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 firstname.lastname@example.org.
Call for Articles and Reviews, SESAH (2/15/19)
Exhibition Submissions (12/21/18)
Community Service, Art History Instructor, Atlanta (1/11/19)
Call for Papers, MAHS (12/14/18)
Fellowships in American Art, Arkansas (1/15/19)
Exhibition Submissions (12/14/18)
Graduate Art and Architectural History Papers, UVA (12/15/18)
Masters Art History Papers and Undergraduate Posters, Alabama (12/14/18)
Manuscripts for Humanities (6/30/19)
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Call for Articles and Reviews, Arris, journal of SESAH
Arris, the journal of the Southeast Chapter of the Society of Architectural Historians, solicits papers for volume 30, to be published in 2019. The journal welcomes original scholarship on all aspects of the history of architecture and landscape in the form of both research articles and field notes. Research articles will be blind peer-reviewed. To be considered for volume 30, manuscripts must be received by Feburary 15, 2019.
For further information, please contact the chair of the Arris Committee:
Lydia Mattice Brandt, Associate Professor
School of Visual Art and Design, University of South Carolina
, at email@example.com.
To submit a book for review, please contact the Arris Book Review Editor:
Vandana Baweja, Associate Professor
School of Architecture, University of Florida, at
Books reviewed in Arris should represent outstanding scholarly contributions about the architecture of the South or by authors who reside in the South (defined as SESAH member states).
Call for Exhibition Submissions—Visualizing Protest: The Art of Resistance, Stamp Gallery
Submission Deadline | December 21
Notification Date | January 4
Exhibition Dates | February 13 – March 29
ABOUT THE EXHIBITION
Protests have long been a social tool by which to mobilize groups of people around shared grievances, allowing them to collectively interrogate power structures and enact change through the discursive processes of resistance. Protests have been an important moment at which resistance enters public space and gains broader visibility. Some forms of protest, such as riots, can even erupt spontaneously and result in alternative discourses that undermine the original aims of the protestors.
This exhibition thus seeks to explore the role of visual production around protests. It will consider such questions as: How do we understand the relationship between what is visible/invisible or public/private in collective forms of resistance? How does artwork and new media shape, interrogate, or blur these distinctions? How does the visual response to protests and resistance movements by artists memorialize and historicize the events? Do new technologies change the nature of protests, resistance movements, and how they are mobilized? If so, how we understand them visually? What is the role of audience? What is the role of visual imagery produced by resistance groups themselves?
The curator of this exhibition seeks a small group of artists working in a wide range of media whose work critically engages with and responds to ideas around resistance and protest. Work can focus on recent events within the United States as well as be historically situated or centered on other regions. Selected artwork will be exhibited in Stamp Gallery in the Adele H. Stamp Student Union, University of Maryland, College Park.
ABOUT THE CURATOR
Alison Singer, Stamp Gallery Coordinator, Doctoral Candidate, Art History
Alison is particularly interested in Black Nationalism in the 20th century as well as the interplay between material and pop culture and its relationship to the development of national identity. From 2017-2018 she held a research fellowship at the National Museum of African American History and Culture. Her most recent exhibition at Stamp Gallery, Mirrored Re-Collection, explored the notion of home, gender, private and collective memory, and national identity.
ABOUT STAMP GALLERY
Stamp Gallery is dedicated to the exhibition of contemporary art with an emphasis on the work of emerging and mid-career artists. The gallery supports contemporary art that is challenging and/or academically engaging and that addresses broad community and social issues. The gallery serves by providing exhibitions of social responsibility and artistic substance, as well as by offering an educational forum in which dialogue between artist and viewer and art and community is encouraged.
Stamp Gallery is located on the first floor of the Stamp Student Union (1220 Stamp Student Union, The Adele H. Stamp Student Union - Center for Campus Life, University of Maryland College Park, 20742). 301-314-8492, firstname.lastname@example.org.
Applicants must submit:
• Artist’s Statement about specific works being submitted
• Link to artist’s website (if applicable)
• Proposed works with title and short description (up to 200 words), year of production, and medium)
• Digital documentation of work
• 5-10 images/files (JPEG 72 dpi), video/audio clips should be shared as a link to a streaming site (with password information as necessary)
PLEASE SUBMIT TO: email@example.com
Volunteer Instructor: History of Art
Common Good Atlanta in partnership with the Clemente Course at Bard College
Primary Category: Community Service
Compensation: $500 honorarium
Deadline for submission of application: January 11, 2019
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.
CGA is now 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 2019 at Metro Reentry Facility in Atlanta. The professor 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 instructor in collaboration with Common Good Atlanta. CGA will provide the professor a teaching assistant.
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
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: 9-11
• 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
• Sample syllabi of courses previously taught
Applications and any questions should be submitted by email to Dr. Sarah Higinbotham: Sarah.firstname.lastname@example.org.
Call for Papers: Midwest Art History Society 2019, Cincinnati, Ohio, March 21–23, 2019
Deadline to submit abstracts for papers to session chairs: December 14, 2018
The Midwest Art History Society (MAHS) will hold its 46th Annual Conference in Cincinnati, Ohio from March 21–23, 2019, with sessions hosted by the Cincinnati Art Museum (CAM) and Taft Museum of Art and with a reception hosted by the Contemporary Arts Center. Deadline to submit abstracts for papers to session chairs is December 14, 2018. For more information see: https://www.mahsonline.org/conference/.
This year’s keynote lecture will be given by Dr. S. Hollis Clayson, Bergen Evans Professor in the Humanities at Northwestern University, in association with CAM’s exhibition Paris 1900: City of Entertainment. Special behind-the-scenes programs at partner museums will make this conference a particularly memorable experience, including tours of the newly renovated Union Terminal, an iconic Art Deco train station now home to the Cincinnati Museum Center.
Fellowships in American Art: Tyson Scholars Program, Crystal Bridges Museum
Application deadline: January 15, 2019
Crystal Bridges Museum and the Tyson Scholars Program encourages and supports scholarship that seeks to expand boundaries or traditional categories of investigation into American art. Crystal Bridges invites applications addressing a variety of topics including art history, American studies, craft, architecture, visual and material culture, Indigenous art, Latin American art, American studies, and contemporary art. Projects with an interdisciplinary focus are particularly encouraged.
The program is open to scholars holding a PhD (or equivalent experience) as well as to PhD candidates. Applicants may be affiliated with a university, museum, or independent. Scholars will be selected on the basis of their potential to advance understanding of American art and to intersect meaningfully with aspects of Crystal Bridges’ collections, architecture, or landscape.
To support their research, Tyson Scholars have access to the art and library collections of Crystal Bridges as well as the library at the University of Arkansas in nearby Fayetteville. Housing is provided at the Crystal Bridges Farmhouse, within easy walking distance from the Museum via wooded trails and approximately 1.5 miles from downtown Bentonville. Scholars have private bed and bathrooms in the house, and share comfortable indoor and outdoor common spaces including an expansive yard, patio, and swimming pool. In addition to housing, Scholars are provided office or carrel space in the curatorial wing of Crystal Bridges’ Library.
Stipends vary depending on the duration of residency, and position as senior scholar, post-doctoral scholar, or pre-doctoral scholar and range from $15,000 to $30,000 per semester. Additional funds for relocation are provided, and research travel funds are available during the residency upon application.
Further information about the Tyson Scholars Program, application instructions, and application portal can be found at https://crystalbridges.org/tyson-scholars/. Applicants are encouraged to contact Crystal Bridges’ curators and librarians in advance for specific information about the Museum’s collection related to their research. The application deadline for residency between August 2019 and mid-May 2020 is January 15, 2019.
About Crystal Bridges:
Opened to the public on November 11, 2011, Crystal Bridges was founded in 2005 by philanthropist Alice Walton. Crystal Bridges’ permanent collection spans five centuries of American art ranging from the Colonial era to the current day. It has particular strengths in colonial through early twentieth century painting and a growing collection of post-war and contemporary art in all media. Crystal Bridges’ research library consists of approximately 60,000 volumes as well as significant manuscript and ephemera holdings. The library also houses a comprehensive collection of American color-plate books from the nineteenth century.
The Tyson Scholars of American Art Program supports full-time scholarship in the history of American art and visual and material culture from the colonial period to the present. The program was established in 2012 through a $5 million commitment from the Tyson family and Tyson Foods, Inc. Since its inception, the Tyson Scholars program has supported the work of 20 scholars, attracting academic professionals in a variety of disciplines from across the country.
Call for Entries: POSITIVE/NEGATIVE 34 National Juried Art Exhibition, Slocumb Galleries at East Tennessee State University
Juror: Ann Meisinger, Independent Curator, and Assistant Educator, Public Programs & Creative Practice, Metropolitan Museum of Art, New York
Deadline for Submission: December 14, 2018
January 22 to February 15, 2019; Juror's Lecture & Reception, February 7
The Positive/Negative is a national juried art exhibition, organized yearly since 1985, to provide access to dynamic and innovative contemporary art practices that explore current directions in visual art. For more than 30 years, the P/N exhibitions have served as platform for dialogue to promote diversity, creative excellence, and critical thinking within the academic and local communities.
All 2D, 3D and video/sound art are eligible. Open to US artists 18 years and older. There is no theme for the call for submission. Juror will select participating artists, curate the exhibition, and award Best of Show and Honorable Mention.
Up to $1,000 in cash prizes with exhibition opportunities. Juror's decision is final. Artists will be notified by email on or before January 5, 2019. All accepted entries must be received by January 17, 2019. Work must not exceed 60 inches in any direction, weight must be less than 50 lbs, or no longer than 15 minutes of digital play. Artists may submit up to 3 titles. Images must be saved either as jpeg or pdf; multiple images per file is acceptable. Artist statement must be in doc format only.
For inquiries, email SG Director Karlota I. Contreras-Koterbay via email@example.com or visit https://www.etsu.edu/cas/art/galleries/positive-negative.php
Entry Fee: $41; Submission via Slideroom: https://etsu.slideroom.com/#/permalink/program/46330
Call for Papers—Invisible Spectrum: Making and Viewing the Unseen, March 29, 2019
Art & Architectural History Graduate Symposium, University of Virginia McIntire Department of Art
Deadline for Submissions: December 15, 2018
Keynote Speaker: Rachael Z. DeLue, Professor of Art History, Princeton University
Either because they are conceptually abstract or physically imperceptible, some things cannot be seen. The subjects of artistic expression, scientific inquiry, and religious devotion frequently exist outside the boundaries of the visible spectrum, posing a series of obstacles for their realization in material form, their reducibility to the conventions of image-making, or even their very conception. While new technologies, epistemologies, and artistic innovations have aided our endeavors to visualize the invisible, the mystery of the unseen endures.
The interdisciplinary symposium Invisible Spectrum asks how the invisible has been rendered in the history of visual culture. What is the relationship between the immaterial and material? How have artists expanded or transgressed the visible spectrum to picture the imperceptible, the unseen, the improbable, or the immaterial? What is the role of the viewer in conceiving such relationships? How have art, science, or other disciplines intersected or overlapped in attempts to realize the invisible? What are the stakes of such attempts? How do these attempts differ historically and culturally?
We welcome contributions from graduate students in the fields of art and architectural history, archaeology, visual and material culture studies, as well as from other disciplines. Abstracts from all historical periods, geographical areas, and cultural, theoretical, and methodological perspectives are encouraged. Submissions will be considered for 20-minute presentations.
Possible topics include, but are not limited to:
• Objects and images that push the boundaries of visual knowledge
• The nature of vision
• Intersections of visuality, scientific inquiry, and technology
• Visualizing semblances of power, identities, and/or race
• Envisioning the spiritual, divine, mythological
• Materializing sensorial experience
• Visualizing trauma and emotional/physical violence
• Embodiment, performance, and/or ritual
• Shaping space or liminality
• Distinctions between the real and the imaginary
Graduate students are invited to submit a CV and an abstract (250 words) in a single PDF file to
firstname.lastname@example.org by December 15, 2018. Applicants will be notified of decisions by February 1, 2019.
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 (email@example.com) and Dr. Cathleen Cummings (firstname.lastname@example.org). Notification of acceptance will be made by 7 January 2019. Please do not hesitate to contact Dr. Curzon or Dr. Cummings with questions.
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 (email@example.com). Notification of acceptance will be made by 7 January 2019. Please do not hesitate to contact Dr. Jones with questions.
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.