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: