AC/CFP: « The European artistic avant-garde c. 1910-1930: formations, networks and trans-national strategies », Sodertorn University, Stockholm,11-13 September 2013. Deadline: April 15th, 2013.

A three-day interdisciplinary symposium will be hosted by Art History at Sodertorn University,11-13 September 2013. Its focus will be the European avant-gardes of c. 1910-1 30, with a certain focus on those of the Nordic Countries and Central and East ern Europe,and their relation to the Parisian avant-garde.

The cultural energies released in central Europe by the collapse of the Soviet Union in 1989 have, over the succeeding two decades, driven the recovery and exploration of the profound and complex histories of avant-garde activi ties and artistic modernisms across this continent. Moreover, the recent development of archival resources towards new, open access has facilitated the potential production of new knowledge and renewed questioning of modernist art history. As a result, many features of the art-historical land scape of the first third of the twentieth century are changing. Perhaps fore most among these changes is the recognition that the paradigm of Paris-both as capital of modernism and headquarters of the artistic avant-garde-that was until recently taken as unquestioned in its influence during this period, has yielded to an awareness of differences between nation al-cultural discourses of modernism, and between the artistic groupings of cities across Europe that sprang up, in the years either side of the first world war.

What is now urgently needed is an exploration of theoretical tools for the study of the early avant-garde and its transnational strategies, as well as a mapping of the research within the field that is now developing in different parts of Europe. This symposium is intended as a starting-point for such (a) collective project (s).

Keynote speakers: Professor David Cottington (Kingston University,London) Professor Piotr Piotrowski (Adam Mickiewicz University,Poznan)

Venues: Sodertorn University and Moderna Museet, Stockholm .

Proposals for papers are invited on any of the following themes:

-the ‘nodes’ of the avant-garde network that emerged in Europe, including the Nordic countries, Central and Eastern Europe, on their relation to the Parisian avant-garde and their transnational strategies, as well as on the inter-relations between artistic and other (e.g. literary) avant-gardes in the period.

– the role of Cubism, both in motivating and shaping the dynamic of these relations and, as a lingua franca of modernism, in articulating (via the dialects it generated) the modernisms to which these relations gave rise, and

– a consideration of the present spectrum of methodologies and theories of the study of the early European avant-garde and cultural transfer.

Proposals should include the paper’s title of paper, name, address and e-mail of contributor; a summary of the contribution; and a short biography, includ ing main publication and area of expertise. Finally, contributors should write briefly about their visions and intentions for future research. Hotel and travel expenses are offered to contributors. Proposals can be sent through the form at the conference website: www.sh.se/euroavantgarde2013.

More info : Dr. Annika Ohrner annika.ohrner@telia.com

Publication: Journal of Surrealism and the Americas, Vol 6, No 1 (2012)

The Journal of Surrealism and the Americas has just published its latest, « U.S. issue, » at: http://jsa.asu.edu/index.php/jsa

Summary:

Notes for a Historiography of Surrealism in America, or the Reinterpretation of the Repressed (i-ix)

Samantha Kavky

What Makes a Collection Surrealist: Twentieth-Century Cabinets of Curiosities in Paris and Houston (1-23)

Katharine Conley

Dalí, Magritte and Surrealism’s Legacy, New York, c. 1965 (24-38)

Sandra R. Zalman

‘What Makes Indians Laugh’: Surrealism, Ritual and Return in Steven Yazzie and Joseph Beuys (39-60)

Claudia Mesch

Feature Review: Cracking Up an Alligator: Ethnography, Juan Downey’s Videos, and Irony (61-86)

Hjorleifur Jonsson

Book Review: Effie Rentzou, Littérature Malgré Elle: Le Surréalisme et la Transformation du Littéraire (87-90)

Pierre Simon Taminiaux

Exhibition Review: « In Wonderland: the Surrealist Adventures of Women Artists in Mexico and the United States » (91-94)

Susan L. Aberth

Source:H-ArtHist, Feb 3, 2013.

AC/CFP: « Art and gender: women creators in Latin America », Artelogie Journal. Deadline: Feb 28, 2013.

CFP: Art and gender: women creators in Latin America

Deadline: Feb 28, 2013

Org: Ana Paula Cavalcanti Simioni (professor, IEB/USP-Brazil), Maira Ishtar de Luca (PhD student, Efisal/CRAL-EHESS), Deborah Dorotinsky (researcher, IIE-UNAM, Mexico)

For this edition of Artelogie we intend to explore on the one hand the possible intersection between artistic creation (production) and gender relations, and on the other, the relationship that gender studies have with those of territoriality. We aim to establish a dialogue between scholars working in and on Latin America.

Since the publication of Linda Nochlin’s well known essay « Why have there been no great women artists? » (1971), we can assert that women’s scarce presence in the History of Art became a prolific topic of research, capable of generating a methodological renewal of the discipline.

This edition of Arteologie dedicated to Women producers, mostly in the visual arts (painting, sculpture, design, architecture, decoration, fashion, etc.) but not exclusively, can become a privileged opportunity to bring together researchers in Latin America and elsewhere already involved in the topic.

We propose here to have studies on art and on gender converge with postcolonial theories. The latter as decisive contributions to the political critique of the universal subject, predominant actors of traditional art historical narratives, usually centered in the myth of the artist as genius, solitary transgressor that supposes a male subject, preferably white and western. (Griselda Pollock, Tamar Garb). Feminist studies have put forth assertive critiques to the sexist purposes that impregnate the categories on which judgment, selection and values within canonical art historical discourse is founded.

Abstracts (1 page) must be sent by e-mail before 28/02/2013 to: ana.simioni@hotmail.com ; deborah.dorotinsky@gmail.com ; mairaishtar@gmail.com. The editorial committee will make a selection before 30/03/2013. In case your abstract is selected, completed article must be sent by 30/06/2013.

Texts are welcomed in French, Spanish, Portuguese and English.

Full CFP in French, Spanish and Portuguese in http://cral.in2p3.fr/artelogie/spip.php?article188

Source: H-ArtHist, Feb 4, 2013.

AC/CFP: « Avant-garde discourses in Spain and Latin America », Madrid, Museo Reina Sofía, 11-13 July 2013. Deadline: Feb 28, 2013.

This international conference brings together the Colección Patricia Phelps de Cisneros, CSIC, Saint Louis University and the Reina Sofía in order to investigate the artistic and intellectual dialogue between Spain and Latin America during the twentieth century. It forms part of the Reina Sofía’s mission to become a platform for the study and representation of Latin American art in Europe. The conference has been planned to coincide with the exhibition « La invención concreta: Colección Patricia Phelps de Cisneros »(23 Jan – 16 Sept). In this way the studies and debates here proposed will help to rethink dominant historiographies of modernism and modernity – a revisionist undertaking that has been promoted by the Reina Sofía through its exhibitions, public programs and publications.

A growing interest in the study of modern art from Latin America has helped to question the legacy of Modernism, and the way in which the formalist canon has legitimized boundaries between centre and periphery. The relationship between the avant-gardes and Modernism has been a complex history of competing narratives which continue to debate the political and aesthetic agendas of the avant-garde. Resisting absorption into the Modernist canon, championed by Greenberg’s notion of ‘self-criticism’, many avant-garde practices in Spain and Latin America were fueled by utopian desires to create a new society through the agency of art. Their experimentations gave rise to innovative and radical practices which have helped to revise dominant historiographies of modern art. Many of these works were the result of transatlantic encounters between artists, critics and curators working from these two geopolitical spheres.

Rather than looking at specific movements, this conference aims to explore the notion of the avant-garde as it relates to the experience of modernity, and the way in which a political and aesthetic vanguardia was shaped by post-war art and politics between 1920 and 1970. The specific nature of avant-garde and neo avant-garde practices, and the way which transnational dialogues helped to delineate artistic discourses in Spain and Latin America, will be the guiding reflections behind this event. Through keynote speakers and papers, the different sessions aim to present the most current research contributing in this way to a better understanding of Modernism from a transnational perspective.

We invite proposals that address the following:

• The way in which the concept of a national avant-garde in Latin America and Spain challenged the cosmopolitan nature of vanguardismo – thereby manifesting the complexities of avant-garde projects outside the main cosmopolitan centers of New York and Paris.

• The complex negotiation between history and modernity, originality and tradition.

• The way in which the utopian projects of the historical avant-gardes transformed and adapted to the socio-political problems of Spain and Latin America in the 50s, 60s and 70s.

• The artistic and intellectual exchange between Spain and Latin America during the first half of the twentieth century.

• The relationship between artists and critics in the articulation of an aesthetic and political avant-garde, and the mechanisms of representation and display that responded to these.

The papers will be divided between the following sessions. Please specify in your abstract to which of these your proposal responds.

Session 1: Encounters between Spain and Latin America

Session one explores new routes of exchange that bypass the Paris – New York axis, establishing in this way new cartographies and journeys that highlight exchanges between avant-garde movements that have not been sufficiently considered by current historiography.

Session 2: Museography, representation and curatorial narratives

Session two considers the significance of museography and exhibitions in the dissemination or institutionalization of avant-garde projects between 1920 and 1970, as well as current curatorial narratives and mechanisms of display that offer revisionist readings of this period.

Session 3: Genealogies, and avant-garde discourses

Parting from the study of artistic practices, session three analyzes the role of art criticism and theory in the construction of avant-garde discourses. It will seek to establish a genealogy of practices,vocabularies and concepts that reflect the particularities of avant-garde production in Spain and Latin America.

Session 4: Modernity and modernism(s): discrepancies and displacements

Session four debates the legacy of the modernist canon and formalism as discourses that have helped to legitimize the boundaries between centre and periphery. Considering concepts like ‘margins, periphery, alterity and divergence’ this session seeks to reveal the fissures of a complex geopolitical map.

Confirmed keynotes: Gabriel Pérez Barreiro and Andrea Giunta

Deadline 28th of February 2013.

Proposals must consist of a 500 word abstract and CV (two pages maximum). Please send to Paula Barreiro López paula.barreiro@cchs.csic.es

The official language of the conference will be Spanish but papers in English will be accepted.The results will be communicated on the 25th of March.

A limited amount of financial aid to cover the costs of travel and accomodation is available. If the proposal is accepted the participants may request this kind of aid, but must justify that no other sources of funding are available. The scientific committee will then decide how these funds will be allocated.

Conference Convenors:

Paula Barreiro López; Instituto de Historia, Centro de Ciencias Humanas y Sociales, CSIC

Fabiola Martínez Rodríguez, Saint Louis University, Madrid

Jesús María Carrillo Castillo, Museo Reina Sofía

Gabriel Pérez Barreiro, Colección Patricia Phelps de Cisneros

 

Source: H-ArtHist, Feb 5, 2013.

 

Colloque: « Lovis Corinth Colloquium on German Modernism », Emory University, Atlanta, 8-9 March 2013

First Bi-Annual Lovis Corinth Colloquium on German Modernism

Emory University

Department of Art History

March 8th, 9-5 and March 9th, 9-1

The Michael C. Carlos Museum

Keynote Speakers:

Walter Benn Michaels (UIC), “The Art of Inequality: Sander and Evans (with a note on Binschtok and Deschenes)”

Brigid Doherty (Princeton), “Rilke’s Magic Lantern: Suggestion and Metaphor in the 1905 Rodin Lecture”

Colloquium Schedule:

Friday, March 8th

9 Fred Schwartz, “Danger and Disenchantment: Thoughts on Narrative and Neue Sachlichkeit”

10 Peter Jelavich, “Legal Hypocrisy and Artistic Mendacity: The Trials of Corinth, Dix, and Grosz”

11 Lisa Siraganian, “Sounding Form: On Bauhaus Interdisciplinarity”

12 Lunch

1 Jennifer Ashton, “The Author as Consumer: Finance Modernism from Brecht, Benjamin, and Pound to Now”

2 Todd Cronan, “Less is More: The Bauhaus & The (Non-)Politics of Medium”

3-3:20 Break

3:20 Brigid Doherty, “Rilke’s Magic Lantern: Suggestion and Metaphor in the 1905 Rodin Lecture”

4:20 Walter Benn Michaels, “The Art of Inequality: Sander and Evans (with a note on Binschtok and Deschenes)”

Saturday, March 9th

9 Iain Boyd Whyte, “The German Utopia: Expressionism, National Socialism, and the Fable of Community”

10 Charles Haxthausen, “Paul Klee and the Problem of Style”

11 Lynette Roth, “The ‘Crisis of Painting’ in the Late Weimar Period”

12 Michael Clune, “Bernhard’s Way”

Detailed information can be found at http://nonsite.org/colloquium-german-modernism

For more information about the event please contact todd.cronan@emory.edu or catherine.barth@emory.edu.

 Source: H-ArtHist, Feb 6, 2013.

AC/CFP: « European Art versus American Art », Prague, Czech Republis, March 15 – 16, 2013. Deadline: Feb 15, 2013.

Call for Papers for the Panel:

Histories and Imaginaries: European Art versus American Art

(As part of the Third Euroacademia Global Conference ‘Europe Inside-Out: Europe and Europeaness Exposed to Plural Observers’, 15 -16 March, Grand Majestic Plaza, Prague, Czech Republic)

Panel Description:

Perceptions of history and historicity are considered to substantially influence and configure the sphere of imaginary representations. The universe of arts is the main environment where essentializations of conceived symbols or reactions to such essentializations are most emphatically expressed and visible. It is an often made argument that arts do reflect in a substantive manner the signifiers of particular social imaginary constructs influenced by given dominant elements of a specific social order. That’s why a cleavage between the American and the European art is addressed as reflecting distinctive ways of looking at the past and living the memorialization, quotation and reference to a patrimonial inheritance that can stand as a ground for artistic interpretative construction, de-construction, nostalgia or call for radical innovation.

A rough simplification of the American Art/European Art nexus, that disregards the extremely diverse representations free from the bounds of specific imaginary geographies, emphasizes as a main argument the strong connection between the European artistic expression and historicity while the American art is linked to a more limited historical trajectory and more defined by the directness and immediacy of artistic representation. That is to say in simplified terms that European artistic expression relies on and relates to norms emerged from its historical tradition while American art reflects the imaginary universe directly experienced by the artist.

A different argument used for separating America and Europe in terms of artistic production comes from interpreting the social and economic models that divide the concrete realities in which the artistic expression is configured. The social and economic models can influence the ways of production, promotion and perception of art. The strongly subsidized European economies and the interventionist political systems are envisaged as providers of support, access and voice to the most diverse artistic movements and productions. The American free trade vision and support for limited intervention of the government in cultural production in understood as providing free and deregulated access to artists to a world where creation is an extension of individuality and the artistic object an item to be judged by its exchange value.

Of course these rough interpretations of a perceived cultural divide between Europe and America stand close to the border of misconceptions.

On the opposite side European art is often regarded as excessively complicated and historicist while American artistic environment provides access to a free, meaningful and autonomous development of the artistic expression. Despite their excessive simplification, these perceived differences between American and European art are still invoked as distinctions standing up in the 21st century.

This panel seeks to explore the limited validity and also the miss-conceptions inherent to such circulating arguments and to discuss deeper where the division between American and European art persists if it still does in such a culturally interconnected world as the one today.

The panel welcomes papers on (but not limited to):

– American versus European Art: Persisting Differences

– Confronting Misguided Interpretations of American/European Cultural Divisions

– Cultural Policies and Support for Artistic Production: Are There Two Different Ways?

– Historicity and the Past in Artistic Representations

– Market, Exchange Value and the Autonomy of the Artist

– Nostalgia and Memory: Artistic Ways of Seeing the Past

– State Intervention and Cultural Policies in Support for Artistic Expression

– Galleries and Artistic Inclusion/Exclusion Nexuses

– Education Through Arts

– Paris versus New-York

– Cultural Interconnections and the Disappearance of Geographical Boundaries of Imaginary

– Artistic Movements: America/Europe

– Performance Arts and the Challenges to Past and Boundaries

– Monuments, Public Arts and Views of The Past: European and American Sites of Memorialization

In order to apply, please send a 300 words abstract together with the details of your affiliation to application@euroacademia.eu

For full details of the conference please see: http://euroacademia.eu/conference/third-europe-inside-out/

Source: H-ArtHist, Feb 6, 2013.