Recent Opportunities

  • 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 by August 1, 2018.

  • 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


    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 (, 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:
  • 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


    June 1st, 2018


    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, Anna Goodman, Ole W. Fischer and B.D. Wortham-Galvin 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.


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

    ISSN: 2333-5440 (print)

    ISSN: 2333-5459 (electronic)

  • LAB CULT: An unorthodox history of interchanges between science and architecture

    Montreal | Dates: 23 Mar – 02 Sep, 2018

    The Canadian Centre for Architecture (CCA) presents Lab Cult: An unorthodox history of interchanges between science and architecture. On view in the CCA’s Octagonal Gallery, the exhibition is curated by Evangelos Kotsioris, CCA Emerging Curator 2016–2017 and investigates the concept of the laboratory as a pervasive and recurring metaphor for experimentation in both science and architecture. As a place for the conduct of rigorous research, the lab has been an incredibly productive concept for both of these fields. But at the same time, this exhibition provocatively argues, the laboratory has developed into a cult – its seeming credibility has been repeatedly mobilized in order to normalize social behaviors, discipline the performance of bodies, regulate our environments, standardize the ways we live.

    Kotsioris conducted his research during a three month residency at the CCA and developed the curatorial approach of the exhibition by juxtaposing archival material from the CCA collection with models, scientific instruments, photographs and films on loan from more than twelve international archives, museums, collections and scientific institutions. The majority of these interrelated objects will find themselves sharing the same space for the first time at the CCA.

    The CCA Emerging Curator program offers the opportunity to propose and curate a project at the CCA related to contemporary debates in architecture, urban issues, landscape design, and cultural and social dynamics. 

    Evangelos Kotsioris, CCA Emerging Curator 2016–2017, is a New York-based architectural historian, curator and architect. His research focuses on the intersections of architecture with science, technology and media. He is a Curatorial Assistant in the Department of Architecture & Design at the Museum of Modern Art in New York. In 2016 he was the Assistant Curator of the 3rd Istanbul Design Biennial, Are We Human? curated by Beatriz Colomina and Mark Wigley and co-curator of the ongoing collaborative research project Radical Pedagogies, which was awarded a Special Mention at the 14th Venice Biennale of Architecture. Currently he is completing his PhD at Princeton School of Architecture. His dissertation composes an architectural history of computerization during the Cold War and has received the Carter Manny Citation for Special Recognition by the Graham Foundation. Kotsioris graduated with first class honors from the School of Architecture of AUTh in Greece and holds a MArch II from Harvard Graduate School of Design. He has been a travelling fellow of the Society of Architectural Historians and a graduate fellow of the Princeton Institute for International and Regional Studies. Kotsioris has taught at Harvard, Princeton, the Boston Architectural Center and The Cooper Union.

  • Picturing Milwaukee: Sherman Park Summer 2018 Buildings-Landscapes-Cultures Field School

    Milwaukee | Dates: 04 Jun – 13 Jul, 2018

    Class Dates: June 4 - July 13, 2018; Final exhibit: July 21, 2018
    Preparatory Workshop (attendance required), Tuesday, May 29. 2018, 10:00 AM - 4:00 PM. School of Architecture and Urban Planning, UWM

    You may participate in this field school free as a community intern. However if you want university credits you will need to sign up for summer school classes at
    We will be accepting a maximum of 15 students.  You may take a maximum of 6 credits.  Choose from the list below. 

    ARCH 534 Field Study. –3 cr.
    ARCH 553: Vernacular Buildings/Groupings 
    ARCH 561 Measured Drawing for Architects. –3 cr.
    ARCH 562 Preservation Technology Laboratory. –3 cr.

    This summer course provides students an immersion experience in the field recording of the built environment and cultural landscapes and an opportunity to learn how to write history literally “from the ground up.”  The 2018 field school focuses on Sherman Park, a racially, economically and culturally diverse neighborhood known for its artist communities and active neighborhood groups. We are interested in examining what environmental justice and climate justice mean to the residents of Sherman Park, how they define and address these issues at a grassroots level, and how individual practices of caring and stewardship ensure equitable access to resources for all community residents. 

    This project seeks to employ the enduring creativity of storytelling, the power of digital humanities, and depth of local knowledge to galvanize Milwaukee residents to talk about their homes as repositories of community memory, spaces of caring and markers of civic pride. Students will learn how to “read” buildings within their urban material, social, ecological and cultural contexts, create reports on historic buildings and cultural landscapes and produce multimedia documentaries.
    The five-week course calendar covers a broad array of academic skills. Workshops during Week 1 will focus on photography, measured drawings, documentation and technical drawings; no prior experience is necessary. Week 2 will include archival and historical research focusing on the study of the built environment. Week 3 schedule includes workshops on oral history interviewing and digital ethnography. Week 4 is centered on mapping and archival research. Week 5 and 6 will be devoted to producing final reports and multi-media documentaries.
    Nationally recognized faculty directing portions of this school include Jeffrey E. Klee, Colonial Williamsburg Foundation, Anna Andrzejewski, Associate Professor of Art History, University of Wisconsin-Madison, Michael H. Frisch, Professor and Senior Research Scholar, University at Buffalo, Guha Shankar, Folklife Specialist at the American Folklife Center, Library of Congress, Washington, D.C., and Arijit Sen, Associate Professor of Architecture, University of Wisconsin Milwaukee.
    Documentary equipment, and supplies, will be provided, but students must be able to fund their own travel, meals and modest lodging accommodations (if they are from out of town). 

  • Online Graduate Certificate in Historic Preservation

    Dates: 23 Mar – 15 Aug, 2018
    This summer and fall the University of Kentucky Department of Historic Preservation will be offering our largest selection of distance learning courses since initiating our online Graduate Certificate in Historic Preservation.

    Summer 2018
    • HP 601 Introduction to Historic Preservation (online)
    • HP 676 Field Methods in Heritage Conservation (hybrid)
    • HP 772 Adaptive Reuse (hybrid)

    Fall 2018
    • HP 601 Introduction to Historic Preservation (online)
    • HP 617 Historic Preservation Planning (online)
    • HP 671 Introduction to Cultural Resource Management (online)

    We are particularly excited to announce the intensive week-long field school portion of HP 676 Field Methods in Heritage Conservation, one of our hybrid courses will be based this summer at the Pine Mountain Settlement School, a National Historic Landmark located in the heart of the Appalachian Coalfields. Frequently asked questions about the Field School, as well as information about how to apply for a limited number of partial tuition scholarships, can be found on the Field School in Heritage Documentation Home Page.

    We are also pleased to announce the addition of a new hybrid course, HP 772 Adaptive Reuse.  Our hybrid courses combine online instruction with intensive short-term in-person learning experiences. While the week-long hands-on portion of HP 676 Field Methods in Heritage Conservation is field based, the face-to-face portion of HP 772 Adaptive Reuse gives students the opportunity to get hands-on studio experience. The courses are scheduled so students can choose to take one or all three this summer.

    If you have additional questions, please contact:

    Karen Hudson, Ph.D.

    Visiting Assistant Professor

    Department of Historic Preservation

    College of Design

    University of Kentucky


  • CGTrader Digital Art competition

    Dates: 15 Mar – 30 Sep, 2018
    CGTrader, the world's largest database of 3D models and 3D designers, has introduced the Digital Art Competition, which invites all CG artists (both 2D and 3D)!

    You can submit up to three works of art to each of the six categories: Character Illustration, Character Concept Design, Environment Illustration, Environment Concept Design, Object Design, and Object Concept Design. Contestants will also have the chance to achieve the Public Award.

    There are no hard requirements, and artworks do not have to be created exclusively for the competition, so feel free to show everyone your best and favorite works. For more details, visit the competition page and be sure to check out the Categories & Prizes section!

    The CGTrader Digital Art Competition gives participants exposure in our 1.2M+ designer community and the chance to win prizes valued over $60,000.
  • Community Policing in the Nation's Capital: The Pilot District Project, 1968-1973

    Washington | Dates: 31 Mar, 2018 – 15 Jan, 2019

    In 1968, the eyes of a worried nation were on Washington, D.C. After the assassination of Dr. Martin Luther King, Jr., and the ensuing widespread neighborhood destruction that followed in the district and nationwide, what would come next? Would D.C.’s political and community leaders rise to the occasion?

    A new exhibition organized as part of a city-wide commemoration of the 50th anniversary of King’s assassination explores the Pilot District Project (PDP), a local experiment in community policing. The PDP centered on several African American residential and business neighborhoods hardest hit by fires, looting, and other civil disturbances in the spring of 1968. This neighborhood stood in for other streets in other cities where police and the community were often at odds. The neighborhood itself became a training ground for a new type of policing.

    This exhibition will display for the first time a newly discovered collection of posters, maps, and other materials from this innovative community policing plan. Connections between the PDP and other D.C. community groups will illuminate the context of activism in the capital city. The exhibition will introduce visitors to this compelling and timely story of urban policing, community participation and resilience, federal intervention, and a program with good intentions that perhaps was never up to its herculean task.

    This exhibition is a collaboration between the National Building Museum and the Historical Society of Washington, D.C.

  • Institute for Advanced Study, School of Historical Studies, Opportunities for Scholars 2019-2020

    Princeton | Dates: 01 Jun – 15 Oct, 2018
    The Institute is an independent private institution founded in 1930 to create a community of scholars focused on intellectual inquiry, free from teaching and other university obligations.  Scholars from around the world come to the Institute to pursue their own research.  Candidates of any nationality may apply for a single term or a full academic year.  Scholars may apply for a stipend, but those with sabbatical funding, other grants, retirement funding or other means are also invited to apply for a non-stipendiary membership.  Some short-term visitorships (for less than a full term, and without stipend) are also available on an ad-hoc basis.  Open to all fields of historical research, the School of Historical Studies' principal interests are Greek and Roman civilization, the history of Europe (medieval, early modern, and modern), the Islamic world, East Asian studies, art history, the history of science and philosophy, modern international relations and music studies.   Residence in Princeton during term time is required.  The only other obligation of Members is to pursue their own research.  The Ph.D. (or equivalent) and substantial publications are required.  Further information can be found in the announcement on the web at, or on the School's web site,  Inquiries sent by post should be addressed to the School of Historical Studies, Institute for Advanced Study, Einstein Dr., Princeton, N.J. 08540 (E-mail address:  Deadline: October 15, 2018.
  • IHBC Annual School - Belfast 2018 'Our Shared Heritage - Communication, Negotiation, Transformation'

    Belfast | Dates: 21 – 23 Jun, 2018
    The IHBC has launched the online booking for the next in its celebrated series of Schools – in Belfast on 21-23 June, on ‘Our shared Heritage. Communication | negotiation | transformation’ – with ‘early bird’ booking, bursaries, low-cost residential options, IHBC members and colleagues can explore our Full School tour options, from the global brand of the Titanic quarter or the nationally important country house, to local contested heritage, all offering some of the best value heritage CPD around, and all courtesy of the IHBC.

    This year’s Annual School has a strong international theme led by its Keynote Speakers, Bill Drummond and Jukka Jokilehto and its place in the 2018 European Year of Cultural Heritage, and explores:

    • Community engagement: consultation, politics and heritage

    • Inclusive histories: Historic England’s Enrich the List

    • Heritage funds and funding opportunities

    • Crossing borders and boundaries in cultural heritage

    • Technical insights: From design and detail to projects and planning

    • Extensive case studies: Heritage communication, negotiation and transformation! 

    To book just follow the School’s homepage links or go direct:

    NewsBlog links:

    For all and more on the IHBC’s 2018 Belfast School see

    Watch the introduction of the IHBC Annual School 2018, Belfast on the IHBC YouTube channel

  • Charles Rennie Mackintosh Making the Glasgow Style

    Glasgow | Dates: 30 Mar – 14 Aug, 2018

    2018 is the 150th anniversary of the birth of celebrated Glasgow architect, designer and artist Charles Rennie Mackintosh (1868–1928). Glasgow Museums is delighted to celebrate this significant anniversary with a major new temporary exhibition at Kelvingrove Art Gallery and Museum. This exhibition will be one of the key events in the city-wide Mackintosh 2018 programme.

    The exhibition will span the lifetime of Charles Rennie Mackintosh (1868–1928) and taking a chronological and thematic narrative, placing Mackintosh at the core of the story, it will present his work in the context of Glasgow, his key predecessors, influences and contemporaries, particularly those working in the Glasgow Style.

    ‘The Glasgow Style’ is the popular term given to the design and decorative arts centred around the work by teachers, students and graduates of The Glasgow School of Art produced between about 1890 and 1920. At the core of this style is the work of The Four: Charles Rennie Mackintosh, his future wife Margaret Macdonald, her younger sister Frances Macdonald and Frances’s future husband, James Herbert McNair. Glasgow was the birthplace of the only Art Nouveau ‘movement’ in the UK and its style made ripples internationally.

    This exhibition will present the very best of Glasgow’s internationally important civic collections, drawing from both those of Glasgow Museums and The Mitchell Library and Archives. A number of these civic works have never previously been on public display, and the majority has not been shown in Glasgow for 30 or more years. The exhibition will also include important loans from private and public collections. About 250 objects will be on display across the full spectrum of media, including stained glass, ceramics, mosaic, metalwork, furniture, stencilling, embroidery, graphics, books, interiors and architecture. The act of making will be communicated across this breadth of media – both through the exhibition and the accompanying event programme – to truly engage and inspire audiences of all ages to visit the other Mackintosh-related buildings and collections in and around Glasgow, and to make and create.

  • Japan in Architecture: Genealogies of Its Transformation

    Tokyo | Dates: 25 Apr – 17 Sep, 2018

    Japanese architecture today attracts attention from all over the world. Numerous architects, from Tange Kenzo to Taniguchi Yoshio, Ando Tadao, Kuma Kengo, Sejima Kazuyo and other young upcoming architects have received great international acclaim. Founded on rich traditions that have stretch back to ancient times, contemporary Japanese architecture encompasses exceptionally creative and original ideas and expressions.

    In the 150 years following the Meiji Restoration of 1868, architecture presented immense opportunities for experimentation in Japan. How did the long and rich Japanese tradition of wooden architecture evolve, among a great number of practices? What did the West find attractive about architecture in Japan, and how did Japanese architecture then respond to this interest? The transitions of such things invisible to the eye as everyday life and views of nature also provide important elements for understanding Japanese architecture.

    Structured around nine sections based on key concepts for interpreting architecture in Japan today, this exhibition traces the lineage of architecture from ancient times until the present, and explores the elements of genealogy undermined by modernism and concealed beneath, yet undeniably vital still. Featuring important architectural materials, models, and interactive exhibits, the wide-ranging exhibits will illuminate not only the state of Japanese architecture in the past and present but also a vision of the future.

    Organizer Mori Art Museum
    In Association with Architectural Institute of Japan
    The Japan Institute of Architects
    ARCASIA ACA18 Tokyo
    Japanese Society for the Science of Design

    Advisor Fujimori Terunobu (Architect; Architectural Historian; Professor Emeritus, The University of Tokyo)

    Curatorial Team Nanjo Fumio (Director, Mori Art Museum)
    Maeda Naotake (Manager, Architecture and Design Programs, Mori Art Museum)
    Tokuyama Hirokazu (Associate Curator, Mori Art Museum)
    Kurakata Shunsuke (Architectural Historian; Associate Professor, Graduate School of Engineering Urban Engineering [Architecture], Osaka City University)
    Ken Tadashi Oshima (Architectural Historian; Professor, Department of Architecture, University of Washington
  • The Making of the Humanities VII

    Amsterdam | Dates: 01 Mar – 01 Jun, 2018

    University of Amsterdam, CREA, November 15 - 17, 2018

    Deadline: Jun 1, 2018

    The Making of the Humanities’ conference returns to Amsterdam! This is the place where the conference series started in 2008, 10 years ago. The University of Amsterdam will host the 7th Making of the Humanities conference at its CREA facilities, from 15 till 17 November 2018.

    The MoH conferences are organized by the Society for the History of the Humanities and bring together scholars and historians interested in the global history of the humanities disciplines, including art history, historiography, linguistics, literary studies, media studies, musicology, and philology, tracing these fields from their earliest developments to the modern day.

    We welcome panels and papers on any period or region. We are especially interested in work that compares scholarly practices across civilizations and disciplines.

    Please note that the Making of the Humanities conferences are not concerned with the history of art, the history of music or the history of literature, and so on, but instead with the history of art history, the history of musicology, the history of literary studies, etc.

    Keynote Speakers

    Arianna Betti, University of Amsterdam, The Netherlands Irina Podgorny, National University of La Plata, Argentinia Third speaker: to be announced

    Paper Submissions

    Abstracts of single papers (30 minutes including discussion) should contain the name of the speaker, full contact address (including email address), the title and a summary of the paper of maximally 250 words.

    Deadline for abstracts: 1 June 2018

    Notification of acceptance: July 2018

    Panel Submissions

    Panels last 1.5 to 2 hours and can consist of 3-4 papers and possibly a commentary on a coherent theme including discussion. Panel proposals should contain respectively the name of the chair, the names of the speakers and commentator, full contact addresses (including email addresses), the title of the panel, a short (150 words) description of the panel’s content and for each paper an abstract of maximally 250 words.

    Deadline for panel proposals: 1 June 2018 Notification of acceptance: July 2018

  • Docomomo US 2018 National Symposium

    Columbus | Dates: 26 – 29 Sep, 2018

    The 2018 National Symposium, Design, Community, and Progressive Preservation, will take place September 26–29 and feature four days of engaging programming, exclusive tours, evening keynote conversations with visionary leaders, and the American Institute of Architects’ Trade Show showcasing an array of new and innovative building products and services.

    Docomomo US is collaborating with Exhibit Columbus to create the theme of this year’s symposium, which will explore how investing in the value of good design can make communities better for everyone and how new approaches to preservation are positively incorporating our modern heritage into the future of cities.

    “Design and community are central to what makes Columbus a remarkable place to live and visit. We are thrilled to be exploring these topics while also showcasing preservation projects that are growing new communities that care about modern heritage,” said Richard McCoy, Director of Landmark Columbus. “Working with these excellent partners allows us to expand this conversation nationally, regionally, and locally.”

    The symposium will begin with a kick-off keynote conversation produced in partnership with the Indianapolis Museum of Art at Newfields, and then sessions will continue for three days inside many of the iconic buildings throughout Columbus. Finalists in the 2018 J. Irwin and Xenia S. Miller Prize Competition will be introduced during the symposium, and participate in sessions. The symposium will also feature exclusive tours – including the Miller House and Garden – and offer rare glimpses inside some of the modern masterpieces of the city.   

    “Modern design has been and continues to be an integral part of Columbus’ community,” said Theodore Prudon, President of Docomomo US. “In its ability to move the modernity of its past forward into a modernity for its future, it offers Docomomo US an example of how design can play a role in preservation and achieve results that can be best called progressive.”

    Keynote speakers and registration details will be announced in late spring. 
  • Warhol: Flowers In the Factory

    Sarasota | Dates: 28 Feb – 30 Jun, 2018

    Consummately cosmopolitan and cool, Andy Warhol in the great outdoors seems like an oxymoron. Yet the groundbreaking artist known for his Pop Art multiples of celebrities and soup cans created more than 10,000 images of flowers over the course of his career. Warhol: Flowers in the Factory showcases the surprising, and little examined, role of nature in Warhol’s art and life. The spectacular 15-acre tropical setting of Marie Selby Botanical Gardens on Sarasota Bay will provide a matchless context for examining Warhol’s fascination with the natural world in this focused, immersive exhibition.

    Warhol: Flowers in the Factory is curated by Carol Ockman, Ph.D., curator-at-large of Marie Selby Botanical Gardens and the Robert Sterling Clark Professor of Art History at Williams College. It will be on view exclusively at Selby Gardens in Sarasota, Florida, from Feb. 11 through June 30, 2018.


    Warhol consistently tested traditional boundaries between art and life, and thanks to his perpetual curiosity, the natural world offered a still underappreciated influence on his career.

    In the glass house, our horticultural designers have drawn inspiration from Warhol’s work, using the repetition of shapes and textures, along with bright pops of color, to create vivid scenes of  living art. Lead by the gravity-defying features that make epiphytes so versatile and resilient, plants on display such as bromeliads, ferns and orchids flout conventional presentations.

    As part of this exhibition, the grounds of Selby Gardens have become Warhol’s floral playground. Several outdoor plant scenes – or vignettes – capture the playful spirit of the artist using striking colors, modular planters that are ever-changing in their patterns and unexpected pop culture references.

    Also look for special signage that identifies living plants that are within the same plant families of the plants featured in our museum; Hibiscus comes from the Malvaceae, or mallow family, and the poinsettia is part of the Euphorbiaceae family.

    The Museum of Botany & the Arts
    Upon entering historic Payne Mansion, home to the Museum of Botany & the Arts, you will encounter:

    • Archival photographs of Warhol, his artist friends from The Factory, and images that capture the cultural context that propelled Warhol to fame during the time of the rise of “Flower Power;” The archival photography includes works by Alex Ferrone, Nat Finkelstein, Philippe Halsman, Dennis Hopper, Christopher Makos, David McCabe and Billy Name.

    • A selection of Warhol’s floral-inspired works, including the Polaroid Christmas Poinsettias (1982), which inspired the prints on view; lithographs Flower (1957) and Happy Bug Day (1954); and artist book In the Bottom of My Garden (1956); and

    • Six stunning paintings that capture Warhol’s fascination with flowers.

    About the prints:

    • Four of the artist’s silkscreens entitled Flowers, on generous loan from the Williams College Museum of Art.

    • Two prints entitled Poinsettias, on loan from the private collection of Sarasota art patron Flora Major.

  • CFP: Architectural Theory Review 23:1, The Architecture Exhibition as Environment

    Dates: 22 Feb – 01 Jun, 2018
    The Architecture Exhibition as Environment

    A special issue of Architectural Theory Review, edited by Alexandra Brown & L?a-Catherine Szacka

    The rise and professionalization, around the 1960s, of the figure of the ?curator? marked an important point in the configuration of an exhibition?s authorship and process, including artist-curator overlaps, restaging or reframing of exhibitions, and questioning processes of instruction versus creation. The exhibitions of Harald Szeemann, Lucy Lippard, Seth Siegelaub, Pontus Hult?n and others gave form to these new problems, as did the disciplinary provocations of conceptual art. Together, these changes contributed to the transformation of the very idea of the exhibition, from a display of discrete and primarily representational objects to more immersive and experiential environments.

    In architecture, however, shifts in curatorial processes and exhibition environments trailed behind experiments in the visual arts (painting, sculpture, conceptual art). And while the practice of discussing exhibitions in terms of curators and the architectural objects they curate may appear to carve out clearly defined roles for those involved, it can often conceal more complex negotiations and overlaps in the practice of exhibition-making and the display of architecturally informed work. In the case of architecture, exhibitions that seek to display process alongside products or outcomes through forms of commissioned content invariably ask the curator to assume multiple roles in the development of the exhibition: those of the curator, the client, the critic, the advisor, and the designer. Likewise, the more totalised experience of the exhibition as environment can recast visitors or audiences as users, clients and participants, as well as embedded spectators.

    Such broader shifts in exhibition practices coincided with the emergence of a wide range of architecture exhibitions conceived as, or concerned with, environments. For example, at the 1976 Venice Art Biennale, architecture entered the renowned multidisciplinary institution through an exhibition entitled Ambiente Arte (Environment Art). And by directly addressing or challenging the architectural dimension of the notion of environment, the exhibition suggested new terms on which architecture and design could be practiced, prepared and presented in both institutional and extra-institutional settings. Reflecting growing uncertainty over architecture?s capacity to meaningfully engage with the expanding networks and systems responsible for re-ordering the urban environment in unprecedented (and often intangible) ways, architecture is no longer just the object of the exhibition. Instead, the exhibition itself has emerged as an important site for reframing and representing the disci!
    pline of architecture in response to these new challenges.

    This issue of Architectural Theory Review seeks to discuss the often overlooked and yet productive negotiations and tensions embedded in the postmodern and contemporary architecture exhibition as form of production. Specifically reflecting on the conflation of the architecture exhibition with environments, to what extent can the productive and problematic aspects of display be considered either as distinct from, o??r as extensions of, those encountered within the art exhibition? In which ways does the architecture exhibition, considered thus, challenge more traditional and unidirectional curator-artist relationships and outcomes? How might the notion of environment (as media, physical settings or systems) in relation to architecture be used a lens through which to understand new forms of exhibition making?

    We are particularly interested in papers reflecting on the conceptualisation and curation of architecture exhibitions, as well as other kinds of exhibitions in which architecture or architectural (or environmental) thinking may be at stake, from the middle of the twentieth century onwards. We also welcome papers addressing biennial and/or triennial exhibitions as forms of display that particularly challenge the temporality of the exhibition as a singular event.

    Full papers may be submitted to the ATR Manuscript Central site<> by June 1, 2018.

    Instructions for authors may be found here<>.

    This issue of ATR (23, no. 1) will be published in April 2019.

    Informal inquiries may be made to<> or<>
  • PastForward 2018

    San Francisco | Dates: 13 – 16 Nov, 2018

    PastForward is the premier educational and networking event for those in the business of saving places.

    At the PastForward 2018 conference, we'll feature iconic San Francisco, but also show you a progressive city that is tackling climate change and urban density while maintaining its cultural landscape and intangible heritage—issues that will resonate with preservation practitioners across the country.

  • Chrysler Museum of Art, Summer Fellowship

    Norfolk | Dates: 21 May – 21 Aug, 2018

    The Chrysler Museum of Art is seeking a current graduate student or recent recipient of a graduate degree to serve as a Summer Fellow for Summer 2018. The Summer Fellow will provide research and assistance for a forthcoming exhibition and catalogue devoted to the architecture of Thomas Jefferson and Andrea Palladio. Working closely with the project curators, the Fellow will carry out object research, manage checklists and loan requests, coordinate catalogue submissions, and other project related duties as assigned. The fellowship is for a term of 10—12 weeks to commence around May 21, 2018 and carries a stipend of $5,000—$6,000.




    Carry out primary source and image research related to exhibition objects


    Assist with checklist development and management


    Develop and maintain research and object files


    Assist with publication management to include image requests and research for the publication


    Assist with organization of scholars’ colloquia


    Carry out correspondence related to the exhibition, to include catalogue authors and colleagues at lending institutions




    B.A. Required, Current Graduate Student or recent recipient of Graduate degree (M.A.) in Art History, American Studies, Architectural History or related discipline preferred


    Excellent written, oral, and editorial skills


    Strong organizational skills with meticulous attention to detail


    Reading and writing in Italian preferred


    Excellent computer skills required


    Previous museum experience preferred


    Strong knowledge of early American history, architectural history, and/or Italian architecture




    Please send a cover letter explaining your interest and preparation for the fellowship and a CV or resume to: Corey Piper, Brock Curator of American Art  




    Applications due March 12, 2018, with notifications expected early April, 2018.

  • CFP: Unsettled 1968: Origins - Myths - Impact (Grad Student Workshop)

    Tuebingen | Dates: 15 Feb – 31 May, 2018

    Tuebingen, Germany | June 14-16, 2018
    Deadline May 31, 2018

    International Workshop for Graduate Students, within the Institutional Strategy (Exzellenzinitiative) of the Graduate Academy, University of Tübingen

    Keynote Speakers:
    Irena Grudzińska-Gross, University of Princeton (USA)
    Victoria Harms, Herder Institute for Historical Research on East Central Europe (DE)
    Michal Mrugalski, Humboldt University Berlin (DE)

    The Institute of Slavic Languages and Literatures and the Graduate Academy at University of Tübingen are pleased to announce “Unsettled 1968. Origins – Myth – Impact”, an interdisciplinary workshop for graduate students.

    In 2018, we will have the 50th anniversary of “1968” – the year which witnessed simultaneous revolts, protests, and turmoil all over the world. In addition to Paris May Revolution and the Prague Spring, or the series of student protests in the United States and elsewhere, we faced the burgeoning of new generations coming into play, and the ending of old hegemonies. Since then, 1968 has not only produced various patterns of “myth” of the era that had attracted various authors but also a firm research topic that sociologists, historians, and literary theorists had been investigating.

    The year 1968 tends to be seen as a crucial turning point in postwar history, and, for a matter of convenience or for more substantial reasons, researchers either start or end narratives around 1968, as the year was just in the middle of the Cold War and symbolic enough to make it a marker that separates before from after. With the arrival of the 68ers, the old world in which the historical consciousness of modernity shaped epistemic communities ceased to exist, and had been renewed by means of revolving old social structures from the bottom. It is true that “without 1968” we would not see a detour from Soviet-style Marxism, the developments of various dissent movements and underground activities in East Central Europe, the strong awareness of the other parts of the world (South Asia, Latin America included), and the rise of radical fundamentalism collided with terrorism. Its ephemera leaves a lot of questions and mythical arguments (the singular sujet of the “68ers”, for instance) to this day. Did it really change the world? If so, what was the locomotive of the change? How much were the movements localized, or globally resonated? What were the basis of myths around the year? To whom does it matter to discuss 1968 today?

    We intend to take this time of commemoration as the opportunity for opening our discussion on 1968, once again, in order to re-evaluate its impact to this day. We will collect opinions from different generations, and revisit the boundary of experiences, testimonies, and reflections in an inter-disciplinary manner. Combining scholarly conversations with a site-specific knowledge, we wish to enhance international cooperation and build the basis for mutual understanding of our recent common past.

    In the workshop, we would like to address these questions with the following four research topics.

    Panel I: Modernities of 1968

    This panel aims to explore the historiography of 1968, by focusing on the idea of modernity that paves theoretical backgrounds for analysing the events which took place that year, such as the March Events of Poland, Paris May, and the Prague Spring. The term "modernities" here suggest various ways to understand the modern world. The year 1968 was indeed the important turning point from modern to post-modern society, and the events then reorganized socio-economic structures as well as cultural hierarchies. Since then, there have been much-used arguments like “1968 would be equivalent to 1848”, or “1968 was the end of the modern system”.

    Issues: What kinds of modern society the participants of the events tried to deconstruct and then reconstruct? Is the modernity of 1960s comparable to that of the mid-19th century, or the 1930s? How could we make sense of the 1968 in historical contexts in each local setting? How could we identify the roles of particular generations in those events? Would it be better to assume a singular modernity or modernities that vary from one country to another?

    Panel II: 1968 between East and West and North and South

    The point of departure here is Marxism understood as a world-spread political agenda. First, we want to investigate its various forms in the late 60s, e.g. by contrasting Marxism that represented Czechoslovak national interests with Marxism that was used as anti-Semitic tool in the Middle East. Second, we want to focus on dynamics of „travelling” revolution(s) of 1968 and the role of the “mental maps” in those processes.

    Issues: Were Eastern Europe and Third World movements engaged with seriously by the young Western Marxists, or were they just used naively and instrumentally to push forward their critique of Western capitalist societies? Why was Rudi Dutschke, himself on exile from GDR, more interested in China or African revolutionary movements than he was in the communist experiment right next to him? Was it possible to bridge the gap between activists in Eastern and Western Europe, or would have that required a critical reappraisal of the Soviet sphere that Westerners in 1968 were not yet ready for?

    Panel III: Negotiating Revolution of 1968?

    Social and sociocultural change usually takes place as the effect of an informal negotiations between main groups within society. The case of 1968 is a unique one, because claiming to be a peaceful change, it actually became a violent one. The point here is to reveal hidden violence (also symbolic and discursive) that constituted deep foundation of the change embodied by the events of 1968. Concurring narratives are to be presented: hegemonic ones together with those constructed by minorities (social, national, political etc.). Another question here is to analyse the intentionality of political involvement.

    Issues: What was the nature of violence that may have been observed in 1968? To what extent 1968 was meant to be a political manifestation or rather a non-political (anti-political)? (Cross-national analysis, particularly combining the cases from East and West, are especially welcomed at this point.) 

    Panel IV: 1968, Today

    Since the world today is based on the rudiments of 1968, one should explore its long-lasting consequences. The first issue in this panel would be thus the universal paradox of every successful revolution, i.e. the mechanisms according to which the former activists become the elite members, whereas their initial ideals are adopted by the mainstream worldview. In case of 1968 one can also ask whether anti-establishment movements can be seen as a marketing tool, and revolution as another product in the disenchanted, consumerist world. The second question is the legacy of the 1968.

    Issues: Were the events in Paris or California a destroying force paving way for populism and reviving some elements of 1930s? Or was it rather a neoliberal ideology that profited from the culture of individualism and the right to self-expression and protest against such institutions as state or traditional nuclear family?

    Organization Details

    PhD and M.A. students will be given priority to participate in the workshop. We would be eager to work with the representatives of history, philosophy, literature, politics and visual and cultural studies. The participants will be asked to prepare a working paper (5-10 pages, font 12, space 2.0) that will be submitted to all participants in advance and discussed during the workshop, as the long-term goal is to prepare a volume that would consist of the workshop contributions.

    The official start (opening + keynote lecture I + panel I) will take place in the Thursday evening, which will make an immediate start the next morning (Friday) possible. The last panel and the final discussion are planned for Saturday morning.

    The participation in the workshop is free of charge. The accommodation (2 nights) and catering in Tübingen for the workshop time is provided by the workshop organizers.


    Please submit a 300-word abstract (+ panel you are interested in) and a brief bio to

    < 1968tuebingen [at]> by March 31st, 2018. Replies will be sent out by mid-April, 2018. The deadline for working papers will be May 31st, 2018.

    Contact Info: 

    Workshop organizers: Aleksandra Konarzewska (Tübingen), Anna Nakai (CEU, Budapest), Michał Przeperski (IPN/PAN, Warsaw), Miłosz Wiatrowski (Yale)

SAH thanks The Richard H. Driehaus Foundation for its operating support.
Society of Architectural Historians
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