Below is a selection of research projects, calls for applications and calls for papers, in the area of women's studies, gender studies and photography.
If you would like to submit your CFP, CFA, project, events or relevant information to fotografiste, please write to:
fotografiste.prin22pnrr@gmail.com
Women Critics and Art Historians 2
A cura di/edited by: Eliana Carrara, Patrizia Dragoni, Consuelo Lollobrigida, Ilaria Miarelli Mariani
Program
22 MAY – University of Arkansas, Palazzo Taverna, Main Hall
Between the two shores of the Atlantic. From the 19th century connoisseurship to post war criticism
9am – 1,30 pm/ Chair: Consuelo Lollobrigida
Panayotis IOANNOU (University of Crete), Italian Renaissance and Byzantine Art in the work of Margherita Albana-Mignaty (1821-1887).
Ludovica GIRAU (Università Cattolica di Milano), “Sono sicura che nessuno legga gli scritti di una donna sull’arte, la storia o l’estetica con nient’altro che assoluto disprezzo”. Il contributo negletto di Julia Cartwright Ady (1851-1924).
Michele AMEDEI (Independent scholar), Mary Berenson’s contribution to art history: travel notebooks and explorations of the Italian territory between 1891 and 1910.
Lucia COLOMBARI (University of Oklahoma), From Artist to Leader: Benedetta Cappa and The Legacy of the Futurist Movement.
Matilde CARTOLARI (LMU/ZI Munich), Transatlantic Museum Histories: Life and Work of Elisabeth Moses (1894-1957).
Alžběta FILIPOVÁ (Masaryk University, Brno), Rene Schmerling: The First Woman and Art Historian at the Georgian Soviet Academy of Sciences and Her Forgotten Legacy.
Angèle FERRERE (Université de Lorraine), The role of French feminist activists in Art history. Case study: “Editions Des Femmes” during the second-wave feminism.
Irene GEROGIANNI (Athens School of Fine Arts), Charis KANELLOPOULOU (Open University of Cyprus), Women in Art Criticism and Post-war Art in Greece.
Nino BARATTINI (Independent scholar), Promoting the American art in post-war France: Darthea Speyer (1919-2014) diplomat, gallerist, and art patron.
1,30pm – 3pm: Lunch Break
From Lady Callcott to Mary Garrard
3pm -7pm/Chair: Eliana Carrara
Fátima MEDEIROS (University of Sáo Paulo), Respect to the remains: Lady Callcott and art criticism in the 19th century.
Anna KOPÓCSY (Pázmány Péter Catholic University, Budapest), Edith Hoffmann (1888-1945): the first successful female art historian in Hungary.
Inés SERRANO ARNAL (Universidad de Zaragoza, Spain), Spanish Women Artists under the gaze of Josefa Pujol de Collado.
Mária ORIŠKOVÁ (University of Trnava/Slovakia), Our Older Sisters: Women Curators at the Bratislava City Museum, 1920s-1930s.
Andrea LEONARDI (Università di Bari), Margherita DE GENNARO (Università di Bari), De Finibus Terrae. Margherita Nugent and Alba Medea historical Apulia of the early Twentieth Century.
Chloë JULIUS (University of Nottingham), Barbara Rose: Experiments in Art and Technology, and the fate of 1960s American art.
Margherita MELANI (CIRICE, Università degli Studi di Napoli Federico II, Nuova Fondazione Carlo Pedretti), La “madre di tutti i Vinciani”: Kate Trauman Steinitz (1889-1975) // The “mother of all Vinciani”: Kate Trauman Steinitz (1889-1975)
Marcia OLIVEIRA (University of Minho, Braga/Portugal), Salette Tavares: A Critic Beyond Limits.
Patricia ROCCO (Cuny University, Hunter College, NY), Mary Garrard and the First Feminist Interpretations of Early Modern Women Artists.
Victoria SCOTT (Independent scholar), Accounting for Greatness: The Case for Statistics about Women in Art History.
23 MAY – Museo di Roma, Palazzo Braschi, Sala Tenerani
Storiche dell’arte del '900. La via italiana 1
10,00 – 13,30/Modera: Ilaria Miarelli Mariani
Alice CUTULLÈ (Università di Torino), Le allieve di Lionello Venturi a Turin: Anna Maria Brizio e Noemi Gabrielli.
Rosanna CARRIERI (Università del Salento), Women Art Writers in Fascist Italy: Female Contributions to Reviews, Exhibitions, and Criticism.
Erica BERNARDI (studiosa indipendente), Fernanda Wittgens’ friends, female power at the turn of the Second World War.
Susanna ARANGIO (Università di Ferrara), L’attività postbellica di Fernanda Gobba Ojetti: ipotesi di prospettiva e ricerca.
Eleonora CAGGIATI (Università degli Studi di Bergamo), Il valore pedagogico dell’allestimento. Ragioni, criteri e modi nelle scelte espositive di Licia Collobi Ragghianti.
Elena CORRADINI (Università di Modena e Reggio Emilia), Amalia Mezzetti e il rinnovamento della Galleria Estense per il neonato Ministero per i Beni Culturali e Ambientali.
Elena CATRA (Accademia di Belle Arti di Venezia) - Vittorio PAJUSCO (Università di Venezia), Elena Bassi (1911-1999) the Academy of Fine Arts of Venice and the first studies on Neoclassicism.
Laura CONCONI (studiosa indipendente), Ida Gianelli: dall’esperienza con I.d.a. alla Samangallery.
Laura CALVI (Università degli Studi, Milano), Networking, curatela e organizzazione: il caso studio delle mostre di Nando Vigo e ZERO.
13,30 – 14,30: Pausa pranzo
Storiche dell’arte del '900. La via italiana 2
14,30 – 19,00/Modera: Patrizia Dragoni
Danilo LUPI (Università degli Studi di Siena), Luisa Marcucci «acutissima osservatrice»: i primi anni con Giulia Sinibaldi al Gabinetto dei Disegni e Stampe degli Uffizi e i suoi studi sul Manierismo fiorentino.
Marta MASCARDI (Conservatrice del Museo archeologico “E. Bellis” – Fondazione Oderzo Cultura, Oderzo/TV), Bruna Forlati Tamaro ispettrice, direttrice, professoressa e commissaria. I molti volti di una “Signora” dell’Archeologia.
Andrea DAFFRA (Università di Genova) – Alessandro FERRARO (Università di Parma), Viana Conti’s Critical Activities and Writings: from Il Corriere Mercantile to Flash Art, 1974-1985.
Federica MUZZARELLI (Università degli Studi di Bologna), Studying the “sensibility of our age”. Francesca Alinovi: the books, the ideas, the research.
Maria Letizia PAIATO (Accademia di Belle Arti di Macerata), Lucia Spadano critica e giornalista d’arte, fondatrice della rivista “Segno”.
Rita RANDOLFI (studiosa indipendente), Una vita per il secolo dei Lumi: Elisa Debenedetti, tra ricerca e docenza.
Angela MADERNA (Università degli Studi Roma Tre), L’attività critica di Simona Weller a sostegno delle artiste.
Irene BOYER (Università Statale, Milano), Jole de Sanna e il suo ruolo come critica d’arte militante a Milano negli anni Settanta.
Alessia CECCONI (Direttrice Centro di Documentazione storico della Val di Bisenzio/Prato) – Martina NASTASI (Fondazione Memofonte), “La signora delle fonti”: Paola Barocchi e la Fondazione Memofonte.
24 MAY– University of Arkansas, Palazzo Taverna, Main Hall
Il '900 fra Accademia e Militanza
9am – 1pm/Chairs: Eliana Carrara, Patrizia Dragoni, Consuelo Lollobrigida, Ilaria Miarelli Mariani
Caterina PAPARELLO (Università Ca’ Foscari, Venezia), Giulia Bonarelli Modena: fra critica artistica e militanza. Un’indagine per la messa in valore del legato al museo.
Eliana BILLI (Sapienza Università di Roma), Dall’Istituto Centrale del Restauro alle spedizioni in Asia con Giuseppe Tucci: il restauro nelle mani di Franca Callori di Vignale.
Marta VITULLO (Università degli Studi di Macerata), Valnea Santa Maria Scrinari e Graziana Del Guercio Barbato. Le indagini su museo e territorio negli anni ’70 in Abruzzo per la ricognizione, catalogazione, e disseminazione del patrimonio culturale regionale.
Laura IAMURRI (Sapienza Università di Roma), Lonzi before Lonzi: early writings on contemporary art.
Maria Giovanna MANCINI (Università degli Studi di Bari) - Valeria RAHO (Università degli Studi di Bari), Bari Expo Arte 77: Lea Vergine’s Contribution to Feminist Discourse.
Anna Maria D’ACHILLE (Sapienza Università di Roma) – Marina RIGHETTI (Sapienza Università di Roma), Angiola Maria Romanini tra magistero, ricerca e grandi imprese.
Maria Clelia GALASSI (Università di Genova), Rossana Bossaglia editor for Ilisso and the relationship with Vanna Fois. The series “Appunti d’arte” (1992-2007).
Laura D’ANGELO (University of Arkansas Rome Center), Florence, Turin and Rome: or how Sandra Pinto achieved her critical and museography model for contemporary art without falling into the "avant-garde trap".
Bernardina SANI (Università di Siena), Segni, suoni, parole. La neoavanguardia di Carla Vasio.
Day 1 and day 3 can will be broadcasted via stream link to the following addresses:
https://www.youtube.com/watch?v=QT9UGiRnEK4
https://www.youtube.com/watch?v=ukl1TFB8z5c
September 22–23, 2025
Università Vita-Salute San Raffaele, Milan | Palazzo Arese Borromeo, Cesano Maderno (MB)
Deadline: June 15, 2025
The international conference Reframing the Present. Contemporary Art, Cultural Heritage, and Social Justice aims to provide a significant opportunity for reflection on the contemporary challenges that artistic practices are currently called to address. The goal is to explore the arts as agents of transformation capable of promoting inclusivity, participation, and social justice. Particular attention will be given to the role of the arts and their relationship with cultural heritage, understood not only as a legacy of the past but as a dynamic and shared resource open to new interpretations, re-significations, and developments. In this perspective, the exploration of decolonial artistic, interpretative, curatorial, and museological practices can serve as a tool to challenge the Western-centric interpretation of cultural heritage. By deconstructing stereotypes and dominant narratives, the conference seeks to highlight a plurality of perspectives that reflect the complexity of the contemporary world and its global challenges, including sustainability and human rights, for the construction of a culture of peace.
The conference is promoted and organized by ICONE – European Research Center for the History and Theory of the Image at Vita-Salute San Raffaele University in Milan. It will take place in the prestigious Baroque venue of Palazzo Arese Borromeo in Cesano Maderno and is curated by Diletta Caimmi (Università Vita-Salute San Raffaele, Milan), Francesca Pola (Università Vita-Salute San Raffaele, Milan), and Lisa Sanguineti (Università degli studi di Roma Tor Vergata and Università Vita- Salute San Raffaele, Milan). The event is part of the activities of the PRIN 2022 project Colere Hereditatem. Between Peace, Conflicts, and Global Change. A New and Old Challenge for Europe, funded by the European Union – Next Generation EU, with particular reference to the research line Ancient and Contemporary: Ideas and Practices.
Potential contributors are invited to explore the outlined themes with an interdisciplinary and international approach, through case studies or forward-looking proposals. The conference is open to PhD candidates, researchers, and scholars in the humanities, as well as curators, artists, and collectives who address these themes in their work. The international scope of the event aims to foster intercultural dialogue and highlight a plurality of perspectives, engaging experts from diverse backgrounds.
Among the possible topics of interest, intended as indicative rather than strictly binding or exclusive, are:
Interpretation, re-signification, and decolonization of contested heritage through contemporary art: exploring how artistic and cultural practices challenge narratives, colonial mentalities, and mechanisms of marginalization, contributing to the re-signification of politically and symbolically charged heritage. Case studies, critical approaches, and strategies for reinterpreting and enhancing histories, identities, and perspectives that have often been marginalized, fostering the creation of new imaginaries.
Art, conflict, memory, and resistance: reflections on how art today is called to engage with crucial contemporary issues such as wars, social conflicts, and forms of resistance, creating new spaces for memory and dialogue.
Social inclusion and community building through artistic practices: examining the potential of contemporary art as a social catalyst, capable of fostering relationships and connections within and between communities, including in the construction of active citizenship and the promotion of social justice.
Authorship and identity: strategies for rethinking identity representation and authorship, whether individual or collective, within the world of contemporary art.
Liminal spaces: examples of artistic and curatorial practices, as well as institutional and para- institutional spaces, that challenge the division between public and private space. By questioning the political neutrality promoted by dominant cultural policies, these practices reveal tensions between inclusion, exclusion, and control within cultural spaces.
Art and inequalities: exploring the role of contemporary art in representing and deconstructing economic, social, cultural, and gender inequalities. Focus on artistic, interpretative, and curatorial practices that highlight and counteract systemic injustices.
@American Academy in Rome
McKim, Mead & White Building
Via Angelo Masina, 5
Rome, Italy
14.05 - 09.11.2025
The American Academy in Rome, a dynamic international institution supporting artists and scholars with the space to learn, create, and work toward interdisciplinary breakthroughs, presents the first exhibition dedicated to the influence of a group of trailblazing women who helped record archaeology and landscapes from new vantage points.
On view May 14–November 9, Women and Ruins: Archaeology, Photography, and Landscape celebrates women explorers, archeologists, and travelers from the early 1900s who adopted the camera to document excavations that were yielding major new discoveries about antiquity and the radical transformations of Italy in the period. Contemporary social mores constrained women’s participation in cultural and scientific activities such as archaeology. The Academy brings to light the ways in which a cohort of American, British, and Italian women used photography as a tool for understanding both the ancient past and for interpreting the social and political transformations of their times.
Auditorium, Centraal Museum, Agnietenstraat 1, 3512 XA Utrecht, The Netherlands
06.06.2025
Forming Feminisms: Current Approaches to Women, Art, and Gender at Utrecht University Art History.
Showcasing the work of staff and recent RMa graduates at Utrecht University Art History. Held in collaboration with Centraal Museum.
This event brings together the work of staff and recent graduates of the Research Masters programme in Art History at Utrecht University, all of whom are working on questions of gender, the category of the woman artist, feminist and queer approaches within modern and contemporary art. Coinciding with the major exhibition Good Mom/Bad Mom exhibition at Centraal Museum, this event focuses on institutional practices, feminist art histories, and decentering epistemological frameworks. Speakers will present new methodological insights into curating and collecting practices alongside discussions of form, representation, and visibility.
Friday 6th June 2025: 12:30-17:00
Note that entry to the event requires a ticket to Centraal Museum. We strongly encourage you to view the Good Mom/Bad Mom exhibition ahead of the event.
June 2–3, 2025 | online and on-site | La Contemporaine, Paris Nanterre University
Deadline: May 5, 2025
Comparative Archival Ecologies: Mapping Alternative Audiovisual Media Collections, the first hybrid ACTIVATE workshop, focuses on the questions of audiovisual archives’ role in the politics of preservation and presentation of countercultural, alternative media. It aims to bring together media and audiovisual heritage archivists and scholars in the fields of sociology, film and visual studies, cultural history, archival studies, and digital humanities to explore—in historical and comparative perspectives—how audiovisual archives (in a broad definition) preserve audiovisual collections of alternative media and political dissent.
We invite colleagues both within the ACTIVATE project and beyond, to present their best practices and research findings, as well as discuss archival strategies related to media activism over the period of the “long” 20th century and all the way in the new millennia.
The presentations are invited within the following broadly defined areas of research and expertise:
Conceptualizing alternative/countercultural media in the 20th and 21st centuries
Archival ecosystems of alternative/countercultural media
Alternative media, countercultural media, activist media: conceptualizations and discursive traditions
Institutional histories and practices of collection creation and development
Multimedia archival preservation and access
Cold War and countercultural media in Eastern and Western Europe
Archiving transnational media activism
Methodologies of researching the mediatization of political and social activism
Media obsolescence and institutional cooperation on building multimedia archival collections
Educational strategies of working with the multilingual media
New forms of cooperation on public presentation of the media activism for education and civic engagement
To apply: send your presentation abstract up to 300 words and your CV to archivum@ceu.edu | Subject: ACTIVATE Workshop 1 Mediactivism | Application deadline: May 5, 2025; acceptance notification will be circulated by May 12, 2025
June 2–3 | online and on-site | La Contemporaine, Paris Nanterre University | Address: 184 Cr Nicole Dreyfus, 92000 Nanterre, France
University of Bristol, UK, Jul 10, 2025
Deadline: May 5, 2025
‘Deviant’ Women: Women and the Visual Arts Research Symposium.
The Women and the Visual Arts Research Cluster at the University of Bristol is excited to announce our forthcoming symposium taking place at the University of Bristol on Thursday, 10th July 2025.
Women have long been viewed as ‘deviant’ in their roles as artists, authors, models, patrons, and collectors. Their paths to becoming artists or patrons may ‘deviate’ from the norm, their chosen medium or subjects may diverge from those expected by the market, and their representations of themselves and those around them may be unorthodox compared to the art historical canon. How can we, as researchers, contextualise this ‘deviancy’ in our work on women and the visual arts?
We welcome submissions that think about women’s ‘deviancy’ in their relationship to the visual arts in diverse ways: women who push the boundaries on what has been seen as the norm or whose work is divergent from accepted standards. While we are explicitly seeking contributions that foreground the visual, we are excited to hear from colleagues working across fields and disciplines, including (but not limited to) history of art, visual culture, classics, film and theatre studies, history, religious studies, and those doing practice-based research.
Potential topics could include, but are not limited to:
- Exhibiting and collecting strategies used by women or the curation and collecting of work by women
-Self-representation and self-portraiture – identity and sexuality
- Transnational feminine identities – culture, race, immigration and exile
- The nude and representations of the body
- The archive – the formation of celebrity, reception and legacy
- Women and the environment
- Women’s work – motherhood, domesticity, labour, artist collectives
- ‘Deviant’ use of artistic medium through textual approaches, the applied arts, craft, performance, etc.
In addition to proposals for papers, we also welcome submissions for videos or artist talks related to the symposium’s themes.
Submission guidelines:
Please submit a 150-200 word abstract with a short bio to Helena Anderson (helena.anderson@bristol.ac.uk) and Valéria Fülöp-Pochon (vf15404@bristol.ac.uk) by Monday, 5th May 2025.
An Artist Residency in Motherhood
OPEN CALL | Women by Women: A Global Open Call by PhotoVogue
The PhotoVogue Global Open Call 2025 invites all women artists and individuals who identify with womanhood to submit works that explore the diverse ways women represent themselves and one another through photography and video.
The illusion of linear progress—the belief that rights, visibility, and recognition are irrevocable—has been shattered by the current political climate. Around the world, we are witnessing increasing pushback against women's autonomy, from reproductive rights to freedom of expression, reminding us that what once seemed secure can also be taken away.
As these rights are contested, it becomes more urgent than ever to not only consider how women see but how they continue to carve out spaces for their perspectives. In a world where their ability to shape narratives and define vision remains a battleground, representation is both an act of resistance and a tool for change.
This year’s PhotoVogue Global Open Call is dedicated to Women by Women—a celebration of the myriad ways women represent themselves and each other through photography and video.
Women in Photography: A 24-Hour Conference-a-thon Celebrating International Women’s Day 2026
University of Mississipi: 08-09.03.2026
CfP deadline: 01.08.2025
In celebration of International Women’s Day, 8 March 2026, and building on the success of our 2025 conference-a-thon, we invite scholars, practitioners, and enthusiasts to submit abstracts for participation in a free, online, global, 24-hour symposium dedicated to celebrating the contributions of women to the medium of photography from photography’s announcement in 1839 to now. This unique event aims to highlight the diverse and impactful work of women and female-identifying photographers, and those working with photography, across all countries, continents, cultures, and time zones.
We seek 15-minute papers or proposed 30-minute panel discussions (with 3-4 participants listed who consent to participating) that explore a broad range of topics related to women’s contributions to photography. These may include but are not limited to:
Influential and underappreciated women photographers or historians.
The impact of gender on photographic practice and representation.
The role of women in shaping the photographic medium or its exhibition.
Cross-cultural perspectives on women’s contributions to photography.
Challenges and achievements of women photographers in various global contexts.
Our goal is to foster a rich, international dialogue that underscores the significant yet often overlooked achievements of women in the field. Presentations will be scheduled to accommodate various time zones, ensuring a truly global exchange of ideas. Presenters of papers should be prepared to make and upload a video of their talks by 22 February 2026, and assistance with the recording process will be provided by the conference organizers.
To participate:
Please submit a 300-word (maximum) abstract outlining your proposed paper or 3-4-person panel proposal (HERE) by 1 August 2025. Only abstracts submitted through the Google Form will be considered for inclusion.
Selected papers will be notified by 1 October 2025, and detailed guidelines for presentations will be provided. We encourage contributions from diverse perspectives and regions to create a comprehensive and inclusive representation of women in photography.
Join us in celebrating the vibrant and transformative work of women photographers worldwide!
Women in Photography: A 24-Hour Conference-a-thon Celebrating International Women’s Day 2026
Co-Convenors:
Kris Belden-Adams, PhD, Associate Professor of Art History, University of Mississippi and Dr Rose Teanby, Fellow of the Royal Photographic Society, UK
Key dates:
Call for papers - closes 1 August 2025
Notification of acceptance - 1 October 2025
Due date for videos of presentations - 22 February 2026
Conference-a-thon - 8 March 2026
Making a living, making art (Bremen, 15-16 May 25)
Constructor University, Bremen, 15.–16.05.2025
Eingabeschluss: 15.12.2024
Making a living, making art: Wage labour, class, and the female avant-garde, 1920–1948.
A workshop held at Constructor University, Bremen.
Central Europe’s modernist movements in the twentieth century have widely been accepted as middle-class phenomena, driven by figures with the education, time, and financial resources to devote themselves to creative production. Yet, as the First World War shook up the social and economic stability of many, comfortable backgrounds no longer guaranteed support. Women, in particular, found themselves in a new situation, not only gaining new liberties in the post-imperial successor states but often also facing the need to make a living. How did this affect their creativity and access to artistic education and production?
From privately sold goods made in the home to administrative work and wage labour, women artists in the 1920s and 30s followed various professions to support themselves, their (artist) partners, and their dependents. While some of this work was to make ends meet, other activities, such as journalism and editorial work, craftwork, teaching and photography, also played an essential role in developing their artistic practice. Taking this as a point of departure, this workshop addresses the invisible (wage) labour of modernist women artists and how it affected their creative work in different fields. It seeks to examine the ambivalences of paid and creative work faced and negotiated by individuals and their impact on our understanding of modernist artistic production.
The workshop invites proposals for papers exploring examples and case studies that analyse the role of paid work in women’s artistic production. Studies can be comparative and historical analyses that take into account questions of gender, class, and race and approach the subject through, for example, art history, visual culture, labour history, or gender studies. While the main focus is on central Europe, contributions that examine examples from other geographies from the 1920s to the 1940s are welcome.
Specific questions that might be addressed include, for example:
- To what extent did the necessity to follow a profession to make a living foster and develop women’s creative practice in the first half of the twentieth century?
- Which kinds of professions were particularly important in helping to develop women’s artistic practice? Which ones remained invisible?
- How did questions of class impact women artists and designers’ opportunities and skills in relation to both wage labour and creative work?
- How did women artists and designers respond to socioeconomic challenges in their creative practice?
- How did the political stances of individual organisers, designers and artists influence their work?
- How did women artists and designers address topics of (women’s) work and labour? How did they subvert and reject wage labour through their creative practice?
- In what ways does our understanding of women’s contributions to modernism change in light of their multiple activities?
Proposals are invited of 200–300 words for a presentation of 20 minutes in length, accompanied by a brief speaker CV. They should be submitted to jsecklehner@constructor.university and iwuensche@constructor.university.
The deadline for submissions is 15 December 2024.
Notification of acceptance of proposals will be issued on 30 December 2024.
Speakers will be provided with one night’s accommodation in Bremen and a modest travel subsidy.
For enquiries, feel free to contact Dr Julia Secklehner at jsecklehner@constructor.university.
Quellennachweis:
CFP: Making a living, making art (Bremen, 15-16 May 25). In: ArtHist.net, 12.10.2024. Letzter Zugriff 28.10.2024.
CFP | Feminist Art History Conference (Washington/online, 26-28 Sep 25)
Online / American University, Washington, D.C., 26.–28.09.2025
Eingabeschluss : 15.12.2024
We invite established and emerging scholars of art history as well as advanced graduate students to submit proposals for the 9th Feminist Art History Conference at American University in Washington, D.C.
In the spirit of feminist practice, this is an open call for papers that may address any time period (ancient to contemporary), region, and issue relevant to the ways in which gendered ideologies have shaped the visual arts and their study. We especially welcome submissions that are inclusive, intersectional, and/or interdisciplinary in topic or approach and are eager to see the keynote speakers’ subfields well represented.
Topics may include (but are not limited to) artists, movements, works of art and architecture; cultural institutions and critical discourses; practices of collecting, patronage, and display; the historiography of feminist art history; the gendering of objects, spaces, and media; the reception of images; and issues of power, agency, gender, and sexuality within visual and material cultures.
Proposals due by 15 December 2024.
To be considered for participation: in a single Word document, please provide
a) a single-spaced abstract of up to 500 words for a 20-minute presentation of unpublished work
b) a cv of no more than two pages, and
c) an image, with accompanying caption, representative of your talk. Please name the document “[last name]-proposal” and submit with the subject line “[last name]-proposal” to FAHC@american.edu. Invitations to participate will be sent in February 2025.
The Feminist Art History Conference was established in 2010 to celebrate and build on the feminist art-historical scholarship and pedagogy of Norma Broude and Mary D. Garrard, Professors Emeriti at American University. It is sponsored by the Art History Program in the Art Department, College of Arts and Sciences, at American University, with the generous support of Robin D’Alessandro and Dr. Jane Fortune.
Keynote Speakers:
Joan Breton Connelly, Professor of Classics, New York University.
Dorothy Price, FBA, Professor of Modern and Contemporary Art and Critical Race Art History, Courtauld Institute of Art.
Conference Format:
Friday, Sept. 25: panels online; keynote live-streamed.
Saturday and Sunday, Sept. 26 & 27: panels and special events in person; keynote in person and live-streamed.
Quellennachweis:
CFP: Feminist Art History Conference (Washington/online, 26-28 Sep 25). In: ArtHist.net, 12.10.2024. Letzter Zugriff 28.10.2024. <https://arthist.net/archive/42906>.
Women in Photography: A 24-hour Conference-a-Thon
celebrating International Women's Day 2025
Deadline: Sat, March 8th, 2025
In celebration of International Women’s Day, March 8, 2025, we invite scholars, practitioners, and enthusiasts to submit abstracts for participation in a free, online, global, 24-hour symposium dedicated to celebrating the contributions of women to the medium of photography from photography’s announcement in 1839 to contemporary practitioners in 2024. This unique event aims to highlight the diverse and impactful work of women photographers, and those working with photography, across all cultures and time zones.
We seek 15-minute papers that explore a broad range of topics related to women’s contributions to photography. These may include but are not limited to:
Historical and contemporary profiles of influential and underappreciated women photographers. The impact of gender on photographic practice and representation. The role of women in shaping the photographic medium or its exhibition. Cross-cultural perspectives on women’s contributions to photography. Challenges and achievements of women photographers in various global contexts.
Our goal is to foster a rich, international dialogue that underscores the significant yet often overlooked achievements of women in the field. Presentations will be scheduled to accommodate various time zones, ensuring a truly global exchange of ideas.
To participate:
Please submit a 300-word abstract outlining your proposed paper by 1 October 2024. Abstracts should be submitted to celebratingwomeninphotography@gmail.com. Please also include your name, affiliation (if applicable), time zone of anticipated residence on International Women’s Day, and a brief (100-word) biography. Selected papers will be notified by 1 November 2024, and detailed guidelines for presentations will be provided.
We encourage contributions from diverse perspectives and regions to create a comprehensive and inclusive representation of women in photography.
Join us in celebrating the vibrant and transformative work of women photographers worldwide!
Women in Photography: A 24-Hour Conference-a-thon Celebrating International Women’s Day 2025
Convenors: Kris Belden-Adams, PhD, Associate Professor of Art History, University of Mississippi and Dr Rose Teanby, Independent Scholar, UK
Call for papers - close 1 October 2024
Notification of acceptance - 1 November 2024
Conference-a-thon - 8 March 2025
Website coming shortly
Women Critics and Art Historians
Deadline: 30.09.2024
Rome, May 22-23, 2025
Women Critics and Art Historians
Convened by Eliana Carrara, Patrizia Dragoni, Consuelo Lollobrigida and Ilaria Miarelli Mariani
Organized by: Università di Macerata, Università di Genova, University of Arkansas Rome Program, Musei Civici di Roma
Since the last two decades of the 20th century, gender studies have contributed to acknowledge the fundamental role of women within the cultural, political and emancipative reflection of the society.
Thanks to women studies, many women artists from the past times have been brought into light giving shape to women art history as a newly branded discipline. Women - who have participated to modeling museums, have shared their intellectual thought or have simply participated to any scholarly movement have not yet deeply and correctly investigated.
In 2022 two conferences, one in Macerata and one in Genua (Italy), and the following publication of the proceedings (Le donne storiche dell’arte tra tutela, ricerca e valorizzazione http://riviste.unimc.it/index.php/cap-cult/issue/view/154) have substantially spotted a new light on these women whose knowledgeable merits had been totally ignored and downcast.
This call aims to welcome proposals to shed more light to this specific topic and to draw attention on art historians, historians of architecture, superintendents and museum directors, militant critics, and all the women who have actively worked in the field of the arts.
Areas/themes to be considered include biography and intellectual movement, but they are not limited to:
Lidia Bianchi, Rossana Bossaglia, Maria Vittoria Brugnoli, Maria Catelli Isola, Licia Collobi Ragghianti, Anna Forlani Tempesta, Vera Fortunati, Noemi Gabrielli, Luisa Giordano, Mina Gregori, Graziella Leonardi Bontempo, Mirella Levi d’Ancona, Carla Lonzi, Manna Maria Matteucci, Amalia Mezzetti, Anna Maria Petrioli Tofani, Angiola Maria Romanini, Paola Rossi, Ilaria Toesca.
Genere, lavoro e cultura tecnica
Progetto che mira ad approfondire il rapporto tra genere, lavoro e cultura tecnica a partire dal contesto emiliano-romagnolo, e bolognese, per promuovere un approccio anti-discriminatorio e gender-mainstream nell’orientamento e formazione scolastica
Promosso da Unione Donne in Italia – UDI di Bologna, Museo del Patrimonio industriale di Bologna e Associazione Clionet, con il sostegno della Regione Emilia-Romagna (Assessorato al Bilancio, Riordino istituzionale, Risorse umane e Parti opportunità) e della Fondazione del Monte di Bologna e Ravenna.
