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: Assistant Professor of Art History and Visual Culture Studies @ Whitman College

Assistant Professor of Art History and Visual Culture Studies
Location: Walla Walla, Washington
Employer: Whitman College
Type: Full Time – Academic-Assistant Professor
Categories: Art History-Any, Art History-Art of the United States, Art History-Native American
Required Education: PhD

Art History and Visual Culture Studies: Tenure-track position in Ethnic American Visual Culture, at the rank of assistant professor. Effective August 2012. Ph.D. in an appropriate disciplinary or interdisciplinary field by the time of appointment. Area of specialization open. We seek an individual with a critical approach to the impact of visual culture on issues of race and ethnicity in the United States. The successful candidate will teach five courses per year including “Introduction to Art History and Visual Culture Studies” and courses in area of specialization. The position will also have teaching responsibilities in the Race and Ethnic Studies Program. Other responsibilities will include advising majors and pre-majors, administering senior oral exams and overseeing senior theses. Dedication to an undergraduate liberal arts education is essential.

Whitman College wishes to reinforce its commitment to enhance diversity, broadly defined, recognizing that to provide a diverse learning environment is to prepare students for personal and professional success in an increasingly multicultural and global society. In their application, candidates should address their interest in working as teachers and scholars with undergraduates in a liberal arts environment that emphasizes close student-faculty interaction; how their cultural, experiential, and/or academic background contributes to diversity; and their interest in participating in the College’s general education offerings as well as engaging in cross-disciplinary teaching and scholarship. To apply, go to https://whitmanhr.simplehire.com/, click “Faculty” and “Assistant Professor of Art History and Visual Culture Studies.” The online position description includes specific instructions on submission of the following materials: letter of application; curriculum vitae; three letters of reference; statements addressing the candidate’s teaching interests and scholarly agenda; course syllabi; writing sample; undergraduate and graduate transcripts; teaching evaluations or other evidence of demonstrated or potential excellence in undergraduate instruction.

Deadline: January 10, 2012. Prearranged interviews will be conducted at the CAA meeting in Los Angeles.

No applicant shall be discriminated against on the basis of race, color, sex, gender, religion, age, marital status, national origin, disability, veteran’s status, sexual orientation, gender identity, or any other basis prohibited by applicable federal, state, or local law. Whitman College, is a small, selective liberal arts college dedicated to providing excellent educational opportunities for students. The College provides generous professional development support for both research and teaching. For additional information about Whitman College and the Walla Walla area, see www.whitman.edu and www.wallawalla.org.

NOTES: Employer will assist with relocation costs

CFP: Journal of African Media Studies

Call for book and film reviews

The Journal of African Media Studies (JAMS) invites book and film reviews from
junior and senior researchers, scholars and professionals from around the
world, and particularly from the African continent. JAMS invites film reviews
on African films thematically anchored in Africa or films by the African
diaspora. Book and film reviews should not be longer than 1,000 words. All
reviews submitted should be original work. Reviews should follow both JAMS and
Intellect submission guidelines for contributors. Manuscripts can be e-mailed
to the Book Reviews Editor:
Martin Nkosi Ndlela
Hedmark University College, Norway
Nkosi.Ndlela@hihm.no

Please click here for submission guidelines and general information about the
Journal of African Media Studies
http://www.intellectbooks.co.uk/journals/view-Journal,id=166/view,page=2/

LEC: David C. Driskell: The James A. Porter Distinguished Lecture on Art and History @ Howard University

November 18, 2011
4pm
David C. Driskell: The James A. Porter Distinguished Lecture on Art and History
(Lecture/ Discussion)

Department of Art
Celebrating 90 Years of Artistic Excellence, Innovation and Creativity

The Department of Art is proud to present a conversation with David C. Driskell (B.A. ’55), Distinguished University Professor of Art, Emeritus at the University of Maryland, College Park, and recipient of the Doctor of Humanities, Howard University (2010). Drawing on his experiences as a former student of James V. Herring, Professor and the department’s founder, along with James A. Porter, Loïs Mailou Jones, and James L. Wells, the artists and educators who shaped the department’s early history, Dr. Driskell will discuss the energy and excitement that fostered his development as world-renowned artist, scholar, curator, and collector. Joined by Tritobia Hayes Benjamin (B.F.A. ’68 and M.A. ’68), Associate Dean, Division of Fine Arts, and Director of the Howard University Gallery of Art, this conversation promises to be both lively and legendary. The artist conversation is presented as the inaugural lecture in The James A. Porter Distinguished Lectures on Art and History.

Reception immediately following.

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DAVID C. DRISKELL
David C. Driskell was born in Eatonton, Georgia in 1931. Educated in the public schools of North Carolina, he received his undergraduate degree in art at Howard University and a Master of Fine Arts degree from the Catholic University of America, both in Washington, D.C. He pursued post-graduate study in Art History at The Netherlands Institute for the History of Art in The Hague and has studied independently, African and African American cultures in Europe, Africa and Central South America. He is also the recipient of 12 honorary doctoral degrees in art. Driskell received the National Humanities Medal from President Clinton on December 20, 2000 at a White House ceremony. He is the recipient of numerous fellowships, among them: three Rockefeller Foundation Fellowships, a Danforth Foundation Fellowship and a Harmon Foundation Fellowship. In 1995, Driskell was named Distinguished University Professor of Art at the University of Maryland, College Park, a title he now holds as Emeritus. He is a member of the National Academy, the nation’s most prestigious and oldest art organization to which one can be elected.

********************************************

ABOUT THE SERIES
The Department of Art’s James A. Porter Distinguished Lecture Series on Art and History is established in honor of the memory and legacy of Professor James A. Porter, a graduate of Howard University’s Department of Art. Professor Porter, after further study at New York University, returned to teach at Howard University in 1928. He later served as chair of the Department of Art from 1953 to his death in 1970. His 1943 publication, Modern Negro Art, laid the foundation for the field of study in African American art history. It is the goal of the series to continue his legacy through scholarly exchange and artistic leadership.

Location: Gallery of Art, Childers Hall, Division of Fine Arts
Price: The lecture is free and open to the public.
Sponsor: Department of Art
Contact: Dr. Gwendolyn Everett
E-Mail geverett@howard.edu
(202) 806-7047

SYMP: Cultural Mobility and Transcultural Confrontations: Winold Reiss as a Paradigm of Transnational Studies @ Berlin, Germany

The international symposium brings together scholars of the humanities – from both sides of the Atlantic – for the first-ever conference dedicated to the art of Winold Reiss (1886-1953) honoring the 125th anniversary of his birth. This extremely versatile German-American painter, designer, and teacher had once been celebrated by Du Pont Magazine (March 1931) as a “modern Cellini.” In the 1920s and 1930s, Reiss emerged as an influential figure in transatlantic encounters and modernist aesthetics. Recognized for his portraiture and commercial-design work, he was also much in demand for the elaborate mosaics he created for restaurants and other public buildings, including the Union Terminal in Cincinnati, Ohio. Reiss collaborated with leading artists and intellectuals including Alain Locke, Katherine Anne Porter, Paul Kellogg, Miguel Covarrubias, and Langston Hughes. Among his students was Aaron Douglas, the key African-American figure in the visual Harlem Renaissance. Reiss was also the main contributor to the visual narrative of the anthology The New Negro (1925).

Cultural Mobility and Transcultural Confrontations: Winold Reiss as a Paradigm of Transnational Studies will rethink Reiss’ role in the visual representation of ethnic American identities during the first half of the 20th century. A German element is woven into the fabric of his complex engagement with American ethnicity and with racial conflicts – the European artistic background he brought to the American scene demands a specifially interdisciplinary and international perspective. The symposium will examine this perspective, exploring aspects and processes of international exchange,  intercultural translation, and transcultural confrontations.

http://www.jfki.fu-berlin.de/en/v/winold-reiss/

Photographer Ernesto Fernández Nogueras Receives Cuba’s National Prize for Visual Arts 2011

CFP: 2012 BIENNIAL SCHOLARS’ CONFERENCE ON AMERICAN JEWISH HISTORY

CALL FOR PAPERS
2012 BIENNIAL SCHOLARS’ CONFERENCE ON AMERICAN JEWISH HISTORY
Center for Jewish History, New York City

The 2012 AJHS Scholars’ Conference will explore disciplinary and other
kinds of boundaries that currently confront the field of American
Jewish history. It will examine the opportunities and challenges that
arise from the engagement of history and the humanities (including
literary studies, media studies, theater, dance and art history,
cultural studies, and musicology) as well as the social sciences
(anthropology, economics, folklore, linguistics, political science,
psychology, sociology). The conference will also explore the impact
that the work of American Jewish historians has had on other
disciplines.

Looking beyond disciplinary boundaries raises various questions:  How
has the interdisciplinary study of American Jewry developed?  How does
the study of American Jewish history take shape in relation to area
studies or comparative programs, such as American Studies, Ethnic
Studies, Comparative Religions, or Jewish Studies?  What kinds of
cross-disciplinary engagements would best enhance the field of
American Jewish history?

In considering disciplinary boundaries, how do they compare with other
boundaries that figure in the work of American Jewish historians?
These other boundaries include:

*   Geographical boundaries (e.g., in studies of immigration or of
American Jews as part of a transnational or diasporic community)
*   Cultural boundaries (e.g., in studies that examine the relation
of Jews with their neighbors, comparative studies of Jews vis-à-vis
other groups, or the study of communities that test the limits of
Jewish peoplehood)
*   Discursive boundaries (e.g., in studies that engage non-verbal
forms of expression)
*   Institutional boundaries (in work that bridges the academy and
the arts, or institutions of public culture, or work that addresses a
general public audience or reflects Jewish communal concerns)

The committee invites proposals for papers that engage any of the
aforementioned issues and encourages the submission of complete panel
proposals and roundtable presentations. The organizers view the theme
of “beyond boundaries” very broadly, and will consider a wide range of
proposals bearing on all aspects of the American Jewish experience,
though preference will go to those that deal in some way with the
conference’s central theme.

Graduate students completing dissertations may submit proposals
accompanied by a letter of recommendation from their advisor. All
submissions must include a one-page (250 words) paper abstract, short
(120 words) biography, and a specific indication of technological
needs. Complete panel proposals are strongly encouraged. Please send
proposals to hsalomon@ajhs.org by November 15, 2011.

CFP: Representing the Irrepresentable: Narratives and Visual Images of Slavery, Forced Labor, and Genocide @ AHA 2013

CALL FOR PAPERS

Multi-Session Workshop: Representing the Irrepresentable: Narratives and
Visual Images of Slavery, Forced Labor, and Genocide

127th American Historical Association Meeting

New Orleans, January 3 – 6, 2013

Convened by Ana Lucia Araujo (Department of History; Howard University,
Washington, DC)

This workshop will gather scholars working on written narratives
(documents, autobiographies, personal journals, novels, etc.) and visual
images (painting, drawings, photographs, engravings, movies, etc.) dealing
with forced displacement, enslavement, slavery, forced labor, war, and
genocide. The various participants will engage in understanding how the
multiple dimensions of traumatic human experiences can be conveyed through
images and narratives. How historians can examine written and visible
representations of irrepresentable events? Can narratives and images
provide reliable and/or accurate information for historians to interpret
traumatic dimensions of past and present human experience? How historians
articulate the use of eyewitness accounts (visual and written) with
fiction (novel, films) in order to represent past traumatic experiences?
What are the limits, the challenges, and the possibilities faced by
historians who employ narratives and images of trauma in their works? By
focusing on various historical periods and geographical areas, scholars
are invited to submit proposals addressing these questions and examining
specific case studies. Papers focusing on the Atlantic slave trade and
slavery, colonialism in Africa, the Holocaust, Nazi labor camps, the
Armenian genocide, the Apartheid, the Rwandan genocide, the war in Darfur,
contemporary slavery, and human trafficking, are welcome.

Please send your paper proposal no later than February 1st 2012 to: aaraujo@howard.edu or analucia.araujo@gmail.com

Paper proposals must contain:

– Paper’s title

– Abstract (up to 300 words)

– Biographical paragraph (up to 250 words, no curriculum vitae, please)

– Correct mailing and e-mail address

– Audiovisual needs, if any

Chairs and commentators, please send:

– Biographical paragraph (up to 250 words, no curriculum vitae, please)

– Correct mailing and e-mail addresses

Please note:

– Abstracts of accepted proposals will be posted on the AHA program website.

– Papers must be submitted on December 1st 2012 for the panel commentators.

CFP: Pictures in motion: photography, empire, and resistance @ ASA 2012

Pictures in motion: photography, empire, and resistance

The announcement of photography’s invention in 1839 coincided with the rise
of imperial ambition in the United States and the development of
post-colonial states in the Americas. Since then, photographs have been in
constant circulation across this region, serving as instruments of both
imperial expansion and resistance. While the camera has documented people
and places in ways that define their subordinate relationship to centers of
power, it has also enabled subjects to undermine such power. For the 2012
Annual Meeting of the American Studies Association –“Dimensions of Empire
and Resistance: Past, Present, and Future,” November 15-18 in San Juan,
Puerto Rico–we are putting together a proposal for a session that examines
the cultural work done by photography’s circulation throughout the Americas.
We welcome papers that reflect on the photographic production,
dissemination, and reinterpretation of collective identities and/or
stereotypes. Papers that address the spread of photographic conventions and
their local adaptations are also appropriate, as are studies of photographic
practices that move between the center and periphery of imperial structures.
By December 15, 2011, please submit an abstract of no more than 250 words
and a current cv to: Elizabeth Hutchinson (ehutchin@barnard.edu) and Tanya
Sheehan (tsheehan@rci.rutgers.edu). Note that individuals may not
participate in more than one session at the ASA meeting.

CONF: African Studies Association (ASA) Museum Day – pre-ASA Conference

African Studies Association (ASA) Museum Day
Workshops on Sharing Cultural Knowledge
Smithsonian National Museum of African Art
950 Independence Avenue, SW
Take Metro to Smithsonian Station

If you have already registered for ASA and would still like to register for the pre-conference workshop at the National Museum of African Art, it’s not too late!  Please click on the link to a doodle poll that will allow you to select all or specific events taking place on Wednesday, November 16, 2011 (pre-conference day):  http://doodle.com/rr3pzh5c655vzqrx.  Registration is required by November 10, so we have an accurate count for catering.  The itinerary follows:

ASA Museum Day is a day-long series of workshops, archives and gallery tours, and guided collection storage visits at the National Museum of African Art (NMAfA).  Space is limited to 40 for workshops; 20 for the Eliot Elisofon Photographic Archives tour.  Collection storage visits are by appointment only and limited to 5 per section (20 total).

Continue reading “CONF: African Studies Association (ASA) Museum Day – pre-ASA Conference”