Tag Archives: Visual Culture

Reminder: CFP – Shift: Graduate Journal of Visual and Material Culture

We would like to take this opportunity to remind everyone of an open call for submissions to the fourth issue of Shift, set to be launched 01 October 2011. Shift welcomes academic papers, as well as exhibition and book reviews, dealing with visual and material culture from graduate students in any discipline in the humanities. Papers may address a full range of topics and historical periods.

All manuscripts should be sent by email to editors@shiftjournal.org by 01 April 2011.

For further details and submission guidelines please see the journal website at http://www.shiftjournal.org/callforpapers.htm.


Veronica Carter and Steve Marti
Co-editors
Shift: Graduate Journal of Visual and Material Culture

CFP: Photography, Gender, & the Politics of Representation (Princeton, Due 3/1)

BEND!

An Interdisciplinary Symposium
Princeton University, April 22-23, 2011

Keynote Speaker: Professor George Baker, Department of Art History, UCLA

The past decade has witnessed widespread institutional and scholarly efforts to historicize the relation between art and feminism, and between art and identity politics. These efforts unfold in a present that is often characterized as “post-gender” and/or “post-racial.” Just as categories of identity seem to lose traction in cultural discourse, so boundaries between artistic media become unfixed. Yet photographic representation is increasingly pervasive, and increasingly bound to the performance of subjectivity.
This symposium aims to consider the interrelated production of gender and photography, along with their dissolution as stable categories of inquiry. An interrogation of photography today requires looking within as well as beyond the boundaries of traditional art-historical frameworks. It compels us to account for the political and social dimensions in which photography participates, and demands that we re-consider the mise-en-scène of photography’s production as art.
How has the evolution of photography—from b/w to color, from analogue to digital, from mass media to social media—served to articulate or blur aesthetic and subjective differences? What politics of representation emerge when the individual can be both agent and object of photographic voyeurism, exhibitionism, and surveillance? Might photography’s expanded field offer the potential for reshaping feminist politics today?
We invite participants to explore historical, existing and possible relationships between photography and the (re)production of gender, from the perspectives of visual culture, philosophy, (art) history, and art practice. Papers might consider photography in relation to:
gender bending – histories and politics of sexuality – performance and/or portraiture – the construction of masculinity – women artists – representations of gender, race, and class – advocacy, activism, and political practice – feminist politics, ethics, and aesthetics – medical and biological discourses – capitalism, terrorism, and war

We welcome submissions from graduate students and emerging scholars in all fields and disciplines. Please submit a CV and 300-word abstract for a 20-minute paper by March 1, 2011 to Frances Jacobus-Parker, Elena Peregrina-Salvador, and Mareike Stoll at princetonphotography2011@gmail.com.

Call for Papers: Graduate Journal of Visual and Material Culture (Due 4/1)

Please see below for a message from the co-editors of Shift, a graduate journal dedicated to visual and material culture.


We would like to take this opportunity to remind everyone of an open call for submissions to the fourth issue of Shift, set to be launched 01 October 2011. Shift welcomes academic papers, as well as exhibition and book reviews, dealing with visual and material culture from graduate students in any discipline in the humanities. Papers may address a full range of topics and historical periods.

All manuscripts should be sent by email to editors@shiftjournal.org by 01 April 2011. For further details and submission guidelines please see the attached call for papers or the journal website at http://www.shiftjournal.org/callforpapers.htm.



Veronica Carter and Steve Marti
Co-editors
Shift: Graduate Journal of Visual and Material Culture

Wojnarowicz Screening & Panel, Co-Organized by Draper Student: Feb. 1

(David Wojnarowicz Photographed by Peter Hujar)

Draper student Emily Colucci has co-organized an upcoming event with Performance Studies, which will include a screening of David Wojnarowicz’s film “A Fire in My Belly” and a panel discussion. Draper students are invited to attend the event and the following reception. More details are below.

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Performance Studies Lecture Series in conjunction with the Draper Program Presents

A Fire in Our Belly: Film Screening and Panel Discussion

Tuesday February 1st, 7-9pm

721 Broadway, 6th Floor, Room 612 With Marvin Taylor, Thomas Crow, Karen Finley and Leon Hilton

Artist David Wojnarowicz’s archives are housed at Fales Library and Special Collections on the third floor of Bobst Library at NYU, and the film ‘A Fire in My Belly,’ an edited version of which the National Portrait Gallery removed from its exhibition ‘Hide/Seek: Difference and Desire in American Portraiture,’ was on loan from Fales.

This event brings together members of the NYU community to address the myriad and ongoing issues raised by the censoring of this important work.

Reception to follow

Please visit our Facebook event listing to RSVP:

http://www.facebook.com/#!/event.php?eid=183963461625645

Call for Papers: Producing History through Mad Men (Invisible Culture E-Journal, U Rochester)

CALL FOR PAPERS
Please distribute widely

“Where Do You Want Me to Start?” Producing History through Mad Men
Guest Editors: Amanda Graham and Erin Leary

The television network AMC’s historical drama Mad Men, set in 1960-64, premiered in 2007. While the program was slowly accepted by audiences, at least as slowly as its methodical narrative structures, it clearly struck a chord among a cross-generational body of viewers, tripling in size from the first season. In order to engage with the show more fully, fans paraded in Mad Men-inspired costumes during Banana Republic-sponsored events in 2009 and 2010 in Times Square, “Mad Men-ed” themselves online, participated in the series’ Facebook page or the network’s online portals, downloaded period music, or simply watched each episode. The show is a pervasive cultural force within the media landscape, but why does this program—which is situated several decades in the past—have such saliency today? How and why do viewers relate to these characters? How does Mad Men impact our understanding of current socio-cultural environment? How does our contemporary cultural landscape inform how we read Mad Men?


When Mad Men entered into American living rooms, viewers’ lives were characterized by prosperity. One year later, in 2008, America’s nightmares were realized: widespread bankruptcy and home foreclosures occurred, unidentifiable villains and incomprehensible wars became the norm, rhetorics of socialism and communism were brandished by various political factions, racial tensions resurfaced, and technological angst became a part of citizens’ everyday realities and prompted them to question the American dream. These anxieties mirror those of the postwar era in which Mad Men is set and traverse the spacio-temporal boundaries demarcating one period from the other.

Simultaneously, Mad Men asks the viewer to question social progress. When Don Draper and his family leave trash from a family picnic on park grounds, viewers may feel momentarily superior. When Peggy Olson is embarrassed to declare her pregnancy in the workplace, viewers could experience a sense of self-congratulatory modernity. Yet, self-reflective viewers are as likely to wonder if much has actually changed. Highlighting these disjunctures and the functions of history encourages viewers to realize the wisdom of Don’s assertion that, “Change isn’t good or bad. It just happens.”

Why are fans so obsessed with Mad Men? Why this particular show? What does it mean to want to live in Mad Men or be in Mad Men? Do the parallels between the nineteen-sixties (as interpreted by Mad Men) and the events of our contemporary moment serve to enhance our understandings of either era? Does the show’s depiction of the postwar period function as a site of nostalgia by virtue of its status as a present-day consumer product? Or does it perform the productive functions of the outmoded? Are these categories fruitful modes of analysis? How do they position this particular object for a multi-generational audience?


Possible avenues for evaluation include, but are not limited to:


Narration
Considering the literary content of Mad Men—books, poems, etc. featured in conjunction with character development;
The symbolism in the music of Mad Men;
Influences of Hitchcock and the imagery of the falling man;
Relationships to other television programs, films, art works, and political events in our contemporary media/culturalscape

Consumption
Parallels in the relationships between the modern subject and consumption; baby boom, postwar affluence – industry related to death of industry economy – outsourced labor?
Design, broadly encompassed to include architecture, fashion, interiors, graphic design;
Product placement, historical and contemporary;
Advertising analysis;
Environmentalism;
Viewer reception;
Technology (as reflected in the show, and as a mechanism for the show’s distribution)

Identity
Political consciousness and sexual awakening/promiscuity (male/female, gay/straight, pre/extra-marital);
Playing Yourself: Alter egos and virtuality;
class passing narratives;
The representation of homosexuality on screen and historically;
Motherhood; fatherhood
Infertility and class;
Questions of nationalism;
Character/actor “metatext” crossover to other shows/news

We solicit articles from a wide array of disciplines, including communication studies and anthropology, film and media studies, women’s studies, literary criticism, music theory and history, as well as critical race studies and cultural studies generally defined.

Please send inquiries and completed papers (MLA style) of between 2,500 and 5,000 words to Amanda Graham (agraham9[at]mail[dot]rochester[dot]edu) and Erin Leary (eleary2[at]mail[dot]rochester[dot]edu) by March 1, 2011.

Invisible Culture is also currently seeking submissions for book and exhibition reviews (600-1000 words). To submit book or exhibition review proposals, please email ivcbookreviews[at]gmail[dot]com. For a list of reviewable titles, see: http://www.rochester.edu/in_visibile_culture/Reviews/review_copies.html.

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Invisible Culture: An Electronic Journal for Visual Culture is a peer-reviewed journal dedicated to explorations of the material and political dimensions of cultural practices: the means by which cultural objects and communities are produced, the historical contexts in which they emerge, and the regimes of knowledge or modes of social interaction to which they contribute.
http://www.rochester.edu/in_visible_culture/