Tag Archives: eastern europe

Call for Applications: Seminars on periodization in the history of art, New Europe College, Bucharest

New Europe College, Bucharest
Deadline: Nov 30, 2018

CALL FOR APPLICATIONS
for a series of three one-week seminars on periodization in the history of art to take place at the New Europe College-Institute for Advanced Study in BucharestA program supported by the Getty Foundation as part of its Connecting Art Histories initiative

We propose a series of three seminars of one-week duration each on periodization and related issues in the history of art, whose addressees are to be early-career art historians from East-Central Europe, and which would include a number of invited guest speakers, from this region, and outside it. Though a sense that the conventional periodizations are in need of revision can be detected earlier, a more pointed reflection on this topic can be noticed after the demise of communism and the dismantling of the colonial system. In the aftermath of the 1989 events in the countries of Central and Eastern Europe, a number of scholars felt the pressing need to reconsider the place of local art histories within the established narratives, and to reflect on how these local histories might fit within the Western canon, or to question its authority.

This series of seminars aims, on the one hand, to address questions that are (or so we deem) of interest to art historians in the countries of East-Central Europe in ways that would counter a piece-meal approach, mostly dictated by national borders, in favor of a more unified one, and would provide an opportunity to identify common concerns, and perhaps also case studies that could (or should) encourage cross-border collaboration. A broad framework for researching art historical narratives in the region on a comparative basis is still lacking. There is also limited cross-cultural knowledge at the level of curricula and teaching methodologies. In universities across the region Western Art is researched and taught mostly according to the established periodization and categories (the Middle Ages, Renaissance, Baroque, historical avant-gardes, contemporary art etc.). Should it, and could it be taught differently? There is less consensus regarding the same categories in Eastern and Central Europe, which is not a homogenous cultural entity. Can such a consensus be reached? In what ways would this prove productive?

STRUCTURE AND CONTENT
The Program will consist of a series of three one-week seminars with the participation of up to 20 early career scholars from East-Central Europe, up to 4 keynote/guest speakers, the Coordinator and the Consultants.
During each of the seminars we would expect about a third among the participants to present their work in progress on a case study, which would make for six-seven papers in all. Scholars presenting papers will be identified in advance (and their agreement to do so secured), and papers will be – whenever possible – circulated before the seminar among the participants, so as to make possible a productive, in-depth discussion.

Dates:
– First seminar: mid-May 2019;
– Second seminar: first half of November 2019;
– Third seminar: last week of May 2020

Guest speakers:
Zdenka BADOVINAC, curator and writer, since 1993 Director of the Museum of Modern Art in Ljubljana;

Mieke BAL, Professor of Theory of Literature and founding Director of the Amsterdam School for Cultural Analysis (ASCA), University of Amsterdam;

Patrick FLORES, Professor of Art Studies at the Department of Art Studies at the University of the Philippines, Curator of the Vargas Museum in Manila, and Adjunct Curator at the National Art Gallery, Singapore;

Andrea GIUNTA, Professor of Art History at the Universidad de Buenos Aires and former Chair in Latin American Art History and Criticism at UT Austin;

Krista KODRES, Professor at the Institute of Art History and Visual Culture of the Estonian Academy of Arts, Tallinn, and Head of the Doctoral Curriculum in Art History;

Saloni MATHUR, Professor, Modern and Contemporary South Asian Art, Department of Art History, UCLA;

Matthew RAMPLEY, Professor, Department of Art History, Curating and Visual Studies, Chair of Art History, University of Birmingham;

Miodrag ŠUVAKOVIĆ, Professor of Theory of Art and Theory of Culture at the Transdisciplinary Master and Doctoral Studies at the Faculty of Media and Communication, University of Arts in Belgrade;

Christopher WOOD, Professor and Chair, Department of German, New York University (Affiliated Faculty, Department of Comparative Literature and Institute of Fine Arts).

ELIGIBILITY
The program targets early-career art historians from Central and Eastern European countries. They should hold a PhD or be in a demonstrably advanced stage of work on the thesis and be citizens of one of the former socialist states in East-Central Europe or of the post-Soviet republics. Once selected, the applicants are expected to take part in the whole series of seminars.

Travel, accommodation and meals will be arranged and covered by the organizing institution.

HOW TO APPLY
Applications will be submitted in electronic format only, to the address:
applications@nec.ro

Candidates are asked to enter in the Subject field of their e-mail message “Periodizationseminar series”.

There is no application form for this program. More information regarding the documents that the application should contain can be found on the following webpage:

http://www.nec.ro/data/pdfs/public-events/2018/october/Call%20for%20applications%20(4).pdf

The deadline for the submission of applications is November 30.

The results of the selection process will be communicated by February 15

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Early Career Fellowship: School of Slavonic and East European Studies, London

Early Career Fellowship: School of Slavonic and East European Studies, London
University College London
Deadline: 31 January 2014

imgres-1The UCL School of Slavonic and East European Studies (SSEES) will be sponsoring applications for the Leverhulme Trust’s Early Career Fellowship competition in 2014. This is an excellent opportunity for early career researchers to access substantial and prestigious funding.

SSEES offers the largest UK concentration of research in the history, economics, politics, sociology, anthropology, culture, literature and languages of Central, East and South-East Europe and Russia. You can learn more about us on our web pages at: http://www.ssees.ucl.ac.uk/.

For matters pertaining to the proposed research field, please contact Professor Simon Dixon (Arts & Humanities) simon.dixon@ucl.ac.uk, or Professor Susan Morrissey (Social Sciences) s.morrissey@ucl.ac.uk in the first instance.

Guidelines for the Leverhulme’s ECF Scheme: http://www.leverhulme.ac.uk/funding/ECF/ECF.cfm

Call For Papers: Art on the Move in Eastern Europe and the Mediterranean

Call For Papers: Seminar Series, Art on the Move in Eastern Europe and the Mediterranean (2014-15)
Deadline: Jan 10, 2014

dsc0095_psdA Harvard University Research Seminar organized as part of the Getty Foundation’s Connecting Art Histories initiative, led by Alina Payne (Harvard University).

This research seminar zeroes in on rivers as the cultural infrastructure of the Mediterranean world in the early modern period, as carriers of people, things, and ideas tying geographies and cultures together. The king of such rivers was undoubtedly the Danube, running a parallel
course to the Mediterranean and cutting across Europe from West to East. Flowing into the Black Sea, it entered the system of communicating vessels of the Mediterranean—the old Roman mare nostrum itself, the Sea of Marmara, the Black Sea, and, the last ripple that separates and unites three continents, the Sea of Azov.

But the Danube was not alone in swelling the Mediterranean world with the cultures along its shores. The Sava, the Adige, the Neretva, the Pruth, the Dniester and Dnieper, and the Don (which flows into the Sea of Azov) etc. connect the “traditional” Mediterranean cultures—the
Italian, the Ottoman, the Greek/Byzantine, the French and Spanish—with the world of the Balkans and beyond. Starting from this perspective, this seminar seeks to develop a framework for understanding how the Balkans and its northern neighbors mediated between East and West, as well as the region’s contribution to the larger Mediterranean cultural melting pot in the early modern period.

The premises underlying this seminar are twofold: 1) that the contours of the Mediterranean Renaissance need to be re-drawn to include a larger territory that reflects this connectedness; and 2) that the eastern frontier of Europe extending from the Mediterranean deep into the
interior played a pivotal role in negotiating the dialogue between western Europe, Central Asia and Ottoman Turkey. On the cusp between cultures and religions, Balkan principalities, kingdoms, and fiefdoms came to embody hybridity, to act as a form of buffer or cultural “switching” system that assimilated, translated, and linked the cultures of near and Central Asia with those of Western Europe. Taking a trans-regional approach, this project aims to reconstruct the fluid ties that linked territories in a period in which hegemonies were short-lived and unstable, and in which contact nebulas generated artistic nebulas that challenge traditional historical categories of regional identities, East/West and center/periphery.

The seminar will run from spring of 2014 to summer of 2015 and will be guided by a distinguished group of scholars. Participants are invited to propose their own projects related to these themes on which they will work during this period. We seek contributions on building types (eg. carvanserais/ hans), infrastructure (bridges, fortifications and roads), domestic architecture (villas/palaces), religious and domed structures, etc., building practices, materials and artisans, on Kleinarchitektur and portable architectural objects. Proposals are also invited from participants working on spolia, on “minor” arts—cloth/silks, goldsmithry, sculpture, leather, gems and books—as well as on collecting and treasuries, that is, on artworks and luxury items that allowed ornamental forms and formal ideas to circulate and created a taste for a hybrid aesthetic, as well as on historiography.

The countries under consideration here are: Albania, Bulgaria, Croatia, Hungary, Moldova, Poland, Romania, Russia, Serbia, Slovenia, and Ukraine.

The seminar involves three stages: 1) a two-week “mobile” workshop traveling along the Dalmatian coast and using this region as case study of the issues, historiography and methodologies that this project seeks to foreground (May/June 2014); 2) a two and a half week stay at Harvard University (2 day workshop focusing on interim presentation of participants’ findings and 2 week library access in January/February 2015); and 3) a final conference (presentation of developed individual projects) and short trip to key sites on the Black Sea. On-going participation in the seminar will be based on the quality of scholarly contribution and on the level of engagement with the group.

Applicants should be post-doctoral scholars working in the Eastern European countries on which the project focuses (maximum 10 years from a doctoral degree; doctoral degree must be in hand at time of application). Travel expenses are covered. The seminar language is English: participants will need to demonstrate a strong command of the language to enable wide-ranging discussion with the other members of the seminar. Facility with languages of the region is an asset.

Applications must include: CV, personal statement, description of proposed project (500 words + one page bibliography), one published writing sample and three letters of reference are due no later than January 10, 2014. Finalists will be interviewed; participants will be notified by early
February.

Please send applications to the attention of Elizabeth Kassler-Taub, Department of History of Art and Architecture, Harvard University: ekassler@fas.harvard.edu