Deadline: Dec 17, 2012<\/span><\/font><\/p>\n Call for Papers<\/p>\n Submission Deadline: December 17, 2012, 5 p.m.<\/span><\/font><\/p>\n Historiographies of New Media<\/span><\/font><\/p>\n The Chicago Art Journal, the annual publication of the University of Particularly in the post WWII period, the term \u201cnew media\u201d has been Furthermore, the formation and performance of art history has been Just as recent scholarship has addressed the nuances of \u201cpre-modern\u201d We are especially interested in papers that diverge from the Topics might include but are not limited to: Submissions: All contributors should include their name, address, telephone number, Authors are responsible for securing image reproduction rights and Please send submissions to the graduate student editor Solveig Nelson \n","protected":false},"excerpt":{"rendered":" Deadline: Dec 17, 2012 Call for Papers Submission Deadline: December 17, 2012, 5 p.m. Historiographies of New Media The Chicago Art Journal, the annual publication of the University of Chicago Department of Art History, is seeking submissions of original work by graduate students…<\/p>\n","protected":false},"author":99,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[561],"tags":[],"class_list":["post-1578","post","type-post","status-publish","format-standard","hentry","category-related-topics"],"_links":{"self":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/posts\/1578","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/users\/99"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/comments?post=1578"}],"version-history":[{"count":0,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/posts\/1578\/revisions"}],"wp:attachment":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/media?parent=1578"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/categories?post=1578"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/tags?post=1578"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
<\/b><\/span><\/font><\/p>\n
\nChicago Department of Art History, is seeking submissions of original
\nwork by graduate students and faculty. The 2012-2013 edition asks how
\nnew media have affected not only the production of art, but also the
\nproduction of knowledge about art. What is at stake in approaching art
\nhistory through the concept of new media?<\/span><\/font><\/p>\n
\napplied to a range of formats\u2014from photography, to video, to the
\nInternet\u2014that have revolutionized the modes of transmission and
\nreproduction of \u201cold\u201d media of art. The concept of new media seems to
\npromise a mass media address, yet artists have often emphasized the
\nlimits of circulation\u2014for instance, in closed-circuit television, or
\nin zines that were produced via Xerox processes and yet distributed to
\nsmall networks. Such a dialectical relation escapes media theory\u2019s
\nemphasis on mass distribution and gestures instead toward sites of
\nfriction between the imaginative and material aspects of new media,
\nwhich the discipline of art history may be particularly well-equipped
\nto explore.<\/span><\/font><\/p>\n
\ncontingent upon pivotal introductions of reproductive media, from the
\ndouble-slide lecture to the publication of photographs in books, from
\nthe use of facsimiles in the classroom to broadcasts of \u201cart on
\ntelevision.\u201d In turning with fresh eyes to the idea of new media, we
\nconsider art history\u2019s rhetorics of description and display. How might
\nwe effectively attend to the aesthetic and pedagogical aspects of new
\nmedia in the wake of communications theory and concepts such as
\ninteractivity?<\/span><\/font><\/p>\n
\nand modern notions of mediality\u2014including forms of mechanical
\nreproducibility and audiovisual displays emergent in the Middle
\nAges\u2014so might we aim to reframe more contemporary art historical
\ncategories of \u201clateness\u201d such as the post-medium condition.<\/span><\/font><\/p>\n
\nwell-known chronologies of Euro-American technological developments.<\/span><\/font><\/p>\n
\n– the performance and circulation of art history through facsimiles,
\nphotographs, slide projections
\n– responses and counter-responses to new media technologies within art
\ncriticism, critical theory, and film theory
\n– historical modes of mechanical reproduction, such as imprinting
\ncoins, technologies of the book, and seals
\n– transfers and transformations among media
\n– media as reference for other media
\n– the materiality of new media, and material processes
\n– new media and abstraction
\n– painting after the advent of network theory
\n– the aesthetics of television
\n– queer aesthetics and new media
\n– analog and digital in art and art history
\n– historiographies of \u201cvideo art,\u201d including the role of projection
\n– the wider implications of artists\u2019 practices in Xerox, zines,
\nartists\u2019 books, flip books, and holograms
\n– the dialectics of art transmitted through media and art as media
\n– new media\u2019s relevance for reframing art historical cycles and
\ngeographies of innovation<\/span><\/font><\/p>\n
\nPapers must follow The Chicago Manual of Style and should not exceed
\n5000 words. Each submission should include an abstract of
\napproximately 500 words. Both Word documents and PDFs are acceptable.<\/span><\/font><\/p>\n
\nand email address.<\/span><\/font><\/p>\n
\nassociated fees.<\/span><\/font><\/p>\n
\nat UChicagoArtJournal@gmail.com by December 17, 2012, 5 p.m.<\/span><\/font><\/p>\n