non-HGSCEA opportunities

OPPORTUNITIES


Call for Manuscripts – German Visual Culture

Edited by Dr Christian Weikop, Senior Lecturer, Edinburgh College of Art, University of Edinburgh ISSN: 2296-0805
www.peterlang.com/view/serial/GVC

Call for Manuscripts GVC_2022


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 jean.m.carey@uis.no. 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:

Works:

  • Keyworks revisited
  • Materiality and art technology
  • Biographies of art worksActors:
  • Group and individual
  • Institutions
  • Networks

Perspectives:

  • Local-Regional-National-Global
  • 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 forschung@bruecke-museum.de.

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:

  1. Title of Proposed Seminar;
  2. Convener Information: names, ranks, institutional affiliations, email addresses;
  3. 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;
  4. Format Description: a 50-word description of the seminar’s format, which will appear in the call for participants, etc.;
  5. Goals & Procedures: a 200-word statement of seminar goals and procedures;
  6. 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;
  7. 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
  8. 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 (hmathews@plu.edu) and Jonathan Skolnik (jskolnik@german.umass.edu), 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 (jrnlcirc@press.jhu.edu) 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 (operations@thegsa.org).

The GSA Seminar Committee consists of:

Elizabeth Drummond | Loyola Marymount University | elizabeth.drummond@lmu.edu (chair)

Richard Langston | University of North Carolina at Chapel Hill |  relangst@email.unc.edu

Qinna Shen | Bryn Mawr College | qshen@brynmawr.edu

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 (bbuettne@smith.edu) and William Diebold (wdiebold@reed.edu). 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.


Call For Applications:

APS Printmaking Workshop for
Early-Career Curators and Scholars
(New Mexico, May 23–27, 2022)

The Association of Print Scholars (APS) is currently accepting applications for the first of two intensive, hands-on printmaking workshops for emerging scholars and curators funded by The Paper Project: Prints and Drawings Curatorship in the 21st Century, an international initiative of the Getty Foundation that supports training and professional development for early- and mid-career curators of prints and drawings.

Based in New Mexico, this first five-day workshop will be dedicated to planographic techniques (lithography and monotype) and will be hosted at the renowned Tamarind Institute and the University of New Mexico Art Museum in Albuquerque and 10 Grand Press in Santa Fe.

A thorough comprehension of various printmaking methods is critical to developing scholarship and exhibitions on these media. Yet, as they embark on their careers, many early-career print curators lack such practical experience due to competing professional and academic demands that make it difficult to enroll in a semester-long printmaking course. Because the intricacies of printmaking are often difficult to grasp from text alone, APS hopes this workshop will provide invaluable technical and material knowledge of the medium that will not only contribute to, but also enhance, a print curator’s and scholar’s understanding of a work’s content, intention, and aesthetic. Our aim is also to prepare participants to better communicate these complex techniques in an accessible language to a general audience and contribute new personal insights to the field.

Ten early-career curators and scholars will be selected to participate in this workshop. Designed as an intensive program, the first two days will consist of hands-on work in lithography at the Tamarind Institute. The third and fourth days will be dedicated to studio work in monotype at 10 Grand Press. The final day will include a tour of the works on paper collection at the University of New Mexico Art Museum.

Applications to the workshop are open to candidates who have a graduate degree (or equivalent experience), which must have been awarded within 10 years. Preference will be given to early-career curatorial professionals (curators, curatorial or research assistants/associates, postdoctoral fellows), although advanced graduate students and independent scholars with a demonstrated interest in printmaking and curatorial practice will also be considered.

Travel, accommodation, and meal expenses will be covered by APS and the Getty Foundation.

To apply, please submit the following documents via this online form:

  • A brief statement (500 words max.) describing your research/work and how it would be enriched by this workshop
  • If you have previously participated in programming sponsored by The Paper Project or the Association of Print Scholars, please include a brief description of your experience and how it impacted your scholarship (250 words max.)
  • A current CV
  • Contact information for an academic or professional reference. Please note that one letter of reference must be emailed to workshops@printscholars.org, with the subject line “APS Printmaking Workshop 2022 – Reference [Candidate Last Name, First Name]”, by your recommender following the submission of the online application.

All application materials are due by November 6, 2021.

Important notice regarding COVID-19: The health and safety of our workshop attendees is our top priority. In accordance with local state law requirements, all those attending the workshop must be fully vaccinated, and guests will be required to share proof of vaccination and photo identification prior to the start of the workshop. Face coverings will also be required in all indoor public spaces. We are monitoring the situation closely and expect to provide additional health and safety protocols closer to the event. Thank you for your cooperation.

This workshop is sponsored by a generous grant from The Getty Foundation.


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:

https://acls-org.zoom.us/webinar/register/WN_LPOBwDIwR3ODwtkHo-hCBQ

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 fellowships@acls.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: hammershoiconference@amu.edu.pl

Conference languages: English, Polish

Contact: Martyna Łukasiewicz, m.lukasiewicz@amu.edu.pl

Conference Committee:

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

Organizers:

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

Keynote speakers:

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: nordicnature2022@gmail.com

Call for Papers Deadline: 1st October 2021


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

Deadline: 1 July 2021

https://artsandculturalstudies.ku.dk/research/feminist-emergency/

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: 

president@thegsa.org

URL: 

https://www.thegsa.org/


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/


CFP: THINKING PROVENANCE, THINKING RESTITUTION (CAMBRIDGE/BONN, 7-8 DEC 20) Cambridge, December 7 – 08, 2020
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


Ongoing

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
Germany


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.

CAMDEN HO– USE, an imprint of BOYDELL & BREWER
www.camden-house.com

ONGOING OPPORTUNITIES


 avh

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

daad

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.

GH-stiftung

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.