Proposals are invited for papers at the conference
In the Shadow of the Habsburg Empire? Art and Culture in Interwar Central Europe
Moravian Gallery, Brno
12 – 14 September 2019
The First World War is often held to have brought about not merely political and social disruption, but also a profound caesura in artistic and cultural life. Nowhere was this more evident than in Austria-Hungary, where Vienna and Budapest lost their pre-eminent status as cultural capitals, and the creation of new states transformed the political and artistic status of cities such as Prague, Brno, Salzburg and Košice. The disruption to artistic life was dramatically symbolised in the deaths in 1918 of some of the leading figures of pre-war modernism: Otto Wagner, Gustav Klimt, Bohumil Kubišta and Egon Schiele.
Post-war nostalgia for the Habsburg Empire amongst writers such as Joseph Roth, Stefan Zweig and Miklós Bánffy is well known and, as Marjorie Perloff has suggested, the collapse of Austria-Hungary left its imprint on what might termed a specific ‘austro-modernism.’ But what was the impact of the events of 1918 on the visual arts? How did artists, designers and architects negotiate the changed terrain of the post-war social and political world? To what extent did the memory of the Habsburg Empire continue to shape artistic life? To what extent did artists and architects actively seek to consign it to oblivion?
As part of the ERC-funded project Continuity / Rupture? Art and Architecture in Central Europe 1918-1939 (https://craace.com) this conference examines the ways in which the visual arts shaped and were shaped by new aesthetic, political and ideological currents, with particular reference to Austria, Hungary and Czechoslovakia.
Proposals (300 words) are invited for 30-minute papers that examine topics such as:
Cultural memory of the Habsburg Empire Formation and reformation of the avant-gardes Exile and migration The destruction, creation and renewal of artistic networks The art market, galleries, museums and other institutions of the art world Artistic, architectural and broader cultural policies of the new states Confirmed keynote speakers are: Pieter Judson (EUI, Florence); Eve Blau (Harvard University); Milena Bartlová (Academy of Art and Design, Prague) and Enikő Róka (Kiscelli Museum, Budapest).
The deadline for submission of proposals is Wednesday 1 May 2019. Submissions should be sent to: email@example.com
The Post-socialist Art Centre (PACT) at the Institute of Advanced Studies UCL, with support from the Getty Foundation’s Connecting Art Histories initiative, is launching a new research project entitled Confrontations: Sessions in East European Art History.
Led by Dr Maja Fowkes and Dr Reuben Fowkes, the project investigates the entangled histories of East European art through a series of itinerant symposia held at pertinent locations across and beyond the region. By staging encounters between contrasting aesthetic and critical positions and creating conditions for comparative insights to crystallise, these sessions aim to instigate more rigorous and integrated accounts of East European art history. Acknowledging the singularity of individual practices, the multi-directional flow of artistic exchange and the generative effects of local circumstances, this transnational initiative is a contribution to an emergent global history of art from the Second World War till today.
The title of the project refers to the series of Confrontations exhibitions held in Czechoslovakia in the years around 1960 and again in the spirit of post-modernist revival during the mid-1980s. While the original studio exhibitions were a means for young artists to challenge the dominance of socialist realism and figurative art by embracing the international style of art informel, those held at the end of the socialist period were organised in aesthetic opposition to the ethos of the dissident neo-avant-garde. What these two moments of contestation had in common was a willingness to challenge established artistic paradigms, a critical attitude to dominant institutions and a boldly experimental character. They also correspond chronologically to the two art historical periods with which this research project is primarily concerned.
Early and mid-career scholars are encouraged to apply to participate in four meetings to be held in Ljubljana/Zagreb, Prague/Bratislava, London/Paris and Warsaw/Łódź over 2019-20. Each of the four sessions is conceived as a week-long gathering with a core group of participants who will engage in seminar discussions, give presentations of their research, as well as take part in a programme of visits to relevant sites such as museums, galleries, artist studios or specialist archives. The topics of each meeting will be devised to draw on the strengths of local collections and points of primary art historical interest in the specific cities in which they are held. Each participant is expected to actively participate in discussions and give two research papers over the course of the project. Travel and accommodation expenses will be covered. Participants must commit to attending all four meetings for the full duration.
Applications are particularly sought from post-doctoral researchers and early career scholars from the countries of Central and Eastern Europe inclusive of the Baltic States and the Balkans, as well as from those who study the art history of the region from further afield. While researchers specialised in any aspect of post-war East European art history are encouraged to apply, we are keen to recruit participants with an interest in engaging with under-researched topics including socialist realism, art informel, neo-constructivism and pop art, as well as the post-avant-garde, post-modern and alternative art currents of the 1980s.
To apply, please submit a single word or pdf document with:
1) Your name, email address, institutional affiliation, and postal address.
2) An applicant statement (approximately two pages)
This should state what you would bring to the programme, the nature of your current work and involvement with East European art history, and what you believe you could gain through your participation in the Confrontations project.
3) A short CV
This should consist of a two-page CV, including a selection of your most relevant publications or research projects.
For enquiries, please contact Maja Fowkes or Reuben Fowkes by email firstname.lastname@example.org
Please email the documents specified above as a single document to email@example.com by Friday 9 November 2018.
Selection of the participants will be made based on the recommendations of the project team comprising Dr Maja Fowkes (PACT UCL), Dr Reuben Fowkes (PACT UCL), Dr Pavlina Morganová (Academy of Fine Arts in Prague), Dr Tomasz Załuski (Institute of Contemporary Culture, University of Łódź) and Alina Șerban (art historian and curator, Bucharest).
We aim to notify applicants of the outcomes by the end of November.
Date: April 5-6, 2019 Location: Princeton University
Organizers: Alice Isabella Sullivan, Ph.D. (University of Michigan) Maria Alessia Rossi, Ph.D. (The Index of Medieval Art, Princeton University)
Description: In response to the global turn in art history, this two-day symposium explores the temporal and geographic parameters of the study of medieval art, seeking to challenge the ways we think about the artistic production of Eastern Europe. Serbia, Bulgaria, and the Romanian principalities of Wallachia, Moldavia, and Transylvania, among other centers, took on prominent roles in the transmission and appropriation of western medieval, byzantine, and Slavic artistic traditions, as well as the continuation of the cultural legacy of Byzantium in the later centuries of the empire, and especially in the decades after the fall of Constantinople in 1453.
This symposium will be the first such initiative to explore, discuss, and focus on the art, architecture, and visual culture of regions of the Balkans and the Carpathians (c.1300-c.1550). We aim to raise issues of cultural contact, transmission, and appropriation of western medieval, byzantine, and Slavic artistic and cultural traditions in eastern European centers, and consider how this heritage was deployed to shape notions of identity and visual rhetoric in these regions from the fourteenth through the sixteenth centuries. This event will offer a comparative and multi-disciplinary framework, ranging from art history to archeology and from material culture to architectural history.
We aim to create a platform where scholars at various stages of their careers can discuss their research and engage in dialogue regarding the specificities but also the shared cultural heritage of these regions of Eastern Europe that developed eclectic visual vocabularies and formed a cultural landscape beyond medieval, byzantine, and modern borders.
Papers could address topics that include, but are not limited to: How cross-cultural contact facilitated the transfer, appropriation, and transmission of ideas and artistic traditions across geographical and temporal boundaries in Eastern Europe (c.1300-c.1550) Artistic and iconographic developments as expressions of particular social, political, and ecclesiastical circumstances and dialogues in the Balkans and the Carpathians The intentions and consequences of diplomatic missions and dynastic marriages in the visual agenda of eastern European centers Workshop practices and traveling artists beyond medieval political and religious borders Patronage and new constructs of identity before and after 1453
Interested scholars should submit a paper title, a 500-word abstract, and a CV by August 15, 2018 to the organizers at: firstname.lastname@example.org
Funds will be available to defray the cost of travel and accommodations for participants whose papers are accepted in the Symposium. So far, this event is supported in part by the International Center of Medieval Art (www.medievalart.org), the Society of Historians of East European, Eurasian, and Russian Art and Architecture (www.shera-art.org), as well as The Index of Medieval Art at Princeton University.
Dear SHERA Members,
Panel proposals for a SHERA sponsored panel for the 2019 CAA Annual Conference in New York, February 13-16, are invited.
We encourage submission of proposals discussing issues of art or art history in any of the fields SHERA as a Society covers. The organizer of the panel must be a CAA member (membership number must be provided) as well as member of SHERA.
Please submit your panel proposal to email@example.com by April 15, 2018. While SHERA’s Board will select the panel to be submitted on our Society’s behalf to CAA, be reminded that the ultimate decision of acceptance is CAA’s.
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: [firstname.lastname@example.org] (email@example.com) 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
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.
Groups, Coteries, Circles and Guilds. Modernist Aesthetics and the Utopian Lure of Community
While Modernism, especially literary Modernism, has long been investigated in the wake of the primary role played by individual voices and authorship, critical studies increasingly pay attention to the roles played by group artistry in the elaboration of avant-garde and modernist aesthetics and ethics, and to collaborative efforts bringing together writers, artists and intellectuals, creating at times not just cosmopolitan, but actively transnational communities.
Collective experiences (circles, little magazines, theatre companies, guilds) challenged the consolidated idea of authorship and creation and are crucial for understanding the writing practices in the first half of the twentieth century. They also very often operated internationally, by either forging allegiances between authors from different national and cultural backgrounds, or by creating connections between single authors across national boundaries.
In many ways, the utopia of new and unfettered forms of expression seems to go hand in hand with the experimentation of unconventional modes of living. Whether institutionalised or informal, most of these groupings, which were housed both in urban and rural surroundings, involved artists, authors and thinkers from different countries and cultures, working together in a collective attempt to reassess/reformulate the fundamental questions about art, creativity and craft in the light of communal practices and choices.
The editor is seeking for contributions addressing the following topics in Modernist literature:
- international and transnational circles, guilds and groups actively promoting utopian programs through artistic experiments and/or unconventional living practices
- collaborations uniting artists and writers and fostering dialogue between experiments in both the modernist centres and their “margins”
- collective writing practices challenging institutional perceptions concerning artistic production, authorship with broader political or social agendas
Please send proposals to: Laura Scuriatti, Bard College, Berlin: firstname.lastname@example.org
49th ASEEES Annual Convention
November 9-12, 2017
Chicago Marriot Downtown Magnificent Mile
Convention Theme: Transgressions The 100th anniversary of the Bolshevik Revolution inspires the 2017 theme, and invites us to rethink the ways in which cultural, economic, political, social, and international orders are undermined, overthrown, and recast. The theme invites consideration of transgressions broadly and comparatively. Proposals need not be related to the theme. Proposals from all disciplines, historical periods, and geographic foci are welcome.
February 15 Deadline for all convention proposal submissions & meeting requests
Accepting submissions for:
Panels Roundtables Book Discussion Roundtables (New for 2017 – Use the Roundtable submission process) Individual Papers Lightning Round Presentations (New for 2017 – See the call for proposal for details) For more information on the Call for Proposals see: www.aseees.org/convention/cfp
Please review the rules for participation: www.aseees.org/convention/rules
We are anticipating a large number of proposals for the 2017 Convention. Individual paper submissions will have a MUCH LOWER chance of being accepted than panel/roundtable proposals. We STRONGLY encourage all interested participants to form, or become part of, a panel proposal. To assist in the process of forming panels, we have created the Panel/Paper Wanted Board. If you are looking for a panel to join or a paper presenter for your panel, please review the proposals on the online board. You can also indicate your willingness to volunteer as chair or discussant. You can also post your requests on the new ASEEES Commons: aseees.hcommons.org/groups/2017-convention-paper-panelist-wanted/ (you must be a current ASEEES member to post on the Commons).
CFP Conference “Privacy Outside Its ‘Comfort Zone’: Late Socialist Eastern and East-Central Europe between the Private and the Public”
by Tatiana Klepikova Conference “Privacy Outside Its ‘Comfort Zone’: Late Socialist Eastern and East-Central Europe between the Private and the Public”, December 8-10, 2017
Organizer: DFG Research Training Group 1681/2 “Privacy and Digitalization”, University of Passau, Germany
“Privacy” is a well-researched yet highly disputed concept in Western scholarship. While most privacy research comes from and concentrates on Western liberal societies, great potential of privacy studies beyond this traditional framework still remains largely unexplored. The framework of Western liberal societies may therefore be seen not only as a “comfort zone” of privacy studies, but also as a barrier that often limits the potential of the research. This conference aims at elucidating the problems and the perspectives of privacy studies beyond the traditional liberal framework by bringing together scholars and PhD students who work on the concept of “privacy” in the context of Late Socialist Eastern and East-Central Europe.
A common challenge to privacy researchers of non-Western societies, especially if they come from such a society, is to refute the erroneous misconception of the absence of “privacy” in non-liberal societies, and to embrace the constructions of “privacy” that these local societies offer. This conference endeavors to create a dialogue between scholars and PhD students from all fields of humanities and social and political sciences to discuss the challenges of transgressing the borders of liberal frameworks, the strategies to cope with these challenges, and the perspectives for privacy research that such transgressions offer.
The use of this concept in the context of Late Socialist Eastern and East-Central Europe leads to a range of questions that challenge liberal dichotomies and pave the way for alternative visions of “privacy”. These questions are particularly resonant now, in the centennial year of the October Revolution, when its consequences are debated anew. While the liberal concept of “privacy” usually fails in the framework of authoritarian regimes of post-war Europe, the region offers a diversity of other impulses similar to the liberal idea of “privacy”. In the post-war years, Socialist Eastern and East-Central Europe witnessed the expansion of the material as well as immaterial private sphere, which did not only come as a result of the changed world order and subsequent transformations of Socialist societies, but can also be seen as a process that was meticulously planned, carried out, and controlled by the authorities of respective countries in an attempt to stabilize their regimes in the process of de-Stalinization. However, we should also consider whether the private sphere, so benevolently tolerated by Socialist states, continuously developed into an enfant terrible that nurtured not only stability, but also the disruptive forces of dissidence and civil rights movements, which ultimately undermined the Socialist bloc from within. These stabilizing and simultaneously disruptive currents of “privacy” within non-liberal societies are of particular interest, as they elucidate the multifaceted nature of this concept.
Participants are therefore asked to revisit and question the concept of “privacy” in liberal contexts as well as within the frameworks of Late Socialist Eastern and East-Central Europe by renegotiating the underlying categories within a certain society. The conference will specifically examine ways of addressing the concepts of “privacy” and “publicity” in said contexts by debating the applicable frameworks and by challenging existing approaches. It will further explore the potential of “reverse applicability” by discussing how privacy research in liberal contexts can benefit from other frameworks of privacy—the transfer that is of particular interest now, in the “post-privacy age”, when Snowden’s revelations elucidated the approximations of Western liberal states to the authoritarian models of the past and the present. In the light of such developments, the examination of Late Socialist authoritarian societies becomes advantageous for our understanding of contemporary privacy paradigms.
The conference will focus on three aspects of the problematics of the private/public dichotomy in Late Socialist societies of Eastern and Central Europe. Subtopics of interest include (but are not limited to):
Political variations of privacy:
Concepts of privacy: How does the liberal concept of privacy transform when applied beyond liberal societies? Is a proper transfer possible? Do we need renegotiations of the category?
(Ab-)use of privacy: In what ways can privacy become instrumental to the aims of certain regimes?
Challenging Western models: Is the “absence of privacy” to be spoken of only in the non-liberal context? How are non-Western models applicable to the Western world’s continuous failings at privacy in the 21st century?
Art and privacy:
Visions of privacy: How was privacy in Socialist societies portrayed by domestic as well as by international literature and cinema?
“Niches of privacy”: How did the production and reception of art oscillate between the private and the public spheres?
Privacy in Socialist societies:
Fluid borders: Where do borders between the private and the public spheres lie in these societies? Which dichotomous, trichotomous, etc. divisions are imaginable?
Functions of privacy: How do functions of privacy evolve in the Late Socialist societies of Eastern and Central Europe in comparison to the Western model? To what extent are such phenomena as dissidence and samizdat private/public?
“The private is political”: In which way did Socialism “respond” to the feminist critique of liberal societies that addressed the reduction of the woman’s role to the private sphere and the depoliticization of the said sphere in the Western liberal states?
Legal ambivalence: How was the private sphere constructed through Socialist laws? How did legal codes of Socialist states simultaneously allow for the invasion of privacy?
Information for applicants:
The conference will take place on December 8-10, 2017 at the University of Passau, Germany. The language of the conference is English. We welcome abstract submissions of individual papers (no more than 300 words) until February 28, 2017. Please include the title of your presentation, as well as a short academic CV (max. 150 words), and send us a PDF document at the following E-mail addresses, indicating “Conference Privacy 2017” as the E-mail subject: Lukas.Edeler@uni-passau.de AND Tatiana.Klepikova@uni-passau.de
We will contribute to the accommodation and travel costs of the participants. The conference will be based on pre-circulated papers that should be submitted until October 1, 2017. We plan to assemble an edited volume on the basis of the conference proceedings.
For any further questions, please contact Tatiana Klepikova Tatiana.Klepikova@uni-passau.de. For further information about the DFG Research Training Group, please address http://www.privatheit.uni-passau.de/en/.
CFP: Summoning the Archive:
A Symposium on the Periodical, Printed Matter, and Digital Archiving at the Institute for Public Knowledge, New York University
May 11-13, 2017
Organizer: Meghan Forbes, NYU and UT-Austin Keynote Speaker: Jenna Freedman, Barnard
The printing and distribution of the avant-garde magazine, illustrated weekly, and underground zine have developed in the twentieth century in tandem with technological advancements in printing and access to these technologies in various regions, gaining traction in different parts of the world at different times based on economic, social, and political conditions. At its best, the magazine is an efficient, relatively affordable (for both publisher and consumer) vehicle for the artists and intellectuals it represents, and has the capacity to innovate with new technologies and engage in pressing social, political, and artistic issues. This is even more true now, in the second decade of the twenty-first century, as we observe new models for content, design, and distribution of the periodical or magazine published on-line, which has the potential to involve an even wider audience, and host a variety of multi-media content. The magazine thus continues to be a leading platform for social and political engagement, and artistic innovation.
Corresponding to a turn towards the digital, the field of Periodical Studies has gained traction as it situates the magazine as a cultural product that incorporates text, image, and graphic design toward various political, social, artistic, and pedagogical ends. With large scale projects dedicated to digitizing print based magazines, such as the Blue Mountain project at Princeton University or the Modernist Journals Project at Brown, and a concurrent turn towards digital mapping and data visualization, periodicals that were once sequestered in the archive now have the capacity to reach a wider audience, and make visible previously overlooked networks and connections enacted within and across the magazines.
The Symposium on the Periodical, Printed Matter, and Digital Archiving, to be held at the Institute for Public Knowledge at NYU invites publishers, editors, artists, and scholars from the Social Sciences and Humanities to come together around various methodologies and archival practices, and explore the following topics and questions:
- Politics of language and translation in multilingual or internationally circulated publications.
- Trans-networks: serial print culture as an intersectional axis for place, culture, genre, language, race, gender, sexuality.
- Does printed matter “translate” digitally?
- How does the library intervene in its archived periodicals through systems of cataloging, binding, and preservation? How does this affect the accessibility of these collections for researchers?
- Gaps in the archive: what periodicals and other printed ephemera have been left out? What can be done to source and preserve historical periodicals originally not held in collections?
- Likewise, what historical print magazines have not been digitized? What geographic- linguistic regions, gender, cultural, religious, and racial orientations are neglected?
- Effective strategies for making visible and accessible digitized collections through Open Source platforms, as well as data visualization and digital mapping projects. Distant versus close reading strategies. Possible pedagogical applications.
- The role and relevance of the print-based mag in our highly digital moment.
- How does the digital magazine correspond with or subvert the conception of periodical as a material product and cultural form?
- How do zines, comics, and avant-garde publications resist the potential for the periodical to be simply an inevitable by-product of consumerist, capitalist culture? Do they?
All panels and the keynote address will be held at the Institute for Public Knowledge at New York University. Site visits to relevant periodical collections at the New York Public Library and Barnard Zine Library, as well as the library of the Museum of Modern Art, have also been arranged.
Those interested in participating should submit a CV and abstract of no more than 300 words by e-mail with the subject heading: IPK SYMPOSIUM ON THE PERIODICAL to organizer Meghan Forbes, Visiting Scholar at the Institute for Public Knowledge no later than Friday, February 3rd, 2017.
Supported by the Institute for Public Knowledge, Center for the Humanities and the Department of Media, Culture, and Communication at NYU, in partnership with Public Books, the DeWitt Wallace Periodical Room at the New York Public Library, the Zine Library at Barnard College, and the Museum of Modern Art Library.