See https://employment.ric.edu/postings/5992 for more details.
The Grapevine
CFP: African American Art History Symposium at Boston U
Boston University’s Department of the History of Art & Architecture is hosting a symposium featuring five late-stage doctoral candidates and recent postgraduates (within three years of defending) in the field of African American art history on November 11-12, 2022. The symposium will feature presentations on recent research, networking opportunities, and a concluding roundtable. This program is committed to advancing the connection and collaboration between diverse members of the Boston University community and emerging scholars of African American visual art, material culture, and architecture. The Present Coordinates: African American Art History symposium will provide honoraria and travel expenses for the panelists to travel to Boston.
Early-career scholars are invited to submit proposals for 45-minute research presentations on a topic of their choosing. Proposals may engage the current state of the field of African American art history; consider innovative and interdisciplinary methodologies; or investigate alternative frameworks and unstudied artists. Full details about proposals, which are due May 15, can be found here: https://www.bu.edu/haa/2022/03/31/call-for-papers-african-american-art-history-present-coordinates/
JOB: Research Specialist, Race and Daniel Chester French
Opportunity: National Endowment for the Humanities (NEH) Research Specialist
Date: May 2022
Division: Preservation
Department: Historic Sites
Office: Chesterwood
Project Manager: Executive Director
About the Organization
Chesterwood is the former summer home and studio of sculptor Daniel Chester French (1850-1931). Located in Stockbridge, Massachusetts, Chesterwood is a historic site of the National Trust for Historic Preservation, an organization that protects significant places representing our diverse cultural experiences. Today, Chesterwood preserves and interprets the work and legacies of French as a significant creator of monumental art.
The Research Specialist project is funded in full by the National Endowment for the Humanities.
Scope of Work
The Research Specialist will research and examine a selection of sculptures from French’s body of work through the perspectives of African Americans and/or Indigenous Americans. A list of over 40 of his works have been identified as complex, problematic and even racist. These works include depictions of individuals considered important to the dominant culture during French’s lifetime who were also enslavers, or politicians who wrote legislation that removed Native peoples from their homelands, for example. Alternatively with other sculptures it is the artist’s representation of Black or Indigenous persons which is problematic. The scholar will explore these pieces through critical frameworks and the Black and/or Indigenous gaze to provide nuance and fresh context for French’s work in contemporary society. This project will provide broadly applicable humanities-based models for examining historical/political monuments and memorials in the fuller contexts of their time.
The Research Specialist is invited to work remotely, but also encouraged to visit Chesterwood to review curatorial files and plaster studies of French’s public sculpture. In addition, the Research Specialist is encouraged to visit Chapin Library, Williams College, Williamstown, Massachusetts, where Chesterwood’s archival and photographic files are located. The length of the project, from research to deliverables, is one year, anticipating the Research Specialist will be working part-time.
A small, additional budget for a stipend is available if the Research Specialist chooses to conduct interviews, focus groups, workshops or do oral history research to support this project.
Deliverables
The outcome of this scholarly and curatorial endeavor will be an online exhibition and catalogue of French’s more problematic public works through the National Trust’s Collections Portal; the research compiled will serve as an educational resource for Chesterwood’s interpretive staff; and lastly, the material will be shared with Chesterwood visitors, offering a full and honest accounting of these important works of sculptural art. Deliverables include:
o A detailed study on the outlined works of art. To be published online with the exhibit.
o Online exhibit introduction text.
o Appropriate “label copy” text, i.e., short synopsis of each work’s complexity and significance.
Chesterwood staff will be available as a resource to the Research Specialist and handle the creation of the online collection itself.
The Research Specialist is a NEH-grant funded position of $15,000 for the duration of the project, which is expected to be completed within the course of one calendar year. Dispersal of grant funds will be at predetermined installments by the Executive Director, with the final dispersal upon receipt of all deliverables.
Qualifications
• Applicants who identify as African American/Black or Indigenous/Native American/American Indian are strongly encouraged to apply.
• The position is open to independent scholars, tenured and non-tenured professors, and graduate students.
• Experience researching, writing about, curating exhibitions on, or teachingIndigenous/Native American/American Indian and/or African American history or
• Applicants should have a demonstrated area of expertise and interest in the areas of monumental sculpture, 19th century sculpture, or public art, and may include those with backgrounds in history, public history, art history, museum studies and curation.
• A high degree of cultural competency is a necessity, especially when writing or speaking about Black and Indigenous people of color perspectives and when in conversations with members of the Black/African or Indigenous/Native American communities.
• Must be conversant in topics and issues relevant to Indian Country or US based Black communities today.
• Attending or having a professional or alumni affiliation with a Historically Black College and University (HBCU) or Tribal Colleges and Universities is a plus.
Please send proposal with CV and background materials regarding skills and expertise to Donna Hassler, Executive Director, Chesterwood, at dhassler@chesterwood.org, outlining your interest in participating in this project. Deadline to submit this information is May 15, 2022.
CFP: “Behind the Scenes of Object-Based Art Histories” Book
Book chapter proposals are invited for a forthcoming collection entitled “Behind the Scenes of Object-Based Art Histories,” edited by Carl Schmitz and Tracee Ng.
“I guess what I’m asking is this: are these the only kind of questions that art historians should be asking: Whodunnit? Or whatisit? Is there nothing else we can say?” —Michael Ann Holly
From the proposition that the ontological basis of art history remains a fertile ground for discovery, this project seeks perspectives on the relationships between the objects and subjects of study within the discipline. In conceiving of art historiography as an expanse of multifarious genealogies, what are the conditions of possibility for an art history oriented toward the art object? Are other ontologically dichotomous or even non-dichotomous art histories possible? How can the single artist catalogue raisonné—perhaps the ultimate expression of subject and object specificity—be recontextualized as part of a speculative art history? With these questions in mind, we invite our colleagues to explore the possibilities of object-based art historical research through related investigations.
In addition to art historical case studies, art histories that organically reveal their sources of inspiration (anywhere from art historiography to the personal) are also encouraged, as are scholars from outside of the discipline of art history whose work nevertheless revolves around the art object.
Proposals should include a short CV and/or biographical statement along with a 300-word abstract. All proposals should be sent to the editors (btsbook@catalogueraisonne.org) by June 15, 2022.
Once accepted, we will ask you to consider the following publication details:
Deadline for full article: December 31, 2022
Length: 5,000-8,000 words
Submission: btsbook@catalogueraisonne.org
The concept for this forthcoming volume was based upon a session organized by the Catalogue Raisonné Scholars Association, and presented at the College Art Association annual conference in 2021. The four participating panelists will be adapting their conference papers for inclusion in this project. Further information on the panel is available on the CRSA website.
CFP: Nineteenth-Century Art Worldwide (proposals due May 15, 2022)
Nineteenth-Century Art Worldwide (NCAW) is pleased to announce the continuation of our series American Art History Digitally supported by a grant from the Terra Foundation for American Art. The editors of NCAW are now accepting proposals for the final digital art history article in the series to be published in spring 2023. To be considered, projects have to focus on art and visual culture of the Americas in the long nineteenth century, from the United States War of Independence to World War I, and must expand on existing histories of art by addressing understudied topics or historically marginalized constituencies while adopting research methods that are inclusive and equitable.
PROPOSALS ARE DUE MAY 15, 2022.
Proposals also should take full advantage of the potential of digital publishing by using digital technologies in the article’s research or publication phase, or both. Strong proposals will demonstrate how the production of digital tool(s) and/or components will lead to a scholarly argument’s key insights (either the tool/component enhanced the depth of insight or made it possible) and/or will illustrate aspects of that argument in dynamic/interactive ways.
NCAW encourages authors to use open source software when possible. While by no means limited to the following, proposals might explore:
- High resolution imaging or dynamic image presentation (e.g., panoramas, zoom images, visual essays, x-ray or infrared reflectography, moving images, 3D images of art objects, annotated musical scores, annotated digital facsimiles)
- “Big data” mining and analysis (e.g., social network analysis or text mining using analytics programs like Gephi, Network Workbench)
- Mapping and Geographic Information Systems (GIS) (e.g., depictions of sites, locations of objects, paths of travel, using online mapping tools like MapBox, Timemapper, Neatline)
NCAW is a pioneer in publishing digital art history. For examples of already-completed projects, see the Digital Art History and Digital Humanities page. Authors are not expected to have extensive technical expertise themselves but should be able to articulate how digital research methods and NCAW’s digital publication format connect with their research questions. Upon acceptance of a proposal authors will identify, in discussion with NCAW editors, the digital tools/software to be used. NCAW editors will assist with the development of a timeline and with guidelines for workflow, but authors will be responsible for managing their projects.
To propose a digital art history project, please submit:
- Abstract (500 words maximum) as a Microsoft Word document detailing the scholarly content of the article, including how information gleaned from the proposed digital tool will impact the article’s interpretive claims
- Abstract (500 words maximum) as a Microsoft Word document outlining the appearance/format of the digital tool(s) and explaining how the author plans to present the article and tool within the NCAW framework (technologies used, layout, etc.). Also provide link(s) from existing digital project(s) that resemble your proposed project functionally, aesthetically, or in the technologies used, followed by several sentences describing which elements of that project will differ from/emulate your proposed digital tool
- Budget (1 page maximum)
- CV
If interested contributors have an idea for a digital art history project but would like to discuss it with the editors first, we would be happy to talk with you about your ideas in advance of the deadline. Please contact Carey Gibbons, Digital Art History Editor, at dah_editor@19thc- artworldwide.org.
JOB: Intern for Romare Bearden Digital Catalogue Raisonné
The Wildenstein Plattner Institute (WPI) is seeking a research intern to support the Romare Bearden Digital Catalogue Raisonné project. The intern will assist primarily with the compilation of images related to the art and career of the artist Romare Bearden (1911-1988). This is a twelve-week paid summer internship with a time commitment of twenty-eight hours per week, starting June 6th, 2022.
Responsibilities
The primary assignment will be the task of locating and obtaining high-resolution reproductions of works of art for internal use and future publication. The intern will be responsible for identifying and corresponding with relevant parties to secure permissions. The internship will be conducted as a hybrid of in-person meetings at the WPI office and remote work via Google Meet. Visits to NYC-area research libraries will also be required as necessary.
Qualifications
Graduate-level work in art history, museum studies, or a related field.
Knowledge about African American art, with emphasis on provenance research and the art market.
Familiarity with Artstor and other primary-source image repositories.
Proficiency with Google Workspace.
Proficiency with relational computer databases. Intern will be trained on a proprietary database.
Excellent written and verbal communication skills.
Exceptionally detail oriented.
Ability to work independently.
For consideration, applicants should submit a resume with a cover letter and references by Friday, May 20, 2022 to camara.holloway@wpi-art.org.
CFP: Caribbean Festival of Arts (Carifesta) at 50
The Inaugural Caribbean Festival of Arts as Prism: 20th Century Festivals in the Multilingual Caribbean
August 5-7, 2022 | Virtual
Call for Papers and Participation
Fifty years ago, the first Caribbean Festival of Arts (Carifesta), held in Guyana from August to September 1972, marked a significant and deliberate postcolonial moment that embodied the aspirations of a unified Caribbean. A brochure for the inaugural multidisciplinary and transnational festival stated that Carifesta would “depict the life of the people of the region—their heroes, morale, myth, traditions, beliefs, creativeness, ways of expression” and “stimulate and unite the cultural movement throughout the region.”
Carifesta ‘72 aspired to promote the cultural expressions of the multilingual region. The conceptualizers, who included celebrated poet and historian Kamau Brathwaite, poet and activist Martin Carter, and artist Aubrey Williams, expected that the organizing body would craft a festival that embraced and celebrated the multiracial and multicultural heritage of the region despite the polarized national politics of the day. This meant, in theory, celebrating traditions rooted in the indigenous nations, West Africa, India, Indonesia, China, and Western Europe.
What transpired when the artists, dancers, musicians, writers, directors, filmmakers, and revelers from across the circum-Caribbean and beyond gathered to exchange ideas and idioms, ancestral stories, and contemporary engagements with tradition? What were the ripple effects of the Carifesta ‘72 event on the region’s (festival) culture, politics, and people? What legacies did it build upon or interrupt?
As we approach the 50th anniversary of the first Carifesta (as well as Carifesta XV in Antigua & Barbuda in 2022), we invite scholars (including graduate students), artists, Carifesta ‘72 participants, and the Guyanese and Caribbean diaspora to participate in a three-day virtual symposium organized in association with the Guyana Cultural Association of New York, Inc. (GCA) as part of the 2022 Guyana Folk Festival.
We will examine the inaugural Carifesta, its significance, and its legacies. We will collectively explore its possibilities, achievements, and missteps. We will also use this seminal moment as a prism through which Caribbean culture, nationalism, transnationalism, and postcolonialism can be analyzed. We aim to harness the spirit of Carifesta ‘72 as a transnational and inclusive space to facilitate dialogue about Guyanese and Caribbean culture.
This symposium is a collaboration among GCA, the Asian American Studies Program of Binghamton University, Rice University, and Ohio University in the US; the University of Guyana, the Festival City Youth and Parents Organization, and the Moray House Trust in Guyana; and Guyana Speaks in the UK.
Festivals, by design, are ephemeral entities that take place at specific moments in time. The documents (e.g., pamphlets, brochures, performance guides, personal photographs) that are produced are often taken home by participants. The festivals remain in their memories. Thus, a goal of this symposium is to bring scholars and Carifesta ‘72 participants together to exchange knowledge and to document this festival, which remains in personal and collective memories. We aim to collect physical materials and oral histories to facilitate the creation of a digital archive that could expand to embrace other regional festivals.
**
We invite proposals for four categories of presentations: (1) Contextualizing/Historicizing Carifesta ‘72, (2) Experiencing Carifesta ‘72, (3) The Legacies of Carifesta ‘72, and (4) Festival Methodologies. We welcome presentations from Guyanese, Caribbean, and transnational perspectives. We will accept proposals and presentations in all languages spoken in the Caribbean.
Possible topic areas for papers or presentations include but are not limited to:
• Contested visions, interpretations, experiences, and memories of Carifesta ‘72.
• Personal accounts and recollections from multimedia storytellers (e.g., singers, writers, filmmakers, dancers, oral historians, and visual artists).
• Case studies related to Carifesta ‘72 (e.g., African American participation or specific presentations or concerts).
• Similarities or differences between Carifesta ‘72 and earlier or contemporaneous festivals, including, but not limited to, national festivals (within the region), the Caribbean Festival (Puerto Rico 1952), the Commonwealth Arts Festival (Britain 1965), the First World Festival of Negro Arts (Senegal 1966), and the Second World Black and African Festival of Arts and Culture (Nigeria 1977).
• The role or place of Carifesta in the ecosystem of regional festivals.
• Intersectional identities and experiences of Carifesta. These include the intersections of race, gender, sexuality, class, and religion.
• The aspects of culture that were highlighted, identified, or invented as part of nationalist movements and identities in the decolonization era. What aspects of these cultures were chosen to represent a “nation” (from Guyana and Jamaica to Venezuela and Brazil) at Carifesta ‘72? Why did nations such as Peru and Mexico choose to participate?
• Approaches to understanding, contextualizing, historicizing, and/or theorizing the importance or centrality of festival culture in the Caribbean.
• The intertwining of (festival) culture and politics or the political. This can be a discussion of the use of (festival) culture in political organizing, especially regarding politics or the political in Carifesta.
• The role of (festival) culture in political, economic, cultural, and/or mental decolonization.
• Approaches for analyzing the performance of religious rites, rituals, and celebrations within the secular form of festivals such as Carifesta.
• The effects of festivals (and research about festivals) on methodology and disciplinary specificity.
• Theorizations about what can be gleaned from the history of pan-Caribbean exchanges such as Carifesta and/or about what has been silenced through their understudied nature.
**
Please send submissions to CarifestaAt50@gmail.com by May 16, 2022.
For paper presentations, please send a 250-word abstract or description and a short biography.
For artist submissions, please send JPEG and/or MP3 or MP4 files and a short biography. Include the title, work date, process, dimensions, and medium. Dropbox and other FTP links will not be reviewed.
**
Adrienne Rooney, Ph.D. Candidate, Department of Art History, Rice University
Ramaesh Bhagirat-Rivera, Assistant Professor, Asian American Studies Program, Dept. of Asian & Asian American Studies
Vibert Cambridge, Professor Emeritus, School of Media Arts & Studies, Ohio University
CFP: Society of Contemporary Art Historians, CAA2023
Open Call for SCAH-Sponsored Panel at CAA; due April 22 by 11:59pm
The Society of Contemporary Art Historians invites proposals for either a panel accepting calls for papers or a fully-formed panel for the 2023 College Art Association conference, which will be held in New York February 15–18, 2023. As an affiliated society, we are guaranteed a panel at the annual conference. Please submit a 250-word panel proposal (or a 250-word proposal accompanied by three, 250-word paper proposals) by April 22.
Proposals can address any topic in contemporary art (understood as broadly as the convener would like). See past SCAH panels here: https://scahweb.org/Annual-Panel. We encourage diverse topics that span various geographical areas or distinct decades. Moreover, possible appeal to art workers of various stripes—not solely academic art historians—will be viewed favorably. Proposers of panels should plan to be chairs and could additionally be presenters.
The CAA conference is slated to be held in-person (but seems willing to entertain the possibility of online content). We will consider proposals related to either format (and recognize that the costs of spending a weekend in New York City could be prohibitive); please specify which format you plan for your panel. Per the CAA, this preference will be “non-binding” (or, based on SCAH’s precedents, this might be a reason to run a panel outside of the official constrains once again)
The executive board of SCAH will vote on proposals received by the April 22 deadline.
JOB: Lecturer, Writing About Art @ City College of New York
https://cuny.jobs/new-york-ny/lecturer-writing-about-art/2CD3C7A6C4534FE4AA92293CDD6CAD1C/job/
The Art Department invites applications for the position of Lecturer to teach general education courses in the fields of writing and art history/visual culture. The candidate should be prepared to teach non-majors and BA/BFA students in Art in a variety of writing composition courses, specifically Writing about Art, which is a second-level writing course designed primarily for art majors. Other courses may include freshman-level writing courses covering various topics in the arts and an occasional survey course covering the history of art from a global perspective. Candidates should be savvy with grammar, writing composition, editing, current methodologies, and the field of art history/visual culture. This position is designed to provide full-time faculty leadership in lower division courses.
The Lecturer will be appointed to the Art Department, which is part of the larger division of the Humanities and the Arts within The City College of New York (CCNY). The faculty member is, therefore, expected to participate in departmental and college-wide committees, service, assessment, and leadership. The contractual teaching load is 4-4 with opportunities for administrative course releases. The Art Department serves more than 600 undergraduate art majors and minors, who are concentrating in Studio Art, Art History, Art Education, Photography, or Digital Design. The current Art Department faculty is a dynamic team of professional creative thinkers with a longstanding commitment to teaching and supporting a diverse group of students, many of whom are first-generation immigrants, underserved, and culturally and ethnically diverse populations. CCNY is located in Harlem, and t he current student population hails from 153 countries, and 99 languages, besides English, are spoken on campus. Approximately 32 percent are Hispanic, 22 percent African American, 22 percent Asian, and 24 percent White. Candidates can learn more about the history, mission, and vision of the college by exploring the school’s website: https://www.ccny.cuny.edu/about/mission
QUALIFICATIONS
A Bachelor’s degree.
Preferred Qualifications:
Preference will be given to candidates with a MA or PhD in Art History, Art Criticism, Visual Culture, or a related field. The candidate must also have a genuine interest in teaching undergraduate students and a minimum of two years of experience teaching college-level courses in arts-based writing and/or art history at the freshman and sophomore levels. Familiarity with the basic research methods of art history and available resources in the field is required. The successful candidate will be an outstanding educator with a teaching record that demonstrates a familiarity with inclusive pedagogy, the use of interactive and participatory teaching methods, and a sensitivity to and understanding of the socio-economic, cultural, and ethnic diversity within the classroom. Experience working with multilingual students for whom English is not their primary language, first-generation college students, and students with physical and/or learning disabilities is a plus, as these factors relate to differences in learning styles. Experience working as a tutor or an editor would also be helpful. The candidate should have a strong knowledge of grammar and composition, art history, and be interested in developing creative teaching strategies for students in the first two years of college. In addition, candidates should be able to use teaching resources, such as Blackboard, Zoom, and other types of programs, as well as have knowledge of contemporary practices in art and design.
COMPENSATION
CUNY offers faculty a competitive compensation and benefits package covering health insurance, pension and retirement benefits, paid parental leave, and savings programs. We also provide mentoring and support for research, scholarship, and publication as part of our commitment to ongoing faculty professional development.
HOW TO APPLY
Only applications submitted through CUNYfirst will be considered for this position.
If you are viewing this job posting in CUNYfirst, please click on “Apply Now” on the bottom of this page and follow the instructions.
If you are viewing this job posting externally, please apply as follows:
- Go to http://www.cuny.edu and click on “Employment”
- Click “Search job listings”
- Click on “More options to search for CUNY jobs”
- Search for Job Opening ID number 24123
- Click on the “Apply Now” button and follow the instructions.
Applications, including the following must be uploaded to the CUNYfirst job application website as a single PDF document:
(1) Cover Letter
(2) Curriculum Vitae
(3) Statement of teaching Philosophy that speaks to the candidates approach to inclusive teaching strategies for diverse student populations
(4) Names and contact information for three professional references
(5) Two sample syllabi
(6) An academic art-historical writing sample (4-6 pages including notes and bibliography)
CLOSING DATE
Open until filled, with review of applications to begin April 20, 2022.
JOB SEARCH CATEGORY
CUNY Job Posting: Faculty
EQUAL EMPLOYMENT OPPORTUNITY
CUNY encourages people with disabilities, minorities, veterans and women to apply. At CUNY, Italian Americans are also included among our protected groups. Applicants and employees will not be discriminated against on the basis of any legally protected category, including sexual orientation or gender identity. EEO/AA/Vet/Disability Employer.
Call for Papers: 2022 Photography Network Symposium — apply by June 15
Intersecting Photographies
Photography Network’s 2022 Symposium, October 13-15
The second symposium of the Photography Network will be hosted jointly by Photography Network and Howard University in Washington, DC. Depending on circumstances, the event will either be hybrid (in-person and virtual) or fully virtual. We will update speakers and attendees by August 15.
The 2022 symposium theme is “Intersecting Photographies.” Scholarship in the history of photography has until recently focused predominantly on its technical capabilities, patronage, and modes of representation. This focus elides the longer histories of colonialism and imperialism that the medium fosters—and in which it can potentially intervene. Recent scholarship—including Ariella Azoulay’s “Unlearning the Origins of Photography” (2018), Mark Sealy’s Decolonising the Camera: Photography in Racial Time (2019), and Hulleah J. Tsinhnahjinnie’s (Seminole, Muscogee, Diné) “When is a Photograph Worth a Thousand Words?” (1998)—are among many projects reconceptualizing photography as a site of encounter and exchange, fraught with historical inequities brought by colonizing desires.
The symposium contributes to art history’s ongoing interrogation of photography as a colonizing technology, as well as the exploration of the medium’s ability to promote social justice. “Intersecting Photographies” supports thinkers active in disentangling these histories by foregrounding three kinds of intersections: 1) those between peoples (intersubjective or intercultural); 2) those between photography and other media (intermedial); and 3) photographs, photographers, or photographic subjects that foreground multi-layered representations of social groups and self-fashioning, following Kimberlé Crenshaw’s conceptualization of identity’s “intersectionality.”
Proposals drawing on these interwoven spheres of concern could consider subjects such as:
· Methodological questions regarding authority to speak on challenging photographs and themes
· Social formations and power relationships in the “photographic encounter” and contexts of display
· Displaying history, colonization, and legacies of imperialism in museums and other institutions
· The application of decolonization studies and/or digital humanities to archival holdings
· The archive as a critical site of intersectionality
· Intercultural albums as documents and objects of self-fashioning
Photography Network invites proposals for presentations that broach these and other subjects pertinent to “Intersecting Photographies.” We welcome proposals across disciplines and encourage a broad range of subjects that reflect the geographical diversity of the field. Practitioners and scholars at any stage of their career are welcome to submit their research. We also welcome international scholars but note that the conference will be in English. The symposium organizers are also interested in attracting a range of presentational styles. In addition to proposals for individual, 20-minute papers, we also seek alternative-format presentations (e.g., workshops and roundtables). To encourage variety, applicants may submit up to 2 proposals, provided that one is in an alternative format. We will also host a Pecha Kucha for new research on any topic from students, curators, academics, and practitioners. If you would like to be considered for the Pecha Kucha, please note so in your email submission. You are welcome to apply only to the Pecha Kucha. Conference sessions will be organized around accepted submissions, rather than prescribed themes.
Please send: (1) a 250-word abstract, (2) a clear indication of preferred format, and (3) a three-page resume or CV by June 15 to the Photography Network Symposium organizing committee: Monica Bravo (University of Southern California), Melanee Harvey (Howard University),Caroline Riley (University of California, Davis), Leslie Ureña (National Portrait Gallery), and Andrés Zervigón (Rutgers University), at photographynetworksymposium@gmail.com. To be considered only for the Pecha Kucha, please email us a 100-word abstract and a short, three-page resume or CV. Notifications of accepted proposals will be sent by email by July 19. The symposium will be held October 13, 14, and 15, 2022. The schedule will be announced by August 1 and will be determined after reviewing the abstracts and finalizing the conference format. Final papers from speakers are required by September 15.
It is our hope that “Intersecting Photographies” will be live-streamed for those unable to attend because of geographic, financial, or other logistical barriers. ASL interpretation and enabling closed captioning for the live stream will make the symposium further available for those with language barriers.
Note: All are welcome to apply. Accepted presenters must be Photography Network members in good standing at the time of the symposium. Annual membership is $20 (student/unaffiliated), $40 (Affiliated), or $100 (Sustaining Member). Please visit Photography Network’s website (https://www.photographynetwork.net/memberregistration) for more information on how to join.
ACRAH 