Deadline: 1 February 2015
With its recent remarkable exhibition on the photographic discovery of Asia, the reopened Museum of East Asian Art in Cologne focused on how photography was introduced to Asia by European travellers and was soon adapted by non-Europeans who then quickly learned how photographs of Asia could loosen the European purse strings. The museum’s exhibits followed the camera’s triumph from Istanbul to India, from South-East Asia to Yokohama, while disregarding the entire Northern Asia. And yet, the photographic discovery of a region that once belonged to Tsarist Russia and later to the USSR has been quite well documented. Since the mid-19th century, explorers, tourists, and later photo journalists have also been creating an impressive photographic image of Russia’s Asia.
The Russian view of the Asian territories within the borders of the Tsarist Empire or Soviet Union is the main focus of our conference. In what context were the pictures taken, how were they perceived? What images of Asian Russia were constructed on the basis of such photographic depictions? Can those images be classed with a model of visual orientalism or was there a typical Russian view of Asia? What role did the photographers from the Asian territories play and how did photography develop there in comparison with and contestation with the centre of the empire?
FOR THE COMPLETE LIST OF CONFERENCE TOPICS, SEE FULL POST
Prague, Institute of Art History of the Academy of Sciences of the Czech Republic
Husova 4, 110 00 Praha 1
November 27 - 28, 2014
Nationalism and Cosmopolitanism in the Avant-Garde and Modernism: The Impact of WWI
This workshop follows up on discussions that were initiated at an international symposium in Stockholm: The European Artistic Avant–Garde c. 1910-1930: Formations, Networks and Transnational Strategies (11–13 September 2013). It focuses on one particular aspect of the avant-garde and modernism, namely, the clash therein of the national, the transnational and the cosmopolitan. In the countries of Central and Eastern Europe, but to some extent in Scandinavia too, the struggle for national independence, which in most cases began in the 19th century and culminated during and after World War I, had important cultural and artistic consequences. The symposium will track the changes in and compare the nationalist rhetorics in modern and avant-garde art just before the outbreak of WWI, as well as during and after the war. After 1917 the map of Europe changed dramatically. A number of new, independent states were established, and these developments found expression in every genre of the visual arts and transformed the image of the continent. The papers presented in this workshop focus primarily, but not exclusively, on modernism and the avant-garde in Central and Eastern Europe, the Baltics and Scandinavia. There are also papers that describe the dissemination and translation of avant-garde language in regions and countries at the fringes of Europe. Some questions we would like to discuss are: How was the understanding of nationalism and the post-WWI avant-garde affected by historiography, especially that of the 1950s and later? To what extent were nationalism and cosmopolitanism part of avant-garde and modern-art discourse before WWI and how did the understanding of them change during the war? What relationship did the avant-garde have to traditional and to official art in terms of their views on nationalism? What different kinds of nationalisms resulted from the national revival movements of Czechs, Croats, Slovenes and Poles in the late 19th century within the Austro-Hungarian Empire, or of Poles and Lithuanians in Czarist Russia? And, on the other side, in what sense was the postwar avant-garde in the newly founded countries (Czechoslovakia, Poland, the Baltic States etc.) an expression of cosmopolitanism? The workshop will serve as a platform for rethinking the methodological tools we use to understand and explain the complexity and the multiplicity of avant-garde forms in these regions of Europe, a subject that is still under-researched.
FOR THE COMPLETE CONFERENCE PROGRAM, SEE FULL POST
Curating Russian Art roundtable discussion with Kate Bailey, Natalia Sidlina, and Natalia Murray
26th November 2014, 3-4.30pm
Lecture theatre, Victoria and Albert Museum
Curating Contemporary Russian Art: The Legacy of Manifesta, Russian Art Week seminar
Friday 28th November
10:30am – 12:30pm
Erarta Galleries London
8 Berkeley Street, W1J 8DN
Binghamton University, State University of New York
March 27 - 28, 2015
Deadline: Jan 30, 2015
Crossing the Boundaries XXIII: Cut and Paste
A multidisciplinary, multivocal academic conference with a global geographic and broad temporal reach, presented by the Art History Graduate Student Union at Binghamton University, State University of New York.
Andrés Mario Zervigón, Rutgers University
Kevin Hatch, Binghamton University
CALL FOR PAPERS
The phrase “cut and paste,” in its most fundamental definition, is the process of selecting and combining fragments. Inspired by an established commitment to critical research, this year’s conference aims to explore the assortment of thematic, methodological, and sociopolitical interpretations derived from the traditional concept of extracting and adhering.
The twenty-third annual Crossing The Boundaries Conference, hosted by the Art History Graduate Student Union at Binghamton University, invites submissions from any historical or disciplinary approaches that involve a literal or conceptual appropriation achieved through cutting and pasting.
Potential topics might include (but are not limited to):
- Collage, bricolage, assemblage, montage
- Authorship, plagiarism, imitation
- Censorship and editing
- Fragments / Fragmentation
- Cultural traditions and historical change
- Sociopolitcal statements
- Accumulation and composites of found objects
- Invention or production through appropriation
Proposals for individual papers (20 minutes maximum) should be no more than 250 words in length and may be sent by email, with a current graduate level CV, to email@example.com (Attn: Proposal). We also welcome proposals for integrated panels. Panel organizers should describe the theme of the panel and send abstracts with names and affiliations of all participants along with current CVs. A panel should consist of no more than three papers, each twenty minutes in length.
Deadline for submissions is January 30, 2015.
Ninth International Conference of Iconographic Studies “Icons and Iconology”
Rijeka (Croatia) and Clinton, MA (USA)
Deadline: Feb 15, 2015
Icons, iconography and iconology represent some of the most prominent concepts and research topics of art history. They refer both to a particular artistic practice, to liturgical objects, and to methods of art historical interpretations. Given this multitude of meanings and functions that the concepts of icon, iconic, iconography and iconology imply, it is not surprising that all of them have been interpreted as objects of theological reflection, didactic instruments, media of transmitting visual, aesthetic and metaphysical content, and, finally, as artworks in the modern sense of the word.
The conference seeks to explore and discuss recent development in the dialogue between theology, art history, philosophy and cultural theory concerning the ways we can perceive and interpret icons, iconography and iconology. It is also our objective to offer an insight into the development of iconographic studies and related disciplines, and to reflect upon their future development in the broader context of the humanities.
We welcome academic papers that will approach icons, iconography andiconology in an interdisciplinary and methodologically diverse way. The themes and subjects can include the following:
- Icons, iconography and iconology: “Western” and “Eastern” perspectives
- Sacred and profane icons
- Reverse perspective: formal and metaphysical dimensions
- Icons as a medium and metaphor
- Icons of power, icons as power
- Icon and modern culture
- Icons and film and digital media
- Icons and the “canon” of modern art
- Modern and contemporary icon painting
- Theological and philosophical reception of icons
It is two-part trans-continental conference that will be held in Rijeka (Croatia), June 01 - 04, 2015 and in Clinton (MA; USA), June 11 – 13, 2015
Deadline for paper proposals: February 15, 2015
Paper proposals should be submitted for both conferences electronically to firstname.lastname@example.org
A paper proposal should contain:
1.full name, institution, affiliation, address, phone number(s), e-mail address
3.abstract (maximum 2 pages – 500 words)
RIJEKA - there will be NO registration fee
CLINTON – there will be a 100 USD fee
Administration and organizational costs, working materials, lunch and coffee breaks during conference as well as all organized visits are covered by the organizers.
All presented papers will be published in the thematic issue of the IKON journal in May 2016.
Polnische Akademie der Wissenschaften-Wissenschaftliches Zentrum, Vienna
December 11 - 12, 2014
Politische Architektur in Mitteleuropa im langen 19. Jahrhundert
Das Thema der Konferenz befasst sich mit einer interdisziplinären Darstellung des Städtebaus und der Architektur in mitteleuropäischen Städten, wobei der Einfluss politischer, nationaler, gesellschaftlicher und konfessioneller Auseinandersetzungen auf den Charakter insbesondere der Stadtzentren im Mittelpunkt steht. Es werden polnische, tschechische und ungarische Städte diskutiert, die zu drei Imperien gehörten. Ihre architektonisch-städtebauliche Umgestaltung wurde nicht nur durch allgemeine Modernisierungs- und Citybildungsprozesse, sondern auch durch besonders angespannte nationale und konfessionelle Verhältnisse sowie innerpolitische Konflikte determiniert. Sie waren es, die die Errichtung bestimmter Bauwerke wie etwa Regierungsgebäuden, Sakralbauten, Schauspielhäusern oder Museen entscheidend beeinflussten, sollten sie doch als „Bastionen“ des Deutschtums oder Russentums in der Opposition zum Polentum bzw. Tschechentum und Ungarischen fungieren.
Der Begriff „politische Architektur“ wird mit Merkmalen wie „Größe oder Monumentalität“ verbunden. Eine extrem wichtige Rolle spielte auch die exponierte Lage, die die Sichtbarkeit und Dominanz im städtischen Raum und die Demonstration der Macht verschiedener Akteure (des Staates, des verschiedenen bürgerlichen Gruppierungen, der kommunalen Behörden, der katholischen, protestantischen oder orthodoxen Kirchen sowie jüdischen Institutionen) ermöglichte. Die geeignetsten Grundstücke für repräsentative Bauten befanden sich in der Stadt des 19. Jahrhunderts in der Regel innerhalb des ehemaligen Festungsgeländes - ein Paradebeispiel dafür ist sicherlich Wien, aber auch Krakau oder Leipzig. Repräsentative Plätze gab es auch entlang des Ufers der großen Flüsse - hier ist vor allem an die Brühlsche Terrasse in Dresden oder an die Bebauung der Budapester Donauufer zu denken. Die staatliche, bürgerliche, aber auch kirchliche Selbstdarstellung nahm im ostmitteleuropäischen Raum im 19. Jahrhundert signifikante und neue Formen an. Die ostentative Demonstrierung von Überlegenheit, Kraft und Machtgewalt ging häufig einher mit einer verschleierten und symbolkodierten „sprechenden Architektur“ . Diese wurde durch die, dem fremden Staat untergeordneten Bevölkerungsgruppen, geschaffen. Es führte oft zu einer grundsätzlichen Umgestaltung des öffentlichen Raums und einer neuen Bedeutungshierarchisierung, wobei sowohl „die Herrscher“ als auch „die Unterdrückten“ nach ihrer eigenen Architektursprache suchten. Das spiegelte sich u.a. in der Form und gezielt gewählten Dekoration (Skulptur, Malerei) sowie der bevorzugten Stilistik (z.B. Neugotik, Neorenaissance) wider, die mit der eigenen Geschichte und Tradition assoziiert wurden. Monumentale Bauwerke, die im 19. Jh. die Zentren der untersuchten Städte ausfüllten oder ausfüllen sollten, waren vor allem als „politische Architektur“ konzipiert. Sie eignete sich den wichtigsten Teil des Stadtraums an, indem sie neue Strukturen von ausgebauter Symbolik und Ikonologie bildete.
FOR THE COMPLETE CONFERENCE PROGRAM, SEE FULL POST
Proposal submissions for individual papers or for complete panels are invited for the 36th Annual Meeting of the North East Slavic, East European and Eurasian Conference (NESEEEC, a regional conference of ASEEES). The Conference will be held on Saturday, March 21, 2015 at the NYU Jordan Center for the Advanced Study of Russia.
NYU Jordan Center for the Advanced Study of Russia
19 University Place, 2nd Floor
New York, NY 10003
Yanni Kotsonis, Director of the Jordan Center, will be the President of the 2015 Conference.
Scholarly papers and panels are welcome on any aspect of Slavic, East European, and Eurasian Studies. Complete panels will receive preference over individual paper submissions. Proposals must include the following:
Title and one-paragraph abstract
Requests for technical support
Presenter’s email and regular mail addresses
Presenter’s institutional affiliation and professional status (professor, graduate student, etc.)
The name and contact information for the panel organizer, where applicable.
Undergraduate students under the guidance of a faculty mentor may present a paper at the Conference if their faculty mentor submits the information outlined above.
Please send your proposals via electronic format no later than December 31, 2014 to NESEEES@gmail.com
As always, we strongly urge professionals in the field to volunteer to serve as chairs and/or discussants. Much of the benefit of the conference depends on active participation and informed commentary by those taking part.
Graduate students are strongly encouraged to participate. Two juried awards of $200 for first prize and $175 for second prize are made annually for the best graduate papers presented at the NESEEES conference. FOR MORE INFORMATION ON THE GRADUATE STUDENT PRIZES, SEE FULL POST.
Clinton industrialist, philanthropist, cultural advocate and Museum of Russian Icons Founder Gordon B. Lankton will be honored at the Ballets Russes Cultural Partnership’s annual fundraiser, the Nightingale Ball on November 22 at the The Algonquin Club of Boston.
The Ballets Russes Cultural Partnership (BRCP) has chosen to honor Gordon B. Lankton for his commitment and contributions to the cross-cultural relationship between the United States and Russia, and his deep appreciation of the art and history of Russian icons. Since he first discovered his passion for icons in 1991, Gordon assembled an important collection and opened a state-of-the-art museum to display it. Through this and other philanthropic endeavors-including support for educational exchanges, and a school of icon painting in Russia, Lankton has played a significant role in building bridges between the two countries.
The Ballets Russes Cultural Partnership (BRCP) is a non-profit organization that fosters creative exchange in the visual and performing arts with the post-Soviet States. BRCP conceives and organizes collaborative, creative and educational programming by building institutional partnerships with museums, performing companies, universities and individual art-makers. Based in Boston, Massachusetts and affiliated with Boston University, it also carries out local programming and outreach events in the city and nearby regions.
‘Pop Europe?’ Symposium
Tuesday 2 December 2014
10.30am - 4.30pm
Arena Theatre, Wulfruna Street, Wolverhampton, WV1 1SE & Wolverhampton Art Gallery, Lichfield Street, Wolverhampton, WV1 1DU
Was Pop Art a British and American phenomenon?
In conjunction with the exhibition Pop Europe! this symposium reviews the idea of there being a Pop beyond Britain and America, addressing the issues concerning the geographical confinement of Pop Art. How did pop culture manifest itself artistically in Europe? Were there specific cultural parameters that enabled Pop to ferment? Exploring the relationship between Pop in Britain, America and Europe, the day aims to re-evaluate the limitations and boundaries.
The keynote lecture will be given by Dr Frank van de Schoor, Curator of Modern Art at Museum het Valkhof, Nijmegen. Other invited speakers include Maria Morzuch (Curator, Muzeum Sztuki, Lodz) and Elsa Coustou (Curatorial Assistant, Tate Modern).
FOR THE COMPLETE LIST OF PARTICIPANTS, SEE FULL POST
In the early twentieth century, artistic movements developed with an unknown intensity and velocity. The Futurist manifesto A Slap in the Face of Public Taste (1912) called to “throw Pushkin, Tolstoi, Dostoevskii etc., etc., overboard from the ship of modernity,” and deemed moderate writers, including Maksim Gor’kii, Aleksandr Blok, and Aleksei Remizov, “insignificant.”
The liberation of the arts from the restraints of the conventional canon was many artists’ major concern. It went hand in hand with artistic innovation. Artists created numerous art “isms”—Neo-primitivism, Cubofuturism, Suprematism, Constructivism, Rayism—in rapid succession, while Futurism was an overarching term used to describe contemporary progressive art.
This exhibition brings together works from the Thomas P. Whitney collection that reflect the dynamic spirit of the artistic milieu of the first three decades of the twentieth century. It exemplifies the many ways of breaking free from the prevalent realistic canon, including Larionov’s early aesthetic explorations before 1910, Baranov-Rossiné’s figurative modernism, and Chashnik’s radical geometrical abstraction. Artists from the postwar generation—such as Oleg Kudriashov—frequently referred to avant-garde experiments, particularly geometrical abstraction.
One idea connected many of the artistic experiments despite their visual and conceptual differences: dynamism. While this idea included artistic, social, and technical progress, it took particular visual shape in abstract and nonfigurative artworks. Dynamics referred not only to the depiction of speed and velocity in works of art, but to the presence of a visual tension and a deliberately imbalanced balance, achieved by arranging colors and shapes without introducing a narrative.
This exhibition is on view in the Russian Center Art Gallery, a newly refurbished space in the Amherst Center for Russian Culture, located in Webster Hall. For hours and directions, see here.