CFP: Haunted: Cross-Historical and Cross-Cultural Specters in Print Practice (13-16 Feb 2019, New York)
College Art Association (CAA) Annual Conference
New York, NY, February 13-16
Abstracts due: 08/06/2018
The portability of artists' prints and printmaking projects (from comics to librettos, artists' books to 'zines) allows them to traverse borders and boundaries. But what remains attached to, and within, a print as it circulates, and how does it resurface, sometimes much later? An apprentice printmaker’s works, for instance, (covertly or overtly) bears the stamp of the master under whom she studies. A zine or broadsheet reveals layers of appropriation. This panel, then, attends to an important but neglected aspect of prints’ mobility: it puts the ways that prints were fabricated and the stories of their local origins in dialogue with their histories of circulation. From practitioners and historians, we seek discussions of images, designs, and materials of various “others” that lie within a print’s construction.
Inspired by voices speaking to the ghostly residues upon objects from Gloria Anzaldúa, to Jacques Derrida, to Luce Irigaray, to Harold Bloom, we solicit proposals that approach the haunting of printed material in various ways. In addition to semantic or metaphorical hauntings, we welcome papers that consider pedagogical haunting—that is, the things that viewers of printed material are supposed to learn and how—or the ways that prints have contributed to the unsettling of certain cultural forms. The aim is to exhume and revive the mis-identifications that printed materials have instigated over time.
To submit an abstract for consideration, please email Katie Anania (katie.anania@gcsu.edu) and Alexis Salas (alexisnsalas@gmail.com) by August 6, 2018 with a paper title, abstract (max. 300 words), and CV. Accepted participants will be asked to submit the full text of their presentation to the organizers in January 2019.
New York, NY, February 13-16
Abstracts due: 08/06/2018
The portability of artists' prints and printmaking projects (from comics to librettos, artists' books to 'zines) allows them to traverse borders and boundaries. But what remains attached to, and within, a print as it circulates, and how does it resurface, sometimes much later? An apprentice printmaker’s works, for instance, (covertly or overtly) bears the stamp of the master under whom she studies. A zine or broadsheet reveals layers of appropriation. This panel, then, attends to an important but neglected aspect of prints’ mobility: it puts the ways that prints were fabricated and the stories of their local origins in dialogue with their histories of circulation. From practitioners and historians, we seek discussions of images, designs, and materials of various “others” that lie within a print’s construction.
Inspired by voices speaking to the ghostly residues upon objects from Gloria Anzaldúa, to Jacques Derrida, to Luce Irigaray, to Harold Bloom, we solicit proposals that approach the haunting of printed material in various ways. In addition to semantic or metaphorical hauntings, we welcome papers that consider pedagogical haunting—that is, the things that viewers of printed material are supposed to learn and how—or the ways that prints have contributed to the unsettling of certain cultural forms. The aim is to exhume and revive the mis-identifications that printed materials have instigated over time.
To submit an abstract for consideration, please email Katie Anania (katie.anania@gcsu.edu) and Alexis Salas (alexisnsalas@gmail.com) by August 6, 2018 with a paper title, abstract (max. 300 words), and CV. Accepted participants will be asked to submit the full text of their presentation to the organizers in January 2019.
Relevant research areas: North America, South America, Western Europe, Eastern Europe, South Asia, East Asia, Africa, Australia, Middle East, Medieval, Renaissance, Baroque, 18th Century, 19th Century, 20th Century, Contemporary, Book arts, Collograph, Digital printmaking, Engraving, Etching, Letterpress, Lithography, Monoprinting, Papermaking, Relief printing, Screenprinting
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