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
CALLS FOR PAPERS
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 firstname.lastname@example.org and PD Dr.Gerald Schröder, Ruhr-University of Bochum Schroeder@ruhr-uni-bochum.de
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:
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 (email@example.com)
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 http://www.peacehistorysociety.org/phs2013/
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 (www.museumsetc.com) 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 J.Carson@salford.ac.uk
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: http://aesthetics.ff.cuni.cz/guidelines/
To view the table of contents of the current issue, visit http://aesthetics.ff.cuni.cz/current-issue/
Should you have any questions, do not hesitate to contact Jakub Stejskal: firstname.lastname@example.org
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
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
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.
by Adrian Searle
The Guardian, August 6, 2012
An article about this year Manifesta curated by Cuautéhmoc Medina