Recent Opportunities

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  • Evicted

    Washington | Dates: 14 Apr – 19 May, 2018

    A stable place to call home is one of the best predictors of success. Yet, each year more than 2.4 million Americans, most of them low-income renters, face eviction. While it used to be rare even in the poorest neighborhoods, forcible removal has become ordinary, with families facing eviction from the most squalid, barely inhabitable apartments.

    This phenomenon exposes not only income inequality in America, but also the growing separation between the built environments of the rich and the poor.

    The National Building Museum announces a new, ground-breaking exhibition exploring the causes and impacts of eviction.

    A collaboration with Matthew Desmond, Professor of Sociology at Princeton University, a MacArthur “Genius” Fellow, and best-selling author, Evicted will offer an immersive experience bringing our visitors into the world of low-income renter eviction. With unique design elements and striking graphics, the exhibition will challenge adults and youth to face the enormity of a difficult subject, while providing context and a call to action.

    Eviction occurs when renters are forcibly removed from their home by court order. Evictions and the threat of removal are disproportionately experienced by African American single mothers in many cities, but affect people of all backgrounds. An eviction record can mean that a family is now ineligible for other subsidies such as public housing. It can make job-hunting more difficult, if not nearly impossible. Finding a new place to live becomes almost a full-time job, especially in a sprawling metropolitan area without a car.

    Housing instability threatens all aspects of family life: health, jobs, school, and personal relationships. Landlords hesitate to rent to those with eviction records, or charge them extra money, causing a devastating negative feedback loop. Children switch schools too often to make friends or be noticed and helped by teachers; neighbors cannot develop bonds; personal belongings are left in storage or out on the street. Americans often take home for granted—homes forms the building blocks of community life—and this stability is under attack when eviction looms.

    The exhibition will employ a rich array of images and audio interviews. Specially commissioned visual infographics and forward-thinking design will introduce visitors to the numbers and statistics they need to know in order to understand the crisis. Rates of evictions in different markets will make evident the depths of the problem. Working together, these elements amplify the stories of tenant families, as they explain in their own words and images the impact eviction has on them and their loved ones.

  • Image Building: How Photography Transforms Architecture

    Water Mill | Dates: 29 Mar – 17 Jun, 2018

    Image Building: How Photography Transforms Architecture is a comprehensive survey that explores the dynamic relationship between architecture, photography, and the viewer. Seen through the lens of historical and architectural photographers from the 1930s to the present, Image Building offers a nuanced perspective on how photographs affect our understanding of the built environment and our social and personal identities. The exhibition features 57 images that explore the social, psychological, and conceptual implications of architecture through the subjective interpretation of those who captured it.

    Organized by guest curator Therese Lichtenstein, Ph. D, Image Building brings together works by 19 renowned, under-recognized, and emerging artists ranging from early modern to contemporary architectural photographers. In addition to photographs, Image Building includes ephemera such as magazines and books that illustrate how the meaning of photography shifts when presented in the context of high art or mass culture.  

    Organized thematically into Cityscapes, Domestic Spaces, and Public Places,the exhibition examines the relationship between contemporary and historical approaches to photographing buildings in urban, suburban, and rural environments,looking at influences, similarities and differences.By juxtaposing these photographs, Image Building creates a dialogue between the past and present, revealing the ways photography shapes and frames the perception of architecture, and how that perception is transformed over time. 

    The photographers represented in Image Building: How Photography Transforms Architectureare: Berenice Abbott (American, 1898–1991)  Robert Adams (American, born 1937), Iwan Baan (Dutch, born 1975), Lewis Baltz  (American, 1945–2014), Hélène Binet (Swiss-French, born 1959), James Casebere (American, born 1953), Thomas Demand (German, born 1964), Luigi Ghirri (Italian, 1943–1992), Samuel H. Gottscho (American, 1875–1971), Andreas Gursky (German, born 1955), Candida Höfer (German, born 1944), Balthazar Korab (Hungarian, 1926–2013), Thomas Ruff (German, born 1958), Ed Ruscha (American, born 1937), Stephen Shore (American, born 1947), Julius Shulman (American, 1910–2009), and Ezra Stoller (American, 1915–2004), Thomas Struth (German, born 1954), and Hiroshi Sugimoto (Japanese, born 1948).

     

    PUBLIC PROGRAMS

    Saturday, March 17, 5:30 pm   Opening Program for Members and Invited Guests   Talk with Therese Lichtenstein, Marvin Heiferman, and Terrie Sultan

     

    Friday, April 6, 6 pm   Inter-Sections: The Architect in Conversation   Talk with James Casebere on Constructed Photography

     

    Saturday, April 14, 5 pm   Inter-Sections: The Architect in Conversation   Talk with Iwan Baan and William Menking

     

    Friday, April 20, 6 pm   Inter-Sections: The Architect in Conversation   Flattened Space: Talk with Lee H. Skolnick, Ralph Gibson, and Therese Lichtenstein

     

    Image Building: How Photography Transforms Architecture is made possible, in part, by the generous support of the Century Arts Foundation, The Mr. and Mrs. Raymond J. Horowitz Fund for Publications, The Robert Mapplethorpe Foundation, Joseph M. Cohen, Sandy and Stephen Perlbinder, Lee H. Skolnick Architecture + Design Partnership. Public Funding provided by Suffolk County.

  • Charles S. Keefe (1876-1946): Colonial Revival Architect in Kingston and New York

    Kingston | Dates: 05 May – 27 Oct, 2018

    An exhibition at the Friends of Historic Kingston of drawings, prints, and photographs documenting the career of Charles Keefe, who developed a national reputation as a designer of Colonial Revival houses while practicing in New York before the Depression forced him to retreat to an office in his Kingston home. The exhibition coincides with Black Dome Press's publication of a book of the same title by longtime Colonial Revival scholar William B. Rhoads. In his Foreword, Richard Guy Wilson observes that "Charles Keefe . . . all but vanished from architectural history. But now . . . Keefe reemerges as a major figure . . . . As this study of Keefe shows, even small-town architects can make an impact."
  • Weekly Architectural Trolley Tours, Sarasota, Florida

    Sarasota | Dates: 29 Mar – 27 Dec, 2018

    Every Thursday during October to May, the Center for Architecture Sarasota is holding weekly architectural trolley tours. With local experts Harold Bubil and Lorrie Muldowney, these alternating tours (Sarasota Architectural Gems, North Side; and Historic Neighborhoods of Sarasota) allow you to visually explore unique buildings and historic neighborhoods throughout Sarasota on delightfully entertaining and informative tours.

    Thursdays (to May 3; resumes October 4)

    10:00AM to 12:00PM

    Center for Architecture, Sarasota
    265 S. Orange Avenue
    Sarasota, FL 34236

    $35/members; $45/non-members.

    Buy your tickets in advance at cfasrq.org!
  • CFP: Mauro Pellicioli and the 20th-Century Approach to Restoration

    Venice | Dates: 26 Mar – 10 May, 2018

    Venice, November 14 - 15, 2018
    Deadline: May 10, 2018

    International Conference: "Mauro Pellicioli and the 20th century approach to restoration"

    This conference on Mauro Pellicioli (1887-1974), a leading figure in twentieth century restoration in Italy and Europe, will be held in Venice on 14-15 November 2018 and sets out to provide an original overview of this restorer and the approach to restoration in his time, combining a technical and philological study of restoration methodologies with a historical analysis of the cultural and social processes that certain choices always imply. Two distinct but interconnected paths that we shall attempt to bring closer together.

    Although the critical analysis of Pellicioli's biography and the results of his work is fragmentary and largely unpublished, the conference intends to avoid the simple reconstruction of a specific conservation-restoration intervention; rather, it aims to increase our understanding of the twentieth century approach to restoration by investigating the relationship between the man himself and the institutions and art historians of that period.

    Papers for proposal should put forward unpublished and original points of view that will enhance our understanding of one or more of the following themes and sessions:

    - Pellicioli, art historians and connoisseurs of his time

    - Pellicioli, his studio organisation and student collaborators

    - Pellicioli’s relationship with the Istituto Centrale del Restauro

    - Pellicioli and restoration work for Italian museums

    - Pellicioli’s legacy in Europe

    Deadline for the submission of abstracts: May 10th 2018 Notification of acceptance: July 2nd 2018

    Authors should submit an abstract of their proposed paper and a brief CV as a single file in PDF format.

    Abstract - Max 2.000 characters including spaces CV - Max 2.000 characters Email address for sending abstracts: asri@associazionegiovanniseccosuardo.it

    Email  subject:  “International  Conference  Pellicioli  2018  –  abstract”  followed  by  full name (first name and family name)

  • SESAH Conference - CFP

    Manhattan | Dates: 26 Mar – 01 May, 2018

    In 2018, the Southeast Chapter of the Society of Architectural Historians (SESAH) will gather in Manhattan, Kansas, for our annual conference, October 3-6.  This will be the first SESAH conference located outside of traditional 12-state SESAH territory.

    The conference program of plenaries, papers, and tours is set against a backdrop of seasonal color in Kansas’ Flint Hills.  The Tallgrass Prairie National Preserve, established in 1996 features the largest un-tilled area in the United States.  The preserve also showcases restored buildings from the Spring Hill Ranch.  Most of the venues for this year’s SESAH conference will be at Kansas State University, in the recently renovated College of Architecture Planning and Design buildings.  Lodging will be available in two hotels immediately adjacent to the KSU campus, The Holiday Inn and the Bluemont.

    The 2018 SESAH conference welcomes paper topics dealing with themes from within the traditional SESAH territory, as well as from other parts of the country and the world.  Papers on any architectural history topic are welcomed.  Proposals for themed sessions are encouraged.  Paper presentations are 20 minutes maximum accompanied by digital slides.  Submit a paper and come be a part of the collegiality and conviviality that distinguish SESAH gatherings! 

    Submissions and Deadlines

    Abstracts of no more than 300 words must be clearly labeled with the applicant’s name, professional affiliation, contact information, a brief CV, and the title of the proposed paper.  Proposals for session panels must include the title of the session; the names, affiliations, contact information, and CVs of all participants; and abstracts of each paper.  Please email all materials as PDF or MS Word attachments to Leslie N. Sharp, PhD, with the subject line “SESAH 2018” to leslie.sharp@gatech.edu by May 1, 2018.

    Applicants will be notified of their acceptance by June 1, 2018.  All accepted presenters and conference chairs must join SESAH and register for the conference by the early registration deadline.  Authors of accepted proposals must also submit the complete text of their papers to their session chair by August 31, 2018; SESAH reserves the right to drop presenters who do not fulfill this requirement.

    Conference Fellowships for Graduate Students and Emerging Professionals
    SESAH offers up to three travel grants to help graduate students attend the meeting to deliver papers and one for an emerging professional employed in a federal, state, or local historic preservation office. 

    http://sesah.org/emerging-professional-travel-grant/
    http://sesah.org/graduate-student-travel-grant-application/

  • SESAH Manhattan 2018

    Manhattan | Dates: 17 – 18 May, 2018

    In 2018, the Southeast Chapter of the Society of Architectural Historians (SESAH) will gather in Manhattan, Kansas, for our annual conference, October 3-6.  This will be the first SESAH conference located outside of traditional 12-state SESAH territory.

    The conference program of plenaries, papers, and tours is set against a backdrop of seasonal color in Kansas’ Flint Hills.  In Manhattan, the architectural landscape of the cattle industry and that of the American Indian tribes meets college town - with the university campus shaped by native limestone buildings and green space, plus turn of the century neighborhoods, New Deal-era recreation at Bluemont Hill, and more.  Nearby is the Tallgrass Prairie National Preserve, established in 1996, that features the largest un-tilled area in the United States and includes the restored buildings from the nationally significant Spring Hill Ranch.    

    Most of the venues for this year’s SESAH conference will be at Kansas State University, in the recently renovated College of Architecture Planning and Design buildings.  Lodging will be available in two hotels immediately adjacent to the KSU campus, The Holiday Inn and the Bluemont. 

    Join us this fall! 

    Funding Opportunities:

    http://sesah.org/graduate-student-travel-grant-application/
    http://sesah.org/emerging-professional-travel-grant/
  • Architectural History / Restoration Field School

    Forest | Dates: 20 May – 02 Jun, 2018

    Thomas Jefferson's Poplar Forest announces its 2018 Architectural

    History / Architectural Restoration Field School. The intensive two week program will be held from May 20 – June 2.

     

    The program provides an overview of the philosophy, process, and techniques for museum-quality architectural restoration and conservation. Students, professionals, and instructors from any background and discipline may qualify. The program is limited to 10 participants each year. Components include: the history of Thomas Jefferson and his villa retreat; architectural investigation, documentation, and restoration techniques. The program includes visits to other restoration projects and talks from restoration experts.  A key part of the program is investigating and documenting an historic structure and producing an historic structures investigation report. This program provides an excellent understanding of the nexus of historic architecture, architectural history, and public history.

     

    Application deadline: April 16. Need based scholarships available; international scholarships available.

     

    More information and a typical schedule can be found on the Poplar Forest web site under the Architectural Restoration section.

     

    Contact: Travis McDonald  (434) 534-8123, travis@poplarforest.org.

  • Media Architecture Biennale 2018 Workshops Call for Workshop Proposals

    Beijing | Dates: 22 Mar – 15 May, 2018

    We are looking for people who are excited about the role of media and technology in the urban environment and want to share this excitement with an interdisciplinary audience.

    The Media Architecture Biennale is a biannual event, featuring workshops, a conference and an exhibition, that attracts interaction designers, lighting designers, architects, artists, researchers and industry practitioners.

    The workshops at the Media Architecture Biennale are an interactive, dynamic forum leading up to the conference and exhibition, with an opportunity for exchanging ideas, forming communities, sharing knowledge, inspirations, getting in touch, prototyping and networking.

    The next Media Architecture Biennale will be held in Beijing, China, 13-16 November 2018. We welcome workshops on academic research, art and industry themes.

    Topics of interest include:

    • Urban HCI
    • Urban prototyping
    • Urban lighting
    • Digital placemaking
    • Participatory media architecture
    • Digital cities
    • Media facades
    • Hacking urban spaces
    • Digital street art
    • Robotic Media Architecture
    • Lighting technologies and products
    • Industry case studies involving media architecture
    Types of workshops:
    • Theoretical discourse / urban observations
    • Hands-on activities / co-creation / prototyping
    • Show-and-tell / products and projects / Q&A

    Preparing your submission:

    2-page proposal (ACM Extended Abstracts format) describing:

    • Workshop title & theme
    • How does your workshop integrate with the Media Architecture Biennale?
    • Target audience
    • Type and format of audience engagement (e.g., co-creation, theoretical, prototyping, etc.)
    • Workshop length (half-day or full-day)
    • Rough schedule draft
    • Materials required

    Send your workshop proposal as PDF via email to workshops@mediaarchitecture.org by May, 15th 2018.

    Workshop Chairs:

    Luke Hespanhol, The University of Sydney

    Joel Fredericks, University of Technology Sydney

    Glenda Amayo Caldwell, Queensland University of Technology

  • CFP: Negotiating the Past: Islamic Heritage in Italy and Spain International Conference

    Venice | Dates: 22 Mar – 30 Apr, 2018

    Università Iuav di Venezia, February 1 - 02, 2019
    Deadline: Apr 30, 2018 

    Negotiating the Past. Islamic Heritage in Italy and Spain International Conference, Università Iuav di Venezia, February 1-2, 2019

    The conference will focus on the discussion about the Islamic heritage in Italy and Spain and its later reception in the post-Islamic context. Sharing an Islamic past, both countries display this heritage in different ways through art and architecture. As cultural contact zones, Italy and Spain had a rich Islamic tradition, which has been adopted in the medieval Norman and Mudéjar artistic production.

    These exchange processes are currently subject to ongoing international discussions. Furthermore, the observed medieval transfer mechanisms may be applied to the modern reception of the Italian and Spanish Islamic heritage. Which differences may be detected between the medieval edifices of Palermo or Seville and the neo-Islamic interiors in Sammezzano or Aranjuez? Has the reception behaviour of the 19th and 20th centuries changed compared to that of the Middle Age? How have the Islamic standards been assumed in the modern architectural vocabulary? Who were the possible promotors of this pro-Islamic art trend? What part did the medieval clients and their architects play? How relevant are the travellers, private collectors, arabists or art historians of the 19th century for the valorisation of the Islamic heritage? What was the role of Islamic heritage for the construction of identity and ideologies in both countries?

    The current contributions shall be presented in four sections with the following thematic focus:

    - Islamic heritage in Italy and Spain
    - Cross-cultural exchange in the Middle Age
    - Re-appropriating the Islamic past in 19th and 20th centuries art and architecture
    - Ideologies and identity building 

    Papers will have a duration of 20 min. Conference languages will be English, Italian and Spanish. Abstracts of no more than 300 words, together with a short CV, should be sent until 30 April 2018 to: conference@transculturalstudies.ch

    Organizers: Prof. Dr. Guido Zucconi (IUAV) / Prof. Dr. Francine Giese (UZH) / Prof. Dr. Juan Calatrava (UGR) / Dr. Ariane Varela Braga (UZH)

    Keynotes: Antonio Almagro Gorbea (Escuela de Estudios Árabes CSIC) / Ezio Godoli (UniFl)

  • New Orleans, the Founding Era

    New Orleans | Dates: 22 Mar – 27 May, 2018
    February 27, 2018 to May 27, 2018

    Tuesday–Saturday, 9:30 a.m.–4:30 p.m.
    Sunday, 10:30 a.m.–4:30 p.m.
    533 Royal Street
    Admission is free.

    In commemoration of the city’s 300th anniversary in 2018, The Historic New Orleans Collection will provide a multifaceted exploration of the city’s first few decades and its earliest inhabitants with New Orleans, the Founding Era, an original exhibition and bilingual companion catalog.

    Opening February 27, 2018, and sponsored by Whitney Bank, New Orleans, the Founding Era will bring together a vast array of rare artifacts from THNOC’s holdings and from institutions across Europe and North America to tell the stories of the city’s early days, when the city consisted of little more than hastily assembled huts and buildings.

    Beginning with the region’s Native American tribes, through the waves of European arrival and the forced migration of enslaved African people, the exhibition will reflect on the complicated and often conflicted meanings the settlement’s development held for individuals, empires and indigenous nations.

    The display will feature works on paper, ethnographic and archaeological artifacts, scientific and religious instruments, paintings, maps and charts, manuscripts and rare books. These original objects will be complemented by large-scale reproductions and interactive items.

    More than 75 objects will be on loan from organizations in Spain, France, Canada and around the United States. A number of items, like a pair of 18th-century Native American bear-paw moccasins from the Musée du quai Branly in Paris and pieces of 15th-century Mississippian pottery from the University of Mississippi, have rarely traveled beyond their home institutions.

    Digital interactives will include a gallery of photographs from archaeological digs at a variety of French Quarter sites, a game quizzing visitors on supplies needed for a new home in the settlement and a 1731 inventory of enslaved Africans and African-descended people living on a West Bank plantation.

    In addition, the companion catalog—a bilingual edition, in both English and French—will feature essays describing the different populations who inhabited precolonial New Orleans and the surrounding areas, as well as the forces driving the settlement’s growth. Essayists include exhibition curator Erin M. Greenwald and historians Emily Clark, Shannon Lee Dawdy, Robbie Ethridge, Gilles-Antoine Langlois, Yevan Terrien, Daniel Usner and Cécile Vidal. Gérard Araud, ambassador of France to the United States, contributed the book’s foreword.

  • European Architectural History Network (EAHN) Fifth International Meeting

    Tallin | Dates: 13 – 16 Jun, 2018

    The fifth pan-European meeting of the European Architectural History Network (EAHN) will be held in Tallinn, Estonia, from June 13–16, 2018. In accordance with its mission statement, the meeting aims to increase the visibility of the discipline; to foster transcultural, transnational and interdisciplinary approaches to the study of the built environment; and to facilitate the exchange of research results in the field. It will be the first biennial meeting of EAHN in northeastern Europe, demonstrating the organisation’s aspiration to reach out to new contacts and new research themes in architectural history.

    The conference will feature five thematic parallel sessions on all three days, ranging from panels on reinterpreting the rediscovery of antiquity in Renaissance to critical retakes on the UN Development programmes and a round table that asks a question about the usefulness of the term “Eastern Europe”. There will be three keynote presentations by leading architectural historians – Christine Stevenson from the Courtauld Institute, Krista Kodres from the Estonian Academy of Arts and Reinhold Martin from Columbia Univeristy.

    Receptions for conference participants will be held at KUMU Art Museum, the Museum of Estonian Architecture and the 19th century building of the Academy of Sciences. During lunch hours on all three days of the conference, participants can choose from a range of walking and bus tours to the medieval, modern and contemporary landmarks of Tallinn. The post-conference tours offered on Sunday (17 June) include, among others, a full-day visit to the northeast Estonian industrial heritage sites, Sillamäe and Narva, and a half-day tour to Soviet-era collective farm (kolkhoz) sites.

    This year, Estonia is celebrating the centenary of its first independence in 1918. It will bring activities and exhibitions devoted to the country’s history and to the celebration of independence to Tallinn, and other event spaces. Among the highlights in June will be an exhibition of Michel Sittow at KUMU Art Museum, the first monographic exhibition of the Tallinn-born Renaissance painter.

    The fifth meeting of the EAHN in Tallinn is supported by the European Social Fund, the Estonian Cultural Endowment, the City of Tallinn and the Estonian Academy of Sciences.

  • Albers, Lustig Cohen, Tissi, 1958-2018

    New York | Dates: 20 Mar – 28 Apr, 2018

    Pratt Manhattan Gallery presents Albers, Lustig Cohen, Tissi1958-2018, an exhibition that explores sixty years of graphic design and art work by three influential women artist-designers: Anni Albers, Elaine Lustig Cohen, and Rosmarie Tissi. Connected by shared circumstances of identity, each is a 20th century woman connected to a well-known male artist or designer and business partner, with mutual friends, patrons, places, and communities. Working through and inspired by constraints, all three demonstrated an affinity for geometric, hard-edged forms. They made work with a common ideal, exemplars of the Bauhaus ethos: unity in art and design. In the work is a vivacity that feels always new, timeless, and individual. 

    Albers, Lustig Cohen, Tissi, 1958-2018 features a selection of art and design objects—typography, textiles, prints, paintings, posters, sculptures, trademarks, and books, design and/or art—in chronological order beginning in 1958. The three women’s overlapping careers span the arc of the Modernist era—from the Bauhaus, to mid-century Pax Americana, to Postmodernism, and into the present. 

    Curated by Phillip Niemeyer, a graphic designer and director of Northern—Southern, a gallery and art agency in Austin, Texas.

    Anni Albers (1899–1994) began her career as a textile designer at the Bauhaus. She freelanced in Germany until 1933, when she emigrated to America with her husband, Josef. She taught at the Black Mountain School (1933-49). She was the first woman designer to have a one woman show at the Museum of Modern Art (1949). Her book of collected writings On Designing (1959) is considered a classic in design thought and an important text in the lineage of the "design thinking" discipline. Later in life she explored print as a medium for design and art work. She worked and wrote until her death.

    Elaine Lustig Cohen (1927–2016) learned graphic design working with her first husband, Alvin Lustig. Alvin lost his vision before he passed—Lustig Cohen would create his designs based on his spoken instructions. After Alvin's death in 1955, Lustig Cohen worked as a freelance designer in New York. She designed the typography for the Seagram Building (1957) at the behest of organizing architect Philip Johnson, and the iconic graphics for the seminal Primary Structures exhibition at the Jewish Museum (1966). In the 1970s she painted, often large and subtle geometric compositions. A group of her paintings were recently shown at Philip Johnson's Glass House (2015).

    Rosemarie Tissi (1937–present) was published in the Neue Graphik (1957) while still a student in the Swiss School of Art and Craft. She founded the studio O&T with Siegfried Odermatt in 1968. Tissi has been a member of AGI (Alliance Graphique Internationale) since 1974, and ADC (Art Directors Club) since 1992. She is the recipient of numerous awards and prizes including three Swiss Federal Scholarships for Applied Arts. She still works today.

  • "Lost Chicago": The Past, Present, and Future of Historic Preservation

    Chicago | Dates: 24 May, 2018
    Join celebrated author and historian David Garrard Lowe, author and former AIC curator John Zukowsky, and SAIC professor Terry Tatum for a lively discussion on the history and future of historic preservation in Chicago’s rich architectural environment. Lowe will also discuss his landmark book Lost Chicago, his recent gift of historical photographs to the Ryerson and Burnham Libraries and the library exhibit “Memoir of a City” (April 10-June 15, 2018).

    • ITLE: "Lost Chicago": The Past, Present, and Future of Historic Preservation
    • LOCATION: AIC, Morton Auditorium
    • DATE: Thursday, May 24
    • TIME: 6-8pm
  • Archives of American Art Grad Student Research Essay Prize

    Dates: 20 Mar – 01 Aug, 2018

    Deadline: Aug 1, 2018

    The Archives of American Art’s Graduate Research Essay Prize recognizes original research by a graduate student that engages in a substantial, meaningful way with the Smithsonian’s Archives of American Art. The prize winner will receive a $1,000 cash award, a one-year subscription to the Archives of American Art Journal, and his or her essay forwarded to the editor of the Archives of American Art Journal for peer review and possible publication.

    With more than 20 million items in its continually growing collections, the Archives is the world’s largest resource dedicated to collecting and preserving the papers and records of the visual arts in the United States. Students may consult original documents by appointment at the Archives’ headquarters in Washington, DC, view more than 2.5 million digital files and interviews online through the Archives’ website, or use the substantial microfilm holdings available through interlibrary loan or an Archives-affiliated research center.

    Students currently enrolled in a graduate program in art history, American studies, or a related field are eligible to participate in the competition.

    Submissions for the 2018 prize must be sent to AAAprize@si.edu by August 1, 2018.

  • CFP: Chicago Design: Histories and Narratives, Questions and Methods

    Chicago | Dates: 20 Mar – 15 May, 2018

    Chicago, IL, USA
    November 8-10, 2018

    Keynote Speakers:
    - David Brody, Associate Professor of Design Studies, Parsons The New School for Design
    - Lizabeth Cohen, Howard Mumford Jones Professor of American Studies, Harvard University

    This conference proposes design as a timely lens through which to re-examine the history of Chicago, a city whose past encompasses the major national and international themes of the nineteenth and twentieth centuries and exemplifies how geography, demographics, and politics intertwined to shape the emergence of modern design in an urban environment. Taking a broad view of design, we seek papers that shed light on practices of fashion, graphic design, architecture, interiors, decorative arts, advertising, and industrial design in Chicago between the early nineteenth century and the end of the twentieth century and that represent a diverse range of methodological viewpoints. Moreover, in order to reckon more fully with the complex interplay of grand narratives and complex local realities, we also encourage papers from any discipline that take design, broadly defined, as a lens through which to explore aspects of the city’s history not typically considered within the frameworks of art and architecture that have largely defined the history of design in Chicago to date. Fundamentally, this conference aims to consider the prospect of a local design history for a city that has often been outward-looking, and will ask: Is Chicago only a microcosm of broader trends in the nation and world, or are there distinctive aspects of Chicago’s design history? Can the city’s particular histories of design shed light on developments elsewhere? How might greater understanding of Chicago’s design history reveal new insights into the city’s larger social, cultural, and economic character? And more broadly, what might exploring the relationship between design and place historically in Chicago suggest for understanding that same dynamic in our current age of globalization?

    We request proposals for scholarly presentations of 25 minutes on topics related to any aspect of Chicago’s design history. Building on the work of our keynote speakers, who have articulated new lines of historical inquiry into popular culture, labor, and consumption as they shape both local communities and the very notion of American culture, we particularly invite proposals from scholars in related fields, such as the history of art, labor, urbanization, technology, business, literature, performance, geography, sociology, and anthropology. Topics and themes of interest include:
    - Who made Chicago: design’s role in such historical phenomena as the Great Migration and other waves of immigration and gentrification;
    - What Chicago made: histories of industry and craft and their markets within or beyond the city;
    - What Chicago bought and sold: histories of retail/wholesale trade, advertising, and mail-order businesses with respect to local, national, and international markets;
    - Who learned and taught in Chicago: schools of art, architecture, and design or other sites of training, as well as the role of educators and institutions in related disciplines such as theater, dance, and film.
     
    Please submit proposals comprising an abstract of no more than 500 words and a 2-page CV by May 15, 2018 via email to jmekinda@gmail.com and swilliamson1@saic.edu. Participants will be notified by June 30, 2018 of their acceptance. Funding will be available to support participants’ travel and accommodation.

    “Chicago Design: Histories and Narratives, Questions and Methods” is organized by Jonathan Mekinda (Assistant Professor, Art History and Design, University of Illinois at Chicago) and Bess Williamson, (Assistant Professor, Art History, Theory, and Criticism, School of the Art Institute of Chicago). The conference is part of Art Design Chicago, an initiative of the Terra Foundation for American Art, dedicated to helping people in Chicago and around the world experience, understand, and enjoy Chicago’s extraordinary artistic legacy. The Richard H. Driehaus Foundation is the Presenting Partner of Art Design Chicago. Additional support for the conference is provided by the Graham Foundation for Advanced Studies in the Fine Arts, the Art Institute of Chicago, the School of the Art Institute of Chicago, and the University of Illinois at Chicago.

  • Elegance in the Sky: The Architecture of Rosario Candela

    New York | Dates: 17 May – 28 Oct, 2018
    With some 75 buildings to his credit, Rosario Candela played a major role in shaping the architectural legacy of 20th-century New York—the distinctive “prewar” streetscapes of Park and Fifth Avenues and Sutton Place in particular. Elegance in the Sky: The Architecture of Rosario Candela revisits the setback terraces and neo-Georgian and Art Deco ornament of Candela-designed high-rise apartments. His buildings established new standards of chic urban living for some of New York’s wealthiest citizens and still rank among the most prized in the city, almost a century after they were built.
  • CFP: International Journal of Islamic Architecture 9.2 special issue themed "Field as Archive / Archive as Field"

    Dates: 21 Mar – 30 Jul, 2018

    CALL FOR PAPERS

    International Journal of Islamic Architecture (IJIA)

    Special Issue: Field as Archive / Archive as Field

    Thematic volume planned for July 2020

    Proposal submission deadline: 30 July 2018

     

    This special issue of the IJIA focuses on the experience of carrying out archival work or fieldwork in architectural research, including research-led practice. How might this experience, with all its contingencies and errancies, be made into the very stuff of the architectural histories, theories, criticisms and/or practices resulting from it? This question is rendered all the timelier due to recent and ongoing developments across the globe, not least in the geographies relevant to the IJIA’s remit. The fallout from the so-called ‘Arab Spring’ has escalated social, political, and economic crises and, in certain cases like Libya and Syria, has taken an overtly violent turn. Major countries with a predominantly Muslim population, such as Turkey, Egypt and Indonesia, have witnessed restrictions on civil liberties. Moreover, the word ‘Islam’ has become embroiled in various restrictive measures introduced in countries whose successive administrations have otherwise laid claim to being bastions of democracy and freedom, such as emergency rule in France and travel bans in the US. Others with significant Muslim populations, such as India and Russia, have seen nationalist and/or populist surges, often with significant implications for their minorities. Such developments have engendered numerous issues of a markedly architectural and urban character, including migration, refuge, and warfare, protest and surveillance, as well as heightening the risk of contingencies and errancies affecting archival work and fieldwork. Whereas this risk and its materializations are typically considered unfortunate predicaments and written out of research outputs, how might a focus on architecture at this juncture help write them back into history, theory, criticism, and practice? What might this mean for the ways in which architectural research is conceived and carried out under seemingly ‘ordinary’ circumstances—those that appear free from the risk of contingencies and errancies affecting archival work and field work?

     

    As evident in the joint emphasis on fieldwork and archival work, these questions are methodologically animated by a convergence between two prominent venues of architectural research conventionally seen mutually discrete if not antipodal: field and archive. In fact, when considered spatially, both fields and archives have more in common than that which separates them. Access to both is monitored by gatekeepers: fieldwork in the anthropological sense demands a significant degree of rapport with individuals controlling entry into the field, while archival research requires negotiating access with archivists and involves official letters, application forms, ID cards, stamps, and signatures. Findings of archival work and fieldwork are then disseminated through academic knowledge production; this is yet another realm characterized by gatekeeping mechanisms, in which case researchers themselves are implicated as gatekeepers. One way of thinking archives and fields together architecturally, then, is to ask exactly what might be at stake in the relationship between the mechanisms of gatekeeping involved in fieldwork, archival work, and knowledge production?

     

    Conventional approaches may limit this question to practicalities; they may categorically celebrate the permission to enter the archive or the field, and lament being denied entry. Doing so perpetuates received wisdom regarding the epistemic authority of officially sanctioned institutions, methods and communicative modes being greater than that of others. Contrarily, contributions to this special issue are invited to adopt a critical and self-reflexive approach by treating the denial of access as empirical material to think with, or the granting of access as a selective and politically charged phenomenon. This is to directly probe how power structures shape what is accessible and inaccessible, placing them at the heart of what it means to engage in archival work and fieldwork. It is to ask, for instance in cases where access is denied: in what ways was denial communicated; what reasons were given; how might these be considered as part of the content of the research itself? Or, in cases of seemingly trouble-free access: what documents or information were required to gain access; who gave the final decision; what conversations were had; what, if any, were the limitations and restrictions; in what ways might the answer to these questions speak to the research itself? Such questions may also apply to the notion of participation, which is central especially to fieldwork. Participation is conventionally understood as an instrument that enhances the extent to which research outcomes represent the needs, thoughts and feelings of interlocutors or beneficiaries. Instead, this issue invites contributors to approach participation as a political mechanism through which power-knowledge structures are regulated (rather than alleviated or invalidated) by various actors involved in or impacted by the research, including researchers themselves. On a broader level, thinking archives and fields together in such a way has implications for how time and temporality are considered in architectural research. The prevalent tendency in this respect is to associate archives with history and fields with that which is recent or contemporary. Contributors are encouraged to reconsider this tendency by showing how archives might speak of the present and how fields might offer novel understandings of the past. Finally, to scrutinize issues affecting fieldwork and archival work critically and self-reflexively—that is, beyond such categorical oppositions as permission versus rejection or compliance versus refusal—is to avoid limiting the imperative for such scrutiny only to geographical and/or historical contexts deemed ‘turbulent’. It means to posit the obligation to account for power structures as the very condition of rather than the exception to archival work and fieldwork.

     

    Paper proposals should work from the framework outlined thus far to offer insights relevant to the IJIA’s remit, which is defined broadly as ‘the historic Islamic world, encompassing the Middle East and parts of Africa and Asia, but also the more recent geographies of Islam in its global dimensions’. Contributors should fully exploit the self-reflexive potential of this framework by addressing the role of architecture and architectural research as not just the product of the various issues affecting archival work and fieldwork but also their instigator. Specific questions that contributors might wish to explore include but are not limited to the following:

     

    1. What are the potentials and limitations of a research focus on architecture when negotiating contingencies and errancies affecting archival work and/or fieldwork?

     

    2. How might architectural research help unpack the ethics and politics of access to fields and/or archives beyond the question of physical entry or the lack thereof?

     

    3. How might an architecturally focused approach to archives as fields (and vice versa) help complicate linear approaches to history and historiography? How might it help complicate the sweeping identification of certain historical and/or geographical contexts with conflict, unrest, crisis, and oppression as diametrically opposed to post-conflict, peace, prosperity and freedom, and offer a nuanced appraisal of the agency of researchers and interlocutors operating in such contexts?

     

    4. What are the ways in which the positionality and reliability of architectural researchers, gatekeepers, interlocutors, or participants shift during archival work and fieldwork? How might these shifts be exploited, rather than glossed over, during the research towards attuning to non-institutional methods of knowledge production? How might they be integrated into, rather than written out of, the histories, theories, criticisms and/or practices resulting from the research?

     

    5. How might a convergence between the concepts of field and archive help architectural researchers negotiate the dynamics between intellectual autonomy and responsibility towards others involved in or impacted by the research?

     

    6. What might be the role of language and that of other communicative modes in engendering or negotiating contingencies and errancies affecting fieldwork and archival work? What new forms, structures, and styles—be they textual or material—might result from a close and nuanced attention to this role?




    Articles offering historical and theoretical analysis (DiT papers) should be between 6000 and 8000 words, and those on design and practice (DiP papers) between 3000 and 4000 words. Practitioners are welcome to contribute insofar as they address the critical framework of the journal. Urbanists, art historians, anthropologists, geographers, sociologists, and historians, whose work resonates with architecture are also welcome. Please send a title and a 400-word abstract to the guest editor, Eray Çaylı, London School of Economics and Political Science (e.cayli@lse.ac.uk), by 30 July 2018. Authors of accepted proposals will be contacted soon thereafter and will be requested to submit full papers by 28 February 2019. All papers will be subject to blind peer review. For author instructions, please consult: www.intellectbooks.com/ijia
  • John Nolen Research Fund

    Ithaca | Dates: 20 Mar – 30 Apr, 2018
    The John Nolen Research Fund provides assistance to scholars to conduct research in the John Nolen Papers and allied collections in the Division of Rare and Manuscript Collections of the Cornell University Library. Any qualified researcher interested in the history of city and regional planning before 1950 with a project that can be augmented by using the Nolen Papers is eligible to apply. Applications are due by April 30, 2018; awards will be made by May 31 for support to begin on July 1, 2018. For fellowship information and application requirements, please visit https://rare.library.cornell.edu/services/funding/nolen.
  • Dialectic VII: Abstract Deadline June 1st

    Dates: 20 Mar – 01 Jun, 2018

    Call for Papers and Projects

    DIALECTIC, a refereed journal of the School of Architecture, CA+P, University of Utah

    Dialectic VII: Architecture and Citizenship– Decolonizing Architectural Pedagogy

     Deadline:

    June 1st, 2018

    Requirements:

    Abstract (350 words)

    Short CV

    ­

    Dialectic VII invites reflection on the challenges of training architects for global citizenship. In recent decades, design programs in affluent and globally dominant cultures, from Japan to United States, Belgium to Dubai have developed traveling studios that place students face to face with global others. Some of these efforts reproduce the priorities of professional practice for innovation, efficiency and market viability. Others, including design-build programs in poor communities, emphasize affective experience and tactical approaches. Still others are represented as simple cultural exposure by which design students collect experiences towards open-ended results. Some of these educational forays aim to educate future designers as global citizens rather than mere passive corporate cogs within the international marketplace. However, the idea of global citizenship is complicated by the fact that the globe is a profoundly anti-democratic space, one in which international architects are some of the few granted mobility and voice. Is the very idea of “global citizenship” then an oxymoron? 

    Just as thorny aspect of this pedagogic ambition is the need for decolonizing architectural pedagogy. Despite absorption of women, colored and queer voices, desire to reach out to the destitute, non-moderns, and difference, the studio culture still brings everything back to Western and capitalist modes of governance and being in the world. Decolonization of education is a wide ranging ethical project spanning numerous disciplines, with the goal of recovering power for different ways of knowing and being, discredited by the universalist truth claims of Western system of knowledge. In our discipline, history of world architecture is one domain that is attempting to relieve architectural pedagogy from Euro-US centric frameworks of imagining architecture. This highly myopic and narrow imagination is sustained by the myth of the neutral expert—that despite being thoroughly debunked by postcolonial critiques of development—persists in our field with a stubborn tenacity.

    To bring this project to architecture requires that we take a hard look at architectural pedagogy’s placement within Cartesian epistemology. What of the cleft Descartes put between mind, matter and spirit that made the world inert and an abstract proposition, and hence available for exploitation? What of the inability of sustainability efforts and green architecture to unshackle themselves from the foundational framework responsible for the near destruction of the planet? This may require more than the deployment of feminist, race and queer theory (all also squarely Cartesian). This may mean pushing these theoretical accomplishments further and open them to the wisdom of non-anthropocentric, in fact cosmocentric epistemologies of indigenous and folk   cultures, so thoroughly discredited by dominant scientific thinking. What would architectural pedagogy and praxis look like if they became porous to perspectives based on systems of knowledge that have no place in current corporate design culture? What would its products and value system look like if it created a dialogue between Cartesian feminism, race and queer theory and their non-Cartesian practices? How do we inculcate an ethos of lateral learning in our curricula without reducing the dominated cultural knowledge to our preexisting frameworks? How can “citizen” architects exploit these openings towards more equitable and sustainable futures? Does this make the idea of “global citizenship” viable or does it still remain an untenable ideal? 

    In Dialectic VII, we seek submissions that address both global citizenship training and the types of architectural practices it might ultimately promote. We want to better understand what happens when design practitioners and students are thrust from the comfortable realm of expertise into a space of compromise, accountability and ethics. What architectural practices already exist outside simple cost/wage structures? What practices are already open to lateral learning? What sustainability efforts successfully unshackle themselves from the technological rationality responsible for the planet’s global problems? How do ritual, reciprocity, volunteerism, prayer, bribery, nepotism, sacrifice, generosity, and other extra-capitalist practices infiltrate the supposedly neutral territories of architectural knowledge? As architects move from one global location to another, what productive lessons are learned from the differently modern people they encounter? Can one learn to be a global citizen without leaving one’s “home” country? What role might architectural “practices without practice,” such as public history, preservation, curatorial work, discourse and research play in broadening our horizons beyond capitalist vision of architecture? In considering these questions, we invite scholars to allow careful observation of lived phenomenon to drive analysis.

    Dialectic VII invites articles, field notes, reports, maps, and image essays on architectural citizenship and its entanglement with the decolonization of architectural pedagogy and practice. The editors value critical statements and model practices. We hope to include instructive case studies and exciting examples of professional practice. Possible contributions may also include mapping of ongoing debates across the world, and reviews of books, journals, exhibitions and new media. Please send abstracts of 350 words and short CVs to one of the editors: Shundana Yusaf shundana@arch.utah.edu, Anna Goodman good7@pdx.edu, Ole W. Fischer fischer@arch.utah.edu and B.D. Wortham-Galvin b.d.worthamgalvin@pdx.edu by June 1st, 2018.

    Accepted authors will be notified by June 15th. Photo essays with 6-8 images and full papers of 2500-3500 words must be submitted by August 15, 2018, (including visual material, endnotes, and permissions for illustrations) to undergo an external peer-review process. This issue of Dialectic is expected to be out in print by Fall 2019.

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    DIALECTIC a refereed journal of the School of Architecture, CA+P, University of Utah

    ISSN: 2333-5440 (print)

    ISSN: 2333-5459 (electronic)

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