Assistant Professor, Tenure-track, Modern and Contemporary Arts of the Americas, Department of the History of Art, University of Michigan. Applications due by Nov. 1, 2021

Job Description:


The Department of the History of Art at the University of Michigan invites applications for a full-time, tenure-track assistant professor position in the arts of the Americas, modern and contemporary, beginning in September 2022. Scholars working in American art and/or visual and material cultures, with an area of specialization in African American, African Diaspora, Latinx, Asian American, and/or Indigenous cultures are especially welcome. We seek to complement current departmental strengths with a candidate committed to race and gender theory, museum studies, decolonization, and/or settler colonial studies.

The successful applicant will be asked to develop a range of undergraduate and graduate courses, to supervise doctoral dissertations, and to participate actively in the life of the department. The appointee will be welcomed into a large university community that encourages interdisciplinary dialogue and is committed to the core values of diversity, equity, and inclusion. Applicants should provide a cover letter, CV, statement of current and future research plans, statement of teaching philosophy and experience, personal statement demonstrating engagement with issues of equity (described in greater detail below), evidence of teaching excellence, and a writing sample.

The personal statement and diversity commitment should include your demonstrated commitment to diversity, equity, and inclusion through scholarship/research, and/or teaching/mentoring, and/or service/engagement. There may be some overlap with your research proposal and teaching statements (1-3 pages).

Application materials, personal statement and diversity commitment, and three letters of reference should be uploaded via Interfolio (http://apply.interfolio.com/89267). The deadline for submission is November 1, 2021. A PhD is required prior to beginning this university year appointment. If you have questions regarding the position, please contact Audra Wilson (Executive Secretary, U-M Department of the History of Art) at histart-execsec@umich.edu.

The University of Michigan, is an equal opportunity/affirmative action employer and is supportive of the needs of dual career couples. Women and minority candidates and scholars demonstrably committed to working with diverse student populations are encouraged to apply.

We acknowledge that the University of Michigan, named for Michigami, the world’s largest freshwater system, sits on land stewarded by Niswi Ishkodewan Anishinaabeg–the Three Fires People, who are the Ojibwe, Odawa, and Potawatomi–along with their neighbors the Seneca, Delaware, Shawnee, and Wyandot nations. 

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Post-doc in the humanities, and the social and natural sciences at University of Michigan, deadline Oct. 4, 2021

Info is here.

Job Opportunity: Associate Professor or Full Professor in Expanding Approaches to American Arts, University of Texas-Austin (deadline Nov. 1, 2021)

https://apply.interfolio.com/93717

Description

The College of Fine Arts at the University of Texas at Austin (UT) seeks multiple, tenured, senior colleagues (associate or full professor rank) with a focus in interdisciplinary and cross-disciplinary approaches to scholarship and research-based practice in visual, media-based, and performing arts of the United States. Rank and salary commensurate with experience.  We are specifically invested in deepening our engagement with underrepresented archives and repertoires within the United States, inclusive of perspectives from Indigenous, Afrodiasporic, Mexican American and LatinX, Asian American and Pacific Islander. The committee welcomes transnational, hemispheric, circum-Atlantic, and global frameworks and methodologies.

This interdisciplinary cohort hire is intended to impact the curricula, research profiles, and culture of more than one department/school in the College of Fine Arts. They will introduce innovations to the study of artistic expression that intersect with complementary disciplines; for example, religious studies, ethnography/anthropology, practice as research, new media/genre studies, technological arts and ethics, science and art, cultural/race/ethnic studies, disability studies, and transnational studies. We invite applications from academics and practitioners whose teaching, scholarship, creative activity, and/or service explore forms of artistic and creative practice not necessarily aligned with traditional institutions or methodologies. We encourage applications from members of groups whose underrepresentation in the American professoriate has been severe and longstanding. 

ABOUT THE COLLEGE OF FINE ARTS
The College of Fine Arts consists of the following departments/schools:

The Department of Art and Art History
Art Education
Art History
Studio Art

The Butler School of Music
Music and Human Learning
Musicology/Ethnomusicology
Performance
Theory/Composition

The Department of Theatre and Dance
Dance
Drama and Theatre for Youth and Communities
Live Design and Production
Performance as Public Practice
Playwriting and Directing

The School of Design and Creative Technologies
Arts and Entertainment Technologies
Design

Qualifications

Required Qualifications:​​​​​​

  • Terminal degree in field
  • Established national/international record of research and professional practice with focus on cross-disciplinary approaches in the arts
  • A record of working productively with people of diverse races, ethnicities, nationalities, gender identities, sexual orientations, ages, and abilities
  • Hold the rank of Associate Professor or Professor 


​​​​​​​​​​​​​​Desired Qualifications:​​​​​​​

  • Capacity to respond in pedagogically productive ways to the learning needs of students from diverse backgrounds
  • Sustained personal engagement with underrepresented communities and an ability to bring this asset to learning, teaching, and scholarship at the college and university level
  • Likelihood of using the diversity of human experience as an educational resource in teaching and scholarship
  • A demonstrated capacity to work across artistic disciplines

Application Instructions

To apply for the position, please submit the following by November 1, 2021 to Interfolio by clicking on the Apply Now button:

  1. A letter of application explaining your qualifications for, and interest in, the position, including discussion of your most significant research/creative/professional, teaching, and service activities in cross-disciplinary arts research or practice; your experience advancing equity, diversity, inclusion, and/or social justice in the arts; and a vision for what innovative teaching or other professional activities you hope to offer the College of Fine Arts
  2. A curriculum vitae (CV) or professional résumé (please include live links to publications, if applicable); 
  3. A link to or pdf of a portfolio of recent work (if applicable)
  4. Contact information for three references (letters will be requested only for finalists).  

Questions about the application process may be directed to cofadean@austin.utexas.edu; questions about the positions themselves may be directed to search committee chair Prof. John Yancey at jyancey@austin.utexas.edu.

Job Opportunity: Project Manager, Rauschenberg Catalogue Raisonné, Robert Rauschenberg Foundation

POSITION SPECIFICATION

POSITION TITLE:               Project Manager, Rauschenberg Catalogue Raisonné

REPORTING TO:                Director of Curatorial Affairs

DEPARTMENT:                   Curatorial

LOCATION:                          New York City

THE COMPANY:                 Robert Rauschenberg Foundation

The Robert Rauschenberg Foundation expands the legacy of artist Robert Rauschenberg (1925–2008) who believed strongly in the power of art as a catalyst for social change. The Foundation delivers on its mission through on-going research and support for exhibitions, while sustaining the well-being of innovative artists and the work of socially engaged institutions that embody the same risk-taking, inclusive, and multidisciplinary approach that Rauschenberg exemplified in both his art and philanthropic endeavors.

The Robert Rauschenberg Foundation primarily supports small to midsize arts and socially engaged organizations that are contrarian and experimental, even courageous, in driving towards equity. In addition, the Foundation amplifies the creative life of artists and scholars across the disciplines through residencies, commissions, and accessible public platforms. Finally, the Foundation supports research, exhibitions, publications, academic partnerships, and special projects across the globe that promote the legacy of Rauschenberg’s joyful, responsive, and irreverent approach to making work while living an empathetic and meaningful life.

In its stewardship of Rauschenberg’s artistic legacy, the Robert Rauschenberg Foundation will undertake the first Catalogue Raisonné dedicated to the sixty-year career of this protean artist. In its entirety, the Rauschenberg Catalogue Raisonné of Painting and Sculpture will be comprised of approximately 3,500 of artworks and will be published in a digital format. The first of volume, covering the years 1949 to 1953, will launch in 2025—the artist’s centennial. The Foundation is now seeking an experienced Project Manager to oversee this multifaceted project.

Robert Rauschenberg and the catalogue raisonnÉ project

Working in a wide range of subjects, styles, materials, and techniques, Robert Rauschenberg has been called a forerunner of essentially every postwar movement since Abstract Expressionism. He remained, however, independent of any particular affiliation. At the time that he began making art in the late 1940s and early 1950s, his belief that “painting relates to both art and life” challenged the prevalent modernist aesthetic. The celebrated Combines, begun in the mid-1950s, brought real-world images and objects into the realm of abstract painting and countered sanctioned divisions between painting and sculpture. These works established the artist’s ongoing dialogue between mediums, between the handmade and the readymade, and between the gestural brushstroke and the mechanically reproduced image. Rauschenberg’s lifelong commitment to collaboration—with performers, printmakers, engineers, writers, artists, and artisans from around the world—is a further manifestation of his expansive artistic philosophy. While Rauschenberg was a preeminent American artist of the twentieth century, his career continued into the twenty-first and his work remains contemporary and entirely relevant to a younger generation of artists.

This catalogue will be designed to contain all that is found in a conventional catalogue raisonné and to meet scholarly and market-based needs. In keeping with Rauschenberg’s own expansive artistic philosophy, however, we intend in addition to engage a broader audience and to include writers with various areas of interest and expertise; beyond art historians, there will be writings by social historians, conservators, and practicing artists, among others. With a multitude of diverse voices, it is our intention to present a range of perspectives that is commensurate with, and at times even goes beyond, the expansiveness of Rauschenberg’s thinking as well as his spirit of inclusivity. Furthermore, we will make use of all the technical possibilities of a digital publication to demonstrate Rauschenberg’s interests, processes, and collaborations.

Scope and responsibilities

The Project Manager (PM) reports to the Director of Curatorial Affairs and will be responsible for day-to-day management of the Catalogue Raisonné (CR). The PM will be the primary point person on the CR for RRF art, archives, and warehouse staff, outside editorial and technology consultants, CR researchers and other CR staff, and the CR Advisory Committee. They will develop tools and systems to manage critical CR information.

The PM must quickly develop a familiarity with the crucial literature on Rauschenberg and actively engage in research in order to gauge the success and failures of the project. They will be involved in processing archival and published materials; must read actively, participate in discussions with researchers and the CR team, and be active in the broader CR community. 

Priority given to candidates willing to make a long-term commitment.

Specific Responsibilities

CR Management (35%)

Establish, implement, maintain, and enforce project plan and related timeline

With CR leadership, establish and document the methodology and terminology for examining artwork and entering CR data; develop on-line submission forms; execute data entry; and maintain database for CR (Filemaker)

Hire and manage CR staff: researchers for bibliography, exhibition history, chronology, provenance research; copy editor; contract staff including art handlers for offsite viewings, photographers for off-site shoots, and digital asset manager

Establish and maintain style sheet and central base where all decisions about procedures are recorded and can be referred to by all those working on the CR

Day-to-day management of research team; coordinate art handling and photography through warehouse staff; establish examination teams in New York and beyond

Prior to on boarding a digital asset manager, assess, commission, and manage digital and physical CR photo assets. Maintain photographic guidelines to standardize photography and on-line submission forms

Communications / Outreach (30%)

Point person for RRF in the CR community; be actively engaged in what is going on in the CR world

Manage all aspects of the call for works including, but not limited to, research related to legal and insurance issues; create and implement an on-line submission system; coordinate any public relations related to call for works or CR in general.

Communicate with owners, including private owners, public institutions, and auction houses, announcing the project and requesting information.

Manage and update CR Website

Write quarterly updates for the RRF Board and Advisory Committee

Consider establishing a Research Internship Program for graduate students

Research & Scholarship (20%)

Assign, supervise, and be involved in daily research; create research guidelines and timeline

Oversight and implementation of fact-checking process for all elements of the CR including but not limited to copy editing short artwork and series descriptions, chronology, bibliography, exhibition history, provenance, media lines

With RRF art team and dedicated researchers: develop and flesh out existing research files (physical and digital) including exhibition, chronologies, provenance, and exhibition history.

Administrative (15%)

Schedule all CR team and Committee meetings and manage meeting notes / minutes.

Manage all CR finances: budget, invoices, and other expenses

Organize all travel for archives research and artwork exams and related expenses 

Coordinate all insurance and legal issues related to the CR reporting to Deputy Director

Additional responsibilities as assigned

EXPERIENCE REQUIRED

Prior CR experience very desirable — experience cataloguing individual works of art and familiarity with current CR best practices

Proven track record for completion of large-scale projects

Proven leadership skills: strong project management experience managing large numbers of people. 

Extensive research background and experience in libraries and archives

Experience interacting with archives, museums, private collectors, auction houses, galleries, and the catalogue raisonné community at large

High level of proficiency and comfort with relational databases and other technologies

ReQUIRED ATTRIBUTES

Excellent editorial and organizational, as well as analytical, and problem-solving skills

Excellent communication skills—written and oral—with a broad range of constituents

Meticulous approach to record keeping and research; attention to detail

Strong people skills, collaborative, proactive, and flexible working style

Ability to work independently, prioritize, organize workload, work under pressure, and multitask; manage regular deadlines all with integrity, confidentiality, good humor, and kindness

Strong written and verbal communication skills; ability to make oral and written presentations, communicating complex information in a concise and lucid way

Ability to project ahead and anticipate changing needs of a long-term project

Supportive work style that demonstrates initiative, patience, flexibility, sound judgment, and collaboration

Warmth, a sense of humor, and an appreciation for the work of the Foundation

Education

Advanced degree in art history required; 20th century art history preferred.

EQUAL OPPORTUNITY

As an equal opportunity employer, the Robert Rauschenberg Foundation (RRF) is committed to creating an equitable and inclusive work environment. We strive to attract a diverse mix of talented people and we encourage individuals of all backgrounds to apply.

Reasonable accommodations may be made to enable individuals with disabilities to perform the essential functions.

COMPENSATION

Compensation is commensurate with experience.

CONTACT INFORMATION

Please email letters of interest accompanied by a CV to employment@rauschenbergfoundation.org. In the subject line, please indicate Application for Catalogue Raisonné Project Manager position.

Symposium: Association of Historians of American Art (Oct. 14-15, 2021)

Registration is now open for AHAA’s Sixth Biennial Symposium (October 14–15, 2021), a virtual event. Register now!

The Association of Historians of American Art, one of the oldest membership organizations devoted to studying American art, will hold its biennial symposium in fall 2021. Jointly organized by the Smithsonian American Art Museum and the University of Maryland, this event will celebrate the fortieth anniversary of AHAA (2020) and the fiftieth anniversary of the Smithsonian American Art Museum’s preeminent fellowship program.

The two-day symposium on Thursday, October 14 and Friday, October 15 will feature presentations of new research, roundtable discussions, and Q&A sessions. While the symposium itself will be virtual, the schedule has been planned to allow for maximum discussion and interaction amongst our members. An optional Saturday schedule will also include in-person tours of exhibitions at the Smithsonian American Art Museum and David C. Driskell Center, University of Maryland, and a cocktail reception in downtown Washington D.C.

Registration Instructions
Registration for the symposium is free, but an active membership in AHAA is required to watch all pre-recorded presentations and attend all live virtual events. AHAA offers several levels of membership: Student/Basic ($35), Member ($50), Supporter ($200), Lifetime (one-time payment of $500), and Institutional ($500). To learn more about becoming a member, please visit AHAA Membership.

We apologize that our website does not offer the capability of joining or renewing your membership and registering for the symposium in a single transaction. Instead, you will have to join or renew your membership FIRST and then register for the symposium. Visit this link to join AHAA or renew your membership. Once you have verified your membership status, please click here to register for the symposium.

If you would like to watch ONLY the keynote lecture (through a pre-recorded presentation and a live Q&A on Friday, October 15, from 4:30–5:00), you are welcome to do so without becoming a member of AHAA. To register for this single event only, please click here.

Symposium Schedule
Please note that all recorded presentations will be available to registered attendees on Monday, October 4, 2021. Attendees are invited to watch these presentations in advance of the live discussions scheduled below. All times listed below are EST.

Thursday, October 14 (virtual)
9:30 – 10:15am: Session I: Lightning Round (LIVE Q&A)
Moderated by Joshua Shannon, University of Maryland

Katherine Fein, Columbia University
“Tusk, Breast, and Skin: The Intimate Ecologies of Ivory Miniatures”

Lucy Mounfield, University of Nottingham
“’Quiet Good for an Amateur!’: Vivian Maier, Amateurism, and the Photographic Periphery”

Danya Epstein, Southern Methodist University
“Back to the Future: Recursivity and Repertoire in the Work of Dennis Numkena”

Emma Silverman, National Park Service
“What a Doll: Queering the Body in Greer Lankton’s Photographs”

11:30am – 12:15pm: Session II: Health and the Body (LIVE Q&A)
Moderated by Tess Korobkin, University of Maryland

Caitlin Beach, Fordham University
“Edmonia Lewis and the Poetics of Plaster”

Kristin Nassif, University of Delaware
“Blinding Sight: Vision and Spectacles in John Haberle’s Trompe l’Oeil Paintings”

Janine DeFeo, The Graduate Center, City University of New York
“Body and Self: Adrian Piper’s Food for the Spirit and the Discourses of Anorexia Nervosa”

1:15 – 1:45pm: Session III: New Perspectives on Portraiture and Still Life (LIVE Q&A)
Moderated by Nika Elder, American University

Lea Stephenson, University of Delaware
“Tactile Gestures and Embodied Objects: Newport Portraiture and Landscapes of Slavery”

Stephen Mandravelis, University of Tennessee at Chattanooga
“Towards a Reconsideration of Charles Bird King”

2:30 – 3:00pm: Session IV: Curatorial Landmarks (LIVE Q&A)
Moderated by Curlee R. Holton, David C. Driskell Center, University of Maryland

Maya Harakawa, The Graduate Center, City University of New York
“Romare Bearden’s Harlem Exhibition, 1966-1967”

Danielle O’Steen, Kreeger Museum
“Lou Stovall in Washington: On the Craft of Screenprinting”

4:15 – 5:00pm: Session V: Digital Epistemologies (LIVE Q&A)
Moderated by Melanee Harvey, Howard University

Kay Wells, University of Wisconsin-Milwaukee
“Inventing Digital Humanities through the Index of American Design”

Laura Smith, Michigan State University
“Relational Landscapes: Teaching Chaco Canyon with Immersive Technology”

Karen Mary Davalos, University of Minnesota
Constance Cortez, University of Texas, Rio Grande Valley
“Decolonizing American Art History through Digital Humanities”

Friday, October 15, 2021 (virtual)
9:30 – 10:15am: Session VI: Iconographies of Ethnicity (LIVE Q&A)
Moderated by Grace Yasumura, Smithsonian American Art Museum

Patricia Johnston, College of the Holy Cross
“‘I’ is for ‘Italian’: Francis W. Edmonds and the Image Peddler in Nineteenth-Century American Visual Culture”

Erika Pazian, University of Minnesota Duluth
“In the In-Between: Las Poblanas and the Gendered Occupation of Space in Nineteenth-Century North America”

Colleen Stockmann, Gustavus Adolphus College
“Weeds and Wildflowers: Drawing Plant Politics in New York, 1850-1870”

10:45 – 11:45pm: Session VII: Iconoclasm (LIVE ROUNDTABLE DISCUSSION)
Co-Chairs: Wendy Bellion and Jennifer Van Horn, University of Delaware
Dana Byrd, Bowdoin College
Ellery Foutch, Middlebury College
Philippe Halbert, Yale University
J. M. Mancini, Maynooth University, Ireland
John Ott, Boston University/James Madison University

1:00 – 1:45pm: Session VIII: Imperialism (LIVE Q&A)
Moderated by Leslie Ureña, National Portrait Gallery

Maggie Cao, University of North Carolina
“Oceanography and Imperialism in Homer’s Gulf Stream”

Ellen Tani, Center for Advanced Study in the Visual Arts, National Gallery of Art
“Enmeshed: Senga Nengudi’s Performative Nylon Sculptures and Afro-Asian Ritual”

Mallory Nanny, Florida State University
“An-My Lê’s Small Wars: Re-enacting Memories of an Ongoing War”

2:45 – 3:30pm: Session IX: A Land Acknowledgement is Not Enough: Why Indigenous Art Must Guide a New American Art (LIVE ROUNDTABLE DISCUSSION)
Mindy N. Besaw, Crystal Bridges Museum of American Art (Session Co-Chair)
Ashley Holland (Cherokee Nation), Art Bridges Foundation (Session Co-Chair)
Wanda Nanibush (Anishinaabe-kwe), Art Gallery of Ontario
Georgiana Uhlyarik, Art Gallery of Ontario

4:30 – 5:00pm: Keynote (LIVE Q&A)
Moderated by Jordana Saggese, University of Maryland and Symposium Co-Chair

Jennifer A. González, University of California, Santa Cruz
“Speech and Silence”

5:15 – 6:15pm: Virtual Reception

CFP: “South and North American Positionalities: Representing the Other in the Interdisciplinary 19th century [CAA 2022]–proposals due by Sept. 16, 2021

“South and North American Positionalities: Representing the Other in the Interdisciplinary 19th century”

The representation of the Other has been prioritized through the study of the cross-Atlantic relationship between Europe and the Americas; examples of exhibitions and publications include, Ojos británicos: Formación de la imagen visual de Colombia en el siglo XIX (Museo Nacional de Colombia, 2003) and Ana Lucía Araujo´s book, Brazil through French Eyes: A Nineteenth-Century Artist in the Tropics (2015). Research on the long nineteenth-century has focused on the connections between North and South America through scholarship like Katherine Manthorne’s landmark study Tropical Renaissance: North American Artists Exploring Latin America, 1839-1879 (1989), Picturing the Americas: Landscape Painting From Tierra Del Fuego to the Arctic (2015) and Traveler artists: Landscapes of Latin America from the Patricia Phelps de Cisneros Collection (2015). These studies have focused mainly on landscape representation through the eyes of the traveler.

This panel seeks to build upon the representation of the Other through visual culture and through an interdisciplinary lens. Interdisciplinary fields may include visual and textual relations, print culture, photography, theater studies, science and art, and material culture. A key point of discussion around the South and North two-way relationship will be structures of power and inherent biases of positionality. The Other in this proposal is understood within the nineteenth-century context as “different.” In this specific history, difference can be viewed not only through geographical distance but also through ethnographic distance. Questions of positionality may also address contemporaneous and historiographic accounts of audience reception and ideological interpretation of representations of the Other across the South-North divide. 


Topics may include but are not restricted to:

Travel/travelogues

Race

Ethnicity

Indigeneity

Gender

Age

Class

Spirituality

Religion

Politics

Nature

Landscape

Animals

Submission of proposals should be sent to: v.uribe20@uniandes.edu.co. Proposals must include 250-word abstracts and shortened CV sent by September 16, 2021. 

CFP: Signs o’ the Times: Music and Politics in Contemporary Art (CAA Chicago, 2022)–proposals accepted through Sept. 16, 2021

Maria Elena Buszek (CU Denver) and Johanna Gosse are co-chairing an in-person session on contemporary art, music, and politics at the 2022 CAA conference in Chicago (February 16-19, 2022). Buszek and Gosse are very open to proposals that expand the conventional scope of “art history” and the panel might expand into two sessions.


To apply, send us a 250-word abstract, a shortened CV (under 2 pgs), and a completed proposal submission form to maria.buszek@ucdenver.edu and johannagosse@gmail.com by September 16. We will notify participants by September 23.

DESCRIPTION
Signs o’ the Times: Music and Politics in Contemporary Art


Scholar Bernard Gendron has compellingly argued that rock music took over the avant garde in the 1970s, holding “onto its ‘pop’ moorings while becoming ‘art.’” Visual artists like Laurie Anderson and William Pope L. started writing, performing, and recording music, and performers like Grace Jones, DEVO, and Die Tödliche Doris treated their music as performance art, blurring the lines between popular music and visual art in ways that have profoundly affected contemporary art ever since. This seemingly effortless crossing of the era’s art/music and high/low divides was in reality born of struggles that often sprang from the era’s civil rights and liberation movements, which in the ‘70s sought new ways to reach broader audiences and to critique the myopia or elitism of these movements’ earlier iterations. This tendency continues today in the work of contemporary artists who engage with popular music, not just as an index of contemporaneity, but as a rich archive of cultural and political significance, as well as formal and aesthetic inspiration and exchange.
This panel seeks to convene new approaches and perspectives on the intersection of art and popular music since the tail end of the sixties up to the present day. We’re particularly interested in work that examines cultural politics alongside formal concerns, while moving beyond the exhausted modernist preoccupation with policing the high/low divide.
For more information on the conference and how to submit your abstract see: https://caa.confex.com/caa/2022/webprogrampreliminary/meeting.html 

Opportunity: Assistant Professor, Pre-Modern Art History, University of Chicago

Assistant Professor – Pre-Modern Art History

https://apply.interfolio.com/91489

Open Date

Aug 10, 2021

Deadline

Oct 14, 2021 at 11:59 PM Eastern Time

 

Description

The Department of Art History at the University of Chicago invites applications for an appointment at the rank of assistant professor with an expected start date of July 1, 2022, or as soon as possible thereafter.

The Department seeks applicants with innovative approaches to scholarship in art history, visual media or studies, and/or the built environment, an ambitious research agenda, and a commitment to developing pedagogical techniques for teaching at both the undergraduate and graduate levels. Scholars working in any pre-modern (before ca. 1850) period and any geographic area, with any theoretical or methodological focus are invited to apply. The position includes a normal teaching load of four courses per year, as well as commensurate advising and service responsibilities.

This search for an Assistant Professor is connected to a concurrent search for a Provost’s Postdoctoral Fellow (http://apply.interfolio.com/91491). We encourage all applicants to submit applications for both postings so that all available options may be considered for the selected candidate. 

Opportunity: Assistant Professor, Histories of African Art, African-American Art, and/or African Diaspora Arts and Visual Cultures, Department of Art History, UC-Berkeley

More info here:

https://aprecruit.berkeley.edu/JPF03107

CFP: Beyond In/visibility: the Politics of Asian American Representation in American Art History (for CAA Annual Conference 2022) –submit by Aug. 30, 2021

CFP for CAA Annual Conference 2022

Beyond In/visibility: the Politics of Asian American Representation in American Art History (Association of Historians of American Art [AHAA] Panel Session)

What are the consequences of asking for greater Asian American visibility in art history?

We are reckoning anew with our discipline’s intellectual and material priorities which have enforced racial-class-gender hierarchies and American imperialist and exceptionalist ideologies. Across museums and universities, immediate solutions call for increased inclusion and representation of marginalized peoples into existing historical canons. What are the limits of these correctives for peoples who have been dehumanized through aestheticization and surveillance throughout American history, and endangered because of their hypervisibility in everyday life? Now over 50 years since the term “Asian American” emerged as a disciplinary and political category, we must reflect on ways to narrate the specificities of the Asian diaspora within American academies and museums beyond the binaries of visible/invisible, inclusion/exclusion.

This panel invites ongoing research, curatorial case studies, and experimental methodologies that engage with issues such as: How has “Asian [United States] American” been a useful and limiting category for research, curation, and museum interpretation? What are strategies to present the historical absence or loss of Asian American subjects in archives and permanent collections? Are there ways to identify unconventional presence through creative citation or display practices? How might Asian American art histories attend to moments of solidarity and failure with respect to Black, Latinx, Indigenous and Pacific Islander communities and objects? How can Asian American art histories counter existing disciplinary priorities to aestheticize, visibly represent, visually clarify, expose, access, and possess its subjects—for example, through opacity, obscuration, dis-orientation, mistranslation, protective veiling?

Please submit by August 20, 2021

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