CFP: “The ‘Long’ 18th Century” at Journal18/CAA2021

The “Long” 18th Century?

This issue of Journal18 takes off from the ubiquity of the phrase “the long nineteenth century.” Proliferating in calls for participation and panel descriptions–not to mention its prominent position in the description of this journal–if the mark of an elongated eighteenth century is inescapable, we propose that this terminology merits further scrutiny. What is meant by the “long” eighteenth century? From which vantage points, and for whom, is it long? And to what ends has this elongation been directed?

It is our contention that we must understand the rise of a “long” eighteenth century alongside the significant transformation of art historical inquiry into expanded geographical and cultural terrains. Since 2003, the study of eighteenth-century art has been enriched by a new commitment to “worlding,” even if decolonizing art histories remains an ongoing and incomplete project. As a result, habitual chronological slices, whether defined by European political history or by European stylistic shifts (e.g., Baroque, Rococo, Neoclassical), have been ripe for reconsideration as scholars have asked new questions about the transmission and sedimentation of practices, experiences, and art objects around the world. When the focus on histories of colonialism and slavery forces us to look anew at the bodies, lands, and knowledge presented in art, how do our narratives change and how do the sites and objects of our inquiry shift? What are the implications of this broadened scope of inquiry for habits of locution and the habits of mind that underwrite them? While the habitual slicing up of Britain’s eighteenth century to 1688–1815 is not that far out of alignment with France’s 1643–1815, it looks very different from the perspective of, for instance, South Asia, where an end point has tended rather to be located in the 1830s. What impact, if any, has a “worlding” of art history had upon our thinking about the relative length or shortness, narrowness or breadth, of the eighteenth century? What conceptually binds an eighteenth century once we have taken up the project of tracking the entanglements of art, commerce, and empire across worlds? For whom is the eighteenth century long, from what vantage points, whether local, regional, or transregional, and to what ends? And what relationship does this designation have to the equally omnipresent “long” nineteenth century, as well as to accounts of the Enlightenment, its seductions, and its repercussions?

We invite contributions that reflect upon a “long” and “broad” eighteenth century–its contours, analytic possibilities, and limits. We particularly welcome submissions that explore new models for tracking intellectual and artistic through-lines and inheritances, and that spur us to rethink periodization, or stylistic terminology that has been too often limited in its utility by being yoked to the goal of a successional narrative telos. Authors are encouraged to explore this wide-angle view by way of one term, one object, one phenomenon, or one margin. We welcome interventions that originate in art history or in other allied humanistic disciplines.

Issue Editors: Sarah Betzer, University of Virginia & Dipti Khera, New York University

Proposals for Journal18 issue #12 THE “LONG” 18TH CENTURY? are now being accepted.

To submit a proposal, send an abstract of 250 words (or 500 words for multi-authored proposals) and a brief biography to editor@journal18.org and sbetzer@virginia.edu.

Accepted participants will be invited to virtually convene for a panel in February 2021 under the auspices of the College Art Association annual conference for presentation and collaborative workshopping of their contributions.

Information on how to apply for CAA panel, sponsored by the American Society for 18th Century Studies, THE “LONG” 18TH CENTURY?:  https://caa.confex.com/caa/2021/webprogrampreliminary/meeting.html
Co-chairs: Sarah Betzer, University of Virginia and Dipti Khera, New York University
Email: sb4fg@virginia.edudipti.khera@nyu.edu

 

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.

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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

CFP: “Forum: Blind Spots” at Panorama

“Forum: Blind Spots” at Panorama: Journal of the Association of Historians of American Art

Inspired by current efforts to reckon with ongoing, systemic racism, we invite proposals for a forum in Panorama: Journal of the Association of Historians of American Art (Fall 2020) focused on blind spots, especially but not only related to race, that condition and constrain our research and writing. How might unexamined assumptions at the heart of our work in the academy and museum inadvertently perpetuate biases, stereotypes, and generalizations we mean to dismantle in and well beyond art history?

We welcome responses to that question, however uncomfortable, informed by critical race, postcolonial, feminist, queer, and Marxist perspectives, among others, and attentive to the social implications of our practice. To highlight how even revisionist projects can consolidate a monolithic model of subjectivity they aim to deconstruct, we encourage potential contributors to examine blind spots and their consequences in influential art historical projects and/or their own research. We envision a forum that represents a range of viable models for the kind of productive self-criticality for which the moment calls.

Panorama’s forums of this sort comprise “short polemical statements of about 500 to 1,500 words,” often in a personal voice, and related, whole or in part, to visual and material culture of the Americas (see journalpanorama.org). Please send your essay and curriculum vitae as a single pdf document to Anne Monahan and Isabel Taube (blindspot.panorama@gmail.com) by 15 August 2020; we will respond by 1 September 2020.

Questions?
Please contact us at blindspot.panorama@gmail.com.

CFP: Geoffrey Holder Anthology Project

In 1952 Geoffrey Holder took fifteen dancers from his Holder Brothers dance company to the first Caribbean Festival of the Arts in Puerto Rico. It was the first time he was not in an English-speaking Caribbean island and therefore able to see his native Trinidad in relief. There he met and saw artists and dancers perform from other parts of the region such as the great Haitian dancers Celestin and Jean-Léon Destiné. This festival served as Holder’s full artistic awakening as a Caribbean creative. From here on in, he would express an abiding faith in a creative process defined by crossing intellectual, artistic, geographic and conceptual boundaries in ways Caribbean people lived but perhaps took for granted. For Holder, learning to create in the fire of creolizing Vodoun beliefs and practices, Christianity, Buddhist theosophy, fine art histories and practices,, specifically painting, and notions of the folk in service to a sublime aesthetic opened his thinking in transformative ways. He was never the same.

While in Puerto Rico, Holder and his troupe auditioned for the American dancer and choreographer Agnes de Mille and as result of this encounter, they were invited to New York to audition for Sol Hurok. The group arrived in NYC in the spring of 1953. Holder and his brother, the painter Boscoe Holder, who had arrived in NY a few years earlier before leaving for London. The Holder brothers were part of a new wave of Post WWII migrants from the Caribbean that made their way to global cities in the 1950s and 60s for greater opportunities. Taken by the energy of the city, Holder reflected on that time of arrival; “…I knew I could make it here. I just backed myself up against the wall and saw the whole thing and I knew that this was my place. I belonged here.”

Geoffrey Holder does not fit into a single disciplinary home, and as such, presents a problem of methodology. Though he viewed painting as the anchor for everything he accomplished, in the public eye he has historically been treated as a dilettante. This edited publication focuses on the life and work of Holder from his early years in Trinidad to his death in the city to which he belonged some sixty years after he first arrived. It seeks to engage the complexity of this figure and address what we see as an error of interpretation. Our aim is to generate new critical work and new methods to engage the full range of his practice as a painter, dancer, actor, choreographer, director, costume designer, photographer, collector and artist. The print publication and its accompanying digital platform will be focused on cultivating scholarship and a critical archive on the work of an interdisciplinary, African diasporic creative whose multidimensional practice constituted parts of a highly conscious vision.

We invite poets, writers, performers and scholars to engage and rethink the broad expanse of Geoffrey Holder’s life’s work and submit a current CV and chapter abstracts of no more than 500 words that address one of the themes listed below, or a topic of one’s own choosing. Draft chapters are not to exceed 7500 words.

Access to the Holder archives at Emory University, the Smithsonian Museum of African American History and Culture and his estate in New York City will be facilitated for all selected writers during project development.

PROJECT TIMELINE
Deadline for Abstract submission: July 31, 2020
Notification of acceptance: September 18, 2020
First Drafts Due: July 16, 2021

ABSTRACT TOPICS INCLUDE BUT ARE NOT LIMITED TO THE FOLLOWING • The concept of Caribbean and diasporic aesthetics in Holder’s work • Holder and 1952 Caribana in Puerto Rico • Trinidad arts in the 1930s and 40s – Geoffrey Holder; Beacon Group; Trinidad Arts Society • Artistic and life partnership with Carmen de Lavallade • Holder and de Lavallade’s work with Josephine Baker in the 1960s • Carl Van Vechten’s photographs of Holder and his family at the Beinecke Library at Yale • Various bodies of Holder’s artwork – Portraiture, Trinidad Murals, Paintings of women, Paintings of men – Photography projects Adam (published) and Eve (unpublished) – Collage work from his final years etc. • France as a creative space for Holder and other Black creatives (1950-1970) • Dance and choreography; ie. “Dougla” for the Dance Theatre of Harlem (Footage available) and relationship to Jean-Léon Destiné’s Slave (1949), Alvin Ailey, Katherine Dunham and Caribbean dance from the period • Historicizing Holder’s generation of global Caribbean creatives • Holder as a fashion designer and de Lavallade as muse (All dresses and photographs of Ms. de Lavallade in them are available for close examination) • Black male modelling in 1950s through Holder’s work for Vogue and GQ in the 50s • Work on the Broadway production of The Wiz – Place in the history and politics of black Broadway; Music; Choreography; Costume design; impact of AIDS on the black creative community of the period. • Broadway production of Timbuktu – Music; Dance; Costume; Eartha Kitt • Holder’s deep and abiding interest in Haitian culture. His friendship with Maya Deren • Selling the exotic: – Film work (Live and Let Die, Annie, Boomerang etc.) – Commercial and print ads • Holder as Art Collector: Haitian, African, Modern and Intuitive Art • Differencing the canon – Teaching Holder; Collecting Holder; Curating Holder

Email questions & submissions to ghbp2021@gmail.com with “Geoffrey Holder Project” in the subject line.

 

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

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

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

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

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

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

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

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

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

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

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

Specific responsibilities include:

·      reviewing proposals

·      creating production schedules and guiding articles from proposal to publication

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

·      liaising with the journal’s web developer

·      managing peer reviews

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

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

All positions on NCAW’s editorial board are voluntary.

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

Deadline: June 24, 2019.

Lecture on the Making of the American “Oriental” — SF Public Library, Sat., May 11, 2019, 2 PM

 

978-0-252-08325-9-frontcover

New resource about artist Maud Sulter (1960-2008)

7315
Maud Sulter. Les Bijoux (The Jewels), 2002. Large-format, colour Polaroid photograph. Source here and discussed here.
There is a newly published website about the late, Scottish-Ghanaian artist and writer Maud Sulter:
The publishers of the site make this request:
“Please have a look round the site, there are lots of embedded links leading to more information on Maud’s exhibitions, publications and what’s happened in the past few years.
We need your help in circulating the website.  Please click, like and share the link with everyone who would be interested.”