[1]
From: Catherine Spencer <catherine.spencerst-andrews.ac.uk>
Date: Jul 10, 2014
Subject: CFP: Mediating Collaboration: The politics of working together

Encompassing both a theoretical methodology and a mode of practice, the term ‘collaboration’ has suffered from its diverse usage in artistic contexts. Practices from ‘democratising’ artist–non-artist approaches (e.g., WochenKlausur) to formalised artist–artist partnerships (Gilbert & George) and activist or pedagogic projects (The Feminist Art Program) have all been subsumed under the rubric of collaboration, which is also often defined reactively against other forms of practice such as collectivism or participation. In addition, recent digital technological developments have further impacted on the spatial and temporal dynamics of collaboration. While this has afforded new collaborative possibilities, both within art and beyond, it has also complicated an already bloated terminology.

Spatial and temporal factors such as immediacy, presence and duration have often been considered central to collaborative acts. By focusing on the specificity of communication channels and technologies, however, we can challenge such assumptions and gain critical purchase on collaboration and the politics of working together. How might feminist, queer and post-colonial perspectives on space and time inform understandings of the media involved in collaboration? How have communication channels from television and the radio through to mail networks and the internet impacted on the relations or relationships constituted through artistic collaboration?

We invite papers that together might begin to establish longer histories of collaboration and its media, and embrace their recursive, retrogressive and heterogeneous potentialities.

See more at:
http://www.aah.org.uk/annual-conference/sessions2015/session18#sthash.Z59O9QfQ.dpuf

Please send abstracts for papers of 30 minutes, in accordance with the AAH guidelines for submission (available online via the AAH website), to all three session convenors by the 10th November 2014.

Convenors:
Amy Tobin, University of York, at548york.ac.uk
Harry Weeks, University of Edinburgh, hweeksstaffmail.ed.ac.uk
Catherine Spencer, University of St Andrews,
catherine.spencerst-andrews.ac.uk

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From: Ella Fleming <eflemingpaul-mellon-centre.ac.uk>
Date: Jul 10, 2014
Subject: CFP: British Art Through it Exhibition Histories, 1760 to Now

How have histories of British art been shaped, defined and contested by and through exhibitions? Taking a broad historical perspective, and responding to an upsurge of interest in the study of exhibition histories in recent years, this session will explore the varied exhibition cultures of British art from 1760 – the year that saw the first annual exhibition of contemporary British painting, sculpture and printmaking – through to today.

This session does not seek to offer a chronological history of exhibitions but rather a series of critical propositions that take exhibitions and exhibition culture as a lens through which to examine the history, presentation, marketing and reception of British art, both in the UK and internationally. How have exhibitions shaped or disputed the artistic canon, defined particular artistic groupings, or articulated distinctive histories of British art? How have they contributed to new kinds of critical and art-historical writing about British painting, sculpture, graphic and multi-media arts?

We welcome proposals that explore exhibitions of British art in a variety of contexts, at either a national or international level, including: case studies of individual exhibitions or series of displays; monographic or thematic exhibitions; the phenomenon of travelling exhibitions, both historically and today; exhibitions in public, private and commercial spaces.

Papers might examine the role of agencies, institutions and funding bodies; exhibitions as a tool for shaping a canon; exhibitions and changing notions of ‘Britishness’; the display of British art and artists in different international contexts. We seek papers that will interrogate and analyse the dynamic, transformative and sometimes challenging relationship of British art to its exhibition histories across different periods.

Session Convenors:
Mark Hallett, Sarah Victoria Turner and Martina Droth, The Paul Mellon
Centre for Studies in British Art, London, and the Yale Center for British
Art, New Haven

See more at:
http://www.aah.org.uk/annual-conference/sessions2015/session6#sthash.WqKQ0asv.dpuf