Dear Friends & Colleagues,
Please find below calls for papers, conference listings, exhibition announcements, some videos, and other miscellaneous information like apartment listings for those of you heading to Paris.
We wish you all the best for the end of the semester.
Catherine Dossin & Victoria H.F. Scott
CALL FOR PAPERS : EUROPEAN ART AT CAA
Reminder deadline is on May 2
Avant ’68: France and the Transnational Flow of
Culture in the “Long Sixties”
Noit Banai, Tufts University; and Hannah Feldman, Northwestern University;
Noit.Banai@tufts.edu and firstname.lastname@example.org
This session considers aesthetic practices in France between 1954 and 1972 as constitutive components of the “Long Sixties,” a global period of immense social, political, and economic transformations. We seek papers examining relationships between lesser-known art of the French Long Sixties and new sociopolitical paradigms, theories, and models that informed the global events of 1968 in order to complicate dominant narratives about French culture within a more fluid exchange between local and global phenomena. How did specific objects, spaces, images, performances, films, and sound represent the French public in relation to other communal, national, and transnational configurations; negotiate the intensification of consumption and globalized investment, urban- and suburbanization; or elaborate alternative iterations of power, inclusion, and exclusion? Analyses of display, access, distribution, reception, mediation, and circulation are welcome, as are methodological and theoretical frameworks for articulating similarities and differences between art production in France and other transformative practices across the globe.
Donna Gustafson, Zimmerli Art Museum, Rutgers University; and Jacquelynn Baas, independent scholar; email@example.com and firstname.lastname@example.org
Fifty years after the first Fluxus festivals in Europe, Fluxus has transformed from a radically avant-garde, intermedia association of artists, musicians, poets, and performers into an art movement represented in archives and collections including the Getty Research Institute, Harvard University Art Museums, the Hood Museum at Dartmouth, the Museum of Modern Art, and the Walker Art Center. Numerous exhibitions, catalogues, and books have attempted to codify wide-ranging Fluxus practice. How has Fluxus fared in this transformation, and how has Fluxus instigated change in the academic and art museum communities? This session proposes a re-view of Fluxus and the process of its absorption by art history and museum practice. We seek papers that address the poetic and political definitions of Fluxus, the legacy of George Maciunas and the continuation of Fluxus activities after Maciunas’s death, the institutional challenges presented by Fluxus objects and ideologies, and the continuing relevance or irrelevance of Fluxus in the twenty first century.
Sigmar Polke: (Art) History of Everything?
Charles W. Haxthausen, Williams College; and Marcelle Polednik, Monterey Museum of Art;
Charles.W.Haxthausen@williams.edu and email@example.com
In a career spanning nearly half a century, the German artist Sigmar Polke unsettled many of the traditional concepts and categories that art historians work with—style, medium, the binary oppositions subject/object, art/nature, painting/photography, even the status of the art object as a stable and discrete visual and physical entity. With his death in June 2010, Polke has now become historical, but his sprawling polymorphous oeuvre remains a challenge to the writing of art history that is as pressing as before. The drolly absurd title of Polke’s two-part painting History of Everything I and II (2002) aptly captures the teeming messiness of his oeuvre and suggests the virtual futility of encompassing it within the discursive frame of art history. This panel, which invites papers dealing with various aspects of Polke’s production, is intended to provide a forum to address this challenge.
Pop and Politics
Allison Unruh and Kalliopi Minioudaki, independent scholars,
firstname.lastname@example.org and email@example.com
Pop art has been variously celebrated and derided for its focus on surface, too often at the cost of overlooking its critical content. The infamous “cool” of American Pop has been read as an expression of an inherently passive consumer position, limiting the way that such work can be seen as having meaningful political resonance. Although Pop’s political dimensions have been more easily acknowledged in other national contexts, a number of studies have foregrounded the criticality of Pop. This session promotes analysis of previously overlooked intersections of Pop and politics in varied international manifestations and forges new ways of thinking about the political in the context of Pop. We invite a range of approaches, from studies of individual works of art, artists, or national contexts to critical investigations of the historiography of Pop. Topics may address how cold war politics, civil rights struggles, decolonization, the Cuban revolution, student protests, and gender and sexuality are imbricated in Pop art and its discourses.
Transatlantic Dialogues in the History of Art
Paris, May 12–13, 2011
Reprising the theme Transatlantic Dialogues in the History of Art, these ‘journées d’études’ will bring together a range of American and European scholars, both junior and senior, working on diverse aspects of American art and culture. The event, organized by Jody Patterson, Terra post-doctoral fellow at Université Paris Ouest for the joint program in 2010-2011, will provide a forum for a series of presentations and discussions on current research and methodologies with the aim of fostering dialogues around the ways in which both art and its histories are traversed by cross-cultural exchanges.
1ère édition du Festival national de l’histoire de l’art
Fontainbleau, May 27-29, 2011
Cette première édition sera consacrée à la Folie. Le festival marquera le 500e anniversaire de la parution de L’Éloge de la folie d’Érasme, parallèlement aux célébrations organisées par l’UNESCO, ainsi que le 50e anniversaire de la parution de L’Histoire de la folie à l’âge classique de Michel Foucault. Au cœur du mythe occidental de la création, le thème de la folie sera exploré selon trois directions : le créateur fou (revendiqué ou jugé comme tel) ; l’œuvre insensée, hors normes ; l’iconographie de la folie et le regard de l’artiste sur la folie du monde. Outre les conférences, débats et tables rondes, des ateliers originaux, intitulés « L’œuvre d’art au crible des regards », présenteront une même œuvre interprétée par trois regards différents, témoignant de la diversité des approches et des différentes méthodes et techniques d’analyse des œuvres d’art.
PAUL JOOSTENS: LES COLLAGES
FelixArt Museum, Belgium, May-June 2011
Le premier avant-gardiste belge à utiliser la technique du collage fut Paul Joostens (Anvers, 1889 -1960). L’exposition ‘Paul Joostens : les collages’ offre un aperçu de son art collagiste : de ses premières œuvres cubistes et dadaïstes (années ’20) à ses œuvres ‘gotique-surréalistes’ plus tardives (1937-1958). Nous souhaitons ainsi rendre hommage à un des artistes belges les plus individualistes et polyvalents de la première moitié du 20e siècle.
Moderns: Painting in Estonia before Glasnost
Zimmerli Art Museum, Rutgers, The State University
Estonia became an important center for underground art in the late 1960s. Turning to painting, artists reclaimed this medium from official Soviet Realism, reviving the European, painterly origins of Estonia’s avant-garde past. Painting constituted a laboratory for artists to reject or assimilate contemporary trends from the West. They adapted Pop, Conceptualism,
hard-edge abstraction, and Minimalism to a unique culture of nationalist
opposition to Soviet power.
Moderns: Painting in Estonia before Glasnost, curated by Dodge Lawrence Fellow Jeremy Canwell, draws on rarely-seen works from the museum’s Dodge Collection of Soviet Nonconformist Art.
Serge Guilbaut: Is the War Over?
The author of the book De cómo Nueva York robó a París la idea de arte modern (Madrid, 1990) and the curator of the exhibitionBajo la bomba: el jazz de la guerra de imágenes transatlantic, 1946-1956 (MACBA and Museo Reina Sofía, 2007) talks about the new post-war scenario in dispute, in which there is a convergence of realism, abstraction and traces of an historical avant-garde that shows clear signs of exhaustion.
Andreas Huyssen on modernism and postmodernism
Structured around various core ideas, this interview with the author of the book Modernismo después de la postmodernidad (2011) shows the dilemmas arising between a revision of the melancholic and contemplative past, returned in the form of the architectural memorial, and a critical reading from the museum, in which history and memory are confronted. Huyssen discusses the foundations of a new modernism, which has future prospects and projects but lacks a geographical centre and power hierarchies.
Elizabeth Campbell Karlsgodt, Defending National Treasures: French Art and Heritage under Vichy (Stanford University Press, ISBN 9780804770187, cloth $60). Discusses continuities in French preservation policy from Vichy to the postwar period, particularly with regard to “ownerless” works of ar from Jewish collections.
You can find a summary, review and the table of contents on the SUP web site, http://sup.org/book.cgi?id=18325 .
Apartment in Paris
One of our members, who was awarded a Smithsonian Research Fellowship, is trying to sublet her Parisian apartment for the summer. The apartment is 30 square-meter, with a living room, one bedroom, a small bathroom and an independent kitchen, fully equipped (oven, microwave oven, washing machine, etc.). It is located in the center of Paris, in the Marais district, in a calm and beautiful art-gallery neighborhood (metro: Saint-Sébastien Froissart).
The apartment will be available from June 1st to the end of September. The price is 900euros per month. This includes all facilities (water, electricity, and wireless internet).