CALL FOR CONTRIBUTIONS!
Terms for a Global Art History
Editorial team: Peter J. Schneemann, Thierry Dufrêne, LaoZhu, Jean-Marie Guillouët
The CIHA plans to publish one volume every year, with each volume naming and targeting a perspective that triggers certain terms as concepts and as paradigms.
The newly founded CIHA Journal draws on the Beijing 2016 Congress to propose a reflection on the dynamics of terminology in relation to the changes of perspectives and paradigms that structure the world of art and its histories. Our aim is to find the significant appearance of terms in the course of history, their connection before their obsolescence or their diversion, and even their resurgence in different contexts and periods in a diachronic approach. We will keep in mind the dialectic between words, images, and things that do not completely overlap. Are the words of the artist and the art historian the same? Can a vocabulary be anachronistic? What does it mean for a term to be dated?
Each volume gathers terms that highlight a certain perspective, a paradigmatic shift, a methodological challenge, or an interpretive power. Each issue will be supported by one or more editors, addressing a cross-cutting topic, where artists have created and adapted their vocabulary and where, in response, art historians have spoken a neighboring language, both borrowed and distanced.
First Volume, 2021
Terms of Engagement, edited by Thierry Dufrêne and Peter J. Schneemann
The terms of engagement in the field of art history challenge the established paradigm of critical deconstruction and interpretation. That is to say, today, we expect much less a representation than real action.
The action can be direct, where the artist her-/himself acts, or indirectly, where action is evoked by means of the spectator-actor relationship. How can the artist share his/her responsibility in the context of participatory art? To what extent can a performance be engaged? Where do we find the transitive part that leads to a transformation of the world?
The action of the artist, whether it results in a tangible work of art, or if it impels behaviors, engages his/her responsibility to global and societal issues that go beyond the artistic field. What consequences do these changes affecting artists and art institutions have for art historians and their own commitment? This volume is going to address issues of commitment/engagement in Art and Art History.
Submitted entries should ideally discuss terms, that are situated in fields that are identified as challenging art and art history today: Black Life Matters, Eco-Activism, Gender Debates, … Contributions are expected to reflect on the consequences for the methodology and practice.
We welcome short essays, with a maximum of 15.000 characters, thus leading to a kind of living dictionary of our discipline. Submissions should be handed in electronically. The essays should be sent in with a covering letter and a 150-word abstract. All manuscripts should be in US/UK English, and follow the APA or MLA style sheet. We encourage fully-illustrated submissions however it is the responsibility of the author both to provide the images and to secure the permission to reproduce them.
Please send your proposals until end of February to email@example.com and firstname.lastname@example.org.
After the selection of contributions, the final version has to be ready First of July 2021.