CFP Jul 31, 2022

4 Sessions at CAA (New York, 15-18 Feb 23)

111th College Art Association (CAA) Annual Conference 2023, New York, Feb 15–18, 2023
www.collegeart.org/programs/conference

ArtHist.net Redaktion

[1] Atlantic/Pacific: American Art between Ocean Worlds.
[2] Feminist Visual Activism for Reproductive Rights.
[3] Wayfaring: Photography in Taiwan during the Martial Law Era (1949-1987).
[4] Significant Findings: Object- And Archives-Based Assessments
of US Art (Colonial-1945).

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[1]
From: Katherine Fein
Date: Jul 27, 2022
Subject: CFP: Atlantic/Pacific: American Art between Ocean Worlds

CAA 2023, New York
Deadline: Aug 31, 2022

Atlantic/Pacific: American Art between Ocean Worlds
Association of Historians of American Art Affiliated Society Session
Co-chairs: Caitlin Meehye Beach (cbeach1fordham.edu) and Katherine Fein
(katherine.feincolumbia.edu)

The Americas have long been traversed by circuits of cultural and
commercial exchange linking both ocean worlds, including long-distance
Indigenous trade routes in the pre- and extra-colonial world, the Manilla
Galleon Trade (1565–1815), the transcontinental railroad (completed
1869), and the Panama Canal (opened 1914). While studies frequently
highlight the interconnectedness of the Americas in relation to land, this
panel asks what happens when we orient the study of “American
art”—broadly conceived—around not continental landmasses but bodies
of water: namely, the Atlantic and Pacific Oceans. As Paul Gilroy, Tiffany
Lethabo King, Robbie Shilliam, and others suggest, watery spaces—oceans,
littorals, shoals, archipelagos—can open onto innovative and essential
ways of thinking about cultural production and critique.

This panel invites contributions that foreground the role of visual and
material culture in forging, revealing, and/or problematizing the
interconnectedness of the Atlantic and Pacific worlds. How were these
spaces linked through the movement of people, materials, objects, and ideas
in the wake and apart from slavery, colonialism, forced migration, and
exclusion? How might recent scholarship about the fraught connections
across these spaces reframe narratives of American art history? What might
the methods and objects of American art offer to broader investigations of
oceanic networks? And finally, how can we find ways to think about trans-
and inter-oceanic exchanges that acknowledge their interrelation while also
holding space for local specificity? We welcome research-in-progress,
curatorial projects, and artistic interventions that engage these and other
questions as they position American art at the confluence of ocean worlds.

Submissions are due by August 31, 2022. Instructions can be found at
https://caa.confex.com/caa/2023/webprogrampreliminary/meeting.html.

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[2]
From: Basia Śliwińska
Date: Jul 28, 2022
Subject: CFP: Session 'Feminist Visual Activism for Reproductive Rights' at
CAA (New York, 15-18 Feb 23)

New York, Feb 15–18, 2023
Deadline: Aug 30, 2022

Freedom to make choices about one’s body, the fundamental Human and
Constitutional right to autonomy, is continuously abused by multiple
governments worldwide. Visions offered by the rising nationalist, fascist
and racist politics across the globe are founded on anti-democratic
separatist discourses prioritising some bodies over others. Eroding rights
to equality, privacy and bodily integrity gains fresh urgency in the
context of the 2022 Russian invasion of Ukraine that generated a
reproductive health crisis for millions.

Feminist care is instrumental for democracy, social justice, and
articulating alternative ways for organising collectivities. Several global
activist and consciousness raising interventionist manifestations
visibilise relationships between artistic practice, women’s protests and
feminist visual activism. Everyday activities and creative practices
develop methods, strategies, tactics and methodologies to advocate for
change and galvanise the public via collective actions that increasingly
engage with embodiments of the visual. Some visual activist actions
explicitly address women’s reproductive rights restricted in countries in
which gender norms are based on heteronormative and patriarchal structures
denying gender equality and undermining gender progressive politics.

This session seeks to interrogate how contemporary feminist visual activist
practice enables the United Nations’ and European Union’s values and
goals concerning gender equality and women’s rights to be achieved.
Feminist visual activism cultivates forms of creativity that emerge from
performative and ethical orientations, welcoming practices of ontological
re-viewing and re-doing otherwise for social justice. The session invites
contributions engaging with visual practices advocating a politics of
change to explore visual strategies of consciousness raising concerning
women’s rights, specifically bodily autonomy.

Please submit a short CV (2 pages) and a completed proposal form
(available to download at:
https://caa.confex.com/caa/f/CallForParticipation2023 ), including an
abstract of around 250 words to bsliwinskafcsh.unl.pt.

All participants are required to be members of the College Art Association
at the time of final submission of accepted papers and during the
conference period. Please also note that the session will be an in-person
session.

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[3]
From: Shuxia Chen and Olivier Krischer
Date: Jul 29, 2022
Subject: CFP: WAYFARING: PHOTOGRAPHY IN TAIWAN DURING THE MARTIAL LAW ERA
(1949-1987)

New York, Feb 15–18, 2023
Deadline: Aug 31, 2022

WAYFARING: PHOTOGRAPHY IN TAIWAN DURING THE MARTIAL LAW ERA (1949-1987)

Session11491

Research on Taiwan’s long and complex photography history has been
limited in Chinese and English to date, with much attention paid to the
earliest examples of the medium in the 19th and early-20th century. This
panel instead gathers new research on the history of photography across the
Martial Law era, which stretched from 1949 to 1987, under the concept of
‘wayfaring’—a lyrical take on the what seminal photographer Chang
Chao-Tang described as the ‘path seeking’ (zhaolu) of photographers
around the 1970s. This term evokes both the actual journeys photographers
undertook, across the Taiwanese landscape, searching for diverse everyday
experiences, as well as their introspective groping for a new path forward,
through creative experimentation. Photographers in Taiwan confronted such
complexed intersecting historical trajectories, which were an
irrepressible, even disorienting, plurality that arguably was yet to be
comfortable with the equally contentious claims of ostensibly ‘hybrid’,
postmodern globalisation.
The panel welcomes research that attends to contending claims not only on
local and cultural identity, but also gender, sexuality, indigeneity, and
social class, and seek to understand the relevance of photographic
practices from Taiwan as parts of global developments in the medium,
comparing and contrasting Taiwanese photographic experience to that of its
peers worldwide.

Accepted papers would be considered to be included in an edited volume
(peer-reviewed) on Taiwanese photography, scheduled to publish in late
2024.

Chairs:
Shuxia Chen, University of New South Wales - shuxia.cgmail.com and Olivier
Krischer, University of New South Wales - okrischergmail.com
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[4]
From: Betty Krulik
Date: Jul 29, 2022
Subject: CFP: Significant Findings: Object- And Archives-Based Assessments
of US Art (Colonial-1945)

New York City, New York, United States, Feb 15–18, 2023
Deadline: Aug 31, 2022

SIGNIFICANT FINDINGS: OBJECT- AND ARCHIVES-BASED ASSESSMENTS OF US ART
(COLONIAL–1945)
Session co-chairs:
Betty Krulik (project manager of the Willard Metcalf Catalogue Raisonné,
forthcoming: https://willardleroymetcalfcatalogueraisonneproject.org/)
Lisa N. Peters (author of the John Henry Twachtman Catalogue Raisonné,
published by the Greenwich Historical Society:
https://www.jhtwachtman.org/)
Today scholars on art created in the US from the colonial era through 1945,
grapple with new theoretical and ontological inquiries—especially as we
reckon anew with the nation’s history of imperialism, racism,
colonization, and societal and gender inequities. However, the field
continues to benefit from an object-centric and evidence-based art history.
This session seeks papers that address the significance of object-based
study and art documentation as a means of thinking critically about US art
from this time period. In what ways can studies of object materiality and
archival resources contribute to perspectives on US art and the US
identity, encompassing issues such as social justice, ecocritical
awareness, transparency, and cultural humility? How do concerns contended
with by Americanists through World War II differ from those addressed by
postwar historians?
This is an on-location live session that will take place at the 111th
annual conference, in New York, NY, February 15–18, 2023
To submit, please send your proposal via email to the chairs before August
31, 2022
Betty Krulik: bkrulikfineartgmail.com
Lisa N. Peters: lisalnpeters.com

Completed proposal form
(https://caa.confex.com/caa/f/CallForParticipation2023), including your
Presentation Abstract (250 words maximum, single paragraph preferred) and a
Statement (up to 100 words) explaining why your proposal is a good fit for
this session
2. A shortened CV (maximum two pages)
3. (Optional) in a single PDF, up to five images you expect to address

Reference:
CFP: 4 Sessions at CAA (New York, 15-18 Feb 23). In: ArtHist.net, Jul 31, 2022 (accessed Aug 11, 2022), <https://arthist.net/archive/37235>.

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