CFP: Full Bleed journal

www.full-bleed.org/submit

Full Bleed, an annual journal exploring the intersection of the visual and literary arts, seeks submissions for its sixth issue, forthcoming in Spring 2023.

We publish criticism, belle lettres, visual art, illustration, poetry, fiction, and graphic essays. We are always happy to feature collaborations between writers and artists; ekphrastic creations; and groundbreaking critical essays.

For Issue Six, we are especially interested in submissions on the theme of materials—their unique aesthetic qualities, social histories, means of production, environmental costs, and layered meanings. Send us work that contemplates the virtues, potential, or politics of ink, paper, oil paint, dye, textiles, charcoal, lead, soil, wood, etc.

This call is open to all with the exception of current students at the Maryland Institute College of Art (MICA), which publishes Full Bleed.

All submissions should be sent between September 1, 2022 and January 15, 2023. Those interested in first sharing essay proposals may do so by November 15 (also through our Submittable page). Note that acceptance of proposals does not guarantee publication in the issue. Also, you need not have sent a proposal to submit completed work.

Final selections for the issue will be made by the journal’s editor and board members in close consultation with participants in Publishing Culture, an upper-level, spring-semester course at MICA. Each contributor will receive a modest honorarium and a complimentary copy of the issue.

For more details, please visit:
www.full-bleed.org/submit

We are excited to review your work and thank you in advance for sharing it with Full Bleed.

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Author: Camara Dia Holloway

I am an art historian specializing in early twentieth century American art with particular focus on the history of photography, race and representation, and transatlantic modernist networks. I earned my PhD at Yale University in the History of Art Department. Besides my leadership role as the Founding Co-Director of the Association for Critical Race Art History (ACRAH), I am recognized for my expertise on African American Art, particularly African American Photography, and as a seasoned consultant for exhibitions, museum collections, and symposia/lectures planning.

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