|
|
 |
Art History Graduate Symposia |
Symposiums are in alphabetical order by host institution. If no CFP for the upcoming symposium has been issued, information for the most recent past symposium is provided. If you are organizing a symposium or have information on one or if you have a correction to any of the listings, please email Doug Singsen at dsingsen@hotmail.com. |
Arizona State
University This interdisciplinary symposium will coincide with the Phoenix
Art Museum’s major exhibition “Masterpiece Replayed:
Monet, Matisse and More” (January 20-May 4, 2008) and will
explore the various roles of the copy, series, and repetition in
the works of artists working in France in the late nineteenth and
early twentieth century. Possible themes for investigation include
but are not limited to the roles of the French Academy and the avant-garde
in defining the boundaries of imitation, the increasing For more information, visit our website at http://www.asu.edu/clubs/cogah/COGAH |
Bard Graduate Student Symposium Next symposium: not yet announced |
The
24th Annual Boston University Graduate Student Symposium on the
History of Art Graduate Symposium: Saturday, March 29, 2008, 10:00
a.m. to 5:00 p.m. Damage |
Cornell University Annual Graduate Symposium Next symposium: not yet announced |
Florida State University Annual Art History Graduate Student Symposium Next symposium: Fall 2008, exact date not yet announced
|
The Frick Collection and the Institute of Fine Arts of New York University: A Symposium on the History of Art Next symposium: not yet announced To participate you must be enrolled in one of the 14 member institutions and be nominated by your department. |
The CUNY Graduate Center's Annual Art History Graduate Student Symposium Saturday, March 29, 2008 Globalization Then and Now: Cultural Exchange Across Borders The Department of Art History at The Graduate Center, CUNY, invites
submissions for a Graduate Student Symposium on the theme of cultural
exchange. "Globalization: Then and Now" will attempt to
expand and explore concepts of cultural dialogue, moving from physical
concerns with geographic borders, towards conceptual, temporal,
and methodological ones. Topics could include but are not limited
to: a reevaluation of the effects of colonialism; reenactment and
reinvestigation of one culture by another; the role of exile or
immigration in the development of art historical methodology; the
function of capitalism in cultural exchange; artistic movements
and figures that transgress national borders (i.e., baroque, dada, |
Latin America:
The Last Avant-Garde This symposium is organized around the conceit that Latin America is the site of the last avant-garde. We are not interested in the truth or falsity of this conceit, but how it operates as an interpretive paradigm. In several key episodes of Latin American art, artists and critics have positioned the region as a privileged, even mythological, site for the final realization of an avant-garde project initiated in Europe. In other instances, avant-gardism provided a discourse of rupture by which Latin American artists aligned themselves with revolutionary, utopian, and universalist aims while disavowing European cultural dependency and advancing a claim for the unique character of the national or regional avant-garde. In both cases, the original military metaphor of the avant-garde, with its associations of innovation, radicality, and novelty, has been brought to bear on artistic movements and individual experiments that have self-consciously figured "lastness" as a strategic paradigm. The conjoining of these two impulses within the Latin American avant-garde forces into view key structural contradictions between modernity, Modernism, and the avant-garde. How is characterization of the Latin American avant-garde as either unitary or merely reactive complicated by the avant-garde's fundamentally international character? How has avant-gardism intersected with political, economic and military pressures particular to the region? How have Latin American artists engaged in interdisciplinary collaborations and expanded networks of informational flow in order to catalyze new, or "final" articulations of the avant-garde? How have artists exploited temporal delay and geographic marginality as aesthetic and conceptual gambits, and how might such articulations debunk the very notion of the avant-garde's originality? In recent years, Latin American modern art has reemerged as a priority within academic departments and museum collections, an interest that coincides with a shift away from regionalism and identity politics as the central tropes of its study. In this sense too, Latin American art can be considered the "last," or most recent, avant-garde to be canonized (or colonized) within art historical Modernism. How can new studies and interpretations of Latin American avant-garde art allow us to refigure histories of "prewar" and "postwar" art, modernity and cultural exchange, theories of the avant-garde and neo-avant-garde, and other modernist methodologies? How might recent theoretical models posited in exhibitions such as Inverted Utopias and The Geometry of Hope such as the "constellation," "regressive utopia," or "deformed modernity" impact the study of avant-gardism in Latin America? At a current moment in which the dialectic between "local" and "global" has taken center stage, how might art historians help shape a history of the region that accounts for and challenges larger threads of avant-gardism? We welcome submissions for 20-minute papers that employ, problematize, and expand concepts of the avant-garde in order to address 20th century Latin American art and its critical reception. Papers will be published in PART, Journal of the CUNY PhD Program in Art History. Please e-mail a 300 word abstract and CV to koyaanisquiles@gmail.com and Irene.small@yale.edu by November 15, 2007. |
The Museum of Modern Art's Annual Graduate Symposium Next symposium: not yet announced |
Northwestern University Annual Graduate Student Symposium Next symposium: not yet announced |
| 2008 Graduate
Student Symposium Department of The History of Art, University of California, Berkeley Keynote Speaker: TBA More than Meets the Eye: The Five Senses Friday and Saturday, March 14-15 The experience of an artwork, so often reduced to the visual and the tactile, is in fact a complex phenomenon with its own contentious history of trans-sensorial experiments. From the dual modalities of the East Asian brush arts to the site-specificity of the 1970s, from altars to installations, from the physical consumption of medieval manuscripts to the integration of sound into Minimalist and post-Minimalist performative practices, the history of art-in all of its periods, cultures, and media-is rich with examples of works which problematize a unidirectional understanding of art as an exclusively visual experience, speaking, sometimes through idiosyncratic uses of media, to the emergence of an embodied viewer. The Symposium will provide a forum in which to critically assess the dynamic relations and interrelations of the senses not only as they materialize within the art work itself, but also as pertains to art production, theory, and criticism. We intend this Symposium to reflect as broad a geographical and chronological scope as possible; accordingly, we invite pertinent applications from all fields and periods in the humanities and social sciences. Please email your one-page abstract (300 words maximum) and CV as an attachment to BerkeleySymposium2008@gmail.com by January 20th. Final presentations should be no more than 20 minutes in length. Presenters will be notified by January 31. |
Annual UCLA Art History Graduate Student Symposium Next symposium: not yet announced
|
The University of Florida's Annual Graduate Student Symposium Next symposium: not yet announced Previous symposium: February 3, 2007 (5th Annual),
Muses & Means: Patronizing the Arts |
University
of Iowa Graduate Student Symposium The graduate students of The University of Iowa Art History Society have decided that it is high time we made time to consider this zenith of “lowbrow” subject matter. AHS hereby solicits applications for participation in our 2008 graduate student symposium on Fun and Games: The Principle of Pleasure in Art. Papers may treat works of any genre, historical period, or geographical designation. Proposals must take the form detailed below. Final papers must be 20-25 minutes in length. Proposals must be postmarked by December 7, 2007. Topics might include, but are not limited to, the following:
Proposals must include the following components:
With the authors’ permission, a selection of participants’ papers will be published in Montage, the online journal of The University of Iowa Art History Society (http://www.uiowa.edu/~montage/). AHS will provide a small honorarium to accepted participants, as our final budget permits; further information will be provided upon acceptance. Participants will be required to submit their papers, in full, four weeks prior to the event. For more information, contact Symposium Chair Megan Masana, at masanam@aol.com. Website (currently blank): http://www.uiowa.edu/~montage/symposium/2008/ |
University of Massachusetts, Amherst Next symposium: not yet announced
|
University of Oregon Next symposium: not yet announced
|
| Visualizing
Technology: Transcending the Boundaries of Art Scientific innovations and new technologies have, historically, informed art-making practices. Today, new imaging techniques and media (such as the use of medical and satellite imaging, or studies in film and video game theory) have expanded our understanding of the visual. As a result, the boundaries that have traditionally limited art historical inquiry to certain kinds of imaging practices have undergone considerable revision. In recent years, a number of disciplines have explored fundamental questions concerning how scientific images operate within the realm of social and cultural practice. This year’s symposium seeks to address such modes of visual production, both contemporary and historical, which, by their very nature as processes with pictorial outcomes, have the potential of existing within the realm of art historical discourse. In the ongoing debates, which pit the study of "art history"? against, or in an adversarial relationship to visual culture, where are the lines drawn? When and in what ways do objects transcend the boundaries of art or science? How have artists and practitioners used the scientific and technological advancements of their times to blur these boundaries? Are the products of visual media today contributing to the growth of visual intelligence about the past? With our focus on frames for understanding the visual, we will be connecting the arts with the cognitive and natural sciences, history, anthropology, philosophy, film, and cultural and media studies. We welcome projects that will illuminate the arts through the exploration of interdisciplinary visual media, or that will expand understandings of interdisciplinary visual media through a focus on the arts. Possible topics might include: current artistic explorations in scientific and medical imaging; the communication of ideas and popular images using historical technologies, such as technologies of the book, or, in contemporary societies, through the use of the Internet; explorations of cartography and urban planning, as well as any other discipline-specific imaging conventions not traditionally associated with the art world that has begun to inform contemporary art practice. Featured Speaker: Eligibility: How to propose papers: Undergraduate papers should be approximately 8-12 typed, double-spaced
pages. Mail or hand-deliver to: Or email to: Timeline: For questions, please email Valerie Palazzolo at vpalazzo@mail.usf.edu. |
University of Southern California Next symposium: not yet announced
|