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SHERA

  • Conference: 100 Years of Suprematism (Harriman Institute, New York; December 11-12, 2015)

    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 info@malevichsociety.org.

  • CFP: CAA Special Session “Collecting, Curating, Canonizing, Critiquing: The Institutionalization of Eastern European Art” (Washington, DC; 3-6 Feb 2016)

    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.

  • CFP: Propose a 1.5 hour special SHERA session at CAA 2016 (Washington, DC; February 3-6, 2016)

    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 shera.artarchitecture@gmail.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.

  • CFP: SHERA panel at CAA 2016: Exploring Native Traditions in Eastern Europe, Russia, and Eurasia

    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.

  • Member News: a conversation with Margaret Samu featured on the ASEEES site

  • CFP: Infiltrating the Pedagogical Canon (SHERA at CAA 2015, New York, 11-14 Feb 2015)

    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, mgasper6@kent.edu. 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.

  • CFP: Propose a SHERA-sponsored session for CAA 2016 in Washington, D.C.

    Deadline: Friday, August 15, 2014

    SHERA’s officers are seeking proposals from anyone wishing to chair or co-chair a 2.5-hour SHERA-sponsored session at the annual conference of the College Art Association (CAA) to be held in Washington, D.C., 3-6 February 2016.

    A SHERA-sponsored session must have a broadly-formulated theme that explicitly appeals to the full range of our members’ interests, both geographical and chronological. Successful SHERA-sponsored themes have included “Decentering Art of the Former East” (2014) and “Reconsidering Art and Politics” (2015).

    Please send your session proposal to SHERA.artarchitecture@gmail.com by Friday, August 15, 2014.

    Once SHERA has selected the proposal it would like to sponsor, the chair or co-chairs will then submit it to CAA’s Annual Conference Committee by Friday 12 September.

    For more information on the proposal process, see http://www.collegeart.org/proposals/2016
    If you have any questions, please do not hesitate to contact us at SHERA.artarchitecture@gmail.com

    You do not need to be a member to submit a session proposal to SHERA, but if your proposal is chosen by SHERA, then you must join both SHERA and CAA before you submit it to CAA’s Conference Committee in September, and remain a member of both organizations through the 2016 conference.

  • Call for proposals: 1.5-hr SHERA panel at CAA 2015

    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 shera.artarchitecture@gmail.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.

  • CFP: Reconsidering Art and Politics: Toward New Narratives of Russian and Eastern European Art (CAA Annual Conference, New York, February 11-14, 2015)

    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 (galina.mardilovich@gmail.com) and Maria Taroutina (maria.taroutina@yale-nus.edu.sg) 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.

  • SHERA Board Member Eva Forgacs Hosts International Travel Grant Recipients at CAA

    SHERA Board Member Eva Forgacs Hosts International Travel Grant Recipients at CAA

    At CAA's annual conference in February, SHERA board member Eva Forgacs served as host for three recipients of the International Travel Grants funded by CAA and the Getty Foundation. Thanks to this initiative, we had a great new opportunity for scholarly exchange that we hope will continue in the future. Eva's account of her experience can be found in this post.