Public Art and Higher Education

While I’ve been neglecting the blog over the last few months, I’ve been dabbling with a a Facebook group for Public Art Research… not sure how the relationship between the two sites will work out, but might allow for a little more dialogue…

and in the meantime, three opportunities concerned with the various relationships of art and public to the institutions of post-secondary education:

Call for Papers: Higher Ed: College Campuses and Public Art

Submissions deadline: 1 September 2016
Guest editor Monika Burczyk is now seeking proposals for essays, artists’ projects, dialogues and all other types of submissions on this subject for a forthcoming issue of the journal Public Art Dialogue.

As more and more colleges and universities feature public art on their campuses and in their pedagogy, it is a good time to address questions of how public art works at these specialized sites–for students, staff, faculty and community members. A Google search of “public art on campus” yields 110,000 results. While the definition of such “public art” ranges from university museums to social practice exchanges to collaborative community/classroom projects, the missions of these institutions often claim that art on campus is foundational to their intellectual culture and central to their educational vision. In this issue, the guest editor seeks to highlight the range of public art presented at colleges and universities, its various uses and effects, and strategies for evaluating such.

(Public Art Dialogue is sponsored by the organisation of the same name, here, and aims to provide platforms for dialogue across the wide range of professions and disciplines that public art encompasses.)

Submissions guidelines and further information here.

Public Art Studio Teaching Symposium

Saturday 4th July 2015
University of Auckland

NICAI called for submissions (now closed) to contribute to a one day symposium in conjunction with IAPA 2015: Cities in a Climate of Change: Public Art, Environmental and Social Ecologies (1-4 July), the second International Award for Public Art conference and exhibition.  IAPA 2015 is co-hosted by National Institute of Creative Arts & Industries (NICAI), University of Auckland, and the Shandong University of Art & Design, China, in association with the Hong Kong based Institute of Public Art (IPA).

IAPA 2015 includes the announcement of the 2nd International Public Art Award, administered by IPA.

The symposium is open to conference participants and others with an interest in the scholarship of studio teaching in the areas of public art and place-making practices.

and last but not least..

Public Art School (Now)

(with a nod to Situations and the Public Art (Now) blog for our adaptation of their title!)

Fiona Hillary (RMIT) and myself (Ruth Fazakerley, University of South Australia) are keen to discover what’s happening (or not happening) now in higher education institutions to prepare students to function as artists in the public realm.

As part of ACUADS 2015, the Australian Council of University Art and Design Schools’ annual conference, to be held in Adelaide (24-25 September 2015), we will shortly be seeking examples from educators of relevant curriculum and projects, reflections, challenges and provocations, to contribute to a roundtable discussion at the conference: How are art schools’ preparing students to work in and with public, community and social contexts? What now constitutes professionally relevant skills and capacities? What are the challenges and opportunities?

We’ll outline submission guidelines soon, but feel free to get in touch before then if you’d like to be involved.

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CFP: Material Culture in Action

Material Culture in Action: Practices of making, collecting and re-enacting art and design

Glasgow School of Art, Glasgow UK
7-8 September 2015

Deadline: 15 March 2015

Proposals are invited for 20-minute papers, 60-minute panels and 5-minute poster presentations, from researchers and practitioners. The convenors aim to publish a selection of conference papers in an edited book:

This two-day international conference will investigate new directions in material culture studies by focusing on creative, critical and theoretical engagement with the material culture of art and design, both within and beyond the art school. … An emphasis on processes means paying close attention to places of production; from the art school, the studio, the print workshop, the pressing plant, the factory, the street, to the discrete – yet equally significant – realms of domestic life. Although places of consumption and display have been readily mapped out in academic and non-academic literature (Attfield 2007; Bronner 1989; Zola 1883), little has been written about the eminently complex environment of the studio and the art school.

We hope to generate a cross-disciplinary dialogue, engaging theorists and artists, thinkers, makers and collectors/connoisseurs of objects. Suggested areas of discussion include, but are not limited to:

 * THE ART SCHOOL: objects, meanings and subjectivities in the making

* MULTI-SENSORIAL and AFFECTIVE MATERIALITIES: touching, seeing, hearing, making

* TYPOLOGIES OF COLLECTING

* IM/MATERIAL CULTURES

Further information and submission guidelines here.

CFP and Panels: New Materialisms Conference

Transversal Practices: Matter Ecology and Relationality

VI Conference on New Materialisms
Victorian College of the Arts, University of Melbourne
Melbourne
27-29 September 2015

Deadline: 16 February 2015

Keynote speakers include Erin Manning (SenseLab, Concordia University), Brian Martin (Deakin University) & Hayden Lorimer (University of Glasgow).

Abstracts for academic papers, creative proposals and “experimental and/or experiential laboratorium” are invited from scholars/writers/artists/scientists. All conference submissions will be referred with opportunities to submit completed papers for a refereed publication.

We encourage critical approaches that transversally cross the following: collectivity, corporeality/incorporeality, materiality/immateriality, indigeneity, individual/group subjectivity, knowledge-production/onto-epistemologies, language, temporality, transdisciplinarity, processes of making art/philosophy/ activism, and the three Ss—spatiality, sociality and the sensorium.

Transversal Practices focuses on how things, subjects, collectives, politics and disciplines are in the making; how they take-form and transform in relation to other elements, both human and nonhuman. Transversal Practices are concerned with ecologies where intensities of movement are aligned with and embrace hands-on attitude and artistic, scientific, ethnographical, philosophical and activist praxis.
We offer three keywords to inspire thinking and to carve out the specificities of practice. Matter refers to ubiquitous, vibrant and continuous becoming that is one of the central concerns of New Materialism: practices are always material, and surprising in nature. Ecology indicates an open and continuously transforming system, which depends upon how its components relate to each other. Relationality, for its part, is the moving principle of being in the world, or with the world. We become in relation to others. We co-emerge, as do artworks, ideas and collectives.

We welcome contributions that address, for example, the following questions:
How do transversal practices work and how can we account or conceptualise them?
What kind of methodologies do they necessitate, or call for?

The conference is sponsored by the Faculty of the VCA and MCM at the University of Melbourne in co-operation with ISCH COST Action New Materialism: Networking European Scholarship on ‘How Matter Comes to Matter’.

Further information and submission guidelines here.

CFP & Artworks: QUEER(ED) ART

Queer(ed) Art: Artistic Practices of Sexual Difference and Radical Possibilities

Sponsored session by the Space, Sexualities & Queer Research Group (SSQRG)
2015 Annual International Conference, Royal Geographical Society (RGS) with Institute of British Geographers (IBG)
2-­4 September, 2015
Exeter, UK

Convened by: Martin Zebracki (University of Leeds, United Kingdom) & Andrew Gorman-Murray (University of Western Sydney, Australia)

Deadline: 12 February 2015

Proposals are invited for conference papers, academic op-ed pieces and artistic interventions – photography, film, music/song, dance, poetry, multi-media installation or virtual exhibits – which may enable cross-disciplinary, cross-place and multi-sensorial renditions of the theme in “more-than-human assemblages” –  from scholars across disciplines, stages of career and research phases:

Queer studies to date have under-elaborated how social difference across sexual disposition, sexual lifestyle and sexual interaction critically intersect with various spaces of artistic practice and expression. We see ‘queer’ as a critical post-structuralist stance towards sexuality. Queer can also be considered a social identity of the ‘sexual dissident’, someone or something that is a-typical, a-normal or ‘different’. Here, queer can either be a category assigned by normative social practice or rather a heterodox denotation embodied as the critical antipode of such normative practice.

Mundane encounters with queer, or sexual diversity in general, can be artistically expressed and negotiated through visual arts, performance, language, fashion, film, music, dance, literature, poetry, etc. by any humans (not only by those commonly considered artists) in contexts stretching over and interlinking various spaces, e.g., the home, the gallery, the museum, public space, the city/urban development, the governmental sphere and/or online communities. We are interested in how such socio-spatial artistic practices, expressions, mobilities and negotiations are (un)critically queering social identity and how art in and of itself can be queered according to sexual normativities.

Sexual (contra)normativities are played out in social regimes over space and time and in so doing in interface with social identity markers of gender, ethnicity, class, age, health, (dis)ability, religion, nationality, etc. Particularly along these time-spaces of intersectionalities, we wonder how artistic practices may articulate kaleidoscopic pin-points to radically challenge queered sexual citizenships. How may such layered understanding of queer(ed) art critically redress – and potentially put in a caveat against – sexual normativities and as such offer an intellectual platform for radical social change towards a more sexually inclusive society here and there?

This session looks for papers or academic op-eds that meet the above research niche and thus provide theoretical, methodological and/or empirical gravity to envisage radical social change through the window of queer(ed) art. We invite scholars across disciplines, stages of career and research phases to engage with this subject, departing from specific pertinent social and cultural theories that speak to the scope of this Call.

Further information and submission info here.
Conference website here.

Public Art Dialogue journal – latest issue and call for papers

Catching up on the latest (September) issue of Public Art Dialogue 4(2), its first ‘open’ or unthemed issue,  I see it includes a reprise of the story of Adrian Doyle’s Empty Nursery Blue art work in Melbourne (mentioned in my The Everyday Life of Public Art- Part 1) with Fiona Hillary and Shanti Sumartojo examining visitor interactions with and responses to the work.

Contents of the September issue include:

  • Cher Krause Knight & Harriet F. Senie, ‘Editors’ Statement: Open Issue’, pp 173-174
  • Gregory Sale, ‘Re-entry: an evening beyond black and white’, pp 175-183
  • Sierra Rooney, “It’s Not About One Statue:” Fred Wilson’s E Pluribus Unum’, pp 184-200
  • Fiona Hillary & Shanti Sumartojo, ‘Empty-Nursery Blue: On Atmosphere, Meaning and Methodology in Melbourne Street Art’, pp 201-220
  • Zoe Bray, ‘Sculptures of Discord: Public Art and the Politics of Commemoration in the Basque Country’, pp 221-248
  • Laura Holzman, ‘A Question of Stature: Restoring and Ignoring Rocky’, pp 249-265
  • Jen Delos Reyes, Book Review: Diana Boros: Creative Rebellion for the Twenty-First Century: The Importance of Public and Interactive Art to Political Life in America, pp 266-267
  • Rika Smith McNally, Book Review: Glenn Wharton: The Painted King: Art, Activism, and Authenticity in Hawai’i, pp 268-269

The journal Public Art Dialogue is sponsored by the organisation of the same name, here. PAD aims to provide platforms for dialogue across the wide range of professions and disciplines that public art encompasses. Its membership includes art historians, artists, curators, administrators, educators, architects and landscape architects.

Calls for submissions for forthcoming special issues of the journal include:

The Cinematic Turn
Submission Deadline: March 1, 2015
Co-Editors : Cher Krause Knight and Harriet F. Senie

With the rise of new technologies specifically relating to the moving image, the breadth of public art expanded as its practitioners engaged in more varied explorations, though it would be fair to say the migration of these technologies into public art was generally slower than their absorption into the museum and gallery. This issue focuses on the use of film, video and/or cinematic techniques and strategies, with the intention to recognize some of the earliest efforts to incorporate these art forms into public art practice as well as addressing their current manifestations.

The Dilemma of Public Art’s Permanence
Submission Deadline: September 1, 2015
Guest Editor: Erika Doss

The meaning of public art is neither inherent nor eternal but processual, dependent on various cultural and social relationships and subject to the volatile intangibles of multiple publics and their fluctuating interests and feelings. Consequently, public art that offends, contradicts, violates or challenges the beliefs of today’s publics may be defaced, despoiled, removed, re-sited, dismantled, destroyed and/or forgotten. What are the ethical and political implications of public art’s removal and destruction? Is it legitimate to erase or revise markers of history and culture? Do such acts constitute public dissent? Are there alternatives to public art’s defacement and destruction? This special issue invites articles, essays and artists’ projects that contextualize the dilemma of public art’s permanence, taking innovative approaches to the subject through focused case studies, comparative analyses, historicized investigations and theoretical arguments. Transnational perspectives are encouraged, as are proposals from public art practitioners, commissioners and curators.

Borders and Boundaries
Submission Deadline: March 1, 2016
Co-Editors: Cher Krause Knight and Harriet F. Senie

Borders and boundaries engage the notion of crossing: over geographical terrain, through social practices, across class systems, into different cultures, and around conceptual theories. Sometimes these delineations are clearly defined, but often they can become murky and potentially even richer. For this issue we seek various kinds of submissions that investigate how borders and boundaries of all types are signified–visually and otherwise–and understood, and how they function in relationship to public art. In particular, we are interested in examinations of how borders and boundaries may differ from each other, in both physical and metaphysical ways.

Submissions can include traditional scholarly articles, opinion pieces, ‘conversational dialogues’, and artists projects. Further information and submission guidelines are available here.

CPF: Public Art at the 2015 AAG Annual Meeting

The redoubtable Martin Zebracki has again kindly forwarded calls for conference papers for public art related presentations, here for two sessions of the 2015 Association of American Geographers (AAG) Annual Meeting, to be held in Chicago, USA, 21-25 April 2015.

Both sessions are sponspored by the Cultural Geography Specialty Group of the Association of American Geographers:

1. Public Art Geographies: Territoriality, Transculturalism, Therapy

Convenors:  Dr Martin Zebracki (University of Leeds), Dr joni m palmer (University of New Mexico) &  Dr Pauline Guinard (Ecole normale supérieure de Paris, France).

Geographical work over the last decade has seen an upsurge in interest in everyday public art—formal or informal creative objects, activities or performances beyond gallery and museum spaces—which is permanently or temporarily situated on sites that are essentially open to the society at large. Whereas considerable academic engagement with public art can be identified with regard to issues of urban regeneration, creative cities, cultural policy and modes of creative research, this session welcomes papers that critically attend to three themes that reflect broader concerns in topical debates in social and cultural studies.

1) Territoriality: how are struggles over space and attendant issues of social identity, belonging, recognition and inclusion related to everyday public art practices? Here we are specifically interested in papers that see the public artscape through the lens of critical socio-spatial justice and territorial multi-actor control or friction.

2) Transculturalism: how do everyday public art practices connect to cultural diversities in people within and between localities? The session particularly encourages accounts on the public artscape’s intersectionalities between sex, gender, sexuality, ethnicity, race, class, age, religion and (dis)ability.

3) Therapy: how can everyday public art practices help to both articulate and activate cultural diversities for the sake of the common weal and, accordingly, produce meaningful place engagements through—and for—the self, other and community? As such, this session especially welcomes contributions that deepen our understanding of the relationships between the public artscape and wellbeing and of individual as well as collective care for the living environment.

Further information and submission deadlines here.

2. Creative Place-Making and Its Micropublics

Convenors: Dr Martin Zebracki (University of Leeds) & Dr Saskia Warren (University of Birmingham)

The burgeoning social production and consumption of symbolic goods of cultural value – also known as cultural industries (cf. O’Connor 2000; Power 2002) – across diverse city spaces in the Global North and Global South have engendered an often animated multidisciplinary debate about, most prominently, the role of culture and (public) arts in urban enterprise, branding, growth, regeneration and displacement; the tensions between bureaucrats, artists and residents; translocal hegemonies of cultural expression; and the impact of cultural work across socio-economic groups (cf. Flew 2012; Garnham 1987; Pratt 2005). Particularly lacking in this debate are conceptual and methodological apparatuses to critically discern the social space and ethics of everyday encounters with creative place-making.

Creative place-making implies arts-led activities by – or coalitions between – public, private, non-profit, for-profit and/or grassroots actors who shape the fabric of cultural industries in specific locales within a broader societal context of policies, politics and economies (cf. Bell & Oakley 2015; Markusen & Gadwa 2010). We invite papers that critically address what these creative place-based practices and their main objectives entail in regard to actual or imagined ‘micropublics’ (Amin 2002).

Micropublics are considered social formations, whether organised or ad hoc, where people with diverse backgrounds and identities are placed in ‘inter-esse’ (between-being) that can challenge cultural and political dispositions, boundaries and, potentially, the status quo. As such, the session is particularly interested in engaging analytically with social difference in art-audience-place encounters (cf. Warren 2013; Zebracki 2012), including exploring notions of citizenship, identification and alienation.

This session welcomes conceptual and/or methodological accounts as well as detailed empirical illustrations from various geographical contexts. Topics may include, but are not limited to, the following:

  • Social ethics of creative place-making
  • Critical dialectics between cultural policy and creative place-making
  • Homogenisations or heterogenisations in place-making practices along, e.g., sex, gender, ethnicity, race, nationality, sexuality, class, age, religion, and (dis)ability
  • Social inclusion and exclusion in multi-scalar place-making initiatives
  • Mobilities of creative place-making and their micropublics
  • Staged cultural authenticities and social alienation.

Further information and submission guidelines here.