Recent Opportunities

  • CFP: Medieval Materialities

    St. Andrews | Dates: 22 Sep – 15 Nov, 2016
    St Andrews, School of Art History/St Andrews Institute of Medieval 
    Studies, January 19 - 20, 2017
    Deadline: Nov 15, 2016

    Encountering the Material Medieval

    The University of St Andrews School of Art History in collaboration 
    with the St Andrews Institute of Medieval Studies (SAIMS) present 
    Encountering the Material Medieval, the second edition of an 
    interdisciplinary conference on materiality and material engagements 
    with the medieval, taking place on 19-20 January 2017 in Scotland.

    The academic year 2016-2017 looks like it is going to be the year of 
    modern medievalisms, with three conferences addressing how the medieval 
    fits into our modern world in the UK, France and the USA. While the 
    idea of medievalism directly impacts modern scholarship and culture at 
    large, it encourages an engagement with a theoretical abstraction of 
    the medieval culture. This way, the materiality of the sources, and the 
    intrinsic materiality of our embodied engagement with the medieval, is 
    neglected.

    Beyond the digital humanities, we are interested in material 
    engagements with the medieval. This takes place in the library, where 
    we encounter manuscripts in an intimate, skin-to-skin contact; during 
    fieldwork, when we need to crouch in order to enter a medieval altar; 
    in one’s own kitchen, when we try to reproduce a recipe freshly 
    transcribed from a manuscript; or on the fairground, where we can hold 
    in our own hand a replica of medieval pottery.

    We are dedicated to encouraging multi-mediality and non-traditional 
    presentation methods during the conference. Therefore, we invite 
    interactive presentations, installations and posters, workshop and 
    hands-on activities proposals (45-50 minutes), as well as papers (not 
    longer than 20 minutes) on the following range of topics and their 
    relationship to the study of materiality, physicality and embodiment 
    in/with the Middle Ages:
    - The concept of materiality and physicality as research and teaching 
    methodology;
    - Bringing the materiality of the medieval to the institution or the 
    wider public;
    - Semiotics and anthropology of the material Middle Ages in modern or 
    medieval thought and practice; 
    - The human and non-human, material and embodied, materiality and 
    boundaries;
    - Medieval to modern (dis)continuities in genealogy of material.
    Papers and workshops on other issues related to the study of 
    materiality and physicality in the Middle Ages are also welcome.

    Please send your submissions (250 word abstract) along with a short 
    biography (max. 100 words) to medmat@st-andrews.ac.uk no later than 
    15th of November 2016.
     
  • Actors and Vehicles of Architectural Criticism: Mapping.Crit.Arch Second International Workshop

    Bologna | Dates: 04 – 05 Oct, 2016
    Actors and Vehicles of Architectural Criticism Second International Workshop ‘Mapping Architectural Criticism’, organized by Université Rennes 2 and Università di Bologna Bologna, October 4-5, 2016 Mapping.Crit.Arch: Architectural Criticism 20th and 21st Centuries, a Cartography Université Rennes 2 - Agence Nationale de la Recherche (ANR-14-CE31-0019-01) Scientific Coordinator Hélène Jannière TUESDAY OCTOBER 4th > 9.00-12.30 Foresteria San Giovanni in Monte, Conference Room 9.00 Welcome Address (Giovanni Leoni, Dipartimento di Architettura, Università di Bologna) 9.15 Introduction (Paolo Scrivano, Xi’an Jiaotong-Liverpool University, Giovanni Leoni, Università di Bologna, Hélène Jannière, Université Rennes 2) Session 1: Vehicles and Actors: Journals, Newspapers and their Editors Chair: Paolo Scrivano, Xi’an Jiaotong-Liverpool University 9.30 Stephen PARNELL, Newcastle University, Actors of Criticism: How the Editors of AD Magazine shaped Architecture 10.00 Jasna GALJER, University of Zagreb, The Role of Architectural Journals between Medium and the Message 10.30 Coffee break 11.00 Ishraq Z. KHAN, North South University, A Journal and a Newsletter: Criticism and Provocation in a Developing Nation 11.30 Carlos MACHADO e MOURA, PhD Candidate, Faculdade de Arquitectura da Universidade do Porto, From Satire to Criticism: Comics in Architecture Publications in the 1960s and 1970s 12.00 Discussion 12.30 Lunch Keynote lecture > Accademia delle Scienze, Sala di Ulisse, Palazzo Poggi 14.30 Réjean LEGAULT, Université du Québec à Montréal (UQAM) Agendas, Actors and Authorship: Reconsidering The New Brutalism. Ethic or Aesthetic? > 16.15-19.00 Foresteria San Giovanni in Monte, Conference Room Session 2: Actors or Vehicles? Institutions, Exhibitions, Competitions Chair: Anna Rosellini, Dipartimento delle Arti - DARvipem, Università di Bologna 16.15 Matthew J. WELLS, Ph.D Candidate, Royal College of Art / Victoria & Albert Museum, London, Knowledge, History, and Work: Critical Positions at the Royal Institute of British Architects 1889-1924 16.45 Mathilde SIMONSEN DAHL, Ph.D Candidate, Oslo Centre for Critical Architectural Studies (OCCAS-AHO), The 1924 Form and Color show and the Critique of Architecture Criticism 17.15 Ellen VAN IMPE, Centre for Flemish Architectural Archives, Vlaamse Architectuur Instituut (Flanders Architecture Institute), Antwerp, Architectural Exhibitions as Critical Actor in Belgium 1883-1972 17.45 Ines TOLIC, Università di Bologna, “Borba’: a Daily Newspaper, an Architecture Prize and the Spectacle of Criticism 18.15 Discussion Visit of the Exhibition La critica italiana e le culture del progetto (1945-1960). Strumenti, Temi, Attori, organized by the Dottorato di Ricerca in Architettura, Università di Bologna WEDNESDAY OCTOBER 5th > 8.45-13.00 Università di Bologna, Biblioteca del Dipartimento di Architettura 8.45 Introduction Session 3: Vehicles: ‘Visual’ Criticism Chair: Nathalie Boulouch, Université Rennes 2 – Archives de la critique d’art, Rennes 9.00 Michele STAVAGNA, Independant scholar, Berlin, Writing through the Eye of an Architect. Erich Mendelsohn’s Visual Criticism 9.30 Heliana ANGOTTI-SALGUEIRO and Ruth VERDE ZEIN, Mackenzie Presbyterian University, Sao Paulo, Blending Textual and Visual Rhetoric for a Critical Discourse: Oscar Niemeyer and Marcel Gautherot at Modulo (1955-1962) 10.00 Matteo CASSANI SIMONETTI, Università di Bologna, Among Criticism, Design and Photography. A Literary and Photographic Way for the Criticism in Shared Works by Vittorio Savi, Aldo Rossi and Luigi Ghirri (1972-1989) 10.30 Coffee Break Session 4: Critical Competencies: Non-Canonical Architectural Critics and Criticism Chair: Anne Hultzsch, The Bartlett School of Architecture, UCL London and OCCAS, Oslo University 11.00 Anna KLOKE, Technische Universität Dortmund, The Manifesto as a Vehicle of Criticism in Architectural Discourse 11.30 Lutz ROBBERS, Jade University, Oldenburg, Delirious Realism: The Intermedial Architectural Criticism of Siegfried Kracauer 12.00 Erik WEGERHOFF, Technische Universität, München, On Via Gluck: Adriano Celentano as Architectural Critic 12.30 Closing discussion and announce of the forthcoming activities of the ANR Mapping Architectural Criticism research project Thursday, October 6th 14:00 Università di Bologna, Urban Center Bologna, Institut de Culture française à Bologne, Urban Center Urban@it, Round table Visioni metropolitane: Parigi, Roma, Bologna (Pierre Mansat, AIGP, Président; Paola Viganò, IUAV - Studio Secchi Viganò; Paolo Desideri, Univ. Roma Tre - Studio ABDR; Alessandro Coppola, Politecnico di Milano, Valentina Orioli, Univ. di Bologna, Assessore all’Urbanistica del Comune di Bologna, Cappella Farnese, Palazzo d’Accursio, Bologna SCIENTIFIC COMMITTEE Nathalie Boulouch (Université Rennes 2 and Archives de la critique d’art) Anne Hultzsch (Bartlett School London and OCCAS, Oslo University) Hélène Jannière (Université Rennes 2) Giovanni Leoni (Università di Bologna) Paolo Scrivano (Xi’an Jiaotong-Liverpool University) Laurent Stalder (ETH Zurich), Suzanne Stephens (Barnard College, Columbia University) Alice Thomine-Berrada (Musée d’Orsay, Paris) CONTACT mappingcritarch@gmail.com helene.janniere@univ-rennes2.fr https://mac.hypotheses.org/ ORGANISING COMMITTEE Université Rennes 2- EA 1279, Histoire et critique des arts Università di Bologna - Dipartimento di Architettura - Dottorato di Ricerca in Architettura Alessandro Benetti Nicolas Bisensang Matteo Cassani-Simonetti Guillemette Chéneau-Deysine Hélène Jannière Giovanni Leoni Anna Rosellini EXHIBITION La critica italiana e le culture del progetto (1945-1960). Strumenti, temi, attori Pierpaolo Ascari, Andrea Borsari, Matteo Cassani Simonetti, Elena Formia, Giovanni Leoni, Anna Rosellini, Matteo Sintini CONFERENCE VENUES Tuesday, October 4th Conference Room, Foresteria San Giovanni in Monte, Via De’ Chiari 8, Bologna Keynote Lecture Accademia delle Scienze, Sala di Ulisse, palazzo Poggi, via Zamboni 33, Bologna Wednesday, October 5th Università di Bologna, Biblioteca del Dipartimento di Architettura, Viale del Risorgimento 2, Bologna Thursday, October 6th ANR Meeting Urban Center, Sala Borsa, Piazza Nettuno 3, Bologna Roundtable Visioni Metropolitane Parigi Roma Bologna Sala Farnese, Palazzo d’Accursio, Piazza Maggiore 6, Bologna
  • In Practice: History as Research and Design Strategy

    Detroit | Dates: 23 – 25 Mar, 2017
    The session: In Practice: History as Research and Design Strategy In both the profession and the academy, there is a renewed interest in the past. With the passing of theory, and efforts to move beyond the emphases on economics, technology, and ecology, contemporary architects are once again looking to history and the past as drivers for design. History is not just a source of precedents, or a “bag of tricks” for the architect to apply, but a research problem, the source of a design strategy, even a layer of complexity in the material of architecture. Architects are ever more self-consciously inventing, projecting, or manipulating the relation of present and past. We are interested in collecting and presenting an array of “strategies” that focus on the practice of architecture as an intellectual process in dialogue with history. We seek papers that challenge given notions of the distinct role that practice and history play, that scrutinize situations where the threads of history and practice cross paths in a critical and productive dialogue. We welcome investigations into all manner of critical exchange between the project of architecture and the project of history. We are curious about collaborations between architects and historians, as well as architects working as historians, and vice versa. We are especially interested in cases in which contemporary architecture pushes the historical discourse into new territories. Topic Chairs: Dr. Francesca Torello, Carnegie Mellon University (ftorello@andrew.cmu.edu) and Dr. Kai K. Gutschow, Carnegie Mellon University (gutschow@cmu.edu)
  • Harry Ransom Center Research Fellowships

    Austin | Dates: 14 Sep – 15 Nov, 2016
    The Harry Ransom Center, an internationally renowned humanities research library and museum at The University of Texas at Austin, invites applications for its 2017-2018 research fellowships. More than 50 fellowships will be awarded for projects that require substantial on-site use of the Ransom Center's collections, supporting research in all areas of the humanities including literature, photography, film, art, the performing arts, music, and cultural history. The fellowships range from one to three months, with stipends of $3,000 per month. Also available are $1,200 or $1,700 travel stipends and dissertation fellowships with a $1,500 stipend. All applicants, with the exception of those applying for dissertation fellowships, must have a Ph.D. or be independent scholars with a substantial record of achievement. Please note that our application deadline has changed: The application deadline for 2017–2018 fellowships is November 15, 2016, 5 p.m. CST. The 2017-2018 fellowships will support research visits that will take place during the period June 1, 2017-August 31, 2018. Fellows will become part of a distinguished group of alumni. Since the fellowship program's inauguration in 1990, the Ransom Center has awarded fellowships to more than 1,000 scholars from around the world. For details and application instructions, visit: http://budurl.com/utup Please circulate this announcement among colleagues and students. Questions about the fellowship program or application instructions may be directed to ransomfellowships@utexas.edu.
  • CFP: BRIDGE: The Heritage of Connecting Places and Cultures

    Ironbridge Gorge World Heritage Site | Dates: 12 Sep – 01 Nov, 2016
    BRIDGE: The Heritage of Connecting Places and Cultures

    6 – 10 July 2017

    Ironbridge Gorge World Heritage Site, UK

    Call for Papers deadline: 1st November 2016

    From a log crossing a stream to a road linking continents, the bridge is an embedded structure in our daily lives. Though its form and design has changed over the centuries its function remains one of connecting two points for a purpose; be it one of mere social convenience, economic necessity, for conquest or technological showmanship. Bridges (viaducts, overpasses, fly-overs) physically and symbolically connect places, communities and cultures; they remind us of division while at the same time providing the means for unification. Fought on and fought over, bridges are strategic markers in the landscape and in our own lives. Crossing over, or under a bridge carries a symbolism of passage and transition and in real terms marks a change in environment and perspective. In their history bridges have been built of a wide variety of materials, in all shapes and sizes, and are emblematic of technological advance. But they also reflect shifting socio-cultural preferences in art, architecture and design and quickly reflect and project the identities of the communities and places they bring together.

    While of course bridges are still actively being constructed, the world is covered with a vast variety of bridges we have come to value as our heritage from the World Heritage Vizcaya Bridge near Bilbao to the covered wooden bridges of Vermont and New England in the USA, to the Sydney Harbour Bridge in Australia and the Pont d’Avignon in France. Built in a multitude of materials and styles, each bridge is laden with its own specific stories and meanings. From the Bridge of Sighs to the Bridge of Spies, bridges provide a dramatic setting for the fullest range of human endeavours and emotions. It is the role of bridges in the human imagination that adds significantly to their value as important and remarkable objects in the landscape.

    This conference seeks to engage in an open multi-disciplinary analysis of the heritage of bridges –not only as physical structures connecting places and cultures but also as symbolic and metaphorical markers in the landscape. It seeks to explore the relationships that places, cultures and communities develop with bridges and to discuss how and why societies value bridges as an integral part of their heritages. It seeks to examine the variety of bridges we designate as heritage and the changes in their form and functionality over the years. In particular we wish to examine the full range of meanings we ascribe to the bridge in social and cultural life. The conference welcomes academics from the widest range of disciplines and wishes to act as a forum for exchange between the sciences, social sciences and the humanities. The conference will draw from anthropology, archaeology, art history, architecture, engineering, ethnology, heritage studies, history, geography, landscape studies, literature, linguistics, museum studies, sociology, tourism studies etc. The conference will take place at the World Heritage Site of Ironbridge Gorge – the birthplace of the industrial revolution and the home of the World’s first iron bridge.

    Indicative themes of interest to the conference include:

    The materials and technologies of bridges – the heritage of form and function
    National and local iconographies of bridges
    Narratives of bridge construction and destruction
    Communities united and communities divided by bridges
    Poetics of the bridge – representing the bridge in art, literature and film
    Love and death on the bridge
    The language of the bridge – metaphors and meanings in social life
    Touring bridges – travel narratives and tourism economies
    Alternative bridge crossings – tunnels and ferries

    Abstracts of 300 words submitted in the conference format should be sent as soon as possible but no later than November 1st 2016 to www.universityofbirmingham.submittable.com. For any queries, or if you have trouble accessing the online submission form, please contact Ironbridge@contacts.bham.ac.uk
  • Fellowships at Villa I Tatti, 2017/2018

    Florence | Dates: 12 Sep – 15 Oct, 2016
    Application deadline: Oct 15, 2016

    Call for applications: Full - year and term fellowships at Villa I 
    Tatti, 2017/2018

    Villa I Tatti, The Harvard University Center for Italian Renaissance 
    Studies is currently accepting fellowship applications for academic 
    year 2017/2018.

    The deadline for applications for I Tatti Fellowships (1 year) is 15 
    October. 2016, while applications for short-term fellowships must be 
    received by no later than 14 December, 2016.

    Please see http://itatti.harvard.edu/fellowships for more information.
  • Beyond Therapy: Situating Art and Design in Healthcare Contexts

    Loughborough | Dates: 12 Sep – 07 Nov, 2016
    CFP: "Beyond Therapy: Situating art and design in healthcare contexts"
    Panel at Association of Art Historians (AAH) annual conference, 6 to 8 
    April 2017, Loughborough University
    Deadline for Paper Proposals: 7 November 2016

    Convenors:
    Tamar Tembeck, McGill University, tamar[DOT]tembeck[AT]mcgill[DOT]ca 
    Mary Hunter, McGill University, mary[DOT]hunter2[AT]mcgill[DOT]ca

    In Europe and North America, greater attention is being paid to the 
    built environment in medical spaces. 'Healthy design' initiatives are 
    increasingly being integrated into hospital planning, in a vision that 
    is coherent with the WHO's definition of health, according to which 
    'mental and social well-being' are considered in addition to 'the 
    absence of disease or infirmity'. Government percentage-for-art schemes 
    and public art funding policies count amongst the initiatives that have 
    allowed for the integration of art in hospital architecture, the 
    commissioning of in situ works, and the establishment of artists' 
    residences in medical environments.

    Existing studies on art and design in healthcare contexts 
    overwhelmingly focus on accumulating evidence of their beneficial 
    impacts on patients' recovery and general well-being. Since the birth 
    of hospitals in the Middle Ages, however, the integration of art has 
    played a variety of other roles in medical spaces, ranging from 
    providing contemplative touchstones for patients, staff, and visitors, 
    to improving the institution’s overall image in the public eye.

    This panel invites historians of art, architecture and design, as well 
    as cultural practitioners, programmers and policymakers, to reflect 
    upon, critique and question the forms and functions of contemporary and 
    historical art and design practices in healthcare environments 
    (hospitals, clinics, long-term care facilities, etc.). We are 
    particularly interested in investigating art and design practices that 
    are deployed outside of an explicitly therapeutic context (eg, in art 
    therapy). Submissions pertaining to live art practices in healthcare 
    spaces are also welcome.

    Please email your paper proposals to the session convenors. Provide a 
    title and abstract for a 25-minute paper (max 250 words). Include your 
    name, affiliation and email. You should receive an acknowledgement of 
    receipt of your submission within two weeks.
     
  • Fitch Fellowships for 2017

    Dates: 12 Sep – 26 Oct, 2016
    Since 1989, the James Marston Fitch Charitable Foundation has been in the vanguard of historic preservation practice and theory. The mission of the Fitch Foundation is to support professionals in the field of historic preservation, and to achieve this we provide mid-career grants to those working in preservation, landscape architecture, urban design, environmental planning, materials conservation, decorative arts, architectural design and history, and allied fields.

    Applications for 2017 funding are now being accepted. Applications must be submitted by October 26, 2016, 11PM EST. 
     
    Fitch Mid-Career Fellow: Research grants of up to $15,000 will be awarded to one ore more mid-career professionals who have an academic background, professional experience and an established identity in one or more of the following fields: historic preservation, architecture, landscape architecture, urban design, environmental planning, architectural history and the decorative arts. The James Marston Fitch Charitable Foundation will consider proposals for the research and/or the execution of the preservation-related projects in any of these fields.  
     
    Samuel H. Kress Mid-Career Fellow: Research grants of up to $15,000 will be awarded to one mid-career professional whose research project relates to the appreciation, interpretation, preservation, study and teaching of European art, architecture and related disciplines from antiquity to the early 19th century, in the context of historic preservation in the United States. Potential Kress Fellow projects could include the exploration of shared European and American influences in style, design, materials, construction techniques, building types, conservation and interpretation methodologies, philosophical and theoretical attitudes, and other factors applicable to preservation in both Europe and America. 
     
  • CFP: Sixth Colloquium on Architectural Theory at the Werner Oechslin Library

    Einsiedeln | Dates: 12 Sep – 05 Oct, 2016
    Call for Papers

    Sixth Colloquium on Architectural Theory at the Werner Oechslin Library

    Einsiedeln, Werner Oechslin Library, 20 - 23 April 2017

    Autodidacts, Workshops, Academies - Architectural Education 1400 -1850

    Before the establishment of the major schools of architecture in the 
    nineteenth century, there were various ways to become an architect, 
    each with different focuses. A canonical system did not exist. Studies 
    based on books or travel, apprenticeships in workshops and studios, a 
    training in the military or building administration, as well as 
    academic lessons could all be part of the education of a prospective 
    architect. A talent for drawing was always a prerequisite, as were the 
    economic possibilities of the surroundings. Aspiring to a secure 
    position in the military or administration motivated the young 
    candidates, and family connections and knowledge fostered their 
    development. Furthermore, beginning in the 17th century, textbooks were 
    published specifically for the needs of the students. This gradually 
    led to the consolidation of formats and didactic conditions for 
    training architects, including (teaching) collections that made 
    available illustrative material - similar to the artists' training for 
    sculptors or painters.

    Research to date has focused primarily on architectural training in the 
    art academies, yet beyond this, no overview considers the other 
    relevant domains. At this upcoming event, the numerous paths to 
    knowledge and the varied acquisition of competencies will be presented 
    and compared in individual studies and analyses. Relying closely on 
    historical sources, the contributions will enable us to form a general 
    outline of the topic.

    The event addresses architectural theoreticians, architects, art 
    historians, historians of technology and science, and others, and seeks 
    to bring together leading experts on the topics as well as, in 
    particular, young researchers from various countries.

    Papers should be limited to twenty-minute presentations.

    Languages for paper proposals and presentations: German, English, 
    French, Italian.  At least a passive knowledge of German is expected of 
    all participants.

    The Foundation assumes the hotel costs for course participants, as well 
    as for some group meals. Travel costs cannot be reimbursed.

    Please send short paper proposals and CVs by e-mail to: 
    anja.buschow@bibliothek-oechslin.ch

    Deadline: 5 October 2016

    Concept & Organization: Dr. Anja Buschow-Oechslin, Dr. Martin Pozsgai, 
    Prof. Dr. Werner Oechslin (Einsiedeln, Stiftung Bibliothek Werner 
    Oechslin), Prof. Dr. Christiane Salge (Freie Universität 
    Berlin/Berlin-Brandenburgische Akademie der Wissenschaften) and Prof. 
    Dr. Dr. Andreas Tacke (Universität Trier)
     
  • Crow Island School Tour and Talk

    Winnetka | Dates: 24 – 24 Sep, 2016
    Crow Island School in Winnetka, IL, is an elementary school significant for its progressive philosophy and its International Style architecture. The design was a collaboration between the Chicago firm of Perkins, Wheeler and Will; and Eliel and Eero Saarinen. The school opened in 1940 and was named a National Historic Landmark in 1990. Join Chicago Bauhaus & Beyond, in partnership with the Winnetka Historical Society, for a tour of Crow Island School and a presentation about its progressive philosophy and architectural style. Susan Saarinen, daughter of Eero, will talk about growing up in her creative family and will provide insights into her father's genius. Laurie Petersen, editor of the revised AIA Guide to Chicago, and Susan Benjamin, architectural historian, will talk about the innovative design of Crow Island. Attendees can then take a docent-led tour or download a self-guided tour on their tablet or smartphone. Purchase tickets from Chicago Bauhaus & Beyond at https://www.eventbrite.com/e/tour-of-crow-island-school-symposium-tickets-27288018197
  • CFP: California Design Consortium, 11-12 March 2017

    Berkeley | Dates: 11 Sep – 01 Nov, 2016
    Across the Great Divide: A Graduate Student Colloquium University of California, Berkeley Saturday – Sunday, 11-12 March 2017 The colloquium is open to all graduate students in accredited masters or doctoral programs in the United States and abroad, whose primary research concerns the architecture, landscape architecture, and design of the western United States. Up to twelve students will be invited to present twenty-minute papers related to their master’s thesis or dissertation. A senior scholar will respond to each cluster of presentations. Papers (2,000 words) must be submitted electronically in MsWord format, and should include the full text and representative images. A cover sheet with the student’s name, academic affiliation and level, postal address, telephone number, and email address should precede the paper. Participating students will receive hotel accommodation for up to three nights and funding toward travel expenses determined on an individual basis. A reception will follow the colloquium. Deadline: 1 November 2016 Papers should be sent to: CDCBerkeley@gmail.com and must be received no later than midnight Pacific Standard Time. For further information email: CDCBerkeley@gmail.com Conveners: Greg Castillo, Waverly Lowell, Andrew Shanken, Marc Treib
  • Cornell HPP 40th Anniversary Celebration

    Ithaca | Dates: 14 – 15 Oct, 2016
    The Historic Preservation Planning Program at Cornell University celebrates its 40th anniversary with two exhibitions, a colloquium, and an all-day symposium. Speakers include Robert Bruegmann, Trudi Sandmeier, Gregory Donofrio, Jeff Cody, and many others from across the US. The exhibitions include a celebration of Historic Ithaca's 50 years, and an in-depth look at the restoration of Lynn Hall and the work of its architect, Raymond Viner Hall. An HPP alumni party and a formal recognition dinner cap the two days of events.
  • Mesa to Mountain: Preservation in the American West

    Salt Lake City | Dates: 23 – 25 Mar, 2017
    The Rocky Mountain Chapter of the Association for Preservation Technology, in cooperation with the Western and Northwest chapters of APT and APT International, is hosting a two-day symposium. The event will include paper sessions, tours, and a keynote address.
  • Polimorfo vol. 4: Diseños locales | Local Designs

    San Juan | Dates: 10 Sep – 10 Dec, 2016
    Spontaneously, we denominate local design any design made for the immediate spatial context in which we live, whether, for example, Puerto Rican or the Caribbean. However, like everything around us, we see and we qualify design in that way from at least three different stances, according to cultural studies (S. Hall et al). We could call local those designs we understand to reflect or directly reproduce our particular situation, but also we can name local that which designers, theorists, historians or authors predefine or preset unilaterally as local. Lastly, we can consider the local without assuming a fixed meaning, but rather multiple, changing and unstable ones. From this constructivist perspective (so called because we construct the meanings rather than discovering or impose them), although in dialogue with the aforementioned, we are interested in exploring the following questions: how do we represent and how have we represented the local through design? How has modern design dissolved but also reconsidered the local? Why, from within various disciplines, have we attempted to reproduce, define or interpret the local? What does local design endorse or question? How do spaces, languages and tectonics constitute the local? What would entail the opposition between a localized design and a local design? What paradigms and theoretical frameworks can assist us in the critical analysis and production of local design? The aim is to promote and disseminate critical reflection on the most proximate design, which will allow us to know, interpret and assess our design production and dilemmas. Polimorfo will address these and other questions in our next issue.
  • APT Conference: Preserving Heritage with Tomorrow’s Technology

    San Antonio | Dates: 30 Oct – 02 Nov, 2016
    Join the Association for Preservation Technology International for the “Preserving Heritage with Tomorrow’s Technology” Conference, October 30-November 2, 2016 in San Antonio, Texas.
  • DEADLINE EXTENSION: Sequitur submissions due September 16th

    Dates: 10 – 16 Sep, 2016
    CALL FOR CONTENT Self + Portrait Sequitur Issue 3, 1 Fall 2016 Deadline: September 16 SEQUITUR, the Boston University Department of History of Art & Architecture graduate student journal, invites current graduate students in art history, architecture, fine arts, and related fields to submit content for the Fall 2016 issue titled Self + Portrait. This issue explores the ways in which art objects and artistic endeavors influence perceptions of the self—and vice versa. While art and identity may seem inseparable, we seek submissions that highlight the power and importance of the mutually constitutive relationship between the two. Possible subjects include, but are not limited to, the following: reflections of the self in the built environment such as museums, funerary architecture, and domestic spaces; manifestations of self through art objects, collections, display, commissions and patronage; expressions of identity across media platforms; explorations, interrogations, or critiques of traditional portraiture; artistic journeys of self-discovery; identity politics. We encourage submissions that take advantage of the online format of the journal. We invite full submissions for the following pieces: Featured essays (1000 words) Essays must be submitted in full by the deadline below to be considered for publication. Content is open and at the discretion of the author, but should present original material that is suitable to the stipulated word limit. Please adhere to the formatting guidelines available here. Visual Essays An opportunity for M.Arch. or M.F.A. students to showcase a selection of original work. The work must be reproducible in a digital format. Submissions should include jpegs of up to ten works, and must be prefaced by an introduction or artist’s statement of 250 words or less. All images must be captioned and should be at least 500 DPI. We invite proposals (200 words max) for the following pieces (Note: Reviews of any type are not required to adhere to the issue’s theme): Exhibition reviews (500 words) Exhibitions currently on display or very recently closed are especially sought. Book or exhibition catalogue reviews (500 words) Reviews of recently published books and catalogues are especially sought. Interviews (750 words) Preference may be given to those who can provide audio or video recordings of the interview. Field reports/Research spotlights (500 words) This is an opportunity for students conducting research to summarize and share their findings and experiences in a more casual format than a formal paper. All submissions and proposals are due September 16. Please direct all materials to sequitur@bu.edu Text must be in the form of a Word document, and images should be sent as jpeg files. Please include “Sequitur Fall 2016” and type of submission/proposal in the subject line, and your name, institution and program, year in program, and contact information in the body of the email. Authors will be notified of the acceptance of their submission or proposal no later than September 23 for December 2 publication. Please note that authors are responsible for obtaining all image copyright releases prior to publication. If you have any questions, please do not hesitate to contact the SEQUITUR editors at sequitur@bu.edu. We look forward to receiving your proposals.
  • 2017-2018 Getty Residential Grants

    Los Angeles | Dates: 09 Sep – 03 Oct, 2016
    Los Angeles, CA, September 25, 2017 - June 29, 2018
    Application deadline: Oct 3, 2016

    The Getty Research Institute and the Getty Villa invite proposals for 
    the 2017–2018 academic year. 

    The Getty Research Institute theme, ICONOCLASM AND VANDALISM, explores 
    iconoclasm not only as a form of destruction or a means of repression, 
    but also as a vehicle for creative expression and protest. Iconoclasm 
    is transformative, creating entirely new objects or meanings through 
    alterations to existing artworks. Charged with symbolism, these remains 
    testify to a history of reception, offering clues about the life and 
    afterlife of an object. To a certain extent, all radical changes in 
    cultural production can be described as iconoclastic.

    Applicants are encouraged to adopt a broad approach to the theme by 
    addressing topics such as religious and political iconoclasm, 
    protection of cultural heritage, use of spolia, damnatio memoriae, 
    street art, graffiti, performance art, or activism.

    The Getty Villa theme, THE CLASSICAL WORLD IN CONTEXT: PERSIA, 
    investigates the political, intellectual, religious, and artistic 
    relations between Persia, Greece, and Rome from the ninth century BC to 
    AD 651. Reaching from the borders of Greece to India, the Persian 
    Empire was viewed by the Greeks as a vastly wealthy and powerful rival 
    and often as an existential threat. The rise of the Roman Empire as a 
    world power quickly brought it, too, into conflict with Persia, despite 
    the common trade that flowed through their territories.  

    The 2017/2018 scholar year is the first of two terms that will be 
    devoted to this theme. Priority will be given to research projects that 
    are cross-cultural and interdisciplinary, and that utilize a wide range 
    of archaeological, textual, and other evidence.    

    Detailed eligibility requirements and application guidelines are 
    available online at: http://www.getty.edu/foundation/apply

    For more information about each theme please visit: 
    http://www.getty.edu/research/scholars/years/future.html
     
    Please address inquiries via email to: researchgrants@getty.edu
     
  • Getty Library Research Grants

    Los Angeles | Dates: 09 Sep – 17 Oct, 2016
    Getty Research Institute Library
    Application deadline: Oct 17, 2016

    Applications for the 2017 Getty Library Research Grants are now 
    available online at

    http://www.getty.edu/foundation/initiatives/residential/library_research_grants.html

    The deadline to apply is October 17, 2016.

    Getty Library Research Grants provide partial, short-term support to 
    researchers of all nationalities whose projects demonstrate a 
    compelling need to use Getty Research Institute materials, and whose 
    place of residence is more than 80 miles from the Getty Center in Los 
    Angeles.

    Please contact GRI Library Reference with any questions:
    reference@getty.edu.
     
  • CFP: Esse magazine #90: Feminisms/Feminismes

    Dates: 09 Sep, 2016 – 10 Jan, 2017
    Deadline: Jan 10, 2017

    (Le français suivra)

    FEMINISMS

    A symbol of the emergence of feminist studies in the art history field,
    Linda Nochin's 1971 article "Why Have There Been No Great Women
    Artists?" strikingly underlined how the sexist and patriarchal
    structure inherent to art history has operated to exclude women from
    art practice and to erase them from the discourse on art. Although
    today more women than men are studying art disciplines and the number
    of women choosing a career in the art world (artist, art historian,
    curator, critic, museum director, and other professions) is growing
    constantly, they are still underrepresented - at least, in the major
    institutions. For example, the Guerrilla Girls collective, responsible
    for the famous poster called "Do Women Have To Be Naked to Get Into the
    Met. Museum?," celebrated its thirtieth anniversary this year with the
    sad observation that the four most important New York museums (the
    Guggenheim, the Metropolitan, the Whitney, and the Museum of Modern
    Art) even today accord a ridiculously low proportion of solo
    exhibitions to women artists. The same observation can be made of most
    large Western cities, including London, which is presenting not a
    single solo exhibition by a woman artist this fall.

    In light of this situation, this thematic section will look at the
    unique relationships between art and feminisms. To the extent that art
    practices and art-theory research can serve as a way to think about the
    world, they are not hermetic; not only are they fed by today's feminist
    struggles but they also feed into them in return. It is from the
    perspective of this back-and-forth movement that we want to address
    contemporary artistic and feminist issues. As Canada is preparing to
    institute the National Inquiry into Missing and Murdered Indigenous
    Women and Girls in order to comprehend why Aboriginal women, more than
    any other group, are the victims of murder, there is no longer any
    doubt that the principle of grouping all women into a single category
    cannot concretely make sense. Power relations and reasons for
    stigmatization related to race, sexual orientation, and social class,
    as the intersectional approach stipulates, combine to inform women's
    experience differently.

    At a time when the debate over the burkini is raging in France and
    policies, many of them conservative, have made use of the principle of
    male-female equality to create targeted constraints on the freedom of
    certain women and feed a racist discourse, we would like this section
    to offer understandings of how art is positioned vis-à-vis contemporary
    feminist issues. Taking account of the multiplicity of women's
    subjectivities and heterogeneity and of the fact that the word feminism
    still causes reactions (some women prefer not to use the term to refer
    to themselves), this section is intended to explore how art practices
    and theories help to deconstruct the oppressions and limitations linked
    to gender. What contribution are women (both cisgender and transgender)
    making to the visual arts? From what position may women work? Is their
    work necessarily separated from normative spaces? If yes, are the
    margins inevitably and uniquely secondary spaces? May they also be
    contested and creative spaces free of all diktats? What are the new
    feminist struggles and strategies? How do current art practices
    question the hegemonic regimes of representation? How can ways of
    discussing art and issues linked to gender be rethought when it is time
    to deal with contemporary practices?

    EDITORIAL POLICY

    Send your text (1,000 - 2,000 words, footnotes included) in US letter
    format (doc, docx, or rtf) to redaction@esse.ca before January 10,
    2017. Please include a short biography (30-50 words), an abstract of
    the text (80-100 words), as well as postal and e-mail addresses. We
    also welcome submissions (reviews, essays, analyses of contemporary art
    issues) not related to a particular theme (annual deadlines: September
    1, January 10, and April 1).

    All texts are submitted to the editorial committee, which reserves the
    right to accept or refuse a submission. The selection criteria are
    based on the quality of analysis and writing, the pertinence of the
    text to the edition in question, and the relevance of the corpus of
    artworks and artists analyzed. A text may be rejected due to the large
    number of submissions for a given edition. The selection process may
    take up to six weeks. The editorial committee’s decision is final.

    The author agrees to submit an original and previously unpublished
    text. Unless agreed otherwise, the editorial committee does not accept
    texts that represent a potential conflict of interest between the
    writer and the content of the article (for example, texts by artists on
    their own practice, by curators of exhibitions or events, or by
    gallerists representing a particular artist).
     
  • All the Beauty of the World

    Berlin | Dates: 13 – 15 Oct, 2016
    Bauakademie am Schinkelplatz, 10117 Berlin, October 13 - 15, 2016

    All the Beauty of the World. The Western Market for non-European 
    Artefacts (18th-20th century)

    Berlin 10/2016

    In the wake of the Western expansion, a fast growing number of 
    non-European artefacts entered the European market. They initially made 
    their way into princely cabinets of curiosities. Made possible by the 
    forced opening and exploitation of more and more parts of the world and 
    pushed by social and technological changes of the time, the 18th 
    century brought a boom of the market of non-European artefacts in 
    Europe. This came along with the emergence of a broader collecting 
    culture and the development of a rich museumscape.

    This market and its development between 18th and 20th century in terms 
    of actors and networks involved, methods and places of exchange and 
    monetary and ideological value of the objects are in the focus of an 
    international symposium organized by the Institute for Art History in 
    cooperation with the Center for Art Market Studies at Technical 
    University Berlin, the Institut d’histoire moderne et contemporaine 
    (CNRS) and the Labex TransferS (PSL) in Paris.

    Convenors: Prof. Dr. Bénédicte Savoy, Dr. Christine Howald (Technische 
    Universität Berlin), Dr. Charlotte Guichard (Institut d'histoire 
    moderne et contemporaine/CNRS, Paris)
     
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