APPEL A CONTRIBUTIONS : Material Culture in Transition – Cambridge, 18-20 Jun 15

LIEU : CRASSH, University of Cambridge, Alison Richard Bldg, 7 West Rd, CB3

DATE : 18 – 20 juin 2015

DEADLINE : 15 mars 2015

Objects in Motion: Material Culture in Transition

Proposals for papers and for visual and performing art are welcome for
the three-day interdisciplinary conference ‘Objects in Motion: Material
Culture in Transition’. The conference is supported by and will be held
at the Centre for the Arts, Social Sciences and Humanities (CRASSH) at
the University of Cambridge on 18-20 June 2015. The deadline for all
proposals is 15 March 2015, and registration is expected to open in
April 2015 (

‘Objects in Motion’ will bring together diverse scholars, curators,
writers, and artists to discuss material culture in transition.
Material objects are produced within specific contexts – geographical,
cultural, and temporal. This is true for things as diverse as the Great
Sphinx built in Egypt at least 4500 years ago, the Lindisfarne Gospels
illuminated in 8th-century Northumbria, a wooden ceremonial mask carved
in 19th-century Nigeria, or a mobile phone made in 21st-century China.

What happens when objects such as these transition into other contexts?
How are differences in use and meaning negotiated? Sometimes later
reinterpretations and reincarnations (including ‘fakes’ and
reproductions) incorporate elements of the objects’ original use and
meaning, and other times they diverge entirely. This can affect not
only the objects themselves but also the knowledge and experiences
embedded within or produced by them – as with books, musical
recordings, and technologies.

Scholars, curators, writers, and artists from all disciplines are
welcome to propose relevant talks. Visual artists (including
photographers) are also welcome to propose artwork on the theme to be
displayed in the Alison Richard Building. Proposals for performing arts
may be made as well, within the constraints of space and time stated
below. The papers and art, selected by both CFP and invitation, will be
complemented by events at local museums.

These diverse contributions will help to shed light on material culture
dynamics which remain highly relevant even today despite the growth of
multinational corporations, global communication, and increasing
standardisation. They will also foster productive dialogue on different
disciplinary and interdisciplinary approaches to studying and
responding to these dynamics.

Guidelines for proposing a paper

Proposals for talks should be emailed to the convenor Dr. Alexi Baker
( by 15 March 2015. They should include a title, an
abstract of up to 250 words, a brief biography, contact information,
and any institutional affiliations. Scholars at all stages of their
careers including independent scholars are encouraged to apply, as are
artists and writers who would like offer talks reflecting on the
conference theme.

Guidelines for proposing visual or performing arts

Proposals for visual or performing arts which reflect upon the
conference theme should be emailed to the convenor Dr. Alexi Baker
( by 15 March 2015. The visual artwork will hang in the
ground floor seminar rooms of the Alison Richard Building from the time
of the conference until at least October 2015, and must be fitted to
the available space and hanging facilities.

The artist(s) must be able to transport their works to the Alison
Richard Building themselves and to install them with limited assistance
from staff. Each piece will need to come fitted with string or hooks on
the back so that they can be attached to the hanging rails in the
seminar rooms with nylon string. (The type of rails in use can be seen
here: Small
labels may also be affixed near the artworks using white-tack.

Proposals for performing arts will be considered as well as long as
they can be staged within the limited space of a seminar room, and have
a running time of less than one hour. Possibilities could include for
example recitations, musical performances, or self-contained dramatic
performances. Proposals for visual or performing arts should consist
– Contact information and any institutional affiliations
– Title of the installation or performance
– Description of up to 250 words
– CV and (if available) website of the artist
– Examples of the work of the artist
– Detailed installation or staging requirements

For further information please visit:

APPEL A CONTRIBUTIONS : The Skin of Objects : Rethinking Surfaces in Visual Culture – Norwich Castle, June 27, 2015

LIEU : Norwich Castle

DATE : 27 juin 2015

‘The Skin of Objects: Rethinking Surfaces in Visual Culture’

27th June 2015, 10:00-17:00 Norwich Castle
Organised by University of East Anglia, Sainsbury Institute For Art &
Norwich Castle & Museum

Histories and theories of visual representation have often reduced the
meaning of ‘surface’ to superficial elements rather than recognising
them as a component which feeds into and activates the visual artwork’s
significance. In the visual arts surface has often been seen as sources
of meanings and visual information or a self-contained aesthetic whole,
exclusively associated with decoration or ornamentation. Jeff Koons
prompts us to grapple with what is manifest in the world of objects:
skins, materials, even picture planes and varnishes. Koons’ metal
‘balloon animals’ and ‘cartoonish’ mirrors can offer a point of
departure to think about the wider field of the weight of surface
effects. While certain kinds of object are often treated as if they
lack a surface, or are read as entirely ‘surface’. Certain objects
prompt us to think about the skin that enfolds them and yet others seem
to blind us to their interior. From new developments in Phenomenology
and Affect Theory to New Materialism and Thing Theory, we welcome
papers which challenge received ideas concerning ‘surface’ in a variety
of historical and contemporary contexts.

The Sainsbury Centre for Modern Art, UEA and Norwich Castle Museum
welcome diverse papers on art historical and visual cultural subjects,
thinking through the idea of ‘Surface’. We encourage submissions which
critique the idea of surface as supplement, and which engage related
concepts such as: friction, edge, depth and (in)visibility.

This one-day conference will include guest speakers and an introductory
tour of Norwich Castle Museum’s new Jeff Koons exhibition, as well as
coffee, a drinks reception and an optional lunch.

To submit a proposal for a 20-minute presentation, we require an
abstract not exceeding 300 words and a brief professional biography of
100 words by 25th March 2015. All submissions should be sent to

CFP : Crossroads: East and West / Cultural contacts, transfers and interchanges between East and West in the Mediterranean

LIEU : Split, Croatie

DATE: 17-19 septembre 2015

DEADLINE: 15 avril 2015

Crossroads: East and West / Cultural contacts, transfers and
interchanges between East and West in the Mediterranean
2nd International conference for PhD Students, Split, Croatia

The theme of the conference addresses regions of Europe and Middle East
which, in Classical Antiquity, made part of both “East” and “West”.
Exoticism has been a fundamental part of western perception of “East”
from the time of Herodot who in the Histories, for example, depicts
Scythians as bloodthirsty barbarians. This ambivalent relation towards
foreign and exotic nations has persisted from the Classical Antiquity
throughout Renaissance well into the Modern era.

The East-West dichotomy can be recognized in cultural influences
between East and West through studying interdependence of East and West
in the Mediterranean, as well as through their standoffs in the history
of art practices. The conference will deal with cultural contacts,
exchange, relocations and social trends that enabled creation of
complex concepts and idea-networks throughout history. The symposium
also questions the ways in which “West” has exoticised “East” as well
as the ways in which “East” has perceived “West”, through the prism of
postcolonial and cultural translation theories.

The international conference is intended for PhD students and recent
PhD graduates from different fields of humanities and social sciences,
who are hereby invited to participate.

The proposed topics for interdisciplinary discussions are:

Orientalism in European art and culture
• Europe and Byzantium: Ex Oriente lux et luxus
• Venice and Constantinople: competition, emulation and/or imitation,
• Europe and Ottoman Empire in early Modern Age: between exoticism and
• Orient in culture and art of European Romanticism: images and myth of
Orient (fine arts, archaeology, literature, philosophy and music)
• The Middle East in European paintings, prints, book illustrations and
crafts from Romanticism to the beginning of 20th century
• Oriental forms in 19th and 20th century western architecture
• European travellers and artists in the East: exchange of ideas,
concepts and art practices
• Curating and exhibiting art from Eastern Europe

Meeting points: intersections, syncretisms, conflicts between East and
West in the Balkans
• Byzantine Empire and foundations of regional art centres in the
Balkans since Late Antiquity until the end of the Middle Ages
• Struggle for ecclesiastical supremacy between Rome and Constantinople
– interactions between Orthodox and Catholic Christianity, influence on
arts, visual expression and iconography
• Venice and the Balkans in the late Middle Ages and the early Modern
Age: conflicts, coexistence, cultural and artistic dialogue
• Ottoman invasion of the Balkans: impact on culture and art, Ottoman
discourse, establishment of transcultural forms in contact regions,
assimilations and cultural hybrids
• The twilight of political and cultural powers (Ottoman Empire,
Habsburg Monarchy, Venetian Republic) and creation of new national
states: art as reflection of political and national interests
(nationalization and ideologization of art)
• The image of Turks in the art and culture of the Western Balkans and
Central Europe (visual, historical, literal, ethnographic and
cultural-anthropological aspect)

East and West in the age of globalization
• Ideologies, ideological discourses, mythologemes and their artistic
representations and functions
• Western stereotypes of Middle Eastern culture and arts: their
genesis, influences and transformations
• Artistic concepts and theories of art
• Contemporary artistic and architectural trends: elements of
tradition, modern and global
• Contemporary perception of Islam in art: historical, political,
religious, cultural; artist-audience interaction
• Contemporary art practices, literature, cinematography and popular
culture: East-West encounters, coexistence and antagonisms

Abstracts in English of maximum 400 words should be sent, with the
title of the paper, name and contact information (address, phone
number, e-mail) until 15th of April 2015 by e-mail to or sent by post to Art History Module
Faculty of Humanities and Social Sciences in Split, Hrvojeva 8, 21000
Split, CROATIA (with the note « Conference for PhD students »).

For further information about the conference and the application please

APPEL A CONTRIBUTIONS : Arts des Mondes / Mondes des Arts : pluralité des objets, pratiques et discours dans la francophonie

LIEU: Rimouski, Québec, Canada

Date: 28-29 Mai 2015

Le colloque «Arts des Mondes / Mondes des Arts : pluralité des objets,
pratiques et discours dans la francophonie» aura lieu les 28 et 29 mai
2015 dans le cadre du 83e Congrès Annuel de l’ACFAS, «Sortir des
sentiers battus».

L’histoire de l’art et la muséologie restent encore bien souvent
cloisonnées à leurs propres frontières non seulement théoriques, mais
aussi linguistiques et territoriales. Pourtant, une observation des
pratiques professionnelles semble indiquer à la fois des porosités et
des impasses dans ces champs de recherche.

Prenant appui, mais sans toutefois se limiter, sur l’approche
sociologique d’Howard Becker — et notamment son concept de monde — et
sur la perspective des Global Art Histories (dont une traduction
convenable resterait à discuter) définies par Hans Belting et Peter
Weibl en 2006, le colloque soulignera la nécessité de considérer non
plus des mondes de l’art mais des mondes des arts. De plus, le besoin
de réfléchir nos pratiques et approches théoriques dans une perspective
globale se faisant de plus en plus pressant depuis quelques années, il
s’agira de rendre compte de l’ouverture des disciplines à de nouvelles
aires géographiques et linguistiques et à de nouvelles formes
artistiques. Il apparaît ainsi de plus en plus clairement que les
constructions théoriques de l’histoire de l’art et de la muséologie
doivent être interrogées, étudiées, analysées, comme le proposait déjà
Donald Preziosi en 1998. Ainsi, le colloque pourra constituer un moment
privilégié pour réfléchir à la capacité des Global Art Histories à
installer des passerelles – ou encore, des barrières – entre l’histoire
de l’art et la muséologie dans le monde francophone.

À cela s’ajoutent les problématiques liées aux traductions des modes de
pensée anglophones vers les approches francophones, et inversement. Ces
questions semblent présenter une perspective analytique tout aussi
intéressante pour réfléchir les éventuels cloisonnements linguistiques
auxquels les chercheurs et praticiens francophones doivent faire face
pour inscrire leur recherche en histoire de l’art et/ou en muséologie,
dans une scène artistique mondialisée où l’anglais apparaît dominant.
Dans le contexte québécois, par exemple, ces problématiques s’avèrent
d’autant plus prégnantes dès lors que l’on considère la diversité des
communautés linguistiques autochtones et immigrantes présentes sur des
territoires partagés. Qu’en est-il alors pour les multiples contextes
qui reconfigurent cette diversité à travers la francophonie?

Sans s’y réduire, les trois axes suivants pourront être abordés :
– archive (s) et mémoire(s)
– espace (s) et temps
– théorie (s) et pratique(s)

Nous encouragerons vivement l’élargissement des modes de réflexion et
d’action en intégrant un volet de recherche-création aussi bien pour
les chercheurs que les praticiens.

Les candidat(e)s sont invité(e)s à soumettre une proposition de
communication (en format word) de 20 ou 30 minutes, accompagnée d’une
courte bio-bibliographie en complétant le formulaire ci-joint. Les
propositions sont attendues au plus tard le 16 février 2015 à l’adresse

Plus d’informations:

APPEL A CONTRIBUTIONS: Les circulations artistiques Sud-Sud du XIXe siècle à nos jours – Conférence Artl@s

LIEU: Paris, École normale supérieure

DATE: 17-19 juin 2015

L’internationalisme décentré affiché des biennales de la Havane, de
Dakar ou de Gwangju, dont la biennale de Venise tente aujourd’hui de
faire écho en décernant en 2013 son Lion d’Or au pavillon angolais,
invite à ne plus se contenter d’une conception nord-atlantique de
l’histoire de l’art. L’historicisation et la mesure des circulations
artistiques dans les marges sont aujourd’hui des tâches décisives pour
démontrer, nuancer ou contester la “provincialisation de l’Occident”
dans l’histoire récente de l’art. C’est l’objet de la prochaine
conférence Artl@s, qui cherche à réunir des chercheurs de tous horizons
afin de réfléchir ensemble à l’hypothèse de circulations artistiques
“Sud-Sud” depuis le 19e siècle.

La notion de « Sud » porte l’écueil d’un dualisme qui n’a jamais été
totalement dissipé depuis la décolonisation, puis dans la longue
histoire postcoloniale. Pour beaucoup, le monde reste fondamentalement
divisé entre d’un côté les privilégiés et les « développés », et de
l’autre les opprimés, « en développement ». Pour l’histoire de l’art,
même les approches en termes de transferts culturels ou d’histoires
dites connectées se sont focalisées sur les circulations artistiques
nord-atlantiques, ou parfois entre « Nord » et « Sud », ce qui a
contribué à marginaliser ces régions peut-être plus encore de nos
sujets de recherche que des circulations artistiques effectives. En
outre, la condition non hégémonique ou marginale peut concerner des
lieux et des faits au « Nord ». Dès lors, parler de « Suds » invite à
penser une périphérie élastique. Ces interactions revêtent une
diversité de projets, de stratégies et de jeux d’acteurs qu’il s’agira
de mettre en perspective.

La conférence d’Artl@s de juin 2015 accueillera les propositions de
communication qui rendent compte de la place et du rôle de circulations
artistiques entre des zones pour lesquelles les sciences humaines n’ont
traditionnellement imputé qu’une dimension locale. C’est le cas
notamment des villes et des régions du Moyen orient, d’Asie centrale et
méridionale, du Pacifique-Sud, de l’Afrique et de l’Amérique latine.
Les études de cas sur les échanges entre artistes, mouvements ou
institutions artistiques pourra conduire à repenser la configuration de
l’espace artistique mondial dans un éventail d’échelles enchevêtrées,
des trajectoires individuelles jusqu’aux réseaux institutionnels, aux
communautés panrégionales et aux affiliations politiques.

Nous sollicitons des études qui puissent éclairer la formation et les
entraves des circulations Sud-Sud, cela sur le temps long, depuis le
19e siècle et les commencements de la décolonisation, jusqu’à la
période actuelle qui a vu apparaître le terme de Suds. Cette rencontre
internationale et transdisciplinaire doit permettre de confronter les
logiques de mobilité en jeu, de retracer l’histoire géographique des
circuits et des réseaux qu’elles activent et, enfin, de déceler les
modèles et les hiérarchies qu’elles sous-tendent – un défi de taille
pour les recherches à venir. D’autres contributions pourraient explorer
le rôle prescripteur du Nord dans certaines circulations artistiques
aux Suds, en quoi des productions intellectuelles construisant leur
légitimité par le Sud peuvent être des résurgences du Nord, et si
l’affirmation des Suds est nécessairement politique, a fortiori dans
marché de l’art qui tend à marchandiser la périphérie.

Cette conférence est organisée par Artl@s, un collectif international
de chercheurs basé à l’École normale supérieure de Paris. Artl@s
promeut une approche transnationale et cartographique de l’histoire de
l’art ( La rencontre aura lieu du mercredi 17 au
vendredi 19 juin 2015 à l’École normale supérieure de Paris, 45 rue

Comité scientifique

– T.J. Demos, Reader in the Department of Art History, University
College London
– Anthony Gardner, Associate Professor at the University of Oxford
– Andrea Giunta, Professor at the University of Austin, Texas
– Dominique Malaquais, Chargée de Recherche 1ère classe au Centre
d’Etudes des Mondes Africains, CNRS
– Zahia Rahmani, Responsable du programme Art et mondialisation,
Institut National d’Histoire de l’Art, Paris
– Sven Spieker, Art Margins, University of California, Santa Barbara

Comité d’organisation

– Catherine Dossin, Purdue University, Associate Professor. Directrice
adjointe d’Artl@s
– Béatrice Joyeux-Prunel, Ecole normale supérieure, Maître de
conférences en histoire de l’art contemporain, Directrice d’Artl@s
– Olivier Marcel, ENS/IHMC, Post-doctorant Artl@s
– Daniel Quiles, Assistant Professor at the School of the Art Institute
of Chicago

Procédure de soumission

Les propositions peuvent être en anglais ou en français. Elles doivent
contenir les informations suivantes :
– Nom(s) et email(s) de(s) auteur(s);
– Affiliation institutionnelles;
– CV et publications
– Titre de la présentation (200 caractères max)
– Résumé (jusqu’à 500 mots)

Les communicants auront chacun 20 minutes de temps de parole, suivies
de 10 minutes de discussion.

Veuillez envoyer dès que possible vos propositions à Olivier Marcel
La date limite est le 20 février 2015.

Vous serez informé de la décision du comité scientifique le lundi 16
mars 2015.

Conférence : Montages. Assembling as a Form and Symptom in Contemporary Arts

LIEU : Venice (Italy), Teatrino di Palazzo Grassi

DATE : December 1 – 02, 2014

International Conference
curated by Cristina Baldacci and Marco Bertozzi
Film section curated by Philippe-Alain Michaud


Scientific Committee
Martin Bethenod, Angela Mengoni, Philippe-Alain Michaud, Antonio Somaini, Angela Vettese


Università Iuav di Venezia, Dipartimento di Culture del
Progetto/LABIM-Laboratorio di Teoria delle Immagini, and Palazzo Grassi, Venice

Montage, today, is a widespread procedure that doesn’t concern just artistic production, but also our daily lives and the use everyone makes of that huge visual archive contemporary media places at our disposal. In a technologically advanced society, where the notion of postproduction regulates our relationship with images and objects, it is therefore necessary to thoroughly investigate the role, possibilities, and, most of all, anthropological and politic connotations of montage; and to ask ourselves whether – in comparison to the heroic years of the first avant-gardes – montage has become a faded and standardized practice or if it is a more and more effective means to understand and reprogram the world, especially in relation to the technical possibilities offered by new media and remix practices.


Monday, December 1st

9.15 – WELCOME  
Cristina Baldacci, Marco Bertozzi, Martin Bethenod

9.30-10.15 – PRELUDE
Introduces and moderates Marta Kuzma (Kungl. Konsthögskolan-Royal Institute of Art, Stockholm/Università Iuav di Venezia)   

Montages fragmentaires du romantisme

Olivier Schefer (Université Paris 1 – Panthéon-Sorbonne)  

10.15-12.30 – SESSION I: Interstices
Introduces and moderates Cristina Baldacci (Università Iuav di Venezia) 

Il linguaggio mobile del collage
Angela Vettese (Università Iuav di Venezia)

Memorie dell’infigurabile. Corpi e montaggio nel lavoro di Berlinde de Bruyckere

Angela Mengoni (Università Iuav di Venezia)  


TIMED! 15 MINUTES FOR A BOOK                              Angela Mengoni, « Interpositions »                  

 Angela Vettese, « Si fa con tutto »                                       
 Marco Bertozzi, « Recycled cinema »       


12.30-1.15 – SCREENINGS: Cuts
Introduces Philippe-Alain Michaud (Centre Pompidou, Paris/Università Iuav di Venezia)

Andre Deed, « Cretinetti che bello! », 1909, 10′
Stan Brakhage, « Eyes », 1970, 35′

2.30-5.30 – SESSION II: Cinegraphies
Introduces and moderates Marco Bertozzi (Università Iuav di Venezia)    

Del montaggio quotidiano. Pratiche di linguaggio nell’Italia televisiva dalla fine degli anni ottanta ad oggi
Carmelo Marabello (Università Iuav di Venezia)

« Accostare cose che non sembrano disposte a essere accostate ». Appunti su montaggio e anacronismo
Francesco Zucconi (Università degli Studi di Siena)

Le montage de l’histoire dans le cinéma documentaire               Eyal Sivan (Theoretician and filmmaker)

Du point de vue du cadre (à propos de Morgan Fisher) 
Christa Blümlinger (Université Paris 8 – Vincennes          Saint-Denis)         

Christa Blümlinger, « Le cinéma de seconde main »      
Francesco Zucconi, « La sopravvivenza delle                          immagini nel cinema »

5.30-6.00 – CONVERSATION
Frédéric Sanchez (Sound designer) and Martin Bethenod (Palazzo Grassi,Venezia)

Tuesday, December 2nd

9.30-12.30 – SESSION III: Sutures
Introduces and moderates Angela Vettese (Università Iuav       di Venezia)

« L’empreinte en mémoire ». Montaggio e sovrapposizione nei progetti filmici di Marcel Duchamp

Marco Senaldi (Independent researcher)

From cinematic montage to curatorial parcours. Questions of cinematic and curatorial aesthetics

Mark Nash (Independent curator)

« Life is editing »

Antoni Muntadas (Artist, Università Iuav di Venezia)

Mario Lupano (Università Iuav di Venezia), « Una giornata moderna »       
Daniela Sacco (Università Iuav di Venezia), « Mito e teatro »

12.30-1.15 – SCREENINGS: Samples 
Introduces Philippe-Alain Michaud (Centre Pompidou, Paris/Università Iuav di Venezia)

Marcel Duchamp, « Anemic Cinema », 1925, 7′
Len Lye, « Rhythm », 1957, 1′
Peter Rohr, « Filmmontagen I », 1965, 9′
Martin Arnold, Passage à l’acte, 1993, 12′ 

2.30-4.30 – SESSION IV: Paradigms
Introduces and moderates Angela Mengoni (Università      Iuav di Venezia)

Il montaggio come forma e sintomo: l’eredità degli anni venti e trenta
Antonio Somaini (Université Sorbonne Nouvelle – Paris 3)

Interattività, montaggio e tecnologie della sensibilità
Pietro Montani (Università La Sapienza, Roma)

Pietro Montani, « Tecnologie della sensibilità »                          
Antonio Somaini, « Ejzenštejn »              


4.30-5.30 – SCREENINGS: Clips
Introduces Philippe-Alain Michaud (Centre Pompidou, Paris/Università Iuav di Venezia)

Bruce Conner, « Breakaway », 1966, 5′
Ronald Nameth, « Andy Warhol’s Exploding Plastic Inevitable »,1967, 14′  
Malcom Le Grice, « Berlin Horse (two screens) », 1970, 8′
Manon de Boer, « Sequenza », 2014, 15′

5.30-6.00 – FINAL THOUGHTS

The Getty Research Institute and the Getty Villa invite proposals for the 2015–2016 academic year residential grants and fellowships

LIEU : Los Angeles, CA, USA
DATE LIMITE : Nov 3, 2014

The Getty Research Institute theme, “Art and Materiality,” aims to
explore how the art object and its materiality have enhanced the study
of art history. Scholars, working with conservators and scientists, are
gaining insight into the process of art making from raw material to
finished object, as well as the strategic deployment of materials both
for their aesthetic qualities and for their power to signify. The Getty
Research Institute seeks proposals from scholars and fellows on these
and other issues related to the materiality of art.

The Getty Villa theme, “The Classical World in Context: Egypt,” will
focus on relations between the cultures of the classical world and
Egypt from prehistory to the coming of Islam. Through trade, warfare,
diplomacy, and other methods of exchange, these civilizations had a
crucial, and often reciprocal, impact on cultural trajectories in both
spheres. Priority will be given to research projects that are
cross-cultural and interdisciplinary, utilizing a wide range of
archaeological, textual, anthropological, and other evidence.

The Getty Scholars Program strongly encourages recipients of this email
to share this information with colleagues.

Detailed application guidelines are available online at:
For more information about each theme please visit:

Please address inquiries to:
Phone: (310) 440-7374

Call for Papers : Photography and Migration

LIEU: Colby College, Waterville, ME, 24-25 avril 2015
DATE LIMITE : 15 décembre 2014

On April 24-25, 2015, scholars, artists, students, and members of the
Waterville community will come together at Colby College to interrogate
the relationship between photography and migration. This conference is
one of many events taking place at Colby that address the college-wide
humanities theme in 2014-2015, “Migrations,” hosted by the Center for
the Arts and Humanities. It will include formal presentations and
roundtable discussions, film screenings, as well as displays of
historical photographs and artworks.

Throughout its history, the photographic medium has played an important
role in the movement of people, objects, identities, and ideas across
time and space, especially in the human crossing of geographical and
cultural borders. Scholars have shown how cameras documented, enabled,
or controlled such forced and voluntary movement, while photographers
attempted to put a face on immigration around the world, making visible
its associations with transition, displacement, hardship, and
opportunity. The goal of the conference is to consolidate and expand
upon the critical questions asked about photography and migration. What
does it mean, for instance, to represent photographically the
experiences of immigration, exile, diaspora, and passing? How might we
reimagine concepts essential to migration, such as (im)mobility and
dissemination, in specifically photographic terms? How do photographs
themselves, moreover, migrate across local, regional, national, and
global contexts?

Confirmed keynote speakers include: Anthony Lee (Mount Holyoke
College), who will discuss the art photography of F. Holland Day in
relation to period discourse on immigration; anthropologist Jason De
León (University of Michigan) and photographer Michael Wells, who have
collaborated on the Undocumented Migration Project on the US-Mexico
border; and Thomas Allen Harris, a New York-based writer and
documentarian who co-founded the Digital Diaspora Family Reunion
project and directed the critically acclaimed film Through a Lens
Darkly: Black Photographers and the Emergence of a People (2013).

To stimulate lively and productive exchanges during the conference, we
are soliciting proposals for 10-minute presentations from scholars,
curators, image-makers, and others that highlight major questions about
photography and migration. Following each presentation will be a short
response by a discussant from Colby College and 20 minutes of
conversation with the audience. We are looking for proposals that
address directly the theme of the conference; foreground their own
critical and creative interventions; and engage deeply with a set of
images, or even a single image.

Please submit the following materials to Tanya Sheehan, Associate 
Professor, Department of Art, Colby College, by 
December 15, 2014:

– Cover letter; please include your contact information and explain
your interest in the conference theme
– Abstract; no more than 200 words, including a working title for your
– Professional bio; no more than 100 words
– Curriculum vitae

Decisions on proposals will be made by January 15, 2015. Details about
the conference will be posted to

This conference is sponsored by the Colby College Center for the Arts
and Humanities, Colby College Museum of Art, and Colby Libraries
Special Collections. For more information about the college’s annual
humanities theme, please go to