Call for Papers: Making Art, Making Time College Art Association 101st Annual Conference, New York, 13–16 February 2013

www.collegeart.org

Call for Papers: Making Art, Making Time

College Art Association 101st Annual Conference, New York, 13–16 February 2013

Session convenors: Ignaz Cassar (ignazcassar@yahoo.co.uk) and Eve Kalyva (e.m.kalyva@gmail.com)

Making Art, Making Time
This session wishes to query the current attention to art’s contemporaneity in both theoretical and practical terms. Contemporary art can be understood as a particular temporal definition of art production in relation to the historical moment; with this in mind, we wish to address the implications or potential ramifications of the term
‘contemporaneity’ in relation to art, history, and criticism. While art practices have developed new ways of engaging the spatio-temporal continuum of experience, the notion of contemporaneity has been considered in relation to historicity and memory, ethics, and the value of the new (Groys, Agamben, Deleuze, Riegl).

In this light, we invite particular focus on how the concept of contemporaneity is problematized and interrogated in installations and works that use new time-manipulating technologies. Installation and performance art intensify the experiential dimensions of art that thematize the now. Equally, the use of new technologies re-activates an enquiry into different types of contemporaneity and the relation of art making to historicity. For their part, and responding to the immediacy of such practices, twenty-first century art institutions have developed more fluid forms of presentation and more readily-available forms of public

engagement (e-bulletins, blogs, podcasts).
With this session, we encourage papers that explore the temporality of art in works (and their presentations) that themselves engage with the notion of time. How do works deal with time, engage with a particular time or instance, and negotiate their own temporal limits? Topics can include, but are not limited to:


• The use of time-manipulating technologies in art making (real-time/ raw feed, time-delays, loops)

• Information transfer and reconfigurations of experiencing the ‘now’ through artworks

• Installing and curating temporality: the politics of art practices and institutional responses

• Collective actions and stagings of time

• Philosophical reflections on temporality, experience, and criticality in the age of globalization and instant information

Intended speakers must be members of CAA. Please submit your abstracts in accordance to the CAA instructions by completing the appropriate proposal form, along with a CV and a cover letter, to the session’s convenors Ignaz Cassar (ignazcassar@yahoo.co.uk) and Eve Kalyva (e.m.kalyva@gmail.com) by the deadline 4 May 2012. For further information, forms, and instructions see the CAA 2013 Call for Participation, available from the Association’s website www.collegeart.org.

Call for Papers: From the Wall, to the Press, to the Streets. College Art Association 101st Annual Conference New York, 13-16 February 2013. IAWIS/AIERTI affiliated session

Deadline: 1 June 2012

Session convenors: Eve Kalyva (e.m.kalyva@gmail.com)
Ignaz Cassar (ignazcassar@yahoo.co.uk)

The divide between art and language has historically functioned as a metaphor of the division between high and low culture. Many artistic practices have challenged this binary, where the concept of gallery enclosure can be understood as a literal and figurative qualifier of art: a space that is distinct from, yet exists within, the wider social sphere.
Especially in twentieth and twenty-first century art, the use of language has facilitated a material and discursive transgression beyond the traditional art-object and its institutional isolation. Works that combine image and text have appeared on gallery walls, the popular press, and other public sites such as billboards and pavements. Such activities widen the engagement with art and open new channels of communication and participation. They also challenge, and often alter, the traditional hierarchies that underline the artworld, from the production of art to its display and consumption.
Acknowledging the manifold social practices of contemporary art, as well as the diversity of scholarship that IAWIS-AIERTI embraces, this session wishes to address the presence of image and text in the public sphere from both a historical and critical perspective. In what ways can the use of language in art practices transform the domain of the artworld? How have art institutions shifted their policies in response to such practices? With this session, we also hope to consider the sociality of art, as this becomes evident by artistic practices that transgress the gallery enclosure of art.
We invite papers that discuss the social interaction and contact with works that manipulate the visual and the textual beyond the traditional frame of art – a frame that can be understood in material, institutional, and theoretical terms. Suggested topics include, but are not limited to:
• Subversive displays of word and image: public readings and private gaze
• The rhetoric of public art: using language to challenge the divides of private/public, elitist/communal
• Working around the frame: spatial transgression as institutional critique
• Open-access art in new sites: from art magazines and postcards to billboards, the internet, and social networking sites
• Institutional responses and marketing: copyright laws and ethical restrictions

Please send your paper proposals of maximum 250 words (for a conference paper of 20 minutes) to the session convenors Eve Kalyva (e.m.kalyva@gmail.com) and Ignaz Cassar (ignazcassar@yahoo.co.uk) by the deadline 1 June 2012.
Membership of IAWIS-AIERTI is not required. In accordance with CAA guidelines, please include a current CV, institution (if any), home or office postal address, email address, and telephone number. Final abstracts for selected papers will be due September 2012, and paper drafts by December 2012. Further information and conference particulars, including submission guidelines, can be found at http://www.collegeart.org and http://www.iawis.org/home.php

Conference: The Paradigm of Conceptual Art (38th Annual AAH conference, Mylton Keynes, 29-31 March 2012)

For more information, see http://www.aah.org.uk/annual-conference/2012-conference

The Paradigm of Conceptual Art

38th Annual AAH Conference & Bookfair The Open University, Milton Keynes, 29 - 31 March 2012

Session Convenor: Eve Kalyva, e.m.kalyva@gmail.com

Conceptual art has problematised the status of the art object in relation to criticism, history and theory. In relation to contemporary art production, the practices and legacy of conceptual art have gained new attention as a legitimising paradigm. But what kind of object did conceptual art put forward? How does the reference to conceptual art help us locate art’s critical potential today?

This session offers critical reflection on conceptual art and its historical, social, art historical and discursive context. It wishes to re-address the legacy of conceptual art as a legitimising paradigm and its relation to contemporary forms of producing, presenting and theorising art. In addition, this session aims to explore the configurations of the space of art as a social space that conceptual art practices put forward in order to locate a model for articulating the sociality of art.

The papers for this session critically engage with the paradigm and the legacy of conceptual art from multiple historical, geographical and social sites. They discuss issues such as:

• the historicity, contemporaneity and politics of conceptual art practices
• the visual presence of language and the activity of writing
• the appropriation or dissolution of traditional object/subject hierarchies and the use of humour
• the intersecting roles of the artist/critic/spectator/curator
• collaborative practices beyond the art institution
• marketing and institutionalisation
• the currency of concepts such as ‘conceptualism’ and ‘post-conceptual’ in the global art market


For further information, including conference timetable and booking, see http://www.aah.org.uk/annual-conference/2012-conference.

Disturbing Spaces (Systems, Operations and Disorders)

Published in parallax, 53 (October‐December
2009), 1‐6

'The Whereabouts of the Work'

Published in The Object of Photography, exhibition catalogue (Leeds: University of Leeds Galelry, 2009), 14-17

‘Why mind the Weather?’, book review of Karin Bauer (ed.), Everybody Talks about the Weather – we don’t: The Writings of Ulrike Meinhof

Published in parallax, 51 (April‐June 2009), 116‐19