Radical Art Caucus Sponsored Session at the College Art Association Conference, Feb. 22-25, 2012 Los Angeles, CA.
Alan Wallach, The College of William and Mary, firstname.lastname@example.orgThe simultaneous invention in the early 1790s of the panopticon, a type of prison, and the panorama, a form of mass entertainment, marks the beginning of a new epoch in the history of visual domination. Today, the panoramic and the panoptic so thoroughly pervade our culture that identification with the ³eye of power,² as Foucault termed it, has become habitual, reflexive, unconscious, seemingly innocent. Yet with the increasing proliferation of technologies of surveillance (e.g., CCTV), we find ourselves caught between the positions of viewer and viewed, of subject and object. If the panoramic inspires identification with regimes of surveillance, being the object of surveillance suggests a different response. The former implies a politics of complacency, the latter, a politics of resistance. This panel welcomes studies of artists and artworks both high and popular as well as investigations of applications of, and responses to, technologies of panoramic vision, representation, and surveillance.
To propose a paper, complete the application as described in the Call for Participation on the College Art Association website: http://www.collegeart.org/pdf/2012CallforParticipation.pdf
Receipt deadline: May 2, 2011
|College Art Association Annual Conference Feb. 22-25, 2012 Los Angeles, CA In this panel discussants will consider the ways that fine artists and art historians, working in higher education, are laborers. Such a panel is timely because, as has been frequently noted in the academic press, colleges and universities are relying evermore on adjunct, temporary, and graduate student positions to fulfill teaching needs. Presenters will address questions such as: Is the recognition of creative expression as equivalent to academic research and scholarship being eroded by administrators? Are administrators increasingly less inclined to regard visual artists and art historians as essential contributors in a liberal arts curriculum? Are administrators increasingly more prone to consider the visual arts and its practitioners as expendable extras? Are there indications that the arts are regarded as less rigorous than text-based areas of inquiry and therefore little more than campus decoration and academic dilettantism? Is the current economic climate encouraging administrators to increasingly disempower artists and art historians? Simultaneously, are studio artists feeling increasing pressure to commercialize their work at the behest of administrative agendas? And are art historians feeling increasing pressure to produce apologetics for the aesthetic dictates of donors? Anecdotal reports indicate that the answers to these questions are yes. Instances can be cited of recent abuses of visual arts professionals in higher education. For example, faculty with titles other than Professor, such as Artist in Residence, have found their roles usurped by administrative agendas. Studio artists have found themselves to design course curricula that meet publicity needs of their institutions at the expense of intellectual rigor. Arts academies have violated their charters by relying too heavily on adjunct labor. Graduate students and untenured professors have faced threats after making attempts to unionize. As responsible professionals in the visual arts we must therefore respond thoughtfully and strategically. In the face of the present vulnerability of arts professionals, what strategies of resistance can be employed? For this session we invite proposals for presentations that not only identify problems in higher education today but that also specifically explore possibilities for change. This session is not about abandoning hope and becoming isolated from our communities. Instead, we seek to enable artists and art historians to work towards a more equitable, positive, and productive environment for the visual arts. Each paper should address a specific case study to illuminate a broader progressive strategy. Please submit a CV and abstract of proposed session (150 words) to Kaylee Spencer |
Deadline: April 15, 2011
| Kaylee Spencer |
Assistant Professor of Art History
University of Wisconsin-River Falls