SHERA Supports European University at St. Petersburg
The European University at St. Petersburg https://eu.spb.ru/en/ is an important institution for research and higher education, respected in Russia and around the world. Its scholars participate in major international conferences alongside members of SHERA and publish their work in prestigious journals and with major presses. We have all benefitted from the scholarship produced by its faculty, associates, and alumni; their work makes a significant and lasting contribution to our field.
For over 20 years, the EUSP has trained both Russian and non-Russian graduate students at the highest international level. Its educational ideal of promoting the best of Russian and Western scholarship promises to produce students who are fluent in the discourses that shape society and culture around the globe today. Foreign students who enroll in the EUSP’s programs such as its International MA in Russian Studies (IMARES) https://eu.spb.ru/en/international/academics/imares benefit from study in Russia and access to St. Petersburg’s immense cultural resources. More importantly, they gain a deep respect and appreciation for Russian history and culture in a way unparalleled by any other program.
The EUSP’s proud history and record of success make it all the more concerning that on February 10th the Moscow Arbitration Court did not support the university’s evidence of compliance with areas (registering degrees with the VAK, employing faculty practicing in their field, and maintaining a gym) that had been disputed by the Ministry of Education’s inspectorate, Rosobrnadzor. The Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA) supports the EUSP’s decision to appeal the court’s finding. We trust that further court hearings will remove the current obstacles and allow the university to continue its vital work of teaching and scholarly research.
Happy Holidays from SHERA!
SHERA is pleased to announce the receipt of its first donation, in honor of Maya Semina
An anonymous donation has been made in honor of Maya Semina, an art historian from Russia, whose book about Filipp Maliavin was published by Moscow’s BooksMArt Press in 2014. The donation will support one graduate student’s travel to any conference listed on the SHERA’s News Blog. The procedure for selecting a grantee will be elaborated during a SHERA membership meeting at ASEEES in November 2016 and announced shortly thereafter.
Please send your proposals to email@example.com by January 20, 2016.
SHERA is looking for volunteers to chair or co-chair a 2.5- hour SHERA-sponsored panel for CAA 2017 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 our resurgence 2 years ago, we have been successful in soliciting excellent proposals from our members, both for 1.5 and 2.5-hour sessions. As a reminder and an inspiration, I am sending you a list of SHERA-sponsored sessions we’ve organized so far:
1.5-hour session: “Decentering Art of the Former East.” Co-chaired by Kristin Romberg and Masha Chlenova;
1.5-hour session: “Infiltrating the Pedagogical Canon.” Chaired by Marie Gasper-Hulvat;
2.5-hour double session: “Reconsidering Art and Politics: Towards New Narratives of Russian and Eastern European Art.” Chaired by Maria Taroutina and Galina Mardilovich;
2016 1.5-hour session: “Collecting, Curating, Canonizing, Critiquing: The Institutionalization of Eastern European Art.” Chaired by Ksenia Nouril;
2.5-hour double session: “Exploring Native Traditions in Eastern Europe, Russia, and Eurasia.” Chaired by Alison Hilton.
We will send out calls for short sessions in April of 2016, but meanwhile we are looking forward to receiving your proposals for the 2.5-hour slot.
Once the SHERA officers make a selection, they will write a letter of support to the CAA conference committee, so that the proposed session has a better chance of being accepted. As can seen from our record, so far this tactic has worked. If it does not, it will be possible to resubmit the proposal next year or during our short-session call in April.
The Malevich Society will host “100 Years of Suprematism,” a conference organized in celebration of the centenary of Kazimir Malevich’s invention of Suprematism and the first public display of his Suprematist paintings in December, 1915. The two-day conference, organized in association with the Harriman Institute, the Lazar Khidekel Society, and SHERA, will be held on Friday and Saturday, December 11-12, 2015, at the Davis Auditorium, Schapiro Center, Columbia University, New York City (directions: http://apam.columbia.edu/directions-davis-auditorium-cepsr.
The conference promises to be an historic event, featuring presentations by an international and renowned group of scholars. Among them are leading researchers in the field from the United States, Russia, and the United Kingdom. The event will also include a presentation of Kazimir Malevich: Letters and Documents, Memoirs and Criticism (London: Tate, 2015).
The conference program, abstracts, and registration are available on The Malevich Society’s website. Although registration will be available at the door on December 11 and 12 (based on space availability), registration online is encouraged to ensure a seat. Attendance is free.
Questions can be sent to firstname.lastname@example.org.
The increased presence of Eastern European art in international public and private collections has generated a multitude of responses in the forms of exhibitions, symposia, research programs, publications, as well as endowed positions for curators, professors, and graduate students. From Catherine the Great, the Tret’yakov brothers, and George Costakis to Norton Dodge, Peter Ludwig, and Dasha Zhukova, collectors along with the curators who work with their collections have framed and reframed narratives of Eastern European art for both local and global consumption. Artists, too, have participated through self-institutionalizing initiatives, including collective practices and the founding of archives and independent art spaces.
This panel seeks to engage questions regarding the institutionalization of Eastern European art both inside and outside the region. What have been some of the challenges, triumphs, and failures in the pursuit of both private and public collections? What roles have curators, collectors, dealers, critics, and artists played in this process? What strategies have been most effective in establishing and sustaining critical and constructive dialogues within and beyond this network of individuals? What legacies and lessons have more historical examples, such as Imperial and Soviet collections, left for us today? In what ways does museum programming affect scholarship and pedagogy and vice versa? This panel aims to create a space for debate around the presence and presentation of Eastern European art that will brainstorm ways for further advancing our field through institutional relationships.
This panel invites papers that address both practical and theoretical issues from scholars, curators, critics, collectors, dealers, and artists. Papers can examine specific case studies or address larger methodological or terminological problems. While this panel is not strictly focused on the art market, papers addressing auctions, art fairs, biennials, and other commercial ventures will be considered. Submissions from all chronological periods are welcome.
Please, submit abstracts of 300 words or less and a current CV to Ksenia Nouril, Rutgers, The State University of New Jersey. Submissions must be received by Friday, June 5, 2015.
This panel is a 1.5-hour special session affiliated with SHERA (The Society of Historians of East European, Eurasian, and Russian Art and Architecture). All are encouraged to apply; however, membership to SHERA will be required if accepted.
As an affiliate of CAA, SHERA is eligible for a 1.5-hour special session at the upcoming CAA conference, to be held February 3–6, 2016, in Washington, DC. We are looking for volunteers to chair or co-chair a SHERA-sponsored panel with a broadly-formulated theme that explicitly appeals to the full range of our members’ interests, both geographical and chronological. We are inviting proposals that address a historical period, a certain trend, or the artistic reflection on a socio-historical or formal issue of Russian and/or East European arts. Since SHERA already has a 2.5-hour session “Exploring Native Traditions in Eastern Europe, Russia, and Eurasia” chaired by Alison Hilton, we would especially welcome proposals that highlight issues other than cultural interactions between local traditions and external artistic sources, the central theme of Dr. Hilton’s panel. Please send your proposals to email@example.com by May 5.
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 19, but the submitted information may be modified until September 4.
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.
Exploring Native Traditions in Eastern Europe, Russia, and Eurasia Deadline for proposals: May 8, 2015 E-mail proposals to Alison Hilton, Georgetown University
For more information about eligibility for presenting at CAA and necessary paperwork, see here.
A cultural crossroads throughout history, this region and its arts assimilated and reacted to a succession of invading and dominating cultures from Greek, Roman, and Byzantine to Mongol, Ottoman, and Soviet. Interactions between local traditions and external artistic sources varied greatly with time, place, and social circum- stances. Within a broad historical and geographical framework, the session will balance the significance of international contacts, including professional training in urban centers, and the experi- ences of artists who worked primarily in their native regions. Artists expressed regional identities through distinctive themes and motifs in every art form; some made use of traditional techniques and designs or represented provincial spaces, distinct ethnicities, and social customs. Papers may focus on individual artists or on broader institutional contexts that affected evolving concepts of regionalism and nationalism. The discussions might also address contemporary tensions surrounding regional and national identity.
Read the interview at http://aseees.org/membership/margaret-samu
Extended Deadline: August 1, 2014
The Society of Historians of Eastern European, Eurasian, and Russian Art and Architecture (SHERA, www.shera-art.org) invites submission of proposals for the following sponsored panel:
Infiltrating the Pedagogical Canon
As researcher-educators in specialized fields, how do we effectively incorporate the content of our scholarly work into our everyday teaching? In many art and art history departments, rare is the opportunity to teach upper-division courses focused on our field of research. Art history surveys generally include, at best, a handful of significant objects from the entire history of Eurasian, Eastern European, and Russian art, only a few amongst many global perspectives that traditionally lie beyond the scope of standard art history curricula. Contextualization of such works within a culturally specific framework, distinct from yet connected to the metanarratives of “Western” and “Non-Western” art, remains challenging. How do we incorporate the question of the work addressing local concerns versus international art audiences into teaching? How does this kind of problem open up new perspectives on how our students do art history? Teaching a mixed population of students who may range from recent immigrants and heritage speakers to students for whom the name “Lenin” lacks signification, how do we spark an interest in globally diverse art in students of all levels, from novices to more advanced?
This panel invites submissions of theoretical discussions about the importance of incorporating culturally specific art into standard art history curricula, practical examples of curricular innovations involving global and transnational perspectives on art, as well as specific case studies focused on non-canonical objects or contexts that encourage discussions of both local and global perspectives. Submissions may deal with any chronological period. Papers that explore questions regarding the infiltration of Russian, Eurasian, and Eastern European objects and narratives into the standard teaching canon—as well as transnational projects—are preferred, but we also welcome projects that can provide a broader network of global perspectives to the conversation.
This panel seeks to engage questions on both practical and theoretical levels, providing attendees with take-away material to immediately employ in the classroom, rationale for how and why to focus on culturally specific, globally diverse art within a broader art-historical context, and inspiration for bridging the gap between scholarly inquiry and pedagogy in these fields.
Submit proposal abstracts of 500 words or less, along with a current CV of 1-2 pages, to Marie Gasper-Hulvat, Kent State University at Stark, firstname.lastname@example.org. Submissions must be received by email by August 1, 2014.
This session will be free and open to the public. Accepted panelists must become members of SHERA, but need not be members of the College Art Association (CAA), nor register for the CAA conference.