CFP: Panorama: Journal of the Association of Historians of American Art seeks proposals for papers on the topic of “Amateurism and American Visual Culture”

Panorama: Journal of the Association of Historians of American Art seeks proposals for papers on the topic of “Amateurism and American Visual Culture.” Accepted papers will appear in a guest-edited section of Panorama issue 5.1 (May 2019).

Amateurism, as both a praxis and an attitude, has been a fundamental concept for the development and reception of American art. In the Colonial period, for instance, trained painters and self-taught limners alike were measured against Europe’s professional portraitists, and producers of decorative arts were often viewed as craftspeople or artisans rather than fine artists. And during the nineteenth century itinerant painters and so-called “folk artists” established careers that had little in common with those of artists now recognized as American masters, like Thomas Cole and Frederic Edwin Church. At the same time, however, Americans (Benjamin Franklin, for example) have long admired the “Yankee ingenuity” and “useful knowledge” of self-starters and laypeople.

In the twentieth century amateurism emerged as an invaluable foil for American modernists: Robert Henri encouraged the painting of what one knows rather than what one learns; the regionalist artists disavowed the theoretical expertise of the Stieglitz Circle artists and writers; and the junk stylings of some Neo-Dadaists were complemented by their slapdash techniques and a casual disregard for “high art.” Snapshots, home movies, and hobby art are more obvious, though historically far less visible, examples of artforms that have been classified as amateur, and today, of course, DIY productions, both digital and analog, abound, and everyone with a smartphone is an accidental curator.

The various historical and contemporary categorizations of Native American visual culture are especially relevant to these themes. We know, for instance, that Abstract Expressionists borrowed from supposedly “primitive” artforms to heighten the aura of untutored amateurism around their works. But we also know that appropriation is just one context, and a flawed one at that, for analyzing Native American art, which for better and for worse, often finds itself at the crossroads of the vernacular and the institutional. And, of course, Native American artists have negotiated amateur and professional identities for their own purposes, in order to advance sovereignty, for example, or to participate in markets not entirely their own.

Refreshingly, scholars, curators, and publishers have begun to examine the art and visual culture of amateurism in recent years: there is the enduring appeal of the photographic snapshot and accompanying “snapshot aesthetic,” recent books and articles on amateur film, successful folk art exhibitions, and the National Gallery of Art’s current exhibition Outliers and American Vanguard Art. Nevertheless, the significance of the amateur-professional dialectic to American art requires more critical attention, and, at a time when the arts and humanities are subjected to more and more evaluative measures, the insouciance of amateur art seems more and more urgent.

Panorama seeks papers of approximately 5,000 words that take innovative, interdisciplinary approaches to the analysis of amateur art and its material, historical, theoretical terrain. We encourage authors to consider the unique advantages of the journal’s online platform, which permits various digital enhancements, such as high-resolution images with zoom capabilities, the embedding of moving images and films, interactive maps, and the reconstruction of historical exhibitions, to name a few possibilities.

To propose a paper, please send a 500-word abstract and curriculum vitae to Justin Wolff: justin.wolff@maine.edu.

Deadline for proposals: May 15, 2018

Deadline for papers: December 31, 2018

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CFP: Panorama: Journal of the Association of Historians of American Art

Call for Papers: Panorama: Journal of the Association of Historians of American Art

Panorama is a peer-reviewed, open-access online journal dedicated to American art and visual culture in all media, from the colonial period to the present day. The journal provides a high-caliber international forum for disseminating original research and scholarship and for sustaining a lively engagement with intellectual developments and methodological debates in art history, visual and material cultural studies, museums, and curatorial work. It encourages a broad range of perspectives and approaches within an interdisciplinary framework and seeks to acknowledge in full work by African American, Asian American, Latinx, and Native American artists, makers, curators, art historians, and others engaged in visual cultural production in the United States.

Panorama welcomes submissions that utilize the insights of both traditional and new historical and interpretive approaches to art in the US in both local and global contexts. The editors seek submissions in various formats, including feature length articles (7,000-10,000 words), research notes (maximum of 2,500 words), book and exhibition reviews, and “Bully Pulpit” suggestions–texts that trace a conversation or debate on a topic that is of general interest to the field.

For more information, see: http://journalpanorama.org/submissions/

RFP: Seeking author for Kara Walker essay

Drs. Deborah Johnson and Wendy Oliver, editors of Women Making Art, Women in the Visual, Literary, and Performing Arts since 1960, are searching for additional authors for an updated second edition of the volume. Specifically, we are looking for a scholar interested in contributing a chapter on Kara Walker.

The essay should be roughly 6,000-8,000 words, notes and references included, with a focus on one paradigmatic image (or series) within Walker’s work. The author should be prepared to engage formal analysis, race and gender theory, and biography.

If interested — or with questions — please contact doctorj@providence.edu

Research on Louisiana to Northern California African-American migration, pre-1980s

A San Jose State University sociologist is documenting African-American migration from Louisiana to San Francisco Bay Area before the 1980s and the subsequent resettlement experiences of the migrants.

  • If you or your parents migrated from Louisiana and settled in the San Francisco Bay Area prior to the 1980s, you are invited to participate in a research study conducted by Faustina M. DuCros, Ph.D., an Assistant Professor in the Department of Sociology and Interdisciplinary Social Sciences at San José State University.
  • The purpose of this research study is to document the migration and re-settlement experiences of migrants and children of migrants from Louisiana in the San Francisco Bay Area.
  • If you volunteer for this research study, you will be asked to participate in an audio-recorded life history interview that will last about two hours; in some cases additional sessions may be needed to complete the life history. During the interview, you will be asked about your background, your migration experiences or those of your parents, and your experiences in the Bay Area. The interview will be conducted at a time and location convenient for you.
  • Participation is entirely voluntary and confidential. You may stop your participation at any time without penalty.
  • If you have questions or would like to participate, please contact:Faustina DuCros, Ph.D.
    San José State University
    One Washington Square
  • San José, CA 95125Louisiana-Migrants@sjsu.edu

    408-924-5325

CFP Craft Studies Symposium–abstracts due Mar. 1, 2018

Call for Papers

Shared Ground: Cross-Disciplinary Approaches to Craft Studies

Presented by the Center for Craft, Bard Graduate Center, and the Museum of Arts and Design

September 20-22, 2018

New York, New York

Deadline: March 1, 2018

Click here to apply

Bard Graduate Center, the Center for Craft, and the Museum of Arts and Design are pleased to issue a call for papers for the forthcoming Shared Ground: Cross-Disciplinary Approaches to Craft Studies symposium to be held in New York City September 20-22, 2018.

The “material-turn” in the humanities has brought increased attention to the study of craft in art and design history, decorative arts and material culture studies, as well as other disciplines, such as anthropology and science and technology studies. Institutions are combining academic traditions of the humanities and social sciences with “learning by doing” pedagogy and the influence of global studies has led scholars to research, understand, and contextualize craft outside of the studio craft or the arts and craft movements. Beyond the humanities and social sciences, fields ranging from architecture and urban planning to engineering and computer science have begun to explore the craft-like nature and implications of their research and professional practice.

Craft studies is at a critical moment as more disciplines turn their research towards craft and more scholars expand the geographic and temporal boundaries of the field. The 2018 Shared Ground symposium will explore cross-disciplinary approaches to craft studies, with an eye towards intersecting and divergent theories, methodologies, and approaches in this emerging area of study.

DETAILS

Abstracts (up to 250 words) for 20 min papers and a brief curriculum vitae must be submitted here on or before March 1, 2018 at 11:59pm EST. We are looking for interdisciplinary knowledge and welcome papers from all disciplines. Alternative presentation formats are welcome, and graduate students are encouraged to apply. Abstracts will be subject to peer review.

For additional information, please visit www.cccdnow.org/sharedground or contact Marilyn Zapf, Assistant Director and Curator, the Center for Craft at mzapf@craftcreativitydesign.org

Residency (Orange Co., CA) for Artists and Art Historians–Apply now through Dec. 15, 2017

The 36 Chase & Barns Residency is extending its application deadline for all  interested art history/curatorial studies candidates.  The 36 Chase & Barns Residency offers spaces to up to three visual artists and one art history/curatorial studies candidate each term. 
We are still actively looking for strong applicants from diverse backgrounds, working in the areas of curatorial studies and arthistory research. We will continue to accept applications to fill this vacancy for the March- May 2018 residency until Friday, December 15th.  
Art historians and curatorial candidates of color and/or any applicants who are conducting research and writing criticism specifically addressing the many overlooked contributions of female artists, artists of color and artists from the LGBTQ communities are strongly encouraged to apply. 
We are no longer accepting applications from visual artists for the March- May 2018 residency term. Our next residency term will begin in July of 2018.
Click here to apply or go directly here.

2017 William H. Johnson Prize Application——-Deadline Nov. 16, 2017, 6 pm Eastern

2017 WILLIAM H. JOHNSON PRIZE
DEADLINE FOR APPLICATION: THURSDAY, NOVEMBER 16, 2017, 6PM Eastern Time

The William H. Johnson Foundation for the Arts is a nonprofit, tax-exempt organization that seeks to encourage African American artists early in their careers by offering financial grants. The Johnson Foundation awards grants to individuals who work in the following media: painting, photography, sculpture, printmaking, installation and/or new genre.

The William H. Johnson Prize is awarded annually to an early-career African American artist. For our purposes, “early-career” is a flexible term that should be interpreted liberally to include artists who have finished their academic work within twelve years from the year that a prize is awarded. For example, a person who finished their studies in 2005 is eligible to apply in 2017, but not in 2018. Age is not determinative, and artists who have not earned BFAs or MFAs are still eligible so long as they have not been working as a professional artist for more than twelve years.

The 2017 William H. Johnson Prize is $25,000 and the winner will be announced in December 2017.

APPLYING FOR THE 2017 JOHNSON PRIZE

READY TO BEGIN THE APPLICATION?
All applications must be submitted online, and the application must be started and completed in the same online session. Changes cannot be made to an application after it’s been submitted. The 2017 Johnson Prize Application Worksheet is provided as a tool for applicants to use prior to starting the online application, to ensure that applicants have prepared all the materials required for completing and submitting the application.

QUESTIONS?
Take a look at the foundation’s responses to Frequently Asked Questions.

 

 

CFP: Black Portraitures IV; DEADLINE EXTENDED: 10/1

Event Timing: March 15-17, 2018.
Event Address: Havana, Cuba

BLACK PORTRAITURE[S] IV: The Color of Silence is the eighth conference in a series of international conversations to assess and break new ground in the fields of African, African American and African diasporic art and art history. This forum also provides various approaches to interpreting the representations, ambiguous meanings, and erasures of the black body in visual, social, material and expressive cultures. Over a span of fifteen years, artists, activists, patrons, musicians, writers, collectives, journalists, educators and scholars have come from across the globe to reflect on why and how conceptions of “blackness” shape historical imaginaries and subvert political ideologies. This is an opportunity to situate not only various macro-histories but also the micro-histories that inform a genealogy of innovative interrogations into the social structures that articulate—or silence—black subjectivity.

The conference aims to explore the aesthetic representation of the frameworks and social relations in which black bodies are seen and unseen, in which black lives are lived freely and under constraint, and most crucially, the representation of black subjects themselves. Examples abound throughout the African diaspora of how the humanity of black subjects is rendered invisible or hyper-visible—or both simultaneously (Cuba’s “antiracism,” Brazil’s “racial democracy,” South Africa’s “rainbow nation,” Jamaica’s “out of many, one people” motto, and the “postracial” U.S. are just a few examples). We invite papers that interrogate the complex intersections of race, history, culture and art.

In past conferences, participants have offered generative exchanges on everything from tourism and pop culture (art, fashion, music, dance, film), to revolutionary movements, pedagogy, the history of colonization and its impact on cultural expression, the Trans-Atlantic Slave Trade and the contemporary entanglements of the global marketplace. With this latest iteration of Black Portraitures, we seek papers and panel proposals that probe and build off of these themes and provide new methodologies, and even new questions, for the 21st century.

Deadline for submissions: October 1, 2017
Notice of acceptance: October 27, 2017

All proposals must be submitted through completion of the online form. Follow the link at http://hutchinscenter.fas.harvard.edu/black-portraitures-iv

The conference will be held on Thursday through Saturday, March 15-17, 2018, in Havana, Cuba.  As the status of the US/Cuba relations are in flux, more information about travel will be available when the new Administration’s policies are enacted.  We will keep you posted.

Please note that as with most academic conferences, we are unable to provide institutional funding for travel to Black Portraitures.

Black Portraiture[s] IV is a collaboration with the U.S. Ambassador to Cuba, Jeffrey DeLaurentis; Hutchins Center for African & African American Research, Harvard University; New York University’s LaPietra Dialogues, Tisch School of the Arts, and the Institute for African American Affairs.

Please contact blackportraitures@gmail.com with questions.

CFP: Beyond Boundaries: Artistic inquiries into borders and their meaning(s) @ Association for Art History 2018

Association for Art History Annual Conference 2018

5-7 April 2018

Courtauld Institute of Art and King’s College London

Deadline for submissions: 6 November 2017

Beyond Boundaries: Artistic inquiries into borders and their meaning(s)

Borders have played a critical role in the development and distribution of culture, often acting as frameworks that help or hinder our ability to ‘look outwards’. In The Location of Culture, Homi Bhabha calls attention to the value of interstitial spaces, where borders, frames, and other locations ‘in- between’ become ‘innovative sites of collaboration and contestation in the act of defining the idea of society itself.’ Other philosophical considerations of borders, such as Martin Heidegger’s concept of gestell, or enframing, Jacques Derrida’s deconstruction of Enlightenment aesthetics vis-à-vis the parergon, and Victor Stoichita’s analysis of framing devices in early modern ‘meta-painting’, have demonstrated the transformative power of edges, frames, borders, and boundaries in art.

This session will focus on works of art, artistic practices, and art historical perspectives that think critically and creatively about borders and their meaning(s). The goal is to expand our understanding of borders, whether physical or conceptual, historical or theoretical. In the spirit of pushing beyond boundaries of convention and ‘looking outwards’, we welcome papers that focus on any medium, art historical period, or curatorial practice. Papers may address, though are not limited to: art that explores the significance of borders to migrants, immigrants, diasporic communities or other groups residing (both literally and figuratively) ‘in-between’; activist art that interrogates borders and their meaning(s); the role of public art, public space, and social media in thinking beyond boundaries; the metaphorical and/or literal framing of a work of art and its effects; the symbolic purpose or meaning of frames in various cultural contexts (for instance, the role of framing in religious spaces or objects, such as tabernacles, wall niches, icon paintings, and marginalia).

Please email your paper proposals directly to the session chairs:

Mey-Yen Moriuchi, La Salle University, moriuchi@lasalle. edu

Lesley Shipley, Randolph College, lshipley@randolphcollege.edu

Proposals should include an abstract (250 words maximum) and CV.

Click here for the full call for AAH submissions.

Papers topics addressing critical race art history, theory, and curatorial practices welcome.

CFP: CAA 2018/Los Angeles panel–The Photograph, Self-Representation & US Contemporary Art

Alternative Visions: The Photograph, Self-Representation, and Fact in Contemporary Art of the United States 

Chair(s): Natalie Zelt, The University of Texas at Austin, nzelt@utexas.edu
As the editors of “Aperture” recently reminded their readers, “The need for artists to offer persuasive, alternative visions is more urgent than ever.”
In response to that need for creative dissent, this panel investigates the ways contemporary artists use the photograph and self-representation together to craft alternative visions and selves. The photograph’s tangled relationship to truth and identity make it a potent conceptual and compositional tool for artists to challenge the limits of both art historical and social categories. Designed to delineate and define, the photograph continues to circumscribe the visual limits of identity categories, including nationality, race, class, gender, and sexuality, well after art historians and cultural critics such as Allan Sekula, Martha Rosler, Sally Stein, and John Tagg called its documentary “truthiness” into question. Additionally, a swell of “post-photography” discourses, ranging from Geoffrey Batchen to Robert Shore, confound the boundaries of the medium, while curators and museums struggle to adapt.
“Alternative Visions” examines the many ways contemporary artists in the United States disrupt the photograph’s master narratives and traditional roles to create subversive, subjective, and contradictory representations of themselves that resist prevailing visual modes.
Presentations will consider an array of questions including: What is the relationship between the photograph and the self in a “post-identity,” “postfact,” and “post-photography” environment? What methods of dissent are evidenced in self-centered photographic practice and what might be their limits? In a contemporary cultural landscape untethered from conventional arbiters of fact, what spaces of resistance can artworks that deploy the photograph create?
For more on the College Art Association conference, go to CAA News Today.