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: Pre-Doctoral Diversity Fellowship @ Ithaca College, 2012-13

The School of Humanities and Sciences at Ithaca College announces a Pre-Doctoral Diversity Fellowship for 2012-13. The fellowship supports promising scholars who are committed to diversity in the academy in order to better prepare them for tenure track appointments within liberal arts or comprehensive colleges/universities.

Applications are welcome in the following areas: Anthropology, Art History, Communication Studies, Environmental Studies and Sciences, History, Philosophy and Religion, Psychology, and Sociology. The Center for the Study of Culture, Race and Ethnicity, which houses the African Diaspora Studies and the Latino/a studies minors, also welcomes applications. The School of Humanities and Sciences houses additional interdisciplinary minors that may be of interest to candidates: Jewish Studies, Latin American Studies, Muslim Cultures, Native American Studies, and Women’s Studies. Fellows who successfully obtain the Ph.D. and show an exemplary record of teaching and scholarship and engagement in academic service throughout their fellowship, may be considered as candidates for tenure-eligible appointments anticipated to begin in the fall of 2013.

Continue reading “JOB: Pre-Doctoral Diversity Fellowship @ Ithaca College, 2012-13”

CFP: Africana Annual, new journal

Africana Annual: a journal of African and African Diaspora Studies

The Department of African & African American Studies at the University of Kansas is proud to announce the establishment of Africana Annual and to invite the submission of full-length articles and review essays. Africana Annual is a broadly conceived annual interdisciplinary peer-reviewed journal. The principal focus of the journal is to create and facilitate critical dialogue and analysis of the African, African American, and African Diasporic experiences. An interdisciplinary journal encompassing history, politics, sociology, performance arts, economics, literature, cultural studies, anthropology, Africana studies, gender studies, ethnic studies, religious studies, the fine arts, and other allied disciplines. Africana Annual embraces a variety of humanistic and social scientific methodologies for understanding the social, political, and cultural meanings and functions of the varied experiences of Africana. We invite authors to submit work that examines key issues or profound topics on African America, Africa (north and south of the Sahara), and the Diaspora.

Submission Policies
The journal encourages authors to submit unsolicited articles and comprehensive review essays. All academic articles should be between 20 and 30 pages. Comprehensive review essays should be about 10 to 15 pages in in length. All articles and comprehensive review essays will be peer-reviewed.

Authors should e-mail their manuscripts as Microsoft Word files to:
Africana Annual africana@ku.edu
Authors must provide full contact information, including e-mail address, with manuscripts.

All manuscripts must follow the current edition of the Chicago Manual of Style and should use endnotes. Materials submitted to Africana Annual must not have been previously published nor submitted for publication elsewhere while under review by Africana Annual editors. All manuscripts accepted are subject to editorial modification.

The deadline for submission for the inaugural issue is May 31, 2012

CFP: ACASA-Sponsored Panels @ ASA 2012

CALL FOR PROPOSALS FOR ACASA-SPONSORED PANELS
ASA 56th Annual Meeting
Philadelphia
November 29-December 2, 2012

DEADLINE: FEBRUARY 1, 2012
ADDRESS: Send proposals electronically to Steven Nelson, ACASA President nelsons@humnet.ucla.edu

Conference Theme: “Research Frontiers in the Study of Africa”

ACASA sponsors two panels at ASA’s annual meeting. We invite proposals for panels in all areas of the study of the arts of Africa, and we welcome submissions from professionals and scholars at all stages of their careers. Proposals are particularly encouraged that focus on this year’s theme of “Research Frontiers in the Study of Africa,” which is expanded upon below:

Studying Africa often comes with an acute consciousness of challenges both in the societies we study and in the immediate institutional contexts in which we do our work. That consciousness is justified, but it often consigns us to only muted joys when we in fact ought to allow ourselves more. Africa continues to be compelling as both subject and object of knowledge, thanks to the composite of the profound transformations currently going on, the immense creativity of the people, and the innumerable challenges of diverse local and global origins that frame those developments. This dynamism has tasked and frayed our theories, not because the continent is strange or abnormal but because our theories and methods could be much more supple, more vibrant, and more educated. This situation calls for thinking at the limits, at the frontiers, and beyond, and here are some questions to start with: Where are the research frontiers in our different fields today? Which frontiers have only just been opened and will soon emerge as major research fields? What is a research frontier and under what academic, funding, social, and political contexts is it created? How are research frontiers consolidated, made hegemonic or subordinate, and disarticulated? By which means are we advancing the frontiers in developing our methods of data collection and analysis? How do we work, and thrive, at the frontier at a time of diminishing resources? Let us collectively begin to explore these issues and many more at the 2012 ASA Annual Meeting in Philadelphia.

REQUIREMENTS:
A panel typically has a chair, three or four paper presenters, and a discussant. A panel proposal consists of the panel title, the panel abstract, and titles and abstracts for each paper presenter, including their contact information (institutional affiliation, email address, telephone number, and address). The panel abstract should consist of a statement about the topic and a brief summary of the main argument(s) to be explored (no more than 250 words). The quality of the panel abstracts is the main criterion for acceptance; a panel with a weak abstract or with two or more weak paper abstracts is unlikely to be accepted.

Please note that all participants on a panel must be members of BOTH ACASA and ASA. For those panels accepted by ACASA, panelists must be preregistered for the annual meeting before the panel proposal can be submitted, including the panel chair and discussant.

AUDIO VISUAL EQUIPMENT:
Due to the rapidly increasing costs charged by hotels for AV equipment, the ASA is unable to provide projection or sound equipment. However, each meeting room will have a screen and presenters are welcome to bring their own equipment. The ASA understands the importance of AV support for many presenters and the Association is working to develop strategies to facilitate AV support for future conferences.

Cuban artists bring perspective of their homeland via Cleveland Institute of Art’s ‘The Cuba Project’

Coming-of-Age Drama ‘Better Mus’ Come’ Wins Audience Award at Bahamas Film Festival

The Naked Truth

lacma's avatarUnframed The LACMA Blog

“Past is never dead. It’s not even past.”—William Faulkner

Black-on-black commentary is only slightly an inside story. For under the halo of “Negro Sunshine,” at the entrance to Glenn Ligon: AMERICA, I experienced moments of real cultural nostalgia. My mother and the dream book and the endless numbers racket, with its weird logic and odd asymmetrical poetry, were somehow lodged in Glenn Ligon’s magical series of numbered paintings. Apart from the unusually personal in Ligon’s piercing vision, conceptualism—that somewhat elusive creature—seems to find its most complete expression in his oeuvre. Ligon is prepared to stream unflinchingly through various media, extracting elegantly exquisite beauty swathed in a tireless drama of inventions. Here the iniquities of history are refracted and recast. The heroes and heroines are unknown, enfeebled, and lost in time. Irony is legible and graphic, taking the form of a children’s coloring book. He places specificity within our universal…

View original post 589 more words