[1]
From: Kunsthistorisches Institut in Florenz - Max-Planck-Institut
<khi-pressekhi.fi.it>
Date: Mar 12, 2015
Subject: CFP: Back to Arabia: Arts and Images of the Peninsula after
1850

Session "Back to Arabia: Arts and Images of the Peninsula after 1850,"
chaired by Eva-Maria Troelenberg, Kunsthistorisches Institut in Florenz
- Max-Planck-Institut; and Avinoam Shalem, Columbia University.

The image of Arabia is rapidly changing through numerous modernization
projects. Concurrently, there is a rising interest in the reassessment
of its past, reflected in exhibitions such as Roads of Arabia and
archaeological projects. This notion hints at a paradigm shift in
thinking about the image of Arabia. The Muslim world has usually
associated the pre-Islamic period in Arabia with the concept of
jahiliyya, thus discarding its historical significance. Western art
historians also cultivated the notion of Arabia as lacking history and
art and presented it as a "blank spot." We seek to remap the Arabian
Peninsula by critically examining the modern preconditions of this
current paradigm shift. Papers should address modern artworks, building
projects, and archaeological campaigns on the peninsula. We further
invite contributions that analyze the image of Arabia as it has been
represented through scholarship, art, visual media, and museum practice
within the Muslim world and the West.

We invite proposals for participation in the session "Back to Arabia:
Arts and Images of the Peninsula after 1850" to be sent to Eva-Maria
Troelenberg (troelenbergkhi.fi.it) and Avinoam Shalem
(as4501columbia.edu) by May 8, 2015.

Your proposal should include the following five items:
1. PDF file with your name, CAA member number, address, office and home
telephone numbers, e-mail address, and in case you have submitted
additional proposals the names of any other session chairs. (Please
visit http://www.collegeart.org/pdf/2016CallforParticipation.pdf for a
template.)
2. Preliminary abstract of one to two double-spaced, typed pages.
3. Letter explaining your interest, expertise in the topic, and CAA
membership status.
4. CV with home and office mailing addresses, email address, and phone
and fax numbers. Please include summer address and telephone number, if
applicable.
5. Documentation of work when appropriate.

The duration of selected talks should be 20 minutes and will be followed
by a short discussion.
For more information, please visit
http://www.collegeart.org/pdf/2016CallforParticipation.pdf.

--

[2]
From: Jesse Locker <lockerpdx.edu>
Date: Mar 9, 2015
Subject: CFP: Rethinking the Education of the Early Modern Italian
Artist

Session "Beyond Texts and Academies: Rethinking the Education of the
Early Modern Italian Artist" (Sponsored by the Italian Art Society)

Historians of early modern art are naturally attracted to the doctus
artifex—the learned artist whose work draws on a variety of learned
textual sources. Recent research has shown, however, that many artists
received little formal education outside the workshop and a surprising
number were barely literate. Yet even these artists created apparently
erudite artworks that often reflect contemporary literary or theoretical
debates. This panel will look beyond the academies, beyond the text, and
beyond the proverbial "humanist advisor" to reconsider how early modern
artists engaged with "high" culture of their day. Topics might include
artists’ exposure to theater, music, and recitation; artists and the
oral transmission of ideas; the circulation of "high culture" in
workshops; case studies of uneducated artists creating learned content;
the exchange of artistic ideas in courts; informal gatherings as forums
for artistic and intellectual exchange; and the role of oratory and
rhetoric in shaping artists’ work.

The deadline for submitting a paper proposal is May 8.
Please contact Jesse Locker, Portland State University, (lockerpdx.edu)
with queries.

--

[3]
From: Sarah Schaefer <scs2143columbia.edu>
Date: Mar 10, 2015
Subject: CFP: Biblical Imagery in the Age of Spectacle

Session "Biblical Imagery in the Age of Spectacle"

In the past century and a half, the word "biblical" has come to denote
not only Judeo-Christian scripture, but also more broadly the epic, the
sublime, and the spectacular. This can be traced in large part to the
centrality of biblical narratives in the visual culture of spectacle in
the nineteenth and twentieth centuries. The most formative arenas of
spectacular culture––the panorama, photography, World’s Fairs, and early
cinema, for instance––drew from a plethora of biblical material, and
audiences flocked in great numbers to witness these spectacular
entertainments. This panel will begin to unpack the spectacularization
of the Bible in the past two centuries through a series of case studies.
Topics may include (but are not limited to) panoramic representations of
the Holy Land, the use of spectacular images in Christian missionary
campaigns, biblical epics in early cinema, and televangelism and the
megachurch movement.

Please send a preliminary abstract (1-2 double spaced, typed pages), a
Letter of Interest, and current CV to:
Sarah C. Schaefer, Columbia University
scs2143columbia.edu
Deadline: May 8, 2015

--

[4]
From: Christa Noel Robbins <christa.robbinsgmail.com>
Date: Mar 11, 2015
Subject: CFP: The Artist-Critic

Session "The Artist-Critic: History, Identity, Work"

From Charles Baudelaire to Michelle Grabner, the artist-critic occupies
two discrete positions simultaneously, both making art and offering a
discursive analysis and critique of practice more generally. In
occupying this doubled identity, the nature of
seeing/making/writing/thinking is itself altered, challenging and laying
bare the generic conventions and category distinctions underwriting such
activities. This panel explores the role of the artistic-critic in the
development of art criticism and practice in the twentieth and
twenty-first centuries. We invite papers that address the artist-critic
on a variety of fronts, both historical and theoretical, and seek papers
from art historians, art writers and practicing artists. We are
especially interested in papers that are conducive to thinking through
the history and circumstances of the artist-critic identity in our
present moment, wherein the activities of making, writing, curating and
editing are increasingly difficult to parse as theory and research move
away from the margins of practice and into its center.
www.collegeart.org/pdf/2016CallforParticipation.pdf

Please send an abstract (1-2 pages, double spaced), a Letter of
Interest, a Submission Form and current CV by May 8 to:
Christa Noel Robbins (christa.robbinsgmail.com) and
Zachary Cahill (zcahilluchicago.edu)