Call for Papers - Annual Conference 2025 - 9 - 11 April 2025

Sep 1, 2026

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Annual Conference 2025 call for papers invites proposals for 20-minute papers, including a concise title and an abstract (up to 250 words), plus author name and institutional affiliation. Submissions focus on sessions such as abstraction and craft epistemologies, disability and accessibility in museum display practices, and the afterlives of J.M.W. Turner’s work. Acknowledgement is provided within two weeks, and the submission deadline is 1 November 2024.

LanguageEnglish

CategoryPresentations

FormatDOCX

Pages43

Reading Time15 min

AccessFree to download

Call for Papers

Submission Requirements

Session: Abstraction, Artisanal Knowledge, and Craft Epistemologies

Session: Accessible Buildings, Inaccessible Artworks - Reconsidering Disability in the Museum

Session: After Turner

ANNUAL CONFERENCE 2025 9–11 April 2025 University of York CALL FOR PAPERS To offer a paper: Please email your paper proposals direct to the session convenor(s). You need to provide a title and abstract (250 words maximum) for a 20-minute paper (unless otherwise specified), your name and institutional affiliation (if any). Please make sure the title is concise and reflects the contents of the paper because the title is what appears online, in social media and in the digital programme. You should receive an acknowledgement of receipt of your submission within two weeks. Deadline for submissions: 1 November 2024 Abstraction, Artisanal Knowledge, and Craft Epistemologies Max Boersma, Freie Universität Berlin, HYPERLINK "mailto:m.boersma@fu-berlin.de" m.boersma@fu-berlin.de Cora Chalaby, University College London, HYPERLINK "mailto:corinne.chalaby.21@ucl.ac.uk" corinne.chalaby.21@ucl.ac.uk This session seeks to reexamine abstraction as a site of intersections and dissonances between modes of making, focused especially on those between the fine arts and so-called craft or artisanal practices. We aim to interrogate how and why abstraction functions as a vehicle for expanding notions of artistic making to include previously excluded techniques, media, skills, perspectives, and associated forms of embodied knowledge. As such, this panel invites papers that critically rethink abstraction as part of a broad, inclusive and intersectional history of modern and contemporary art. Challenging Euro-American formalist narratives, recent studies by Sarah Louise Cowan, Philip J. Deloria, and Julia Bryan-Wilson—among others—have introduced new models for analysing abstraction within African diasporic, Native American, and feminist histories of making. Meanwhile, exhibitions such as Woven Histories: Textiles and Modern Abstraction have foregrounded the long relationship between modernist art and textiles. Building on these discussions, this session puts emphasis on the manual expertise and craft intelligence involved in such exchanges. How have artists channelled forms of embodied knowledge and specific epistemologies of craft in their engagements with abstract art? What opportunities has abstraction offered for elevating marginalised practices and surfacing lesser-known histories? We welcome papers across all geographic contexts and diverse media that address abstract art in relation to forms of making occluded by material and cultural hierarchies, imperialism and colonialism, and racialised and gendered exclusions. Accessible Buildings, Inaccessible Artworks: Reconsidering Disability in the Museum Felix Jäger, Courtauld Institute of Art, HYPERLINK "mailto:felix.jaeger@courtauld.ac.uk" \t "_blank" felix.jaeger@courtauld.ac.uk Michael Tymkiw, University of Essex, HYPERLINK "mailto:mtymkiw@essex.ac.uk" \t "_blank" mtymkiw@essex.ac.uk Since the 1990s, museums have made significant strides ensuring that their buildings are accessible to visitors with physical disabilities. Yet despite this progress, many museums continue to display artworks within an ocularcentric setting that remains inaccessible to disabled spectators. Equally unacknowledged are the ableist ideas that have shaped the creation of artworks and, in many cases, get perpetuated through normative conceptions of bodies that underpin museum display practices. The tendency to exhibit inaccessible art in otherwise accessible buildings is perhaps most glaring in displays of participatory artworks made from the 1950s onward. However, it is equally apparent in the display of much earlier works presented from the perspective of a “median” body—works that often were historically used and experienced by a far more diverse range of spectators. This panel seeks to develop a more critical history of museums that offer “barrier-free” access to their buildings while displaying artworks in ways that remain inaccessible to disabled visitors. To this end, we invite papers that consider dif

FAQs

What are the required elements for a paper proposal?

Submit a title and an abstract (maximum 250 words) for a 20-minute paper, plus your name and institutional affiliation if applicable.

Where should paper proposals be sent?

Email the proposals directly to the relevant session convenor(s) listed for each session.

What is the submission deadline and when will authors be notified?

The deadline for submissions is 1 November 2024, and authors should receive acknowledgement of receipt within two weeks.

Sep 1, 2026

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