Call for Proposals: Digital Initiatives Symposium 2020  

Call for Proposals: Digital Initiatives Symposium 2020  

The Digital Initiatives Symposium at the University of San Diego is accepting proposals for its full day conference on Tuesday, April 28, 2020. We welcome proposals from a wide variety of organizations, including colleges and universities of all sizes, community colleges, public libraries, special libraries, museums, and other cultural memory institutions.

 

Proposals should fall into one of two formats:

  • Concurrent sessions: 45 minutes (please allow 10-15 minutes for Q&A); 1-2 speakers.
  • Lightning talks: 10 minutes; limited to one speaker

This year, we are especially interested in proposals from international applicants and/or proposals with international perspectives. We will be welcoming keynote speakers Reggie Raju (University of Cape Town, South Africa) and Arianna Becerril-Garcia (Redalyc).

 

Other relevant topics include:

  • social justice and open access
  • the future of open access
  • data management and sharing; open data
  • Linked data
  • open educational resources
  • curation of digital collections
  • digital initiatives in instruction and undergraduate research
  • roles for deans and directors in digital and institutional repository initiatives
  • roles for disciplinary faculty in digital and institutional repository initiatives
  • diverse repository platforms and functions
  • digital humanities
  • copyright, licensing, and privacy issues
  • collaboration: interdisciplinary initiatives and collaboration within and between campuses
  • scholarly communication
  • technical applications related to platforms or tools
  • web archiving
  • web annotation

 

Submit your proposal at digital.sandiego.edu/symposium (Click on “Submit Proposal” on the left sidebar.) Please note:

  • In the interest of providing a rich, face-to-face experience for attendees, virtual / remote presentations and lightning talks will not be accepted.
  • All submissions will be evaluated based on the relevance of the topic and potential to advance thinking about digital initiatives, institutional repositories, and scholarly communication. Acceptance is competitive.
  • Registration fees will be waived for accepted presenters.

 

Proposal deadline: Friday, Nov. 22, 2019

Call for applications: Shanghai Curators Lab 2: November 4–30, 2019

For more information, please visit [e-flux]

Call for applications: Shanghai Curators Lab 2
November 4–30, 2019

Application deadline: September 5

www.curatorslab.cn

Hosted by SAFA (Shanghai Academy of Fine Art, Shanghai University) and Shanghai International Art City Research Institute, in collaboration with Shanghai Biennale (Power Station of Art), Shanghai Curators Lab (SCL) is a dynamic and challenging curatorial platform for early career curators focusing on experimental and critical discussion of the ecology of curatorial practice. SCL is also an artistic agency to intervene in and interpret the meaning of artistic and cultural production in a period of transforming knowledge, information, systems and values. Since curatorial practice has become an open-ended, catalytic cultural agency for shifting perspectives on artistic, socio-political, environmental, urban and various industrial showcases, a wide range of intersectional meeting points for research and practice is essential. Continue reading “Call for applications: Shanghai Curators Lab 2: November 4–30, 2019”

ICI presents the Curatorial Intensive in Cape Town, South Africa

PROGRAM DATES: NOVEMBER 13 – NOVEMBER 20, 2019

APPLICATION DEADLINE: September 9, 2019

This November, ICI will organize the Curatorial Intensive in Cape Town, South Africa in collaboration with the Institute for Creative Arts at the University of Cape Town. The program will coincide with Infecting the City, the longest running public arts festival in the country, curated by Jay Pather. Continue reading “ICI presents the Curatorial Intensive in Cape Town, South Africa”

CFP: CAA 2020: Women in the Nation’s Collections

Women in the Nation’s Collections

Upon the centennial of women’s suffrage, museums nationwide are marking the anniversary with a wide range of initiatives. This panel focuses on collections in Washington, DC, both as the city where the historic legislation passed in 1920 as well as the site of a continued push for progress for all women. Inspired by the National Gallery of Art’s forthcoming Women 20/20 installations and the Smithsonian Institution’s Because of Her Story project, this session seeks to explore methods of telling alternate histories of art in museum collections that have a significantly low proportion of works by women artists, and an even lower proportion of works by women of color. How might we emphasize other roles, such as patrons, subjects, donors, and dealers of art? Continue reading “CFP: CAA 2020: Women in the Nation’s Collections”

CFP: UF Museum Studies 20th Anniversary Symposium February 17-18, 2020

A Symposium for Transformative Practice
University of Florida, Gainesville, Florida
February 17-18 2020

UF Museum Studies 20th Anniversary Symposium

In 2000, the University of Florida (UF) established a graduate program in Museum Studies. In the last twenty years, museums and museum professions have undergone critical transformations. To mark the twentieth anniversary of the program and the radical changes in Museum Studies and museums, UF is convening a symposium to examine the history and future of museums and museum professionals challenging ideas and practices in order to shape transformational knowledge and experiences.

The UF Museum Studies program states: “We believe museums can change the world.” Thus, the program centers the transformational power of museums.  At this interdisciplinary symposium, we will focus on museums and Museum Studies programs:

  • For the history of museums: how have they engaged with and made visible the social and political challenges of their times? Particular interest will be given to how institutions, individuals, and communities manifest transformations that challenge accepted ideas and/or practices.
  • How have Museum Studies programs and other forms of professional training evolved to respond to changes to bring about transformations?
  • For the future, how can museums and Museum Studies best work in concert to lead change through transformational practice?

Twenty-years ago Stephen Weil posited that American museums were in a moment of great transformation, shifting from “Being about Something to Being for Somebody.” No longer able to be ‘salvage and warehouse business[s]’, he argued that it was imperative for museums to become more entrepreneurial and to demonstrate their impact and advocate for their value. In the decades prior to Weil’s essay, New Museology or New Museum Theory established a critical discourse for museum practice around how museums construct knowledge, engage with communities, and operate in society. Pierre Mayrand argued that this critical discourse “mobilize[d] the supporters of the radical transformation of the aims of museology, and advocates profound changes in the thinking and attitudes of the museologist.”

Today, museums continue to strive to assert their public value and critically engage with the systems and structures upon which they have been built. Many museums have shed guises of neutrality. Museum professionals are positioning their work and institutions as inherently engaged with justice, representation, and addressing historic traumas. Some museums have taken more overt stances to address critical contemporary social issues such hate crime, genocide, migration, mass incarceration, racism, and climate change through their collections and programs.

This symposium celebrates the work of museums, Museum Studies, and our communities over the past twenty years. In doing so, this program looks to the future as we work together for a more just and equitable world.

We seek proposals for participation in the symposium in various formats:

  • Presentations (20 minutes inclusive of discussion )
  • Panels (3 presentations, 75 minutes inclusive of discussion)
  • Roundtables (multiple presenters in conversation, 1 hour)
  • Lightning round presentations (5 minutes)

A publication in the form of an edited volume is planned. Selected participants will be asked to contribute to this publication with texts due in Feb 2020.

Proposals Due: Monday, August 26th
Acceptance Notifications: by Friday, September 20th

Proposal for each formats should include:

  • Presentations: 250 word abstract and short bio (100 words),
  • Panels: 500 word abstract of the panel including a summary of the goals of the panel and topic the individual papers and short bios for each presenter (100 words)
  • Roundtables: 250 word abstract of the theme of the roundtable including the guiding questions for the conversation and short bios for each roundtable participant (100 words)
  • Lightning round presentations: 250 word abstract and short bio (100 words)

proposal submission form 

If you have inquiries about the symposium or the proposal process you may send them to:
museumschallenge@arts.ufl.edu

CAA in Chicago (February 12, 2019): Call for Artist/Curator Related Expertise

IS THAT UNPROFESSIONAL? WHEN ARTISTS CURATE

Wednesday, February 12, 2020: 4:00 PM-5:30 PM
Salon A-2 (Hilton Chicago)

Affiliated Society or Committee Name: Professional Practices Committee

The relationship between artist and curator is often carefully guided by a set of professional and personal codes. Although the distinct roles of artist and curator feel firmly entrenched, they are a modern invention. Prior to the mid-twentieth century when the work of the curator was professionalized, artists served as their own promoters and organized and interpreted many of the most influential exhibitions and collections of post-industrial Europe and the United States. From the artist-organized exhibitions of the French Impressionists to the Society of Independent Artists, founded by Katherine Dreier, Marcel Duchamp, and Man Ran, artists contributed significantly to a modern understanding of curatorial work.But the relatively new division between the two roles has created a professional murkiness for the artist curator. Under what circumstances can an artist serve as curator? When someone is fulfilling both jobs, how should their work be understood or critiqued? How can an artist curator address their own subjectivity, authorship, or place within a project? Should we articulate a separate set of professional standards and guidelines for the artist curator?

As the popularity of curatorial studies programs increases, the codified divisions between the two professions are only becoming better defined, making these questions more pressing. In this panel, we will discuss the professional concerns of the artist curator and the historical contexts and contemporary models for a practice that does not fit into one category easily.

Field of Study:
Twenty-First Century
Artistic Practice
Curatorial Studies
Studio Practice
Twentieth Century

Chair:
Meredith Lynn, Florida State University – meredithlaura@gmail.com. Please feel free to reach out to Meredith Lynn with any questions or recommendations.

Transatlantic Seminar for Museum Curators and Educators

Transatlantic Seminar for Museum Curators and Educators – Washington D.C., November 4-7, 2019

WHEN: November 4-7, 2019

WHERE: Smithsonian Institution in Washington, DC

WHO: Open to 12 German and 12 American curators, educators, and other professionals working in museums or similar institutions, such as memorial sites.

PROGRAM DESCRIPTION:
The four-day seminar will bring participants together to explore museums as spaces for social discourse and learning. The seminar will aim to deepen international understanding, while simultaneously supporting hands-on professional development, exchange of best practices, and lasting professional connections. Topics covered will include:

  • Exhibitions and public programming;
  • Diversity, equity, accessibility, and inclusion;
  • Collaboration across disciplines and sectors;
  • National mission in a globalized world.

Participants will be expected to discuss and share their experiences through active participation.

HOW TO APPLY:
Please see the following link to the Seminar Application and further information about the program: https://www.fulbright.de/projects-and-initiatives/deutschlandjahr-usa/seminar-for-museum-curators.

The application deadline is July 31, 2019. All applications will be reviewed by a selection committee, and applicants will be notified of selection results at the beginning of September 2019.

ANN: Curating Prints (London, 27 Apr-1 May 20)

ANN: Curating Prints (London, 27 Apr-1 May 20)

London and vicinity, July 8 – September 20, 2019
Deadline: Sep 20, 2019

Print Quarterly invites applications for a program dedicated to prints connoisseurship and curatorial practice, spanning from printmaking techniques to innovative strategies of display and public engagement in a museum context. The program will take place over four days in London and its vicinity. Most sessions will be held in museum print rooms, but insights into commercial print publishing, current printmaking and the primary and secondary art market will also be provided. The program will be led by the Editor of Print Quarterly with the contribution of international senior experts in the field.

The program is tailored to early and mid-career curators with responsibility for prints and works on paper seeking professional development. Applications from advanced graduate students pursuing a thesis on a print-related topic and scholars involved with print curating will also be considered.

Travel, accommodation and meal expenses will be covered by the program.

The program is supported by THE GETTY FOUNDATION, as part of The Paper Project: Prints and Drawings Curatorship in the 21st Century.

Applications should be emailed as pdf documents to curating@printquarterly.co.uk
and consist of:

– A letter of intent summarizing your interest in the program. The letter should describe your current responsibilities and work, your future hopes and ambitions and an explanation of how participation in the program might help you achieve your goals. It should also include your thoughts about what you would hope to see covered in the program and wish to learn from it.

– A curriculum vitae that includes your name, title, affiliation, postal and email address, nationality/citizenship, languages spoken, education, publications, and name and contact details of two references.

Deadline: 20 September 2019

Participants will be selected and notified by late October 2019.

Questions about the program may be directed to curating@printquarterly.co.uk.
For more details and how to apply please visit printquarterly.com

Reference / Quellennachweis:
ANN: Curating Prints (London, 27 Apr-1 May 20). In: ArtHist.net, Jul 10, 2019. <https://arthist.net/archive/21295>.

Call for Applications: Transatlantic Seminar for Museum Curators and Educators – Washington D.C., November 4 – 7, 2019

The Transatlantic Seminar for Museum Curators and Educators (November 4 – 7, 2019) is a unique opportunity to further your professional development and to expand your professional network across the Atlantic. Continue reading “Call for Applications: Transatlantic Seminar for Museum Curators and Educators – Washington D.C., November 4 – 7, 2019”