Call for Submissions: Public Art Dialogue Special Issue
The editors of Public Art Dialogue are seeking scholarly articles for the following three special issues of the journal: Memorials 2: The Culture of Remembrance (edited by Harriet Senie and Cher Krause Knight); Perspectives on Relational Art (guest edited by Eli Robb); and The Mural Issue (guest edited by Sally Webster and Sarah Schrank). Specifics about themes and submission deadline are detailed below. For more information, please visit the journal website http://www.tandf.co.uk/journals/RPAD or contact the Editorial Assistant, Mary Tinti, email@example.com
Memorials 2: The Culture of Remembrance
Submission Deadline: Sept. 15, 2012
Edited by Harriet Senie and Cher Krause Knight
Traditional memorials celebrated individuals, typically in honor of their royal titles or political roles, their prowess in battle, and occasionally their cultural accomplishments. At some point victims, too, became subjects for commemoration, leading to a conflation of heroes and victims that requires further analysis. With memorials to victims of tragedies like the bombing of the Oklahoma City Federal Building or the destruction that occurred on 9/11, new kinds of heroes emerged, including rescuers such as firefighters and other first responders. Historical memorials were also built to honor abstract values such as peace, (civic) virtue, and abundance, mostly personified by women. More contemporary approaches have included counter memorials, protest interventions, and spontaneous memorials. This issue seeks to explore memorials in regard to their range of subjects, various formal and conceptual strategies, and the critical issues pertaining to their study. We welcome submissions that address related topics (except war or peace, covered in the previous issue) from any time period or place.
Perspectives on Relational Art
Submission Deadline: March 1, 2013
Guest Edited by Eli Robb
Relational art is by nature a public art. It fundamentally depends on social context and audience participation, for its very medium is interaction among people. As Nicolas Bourriaud wrote in Relational Aesthetics, relational art takes “as its theoretical horizon the realm of human interactions and its social context, rather than the assertion of an independent and private symbolic space.” The nature and results of such interactions are still open to possibility and interpretation. In some cases relational art is legitimized as art in advance by its connection to renowned artists and art institutions. Sometimes, however, actions or events that have taken place completely outside the traditional framework of art have been absorbed into the context of art post facto. Whether framed by the fine art space of galleries, theaters or museums, or framed more broadly in the public space of life, the fact that socially engaged practice is discussed as art, rather than, for example, activism or entertainment, in large part defines its cultural scope and importance. This issue seeks contributions from practitioners, historians, theorists, and curators with diverse perspectives from which to approach a field that is hotly contested with respect to its theory, history, production, and even nomenclature.
The Mural Issue
Submissions Deadline: September 15, 2013
Guest Edited by Sally Webster and Sarah Schrank
Until the twentieth century, much of our knowledge of murals, or wall art, was limited to work associated with the Renaissance such as Michelangelo's and Raphael's projects for the Vatican. In the wake of the civil rights era and the explosion of a new mural-based cultural activism in the 1970s, scholars began excavating the 1930s origins of political murals in the United States—the influence of the Mexican “Big Three” and the WPA. In recent years, in response to changes in the art market and an increasingly contested public sphere, mural art has surged back onto the urban landscape through Percent-for-Arts programs, community arts projects and renegade street art, capturing the popular and scholarly imagination nationwide. With this issue, Public Art Dialogue would like to advance our twenty-first century understanding of wall art by soliciting papers on its history and status as it relates to the built environment, as an expression of community, or its function within the critical discourse of public art. Also welcome are studies on the documentation, conservation, and inventorying of mural painting, explorations of other kinds of wall art such as projections, and artist's project proposals addressing related themes.
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