Author: Camara Dia Holloway

I am the Project Manager for the Romare Bearden Digital Catalogue Raisonné at the Wildenstein Plattner Institute. I earned my PhD at Yale University in the History of Art Department and specialize in twentieth century American art with a particular focus on the history of photography, race and representation, and transatlantic modernist networks. I also serve as a Founding Co-Director of the Association for Critical Race Art History (ACRAH).

JOB: Asst Dir of Community Engagement and Learning @ Krannert Art Museum

 Krannert Art Museum seeks candidates for an Assistant Director of Community Engagement and Learning. The primary function of this position will be to design and implement the museum’s community engagement and learning initiatives. This position has an integral role in establishing the agenda for public and campus engagement and collaboration in developing in-gallery, off-site, and digital programs, and interpretation. The candidate will work closely with the Director and other staff members to ensure that the museum’s strategic goals are achieved. 

The University of Illinois is an Equal Opportunity, Affirmative Action employer that recruits and hires qualified candidates without regard to race, color, religion, sex, sexual orientation, gender identity,age, national origin, disability, or veteran status. For more information, visit http://go.illinois.edu/EEO. 

As the museum’s principal educator and programmer, the Assistant Director will collaborate with a team to reconceive museum education and community engagement at KAM – on site, online, and in community. A core member of the museum’s leadership team reporting to the Director, the Assistant Director of Community Engagement and Learning will ensure that the museum’s strategic goals are achieved, particularly those involving diversity, equity, accessibility, and sustainability. An overarching commitment to inclusion and a culture of care is central to the museum’s identity, and this position is a keystone of that ongoing work. 

Doing this work requires dismantling systemic barriers of exclusion, centering welcome for all visitors, and gaining the trust of long marginalized communities. The Assistant Director will lead a team of education coordinators, graduate assistants, and student employees while working collaboratively with curators. Student engagement and developing sustainable and deep relationships with our communities are priorities, building on recent work with regional Black communities as well as students and community members with disabilities. Shaping the future with existing strong collaborations with the Champaign, Urbana, and Rantoul Public Schools (all diverse, and a substantial number of households at or below the region’s ALICE threshold) will be key, especially considering the public schools’ changing needs and our commitment to center anti-ableism and anti-racism in museum’s public engagement and teaching. 

Fundraising collaboratively is a key aspect of the position, and the Assistant Director will develop grant proposals and cultivate private support under the guidance of the Senior Director of Advancement and the Director. Furthering current initiatives and building on areas of strength is critical. Among the most significant include: 1) the indigenous arts of the Americas; 2) Black arts research, particularly in support of the College of Fine and Applied Arts’s Black Arts Research Initiative; 3) the museum as a crucial site for wellness; and 4) building on the university’s illustrious history around access, our wide-ranging work in disability, Crip Theory, and the arts, including collaborations with Illinois’s student service organization, regional community organizations, and the University of Illinois Chicago. 

The Assistant Director will build productive partnerships with the Department of Art Education, the Community Fab Lab, the College of Education, the recently opened Siebel Center for Design, the Spurlock Museum of World Cultures, Japan House, the campus cultural houses, and Allerton Park and Gardens. A rich array of student organizations and a vibrant artist community on and off campus also offer fertile ground for collaborations. 

DUTIES AND RESPONSIBILITES 

Program Development • Manage and creatively develop all museum learning experiences, including public programs, curricular-based offerings, teaching on and off-site, K-12 school programs, family events, student engagement programs, docent training, and the Giertz Education Center. • Create and direct a collaboratively developed community engagement program. • Shape visitor experience at the museum and implement improvements. Management and Administration • Recruit, select, train, and supervise education staff members, undergraduate and graduate students, interns, hourly workers, and volunteers. • Develop and coordinate all museum educational activities. • Develop and administer budget and financial commitments for public programs, engagement, and learning activities. • Develop grant proposals for education and public engagement initiatives and steward donors. 

Teaching • Teach and actively engage in co-creating museum learning programs in the museum galleries, off-site, and online. Other Collaborative Duties • Participate actively in the Krannert Art Museum’s diversity, equity, inclusion, and accessibility initiatives • Represent the museum on administrative committees internally and externally and actively engage in the College of Fine and Applied Arts and campus communities • Build productive relationships with community members and organizations, faculty, students, university staff, schoolteachers, and other museum professionals. 

QUALIFICATIONS Required • Bachelor’s degree in Art Education, Art History, Community Organizing and Advocacy, or related field. • Four years of progressive work experience, including three years leading teams. Previous experience in museums or arts organizations. Practical experience in education, social engagement, and community programming. Preferred • Master’s degree in Art Education, Art History, Community Organizing and Advocacy, or related field. Knowledge, Skills, and Abilities: • Commitment to delivering programs and managing teams that align with the museum’s vision for diversity, equity, inclusion, and accessibility. • Demonstrated excellence in planning, organizational, project management, and time management skills. Capacity to lead projects while using independent judgment and discretion. • Excellent oral and written communication skills. • The ability to promote collaboration, creativity, and open communication both within the education team and with museum staff, academic departments, and external groups. 

The Krannert Art Museum Krannert Art Museum (KAM) is a public engagement unit within the College of Fine and Applied Arts at the University of Illinois Urbana-Champaign. KAM’s collection of 11,000 works from the fourth millennium BCE to the present represent global cultures and cross all media, with strengths in the art of Europe, United States, the ancient Andes, and Africa. The museum’s historical collections have always been accompanied by an abiding interest in the art of our own day. KAM is free, with all activities open to the public. As a campus public engagement unit, and the only art museum in a region of over 350,000 people, both urban and rural, in east central Illinois, KAM fulfills the university’s land-grant mission of research, teaching, and outreach. We accomplish this work as a laboratory, presenting new research and approaches to object-based teaching; as a sanctuary for the community’s well-being; and as a civic center, a gathering place to explore pressing issues. The museum primarily serves two audiences: the university’s 61,000 faculty, staff, and students, and the ethnically and racially diverse communities of east central Illinois. The region is dominated by the cities of Urbana and Champaign (208,400), surrounded by expansive rural communities. 

APPOINTMENT INFORMATION This full-time, 12-month, Academic Professional appointment. The start date as soon as possible after the closing date. Salary is commensurate with experience. 

To Apply: Applications must be received by January 31, 2022. Apply for this position using the “Apply for Position” button below. If you have not applied before, you must create your candidate profile at http://jobs.illinois.edu. If you already have a profile, you will be redirected to that existing profile via email notification. To complete the application process: 

1. Submit the Staff Vacancy Application. 2. Submit the Voluntary Self-Identification of Disability forms. 3. Upload your cover letter and resume (months and years of employment must be included), and contact information of three professional references. For further information about this specific position, contact Shanitera Walker at walker32@illinois.edu. For questions about the application process, please contact 217-333-2137. 

University of Illinois faculty, staff, and students are required to be fully vaccinated against COVID-19. If you are not able to receive the vaccine for medical or religious reasons, you may seek approval for an exemption in accordance with applicable University processes. 

University of Illinois conducts criminal background checks on all job candidates upon acceptance of a contingent offer. Convictions are not a bar to employment. As a qualifying federal contractor, the University of Illinois System uses E-Verify to verify employment eligibility. The University of Illinois System requires candidates selected for hire to disclose any documented finding of sexual misconduct or sexual harassment and to authorize inquiries to current and former employers regarding findings of sexual misconduct or sexual harassment. For more information, visit Policy on Consideration of Sexual Misconduct in Prior Employment. 

New issue of liquid blackness

liquid blackness is pleased to announce the publication of a special issue of the open-access journal liquid blackness: journal of aesthetics and black studies (5:2), edited by Alessandra Raengo and Lauren McLeod Cramer on “blackness.”

This special issue is the second of three foundational issues on liquid blackness’s core concepts of “liquidity,” “blackness,” and “aesthetics.” Contributors reflect on how blackness indexes its own processes across sonic, chromatic, and performative registers. The authors approach the idea of “indexing” with jurisgenerative sensibility, showcasing modes of critical engagement that highlight the dynamic, self-reflective, archival knowingness of various object and practices, reaffirming the aesthetic realm as a privileged processing site. Attuned to the liquidity of the black arts, each author offers original insights into the relationship between black object-making and black art-making.

Contributors are Sampada Aranke, Lauren McLeod Cramer, Michael Boyce Gillespie, Kristin Juarez, Homay King, Walton Muyumba, Mark Anthony Neal, Alessandra Raengo, Jared Sexton, and Lisa Uddin.

Read the issue at https://read.dukeupress.edu/liquid-blackness/issue/5/2.

JOB: Modern/contemporary @ Rochester Institute of Technology

The School of Art in the College of Art and Design at Rochester Institute of Technology welcomes applications for a tenure-track position in modern or contemporary art history within a global context, with expertise in one or more of the following geographic or cultural areas: African American art; African diasporic art; African art; Native North American art; Asian art; or Asian diasporic art. Engagement with innovative pedagogy is encouraged, and we are especially interested in candidates whose work could foster interdisciplinarity or collaboration with RIT colleagues and/or with communities or organizations across the larger Rochester area. For more information, visit https://www.rit.edu/artdesign/jobs

JOB: Asst Prof, Africa/African Diaspora @ Corcoran/George Washington University

The George Washington University’s Art History Program invites applications for a tenure-track Assistant Professor of Art History, specializing in the art and/or visual culture of Africa and/or the African diaspora, to begin in Fall 2022. The research focus and period of specialization are open. Candidates whose range of interests and teaching extend across historical periods and address transcontinental exchanges are encouraged to apply. The successful candidate will build on the art history program’s expanding of its geographical and conceptual scope by developing new directions in course offerings at the undergraduate and graduate levels. In the wider context of GWU, candidates may engage through teaching or scholarship with a number of resources, including the George Washington University Museum and The Textile Museum, the Africana Studies Program, and the Institute for African Studies. In the larger community of Washington, DC, the candidate may draw upon the National Museum of African Art, the National Museum of African American History and Culture, OAS Museum of the Americas, Library of Congress, and the National Gallery of Art.

About Corcoran Art History & GWU
GW values both scholarship and teaching very highly, has a strong, diverse student body, and offers a generous sabbatical program and competitive salaries and benefits. The Corcoran School of the Arts & Design offers a diverse range of programs, including Art History, Studio Arts, Design, Theatre and Dance, Music, Museum Studies, and Interior Architecture. Part of the Columbian College of Arts and Sciences, CSAD faculty work across disciplines to prepare our graduates for multidimensional careers as creative artists and scholars.

Duties & Responsibilities
The teaching load for this position is 2/2. Additional duties include advising and mentoring students, carrying out a program of research, and participating in faculty governance at the school and university level. Three-year renewal of contract is based on scholarly articles in peer-reviewed journals and reasonable progress towards a book-length publication. Tenure and promotion will be evaluated in the sixth year, considering the candidate’s record of teaching, service and scholarship.

Minimum Qualifications
Ph.D. or equivalent international degree (the candidate must have completed the requirements for the degree at the time of appointment). This degree must be in Art History or a related field of study (such as Anthropology, History).

Salary
Salary will be commensurate with experience.

Application Procedure
To be considered, please complete the online faculty application at https://www.gwu.jobs/postings/88334 and upload a cover letter; curriculum vitae; statement of teaching interest; sample of scholarship (approx. 30 pages, published or unpublished). Review of applications will begin on January 15, 2022 and will continue until the position is filled. Only complete applications will be considered.

///

The university is an Equal Employment Opportunity/Affirmative Action employer that does not unlawfully discriminate in any of its programs or activities on the basis of race, color, religion, sex, national origin, age, disability, veteran status, sexual orientation, gender identity or expression, or on any other basis prohibited by applicable law.

The university and school have a strong commitment to achieving diversity among faculty and staff. We are particularly interested in receiving applications from members of underrepresented groups and strongly encourage women and persons of color to apply. The program is committed to addressing the family needs of faculty, including dual career couples and single parents. We are also interested in candidates who have had non-traditional career paths or who have taken time off for family reasons, or who have achieved excellence in careers outside academia. For information about potential relocation to the area, please visit: https://facultyaffairs.gwu.edu/relocation-and-moving-allowance-new-faculty

Employment offers are contingent on the satisfactory outcome of a standard background screening.

///

Contact Information:
Corcoran Art History Program
801 22nd Street, NW, Smith Hall of Art, Washington, DC 20052
cahist@gwu.edu

Call for Applications, 2022-2023: The Tyson Scholars of American Art Program at Crystal Bridges Museum of American Art

The Tyson Scholars of American Art Program encourages and supports full-time interdisciplinary scholarship that seeks to expand boundaries and traditional categories of investigation into American art and visual and material culture from the colonial period to the present. The program was established in 2012 through a $5 million commitment from the Tyson family and Tyson Foods, Inc. Since its inception, the Tyson Scholars Program has supported the work of 57 scholars, attracting academic professionals in a variety of disciplines nationally and internationally.

Crystal Bridges and the Tyson Scholars Program invites PhD candidates (or equivalent), post-doctoral researchers, and senior scholars from any field who are researching American art to apply. Scholars may be focused on architecture, craft, material culture, performance art, and new media. We also invite applications from scholars approaching US art transregionally and looking at the broader geographical context of the Americas, especially including Latinx and Indigenous art. Applications will be evaluated on the originality and quality of the proposed research project and its contribution to a more equitable and inclusive history of American art.

The Tyson Scholars Program looks for research projects that will intersect meaningfully with the museum’s collections, library resources, architecture, grounds, curatorial expertise, programs and exhibitions; and/or the University of Arkansas faculty broadly; and applicants should speak to why residence in Northwest Arkansas and the surrounding areas will advance their work. The applicant’s academic standing, scholarly qualifications, and experience will be considered, as it informs the ability of the applicant to complete the proposed project. Letters of support are strongest when they demonstrate the applicant’s excellence, promise, originality, track record, and productivity as a scholar, not when the letter contains a commentary on the project.

Crystal Bridges is dedicated to an equitable, inclusive, and diverse cohort of fellows. We seek applicants who bring a critical perspective and understanding of the experiences of groups historically underrepresented in American art, and welcome applications from qualified persons of color; who are Indigenous; with disabilities; who are LGBTQ; first-generation college graduates; from low-income households; and who are veterans.

Fellowships are residential and support full-time writing and research for terms that range from six weeks to nine months. While in residence, Tyson Scholars have access to the art and library collections of Crystal Bridges as well as the library and archives at the University of Arkansas in nearby Fayetteville. Stipends vary depending on the duration of residency, position as senior scholar, post-doctoral scholar or pre-doctoral scholar, and range from $17,000 to $34,000 per semester, plus provided housing. The residency includes $1,500 for relocation, and additional research funds upon application. Scholars are provided workspace in the curatorial wing of the Crystal Bridges Library. The workspace is an enclosed area shared with other Tyson Scholars. Scholars are provided with basic office supplies, desk space, an office chair, space on a bookshelf, and a locking cabinet with key for personal belongings and files. Housing is provided within walking distance of the museum.

Further information about the Tyson Scholars Program, application instructions, and application portal can be found at https://crystalbridges.org/reports-and-research/tyson-scholars/. Applications for the 2022-2023 academic year open November 1, 2021 and close January 14, 2022.

About Crystal Bridges:
As Crystal Bridges and the Momentary, we recognize our role as settlers and guests in the Northwest Arkansas region. We acknowledge the Caddo, Quapaw, and Osage as well as the many Indigenous caretakers of this land and water. We appreciate the enduring influence of the vibrant, diverse, and contemporary cultures of Indigenous peoples. We are conscious of the role in colonization that museums have played. As cultural institutions, we have a responsibility to engage in the dismantling of historical and systemic invisibility of Indigenous peoples past, present, and future. We choose to intentionally hold ourselves accountable to appropriate conversation, representation, connection, and education to facilitate a space of measurable change.

The mission of Crystal Bridges Museum of American Art is to welcome all to celebrate the American spirit in a setting that unites the power of art with the beauty of nature. Since opening in 2011, Crystal Bridges has welcomed 5.6 million visitors to the museum, with no cost for admission. Crystal Bridges was founded in 2005 as a non-profit charitable organization by philanthropist and chair of the museum’s board of directors, Alice Walton. The museum is nestled on 120 acres of Ozark landscape and was designed by world-renowned architect Moshe Safdie. A rare Frank Lloyd Wright-designed house was preserved and relocated to the museum grounds in 2015. Crystal Bridges offers public programs including lectures, performances, classes, and teacher development opportunities. Some 300,000 school children have participated in the Willard and Pat Walker School Visit program, which provides educational experiences for school groups at no cost to the schools. Additional museum amenities include a restaurant, gift store, library, and over five miles of walking/biking trails, as well as outdoor art installations. Through the Tyson Scholars of American Art program, Crystal Bridges encourages and supports pre-doctoral and post-doctoral research that seek to expand boundaries of American art.

On February 22, 2020 Crystal Bridges opened the Momentary, a contemporary art satellite space highlighting today’s visual, performing, and culinary arts. The Momentary champions contemporary art’s role in everyday life and supports an artist-in-residence program.

Crystal Bridges’ collection spans five centuries of American masterworks from early American to current day and is enhanced by temporary exhibitions. The collection development focuses on artwork that expands American art, including artwork by artists with diverse backgrounds, working in a wide range of media. Special interests include craft, Native American art, and art that addresses multiple perspectives and stories. The collection is available online at CrystalBridges.org/art-galleries. Crystal Bridges’ research library consists of approximately 60,000 volumes as well as significant manuscript and ephemera holdings. The Crystal Bridges Library ibrary also houses a comprehensive collection of American color-plate books from the nineteenth century.

JOB: Adjunct Faculty in Liberal Arts-Art History @ Cleveland Institute of Art

The Cleveland Institute of Art seeks qualified applicants for Adjunct Faculty positions in Liberal Arts – Art History for the following courses:

Critical Issues in Visual Culture 

This discussion-style course will introduce students to the following: critical theories and methods of analysis for interpreting modern and contemporary visual art and cultured major themes in visual culture, including trends and issues specific to design.

Themes and Movements in Art and Design History

This course examines significant developments and themes in art and design history from the pre-modern through modern periods.  While selected movements, chronologies, and works from standard surveys of art history will be touched upon where pertinent, the course will take varied approaches to overarching debates, narratives, and theories: e.g., the persistence of classicism and its continued symbolic meaning in art, architecture, and the city; and the representation of the body since antiquity; and social and political identity and visual expression. 

Minimum qualifications include a master’s degree in art history or a related field or equivalent professional experience. Adjunct faculty are not eligible for benefits. Adjunct faculty are limited to a maximum of four teaching assignments per academic year. In-person teaching is required for the spring semester.

Compensation is commensurate with experience. Interested applicants should submit a letter of interest summarizing qualifications, CV, and a list of 3 references.

The positions will begin in January 2022. Application reviews will begin immediately and will continue until the position is filled. Background check authorizations will be required for finalists.

Cleveland Institute of Art (CIA) is committed to increasing diversity in our community and actively pursues individuals from all backgrounds. Additionally, CIA complies with all applicable federal, state, and local laws and provides equal opportunity in all educational programs and activities, admission of students, and conditions of employment for all qualified individuals regardless of race, color, sex, religion, age, disability, sexual orientation, protected veteran status, gender identity or national origin.

ABOUT CIA

The Cleveland Institute of Art is one of the nation’s leading accredited independent colleges of art and design. Since 1882, the College has been an educational cornerstone in Cleveland, Ohio, producing graduates competitive as studio artists, designers, photographers, contemporary craftsmen, and educators.

With approximately 600 students, CIA offers a personal educational experience with the benefits of a larger institution. Students choose from 15 majors and live and work in Cleveland’s University Circle, one of the country’s most unique cultural centers—recently named by Forbes Magazine as one of the 10 prettiest communities in the country.

To apply go to https://www.cia.edu/about-us/careers-at-cia

JOB: Asst Prof, Modern and Contemporary art @ Cleveland Institute of Art

The Liberal Arts Department at the Cleveland Institute of Art invites applications for a full-time faculty position at the rank of Assistant Professor in modern and contemporary art history, beginning in July 2022. The successful candidate will teach three courses each semester, maintain an active record of scholarship and other professional activity, and contribute to departmental and institutional service. Teaching assignments will include introductory courses in Visual Culture and Art History, covering themes from ancient times to the present day, and elective courses in the history of modern and contemporary art, craft, design, and/or media arts.

We seek candidates whose teaching and scholarship focuses on modern and contemporary art and includes expertise in critical theory and the study of visual culture. An ideal candidate will also have familiarity with cross-cultural perspectives, non-western art history, and one or more of the following:

  • Design as a cross-disciplinary, contemporary practice;
  • Moving image and interactive digital media, such as video, gaming, and animation;
  • Performance art, conceptual art, or socially-engaged practice; or
  • Issues of ecology and sustainability in modern and contemporary art.

We especially welcome candidates whose instructional approaches extend beyond Eurocentric models and engage with contemporary issues in art, craft, and media arts. The position offers competitive salary and benefits. Preferred qualifications include a Ph.D. in Art History or a closely related field, an active record of publication, experience teaching at the college level, and a record of supporting diversity, equity, and inclusion in the classroom and professional practice.

Applications received by Dec 29, 2021 will be given full consideration. To apply for the position, please visit https://www.cia.edu/about-us/careers-at-cia. Applicants will be asked to submit a cover letter, curriculum vitae, teaching statement, sample of scholarly work, and contact information for three references. Semi-finalist candidates will be interviewed by phone or video conference. Three letters of recommendation will be required for candidates who progress. Finalists will be interviewed in spring 2022 through video conferences and/or campus visits. Candidates must be eligible to work in the United States on or before July 1, 2022. 

Cleveland Institute of Art (CIA) is committed to increasing diversity in our community and actively pursues individuals from all backgrounds. Additionally, CIA complies with all applicable federal, state, and local laws and provides equal opportunity in all educational programs and activities, admission of students, and conditions of employment for all qualified individuals regardless of race, color, sex, religion, age, disability, sexual orientation, protected veteran status, gender identity or national origin.

ABOUT CIA

The Cleveland Institute of Art is a nationally recognized four-year accredited college of art and design. An educational cornerstone in Cleveland since 1882, CIA is an independent college committed to leadership and vision in all forms of visual arts education. CIA wins widespread acclaim for the quality of its programs and the achievements of its alumni. Groundbreaking artwork from graduates and faculty can be found in the permanent collections of prestigious museums, including the Metropolitan Museum of Art, the National Gallery, the Smithsonian American Art Museum, and the Victoria and Albert Museum. The college’s design and entertainment arts alumni are sought-after innovators at corporations that include Proctor & Gamble, Ford, GM, Nissan, Motor, Hasbro, Disney, Nickelodeon, Sony and Electronic Arts.

With approximately 600 students, CIA offers a personal educational experience with the benefits of a larger institution. Students choose from 15 majors and live and work in Cleveland’s University Circle, one of the country’s most unique cultural centers – recently named by Forbes Magazine as one of the ten prettiest communities in the country. The CIA experience includes cross-disciplinary studies, opportunities for exploration, development of critical thinking and practical business skills. In addition, every CIA student participates in projects involving real-world challenges and outside clients or partners. CIA’s highly engaged faculty include exhibiting artists, scholars, and award-winning designers who continue to make significant contributions to their fields and win national recognition for their art and scholarship.

JOB: African Art @ FIT

Dear colleagues,

At the Fashion Institute of Technology (NYC), we unexpectedly need to find an instructor for the African art survey classes we are offering in Spring 2022.  These are in-person courses that run from January 24-May 16:

HA 223 — African Art and Civilization – Mondays @ 12:10-3pm

Surveys cultures of sub-Saharan Africa. Illustrated lectures present art and architecture in relation to history, religion, economic conditions, and social and political structures.

HA 230 — Modern and Contemporary African Art – Tuesdays @ 6:30-9:20pm

An examination of the history of 20th- and 21st-century African art, from decolonialization movements through contemporary themes. Surveys new artistic practices, schools, and workshops within their historical and artistic contexts.

Pay is dependent on experience, but the base rate is $72.08 an hour.  We can recommend step-level increases for teaching experience and for professional activities. A class is three hours for 15 weeks, with an extra week of pay to cover office hours, so 48 hours.  It works out to be about a minimum $3500, if higher steps are awarded then the base rate is higher. Classes are capped at 27, and we expect to have a renegotiated contract by spring, with wages 7% higher. Our adjunct faculty have the opportunity to join our union, the UCE-FIT which provides a variety of benefits.

Please alert your colleagues and send me a CV if you are interested. Thank you!

All the best,

Justine De Young, Chair, History of Art Department, Fashion Institute of Technology
justine_deyoung@fitnyc.edu

JOB: Tenure Track, Arts of the Americas @ U Arkansas

The Art History Program in the School of Art at the University of Arkansas invites applications for a tenure-track endowed assistant or associate professor in art history, in research areas integral to the arts of the Americas. The position is open in terms of chronological specialization, and we are especially interested in scholars of Indigenous art, Latin American and Latinx modern and contemporary art. Interdisciplinary, intersectional, and transregional approaches centering overlooked or marginalized histories are particularly welcome, such as Afro-Latinx traditions and histories of craft.

Scholars with a passion for collaboration, program-building, and partnership-development are also encouraged to apply. Applications are also encouraged from those invested in making art history accessible and compelling to first-generation students and students from communities underrepresented in U.S. arts institutions. The Art History Program in the School of Art is actively committed to diversifying art historical knowledge and approaches, embracing new methodologies, and educating students in a multivocal and inclusive art history. This effort is reinforced by several new initiatives within the School of Art, including a partnership with the IDEALS Institute, which offers workshops and opportunities for organizational learning; the Bridges Program, which provides structural support to all new faculty, especially those historically underrepresented in academia and their chosen fields; and a new student mentoring program.

This position is considered fundamental to the implementation of a new MA program in the arts of the Americas, developed in partnership with the Crystal Bridges Museum of American Art and its contemporary arts satellite, the Momentary. For this and future hires, we seek creative thinkers who will contribute to the diversity and excellence of the intellectual community in the School of Art, Crystal Bridges, and the growing arts ecosystem of Northwest Arkansas. Endowed positions come with a significant annual research budget, the expectation of a research record appropriate to the prominence of the appointment, and the requirement of at least one community outreach effort per year. This is a nine-month faculty appointment, with a standard workload of 40% research, 40% teaching (2 courses per semester), and 20% service. Expected start date is August 15, 2022.

The successful candidates will teach courses at the graduate and undergraduate level, play an active role in implementing the new MA program in arts of the Americas (expected launch date of Fall 2023), participate in and help to guide future faculty searches, and regularly collaborate with staff at Crystal Bridges and the Momentary. Candidates may also teach in the Honors College and at the university’s Rome Center, and co-design courses with colleagues in Studio and other units. Art history faculty have ties to the Indigenous Studies Program, Latin American and Latino Studies, and African and African American Studies, among other departments and initiatives. Additional resources include the Arkansas Archaeological Survey, the Fine Arts Center Gallery, the Museum of Native American History in Bentonville, and the many museums in the region, including the First Americans Museum in Oklahoma City, OK, the Philbrook Museum of Art in Tulsa, OK, and the Nelson-Atkins Museum in Kansas City, MO.

Applications due by December 1, 2021. Late applications will be reviewed as necessary to fill the position.

Further details here: uasys.wd5.myworkdayjobs.com/UASYS

CFP: Black and Queer, Music on Screen, liquid blackness

liquid blackness: journal of aesthetics and black studies 7, no. 1, Spring 2023

Co-edited by Ïxkári Estelle, James Tobias (Sync: Stylistics of Hieroglyphic Time), Stefan Torralba, and Calvin Warren (Ontological Terror: Blackness, Nihilism, Emancipation)

This special issue of liquid blackness: journal of aesthetics and black studies proposes to work on Black Queer expression in audiovisual musics cutting across histories of the avant-garde, popular audiovisuality, and frameworks both transnational and critically transhistorical. The goal of the issue is to set up the framework for a survey of Black and Queer musicality in audiovisual media so as to suggest “non-contemporaneous” dialogues between and across historical registers and media platforms, so that the critical expressive power of non-conforming persons of color become a given rather than an alibi, an absence, or a projection.

From early sound cinema to the present, queer or gender non-conforming black artists have voiced a complex series of claims, propositions, demands, and desires, from the introduction of sound to the cinematic screen to the introduction of social media video in networked digital cultures. Black feminist and queer scholarship has often engaged with the meanings and powers expressed in these works, or in musical artists indebted to them or referencing them, from Angela Davis’ reading of transformations of historical memory in Smith’s St. Louis Blues (Blues Legacies and Black Feminisms), to Lindon Barrett’s study of Billie Holiday (Blackness and Value), to Saidiya Hartman’s discussion of errancy in relation to woman-identified women singers in the early years of recording (Wayward Lives, Beautiful Experiments), and DaphneBrooks’ recent reading of black women’s use of arrangement, sonic curation, and blackness as technology (Liner Notes for the Revolution) in articulating a politics of being and becoming. Working through postcolonial, decolonial, diasporic, and critical ethnic studies’ critical innovations, we may productively identify discontinuities in terms of technical medium and mode of distribution, from film short, to soundie, to Hollywood musical set piece, to film promotional clips, music television clips, and music video made for social media. At the same time, we will also observe the ways in which concepts like Sharpe’s “wake work,” “fugitivity” in Moten’s critical aesthetics, “opacity” in Fleetwood, Browne, or Musser, “boiz” or non-normative sex-gender identities in Harris, the expressive technics of “queer OS” in Keeling, or “ontological terror” in Warren – only a few of potentially generative formulations appearing in recent Black Study – may help gloss the gestures, meanings, and forces at work in black queer voice in technical mediation. How may we read the histories and futures of audiovisual musicality in these terms, given the dynamic work of artists over the last decade ranging from, say, Zebra Katz to Janelle Monae, Odd Future et. al., Mykki Blanco, Moses Sumney – and many more, too numerous to list here?


Black and Queer, Music on Screen seeks to redress a grave limitation in current scholarship. Typically, attention to medium and historical specificities in studies of onscreen musicality have so prioritized the form/medium problem in cinema, video, or digital media studies, such that attention to “film,” “video,” or “digital” formats pre-empts the observation of continuities or conversations across historical periods or transitioning media. One result is that even as black and sex-gender non-confirming subjects are “rediscovered” in “early sound film,” black and sex- gender non-confirming innovations in later moments and in the contemporary moment are cordoned off from one another, safely consigned to some futural fate of what will be a belated rediscovery, or held apart as “alternatives” to the dominant rather than continuing a long- standing historical critique.

While the disciplinary preoccupations of cinema and media studies with regard to medium specificity and period have made it unlikely that concerns and problems expressed in the technical mediation of Black Queer voice as musical expression to surface as primary problems in cinema and media studies, nevertheless, some of the most affecting and influential works of artist cinema – Julien’s Looking for Langston, for example – have clearly problematized and made substance of these aesthetic and political histories, as well as their deferral in the culture industries and in the academy alike. This special issue calls for critical work centering both historical and recent upsurges in the aesthetic and critical powers of Black and Queer musical expression on screen. What happens when we understand, as Bey (2020) has argued, “the history of blackness as a history of disruption,” so that disrupting racializations along with sex-gender non-conformance become productive of the labor animating audiovisual music’s meaning and effects?

Finally, we ask, what does the sound, voice, or gesture of radical ethical demand feel like when it hits the poetics and aesthetics of the musical screen? What revolutions, in other words, in retrospect and in theory, can we understand to have in fact been sung, danced, and thus enjoined once we align the relevant critical frameworks and exemplars, so that the limits and obstacles to a larger historical and theoretical understanding of expressive queer black gesture are removed?

Topics List
• Black queer practices of exceeding and disabling technology in the form of musical, audiovisual technics• Archival recovery, fictive archiving, and critical fabulation of the archive through voice, sound, music, and musical audiovisuality• Hemispheric and triangular kinships of Black queer media as musical counter-positions within the Americas• Productivities and problematics of Black queer practices enabling “queer of color” expression• The politics of citation, reference, and allusion in Black queer musical media practices• Transmedia musical imaginaries, ethics, and aesthetics• Surprising transnational circuits of visual imageries and performance practices, that is, audiovisual treatments of the Black Atlantic or the Black Pacific• Musicality, voice, and sound informing counterintuitive or counterhegemonic readings of popular Back queer media• Digitality, diaspora, musicality• Soul as reason: re-thinking the place of affect as paralinguistic rhetoric of critique, community, or desire • “Dirty” computing, musical freakdom, and the gestural paragrammatics of collective self- fashioning• Musicality and remembrance as transformation of collective memory, in Black musical film more generally, in addition to Blues women’s recordings.• Afro-Historicisms, Afro-Futurisms, or Afro-Pessimisms on the musical screen• Shouts and whispers on screen: historical claims and rhetorics in Black audiovision• Cool, hot, noise: style on the musical screen• Analytics of track, mix, and edit on screen as homologies of self-fashioning and collective movement• Ad hoc surrealisms, absurdisms, anti-realisms: musicality as fugitivity• Generational non-contemporaneity: Black voice carrying over and beyond period and across medium 

Submission Due: January 15, 2022 (send to journalsubmissions@liquidblackness.com)

Author Guidelines & Submission Information• Submission Types:• Traditional essays: approx. 3-5,000 words (including footnotes)—all essays should be accompanied by at least one image• We welcome submissions of interviews, visual and textual art, video, and other artistic work• Questions about the length, style, format of experimental submissions can be directed to journalsubmissions@liquidblackness.com• liquid blackness follows the formatting and reference guidelines stipulated by The Chicago Manual of Style• All submissions, solicited and unsolicited, will be peer-reviewed• Media Specifications• We welcome the submission of media files such as video or sound clips, which will be published as supplementary data. The following audio and video file types are acceptable as supplementary data files and supported by our online platform:.mp3, .mp4, .wav, .wma, .au, .m4a, .mpg, .mpeg, .mov, .avi, .wmv., html.• Executable files (.exe) are not acceptable.• There is no restriction on the number of files per article or on the size of files; however, please keep in mind that very large files may be problematic for readers with slow connection speeds.• Please ensure that each video or audio clip is called out in the text of the article, much like how a figure or table is called out: e.g., “see supplementary audio file 1.”

—About liquid blackness
• liquid blackness is an open-access journal, which means that all content is freely available without charge to readers or their institutions.• Our Editorial and Advisory Boards 

Mission Statement
The liquid blackness journal seeks to carve out a place for aesthetic theory and the most radical agenda of Black Studies to come together in productive ways, with a double goal: to fully attend to the aesthetic work of blackness and to the political work of form. In this way, the journal strives to develop innovative approaches and analytic tools to address points ofconvergence between the exigencies of black life and the many slippery ways in which blackness is encountered in contemporary sonic and visual culture.

liquid blackness aims to establish a point of exchange at the intersection of multiple fields. The history of this intentionally undisciplined space is best understood through a series of questions pivoting around (1) the relationship between aesthetics and the ontology of blackness and (2) the generative potential of blackness as an aesthetic. If blackness is, as we argue after Fred Moten, an unregulated generative force, then the liquid blackness journal seeks to offer a dedicated space where it can be consistently unleashed. As we extend and confront lines of inquiry from a number of research fields, our approach is equally concerned with theoretical content, analytical methods, and scholarly praxis.