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 (http://beyucaffe.com). Please feel free to join us and don’t hesitate to bring your friends.
Below you will find our usual listings.
Catherine Dossin & Victoria H.F. Scott
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
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
CALLS FOR PAPERS
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: email@example.com or Clara Pacquet: firstname.lastname@example.org 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 email@example.com 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, firstname.lastname@example.org by the 25th of October 2012. Presentations may be given in either language.
See call online: http://hicsa.univ-paris1.fr/page.php?r=3&id=546&lang=fr
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 email@example.com. 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: firstname.lastname@example.org 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: http://festivaldelhistoiredelart.com/
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 email@example.com by Monday 10th December 2012. For more information, please see our website http://www.york.ac.uk/history-of-art/news-and-events/events/2013/visual-culture-crisis/
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 firstname.lastname@example.org 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 (http://migrationandculture.ku.dk/), which is funded by the Danish Research Council.
For more info contact Frauke under email@example.com
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, firstname.lastname@example.org
About NeMLA: http://nemla.org/convention/2013/
COMPETITION CALL FOR ENTRIES
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
http://www.russianartandculture.com/competition-russian-art-and-culture-postgraduate-writing-competition/ or contact with queries or submissions to email@example.com
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
– 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 http://www.inha.fr/spip.php?article4007 et sur le site de la Fondation Marc de Montalembert http://www.fondationmdm.com
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.
CONFERENCES & LECTURES
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
Position statement from the Graduate Student Advocacy Committee of the Society of Contemporary Art Historians: http://bit.ly/SudQDA