2017 UCLA Art History Graduate Student Symposium Call for Papers
Art on the Edge: Crossing Borders, Shifting Boundaries, Challenging Conventions
The conference will take place on October 28, 2017 at the Hammer Museum.
Interested participants should submit a CV and abstract of no more than 300 words by May 15th, 2017.
Powerful works of art can shake the foundations of our world and disrupt the status quo. But they can also help us theorize new ways of navigating a world that is both in ﬂ ux and in tension. Now is a crucial moment to critically consider the history of art in relation to its literal and ﬁ gurative borders and to ask in what ways artists and artworks have contributed to and confronted our conceptualization of these borders, conventions, and lines of demarcation.
While the history of art often shares a common border with artistic practice, curatorial practice, archeology, and the history of visual culture, this territory is often contested and disputed along chronological, disciplinary, and medium speciﬁ c lines. How have these ﬁ elds blurred? What is at stake in their speciﬁ city? What do we stand to gain in their reconﬁ guration, and how might this reconﬁ guration be envisioned and on what terms?
The trade of materials, techniques, customs, and ideas has arguably been an essential catalyst for artists of any period, but how has the dissemination of artistic knowledge and the visibility of works of art been stalled, inhibited, or foreclosed due to the mediation imposed by borders and boundaries, geographic, linguistic or otherwise? When do borders become oppressive for the arts and, conversely, are there times when borders are useful and should be defended?
What about the borders faced directly by artists? Does gender, race, ethnicity or nationality help or hinder an artist’s and/or their work’s passage through time and across borders? How have artists and art historians proceeded in interpreting and responding to borders, boundaries, and conventions under conditions of globalism? How have artists used technology to overcome borders? And how might we historicize or begin to map the implications and effects of borders, boundaries and conventions on artistic practice today? Considerations of these and other related issues are welcome.
Abstracts no more than 300 words are welcome from the following ﬁelds: art history, curatorial studies, visual culture, archeology, architectural studies and ﬁne arts.
Please email email@example.com no later than May 15th, 2017.