CFP: Modern Art Asia (grad e-journal; initial issue deadline 7 Sept)

From: Majella Munro, Editor (modernartasiaenquiries at yahoo dot co dot uk)

Modern Art Asia is a new journal dedicated to the arts of Asia from the eighteenth century to today, presenting postgraduate research from historical perspectives and international news on Asian art. Combining peer-reviewed articles with insightful commentary and the latest exhibiton reviews from international correspondents, Modern Art Asia provides a new forum for exchange between scholars that crosses the boundaries of traditional academic disciplines, and engages with a general readership through the addition of journalistic writing on art.

Modern Art Asia invites postgraduates working on the arts and material cultures of Asia from the eighteenth century to the present to submit previously unpublished papers of 4,500-10,000 words for publication. Modern Art Asia aims to take an interdisciplinary and innovative approach to the study of Asia, and will consider papers on media and experiments that stretch the parameters of "fine art". Our first issue will be published online during the last week of October, to coincide with Asian Art in London and Frieze; the submission deadline for this issue is September 7th. We are also seeking students and journalists interested in becoming regular correspondents or in submitting shorter journalistic pieces.

Word limits: Academic papers: 4,500-10,000 / Correspondence and opinion pieces: 500-1,000 words /
Exhibition, book, performance reviews: 500-800 words

Students submitting academic papers who wish to include image reproductions are responsible for obtaining these and necessary copyright permissions. Authors of successful submissions will be notified 4 -5 weeks ahead of publication. Copyright remains with the author and authors may re-publish papers with acknowledgement of Modern Art Asia as the original site of publication. Please include an abstract (250 words) with your submission.

Contact modernartasiaenquiries at yahoo dot co dot uk to submit articles and for further information.

Modern Art Asia
modernartasia.com
modernartasiaenquiries at yahoo dot co dot uk

CFP: Copy That!: Reproduction and Pedagogy/Graduate Student Symposium (30 Nov; 28 Mar; Princeton, New Jersey)

Copy That!: Reproduction and Pedagogy
Saturday, March 28, 2009
Keynote speaker: Amy Powell, Assistant Professor, Department of Art History, University of California, Irvine

Six years before Walter Benjamin wrote the first version of "Work of Art in the Age of its Technological Reproducibility," Erwin Panofsky published "Original und Faksimile Reproduktion," (Der Kreis, 1930), a letter addressing the possibilities and problems of using photographic reproductions and plaster casts as objects in museum exhibitions and as pedagogical tools. While both authors attended to questions of authenticity, simulacra, aesthetic experience, and function, Panofsky, unlike Benjamin, insisted that the reproduction could function autonomously as an aesthetic object independent of the original.

From Johann Winckelmann's famous refusal to travel to Greece and see original works of art to today's reliance on digital images and "virtual museums," art history is a discipline grounded in the study of reproductions. The W旦lfflin two-slide comparison has given way to the power point presentation, in which a lecture may shift among a seemingly infinite number of images, text, video, and websites. This time of shifting pedagogical paradigms within the discipline calls for an examination of the two trajectories mapped out by Benjamin and Panofsky and a re-assessment of the possibilities and limitations of learning from reproduction.

With these ideas in mind, this conference seeks to explore the intersection of the discipline of art history, pedagogy, and reproduction. How have different historical understandings of pedagogy shaped the relationship between the copy and the original, reshaped technologies of copying, and changed the reception of the copy?

Topics could include but are not limited to:
-artistic workshop practice (medieval model books, Renaissance drawing books, Japanese master-pupil, "the Factory")
-dissemination and changing conceptions of original artworks through the mediums of printmaking and photography
-the birth of the artists' monograph
-the copy and the lost original
-copy, deception, piracy
-appropriation art and its aftereffects
-the intersection of aesthetic experience and learning
-artistic practices and copy (drawing from plaster casts, painting from photographs)
-the relationship between technology and pedagogical models
-changing concepts of authenticity
-uses of image archives

Submissions from all areas of art history as well as related disciplines are welcome. Email abstract and CV in the body of an email to Caroline Fowler and Amanda Bock at gradsymp at princeton.edu by November 30, 2008. Abstracts should not exceed 300 words and final papers should not exceed 20 minutes in length. Selected speakers will be notified by December 20, 2008.

Email: gradsymp at princeton.edu

Program: Summer Program on Japanese Visual Culture in Tokyo (16 Feb; 18 May-29 June)

For the sixth consecutive year, an exciting six-week Summer Program on Japanese Visual Culture will take place at the Tokyo Campus of Temple University Japan (TUJ), May 18 – June 29, 2009 (tentative dates). This program consists of two coordinated courses: the first focuses on approaches to studying the richness and complexity of visual culture in Japan; the second allows students to develop modest visual projects (digital still, video or web) on selective topics immediately relevant to visual culture. Instruction is in English. All course work will be supplemented with an active program of cultural events, trips and lectures in and around Tokyo. Students live in Temple dormitories alongside Japanese students studying English at TUJ. This program grants course credits to both undergraduate and graduate students.

For additional information, details, and application forms see:
http://www.temple.edu/studyabroad/programs/summer/japan/visual-anthro.html

Application deadline: February 16, 2009.

R. Chalfen and L. Powell

"China Vision" (publication; 1 Oct)

It's a bit late but if you already have something pretty much ready to go....

--
GLIMPSE explores the variety of aspects of visual perception by publishing relevant works from the physical sciences, social sciences, arts, and humanities. GLIMPSE examines the functions and processes of vision and its implications for being, knowing, and constructing our world/s. Each theme-focused journal issue features articles and essays, artists' visual essays, interviews, and reviews.
GLIMPSE invites submissions for upcoming themed issues. Since we strive to spark inquiry and dialogue across disciplines, and across academic and non-academic audiences alike, it is important that our articles avoid jargon and be accessible to readers from diverse backgrounds. Stylistically, we are more like a magazine than an academic journal, however, in depth of content, we value conceptual precision and rigor.

SUBMISSIONS http://www.glimpsejournal.com/contribute.html

Deadlines: China Vision --------- 01 October 2008
Vision and Language -- 15 December 2008
Visions -------------- 15 December 2008
Cosmos --------------- 01 March 2009
Blindness ------------ 01 March 2009

Editor
Glimpse Journal
PO Box 382178
Cambridge, MA 02238-2178
Email: editor at glimpsejournal.com"
Visit the website at http://www.glimpsejournal.com

CFP: Imag(in)ing Asia and the Pacific: Emerging Visualities and Art Perspectives (1 Dec; 20-21 Feb; Ithaca, NY)

Imag(in)ing Asia and the Pacific: Emerging Visualities and Art Perspectives
Department of the History of Art and Visual Studies Annual Graduate Symposium
Cornell University

The symposium addresses the 20th century processes of decolonization, modernization, and nation-building that characterized the regions of Asia and the Pacific. These structures are revisited in the 21st century in the wake of globalization, and art practice in recent years has sought to address these questions, variously embracing or resisting their assumptions, politicizing their implications, or challenging discourse around such formulations. Not only are the cities of Asia and the Pacific growing, but have also become major centers of art, with mega-exhibitions and biennales that crucially forge regional identities and affinities. The symposium aims to explore these emerging visualities in the light of the complex, and changing socio-political and economic issues that affect countries, peoples, institutions and practice in the region.
Keynote speaker to be announced.

We encourage submissions that focus on visuality, however, and can be from a range of disciplines, including but not limited to Asian Studies, Pacific Studies, History of Art, History, Visual Studies, Anthropology, Sociology, Studio Art, Architecture, Literature, Theatre, Film, and Dance.

Of the many possible engagements with our theme, some include, but are not limited to:

* Classifications, geographies and identities - Possibilities of "Asian" and/or "Pacific" art: art and the archive (Hong Kong), and the museum (Fukuoka, Wellington, etc.).
* Forging regional "cultural" alliances: Inter-Asia theatre, Asia Pacific Triennale, Pacific Arts Festival, etc.
* Art and the city - cities as sites, cities as centers. Global cities and new urbanities (e.g. Shanghai, Mumbai, Auckland, Sydney, etc.) Cities as sites of public art. Exhibitions such as
Cities on the Move, Paradise Now?,, etc. Biennales such as Singapore, Gwangju, Sydney and new biennales and triennals being planned.
* Traditional Practices, New Media, and Art against the grain. Negotiation of tradition and technology in practice. Space for national heritage and culture and emerging alternative spaces/media for art.
* Economies of Art: The movement of art from the region across the global art market and the recent booms. The role of museums, galleries and auction houses.

Please submit abstracts of no more than 500 words for all proposals, along with brief biographical information and special equipment requests if necessary. Submissions should be sent electronically to the organizers.

Bernida Webb-Binder and Brinda Kumar, Conference Organizers
Cornell University
Visit the website at http://www.arts.cornell.edu/histart/symposium.html

CFP: "T'ang Studies: The Next Twenty-five Years" (1 Nov; 8-9 May; Albany, NY)

The T‘ang Studies Society and the University at Albany will co-sponsor an international conference on T‘ang Studies: The Next Twenty-five Years to mark the twenty-fifth anniversary of the Society’s founding.

The conference will be held at the University’s campus in Albany, NY May 8-9, 2009. The goal of the conference is to assess the current state of T‘ang studies and to encourage new avenues of research and collaboration among scholars of medieval China. The Society is therefore soliciting paper proposals concerning the following themes: (1) T‘ang China and the World;
(2) Historical Transitions and the T‘ang (both from Six Dynasties to T‘ang and from T‘ang to Sung); (3) Religion in the T‘ang; (4) T‘ang Literature; (5) T‘ang China in Intellectual History; (6) T‘ang material culture (including archaeology, art history, history of science, and technology). Paper proposals should contain the author’s name, institutional affiliation, address, and a 250 word abstract of the paper.

Please send proposals to the chair of the organizing committee: Anthony DeBlasi, Department of East Asian Studies, Humanities 210, University at Albany, 1400 Washington Avenue, Albany, NY 12222 or deblasi_ _albany.edu by November 1, 2008. The committee also welcomes proposals for complete panels, with abstracts for each paper. Limited funding is available to cover some of the costs for scholars presenting papers. Please note: one must be a member of (or join) the Tang Studies Society to deliver a paper at the conference. Non-members are welcome to register for and attend the conference. For more information about proposals, membership, and conference registration visit the Society’s website at http://www.tangstudies.org.

Anthony DeBlasi
Department of East Asian Studies
Humanities 210
University at Albany
1400 Washington Avenue
Albany, NY 12222
(518) 442-5316
Email: deblasi_ _albany.edu
Visit the website at http://www.tangstudies.org

CFP: "Rethinking Visual Narratives from Asia: Intercultural and Comparative Perspectives" (5 Sept; 8-9 June; Hong Kong)

The Department of Fine Arts at the University of Hong Kong will host an nternational conference on Rethinking Visual Narratives from 8-9 June 2009. The conference will bring together approximately fifteen scholars presenting new and original research to discuss how visual narratives function in different cultures and exploring connections and interactions between the arts of Asia and that of Asia and the West. The papers and discussion will consolidate academic understanding of visual narrative theories and augment them through analysis of their potential as a tool for exploring inter-cultural interactions and questioning cross-cultural assumptions. The focus will be on the visual with a cross-cultural dimension and dating to any time period within a broadly defined art historical discipline and material culture studies.

Possible panel topics include, but are not limited to –
The place of narrative: architecture and the disposition of imagery Theories of narration
Word and image: illustration and interpretation
Printed texts and images: semiotic dialogue
The social embeddedness of narrative
Narratology
The role of non-narrative or anti-narrative elements in imagery

Papers will be hosted on the conference website by the end of April 2009. It is expected that a conference proceedings will be published.

Abstracts due on 5 September 2008 by email to -

Dr. Alexandra Green
Research Assistant Professor
Department of Fine Arts, University of Hong Kong
Email: greenar_ _hkucc.hku.hk

@UIUC: Women Out/In Japan: Photos from the 9 April Performance

Here are some pics from the performance on Monday for those of you who made it and those who weren't able to. It was quite the experience and led to a great discussion afterward.

@UIUC: Women Out/In Japan: Performance and Roundtable Discussion

Don't miss this exciting event here on campus!

Feminist performance artist Tari Ito and jazz musician SwingMasa will perform "Rubber Tit" in the Heritage Room at ACES Library (the octagonal building on the south quad) on Monday 9 April at 4:00. The performance will be followed by Q&A with the performers and then a roundtable discussion on female genders and sexualities in Japan with the performers as well as Elise Edwards of Butler University, our own Karen Kelsy (Head, EALC) and James Welker (PhD student, EALC).

Graduate students wishing to join Tari-san and Masa-san for lunch on Monday should contact James.



SwingMasa’s Reflections on Her Performance:

What it means to be “me” and the message of my jazz music, “Don’t Kill”:
My performance is for the recovery of “myself,” the me that is shrinking in this era of backlash and the rise of conservatism.

Tari Ito’s Reflections on Her Performance:

In the course of my daily life in Tokyo, I must face both the entrenched sexism and compulsory heterosexuality of this society. Even as I act with the hope of contributing to the visibility of lesbians, ultimately I cannot escape the feeling that I am being ignored. So—positively and with a big heart—I choose to toy with a giant rubber tit. I choose to pursue my sexual fantasies to my heart’s content. I chose the tit—a part of the body possessing a dangerous universality—with a consciousness of tits being something everyone is able to express strong feelings about, of tits being very political.

CFP: Japanese Art 1950-1975: Graduate Workshop at UCLA (17 Nov; 27-8 Apr; UCLA)

Japanese Art 1950-1975: Graduate Workshop at UCLA
Co-organized by PoNJA-GenKon and UCLA Center for Japanese Studies

The Center for Japanese Studies is pleased to announce a
graduate workshop, "Japanese Art 1950-1975," to be held
at UCLA on Sunday, April 29, 2007. This workshop is organized
in connection with a postwar Japanese art conference at the
Getty Research Institute (GRI) on April 27-28, 2007, presented
in collaboration with PoNJA-GenKon and organized in conjunction
with the GRI's exhibition, "Art, Anti-Art, Non-Art:
Experimentations in the Public Sphere in Postwar Japan,
1950-1970," curated by Charles Merewether (March 6-June 3, 2007).
While the conference at the Getty will focus on the work of more
established scholars and artists, UCLA has set up a half-day
workshop that will follow the GRI symposium and feature research
papers by current graduate students. The workshop will be moderated
by presenters from the GRI conference. The graduate workshop is
being organized at UCLA by Mika Yoshitake (Ph.D. candidate, Art
History), in coordination with Reiko Tomii, independent scholar
and co-founder of PoNJA-GenKon.

This workshop is generously sponsored by the UCLA Center
for Japanese Studies.

**PoNJA-GenKon
In April 2003, the PoNJA-GenKon (Post-1945 Japanese Art Discussion
Group / Gendai Bijutsu Kondankai) listserv was established by Reiko
Tomii and Miwako Tezuka to bring together specialists and
professionals of the English-speaking world working on or interested
in Japanese art made since 1945. In addition to disseminating
information pertaining to the study of post-1945 Japanese art,
PoNJA-GenKon also hosts active debate around issues addressing both
specifically postwar Japanese art and Japanese modernity in general.

In April 2005, in order to expand this debate beyond cyberspace,
PoNJA-GenKon co-organized its first symposium with the Council on
East Asian Studies at Yale University. The conference co-organized
with the GRI and the graduate workshop co-organized with the Center
for Japanese Studies at UCLA extend this effort and celebrates the
fourth anniversary of its founding.

**Call for Papers
PoNJA-GenKon is currently seeking paper proposals for the Graduate
Workshop at UCLA. In principle, topics are open.

Proposed papers should be based on original and critical research
into any topic within the following parameters:

1) the paper must address the work of art and related media
produced between 1950 and 1975
2) the artist(s) must have been either born in Japan or active
in Japan
3) the work must demonstrably relate to aesthetic or socio-
political situations in Japan after 1945.

Submission is open to graduate students only. We welcome submissions
from multiple disciplines, including art history, film, visual
studies, architecture, design/media, theatre, comparative literature,
East Asian studies, Japanese studies, etc. All presentations will be
limited to twenty minutes in length and may be accompanied by visual
presentations using PowerPoint or equivalent technologies. Domestic
economy travel will be covered within reason and international
economy travel will be partially subsidized. Local accommodations in
Los Angeles will be provided for all presenters.

**Submission Guidelines
Paper proposals should be submitted no later than Friday, November
17, 2006 and must include the following:

1) An abstract not exceeding 300 words in length
2) A Curriculum Vitae of no more than two pages in length and
including full contact information

The above materials should be sent, in Word or compatible formats, to
Mika Yoshitake at myoshita@humnet.ucla.edu.

Applicants will be notified of their acceptance or rejection by
mid-December.

**Contacts
For further information regarding the graduate workshop at UCLA,
please contact Mika Yoshitake at myoshita@humnet.ucla.edu.

For more information on the listserv and to become a member of
PoNJA-GenKon, please direct inquires to Reiko Tomii
at Post1945JA@aol.com.