From: H-ArtHist Redaktion <[email protected]>
Date: Apr 6, 2015
Subject: CFP: 2 Sessions at CAA (Washington DC, 3-6 Feb 16)
CAA 2016 Washington, DC, February 3 - 06, 2016
Deadline: May 8, 2015
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[1] Institutionalizing Socially Engaged Art in the 21st Century
Over the last decade, socially engaged art practice and discourse has
been increasingly institutionalized and popularized. A plethora of
exhibitions, academic and public programs and publications have been
showcasing, practicing, teaching and theorizing socially engaged art
through a number of different outlets. Examples include, new MFA
programs in art and social practice, international conferences,
exemplified by the multi-year Open Engagement and widely-publicized
international forums on art and social justice organized by well-known
institutions such as Creative Time. At the same time, a wide spectrum of
socially engaged art initiatives throughout the world have adopted
activist strategies and have tended to affiliate themselves with protest
movements. Occupy Museums, for example, while ignited in 2011 when
American artist Noah Fisher wrote and published its manifesto, has been
inspired by the Occupy Wall Street movement. In recent years, a growing
number of artists, curators, critics, and students have been coming
together to form institutions and organizations in response to failing
democracies. For example, since 2013, Hungarian art practitioners have
formed eclectic groups, such as the Free Artists group and United for
Contemporary Art in Budapest to challenge non-democratic measures
implemented by the extreme-right wing ruling political party FIDESZ.
This panel seeks to open critical discussion on the deeper implications,
methodological aspects, questions and problematics that arise through
these processes of (self)institutionalization. An emphasis on Central
and Eastern Europe is especially welcome. We invite presentations from
scholars, curators, critics and artists that explore some of the
following questions: What are some of the recent artistic forms of
institutionalized social practice and what are their particular aims,
strategies and mechanics of operations? How do they inform artists'
socially engaged art practices that are typically contingent upon a
locality and work with specific publics? How do they either build upon
or depart from canonized forms of institutional critique during the
1960s - 1980s? Who is the audience of such process-oriented practices?
Moreover, how do institutionalized and self-institutionalizing processes
complicate our understanding of both the role of contemporary art
institutions and of collaborative and participatory forms of socially
engaged art? How do different political contexts, older, recent and
becoming democracies, affect the meaning of institutionalized social art
practice?
We encourage interested participants to submit proposals for papers that
address such questions though specific case studies, yet broader
theoretical perspectives are also welcome. As such, themes may also
include: - Critical Subversion and Institutional Assimilation - The
Political in Socially Engaged Art: Art Practitioners in Post-Cold War
Central and Eastern Europe - Self-institutionalizing and its Audiences
- Current Practices and their Historical Genealogies
Please, send an abstract (1-2 pages, double spaced), a letter of
interest, a CAA submission form and current CV by May 8 to organizers:
Sabine Eckmann, Washington University in St. Louis, [email protected]
and Izabel Galliera, McDaniel College, [email protected]
CAA individual membership is required of all participants.
For general guidelines for speakers, see:
http://www.collegeart.org/pdf/2016CallforParticipation.pdf
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