions for additional titles.



Catherine Dossin & Victoria H.F. Scott


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Dear Friends & Colleagues,

Please find below some updated bibliographies and information about conferences and calls for papers. Don’t forget to look at EPCAF Central as we are constantly adding new resources.

All our best for the end of term & the holidays.


Catherine Dossin & Victoria H.F. Scott


Thank you for your suggestions and comments, here are the updated bibliographies for Belgium, France, Germany, and Italy. When you have a chance, please look them over and tell us what you think. These bibliographies are intended to serve as general references on the visual arts of that period in different countries. As a result, they do not feature books on specific artists. This is something we can work on in the future. For the time being, instead, we would like to start bibliographies for other countries, like England, Spain, or Poland for example. So if you have bibliographies or just a few titles at hand, please send them along.

Postwar & Contemporary art in Belgium

Decker, Anny De, and Bernd Lohaus. Wide White Space: achter het museum = derrière le musée, 1966-1976. Düsseldorf: Richter Verlag, 1994.

Eemans, Marc. L’art vivant en Belgique. Bruxelles: Meddens, 1972.

Elias, Willem, ed. Aspects of Belgian art after 1945, Part I. Ghent: Uitgeverij Snoeck Editions, 2005.

Geirlandt, Karel J., ed. L’art en Belgique depuis 45. Antwerpen: Fonds Mercator, 1983.

Geirlandt, Karel J., ed. Un demi-siècle d’expositions au Palais des Beaux-Arts. Bruxelles: La socièté des expositions au Palais des Beaux-Arts, 1981.

Heman, Suzanna, Jurrie Poot, and Hripsime Visser, eds. Conceptual art in the Netherlands and Belgium, 1965-1975 – Artists, Collectors, Galleries, Exhibitions, Events. Amsterdam: Stedelijk Museum/NAi Publishers, 2002.

Langui, Emile. Expressionism in Belgium. Translated by Alistair Kennedy. Brussels: Laconti, 1971.

Mertens, Phil. La Jeune Peinture Belge, 1945-1948. Bruxelles: Laconti, 1975.

Pagé, Suzanne, ed. L’art en Belgique: Flandre et Wallonie au XXe siècle, un point de vue. Paris Musée d’Art Moderne de la Ville de Paris, 1991.

Palmer, Michael. D’Alechinsky à Panamarenko: Art belge, 1940-2000 Bruxelles: Editions Racine, 2002.

Pas, Johan. The Middelheim collection. Amsterdam Ludion, 2010.

Theys, Hans, ed. Mo(u)vements: kunstenaarsbewegingen in België van 1880 tot 2000 = Mouvements d’artistes en Belgique de 1880 à 2000 Antwerpen: Koninklijk Museum voor Schone Kunsten; NICC, 2000.

Postwar & Contemporary Art in France

Adamson, Natalie. Painting, Politics and the Struggle for the École de Paris, 1944-1964.    London: Ashgate, 2009.

Ameline, Jean-Paul, and Benedicte Ajac, eds. Figuration Narrative, Paris 1960-1972. Paris: RMN & Centre Georges Pompidou, 2008.

Carrein, Catherine, Catherine Morlet, and Bernard Ceysson. L’Ecole de Paris? 1945-1964. Paris: Musée national d’histoire et d’art du Luxembourg/Adagp, 1998.

Carrick, Jill. Nouveau Réalisme, 1960s France, and the Neo-avantgarde: Topographies of Chance and Return. London: Ashgate, 2010.

Chalumeau, Jean-Luc. La Nouvelle Figuration: Une histoire de 1953 à nos jours. Paris: Editions Cercle d’Art, 2003.

Chevalier, Louis. The Assassination of Paris. London: University of Chicago Press, 1994.

DeRoo, Rebecca. The museum establishment and contemporary art: the politics of artistic display in France after 1968. London: Cambridge University Press, 2006.

Dorléac, Laurence Bertrand, ed. Art of the Defeat, France 1940-1944. Los Angeles: The Getty Research Institute, 2008.

Grinfeder, Marie-Helene. Les années Supports-Surfaces 1965-1990. Paris: Hersher, 1991.

Hulten, Pontus, ed. Paris-Paris, 1937-1957 – Création en France. Paris: Centre Georges Pompidou, 1981.

L’Envolée Lyrique, Paris 1945-1956. Paris: Musée du Luxemburg, Skira, 2006.

McDonough, Tom, ed. Guy Debord and the Situationist International: Texts and Documents. Cambridge, Mass. : MIT Press, 2002.

Morris, Frances, ed. Paris Postwar: Art and Existentialism. London: Tate Gallery, 1993.

Moulin, Raymonde. Le Marche de la peinture en France. Paris: Editions de Minuit, 1967.

Perrier, Daniele, Peter Ludwig, and Bernard Larmarche-Vadel. Atelier de France: Art de France depuis 1950. Koblenz: Ludwig Museum in Deutschheerenhaus, 1992.

Ragon, Michel. Cinquante ans d’art vivant – Chronique vécue de la peinture et de la sculpture, 1950-2000. Paris: Fayard, 2001.

Restany, Pierre. Le Nouveau Réalisme. Paris: Union Générale d’Éditions, 1978.

Wilson, Sarah. La rencontre philsophique, autour de la figuration  narrative/Art and Theory: The Secret History Narrative Figuration. Pairs: Cercle d’Art / Yale University Press, 2009-10.

Postwar & Contemporary art in Germany

Adriani, Götz, ed. Obsessive Malerei: Ein Rueckblick auf die Neuen Wilden. Karlsruhe: Museum für neue Kunst/Hatje Cantz, 2003.

Barron Stephanie & Sabine Eckmann, ed.s Art of Two Germanys: Cold War Cultures, cat, exhibition ed.s Stephanie Barron & Eckhart Gillen. New York: Abrams, 2009.

Belting, Hans. The Germans and their Art: a Troublesome Relationship. New Haven; London: Yale University Press, 1993.

Bolle, Michael, and Eva Zuchner. Stationen der Moderne: Die Bedeutenden Kunstaustellungen des 20 Jahrhundert in Deutschland. Berlin: Berlinishe Galerie, 1989.

Faust, Wolfgang Max, and Gerd de Vries. Hunger nach Bildern: deutsche Malerei der Gegenwart. Cologne: Dumont, 1982.

Herbel, Yule F. Reconstructing the Subject: Modernist Painting in Western Germany. Princetown: Princetown University Press, 1995.

Hermand, Jost. “Modernism Restored: West German Painting in the 1950s.” New German Critique, Spring – Summer 1984, 23-41.

Herzogenrath, Wolf, and Gabriele Lueg, eds. Die 60er Jahre Kölns Weg zur Kunstmetropole: vom Happening zum Kunstmarkt. Cologne: Kolinsher Kunstverein, 1986.

Historishes Archiv der Stadt Köln. Intermedial – Kontrovers- Experimentell: Das Atelier Mary Bauermeister in Köln 1960-62. Cologne: Emons Verlag, 1993.

Kuhn, Annette. Zero: Eine Avantgarde der sechziger Jarhe. Frankfurt am Main: Propylaën Verlag, 1991.

Otten, Marie-Louise, ed. Auf dem Weg zur Avantgarde: Kunstler der Gruppe 53. Rattingen: Museum der Stadt Rattingen, 2003.

Pagé, Suzanne. Art Allemagne Aujourd’hui: Différents aspects de l’art actuel en République Fédérale d’Allemagne. Paris: ARC Musée d’art moderne de la ville de Paris, 1981.

Ruhrberg, Karl, ed. Alfred Schmela Galerist: Galerist-Wegbereiter der Avantgarde. Cologne: Wienand Verlag, 1996.

Thomas, Rudiger, ed. Klopfzeichen: Kunst und Kultur der 80er Jahre in Deutschland. Leipzig: Museum der Bildenden Künste Leipzig/Verlag Faber and Faber, 2002.


Postwar  & Contemporary Art in Italy

Adamson, Walter L. “The Culture of Italian Fascism and the Fascist Crisis of Modernity: The Case of il Selvaggio.” Journal of Contemporary History 30, no. 4 (1995): 555-75.

Bonami, F. Italics: Italian art between tradition and revolution, 1968-2008. Milan : Electa, 2008.

Bonasegale Pittei, G. Forma 1 e i suoi artisti, 1947-1997. Roma : Argos, 1998.

Bonito Oliva, A. Avanguardia, transavanguardia. Milano : Electa, 1982.

Bonito Oliva, A. The Italian Trans-avantgarde. Milan: Giancarlo Politi Editore, 1980.

Bonito Oliva, A. Minimalia: an Italian vision in 20th-century art. Milan : Electa, 1999.

Bowler, Anne. “Politics as Art: Italian Futurism and Fascism.” Theory and Society 20, no. 6 (1991): 763-94.

Braun, E. Italian art in the 20th century: painting and sculpture, 1900-1988. Munich : London, Prestel-Verlag ; Royal Academy of Arts, 1989.

Caramel, Luciano, ed. MAC: Movimento Arte Concreta 1948-1958. [Attraverso le avanguardie-33] ex. cat. Parma, Galleria d’Arte Niccoli 2 marzo – 4 maggio 1996. Firenze & Siena: maschietto + mugolino, 1996.

Carrieri, Raffaele. Avant-Garde Painting and Sculpture in Italy (1890-1955) Milan, 1955.

Celant, Germano, ed. L’identité Italienne : l’art en Italie depuis 1959. Paris: Centre Georges Pompidou, 1981.

Celant, G. Arte povera = Art povera. Milano : Electa, 1985.

Celant, G. Madly in love: the Luigi and Peppino Agrati Collection. Milano : New York, Skira ; Distributed in North America and Latin America by Rizzoli International, 2002.

Celant, G. The European iceberg: creativity in Germany and Italy today. New York : Rizzoli, 1985.

Celant, G. Roma-New York, 1948-1964: an art exploration. Milano: Charta, 1993.

Celant, G. The Italian metamorphosis, 1943-1968. New York: Guggenheim Museum Publications, 1994.

Christov-Bakargiev, Carolyn. Arte Povera. London: Phaidon, 1999.

Coradeschi, Sergio. “The Novecento Style in Italy: Commercial and Graphic Design.” Journal of Decorative and Propaganda Arts 3 (Winter 1987): 66-83.

Cullinan, Nicholas. “From Vietnam to Fiat-nam: The Politics of Arte Povera.” October 124 (2008): 8-30.

De Micheli, M. Scultura italiana del dopoguerra. Milano: Schwarz, 1958.

Dini, L. P.S.1: Italian studio program 2000-2002. Milano: Charta, 2001.

Duran, Adrian R. “Abstract Expressionism’s Italian Reception: Questions of Influence,”

in Joan Marter, ed. Abstract Expressionism: The International Context. Rutgers

University Press, 2007.

Flood, R., F. Morris, et al. Zero to infinity: arte povera, 1962-1972. Minneapolis : Walker Art Center., 2001

Gale, M., R. Miracco, et al. Beyond painting: Burri, Fontana, Manzoni. London: Tate Publishing, 2005.

Gianelli, Ida, ed. Transavanguardia. ex. cat. Castello di Rivoli. Skira, 2003.

Global Conceptualism: Points of Origin 1950s-1980s. Queens Museum of Art ex. cat. 1999.

Gordon, Robert S.C. “Impegno and the encounter with modernity: ‘high’ culture in post-

war Italy.” in Patrick McCarthy, ed. Italy since 1945. New York: Oxford University Press Inc., 2000, 197-213.

Guadagnini, W. Pop art Italia: 1958-1968. Milano : Cinisello Balsamo, Silvana, 2005.

Gundle, Stephen. Between Hollywood and Moscow: The Italian Communists and the Challenge of Mass Culture, 1943-1991. Durham and London: Duke University Press, 2000.

Marchiori, Giuseppe. Il Fronte Nuovo delle Arti. Vercelli: Giorgio Tacchini Editore, s.r.l, 1978.

Masterpieces from the Gianni Mattioli collection. Milan : Electa, 1997.

Meneguzzo, M. Zero, 1958-1968: tra Germania e Italia. Milano : Cinisello Balsamo, Silvana, 2004.

Minola, Anna, Maria Cristina Mundici, Francesco Poli, and Maria Teresa Roberto. Gian

Enzo Sperone -Torino – Roma – New York – 35 Anni di mostre tra Europa e

America. Torino: Hopefulmonster, 2000.

Pirovano, C. Fausto Melotti: teatrini: 1931-1985. Milano : Charta, 1996.

Rylands, Philip and Enzo di Martino. Flying the Flag for Art: The United States and The Venice Biennale 1895-1991. Richmond, Virginia: Wyldbore and Wolferstan,

Serfaty, Simon. “The United States and the PCI: The Year of Decision, 1947.” in Simon Serfaty and Lawrence Gray, eds. The Italian Communist Party: Yesterday, Today and Tomorrow. [Contributions in Political Science, Number 46] Westport, CT: Greenwood Press, 1980.

Soby, James Thrall and Alfred H. Barr, Jr. Twentieth-Century Italian Art. New York: The Museum of Modern Art, 1949.

Sauvage, T. Pittura italiana del dopoguerra, 1945-1957. Milano : Schwarz, 1957.

Vetrocq, Marcia E. “Painting and Beyond: Recovery and Regeneration, 1943-1952.” The

Italian Metamorphosis, 1943-1968, ex. cat. Germano Celant, ed. New York: The Solomon R. Guggenheim Foundation, 1994, 20-31.

Woolf, S.J. ed. The rebirth of Italy 1943-50. London: Longman Group Limited, 1972.


“Continuities and Discontinuities? France Across the Generations”

ASMCF Annual Conference, University of Stirling

1st-3rd September 2011

“Networking the Bloc: UK Connections”

Symposium on Artistic Relations Between the UK ad Eastern Europe since the 1960s

Royal Scottish Academy, Dec. 4th 2010

“Art Across Frontiers: Cross-Cultural Encounters in America”

An international symposium funded by the Terra Foundation for American Art

University of Nottingham, University Park, 27-28 April 2011

Exhibition organized by the Contemporary Art, Aarhus Art Building, Denmark

Call for proposal, deadline 5. January 2011

Circulaire 1

Dear Friends & Colleagues,

Here is the first edition of the EPCAF Circulaire. The Circulaire or Circ will allow us to streamline our communication instead of flooding the listserv with emails. We will use the Circ to collaborate on the resource list, communicate additions made to the website, and share information on relevant events that because of their temporary nature will not be listed on the site permanently. If there are notices you would like to include, please send us an email with the headline EPCAF Circulaire.

Below you will find updates about the bibliography project, and also noteworthy events & websites.


Bibliography in Progress

Thank you for your contributions, here is what we have been able to gather so far. Feel free to send us your comments and suggestions. These lists are a work in progress. We want everyone to help building them.


Postwar & Contemporary art in Belgium

  • Decker, Anny De, and Bernd Lohaus. Wide White Space: achter het museum = derrière le musée, 1966-1976. Düsseldorf: Richter Verlag, 1994.
  • Eemans, Marc. L’art vivant en Belgique. Bruxelles: Meddens, 1972.
  • Elias, Willem. Aspects of Belgian Art After 1945. Ghent: Snoeck, 2005.
  • Heman, Suzanna, Jurrie Poot, and Hripsime Visser, eds. Conceptual art in the Netherlands and Belgium, 1965-1975 – Artists, Collectors, Galleries, Exhibitions, Events. Amsterdam: Stedelijk Museum/NAi Publishers, 2002.
  • Mertens, Phil. La Jeune Peinture Belge, 1945-1948. Bruxelles: Laconti, 1975.
  • Palmer, Michael. D’Alechinsky à Panamarenko: Art belge, 1940-2000. Bruxelles: Editions Racine, 2002.
  • Pas, Johan. The Middelheim collection. Amsterdam Ludion, 2010.
  • Theys, Hans, ed. Mo(u)vements: kunstenaarsbewegingen in België van 1880 tot 2000 = Mouvements d’artistes en Belgique de 1880 à 2000. Antwerpen: Koninklijk Museum voor Schone Kunsten; NICC, 2000.


Postwar & Contemporary Art in France

  • Adamson, Natalie. Painting, Politics and the Struggle for the École de Paris, 1944-1964. London: Ashgate, 2009.
  • Ameline, Jean-Paul, and Benedicte Ajac, eds. Figuration Narrative, Paris 1960-1972. Paris: RMN & Centre Georges Pompidou, 2008.
  • Carrein, Catherine, Catherine Morlet, and Bernard Ceysson. L’Ecole de Paris? 1945-1964. Paris: Musée national d’histoire et d’art du Luxembourg/Adagp, 1998.
  • Carrick, Jill. Nouveau Réalisme, 1960s France, and the Neo-avantgarde: Topographies of Chance and Return. London: Ashgate, 2010.
  • Chalumeau, Jean-Luc. La Nouvelle Figuration: Une histoire de 1953 à nos jours. Paris: Editions Cercle d’Art, 2003.
  • Chevalier, Louis. The Assassination of Paris. London: University of Chicago Press, 1994.
  • DeRoo, Rebecca. The museum establishment and contemporary art: the politics of artistic display in France after 1968. London: Cambridge University Press, 2006.
  • Dorléac, Laurence Bertrand, ed. Art of the Defeat, France 1940-1944. Los Angeles: The Getty Research Institute, 2008.
  • Grinfeder, Marie-Helene. Les années Supports-Surfaces 1965-1990. Paris: Hersher, 1991.
  • Hulten, Pontus, ed. Paris-Paris, 1937-1957 – Création en France. Paris: Centre Georges Pompidou, 1981.
  • L’Envolée Lyrique, Paris 1945-1956. Paris: Musée du Luxemburg, Skira, 2006.
  • McDonough, Tom, ed. Guy Debord and the Situationist International: Texts and Documents. Cambridge, Mass. : MIT Press, 2002.
  • Morris, Frances, ed. Paris Postwar: Art and Existentialism. London: Tate Gallery, 1993.
  • Moulin, Raymonde. Le Marché de la peinture en France. Paris: Editions de Minuit, 1967.
  • Perrier, Daniele, Peter Ludwig, and Bernard Larmarche-Vadel. Atelier de France: Art de France depuis 1950. Koblenz: Ludwig Museum in Deutschheerenhaus, 1992.
  • Ragon, Michel. Cinquante ans d’art vivant – Chronique vécue de la peinture et de la sculpture, 1950-2000. Paris: Fayard, 2001.
  • Restany, Pierre. Le Nouveau Réalisme. Paris: Union Générale d’Éditions, 1978.
  • Wilson, Sarah. La rencontre philsophique, autour de la figuration narrative/Art and Theory: The Secret History Narrative Figuration. Paris: Cercle d’Art / Yale University Press, 2009- 10.


Postwar & Contemporary art in Germany

  • Adriani, Götz, ed. Obsessive Malerei: Ein Rueckblick auf die Neuen Wilden. Karlsruhe: Museum für neue Kunst/Hatje Cantz, 2003.
  • Barron Stephanie & Sabine Eckmann, ed.s Art of Two Germanys: Cold War Cultures, cat, exhibition ed.s Stephanie Barron & Eckhart Gillen. New York: Abrams, 2009.
  • Belting, Hans. The Germans and their Art: a Troublesome Relationship. New Haven; London: Yale University Press, 1993.
  • Bolle, Michael, and Eva Zuchner. Stationen der Moderne: Die Bedeutenden Kunstaustellungen des 20 Jahrhundert in Deutschland. Berlin: Berlinishe Galerie, 1989.
  • Faust, Wolfgang Max, and Gerd de Vries. Hunger nach Bildern: deutsche Malerei der Gegenwart. Cologne: Dumont, 1982.
  • Herbel, Yule F. Reconstructing the Subject: Modernist Painting in Western Germany. Princetown: Princetown University Press, 1995.
  • Hermand, Jost. Modernism Restored: West German Painting in the 1950s. New German Critique, Spring – Summer 1984, 23-41.
  • Herzogenrath, Wolf, and Gabriele Lueg, eds. Die 60er Jahre Kölns Weg zur Kunstmetropole: vom Happening zum Kunstmarkt. Cologne: Kolinsher Kunstverein, 1986.
  • Historishes Archiv der Stadt Köln. Intermedial – Kontrovers- Experimentell: Das Atelier Mary Bauermeister in Köln 1960-62. Cologne: Emons Verlag, 1993.
  • Kuhn, Annette. Zero: Eine Avantgarde der sechziger Jarhe. Frankfurt am Main: Propylaën Verlag, 1991.
  • Otten, Marie-Louise, ed. Auf dem Weg zur Avantgarde: Kunstler der Gruppe 53. Rattingen: Museum der Stadt Rattingen, 2003.
  • Pagé, Suzanne. Art Allemagne Aujourd’hui: Différents aspects de l’art actuel en République Fédérale d’Allemagne. Paris: ARC Musée d’art moderne de la ville de Paris, 1981.
  • Ruhrberg, Karl, ed. Alfred Schmela Galerist: Galerist-Wegbereiter der Avantgarde. Cologne: Wienand Verlag, 1996.
  • Thomas, Rudiger, ed. Klopfzeichen: Kunst und Kultur der 80er Jahre in Deutschland. Leipzig: Museum der Bildenden Künste Leipzig/Verlag Faber and Faber, 2002.


Postwar & Contemporary Art in Italy

  • Adamson, Walter L. The Culture of Italian Fascism and the Fascist Crisis of Modernity: The Case of il Selvaggio. Journal of Contemporary History 30, no. 4 (1995): 555-75.
  • Bonami, F. Italics: Italian art between tradition and revolution, 1968-2008. Milan : Electa, 2008.
  • Bonasegale Pittei, G. Forma 1 e i suoi artisti, 1947-1997. Roma : Argos, 1998.
  • Bonito Oliva, A. Avanguardia, transavanguardia. Milano : Electa, 1982.
  • Bonito Oliva, A. Minimalia: an Italian vision in 20th-century art. Milan : Electa, 1999.
  • Bowler, Anne. Politics as Art: Italian Futurism and Fascism. Theory and Society 20, no. 6 (1991): 763-94.
  • Braun, E. Italian art in the 20th century: painting and sculpture, 1900-1988. Munich : London, Prestel-Verlag ; Royal Academy of Arts, 1989.
  • Celant, Germano, ed. L’identité Italienne : l’art en Italie depuis 1959. Paris: Centre Georges Pompidou, 1981.
  • Celant, G. Arte povera = Art povera. Milano : Electa, 1985.
  • Celant, G. Madly in love: the Luigi and Peppino Agrati Collection. Milano : New York, Skira ; Distributed in North America and Latin America by Rizzoli International, 2002.
  • Celant, G. The European iceberg: creativity in Germany and Italy today. New York : Rizzoli, 1985.
  • Celant, G. Roma-New York, 1948-1964: an art exploration. Milano : Charta, 1993.
  • Celant, G. The Italian metamorphosis, 1943-1968. New York : Guggenheim Museum Publications, 1994.
  • De Micheli, M. Scultura italiana del dopoguerra. Milano : Schwarz, 1958.
  • Dini, L. P.S.1: Italian studio program 2000-2002. Milano : Charta, 2001.
  • Flood, R., F. Morris, et al. Zero to infinity: arte povera, 1962-1972. Minneapolis : Walker Art Center, 2001.
  • Gale, M., R. Miracco, et al. Beyond painting: Burri, Fontana, Manzoni. London : Tate Publishing, 2005.
  • Guadagnini, W. Pop art Italia: 1958-1968. Milano : Cinisello Balsamo, Silvana, 2005.
  • Masterpieces from the Gianni Mattioli collection. Milan : Electa, 1997.
  • Meneguzzo, M. Zero, 1958-1968: tra Germania e Italia. Milano : Cinisello Balsamo, Silvana, 2004.
  • Minola, Anna, Maria Cristina Mundici, Francesco Poli, and Maria Teresa Roberto. Gian Enzo Sperone -Torino – Roma – New York – 35 Anni di mostre tra Europa e America. Torino: Hopefulmonster, 2000.
  • Pirovano, C. Fausto Melotti: teatrini: 1931-1985. Milano : Charta, 1996.
  • Sauvage, T. Pittura italiana del dopoguerra, 1945-1957. Milano : Schwarz, 1957.


**** Please, send us your list and suggestions for all the other countries*****


Interesting Events/websites

New Pistoletto Exhibition

Lab for Culture

Afterall Series on Exhibitions

Institute for Museum Ethics

Yona Friedman: Around the Ville Spatiale

L’Internationale, transinstitutional organization comprised of five European museums and artists’archives based on the shared use of collections and archives

The Most Beautiful Kunsthalle in the World

A Project for the a Contemporary Arts Center in Como