Horea Avram on Wed, 12 Jul 2006 20:45:44 +0200 (CEST)

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[Nettime-ro] CIHA Conference 2008 - Call for Papers

*CROSSING CULTURES: Conflict, Migration, Convergence*

*32nd Congress of the International Committee of the History of Art (CIHA)*

The University of Melbourne, Victoria, Australia, 13-18 January 2008

The first meeting of an international congress of the history of art in the
southern hemisphere epitomizes the expansion of the field throughout the

The history of CIHA suggests what many people throughout the world have
recognized. Art and its history are not only created, but also discussed in
one form or another on all the inhabited continents of the earth. Globalism
has thus also assumed an art historical aspect: indeed it has been described
as art history's most pressing issue. But how can global issues in art
history take form in theory or practice? What are the possibilities for a
world art history?

The Melbourne Committee for the 32nd International Congress of the History
of Art calls for papers related to *the concept of the conference*: *conflict,
migration and convergence in the visual, symbolic and artistic exchanges
between cultures throughout history. *

The long history of exchanges between societies demands broader recognition
as a core area of enquiry in the discipline of art history. From antiquity
to the present day such cultural interchanges were the normality rather than
the exception. For centuries artists, travellers, and traders - whatever
their origins - have negotiated these fluid boundaries, where cultures are
renegotiated and reinvented.

More recently, as cultural worlds become at once more defined and more flexible, artists, critics, curators, and interpreters have become systemic transformers, relaying and translating information and values, negotiating new relationships, opening up possibilities, generating previously unimagined visual cultures in Australia and the Pacific, Asia, Europe, the Americas and Africa.

For this Congress, the definition of art is broadly conceived so as to
include traditional media, painting, sculpture, architecture and the crafts,
as well as design, film, visual performance and new media.

The sessions will focus on how societies and civilisations have worked to
generate collective visual cultures. How do they continue to do so in the
present? How do individuality, and minority identity, emerge from within the
frameworks of conformity?

How strongly are deep structures of vision, spatial organizers such as
perspective, the picturesque and the grid, tied to time and place? What
kinds of exchanges have occurred between societies throughout the history of
art? What have been and are the specifically visual dimensions of these


Which works of art, which decorative cycles, which symbolic campaigns best
embody visual communication between cultures at particular points in time?
What have institutions such as museums contributed towards formulating and
answering questions such as these during the past few centuries, and what
have they to say as the twenty-first century unfolds?

To what extent do we need to re-think the discipline of the history of art
in order to establish cross-cultural dimensions as fundamental to its scope,
method and vision?

Sessions will explore major themes as they unfold across time and space.
Subsections lend themselves to period and regional subdivisions. You are
warmly invited to join in these vital debates by offering a paper and by
coming to the Congress.

* *

* *

*Professor Jaynie Anderson*

*Convenor of the Conference, and Herald Chair of Fine Arts, *

*The University of Melbourne.*

*Submissions should comprise: *

-A 350 word abstract

-A brief Curriculum Vitae, containing details of qualifications, posts, and
your five most distinguished publications

*Submissions must be received by no later than 27th November 2006.*

* *

*For full details on the Congress program and information on how to make a
submission, please visit our website:*


* *
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