Hot Metal Bridge Post-Baccalaureate Fellowship Program at University of Pittsburgh (applications due Apr. 2, 2021)

Barbara McCloskey at the University of Pittsburgh writes:

Dear Colleagues,

I’m writing to spread the word about the Hot Metal Bridge Post-Bac Program (HMB) at the University of Pittsburgh. This 1-year, fully funded post-baccalaureate fellowship program is designed to help talented students from groups traditionally underrepresented in art history and other selected disciplines in the natural and social sciences, including first-generation graduate students and those from disadvantaged socio-economic backgrounds.  HMB helps to bridge the gap between an undergraduate degree and a graduate training program. Program eligibility is limited to US citizens or permanent residents. Fellows enjoy financial support (including tuition and stipend) and mentoring by both faculty and graduate students as they prepare themselves for a successful program of doctoral studies. This is a great opportunity for recent college graduates, those who seek to change careers, and other applicants who have completed an undergraduate degree, are highly motivated and show strong academic promise, but are not quite ready to apply to a doctoral program in their field of interest. Of those who have completed the program since 2011, 80% have gone on to graduate studies at Pitt and elsewhere. 

Full details, answers to frequently asked questions, and application instructions are available here: https://www.asgraduate.pitt.edu/hot-metal-bridge-post-bac-program

In the History of Art and Architecture (HAA) Department, Hot Metal Bridge Fellows enroll in graduate seminars, take part in our research constellations, and are integrated into other aspects of university life along with the first-year graduate cohort.  They also receive personalized mentoring on their applications to PhD programs. 

Information on the Graduate Program in History of Art and Architecture is available here: https://www.haa.pitt.edu/graduate

My colleagues and I in HAA and other participating departments at Pitt would be very grateful if you would help us spread the word about this program among your students, colleagues, and broader networks. While the deadline for Fall 2021–Friday, April 2, 2021–is rapidly approaching, we hope you will also keep this program in mind for students who could be ready to apply next year, if not this year. 

Thank you in advance for your help in disseminating this opportunity, and please encourage potential applicants and/or their mentors to get in touch with our Interim Chair, Jennifer Josten (jej40@pitt.edu), or Director of Graduate Studies, Barbara McCloskey (bmcc@pitt.edu), with any questions they may have.


Best wishes,

Barbara McCloskey

Professor and Director of Graduate Studies

Department of History of Art and Architecture

University of Pittsburgh

Call for Proposals: “24 Views” Submit by Mar. 31, 2021

Tiffany Lin writes:

“24 VIEWS is a longitudinal project that investigates the history of racial classification through US Census data.

Prior to COVID-19 related disruptions, 24 VIEWS was envisioned as an exhibition with public facing activations, I have pivoted away from in-person programming and am now pursuing an expansive curatorial project.
I now invite writers, artists, or anyone so inclined to submit proposals or existing work on past, current, or future implications of racial classification in the United States. I welcome critical essays, manifestos, treatises, poetry, prose, speculative fiction, and visual works of all media. 
I have modest stipends available for 24 works. For now, the project will be web-based but I’m working on the possibility of a print version pending the outcome of other funding opportunities. Details available at 24views.org. Please share far and wide – send me your best!” 

POSITION: Associate Professor or Professor, Modern and/or Contemporary Art History, Tyler School of Art–Applications due Jan. 30, 2021

The Department of Art History of Tyler School of Art and Architecture invites applications for a full-time tenure-track faculty position at the rank of Associate Professor or Professor in the specialization of the arts and visual culture of the Modern and/or Contemporary period. While expertise in modern and/or contemporary art is essential, the committee welcomes applicants from diverse disciplinary backgrounds and encourages research areas centered in geographies beyond Europe and the Americas. Preferred applicants will also demonstrate strengths in one or more of the following fields: critical race theory, settler colonial/postcolonial/decolonial studies, gender and queer theory, and visual/material culture theory. Successful candidates will be expected to have and maintain a strong research agenda and demonstrate a commitment to undergraduate and graduate teaching and mentoring, while contributing to the growth of Tyler’s Art History and Visual Studies programs. They should also be comfortable contributing to and mentoring a culture of diversity in the department and school and working with studio artists at the undergraduate and graduate level. 

The successful candidate will hold a PhD and have a record of research commensurate with rank on application, and demonstrate an appropriate level of teaching experience and service. Candidates should demonstrate familiarity with best teaching practices and with innovative instructional design and technologies. Candidates should also have experience with department and college-wide service and demonstrate professional accomplishments in the discipline. The position involves teaching at the undergraduate level (including Art History majors, Visual Studies majors, studio majors, and non-majors), and teaching and advising at the M.A. and Ph.D. levels (including MFAs, Masters of Arts Management, Masters of Art Education). Tyler’s Department of Art History has a faculty of 13 full-time members who specialize in areas ranging from the ancient world to the present. Art History at Temple is part of the highly-ranked Tyler School of Art and Architecture and there is dynamic synergy among the programs in the school. The department is located on Temple University’s main Philadelphia campus and is housed in a state-of-the-art facility. Temple offers the resources of a major university in a culturally rich city and region.

The letter of application should include a statement describing research and teaching interests and past accomplishments in fostering a culture of diversity in their field and in the classroom. Candidates are encouraged to address the ways in which they could contribute to Temple’s institutional mission and commitment to excellence and diversity and to Tyler’s engagement in interdisciplinarity. In addition, the application should include a CV, name and contact information for three references, two sample syllabi for courses, and a writing sample. Finalists will be expected to supply official degree transcripts, letters of reference, and evaluations for courses taught. 

The successful applicant will begin teaching classes in the fall of 2021; the course load is 2-2. The successful applicant will teach a critical theory class for MFA students, upper-level undergraduate classes which include Art History majors, studio majors, and non-majors, and a graduate seminar; they will also teach and advise MA, MFA, Med, and PhD students.

Please send all materials electronically by January 30, 2021. To apply, please visit temple.slideroom.com to set up an account and upload your application materials. If you need assistance during the upload, email support@slideroom.com.

Temple University is an equal opportunity, equal access, affirmative action employer committed to increasing diversity and inclusivity in both its community and its curricula. Women, people of color, and other candidates who can contribute to this goal are strongly encouraged to apply.

Address further inquiries to Dr. Leah Modigliani, search committee chair, at AHjob17@temple.edu

Clark Art Institute Research and Academic Program Special Fellowships (application deadline Oct. 15, 2020)

The Clark Art Institute’s Research and Academic Program (RAP) awards funded residential fellowships to established and promising scholars with the aim of fostering a critical commitment to inquiry in the theory, history, and interpretation of art and visual culture.

As part of our commitment to fostering diverse engagements with the visual arts, RAP particularly seeks to elevate constituencies, subjects, and methods that have historically been underrepresented in the discipline. In addition to Clark fellowships, RAP offers a number of special fellowships for specific research interests that are intended to nurture a variety of disciplinary approaches and support new voices in art history. These include:

Caribbean Art and Its Diasporas Fellowship
The Caribbean has been home to some of the most influential critical theorists, poets, writers, and artists of the twentieth and twenty-first centuries. This fellowship seeks to support art historians, artists, critics, and writers who are engaging with the complexity of critical Caribbean scholarship, art, and visual practices today.

Critical Race Theory and Visual Culture Fellowship
The emergence of critical race theory in legal scholarship and beyond demonstrated the systemic racism that structures American society based on white privilege and the legacy of white supremacy. In art history and visual culture, critical race theory has revealed the racist structures within the discipline and its institutions. This fellowship aims to support scholars who are working with critical race theory to integrate and reimagine new art histories while also engaging with the structural racism that has informed and built the discipline.

Futures Fellowship
This fellowship supports artists, educators, scholars, writers, and art critics who are reimagining the possibilities of museums, scholarship, and public engagement. Projects that examine social justice and the arts, reimagine the canon of art history, or consider the role of performance art in exposing erased histories are particularly welcome.

All fellows are provided offices in the open-stack, 280,000-volume art history library of the Manton Research Center; apartments in the gracious residence across the street from our 140-acre campus; reimbursement of travel expenses; and a stipend.

Applications due by October 15, 2020

For more information and application details, please visit clarkart.edu/rap/fellowship

Forsyth Postdoctoral Fellowship in Art History (2021-22): University of Michigan at Ann Arbor

The Department of the History of Art at the University of Michigan invites applications for the Forsyth Postdoctoral Fellowship, dedicated this year to Afro-Diasporic, African American, and Native American/ Indigenous/First Nations arts and visual cultures. Especially welcome are applicants proposing new critical conversations across disciplines, connecting art history to the environment, philosophical humanities, medicine, science and technology, religion, museology, and other creative realms.

The one-year appointment begins September 1, 2021, with possible one-year renewal. A PhD in a relevant specialization, acquired within the past five years, is required before appointment. The Forsyth Fellow will teach two courses per year. They will work with a mentor, who will help open doors to the UM community, providing guidance as requested or needed.

Applicants should provide a cover letter, CV, research plan, teaching statement, dissertation abstract, writing sample (35 pages maximum), and three letters of reference. Submit materials via Interfolio (https://apply.interfolio.com/77637) by December 15, 2020.

For further information, please contact Jessica Pattison (Executive Secretary, Department of the History of Art) at histart-execsec@umich.edu. Candidates from underrepresented communities are strongly encouraged to apply; the University of Michigan is a public R-1 institution committed to core values of diversity, equity, and inclusion.

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.