Call for Papers
SYMPOSIUM “Writing and Picturing in Post-1945 Asian Art”
(Part II: Graduate Student Workshops)
Dates: April 21–23, 2017
Place: Department of Art History, University of Chicago
(reposting from Japan Art History Forum mailing list)
The Center for the Art of East Asia, Center for East Asian Studies (University of Chicago), and PoNJA-GenKon are organizing a three-day international symposium “Writing and Picturing in Post-1945 Asian Art” to take place in April 2017. The second day of the symposium will include graduate student workshops to focus on the latest scholarship emerging from research done by graduate students and recent graduates in the field. We would like unpublished materials that will point to new directions of research and interpretation.
This symposium begins with the examination of two basic human activities, writing and picturing. In different cultures, these two have had historically varying relationships. To name just one, in East Asia, the two (書 and 画) have traditionally been entwined, with ink and brush playing central roles. In postwar art, traditional and culturally specific modes of writing and picturing began to undergo transformation, inspired, facilitated, and accelerated in part by increased transnational exchange. In view of developments over the past half century, the symposium “Writing and Picturing” will survey the state of scholarship and discuss future directions in museological and art-historical studies. The symposium organizers aspire to form a bridge between the established field of modernist art history and newly evolving contemporary art while casting a wider geographical net beyond East Asia. By providing a platform for the presentation of new research on various practices that merge writing and picturing in postwar and contemporary art, we aim to create a watershed for the culturally dynamic rethinking of these fundamental human acts. For the full concept statement and questions, please contact firstname.lastname@example.org.
Eligibility for Submission
Students currently enrolled in graduate-level institutions anywhere in the world and recent PhDs who have received their degrees from such institutions in the past two years are eligible to submit paper proposals.
Within the scope of the symposium, proposed papers should be based on original and critical research within the following parameters:
1) the paper must address the work of art and related media in visual culture (e.g. film, design, architecture, manga, etc.) produced after 1945
2) the artist(s) must have been either born in Asia, of Asian descent, or active in Asia
3) the work must demonstrably relate to aesthetic or socio-political situations in Asia after 1945.
4) the paper may address much broader genres of expression than calligraphy, such as ceramic and textile art, as long as it presents a unique approach to the issue of tradition and modernity.
5) You are welcome to submit more than one proposal. However, you will have only one selected paper to present during the program.
To apply, please send:
1) your proposal, no more than 500 words
2) your CV, no more than 2 pages
3) if you want to attach image(s), no more than 1MB (please scale down the files)
Send to: email@example.com
Due: August 15 (Monday), 2016
Please direct any question to firstname.lastname@example.org.
Co-Chairs: Reiko Tomii, Miwako Tezuka, Chelsea Foxwell
Committee members: Joan Kee, David Raskin
PoNJA-GenKon is an acronym for “Post Nineteen-forty-five Japanese Art / Gendai Bijutsu Kondankai,” an online discussion group of students, art professionals, artists, and individuals interested in contemporary Japanese art across the globe. It was founded in 2003 by two scholars, Dr. Reiko Tomii and Dr. Miwako Tezuka. Also known in its short form, PoNJA, the group fosters communication among the members, shares knowledge with the public, and helps develop this area of study. Today, it has grown to include more than 120 members globally, including all the key leaders and innovators of this still-young field. So much so, “ponja” as a terminology has also come to signify the field of postwar and contemporary Japanese art history.