School of Humanities and Social Sciences, Research IV, Campus Ring 1, Jacobs University Bremen
June 04, 2015
Submission Deadline: May 4, 2015
Russian Art and Culture Group
Second Graduate Workshop
The second graduate workshop of the Russian Art and Culture Group aims to take a cross-epochal perspective at the changes in the perception of Russian Art in an international context from the early 19th century until today. The two major questions we wish to explore are: “How is Russian art perceived and for what reasons?” and “How do Russian artists want to be seen and what instruments do they use to achieve their goals?” Papers might explore the following topics:
- cultural and national stereotypes
- perception patterns
- political groups and alliances
- the art market
- internal art discourses
- transcultural phenomena
We invite doctoral students, postgraduate researchers, and established academics to submit proposals for 30 minute presentations. Please, send an abstract of no more than 500 words along with a short biographical introduction to Rebecca Wichmann and Tanja Malycheva.
The Fulbright-Hays Doctoral Dissertation Research Abroad (DDRA) Fellowship Program provides opportunities to doctoral candidates to engage in full-time dissertation research abroad in modern foreign languages and area studies.
For more information: http://www2.ed.gov/programs/iegpsddrap/applicant.html
Deadline: Tuesday, April 28, 2015
Application deadline: May 17, 2015
The Courtauld Institute of Art and Tate
AHRC Collaborative Doctoral Partnership Award - commencing October 2015
Research Project: Reporting the Revolution: The Artist as Witness, Critic and Propagandist for the 1917 Revolution in Russia
The Courtauld Institute of Art in partnership with Tate invites applications for a PhD studentship fully-funded for three years by the Arts and Humanities Research Council to commence in October 2015.
This doctoral research project focuses on the visual history of the Russian Revolution and its aftermath, especially how its impact, propagation and celebration were pictured. The primary resource will be the unrivalled David King Collection formed over the last forty years and newly acquired by Tate. The variety of the collection provides many avenues for investigating the troubled history of the Soviet Union through different registers and media, and contrasting the optimism of official propaganda with the actuality revealed through documentation.
Histories of artistic activities in the period have tended to continue a long-held fascination with the avant-garde alongside the complex politics of the revolutionary moment. The range of source material available invites a re-consideration of these narratives bringing them closer to the first-hand experience of the public consumption of posters, illustrated newspapers, periodicals and limited editions, prints and drawings as well as a rich archive of photographs.
Candidates should have a strong interest in modern art from Russia and the Soviet Union. Ability to read in Russian at a scholarly level is essential and familiarity with other languages of the region advantageous. It is also desirable that candidates should have a strong grounding in the visual culture or political histories of the region, and experience with independent archival research.
The PhD supervisors are Dr Klara Kemp-Welch (Courtauld Institute of Art) and Dr Matthew Gale (Curator, Modern Art, & Head of Displays, Tate Modern). The student will examine the David King collection within Tate’s collection, library and archive, utilising the museum’s records, as part of his or her thesis. The student will also produce forty summary texts about individual artworks for publication on Tate’s website, following existing guidelines. Such texts will relate closely to the themes and areas that the student is researching, and should form the basis for display and in-gallery texts. The experience of writing for a broad public about the works will provide valuable training. The student will be asked to share research findings with staff at Tate, both informally and formally, through seminars and a range of possible publishing outcomes with Tate.
The David King collection has immense potential for opening up as yet untold histories.The 1917 revolution will be either the focal point of the project or serve as a fulcrum within a wider project devoted to some or all of the period 1905-1928, ending with the inception of Stalin’s first Five Year Plan, which entailed strong new directives for media, even before socialist realism was introduced as official orthodoxy. More extended periods might also be considered in those cases where the strengths of the collection make a proposal for extension justified. Some of the following questions might frame the proposed thesis:
- What were the roles of individual image producers, such as Dimitri Moor, Viktor Deni and Nikolai Kogout, in the service of mass society?
- What was the role of commissioners of posters in the centralised directing of propaganda during, for example, the Civil War?
- What was the impact of posters as reported through other media and what was the role of ephemeral media as a vehicle for public debate and transformation of popular values?
- How should the mass production of imagery and message in the service of political expediency be assessed (in particular, was the concept of mass production illusory in relation to, for example, stenciled posters)?
- How can the complex negotiations between producers and consumers of propaganda be reframed to produce a more nuanced understanding of ideological messaging today? How did certain images migrate across media?
- What is the relationship between word and image in the posters? Did the words verbalise the image or illustrate the slogan?
- How best to analyse how the febrile birth of the new society was reflected in the ways in which a distant future was imagined.
- What were the visual manifestations of political ruptures c.1917?
- What does the history of ephemeral objects and materials in pre- and post-revolutionary periods tell us about the hierarchies of culture within visual histories of the Soviet Union?
- How innovative were the systems developed for the circulation of different media at different times?
- To what extent was the mass produced image geographically specific? How far were perceived local purposes universalised?
In pursuing these or other possibilities, the researcher is expected to elucidate fresh cultural constellations, reposition neglected artists and designers, and foster a nuanced understanding of the historical relationships between the design, dissemination and reception of print media and propagandising material before, during, and after the 1917 Revolution.
We are particularly keen to encourage innovative approaches to the material and to the historical period itself, as witnessed through this material. A key aim is to think about how and why ephemeral media might tell different stories from those found in literature, painting, sculpture or cinema. We welcome proposals that cut across disciplines and explore intersections between design and art across the revolutionary divide. In this respect the student will be encouraged to take a comparative approach to the material, studying how certain themes running through different parts of the collection are differently inflected in different media and/or time periods and /or by different producers. In addition to working comparatively within the framework of the collection, the student will explore related material in other national collections in London, especially the Russian book collection of the British Library and the White Russian poster collection at the V&A, which provide points of contrast and comparison, as well as materials in Russian and US collections, where relevant. The student will be expected to consider critically the materiality of the documents, and will develop her/his own methodological approach in close consultation with the supervisors.
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Berlin, April 30, 2015
Registration deadline: Apr 18, 2015
Zweites Internationales Doktorandenforum Kunstgeschichte des östlichen Europas / Second International Forum for doctoral candidates in East European art history Berlin
Berlin, Lehrstuhl für Kunstgeschichte Osteuropas, Humboldt-Universität zu Berlin / Chair of Art History of Eastern and East Central Europe, Humboldt University
East European art history has recently been enjoying a surge of academic interest, however, within art historical research it remains a marginal area. Accordingly, there are only few suitable platforms for young academics to discuss issues focusing on this subject area. With the annual International Forum for doctoral candidates of art history of Eastern Europe we have initiated such a forum. This event gives a regular opportunity to discuss conceptual, methodical and practical problems regarding dissertations, to network, and to share competences.
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In the 1950s artists from Romania, North Korea, East Germany, and Mongolia were being sent to Leningrad to learn Russian Socialist Realism. In the same decade art exhibitions from the Soviet Union, Hungary and Poland were opening in Beijing. This panel seeks papers that explore such institutional circulations of art professionals and exhibitions as well as writings and commissions within the socialist sphere in the postwar era, especially during the period from the late 1940s with the establishment of the All Soviet Art Academy to the early 1960s at the peak of de-Stalinization. This decade long project endeavored to create an alternative modernity that at times mirrored and at other times opposed the Euro-American model. How can we historicize the socialist world’s cross-cultural art exchange? What information infrastructure and channels were utilized? What values and forms were created, shared, or flattened within this transnational system? How did these state supported exchanges mobilize artists, administrators, and the public and what are the artistic and institutional legacies of these cultural flows?
Please send an abstract (1-2 pages, double spaced) and CV to the chair, Vivian Li, University of Michigan. All participants must become members of CAA. For more information: http://www.collegeart.org/pdf/2016CallforParticipation.pdf
Paper proposals deadline: April 20, 2015. Midnight, EDT
SECAC membership required within 10 days of acceptance
Submit abstracts, maximum of 200 words, via the Paper Proposal Form on SECAC’s website https://secac.memberclicks.net/index.php?option=com_mc&view=mc&mcid=form_187575
The flâneur has usually been envisioned through Baudelaire’s “Painter of Modern Life”, with Guys and Manet as key figures, he was considered a 19th-century Parisian walker, an observer, an idler. In the 20th century, the flâneurr has also been a key figure in surrealism. In recent years, however, scholars have questioned whether the flâneur must be male, a dandy, French, solitary, or even ambulatory. As yet, there has been little exploration of flâneurie in European cities east of Paris and Berlin; this study is in its infancy. For this panel, we would like to explore ways in which artists in cities such as Prague, Budapest, Bucharest, Krakow, St. Petersburg, Belgrade, Sofia, and Vilna may have acted as flâneurs or made art about the practice of walking the city. As a counterpoint, we would also be interested in papers that consider the existence of flâneurial practice/sensibilities in Pittsburgh, the home of so many Eastern European immigrants, was it possible to be a working-class flâneur there, or did mere survival devour one’s energies? Were other residents describable as flâneurs? Could the irascible antebellum Pittsburgh painter David Gilmour Blythe, for example, be considered a flâneur? We invite your imaginative and scholarly proposals.
Session chairs: Kristen Harkness, West Virginia University, and Karla Huebner, Wright State University.
Application deadline: May 31, 2015.
Organisers: Cathrine Bublatzky, Isabel Ching and Franziska Koch, in collaboration with the Chairs of Global Art History, Monica Juneja, and Visual and Media Anthropology, Christiane Brosius, and the Research Network “Arts and the Transcultural.”
The summer school will engage with the production, circulation and the disruption of art and visual practices as they navigate the (thin) line between creative and destructive impulses in times when wars, struggles for national independence and conflicting ideologies result in border contestations and territorial partitions. These crises produce both immediate and enduring physical, economic and political consequences for persons living within affected regions, including flight from one’s homeland, traumatic histories left unprocessed between generations, and the elaboration of repressive political systems and surveillance. Art might be used as a propaganda weapon that affirms and enforces demarcations or it could be a creative path to transgress contested borders, a space to envision alternatives. The notion of the border will be explored both as a divisive force and as a zone of crossing by discussing larger questions about the complex and often seemingly contradictory relation between trauma and visual/aesthetic practices on the one hand, and complex issues of space and politics that (in-) form these practices on the other.
The summer school is organised around three themes dealing with partitions, art and civil society, and trauma and memory. In particular, it will examine narrative modes and structures which emerge when the raw history that inhabits subjects is transformed into representation, or its refusal. While artistic articulations in conflicted border zones often explicitly reflect upon collective as well as individual experiences, they might equally be marked by the attempt to gloss over the existence of wounds and political and social divides. Artistic strategies become necessary as expressions in/on border zones. The complex spatial dimensions involved call on disciplines such as art history and anthropology to develop critical approaches for analyzing these artistic negotiations as striking aesthetic and cultural practices. In an age of globally circulating art, it becomes particularly important to examine the dynamics of global spaces in their enabling possibilities as well as their overweening claims to the power of representation. Is the domain of the global simply a liberating site that offers art from zones of conflict redemption from censorship and ethnocentrism? Eschewing an understanding of art as a looking glass to view cultures in terms of geo-political units, the discussions will encourage critical ways of locating transregional and transcultural relationships and the region per se within a discursive field of knowledge production and disciplinary practice.
We welcome advanced graduate students and junior researchers to apply and present their research on the relation between art and border/political/societal conflicts or crises. The summer school provides a unique opportunity for learning through participant-oriented discussions and a hands-on approach to writing. Instruction will be delivered through individual lectures, a plenary forum and interactive afternoon sessions consisting of guided group workshops. Participants will bring their own written and visual material for dialogue with an international community of peers and distinguished scholars present at the summer school, with the objective of developing individual visual essays relevant to the participants’ research project or new trajectories for future work.
The keynote address will be delivered by Iftikhar Dadi – art historian, artist and curator (Cornell University) – who has extensively researched Islamic Modernism and is currently investigating new avenues of civic participation among emergent urban publics in South Asia.
Confirmed guests include art historian and independent curator Eckhart Gillen who will discuss the impact of the East-West division on art production in post-War Germany, Raminder Kaur (University of Sussex) who will focus on issues of censorship and cultural regulation in South Asia, Friederike Wappler (Ruhr University Bochum) who will question the productive use of trauma as a concept for analyzing modern and contemporary art, and Patricia Spyer (University of Leiden) who will elaborate on the circulation of Muslim jihad VCDs in Indonesia in the 2000s. Contributing scholars from Heidelberg include Christiane Brosius and Cathrine Bublatzky (Visual and Media Anthropology), and Monica Juneja, Franziska Koch and Isabel Ching (Global Art History).
What kind of programme is being prepared…
The summer school programme consists of lectures, interactive discussions, student presentations and cultural activities that span more than 5 days. The participant will present a poster of his or her project at the beginning of the summer school, and work on elaborating a visual essay during the course. Three main themes or lines of investigation structure the course format, while case studies of different localities in Asia and Europe are being planned.
How to apply
Applications can only be made online and a letter of motivation is required. Interested students should note that since the Summer School 2015 emphasizes the practical component, applicants are additionally required to upload 1 to 3 high-resolution images which they wish to work with towards producing an individual visual essay relevant to the theme of the summer school as part of the learning outcome.
For queries and further information, please contact firstname.lastname@example.org.
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.
The Hanseatic League or the Hansa as a European economic and communication network has increasingly come under scrutiny in recent years: not only from a historical perspective but also as a mode of organization we find mirrored in today’s networks, and not least in the current confederation of cities known as “the Hansa”. At the World Economic Forum in Davos, too, the Hansa is an important point of reference in think tanks and contributions. The Hansa is likewise allocated a prominent place in the Council of Europe’s “Cultural Routes” programme; it is acknowledged as one of Europe’s spaces of remembrance.
Appropriation for national or nationalistic objectives shaped the study of the Hansa for a long time – especially in German research. After the Second World War and the ensuing division of Europe, study of the Hanseatic League became fragmented. Research is again gradually shifting its focus to the general relevance of the possibly most important network of communications and goods traffic in northern Europe. We will not only be facing the special challenge of establishing new research networks that highly concretely reflect the diversity of the different places of the Hanseatic League. We also want to overcome the history-of-science borders of national cultural historiography as well as develop new narratives.
Funded by the Warburg Foundation, this year’s study programme seeks to provide a forum for young researchers and establish a network of new-generation researchers of the Hanseatic League. We are looking for advanced students and those currently working toward their master’s degrees and doctorates who have concentrated on the study of Hanseatic art or cultural history and have a record of accomplishments in this field. The study programme will commence in Lübeck, where participants will be visiting the opening of the exhibition Lübeck 1500. Kunstmetropole im Ostseeraum (Lübeck 1500: Art Capitals in the Baltic Sea Region, 19/9/15–10/1/16). The plan for day two will be impromptu presentations and determining the questions and problems relevant to the subject. The remaining three days will be spent at Warburg-Haus, where the current research of the participants is to be discussed intensively with the opportunity for concrete exchange with (other) acknowledged experts in Hanseatic studies. The five-day event is conceived as a platform for developing and cultivating forward-looking research and a researchers’ network for interdisciplinary Hanseatic studies with a special focus on art history. Hotel accommodation and travel expenses will be covered.
Please submit your application (cv, research project) by 19 April 2015 to:
Prof. Dr. Barbara Welzel
Seminar für Kunst und Kunstwissenschaft
Technische Universität Dortmund
Prof. Dr. Iris Wenderholm
Kunstgeschichtliches Seminar der Universität Hamburg Edmund Siemers Allee 1 20146 Hamburg
Call for Abstracts: Facing Post-War Urban Heritage in Central-Eastern Europe
9 October 2015
The first doctoral conference organized by the Department of Urban Planning and Design, Faculty of Architecture, Budapest University of Technology and Economics (BME). Throughout Europe, current urban challenges are posed by large-scale ensembles of modernity as a result of post-war development on both sides of the Iron Curtain. The conference 2015 is the first in a series of a doctoral conference, to be organized on a yearly basis, which will provide a comparative overview of current doctoral research into the physical (built and natural) environment within Central-Eastern Europe (CEE).
Those invited include doctoral researchers, PhD candidates and post-doctoral researchers (maximum five years after obtaining the doctorate degree) specializing in architecture, urban design, urban planning or landscape architecture. The BME Department of Urban Planning and Design wishes to promote cooperation among CEE doctoral institutions, building up a network for future generations of scholars through their specific fields of research.