Call for Applications:
47th Annual Meeting of the German Studies Association
October 5-8, 2023, Montréal, Canada
The German Studies Association (GSA) welcomes applications for its next annual conference, to take place from October 5-8, 2023 in Montréal, Canada.
- The deadline for proposing a seminar for the 2023 conference is January 16, 2023.
- The Emerging Scholars Workshop, designed exclusively for graduate students, is accepting applications through January 29, 2023. This year’s Workshop, “German Studies Unbound,” will be facilitated by Randall Halle (University of Pittsburgh) and Jennifer Allen (Yale University).
- The deadline for panel, roundtable, and individual paper proposals is March 27, 2023. If you are interested in proposing a panel or roundtable and would like help finding participants, please fill out this form – your submitted information will be publicly available here.
You must be a current GSA member to submit proposals for the 2023 conference.
Call for Dissertation Information:
If you have recently completed a PhD in German Studies, please let us know by submitting your information here!
The Association of Print Scholars is pleased to announce two forthcoming award opportunities related to printmaking. Please see the announcements below for the following:
1) Association of Print Scholars Collaboration Grant ($1,000)
2) Schulman and Bullard Article Prize ($2,000)
Applications for both are due on January 31, 2023. Details can also be found at printscholars.org.
1) APS COLLABORATION GRANT
The APS Collaboration Grant funds public programs and projects that foster collaboration between members of the print community and/or encourage dialogue between the print community and the general public. The grant carries a maximum award of $1,000. Projects should provide new insights into printmaking and introduce prints to new audiences.
Examples of potential collaborative projects include, but are not limited to, the following:
- A multi-speaker conference or symposium;
- A single-speaker lecture;
- A workshop focused on identifying printmaking methods and techniques and/or print media;
- A study day with printmakers and paper conservators focused on printed materials;
- An educational program about printmaking intended for the general public.
Application Requirements and Review Criteria
Successful proposals must address all of the following criteria, which must be consolidated into a single PDF document titled with the applicant’s name:
- Proposal narrative describing the collaborative project and identifying organizers and goals. Ideally, this should include: how the project will contribute towards advancing print scholarship; a list of speakers and their affiliations (if applicable); anticipated target audience; and, how the project will facilitate collaboration between members of the print community, and/or between the print community and the general public. In addition, this narrative should address the feasibility of realizing this project within the proposed time frame (500-1000 words).
- Budget detailing how grant funding would be spent and how the project can be realized within the funding amount provided by APS. Please list any other grants for which the applicant(s) has applied, amounts, and the outcomes (if known).
- Short CV(s) (fewer than 2 pages) for key applicant(s) involved in organizing this program or project.
The time frame for the grant is one year. The successful applicant will be notified by the end of March, and the grant must be applied to event costs within one year of notification. For full consideration, please send all required materials, organized in a single PDF document titled with the applicant’s name, by January 31, 2023 to the APS Grants Committee at firstname.lastname@example.org.
*The APS Collaboration Grant does not fund overhead or indirect costs. Indirect costs are costs for activities or services that support the organization as a whole, such as administrative costs not associated with the delivery of the grantee’s particular program or project services. Please note that funds awarded from the grant may only be applied to direct costs outlined in the submitted proposal budget. Acceptable project expenses and direct costs may include, but are not limited to, the following: professional fees/honoraria; travel and lodging expenses; supplies and materials; meetings and conference costs (i.e. space rental fees, etc.). Food or beverage expenses for receptions and dinners/lunches are excluded.
2) SCHULMAN AND BULLARD ARTICLE PRIZE
The Association of Print Scholars invites applications for the ninth Schulman and Bullard Article Prize. The Prize is given annually to an article published by an early-career scholar that features compelling and innovative research on fine art prints or printmaking. The award, which carries a $2,000 prize, is generously sponsored by Susan Schulman and Carolyn Bullard. Following the mission of the Association of Print Scholars, articles can feature aspects of printmaking across any geographic region and all chronological periods. Articles will be evaluated by a panel of advanced scholars for the author’s commitment to the use of original research and the article’s overall contribution to the field of fine print scholarship.
The Association of Print Scholars invites nominations and self-nominations for the 2023 Schulman and Bullard Article Prize that meet the following criteria:
- Authors must have graduated with an MA, MFA, or PhD fewer than 10 years prior to article publication and have less than 10 years of experience as a practicing professional in an academic or museum institution or as an independent scholar.
- Authors must be current members of APS.
- Articles must have been published in a journal, exhibition catalogue, or anthology between January 1, 2022 and December 31, 2022. Online publications will be considered on a case-by-case basis.
- Articles must be between 3,000 and 10,000 words, inclusive of footnotes and references.
- Entries for consideration must be in English, though the text of the original article may be in any language.
To submit an article for consideration, please send the completed nomination form along with an electronic or hard copy of the article to the APS Grants Committee at email@example.com by January 31, 2023.
Panelists sought for for an interdisciplinary stream of panels to be held at the Society for the Advancement of Scandinavian Studies conference in Austin next April: “Everyday Life in the Danish Golden Age” https://scandinavianstudy.org/annual-meeting/austin/.
The deadline for submissions is December 9.
Stream description: Among the most successful authors of the Danish Golden Age was Thomasine Gyllembourg, who signed her works “Forfatteren til En Hverdags‐Historie.” The work referred to in her anonym is a slice of contemporary Copenhagen life, which many readers found refreshing and quite charming. Everyday life was also on the rise in the pictorial arts, as more and more commissions came in from bourgeois families, who insisted on being depicted in their domestic surroundings. Meanwhile, the musical repertoire evolved, with an uptick in pieces that could be played and performed in the home. Not everyone, however, was a friend of the everyday; Hans Christian Andersen’s novelistic narrators scoff at En Hverdags‐Historie, and Carl Bagger’s Min Broders Levnet goes to great lengths to affront bourgeois propriety in its depictions of working‐class revelry. “Everyday Life in the Danish Golden Age” will thus seek to explore the concept of the everyday through a variety of disciplinary lenses, as well as from a number of class and gender positions.
Call for Papers
Collecting in the North: Patterns, Networks, and Displays from the British Isles to Scandinavia and the Baltic Region
The present call for contributions aims to gather articles studying different aspects of collecting in Northern Europe up to World War I. The geographical area we intend to consider includes cultural contexts as diverse as the British Isles, the Low Countries, Scandinavia, and the Baltic region. We are interested in both private and public collections of drawings, paintings, prints, sculptures, artifacts, and memorabilia.
We intend to investigate three main aspects of collecting practices. First, the patterns of collecting that help to understand how collections are built and what models collectors rely on in assembling them. Crucial to our scope is the question of the sources and the references that are called into question through the practices of collecting. We would like to include essays that investigate, for instance, how visual and scholarly references are used and appropriated, but also how they are adapted to conform to collectors’ scopes and needs.
Secondly, we intend to cast light on the structure and development of the networks that make the formation of collections possible. Particular attention will be paid here to the interactions that determine the development of collections as well as to the individuals who gravitate to them. There is a need to research the diversity of a multi-faceted world which is not only bound to art dealers and collectors. We intend to consider the multiple actors linked to the act of collecting such as advisors, patrons, scholars working for collectors, mediators, and all sorts of “in-between” professions facilitating the activities of sellers and buyers and their interaction.
In this issue we intend to discuss displays and the dissemination of collections. The core question here is what is it that collectors and institutions intend to do with their holdings and how their collections are circulated. What are the mechanisms that make the existence of collections known? Why are collections available (or not) to the public? What are the criteria? What visual and scholarly information do collectors and institutions want to disseminate? Here we consider documents as diverse as pictorial representations of displays, arrangements, catalogs, notebooks, brochures, and all printed material giving evidence of these collections.
Essays are expected to be published in the Autumn 2023 issue and to be submitted to a double-blind peer-review process. Proposals of a maximum of 300 words are to be sent to Michal Mencfel (firstname.lastname@example.org) and Camilla Murgia (email@example.com) with a copy to firstname.lastname@example.org by December 10th, 2022. Notice of acceptance of the contribution will be given as soon as possible in the following weeks. Essays of 6000-8000 words, with high resolution images (300 dpi) and permission to publish, will have to be sent by March 10th 2023.
Call for Papers
In conjunction with the exhibition Pressing Politics: Revolutionary Graphics from Mexico and Germany, on view from October 29, 2022 through July 22, 2023, LACMA and the Association of Print Scholars are pleased to convene a one-day symposium exploring the role of graphic art during periods of political transformation. The symposium will bring together scholars, curators, and conservators to examine the exhibition’s themes in a broader geographical and temporal context.
About the Exhibition:
Pressing Politics: Revolutionary Graphics from Mexico and Germany explores the shared subjects and visual strategies of two key moments in 20th-century political printmaking: the revival of German Expressionist graphics in response to a nationwide revolution in 1918, and the formation of the Taller de Gráfica Popular (People’s Print Workshop) in Mexico City in the late 1930s. Although rooted in distinct social and historical contexts, artists in both countries responded to their respective upheavals in print to communicate to a mass audience in forceful visual terms.
Examining direct and indirect points of exchange, Pressing Politics considers the iconographic precedents for these artists’ political imagery, the range of printed works they produced, and the conditions that gave rise to their art. Drawn primarily from LACMA’s collection, the exhibition underscores the enduring power of the printed image and highlights the contributions of Mexican and German artists to a global iconography of political graphics.
About the Symposium:
The one-day convening will be held on April 29, 2023, at LACMA’s satellite gallery at Charles White Elementary School and will build on themes presented in Pressing Politics. Expanding beyond Germany and Mexico, the symposium will consider the role of print media during times of revolution and social change from a global perspective in the 20th and 21st centuries. It will also explore questions related to the materials and processes of print production in these contexts. Proposals beyond the exhibition’s geographic scope are encouraged.
Topics may include, but are not limited to the following:
- The role of transnational political networks in the development of political graphics.
- The impact of the materiality of political prints on their meaning and reception.
- How digital technologies have transformed the material character and function of political graphics.
- The role of art collectives in graphic activism.
- The conservation of political graphics and ephemera, in particular the challenges of preserving modern political graphics and other ephemeral works on paper. Proposed talks can also discuss graphics created in time-based or born-digital media.
Please send a 300-word abstract and a CV to email@example.com by December 16, 2022. Notifications will be emailed in early to mid-January 2023. Funds for travel assistance will be available.
The exhibition is made possible with support from the Getty Foundation through The Paper Project initiative. Additional support for the symposium is provided by the IFPDA Foundation and the Robert Gore Rifkind Foundation
Additional information can be found at the following link: https://mailchi.mp/33c52603f5e8/aps-lacma-2023-cfp?e=2dbc5cb7de
Call for Papers
Research Forum for German Visual Culture
The RFGVC Seminar Series aims to present new, interdisciplinary research on German visual culture, broadly speaking, from the late nineteenth century to the present day. This includes visual culture from German-speaking Europe (Germany, Austria, Switzerland) as well as the presence, reception of and interaction with German art across the globe. We also welcome decolonising approaches to German art, especially with respect to the problematic idea of ‘primitivism’ and the response of artists to colonised territories. While the focus of the series is on modern and contemporary visual culture and modernist arts more generally, we also welcome topics that cover earlier periods if connections to modernism are articulated, for instance, through reception theory or medieval revivalism.
We aim to host two to four seminars per academic term, which will include two papers per session, lasting fifteen to twenty minutes each, with extra time at the end for Q&A from the audience. Seminars will be held over Zoom. We particularly welcome submissions from MA students, PhD candidates, and early career researchers who wish to share their latest research in a supportive and informal environment.
We are now accepting 250-word proposal submissions for our first term (October to December 2022). Please email your submissions and a short biography (max. 100 words) to GermanVisualCulture@gmail.com by 7th October 2022.
for German Visual Culture SEMINAR SERIES
Research Forum for German Visual Culture (RFGVC) was launched in February 2011 at the Talbot Rice Gallery by Professor Christian Weikop, University of Edinburgh. Prof. Weikop’s series for Peter Lang on German Visual Culture forms the publication channel for RFGVC.
The seminar series is convened by Anne Grasselli (University of Edinburgh) and Alyson Lai (University of York). For more information, please visit our Twitter @ForumGerman, website, or email us at GermanVisualCulture@ gmail.com.
Call for Proposals:
An Incomplete History of Photography
A photo-historical seminar for doctoral and post-doctoral scholars, organi- zed and led by Tatjana Bartsch (Bibliotheca Hertziana), Elizabeth Otto (Uni- versity at Buffalo), Johannes Röll (Bibliotheca Hertziana), and Steffen Siegel (Folkwang University of the Arts, Essen)
Supported by the Alfried Krupp von Bohlen und Halbach Stiftung, Essen
Rome, Bibliotheca Hertziana, Max Planck Institute for Art History
March 20–24, 2023
Deadline: October 20, 2022
New Perspectives on the Hanse
Call for Papers | RSA2023
Please send submissions to Suzie Hermán (firstname.lastname@example.org) and Laura Tillery (email@example.com) by 1 August 2022, including:
Opportunity for female postdoc in art history (late 19th to 21st century) from Eastern Europe
CFP: Belvedere Research Journal, First Issue
We are inviting the first round of submissions to the newly founded Belvedere Research Journal (BRJ), a peer-reviewed, open access e-journal. We seek articles that shed new light on the visual culture of the former Habsburg Empire and Central Europe broadly defined from the medieval period to the present day. We especially welcome contributions that situate Austrian art practices within the broader international context. Moreover, we are interested in innovative approaches to art history, such as the decentralization of established narratives or the investigation of transnational transfers that reveal the interconnected and cross-cultural character of the art world. Finally, the BRJ seeks contributions that draw attention to artists and agents whose activities have previously been overlooked, especially women. We support interdisciplinary research that introduces novel theoretical approaches by combining art history with methodologies from other disciplines, such as the digital humanities, social sciences and cultural economics among others.
Each issue of the BRJ will consist of up to ten articles and provides two different publication formats: research articles (between 20,000 and 50,000 characters, incl. endnotes and spaces) that will undergo strict double-blind peer-review, and discoveries (approximately 15,000 characters, incl. endnotes and spaces) which are subject to editorial review and are directly focused on works in the Belvedere collection (https://sammlung.belvedere.
After the first issue, which has a submission deadline of Sept. 30, 2022, the BRJ will accept manuscripts on a rolling basis. The language of publication is English, with the BRJ arranging translation for accepted manuscripts. All articles receive professional copy-editing and appear in an open annual issue immediately after their final acceptance (running from Jan. 1 to Dec. 31). The BRJ manages the acquisition of image rights. We do not charge any article processing charges (APC).
Accepted submissions will be published under the Creative Commons License CC BY 4.0. The copyright remains with the author(s).
The submission deadline for the first issue is Sept. 30, 2022.
See the Author Guidelines here: https://journals.ub.uni-
The editors welcome informal enquiries regarding potential proposals. Articles and enquiries should be sent to: firstname.lastname@example.org. For further information, please see the website of our journal: https://journals.ub.
Managing Editor: Christian Huemer (Belvedere, Vienna)
Editors: Johanna Aufreiter, Anna Ewa Dyrko, Anna-Marie Kroupová (Belvedere, Vienna)
Editorial Board: Éva Forgács (Art Center College of Design, Pasadena), Ivan Gerát (Slovak Academy of Sciences), Julie M. Johnson (University of Texas at San Antonio), Eva Kernbauer (University of Applied Arts Vienna), Lukas Madersbacher (University of Innsbruck), Nicholas Sawicki (Lehigh University, Pennsylvania), Matthew Rampley (Masaryk University, Brno), Mirjana Repanić-Braun (Institute of Art History, Zagreb), Werner Telesko (Austrian Academy of Sciences, Vienna), Markéta Theinhardt (Sorbonne University, Paris), Anselm Wagner (Graz University of Technology)
The journal is published in collaboration with arthistoricum.net / Heidelberg University Library.
Call for Manuscripts – German Visual Culture
Edited by Dr Christian Weikop, Senior Lecturer, Edinburgh College of Art, University of Edinburgh ISSN: 2296-0805
Invitation for Catalogue Contribution: Eden and Everything After
In a groundbreaking endeavour to triangulate three important traditions of our collective cultural heritage, the Arkeologisk Museum of the Universitetet i Stavanger presents Eden and Everything After, a conceptual exhibition organised around notions of the loss of – and slim hope of reconnection with – the lost Paradise. Mirroring the boldly experimental nature of Der Blaue Reiter Almanach, we seek submissions for a catalogue reflecting upon this theme. Short submissions aimed at a general, art- interested audience are welcomed from the perspectives of art history, archaeology, theology, zoology, ethology, and the environmental humanities.
The art of the early 20th Century in Europe was characterized by an intense interest in prehistoric cultures, and, not coincidentally, some of the first Paleolithic cave art had been discovered at the “moment of Modernism.” Powerful concordances between German Expressionist paintings and the art of earlier cultures provide justification for a formal comparison between bodies of work. Franz Marc’s premonition that human rapaciousness and violence augured an Apocalypse for animals, nature, and people was what compelled Modernism’s integrative personality to look to the past for a hopeful vision of a restored Eden.
Oslo-based artist Tanja Thorjussen also takes inspiration from animals, history, spirituality, and myth. Like Marc, Thorjussen imbues her oeuvre with a wish and a warning. Thorjussen’s embodied practice creates alternative outcomes of entwined pinnipeds, memento mori made of real bones, and goddesses commanding swarms of bees and schools of fish.
Reflecting back through time at Marc and Thorjussen is the collection of artefacts at the Arkeologisk Museum at Universitetet i Stavanger on Norway’s southwest coast. These objects from a time that has passed into the mists are far from mute relics. They speak to us still, dazzling, shifting, and appearing anew.
Points of interest are not primarily individual images or objects, monolithic groups of works, mediums or genres, but rather the question of how various practices dealing with, or recast as dealing with, an idealised past or terrifying future have shaped our visual conceptions of Eden versus global warming and the Sixth Mass Extinction. The geographical focus of the exhibition is on Northern Europe, but perspectives drawing international global comparisons are equally welcome.
Please send abstracts of 300 words or less (the entire submission can actually be 300 words or less) to email@example.com. The deadline for abstracts is 28 February 2022. The final manuscript must be completed by 13 May 2022 for a publication date of December 2022. Eden and
Everything After opens in January 2023. This collaborative project is sponsored by the U.S.-Norway Fulbright Foundation and the European Union’s Marie-Sklodowska-Curie Actions.
CALL FOR PAPERS
Expressionism Revisited: New Approaches and Research Questions
Brücke-Museum Berlin, 25-27 August 2022 Conference Languages: German and English Application Deadline: 28 February 2022
Which research questions arise from today’s public and scholarly discourses on German Expressionism? How can museums take these into account and include the changing perspectives and revised narratives in their day-to-day practices? In the past years, Expressionist art, and its examination through research and exhibitions, has triggered controversial debates. Contested topics are the Brücke members’ entangled histories with Colonialism and Imperialism, the group’s relationship with under-age models or Emil Nolde’s sympathies for the Nazi regime. Reflection upon such themes, and more generally upon Expressionism, will be the topic of a symposium which takes place at Brücke Museum Berlin, on the occasion of the exhibition 1910. Brücke: Art and Life in the summer of 2022. Dealing with the new challenges in the research, presentation and education of Expressionism, the three-day event wishes to discuss current research projects, methodological approaches and curatorial concepts in a variety of formats. The main focus of the symposium is on scholarly exchange and close interaction of practitioners and theoreticians.
The following themes are intended to allow for a broad range of discussion topics and research approaches:
- Keyworks revisited
- Materiality and art technology
- Biographies of art worksActors:
- Group and individual
- Socio-political contexts (e. g. gender-related questions, Colonialism, Cold War developments)
- Reception, the discourse, transdisciplinary approachesMuseum Practices:
- Education and outreach
- Curatorial concepts
- Artistic practiceWe invite proposals for short presentations and project outlines by PhD students, Postdocs, museum professionals and scholars from art history, cultural or literary studies and related disciplines. Please email your proposal (500 words max) together with a short biography (one page max) by 28 February 2022 to firstname.lastname@example.org.
Travel costs are likely to be covered. An online publication of selected contributions is planned.
Organizers: Lisa Marei Schmidt and the Brücke-Museum in collaboration with Dr Meike Hoffmann (FU Berlin), Dr Andrea Meyer (TU Berlin), Prof. Dr Aya Soika (Bard College Berlin) and Prof. Dr Isabel Wünsche (Jacobs University)
GERMAN STUDIES ASSOCIATION: CALL FOR SEMINAR PROPOSALS
The 46th German Studies Association Conference in Houston, Texas, from September 15 to September 18, 2022 will continue to host a series of seminars in addition to conference sessions and roundtables (for general conference information see https://www.thegsa.org/conference).
Seminars meet for all three days of the conference. They explore new avenues of academic exchange and foster extended discussion, rigorous intellectual debate, and intensified networking. Seminars are typically proposed and led by two to three conveners(in special cases, there may be four conveners) and must consist of a minimum of 10 and a maximum of 20 participants, including the conveners themselves. Seminars must be open to applications from interested participants, and conveners are expected to make every effort to aim for broad diversity and include scholars from different disciplines and at different career stages, including graduate students. Seminars may enable extended discussion of a recent academic publication; the exploration of a promising new research topic; engagement with pre-circulated papers; an opportunity to debate the work of scholars with different approaches; or the in-depth discussion of a political or public policy issue, novel, film, poem, musical piece, painting, or other artwork. Conveners are strongly encouraged to structure their seminars around creative and engaging forms of intellectual exchange; lengthy individual presentations are discouraged as they imitate “traditional” panels and may hamper discussion, collaboration, and innovative thinking. We hope that the work of seminars will eventually be disseminated to the broader community of scholars, for example, future GSA panel or roundtable, in an edited volume, or in the creation of a research group.
To apply to convene a seminar, GSA members should submit a proposal through the online portal by 11:59 pm EST on January 24, 2022. The portal will open in early January, and you will be able to find the link on the conference website (https://www.thegsa.org/conference). Please note that because this is a new system, it will require a current 2022 GSA membership to access. The proposal should include the following items:
- Title of Proposed Seminar;
- Convener Information: names, ranks, institutional affiliations, email addresses;
- Seminar Description: a 150-word description of the seminar’s subject, which will eventually be used in the call for participants and the final program;
- Format Description: a 50-word description of the seminar’s format, which will appear in the call for participants, etc.;
- Goals & Procedures: a 200-word statement of seminar goals and procedures;
- DEI Statement (if appropriate): a 50-word statement where seminar proposals may add information about any DEI components to the seminar that are not covered in the above descriptions;
- Audio/Visual: indicate whether your seminar will require a projector and/or sound (note that we might not be able to accommodate all requests, especially for sound, so please request it only if absolutely necessary); and
- Auditors: indicate whether you will open the seminar to auditors (6 maximum) should space allow.
The Committee will review seminar proposals and post a list of approved seminars and their topics on the GSA website by February 25, 2022. Conveners may then enlist participants to join the seminar. A call for auditors (who may observe but who are not considered formal participants) will be issued later in the year, once the final conference program has been published.
Please note the following guidelines and additional information regarding seminars:
- You must be a current member of the GSA to submit a proposal.
- Seminar conveners must come from different institutions; where there are more than two conveners, no more than two may come from the same institution.
- In order to facilitate extended discussion, seminar conveners and participants are required to participate in all three seminar meetings.
- Seminar participants, including conveners, will not be allowed to submit a paper in a regular panel session. However, they may take on one additional role in the conference independent of their role in a seminar – as moderator or commentator on another session or as a participant in a roundtable.
- Although the GSA does accept proposals from conveners who have directed a seminar during the past two consecutive years, the GSA’s Seminar Committee gives preference to newcomers and thus encourages the rotation of seminar conveners in similarly-themed seminars. We further recommend that conveners contact the coordinators of the Interdisciplinary Network Committee, Professors Heather Mathews (email@example.com) and Jonathan Skolnik (firstname.lastname@example.org), to connect with GSA Networks close to their topic.
- Seminar conveners will have the opportunity to propose a cluster of pieces representing the work of the seminar for publication in Konturen, a peer-reviewed, online, open-access journal of international and interdisciplinary German Studies. Please note: although the portal for applications for publication in Konturen will only open after the conference is over, conveners may address their interest in this project in their seminar description.
To access the OpenWater system to submit your proposal, use the same username and password as you use to log into your GSA profile at https://thegsa.org/members/profile. If your password needs to be reset, please contact Ms. Ursula Sykes (email@example.com) at Johns Hopkins University Press. If technical questions or problems arise with the submission interface itself, please contact the GSA Operations Director, Dr. Benita Blessing (firstname.lastname@example.org).
The GSA Seminar Committee consists of:
Elizabeth Drummond | Loyola Marymount University | email@example.com (chair)
Richard Langston | University of North Carolina at Chapel Hill | firstname.lastname@example.org
Qinna Shen | Bryn Mawr College | email@example.com
Please get in touch with any of us if you have any questions about the seminars or proposal process. Thank you for your support of the GSA’s seminar program!
Medieval Art, Modern Politics
Volume editors: Brigitte Buettner and William Diebold
Deadline for submitting proposals (500-word abstract and a CV): December 15, 2021
Anticipated submission of final texts: End of 2022
Historians of medieval art know that the buildings, objects, and images they study were often created for purposes that were overtly political. They have devoted less scholarly attention to a corollary: the political uses and misuses of medieval art after the Middle Ages. In some cases, the same objects and sites that accrued ideological meanings during the Middle Ages did so again, if differently, in modern times (better known examples include the Bayeux Embroidery, the Horses of San Marco, the Bamberg Rider, the insignia of the Holy Roman Empire, the Crown of St. Stephen, and Dome of the Rock).
This is a call for papers for a volume of essays that seeks to complicate our understanding of the afterlives of medieval art by concentrating on the politics of its reception. While the ideological instrumentalization of the Greco-Roman artistic legacy has been recounted many times and stories of the rediscovery of national antiquities in eighteenth-century Europe and the revival of Gothic art in the subsequent century are familiar, the use of the medieval legacy has tended to be framed as either an affair of taste or of intellectual and cultural histories. The way in which post-medieval regimes (whether monarchic, imperial, totalitarian, or progressive) or individuals have reframed specific medieval sites, artefacts, and iconographies still await detailed examination.
We invite papers that unpack instances of the uses and misuses of medieval art in various post-medieval contexts and directed towards different political goals. We encourage submissions that represent the full geographic and temporal scope of the medieval period. Possible questions to be addressed include: What messages were extracted from “Gothic” and “barbarian” antiquities that differed from the discourses retrojected into ancient or early modern art? How were medieval visual creations literally and figuratively repositioned to serve modern political ends? What were the impulses—aesthetic and ideological—that explain why modern regimes have found it useful, even necessary, to reinvest in the visual legacy of the Middle Ages?
Please direct all inquiries and submissions to Brigitte Buettner (firstname.lastname@example.org) and William Diebold (email@example.com). We will notify authors of the status of their proposal by January 15, 2022. We anticipate c. 8000-word essays and peer review. We are also planning a workshop-type gathering to comment on the papers before publication.
Getty/ACLS Postdoctoral Fellowships in the History of Art: Information and Webinar for International Applicants
The American Council of Learned Societies is pleased to invite applications for Getty/ACLS Postdoctoral Fellowships in the History of Art. The fellowships support an academic year of research by early career scholars from around the world for projects that will make substantial and original contributions to the understanding of art and its history.
We are especially interested in supporting scholars who were trained at/affiliated with institutions of all types from all regions of the world, and who bring perspectives and backgrounds that are historically underrepresented in the field of art history.
ACLS will award up to 10 fellowships for the 2022-23 academic year, each carrying a stipend of $60,000, plus $5,000 for research and travel during the award period. The fellowships are portable: a fellow may elect to take up the award at any appropriate site for the work proposed, including abroad. Awards also include a one-week residency at the Getty Research Institute following the fellowship period.
Interested applicants are highly encouraged to attend our upcoming Zoom webinar (registration info below), featuring program officers from the Getty Foundation and ACLS.
When: October 5, 2021, 9:30 AM EDT
Topic: Getty/ACLS Postdoctoral Fellowships in the History of Art – Webinar for International Applicants
Register in advance for this webinar:
After registering, you will receive a confirmation email containing information about joining the webinar.
The program encourages diverse, international perspectives and welcomes applications from scholars worldwide, without restriction as to citizenship, country of residency, or employment. Scholars who are citizens of countries other than the United States are especially encouraged to apply, as are scholars who have experience studying, teaching, and/or conducting art historical research in non-US contexts.
The deadline for applications is October 27, 2021, 9 pm EDT. More information about the program, including eligibility requirements and how to apply, is available here. Questions may be directed to firstname.lastname@example.org.
Character in an Interior/Character of an Interior – International Conference on Vilhelm Hammershøi (13-15 Jan 2022)
13th – 15th January 2022
Adam Mickiewicz University in Poznan, Faculty of Art Studies
The first exhibition of Vilhelm Hammershøi (1864–1916) in Poland (National Museum in Poznan: 21.11.2021–23.01.2022, National Museum in Cracow: 03.04–08.05.2022) provides an opportunity for international, scholarly debate on Hammershøi, inspired by one of the most significant themes in his work. The remarkable interiors, empty or with a lone figure, invite reflections on narrative efficiency, complexity of palette, the role of light, contemplative mood, and sense of space, all of which interact with, and inflect, our understanding of the composition. Although Hammershøi’s interiors contain a limited number of motifs, all his works are characterized by a significant iconic-spatial complexity. These interiors offer different directions of gaze and open up various perspectives. The tension between a partial opening of space and a simultaneous closure of access to it defines the visual dramaturgy of many of Hammershøi’s paintings. These features, which are further complicated by intangible qualities of the medium – such as surfaces that are at once substantial and ephemeral – challenge the viewer in ways that protract the moment of perception. This nexus of the literal and the implied, of presence and absence, suggest certain key questions.
Among the most important of these are the nature of a figure’s presence and the relationship of that figure to surroundings that feature a modest, but often meaningful, selection of motifs: windows, doors, pictures in frames, furniture, mirrors, etc. Furthermore, a situation in which the interior is as much a sphere of intimacy for the character as a limitation upon it may provoke a multilevel analysis that takes into account, for example, the discrete narrative potential of a scene.
One of the key issues in Hammershøi’s art, namely the relationship between figure and place, is among the essential themes of modern art. As a result, Hammershøi’s works are included in a very wide array of artistic and historical phenomena across various geographies. That is why we aim to examine painterly comparisons with a broad range of historical and geographical references, and to reflect on the interior theme in a wide perspective: one that includes, but is not limited to, the aesthetics of reception, the hermeneutics of the image or intertextuality. Hammershøi’s art also encourages questions about the image-viewer relationship, self-reflective motifs, as well as the tension between visible and invisible, and the relationship between photography and painting.
On the one hand, we aim to examine issues that define Hammershøi’s painterly idiom from various points of view. On the other hand, we want to explore references in Hammershøi’s works to the artistic tradition and art of his time, within Denmark and beyond, to examine the nature of his reception among artists and writers, and to extrapolate from these analyses an understanding of how Danish paintings generally interacted with those of other, European artists.
Guidelines for Proposal Submissions:
Please send the paper abstract not to exceed 500 words and short CV including affiliation and contact information by October 31, 2021 to: email@example.com
Conference languages: English, Polish
Contact: Martyna Łukasiewicz, firstname.lastname@example.org
Gertrud Oelsner, Hirschsprung Collection
Peter Nørgaard Larsen, National Gallery of Denmark
Thor Mednick, University of Toledo
Ellen Egemose, Kunstmuseum Brandts
Maria Poprzęcka, University of Warsaw
Piotr Juszkiewicz, Adam Mickiewicz University in Poznań
Stanisław Czekalski, Adam Mickiewicz University in Poznań
Martyna Łukasiewicz, National Museum in Poznań
Faculty of Art Studies, Adam Mickiewicz University in Poznań
Centre for Nineteenth-Century Studies, Aarhus University
National Museum in Poznań
Supported by: New Carlsberg Foundation
Maria Poprzęcka, Professor, Collegium Artes Liberales, University of Warsaw
Peter Nørgaard Larsen, Chief Curator, National Gallery of Denmark
Gertrud Oelsner, Director, Hirschsprung Collection
CALL FOR PAPERS
Nordic Nature: Art, Ecology, Landscape
16-18th June 2022 – Bergen, Norway
This three-day conference at the University of Bergen looks to foreground new and vital conversations currently shaping Nordic art historical research on the natural world. Focusing on the encounter between art history, visual culture, nature, and the environment, we aim to redress the imbalance in Nordic art history that often emphasises teleological national narratives, and instead situate encounters with nature in relation to more broad historical and contemporary perspectives, including, but not limited to, the transnational, environmental, post-colonial, and Indigenous.
Recent scholarship has embraced the trans-Nordic and trans-disciplinary connections in Nordic art history, particularly with relation to landscape and ecology. This renewed focus has drawn upon novel and timely methodologies that offer an interdisciplinary perspective on artwork and objects previously associated with mystical, national, and colonial tropes. We view this conference as an intervention into the prescribed narrative of National Romanticism, inviting speakers to move beyond the national as a priori framework, and to decentre and reconfigure the geographical and cultural focus of the landscape and natural world in Nordic art history. Pressuring the intimate connections between humans and nature, new and emerging scholarship is intensely aware of the overlaps between the visual arts, environmental humanities, animal studies, Sámi bodies of knowledge, and de-colonialism. This emphasis on interdisciplinarity also showcases the wealth of collaborative research currently shaping art historical practice.
Through Nordic Nature we seek to build dialogue among scholars engaged in interdisciplinary art historical research, and to foster a conversation around how to move beyond National Romanticism as the primary way of understanding the visual culture of the Nordic environment. We foresee this conference resulting in an English-language publication, contributing a well-timed ecocritical, multi-national, and trans-disciplinary perspective to the field that could further teaching and engagement with Nordic visual and material culture.
Nordic Nature looks to showcase the richly diverse field of Nordic art history and visual culture studies, from the medieval to the present day. Paper topics may include, but are not limited to the following:
- Art and the Anthropocene
- Colonialism and the Nordic Countries
- Art and environmental history
- Demystifying National Romanticism
- Topography and mapping
- Natural sciences relationship with visual culture
- The transnational nature of Nordic landscapes
- Human and non-human relationships
Please send an abstract (max 200 words) and a short biography (max 100 words) to Isabelle Gapp, MaryClaire Pappas and Tonje H. Sørensen: email@example.com
Call for Papers Deadline: 1st October 2021
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 (firstname.lastname@example.org) 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.
- 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
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 (email@example.com), or Director of Graduate Studies, Barbara McCloskey (firstname.lastname@example.org), with any questions they may have.
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 (email@example.com) 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.
Dr. Janet Ward, President, German Studies Association
Postdoc Position in Art History (application deadline 15 March)
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):
- 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).
- 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).
- 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.
- 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 firstname.lastname@example.org.
For additional information, please visit: https://printscholars.org/awards/aps-publication-grant/
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 email@example.com and Laura Morowitz firstname.lastname@example.org 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 email@example.com and Laura Morowitz, Professor of Art History at Wagner College, firstname.lastname@example.org
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 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 email@example.com 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
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 firstname.lastname@example.org.
CAMDEN HO– USE, an imprint of BOYDELL & BREWER
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.