Recent Opportunities

  • SECAC 2017: VRA affiliate members CALL FOR PAPERS

    Columbus | Dates: 03 Feb – 20 Apr, 2017
    The theme of our proposed VRA affiliate session: “How can we help? Zooming in on new services that libraries and archives provide in the age of rich multi-media scholarly publishing and emerging technologies.” This session aims to address the way in which visual resources centers, libraries, and archives assist their respective departments in developing innovative new research methodologies. By presenting a range of case studies from selected academic institutions, we hope to highlight exciting digital projects that utilize rich multi-media primary sources.
  • 2017 George B. Tatum Annual International Conference Fellowship

    Glasgow | Dates: 03 Feb – 01 Mar, 2017
    2017 Application Instructions
    Deadline: March 1, 2017

    The Philadelphia Chapter of the Society of Architectural Historians’ George B. Tatum Annual Fellowship underwrites membership, travel and lodging expenses related to attending the Annual International Conference of the Society of Architectural Historians.  The Tatum Fellowship is open to graduate students and advanced undergraduates enrolled in architectural history and theory programs at colleges and universities located in the Greater Philadelphia region.  These include: Bryn Mawr College, Princeton University, Rutgers University, Temple University, University of Delaware, and the University of Pennsylvania.

    Preference is given to candidates who are not presenting papers at the conference, although the committee reserves the right to make the award to a candidate who is presenting.  Eligible expenses (up to $1,200.00 for 2017) will be reimbursed for travel, lodging and a one year student national membership, with basic registration fees contributed by the national organization.

    Applications are to be submitted by e-mail attachment to the Philadelphia Chapter SAH at info@philachapteresah.org no later than Wednesday, March 1, 2017. The fellowship recipient will be notified by April 1, 2017.

    Applicants must submit the following:
    •           Cover letter, not to exceed two pages, discussing their research interests, accomplishments to-date, and professional goals
    •           CV or resume
    •           Name and contact information for their advisor or principal professor

    The Award winner is required to give an informal program on their thesis/dissertation research, or another topic of interest, to the Philadelphia Chapter members within six months of the conclusion of the Conference.

    Questions?  Please contact William Whitaker, Chapter President and Chairman, George B. Tatum Annual Fellowship Selection Committee at wwhitake@design.upenn.edu or 215-898-8323.

    For details on the 2017 SAH Annual International Conference visit:
    http://www.sah.org/2017
  • For the Love of Farnsworth: A Celebration to Benefit Mies van der Rohe's Farnsworth House

    Dates: 18 – 18 Feb, 2017
    Exhibition Dates: 2.16.17 - 2.19.17
    Reception: Saturday,  February 18, 2017 | 6 - 10pm
    Matthew Rachman Gallery | 1659 W. Chicago Avenue, Chicago IL 60622
     
    Please join Matthew Rachman Gallery and the National Trust for Historic Preservation, as they collaborate on the return of a very special event, “For the Love of Farnsworth: A Celebration to Benefit Mies van der Rohe’s Farnsworth House.” The second annual fundraiser will be held from 6:00 PM - 10:00 PM at Matthew Rachman Gallery in Chicago’s Ukrainian Village. 

    The elegant evening will include libations from Chicago’s premier mixology boutique, SpritzOlogy, and craft beer from award winning Naperville brewery, Solemn Oath, as well as mouth-watering small plates and desserts from talented local chefs at Jordan’s Food of Distinction. The evening will also feature a short address by Mary Lu Seidel, Chicago Field Director for the National Trust for Historic Preservation, and a brief discussion led by Guests of Honor, Chicago-based artistic duo, Luftwerk. 

    The gallery will exhibit a specially-curated collection of artwork (at which ten percent of all art sales throughout the duration of the exhibition will directly benefit the Farnsworth House), silent auction items, and musical performances by original composer Owen Clayton Condon. 

    Tickets are $95.00 per individual, or $175.00 per couple, and can be purchased at www.farnsworthhouse.org/for-the-love-of-farnsworth. Proceeds from tickets sales directly benefit the Farnsworth House. 

    If you are unable to attend, but would like to learn more about the Farnsworth House, or to make a donation in your absence, please visit farnsworthhouse.org or savingplaces.org

    Specially-curated artwork will hang in the gallery February 16 - 19, 2017.
  • CFP: The American School of Architecture: Building on the Plains 1947-67

    Norman | Dates: 02 – 13 Feb, 2017
    The Fred Jones Jr. Museum of Art at the University of Oklahoma will host an exhibition
    on the American School of Architecture in the spring of 2019. We invite scholarly
    contributions to the exhibition catalog. Please submit an abstract of 400-500 words and
    a C.V. to Stephanie Pilat and Luca Guido by Monday, February 13th, 2017. Decisions
    will be made by Friday, March 17th. Final papers of 4,000 – 8,000 words will be due by
    August 1st, 2017. Papers from accepted abstracts will undergo peer-review before
    publication.

    “A new school, probably the only indigenous one in the United States” is how the
    architect Donald MacDonald once characterized the school of architecture that
    developed under the guidance of Bruce Goff and Herb Greene at the University of
    Oklahoma in the 1950s and ‘60s. At the time, architecture schools in the United States
    followed a curriculum inspired by either the French Beaux Arts school or the German
    Bauhaus school. On one hand, the French model centered on studies of classical
    principles of design and entailed meticulous copying of the great classical architecture of Greece and Rome. On the other hand, schools such as the Illinois Institute of
    Technology and the Harvard Graduate School of Design adapted the Bauhaus
    curriculum model—known for embracing industry and abstraction in art, architecture and design—to the American context. Only the curricular experiment started by Goff at the University of Oklahoma stood apart from these two trends: it was an original and
    authentically American approach to architecture and pedagogy.

    Under the leadership of Bruce Goff (1904-82), Herb Greene (b. 1929), Mendel
    Glickman (1895-1967), and many others, OU faculty developed a curriculum that
    emphasized individual creativity, organic forms, and experimentation. As MacDonald
    described, there emerged “a truly American ethic, which is being formulated without the
    usual influence of the European or Asian architectural forms and methodologies
    common on the East and West coasts of the United States.” Indeed, the faculty rejected the rote copying of historical styles as well as the abstract minimalist approach popular elsewhere. Students were taught to look to sources beyond the accepted canon of western architecture and to find inspiration in everyday objects, the natural landscape, and non-western cultures such as the designs of Native American tribes of Oklahoma and the Western plains. This rejection of existing pedagogical models in favor of experimentation reflected Goff’s own training. He was never formally educated in architecture; rather he learned architecture by doing it, having started in practice at the age of 12. As Frank Gehry describes, “Bruce Goff suffered the shadow of Uncle Frank [Lloyd Wright], but pushed the frontier forward and extended Wright’s legacy. He was an American. Like Wright he was the model iconoclast, the paradigm of America. He was of the American conscience, the antidote to Gropius’s pontifical European presence; one of the roads to an American architecture…” This radical approach to design drew students to Oklahoma from as far away as Japan and South America and later spread the American School influence to their practices in California, Hawaii, Japan, and beyond.

    We invite papers on all aspects of the American School and its legacy including: the
    work of individual architects (see list below); the curriculum and pedagogical approach;
    related developments in other artistic disciplines such as painting, sculpture and
    decorative arts; and the ways in which the American School has influenced
    contemporary architects such as Frank Gehry and Michael Reynolds. Interested
    scholars may request access to the research teams’ bibliography, archival guide and
    materials including interviews with architects of the American School.

    For more information contact: Stephanie Pilat, Ph.D., Director of the Division of
    Architecture at the University of Oklahoma at: spilat@ou.edu.

    Architects may include:
    Edward R. Aotani
    Violeta Autumn
    John Davis
    Arthur Dyson
    Robert L. Faust
    Harvey Ferrero
    Bruce Goff
    Herb Greene
    James A. Gresham
    Varouj Z. Hairabedian
    Arn Henderson
    Blaine Imel
    Takeo Ito
    Michael P. Johnson
    Arthur Kohara
    Takenobu Mohri
    G.K. “Mickey” Muennig
    William Murphy
    Shizuo Oka
    Robert K. Overstreet
    Bart Prince
    W. Arley Rinehart
    Rex Slack
    William R. Stover
  • Tsakopoulos Hellenic Collection Library Research Fellowship Program, 2017-2018

    Sacramento | Dates: 02 – 24 Feb, 2017
    Thanks to generous ongoing funding from the Elios Charitable Foundation and additional funding from the Tsakopoulos Hellenic Foundation, the University Library at California State University, Sacramento is pleased to announce the continuation of the Library Research Fellowship Program to support the use of the Tsakopoulos Hellenic Collection by fellows for scholarly research in Hellenic studies while in residence in Sacramento, CA. The Program provides a limited number of fellowships ranging from $1,000 to $4,000 to help offset transportation and living expenses incurred during the tenure of the awards and is open to external researchers anywhere in the world at the doctoral through senior scholar levels (including independent scholars) working in fields encompassed by the Collection’s strengths who reside outside a 75-mile radius of Sacramento. The term of fellowships can vary between two weeks and three months, depending on the nature of the research, and for the current cycle will be tenable from July 1, 2017-June 30, 2018. The fellowship application deadline is February 24, 2017. No late applications will be considered.
     
    Consisting of the holdings of the former Speros Basil Vryonis Center for the Study of Hellenism, the Tsakopoulos Hellenic Collection is the premier Hellenic collection in the western United States and one of the largest of its kind in the country, currently numbering approximately 75,000 volumes. It comprises a large circulating book collection, journal holdings, electronic resources, non-print media materials, rare books, archival materials, art and artifacts. With its focus on the Hellenic world, the Collection contains early through contemporary materials across the social sciences and humanities relating to Greece, the Balkans, the Ottoman Empire and modern Turkey, and the surrounding region, with particular strengths in Byzantine, post-Byzantine, and Modern Greek studies, including the Greek diaspora. There is a broad representation of over 20 languages in the Collection, with a rich assortment of primary source materials. Since 2009 the collection has experienced particularly dramatic growth through two major gift acquisitions. For further information about the Tsakopoulos Hellenic Collection, visit http://library.csus.edu/tsakopoulos.
     
    For the full Library Research Fellowship Program description and application instructions, see: http://library.csus.edu/tsakopoulos/lrfp.asp.html. Questions about the Program can be directed to George I. Paganelis, Curator, Tsakopoulos Hellenic Collection (paganelis@csus.edu).
     
  • Call for Authors for History of Human Spaces Series

    Dates: 02 Feb – 01 May, 2017
    RESTAURANT and OFFICE
    History of Human Spaces series
    Praeger Publishing

    Praeger Publishing, an academic publisher, based in Santa Barbara, California (praeger.com<http://praeger.com/>) is seeking authors for two titles in our History of Human Spaces series. This series explores the history of spaces, both public and private, and the objects typically associated with those spaces. Each 70-80,000 word volume will utilize those objects and spaces to reflect on larger social, economic, and cultural themes. Each volume will focus on North America from colonial times to the present-day, but will include an introductory chapter tracing the history of the space from the beginnings of Western (or, in some cases, world) history. The series will start with eight titles: bedroom, bathroom, kitchen (private); office, school, factory, bar/tavern, and restaurant. Six titles have thus far been assigned. We are looking for authors for the RESTAURANT and OFFICE titles.

    We are seeking academics in the fields of material culture, social history, and related fields. Interested parties should contact acquisitions editor James Ciment at james.ciment@ca.rr.com<mailto:james.ciment@ca.rr.com>. Please attach a CV.
     
  • The Concrete Atlantis Revisited

    London | Dates: 02 – 28 Feb, 2017
    The Concrete Atlantis Revisited is a new exhibition conceived by the Museum of Architecture that takes Reyner Banham’s 1986 book as a starting point to examine the influence of industrial architecture on the built environment. Starting from masters of the Modern Movement in the early 20th century – Le Corbusier, Walter Gropius and Erich Mendelsohn – the exhibition traces the role concrete silos have played in the architectural production to the present day. The special focus of the exhibition is a series of photographs taken by Adam Elstein of the grain silos in Buffalo, New York. 
     
    Running at MoA’s temporary exhibition space in South Kensington, the exhibition draws together a variety of material, from photography to architectural models, magazines, books and archival imagery. 

    Tracing what he sees as the “true sources of the International Style”, in “A Concrete Atlantis” Reyner Banham examines the role of the American industrial model for European architects of the early 20th century. Banham suggests that the US was idealised as the “motherland of industry”, where modernity was already a reality, and that European architects sought to design buildings that were “as functionally honest and as structurally economical as any American factory.” “A Concrete Atlantis Revisited” brings this analysis to life through a critical examination of the fascination with industrial architecture made possible through the juxtaposition of past and present work.
     
    The exhibition is structured around three different sections: the opening section puts on display the work of architectural photographer Adam Elstein. Elstein’s photographs depict the grain silos in Buffalo, New York, that have captivated the imagination and incited the theoretical discourse of Modernist architects. The second part of the exhibition traces the influence of silo architecture on Le Corbusier, Erich Mendelsohn and Walter Gropius both through their work and writing. The final section of the exhibition showcases the work of contemporary architecture practices, such as Heatherwick Studio and MVRDV, that re-imagines the silo today. ​
  • Call for Book Chapters: A Cultural History of Interiors in the Medieval Age

    Dates: 02 – 24 Feb, 2017
    A Cultural History of Interiors in the Medieval Age
    Ed Mark Taylor

    Call for Book Chapters

    A Cultural History of Interiors in the Medieval Age is one volume of the six volume series entitled A Cultural History of Interiors (general editor John Turpin) to be published together in hardback as a set and then released as individual volumes 12-16 months later.

    Interiors-as a human artefact-are a manifestation of time, space, and people, of cultural values and belief systems, and of social structures, new technologies, and philosophies of beauty. They play a crucial role in the construction of identity - whether in terms of gender, class, sexuality or nation. They represent power and control, and also the contestation or transgression of boundaries. The interior speaks to who we are, who we want to be, and, at times, who we should be.
    Though deeply anchored in the characteristics of different styles, the history of interiors began to witness a new level of significance during the middle of the twentieth century as scholars like John Summerson, John Gloag, and Mark Girouard began connecting interiors intimately to their context. By the turn of the 21st century, a robust group of scholars had developed in the UK, Australia and the US. A natural outcome of the growing discourse was a new journal, Interiors: Design, Architecture, Culture, which won the CELJ 2011 Best New Journal Award. They recognized the content that brought forth "salient issues and speaks to the historical reflection of structure as a symbol of culture, community, mores, and personality." Such events suggest that the time is ripe for a publication that gathers and focuses this knowledge as a means of advancing the discipline.
    Textbooks continue to struggle with the balance of stylistic traits and the forces that created them. Single paragraph snapshots of a piece of furniture, plan, or moulding rarely provide the reader with any information beyond a rather superficial encyclopaedic entry. The author does not have the time to unfold the story of the artefact's development, creation, and function as impacted by the extrinsic forces of the culture that brought it into being. The proposed series-A Cultural History of Interiors-will, however, expand the narratives and present the reader with a much more comprehensive understanding of a particular period in time and its unique qualities that helped define interior spaces. Each volume will address the same themes so that readers can understand the full breadth of the period or explore a topic across time. The focus on culture and its impact on the interior (and visa versa) will be a truly innovative, if not ground-breaking, publication.
    FORMAT
    The series will consist of six volumes of essays that cover eight pre-selected themes, including: Beauty; Technology; Designers, Professions and Trades; Global Movements; Private Spaces; Public Spaces; Gender and Sexuality; and The Interior in the Arts. The first four themes are intended to cover topics that affect the design of interiors. The next two (Private and Public Spaces) focus primarily on the different types of interiors and their functions within a cultural context. The final two allow us to reflect upon the interior-one as a manifestation of implicit and explicit gender constructs and the other as an entity used by artists to convey an endless number of expressive messages. The selected themes have been chosen to provide a robust understanding of a particular time period. Addressing the same themes in all volumes provides an opportunity to trace a topic across time. Volume editors are chosen on the basis of their reputation and their record of being reliable, tim!
    ely and conscientious authors.

    A Cultural History of Interiors in the Medieval Age

    This volume includes 8 chapters @ 10,000 each, including all notes and references plus 5-6 illustrations in each chapter.

    STRUCTURE/CONTENT

    This volume covers a pre-determined period: The Medieval Age (1000-1400)

    Chapter themes:

    1.      Beauty - a discussion about the prevailing aesthetic theories that become manifest in the stylistic traits of the period.

    2.      Technology - elucidates the effect of materials, products and processes on the interior.

    3.      Designers, Professions, and Trades - introduces key individuals and organizations.

    4.      Global Movements - examines the degree to which ideas from various cultures migrated across time and space.

    5.      Private Spaces - focuses on issues of domesticity, etiquette and the family structure.

    6.      Public Spaces - focus primarily on intended functions, particularly as it relates to social, religious and political systems.

    7.      Gender and Sexuality - offers an opportunity to reflect on how interiors shape us and we shape them through an analysis of intentional and unintentional design decisions when it comes to defining, supporting or perhaps suppressing the concepts of man and woman.

    8.      The Interior in the Arts - looks at the interior in various art forms in order to articulate its significance as a cultural artefact embedded with meaning.

    Contributors are invited to submit a preliminary 500-word abstract related to one of the above themes, together with a short biography.


    EXPRESSIONS OF INTEREST should be received by Friday 24 February 2017 include the following:

    Name, organisation and industry, 500 word abstract, short biography.

    Submit to: mark.taylor@newcastle.edu.au


    Writing and production schedule

    24 February 2017: 500-word chapter proposal abstract via email: mark.taylor@newcastle.edu.au

    15 March 2017: Selected chapters announced

    1 October 2017: Draft chapters submitted: 10,000 words + 5-6 images

    1 December 2017: Revisions advice issued

    1 March 2018 final chapters

    Mark Taylor (University of Newcastle, AUS)
    Mark Taylor is Professor of Architecture at the University of Newcastle, Australia, and has a PhD in Architecture from the University of Queensland, Australia. Mark is an editorial advisor to Interiors: Design, Architecture, Culture and regularly reviews papers and book manuscripts for international publishers. His writing on the interior have been widely published in journals, and book chapters are included in Diagrams of Architecture (2010), Performance Fashion and the Modern Interior (2011), Domestic Interiors: Representing Homes from the Victorians to the Moderns (2013), The Handbook of Interior Design (2013) and Oriental Interiors (2015). He has authored and edited several books including Surface Consciousness (2003), Intimus: Interior Design Theory Reader (2006), editor of the four volume anthology Interior Design and Architecture: Critical and Primary Sources (2013), and Designs on Home: the Modern French Interior and Mass Media (2015). He is currently completing FLOW!
    : Between Interior and Landscape (2017).
     
  • The Alien in our Midst: Memory, Displacement and the Making of our Everyday World

    Princeton | Dates: 27 Mar, 2017
    Mellon Forum
    The Alien in our Midst: Memory, Displacement and the Making of our Everyday World

    Arijit Sen, University of Wisconsin - Milwaukee

    Discussant: Andrew A. Johnson, Anthrolopogy, Princeton University

    Arijit Sen is an architect and vernacular architecture historian who writes, teaches and studies urban cultural landscapes. His research includes studies of South Asian immigrant landscapes in North America. He has worked on post disaster reconstruction and community-based design in the Lower Ninth Ward, New Orleans and directed public history and cultural landscapes field schools in Milwaukee. He is currently an Associate Professor of Architecture and Urban Studies at the University of Wisconsin Milwaukee. Sen cofounded the multi-campus, interdisciplinary, Buildings-Landscapes-Cultures area of doctoral research on cultural landscapes. He has coedited Landscapes of Mobility: Culture, Politics and Placemaking (with Jennifer Johung coeditor, Ashgate Publishers, 2013) and Making Place: Space and Embodiment in the City (with Lisa Silverman coeditor, Indiana University Press, 2014). 
     
  • MIT Thresholds 46: SCATTER!

    Dates: 02 Feb – 01 May, 2017
    Thresholds 46: SCATTER!
    Editors: Anne Graziano and Eliyahu Keller

    From treatises to TED talks; postcards to propaganda; etchings to drawings, films, and blogs, architecture moves in diverse and curious ways. It is these currencies, which give architecture its agency, its authority and life. And yet, despite the varied modes of its circulation, the majority of architecture’s discursive knowledge reaches only a familiar audience. While contemporary means of information production and dispersal continue to exponentially grow and quicken, the circle of professional and discursive associations remains confined. Circulation, distribution, and access to knowledge are not exclusive matters of the discipline. Rather they extend past architectural limits to catalyze inquiries into hidden geographies and infrastructure, restricted access, and equity. 

    The history of architecture has consistently seen innovation and subversion expand not only architectural theory and practice, but also the ways in which ideas are dispersed beyond established systems of circulation. With the understanding that architecture indeed moves within ever-changing boundaries, Thresholds 46 looks to investigate, expand and imagine the histories, futures, means and methods by which architecture gets around.

    If half a century ago the medium was the message, now, after dozens of new mediums have expanded the manner of conversation, we wish to ask: is the equation still so simple?  Was and is the message exclusively a product of its medium? What are the architectural histories that can inform future inventions of dispersal and distribution? And how have architects, designers, artists, and scholars employed medium with message to interrogate fields of conversation and suggest new and provocative platforms for the discussion of ideas?

    We wish to look at the history of architectural dissemination, while holding our gaze to a swift, saturated and scattered connectivity. Asking, what modes of circulation were employed in various periods of history to elevate and publicize an architecture? How was architecture distributed by actors and vehicles that are both foreign to its discourse or an essential part of it?  What is the power of non-architectural documents such as cartographies, letters, stamps or money in the distribution of architectural knowledge? And what can we learn from accidents in which architectural knowledge broke loose from its constraints, reaching unimagined publics and scattering to unintended realms?

    Aiming to examine the scholarship, discourse and possibilities of publication, Thresholds 46 invites submissions of scholarly articles, creative contributions, and interdisciplinary investigations from art, architecture and related fields.  Topics can range from explorations of classical treatises, through architectural representations on money or postage and inquiries into divergent or accidental practices of dissemination such as agitation-vehicles, kiosks or comic books.  Furthermore, Thresholds 46 seeks an array of scattered content, welcoming innovative approaches and projects, in which architectural knowledge is to be shared and accessed. Videos, online platforms, interactive maps, posters, and postcards, augmented and virtual spaces and more – Thresholds 46 will provide a medium that welcomes content liberated from the historical format of the journal. 

    Submission Deadline: May 1, 2017

    Essay submissions should be in English, approx. 3,000 words, and formatted in accordance with the Chicago Manual of Style.  Submission should include a brief cover letter, contact information and bio of under 50 words for each author.  Text should be submitted in MS Word.  Images should be submitted at 72 dpi as uncompressed TIFF files. Other creative proposals are not limited in size or medium and will be considered to be included both in the journal as well as in the multiplicity of adjacent platforms.
  • Call for papers: Special Issue of Future Anterior: Utopian Currents in Heritage

    Dates: 02 Feb – 01 Mar, 2017
    Guest Editors: Helen Graham: H.Graham@leeds.ac.uk Elizabeth Stainforth: E.M.Stainforth@leeds.ac.uk Centre for Critical Studies in Museums, Galleries and Heritage School of Fine Art, History of Art and Cultural Studies, University of Leeds Deadline for submission: March 1, 2017 While the notion of heritage has been closely associated with continuity and preservation, recent theorizing in Critical Heritage Studies has argued that the very desire for continuity also requires and produces change. The definition of heritage as ‘a contemporary product shaped from history’ (Tunbridge & Ashworth 1996; see also Harvey 2002; 2010; Smith 2006; Harrison 2010) highlights the extent to which our relationship with the past is being continually re-configured. However, there is a future dimension implied in this relationship that is often neglected. To paraphrase William Morris, the future dimension in heritage testifies to the hopes and aspirations of those now passed away. One way of considering heritage as future making is through the lens of ‘utopianism’, which is currently enjoying a resurgence in a number disciplines not least sociology (Levitas 1990; 2013), literary studies (Jameson 2005) and law and political theory (Cooper 2014). Given that William Morris, one of the founders of the late 19th century European heritage movement, was also a revolutionary socialist and writer of utopian fiction there is, as yet, unexploited scope in thinking heritage and utopia together. Making the utopian, future-oriented aspects of heritage explicit is both an acknowledgement of the inevitability of change and an opening for thinking about the changes envisaged by former generations. In other words, heritage practices make it possible to diagnose a history of how people imagined the future might be. Heritage does not, therefore, only describe practices aimed at making a future in the image of the past and present, but can also be read as an attempt to think the world into being otherwise. These logics of the future speak directly to alternative social and political imaginaries and raise questions for heritage. What are the political and temporal constituencies of slogans such as ‘forever, for everyone’ (UK National Trust)? What sorts of imaginaries might open up political potentials for heritage and have implications for decision-making processes? How are projected heritage scenarios shaped by current hopes and fears? And how might we draw out the utopian – and indeed dystopian – tendencies in different heritage practices? This special issue of Future Anterior invites papers that explore the utopian currents in cultural heritage, in order to offer an alternative critical lens on debates about sustainability and historic preservation. Possible topics include: Heritage futures based on current architecture, art and preservation practices. The social and political imaginaries involved in heritage practices and writing about heritage. Logics of time and how buildings are employed in the negotiation of the past and the future within heritage studies (through, for example, conservation, interpretation, participation). Diagnoses of utopian or dystopian currents in architectural heritage case studies. Discussions of heritage in relation to the hopes/fears of particular groups or communities of people. Examples of utopian interventions in historic buildings oriented towards change, or alternative heritage decision-making processes. Articles submitted for peer review should be no more than 4000 words, with seven to ten illustrations. Text must be formatted in accordance with the Chicago Manual of Style, 15th Edition. All articles must be submitted in English, and spelling should follow American convention. All submissions must be submitted electronically. Text should be saved as Microsoft Word or RTF format, while accompanying images should be sent as TIFF files with a resolution of at least 300 dpi at 8 by 9 print size. Figures should be numbered clearly in the text. Image captions and credits must be included with submissions. It is the responsibility of the author to secure permissions for image use and pay any reproduction fees. A brief author biography (around 100 words) must accompany the text. Please visit the University of Minnesota Press guidelines for further manuscript guidelines. Acceptance or rejection of submissions is at the discretion of the editors. Please do not send original materials, as submissions will not be returned. Please email all submissions to the guest editors (see above) and Future.Anterior.Journal@gmail.com.
  • CFP: Troubling Histories: Public Art and Prejudice

    Johannesburg | Dates: 15 – 18 Nov, 2017
    Troubling Histories: Public Art and Prejudice 15 - 18 November 2017 This is a call for papers, a selection of which will be identified for further development into 5000-word articles for a themed issue of De Arte, a Taylor & Francis journal published with the University of South Africa. The conference will take place at the offices of the Research Chair of South African Art and Visual Culture at the University of Johannesburg between the evening of 15 November and lunchtime on the 18 November 2017. The keynote address will be by well-known scholar of public art, Prof Erika Doss from the Department of American Studies at the University of Notre Dame, whose publications include Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities (1995), The Emotional Life of Contemporary Public Memorials: Towards a Theory of Temporary Memorials (2008), and Memorial Mania: Public Feeling in America (2010). THE THEME In March 2015, a small-scale protest against Marion Walgate’s sculpture of Cecil John Rhodes at the University of Cape Town developed into the “Rhodes Must Fall” movement and culminated in the work’s removal from campus a month later. The protest had widespread impact. Raising questions about not only Rhodes’ representation in the public domain but also those of other individuals associated with values and ideologies that have fallen from favour who are commemorated in South Africa, it had the additional impact of reigniting a long-standing international concern: whether focused on sculptures of Lost Cause heroes in the United States, European monuments commemorating individuals revealed to have been Nazi sympathisers or Australian monuments memorialising events associated with the suppression of aboriginal peoples, for example, art historians and other citizens concerned about visual discourse in the public domain have long-since debated what steps, if any, should be taken to negotiate ‘problematical’ public art inheritances. The contention around the representation of Cecil Rhodes also highlighted longstanding concerns about how art in the public domain has tended to recognise some histories and experiences while marginalising others. Unsurprisingly, endeavours to negotiate prejudicial art from the past has been simultaneous with endeavours to create new monuments and memorials which recognise the victims of oppression and atrocities. Some of these new public works have been successful, and the reasons for their success are worth exploring. Others, however, have proved controversial. Raising debate about not only about who or what is commemorated but also sometimes the designs deployed for such commemorations, some have additionally involved contention about the locales in which these works are placed, consultations that may or may not have taken place in the process of developing them, as well as a host of other issues. .
  • 27th International Sculpture Conference: Kansas City

    Kansas City | Dates: 31 Jan – 13 Mar, 2017
    The International Sculpture Center (ISC) is seeking panel proposals for the 27th International Sculpture Conference in Kansas City, Missouri. Over 300 sculpture enthusiasts from around the world will gather this October 25-28, 2017 for engaging panel discussions, peer networking, and exciting cultural events surrounding topics in contemporary sculpture. Submissions must be 200 words and include a clear but brief statement of the panel objective. Panel topics include: Art, Architecture & the Urban Fabric Catalyzing Collective Action through Art - How does public and contextual art bring people together? Material Identity Advancing Diversity in the Arts Creating the Artist - The Business of Constructing an Identity in the Art World The Politics of "Sustainability" in the Arts Perspectives on Art Writing Digital Fabrication and the "Artist's Touch" Citizenship through Art - What does it mean to belong? Wildcard The abstract submission deadline is March 13, 2017. All accepted submissions will be notified by May 2017. To submit a proposal and learn more information, please visit the conference website: http://sculpture.org/kc2017/.
  • HPEF Partners in Training Spring 2017 Call for Proposals

    Dates: 31 Jan – 03 Apr, 2017
    The Historic Preservation Education Foundation (HPEF) is currently accepting proposals for the Spring 2017 round of its Partners in Training initiative. HPEF established Partners in Training in 2014 to provide training opportunities on topics associated with preservation technology. Partners in Training seeks to replicate the success HPEF has enjoyed working with other institutions and organizations in the past. HPEF invites educational institutions and nonprofit organizations based in the United States to submit training proposals that address specialized topics associated with the technical aspects of preservation. For grant recipients, HPEF’s contribution may include administrative as well as initial financial support. Administrative support can include participation in event planning, registration functions, and, as appropriate, assistance in online or print publication of materials prepared for the initiative. Initial financial support includes seed money to fund initial tasks. Grant recipients will assume all other responsibilities including marketing; coordination of onsite aspects associated with the venue; project budget; and staffing. The deadline for submissions is April 3, 2017. Grant recipients will be announced on/around June 1, 2017. Additional information can be found on the HPEF website: www.hpef.us or by writing info@hpef.us.
  • Reuse Reconsidered Conference, Brown University, September 15-17, 2017

    Providence | Dates: 29 Jan – 14 Apr, 2017
    Reuse Reconsidered September 15-17, 2017 Brown University, Providence RI Spolia. Appropriation. Palimpsests. Afterlives…These terms, and others, have been employed by scholars across disciplines to describe the reuse of architecture and material culture. This conference aims to advance current scholarship by exploring some of these terms and unpacking the phenomenon throughout history and across cultures. From the Mexica reuse of Olmec relics to the fascist appropriation of historic styles in building projects—to name two examples—societies have given new meanings to objects, architectonic fragments, buildings, and styles by repurposing them for new contexts. The field of reuse studies has grown rapidly in the last three decades. In the United States, this is a more recent conversation, particularly as a result of 2006’s “The Mirror of Spolia: Premodern Practice and Postmodern Theory” colloquium at the Clark Art Institute. The colloquium, and subsequent edited volume Reuse Value, covered a wide range of fields and time periods. In the years since, other academic forums have taken a more focused approach, such as Wesleyan University’s “Monuments as Palimpsests” symposium and a College Art Association session on reuse in the ancient world. While acknowledging the importance of these more focused conversations, this conference aims to broaden the conversation once again. It seeks to unite scholars, from graduate students to senior faculty members, that study a variety of time periods, cultures, and types of reuse. This cross-disciplinary conference will explore the complex and multivalent motivations behind the reuse of cultural heritage. It will also seek to expand how we understand the phenomenon of cultural identity in relationship to the appropriation, memorialization, and reimaging of the past. We imagine that papers could address questions including, but not limited to: • How do cultures (re)employ objects, buildings, or styles from the past as part of the definition of themselves in their present? • What is the role of the architect/patron in the act of reuse? • How does the cultural biography of the reused object or building inform its use in new contexts? • Why do certain things (buildings, styles, time periods) get called upon for a new use while others do not? • Why and how are specific buildings or cities reimagined in new contexts? • How is the history of museums and antiquarianism connected to the motivations behind reuse? Abstracts (up to 300 words) and a CV should be sent to: Reuse.Reconsidered@gmail.com by April 14, 2017. Applicants will be notified by mid-May. Papers should be approximately 20 minutes. Any questions should be addressed Lia Dykstra at Reuse.Reconsidered@gmail.com.
  • SAH 71st Annual International Conference

    Saint Paul | Dates: 18 – 22 Apr, 2018
  • SAH 70th Annual International Conference

    Glasgow | Dates: 07 – 11 Jun, 2017
  • National Park Roads: Reconciling the Machine and the Garden

    Washington, DC | Dates: 08 – 08 Feb, 2017
    Millions of visitors tour national parks every year, but few consider when, where, how or why the roads they travel on were built. This presentation highlights the unique qualities of national park roads, relates them to European precedents and the Olmstedian tradition, and examines their role in shaping the national park experience. Not only do park roads determine what most visitors see and how they see it, but decisions about park roads epitomize the central challenge of national park stewardship: balancing preservation and access in America’s most treasured landscapes. Park roads have been celebrated as technical and aesthetic masterpieces, hailed as democratizing influences, and vilified for invading pristine wilderness with the sights, sounds, and smells of civilization. Based on his recently released book, National Park Roads: A Legacy in the American Landscape, Davis’s recounting of efforts to balance the interests of motorists, wilderness advocates, highway engineers, and other stakeholders offers a fresh perspective on national park history while providing insights into evolving ideas about the role of nature, recreation, and technology in American society. As the National Park Service’s senior historian for park historic structures and cultural landscapes, Tim Davis combines interdisciplinary research with preservation outreach. His writings on the American landscape have appeared in numerous books and journals. His newly released volume, National Park Roads: A Legacy in the American Landscape, highlights the unique qualities of national park roads, details their development and examines their role in shaping the national park experience. The First Congregational United Church of Christ 945 G Street NW, Washington, DC 20001 6:30 pm – reception, 7:00 pm – lecture Reservations are not required. $10.00 for Latrobe Chapter members, student members (full time) free with ID, $15.00 for non-members (reduced admission for non-members!).
  • Research Assistant

    Philadelphia | Dates: 06 Feb, 2017 – 01 Jun, 2018
    Assist a Philadelphia architect/author in completing research and writing for a book that traces the evolution of the geometry in the built environment from ancient Egypt to the present. The focus of the book is a particular geometric motif in 20th century architecture. Developments in the world of art are also involved. Must have excellent computer skills, analytic skills, and use of a MAC laptop.
  • AIA 2017 Small Projects Awards

    Chicago | Dates: 25 Jan – 16 Mar, 2017
    The AIA Chicago Small Practitioners Group presents the seventh annual Small Firm/Small Project Award program to recognize the high quality of work produced by small architecture firms as well as exceptional small projects. The goal of this award program is to raise public awareness of the value that architects bring to small projects and to promote small practitioners as a resource for design excellence.

    Submission Period: January 23, 2017 - March 16, 2017 11:59pm CST
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