SHERA invites our members to submit session proposals for a SHERA-sponsored session at the Society of Architectural Historians SAH 72nd Annual International Conference in Providence RI, April 24-28, 2019. Session proposals should be submitted to the SHERA Board at: [email@example.com] (firstname.lastname@example.org) by SHERA deadline - December 10, 2017, and should comply with the instructions found below in the SAH Call for Sessions. The chair (co-chairs) of the selected proposal will be notified ASAP, for timely submission on the SAH website.
The individual proposing a SHERA-sponsored session must follow the same selection process for SAH conference sessions proposed by organizations as those proposed by individuals. Acceptance is not guaranteed. A Conference session selected by SAH Conference Committee is considered an academic achievement.
Session proposals must include the following elements:
- A session title not longer than 65 characters, including spaces and punctuation
- Summary of the subject and the premise in no more than 500 words
- Name, professional affiliation (if applicable), address, telephone, and email address (if your session is sponsored by SHERA, you also have to become a SAH member, and ensure that the information you are providing matches an existing SAH profile/membership account to avoid misdirecting communications.
- A current CV (2 pages maximum)
Although the SAH membership is international, the annual conference is conducted in English. Therefore, all session proposals must be submitted in English and, if accepted, conducted in English.
SAH Call for Sessions SAH 2019 Annual International Conference
SAH Submission Deadline: January 16, 2018, at 5 pm CST.
The Society of Architectural Historians will offer a total of 36 paper sessions at its 2019 Annual International Conference in Providence, Rhode Island. The Society invites its members, including graduate students and independent scholars, representatives of SAH chapters and partner organizations, to chair a session at the conference. As SAH membership is required to chair or present research at the annual conference, non-members who wish to chair a session will be required to join SAH next August 2018 when conference registration opens for Session Chairs and Speakers. Since the principal purpose of the SAH annual conference is to inform attendees of the general state of research in architectural history and related disciplines, session proposals covering every time period and all aspects of the built environment, including landscape and urban history, are encouraged.
Sessions may be theoretical, methodological, thematic, interdisciplinary, pedagogical, revisionist or documentary in premise and ambition and have broadly conceived or more narrowly focused subjects. Sessions that embrace cross-cultural, transnational and/or non-Western topics are particularly welcome. In every case, the subject should be clearly defined in critical and historical terms.
Since late submissions cannot be considered, it is recommended that proposals be submitted well before the deadline. Last-minute submissions that fail posting in the online portal or are sent in error via email cannot be considered. Only proposals submitted through the online portal can be considered. To ensure broad participation in the SAH Annual International Conference, individuals are limited to the role of either a session chair OR a speaker. If you are selected as a session chair you may not submit a paper abstract to other sessions to be considered for speaking. Each Session Chair and Speaker is expected to fund his or her own travel and related expenses to participate in the conference. A copy of the Session Chair and Speaker Agreement that includes deadlines and step-by-step processes will be distributed to both Session Chairs and Speakers. Session Chairs and Speakers are required to join SAH and pre-register for the conference starting in August 2018.
SAH Key Dates October 03, 2017, 3 pm CDT - Call for sessions opens January 16, 2018, 5 pm CST - Deadline to submit a session proposal February 23, 2018 - Session selection notification March 9, 2018, 5 pm CDT - Revised session proposals due April 3, 2018, 3 pm CDT - Call for papers opens June 5, 2018, 5 pm CDT - Deadline to submit a paper abstract June 7, 2018 - Session Chairs start reviewing paper submissions July 13, 2018 - Session Chairs make final selection of papers and notify speakers August 1, 2018 - Session Chair & Speaker registration opens September 27, 2018 - Session Chair & Speaker registration closes
The SHERA Emerging Scholar Prize was awarded to Christina E. Crawford (Emory University) for her article “From Tractors to Territory: Socialist Urbanization through Standardization,” Journal of Urban History (January 2018).
The jury consisted of Carolyn C. Guile, Janet Kennedy, Juliet Koss, Marie Alice L’Heureux, and Colleen McQuillen.
Jury commendation: Rigorously researched and theoretically astute, Christina Crawford’s essay “From Tractors to Territory: Socialist Urbanization through Standardization” (Journal of Urban History) is the Award Committee’s unanimous choice for the First Annual SHERA Emerging Scholars’ Essay Prize. Examining the design and construction of both the Kharkiv Tractor Factory (1930-31) and the neighboring planned city for its workers, Crawford details the importation of a Fordist model of industrial standardization into a Soviet context and demonstrates how the concept of priviazka, taken from contemporaneous architectural discourse, was productively applied to other spheres in order to facilitate rapid growth in manufacturing and distribution. Her essay illuminates the importance of adaptability within the ostensibly standardized design practices that fueled the breakneck tempo of industrialization and urbanization during Stalin’s first Five-Year Plan. Innovative and authoritative, Crawford’s scholarship offers a methodological model for considering the relationship of architectural design and economic development during the process of early Soviet industrialization.
Next Emerging Scholar Prize deadline: September 30, 2018
Recent developments in biotechnology, genetics, and artificial intelligence suggest that the ancient myths of eternal youth, immortality, and material resurrection are now a tangible horizon of the technological imagination. At the same time, a century of dreams for travel in cosmic space and life on other planets have coalesced into a new transcendental realm—infinite in size, yet located in the material world, which itself has radically expanded. What are the politics and aesthetics of life in this new world? Already in the late 19th century, Russian philosopher Nikolai Fedorov started considering some of these questions in his philosophy of the common task, which advocated technological immortality, material resurrection for all who had ever lived, and the exploration of outer space. A central tenet of Fedorov’s larger philosophical outlook, known as Russian Cosmism, puts art on par with science, technology, and social organization as an integral force ushering in the new world. Fedorov’s ideas inspired numerous artists, writers, and scientists in his lifetime and well after his physical death. Following the October Revolution in 1917, Russian Cosmism became attractive to the materialist philosophy at the core of Communist ideology. This radical vision of everlasting life in the cosmos was particularly important for the Russian avant-garde, which explored the possibilities of new worlds through Suprematism, Constructivism, and other related movements that have been long represented in the collection of The Museum of Modern Art. post presents “Russian Cosmism: A Work of Art in the Age of Technological Immortality” will address the ideas of Russian Cosmism and their relevance to our time. During this one-night symposium, Boris Groys will speak on the biopolitics of technological immortality and resurrection; Arseny Zhilyaev considers the aesthetic ideals of Russian Cosmism including “life building” in collaboration with God; Hito Steyerl will talk about continued quests for the elixir of immortality, euthanasia, and genocide; and Anton Vidokle will present a recent short film called The Communist Revolution Was Caused by the Sun. Boris Groys is a philosopher, essayist, and media theorist. Having taught in Philadelphia, Münster, and Los Angeles, he became Professor of Art History, Philosophy and Media Theory at the Karlsruhe University of Arts and Design in 1994. In 2009, he was appointed Professor of Russian and Slavic Studies at New York University. He has published widely on the subject of the Russian avant-garde and was curator of the exhibition Dream Factory Communism at Schirn Kunsthalle Frankfurt in 2003–04. Hito Steyerl is a writer and filmmaker. Her works have been exhibited at the 32nd São Paulo Biennial (2016), the 9th Berlin Biennale (2016), the German Pavilion at the 56th Venice Biennale (2015), and Documenta 12 (2007), among other venues and institutions. Anton Vidokle is an artist and editor of e-flux journal. He was born in Moscow and lives in New York and Berlin. Vidokle’s work has been exhibited internationally at Documenta 13 and at the 56th Venice Biennale. His films have been presented at the Centre Pompidou, Paris; Tate Modern, London; Garage Museum, Moscow; Remai Modern, Saskatoon; and others. Arseny Zhilyaev is an artist based in Moscow. In recent works he has examined the legacy of Soviet museology and the museum within Russian Cosmism. Among other writings, he has published articles in e-flux journal. Zhilyaev is editor of Avant-Garde Museology (2015). His works have been shown at the Gwangju Biennale, Liverpool Biennial, and the Ljubljana Triennial, as well as in exhibitions at the Centre Pompidou and Palais de Tokyo, Paris; De Appel, Amsterdam; Kadist Art Foundation, Paris and San Francisco; and the V-A-C Foundation, Moscow.
The Society of Historians of Eastern European, Eurasian and Russian Art and Architecture (SHERA) is pleased to announce a call for submissions for the newly-established SHERA Emerging Scholar Prize. The award, to be announced at the Society’s annual meeting at ASEEES, aims to recognize and encourage original and innovative scholarship in the field. Applicants must have published an English-language article in a scholarly print or online journal or museum print or online publication within the preceding twelve-month period. For the 2017 prize, articles published between September 30, 2016 and September 30, 2017 would be eligible. Additionally, applicants are required to have received his or her PhD within the last 5 years (2012 or thereafter for the 2017 prize) and be a member of SHERA in good standing at the time that the application is submitted. The winner will be awarded $500 and republication (where copyright allows) or citation of the article on H-SHERA. Applications should include a CV including contact information (email, mailing address, and telephone) and a copy of the English-language article with header/colophon of the journal or catalogue together with a brief abstract. Applications should be sent to email@example.com no later than October 15, 2017.
The CAA-Getty International Program, generously supported by the Getty Foundation, provides funding to between fifteen and twenty art historians, museum curators, and artists who teach art history to attend CAA’s Annual Conferences. The goal of the project is to increase international participation in CAA, to diversify the association’s membership, and to foster collaborations between North American art historians, artists, and curators and their international colleagues.
Since it began in 2012, the program has brought ninety scholars to the conferences, from forty-one countries located in Central and Eastern Europe, Russia, Asia, Southeast Asia, Africa, the Caribbean, and South America. Each year, a preconference colloquium on international topics in art history inaugurates the week, kicking off four days of conference sessions, meetings with new colleagues, and visits to museums and galleries. Subsequent to these events, the program has generated many scholarly collaborations, including publications, conferences, and exhibitions.
In 2017, CAA organized a reunion to celebrate five successful years of the CAA-Getty International Program. Twenty alumni were selected to present papers at the Annual Conference in New York, held February 15-18, 2017. Organized into four sessions about international topics in art history, these Global Conversations were chaired by distinguished scholars from the United States and featured presentations by the CAA-Getty alumni. The papers from these sessions are now archived on the CAA website.
ABOUT THE 2018 GRANT
The 2018 CAA-Getty International Program will support fifteen art historians, museum curators, and artists who teach art history to attend the 106th Annual Conference, taking place in Los Angeles from February 21–24, 2018. The grant covers travel expenses, hotel accommodations for seven nights, per diems, conference registrations, and one-year CAA memberships. The program will include a one-day preconference colloquium on international issues in art history, to be held at the Getty Center on February 14, at which grant recipients will present and discuss their common professional interests and issues. Attendance at the preconference is limited and by invitation only. This year the grant also will fund five alumni from the CAA-Getty International Program to participate in the preconference colloquium and speak at a session during the conference. As they have in previous years, representatives from CAA’s membership will host program participants during the conference week.
ARE YOU ELIGIBLE?
Applicants must be practicing art historians who teach at a university or work as a curator in a museum, or artists who teach art history. They must have a good working knowledge of English and be available to participate in CAA events from February 21–24, 2018. Only professionals who have not attended a CAA conference previously, and who are from countries underrepresented in CAA’s membership are eligible to apply. The grant excludes scholars from Western Europe and Australia, whose countries are well represented in CAA. It further excludes scholars who have received funds from American foundations or research institutes to participate in conferences or residencies in the United States. Applicants do not need to be CAA members. This grant program is not open to graduate students or to those participating in the 2018 conference as chairs, speakers, or discussants.
HOW TO APPLY
Please review the application specifications and complete the application form. If you have questions about the process or are unsure of your eligibility, please email Janet Landay, project director of the CAA-Getty International Program.
Applications should include:
A completed application form A two-page version of the applicant’s CV A letter of recommendation from the chair, dean, or director of the applicant’s school, department, or museum Please send all application materials as Word or PDF files to Janet Landay no later than Monday, August 21, 2017. CAA will notify applicants by Monday, October 2, 2017.
In Edenia, a City of the Future June 8 – July 9, 2017 Opening: June 8, 18.00
In Edenia, a City of the Future is an art exhibition inspired by a Yiddish language utopian novella of the same name, published by Kalman Zingman in Kharkiv in 1918. Nearly one hundred years later, artist Yevgeniy Fiks invited an international group of contemporary artists to read the novella and create an artwork as if from the museum of the imaginary city of Edenia. The exhibition presents the artists’ different visions as an invitation to look at our dreams from various angles, to take note of their colors, intonations, forms and rhythms.
Zingman’s Edenia (a projection of Kharkiv 25 years into the future) is serviced by “aerotrains” and fountains that keep the temperature at a comfortable level yearround; it is a place where ethnic communities live side-by-side in peace and harmony. The protagonist of the story, returned to his native city from Palestine, makes a stop in the art museum: “He … looked at the figure sculptures of Kritsenshteyn, Lisitski and Roza Fayngold, then he went to the top level. The door closed behind him, and he looked for a very long time, thought for a long time, and got lost in his ruminations.”
At a time when many Ukrainians are divided in their respective idealizations of the Soviet past as a golden era of social justice or the European Union as the promise of a future utopia, “In Edenia, a City of the Future” (based on a novella written in a language that has practically disappeared from Ukraine) invites the public to examine the country’s multicultural history and its early Soviet dreams/nightmares in light of present-day political challenges and potentialities. We urge visitors to think critically about the appeal and comfort of a utopian dream, while simultaneously remembering past actions taken in the name of making an ideal image of society a reality. How many of these dreams and arguments are we still repeating today?
At the same time, we acknowledge the utopian nature of the very project of 21stcentury contemporary art, where visibility (as revelation) has come to replace the visionary projects of the past.
Curators: Larissa Babij (Ukraine / US) and Yevgeniy Fiks (US / Russia)
Participating Artists: Ifeoma Anyaeji (Nigeria) Babi Badalov (France / Azerbaijan) Concrete Dates Collective (Ukraine) Curandi Katz (Italy / Canada) Sasha Dedos (Ukraine) Aikaterini Gegisian (UK / Greece) Tatiana Grigorenko (US / France) Creolex centr (Ruthie Jenrbekova & Maria Vilkovisky) (Kazakhstan) Nikita Kadan (Ukraine) Kapwani Kiwanga (Canada / France) Yuri Leiderman (Ukraine / Germany) Mykola Ridnyi (Ukraine) Haim Sokol (Russia / Israel) Agnès Thurnauer (France / Switzerland) Exhibition designer: Ivan Melnychuk (Ukraine) Publishing partner: STAB (School of Theory and Activism – Bishkek) (Kyrgyzstan) Supported by Asylum Arts Special thanks to Dr. Gennadiy Estraikh
Open Tuesday–Sunday, 12.00 – 20.00 Yermilov Center Svobody Square, 4 Kharkiv, Ukraine Tel: +380 95 801 30 83, +380 57 760 47 13 www.yermilovcentre.org
The exhibition will involve several public events, including guided tours with the exhibition curators, meetings with participating artists, and a talk with American historian Mayhill C. Fowler, a scholar of the multi-ethnic history of the early Ukrainian SSR and author of “Beau Monde on Empire’s Edge : State and Stage in Soviet Ukraine.” Please check www.yermilovcentre.org for details.
About the curators: Yevgeniy Fiks is a Russian-American artist, who has been living and working in New York since 1994. His artistic practice, which includes making artworks, exhibitions, books, often seeks out and explores repressed micro-historical narratives that highlight the complex relationships between social histories of the West and the Soviet bloc in the 20th century. To learn more, please see http://yevgeniyfiks.com/
Larissa Babij grew up in the USA and has been living and working in Kyiv as an independent curator, writer and translator since 2005. Her work focuses on the representation of Ukrainian contemporary artists in the English-speaking world, organizing contemporary art projects (usually in collaboration with artists) in Ukraine, and critical discussion of current cultural conditions.
Translations and Dialogues: The Reception of Russian Art Abroad
The reception of Russian art in Europe and the United States is the subject of a three-day international conference, hosted by the Centro Studi sulle Arti della Russia (CSAR) at the University Ca’ Foscari in Venice, and co-organized by the Society of Historians of East European, Eurasian, and Russian Art and Architecture, Inc. (SHERA) and the Cambridge Courtauld Russian Art Centre (CCRAC).
This conference brings together scholars from Europe, the US, and Russia on the centenary of the October Revolution to present their work on a broader historical spectrum than the events of only 1917. By focusing on the reception of Russian art abroad, it hopes to engage with ideas of continuity and connection more than rupture and separation. In doing so, it promises to bring out new perspectives on the study of the history of Russian art as a vibrant and growing field. The conference organizers are part of an international network of scholarly societies and research institutes that came together with the revival of SHERA in 2013. This is their first collaborative conference.
All events will take place in the Auditorium Santa Margherita at the University Ca’ Foscari. Please register if you are planning to attend here: http://veniceconference.com/registration
25 October 2017
Opening Reception and Grand Opening
Session 1: Dialogues with Western Europe
Session 2: Vereshchagin and Makovsky Abroad
Session 3: Towards the Fin de Siècle
26 October 2017
Session 1: Russian and Soviet Art in Germany in the 1920s
Session 2: Russian and Soviet Art in America and Europe
Session 3: Malevich, Tatlin, Lissitzky
27 October 2017
Session 1: Soviet Nonconformist Art and Its Reception Abroad
Session 2: Exhibiting Russian Art Abroad: Curatorial Ventures
Roundtable I: Collecting Russian Art (in memory of Norton Dodge)
Roundtable II: International Exhibition Practices
DISTINGUISHED LECTURE AND RECEPTION
The Trees Elude Us: Russian / Soviet Modernity and What Happens with Nature
Dr. Jane Coslow, Clark A. Griffith Professor of Environmental Studies at Bates College, Lewiston, Maine Thursday, April 20 / 4:30 to 6:30 pm Free and open to the public
The Trees Elude Us explores some of the ways in which Russian artists and writers have responded to modernity and its impacts on the natural world – and on human relations to the more-than-human. Cognizant of what Varlam Shalamov called “the hurried, predatory leap” of Soviet modernization, Dr. Costlow offers some reflections on how creative imagination has worked as witness, celebrant and fierce protectress of a nature that is always more than mere resource for human needs.
This program is offered in conjunction with A Vibrant Field: Nature and Landscape in Soviet Nonconformist Art, 1970s-1980s.
A reception follows the lecture.
71 Hamilton Street, New Brunswick, NJ.
SHERA congratulates Dr. Alla Rosenfeld on her appointment as Curator of Russian and European Art at the Mead Art Museum at Amherst College. The Mead Art Museum is an institutional member of SHERA.
The press release of the announcement is pasted below.
AMHERST, Mass. — The Mead Art Museum at Amherst College has appointed Dr. Alla Rosenfeld to the position of curator of Russian and European art, effective May 22, 2017. Rosenfeld will oversee the program for Russian and European art at the Mead, including researching the collection, developing exhibitions and proposing new acquisitions. In addition, Rosenfeld will collaborate with the Amherst Center for Russian Culture and other faculty, scholars and students at Amherst College.
Rosenfeld comes to the Mead from Rutgers University in New Brunswick, N.J., where she has taught a wide range of courses on Russian art and culture and served from 1992-2006 as director of the Russian Art Department and senior curator of Russian art at the Jane Voorhees Zimmerli Art Museum at Rutgers. Rosenfeld also worked as vice president and senior specialist in Russian paintings for Sotheby’s in New York from 2006-2009.
Rosenfeld earned her master’s degree in the theory and history of art from the Ilya Repin State Academic Institute of Painting, Sculpture, and Architecture (Academy of Fine Arts) in St. Petersburg, Russia, and her doctorate in modern and contemporary European and American art from the Graduate Center at City University of New York. Her research and teaching centers on modern and contemporary European art, with particular emphasis on Russian culture and intellectual history, Soviet and post-Soviet cultural politics, Soviet nonconformist art, the history of design and graphic arts, the history of theater and theater design.
Rosenfeld has curated numerous exhibitions on subjects including nonconformist art, Russian costume and stage design and Russian graphic arts of the early 20th century. Rosenfeld’s publications include the A Biographical Dictionary and A World of Stage: Russian Design for Theater, Opera, and Dance. She was general editor and contributed to the volumes Moscow Conceptualism in Context and Art of the Baltics: The Struggle for Freedom of Artistic Expression under the Soviets, 1945-1991. Rosenfeld has been awarded various prestigious research fellowships, including the Belvedere museum of Austrian Art in Vienna and the National Gallery of Art in Washington D.C.), as well as several fellowships from the American Association of Museums.
For Rosenfeld, the Mead’s acclaimed Thomas P. Whitney Collection of Russian Art holds particular allure. “I see my new position as an unparalleled opportunity to work with such an important collection of Russian art and to contribute my utmost for the Mead’s success,” she says. Along with her other responsibilities as curator, Rosenfeld is looking forward to working closely with faculty and students at Amherst College. “I believe that it is important to promote the participation of students in the activities of the museum through research opportunities and assistance in on-site curatorial projects that involves the Mead’s rich collections of Russian and European art,” she says. “I hope that I can share my significant research in avant-garde and contemporary art with students to fulfill curricular goals as well as attract larger audiences to the museum.”
“We are delighted to welcome Dr. Alla Rosenfeld to the Mead’s staff and to the Amherst community,” says David E. Little, director and chief curator of the Mead, who chaired the search committee. “Dr. Rosenfeld is a prolific scholar and curator with an infectious passion for art and history that I know will inspire Amherst students and yield great publications and exhibitions at the Mead. She possesses deep knowledge in both Russian art and publications, matching perfectly with the focus of the Thomas P. Whitney collection.”
Established with funds bequeathed by William Rutherford Mead (Class of 1867), a partner in the storied architectural firm of McKim, Mead, and White, the Mead Art Museum holds the 19,000-object art collection of Amherst College, representing a wide range of historical periods, national schools, and artistic media. The Mead’s Thomas P. Whitney Collection of Russian Art features more than 400 objects created by artists in Russia and in exile in the 19th and 20th centuries. Whitney, a diplomat, writer, translator and journalist, graduated from Amherst College in 1937, co-created the Amherst Center for Russian Culture in 1991, and donated his collection of Russian artwork to Amherst College in 2001.
The Mead’s collection also includes American and European paintings, Mexican ceramics, Tibetan scroll paintings, an English paneled room, ancient Assyrian carvings, West African sculpture, Korean ceramics, and Japanese prints, along with fine holdings of American furniture and silver.
Call for Papers
In response to Call for Proposals, CAA 106th Annual Conference, Los Angeles CA, February 21–24, 2018 http://www.collegeart.org/programs/conference/, we are composing a Complete Session Proposal “Masters: Women in Art and Architecture” focused on presenting women-architects and artists, women-makers and educators, hidden or forgotten in collective histories. This session is critical to bridging professional readings and analyzing professional settings for women architects and artists across borders and cultural divides. We are interested in papers that explore and examine views of gender bias within art and architectural practices across varying cultures, and how this historiography is recorded. We welcome studies on the ways art and architectural education address the gender space and reflect on practitioners, in particular related to craftsmanship and production, and in response to women’s professional strategies as they impact new generations. We invite theoretically, historically, and ethnographically grounded contributions that fill blind spots and explore the life of masters: women in art and architecture.
Please submit your Paper Title and Abstract (up to 200 words); your Name; Affiliation (for institutional affiliation, enter institution’s official name as it appears on the institution’s website and avoid acronyms or colloquial titles. Do not list department, faculty positions, graduate student status, or titles. You may enter “Independent Scholar,” “Independent Artist,” etc. if not affiliated with a particular institution); CAA Member ID; and Email by April 12, 2017, 5pm ET, to firstname.lastname@example.org and email@example.com.