News

  • CFP: esse magazine issue: Geopolitics

    Deadline: Sep 1, 2015

    esse magazine: Geopolitics

    In this issue, esse wishes to explore how complex natural and political phenomena that contribute to redefining traditional geographic borders affect the visual arts. Responsible for the dynamic analysis of the interactions between geography and state policy, geopolitical science provides a broad perspective on cross-disciplinary phenomena linked with relationships of power and domination, and allows us to observe the opposing forces that are transforming the current global landscape: the globalisation of trade, climate change, mining and mineral processing, population migration, the increasing speed of communications and transport, aerial surveillance, reinforcement of borders, and cultural and language diversity are all matters of serious concern for today’s artists. For example, the recent land claims in the Arctic between neighbouring countries, including Canada and Russia, or the proliferation of natural disasters in recent years testify to the dramatic impact of climate change on reshaping the world map. It is therefore timely to ask: How are these new cartographies conceptualized, realized and represented today? More specifically, where do contemporary art and visual culture stand vis-à-vis this representation?

    Other interrelated areas of research emerging from this complex issue range from the construction of identity, collective cultural memory, to strategic military positioning, and the relationships between the “centre” and “margins” of inhabitable areas. Considering that geopolitics questions the influence of geographical realities (topography, climate) on social organizations and political choices, what are the repercussions on art and culture in particular? Conversely, does art have influence on the geopolitical context, and if so, to what effect? Does increased global mobility affect artistic practices and their transmission? What are some examples of meeting and sharing in which open borders and exchange generate new knowledge?

    Diverse as they are, geopolitical reflections in the field of art can extend to artworks and their modes of production, dissemination and reception. What stance are artists taking in face of the globalized standardization of production? Is art critical of global homogenization? Does it embrace a culture of diversity? How does art contribute to the geopolitical context? How does it transgress, transform, and reconfigure geographic, ideological, and aesthetic boundaries?

    esse is interested in texts that examine how these geopolitical concerns are addressed in art and theoretical art discourse.

    Send your text (1,000 - 2,000 words, footnotes included) in US letter format (doc, docx, or rtf) to redaction@esse.ca before September 1, 2015. Please include a short biography (50-80 words), an abstract of the text (100 words), as well as postal and e-mail addresses. We also welcome submissions (reviews, essays, analyses of contemporary art issues) not related to a particular theme (annual deadlines: September 1, January 10, and April 1).

    Comprehensive editorial policy can be consulted online at http://esse.ca/en/callforpapers

    All texts are submitted to the editorial committee, which reserves the right to accept or refuse a submission. The selection criteria are based on the quality of analysis and writing, the pertinence of the text to the edition (theme) in question, and the relevance of the corpus of artworks and artists analyzed. A text may be rejected due to the large number of submissions for a given edition. The selection process may take up to six weeks. The editorial committee’s decision is final.

    The author agrees to submit an original and previously unpublished text. Unless agreed otherwise, the editorial committee does not accept texts that represent a potential conflict of interest between the writer and the content of the article (for example, texts by artists on their own practice, by curators of exhibitions or events, or by gallerists representing a particular artist).

  • Publication: First 2015 issue of Quaestio Rossica

    The editorial board of Quaestio Rossica announces the publication of Issue 1 2015 of the journal. The articles published in this issue are accessible on the journal’s website, http://journals.urfu.ru/index.php/QR

    Quaestio Rossica is a peer-reviewed scholarly journal publishing research on the history and culture of Russia, Russian language and literature. The journal aims to look for new approaches and directions in the academic study of Russia, to acquaint specialists in the fields of history, literary studies, linguistics, arts and cultural studies with the study of Russia, and to unite the efforts of scholars in Russian studies from different countries across the world.

    The journal was established in 2013 by the Institute of Humanities and Arts of Ural Federal University in Yekaterinburg, Russia. The journal publishes articles and reviews in Russian, English, German and French.

    All authors are encouraged to submit papers for publication. The journal uses double blind peer-review and guarantees the high quality of all published materials. For an article submission, please use the form on the journal’s website or contact the Editorial board by e-mail.

    Also, the journal is interested to receive new books for review and information on conferences and other upcoming scientific events on Russian studies. Please feel free to contact the Editorial Office with any questions or concerns.

    Address for correspondence:

    Ural Federal University
    Quaestio Rossica Editorial Office
    51, Lenin av., office 335
    620083, Yekaterinburg, Russia
    qrossica@gmail.com

  • Conference: The Artist as Activist (Museum of Modern Art, New York; June 4, 2015)

    post presents: The Artist as Activist

    Artists can be activists but can art be activism? Coco Fusco, Oleksiy Radynski, and Ram Rahman—artists who have all engaged with activist practices—will discuss relations between art and politics in Cuba, Ukraine, and India.

    Thursday, June 4
    6:30 p.m.
    The MoMA Library
    The Lewis B. and Dorothy Cullman Education and Research Building
    4 West 54 Street (between Fifth and Sixth avenues)
    New York, NY 10019

    Admission is free with your RSVP. However, space is limited and seating will be offered on a first-come, first-served basis. Please arrive early to be guaranteed a seat. RSVP to contact_c-map@moma.org

    Ram Rahman is a photojournalist, artist, curator, designer, and activist, and co-founder of the Sahmat Collective. Sahmat is an acronym for the Safdar Hashmi Memorial Trust and the Hindi word for “in agreement.” The Sahmat Collective was founded in 1989 in response to the murder of the political activist, actor, playwright, and poet Safdar Hashmi, during one of his street theater performances. The collective is a platform for exchanging ideas and voicing resistance.

    Oleksiy Radynski is a filmmaker and writer based in Kyiv. His latest films include Incident in the Museum and Integration. Radynski is a member of Visual Culture Research Center, an initiative for art, knowledge, and politics founded in Kyiv in 2008. Since 2011, he has been an editor of the Ukrainian edition of Political Critique magazine. His texts have recently been published in e-flux journal and in the books Soviet Modernism 1955–1991: Unknown Stories; Post-Post-Soviet?: Art, Politics and Society in Russia at the Turn of Decade; and Sweet Sixties: Specters and Spirits of a Parallel Avant-Garde.

    Coco Fusco is an interdisciplinary artist and writer who combines performance and media in a variety of formats. Her work has been included in various biennials, including the current Venice Biennale, and has been presented at The Museum of Modern Art, Tate Liverpool, The Walker Art Center, and the Museum of Contemporary Art in Barcelona, among others. Fusco is the author of English Is Broken Here: Notes on Cultural Fusion in the Americas, The Bodies That Were Not Ours and Other Writings, and A Field Guide for Female Interrogators. She is also the editor of Corpus Delecti: Performance Art of the Americas, and Only Skin Deep: Changing Visions of the American Self. She is currently working on a new book entitled Dangerous Moves: Performance and Politics in Cuba.

    post is an online platform developed by The Museum of Modern Art, and managed with an international network of partners and contributors. It was launched in February 2013 with the aim of publishing research resources and artistic projects that engage with narratives falling outside art history’s familiar accounts. Broadening the scope of MoMA’s collection and exhibitions, post explores experimental practices in Asia, Central and Eastern Europe, and Latin America and the Caribbean.

    post grows out of Contemporary and Modern Art Perspectives (C-MAP), a cross-departmental research program begun in 2009 at MoMA to facilitate a museum-wide study that reflects the multiplicity of modernities and histories of contemporary and modern art.

  • Conference: New Perspectives on European Art, 14th & 16th centuries (Warsaw, 10-12 June 2015)

    Warsaw, Poland, June 10 - 12, 2015
    Registration deadline: Jun 1, 2015

    International and Interdisciplinary Conference ‘Agency of Things: New Perspectives on European Art of the 14th and 16th Centuries’

    Inaugural Lecture:
    Professor Andrew MORRALL, The Bard Graduate Center, New York
    June 10th, 6.00 pm
    University of Warsaw, the Old BUW, room 105,Krakowskie Przedmieście 24/28

    Invited Speakers:

    Peter DENT (University of Bristol)
    Wim FRANÇOIS (KU Leuven)
    Elina GERTSMAN (Case Western Reserve University, Cleveland)
    Jacqueline JUNG (Yale University)
    Robert MANIURA (Birkbeck, University of London)
    Miri RUBIN (Queen Mary University of London)
    Kathryn RUDY (University of St Andrews)

    This conference is organised by the Institute of Art History, University of Warsaw and the National Museum in Warsaw and is generously funded by the Polish National Science Centre.

    The project stems from the theory of ‘agency of things’ created in the last decade of the twentieth century. The theory marks the departure from the ‘linguistic turn’ and resultant postmodern concepts, towards the search of functional agency of things and other entities shaping human environment.
    This approach, hitherto, has been applied solely to purely theoretical studies or in relation to works of modern and contemporary art. The project aims to fill this scientific lacuna and apply the theory of ‘agency of things’ to the artworks created between the fourteenth and sixteenth centuries.

    For information and program: http://www.agencyofthings.uw.edu.pl/conference.html

    There is no registration fee but please email the organisers before 1st of June at agencyofthings@uw.edu.pl if you wish to attend so that we can prepare a name tag for you.

  • CONF: Russian Art: Changing Perceptions (Bremen; 4-5 Jun 2015)

    RUSSIAN ART: CHANGING PERCEPTIONS
    Russian Art and Culture Group, Second Graduate Workshop
    Department of Humanities and Social Sciences, Jacobs University, Bremen, Germany
    Conference Room, Research IV, June 4–5, 2015
    Registration deadline: Jun 2, 2015; Attendance Fee: €15

    FOR THE COMPLETE CONFERENCE PROGRAMME, SEE FULL POST

  • CONF: Discovering Dalmatia (Split, 21-23 May 15)

    International Conference
    DISCOVERING DALMATIA: Dalmatia in 18th and 19th century travelogues, pictures and photographs
    Organized by Institute of Art History – Centre Cvito Fiskovic Split
    21st-23rd May 2015
    Ethnographic Museum, Severova 1, Split

    The conference stem from the research project Dalmatia – a destination of the European Grand Tour in the 18th and the 19th century (2014-2017) of the Institute of Art History, under the aegis of the Croatian Science Foundation.

    FOR THE COMPLETE CONFERENCE PROGRAMME, SEE FULL POST

  • Fullbright Applications due August 3, 2015

    The Council for International Exchange of Scholars administers the Fulbright Scholar Program on behalf of the United States Department of State Bureau of Educational and Cultural Affairs. Opportunities in the 2016-17 Fulbright Scholar Program include:

    Russia Award #6314: All Disciplines
    Teach and/or conduct research in any appropriate discipline. Applicants submitting proposals with a teaching component should seek affiliation or indicate flexibility for affiliation outside of Moscow and St. Petersburg.

    Please visit the 2016-17 Catalog of Awards to learn more about all the opportunities available in this year’s competition. For most awards, English is sufficient for teaching and foreign language proficiency is only needed to the extent required by the proposed research project.

    The Application Guidelines provide helpful tips to reference during the process, and the Council is happy to answer any questions. It also encourages interested scholars to explore and register for one or more of our webinars, which provide more detailed insight into various parts of the Fulbright U.S. Scholar program. A complete schedule of upcoming and archived presentations can be found here.

    Applicants must be U.S. citizens and the current competition will close on August 3, 2015.

  • Lecture: Russian Artists in Germany (Neue Galerie, New York; May 28, 2015)

    In conjunction with the exhibition Russian Modernism: Cross-Currents of German and Russian Art, 1907-1917, the Neue Galerie presents the following lecture:

    Thursday, May 28, at 6:30 p.m.

    “Russian Artists in Germany”
    Presented by Vivian Endicott Barnett, Independent scholar and curator

    Members: Please RSVP to membership@neuegalerie.org

    General public: Please RSVP to visitorservices@neuegalerie.org

  • Exhibition: Russian Modernism: Cross-Currents of German and Russian Art, 1907-1917 (Neue Galerie, New York; May 14-August 31, 2015)

    http://www.neuegalerie.org/content/russian-modernism-cross-currents-german-and-russian-art-1907-1917

    This exhibition is dedicated to modernist movements in German and Russian art at the beginning of the 20th century. Their development was parallel and often intersected.

    This is the first exhibition at an American museum to focus exclusively on the important artistic links between these two countries, featuring works by artists Natalia Goncharova, Erich Heckel, Alexei von Jawlensky, Vasily Kandinsky, Ernst Ludwig Kirchner, Mikhail Larionov, and Gabriele Münter, among others. The show will be on view through August 31, 2015. The Neue Galerie is the sole venue for the exhibition.

    The exhibition is organized by Russian art scholar Konstantin Akinsha, who also serves as a Research Fellow at the Germanisches Nationalmuseum, Nuremberg, Germany. The exhibition is designed by Peter de Kimpe, whose projects are noted for their bold colors and theatrical style.

    Approximately 90 works are on display, including paintings and works on paper. The show is organized into thematic groupings and highlights direct connections and collaborations between Russian and German art from the period: Urban Scenes; Still-Lifes; Landscapes; Nudes; and Portraits. A small pendant gallery addresses the development of abstraction and includes work by Vasily Kandinsky and Kazimir Malevich.

    The exhibition examines the radical modernist movements in Germany and Russia at the beginning of the twentieth century, focusing on the activities of the German Expressionist groups Brücke (Bridge) and the Blaue Reiter (Blue Rider), and their Russian counterparts the Jack of Diamonds and the Donkey’s Tail. The development of these groups was parallel and often intersected. Russian artists traveled to Germany to live and study. Likewise, the Germans were aware of the avant-garde art being produced in Moscow and exhibited their work there, too.

    Russian and German modern artists shared an interest in the directness and simplicity of urban and rural folk traditions. Common subjects are peasants and urban scenes, including cabaret and circus, rendered in unexpectedly contrasting decorative combinations of color. While Russian artists looked to France, especially the art of Paul Cézanne, Henri Matisse, and Pablo Picasso, they also found sources of inspiration in forms of local popular culture like Russian lubok prints, playing cards, commercial signage, and graffiti. German artists alternatively, looked outside of Germany for their neo-primitivist influences, much of which emerged from engagement with ethnographic arts.

    The exhibition includes key works from major private collections, including a large number from that of businessman and philanthropist Petr Aven, as well as master-works from the Neue Galerie permanent collection. Several extraordinary loans have been assembled, such as Mikhail Larionov’s Self-Portrait (1912), Robert Falk’s Man in a Bowler Hat (1917), Ernst Ludwig Kirchner’s Russian Dancer Mela (1911), Max Pechstein’s Young Woman with Red Fan (ca. 1910), Kazimir Malevich’s Black Trapezoid (1917), Aristarkh Lentulov’s Victorious Battle (1914), and Vasily Kandinsky’s Study for Improvisation 8 (1909).

    The exhibition is accompanied by a fully illustrated catalogue, published by Prestel, which features contributions from scholars Konstantin Akinsha, Vivian Endicott Barnett, Natalia Murray, Irina Romanova, Aleksandra Shatskikh, and Jane Sharp.

  • CFP: HGCEA Panel at CAA 2016

    Graduate students and scholars who have completed their dissertation within the past five years are invited to submit paper proposals representing new directions of research in our field. Proposals are encouraged on topics from both the pre-modern and modern periods.

    Email proposals and materials for the CAA 2016 conference in Washington D.C. to Jay Clarke by May 20th, 2016.

    Proposals will be reviewed by Board members who will select three papers to be presented in a ninety-minute session.