is awarded periodically to an author or photographer whose publication, exhibit, website, or other multimedia production exemplifies the use of still photographs (both historical and contemporary) for research and communication of anthropological knowledge. The submission must have a strong visual research perspective along with being good documentary photography and be within five years of the original publication date. Details of the prize and past winners can be found here.
The project must be nominated by a current SVA member and include the consent of the person nominated. A letter of nomination from the SVA member and the supporting material (including name, book title or exhibit, website or multimedia production, publisher, author’s mailing address, phone and email) should accompany three copies of the creative work and be sent to the Committee Chairperson, which must be received by the deadline below. …
The Western Market for non-European Artefacts (18th-20th century)
13.10. – 15.10.2016
- Conference language is English.
- Papers should be a maximum of 20 minutes in length, and preference will be given to proposals that stimulate dialogue and engage with broader topics.
- Please send proposals (max. 300 words) with a short academic CV to firstname.lastname@example.org by 15 February 2016 at the latest.
- Selected speakers will be notified by 15 March 2016. Financial assistance with travel expenses for speakers may be available (subject to grant approval).
Haidy Geismar, UCL
The movement towards open access has continued to gain momentum in the social sciences, and in anthropology, with important new journals such as Hau; and new movements to develop alternative publishing collectives afoot. I have just stepped down as editor of the Journal of Material Culture where we are moving a little slower. We have committed to ensuring that there is at least one open access article per issue, and Sage has a very generous Green archiving policy which allows the accepted version of an article to be made available immediately. However, Sage owns both the title and the back issues of the journal which makes a transition to fully open access more of a decision to form a completely new title.…
The School of Archaeology and Anthropology, Centre for Heritage and Museum Studies, and Centre for Digital Humanities Research at the ANU has recently advertised three positions for which we are seeking outstanding and dynamic applicants.
Lecturer, Level B, Museum Anthropology, ongoing appointment, applications close on 15 November
Lecturer, Level B, Museum Studies (Museum and Collections), 5 year appointment, applications close on 17 November
Lecturer, Level B, Digital Humanities, 3 year appointment, applications close on 2 November
A major international conference focused on the intersection of media art and technological change over time. How is this shifting the way museums operate and how conservation works?
Three artists, Susan Hiller, Runa Islam, and Hito Steyerl will launch Media in Transition with their keynote presentations. The conference will promote interdisciplinary in-depth discussions and lively debate about specific works of art including those by Joseph Beuys, David Lamelas, Gustav Metzger, Nam June Paik, Bruce Nauman, and Julia Scher.
Hosted by the Getty Conservation Institute, Getty Research Institute and Tate, this landmark event brings together the major institutions and thinkers at the forefront of responding to the needs of an important group of contemporary artworks.
Via Olav Velthuis, University of Amsterdam
28-30 January 2016, University of Amsterdam, Department of Sociology
The aim of this multidisciplinary international conference is to bring together theoretical perspectives (ranging from sociology, anthropology, art history, economics and geography) that help advance our understanding of how art markets function, while offering high-level qualitative and quantitative empirical contributions to their local and global articulations. We particularly welcome contributions on emerging art markets in countries such as China, Russia, South Africa, Turkey, India or Brazil.
The conference seeks to delve into the shifting relationship between established and emerging art markets through a series of paper presentation and keynote sessions, as well as panel discussions with expert practitioners from the field (gallerists, artists, collectors, museum directors), drawing on experiences from a variety of geographical contexts.…
Faculty of Art, Design and Humanities
On the retirement of Professor Elizabeth Edwards, applications are invited for the full-time, permanent post of Professor of Photographic History, based within the School of Humanities.
The successful candidate will be appointed as the Director of the Photographic History Research Centre which was established in 2010 and is already widely acknowledged as a world-leading centre for the interdisciplinary study of the history of photography in all its aspects. He or she will also be expected to contribute to the broader development of History and of Photography as subjects at De Montfort.
Applicants should have an international scholarly and/or curatorial reputation in one or more fields of photographic history, an outstanding publication record, and be able to demonstrate experience of research leadership and funding development.…
An event with Professor Anthony Shelton
Thursday 21 May 2015, 6pm, Room G01, School of Arts, Birkbeck, University of London, 43 Gordon Square, London WC1H 0PD
Between the 1920s-1950s, rural popular art became an important part of the government-sponsored re-creation of Portuguese national identity and history. Books and articles were written about popular art, films were produced on it and domestic and international exhibitions displayed it, creating a particularly Portuguese ‘taste’ that hid the dire conditions of poverty, suffering, and illiteracy that characterized many of its rural provinces. Sixty-five years later, UBC MOA (Museum of Anthropology) will open a major exhibition on Portuguese popular art. This talk will discuss the complex mixture of ideologies and philosophies, which underlie the representation of popular art and national identity during the dictatorship (Estado Novo), its re-accommodation after the establishment of democracy in 1974, and the challenges of curating an exhibition that deals with historical imaginations.…