Call for Papers

Techniques of Imagination. New Perspectives in the Historiography of Art, Media Culture, and Theatre .

University of Cologne
Cologne: July 12-19, 2013


[techniques of imagination] is the first installment of [sic!], the newly founded international program offering annual graduate-level workshops on topics in cultural history. There are three seminars: 1) Art History (Claudia Swan, Stefan Grohé), 2) Theatre Studies/Performance Studies (Tracy C. Davis, Peter W. Marx), 3) Game Studies (Benjamin Beil, TBA).

Imagination has a very long history and an array of applications in the domain of contemporary arts and the humanities. Philosophers have long described it as a faculty of mind, with Aristotle first asserting its centrality to experience and thought. Renaissance artists, writers, and musicians deployed the imagination as a means to create new, unknown entities. In the course of time, imagination has come to signify the free flow of thoughts and emotions; and the means by which artistic practices enable expression. Imagination is thus a process and a condition of appreciation: it creates things and enables individuals to be receptive to those products. At the same time, imagination requires certain skills and techniques. It is not merely a
mental capacity but it roots also in material products and crafts. The history of imagination can be read in the light of these technical aspects.

Through a one-week international summer workshop, [sic!] proposes to inquire into imagination as a techne by exploring the contingency of imaginative techniques.  Historiography in the disciplines of art history, digital culture/game studies, and theatre history turns again and again towards questions of presence, distance, reiteration, and repeatability in repertoires. These and other matters provide the framework for a necessary and promising discussion among representatives of a variety of fields, practices, and disciplines.

Deadline for application is April 15, 2013. More information can be found on or via e-mail (



Movement. The Body & Object in Motion .

Cornell University
Ithaca, NY: October 4, 2013
Graduate Symposium


The graduate students in the History of Art program at Cornell University invite abstracts for papers to be presented at the Graduate Student Symposium to be held on October 4th, 2013. This year’s symposium, “Movement: The Body and Object in Motion“, will feature a keynote lecture presented by Dr. Coco Fusco and will explore the theme of movement in visual culture via three panels consisting of 3 speakers each.

Movement in visual culture is a fundamental theme across all media and periods.  Movement defines both the pre-modern and modern periods in all their complexities, as peoples are colonized and decolonized, borders are invented and moved, tourists visit sites, products are shipped from other continents for consumption, and wars are waged around the globe.  It is manifest in the journey of the soul through life and in its final voyage into death.  Movement also creates a narrative for objects and ideas as they travel with people.  Possible panel ideas include but are not limited to: migration, diaspora, grand tour, tourism, slavery, across realms, exchange/trade, urban planning and the movement of the body/political body, spiritual movement, movement of objects and cultural property.

The graduate students in the department of History of Art at Cornell University welcome the submission of abstracts for papers from graduate students.  We invite papers from a broad range of periods, from prehistoric to contemporary, and from a broad range of disciplines.

Guidelines for Submission:
Submission is open to graduate students in art history, archaeology, conservation, museum studies, classics, anthropology, sociology, and beyond.  Please send a 250-word abstract of your paper, a list of two or three possible panel themes your paper may fit, a current CV, and contact information by April 30, 2013 to

Traveling to Ithaca:
Ithaca Tompkins Regional Airport, Lansing, NY (15 mins from Cornell University)
Please also look at the link below on additional information and alternatives on how to reach Ithaca.  We are happy to facilitate shared lodging/travel costs among speakers.



Home. Departure & Destination .

Bryn Mawr College
Bryn Mawr, PA: October 4-5, 2013
Graduate Symposium


What makes a home, and who defines it? The home has a material presence and a place in the mind. It provides a locus of identity formation, negotiation, and display. Home stands as a site for social negotiation as well: who stays, who leaves, and why? What is at stake in the definition of a home, or the departure from it? As a microcosm of social order, the home can also act as powerful metaphor for a society as a whole. Is home defined by what it is, or by what it is not?

The Bryn Mawr College graduate group invites submissions to this interdisciplinary symposium. We seek abstracts treating aspects of home from antiquity to the present from graduate students in Classics, Archaeology, History of Art, and related fields. Topics can include, but are not limited to:

– Memory and Nostalgia
– Materiality and Display
– Politics and Domesticity
– Displacement and Homecoming
– Interplay of the Physical and Imaginary Home
– Homeland, Colonization, and Empire
– Defining and Transgressing Boundaries

Please fill out the form at by April 30, 2013. Address any questions to

The symposium is presented by the Graduate Group in Classics, Archaeology, and History of Art and will be held in honor of Barbara Miller Lane, Andrew W. Mellon Professor Emeritus of Humanities and Professor Emeritus of History. Kostis Kourelis, Assistant Professor of Art History at Franklin & Marshall College will give the keynote lecture and will act as respondent throughout the symposium.



Sense-Ability. Multi-Perceptual Encounters with Art .

UCLA, i.c.w. The Hammer Museum
Los Angeles: October 26, 2013
Graduate Symposium


Graduates students are cordially invited to participate in the 48th Annual UCLA Graduate Student Association Symposium, “Sense-Ability: Multi-Perceptual Encounters with Art,” to be held on Saturday, October 26, 2013, at the Hammer Museum.

This symposium brings together leading academics and emerging scholars to explore the role of sensing and the senses in creating, experiencing, and reflecting upon art and its history. “Sense-ability” refers to both the perceptive faculties and the capacity to achieve new levels of understanding. We encourage contributions addressing all time periods, geographic regions, and media from students working in and across various disciplines, including art history, anthropology, architectural studies, history, religious studies, musicology, and related fields.

Questions may include but are not limited to the following: How might encounters through touch, taste, smell, and hearing interact with visual experiences? How does sensory engagement with an artwork alter one’s relationship to the objects around it and how can that relationship change over time? In what ways do people participate with art and architecture bodily, spiritually, performatively, intimately, and intellectually? How do the senses affect one’s memory and knowledge of an object? How does technology affect the sensory experience?

For consideration, please submit an abstract of 300 words or fewer and a current CV by 5:00 p.m. on May 15, 2013. Send submissions and any questions to



Sustainable Art: Facing the Need for Regeneration, Responsibility & Relations  .

University of Wroclaw
Wroclaw: November 20-21, 2013


This conference offers an opportunity for scholars, Ph.D. students and artists to meet in Wroclaw and exchange ideas on the recently coined sustainable art – the ideas it brings, the horizons it expands and the troubles it causes. The notion of sustainable development has its roots in the “World Summit” conference in Rio de Janeiro in 1992. From then on, sustainable development has become a part of the global debate. There are three major grounds for discussing the ideas of sustainability: social, economic and ecological. In this context we want to ask about “sustainable art” – its condition and practices.

Can the concepts as various as non-productivity, environmental concerns, recycling, energy exchange, affective approach to history or  political sanations after the oppression of the colonizers constitute the new artistic practices under the banner of sustainability? Is sustainable art created both by Tino Seghal (who refuses the work its physical form) and Allora & Calzadilla (who draw attention to the geographic variability in Puerto Rico), Roman Ondak ( who levels the tension between the inside and outside of the national pavilion at the Venice Biennale), Pawel Althamer (who founded the garden and organizes tours for his neighbors), Marina Abramović (simply because of her presence) as well as  the designers of furniture made from trash?

Is sustainable art creating relational forms? And all this together is maybe a new utopia – a dream about the regeneration of mutual relations, non-violence and competition, taking the responsibility for the fate of the “others” and creating a brave new world? Is sustainable art  an idealistic project, an affective initiative or rather a hard necessity? Or perhaps, the idea of avoiding destruction can only lead to statements deprived of energy, inspiration, and anger, so important nowadays and in the past, also in the avant-garde art?  Or still, on the contrary, we can now better understand past, for instance, such essays as Maurice Maeterlinck’s Intelligence of flowers (1907) because we are keen readers of Bruno Latour and share his passion to “compose” a new world?

Since in the Polish language the word “sustainable” does not exist, in order to express its meaning we have to describe it intricately – as existing of something thanks to the support or maintenance. Due to the fact that we have to explain what sustainable exactly is, we  group together the artists and  the works that would never be found close to each other otherwise. Are these collectives the new challenging classifications expanding our horizons or mere global clichés erasing our specific tradition? What is lost in translation?

Sustainable art is already expressed by the entries in English and Spanish Wikipedia. Will we be able to add something to these entries, to go beyond mere admiration and cast a critical look at the new practices? Welcome to the discussion!

Conferences on contemporary art, with the participation of the art historians, anthropologists and artists have been organized at the Institute of Art History, University of Wroclaw since 2010.  Invariably, we have collaborated  with the BWA Awangarda gallery in Wroclaw and therefore our meeting is an important event featuring an exhibition and interviews with the participating artists.

From 2012, the co-organizer of the conferences is the Polish Institute of World Art Studies in Warsaw and with its support we took the initiative of publishing books. In the current year we are publishing Trickster Strategies in the Artists’ and Curatorial Practice.  

All conferences are also discussed in the online magazine called “Opposite“, which is under construction.


Please submit the proposals of your presentations with short abstracts at  by 30 June 2013.

You may choose from the following sections of debates:

  1. Social participation
  2. Dignity and egalitarianism
  3. Responsibility and moderation
  4. Regeneration and relations
  5. Integrity of the environment (local towards global)


Anna Markowska, Ph.D., Prof. of  University of  Wroclaw (
Magdalena Worłowska, M.A. (


Annual Art History Graduate Student Symposium .

Florida State University
Tallahassee: October 18-19, 2013
Graduate Symposium


The Art History faculty and graduate students of The Florida State University invite students working toward an MA or a PhD to submit abstracts of papers for presentation at the 31st Annual Art History Graduate Student Symposium. Magali Carrera, Chancellor Professor of Art History at the University of Massachusetts, Darthmouth, will give the keynote address.

Paper sessions will begin on Friday afternoon, October 18, and continue through Saturday, October 19, with each paper followed by critical discussion. Symposium papers may come from any area of the history of art and architecture. Papers will then be considered for inclusion in Athanor, a nationally-distributed journal published by the Department of Art History and the FSU College of Visual Arts, Theatre & Dance.

The deadline for receipt of abstracts (maximum 500 words) is August 1, 2013. Please include the title of the talk, graduate level, and whether the subject originated in thesis or dissertation research. Send the abstract by email to Dr. Lynn Jones:



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