Final Update: Culture and Resistance: Civil Rights Photography – Memphis 1968

CFP: Art, Race, and Christianity @ CAA 2016

Call for Papers: Art, Race, and Christianity
Affiliated Society: Association for Critical Race Art History
Phoebe Wolfskill, Indiana University, pwolfski@indiana.edu and James Romaine, Nyack College, drjamesromaine@gmail.com
College Art Association Annual Conference, February 3-6, 2016, Washington, DC

Session Description: Since its arrival in the Americas, Christianity has been inextricably linked to issues of racial identity. The religious foundations of the European immigrants who colonized the New World diverged from the practices of indigenous and uprooted African populations, often resulting in a conflict of spiritual identities, a struggle that frequently found its place in artistic expression. This panel seeks papers focusing on the relationship between race and faith in North American and Caribbean art created from the nineteenth century to the present. How does art function as a site in which intersecting racial and religious tensions have been expressed, debated, or potentially resolved? How does an artist (or community of artists) negotiate an identity that is situated between or within racial and religious identities? In what ways does racial identity or racial difference influence depictions of Christian subjects and themes? What specific contexts allowed for or required the negotiation of racial identity and Christian subjects? We welcome broad conceptions of race and a range of media for exploration.

Session participants must be a member of CAA.

Every proposal should include the following five items:
1. Completed session participation proposal form, located at the end of the pdf http://www.collegeart.org/pdf/2016CallforParticipation.pdf or an email with this information.
2. Preliminary abstract of one to two double-spaced, typed pages.
3. Letter explaining speaker’s interest, expertise in the topic, and CAA membership status.
4. CV with home and office mailing addresses, email address, and phone and fax numbers. Include summer address and telephone number, if applicable.
5. Documentation of work when appropriate, especially for sessions in which artists might discuss their own work.

Please send proposals to:
Phoebe Wolfskill, Indiana University, pwolfski@indiana.edu and James Romaine, Nyack College, drjamesromaine@gmail.com

DEADLINE: May 8, 2015

CFP: AFROTOPES @ CAA 2016

*AFROTROPES*

*College Art Association 104th Annual Conference*

*Washington DC, February 3-6, 2016*

Huey Copeland and Krista Thompson, Northwestern University

*Submissions due to h-copeland@northwestern.edu and krista-thompson@northwestern.edu by **May 8, 2015. Visit **http://www.collegeart.org/pdf/2016CallforParticipation.pdf * *for CAA submission guidelines, requirements, and forms*.

This conference session centers on the aesthetic, historical, and theoretical terrain opened up by the “afrotrope.” We coined this neologism as a way of referring to those recurrent visual forms that have emerged within and become central to the formation of African diasporic culture and identity in the modern era, from the slave ship icon produced in 1788 by the Society for Effecting the Abolition of the Slave Trade to the “I *AM* A MAN” signs famously held up by striking Memphis sanitation workers in 1968.

As their rich afterlives make clear, afrotropes resonate widely long after their initial appearance. For instance, the “I *AM* A MAN” sign has served as the basis for a 1988 painting by Glenn Ligon, a sandwich board worn by Sharon Hayes during a 2005 New York street performance, and a poster wielded by protesters in Benghazi during the Arab Spring. Accordingly, our conceptualization of the afrotrope emphasizes how changes to cultural forms over time and space speak to the ways that touchstones of African diasporic history, subjectivity, and modes of resistance are produced and consumed globally by a range of actors for a variety of ends.

By homing in on the material transformation of specific afrotropes over several iterations, we hope to reframe approaches to the ways that modes of cultural exchange come to structure representational possibilities. While our theorization of the afrotrope is indebted to Mikhail Bakhtin’s notion of the chronotope and Henry Louis Gates Jr.’s writing on black figurative turns, we also look toward the work of art historians such as T.J. Clark, George Kubler, and Christopher Wood in elaborating new models for thinking temporality, authorship, and transmission that the afrotrope at once instances and demands.

Indeed, we would argue that the afrotrope makes palpable how modern subjects have appropriated widely available representational means only to undo their formal contours and to break apart their significatory logic. At the same time, the concept enables a fresh consideration of what is repressed or absented within the visual archive. The afrotrope, in other words, offers a vital heuristic through which to understand how visual motifs take on flesh over time and to reckon with that which remains unknown or cast out of the visual field. Ultimately, the aim of our session is not only to identify key afrotropes—with an eye toward producing an edited user’s guide to these forms—but also to theorize how their transmission illuminates the visual technologies of modern cultural formation.

The Dark Room is coming…to Wellesley College on Saturday, April 11

nikkigphd's avatarNikki G Ph.D.

Third Exposure SymposiumTHIRD EXPOSURE~THE DARK ROOM: RACE & VISUAL 3RD ANNUAL SYMPOSIUM on Saturday, April 11 at Wellesley College. Free and Open to the Public. See below for the full schedule.

The Dark Room: Race and Visual Culture Studies Seminar is an extended conversation concerning the intersection of critical race theory and visual culture studies. With over 40 members from 24 North American colleges and universities, we are a group of regional and institutional variety, made up of several different disciplines and departments and different professional ranks. We meet once a month during the academic year to consider the import of recent published works heavily invested in the interstices of visualities rendered through the lens of race and empire. Third Exposure is just that, our third foray into a collective intellectual engagement of this kind. #3rdExp

Email: raceandvisualcultureseminar@gmail.com | Twitter: @raceandvisual

Program Schedule

8:30      Registration    Collins Cinema

9:00     

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JOB: Museum Director @ DePaul Art Museum

DePaul University seeks a visual arts professional to orchestrate development primarily of content-rich modern & contemporary exhibitions, provide educational experiences, manage museum operations, strengthen the organization’s Advisory Board, and proactively drive fundraising outreach.

The Director will ensure that the DePaul Art Museum serves the needs of the university and local communities, is well regarded by others across the museum field, and takes a deserved place among respected Chicago art museums. Reporting to the University’s Vice President for Teaching and Learning Resources, the Director will lead and set the tone for the DePaul Art Museum, and will also work closely with faculty, artists and curators to organize museum based programming. Additionally, the Director will ensure that the museum functions as a bridge between DePaul University and the art world.

This will involve close and appropriately scaled cooperation between the DePaul Art Museum and other arts entities at the university, in Chicago, nationally and internationally. An area of curatorial emphasis is expected to continue to be the modern & contemporary art, and Chicago and the American Midwest.

The Director of the DePaul Art Museum will play a key role in setting the tone for the visual arts across all campuses, colleges, schools and facilities of the university. The Director will orchestrate exhibitions and programs, functioning as curator when necessary. The museum’s Director is expected to a) strengthen its management practices, b) incorporate diverse curatorial voices and sensibilities into the museum’s programming, c) attract donors of art and financial support for the museum, and d) define DePaul Art Museum’s brand position within Chicago’s arts community.

http://aam-us-jobs.jobtarget.com/jobseeker/job/22137494/

JOB: Folk and Traditional Arts Director @ NEA

The National Endowment for the Arts (NEA), a federal agency based in Washington D.C. is seeking to fill the position of Folk and Traditional Arts Director, GS-0301-15, in the Office Programs and Partnerships, Multidisciplinary Arts Division.

·         This position opened Friday, February 19, 2015 and will close on Wednesday, March 18, 2015.
·         This position is open to all qualified U.S. citizens.
·         Folk and Traditional Arts Director Announcement number: NEA-AGr-15-1308013 (EX)

In addition, the links below will provide information on how to apply for federal positions as well as utilize USA Staffing.  All vacancy announcements also have a “How to apply” section that provides instructions on how to apply using USA Jobs.

·         Frequently Asked Questions  — REVIEW the HOW DO  I APPLY FOR FEDERAL POSITIONS
·         USA Jobs How to Apply

All questions regarding this announcement should be directed to Ms. Anita Green, greena@arts.gov, 202-682-5472

JOB: Visiting Professor in American Art @ Spelman College

Description: RTS@Spelman, which includes Art & Art History, Drama and Dance, Music, the Digital Moving Image Salon, and the Spelman College Museum of Fine Art, are currently in the exciting process of re-conceptualizing the academic curriculum to best meet the needs of a 21st century liberal arts institution. Likewise, we are planning the future renovation of the arts facilities. The Department of Art & Art History and the Spelman College Museum of Fine Art are collaborating to create a course of study that prepares the next generation of African American art historians and curators. This two-year appointment is partially supported by the Andrew W. Mellon Foundation.

POSITION DESCRIPTION:
The Department of Art & Art History invites applications for a two-year Visiting Professor in American art with sub-specialties in African American, women in art and curatorial studies beginning Fall 2015. Candidates must demonstrate innovative approaches to teaching art history, possess a strong commitment to undergraduate research, and have an established record of scholarly excellence and curatorial leadership. Candidates with experience teaching the following courses are strongly encouraged to apply: Understanding Visual Art / African American Art / Introduction to Curatorial Studies / Issues in Women’s Art: Mining the Museum / History of Art I

JOB REQUIREMENTS:
Qualifications: Preference is given to candidates with a Ph.D. in art history and a minimum of three to five years teaching experience. Candidates must have a proven track record of scholarship and be able to demonstrate interdisciplinary and creative approaches in teaching art history. Candidates should also have curatorial experience and be prepared to incorporate object-based learning from the Spelman College permanent collection, special exhibitions, and neighboring arts institutions.

http://www.spelman.edu/career-center/human-resources/working-at-spelman

FEL: Alfred Appel Jr Curatorial Fellowship @ Delaware Museum of Art

The Delaware Art Museum is pleased to offer an annual Curatorial Fellowship. This two-month Fellowship is intended for graduate students working towards a Museum career. This Fellowship honors Alfred Appel, Jr., a leading scholar of American Studies and a collector of modern prints and photographs.

The focus of the Fellowship changes each year based on institutional need. The Fellowship requires two months of full-time work, or the equivalent in part-time hours. The timing of the Fellowship is flexible and can be carried out full-time or part-time, based on applicant and institutional commitments, and must be served between April 2015 and February 2016.

In 2015–2016 the Appel Curatorial Fellow will research and plan an exhibition drawn from the University Museums’ African American art collection at the University of Delaware, inclusive of the Paul R. Jones Collection. Jones was a major collector of 20th-century art who amassed a premiere collection of African American art. His donation of works—diverse in media, subject, style, and technique—to the University of Delaware serves as the foundation for a growing collection of African American art. The collection includes works by such noted artists as Charles White, Herman “Kofi” Bailey, David Driskell, Elizabeth Catlett, Earl Hooks, Leo Twiggs, Stanley White, Jacob Lawrence, Romare Bearden, P.H. Polk and Selma Burke. The Fellow will plan a focused exhibition from this remarkable collection.

The Appel Curatorial Fellow will work closely with Heather Campbell Coyle, Curator of American Art, to plan an exhibition scheduled for the summer of 2016.

The focus of the 2016–2017 Fellowship will be announced in the fall of 2015.

Receiving the Fellowship:
A stipend of $3,500 is available for the Fellowship. The Fellowship is intended for those who are currently enrolled in an art history graduate program and are planning a museum career. While the project may require off-site research, the fellow is expected to work on site regularly during the period of the Fellowship.

Important Dates:
The deadline to apply for the 2015 Fellowship is March 1, 2015. Notification of the successful applicant will be announced by April 1, 2015. The chosen candidate will then be asked to provide a date for assuming the Fellowship by May 1, 2015. The Fellowship must be carried out between April 30, 2015 and February 10, 2016.

To Apply:
Applications for the 2015 Appel Fellowship, including a cover letter, resume, and two letters of recommendation as an MS Word or PDF attachment may be emailed to Heather Campbell Coyle, Curator of American Art at hcoyle@delart.org

JOB: Curator of African-American Art @ Georgia Museum of Art

THE THOMPSON CURATOR OF AFRICAN-AMERICAN ART

The Larry D. and Brenda A. Thompson Curator [the “Thompson Curator”] at the Georgia Museum of Art on the campus of the University of Georgia will oversee a growing collection of objects and archives by artists of the African diaspora, with an emphasis on art by African Americans, as well as managing a smaller collection of African objects. The Thompson Curator will report to the director of the museum. He or she will work collaboratively with other curators where areas of interest overlap, particularly with the curators of American art and decorative arts, as well as with the Pierre Daura Curator of European Art, the curator of education, the director of communications, registrars, preparators and with outside curators and other scholars, to further the study, care, interpretation, presentation and publication of objects in the collection.

Qualifications: The position requires substantial, proven knowledge of art by African Americans, art of the larger African diaspora and African art and material culture, in addition to curatorial experience (preferably three to five years in a museum setting), connoisseurship and knowledge of issues regarding conservation. A doctorate in the history of art, African studies, African-American studies, or a closely related field is required; publications and a demonstrated interest in academics are expected.

Primary duties: The Thompson Curator will have day-to-day and long-term responsibilities regarding organizing exhibitions, conducting research, budgeting, writing for publications, recommending and soliciting acquisitions and identifying and performing as in-house curator for exhibitions on loan from other institutions. The Thompson Curator will work with the curator of education to make exhibitions more accessible to the general public, with docents in training for tours and with the faculty, staff and students of the university.

Donor relations will be an important aspect of the curator’s job, and she or he will be expected to assist the director in identifying and cultivating prospects for future gifts of works of art to the museum’s permanent collection, as well as working with the museum’s Board of Advisors. A wide range of professional activities is expected, including lecturing, teaching, participation in scholarly symposia, contributing to scholarly publications, serving on museum committees and actively participating in professional organizations and committees.

The museum: The Georgia Museum of Art shares the mission of the University of Georgia to support and promote teaching, research and service. Specifically, the museum exists to collect, preserve, exhibit and interpret significant works of art. Opened in 1948, the Georgia Museum of Art is accredited by AAM and is a member of AAMD. It is both a university museum and the official state museum of art. The museum offers programming for patrons of all ages, from children to senior citizens, as well as free admission to the public for all exhibitions. It carries out an ambitious exhibition and acquisition program, organizing its own exhibitions in-house, creating traveling exhibitions for other museums and galleries and playing host to traveling exhibitions from around the country and the world. The museum hosts approximately 80,000 visitors a year. Visit http://www.georgiamuseum.org for more details.

The university: The museum is located on the campus of the University of Georgia, a land- and sea-grant state university with a total enrollment of around 35,000 students and a workforce of nearly 10,000 employees. Eighteen different schools and colleges are within the university, and its libraries are ranked among the nation’s best in research. U.S. News & World Report’s 2013 “Best Colleges” edition has UGA ranked 21 among public universities. Its NCAA Division I sports teams have won 38 national championships, including 26 since 1999.

The town: Athens, Georgia, is located 70 miles northeast of Atlanta, in the foothills of the Blue Ridge Mountains, approximately 300 miles from the coast. With a population of more than 100,000, Athens serves the region as an educational, medical, business, industrial and retail center. The city benefits from strong historic preservationist activity and nurtures artists, writers, musicians and poets. Cultural, sporting and outdoor opportunities abound, for both adults and children. The public school system is recognized statewide for excellence, and there are several outstanding independent and parochial schools in the area. Both the city and the university have a public transit system. Urban, suburban and rural housing is available either for purchase or rent. For more information about Athens, please visit the Athens Convention & Visitors Bureau website at http://www.visitathensga.com.

Applications will be reviewed until the position is filled. Please send a letter of application, a curriculum vitae and a sample of scholarly writing to:

Lisa Conley, Business Manager

Georgia Museum of Art

90 Carlton Street

Athens, Georgia 30602-6719

Materials may be sent via email to laconley@uga.edu. No faxes accepted. Preliminary interviews will take place during the College Art Association annual conference in New York, February 11-14, 2015. Anticipated start date is July 1, 2015 or as negotiated.

The University of Georgia is an Equal Opportunity/Affirmative Action employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability, or protected veteran status.

SO! Amplifies: Mendi+Keith Obadike and Sounding Race in America

guestlistener's avatarSounding Out!

Document3SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig.  You’re welcome!

Several years ago—after working on media art, myths, songs about invisible networks and imaginary places—we started a series of sound art projects about America. In making these public sound artworks about our country we ask ourselves questions about funk, austerity, debt and responsibility, aesthetics, and inheritance. We also attempt to reckon with data, that which orders so much of our lives with its presence or absence.

We are interested in how data might be understood differently once sonified or made musical. We want to explore what kinds of codes are embedded in the architecture of American culture.

Big House/Disclosure

image02

The first sound art project in this vein that we completed in 2007 was entitled Big House / Disclosure. Northwestern University commissioned

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