Calls for Proposals, Papers, Submissions, Entries, and Volunteers

SECAC posts academic and studio calls of potential interest to our members. To add a call, please forward a description in a Word document without special graphics to SECAC administrator Rebecca Parker at rparker@secacart.org.

CURRENT CALLS:

• Call for Submissions: The University of Alabama and The University of Alabama at Birmingham Joint M.A. Program in Art History announces: The 30th Annual Graduate Student Symposium in Art History (12/9/24)

• Call for Submissions: Positive/Negative 40 National Juried Art Exhibition at ETSU Slocumb Galleries (10/31/24)

• Call for Papers: Richard Macksey National Undergraduate Humanities Research Symposium
  at Johns Hopkins University (10/11/24)

• Call for Panel: "Ghosts of Artists Past: Finding Lost Sources for Artworks Created During the Long 18th Century," South-Central Society for Eighteenth Century Studies 2025 Conference, February 6-8, 2025 (9/24/24)

• Call for Papers: Women in Photography: A 24-Hour Conference-a-thon Celebrating International Women's Day 2025 (8/5/24)

• Worshop Opportunity: Workshopping Future Directions in Impressionism (5/1/24)

• Call for Artists, Found Family: Queerness and Community in the South (4/9/24)

• Power of Storytelling Symposium, Kennesaw State University, Museum of History and Holocaust Education (2/7/24)

• Call for proposals: 2024-2026 Exhibitions at the Thompson Gallery of Art (2/7/24)

• Call for proposals: 2025 True Inspiration Artist in Residence, Furman University, Greenville, SC (2/7/24)

• Windgate Artist in Residence will work in the Windgate Center of Art + Design at the University of Arkansas at Little Rock for Fall Semester 2024 (2/2/2024)

• Challenging Empire: Women, Art, and the Global Early Modern World Symposium, March 1-2, 2024 (2/2/2024)

• CALL FOR ARTISTS: ARTIFACT [BOLD], An Annual International Exhibition of
  Graphic Design, New Media, Illustration, Printmaking, and the Expanded Field (1/24/24)

• Caumsett Artist in Residence Program (1/17/24)

• Call Presentations and Roundtables for Virtual Colloquium: Art History and Artificial Intelligence: Starting a Conversation (12/14/23)

• Call for Papers and Roundtables, Reaching Out: An Other-Focused Academic Education in the Arts (12/8/23)

SCROLL DOWN FOR DETAILS

The 30th Annual Graduate Student Symposium in Art History, hosted by the Department of Art and Art History, The University of Alabama, Tuscaloosa, AL, Friday, March 28, 2025

 Call for Entries: Positive/Negative 40 National Juried Art Exhibition at ETSU Slocumb Galleries (10/31/24)

The Positive/Negative is the national juried art exhibition, organized yearly at ETSU since 1985, to provide the communities in Tennessee, and Southwest Appalachian region including Virginia, Kentucky, North Carolina, Georgia and other nearby states access to dynamic contemporary art practices that explore current directions in visual art. For 40 years, the Positive/Negative exhibitions serve as platform for dialogue to promote diversity, creative excellence and critical thinking within the academic and local communities. A significant aspect of the Positive/Negative exhibitions is the diverse Jurors each year who provide different trajectories and focus that enables us to present relevant and dynamic perspectives.

Open to all US residents 18 years and older. Media accepted are 2D, 3D, video, sound and simple installations. Work must not exceed 48 inch on one side or 100 lbs. All work must be original creation by individual or collaborative. Images must reflect the work in its final state and no alterations are allowed.

There is $40 entry fee per artist, who may submit up to 3 entries (one entry may be diptych or multi-piece, but each entry is considered one title). Artists will be responsible for shipping work to ETSU Slocumb Galleries and must provide prepaid return shipping label if accepted. Juror's decision is final. Up to $1,000 in prizes, including Best of Show award for $500 in cash plus 3 to 5 Honorable Mention, each participating artists shall receive full color catalogue and may be considered for future exhibitions.

The Positive/Negative 40 National Juried Art Exhibition is from February 17 to March 14, 2025, at the ETSU Slocumb Galleries in Johnson City, Tennessee. Artist notification is on week of January 21, 2025. Artists must ship work to be received or delivered on or before February 13, 2025. The awarding reception and Juror's lecture will be scheduled for March 2025.

The submission is online via Slideroom:
https://etsu.slideroom.com/#/permalink/program/81861
The deadline for submission is December 20, 2024.

Call for Papers: Richard Macksey National Undergraduate Humanities Research 
Symposium at Johns Hopkins University (10/11/24)

Johns Hopkins University invites submissions to the sixth annual Richard Macksey National
Undergraduate Humanities Research Symposium. The Macksey Symposium brings together
undergraduate students from two- and four-year institutions across the country to present
their humanities research to a national audience. This year’s symposium will be held from
March 20-22, 2025, on the Johns Hopkins Homewood campus in Baltimore, Maryland.
Submissions (in the form of a title and abstract) are due by December 9, 2024.

The Macksey Symposium is designed to provide a development opportunity for emerging
humanities scholars. Participants in the 2025 symposium can expect:

* A robust and engaged audience of more than 200 presenters and guests
* A friendly, supportive, and encouraging environment
* A keynote address by a nationally recognized humanities scholar
* Info sessions on graduate programs and research opportunities in the humanities
* An opportunity to serve as a moderator for one or more sessions of presentations
* An invitation to revise their presentation into a journal-length publication for our journal
of proceedings, the Macksey Journal
* And more!

Application instructions can be found on the Apply page of the symposium website.
Notifications of acceptance to the conference will be made at the beginning of January. Early
bird registration (by January 15) will be $150. Regular registration (by January 31) will be $175.
More information about the conference schedule and logistics can be found on the Attendance
Information page of our website. We are also happy to answer any questions you might have
via email (ursca@jhu.edu).

CFP: Panel title: “Ghosts of Artists Past: Finding Lost Sources for Artworks Created
During the Long 18th Century” (9/24/24)

Organizer, Panel Chair: Dr. Elizabeth Lisot-Nelson, Assoc. Professor of Art History,
University of Texas at Tyler.

Panel session will be part of the SCSECS (South-Central Society for Eighteenth Century
Studies) 2025 Conference: “Lost and Found in the Long Eighteenth Century,” held
February 6-8, 2025 at the Hilton Shreveport Convention Center Hotel, 104 Market Street,
Shreveport, LA. Onsite participation only (no zoom).

Panel topic:
New and innovative artistic styles were developed during the long eighteenth-century in
Europe, and in particular in France. Rococo and Neoclassical creations were representative of the
literary, social and political milieu in which they were formed; however, the notable artists who
popularized these styles were visually literate, often traveling to Italy or elsewhere to become
familiar with older artworks from the Renaissance and Baroque periods. In some cases,
eighteenth-century artists reworked, updated or appropriated famous paintings and prints,
integrating them into their own creations but with new colors, compositions and treatments.
While there has been some scholarship demonstrating links between eighteenth-century artworks
and Renaissance or Baroque prototypes, in some cases the connections between the old and the
new, between famous master-pieces and trendy inventions, have not been recognized. Original
sources for arrangements or particular figures have been lost over time. This panel will include
papers that suggest earlier seminal origins for works by artists such as François Boucher, Jean-
Honoré Fragonard, Jean-Baptiste Greuze, Jacques-Louis David, Angelica Kauffmann, Élisabeth
Louise Vigée Le Brun, Jean-Auguste-Dominique Ingres, or Louise Bouteiller, among others. By
finding lost influences for popular oeuvres, the panel contributors will explain how the
innovative eighteenth-century artworks were novel yet existed within a traditional pictorial
lineage. While highlighting the continuation of artistic inspiration, ghosts of artists past will be
revisited and understood to have contributed significantly to new developments made hundreds
of years after their passing and popularized during the long eighteenth century.

Paper abstracts should be 250-300 words and individual presentations will be 15-20 minutes in
length. Include your name, institutional affiliation (if any), title of paper with abstract, and a
short c.v. Email to Dr. Elizabeth Lisot-Nelson, elisot@uttyler.edu University website:
https://www.uttyler.edu/directory/art/lisot.php

DEADLINE for receipt of your abstract for the “Ghosts of Artists Past” panel is Nov. 1,
2024. Notification of acceptance (or not) into the panel will be mailed by Nov. 17, 2024.

CFP: Women in Photography: A 24-Hour Conference-a-thon Celebrating International
Women’s Day 2025 (8/3/24)

In celebration of International Women’s Day, March 8, 2025, we invite scholars, practitioners,
and enthusiasts to submit abstracts for participation in a free, online, global, 24-hour symposium
dedicated to celebrating the contributions of women to the medium of photography from
photography’s announcement in 1839 to contemporary practitioners in 2024. This unique event
aims to highlight the diverse and impactful work of women photographers, and those working
with photography, across all cultures and time zones.

We seek 15-minute papers that explore a broad range of topics related to women’s contributions
to photography. These may include but are not limited to:

• Historical and contemporary profiles of influential and underappreciated women
  photographers.
• The impact of gender on photographic practice and representation.
• The role of women in shaping the photographic medium or its exhibition.
• Cross-cultural perspectives on women’s contributions to photography.
• Challenges and achievements of women photographers in various global contexts.

Our goal is to foster a rich, international dialogue that underscores the significant yet often
overlooked achievements of women in the field. Presentations will be scheduled to accommodate
various time zones, ensuring a truly global exchange of ideas.

To participate:
Please submit a 300-word abstract outlining your proposed paper by 1 October 2024. Abstracts
should be submitted to celebratingwomeninphotography@gmail.com. Please also include your
name, affiliation (if applicable), time zone of anticipated residence on International Women’s
Day, and a brief (100-word) biography. Selected papers will be notified by 1 November 2024,
and detailed guidelines for presentations will be provided.

We encourage contributions from diverse perspectives and regions to create a comprehensive and
inclusive representation of women in photography.

Join us in celebrating the vibrant and transformative work of women photographers worldwide!

Workshop Opportunity: Workshopping Future Directions in Impressionism (5/1/24)

5-6 (in-person) & 9 (online) September 2024
Institute of Advanced Studies, University College London
Apply online | questions to impressionistfutures@gmail.com

Organised by Alexis Clark (North Carolina State University), Allison Deutsch 
(Birkbeck, University of London), Claire Moran (Queen’s University Belfast), 
Samuel Raybone (Aberystwyth University).

What is impressionism now? Who counts as impressionist? Who decides the future
of impressionism? ‘Workshopping Future Directions in Impressionism’ (5-6 September 
2024, Institute of Advanced Studies, University College London (IAS, UCL) & 9 
September 2024 (online)) creates space for the subfield to look collectively and 
work collaboratively. As the first in what is intended to be a series of events in 
2024 and beyond, ‘Workshopping Future Directions in Impressionism’ promises to be 
that: a workshop. We welcome colleagues at all stages of their careers to participate 
in discussions about the current state-of-the-field as well as its imminent, desired, 
and dreamt-of directions. We invite the participation of those wishing to share and 
critically reflect on their current research, collectively investigate new possibilities,
establish and expand their professional networks, and formulate new, collaborative 
projects to generate impact. This workshop will catalyse future events pertaining to the 
themes outlined below and the questions raised.

This workshop will feature a diverse, inclusive programme of activities designed to 
stimulate critical reflection and spark conversations among all participants, including:

● Thematic panels of lightning talks (7 minutes) with extended discussion time
● Breakout discussions around pressing issues and problems
● Roundtable discussions
● Speed networking
● A ‘world café’-style wrap up, collating key points to inform future events

Amongst others, possible topics for presentations and discussions will include:

Bodies and identities
Bodies, overlapping identities, and corporeal experiences in relation to ongoing 
theoretical debates about gender and sexuality, race and post-colonialism, citizenship 
and national belonging, religion and ritual, sensation and emotion, health and ability.

The Global
Competing definitions and contested national and cultural ownership, historical and
contemporary nationalisms and national and cultural identities. Migrations, circulation, 
and mobilities. Intersections between claims on land, resource extraction and ecocritical
approaches. Pluralisation of modernities and the consequent potential reinscription of
Eurocentrism.

Networks and structures
Spatial histories and theories, networks and relationships. Data-driven and econometric
histories. Studies in the history of collecting, curating, and exhibitions. Empire in the 
nineteenth and twentieth centuries. Reception, production, translation. Impressionism as 
a product of reception, reproduction, interpretation, translation, and dissemination. 
Critical, historical, literary, poetic, and art writing as practices of impressionism.
Accounting for changing, multiplying, and contradicting interpretations of impressionism 
across place and time. Impressionism and language politics, translations of impressionist 
concepts.

Materialities and media
Novel and synthetic materials. Scientific ways of seeing, thinking, and knowing. 
Impressionism in a transformed media ecology, new hybridisations and interactions between 
media, recentring marginalised media. Impressionist printmaking, reproduction in/of/between 
print & painting. Technical analysis of artworks.

Professional possibilities and constraints
Institutional, political, economic, and social contexts and determinants of current and 
future scholarship. Pressures of/on publishing, the pace of scholarly production, and 
dissemination to non-academic publics and audiences. Responsiveness to academic and 
methodological trends, and their relationship to public perceptions, exhibitions, and 
impressionism’s commercial appeal. The weight of impressionist historiography and the 
stakes of novelty.

We underscore that topics to be included in this workshop will be driven by the workshop’s
participants. We welcome new ideas and new voices.

The workshop will convene 5 and 6 September 2024 at the Institute of Advanced Studies,
University College London. These workshop sessions will be in-person only. On 9 September,
the workshop will then go online, with further presentations, discussions, and activities. 
For the online day we welcome those who want to join the conversation but are unable to 
travel to London and those who attended the in-person events and wish to continue the discussion.
We invite applications from all those wishing to attend. Please complete this short application
form, including a statement of interest (150 words + 3 keywords), biography (150 words), and, if
wishing to also give a lightning talk, an abstract (250 words) by 3 June 2024. All those who
submit will be informed of a decision no later than 14 June. While we cannot offer support for
travel expenses, there is no conference fee. We are grateful for the support of UCL and
Queen’s University, Belfast.

Please email questions to impressionistfutures@gmail.com.

CALL FOR ARTISTS, Found Family: Queerness and Community in the South (4/9/24)

The Department of Art at Furman University and the Queer Arts Initiative (QAI) 
of the Upstate SC LGBT+ Chamber of Commerce invite LGBTQIA+ artists living in 
the southern Piedmont region (especially South Carolina, western North Carolina, 
and northeast Georgia) to submit visual artwork for inclusion in Found Family: 
Queerness and Community in the South, a juried exhibition at Furman’s Thompson 
Gallery in fall 2024 (Sept. 23-Nov. 15, 2024). The organizers are especially 
interested in artworks that explore contemporary queer lived experiences and 
communities in the South. Preference will also be given to emerging artists who 
are interested in helping define future directions for the queer arts scene in 
the region. The organizers recognize the importance of interdisciplinary 
practices and welcome artists and designers working in all visual media. There 
is no restriction about when artworks were made, but given the exhibition’s 
contemporary focus, we are excited to show newer pieces. 

The jury will be chaired by Marty Epp-Carter and comprised of representatives 
from the QAI and Furman University’s Department of Art. There is no submission 
fee and artists will be able to sell their work on display at the Gallery.
 
The Thompson Gallery is a public-facing, academic gallery. The Gallery is 
approximately 900 square feet in area and has about 110 linear feet of exhibitable 
wall space. Free public programming will be developed for the exhibition. 
Furman University oversees and provides insurance for the artwork while exhibited 
in the Gallery and will reimburse at least a small portion of shipping costs. 

To submit artwork for consideration, please send the following materials in a single 
document to thompsongalleryofart@furman.edu by June 15, 2024: 

* An artwork statement (no longer than 1-page, single-spaced) that describes:
* The artwork proposed for inclusion (1-5 works).
* Any intentions, concepts, themes, and/or questions explored by the artwork. 
* Photographs of proposed artwork(s).
* Photographs should be accompanied by artworks’ titles, dimensions, materials, 
        and year created.
* For 3-D works like sculpture and installation, please include at least 3 
        photographs showing the work from multiple angles. Please label the images using 
        the following format: Epp-Carter_1, Epp-Carter_1detail, Epp-Carter_2, etc. 
* A 1-paragraph artist biography. 
* Artist’s contact information (email, phone number, and mailing address).
 
Acceptance into the exhibition will be determined in July 2024. Artists will be
 notified via email. Artwork will be due to the Thompson Gallery in early September 
2024. Inquiries about the submission process and exhibition can be sent to 
thompsongalleryofart@furman.edu. 

Power of Storytelling Symposium, Kennesaw State University, Museum of History and Holocaust Education, (2/7/24)

Registration Now Open for the Power of Storytelling Symposium!

Saturday, April 20, 2024
10:00 AM - 4:00 PM
Kennesaw State University
Museum of History and Holocaust Education (MHHE)
KSU Center: 3333 Busbee Drive Kennesaw, GA 30144

$30 for Professionals

$15 for Students (with promo code STUDENT2024)

The MHHE and Emory Libraries and Museum are delighted to host The Power of 
Storytelling Symposium! Inspired by the 2022 book Storytelling in Museums, 
the symposium will bring together students and Gallery, Library, Archives, 
and Museum (GLAM) professionals to advance partnerships within and across 
professional communities and create ethical and meaningful interpretation 
of historical and cultural resources for diverse audiences. Join friends 
and colleagues for a day of mentorship, networking, and lively conversation 
focused on storytelling with collections, in community, and across disciplines.

For more information, click here.

CALL FOR PROPOSALS: 2024-2026 Exhibitions at the Thompson Art Gallery (2/7/24)

The Thompson Gallery of Art at Furman University invites established artists 
to propose solo and/or group exhibitions for the 2024-25 and 2025-2026 academic 
years. Exhibitions typically run between four to six weeks and engage the broader 
Furman University community through an opening or closing reception. Stipends are
available for artists willing to give a gallery talk or tour at this reception. 
The University oversees and provides insurance for the artwork while exhibited in 
the Gallery and can offer a small reimbursement for shipping; all additional 
shipping costs are the responsibility of the artist. The Thompson Gallery is 
approximately 900 square feet in area and has about 110 linear feet of exhibitable 
wall space. Applicants may download a floor plan of the gallery here and a SketchUp 
model of the space here.

Exhibitions of all media and thematic inquiries will be considered, but the 
Department of Art is especially interested in exhibitions that explore art’s 
engagement with the timeliest issues facing our community and art’s capacity to 
creatively inspire the formation of a more equitable and just society. Preference 
will also be given to exhibitions that create interdisciplinary dialogues with 
Furman’s institutes (the Shi Institute for Sustainable Communities; the Riley 
Institute of Government, Politics and Public Leadership; the Institute for the 
Advancement of Community Health; and the Hill Institute for Innovation and 
Entrepreneurship) and the University’s broader student population through the 
explorations of such themes as political discourse and engagement, social justice
and advocacy, artificial intelligence (AI), environmental consciousness, gender and 
sexual identity, historical memory and archiving, and the lived experience of 
marginalized social identities.

To propose an exhibition at the Thompson Gallery, please submit the following 
materials to thompsongalleryofart@furman.edu by Friday, March 15, 2024:
A one-page exhibition proposal that includes:
o Exhibition title
o Desired time frame of exhibition (2024-25 or 2025-26 academic year)
o Goals and intentions of exhibition.
o Major concepts, themes, and questions explored.
o Description of materials, production processes, and installation procedures.
o Explanation of the exhibition’s interdisciplinary appeal to Furman’s liberal 
art student audience.
o Interest in (and potential availability for) delivering a public artist talk, 
gallery tour, and/or student
workshop.

Image Portfolio, submitted as a single PDF, consisting of:
*10-15 high quality images of proposed (or similar) work.
*A corresponding image list with titles, dimensions, materials, and year created.
*A short Artist Biography
*Current CV with contact information (mailing address, email, and website)

CALL FOR PROPOSALS:
2025 TRUE INSPIRATION ARTIST IN RESIDENCE (2/7/24)

The Department of Art at Furman University invites applications for the 2025 
True Inspiration Artist in Residence. The program awards one Residency each 
academic year to an artist or designer interested in developing a body of work 
in collaboration with Furman’s students and faculty. Inaugurated in 2016 as 
part of The Furman Advantage—a university-wide program that aims to build 
educational value through tailored student experiences—the Residency provides 
Furman’s students with the opportunity to directly witness, partake in, and 
engage with practicing artists and designers as they bring a defined work from 
ideation to realization. The Resident will receive a generous stipend, a private 
studio in the Roe Art Building, and a solo exhibition at the Department’s Thompson 
Gallery of Art at the conclusion of the Residency.

Eligibility
The True Inspiration Artist in Residence is open to emerging and professional 
artists or designers who reside in North America and who hold an MFA (or have a 
record of equivalent professional achievement). The program recognizes the 
importance of interdisciplinary practices and welcomes artists and designers 
working in all media. 

Preferences
The ideal Resident will have a practice that expands upon the Department’s extant 
studio concentrations in drawing, painting, photography, ceramics, graphic design, 
sculpture, and printmaking, as well as resonates with its conceptual interests. As 
fostering an atmosphere of creative activity that extends throughout Furman is a 
goal of the Residency, the ideal Resident should also be excited to engage and 
collaborate with Departmental majors and eager to demonstrate art’s capacity for 
interdisciplinary dialogues with the broader University community. Proposed 
collaborations with one or more of Furman’s institutes (the Shi Institute for 
Sustainable Communities; the Riley Institute of Government, Politics and Public 
Leadership; the Institute for the Advancement of Community Health; and the Hill 
Institute for Innovation and Entrepreneurship) are of particular interest. This 
cycle, the Department of Art is especially interested in Resident artists and 
designers whose work engages with the themes of social justice, artificial 
intelligence (AI), environmental consciousness, gender and sexual identity, 
historical memory and archiving, and the lived experience of marginalized social 
identities. Preference will also be given to candidates able to be in residence 
for the entire Spring 2025 semester (January 13 to April 29) and who are interested 
in teaching a studio course of their choice (subject to approval) on a topic 
related to their Residency project. Finally, preference will be given to artists 
who live outside the upstate South Carolina region.

Compensation
There are two compensation options for the 2025 True Inspiration Artist in Residence. 

Option A: A Resident on campus for the entire Spring 2025 semester (January 13 to 
April 29) and who teaches a course will receive a $10,000 stipend and a contribution 
from the Department of Art toward housing expenses.

Option B: A Resident on campus for a portion of the Spring 2025 semester (a minimum 
of six weeks between January 19 and April 29), or on campus for a full term without 
teaching a course, will receive a $6,000 stipend. 

The Resident will have 24-hour access to a private 850 sq. ft. studio, as well as 
the resources of the Department of Art and Furman’s larger academic community. Access 
to additional studios and equipment will be provided with demonstrated experience. 
The Residency concludes with a solo exhibition at the Thompson Gallery of Art in 
March 2025. Residents are otherwise responsible for their own food, housing, 
transportation, materials, and supplies.

Resident Expectations
It is expected that the Resident will, by the culmination of their Residency:
• Create a body of work that will be exhibited and presented to the public in the 
Thompson Gallery.
• Give two public process and/or gallery talks to Furman students and the 
Greenville community.
• Run two workshops for Furman students.
• Maintain an ‘open studio’ during two Thompson Gallery exhibition openings.
• Be available (i.e. working in their studio) for a minimum of 20 hours per week. 
It is expected that most of these 20 hours be scheduled during the work week (weekdays, 
9am to 5pm) so that the Resident is accessible to Furman’s students for informal 
interactions and collaborations. 

Optional Programming
Additional compensation may be available for programming opportunities not directly 
specified above, such as a community project, public engagement opportunity, additional 
talk, or other Furman-related events. 

Facilities and Campus
The Resident’s studio is in the Roe Art Building, a postmodern building comprised of 
academic classrooms, the Thompson Gallery of Art, and five teaching studios. While the 
Resident has 24-hour access to these studios, the Roe Art Building is a shared teaching 
space and students involved in course-related activities have priority access to them. 
The Department of Art has about 60 students majoring in studio art or art history and 7 
full-time faculty. Courses range in size from 12 to 24 students. Furman University is a 
small liberal arts university located in Greenville, SC. With 2,500 on-campus students 
from across the nation, the university strives to support lifelong learners through 
inquiry, transformative experiences, and deep reflection. The upstate South Carolina 
area is rapidly growing with a rich history rooted in the textile industry. The New York 
Times ranked Greenville #12 on their 52 Places to Go in 2017 and Condé Traveler readers 
named it among the top five small cities in 2021. Greenville has a vibrant and artistic 
atmosphere, with many creative industries having moved to the area in the past few years.

To apply for the 2025 True Inspiration Artist in Residence, please submit the following 
materials to thompsongalleryofart@furman.edu by Friday, March 29, 2024. 

• A one-page Statement of Intent that describes the:
o Intended project(s) to be undertaken during the Residency period.
o Creative goals and intentions of the project(s).
o Major concepts, themes, and questions explored.
o Preferred materials, production processes, and installation procedures.
o Preferred compensation option.
• A one-page Programming Statement that describes:
o The project’s capacity for sustained interdisciplinary engagement with other 
University departments, centers, and/or institutes), as well as with the broader Greenville 
community.
o Potential ideas for two Resident-led student workshops.
o Interest in (and ability to) teach a studio art course related to residency project(s) 
and, if so, a brief description of its desired purview, objectives, and potential assigned 
projects. 
• Image Portfolio, submitted as a single PDF, consisting of:
o 8-10 high quality images of proposed (or similar) work.
o A corresponding image list with titles, dimensions, materials, and year created.
• Artist Statement (no longer than one page)
• A short Artist Biography
• Current CV with contact information (mailing address, email, and website)

Windgate Artist in Residence will work in the Windgate Center of Art + Design at
the University of Arkansas at Little Rock for Fall Semester, 2024 (Aug 15-Dec 10) (2/2/2024)

The Windgate Artist in Residence will work in the Windgate Center of Art + Design at
the University of Arkansas at Little Rock for Fall Semester, 2024 (Aug 15-Dec 10). This
residency offers the Artist in Residence the opportunity to make work and to engage
with the community of the UALR School of Art and Design. While in residence, the artist
is expected to make work in the provided studio space and/or the shared studio spaces
of the building. In addition, artists will interact with students through weekly open studio
hours, studio visits to student workspaces, in-class activities in existing courses (artists
will not be required to teach courses), a public artist’s talk, and welcome and farewell
community receptions. Participating artists will also give one work of art to the
Permanent Collection. 

Housing is provided for the Windgate Artist in Residence in a 2-bedroom house
approximately one block from the Windgate Center for Art + Design. Parking is
available. Artists with families are encouraged to apply. 
This position is awarded a stipend of $30,000 for the semester. The position has an
additional $2,000 budget for materials and travel. 
For details see the job posting on the institution’s website.

Required Documentation:
Important note: please upload all of the following files in the field on the application that prompts
you to upload your CV. You may submit them individually or as one large PDF. This is the only
place on the application that allows file uploads. 

1. Letter of interest specifying qualifications and experience (cover letter)
2. Curriculum Vitae
3. A short summary of teaching experience or other relevant experience with
students and a description of ideas you have for in-class activities at UALR (one
page max)  
4. Professional work samples to include a portfolio or link to an online portfolio (20
images maximum, with explanatory notes or captions. Upload all attachments as
one pdf document)
5. Names, email addresses, and telephone numbers of at least three references
who can comment upon your experience and professional preparation
Apply here: https://uasys.wd5.myworkdayjobs.com/UASYS/job/Little-Rock/Extra-Help-
Windgate-Artist-in-Residence_R0050832 

Questions? Email Krista Schoening: kschoening@ualr.edu

Save the Date! Challenging Empire: Women, Art, and the Global Early 
Modern World symposium will be held March 1-2, 2024. (2/2/2024)

Symposium title: “Challenging Empire: Women, Art, and the Global Early Modern World”
Conference dates: March 1 – 2, 2024
Venues: The University of Alabama, Tuscaloosa, and the Birmingham Museum of Art,
Birmingham, Alabama (and online via Zoom)

The symposium “Challenging Empire: Women, Art, and the Global Early Modern 
World,” part of the project Global Makers: Women Artists in the Early Modern 
Courts of Europe and Asia, is intended to extend and expand knowledge of 
cultural production by and for early modern women – particularly those 
associated with the courts – on a global scale. While numerous conferences, 
symposia and resulting publications in the past several decades have addressed 
women as producers, consumers and subjects of European art during the early 
modern period (c. 1400-1750), less consideration has been given to women’s 
roles in the courts – particularly as informed by the steadily increasing 
cross-cultural interactions (i.e. between Europe and Asia, the Americas, 
Africa, etc.) that characterized the period. This symposium aims to address 
this lacuna while de-centering the traditional Euro-centric model of study 
in the analysis of women’s cultural production, presentation and consumption 
surrounding courts and empires (institutions associated with ruling power). 
The goal is to encourage a more equitable view of early modern women’s 
experiences of and with art globally, across traditionally held national 
and continental boundaries.

For further details, registration information, and program, 
visit https://art.ua.edu/challenging-empire-symposium/. All are welcome to 
attend! 

The symposium is supported by the Samuel H. Kress Foundation, Birmingham 
Museum of Art, The University of Alabama: Office for Research and Economic 
Development, Hudson Strode Program, Medieval and Early Modern European Studies, 
Asian Studies, College of Arts & Sciences, Department of Art and Art History, 
and Alabama Digital Humanities Center.

Organizers are University of Alabama associate professor of art history Dr. 
Tanja L. Jones, assistant professor of art history Dr. Doris Sung, and 
University of California, Riverside Ph.D. student and UA alumna Rebecca Teague. 

CALL FOR ARTISTS: ARTIFACT [BOLD], An Annual International Exhibition of
Graphic Design, New Media, Illustration, Printmaking, and the Expanded Field (1/24/24)

High Point University’s Sechrest Art Gallery and Department of Studio Art and Graphic
Design announce Artifact [BOLD], an annual international exhibition of graphic design,
new media, illustration, printmaking, and the expanded field to be held March 18
through April 5, 2024.

We invite submissions for consideration that cross traditional boundaries of context and
engage diverse media, including but not limited to: digital prints, package design,
films/videos, photographs, animations, paintings, drawings, sculptures, ceramics,
installations, editorial designs, book arts, kinetic works, and mixed media works.
 
IMPORTANT INFORMATION:
* The exhibit’s juror is award-winning artist and designer award-winning artist,
designer, and author Kaleena Sales (https://kaleenasales.design/)
* Cash prizes will be awarded to artists chosen for special commendation by the
exhibit’s juror.
* Entrants may submit up to three works for consideration. The entry fee is $25.
* Current undergraduate students are welcome to submit work for consideration
and there is a special prize category for their work.

DATES TO REMEMBER:
* Deadline for entries: FEBRUARY 16, 2024
* Acceptance notifications sent: FEBRUARY 23, 2024
* Artwork due to the Sechrest Gallery: MARCH 6, 2024
 
SUBMIT WORK:
All entries should be made online at: 
https://www.highpoint.edu/arts-design/2023/12/11/ab-2024/

CONTACT:
Emily Gerhold, Director, Sechrest Gallery of Art (egerhold@highpoint.edu)
Skylar U’glay, Program Manager, Sechrest Art Gallery (suglay1@highpoint.edu)

Caumsett Artist in Residence Program (1/17/24)

The Caumsett Artist in Residence Program (Caumsett AIR) provides visual artists the 
opportunity to spend time creating projects inspired by Caumsett State Historic Park 
Preserve's natural beauty, history, architecture, culture, and environmental and 
ecological significance. The program will provide visual artists the opportunity to 
engage with the unique history and environment of Caumsett State Historic Park 
Preserve, a 1,500-acre park along Long Island’s North Shore, about one hour east of 
NYC. The program will run for six months a year from May through October. Artists 
will spend 4 - 12 weeks working in an onsite studio, a one-hundred-year-old barn, 
depending on availability.

As a resident, you will be required to open your studio to the public for a minimum 
of 20 hours per week, provide one educational program for our patrons and host one 
artist lecture. Each artist will be given a stipend of $500 - $1000 for their residency.

PLEASE COMPLETE YOUR APPLICATION BY MARCH 1, 2024 to be considered. Application 
and more information can be found at: 
https://www.caumsettfoundation.org/artist-in-residence-program

Call for Presentations and Roundtables for Virtual Colloquium: Art History and Artificial 
Intelligence: Starting a Conversation (12/14/23)

Art History and Artificial Intelligence: Starting a Conversation
Virtual Colloquium via Zoom
February 19, 2024 

Organizers:
Leda Cempellin, PhD
School of Design, South Dakota State University
Melissa Geiger, Ph. D.
Department of Art + Media + Design, East Stroudsburg University of Pennsylvania

Please submit proposals to Dr. Leda Cempellin, Leda.Cempellin@sdstate.edu  
by January 15, 2024.
 
FOCUS: 
At the onset of AI, Art History is at another moment of transition. Our students’ 
written and oral communication skills, which are at the core of our pedagogical 
mission, have been suffering during the last years, most recently receiving an 
additional strike by the isolation forced by the pandemic. Not long after faculty 
have tried to adapt to the sudden change, the emergence of Artificial Intelligence 
(AI) started pushing us in yet another direction. Art Historians will need to come 
to terms with a new technology that will transform the way we live and even think. 
We need to imagine ways we could use chatbots in Art History to expand the discipline 
and devise strategies for teaching, research, professional collaborations within and 
outside of the field. Chatbots could potentially become virtual assistants for 
at-risk students, by coaching them on writing, critical thinking, professional 
skills like time management through our Art History content and assignments. Chatbots 
can help us generate Art History games, like trivia, scavenger hunts, role-playing, 
puzzles, simulations, and so on. This winter break may be the right time to try out 
some of these strategies. 

Here is a non-inclusive list of questions that we hope will spark interest towards 
testing and sharing new strategies:

How can chatbots be used to strengthen students’ analysis and communication skills?
How can chatbots be used to aid Art History faculty in designing class lectures, 
discussion prompts, tests, assignments rubrics, guidelines, feedback, or other 
elements of teaching?
In what ways can AI assist us in our scholarship?
How can we leverage AI to connect our research to the classroom? 
How can AI facilitate Art History’s interdisciplinary collaborations?
How can we promote ethical and responsible use of AI among students?
How can we strike a balance between AI and traditional art historical analysis methods?
How can AI enhance our understanding of art as opposed to becoming a distraction?
 
The colloquium will take place via Zoom on February 19, 2024, as an informal and friendly 
conversation that welcomes presentations, roundtable discussions, brainstorming on 
topics or themes, workshops and demonstrations, and any format that can be devised in 
a Zoom screen-sharing environment. 

Please, submit proposals by January 15, 2024 to Leda Cempellin, Leda.Cempellin@sdstate.edu. 

Please, include the following for individual presentations/workshops:

A ca. 200-300 word narrative summary articulating how you tested a chatbot’s capabilities 
within the Art History discipline, what were the preliminary findings, and the ideal 
format for you to share them.

A 50-100 word bio.

Please, include the following for roundtables or other collaborative formats:

A ca.200-300-word summary of the roundtable topic.  
A list of participants with 50-100 word bios from everyone.

We look forward to hearing from you in January!

Call for Papers and Roundtables, Reaching Out: An Other-Focused Academic Education

in the Arts (12/8/23)

Please submit proposals to Melissa Geiger mgeiger@esu.edu by January 15, 2024. 

Virtual Symposium via Zoom 
April 4-5, 2024  

Organizers: 
Melissa Geiger, Ph. D. 
Department of Art + Media + Design, East Stroudsburg University of Pennsylvania 
Leda Cempellin, Ph. D.  
School of Design, South Dakota State University

SYMPOSIUM FOCUS:  

Teaching art faculty and art educators are developing innovative strategies 
blending skills and processes traditionally specific to the fine arts with some 
others more often associated with design disciplines – such as placemaking, 
collaboration, interdisciplinary synthesis. A new trend is emerging among 
contemporary studio art faculty towards expanding the subject of their 
investigations beyond one’s individual creativity and reaching out to make other 
academics, their students, and/or their communities part of their own artistic 
practices. In our call, we are looking specifically for artist practitioners 
who are heavily invested in teaching and are developing adaptative strategies to 
expand their own artistic practices to their research, teaching, and service 
for the common good. By trying to understand how others think and by merging 
other perspectives with their individual and unique artistic vision, art educators 
are engaging in novel and more compassionate ways of reimagining the discipline.  

These are some of the – not inclusive – questions related to this CFP: 

1. How can teaching artists expand the subject of their investigations beyond their 
own individual creativity? 
2. How can collaborations with other disciplines be envisioned to create more 
interdisciplinary and cross-disciplinary artistic practices? 
3. What are some ways to use technology towards enhancing collaborative teaching and 
research in the arts? 
4. What are some strategies that can be used to merge traditional skills, approaches, 
processes specific to the fine arts with those more often associated with design? 
5. What are some ways that perspectives outside of the fine arts can merge with 
individual and unique artistic visions to engage in novel and more compassionate 
ways of reimagining the discipline? 
6. How can teaching artists involve themselves and their classes in community outreach 
and engagement efforts to create more meaningful and impactful experiences of art? 
7. How can artistic teaching, research, and practice be used to address issues of social 
justice and equity? 
8. What are some strategies that can be used to make the fine arts more inclusive and 
accessible to diverse communities? 
9. How can teaching artists contribute to educating a broader audience on the value of 
art in improving people’s quality of life and personal growth? 

Please include the following for presentations: 

300-400 word abstract or outline of proposed presentation 
2-3 page CV 
50-word bio narrative to be used as introduction 

Please include the following for roundtables: 

A 300-400 word abstract or outline of your proposed discussion 
A 2-3 page CV of moderator 
A 50-word bio narrative for all participants 
Sample images are accepted with the abstract if needed to illustrate the concept.
 
 We look forward to hearing from you!