[1]
From: Julie Codell <julie.codellasu.edu>
The Studio as Market

Artists’ studios have been the site of workshops,
collaboration, promotion, mystery, and myth, at times considered a hallowed
space, at other times a disreputable one. They have also been the places of
social, political, and economic transactions that shape aesthetic values.
In the studio artists self-fashioned their social status and promoted their
works. They invited critics, dealers, and patrons into their studios
turning studios into sites that combined a presumed mysterious creative
energy with economic exchange while purposely misapprehending economic
considerations. This session will explore how artists from the eighteenth
century on under dwindling church and aristocratic patronage strategically
entered the “free” market by using their studios to promote and sell
works in conjunction with creating marketable public identities to engage
buyers and generate symbolic capital for their name and their work. Topics
can include the nature and function of the studio in the free market,
artists’ strategies to both engage in economic activities and
misrecognize economics in the studio, the studio as a site of conflicts
over agency in overlapping aesthetic and economic transactions or as an
exhibitionary site to display the creative process itself, the studio’s
combined production and reception functions, among other topics.
Please submit proposals including title, abstract (250 words maximum), and
a brief CV (2 pages maximum) to julie.codellasu.edu

[2] From: Brett Van Hoesen <bvanhoesenunr.edu>
Dada Studies as Countercultural Practice: Intervening in the Art Historical Institution

Session Chairs:
Brett M. Van Hoesen, University of Nevada-Reno
Kathryn M. Floyd, Auburn University

What can the historical study of the radical tactics of Dada (and its
influences) offer as its own kind of countercultural practice? What happens
when research and teaching on anti-art, anti-institutional,
interventionist, or deconstructionist strategies for interrogating power
penetrate the established disciplinary spaces of art history, from
university classrooms to scholarly publications, blockbuster exhibitions,
archival collections, conference presentations, and the like? What
challenges or opportunities have the tensions and alignments between Dada
objects of study and institutional frameworks produced, from the earliest
histories of Dada in the 1920s and 30s to the recent celebrations of the
100-year anniversary of Zurich's Cabaret Voltaire? Taking as a springboard
the unique interdisciplinary study and practice of Dada, Intermedia, and
Fluxus art at the University of Iowa from the late 1960s to the present,
this session seeks other cases of critical, countercultural, or
interventionist analyses of international Dada's objects, artists, events,
concepts, legacies, and descendants. Given the growing "corporatization" of
the university, the so-called "crisis" of the liberal arts, and increasing
calls for curatorial and archival transparency, we also ask what potential
Dada scholarship or art historical studies of countercultures might have
for the discipline and its institutions. In the discursive spirit of Dada,
this panel will be organized as a series of four or five short case studies
or position papers, followed by guided questions and extended, open
discussion among panelists and audience members.

How to Apply:
http://www.collegeart.org/pdf/programs/conference/CAA-CFP-2019.pdf
Conference Details: http://www.collegeart.org/programs/conference/proposals

Email all submission materials (see "how to apply" above), or any
questions, to both session chairs at bvanhoesenunr.edu and
kmfloydauburn.edu