Tag: call for papers

CFP: 2024 Photography Network Symposium “In Relation: Photography’s Communities”

October 25–27, 2024
Tucson, Arizona + virtual (hybrid)
Proposal due date: May 15, 2024

Photography Network will convene its fourth annual symposium in the Sonoran Desert Borderlands city of Tucson, Arizona in partnership with the Center for Creative Photography at the University of Arizona. Grounded in the themes that arise in three CCP-organized exhibitions of Latinx photography that will be on view this fall (Louis Carlos Bernal: Retrospectiva, curated by Elizabeth Ferrer; Chicana Photographers LA, curated by Sybil Venegas; and Laura Aguilar: Nudes in Nature, curated by Sybil Venegas and Christopher Velasco), “In Relation” will consider how communities are made visible, defined, and constituted through photography. In her book Latinx Photography in the United States: A Visual History (2021), Elizabeth Ferrer writes: “As the photographer/subject relationship shifted from outsider/insider to insider/insider [in the late twentieth century], the photograph became less an ethnographic document than an autonomous and self-validating form of individual and community expression.” This shift highlights questions of agency, circulation, diaspora, and storytelling that are relevant to the practice and institutional interpretation of photography. Taking this idea as a point of departure, we invite proposals that broadly respond to the following questions and themes:

● How have artists, especially those from Latinx communities, used photography to probe issues of visibility, belonging, and representation? How do their artistic practices constitute forms of activism?
● Who has the right to tell stories for whom?
● How does the circulation of photographs create—or restrict—communities of subjects and viewers?
● How have borders—in the US and beyond—shaped histories of photography, and how has photography from borderlands challenged state-imposed divisions?
● What alternate models might exist for interpreting photographs and photographic practices that transcend simplistic binaries such as “insider” versus “outsider”?
● What do authentically relational, community-centered curatorial practices look like? How are methodologies such as community advisory councils rethinking the notion of curatorial voice and storytelling?

Submission Information

Photography Network invites proposals across disciplines and a broad range of subjects that reflect the geographic and thematic diversity of the field. Practitioners and scholars at any stage of their careers are welcome to submit their research. We also welcome international scholars but note that the conference will be in English.

The symposium organizers encourage a variety of presentational styles. In addition to proposals for individual, 20-minute papers relating to the themes outlined above, we also seek submissions for a workshop on the topic of community-centered exhibition development and for a roundtable featuring presentations from artist activists .
Please prepare for submission:
(1) a 250-word abstract with a clear indication of format, and
(2) a two-page resume or CV.

All files should be named “[LAST NAME]–CV” or “[LAST NAME]–ABSTRACT.”

Email completed materials by May 15 to the Photography Network Symposium organizing committee: Josie Johnson, Emilia Mickevicius, and Anne Cross at photographynetworksymposium@gmail.com. Notifications of accepted proposals will be emailed by mid-June. The schedule and registration information will be available by July 1 and the symposium will be held October 25–27, 2024.

Note: All are welcome to apply. Accepted presenters must be Photography Network members in good standing at the time of the symposium. We have a sliding scale membership: $20 (student/unaffiliated), $40 (affiliated), or $100 (sustaining). We also have free need-based memberships. Please visit the Photography Network’s membership page (www.photographynetwork.net/memberregistration) for more information on how to join.

CFP: The Archaeology of Identity in “Peripheries” of the Roman World, Boston University Emerging Scholars Symposium, Spring 2024

The Program in Archaeology and Department of Classical Studies at Boston University invite proposals for research presentations and a panel discussion on the topic of the archaeology of identity in “peripheries” of the Roman world. Presentations will be part of a three-hour symposium showcasing the work of emerging scholars, i.e., doctoral candidates, postdoctoral fellows, and nontenure-track assistant professors. All applicants should come from racial and ethnic groups historically underrepresented in the academy, which include people who are of Black/African American, Native American/Alaska Native, Latinx, Southeast Asian, and/or Native Hawaiian/Pacific Islander descent.

This panel will bring together emerging scholars and senior scholar discussants to discuss how archaeological methods can illuminate personal identity among “peripheral” communities of the Roman world. We position the concept of “periphery” in both the geographic sense (e.g., Roman Britain, Africa, and the Roman east) and the cultural sense, including communities systematically disadvantaged by Roman society (e.g., women, slaves, racialized populations). Emerging scholars will present their research as a conference-style talk of 15-20 minutes, followed by a keynote presentation from a senior scholar and a panel discussion led by that scholar and members of Boston University’s Archaeology Program and Department of Classical Studies.

The panel will be scheduled according to the availability of participants in late March or early April 2024. This will be an in-person event, though with permission of participants the session will also be simulcast for a hybrid audience. Travel costs, hotel and meals in Boston, and a modest honorarium for all emerging scholars is offered by Boston University.
What to Submit:

  • An abstract of 200-300 words describing your proposed research presentation.
  • A cover letter that summarizes your professional interests and goals; indicates progress toward completion of the dissertation (for doctoral students); and discusses one’s contribution to making the academy a more inclusive environment.
  • Current CV

Materials should be sent as a PDF to Maria Sousa, Archaeology Program Administrator (mhsousa@bu.edu) by December 11, 2023. Participants will be notified of acceptance by December 22, 2023.

Questions may be addressed to John Marston, Professor of Anthropology and Director of the Archaeology Program (marston@bu.edu) or James Uden, Professor and Chair of Classical Studies (uden@bu.edu).

CFP: Blackness, Race, and Racism in Nineteenth-Century Studies

Special Issue of Nineteenth Century Studies: 

Blackness, Race, and Racism in Nineteenth-Century Studies

deadline for submission: August 15, 2024

full name(s)/name of organization:

Wendy Castenell and A. Maggie Hazard co-editors/Nineteenth-Century Studies

contact email(s): wcastenell@wlu.edu; ahazar1@saic.edu

This special issue will explore how Blackness was constructed and problematized by a hegemonic global structure across national boundaries during the long nineteenth century. The issue will pay particular attention to emerging concepts of Black identities during this period.  Critically, majority narratives have driven these constructions, propagating mediated histories that subjugate Black people, yet the full impact of these narratives has not been thoroughly explored and needs additional interrogation. Essays might consider topics related to images, texts, other forms of media, and more. Possible topics could include expressions of Black autonomy in white supremacist cultures; colonialism/decolonization; trauma studies; slavery/emancipation; Black soldiers; Black artists/photographers/writers; the development and expression of stereotypes; the practice of lynching; the transatlantic migration and the Black diaspora; and other relevant subjects. Nineteenth Century Studies publishes studies of nineteenth-century world cultures in all humanistic fields, including literature, art history, history, musicology, and the history of science and the social sciences. It is an interdisciplinary journal issued annually by the Nineteenth Century Studies Association. One exciting aspect of Nineteenth Century Studies is that the journal encourages authors to enhance their contributions with pertinent artwork.

Please submit manuscripts for scholarly essays of 6,000-10,000 words, pedagogical essays of 2,000-4,000 words, or book reviews of 600-1000 words formatted in Chicago Manual Style to guest editors Wendy Castenell and A. Maggie Hazard at wcastenell@wlu.edu and ahazar1@saic.edu. Additionally, we welcome suggestions of books for review relevant to the theme of this special issue. Please send your suggestions to the editors. Early expressions of interest and proposals of topics are also welcome. The initial deadline for submission of full manuscripts will be August 15, 2024, but earlier submissions are encouraged.

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

CFP: Photography Network Virtual Symposium

Photography’s Frameworks
Photography Network Virtual Symposium
October 12–14, 2023

Photography Network’s third annual symposium will be held virtually and hosted jointly with the University of the Western Cape in South Africa. In honor of the UWC’s New Archival Visions Programme—an initiative to activate the university’s archival holdings through research, fellowships, and curatorial projects—this symposium considers the subject of frameworks in the study of photography.

In recent years, “framing” and “reframing” have become buzzwords for describing new approaches to the study of photography, including the 2018 volume Photography Reframed: New Visions in Photographic Culture, the ReFrame project at the Harvard Art Museums launched in 2021, and the ongoing archival initiative, “Framing the Field: Photography’s Histories in American Institutions.” Projects like the Art Institute of Chicago’s 2023 Field Guide to Photography and Media exhibition and catalogue and the recent Vision & Justice initiative encourage reflection on how histories of photography have been constructed and how certain interventions can be made to create a more equitable field moving forward. Such interventions might also draw on “reframing” projects from the global south that interrogate colonial and metropolitan categories and temporal schemas in the history of global photography, such as the 2020 Kronos special issue on “Other Lives of the Image” and the 2019 publication Ambivalent: Photography and Visibility in African History.

This symposium aims to gather these types of initiatives into one space for shared reflection and future collaboration. Using the construction of a “framework” in reference to both conceptual schema and physical structures, we ask how larger patterns of social, ideological, material, economic, and environmental forces have shaped and continue to shape photographs as objects in circulation and in archival repositories. How have past theoretical, methodological, and institutional frameworks structured, and in many instances limited, the field? What work have these frames performed in the creation and interpretation of photographs and their histories? Which frameworks have been overlooked, and what types of interventions can make the most impactful changes?

While papers should seek to address these questions, our definition of “framework” is capacious and inclusive. Proposals might therefore consider critical approaches to frameworks that include:

• Archival: private art collections, public collections (schools, universities, museums, government agencies), informal private holdings, artist collectives, and activist archives (including national liberation, anti-colonial and anti-apartheid collections)
• Colonial, postcolonial and decolonial: state-sponsored photography, anthropological studies, tourist photography, humanitarian photography, documentary discourses
• Cultural: linguistic, religious, or ethnic practices and beliefs
• Dysfunctional: decay or erasure of contexts, allowing for slippage, appropriation, and reinterpretation of photography
• Ethical: displaying, discussing, and teaching certain images; scientific, anthropological, and legal rationales

Submission Information

Photography Network invites proposals across disciplines and a broad range of subjects that reflect the geographic and thematic diversity of the field. Practitioners and scholars at any stage of their careers are welcome to submit their research. We also welcome international scholars but note that the conference will be in English.

The symposium organizers encourage a variety of presentational styles. In addition to proposals for individual, 20-minute papers, we also seek alternative-format presentations (e.g., workshops and roundtables). We will also host a Lightning Round for new research on any topic from students, curators, academics, and practitioners. Applicants may submit up to 2 proposals, provided that one is in an alternative format; you are welcome to apply only to the Lightning Round. Sessions will be organized around accepted submissions, rather than prescribed themes.

To be considered for a panel or alternative-format presentation, please prepare:
(1) a 250-word abstract with a clear indication of format, and
(2) a three-page resume or CV.

To be considered only for the Lightning Round, please prepare:
(1) a 100-word abstract clearly labeled as a Lightning Round proposal and
(2) a three-page resume or CV.

All files should be named “[LAST NAME]–CV” or “[LAST NAME]–ABSTRACT.”

Email completed materials by June 15 to the Photography Network Symposium organizing committee: Katherine Bussard, Patricia Hayes, Josie Johnson, Caroline Riley, and Jessica Stark at photographynetworksymposium@gmail.com.

Notifications of accepted proposals will be emailed by July 19. The schedule will be announced by August 1 and the symposium will be held October 12–14, 2023.

Note: All are welcome to apply. Accepted presenters must be Photography Network members in good standing at the time of the symposium. We have a sliding scale membership: $20 (student/unaffiliated), $40 (Affiliated), or $100 (Senior). We also have free need-based memberships. Please visit the Photography Network’s membership page (www.photographynetwork.net/memberregistration) for more information on how to join.

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: Full Bleed journal

www.full-bleed.org/submit

Full Bleed, an annual journal exploring the intersection of the visual and literary arts, seeks submissions for its sixth issue, forthcoming in Spring 2023.

We publish criticism, belle lettres, visual art, illustration, poetry, fiction, and graphic essays. We are always happy to feature collaborations between writers and artists; ekphrastic creations; and groundbreaking critical essays.

For Issue Six, we are especially interested in submissions on the theme of materials—their unique aesthetic qualities, social histories, means of production, environmental costs, and layered meanings. Send us work that contemplates the virtues, potential, or politics of ink, paper, oil paint, dye, textiles, charcoal, lead, soil, wood, etc.

This call is open to all with the exception of current students at the Maryland Institute College of Art (MICA), which publishes Full Bleed.

All submissions should be sent between September 1, 2022 and January 15, 2023. Those interested in first sharing essay proposals may do so by November 15 (also through our Submittable page). Note that acceptance of proposals does not guarantee publication in the issue. Also, you need not have sent a proposal to submit completed work.

Final selections for the issue will be made by the journal’s editor and board members in close consultation with participants in Publishing Culture, an upper-level, spring-semester course at MICA. Each contributor will receive a modest honorarium and a complimentary copy of the issue.

For more details, please visit:
www.full-bleed.org/submit

We are excited to review your work and thank you in advance for sharing it with Full Bleed.

CFP: US Art and Critical Whiteness Studies at CAA 2023

U.S. Art and Critical Whiteness Studies: Looking Back, Looking Forward
Session will present: In-Person

James W. Denison
Email Address(s): jwden@umich.edu

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

CFP: Nineteenth-Century Studies Association Conference 2023

Remaking the Past
44th Annual Conference
Nineteenth-Century Studies Association
Sacramento, California
March 30 – April 1, 2023

Sacramento, host city for NCSA’s 2023 conference, lends itself to exploring issues of revivals and re-creations of the past. Sacramento’s nineteenth-century history encompassed California’s Gold Rush, the genocide and displacement of Indigenous populations, the construction of the Transcontinental Railroad, and the building of a capital city that became a stage for the reinventions–productive and problematic–of the past so central to the nineteenth century. Appropriately, Sacramento’s conference will explore the nineteenth century’s almost constant desire to re-envision and measure itself against the past, as well as our own responsibility as scholars to reassess the histories we tell about this era, using current critical approaches, concerns, and theories.

CALL FOR PAPERS

We seek perspectives into the wide range of nineteenth-century reinterpretations of the past and their consequences. We invite papers and panels covering and uncovering political history, social history, history of science, literature, visual and performing arts, and popular culture. We welcome interdisciplinary and inclusive approaches that revisit and broaden ways of looking at the nineteenth century, including those that interrogate constructions of gender, race, settler-colonialism, and ethnicity as seen in, or that were created about, that era. We also invite papers that examine communities, artifacts, or epistemologies that resist remaking the past, including those that explore cultures for which preserving the past unaltered was/is a form of survival and resistance.

In addition, we welcome papers that scrutinize historical consciousness during the nineteenth century. These could assess the varied tendencies to rewrite history, to revive or bury the past, and to appeal to the past as a legitimizing force, as a spur to the imagination, and as a field for questions and contradictions. Such papers could consider the past as a force in political discourses, in education and science, and in debates on the value of studying it at all.

Topics may include:

  • stylistic revivals in nineteenth-century art, architecture, and design
  • traumatic or “buried” histories of displacement, forced migration, genocide
  • recovering Indigenous and African-American nineteenth-century cultures of resistance
  • antiquarianism and issues of historical preservation and interpretation of nineteenth-century material culture
  • California history including Chinatowns, Spanish historical sites, settler-colonial sites of mourning, the preservation and interpretation of California’s Indigenous, Hispanic, and Asian communities
  • uses of historical fiction and revivals of past authors, playwrights, and composers
  • imagery of the past in nineteenth-century popular culture and advertising
  • Neo-Victorianism, adaptations (both book and film), and digital/data-driven re-imaginings of the nineteenth century
  • the use of real or imagined pasts in literature and the performing arts, the notion of revival as a trope, or of retrospection as a creative device
  • remaking or “differencing” 19th-century canons, critical pedagogy, and banned books
  • utopian golden ages of the past and future
  • invented pasts/invented traditions, fakes, lies, and forgeries

Please use this google form to send 250-word abstracts with one-page CVs bySeptember 30, 2022. Abstracts should include the author’s name, institutional affiliation, and paper title in the heading. We welcome individual proposals, panel proposals with four presenters and a moderator, or larger roundtable sessions. You are welcome to share calls for panels and roundtable discussions on our social media channels. You may post your call to our Facebook page and we will share it, or tag us on Twitter and we will gladly retweet.

Note that submission of a proposal constitutes a commitment to attend if accepted. Presenters will be notified in November 2022. We encourage submissions from graduate students, and those whose proposals have been accepted may submit complete papers to apply for a travel grant to help cover transportation and lodging expenses. For questions, please contact us at 2023ncsa@gmail.com.