Association of Art Historians Annual Conference 2013
Call for Papers for sessions on
The Permanence of the Transient: Precariousness in Art

'Precariousness' is often related to the notion of transience:
perishable materials, ‘dematerialized' conceptual procedures and
fragile work conditions. Despite its transitory status, precariousness
remains a prominent concept among artists and theoreticians today. In
1967, Brazilian artist Hélio Oiticica explicitly made precariousness a
poetic guide for the artistic world. He described the artist's
condition in Brazil as precarious, writing, "in adversity we strive."
This motto also referred to the use of unconventional materials in
Neoconcrete artworks, such as in Oiticica's famous Parangolés,
colourful capes made of plastic and cheap fabrics that should be worn
and performed by the public. Additionally, it referred to his aesthetic
choice to leave the artwork unfinished, inviting the audience to
complete it. Precariousness also became the trademark of other
movements such as Arte Povera, which used ‘poor materials' in an
attempt to break down the dichotomy between art and life. However,
precariousness in art can be extended beyond these manifestations. It
can refer to the artist's adverse work conditions, including living
under a totalitarian regime as well as the lack of institutional
support and of an established art scene. For instance, in times of
censorship and in places without an institutional structure artists
were propelled to come up with impromptu solutions to produce their
artwork, as in Mail Art and in Latin American Conceptualism. Thus, can
precariousness result in a fruitful production, with artists being
stimulated to think beyond the traditional realm, improvising artistic
strategies? But when is precariousness in art an aesthetic choice? When
is it a situational condition? Which are the multiple ways that we can
understand precariousness today? Which artists/movements explored the
idea of precariousness? Which are the ethical issues raised by
precariousness as a chosen aesthetics? Welcoming papers exploring
different geographic and temporal frames of reference, this panel aims
to re-examine the issue of precariousness and its outcomes in art.


Please send proposals for 30-minute papers to both convenors by 12
November 2012:

Camila Maroja, Duke University, camila.marojaduke.edu
Caroline Menezes, University of the Arts London, UAL,
carolinemenezesgmail.com

Proposals should be sent using the paper proposal form at
http://www.aah.org.uk/annual-conference/sessions2013