Print Page | Contact Us | Sign In | Join
Calls: Studio & Academic
Share |

Calls for Proposals, Papers, Submissions, 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 Christine Tate at admin@secacart.org.

 

Call for Papers: 24th Annual Graduate Student Symposium in Art History, Friday, 1 March 2019 
CFP open to MA students in all fields; poster session open to undergraduate art history majors

Deadline for Submissions: Friday, 14 December 2018
Keynote Speaker: Dr. Catherine Zuromskis, Assistant Professor, School of Photographic Arts and Sciences, Rochester Institute of Technology 

Sponsored by the University of Alabama and the University of Alabama at Birmingham Joint Program for the MA in Art History, the Symposium is hosted by the Department of Art and Art History at The University of Alabama.

The Symposium will take place on The University of Alabama in Tuscaloosa. Paper proposals are invited from MA students in all fields of art history and may include completed research as well as works in progress. Presentations are limited to 20 minutes and will be followed by discussion. Please submit a 250-word abstract and a one-page c.v. on or before Friday, 14 December 2018 (by e-mail) to both: Dr. Lucy Curzon (lcurzon@ua.edu) and Dr. Cathleen Cummings (ccummings@uab.edu). Notification of acceptance will be made by 7 January 2019. Please do not hesitate to contact Dr. Curzon or Dr. Cummings with questions.
and

Undergraduate Poster Session Proposals
To encourage the work of emerging scholars in the discipline, we also invite undergraduate art history majors to submit proposals for presentations of senior-level or thesis work in a poster session, to be held during the day of the Symposium. Proposals should consist of a 250-word abstract regarding the project and be accompanied by a letter of recommendation from the student’s advisor or major professor. Please submit completed proposals Friday, 14 December 2018 (by e-mail) to Dr. Tanja Jones (tljones10@as.ua.edu). Notification of acceptance will be made by 7 January 2019. Please do not hesitate to contact Dr. Jones with questions.

 

Call for Papers—Fictions and Frictions: The Power and Politics of Narrative
Graduate Art History Symposium at the University of Illinois Urbana-Champaign, March 1-2, 2019
Due: December 1, 2018
Keynote speaker: Dr. Hannah Feldman (Art History, Northwestern University)

The construction of a counternarrative can be a strategy for political resistance, revealing power structures by articulating a perspective on social reality alternative to the dominant or norm. Yet, alternative realities are not always positive or emancipatory, as demonstrated by the proliferation of claims of “fake news” and “alternative facts.” When multiple narratives collide into each other, they create friction at their edges. In that friction, we might find new perspectives and possibilities. As Jacques Rancière has argued in The Politics of Aesthetics, “Politics and art, like forms of knowledge, construct ‘fictions,’ that is to say material rearrangements of signs and images, relationships between what is seen and what is said, between what is done and what can be done”. This symposium will focus on narrative edges in order to develop a more nuanced understanding of the way that visual and performative fictions function politically. We seek 20-minute presentations from graduate students in any discipline that engage with the construction or deconstruction of power through oral, written, and visual narratives, or with the conflicts and congruences among competing narratives.

The symposium is not defined by any fixed period or geographic region but by several research questions: In what cases and for whom are the politics of narrative and counternarrative emancipatory (and/or oppressive)? How do narrative and performative fictions intervene in politics, disrupting and/or maintaining the status quo? How have artists, activists, and scholars tactically used “fictions” and “narratives” to create interventions? Following Rancière, how can we distinguish between fiction and falsity? Do fictions still have power to challenge us to imagine and enact alternative possibilities and experiences? What other modes might enable such alternatives?

Relevant topics include (but are not limited to):
• Case studies of collective resistance to authoritarian power or cultural hegemonies
• Documentary film and documentary fiction
• Minoritarian world-building through performance and aesthetics
• Minor gestures
• Frictions that emerge from nonhuman and multi-species agencies and their experiences
• Visibility and constructions of race and gender
• Engagements with notion of “performative realism,” the “parafictional,” etc.
• Unpacking methods of classification within archives, reading archives “against the grain”
• The way in which accounts of sexual violence are often framed by mainstream media
• Indigenous and settler colonial narratives, disputes surrounding property, land use and political legitimacy
• Queer subjectivities and queer methodologies that refuse normative positionalities or accepted narratives
• Performances of identity in the digital sphere, the internet as a tool for social change

Please send your 300-word abstracts and a 2-page CV, or any questions to Alyssa Bralower and Sarah Richter at sahauiuc58@gmail.com by December 1, 2018. Applicants will be notified by early January.
For more details, visit https://sahauiuc58.wixsite.com/fictions-frictions.


Special Issue of Humanities: Realism and Naturalism in the Humanities

Guest Editor: Cameron Dodworth, Ph.D., Department of English, Methodist University

Deadline for Submissions is June 30, 2019


As a movement and genre, Realism—including Naturalism and Impressionism—had its origins in the literature and visual art of France in the early- to mid-nineteenth century, but it soon became very much an international and interdisciplinary methodology that extended well into the twentieth century and beyond. This special issue of Humanities invites submissions that engage with Realism, Naturalism, and even Impressionism (as articulated through Realism) as international and interdisciplinary movements and genres. Particularly through the lens of the Humanities (literature, art, theater, film, history, music, and philosophy), submissions that engage one or more of those disciplines—and that form interdisciplinary connections between those and others—are encouraged. Also welcome are studies that connect with Realism at any point from the nineteenth century through the Modernist period, including papers that make even more contemporary connections (through adaptation studies, for example).

While the study of Realism, in broader contexts, contains a significant amount of scholarship, focus on Naturalism, in particular, is of major concern in this special issue. This special issue seeks to not only gain a greater sense of understanding in relation to Naturalism—as an oftentimes underdeveloped, underexplored, and even ambiguous genre within the umbrella of Realism—but it also seeks to challenge previous understandings of Naturalism.

Gabriel P. Weisberg observes—mainly of visual art—in Beyond Impressionism: The Naturalist Impulse (1992) that Naturalists “were overlooked by collectors and critics who believed that the avant-garde—those artists in total opposition to an academic tradition—came to full ascendancy at the turn of the twentieth century,” and that Naturalism was often stigmatized as failing to reflect “the stylistic traits of nascent modernism.” Papers that challenge and/or support these claims, especially on a more interdisciplinary basis, are of particular interest. To what extent does Naturalism, within the realm of Realism, deviate in various disciplines from the evidently more avant-garde fin-de-siècle movements that are typically considered more consistent with the evolution towards Modernism? To what extent is Naturalism an avant-garde movement in its own right? What about the liminality as well as the limitations of Naturalism, within and beyond the scope of Realism?

Papers that address the above questions or that explore any other subject matter within Realism, Naturalism, and Impressionism will be considered.

Manuscripts should be submitted online at www.mdpi.com by registering and logging in.

Once you are registered, complete the submission form. Manuscripts can be submitted until the deadline. All papers will be peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page.

Humanities is an international peer-reviewed open access quarterly journal published by MDPI.

Volunteer Instructor: History of Art
Common Good Atlanta in partnership with the Clemente Course at Bard College

Description & Details
Common Good Atlanta provides college courses to incarcerated people at 3 prisons in the state of Georgia. CGA is an all-volunteer consortium of about 50 professors from 6 Atlanta area universities. Together we have taught thousands of hours of college courses to the incarcerated since 2008.

Starting at the end of August, CGA will be partnering with the Clemente Course in the Humanities to offer a 9-month course to the incarcerated. Upon completion of the course, students will receive six credit hours from Bard College. CGA pays all tuition costs and provides all books. The Clemente Course teaches five disciplines — history, literature, art history, critical writing, and philosophy — with each discipline offering approximately 8-11 class sessions.

Common Good Atlanta is seeking History of Art professors for spring semester 2019. The ideal candidates will be able to teach at one of two possible sites: Whitworth Women’s Facility in Hartwell, Georgia; or Metro Reentry Facility in Atlanta. The professors must have a passion for teaching and a willingness to work with a team dedicated to this idea: democratic access to higher education strengthens the common good of communities.

The course curriculum will be determined by the instructors in collaboration with Common Good Atlanta.

Qualifications
The successful candidates will possess the following qualifications:
• PhD or terminal degree in History of Art (ABD candidates will also be considered)
• Several years of teaching experience
• Willingness to work with Clemente Course teaching philosophy
• Desire to bring power of the liberal arts to the incarcerated

Locations
Whitworth Women’s Facility
• Hartwell, GA
• Classes will take place on Fridays from noon to 3pm
• Number of classes to be taught: 7 to 8
• Exact dates of History of Art class are to be determined. We will create course schedule which is most convenient for instructor

Metro Reentry Facility
• Atlanta, Georgia
• Classes will take place on Mondays and/or Wednesdays, from 5 to 7p.m.
• Number of classes to be taught: 10-11
• Exact dates of History of Art class are to be determined. We will create course schedule which is most convenient for instructor

Please send the following materials:
• Cover letter
• CV
• Up to three sample syllabi of courses previously taught and/or ideal courses tailored to the candidate’s interests

Applications and any questions should be submitted by email to Dr. Sarah Higinbotham:
Sarah.higinbotham@emory.edu.