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.

CFP: “Playing Indian” at SECAC 2022

Please consider submitting to the session, Playing Indian: An American Visual Politic at SECAC’s 2022 annual conference, October 26-29 in Baltimore.

In his 1994 seminal book, Playing Indian, Philip Deloria describes the specifically American, primitivist phenomena of Indian Play. Beginning with national founding moments, such as colonists donning pseudo-Mohawk costumes to dump tea into the Boston harbor, Deloria describes how, “for the next two hundred years, white Americans molded similar narratives of national identity around the rejection of an older European consciousness and an almost mystical imperative to become new” (2).  Playing Indian, appearing in such diverse forms from the Boy Scouts to the New Age Movement, encapsulates the paradoxical desire to both glorify and become the “Indian” but also erase actual Indigenous peoples and cultures. Because of the desire to appear as native, Playing Indian is an overwhelmingly visual politic, however, Indian Play has received little art historical attention, outside the work of some Americanists studying the early 20th century, such as Elizabeth Hutchinson or John Ott. This panel seeks to begin to address this scholarly gap by featuring examples of Playing Indian from across American visual culture whether that be representations from popular culture such as sports mascots, accounts of artists and others, such as Jimmie Durham, erroneously claiming Indigenous identities, or responses to these histories from Indigenous artists.

The Call for Papers for SECAC 2022 in Baltimore is open through May 19 at https://secac.secure-platform.com/a/solicitations/16/home.

A list of sessions is available at https://secac.secure-platform.com/a/page/sessions.

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/

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:

  1. 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
  2. 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
  3. Budget (1 page maximum)
  4. 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.

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. 

CFP: “In Situ” for Art Institute Review–deadline Mon., Oct. 11, 2021

CALL FOR PAPERS

Issue 3: In Situ (September 2022)

Deadline for proposals: Monday, October 11, 2021

This issue of the Art Institute Review addresses the concept of in situ—a natural, original, or existing position or place. The notion relates to basic questions art historians, conservators, curators, and other cultural heritage professionals ask about all works of art: Where were they installed or exhibited? How were they experienced in their original time and location? To what extent did these initial contexts orient and shape artistic intent? Location and place may change over time. What happens when the physical context of a work of art is interrupted or upended? What are the stakes surrounding its placement and/or displacement? Research and analysis are themselves informed by position and place. How are art historical, conservation, and material science methods shaped in situ? How must they change when addressing a work of art that has been removed from its original context(s)?

Such questions regarding the past, present, and future of artworks have always been important in art history and related disciplines, but they have taken on even greater weight in our particular moment. What does it mean to recontextualize works in new spaces? What happens when we privilege one point in an artwork’s history over another—or when we deprioritize or disregard that history? How can digital tools and technologies help us better understand, question, and critique the “place” of art?

The third issue of the Art Institute Review invites you to consider, interrogate, and visualize the concept of in situ, understood broadly. We welcome topics from an expansive geographical, temporal, and theoretical range that could include: archaeological investigation and research, theoretical and practical projects of restitution and decolonization; community-based conservation; site-specific artworks and interventions, Gesamtkunstwerk, and land art projects; digital and material re-creations of artistic sites and architectural settings; and more. We especially welcome proposals focused on historically underrepresented objects or narratives, proposals from emerging scholars, and proposals that optimize the digital platform. Not only is the digital realm itself a place ripe for critical exploration through the theme, but it also supports innovative technological experiments and creative realizations of historic, contemporary, and imagined spaces.

This issue is co-edited by Elizabeth McGoey, Associate Curator of Arts of the Americas, the Art Institute of Chicago, and Jeanne Marie Teutonico, Associate Director of Strategic Initiatives and Publications at the Getty Conservation Institute.

Submit proposals here.

For more information on what we’re looking for, visit the journal website, here.

We aim to review proposals and notify the authors of accepted proposals within approximately one month of receipt. Full manuscript is due about two months after notification.

CFP: “South and North American Positionalities: Representing the Other in the Interdisciplinary 19th century [CAA 2022]–proposals due by Sept. 16, 2021

“South and North American Positionalities: Representing the Other in the Interdisciplinary 19th century”

The representation of the Other has been prioritized through the study of the cross-Atlantic relationship between Europe and the Americas; examples of exhibitions and publications include, Ojos británicos: Formación de la imagen visual de Colombia en el siglo XIX (Museo Nacional de Colombia, 2003) and Ana Lucía Araujo´s book, Brazil through French Eyes: A Nineteenth-Century Artist in the Tropics (2015). Research on the long nineteenth-century has focused on the connections between North and South America through scholarship like Katherine Manthorne’s landmark study Tropical Renaissance: North American Artists Exploring Latin America, 1839-1879 (1989), Picturing the Americas: Landscape Painting From Tierra Del Fuego to the Arctic (2015) and Traveler artists: Landscapes of Latin America from the Patricia Phelps de Cisneros Collection (2015). These studies have focused mainly on landscape representation through the eyes of the traveler.

This panel seeks to build upon the representation of the Other through visual culture and through an interdisciplinary lens. Interdisciplinary fields may include visual and textual relations, print culture, photography, theater studies, science and art, and material culture. A key point of discussion around the South and North two-way relationship will be structures of power and inherent biases of positionality. The Other in this proposal is understood within the nineteenth-century context as “different.” In this specific history, difference can be viewed not only through geographical distance but also through ethnographic distance. Questions of positionality may also address contemporaneous and historiographic accounts of audience reception and ideological interpretation of representations of the Other across the South-North divide. 


Topics may include but are not restricted to:

Travel/travelogues

Race

Ethnicity

Indigeneity

Gender

Age

Class

Spirituality

Religion

Politics

Nature

Landscape

Animals

Submission of proposals should be sent to: v.uribe20@uniandes.edu.co. Proposals must include 250-word abstracts and shortened CV sent by September 16, 2021. 

CFP: Signs o’ the Times: Music and Politics in Contemporary Art (CAA Chicago, 2022)–proposals accepted through Sept. 16, 2021

Maria Elena Buszek (CU Denver) and Johanna Gosse are co-chairing an in-person session on contemporary art, music, and politics at the 2022 CAA conference in Chicago (February 16-19, 2022). Buszek and Gosse are very open to proposals that expand the conventional scope of “art history” and the panel might expand into two sessions.


To apply, send us a 250-word abstract, a shortened CV (under 2 pgs), and a completed proposal submission form to maria.buszek@ucdenver.edu and johannagosse@gmail.com by September 16. We will notify participants by September 23.

DESCRIPTION
Signs o’ the Times: Music and Politics in Contemporary Art


Scholar Bernard Gendron has compellingly argued that rock music took over the avant garde in the 1970s, holding “onto its ‘pop’ moorings while becoming ‘art.’” Visual artists like Laurie Anderson and William Pope L. started writing, performing, and recording music, and performers like Grace Jones, DEVO, and Die Tödliche Doris treated their music as performance art, blurring the lines between popular music and visual art in ways that have profoundly affected contemporary art ever since. This seemingly effortless crossing of the era’s art/music and high/low divides was in reality born of struggles that often sprang from the era’s civil rights and liberation movements, which in the ‘70s sought new ways to reach broader audiences and to critique the myopia or elitism of these movements’ earlier iterations. This tendency continues today in the work of contemporary artists who engage with popular music, not just as an index of contemporaneity, but as a rich archive of cultural and political significance, as well as formal and aesthetic inspiration and exchange.
This panel seeks to convene new approaches and perspectives on the intersection of art and popular music since the tail end of the sixties up to the present day. We’re particularly interested in work that examines cultural politics alongside formal concerns, while moving beyond the exhausted modernist preoccupation with policing the high/low divide.
For more information on the conference and how to submit your abstract see: https://caa.confex.com/caa/2022/webprogrampreliminary/meeting.html 

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