Call for Papers: Feminist Futures? Feminism and European Art, 1970-Present

 Deadline: 1 July 2021


The Department of Arts and Cultural Studies at the University of Copenhagen, Louisiana Museum of Modern Art, and European Postwar and Contemporary Art Forum invite art historians, curators, critics, and artists to propose papers for a two-day exchange of research, dialogue, and debate. Feminist Futures will take up the topic of gender and feminism in European art, from the 1970s to the present, with a special focus on the Nordic countries.

Despite the liberal reputation of the Nordic countries, the feminist revolution did not remap the art world in this context: women remain grossly underrepresented in museum collections, exhibitions, and historical studies, and feminism has tended to be taken for granted as an already completed historical project. If feminism remains an unfinished undertaking in a region known as a bastion of gender equity, then what of the rest of Europe? Today feminist art, curation, and theory are at a crossroads that demands new approaches and visions.

Reconsidering the generational framework of historical “waves,” which has been so decisive for feminist art historical scholarship, the conference seeks to explore how the circulations, translations, displacements, and renunciations of this model have shaped art and its discourses and institutions across Europe since 1970. Griselda Pollock has argued that the mission of feminism is to formulate new political subjectivities in the world and to articulate a project yet to come. How can we move on from the limits of the wave framework to develop new and productive insights into feminism’s ongoing relevance for contemporary art and art history?

We invite papers that reconsider and introduce historical subjects and present new research, methodological approaches, and issues. These can take the form of theoretical contributions, historical scholarship, or presentations of curatorial work and practice-based research in relation to the following topics:

  • New languages of feminist expression and activism
  • Transmissions and translations of art and ideas across borders
  • The collection and circulation of feminist art
  • Feminism and the politics of decolonialization and migration
  • Ecological feminisms and the Anthropocene
  • Transnational and global feminisms
  • Feminism, race, and ethnicity
  • Feminism and the changing notion of “the contemporary”
  • Feminism, the welfare state, and the rise of neoliberalism
  • Sexuality and gender identity
  • The institutionalization of feminist art
  • Feminism and the art market and financial speculation
  • Feminism, labor conditions, and practices
  • The legacies of feminism and future trajectories

The conference will be held 17-18 November 2021 at Louisiana Museum of Modern Art, Humlebæk, Denmark (www.louisiana.dk), in conjunction with the exhibition Pia Arke (15 July 2021 – 2 February 2022) – a comprehensive critical reckoning with the visionary oeuvre of the Greenlandic-Danish artist. Louisiana has over the past years dedicated a range of large-scale exhibitions to women artists from the period covered by the conference, many of which have become represented in the museum’s permanent collection. The program will combine keynote lectures and panel discussions, academic papers, performative talks, and conversations. The research generated will be further disseminated in a peer-reviewed publication. All talks will be filmed and uploaded on the Louisiana Research website as a video publication.

Please send 200-word abstracts for 20-minute papers and a brief bio to Kerry Greaves (lkr893@hum.ku.dk) by 1 July 2021. Speakers will be notified by 15 July 2021.

Organized by Nordic Feminist Art Histories Research Network as part of the research project Feminist Emergency: Women Artists in Denmark, 1900-1960, University of Copenhagen; Louisiana Research, and the European Postwar and Contemporary Art Forum.

Organizing Committee:

  • Kerry Greaves, Assistant Professor, Department of Arts and Cultural Studies, University of Copenhagen
  • Marie Laurberg, Curator & Head of Research, Louisiana Museum of Modern Art
  • Anders Kold, Curator, Louisiana Museum of Modern Art
  • Jenevive Nykolak, Assistant Professor, California State University, Los Angeles

Dear Friends and Colleagues

I am writing to inform you of the launch of the first edition of our new journal: Art East Central (https://arteastcentral.eu). The journal is an open-access peer-reviewed English-language journal dedicated to the art, architecture and visual culture of east central Europe, from 1800 to the present. The editorial lays out some of the basic ideas behind the journal as well as the scope and meanings of the term ‘east central Europe.’

We look forward to receiving submissions to the journal, either scholarly articles or reviews. We hope that future issues the journal may also serve as a platform for the publication of translations of source texts, and will welcome proposals.

Please pass on the word to colleagues and researchers who may be interested!

Prof. Matthew RampleyRC
Principal Investigator | Continuity / Rupture: Art and Architecture in Central Europe 1918-1939

Dear Colleagues,

I’m writing to spread the word about the Hot Metal Bridge Post-Bac Program (HMB) at the University of Pittsburgh. This 1-year, fully funded post-baccalaureate fellowship program is designed to help talented students from groups traditionally underrepresented in art history and other selected disciplines in the natural and social sciences, including first-generation graduate students and those from disadvantaged socio-economic backgrounds.  HMB helps to bridge the gap between an undergraduate degree and a graduate training program. Program eligibility is limited to US citizens or permanent residents. Fellows enjoy financial support (including tuition and stipend) and mentoring by both faculty and graduate students as they prepare themselves for a successful program of doctoral studies. This is a great opportunity for recent college graduates, those who seek to change careers, and other applicants who have completed an undergraduate degree, are highly motivated and show strong academic promise, but are not quite ready to apply to a doctoral program in their field of interest. Of those who have completed the program since 2011, 80% have gone on to graduate studies at Pitt and elsewhere.

Full details, answers to frequently asked questions, and application instructions are available here: https://www.asgraduate.pitt.edu/hot-metal-bridge-post-bac-program

In the History of Art and Architecture (HAA) Department, Hot Metal Bridge Fellows enroll in graduate seminars, take part in our research constellations, and are integrated into other aspects of university life along with the first-year graduate cohort.  They also receive personalized mentoring on their applications to PhD programs.

Information on the Graduate Program in History of Art and Architecture is available here: https://www.haa.pitt.edu/graduate

My colleagues and I in HAA and other participating departments at Pitt would be very grateful if you would help us spread the word about this program among your students, colleagues, and broader networks. While the deadline for Fall 2021 of Friday, April 2, 2021 is rapidly approaching, we hope you will also keep this program in mind for students who could be ready to apply next year, if not this year.

Thank you in advance for your help in disseminating this opportunity, and please encourage potential applicants and/or their mentors to get in touch with our Interim Chair, Jennifer Josten (jej40@pitt.edu), or Director of Graduate Studies, Barbara McCloskey (bmcc@pitt.edu), with any questions they may have.

Best wishes,

Barbara McCloskey
Professor and Director of Graduate Studies
Department of History of Art and Architecture
University of Pittsburgh

The German Studies Association (https://www.thegsa.org) will post information in its spring newsletter about dissertations completed in any area of German (i.e., Austrian, German, Swiss, German diasporic) Studies (any discipline or interdisciplinary). If you received your Ph.D. in 2019, 2020, or 2021, you may be listed in our newsletter. If you have supervised a dissertation that was completed in 2019, 2020, or 2021 that has not already been listed, please encourage the author to submit a description following the guidelines below.

Send an email to the GSA President, Dr. Janet Ward (president@thegsa.org) by 30 April, 2021. Please type “GSA dissertation list” in the subject line. Be sure to include, in this order:
1. Name (last, first)
2. Title of dissertation
3. Institution and department in which it was defended
4. Name of dissertation director(s)
5. Month and year of defense (or degree if no defense)
6. Abstract of the dissertation of 200 or fewer words in either English or German. (150 words is desired length, 200 words an absolute limit.)
Please forward this notice to any institutions or individuals for whom you believe it is relevant.

Contact Info: 

Dr. Janet Ward, President, German Studies Association

Contact Email: 




Postdoc Position in Art History (application deadline 15 March)

The Department of Arts and Cultural Studies, Faculty of Humanities, University of Copenhagen (UCPH), Denmark, invites applications for an eighteen-month postdoctoral position in art history to be filled by September 2021 or as soon as possible thereafter.The position is part of the research project Feminist Emergency: Women Artists in Denmark, 1960-Present, led by Assistant Professor Kerry Greaves and funded by Novo Nordisk Foundation. Position starting date: 1 September 2021. Find more information here: https://jobportal.ku.dk/videnskabelige-stillinger/?show=153357

The Association of Print Scholars invites submissions for the 2020 APS Publication Grant, supported by C.G. Boerner and Harris Schrank.

The APS Publication Grant supports the publication of innovative scholarly research about printmaking across all time periods and geographic regions. The grant carries a maximum award of $2,000 and is funded through the Association of Print Scholars and the generosity of C.G. Boerner and Harris Schrank.

Proposed projects should be feature-length articles, online publications or essays, exhibition catalogues, or books, which are nearing completion and publication. Examples of possible uses for an APS Publication Grant include, but are not limited to, the following:

-Travel expenses for research essential to the completion of a manuscript;

-Studio time or courses in printmaking that will contribute significantly to a scholar’s understanding of their subject matter, or collaboration between printmakers and scholars;

-Funding assistance for photography and image permissions;

-Honoraria for contributors to edited volumes or other collaborative publications.

Applications are due August 31. Successful applicants will be notified by November 1 and the grant must be applied to publication costs within one year of notification.

Successful proposals must address all of the following criteria, which must be consolidated into a single PDF document (12 pt. font, black text):

  1. Proposal narrative describing scholarly project. Projects will be evaluated based on the clarity of the proposal and the originality and innovation of the applicant’s research (500-1000 words).
  2. Budget and budget narrative (250 words or less) detailing how grant funding would be spent. Please list any other grants for which the applicant has applied, amounts, and the results (if known).
  3. A detailed publishing plan, which should ideally include documentation of progress towards publication or the project’s likelihood of publication. This documentation could take the form of a letter from an editor, press, or publisher, or an outline of possible publishers and contact made thus far. Please note that applications with a publisher’s support will receive highest consideration for the grant.
  4. CV for all participant(s), no longer than 3 pages for each participant.

Applicants should send the above materials in a single PDF by August 31, 2020 to the APS Grants Committee at grants@printscholars.org.

For additional information, please visit: https://printscholars.org/awards/aps-publication-grant/

Deadline: Jun 30, 2020 , University of Cambridge Thinking Provenance, Thinking Restitution Joint Project of the University of Cambridge and the University of Bonn
In the two decades since the 1998 ‘Washington Conference on Holocaust-Era Assets’, public awareness of Nazi era lootings, provenance research and restitution has slowly been on the rise. At Washington, governments from across the world committed to research objects in their care, and to publicise their findings with a view to achieving ‘fair and just solutions’. Museums and the art market have followed suit, with many directing new resources to investigate objects that changed hands in Europe between 1933 and 1945. In the last five years, however, this public interest has increased exponentially. Beyond the historical focus on Nazi-era lootings, new contexts of ‘wrongful displacement’ have come into focus. In Germany for example, the country’s Lost Heritage Foundation has recently introduced state funding for research into cultural goods displaced by the East German state (2015), and in collections with colonial contexts (2018). Since 2015 new academic positions in the field of provenance research have also been established in Hamburg, Munich and Berlin. In 2018 the Centre for Provenance Research, Art and Cultural Heritage Law was established at the University of Bonn, supported by the Alfried Krupp von Bohlen und Halbach Foundation. The time is ripe for a critical engagement with these developments, to bring together international experts and encourage Europe-wide comparison and exchange. Alongside the important technical work of establishing the facts, there is also more than ever a need for a conceptual and theoretical foundation in provenance, which reflects on the identity of objects, the agency of those involved in their movements and transactions, and the ethical challenges faced by institutions, among other aspects. This will be the first of two workshops staged in collaboration between the Department of History of Art at the University of Cambridge and the Centre for Provenance Research, Art and Cultural Heritage Law at the University of Bonn. At this first workshop in Cambridge, topics for proposed papers may include but are 2 || 2 arthist.net – network for art history not limited to: – comparative reviews of provenance research methodologies, and how they have advanced over time – working towards a ‘critical theory of provenance’ – provenance as an alternative history of art – ‘righting wrongs’, new solutions for dealing with wrongful displacements in museums – how practices developed in the National Socialist context can be meaningfully applied, for example, to colonial-era art and artefacts – public attitudes towards provenance and restitution – the broader importance of provenance for the historical, archaeological and anthropological academic disciplines – the discursive constructs in provenance and restitution practices We solicit 20-minute papers from academics and cultural professionals at any stage of their careers. The workshop anticipates a maximum of 14 papers, which will be circulated in advance. The accepted papers will be considered for publication in a forthcoming edited volume. The conference is planned to take place at the Museum of Archaeology and Anthropology, Cambridge, on Monday 7 and Tuesday 8 December 2020. We are particularly interested in supporting international exchange in the areas of provenance research and restitution and therefore welcome proposals from academics and cultural professionals working outside Britain. The conference language is English.
Submissions are to be made by midnight GMT, Tuesday 30 June 2020, by email with the subject line “Thinking Provenance” to both of the organisers: Dr Mary-Ann Middelkoop (maem2@cam.ac.uk) and Dr. Lucy Wasensteiner (lucy.wasensteiner@uni-bonn.de). Please combine in a single PDF file: – A proposed title and abstract (max. 400 words) for a 20-minute paper – A current CV Thanks to the support of the DAAD Cambridge Research Hub for German Studies, limited funds will be available for travel and accommodation costs for participants travelling from outside Cambridge.

Erasures and Eradications in Viennese Modernism (CFP—Edited Volume) 

During the last three decades Viennese Modernism has exploded in popular culture and academia: in countless exhibitions dedicated to painting, architecture, and the applied arts, in myriad books on every well-known Viennese designer, and in the “Klimtomania” that covers umbrellas, scarves and shopping bags. Yet the popularity of Viennese Modernism and the commercial “Vienna 1900” industry simultaneously obscures a problematic series of historical erasures and gaps. All too often, the glittering culture of “Vienna 1900” is studied in isolation from the political exigencies of 1938 and thereafter. This volume interrogates the neglect and repression of specific figures, organizations and movements that have faded in the shadow of larger Viennese superstars and a now familiar narrative. Erasures and Eradications in Viennese Modernism therefore seeks to widen the field of artists, exhibitions and interpretive issues surrounding the heyday of Viennese modernism, from 1890 to the Anschluss and beyond.

This volume departs from the well-worn chronological contours of Viennese Modernism, moving beyond the now iconic narrative of “Vienna 1900”—largely focused on the story of the holy trinity of Klimt-Schiele-Kokoschka as intrepid geniuses who challenged a conservative artistic-cultural status quo—to examine lesser-known artists, exhibitions, and movements connected to the Vienna Secession, Klimt Group and other modernist leagues. Taking inspiration from the Klimt Group’s ideal of “All Those Who Appreciate and Enjoy Art”—a radical redefinition of art and art-making defying conventional definitions of active and passive creation—our volume positions collectors, patrons and the interested public as active co-producers in shaping fin-de-siècle Vienna’s vibrant cultural scene. Our volume forges connections between the fin-de-siècle and interwar Vienna, which continued to be marked by experimental, avant-garde movements (such as Kineticism, a synthesis of formal developments in Expressionism, Cubism, and Futurism through which practitioners visualized inner experiences and emotional states through abstract ornamental forms) and intense contacts with other urban centers in the successor states and beyond. In the applied arts, the volume probes the dynamic output of the postwar Wiener Werkstätte, commercial design workshops predominated by women during and after the Great War, as well as other lesser-known workshops in which practitioners experimented with expressionist, cubist and primitiivist principles of design.

 The collected research of this volume argues that the popularity of the “Vienna 1900” industry so central to museum bookstores and the Austrian tourist industry until today is deeply connected to the political exigencies of 1933, 1938 and 1945. Indeed, the seemingly safe, apolitical image of high culture and art so central to the postwar Austrian identity—a land of mountains, music, art, and Sachertorte— was carefully retouched to remove references to Vienna’s troublesome Nazi past. After the Anschluss, Austria’s annexation into the Third Reich, leading members of the Vienna Moderns presided over the Nazification and “de-Jewification” of Viennese artistic institutions like the Secession, Austrian Werkbund, Künstlerhaus and art academies. In the past decade there has been a welcome re-examination of these issues in German-language scholarship, including numerous books, exhibitions and symposia. These include, for example, texts addressing the “buried history” of institutions like the Künstlerhaus, scholarship on popular exhibitions of less lauded artists, and monographs on neglected and exiled artists. We hope our contributions will build on these important revisions, while illuminating other areas and artists for both the English speaking and global readership. The image of Viennese Modernism still promoted in many museum exhibitions today must come to terms with its disturbing Nazi connections and the erasure of Secessionist Vienna’s significant Jewish roots, to make room for other artists, institutions, and histories of Viennese Modernism that are at once challenging, exhilarating, surprising and heartbreaking.

Erasures and Eradications in Viennese Modernism welcomes contributions from scholars representing a variety of disciplinary backgrounds and methodological approaches but, above all, seeks essays centering on the visual arts, design, and architecture. Unlike previous edited volumes on Vienna 1900—interdisciplinary studies of developments in literature, philosophy, café culture, psychology— the present volume focuses exclusively on developments in painting, sculpture, and the decorative and applied arts from an inter- and multidisciplinary perspective.

Potential topics might include, but are not limited to:

— Understudied artists (particularly women and/or those of Jewish descent) and/or

movements (such as Kineticism and the child art movement)

Alternative or contested historiographies of Viennese art from the fin-de-siècle to the present

Viennese artistic institutions (including artist leagues, exhibitions and schools) and cultural life under Austro-Fascism, National Socialism, and in the immediate postwar period

Artists suffering persecution and/or exile under National Socialism

Cultural patronage and dealer networks/ male and female patrons as active ‘co-producers’

Relationships between Vienna and other urban centers under the monarchy and successor states

The 19th-century “prehistory” of Viennese Modernism (including points of continuity between historicism and Secessionism; the re-discovery of the Biedermeier period as a predecessor to modernist values and aesthetics; and connections to other painters/movements appropriated as precedents; and/or other neglected sources of influence)

— the largely Jewish background of the Josef Frank circle and their distinctly Viennese variant of interior design, Wiener Wohnkultur

–Application to the visual arts of new theories and approaches which challenge Schorske’s interpretations

Art historical erasures and postwar Austrian “amnesia” surrounding the first victim myth

—Interpretations or use of the art of Vienna 1900 in the context of current Austrian politics

–Other areas of eradication or obliteration

Potential contributors should send a 300 word abstract, brief bio and curriculum vitae as a single pdf document to Megan Brandow-Faller mmf34@georgtown.edu and Laura Morowitz laura.morowitz@gmail.com by  by September 15 2020.

Final essays are limited to 6,000 words and may include up to four black-and-white images. Completed essays will be due June 1 2020. Pending acceptance of the final project, the volume is slated to appear with a leading academic press with a strong reputation in visual studies.

Please direct any inquiries to Megan Brandow-Faller, Associate Professor of History at the City University of New York/Kingsborough, at mmf34@georgetown.edu and Laura Morowitz, Professor of Art History at Wagner College, laura.morowitz@gmail.com


Research Forum for German Visual Culture (RFGVC)

The Research Forum for German Visual Culture (RFGVC) is a network organisation that exists under the auspices of the Visual Arts Research Institute, Edinburgh (VARIE) based at the University of Edinburgh, and involving VARIE consortium partners – Edinburgh College of Art, the National Galleries of Scotland, National Museums Scotland, National Library of Scotland, University of Glasgow, and the University of St Andrews, as well as other partner institutions in the UK and abroad.

The RFGVC is inter- and multi- disciplinary, inter-school, inter-institutional, and international in orientation. The scope of research interest encompasses Germany, Austria, and Switzerland, and while the central focus is likely to be on modern and contemporary visual culture, the forum does not exclude coverage of earlier periods.

In the first instance, the forum is designed to cohere and draw upon the considerable expertise and research networks of Germanists based in Scottish academic and art institutions, and to create various opportunities for knowledge transfer. Beyond this goal, it is intended as a key research exchange point encouraging Anglo-American-German relations within a matrix of international research institutions, centres, associations, and societies.

The RFGVC will encourage contact between British, American, and German art historians and curators, fostering and contributing to the development of national and international collaborative, cross-disciplinary and cross-cultural research by means of seminars, conferences, colloquia, and lectures. In due course, the RFGVC will also develop an active programme of film screenings and other events.

For information about the forum, and for details about forum events, visit the RFGVC website at http://rfgvc.tumblr.com/ 

The Research Center “Humanities, Modernity, Globalization” at Jacobs University in Bremen, Germany invites applications for Postdoctoral Fellowships in the Humanities

The position allows for independent research, but the successful applicant will be expected to contribute to the center’s research agenda; be involved in ongoing research initiatives; assist in project management, fund raising, and third-party funding applications. In addition, s/he will teach one course per semester, either a seminar related to topics of his/her expertise and/or an introductory course.

The research center is particularly interested in applicants whose scholarship focuses on contemporary issues, intercultural concepts, and global perspectives in fields such as art history, literature, cultural history, religious studies, media studies, anthropology, and philosophy. For further information regarding the research center, visit our website: http://www.jacobs-university.de/hmg

Successful applicants will hold a Ph.D. degree or equivalent in a humanities discipline. S/he will be responsible, self-motivated, and enjoy working in an international academic environment. In addition to excellent writing and presentation skills, organization and management skills are essential. Proven experience with project management and/or the acquisition of third party funds will be considered a definite plus. Fluency in English is a must, knowledge of other languages in as much as it is required by the candidate´s research interests. Candidates who do not speak German are encouraged to take part in the German courses offered by Jacobs University. Experience with ehumanities is especially welcome.

Jacobs University is a private, international, English-language University in Northern Germany. It is an equal opportunity employer and is certified “Family Friendly” by the Hertie Foundation. For further information see www.jacobs-university.de

Please sent your application as one PDF document to hmg@jacobs-university.de and include the following items:

    • Letter of application
    • Curriculum Vitae with list of publications
    • Names and contact information of three references
  • A short description of three courses the candidate could teach, with indication of whether the course would be taught at an introductory or advanced level)

In addition to the PDF application, we ask you to provide us with electronic copies of two published articles or book chapters.

All correspondence should be addressed to:
Prof. Dr. Isabel Wünsche
Research Center “Humanities, Modernity, Globalization”
School of Humanities and Social Sciences
Jacobs University gGmbH
Campus Ring 1, Research IV
28759 Bremen

Call for Manuscript Proposals: German History in Context

Camden House is pleased to launch a new series in German history entitled GERMAN HISTORY IN CONTEXT. We especially encourage submissions of monographs and edited collections on any aspect of post-1945 cultural, political, and social history. Investigations of the Third Reich, the Weimar Republic, and Imperial Germany are also welcomed. Of particular interest to the series editors are studies that explore their given historical topic in a wider perspective: for instance, by comparing cultural developments in East and West Germany; by seeking to understand developments in Germany in a transnational or global context; or by analyzing the degree to which events in postwar Germany were shaped by the legacy of earlier eras. All manuscripts will be peer reviewed and, if accepted for publication, copyedited and produced in line with the highest standards in academic publishing.

Series editor is BILL NIVEN, Professor of History at the Nottingham Trent University, UK.

Members of the editorial advisory board are Professor Stefan Berger of the University of Bochum, Professor Atina Grossmann of The Cooper Union, New York, and Professor Andrew Port of Wayne State University.

Proposal forms in both Word and pdf formats are found at: http://www.camden-house.com/authors_proposalform_camden.asp

Our preference is for the Word form, sent as an email attachment to Camden House Editorial Director Jim Walker at jwalker8751@charter.net.




The Alexander von Humboldt Foundation, “promote[s] academic cooperation between excellent scientists and scholars from abroad and from Germany.”


The German Academic Exchange Service (DAAD) is the largest funding organisation in the world supporting the international exchange of students and scholars. Since it was founded in 1925, more than 1.5 million scholars in Germany and abroad have received DAAD funding. It is a registered association and its members are German institutions of higher education and student bodies.


The Gerda Henkel Foundation was established in 1976 by Lisa Maskell (1914 – 1998) in memory of her mother Gerda Henkel. Headquartered in Düsseldorf, the Gerda Henkel Foundation is a charitable organisation under private law that is independent of today’s Henkel Group. The Foundation supports national and international academic projects in the following subjects: Archaeology, History, Historical Islamic Studies, Art History, History of Law, and Pre- and Protohistory. The Foundation is active both inside and outside Germany.