CFP: “No Template: Art and the Technicity of Race” [MEDIA-N, Journal of the New Media Caucus] (updated deadline for submissions Jul. 31, 2020)

Media-N CFP – No Template: Art and the Technicity of Race

UPDATED Deadline for submission of abstracts: July 31, 2020

A decade ago, Beth Coleman and Wendy Hui Kyong Chun introduced the concept of race and/as technology.* Turning to Heidegger’s notion of techne as prosthesis or skill, Coleman and Chun imagine race itself as a technology that can be leveraged, a tool for navigating systems of power. This distances race from its mythological status as biological fact, creating a critical framework that returns historical agency to the individual and helps us understand how race and ethnicity function in the visual–and technological–world.

Recently, the concept has received renewed attention as the intersections between race and ethnicity and the technological have come to the fore in popular discourse, raised by issues ranging from representation in film to bias in facial recognition. Critical work by scholars such as Simone Browne and Lisa Nakamura and the Precarity Lab has also continued to interrogate the technicity of race and its relationship to other technologies, both historical and contemporary. Artistic research and practice on the subject, however, has often been either neglected or instrumentalized as illustrative of a larger debate.

This special issue of Media-N responds to the urgent need to examine the state of dialogue on race and/as technology in art practice, history, and criticism. It will feature a ten years on reflection on the concept by Beth Coleman, opening discussion onto the way this framework has shaped, and has been shaped by, art of the past and present.

We seek contributions that explore how art sheds light not only on the relationship between race, ethnicity, and the technological, but on race itself as, in the words of Coleman, “a disruptive technology that changes the terms of engagement with an all-too-familiar system of representation and power” (178). Issues to consider include, but are certainly not limited to:

The impact of the race and/as technology hermeneutic on artistic research and practice of the past decade.

The influence of visual technologies and aesthetic practice on discourses surrounding sociohistorical concepts like blackness and brownness.

The imaging of historical and/or contemporary flows of migration and diaspora.

International communication media and tensions between the global/local.

The use of visual technologies to negotiate power between citizens and the state.

Light and color bias in the material/processes/procedures of photography, film, and digital media.

Bias and violence in both the inputs and outputs of artificial intelligence and machine learning.

Anxieties about race and visual truth sparked by technologies ranging from DNA testing to deepfakes.

Ethnicity and surveillance capitalism after 9/11–and/or the long tail of surveillance capitalism inaugurated under trans-Atlantic slavery and European colonialism.

Submissions addressing artistic practices from any time period or region are welcomed from scholars, critics, artists, designers, scientists, media-makers, and interdisciplinary researchers from across the humanities and sciences.

*See Beth Coleman, “Race as Technology,” Camera Obscura: Feminism, Culture, and Media Studies 24, no. 1 (70) (May 1, 2009): 176-207; and Wendy Hui Kyong Chun, “Race and/as Technology, or How to Do Things to Race,” in Race After the Internet, eds. Lisa Nakamura, Peter Chow-White, and Alondra Nelson (New York: Routledge, 2012), 38-60.

=====
Media-N, Journal of the New Media Caucus (ISSN: 1942-017X) is a scholarly, invitational, and double blind peer-reviewed journal. The journal provides a forum for scholarly research, artworks and projects, and is open to submissions in the form of papers, reports, and reviews of exhibitions and books on new media art. Media-N is an English language journal, and all submissions must be received in English adhering to the standards set by the 17th edition of the Chicago Manual of Style.

TIMELINE:
July 31, 2020: UPDATED Deadline for submission of abstracts.
August 1, 2020: Notification of accepted proposals and invitation to submit paper.
December 15, 2020: Projected deadline for submission of final papers.

ABSTRACT GUIDELINES:
Please send your proposal by email with the following information combined into a single document:
-Proposal title, and a 300-500 word abstract, plus 1-2 images if desired.
-Please include your name, email, and title/affiliation on abstract.
-A condensed CV (no longer than 3 pages).
NOTE: Materials should be submitted in English, as a Word document or PDF.
File should not exceed 5MB.

SEND INQUIRIES & SUBMISSIONS TO:
Megan Driscoll, Special Issue Guest Editor: md@megandriscoll.net 
Johanna Gosse, Executive Editor: johannagosse@gmail.com

AHRC Collaborative Doctoral Partnership Funded Study — Apply by Jun. 3, 2020

Slave Ownership and the National Portrait Gallery, London. New AHRC Collaborative Doctoral Partnership studentship. Deadline 3 June 2020

Dear Colleagues,

Birkbeck and the National Portrait Gallery are pleased to announce the availability of a fully funded collaborative doctoral studentship through the REACH Consortium from October 2020 under the Arts and Humanites Research Council’s Collaborative Doctoral Partnership Scheme.

This project, Slave-ownership and the National Portrait Gallery, London,  examines the links between the National Portrait Gallery and historical transatlantic slavery. In particular, it seeks to understand the impact of wealth derived from slavery on its founders, donors, and the sitters represented in its portraits, thus acknowledging a history that has long remained hidden.

The project will be jointly supervised by Dr Sarah Thomas and Dr Lucy Peltz and the student will be expected to spend time at both Birkbeck and the National Portrait Gallery, as well as becoming part of the wider cohort of CDP funded students across the UK.

Project Overview 

The National Portrait Gallery (NPG) was founded in 1856 to collect portraits of those people who made a notable contribution to British history. By closely scrutinising the early history of one particular institution – its personnel, and the collecting choices of its trustees –through the lens of slave-ownership and its profits, this project will have broad implications for the wider museum sector, exploring in particular issues of national identity and the ethics of funding that have particular currency in today’s decolonising debates.

The studentship will offer access to the NPG’s expertise and collections, working with a range of colleagues under the direction of Dr Lucy Peltz, Head of Collection Displays (Tudor to Regency) and Senior Curator 18th Century Collections. This is a particularly timely moment for a research project of this nature as the Gallery will be in the process of developing Inspiring People, a major refurbishment and redisplay of its collection which will see the Gallery relaunch in 2023 as an exciting public cultural space in which to participate, challenge and debate British history, culture and contemporary life. Consequently, this research project’s focus and findings will contribute to the Gallery’s stated commitment to increasing institutional transparency and raising important questions about the legacies of empire in British society today.

Start date: 1 October 2020 [or later, depending on situation]

Application Deadline: Wednesday 3 June 2020, 2pm

Interviews will take place online on Tuesday 16 June, 2020

For further information and instructions on how to apply, see the document attached.

All best wishes,

Dr. Sarah Thomas 
Director, Centre for Museum Cultures
Birkbeck College
London WC1H 0PD

sarah.thomas@bbk.ac.uk
http://www.bbk.ac.uk/art-history/

Centre for Museum Cultures Website: http://www.bbk.ac.uk/museum-cultures/

CFP: “Towards a More Inclusive Digital Art History” (PANORAMA: JOURNAL OF THE ASSOCIATION OF HISTORIANS OF AMERICAN ART)

Panorama: Journal of the Association of Historians of American Art invites submission of 500-word proposals for feature articles focused on Digital Art History to be published as part of the new initiative, “Towards a More Inclusive Digital Art History,” which is supported by a major grant from the Terra Foundation for American Art.

Panorama (journalpanorama.org) is the first peer-reviewed, open-access, online publication dedicated to American art and visual culture (broadly defined). The Journal encourages a broad range of perspectives and approaches within an interdisciplinary framework encompassing both local and global contexts and is published by the University of Minnesota Libraries.

The goal of “Toward a More Inclusive Digital Art History” is twofold—to increase both inclusivity and access. First, in order to encourage a more comprehensive approach to the history of American art, we seek to publish digital art history scholarship that focuses on the contributions of constituencies that have historically been marginalized and/or under-researched, and to make this available worldwide, for free and with open access. Second, our priorities will be accessibility, manageability, and sustainability. To that end, we seek proposals, both collaborative and individual, from scholars with all levels of knowledge about the digital humanities and will prioritize supporting scholars who may have little or no institutional support for digital scholarship. We aim to provide a model for sustainable digital art history research that can be accessible to a wide range of scholars, including those who will need to learn digital humanities methods without institutionally provided technical assistance. We also encourage computational approaches to art-historical analysis that employ low-cost, open-source applications. In this way, the project will provide models for other scholars to emulate regardless of financial or institutional support. Finally, we plan to encourage the accessibility and sustainability of digital art history by doing something that is all-but unprecedented in the field: We will publish and preserve the datasets underlying scholars’ peer-reviewed research along with their articles and project narratives. This will enable other scholars to view and test the data on which the research is based and employ the data for their own teaching and research, thereby expanding the project’s reach.

Panorama invites submission of proposals for feature articles to be published as part of this new initiative, “Towards a More Inclusive Digital Art History.” Selected authors will be invited to participate in a Digital Humanities workshop in Washington, DC, in October 2020. This workshop will give participants the opportunity to develop their research projects with Panorama’s editorial team and experts in the field of digital publishing. The first article in this series will be published in 2021.

To submit a proposal, send your c.v. and an abstract of approximately 500 words that summarizes the topic of the proposed essay, how it represents scholarship on understudied areas of American art, and why it could benefit from a digital art historical approach. Authors do not need to identify precisely which digital methods they would like to use—this will be addressed at the workshop and determined in collaboration with Panorama editors. Instead, use the abstract to explain why the research questions addressed in the essay could benefit from—or even demand—a digital approach. The Terra Foundation has also provided some funding to support attendance at the Workshop, so please also let us know if you require assistance with accommodation and travel expenses.

Proposals should be sent to journalpanorama@gmail.com with the subject heading “Digital Art History CFP response” and are due April 15.

CFP: “Art and the Technicity of Race” (special issue of MEDIA-N: JOURNAL OF THE NEW MEDIA CAUCUS)

Megan Driscoll and Johanna Gosse are soliciting papers on “Art and the Technicity of Race.” Please see below.

Art and the Technicity of Race

A decade ago, Beth Coleman and Wendy Hui Kyong Chun introduced the concept of race and/as technology.* Turning to Heidegger’s notion of techne as prosthesis or skill, Coleman and Chun imagine race itself as a technology that can be leveraged, a tool for navigating systems of power. This distances race from its mythological status as biological fact, creating a critical framework that returns historical agency to the individual and helps us understand how race and ethnicity function in the visual–and technological–world.

Recently, the concept has received renewed attention as the intersections between race and ethnicity and the technological have come to the fore in popular discourse, raised by issues ranging from representation in film to bias in facial recognition. Critical work by scholars such as Simone Browne and Lisa Nakamura and the Precarity Lab has also continued to interrogate the technicity of race and its relationship to other technologies, both historical and contemporary. Artistic research and practice on the subject, however, has often been either neglected or instrumentalized as illustrative of a larger debate.

This special issue of Media-N responds to the urgent need to examine the state of dialogue on race and/as technology in art practice, history, and criticism. It will feature a ten years on reflection on the concept by Beth Coleman, opening discussion onto the way this framework has shaped, and has been shaped by, art of the past and present.

We seek contributions that explore how art sheds light not only on the relationship between race, ethnicity, and the technological, but on race itself as, in the words of Coleman, “a disruptive technology that changes the terms of engagement with an all-too-familiar system of representation and power” (178). Issues to consider include, but are certainly not limited to:

  • The impact of the race and/as technology hermeneutic on artistic research and practice of the past decade.
  • The influence of visual technologies and aesthetic practice on discourses surrounding sociohistorical concepts like blackness and brownness.
  • The imaging of historical and/or contemporary flows of migration and diaspora.
  • International communication media and tensions between the global/local.
  • The use of visual technologies to negotiate power between citizens and the state.
  • Light and color bias in the material/processes/procedures of photography, film, and digital media.
  • Bias and violence in both the inputs and outputs of artificial intelligence and machine learning.
  • Anxieties about race and visual truth sparked by technologies ranging from DNA testing to deepfakes.
  • Ethnicity and surveillance capitalism after 9/11 and/or the long tail of surveillance capitalism inaugurated under trans-Atlantic slavery and European colonialism.

Submissions addressing artistic practices from any time period or region are welcomed from scholars, critics, artists, designers, scientists, media-makers, and interdisciplinary researchers from across the humanities and sciences.

*See Beth Coleman, “Race as Technology,” Camera Obscura: Feminism, Culture, and Media Studies 24, no. 1 (70) (May 1, 2009): 176-207; and Wendy Hui Kyong Chun, “Race and/as Technology, or How to Do Things to Race,” in Race After the Internet, eds. Lisa Nakamura, Peter Chow-White, and Alondra Nelson (New York: Routledge, 2012), 38-60.

=====

Media-N, Journal of the New Media Caucus (ISSN: 1942-017X) is a scholarly, invitational, and double blind peer-reviewed journal. The journal provides a forum for scholarly research, artworks and projects, and is open to submissions in the form of papers, reports, and reviews of exhibitions and books on new media art. Media-N is an English language journal, and all submissions must be received in English adhering to the standards set by the 17th edition of the Chicago Manual of Style.

TIMELINE:

June 30, 2020: Deadline for submission of abstracts.

August 1, 2020: Notification of accepted proposals and invitation to submit paper.

December 15, 2020: Projected deadline for submission of final papers.

ABSTRACT GUIDELINES:

Please send your proposal by email with the following information combined into a single document:

-Proposal title, and a 300-500 word abstract, plus 1-2 images if desired.

-Please include your name, email, and title/affiliation on abstract.

-A condensed CV (no longer than 3 pages).

NOTE: Materials should be submitted in English, as a Word document or PDF.

File should not exceed 5MB.

SEND INQUIRIES & SUBMISSIONS TO:

Megan Driscoll, Special Issue Guest Editor: md@megandriscoll.net Johanna Gosse, Executive Editor: johannagosse@gmail.com

2020 RESEARCH FELLOWSHIP IN US ART at Cornell Fine Arts Museum at Rollins College (Winter Park, Florida) — Apply Now!

The Cornell Fine Arts Museum at Rollins College seeks a Research Fellow in American Art. This is part-time (20 hours/week), non-residential position funded by a grant from the Henry Luce Foundation to develop, research, digitize and display the American collection. The Research Fellow will work with the Bruce A. Beal Director and members of the curatorial team to conduct in-depth and contextual research. Twin goals are to help re-position the collection for a broader audience, with research (including images, provenance, exhibition history, artist biographies, interpretation and bibliography) made available online; and to integrate the collection with both the teaching mission of the museum and with contemporary efforts to refine and widen the definition of American art.

Eligible candidates will have expertise in American art (ABD required, Ph.D. preferred) with a preference for a research focus in the 19th or 20th century. Experience teaching at the college level or curatorial experience in a university art museum a plus. The fellowship is for a 12-month period starting in January 2020; apart from a few weeks in residence in Winter Park, research can be conducted in any city providing that the fellow has access to major research libraries for American art.

To apply, please visit the Rollins career page https://jobs.rollins.edu/en-us/job/492968/research-fellow-american-art.

Call for Research Notes: Panorama: Journal of the Association of Historians of American Art

Call for Research Notes
Panorama: Journal of the Association of Historians of American Art

Panorama seeks short works of original scholarship that bring new research discoveries, new museum acquisitions, or developing projects (academic, curatorial, and/or digital) to the attention of its readers.

Research Notes are usually written in the first person, and you are encouraged to express you excitement in the first paragraph. Research notes are approximately 2,500 words in length, and they can include footnotes and up to five illustrations. We see Research Notes as an opportunity to surface those great moments when something new comes to light. 

For further information and to submit your Research Note, please consult our submissions page.

Feel free to send your questions to:
Katelynn Crawford: kcrawford@artsbma.org
Kevin Murphy: kmm3@williams.edu
Erin Pauwels: erin.pauwels@temple.edu

“ONE PRESS, MANY HANDS: Diversity in the History of American Printing,” Oct. 25-27, 2019, University of Maryland (College Park)

Sign up for APHA’s first conference expressly devoted to the rich history of printing and publishing in America from diverse groups, with presentations that explore the intersections of printing history and the studies of Black, Jewish, and Latinx cultures, gender studies, and queer theory. Through lectures, panels, and workshops, participants will have the opportunity to engage with a critical exploration of the history of printing among America’s underrepresented communities.

REGISTER NOW! 

All are welcome; current APHA membership is not required for attendance. Please forward this e-mail to anyone you think might be interested in going. Registration fee: $150. Student rate: $100.

The conference this year has two keynote speakers: Kinohi Nishikawa, author of the 2018 book Street Players: Black Pulp Fiction and the Making of a Literary Underground; and the graphic designer and writer Colette Gaiter. Conference presentation subjects include: Spanish-language publishing in early 19th century New York; the construction of gender in early publishers’ bindings; slave labor in the print shop; the feminist possibilities of print; Fraktur and German nationalism in early American print culture; engravings and the illustrative renderings of skin color; hand-coloring in the production of 19th century Native American portraiture; and much, much, more.  

SEE FULL SCHEDULE HERE

APHA hopes to see you in College Park in October. Please don’t hesitate to contact them if you have any questions about the conference, or about APHA in general.  

Nineteenth-Century Art Worldwide seeks DH Editor—Application Deadline Jun. 24, 2019

Nineteenth-Century Art Worldwide (NCAW), a scholarly, refereed digital journal founded in 2002 and devoted to the study of international art and visual culture of the long nineteenth-century, is accepting applications for a digital humanities editor.

NCAW seeks a candidate with a broad view of nineteenth-century art and visual culture and with knowledge of the conceptual and practical field of digital humanities. Technological expertise is not required, though candidates should hold a PhD or have earned ABD status in a PhD program. Ideal candidates will express ongoing willingness to stay abreast of debates in the field of digital humanities as well as to identify and participate in professional development in the field. They should be intellectually-rigorous, detail-oriented, and willing to collaborate with authors and other members of the editorial team.

The digital humanities editor actively pursues digital humanities projects and works in a hands-on capacity with authors to develop the scholarly and digital aspects of their articles.

Specific responsibilities include:

·      reviewing proposals

·      creating production schedules and guiding articles from proposal to publication

·      communicating frequently with authors to provide feedback on developing digital components and scholarly texts

·      liaising with the journal’s web developer

·      managing peer reviews

A pioneer in digital publishing, NCAW is committed to publishing innovative digital projects and to integrating digital modes of data and image presentation in its bi-annual articles. You can find NCAW’s previously published digital humanities articles here:

https://www.19thc-artworldwide.org/digital-humanities-and-art-history

All positions on NCAW’s editorial board are voluntary.

Please send a letter of interest and a CV to the journal’s executive editor Isabel Taube at taubeisa[at]gmail.com

Deadline: June 24, 2019.

Giovanni Battista Piranesi. Awarded an NEH grant for 2019-2021 from the Division of Preservation and Access, The Digital Piranesi (digitalpiranesi.org) is based at the University of South Carolina (Columbia), where the Irvin Department of Rare Books and Special Collections owns a rare full 29-volume set of Piranesi’s complete works. Our project aims to make this interdisciplinary material accessible in a complete digital collection and, in an interactive digital edition, to illuminate and enact many of the graphic features of his innovative designs. A Ph.D. in a relevant discipline (including but not limited to Art History, History of Architecture, Classics, Comparative Literature, European History, Italian, Library and Information Science) is required to start work.

Please direct any questions to project PI Jeanne Britton: jbritton@mailbox.sc.edu

For the official job ad, and to apply, please see:

https://uscjobs.sc.edu/postings/57022

Luce Curatorial Fellowship at SAAM (Apply by July 15, 2019)

The Smithsonian American Art Museum seeks an outstanding emerging scholar of American art for a curatorial fellowship funded by the Henry Luce Foundation. Beginning in fall 2019, this two-year position, with a possible third-year renewal, will provide an invaluable professional development opportunity to a scholar interested in a curatorial career in an art museum. It will also support scholarly research on SAAM’s permanent collection, one of the largest and most inclusive collections of American art in the world. The selected fellow will work under the supervision of an experienced curator and in collaboration with a team of staff from various departments on a major project. The appointee will develop practical skills in all four areas of curatorial practice: research, exhibition development, collections management and planning, and public service. He or she will also participate fully in the intellectual life of the museum’s Research and Scholars Center, home of its research fellowship program and journal, American Art.

 

The ideal candidate will demonstrate scholarly excellence and promise in addition to a strong interest in a museum career. A PhD in art history within the last five years is preferred; however, the fellowship is open to individuals with other academic specialties, such as African American and Women’s Studies. Applications are requested from scholars whose interests and areas of expertise align with one of the museum’s collection strengths and current curatorial initiatives:

 

  • Sculpture: SAAM holds the largest collection of American sculpture in the world with deep strengths in 19th- and 20th-century bronze and marble sculpture and key holdings in works by Hiram Powers, Edmonia Lewis, Paul Manship, and Luis Jiménez. The fellow will work closely with the curator of sculpture to develop a major collections-based project and book tentatively titled, “Skin Deep: Race and American Sculpture.” This research project aims to use sculpture, with its intrinsic and enduring ties to the body, as a tool for charting shifting attitudes on race in American public life.
  • 20th-Century Art: The museum’s rapidly expanding holdings include in-depth collections of painting, photography, graphic art, Latinx art, African American art, sculpture, and time-based media. The fellow will work closely with SAAM’s curator of 20th-century art on research and planning for the reinstallation of the museum’s 20th-century collections. This project aims to articulate collection strengths as well as amplify the presentation of art and artists currently under-recognized within the museum’s holdings, including conceptual, performance, and feminist artists, as well as women and artists of color. The curatorial fellow will be a full member of the curatorial team planning the larger reinstallation and reinterpretation of the museum’s permanent collections.

Application deadline July 15, 2019. Read more about the fellowship and how to apply here: https://americanart.si.edu/about/careers/luce-curatorial-fellowship