Session chairs: Andrew Hemingway and Paul B. Jaskot
Deadline: May 9, 2014
The Budapest Sunday Circle (1915-19) is widely recognized as one of the forcing grounds of radical social and cultural theory of the interwar years, and in particular of the fruitful conjunction between Marxism and the resigned romanticism of German critical sociology of the late Wilhelmine period. Its role in the formation of the major social theorists Georg Lukács and Karl Mannheim has received considerable scrutiny from intellectual historians such as Mary Gluck, Lee Congdon, David Kettler, and Michael Löwy. This makes all the more surprising the neglect of the Circle’s contribution to the history of art, since its members included such art historians as Frederic Antal, Arnold Hauser, Lajos Fülep, and Charles de Tolnay, as well as the film theorist Béla Balázs. The intellectual nexus of the Sunday Circle - along with the effects of the political conjuncture (many members of the circle were forced into exile for their role in the short-lived Hungarian Soviet Republic) - provided the stimulus that transformed the Diltheyan art history of Dvorak's Kunstgeschichte as Geistesgeschichte into the sociology of art of Antal and Hauser.
Our panel proposes to historicize this moment of thought as well as analyze its impact on the subsequent thinking of key members. The cauldron of 1915-19 - a time when progressive Bourgeois positions were increasingly challenged by the crisis of World War I as well as the revolutionary actions of Communist Parties throughout Europe - forms the particular context of the development of the Circle. Out of this context came important conceptual explorations of such terms as ideology, class consciousness, reification, Weltanschauung, and the sociology of knowledge as well as their use to analyze art historical subjects.
St Petersburg Gallery is proud to present the new exhibition “Russian Revolution in Art, Russian Avant-Garde: 1910-1932”. This exciting new show features more than sixty paintings, works on paper, sculptures and craftworks by groundbreaking Russian artists such as Wassily Kandinsky, Mikhail Larionov and Natalia Goncharova - as well as visionaries from Kazimir Malevich’s artistic circle including Ivan Kliun, Ilya Chashnik, and David Yakerson. The leaders of the St Petersburg avant-garde also star from Mikhail Matyushin and his pupil Boris Ender to the constructivist artists Alexander Vesnin and Vladimir Stenberg. Renowned amazons of the Russian avant-garde Alexandra Exter, Lyubov Popova, Olga Rozanova, Nadezhda Udaltsova and Varvara Stepanova complete the exhibition line up. The real discoveries for many will be the works of Soviet porcelain, executed by Suprematist artists Ilya Chashnik and Nikolai Suetin who both sought to express the utopian ideal of material reality transformed through art. Exhibited alongside these fascinating pieces are rare sketches for porcelain painting, created by Wassily Kandinsky just before his departure to Germany in 1921.
As an affiliate of CAA, SHERA is eligible for an hour-and-a-half special session at the upcoming CAA conference, to be held February 11-14, 2015 in New York. We are looking for volunteers to chair or co-chair a SHERA-sponsored panel and to come up with a broadly-formulated theme that explicitly appeals to the full range of our members' interests, both geographical and chronological. Since SHERA already has a 2.5 hour session on an art-historical theme being co-chaired by Maria Taroutina and Galina Mardilovich, we would especially welcome proposals on teaching methods and strategies, or a non-panel format such as a round table discussion.
Please send your ideas and proposals to email@example.com by May 15.
Apart from coming up with a theme and a call for papers, the chair(s) will need to find three speakers for the 90-minute session. The deadline for submitting this information to the CAA website, including the speakers’ names and titles of their papers, is June 20, but the submitted information may be modified until September 5.
You have to be a member of SHERA to chair a panel and present at CAA. However, you do not have to join SHERA to be considered as a chair or to submit a paper proposal. Once your proposal is accepted, you are expected to join our organization.
Khan Academy's smarthistory.org - a web-based educational platform for Art History - is currently working towards increasing its coverage of global topics, especially with regards to alternative Modernisms from non-Western perspectives. The site is looking for several more contributors at the graduate level or higher, with expertise in African, Middle Eastern, East Asian, or South Asian art from the 20th-21st centuries, to help build this section from the ground up.
Participation is unpaid, but presents an opportunity to write for an important and reputable resource, and to help non-Western topics become more visible and accessible to budding art historians! Essays are usually around 800-1000 words and are written for a general audience (keeping undergraduates and non-specialist instructors in mind).
If interested, email Beth Harris firstname.lastname@example.org and Steven Zucker email@example.com and briefly describe your experience in the field for which you wish to write. The editors would also be happy to discuss further details about our expectations and goals if you should have any questions about the overall project, or about the current Call for Contributors. With questions, contact Allison Young at firstname.lastname@example.org.
Elphinstone PhD Scholarship:
A number of Elphinstone Ph.D. Scholarships are available at the University of Aberdeen (Scotland, UK) across the arts, humanities and social sciences, linked to specific, individual research projects. These Scholarships cover the entirety of tuition fees for a PhD student of any nationality commencing full-time study in October 2014, for the three-year duration of their studies. A research project on the following topic is supported by an Elphinstone PhD Scholarship:
Ph.D. Title: Documenting Performance Art in Central and Eastern Europe, c. 1960-1989
SEE FULL POST FOR PROJECT DESCRIPTION AND APPLICATION PROCEDURE
Odessa historically mediated access to the outside world, as part of both the Russian (1721-1917) and Soviet (1922-1991) Empires. The myth of a dreamlike city of many cultures provided an abundant source of meanings for the artists who worked there. This exhibition explores the formal and conceptual trends in unofficial art created from the 1960s to the 1980s that helped to constitute Odessa's image and mythography. Themes range from a revival of interest in avant-garde traditions of the early twentieth century to the transformation of cultural life in the city through intricate networks of apartment shows and underground—though public—exhibitions.
Organized by Olena Martynyuk, Dodge Fellow at the Zimmerli and Ph.D. Candidate, Department of Art History at Rutgers
This exhibition is made possible by the Avenir Foundation Endowment Fund, with additional support from Arts Trend Company
Related Program: Reception, April 30
From Lucidity to Freedom: On Color and Light in the Intrepid Art of Modernist Odessa
Humanities Research Institute, University of Sheffield, May 2nd–3rd 2014
Convened by Tom Cubbin and Yulia Karpova
For more information on the workshop, including registration details and a full set of abstracts and speakers biographies, please visit the workshop’s website at http://deconstructingutopia.wordpress.com/
Registration for this event is essential, so if you would like to attend, please click on the Registration link on the site. The event is free to attend.
This two-day workshop will bring together members of academic and cultural institutions from across Europe and Russia in order to discuss key concepts, individuals, organisations and turning points that comprise the history of design in post-war Eastern Europe. In recent years, study of design has emerged as a unique way of understanding socialist culture due to the way it links societal ideals with economics, scientific and technological progress, consumption, the material practises of daily life, the imagined West and broader artistic culture.
While material culture studies have made a significant contribution to historians’ understanding of post-war life in socialist countries, a broader understanding of how the design profession sought to both construct and criticise the material environment of socialism is only just beginning to emerge. Through discussions generated by the workshop, we will consider the main aesthetic turning points of design in socialism in relation to socio-political contexts. By considering various approaches to design across the Eastern Bloc, we would also like to explore commonalities and exchanges among former Eastern Bloc countries. Finally, we would like to consider how museums and collections have presented this history. What role does design heritage play in contemporary post-socialist society?
SEE FULL POST FOR THE COMPLETE SCHEDULE OF TALKS
Venue: Akvárium Klub, Erzsébet tér, Budapest
The keynote speaker of the conference is Dr. László Baán, Director- Museum of Fine Arts and the guest of honor is Karla Wursterová, Executive Director of Visegrad Fund
Registration fee for the vocational program: 35 Euro; for students: 2 Euro/day. Register online at http://conference.kultunio.hu/registration.html
In several European countries, mainly in the Visegrad Four (Czech Republic, Hungary, Poland, Slovakia) the historical towns - developed in the 19th century - face the similar city-development problems. During that period tenement houses, trading quarters, banks, financial institutions, restaurants, market halls, cafes, public transportation network were developed. Recently most of the heritage buildings lost their original function, became empty, got damaged or ruined. It is hard for city-leaders to fill them with life and economic activity taking into account the heritage protection point of view. Therefore an important question is how to use these buildings of the downtown areas in an economically sustainable way, and how to leverage their value successfully along with the preservation.
The event will provide an opportunity for experts from the 4 Visegrad countries and for other international professionals to present benchmarks and to share relevant experience about challenges in city development. By the conference we would like to offer help to civil organizations, municipalities, and for-profit organizations (e.g. tourism suppliers) to find the best solutions relating to the utilization of heritage buildings, empty shop areas, public squares. We aim to provide a wide range of possibilities for the mentioned three sectors to collect information about trends and build relevant international relationships, resulting boosting economic activity and cultural life in downtown areas.
Detailed information about the program on the official website of the conference http://conference.kultunio.hu/
Paper proposal submission deadline: May 9, 2014
Session sponsored by the Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA)
Panel co-chairs: Galina Mardilovich, independent scholar; and Maria Taroutina, Yale-NUS College
From Ivan III’s Russo-Byzantine “Renaissance” to Stalin’s Socialist Realism and the Pussy Riot performances, much of Russian, Eastern European, and Soviet art history has been narrated in relation to various institutions of power. This relationship has often been reduced to one of binary opposition: perceived complicity on the one hand, and militant defiance on the other. We invite papers that challenge these interpretations and highlight the complexity of artistic responses produced at the nexus of aesthetics and politics. Did propagandistic or ideological art possess important subversive qualities? Conversely, did ostensibly apolitical art engage with contemporary politics, imperialist ambitions, or questions of nationalism and religion? Were the divisions between official and unofficial art more fluid than currently understood? And last, can a reevaluation of these distinct categories generate new methodologies and narratives of Russian and Eastern European art?
Please send paper title, abstract (300-500 words), curriculum vitae and letter of interest to both Galina Mardilovich (email@example.com) and Maria Taroutina (firstname.lastname@example.org) by May 9, 2014.
Please note that potential candidates need not be members of CAA or SHERA in order to submit their abstracts; however, if accepted, they will need to join both by the time of the conference.
Venue and dates:
College Art Association (CAA) annual conference, New York, Feb. 11-14, 2015 The Metropolitan Museum of Art, New York, Feb. 14, 2015
The Historians of German and Central European Art and Architecture (HGCEA) and the Leonard A. Lauder Research Center for Modern Art, The Metropolitan Museum of Art, New York
Chairs: Anna Jozefacka and Luise Mahler (Hunter College, CUNY)
This symposium consists of a CAA session sponsored by HGCEA and a related session co-organized by HGCEA and the Leonard A. Lauder Research Center for Modern Art, The Metropolitan Museum of Art, New York.
For this two-part symposium we invite papers that investigate ways in which Cubism became vital to local artistic and general discourses across Central and Eastern Europe. We seek to discuss strategies—such as printed media, exhibition practices, lectures, and other forms of modern communication—through which Cubism was disseminated and popularized across the region. SEE FULL POST FOR THE COMPLETE CFP
Please send a 500-word proposal for either session and an academic CV to: email@example.com. In addition to these documents we kindly ask scholars interested in the CAA session to submit letter of interest and complete attached CAA submission proposal form (the form can be found on the CAA website: http://www.collegeart.org/proposals/).
Deadline for submissions is May 9, 2014.
Successful applicants will be notified by June 9, 2014