[Hum_Calendar_Events] UCLA Art History Graduate Student Association Symposium Call for Papers

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CALL FOR PAPERS - FOR IMMEDIATE RELEASE
Please distribute to departments and individuals who may be interested.


INCONGRUITIES

The 44th Annual UCLA Art History Graduate Student Association Symposium
Friday, October 23, 2009
Hammer Museum, Los Angeles, CA
Keynote Speaker, TBA

Graduate students in any discipline are invited to submit abstracts for
"Incongruities," the 44th Annual UCLA Art History Graduate Student
Symposium. To be held on October 23, 2009, the symposium will provide a
forum for emerging scholars to discuss the roles that incongruity,
disjuncture, and dissonance have played in definitions and uses of art
throughout history. Contributions on any artistic medium (sculpture,
print media, photography, architecture, film, painting, performance,
etc.), period, and region are welcome.

Papers may address incongruity as a formal device in specific instances
of artistic intention, production, and reception; in relation to
historiography; or as a methodological concern. How has incongruity been
used as a mode of humor, irony, or the grotesque? When is incongruity
used as an artistic strategy, and when is it an unintended consequence?
How can incongruent elements embedded in an individual object or group
of objects affect its own context-bound reception, acculturation, and
use? How can incongruity lead to a fragmentation of subjectivity or an
ambivalence of identity? As objects move between cultures, how do
slippages of meaning occur? How can we understand incongruity as a form
of engagement, as a position of mobility or resistance? How can that
which is incongruent be understood as a productive failure, one that
leads to new possibilities?

Questions of methodology may include the following: What role has the
concept of incongruity played in the historicizing of art? When does the
disjunction between method and object push us to expand the frameworks
of art history? Have specific methodologies, such as that of
post-colonialism and post-structuralism, thematized the issue of
incongruity more so than others? When does incongruity become essential
in designating objects as art or non-art?

How are incongruities themselves transformed? How and when do
incongruities in art embody existing antagonisms, strengthen into
paradox, or create new conflict? How can incongruity-by definition that
which is incompatible and does not come together-remind us of the
established norms of quotidian experience? How do incongruities
negotiate experience through disjuncture?

Abstracts of 300 words or less and a current curriculum vitae are due by
5 p.m on May 15, 2009.  Submissions may be e-mailed to
ah-incongruity at humnet.ucla.edu or sent by mail to:

AHGSA Symposium 2009
UCLA Department of Art History 
100 Dodd Hall 
P.O. Box 951417 
Los Angeles, CA 90095-1417

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