The ACRAH/CAA2023 session will be “Harlem-on-Thames: NY/LON, 1919-1939.” The panel will be held on Zoom, February 16, 2023 at 9:00am EST.
Harlem, in the interwar era, was a space of avant-gardism. Groundbreaking forms of visual art, music, fashion, and popular dance, produced by Black artists, were received as racialized forms of modernism. Among those who recognized Harlem’s novelty and power and traveled there to experience it were white British artists who positioned themselves as iconoclasts: for them, Harlem was a realized site of modernity, where there were few social restraints upon expression. Simultaneously, enterprising Blacks from the United States and colonized countries in the Caribbean and Africa traveled to London, pursuing greater freedoms and career opportunities. There, they were part of interracial collaborations in concert dance, film, and musical productions; they mingled in liberal, social circles and pursued relationships across class, sexual, and racial lines. The Black presence in London was visible and remarked upon, welcomed by some and rejected by others. Both progressive ideas and fetishistic notions shaped the early twentieth-century trope of Blackness. What David Levering Lewis rightly termed the vogue for Harlem neither dispelled nor disrupted longstanding patterns of white privilege and racism within these interlocking, interwar trans-Atlantic modernisms. In the years leading up to the impending World War, many of these romantic liaisons and professional partnerships dissolved. In this session, we consider the understudied impact of the Harlem-London axis and raise questions about its legacy upon American and British cultural landscapes, undeniably shaped by Black modernisms.
Check out the papers descriptions here: CAA2023
Register for CAA: https://www.collegeart.org/programs/conference/conference2023/registration
The session will be recorded and available to conference registrants until April 17, 2023.
U.S. Art and Critical Whiteness Studies: Looking Back, Looking Forward
Session will present: In-Person
James W. Denison
Email Address(s): firstname.lastname@example.org
More than fifteen years have passed since the publication of Martin Berger’s Sight Unseen: Whiteness and American Visual Culture, which was widely celebrated for bringing a promising new category of analysis, critical whiteness studies, into the discipline of U.S. art history. However, despite its potential to speak to issues of social stratification and power at the core of the history and historiography of U.S. art, critical whiteness studies has yet to become a regular component of the analytical toolbox employed by scholars of American art. Recent years have seen a spate of scholarship focused on white supremacism and eugenics in U.S. art, but incorporation of the insights of the broader field of whiteness studies, especially regarding more everyday forms of racial bias and self-understanding, remains infrequent and haphazard. How have American artists of various backgrounds visually articulated “whiteness”, and how can we historicize such articulations? How have artists propelled or stymied prejudice through their representations of “white” people? How has whiteness affected how artists represent racialized people, places, and objects? How has it intersected with other forms of identity, including ethnic, gender, and class identities? Finally, what has kept critical whiteness studies from entering the mainstream in art history, a field so long dominated by white artists and scholars? This session seeks to analyze and address these and related questions, inviting papers that examine the past and future of whiteness as a subject of analysis in American art studies and/or offer new directions for such investigation.
Potential topics for papers might include:
· The history and future of critical race art history
· Whiteness and nationalism in the history of American art history
· Whiteness, the art world, and elitism/class concerns
· Relationships between critical whiteness studies and other forms of critical race studies within art history
· The invisibility of whiteness/the visualization of whiteness
· Whiteness and ethnicity/historicizing whiteness
· Whiteness and gender, including masculinity, femininity, and feminism
· Whiteness and modernist primitivism
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.
The Association of Print Scholars (APS) invites thematic proposals for its sponsored panel at the 2023 College Art Association (CAA) Annual Conference to be held in New York, NY, February 15–18, 2023.
The APS-sponsored panel may be related to any period, theme, or aspect of print scholarship. We encourage proposals that transcend chronological or geographic boundaries, as well as those that engage current theoretical interests in materialism, archival theory, bibliographic studies, history of ideas, or social history, including feminisms and critical race studies.
If you are interested in chairing a panel, please submit a title and 250-word abstract by April 15, 2022. Co-chaired proposals are welcome. Once the theme and chair of the panel are selected, the panel will solicit contributors through CAA’s open call. Chair or co-chairs must be members in good standing of APS and CAA.
Please send your proposed panel’s title and abstract, along with a 2-page CV to email@example.com. The deadline for consideration is April 15, 2022.
Note:The College Art Association’s Annual Conference is scheduled to take place in New York, NY, February 15–18, 2023. There is a possibility of an additional virtual component.
You may view this announcement online.