Category: call for participation

ACRAH will be at CAA2025!

The ACRAH/CAA2025 panel will be Critical Race Art History Roundtable: Doing the Work

The session will be in-person at the New York Hilton Midtown – 2nd Floor – Nassau West on February 14, 2025 at 2:30pm EST.

The ACRAH Business Meeting will also be held in the same room February 14, 2025 at 1:00pm EST.

Session Abstract:

What does it mean to do critical race art history? This session brings together scholars in a conversation about how a critical race art history approach can manifest in our work. Having proposed this line of inquiry twenty-five years ago, we want to reflect on the nature of the concept and how the field has evolved. What are the goals of critical race art history, and what are its methodologies and theoretical grounds? What are the conceptual parameters of this lens on art history–what does it mean to center an understanding that race structures how we see and shapes our reception of art? What tools and methods do we employ to make the operations of race visible? How do we move from American identity politics –that emphasizes a white/non-white binary and focuses on the identification of negative racial tropes and artistic rebuttals to the harm of such imagery–to a comprehensive unpacking of the systemic racialization in art? What do we gain when we foreground how race informs the construction of the visual cultures that we inhabit? How do the insights of critical race art history become integrated into art history at large?

Participants:

Kymberly Pinder, Yale University

Pinder is Professor of Art and History of Art and the Stavros Niarchos Foundation Dean of the Yale School of Art. She is the editor of Race-ing Art History: Critical Reading in Race and Art History (Routledge, 2002).

Tatiana Flores, University of Virginia

Flores is the Edgar Shannon Jefferson Scholars Foundation Distinguished Professor in Art History at the University of Virginia. She is an editor of The Routledge Companion to Decolonizing Art History (2023).

Elizabeth Hutchinson, Barnard University

Hutchison is the Tow Associate Professor of Art History at Barnard College. She is the author of The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890-1915 (Duke University Press, 2009).

Lily Cho, York University

Cho is Associate Professor of English at York University. She is the author of Mass Capture: Chinese Head Tax and the Making of Non-Citizens (McGill-Queens University Press, 2021).

“Pathways to Rochester Institute of Art: Art and Design Edition” — Academic Open House, Wed., Aug. 14, 2024, 1-2:30PM EST (via Zoom)

Pathways Art and Design Edition

Log into an “academic open house” to learn more about faculty career paths and opportunities within the Rochester Institute of Technology College of Art and Design (Rochester, NY, USA). RIT encourages historically underrepresented minority and women MFA or PhD candidates and graduates who are practicing artists, designers and photographers to register. This session is aimed at those interested in exploring a faculty role at RIT.

  • Learn about the College’s strategic plan and areas of growth
  • Get your job search questions answered and discover what search committees look for
  • Find out about anticipated or current faculty openings 
  • Understand expectations of incoming faculty
  • Hear from faculty and administrators about the culture and working environment at RIT 

Artists in the following disciplines represented within the College of Art and Design are invited to register:

3D Digital Design | Ceramics | Film and Animation | Fine Arts Studio | Furniture Design | Glass | Graphic Design | Illustration | Industrial Design | Interior Design | Medical Illustration| Metals and Jewelry Design | Motion Picture Science  | New Media Design | Photographic and Imaging Arts (Advertising/Fine Art/Photojournalism/Visual Media Options) | Photography and Related Media | Photographic Sciences | Studio Arts | Visual Arts-All Grades | Visual Communication Design.

Register here: https://bit.ly/PathwaystoRIT

Questions can be directed to: LOSOFR@RIT.EDU.


CFP: Beyond the Substrate: Hand Papermaking Seminar for Print Curators

Dieu Donné is pleased to announce an open call for a four day, hands-on workshop and seminar in hand papermaking in fine art for early- to mid-career curators and specialists in the field of prints and drawings. This workshop is made possible with support from Getty through The Paper Project initiative.

More information and application details can be found here: https://www.dieudonne.org/beyond-the-substrate-seminar

CFP: “The Black Commonwealth” at CAA2024

The Black Commonwealth
Co-Chairs: julia elizabeth neal (University of Michigan), Janell Blackmon-Pryor (Bowie State University)
Submit:https://caa.confex.com/caa/2024/webprogrampreliminary/Session12517.html
Session will present: In Person

Investigations of place have prompted radical reconsiderations of social and artistic geographies of visual culture. It absorbs and reflects psychosocial views and cultural relationships between communities and sites. Place is discursive across the disciplines: Tim Creswell, an anthropogeographer, situates place as a “meaningful category,” whereas Lucy Lippard, a feminist curator, describes it as “the locus of desire,” and artist Renée Green discursively engages notions of place and site-specificity in “Peripatetic at ‘Home’.”

With the objective to contribute to increasing microhistories–local, transnational, and global–reframing art historical inquiry, this panel will convene around Pennsylvania and its role within Black art production. A colony, the second state to join the Union, and a commonwealth implicated by the myths of the nation, Pennsylvania is a microcosm of the United States. How does it shape histories of artists from Henry Ossawa Tanner and Meta Warrick Vaux Fuller to Raymond Saunders, Barbara Chase-Riboud, Benjamin Patterson, and more, from the past to now?

We invite submissions related to Pennyslvania’s role in the profiles, practices, networks, institutions, and histories, of artists of African descent from the 19th to 21st centuries. Graduate students, adjunct, tenure-track and tenured professors, curators and arts cultural workers are encouraged to present.

Potential topics include (but are not limited to):

* Placemaking
* Politics of Identity and Blackness
* Gender Politics
* Respectability Politics and Whiteness Studies
* Andrew Carnegie and Institutions
* Labor Histories and Art
* Philadelphia, Pittsburgh
* Deindustrialization
* Archives and Documentary Histories
* Museums, Galleries and Race

Deadline is August 31, 2023

CFP: “Blackness, White Liberalism, and Art” @ CAA2024

Call For Papers

Blackness, White Liberalism, and Art

College Art Association Annual Conference session

Chicago, February 14–17, 2024 

This panel will address the “soft racism” of white liberal artists who have inadequately tried to address white supremacy and anti-Black racism in their work. Whether in the guise of multiculturalism, color blindness, or particular strains of post-racialism, these artists have often perpetuated what cultural theorist Stuart Hall called “a kind of difference that doesn’t make a difference of any kind.” We seek papers that take up case studies of neo/liberal representations of race produced within the United States across media from the nineteenth century until today. 

Chairs: Bridget R. Cooks, University of California, Irvine, and John Ott, James Madison University.   

The session will convene in person in Chicago and the deadline for submissions is August 31, 2023. Submission Link: 

https://caa.confex.com/caa/2024/webprogrampreliminary/Session12755.html

CFP: “Critical Race Art History and the Archive” @ ACRAH/CAA2024

ACRAH will be at College Art Association Annual Conference in 2024.

We are having a virtual session, “Critical Race Art History and the Archive” that is soliciting papers.

Abstract:

In Subject to Display (2009), Jennifer A. González asserts that “the collection and display of bodies, images, and artifacts in museums and elsewhere is a primary means by which a nation tells the story of its past and locates the cultures of its citizens in the present.“ In this session, contemporary archivists’ discuss their approaches to telling the narratives of racial identification and racialization—past and present. What has been collected and how has that material been interpreted? What questions do they bring to institutional systems of classification? How do they create space and cede power so that marginalized communities can access resources that support their created and managed archives? In what ways have the concerns of the humanities—analysis, interpretation, argumentation—been mainstreamed into digital humanities practice in the scope of critical race art history?

Submit your proposal here: https://caa.confex.com/caa/2024/webprogrampreliminary/Session12882.html

Deadline: August 31, 2023

Check out the full CAA conference call for participation and guidelines to submit here: https://caa.confex.com/caa/2024/webprogrampreliminary/meeting.html

Call for Proposals: Race in Design History, An Anthology (deadline Mar. 15, 2023)

Race in Design History: An Anthology

edited by Kristina Wilson, Professor of Art History, Clark University and Michelle Joan Wilkinson, Curator of Architecture and Design, National Museum of African American History and Culture

How has race shaped the objects of our designed world? We invite contributors to submit to an edited volume that will focus on the ways design and design histories have engaged ideas about race, whether implicitly or explicitly. Race is a contested category with shifting meanings over time, and perceptions about race influence design history in multiple ways: how objects are designed; how designers imagine their ideal consumer; how designs are put into production and how those designs are marketed. Ultimately, race has an impact on the scope and structure of the residual design archive that historians are left sifting through. This edited volume welcomes contributions in the form of close readings of design objects as well as critical interrogations about design through the lenses of practice, pedagogy, curation, and historiography.

Recent work in design history has emphasized the importance of decolonizing the predominantly Western and Northern biases of the modernist canon. This anthology aims to contribute to that work, and embraces the goals of critical race studies of design, with an investigation of the role of race in all aspects of design history. It welcomes scholarship that looks at under-valued objects of design, scholarship that expands our understanding of what it means to have a career as a designer, and scholarship that illuminates design history in new contexts. We seek narratives of design history that interrogate our assumptions about what is knowable in the past.

We invite contributions on decorative objects, interiors, fashion, architecture, and graphic design, among others, 1800 to the present, global in scope. Proposals should be made for one or more of the following types of essays:

1) Scholarly essays of 3,500-4,000 words: these might be case studies that investigate a movement, a designer, a specific exhibition, or production materials and processes; should engage historical context and demonstrate methodological innovation.

2) Short essays of 1250-1500 words: close readings of objects, keywords, or terms that give the reader an immersive encounter; the style of writing in these essays could be more experimental, and these short pieces will complement the larger contextual discussions offered in the longer essays;

3) Questions of practice essays of 3,000 words: essays that address aspects of museum practice, teaching and pedagogical practice, designers’ practice.

Please send a 300-word proposal and a CV to:

KrWilson@clarku.edu and WilkinsonM@si.edu with “Race in Design History” in the subject line by the deadline of March 15, 2023. Contributors will be notified by mid-April, and drafts will be due September 15, 2023.

CFP: Toward Equity in Publishing/American Art

Call for Applications: Toward Equity in Publishing
Deadline: May 1, 2023

Toward Equity in Publishing is a professional development program provided by the peer-reviewed journal American Art, which is co-published by the Smithsonian American Art Museum and University of Chicago Press. The program works toward ameliorating the inequitable conditions that precede and impede publication by providing developmental editing and workshops to demystify academic publishing. Eligibility is limited to untenured faculty, junior museum staff, independent scholars, and unpublished graduate students.

With the continued generosity of the Dedalus Foundation, who has just extended their support for an additional two years, all participants will now receive a $1,000 stipend to offset participation costs such as family care, missed wages, or research expenses.

For more information and application instructions, please visit americanart.si.edu/research/toward-equity-publishing.

CFA: The Tyson Scholars of American Art Program at Crystal Bridges Museum of American Art, NEW DEADLINE

The deadline to apply for the Tyson Scholars of American Art program for the 2023-2024 term has been extended! Applications now due December 2, 2022. Please see below for more details and direct any questions to TysonScholars@crystalbridges.org

The Tyson Scholars of American Art Program at Crystal Bridges Museum of American Art
The Tyson Scholars of American Art Program encourages and supports full-time, interdisciplinary scholarship that seeks to expand boundaries and traditional categories of investigation into American art and visual and material culture from the any time period. The program was established in 2012 through a $5 million commitment from the Tyson family and Tyson Foods, Inc. Since its inception, the Tyson Scholars Program has supported the work of 66 scholars, attracting academic professionals in a variety of disciplines nationally and internationally.

Crystal Bridges and the Tyson Scholars Program invites PhD candidates (or equivalent), post-doctoral researchers, and senior scholars from any field who are researching American art to apply. Scholars may be focused on architecture, craft, material culture, performance art, and new media. We also invite applications from scholars approaching US art transregionally and looking at the broader geographical context of the Americas, especially including Latinx and Indigenous art. Applications will be evaluated on the originality and quality of the proposed research project and its contribution to a more equitable and inclusive history of American art.

The Tyson Scholars Program looks for research projects that will intersect meaningfully with the museum’s collections, library resources, architecture, grounds, curatorial expertise, programs and exhibitions; and/or the University of Arkansas faculty broadly; and applicants should speak to why residence in Northwest Arkansas and the surrounding areas will advance their work. The applicant’s academic standing, scholarly qualifications, and experience will be considered, as it informs the ability of the applicant to complete the proposed project. Letters of support are strongest when they demonstrate the applicant’s excellence, promise, originality, track record, and productivity as a scholar, not when the letter contains a commentary on the project.

Crystal Bridges is dedicated to an equitable, inclusive, and diverse cohort of fellows. We seek applicants who bring a critical perspective and understanding of the experiences of groups historically underrepresented in American art, and welcome applications from qualified persons of color; who are Indigenous; with disabilities; who are LGBTQ+; first-generation college graduates; from low-income households; and who are veterans.

Fellowships are residential and support full-time writing and research for terms that range from six weeks to nine months. While in residence, Tyson Scholars have access to the art and library collections of Crystal Bridges as well as the library and archives at the University of Arkansas in nearby Fayetteville. Stipends vary depending on the duration of residency, position as senior scholar, post-doctoral scholar, or pre-doctoral scholar, and range from $17,000 to $34,000 per semester, plus provided housing. The residency includes $1,500 for relocation, and additional research funds upon application. Scholars are provided workspace in the curatorial wing of the Crystal Bridges Library. The workspace is an enclosed area shared with other Tyson Scholars. Scholars are provided with basic office supplies, desk space, an office chair, space on a bookshelf, and a locking cabinet with key for personal belongings and files. Housing is provided in a fully furnished, shared four-bedroom, four-bathroom apartment within walking distance of the museum. Each scholar will have their own bedroom and ensuite bathroom with shared living room and kitchen.

Further information about the Tyson Scholars Program, application instructions, and application portal can be found at https://crystalbridges.org/reports-and-research/tyson-scholars/.

Applications for the 2023-2024 academic year open September 15, 2022 and close December 2, 2022.

Call for Applications: APS Intaglio Printmaking Workshop for Early-Career Curators and Scholars (Minneapolis, July 24–28, 2023)

The Association of Print Scholars (APS) is currently accepting applications for the second of its two-part series of intensive hands-on printmaking workshops for emerging scholars and curators, which is generously funded by The Getty Foundation’s initiative, The Paper Project: Prints and Drawings Curatorship in the 21st Century. This five-day workshop will be dedicated to intaglio techniques (etching, drypoint, engraving) and will be hosted in Minneapolis, MN, in partnership with the Highpoint Center for Printmaking and the Minneapolis Institute of Art.

A thorough comprehension of various printmaking methods is critical to producing scholarship and exhibitions on these media. Yet, many early-career print curators and scholars lack such practical experience as they embark on their careers due to competing professional and academic demands that make it difficult to enroll in a semester-long printmaking course. With the technical intricacies of printmaking difficult to grasp through text alone, an intensive workshop provides an invaluable technical and material knowledge of printmaking that will not only contribute to, but also enhance, a print curator and scholar’s understanding of a work’s content, intention, and aesthetic. The aim of this workshop is to further prepare participants to better communicate these complex techniques in an accessible language to a general museum audience and contribute new personal insight to the field.

Ten early-career curators and scholars will be selected to participate in the workshop, which will be held in Minneapolis, MN, between July 24 and July 28, 2023. The intensive program will include a visit to MIA’s Herschel V. Jones Print Study Room to examine a selection of intaglio prints from the museum’s collection. Participants will also engage in hands-on work in drypoint, engraving, and etching at the Highpoint Center studio as well as explore the Highpoint’s facilities, library, galleries, and print room. A day will be devoted to print identification, including a second visit to MIA’s Study Room to scrutinize variant intaglio techniques (aquatint, mezzotint, etc.). The workshop will conclude with Highpoint staff leading demonstrations of other intaglio techniques as informed by participant projects and a final seminar and reflection led by APS organizers.

Applications to the workshop are open to candidates who have a graduate degree (or equivalent experience), but must be within 10 years of receiving their terminal degree. Preference will be given to early-career curatorial professionals (curators, curatorial or research assistants/associates, postdoctoral fellows), although advanced graduate students and independent scholars with a long-held demonstrated interest in printmaking and curatorial practice will also be considered.

APS is committed to supporting the professional development of a diverse and inclusive community within the field of print scholarship and strongly encourages candidates from underrepresented groups to apply.

Travel, accommodation, and meal expenses will be covered.

To apply, please submit the following documents via an online application form (link), which requires:

  • A brief statement (500 words max.) describing your research and how it would be enriched by a workshop on intaglio techniques
  • A current CV or resume
  • One letter of reference (sent directly to workshops@printscholars.org)

Please note that for full consideration, all materials, including the reference letter, must be received by the workshop organizers no later than November 1, 2022.

Successful applicants will be notified by December 1, 2022.

The workshop will be organized and led by current APS President, Dr. Elisa Germán, and APS Workshop Coordinator, Dr. Sarah Bane.

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About the Association of Print Scholars

The Association of Print Scholars (APS) is a non-profit organization that encourages innovative and interdisciplinary approaches to the history and practice of printmaking. It aims to promote the dissemination of print scholarship and to facilitate dialogue and community among its members. It sponsors collaboration and publication grants, as well as article prizes for emerging scholars, and hosts public programs on printmaking throughout the year. APS hopes to bring together the diverse print community of curators, collectors, academics, artists, conservators, critics, independent scholars, dealers, and graduate students. Membership is open to anyone.

About the Getty Foundation

The Getty Foundation fulfills the philanthropic mission of the Getty Trust by supporting individuals and institutions committed to advancing the greater understanding and preservation of the visual arts in Los Angeles and throughout the world. Through strategic grants initiatives, it strengthens art history as a global discipline, promotes the interdisciplinary practice of conservation, increases access to museum and archival collections, and develops current and future leaders in the visual arts.  The Getty Foundation carries out its work in collaboration with the other Getty Programs to ensure that they individually and collectively achieve maximum effect.

These workshops are made possible with support from the Getty Foundation through its Paper Project initiative.