Symposium associated with the exhibition “The Missing: Rebuilding the Past”
Anya and Andrew Shiva Gallery at the John Jay College of Criminal Justice City University of New York
This symposium offers a roundtable conversation among scholars, artists, and technological pioneers working at the leading edge of digital cultural heritage. They will discuss the promises and perils of new technologies – what will we gain? what might we lose? – as well as explain their visions for the most crucial projects and the most interesting technologies and strategies. Audience participation is expected and encouraged.
The National Park Service, National Capital Region (NPS-NCR) is pleased to announce its selection as a host organization for the American Council of Learned Societies (ACLS) Public Fellows Program, a career-building fellowship designed to expand the reach of doctoral education in the humanities. In 2016, the Public Fellows Program will place up to 21 recent PhDs from the humanities and humanistic social sciences in two-year staff positions at partnering organizations in government and the nonprofit sector. Fellows will participate in the substantive work of these organizations and will receive professional mentoring, an annual stipend of $65,000, and health insurance.
The NPS fellow will serve as the "Cultural Resources Public Outreach Coordinator" in the Cultural Resources Division of the Office of Resource Stewardship & Science at the headquarters of the National Capital Region in Washington, DC.
The fellowship competition will begin accepting applications on January 14. The application deadline is March 24, 2016 (8pm EDT). For more information, please visit http://www.acls.org/programs/publicfellowscomp/.
ACLS Public Fellows is a fellowship program offered by the American Council of Learned Societies with generous funding from The Andrew W. Mellon Foundation. Please direct all inquiries about the fellowship program to ACLS.
Is architecture art?
This is an Australian Research Council funded Discovery Project led by Prof John Macarthur, Dr Susan Holden, and Prof Wouter Davidts who will supervise the successful applicants. The project would suit applicants with degrees in architecture, art history, philosophy or cultural studies.
The ROB | ARCH2016 conference offers a unique and dynamic hands-on experience of cutting-edge robotic technologies with application for the design, architectural and creative industries. In a series of workshops, you can engage with live robots and observe robots working with each other. It will bring together architects, artists, designers, fabricators and industry leaders and act as a platform for researchers and industry to exchange expertise, explore methods, compare techniques and forge new connections.
The American Social History Project/Center for Media and Learning at the City University of New York Graduate Center will host a two-week NEH Summer Institute for college and university teachers in July 2016 on the Visual Culture of the American Civil War and its Aftermath. Applications to participate will be accepted via mail, e-mail, and our online application system until March 1, 2016.
The Institute will focus on the era's array of visual media--including the fine arts, ephemera, and photography--to examine how information and opinion about the war were recorded and disseminated, and the ways visual media expressed and shaped Americans' understanding on both sides of the conflict. Guided by a team of four faculty that represents the range of work in the field, Institute participants will hear daily lectures and presentations by noted historians, art historians, and archivists; take part in hands-on sessions in significant museums and collections; and attend new media lab workshops. These Institute activities will introduce participants to the rich body of scholarship that addresses or incorporates Civil War era visual culture, encourage them to explore avenues for further research in the field, and assist them in developing their own research and/or teaching projects. Reading assignments preceding and during the Institute will prepare participants for full engagement in the Institute¹s discussions and activities. And time will be provided to prepare individual projects, undertake research at local archives, and meet with the four principal institute faculty members as well as guest speakers.
Current issue of Kunstiteaduslikke Uurimusi / Studies on Art and Architecture 2015, vol. 24, no. 3/4.
Text in English, German and Estonian. All articles are accompanied with a lengthy summary of ca. 4 pp.
The University of Tasmania's Centre for Sustainable Architecture with Wood (CSAW) is seeking applications from those with an deep interest in the technical aspects of using wood in building. One post-doctoral fellowship and several scholarship opportunities exist in the newly formed ARC Centre for Forest Value, of which CSAW is a part.
SPACES (Saving and Preserving Arts and Cultural Environments:
spacesarchives.org) is a California-based non-profit archive established in 1978 to identify, document, and advocate for the preservation of large-scale art environments, and self-taught art.
SPACES recently launched a beautiful digital archive of more than 1,400 art environments around the world, and the organization is regularly digitizing archival holdings, soliciting new documentation and writing about the sites, and sharing resources and updates on the preservation and conservation of threatened vernacular art sites, such as Rev.
Howard Finster's Paradise Gardens, Leonard Knight's Salvation Mountain, or Simon Rodia's Watts Towers.
The PhD Program's Spring 2016 Research in Progress speakers series has been announced. The series brings to IIT Architecture the latest research by faculty, PhD candidates, visiting scholars and scholars from throughout Chicago and around the world.
“Spatial immensity beggars designation. Immensity itself fails, vastness and other common terms fail... Five hundred years into the settlement of…America by Europeans and Africans, intellectuals, and designers especially, lack words for bigger than big. An unwholesome, stubborn refusal to confront the immensities of the continent, indeed the immensity of the continent itself...”
–John R. Stilgoe, “Wuthering Immensity”
The above excerpt from our inaugural issue touches upon a fundamental problem of American space, namely, how to absorb, understand, and describe the awe-inspiring, blunt physicality of the continent in the face of which all rationalization fails.
In the fields of architecture, urbanism, and even landscape design, this physicality remains an under-explored agent. While specific narratives of city-building across the Americas have been told, the role of the “bigger than big” or the out-of-scale so ubiquitous in many of the exploratory accounts of the territory has often taken a back seat to discourses focusing exclusively on questions of style, performance, or networks of transaction. The experience found, say, in Alexis de Tocqueville’s notes on the geography of Mississippi is often lost on designers who are frightened back by the “wuthering giant,” as Stilgoe puts it, “…to urban and other small scales.”
Likewise, the art historian James Elkins has recently argued that scholars have a “fear of materiality,” embracing it only up to the “point where writing becomes difficult.” Unable to fully engage with the glacial slowness demanded by a serious attention to physicality, the historian in Elkins’ estimation tends to place it beyond interpretation or assigns it to the realm of “making” and “production,” so as to shoehorn it into familiar conversations. One might argue that design writing takes a similar tack.
When the subject has been taken up in architecture—as in the brash, rustic experiments of H. H. Richardson, the “parkitecture” of Mary Colter, the campus landscape of UNAM’s Ciudad Universitaria, the muscular display cabinet Lina Bo Bardi conceived in MASP, or in texts such as Nathaniel Owings’ overture toward Rachel Carson’s “long vistas of history” in The American Aesthetic (1969), and most notably in Reyner Banham’s Scenes in America Deserta (1989)—the results are decidedly singular offerings that merge realist rhetoric with a poetics of ecology.
If today’s symbolic landscapes are decidedly more urban and characterized by their managerial and aspirational metrics—walkability, sustainability, density, intelligence, etc.—at issue here is the stubborn persistence of physical and spatial immensity as animating and potentially humbling actors in the urban imaginaries of the Americas. By way of recasting or returning to these urgent, familiar discourses with a new eye and a new tongue alike, or jettisoning them for altogether unfamiliar conversations, we can address the more deceptively simple or direct challenges of description demanded by the often overwhelming physical and material conditions of the “new world”—challenges which have long prompted a profusion of terms, analogies, and frameworks geared toward understanding the site and sights of our designs.
For our third issue, we aim to highlight propositions that have taken seriously the “bigger than big”—design and representational experiments aimed at narrating, framing, or enacting the American continent and the forms and ideas which it animates. Three categories will constitute the issue’s conceptual framework: matter, scale, and description. Taken together, these complementary avenues into our expansive subject will offer alternative readings into contemporary questions of cultural imaginaries and histories in relation to the deep time of geological formation, and will examine the continuing agency of physical matter in a moment dominated by the data sublime of virtual landscapes and smart cities, tracing back the impacts and multi-layered resonance of immensity in American design.
MANIFEST is interested in essays ranging from 1000-7500 words, projects, graphic narratives, photo essays, and interviews. For the call for proposals, we ask that authors submit an abstract of 300-500 words + relevant images along with a brief bio or CV. We encourage abstracts and proposals to provoke as much as describe and each should offer an insight into the narrative threads driving the work. Authorial tone can range from academic to irreverent, but all work should have a strong voice and display a high quality of writing. The subject matter is wholly up to the discretion of the authors. MANIFEST encourages the submission of pieces of historical interest alongside more projective tracts and speculative arguments. With the exception of built projects, work must be previously unpublished. Please submit all material in a single PDF (5MB maximum file size) to email@example.com by Monday, 1 February 2016. Authors of selected proposals will be notified by the end of February and the editors will work with authors to develop their pieces.
Modern architecture cannot be altogether understood without the dissemination of its images. The blending between photography and architecture proved to be particularly fruitful in constructing the modern visual discourse. Architects became conscious of the full potential of photography beyond its documentary value, and photographers of architecture —architects themselves occasionally—, shortly became important composers and broadcasters of that narrative.
Simultaneously, the discourse around photography has become more and more complex, expanding its scope and surpassing a more traditional approach. XIXth century photographic documentation gradually gave in its way to new forms of exploration of reality, opening a wide range of possibilities and raising photographic and visual culture to a different level.
Photographers do not develop their work in a documentary sense as much as they seek to build a new reality perceived in subjective terms. They are involved in creating a new way of understanding the world. There is some consensus —as well as a subtler criticism— on the overflowing of their disciplinary boundaries. Those boundaries seem to be blurred bringing photography closer and closer to visual arts, claiming this way that same autonomy and their own place in the construction of contemporary discourse. The question arises as to whether the relationship between photography and architecture provides new creative processes, not just simple combinations, and whether they affect and experience each other in such a way they bring to light new ways of understanding both fields.
The committee encourages experienced and junior scholars to send abstracts, Spanish and English, exploring any of the above-mentioned topics. Selected authors will have the opportunity to present their contributions during the Conference. Accepted papers will appear in the conference proceedings publication that will be indexed in major international databases. Authors could be also awarded and invited to submit an extended version to be published as a chapter in a future publication edited by the organization. Please send a 400-word abstract along with a short CV by the on-line platform at the Conference website. Info by e-mail: firstname.lastname@example.org
Abstracts deadline submission: February 15th, 2016.
Notification: March 14th, 2016
Paper submission deadline: September 1st, 2016
Sessions will take place at Museo Universidad de Navarra
Iñaki Bergera, Universidad de Zaragoza, Proyecto FAME
Maristella Casciato, Getty Research Institute
Valeria Carullo, RIBA Library Photographs Collection
Horacio Fernández, Universidad de Castilla-La Mancha
Manolo Laguillo, Universidad de Barcelona
Pedro Leâo Neto, Universidade do Porto
Rafael Llano, Museo Universidad de Navarra
Alberto Martín, Universidad de Salamanca
Martino Stierli, MoMA Chief Curator of Architecture and Design
"New approaches and paradigms in the study of Greek architecture"
An International Workshop sponsored by the American School of Classical Studies at Athens, hosted at Cotsen Hall, November 3–5, 2016
Abstract deadline: Jan 31, 2016
Recent scholarship has challenged in a fundamental way our understanding of Greek architecture, ranging from rethinking individual monuments and construction techniques, to reassessing whole categories of buildings as they developed over the centuries. Concurrently, a wide array of new digital technologies—developed recently and tested in various contexts for fieldwork, site management, and spatial analysis—promises to transform the way in which architectural historians examine their material.
This workshop will bring together archaeologists and architectural historians to present their most challenging ideas alongside researchers who have used digital techniques to enhance the way they approach the preservation and analysis of ancient architecture. We invite scholars at all levels to present new ideas and recent successes in the field, conceived broadly. "New approaches and paradigms" may include pure research, methodological commentary and critiques, results from recent fieldwork, and innovative digital approaches to the study of ancient architecture.
The event should spark conversations about a variety of exciting topics concerning architecture and open up new possibilities for collaboration involving the use of cutting-edge methods for fieldwork and architectural study. We believe the time is right for an international conference that includes recent advances within the field, with an emphasis on the revolutionary potential offered by the integration of digital technologies into our research. The organizers intend to publish an edited, peer-reviewed volume of selected papers.
The workshop is scheduled for November 3-5, 2016. Those interested in presenting a paper are kindly requested to submit an abstract of ca. 500 words to the organizers by email (email@example.com or firstname.lastname@example.org) no later than January 31, 2016. Notification of acceptance will be made in March. Proposals should address questions related to the theme and make clear the expected results or conclusions. Speakers will be allotted ca. 40-45 minutes, with 15-20 minutes for questions. Accommodations and meals in Athens during the conference will be provided for the speakers and arranged by the organizers through the ASCSA (speakers will be expected to cover travel expenses). More detailed information on the proceedings and accommodation will follow once the program is finalized.
For further information or to submit an abstract, please contact the organizers, Dr. Philip Sapirstein / University of Nebraska, Lincoln / email@example.com
Dr. David Scahill / ASCSA / firstname.lastname@example.org
Rennes 2 University (France). Department of Art History / Archives de la critique d’art, Rennes
Architectural Criticism between Public Debate and Autonomous Discipline
First International Workshop of the Research Project Mapping.Crit.Arch: Architectural criticism XXth and XXIst centuries, a cartography/ La Critique architecturale, XXe et XXIe siècles: une cartographie
Monday, January 18th, 2016, Université Rennes 2, B 332, 9.30-18.00
9.45 Introduction (Hélène Jannière, Université Rennes 2, Coordinator of the Mapping.Crit.Arch ANR Research Project)
Emerging Forms of Criticism
10.00 Carlo MENON, The Bartlett School of Architecture, London, Four magazines on Architectural Criticism 2005-2010: a Perspective from 2015
10.30 Marcela Garcia MARTINEZ, University of Geneva, Architectural centers: Mediation is the new Criticism
11.00 Coffee break
Boundaries of Criticism
11.15 Dirk VAN DE VIJVER, Associate professor, Department of History of Art, Utrecht University, Mapping the reception of Victor Horta: the blurring boundaries of architectural criticism, theory and history
11.45 Rute FIGUEIREDO, gta/D-ARCH/ETH Zurich, Director of the Site of Discourse Research Project (Lisbon University), Fixing boundaries. Architecture and criticism at the onset of the 20th century
Architectural Journalism and Campaigns
14.30 Jim Njoo, Associate Professor, École d'architecture de Paris-La Villette, TU Delft Department of Architecture, Dialogic Criticism Cedric Price's Design Columns 1975-1999
15.00 Erdem ERTEN, Associate Professor, Izmir Institute of Technology Department of Architecture, Mobilizing the Nation via Architectural Criticism : The Architectural Review "Outrage" and "Counterattack"
15.30 Coffee break
Controversies and Public Debate: Mobilizing the Public
15.45 Leah HSIAO, Department of Art History, University of York, The Battle of the Pyramid: architectural criticism on I.M Pei's Louvre Pyramid
16.15 Kristen GAGNON, Azrieli School of Architecture & Urbanism, Carleton University, Architecture Criticism vs. the Public : ‘Mirvish+Gehry Toronto' A Case Study
17.30 Rute FIGUEIREDO, Presentation of the Site of Discourse Research Project (Universidade Nova de Lisboa, Faculdade de Ciências Sociais e Humanas, Instituto de História da Arte).
Tuesday, January 19th, 2016, Archives de la critique d’art, Rennes
Twentieth Century American Art and Architecture Criticism. New Paradigms and Cultural Transfers.
Terra Foundation for American Art
9.30 Presentation of Les Archives de la Critique d’art by Jean-Marc Poinsot (President) and Nathalie Boulouch (Director)
10.30 Lecture: Martin HARTUNG, gta/D-ARCH/ETH Zurich, Columbia University, Architectural Criticism on the Art Market: An American Debate, 1975-1985.
11.15 Coffee Break
11.30 Lecture: Louis MARTIN, Professor, Department of Art History, Université du Québec à Montréal, Uqam. American Debates around the Autonomy of Critique in Architecture, 1990-2004
Scientific Committee Mapping.Crit.Arch
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)
EA 1279, Histoire et critique des arts
Hélène Jannière, Professeur, Université Rennes 2: email@example.com
Eléonore Muhidine firstname.lastname@example.org
Monday, January 18th, 2016
Université Rennes 2, Campus Villejean, B 332, 3rd floor.
Tuesday, January 19th, 2016
Archives de la critique d’art
4 allée Marie Berhaut, Bât. B
35000 Rennes, France
As part of a new program in urban landscape studies funded by the Mellon Foundation, Dumbarton Oaks is offering fellowships for historians and designers pursuing advanced research in urban landscape topics, both historic and contemporary. The program is funded through the Foundation’s initiative in “Architecture, Urbanism, and the Humanities,” intended to foster the joint contributions that the humanities and the design and planning disciplines may make to the understanding of the processes and effects of burgeoning urbanization.
Two fellowships will be offered each fall and spring, and are available to humanities scholars, landscape architects and urban designers. Field research funds are also available. The application deadline for the 2016-17 academic year is February 1, 2016.
The Mellon Fellowships are intended to build constructive dialogue between them about the history and future of urban landscapes, encouraging them to bridge the gap between their professional modes of thinking. To foster this interchange, Dumbarton Oaks seeks candidates with a demonstrated capacity for cross-disciplinary work, and encourages collaborative applications from designers and historians working on similar topics or the same city.
For additional information on the urban landscape initiative, see www.doaks.org/research/garden-landscape/mellon-initiative-in-urban-landscape-studies/overview. For fellowship terms and applications, see www.doaks.org/research/fellowships-and-grants/fellowships/mellon-fellowships-in-urban-landscape-studies. Any questions related to the Mellon Fellowship Program or to the suitability of proposed fellowship applications should be directed to Mellon@doaks.org. Preference will be given to candidates with final degrees such as PhD or MLA.
Anthropology and Architecture: Misplaced Conversations
According to anecdote, Claude Levi-Strauss hosted Le Corbusier for a night when he was cultural counselor to the French Embassy in New York. The anthropologist and the architect, both notoriously voluble, had much to discuss, however all that is preserved of their conversation is a word of advice about interior design: Corbusier allegedly advised Levi-Strauss to leave an ornate salon designed by Stanford White untouched. Now is the time, for better or worse, to reconstruct two centuries of missing conversations.
After all, Anthropology and Architecture have a filial history. Both occupy comparable positions within national academies, as autonomous but applied disciplines. However whereas architecture is understood as culturally intrinsic, the anthropologist usually studies culturally extrinsic phenomena. Perhaps as a result, the anthropologist has only been permitted limited entry into architectural discourse, and then often merely for the discussion of externalities such as “shelter”, myths of origin, or vernacular (and therefore untheoretical) architecture. This is a relationship that could be made much more nuanced, and more interesting.
In the last century, both anthropology and architecture have both undergone what have been described as "linguistic turns". The adoption of Saussure's structuralist linguistics as an ordering schema by anthropologists, and anthropology's subsequent re-articulation of structuralism was not so much a "turn" as an act of intellectual anthropophagy—the complete incorporation of what had been a specific approach (applied to the study of kinship) and its re-emergence as a universal principle. In architecture, the linguistic turn has been much condemned, and yet its influence was arguably just as profound. Can a comparative disciplinary history of anthropology and architecture be written?
We explicitly invite anthropologists to write about architecture, and architecture theorists to write about anthropology. What we seek is that deferred (but not deferential) conversation between Levi-Strauss and Corbusier, between Mary Douglas and Bruno Taut, between Semper and Warburg, between Latour and Doxiadis, between Mead and Neutra.
Historically, architecture's techniques have often been put to the service of either political gesture, or commercial manipulation (or both). How can these gestures and manipulations be studied using anthropological techniques? What insights do contemporary in situ ethnographic methods offer to the design process, and how might they be more intelligently applied, from the first sketch to the post-occupancy survey? From Kon to Lefebvre to Lucius Burckhardt, what can field research teach the designer or the historian?
Anthropology is particularly well equipped to study everyday transactions, as well as the rituals and ceremonies with which we mark life transitions—from the private to the public, from domestic life to death. These are also domains to which the design process feels itself called. In spite of shifting social norms around families, work and the distinction between private and public life, architectural typologies are surprisingly long lived. When the half life of a social form and its architectural expression do not match, what can be learned from their asynchrony?
Global architectural history also calls for the inclusion of new critical perspectives. In the wake of the Great Kantō Earthquake, the Japanese anthropologist Wajiro Kon invented new methods of field research in order to document the response of the city to a traumatic event. In the process, he founded the mock discipline of "Modernologio", which took seriously the need to investigate the hidden logic in everyday life. For Kon, anthropology was not a technique for examining alien cultures, but rather an alien perspective from which he could defamiliarise his own culture. Whether introverted, extroverted or reversed, what can the perspectives of anthropology offer this new global history?
Figures of interest to authors might include, but are not limited to (in no particular order): Christopher Alexander, Konstantinos Doxiadis, Bruno Taut, Tim Ingold, Alfred Gell, Lucius Burckhardt, Wajiro Kon, Terunobu Fujimori, Andre Malraux, Tony Bennett, Jean-Louis Cohen, Gottfried Semper, Giancarlo Cataldi, Abby Warburg, Richard Neutra, Pierre Bourdieu, Mary Douglas, Claude Lévi-Strauss, Georges Canguilhem, Bruno Latour, Margaret Mead, Ernst Gombrich, Henri Lefebvre, Gregory Bateson, J. L. Austin, Marilyn Strathern
The Architectural Theory Review, founded at the University of Sydney in 1996 and now in its twentieth year, is the pre-eminent journal of architectural theory in the Australasian region. Published by Taylor & Francis in print and online, the journal is an international forum for generating, exchanging, and reflecting on theory in and of architecture. All texts are subject to a rigorous process of blind peer review.
Enquiries about this special issue theme, and possible papers, are welcome, please email the editor, Adam Jasper: email@example.com
The deadline for the submission of completed manuscripts is Monday, 30 March 2015. Please submit manuscripts via the journal’s website: http://mc.manuscriptcentral.com/ratr
When uploading your manuscript please indicate that you are applying for this special issue, for example: vol. 21.2 – Architecture and Anthropology.
Manuscript submission guidelines can be found at: www.tandfonline.com/action/authorSubmission?journalCode=ratr20&page=instructions
All submitted papers are subject to double blind peer review. Conference proceedings are going to be available on DVD as e-book with an ISBN number, and will be sent to be reviewed for inclusion in the Thomson & Reuters CPCI and Google Scholars
All submitted papers are subject to double blind peer review. Conference proceedings are going to be available on DVD as e-book with an ISBN number, and will be sent to be reviewed for inclusion in the Thomson & Reuters CPCI and Google Scholars.
For the first time ever, the Victorian Society in America is offering financial assistance for its Newport, London, and Chicago programs---and early acceptance for its legendary, time-honored summer schools if applications received by January 25th!
You are invited to study architecture, art, history landscape design, and historic preservation at one of the internationally acclaimed Victorian Society in America summer schools in Newport, Rhode Island, Chicago, Illinois, London, England, and the English Midlands. Now in its 42nd year, you will join a class of your peers to enjoy lectures by leading scholars, private tours of historic sites, engaging social experiences, opportunities to get behind the scenes at museums and galleries, and the opportunity to connect with colleagues from diverse fields from around the world. Open to the general public, including graduate students, academics, architects, preservation professional, and the professionally curious.
The Summer Schools are academically rigorous and physically demanding. A typical day involves intellectually stimulating lectures and bus and walking tours by leading scholars, considerable walking, periods of standing, and engaging social experiences. These intensive programs are action packed, with little free time. Tuition costs include expert instruction, shared accommodation, some meals, tours, and admissions. Competitive scholarships are available for London, Newport, and Chicago.
Applications for early acceptance are due by January 25th while scholarship applications and applications for the general acceptance notice period are due by March 1, 2016. Please visit www.vsasummerschools.org for more information and for online applications.
Newport June 3-11, 2016 (board, tuition, and some meals provided: $2,500)
Chicago June 16-21,2016 (board, tuition, and some meals provided: $1850)
London July 2-17, 2016 (board, tuition, and some meals provided: $4,500)
English Midlands July 3-July 7,2016 (board, tuition, and some meals provided: $2,100, no scholarships provided)
Those who complete the course will be eligible to receive continuing education credits from the American Institute of Architects.
The Victorian Society in America was founded in 1966, as a sister organization to the Victorian Society in the United Kingdom, by preservationists including Brendan Gill, Henry-Russell Hitchcock, and Margot Gayle, and is the only national nonprofit organization committed to historic preservation, protection, understanding, education and enjoyment of Americas nineteenth-century heritage. Its schools provide an opportunity for in depth study of the architecture and culture of the nineteenth century and feature lectures by leading experts, site visits, and guided tours. The London program started in 1974, followed by the Newport program in 1976. More than 1,250 people have participated in its courses. Launched last year, the Chicago Summer School is the latest of several recent initiatives launched to strengthen Chicago as a destination for architecture related tourism and education.
Please email James Russiello, Summer Schools Administrator, at Admin@VSASummerSchools.org, with any additional questions.
Join the conversation on social media with #VicSocAmerica #VSASummerSchool #VSALondon #VSANewport and #VSAChicago!
The Rijksmuseum operates a Fellowship Programme for outstanding candidates working on the art and history of the Low Countries whose principal concern is object-based research. The aim of the programme is to train a new generation of museum professionals: inquisitive object-based specialists who will further develop understanding of art and history for the future. The focus of research should relate to the Rijksmuseum’s collection, and may encompass any of its varied holdings, including Netherlandish paintings, sculpture, decorative arts, prints, drawings, photography and historical artefacts. The purpose of the programme is to enable applicants to base part of their research at the Rijksmuseum, to strengthen the bonds between the universities and the Rijksmuseum, and to encourage the understanding of Netherlandish art and history. The programme offers students and academic scholars access to the museum’s collections, library, conservation laboratories and curatorial expertise.
The College of Arts and Humanities, University of Glasgow, invites proposals for papers on the theme of 'Difference' for its fifth international, interdisciplinary conference. The conference will be held on the 24th-25th May 2016.
Difference is both a fundamental part of our everyday lives and a construct, relying on
complex, contradictory and culturally-loaded notions. The essential idea underpinning 'difference' is that an entity is 'not like us'. Implicit to the definition of 'difference' is deviation from our perceived concept of what is 'normal'. Difference may be conceptualised positively or negatively - as a fascinating phenomenon that can be assimilated, or a fearful threat to existing ways of life. Navigating these differences in the world around us helps us to construct our ideas and feelings towards the world and the people in it.
Difference can, therefore, be both a barrier and a bridge to human interaction. The purpose of this conference is to discuss the complex nature of difference and how it manifests itself within the Arts.
We welcome proposals, including papers from individual scholars and inter-disciplinary collaborations that seek to address the overarching theme of 'difference'. Suggested sub-topics can include, but are not limited, to the following –
• Historical conceptualisations of difference: shifting definitions and the construction of difference and hegemony
• Gender and sexuality
• Race, religion, ethnicity and nationality
• Differences across time, space and civilisations
• The creation of the 'other'
• Celebration and persecution of difference
• Health and disease in literature, particularly mental health
• Methodological differences within or across disciplines in the Arts
• Linguistic difference, particularly the concepts of minority languages and linguistic hegemony
• Literary and artistic difference
Postgraduates are invited to submit abstracts of 200-300 words via email to firstname.lastname@example.org by the 15th January.
The conference will also feature the first screening in the UK of ‘The Mask We Live In’, a film exploring American ideas of hegemonic masculinity and its effect on young men, from the producers of Miss Representation.