CFP: so many feminist panels at CAA!

10 07 2018

College Art Association annual conference, in New York, February 13-16, 2019, invites papers to be proposed for the following feminist topics:

Hot And Bothered: Tackling Sexual Harassment and Assault in
Higher Education
The Feminist Art Project
Chair: Anonda Bell
Chair: Connie Tell – The Feminist Art Project
Email: anondabell@hotmail.com, ctell@cwah.rutgers.edu
Attending or working in a place of higher learning comes with
inherent dangers – 40% of female identified faculty and 30% of
female identified staff experience sexual harassment, and one in
five women are assaulted while attending college. How have artists,
feminist scholars, and academics responded to this phenomenon?
The Feminist Art Project seeks a wide array of proposals with
possible topics to include: artists’ strategies for effective response;
how gender stereotypes and representation fuel the phenomenon;
how feminists can challenge and change a culture which
normalizes harassment and toxic “rape culture”; the physiological
effects of harassment; formal reporting strategies – does the system
work; backlash and repercussions in the academy. Proposals with
images are preferred for this panel.

 

Contested Site: the Female Body in Contemporary Art
Chair: Katya Grokhovsky
Email: katyagrokhovsky@gmail.com
Historically, the female body has been consistently depicted
through the lenz of the male gaze and patriarchal heteronormative
desire. In the era of “me too”, “time’s up” and “not surprised”, the
female body must no longer be divested of it’s agency through art.
However, how do we approach the subject, which has populated
art history for centuries, without full censorship and the worldwide
closing of the encyclopedic museums? How do we move forward?
The current climate raises issues of policing of creative cultural
output, bringing fourth crucial ideas and debate. Has it become an
untouchable subject? Can only women depict women? Should we
now paint, photograph and sculpt nude objectified passive men for
the next 100 years in order to correct the balance? Four speakers,
including artists and curators, will discuss their relationship to the
female body in contemporary art practice, through presentation
of challenging and critical thought and dialogue. The goal of this
panel is to define challenges and future trajectory of contemporary
art practice, as it pertains to the subject matter of the female body.

 

Feminist Matters, 1968 and Beyond
Committee on Women in the Arts
Chair: Sampada Aranke – San Francisco Art Institute
Email: sarank@saic.edu
This year marks the 50th anniversary of the year 1968, best
known adoringly as the “year of global insurrection” by
historians, activists, and students of the decade. This year, also
not-coincedentally, was transformational in the art world as artists
reconceptualized what it meant to make work, what counted as
work, and what the limits of object-making meant for artwork.
Lucy Lippard and John Chandler famously encapsulated these
considerations in their 1968 invocation of art’s dematerialization.
At the same time, Lippard and other Art Workers doubled
down on the deeply material labor of artistic practice, calling
for equitable work conditions, meaningful wages, and access to
resources and recognition from major cultural institutions. These
kinds of practices were of course national and global in scope, as
artists demanded political, economic, and representational power
within cultural storehouses, while also producing work that shifted
the conceptual, material, and affective language of art-making
in the 20th century. How might we think about this tension
between the material and im/dematerial as an ongoing feminist
aesthetic concern? In what ways does the commitment to valuing
artistic labor while at once producing work that challenged, if not
eviscerated the idea of value itself point us to a site of feminist
potential? How do these various histories embody, anticipate, and
even foreclose contemporary feminist praxes? This panel aims to
account for a feminist politics of aesthetics in 1968’s wake in order
to account for all its contemporary intersectional, conceptual,
material, and political possibilities.

 

‘Her Public Voice’: Teen Girls and Young Women in Ancient
Contexts
Chair: Barbara Mendoza – Santa Monica College
Email: mendoza_barbara27@smc.edu
Revealing a person’s public voice in the ancient world is a largely
uninvestigated topic. Often the study of women in art focuses
on the representation of royal women or female deities; yet
undoubtedly teen girls and young women existed and had a voice.
Prior research on ‘children’ or ‘female sexuality’ in the art of the
ancient world has already been discussed, but what of teen girls
and/or young women do we know? Or can they tell us? What
extant images do we have of them? What can these images tell
us of their political, religious or public persona? For example,
non-elite girls in ancient Egypt are sometimes represented in
entertainment scenes of tomb paintings, either as dancing girls or
servant girls. These are by far not the only contexts they appear
in or appeared. Girls and young women played a large part in the
advancement of skills and culture, such as making objects for their
own use, playing a role in a deity’s cult, and the like. This panel
seeks to explore the public voice of teen girls in ancient art, in
form, content and context, as a critical approach to understanding
their image in ancient art and culture. Scholars whose research
focuses on pre-teen and/or teen girls, or young women from the
ancient world (the ancient Near East, Europe, Asia, Africa and
the Americas) that can give these girls and young women a public
voice are encouraged to submit proposals to this panel.

 

Maternal Subjectivity in Contemporary Art
Chair: Robert R. Shane – The College of Saint Rose
Chair: Susan A. Van Scoy – St. Joseph’s College
Email: rrshane@yahoo.com, svanscoy@sjcny.edu
In recent decades, theorists from Julia Kristeva to Alison Stone
have been forging new discourses on maternal subjectivity.
Challenging the relegation of mothers to mere objects of infantile
desire and their subordination in patriarchal society, theories
of maternal subjectivity bear witness to mothers’ own agency,
autonomy, and desire and, in Stone’s words, “regenerate new
meanings adapted to one’s own situation and history.” Parallel
to these developments in theory, contemporary artists—such as
Mary Kelly, Renée Cox, Susana Guerrero, Kasey Jones, Megan
Wynne, and Carmen Winant, among others—have addressed
the intersections between maternal subjectivity, the corporeal
experience of maternity, and social constructions of motherhood.
These artists critically engage with traditional tropes of
maternity—as in Catherine Opie’s Self-Portrait/Nursing, which
invokes Renaissance images of the Madonna—or create new
visions—as in Ming Smith’s Self-Portrait with Mingus showing
herself simultaneously as a nursing mother and professional artist.
This session welcomes submissions of papers that investigate the
construction of maternal subjectivity in the work of contemporary
artists who address pregnancy, natality, breastfeeding, maternal
eroticism, the maternal body, maternity and shame/empowerment,
or other facets of maternity. Submissions employing intersectional
feminist approaches are encouraged.

 

Power, Resistance, and Gender Issues in the Arts of Women
Coalition of Women in the Arts Organization (CWAO)
Chair: Kyra Belan – Broward College
Email: kyrabelan2013@gmail.com
This panel, titled Power, Resistance, and Gender Issues in the Arts
of Women, will examine and explain the involvement of women
artists with social issues, gender, political, resistance, or protest
arts. The experience of women in the arts is unique in our society
because of their gender, and presents special and unique challenges
within our social establishment. Women, therefore, analyze and
examine the issues that they feel are relevant, and may also have
concerns with racial, ecological, political and other social problems
that take place in the US and world wide today. This frequently
leads them into experimentation with the new media, new
technologies, conceptual, collaborative, interactive, and other art
forms that may or may not be yet a part of the art establishment’s
traditions. Because of the feminist point of view, these artworks
may break new grounds and redirect the future of the artistic
sensibilities and productions.

 

Queen: Centering the Black Woman as the Subject of Beauty
Chair: Sarah A. Clunis
Email: saclunis@xula.edu
In art history’s multiple manifestations the Black woman’s body
continues to be a figure of political agency that in the process
of her representation embodies often paradoxical attributes.
Often signified as sexualized or asexual, fetishized or peripheral,
aggressive or subservient the representation of Black women,
on a global level, encompasses a myriad of attributes. But basic
beauty issues of hair texture, skin shade, and body shape often
designate Black beauty ideals in a way that is increasingly enforced
in depictions of the Black female body. Queen: Centering the
Black Woman as the Subject of Beauty explores various global
and historical portrayals of Black women in the arts with
particular emphasis on works that center the Black woman as
beautiful. The session will explore how Black women’s beauty has
been celebrated through a variety of art forms and the relevant
visual culture both traditional and contemporary that works to
transform the Black woman from either a neglected or demarcated
body into a body that exists within the realm of the beautiful.
Negotiations of hair texture, skin color and body shape along with
considerations of gender expression, sexuality, age, and disabilities
are all possible aspects of this conversation. How are these
considerations evident in art history and how do they act as agents
of social control, within a greater network of images prescribing
beauty, that regulate our discussions of visual arts, performance,
and popular culture and how these genres focus on formal as well
as conceptual concerns relative to this subject matter?

 

Speculative Feminist Futures
Chair: Margaret Hart – University of Massachusetts Boston
Chair: Rachel Epp Buller – Bethel College
Email: margaret.hart@umb.edu, rachel@ddtr.net
Feminist speculative fiction raises a timely and pertinent question:
how can we do things differently? Writers imagine societies that
include parthenogenesis, ambisexuality, co-mothering, and other
models that overturn heteronormative conventions, imagining
that seems especially relevant and even necessary in our current
political and social climate. While science fiction is a well-known
literary genre, however, artists whose work is informed by
similar speculation have received less attention. This panel seeks
presentations by artists, historians, and theorists whose art and
writing take as foundational the speculative modes employed by
feminist science fiction writers. How do artists explore the possible
relationship between feminist science fiction, new technologies
and a contemporary feminist consciousness? What strategies have
artists and writers used to suggest or create new visions for culture
and society? What is the relationship between speculative fiction
and the emergence of posthumanism? How do artists re-imagine
human and more-than-human relations? We welcome all manner
of creative and scholarly proposals. Let us imagine together.

 

Teaching Art History in the Wake of #MeToo
Chair: Cynthia S. Colburn – Pepperdine University
Chair: Ella Julian Gonzalez
Email: cynthia.colburn@pepperdine.edu,
ella.gonzalez@pepperdine.edu
College art history classes are often the first time students have
exposure to a vast array of visual cultures through space and time.
The canon of art historical works often covered in these classes
is well trodden by professors, and includes many works that
depict acts of violence against women including rape, abduction,
and murder. The impressive formal qualities of such works are
often highlighted in textbooks, and presumably by extension in
some classrooms, often at the expense of in-depth discussion of
the content and context of such works. This may have the effect
of normalizing acts of violence against women in the eyes of our
students, violence that, through the lens of art history, is seen to be
global and span millennia. In the wake of the #MeToo movement
with so many women coming forward about their experiences with
sexual harassment and assault, it is crucial to reassess the way we
teach and write about the art historically important works that
portray violence against women and examine the role the discipline
of art history may play in current social movements.
This session welcomes papers from art historians who have been
grappling with these issues in their writing and classrooms and
have found ways to give voice to the women depicted in such
works and open up the discussion of assault against women in
these images in a meaningful way that empowers students.

 

The Female Impact. Women and the Art Market in the Early
Modern Era.
Historians of Netherlandish Art
Chair: Judith Noorman
Chair: Frans Grijzenhout
Email: j.f.j.noorman@uva.nl, f.grijzenhout@uva.nl
Gender studies in art history tend to focus on the role of the
woman artist, on the representation of the female body, and
the gendered reception of art, contemporary and historical. In
this session, however, a different perspective is taken: what was
the role of women in commissioning, buying and displaying
art and architecture in the early modern era, particularly in the
Netherlands? Was it always their husband, father, brother, or even
son, who had a final say in the design of exterior and interior
decoration, the selection of artists and subjects represented in
commissioned works of art?
This question is reasonably well explored in studies on early
modern royal and princely mecenate, particularly unmarried
or widowed princesses, like Amalia van Solms and Elisabeth
of Bohemia. The same goes for that special branch of cultural
production that is usually connected to the female sex: the
luxurious dolls house, as owned by affluent women like Petronella
Oortman. However, despite the fact that women from the urban
middle class in the Northern and Southern Netherlands in this age
are known to have been relatively independent and well cultured,
we know very little about their position within the wider field of
artistic production. Why not take a serious look at the commercial
activities of Hendrickje who ran an art shop with
Rembrandt’s son?
We invite anyone working on the female impact on the artistic
climate in the Early Modern era to contribute to this session, either
by presenting a spoken contribution or poster.

 

The Intersectionality of Art, Feminism, Postcolonialism,
and Sovereignty
Chair: Judith K. Brodsky – Rutgers, The State University of
New Jersey
Chair: Ferris Olin – Rutgers, The State University of New Jersey
Email: jbrodsky3@aol.com, ferris.olin@gmail.com
In our research on, and analysis of the leadership styles and
impact of women artist/activists, museum administrators, art
historian activists, and art entrepreneurs, what emerged was
the fact that when women hold policy level jobs in institutions,
become activists, or introduce new concepts into art, art history,
and curatorial practice, their presence changes institutions, studio
practice, and even the discipline of art history. As discussed by
Heather Iglioliorte, the only PhD in Canada who is Inuk, in her Art
Journal article (Volume 76, 2017, Issue 2) our understanding of
art changes when the interpretation of art is based on the cultural
position of the artist rather than on neocolonial intellectual
structures of art history. Iglioliorte’s discussion focuses on how
the art of indigenous peoples is viewed through the lens of the
Western art canon because the sovereignty of museums is still
mostly held by white European-descended curators, directors, and
art educators. Analogously, we know that women artists were
denigrated until the Feminist Art Movement of the 1970s initiated
the changes that brought more women into positions of influence
through their activism, innovations in art practice, curatorial
efforts, critical writing, and leadership positions at museums. We
invite artists, critics, and art historians who are thinking about the
intersectionality of art, feminism, postcolonialism, and sovereignty
to submit papers.

 

“The Problem of Woman” in Surrealism
Chair: Alyce A. Mahon – University of Cambridge
Chair: Katharine Conley
Email: am414@cam.ac.uk, kconley@wm.edu
In a 1990 interview, the American Surrealist Dorothea Tanning
stated “Women artists. There is no such thing – or person. It’s just
as much a contradiction in terms as ‘man artist’ or ‘elephant artist.’
You may be a woman and you may be an artist; but the one is a
given and the other is you.” Leonor Fini also believed the label
‘woman artist’ to be a “false country”, and Frida Kahlo famously
stated that she painted her “own reality”, that it could not be
subsumed into a collective identity. Yet Tanning, Fini and Kahlo
were amongst those artists celebrated in Peggy Guggenheim’s
pioneering Exhibition by 31 Women (1943). The press release for
that show declared it to be “testimony to the fact that the creative
ability of women is by no means restricted to the decorative vein”
– an exhibition that so outraged the Time magazine critic James
Stern that he stated, “women should stick to having babies.”
For this session, we invite papers that investigate the use-value of
‘woman’ as a label for female artists identified with Surrealism,
given that they resisted gender boundaries but participated in a
movement which obsessively returned to what André Breton called
the “problem of woman.” The panel will examine this issue as a
question of art history while recognizing that it has continuing
relevance and urgency in art today.

 

The Production of Public Space: Women Artists in Performance
across the Globe
Chair: Joanna Matuszak – Bucknell University
Email: jmatusza@umail.iu.edu
Public spaces have been sites for performances by women artists
since the early twentieth century. In the 1960s women avantgarde
artists navigated urban spaces, merging art and life. Since
the 1970s, inspired by civil rights, ideas of feminist and queer
movements, and critiques of colonialism and globalization,
women artists have continued to diversify the ethos and praxis
of performance art in urban spaces. Four women speakers will
discuss the practice of performance art in public spaces and its
future development. What strategies and tactics can women artists
use to make their voices heard in the public realm, especially in
regions with open or covert censorship? With oppression, war, and
genocides—aided by natural disasters—rampant in the Middle
East, Africa, and South America, and anti-immigratory isolationist
politics growing in Europe and United States, how can women’s
performance art speak? What voices do women artists express—
universal or local—as they travel to perform in cities around
the world? In recent decades public spaces across the globe have
seen rising activist movements and demonstrations with the vital
presence of women protesters. In this volatile city landscape, what
is the role of women’s performance art, and what is its relationship
to the growing art form of artivism? What visual vocabulary is
being developed by women artists performing in streets and in
squares? The panel discussion will address conditions of and
challenges to women’s performance art practice in public spaces
and trajectories of future inquiry.

 

Women Artists in Germany, Central Europe, and Scandinavia,
1880-1960
Historians of German, Scandinavian, and Central European Art
and Architecture
Chair: Kerry L. Greaves
Email: lapaix0509@gmail.com
This session seeks to address the aesthetic innovations, culturalpolitical
context, and critical reception of progressive women
artists active in Scandinavia, Germany, and Central Europe from
the emergence of modernism until the feminist movement took
shape in the 1960s—a period that remains ripe for new scholarly
contributions. For Scandinavian artists such as Franciska Clausen
and Rita Kernn-Larsen, their relationship to art movements
was not straightforward and they employed a wide range of
styles and practices. They and their work often transgressed
neat categorizations, and they undertook complex negotiations
with socio-cultural norms. The term “woman artist” itself as a
homogenous category is a misnomer that obscures a range of
differences; the idea of the feminine, too, is now considered fluid.
Papers may address any of the following questions: How did
women formulate artistic subjectivity, identity, and autonomy
within art movements, especially those most closely associated with
masculinity? How did their work advance or disrupt the criteria of
the movements with which they were involved? What strategies did
women develop in order to navigate environments that restricted
their professional access? What was the critical reception of
their work, how did this impact their careers, and what were the
conditions surrounding their later art historical treatment?

 

Writing about Art: Women Authors and Art Critics in the Late
Nineteenth-Century
Chair: Leanne M. Zalewski – Central Connecticut State University
Email: lmzart@gmail.com
When reading art criticism in journals and books from the late
nineteenth-century, one is struck by the large number of women
writers who informed and shaped public opinion on the arts. Many
of these women wrote for leading publications. Some examples
include Lucy Hooper’s Paris Salon reviews for the popular Art
Journal, and Marie-Amélie Chartroule de Montifaud, who wrote
under the nom de plume of Marc de Montifaud for the influential
French journal, l’Artiste. Some women, such as Clara Erskine
Clement and Clara Stranahan attempted to shape new art canons
through publishing art histories. How do we interpret these
criticisms and art histories today? Have they been overlooked as
less important or less intelligent than their male counterparts? Does
Paul Mantz’s writing carry more intellectual weight than Marc de
Montifaud’s? Or is William C. Brownell’s French Art more reliable
than Stranahan’s History of French Painting? This panel seeks to
continue the work of Wendelin Guentner, Véronique ChagnonBurke,
and Heather Belnap Jensen in Women Art Critics in
Nineteenth-Century France (2013) and extend the borders beyond
France to the United States, England, and any other part of the
world where women’s voices played a crucial role in
interpreting art.

 

Submissions due by August 6, 2018. Submission guidelines found at http://www.collegeart.org/pdf/programs/conference/CAA-CFP-2019.pdf

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CFP: Speculative Feminist Futures

10 07 2018

College Art Association conference, February 13-16, 2019, New York

Call for panelists: Speculative Feminist Futures

Feminist speculative fiction raises a timely and pertinent question: how can we do things differently? Writers imagine societies that include parthenogenesis, ambisexuality, co-mothering, and other models that overturn heteronormative conventions, imagining that seems especially relevant and even necessary in our current political and social climate. While science fiction is a well-known literary genre, however, artists whose work is informed by similar speculation have received less attention. This panel seeks presentations by artists, historians, and theorists whose art and writing take as foundational the speculative modes employed by feminist science fiction writers. How do artists explore the possible relationship between feminist science fiction, new technologies, and a contemporary feminist consciousness? What strategies have artists and writers used to suggest or create new visions for culture and society? What is the relationship between speculative fiction and the emergence of posthumanism? How do artists re-imagine human and more-than-human relations? We welcome all manner of creative and scholarly proposals. Let us imagine together.

 

Panel co-chairs: Rachel Epp Buller, rachel@ddtr.net and Margaret Hart, margaret.hart@umb.edu

 

250-word abstract due to session chairs by August 6, 2018

Submission guidelines available at http://www.collegeart.org/pdf/programs/conference/CAA-CFP-2019.pdf





Residency Opportunity

9 02 2018

Kansas Creative Arts Industries Commission Announces Tallgrass Artist Residency

Now Accepting Applications for 2018

The Tallgrass Artist Residency, a partnership between The Kansas Creative Arts Industries Commission and the Center for Living Education, a non-profit organization that manages the Bank Art Space in Matfield Green, is now accepting applications from artists currently living in a place within the ecological boundaries of the North American prairie to participate in the 2018 residency program.

The Tallgrass Artist Residency will invite 8 artists to participate in two-week residency periods between May and September 2018. During individual residency periods, each artist will have a public program at the Tallgrass Prairie National Preserve. Exact dates and times TBD. Artists will also participate in a group exhibition at the Bank Art Space and the Tallgrass Artist Symposium at the Marianna Kistler Beach Museum of Art in Manhattan, KS. The opening of the exhibition and the symposium of artist talks is scheduled to take place on October 13, 2018.

This residency seeks to create connection and conversation across the Great Plains by requesting thatapplicants currently live in a place that is ecologically considered prairie(though it may be paved and urbanized!). Ideal applicants will have a strong body of work with a voice that reflects the artist’s own community; a dedication to place, and an interest in participating in a contemporary dialogue. Applicants from all backgrounds and career levels, media and practice are welcome.

The Tallgrass Residency is headquartered at The Bank Art Space in the small community of Matfield Green, KS. Additional regional partners in the 2018 program include Matfield Station, The Volland Store, Marianna Kistler Beach Museum of Art, and The Tallgrass Prairie National Preserve in Strong City.

 Applications are due by February 28, with notification by the end of March.

Artists will be selected based on review of applications by a jury:
-Larry Meeker (Kansas Creative Arts Industries Commission)
-Matt Regier (The Bank Art Space
-Amy Kleigman (Charlotte Street Foundation)
-Casey Whittier (Kansas City Art Institute, Tallgrass Artist Residency 2016)

————————————————————————————————————

Requirements

  • Residency periods must occur in ten night blocks between May and September 2018
  • Artists will stay at one of our partner lodging sites in Kansas, which include Matfield Station and The Volland Store
  • During the residency period, each artist will give an “open studio” public program at the Tallgrass Prairie National Preserve.
  • Artists will be asked to contribute some kind of documentation during their residency for promotional purposes – snapshots, a blog post, etc.
  • Artists will be required to participate in a group exhibition in the Fall of 2018 at the Bank Art Space in Matfield Green, KS.
  • Artists are also required to participate in the Tallgrass Symposium at the Marianna Kistler Beach Museum of Art on October 13, 2018. (View artist talks from 2016, online)

Awards

  • Artists will be provided ten nights of free lodging at one of three partner sites.
  • Artists may be granted special access at the Tallgrass Prairie National Preserve
  • Each artist will receive a stipend of $300-400 for travel and material reimbursement.
  • Artists will be provided lodging for up to two nights in Matfield Green during closing events on October 13, 2018.
  • Reimbursements will be available for shipping artwork to and from group exhibition.

Online application: kansascaic.submittable.com

Tallgrass Artist Residency program website: tallgrassart.wordpress.com

To contact the program directly:





Final Friday at Fisch Haus for XX8

27 06 2017

Wichita-area friends, stop by this Final Friday, June 30, 7-10pm to see the XX8 at Fisch Haus Studios on Commerce.

Catalogue essay now available here!





XX8 at Fisch Haus, May 26 – July 8, 2017

15 06 2017

xx8

Every two years, Elizabeth Stevenson’s biennial XX exhibition at Fisch Haus offers a wonderful opportunity to see work by 5 contemporary artists who also happen to be women. As Stevenson says, “The intention of this exhibition is not to focus simply on art made by women, just as a show featuring only male artists isn’t presented as a ‘men’s show.'” This year’s 5 participating artists, each of whom were selected by an artist in the 2015 biennial, hail from the U.S., Canada, and France and represent a diversity of media including cast metal, wire sculpture, installation, textiles, print media, and painting.

The show is up through July 8. A public reception will be held as part of Final Friday on June 30, 2017. More info here.





Call for Entries: The Feminist Opposition

23 11 2016

Hera Gallery is seeking artwork to be part of an intersectional exploration of contemporary feminism’s role in opposition to the current cultural and political climate. They are interested in exhibiting all manifestations of feminist art from makers of all races, genders, and sexual orientations. All media including performance and installation will be accepted.

Juror: Jessica Hong, Curatorial Assistant, Institute for Contemporary Art, Boston, MA

Entry Fee: Each artist may submit 3 entries for $30. Judging will be done from digital files. Fees are non-refundable.

Eligibility: Open to works of any medium including performance and installation. 3D limited to 100 lbs and must fit through a 5’10” x 6’8” door. 2D must fit through said door.

Deadline: Wednesday, January 4, 2017

ONLINE APPLICATION AND INFORMATION:
http://www.heragallery.org/call-for-entry/





TFAP Call for Proposals

25 05 2016
TFAP@CAA 2017 
The 11th Annual Feminist Art Project Day of Panels at The College Art Association Conference

 

CALL FOR PROPOSALS: PANELS, PERFORMANCES, ROUNDTABLES AND CONVERSATIONS

 
Topic: Crossroads: Art + Native Feminism
Location: Museum of Arts and Design, New York City
Date: Saturday, February 18, 2017
Submit proposals to: tfap2017@gmail.com
Deadline for proposals: June 15, 2016 
Coordinators: Jaune Quick-to-See Smith, Maria Hupfield, and Kat Griefen

Length/format of proposal: Include the names of the Indigenous knowledge carriers, the nations and communit(ies) speakers are accountable to, artists, art historians and/or curators you plan to include in the conversation/panel/performance as well as the topic(s) you wish to address. Submissions should be no more than 400 words.

Crossroads: Art + Native Feminism is a dedicated day of panels including roundtables and discussions lead by Indigenous knowledge carriers, artists, community members, elders, academics and their accomplices on the topic of art and Native Feminism focused on North America. From the countless unnamed work produced by Native women and acquired by historical museums in service of colonial nation states around the world to Rebecca Belmore representing Canada at the Venice Biennale and Christi Belcourt’s Anishinaabe Nation floral motif inspired designs on the haute couture runway of Valentino; Native women across the continent have a long established tradition in the visual arts that pushes against dominate patriarchal structures. Against the odds of systematic erasure of colonization and historically situated outside of mainstream Feminism the experience and knowledge of native women offer ranging perspectives conceptually better located at the center of the movement. Land recovery, self determination, and social relations based in respect and inherent dignity of all living beings from non-human to human, are a few examples that fluidity move across and between traditional and contemporary practices today. This call for proposals focuses on panels by and about indigenous women artists and their work from both in and outside the art gallery.

Possible proposal topics may include colonial logics of gender, a history of mobilizing environment/social justice movements, new materialities and resurgent practices, trans-indigenous feminist standpoints, self-determination sovereignty or nationhood, modeling responsible approaches to collaboration, negotiating accountability and recognition within the gallery, empowerment through personal narratives, strategies to open/make space, survival throughout legacies of imperialism/institutionalized patriarchy/colonial hegemony, well-being and safety, reexamination of criminal jurisprudence, re-imagining native landscapes toward a Native feminist spacial practice, and violence perpetuated through erasures.


For more information about TFAP@CAA: http://feministartproject.rutgers.edu/tfap-at-caa/