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.
Session will present: Virtual
Julie L. McGee, University of Delaware
Black Collage, before and beyond Romare Bearden, respects the multivalent nature inherent to Black and Collage. How have and do artists and scholars participate in the un-doing of modernist tropes associated with a history of collage that displaced Black subjectivity and agency? Black collage may adhere to a practice of coller, in reference to the French verb which means to paste or glue, but in ways that don’t inherently bind this practice to European Modernism, Pablo Picasso or Georges Braque. Suppose coller hews more to adhesive than metaphor–that Black collage transcends pieces for compositional uniqueness, a symphony’s manuscript. Black American artists used collage before Bearden, yet there is no denying the centrality of his work to this conversation. Indeed, Bearden’s significance calls us to think deeply about the extended practice and importance of collage and Black artists. Among the many who have are Ralph Ellison, Kobena Mercer, Patricia Hills, James Smalls, Jacqueline Francis, Ruth Fine, and Brent Hayes Edwards. In early 1961, while living in Stockholm, Sam Middleton completed a treatise on collage that placed his own work in a direct line of inheritance from Picasso and Cubism to Surrealism and Dada—for its radical aesthetic refusals and nowness. Appropriating Shahn, Middleton wrote, “Art always has its ingredients of impudence, its rejection of established order so that it may substitute its own fresh and contemporary authority and its own enlightenment.” This session invites contributions related to Black collage, audacity and enlightenment. Considerations of history, theory, conservation, and artistic practice are welcome.
Chair: Susanna Gold, Tyler School of Art, Temple University, firstname.lastname@example.org
The dynamics of mixed race heritage has long been a stable point of inquiry in historical American literature, music, theater, politics and speech, but this issue has been thought to emerge less often in visual culture. There are very few examples of American art that follow the tradition of 18th-century Mexican and Peruvian casta paintings illustrating the practice and results of mestizaje, the mixing of distinct categories of peoples and the development of new peoples. But are American images of multiracialism truly rare, or is the art historical scholarship limited because there lacks a clear academic understanding of which images can be understood to address mixed race heritage? Is there a cultural tendency for scholars to classify figures in American art according to an overly determinate white/non white dichotomy, which avoids the relevance of a shared, divided, or indistinct racial ancestry? This session invites papers that enlarge the art historical scholarship on race mixing, and provide new possibilities for recognizing and analyzing how complexities of a multiracial heritage affected identity construction and found expression in visual imagery. Papers that address art practices in the art of the United States, 18th-20th centuries, are welcome.
Please send paper title, abstract (200-300 words), curriculum vitae, and letter of interest to Susanna Gold (email@example.com) by May 9, 2014.
For more information about the 2015 conference, please see: http://www.collegeart.org/pdf/2015CallforParticipation.pdf