“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:
Submission of proposals should be sent to: email@example.com. Proposals must include 250-word abstracts and shortened CV sent by September 16, 2021.
Please consider submitting a proposal to the SECAC 2021 panel, “Dark Amusements: Turn-of-the-Century American Spectacles and Race”
The U.S. at the turn-of-the-century marked a period of profound technological and societal transformations. This session will examine the growth of spectacles in response to these sweeping changes. This marked a turning point in the U.S., where people’s interests shifted, as David Nye points out, from a fetishization of the “natural sublime” to the “technological sublime.” This change, spurred by the myriad inventions and innovations flooding the consumer market, led to new ways of seeing, and new forms of entertainment. These new forms of entertainment often took the shape of public spectacles and popular amusements. This session will examine how the burgeoning American spectacle culture celebrated American ingenuity, on the one hand, while simultaneously re-inscribing and reinforcing racial hierarchies. In the post-Reconstruction era, when white anxiety about the status of people of color within American society was at its zenith, spectacles were used to circulate and naturalize racist ideologies about white superiority. The repercussions of this expression of hegemonic power by European Americans will likewise be examined. Potential paper topics may include, but are not limited to, panoramas, world’s fairs, early cinema, vaudeville, minstrelsy, amusement parks, Wild West shows, or the perverse spectacles of lynching postcards and before and after photographs from Indigenous boarding schools.
SECAC 2021 in Lexington, KY – November 10-13
Abstracts due May 4. 2021
Conference and submission details can be found by following this link: secacart.org/page/Lexington
The Department of Art & Visual Culture at Spelman College invites applications for a full-time associate professor position in American art history/curatorial studies with specialization in African American art. We especially welcome applicants whose research addresses contemporary practice, race, gender and technology.
We seek scholars who are able to teach survey and advanced level courses while pursuing an active research/curatorial projects agenda. An ideal candidate will demonstrate a strong commitment to teaching and student advising, as well as scholarship and service on committees within and beyond the department.
The successful candidate will join the College’s efforts in fashioning a curatorial studies concentration and positioning curatorial studies as a specialized focus of art history. The Department of Art & Visual Culture in collaboration with the Spelman College Museum of Fine Art currently prepares the next generation of African American art historians with a specialized knowledge of curatorial studies.
The application deadline is midnight (EST) on February 28, 2018. Applicant must hold a PhD and have a strong publication profile. The successful candidate must be able to demonstrate interdisciplinary and creative approaches to teaching.
To apply, candidates must submit a cover letter of interest, curriculum vitae, two writing
samples, a sample syllabus, and contact information for three references to: Recruiter, Office of Human Resources, Spelman College.
ARTS@Spelman, which includes the departments of Art & Visual Culture, Theater and Performance, Dance Performance & Choreography, Music, the Digital Moving Image Salon, the Museum of Fine Art and the Innovation Lab, are currently in the process of re-conceptualizing the academic curriculum to best meet the needs of a 21st century liberal arts institution. Likewise, the College is planning a new arts and innovation center, which will be an interdisciplinary environment that supports and advances experimentation, collaboration, active play, research, and the imaginative use of digital technologies.
Founded in 1881, Spelman College is a private four-year liberal arts college located in Atlanta, GA. Spelman College is a global leader in the education of women of African descent.
Accredited by the Commission on Colleges of the Southern Association of Colleges and Schools, Spelman College is a member of the Atlanta University Center Consortium and the Atlanta
The School of Art + Design at the University of Illinois at Urbana-Champaign invites applications for an art historian with an emphasis in American art. This is a full-time, tenure-track or tenured faculty position, at the rank of Assistant or Associate Professor in the history of American Art, including the history of architecture and/or design in any period from the colonial era to the present. We especially welcome applicants whose research addresses issues of race, indigeneity, ecology, (post)colonialism, and visual culture in the Atlantic world.
The successful candidate will teach a 2/2 teaching load (two courses each in the fall and spring semesters) that includes courses in American Art and/or Architecture, as well as existing introductory courses with large enrollment such as the Introduction to Art and Visual Culture. The candidate will play an active role in curricular efforts in art history, developing and delivering curriculum for both undergraduate and graduate students. Successful candidates are expected to teach effectively at both the undergraduate and graduate levels, establish and maintain an active and independent research program, and provide service to the Art History program, the School, the College and the University.
The Art History Program consists of seven full-time tenured/tenure-track faculty members, plus adjuncts and many affiliated faculty. Degrees offered include the BA and BFA, as well as the M.A. and Ph.D. Art History graduate courses also support graduate minors in Museum Studies and Medieval Studies. Additional information about the program and faculty areas can be found at www.art.illinois.edu/content/graduate/programs/art-history-phd.
The school offers undergraduate and/or graduate degrees in Art Education, Art History, Crafts, Graphic Design, Industrial Design, New Media, Painting, Photography, and Sculpture. The future of design at Illinois also includes a new facility intended for outreach, education, and experimentation in design for students in fields within and outside the arts.
About the University of Illinois
The School of Art + Design is part of the College of Fine and Applied Arts at the University of Illinois, an internationally recognized research and educational institution. The University supports faculty as active researchers in the humanities, arts, sciences, engineering, and design through opportunities for funding and vital cross-disciplinary exchange in the campus’ many institutes, centers, and initiatives. These include the Campus Research Board, the Illinois Program for Research in the Humanities, the Center for Advanced Study, the Beckman Institute for Advanced Science and Technology, the National Center for Supercomputing Applications, and numerous other more specialized centers.
The arts also play a vital and recognized role in the university’s service mission as a state university, as evidenced by the historic examples of the Spurlock Museum of World Cultures, Krannert Art Museum, and the Krannert Center for the Performing Arts, each a respected international hub for innovative scholarship and public engagement.
The University actively pursues a commitment to diversity through growing support for its numerous area and ethnic studies programs. Faculty and students in the arts routinely collaborate with these areas in their research and programming; such efforts enjoy support for activities on campus and around the world.
Supported by the nation’s third largest research library and abundant technological resources, the University of Illinois provides a rich environment for collaboration and experimental ventures. Champaign-Urbana is located in East Central Illinois, within a short driving distance to Chicago, Indianapolis, and St. Louis. For more information, please visit www.illinois.edu for the university, www.faa.illinois.edu for the college, and www.art.illinois.edu for the school.
The successful candidate will bring an active research agenda and evidence of innovative teaching. The ability to collaborate with faculty outside of our department, including those from Architecture, Landscape Architecture, and the new campus-wide Design Center is highly desirable. Applicants must have a terminal degree in art history (Ph.D.) at the time of appointment. Assistant Professor applicants must show clear promise of developing distinguished records of independent research and teaching. Associate Professor applicants should have evidence of a distinguished record of academic scholarship, and teaching at undergraduate and graduate levels that meets the qualifications for the ranks of Associate Professor at the University of Illinois at Urbana-Champaign. The anticipated start date is August 16, 2018.
Salary is commensurate with experience.
To ensure full consideration, applications must be received by December 4, 2017. Please create your candidate profile at jobs.illinois.edu and upload the following:
1. A letter of application
2. Curriculum vitae
3. Scholarly writing sample
4. List of three professional references – online application will require names and contact information for three references.
Please submit items 1-4 combined into a single multi-page (letter size) PDF (NOT an Acrobat “PDF portfolio”). Use the naming convention of “lastname_firstname_docs.pdf”.
The committee may begin reviewing applications before then but no decision will be made until after the close date. All requested information must be submitted for your application to be considered. The University of Illinois conducts criminal background checks on all job candidates upon acceptance of a contingent offer.
Please direct any inquiries to:
Associate Professor Terri Weissman,
School of Art + Design, University of Illinois at Urbana-Champaign
408 East Peabody Drive, Champaign, IL 61820 USA
217-333-0855 / firstname.lastname@example.org
The University of Illinois is an Equal Opportunity, Affirmative Action employer. Minorities, women, veterans and individuals with disabilities are encouraged to apply. For more information, visit go.illinois.edu/EEO. To learn more about the University’s commitment to diversity, please visit www.inclusiveillinois.illinois.edu.
The Department of Art History at the University of Chicago seeks (an) art or architectural historian(s) of the Black Atlantic, specializing in any pertinent historical period and in any territory of Africa, Latin America, the Caribbean, North America, Iberia, and/or the more ramified Atlantic world. We are also interested in art or architectural historians working more broadly on race, (post)colonialism, and visual culture in the Atlantic world. The ability to work across fields and subfields is highly desirable, as we expect the successful candidate to collaborate with faculty within and beyond our department.
The Department of Art History values diversity. A goal of the search is to increase the diversity of the faculty in the Department of Art History and across the Humanities Division, and we therefore welcome applicants from groups historically underrepresented in academia, such as black/African American, Hispanic/Latino, American Indian or Alaskan Native.
Successful candidates will be appointed either as a tenure-track Assistant Professor, or as a Provost Fellow at the rank of Instructor with an initial two-year faculty appointment. This initial period is intended to serve in lieu of a postdoctoral appointment. Provost Fellows will teach one class/year, receive research support, and participate in programming designed to help support them in their transition to Assistant Professor. Provost Fellows will ordinarily be promoted to Assistant Professor at the end of their 2-year term. Candidates for Provost Fellow appointment must have no more than two years of postdoctoral experience. All candidates must have the Ph.D. in hand by the start of the appointment, 1 July 2018.
Complete application materials include cover letter (including discussion of research and teaching interests), CV, two scholarly writing samples, names and contact information for three professional references, and a statement describing the applicant’s prior and potential contributions to diversity in the context of academic research, teaching, and service. Applicants should send all materials in electronic format (MS Word or PDF) to Caroline Altekruse at email@example.com with subject heading “Black Atlantic Art and Architecture Search.” In addition, applicants must upload the CV and cover letter to the Academic Career Opportunities website at http://tinyurl.com/ya6e3sek. No applications received after 20 September 2017 will be accepted. University positions are contingent upon budgetary approval.
The University of Chicago is an Affirmative Action/Equal Opportunity/Disabled/Veterans Employer and does not discriminate on the basis of race, color, religion, sex, sexual orientation, gender identity, national or ethnic origin, age, status as an individual with a disability, protected veteran status, genetic information, or other protected classes under the law. For additional information please see the University’s Notice of Nondiscrimination at http://www.uchicago.edu/about/non_discrimination_statement/. Job seekers in need of a reasonable accommodation to complete the application process should call 773-702-0287 or email ACOppAdministrator@uchicago.edu with their request.
On the 6th of March 1943, iconic painter and illustrator of American culture Norman Rockwell, published Freedom from Want or The Thanksgiving Picture in The Saturday Evening Post, one of over 300 covers he produced for the Indianapolis publication during his lifetime. It was the third of four oil paintings known as the Four Freedoms inspired by […]
2017 Center for Historic American Visual Culture (CHAViC) Summer Seminar
In Black and White: Race and American Visual Culture
American Antiquarian Society
Dates of Seminar: June 9-13, 2017
Applications Due: March 15, 2017
The 2017 CHAViC Summer Seminar at the American Antiquarian Society will explore how American visual culture expressed ideas about race, specifically blackness and whiteness, across the long nineteenth century. Through lectures, readings, hands-on workshops, and group research, participants will learn how popular forms of visual culture have constructed racial identities in the United States and how looking can function as a racialized practice. The seminar leader will be Tanya Sheehan, associate professor and chair of the Art Department at Colby College and editor of the Archives of American Art Journal at the Smithsonian Institution. Guest faculty will include Elizabeth Stordeur Pryor, assistant professor in the History Department at Smith College and Jasmine Nichole Cobb, assistant professor in the Department of African & American Studies at Duke University.
Participants will have the opportunity to learn from the extraordinary collections at AAS, including popular prints, political cartoons, photographs, illustrated books and periodicals, sheet music, and ephemera such as trade cards. Case studies may include: caricatures of African Americans in Edward Clay’s lithographic series Life in Philadelphia (1828-1830), the visual culture of blackface minstrelsy and Harriet Beecher Stowe’s Uncle Tom’s Cabin (1852), graphics from popular periodicals like Harper’s Weekly that picture racial politics at key moments in U.S. history, efforts to recreate the “image of the black” by African American writer Phillis Wheatley and abolitionist Frederick Douglass, fantasies of racial difference in illustrated children’s books and commercial trade cards, and efforts to visualize raced bodies in early photographic portraiture. There will be a field trip to the Museum of African American History in Boston to view the exhibition Picturing Frederick Douglass.
The seminar will be held from Friday, June 9, through Tuesday, June 13, 2017, at the American Antiquarian Society in Worcester, Massachusetts. Participation is intended for college and university faculty as well as graduate students and museum professionals.
For further information, syllabus, and application materials, please consult the AAS website at www.americanantiquarian.org/2017-chavic-summer-seminar
Photo (2014): Tim Griffiths at Stanford News
The discussion around what constitutes the boundaries of Abstract Expressionism continues to recur despite decades-long attempts by revisionists. Most provocatively, Ann Gibson’s Abstract Expressionism: Other Politics (1997) demonstrates how women, artists of color, and queer artists were systemically left out of the canon. Two decades later, it has become de rigeur to call for the addition of these artists into exhibitions, but academic scholarship has lagged. Jackson Pollock, Clyfford Still, Mark Rothko, Willem de Kooning, and Franz Kline remain the familiar anchors of Abstract Expressionism. Here at Stanford, The Anderson Collection showcases important works by the above-mentioned names yet there are many artists not currently a part of our permanent collection whose involvement in the movement has been omitted from the oft-repeated narratives of the period.
We celebrate the recent focus on women, on cultural inclusivity, on gender expansive dialogues and the move to allow a spectrum of identifications. The museum takes this opportunity to look in depth at black artists working abstractly at mid-century as a case study in order to nurture the growing scholarship in this area. How did the art praxis of African-American artists intersect with the overall Abstract Expressionist movement? How does African-American cultural production continue to undergird key fundamentals of mid-century abstraction? There were black Abstract Expressionists of both the first and second generation. Some showed at top-notch galleries associated with the Abstract Expressionist movement—Romare Bearden at Kootz Gallery and Norman Lewis at The Willard Gallery. Others such as Peter Bradley had advocates in the often denigrated figure of Clement Greenberg. This symposium aims to make visible these intertwined narratives in order to explore how blackness and the Abstract Expressionist movement have been tethered all along; but more often than not, their periodic overlapping aims tend to move between invisibility and hypervisibility depending on the needs of a public.
With a variety of programming over a two-day period, the Anderson Collection will work with scholars, professors, artists, musicians, collectors, and performers to open these topics up to wide discussion. The symposium will feature a keynote speaker, workshops, a live performance, and a conversation with contemporary black artists working in abstraction.
The two-day symposium is planned for January 27 and 28, 2017 at the Anderson Collection at Stanford University.
Interested participants are invited to submit an abstract of no more than 350 words along with a CV to firstname.lastname@example.org by October 10, 2016. Accepted participants will be notified by November 7, 2016. Presenters are invited to give papers suitable for 15- to 20-minute time slots.
The Anderson Collection at Stanford University is a world-class museum built around a permanent collection of 121 modern and contemporary American paintings and sculptures by 86 artists. As a center for research, scholarship, and appreciation of post-war and contemporary American art, the Anderson Collection works exemplify pivotal movements in modern art: Abstract Expressionism, Color Field Painting, Bay Area Figuration, California Light and Space, among others.
Andrianna Campbell, Doctoral Candidate, The CUNY Graduate Center
Jason Linetzky, Director, Anderson Collection at Stanford University
Aimee Shapiro, Director of Programming and Engagement, Anderson Collection at Stanford University
Jeff Chang, Executive Director, Institute for Diversity in the Arts, Stanford University
Richard Meyer, Professor of Art History, Department of Art and Art History, Stanford University
Alex Nemerov, Department Chair, Department of Art and Art History, Stanford University
A border is, at its core, a mechanism to produce and enforce difference–national, ethnic, racial, and social:
Bhaumik’s work is social practice that embraces the political. Its institutional critique intersects with critical race art history’s concerns.