Interdisciplinary Workshop on Ethical Considerations in Project Art and Collaborative Anthropologies: November 11

Please join artist Ben Kinmont and former Draper Program Art Worlds Faculty Fellow Laurel George at NYU’s Fales Library on November 11, 2011 for an Interdisciplinary Workshop on Ethical Considerations in Project Art and Collaborative Anthropologies

What:

In conjunction with his current Fales Library show "Prospectus: New York," Ben Kinmont, along with cultural anthropologist Laurel George, will conduct a workshop on ethical considerations in interactional art practices, a mode that Kinmont has been working in for over two decades.

During the workshop, Kinmont and George will work with faculty and students to generate cross-disciplinary conversations on the ethics and aesthetics of project art, ethnographic fieldwork, and other forms of collaborative cultural production. The version of the text written at the workshop will be distributed and discussed at a larger public forum to take place on November 18th as part of Performa 2011.

Who:

The workshop is open to NYU students and faculty interested in thinking critically and creatively about the ethical dimensions of making collaborative and/or public art works as well as those engaged in anthropological fieldwork.

When and Where:

The day-long workshop will take place at Fales Library (Bobst 3rd floor) on Friday, November 11 from 10-4 p.m.

There will be brief reading and writing assignments and students will have the opportunity to be involved in the Performa event, but that is not a requirement of workshop participation.

How to get involved:

For more information or to sign up, contact Laurel George at lbg2@nyu.edu.

To read the press release for Prospectus: New York, follow this link:

http://www.nyu.edu/about/news-publications/news/2011/09/06/nyus-fales-library-presents-prospectus-new-york-an-exhibition-of-the-project-archives-of-ben-kinmont-september-15-through-november-15-2011.html

This workshop is possible due to the support of Kunstverein, New York, and the Fales Library.

Draper Winter Class (Topics in Art Worlds) Canceled

Due to timing and logistical constraints, Draper will not be offering "Topics in Art Worlds" during the January 2012 Winter Session as planned. We are considering the option of winter courses for the future, but do not have further information on this possibility at this time.

Thank you to all of you who expressed interest in this course.

Volunteer with Creative Time

Creative Time is excited to present Living As Form, an unprecedented, international project exploring over twenty years of cultural works that blurs the forms of art and everyday life, emphasizing participation, dialogue, and community engagement.

Dedicated and energetic volunteers are needed to staff the busy hub of the project: the Historic Essex Street Market – 15,000 square feet featuring over 100 artists located at the southeast intersection of Essex and Delancey Streets. Here, visitors will have the opportunity to view a collection of socially engaged art projects and actions from around the globe, as well as experience a series of new events and performances produced specifically for this exhibition.

As a Creative Time volunteer at the Living As Form exhibition you will:

• Engage a diverse and vibrant audience in the practical and theoretical concerns of the project.
• Be a point person within the space monitoring the exhibition and related events.
• Meet artists, curators, Creative Time staff, and tons of other volunteers.
• Spend time amongst the hustle and bustle of the Historic Essex Street Market and Living as Form Exhibition with the awesome Creative Time crew.
• Receive a copy of a Creative Time publication

Volunteers will also assist with light set-up and clean up of the exhibition space at the beginning and end of shifts. Exhibition hours are 12-8pm, Thursdays – Sundays from September 24th through October 16th.

Creative Time would appreciate help also with any of the following shifts for the remainder of the run of the show. As the show continues, the exhibition continues to grow and shift, with more events and collaborations being added each day!

• Thursdays, Fridays, Saturdays, or Sundays
• 11am - 4pm or 4pm - 9pm
• October 6 - 9 or October 13 - 16

If you are interested please email aliyab@creativetime.org with the following information:

1. Your name
2. Contact phone number
3. Which dates/times you will take over the course of the exhibition
4. How did you hear about this opportunity?

Creative Time is eager for you to join their team to make Living as Form a reality; it is guaranteed to be an amazing experience!

Aliya Bonar
Site Manager, Living as Form
c: 561.927.8011
o: 212.206.6674 x217
www.creativetime.org

Draper's New Winter Session Course: Issues in Public Art

For the first time ever, Draper students can take a course during the three weeks of winter session, which runs from January 3 - 21. Mario A. Caro, Professor of Art Worlds, will teach “Issues in Public Art” (a more detailed description of the class is below).

The winter session class structure allows an intense immersion into the kinds of themes and considerations that normally stretch across a full semester. It’s also an opportunity for you to start and finish a four-credit course in a compressed time frame. Such a schedule, while demanding, might be especially appealing to those of you who want to graduate within a tightly defined time frame.

Because this is a new initiative, and because Draper is the only program within the Graduate School to offer a winter session class in this academic year, it is important for us to determine the level of student interest. If you would like to enroll in Prof. Caro's class or even if you just want to more information, please email Larissa directly at larissa.kyzer[at]nyu.edu.

***

Winter Session 2012
January 3 - 21

DRAP-GA.3008.001
Topics in Art Worlds: Issues in Public Art
Prof. Mario A. Caro
4 pts

This course will explore contemporary issues that affect the production and consumption of public art. Claims for this art can range from this genre being perceived as government or corporate propaganda to it being seen as an egalitarian possibility for the voice of the people to be heard. We will survey current local, national, and international efforts to produce public art that is diaologic, art that furthers dialogue among communities. We will also look at the history of public art in order to gain an appreciation for its present state. Because much of the contemporary work emphasizes the performative aspects of dialogue, works may not always be recognizable as art. The ultimate challenge for us will be in being able to recognize public art when we confront it.

Introducing Mario A. Caro, Draper's New Faculty Fellow in Art Worlds

Draper is delighted to introduce Mario A. Caro as our new faculty fellow in Art Worlds. Dr. Caro will be teaching two courses for Draper in the fall--Introduction to Art Worlds I and Topics in Art Worlds--and more information on those classes will be available shortly. His bio is below; please join us in welcoming him to the program.

***



Mario A. Caro is a researcher, curator, and instructor of contemporary Indigenous art. His research topics include the representation of Indigenous cultures within the museum; the visual production of an "aesthetics of nostalgia" within photographic practices; art historical methodologies and the production of colonial discourses; and, most recently, essentialism and Native art practices. He has also curated various national and international exhibitions and was the curator of exhibitions at Alaska House, New York in Soho.

Dr. Caro completed his doctorate at the Amsterdam School for Cultural Analysis, University of Amsterdam, and has taught at various institutions, including The Evergreen State College, Otis School of Art and Design, and Indiana University, where he held the post of Public Scholar for Civic Engagement. He has published widely on the history, theory, and criticism of contemporary art, and is the founding editor of Invisible Culture: An Electronic Journal for Visual Culture.

His work within the academy complements his endeavors to further global cultural exchange. He serves on the boards of various organizations focused on art residencies and is the current president of Res Artis, an international network of art residencies focused on promoting the worldwide mobility of artists. Dr. Caro is committed to combining his interdisciplinary scholarship with his community-oriented organizing and curating activities.

Time-Based Art: Comparative Lit Colloquium, 12/10

Please join us for the December installment of the Comparative Literature Colloquium next Friday, 12/10, from 1-3 p.m., in room 222 of 19 University Place.

(Note the earlier time, shifted due to the "Music, Language, Thought" event taking place later that afternoon.)

To close out this semester's programing, we are delighted to welcome:

Professor Boris Groys (Department of Russian and Slavic Studies)

With a presentation entitled: "Time-Based Art"

For more information: http://comparatorium.wordpress.com/

Message from Draper Student Emily Colucci Re: David Wojnarowicz and NYU

Draper student Emily Colucci has shared the following email with us in response to the recent censorship of David Wojnarowicz's piece "A Fire in My Belly" at the National Portrait Gallery. Emily would like to see this situation addressed directly within the NYU community (the artist's papers are housed in the Fales Collection in Bobst) and is seeking suggestions and feedback from the Draper community. Any suggestions and/or comments should be sent to Emily directly at esc255[at]nyu[dot]edu. Her message is below.

***

“To place an object or writing that contains what it invisible because of legislation or social taboo into an environment outside myself makes me feel not so alone; it keeps me company by virtue of its existence. It is kind of like a ventriloquist’s dummy—the only difference is that the work can speak for itself or act like that ‘magnet’ to attract others who carried this enforced silence. It also could act as a magnet for those with opposing frames of reference…”—David Wojnarowicz

On the night before World AIDS Day, the Smithsonian Institution’s National Portrait Gallery in Washington D.C. removed a video entitled “A Fire in My Belly” by New York artist David Wojnarowicz from their exhibition “Hide/Seek: Difference and Desire in American Portraiture,” an exhibition on sexual difference in modern America, after pressure from the Catholic League and House Republicans John Boehner and Eric Cantor. The Catholic League and the House members took offense to an 11 second clip in the video, which depicts a small crucifix being crawled on by ants. Catholic League president William Donohue called the video “hate speech” and Rep. John Boehner decried it as a misuse of taxpayer money. Bowing to these criticisms and the threatening of their taxpayer funds, the National Portrait Gallery removed the film from their exhibition, closely mirroring the Robert Mapplethorpe controversy in 1989.

David Wojnarowicz created “A Fire in My Belly” in 1987 in response to his lover and artistic mentor Peter Hujar’s death from AIDS-related illnesses and his own rage at the silence surrounding the AIDS crisis. Wojnarowicz, who died of AIDS-related illnesses five years later in 1992, often worked with difficult or challenging images as a means to articulate his invisibility and the invisibility of other people with AIDS during the late 1980s and 1990s.

David Wojnarowicz’s archives are housed at Fales Library and Special Collections on the Third floor of Bobst Library at NYU and the full-length video, which the National Portrait Gallery cut for exhibition was on loan from Fales. With this connection to NYU and the issues it raises for queer politics, art history and other fields, I feel that something should be done at NYU to address these issues whether it be a reading of Wojnarowicz’s work, a lecture or a discussion about the issues such as freedom of expression, hate speech, and the memory and history of the AIDS crisis, raised by the censoring of this video.

Please let me know any suggestions you may have. I know it is a bad time coming at the end of the Fall semester but with the issues raised by this controversy, a discussion of David Wojnarowicz’s artistic and literary output seems necessary.

Some important links on the Wojnarowicz/National Portrait Gallery controversy:

-PPOW Gallery holds Wojnarowicz’s Estate and has provided the uncut “A Fire in My Belly” film:

http://vimeo.com/17457052

http://www.ppowgallery.com/index.php

-Articles on the National Portrait Gallery’s removal of “A Fire in My Belly”:

http://www.washingtonpost.com/wp-dyn/content/article/2010/11/30/AR2010113006801.html

http://www.nytimes.com/2010/12/02/arts/design/02portrait.html

-Support Hide/Seek, a Facebook group with frequent updates and news about responses to this controversy:

http://www.facebook.com/#!/support.hide.seek

-David Wojnarowicz himself discussing art funding:

http://vimeo.com/14279625

Thanks and I look forward to hearing your suggestions.

Best,

Emily Colucci

esc255[at]nyu[dot]edu

Fellowship Opportunity at Cranbrook Academy of Art

Cranbrook Academy of Art, a preeminent graduate school of art, design and architecture, is pleased to announce a unique teaching fellowship. Cranbrook seeks applicants working in the fields of Critical Theory and/or Contemporary Art, Craft and Design Theory for a one-semester residential teaching fellowship for Fall 2011. Candidates must hold an advanced degree in their field (MA or higher, PhD preferred), have graduate-level teaching experience and an interest in the links between theory and visual art/design studio practice. The Fellow will give two public lectures and conduct discussion groups with graduate students. They will also be asked to review student art work and participate in occasional studio critiques. Opportunities also exist for creative curatorial, research or other projects while in residence. This position is well-suited to an emerging professional, although all levels are invited to apply.

Fellowship includes:

Stipend

Travel stipend toward R/T travel to campus and/or professional activities

Housing (private apartment on campus)

Fellows must reside on campus and be free from professional duties during fellowship (September 12- December 16, 2011)

Application must be postmarked by December 1, 2010.

To apply, send 3 copies of a packet that includes:

· Completed Application Form (download here)

· Letter of interest

· Academic CV (including bibliography of published work)

· Proposal of Series (to include lectures and discussion topics)

· Names and contact information for three references (must include telephone number)

Mail application to:

Sarah Turner / Critical Studies Fellowship

Cranbrook Academy of Art

PO Box 801

39221 Woodward Avenue

Bloomfield Hills, MI 48303-0801

Founded in 1932, Cranbrook Academy of Art is located on a National Historic Landmark campus in Bloomfield Hills, Michigan. The country’s only independent graduate-only program in visual art, architecture and design, Cranbrook offers an intense and intimate learning experience for 150 graduate students in a community of studio-based programs where Artists-in-Residence mentor students to creatively influence contemporary culture.

For more information, contact Sarah Turner at the address above or:sturner@cranbrook.edu

The Arts in Haiti Now talk tomorrow, 4/7

"The Arts in Haiti Now: Perspectives from Three Haitian Playwrights"

We are fortunate to have three contemporary Haitian playwrights visiting NYU this week, Dominique Battraville, Duckens Charitable and Coutechève Lavoie Aupont. We’d like to invite you to join us for a conversation with them about the cultural scene in Haiti today, and the future of Haitian theater in the wake of the January earthquake.

This is a unique opportunity and we invite anyone who is interested in Haiti, contemporary theater and the humanities to join us *Wednesday, April 7 at from 12:30-2:00pm* at the Maison Française at NYU.

More information to follow next week, as well as additional information concerning excerpts of these playwrights’ works, which will be available upon request for you to consult before the event. The conversation will be conducted in French, but English translations of the plays will be available.

Organized by the graduate students in the Department of French at NYU

Archives and Public History: Brown Bag Lunch on Art and Archives (3/5)

NYU Archives and Public History Program brown bag lunch series
Art and archives
Friday March 5, 12:00-2:00pm
King Juan Carlos Center, room 607

The Archives and Public History brown bag lunch series continues on Friday, March 5 for a discussion on art and archives. Marvin Taylor, director of the Fales Library and Special Collections, and Lucy Oakley, head of Education and Programs of the Grey Art Gallery will examine issues surrounding the curation and installation of Downtown Pix: Mining the Fales Archive 1961-1991, now on display at the Grey Art Gallery. Additionally, Christine Licata, assistant curator of Taller Boriqua ("workshop Puerto Rican") will discuss the challenges of archiving artwork associated with this 40-year-old East Harlem arts non-profit.

Please bring a brown bag lunch. Complimentary drinks and desserts will be provided.

Please RSVP to Kate Dundon kcd206@nyu.edu by Tuesday, March 2.

Guest entry by Nina Hien, Art Worlds

SEMINARRATING
Serial Memories of Seminars
[part 1]

The word seminar comes from the term seminarium or “seed plot”. Add a “y” and you have “seminary”, which attaches a religious institutional connotation to it. Discipline, dissemination, and devotion are clearly written into the success of this process of the germination and cultivation of knowledge. Like gardening, it is a hands-on pursuit that ideally relies on communal efforts. Someone lays out the plot with the intention of inseminating and reproducing his ideas. I say “his” because this is the role of the professor, who, by no small note, has commonly been gendered as male through these seminal terms. But the growth of the patch also falls into the dutiful hands of the group, the students, who are supposed to reap the greatest amount of fruits from the harvest. Beyond the roots of patriarchy and agriculturing found at the bottom of the concept of the seminar, a utopian strain seems also to be grafted onto it. (But perhaps I am reading these qualities into the practice because I spent so many years at Cornell University—a land-grant institution in a rural upstate farming community that had been founded by a former Quaker.)

With all that in mind, even with all of the variations that a seminar can take due to diverse subject matter, disciplinary modes, institutional contexts, and individual pedagogical styles and professorial personalities, it seems that perhaps some tiny seedlings of insight about them can be culled from a private conservatory filled with snaps and shoots of memories from the more than two decades in which I was a participant and witness in university seminars (both as a student and as a teacher). With the following recollections, I have no intention of asserting any grand, generalized or scientific claims about the current state of “the seminar”. However, from these seminal fragments (and their contexts) perhaps this rarefied form of language and interaction and academic construct can be demystified a speck, which could then be particularly relevant to us here at the Draper, a program based on seminar learning and positioned on the ground and in the air between the more square plots of traditional disciplines.

The Seminar of the Confusion of Tongues (tied or babbling), circa late 1980s at The University of Missouri Journalism School—Columbia, MO

During this period, two earth-shattering shifts that would change our perception of the world as we knew it were underway. The first could be spotted through what turned out to be the tragic fate of an innovative professor at the J-School who had been formulating ideas about what he called, “The Knowledge Tablet”. Conceiving this to be the ultimate tool in which anyone could punch in a question and get spit out an answer, his research was likely blown to bits as soon as the World Wide Web and Google—the ultimate knowledge tablet—exploded onto the scene a few years later. The second shift could be marked when the multi-cultural management program at the school published its "Dictionary of Cautionary Words and Phrases"—a list of politically incorrect words. The student reporters working at the J-School newspaper—one of the two daily papers in the city—could no longer use terms like “Dutch-treat”, “illegal aliens” and “third-world countries” in their articles. “Black”, once an acceptable word to identify an “African-American” person, was also to be avoided for that objective. Needless to say, these constrictions resulted in much convoluted and repressed thought within an enterprise in which clarity and concision are major goals. They were also the cause of many daily practical blunders. But at play as well at this point when racial and ethnic categories were being reconfigured through a strong wave of identity politics, were the J-School’s own black-and-white categorical binaries and hierarchies that transcended skin color. People were either pegged as innate “word people” or “picture people”. I believed that the basic word-image distinction was ludicrous because in my experience as a writer, sights and visual senses informed the images that were used to produce good writing.

So in this technologically transforming, racially charged and dichotomizing environment, I enrolled in a seminar on cross-cultural mass media. The teacher, who had a doctorate in communication studies, was a new professor (and was, if not the first “black” female professor in the history of the program, definitely the first “African-American” woman faculty member). The course content included press systems in “developing countries” and interrogated the strategic power maneuvers and values that determine what becomes newsworthy in the United States. This was a loaded focus because it directly considered “racial” and “minority” injustices as well as “ethnic” and “cultural” “issues”. The discussions throughout the semester were pretty stilted and stifled with only certain students speaking up, and others remaining silent. Attempting to explain this awkward imbalance, the professor remarked that the class was comprised of two kinds of people—adding to the order a new set of binaries, which resonated with the word/picture one.

The broadcast journalists (the image people) were articulate, chatty, expressive, and could work magic with surfaces. The print journalists (the text people)—and I was in this print-concentration camp—were reticent, but better at writing papers and achieving depth. As much as I hated tags, there did seem to be some truth to these. I then started to think that what may have actually been squelching the speech of some students had a lot to do with their anxiety about using the wrong terms and language, especially when discussing these sensitive topics with an African-American professor in this awkward environment of political correctness. And perhaps the text folks were more easily susceptible because of their attachment to word craft, which clearly affected newspapers more than televisions. The broadcasters were not only more comfortable with different modes of self-presentation, but they were taught to speak in sound bytes and be led by the lines of teleprompters. They also dealt with a much more glossy and general form of news, much of which they hadn’t written themselves. Beyond that, some of them had been instructed in public speaking and had developed stellar verbal gate-keeping skills so they were more adept at thinking appropriately in public spheres.

But through these apparent differences, I began also to contemplate the diverse ways and speeds at which individual people acquire knowledge, process information and then articulate it. And also, how aptitude is largely conditioned by professional background and training, as well as the circulating political ideologies, the media technologies already on the table, and the new media impulses coursing throughout the air. At that point, I imagined being a teacher who would bring forms of visual media into active play in the seminar—on the one hand to create engaged discussions, and on the other, to observe the relationships between visual, verbal and textual content and communication. (I knew there would never be an answer to these questions on any old Knowledge Tablet.)

So, in this land located on the edge of the fertile Missouri River bottoms, the seeds of experimentation with vision, visuality, virtuality, textuality, verbality and verbosity were implanted. Here at the Draper Program, they have started to sprout as I plot my seminars, prod the students to really toil the soil, and cultivate courses, always with many more seeds in hand (and pocket).

[More to come…Part 2: “The Seminars of Striking Poses, Seminar Vogue-ing and Blush Exchanges". Part 3: "The Seminars of Artificial Insemination & Artificial Intelligence"]

Call for Papers: The Cultural Visualization of Hurricane Katrina

Invisible Culture: A Journal For Visual Culture

Deadline for Papers: October 15, 2009

Guest Editors: Nicola Mann and Victoria Pass, University of Rochester

The Cultural Visualization of Hurricane Katrina

Over the past four years, various forms of visual media have focused their lenses on the swathes of watery land that make up the Mississippi delta. Since Hurricane Katrina devastated New Orleans in summer of 2005, the region and its residents have been subject to intense televisual, filmic, artistic, and media-based scrutiny. From Geraldo Rivera’s tearful live reports from the Ernest N. Morial Convention Center, to Kanye West’s frustrated declaration at the NBC Concert for Hurricane Relief that “George Bush doesn’t care about black people,” to the widely acclaimed documentary film Trouble the Water (2008), images of the hurricane, the people it affected (and continues to affect), and the land it ravaged have been projected into our living rooms through a series of visual representations.

Much of the scholarship on this topic has focused on socio-cultural issues including rebuilding strategies, the failure of homeland security, and testimonial accounts of “survivors” or “witnesses.” This issue aims to analyze representations of Katrina and its aftermath using the methodologies of visual and cultural studies. We are interested in the ways that analyses of the politics of representation, as exemplified in the case of Katrina, opens up into a discussion the evolution of visual and cultural studies in the last ten or twenty years.

We seek papers that consider visual representations of Hurricane Katrina in a ways unimaginable at earlier points in the intersection between visual studies and cultural studies. From CNN.com’s award winning “Voices from the Gulf Coast” podcasts, to the various discussion blogs that have emerged in the wake of the event, to Google Earth’s satellite imagery overlays of the devastation in the affected region, to the television show “Extreme Makeover: Hurricane Katrina Home Edition,” we have seen in Katrina’s aftermath a plethora of new modes of visual diffusion. Furthermore, the intensification of mass media, both in terms of the sheer quantity of media outlets and in the reach of its dissemination, has given rise to a new experience of historical time and geographic proximity, in which we experience historical events through media representations almost immediately as they happen and regardless of where they occur.

Additionally, the interactivity of new media has reoriented the producer/consumer binary of traditional media. We are interested in the representational politics of these new visual rhetorics and in the new and often hybrid apparatuses through which we experience them. For example, a critical alternative to the mainstream news media’s coverage of Hurricane Katrina arose across multiple platforms. When compared to more “traditional” documentary forms of disaster representation such the Associated Press’ controversial global dissemination of “looting” photographs, does the immediacy and interactive nature of new media responses render their vision more absolute, real, and perhaps most importantly, “true”?

Is the semiotic approach of, for example, Roland Barthes on photography—which arose in relation to a very different mode of cultural production—still relevant? Can the even earlier model of Frankfurt School-style ideology critique help us to understand popular culture and its capacity for social change? How might these now-familiar methodologies be refashioned for the current culture? Or what methods have eclipsed them? One key concern of this issue is whether technological shifts and advancements in the dissemination of media over the past twenty years have changed the way we see beyond the recognition of our interpretive paradigms. If the object of visual studies has changed, how might we adapt the discipline to engage with the current mode(s) of cultural production?

Accepted essays will accompany the transcript of an upcoming roundtable discussion between the founders of the Graduate Program in Visual and Cultural Studies at the University of Rochester’s co-founders, on the occasion of the program’s twentieth anniversary (Mieke Bal, Norman Bryson, Michael Ann Holly, Kaja Silverman, Constance Penley, and Janet Wolff; moderated by Douglas Crimp).

Possible avenues for the exploration include, but are not limited to:


Films:
-The Curious Case of Benjamin Button (2008)
- Trouble the Water (2008)
-When the Levees Broke (2008), Spike Lee
-Hellp, Darren Martinez

Blogs:
New Orleans Ladder
The Survival of New Orleans weblog
Nola blog

Televisual depictions of the hurricane and responses to it, for example:
-news coverage of “looting”
-Comic Relief (2006)
-House (May 16, 2006), FOX
-Studio 60 on the Sunset Strip, “The Christmas Show,” (Dec. 4, 2006)
-The Daily Show

Artistic responses to Hurricane Katrina:
Prospect 1: New Orleans (international biennial)
News photographs
“Remembering Katrina,” the official Hurricane Katrina souvenir program.

Mainstream news journalism
Urban renewal efforts
Personal photographs

NOLA:
NOLA tourism
The disappearance of “authentic” indigenous NOLA culture
NOLA outside of Bourbon Street
Representations of local culture in New Orleans

Please send inquiries and completed papers (MLA style) of 2,500 – 5,000 words to Nicola Mann (nmann2[at]mail[dot]rochester[dot]edu) and Victoria Pass (vpass[at]mail[dot]rochester[dot]edu) by October 15, 2009.

In Visible Culture is also currently seeking submissions for book and exhibition
reviews (600-1000 words). To submit book or exhibition review proposals please email ivcbookreviews[at]gmail[dot]com. For a list of reviewable titles, see:
http://www.rochester.edu/in_visible_culture/Reviews/review_copies.html

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Invisible Culture: An Electronic Journal for Visual Culture is a peer-reviewed
journal dedicated to explorations of the material and political dimensions of
cultural practices: the means by which cultural objects and communities are
produced, the historical contexts in which they emerge, and the regimes of
knowledge or modes of social interaction to which they contribute.

http://www.rochester.edu/in_visible_culture/