On the 6th of March 1943, iconic painter and illustrator of American culture Norman Rockwell, published Freedom from Want or The Thanksgiving Picture in The Saturday Evening Post, one of over 300 covers he produced for the Indianapolis publication during his lifetime. It was the third of four oil paintings known as the Four Freedoms inspired by […]
2017 Center for Historic American Visual Culture (CHAViC) Summer Seminar
In Black and White: Race and American Visual Culture
American Antiquarian Society
Dates of Seminar: June 9-13, 2017
Applications Due: March 15, 2017
The 2017 CHAViC Summer Seminar at the American Antiquarian Society will explore how American visual culture expressed ideas about race, specifically blackness and whiteness, across the long nineteenth century. Through lectures, readings, hands-on workshops, and group research, participants will learn how popular forms of visual culture have constructed racial identities in the United States and how looking can function as a racialized practice. The seminar leader will be Tanya Sheehan, associate professor and chair of the Art Department at Colby College and editor of the Archives of American Art Journal at the Smithsonian Institution. Guest faculty will include Elizabeth Stordeur Pryor, assistant professor in the History Department at Smith College and Jasmine Nichole Cobb, assistant professor in the Department of African & American Studies at Duke University.
Participants will have the opportunity to learn from the extraordinary collections at AAS, including popular prints, political cartoons, photographs, illustrated books and periodicals, sheet music, and ephemera such as trade cards. Case studies may include: caricatures of African Americans in Edward Clay’s lithographic series Life in Philadelphia (1828-1830), the visual culture of blackface minstrelsy and Harriet Beecher Stowe’s Uncle Tom’s Cabin (1852), graphics from popular periodicals like Harper’s Weekly that picture racial politics at key moments in U.S. history, efforts to recreate the “image of the black” by African American writer Phillis Wheatley and abolitionist Frederick Douglass, fantasies of racial difference in illustrated children’s books and commercial trade cards, and efforts to visualize raced bodies in early photographic portraiture. There will be a field trip to the Museum of African American History in Boston to view the exhibition Picturing Frederick Douglass.
The seminar will be held from Friday, June 9, through Tuesday, June 13, 2017, at the American Antiquarian Society in Worcester, Massachusetts. Participation is intended for college and university faculty as well as graduate students and museum professionals.
For further information, syllabus, and application materials, please consult the AAS website at www.americanantiquarian.org/2017-chavic-summer-seminar
I teach art history and art appreciation in the Department of Art and Design at Morehead State University in eastern Kentucky. Most of my students are first-generation college students, and many of them come from the economically-depressed counties within a short driving distance of my institution. Through in-class discussion and office hour chats, I have […]
Muslims have been woven into the fabric of New York since the city’s origins as New Amsterdam, and the Museum is happy to share highlights from our collection which shed light on this deep history in our current exhibition, Muslim in New York. The size and diversity of New York’s Muslim community has continued to […]
Call for essay proposals closes March 1
The Smithsonian’s Archives of American Art is planning an issue of the Archives of American Art Journal devoted to Latino art. This special issue will offer a valuable opportunity for scholars and artists to increase the visibility of Latino studies in the field of American art history as well as enrich the study of Latino art with primary sources at the Archives of American Art. While the Archives has been collecting the papers of Latino artists for decades, the focused collecting initiative that it launched in 2015 has resulted in the acquisition of many important new collections, which include the personal papers of artists, gallery and organization records, and oral history interviews. You can explore the Archives’ Latino art research collections online at http://www.aaa.si.edu/collections.
Essays selected for publication in the journal will offer new approaches to Latino art and artists by thinking in innovative ways about primary sources in the Archives of American Art. Authors must identify the specific collections that will inform their research. Please include the following in a single MS Word document and email it to Tanya Sheehan, editor of the Archives of American Art Journal, SheehanT@si.edu, by March 1, 2017:
* Author name and contact information
* Proposed manuscript title and abstract of no more than 250 words
The journal’s editorial team will review the proposals and then invite select authors to prepare a manuscript of 5,000-7,000 words (including endnotes) for double-blind peer review. Complete manuscripts for review will be due by July 1, 2017. Essays must be previously unpublished and not under consideration for publication elsewhere.
The Archives of American Art Journal is the longest-running scholarly journal devoted to the history of American art. It aims to showcase new approaches to and out-of-the-box thinking about primary sources. Distributed by the University of Chicago Press, the journal contains both peer-reviewed research and commissioned articles based in part on the vast holdings of the Archives.
Information on manuscript submissions and review criteria is available on the journal’s webpage, http://www.journals.uchicago.edu/aaa.
The David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora at the University of Maryland, College Park is proud to announce its spring exhibition, Shifting: African American Women Artists and the Power of Their Gaze. The exhibition, organized by the Driskell Center, is curated by the David C. Driskell Center’s Executive Director, Professor Curlee R. Holton, assisted by Deputy Director, Dorit Yaron. The exhibition will be on display at the Driskell Center from Thursday, March 2, 2017 through Friday, May 26, 2017, with an opening reception on Thursday, March 2nd, from 5-7PM.
Special Issue: “Colonial Caribbean Visual Cultures”
This multidisciplinary collection will examine the creation and circulation of colonial visual cultures from the Caribbean during the eighteenth and nineteenth centuries. The era of Caribbean slavery placed the islands at the centre of the production and movement of goods, ideas, money and peoples, as well as cultural conflicts, exchanges and hybridities which created new challenges for artists, and new ways of looking. As a cornerstone of European imperial expansion the Caribbean had an enormous imaginative influence on Europe and the wider world. Tropical vistas and diverse peoples provided new visual subjects, and the art of the Caribbean participated in the circum-Atlantic movement of aesthetics, ideas and images: from mid-eighteenth-century georgic scenes which attempted to reconcile beauty with enslaved labour, to the colonial picturesque of the 1790s which rearticulated metropolitan landscape visions, to the unique botanical and zoological images which emerged from natural histories and travel narratives, and latterly to the early photography which marketed the West Indies to potential tourists. Significantly, the collection will position African-Caribbean, maroon, and indigenous material cultures at the centre of its exploration of how Caribbean visual cultures were related to the ways of seeing associated with modernity.
This collection invites contributors from history of art, literature, anthropology, history and geography and other disciplines to focus their attention on the specific dynamics of Caribbean visual cultures. What ways of seeing emerge under the conditions of slavery? How were images and objects produced, circulated and consumed in the colonial context? What were the relationships between text and image in pre-disciplinary forms such as the travel narrative? How did visual cultures operate across the heterogeneous cultures and geographies of the Caribbean islands? What were the relationships between colonial and metropolitan aesthetic images and practices? By focusing on the Caribbean islands and the circum-Atlantic production of imagery which they engendered, the essays in this volume will open up alternate genealogies and geographies for Caribbean art and ideas about the visual that are central to the emergence of colonial modernity.
Topics might include:
- Circum-Atlantic aesthetics and the relationships between metropolitan and colonial visual forms;
- Transnational contexts and intersections between empires;
- Colonial ways of seeing and visual production under slavery;
- Ways of disaggregating the ‘colonial gaze’;
- Intersections between text and image;
- Indigenous, slave and maroon cultures;
- The visual representation of indentured labourers from Asia;
- The impact of Caribbean visual cultures on those of Europe;
- Natural history, science and medicine; travel narratives and other pre-disciplinary forms;
- How objects shift through value systems, functions and contexts,
- Ideas of vision in the context of colonial modernity.
Successful essays will be included in a special issue of Atlantic Studies: Global Currents
Please submit a 500-word abstract and a brief cv by 15 March 2017 to Emily Senior and Sarah Thomas: email@example.com; firstname.lastname@example.org
Deadline for full scripts will be 15 November 2017
On the 30th of January 1913, famous Indian painter Amrita Sher-Gil was born to a Hungarian Jewish opera singer mother and a Punjabi Sikh aristocrat father in Budapest, Hungary. She trained at an early age at Santa Annunziata art school in Florence, then at 16 in Paris at Grande Chaumière under Pierre Vaillant and Lucien […]
Pay Grade: 32E
Reporting to the Director of Special Collections and Museums, the Chief Curator performs the following responsibilities:
- Envision and implement an innovative exhibition program that supports the university’s educational mission and curriculum and enhances the University of Delaware’s standing as a cultural center. Collaborate with the Director and members of the Special Collections staff in development of long-range exhibition plan. Develop and oversee exhibition budgets.
- Identify and recommend realizable exhibition ideas. Curate exhibitions for Old College Gallery and Mechanical Hall Gallery, and manage curatorial efforts of faculty, graduate students, museums staff, guest curators as well as incoming exhibitions. Oversee installation design and successful implementation.
- Ensure excellent program communications. Write and edit a range of texts in conjunction with exhibitions, including but not limited to essays, labels, promotional texts and grant proposals. Oversee all exhibition publications, both print and electronic.
- Identify area collectors and donor prospects and funding opportunities and develop relationships beneficial to the museums.
- Provide leadership for University Museums department including supervision of 3.5 FTE positions and participation on the Library Management Council
- Ph.D. in art history or related field and a minimum of five years curatorial experience in a museum setting or a master’s degree in art history or related field with 8 or more years curatorial experience in a museum setting.
- Subject expertise and curatorial experience related to the strengths of the collection: American art, 1900 to the present (including African American art); photography, prints and drawings
- Substantial experience providing leadership and supervision.
- Demonstrated creativity and success in presenting diverse collections of art in a manner that engages students and supports the curriculum.
- Proven experience as a team leader with excellent interpersonal skills.
- Highly developed organizational skills with ability to work independently and as part of a team.
- Outstanding oral and written communications skills.
- Desire to work with and engage students, faculty, donors, and members of the public.
- Familiarity with Past Perfect and WordPress preferred
The recent merger of Special Collections and Museums at the University of Delaware Library brought together diverse collection of art, with special strengths in American art of the 20th century (especially prints, photographs and work by African American artists), European prints, Inuit art, Pre-Columbian art and minerals, with books, manuscripts, broadsides, periodicals, pamphlets, maps and ephemera from the fifteenth to the twenty-first century. Art exhibitions in Old College Gallery and Mechanical Hall Gallery, mineralogical exhibitions in Penny Hall, and exhibitions in the Morris Library engage students, scholars, the UD community and the general public. Collaborative initiatives and programming with students, faculty and departments across campus foster diversity and enhance interdisciplinary research and teaching. Additional information about Special Collections and Museums is available online at: http://www.lib.udel.edu/ud/spec/ and http://www.udel.edu/museums.
To Apply: Include cover letter and resume, along with the names and contact information of three employment references, in a single document, following University of Delaware application instructions at http://www.udel.edu/udjobs/.
Equal Employment Opportunity
Employment offers will be conditioned upon successful completion of a criminal background check. A conviction will not necessarily exclude you from employment. The University of Delaware is an Equal Opportunity Employer which encourages applications from Minority Group Members and Women. The University’s Notice of Non-Discrimination can be found at http://www.udel.edu/aboutus/legalnotices.html
The Association of Critical Race Art History (ACRAH) is excited to announce a new feature on our website: a bibliographic resource devoted to issues of race, ethnicity, art, and visual culture. Please visit Bibliographies to view.
In conjunction with the launch of this resource, a series of reading groups are being organized in New York, the Bay Area, Washington D.C., and Boston. The primary purpose of these groups are to give area scholars an opportunity to discuss key texts pertaining to the visualization and representation of races and the project of racialization in art and visual culture. If you are interested in participating in an established group, or would like to start a group in your area, please visit Reading Groups for additional information.