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
CONFERENCES: CALLS FOR PAPERS
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, firstname.lastname@example.org
and Victoria H.F. Scott, Emory University, email@example.com
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, firstname.lastname@example.org and Andrew Eschelbacher,University of Maryland, email@example.com
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, firstname.lastname@example.org
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, email@example.com, and Nicole De Armendi, George Mason University, firstname.lastname@example.org http://www.secollegeart.org/annual-conference.html
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 (email@example.com ) & Prof. Dr. Sigrid Hofer, Philipps-Universität Marburg (firstname.lastname@example.org)
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.
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 (email@example.com) and Nicola Kozicharow (firstname.lastname@example.org) 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 email@example.com
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: firstname.lastname@example.org
JOURNALS: CALLS OF PAPERS
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 email@example.com before 23 March 2012. Selected authors will be asked to write a 2,000 – 3,000-word paper (excluding notes). www.tijdschriftkunstlicht.nl
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: firstname.lastname@example.org
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
QUIXOTIC QUICKSAND? JEAN DUBUFFET’S “GROUNDLESS” PAINTINGS
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. http://www.zku-berlin.org/concept/
Victoria is looking for a studio apartment for the month of July in Paris. If you know of anything, please contact her at email@example.com