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Call for Papers: Organization & Collaborative Practices in the Arts
Organizers: Mark Banks (University of Leicester), Mandy Earley
(University of Leicester), Stevphen Shukaitis (University of Essex / Autonomedia)

As a part of the 9th Critical Management Studies Conference, 8-10 July 2015, University of Leicester
Theme: Is there an alternative? Management after critique

Artists work in groups. This is a primary fact of artistic production. Collective work is an a priori, a reality of creative life. At nearly every moment artists are working together in one way or another and
under many different arrangements. Without the others no one can succeed. Artists’ groups have helped them to survive in a capitalist system which values art primarily as branded commodity, and in which agents seek to accumulate art as cheaply as possible. The history of artists’ collaborations describes a flow of both resistant and protective cultural formations that moves through time. These contingent practices change shape according to the necessities of artists’ lives – maximizing their chances to live cheaply with time to work on their art, and to escape alienated labour, first in the industrial shop, and now in the service and information industry.

The social organization of artistic production is generally considered to be extraneous to the forms of art. Indeed, the analysis of each has come to concern different scholarly disciplines, with formal criticism at one end, and the sociology of art – and increasingly arts administration and management of creative production – at the other. The questions of artistic collectivity and collaboration per se cuts across disciplinary lines. Different adaptations of the collaborative practice within artistic production have diverse outcomes, generating institutions, programs and works of art, as they have ever done.

Artists’ work within groups in the fine arts is very different than work within most businesses, and even most cultural institutions. While the results may seem the same – exhibitions, installations, spectacles,
publications, recordings, films, designed objects and architecture – the processes of self-organized collective work proceed from different premises and toward different goals. The organizational structure of artistic work in groups has not been much studied.

This conference stream invites contributes that engage analytically with the questions of collectivity and collaboration among artists. A materialist point of view on the question might find that collaboration among cultural workers is contingent, circumstantial, and practical – an outgrowth of cultural economies and a necessary condition of many kinds of cultural work. Working collectively is about making a living. But modalities of collaboration are also a prime concern of those who want
to remake the world, to join the great issues of the day, and to find a reason to work at all.

Please send proposals / abstracts of up to 500 words to Stevphen Shukaitis ( by 31 January 2015. Papers selected for the panel will receive confirmation by 15 February 2015.

Please note that there will be a registration fee for the conference (the amount of which has not been confirmed yet), although there is a reduced rate for PhD students.

More information about the overall conference can be found here:



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BOOM! Growth, Form and Sustainable Bodies 1946–67

4-5 April

History of Art Department

University College London



This conference is organised to coincide with the Richard Hamilton retrospective at the Tate Modern in February 2014, which will include the reconstruction of Growth and Form (ICA, 1951). Growth and Form negotiated a problematic that in the two decades after the end of WWII preoccupied different strands of artistic and architectural research across Europe. Namely, the effects of booming expansion – economic, demographic, urban, technological, material, visual –  on the embodied subject within the context of a spreading capitalist pan-humanism championed abroad by the US. Some of the key historical coordinates that this conferences sets out to engage with in relation to cultural production include: the so-call consumer-led miracle in Europe, the international context of Edward Steichen’s The Family of Man (1955), the baby boom, Hiroshima and Nagasaki, the first tests of the H-bomb, postwar developments in cybernetics and artificial intelligence, futurology and technological dystopia.

We encourage submissions for 30 minutes papers in the following areas of research: growth, reproducibility and sustainability as artistic strategies; urban growth, future habitats and exhibitions as habitats; technology, ecology and new sciences in art and exhibition making; humanism, ecology and sustainability; reproduction and feminist practices. We invite papers that address how artworks, films, images and exhibitions in the 1950s and early 60s mediated this experience within the boundaries of US-rescued Europe and explore the extent to which the local, national and global became increasingly interdependent for artists caught between the end of WWII and the early Cold War phase.

DEADLINE for submission: extended to 25 February 2014

Abstracts should be no longer than 300 words. Please include your name, email address and institutional affiliation (where possible) at the end of the document.

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Art in Interesting Times

16th Annual Conference of the Marxist Reading Group
March 27-29, 2014

Keynote Speakers:

Fredric Jameson (DukeUniversity)

Kim Stanley Robinson (University of California, Davis)

Nicholas Brown (University of Illinois, Chicago)

Call for Papers … [Extended Submission to 24th January]

Call for Papers:

About the Marxist Reading Group: The Marxist Reading Group was formed in 1994 to facilitate an engagement with Marxist theories at the University of Florida. We host monthly reading sessions and annual conferences dedicated to maintaining a Marxist critique within the academic community.

You can contact us at:


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An International Conference, sponsored by the Center for Baltic and East European Studies, Södertörn University, Stockholm, in collaboration with the Museum of Modern Art, Stockholm
Stockholm, 19-20 October 2012

Since the early 1990s, there has been a striking growth of interest in the legacy of Soviet Socialist Realist art, which has reshaped our understanding of it in fundamental ways. A substantial body of research has demonstrated that the method of Socialist Realism was a highly creative and diversified cultural arena that was both heterogeneous in its pictorial strategies and often conflicted and ambivalent in its representations of the social and political messages of the day. Yet the label ‘totalitarian’ continues to influence the ways in which Soviet art is interpreted and contextualised, limiting our understanding of Socialist Realism and obstructing its integration into a broader narrative of twentieth-century art.

In the proposed conference we seek to examine the interests and influences which contributed to the development of Socialist Realism as a diverse and contested field of art from the 1930s to the 1980s. Participants will be invited to focus on aspects of Socialist Realist fine art production, evaluation and consumption in order to consider the ways in which artistic conventions of pictorial representation were established, adapted and transformed to reflect the changing nature of the Soviet project. This approach will facilitate a shift away from the tendency to draw conclusions about Socialist Realism based on a limited number of canonical works of art and acclaimed artists, and will encourage a reappraisal of the diversity and originality of creative output in its formal, stylistic and geographical variations.

Proposed topics may include (but should not be restricted to) the following:

· How did Socialist Realist art develop over time and according to changing sociopolitical contexts? On what basis should specific periods can be identified, for example “Stalinist” or “post-Stalinist” art?
· What were the variations in Socialist Realist art beyond Moscow and Leningrad: across the different parts of the RSRSR and the other SSRs? How did the centre-periphery relationship function in the Soviet art world?
· Who were the audiences for Socialist Realist art and how was fine art consumed in the Soviet Union?
· What was the role of the art critic in the definition of artistic merit? How was value and significance ascribed to works of art in the absence of an art market?
· What was the role of the state in the definition of Socialist Realist art and how was the interface between artists and art world authorities managed?
· What was the status of minor genres within the canon of Socialist Realist art (e.g. landscape, still life, personal portraiture) and what new and hybrid genres emerged?
· How did artists seek to manipulate the development of Socialist Realism according to their own aesthetic preferences and agendas?
· How did Socialist Realist art in the USSR relate to broader international narratives of Realism in the visual arts of the twentieth century?
· How did Soviet Socialist Realism relate to the art sponsored by other authoritarian regimes, in the inter-war period and after? Is “totalitarian art” a viable concept?
· How did the ideas and methods of Socialist Realist art relate to developments in other fields of cultural production in the USSR and vice versa? Was Socialist Realism a uniform canon, or did it vary across the fields of art, literature, music, film, architecture and so on?

Proposals for Papers
We invite proposals dealing with these or related themes. Proposals should include your name, institutional affiliation, email address, proposed paper title, 150-word abstract and short curriculum vitae. Post-graduate students are encouraged to apply. Successful applicants will be asked to submit a conference paper of around 3000 words for pre-circulation before the conference.

Participants will be asked to cover their own travel expenses. We are currently exploring possibilities for support for accommodation expenses. The submission deadline for proposals is 20 April 2012. Applicants will be informed about acceptance by around 1 May 2012.

Contacts For general questions and further information, please contact Mark Bassin ( Please submit proposals via email to Oliver Johnson (


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Dear All

We would like to make you aware of a Call for Papers which may be of interest.

The panel Feminisms of Multitudes is part of the Association of Art Historians UK Conference in March 2012, for which the paper proposal deadline is 7th November 2011.

More details are available here:

Please circulate widely

All the best
Angela Dimitrakaki, Vicky Horne, Harry Weeks (University ofEdinburgh)

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