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