[1]
From: Angelina Lucento and Alla Vronskaya
<alla.vronskayagta.arch.ethz.ch>
Date: Mar 15, 2015
Subject: CFP: Aesthetics and Art Theory in the Socialist Context

Modernism, mass culture, and the turn away from subjective assessment
were as critical to developments in art theory and practice in countries
that adopted socialist systems as they were in the capitalist "West."
The political and economic contexts that emerged in Russia, Eastern
Europe, East Asia, Africa, Latin America, and the Caribbean in the
twentieth century, however, were often different from those of their
Western counterparts. What impact did transnational cultural exchange
have on the development of socialist art and art theory? How did the
desire for the attainment of a socially significant, class-specific art
contribute to the development of ideas about collective apprehension,
sensation, analysis, and judgment? How were these ideas implemented
and/or contested? We hope to challenge the common association of
socialist aesthetics with vulgar materialism and totalitarianism, while
also elucidating its interconnectedness to other aesthetic discourses.

Please send proposals to:
Alla Vronskaya, Swiss Federal Institute of Technology (ETH), Zurich; and
Angelina Lucento, Central European University-Institute for Advanced
Study. Email: alla.vronskayagta.arch.ethz.ch and LucentoAceu.hu.

--

[2]
From: Natilee Harren <natileeucla.edu>
Date: Mar 15, 2015
Subject: CFP: Diagram Aesthetics in the 20th Century: Histories and
Theories

Within the field of twentieth-century art history, "the diagram" has
emerged as a common term to describe a broad range of production, from
Dada mecanomorphs and El Lissitzky’s Prouns to experimental performance
notations of the 1950s and 1960s and the working drawings and plans
associated with Minimalist and Conceptualist practices thereafter.
Artists have turned to diagrams to unite the realms of image and text
and to map relations of time and space, evoking connectivity,
correspondence, and metaphor as well as administration and control. This
panel will bring together scholars working across a range of artist case
studies to discuss the meaning and significance of the diagram as a
theoretical model for art history of this period. If the diagram now
stands as a major mode of twentieth-century artistic production next to
collage, the grid, and the readymade, how shall it be defined, and what
historical forces have motivated artists to work in this way?

Please send an abstract of 1-2 pages, letter of interest, submission
form (available from collegeart.org), and current CV by May 8 to:
Natilee Harren, Departments of Art and Art History, University of
California, Los Angeles (natileeucla.edu).

--

[3]
From: Antoniette Guglielmo <toniguglielmoyahoo.com>
Date: Mar 15, 2015
Subject: CFP: New Studies in Museum, Gallery, and Exhibition History

In support of the scholarly mission of the CAA to serve institutions in
which art is exhibited, collected, studied, and interpreted, the Museum
Committee offers this session for international scholarship addressing
the history of museums, galleries, exhibitions, and related topics. This
session also presents an opportunity to assess the demand for future
sessions on new and emerging scholarship on this topic. We invite papers
that explore the history of institutions and exhibitions, the work of
individual pioneers in the formation of museums and galleries, and the
evolution and professionalization of museum practices. Studies of
associated social and cultural phenomena including the history of
collecting and philanthropy are encouraged. We also welcome
investigations of related entities such as commercial galleries and
auction houses, in addition to historiographies of these topics and
research questions associated with them. Submissions may be case studies
or comparative analyses.

Please send an abstract (1-2 pages, double spaced), a Letter of
interest, and current CV with contact information to co-chairs:

Dr. Toni Guglielmo, Associate Director, Getty Leadership Institute,
toniguglielmoyahoo.com and
Anne Manning, Deputy Director for Education & Interpretation, The
Baltimore Museum of Art, AManningartbma.org.

Deadline: May 8, 2015

--

[4]
From: Allison Morehead <moreheadqueensu.ca>
Date: Mar 16, 2015
Subject: CFP: Modernism and Medicine

Despite modernity's rapid medicalization of life, medicine plays a
surprisingly minor role in most histories of modern art. But attention
to modernism's embodied forms raises intriguing questions about modern
art's medicalized creators, patrons, and viewers. This session invites
papers that interrogate the creative connections between modernism and
medicine in order to contest, expand, and transform our understandings
of the nexus between art and medicine in the modern period. In
particular, we welcome papers that consider artists' new representations
of the body and bodily functions in terms of medicine's new
epistemological models, therapeutic regimes, and techniques for
producing and disseminating knowledge. Topics might include artists'
depictions of medical subjects and experiences of illness and disease;
relationships between artists and doctors; medical patronage; public art
and medical institutions; the use of medical discourse in art criticism;
the architecture and design of private clinics and public hospitals.

Please send an abstract (1-2 pages, double spaced), a Letter of
Interest, a Submission Form and current CV by May 8 to: Gemma Blackshaw,
gemma.blackshawplymouth.ac.uk, and Allison Morehead,
moreheadqueensu.ca. For more information, please see:
http://www.collegeart.org/pdf/2016CallforParticipation.pdf