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Paper Call: The Everyday Image

Call for Papers and Artistic Work

bp4

Fourth International Conference on the Image
University Center
Chicago, lllinois USA
18-19 October 2013

Featured Theme – The Everyday Image: Reproduction and Participation

Artistic submissions to the conference exhibition and proposals for paper presentations, poster sessions, workshops, roundtables, or colloquia are invited for the Fourth International Conference on the Image, to be held 18-19 October 2013 in Chicago, USA. The conference organizers welcome submissions from a variety of disciplines and perspectives and encourage faculty and students to jointly submit proposals or panel discussions/colloquia.

The deadline for the current round of the call for papers is 2 May 2013. More information is available the conference website. Virtual participation also is an option.

Plenary Speakers
Natasha Egan, Associate Director and Curator at the Museum of Contemporary Photography at Columbia College Chicago, Chicago, USA
W. J. T. Mitchell, Professor of English and Art History at the University of Chicago, Chicago, USA

The Image Conference will be hosted in Chicago’s downtown Loop and theater district, just near Grant Park – home to Millennium Park, Buckingham Fountain, the Art Institute of Chicago, and the Museum Campus.

Photograph by Oded Balilty/Associated Press.

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Call For Papers: The Public Image

Arlington West

The International Visual Sociology Association (IVSA) has announced its call for its 2013 conference dedicated to “The Public Image” with a focus on the ways in which visual sociology can meet the challenge to bring a sociological understanding of social life to a vibrant, active and diverse public, emphasizing an open dialogue with audiences beyond the academy.  Themes covered this year includ

  • Activism and Engagement
  • Walking and Seeing the City
  • Surveillance
  • Public and Private Images
  • Resilience and Urban Change
  • Social Networks and Virtual Image Worlds
  • New Visual Methodologies
  • Rethinking Visual Theory
  • Urban Visibilities and Invisibilities
  • Visual Ethics
  • Visualising Sociological Publics

The conference will be held from July 8-10, 2013 at Goldsmiths, University of London. Abstracts of no more than 250 words can be submitted directly to panel chairs (listed here) via email writing “IVSA 2013 – Paper Submission” in the subject line.  The deadline for abstract submissions is March 31, 2013.  For general information please enquiries please contact ivsacucr@gold.ac.uk.

Photo Credit:  Gabriella Demczuk

 

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Mass Production at the FORMAT International Festival of Photography

LR Ian Teh 1803-24b

The FORMAT International Photography Festival, Derby, UK, will run from March 8 – April 7, 2013.  The largest photography festival in the UK, FORMAT will include over 80 exhibitions, all curated under the theme of FACTORY: Mass Production. The theme is a celebration of Derby’s UNESCO World Heritage status as the birth place of the mass production.

The exhibitions feature photographers from over 30 countries.  These exhibitions are sourced in two ways: FOCUS, which are larger scale exhibitions with photography from artists and collectives invited to take part, and EXPOSURE, which is a selection of exhibitions chosen from an open submission process.

You can sample the work for each of the exhibitors at the links above.  As you will see, the range of subjects and perspectives is impressive.

Photograph by Ian Teh, from the series ‘Dark Clouds’ © Ian Teh/Courtesy of FORMAT International Photography Festival.

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International Street Photography Awards Competition

spaceman, Tomasz Lazar

Now in their third year, the International Street Photography Awards are looking for the best street photography from around the globe.  The past two years saw entries from 113 countries, and allowed street photographers the chance to have their work seen on an international platform.

This year the awards will be hosted by FOTOURA.  The 2013 Awards will include Open and Student categories, and are open to photographers from all over the world.  The winners and a selection of the best entries to this competition will be shown in an exhibition in central London in Spring 2013.

More information is available here.  The deadline for entry is February 12, 2013, 11:00 pm GMT.

“Spaceman,” by Thomasz Lazer, Poland; the photograph received third prize last year.

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International Migrants Day: To the Unknown Migrant

“To the Unknown Migrant”
International Migrants Day, December 18
OPEN CALL
Deadline: Friday, December 7, 2012

The Immigrant Movement International is inviting migrants, artists, academics, activists, and concerned individuals across the globe to commemorate International Migrants Day at 2:00 pm (your local time) by developing monuments (ephemeral, permanent, sculpture, action, sound, visual, performance, dance and other) at sites where the role of migrants in history and society have been ignored, erased, distorted, abused and forgotten. “To the Unknown Migrant” will be a worldwide collective reinterpretation of the politics and history of migration, testifying that the unfair treatment of migrants today will be our dishonor tomorrow.

We invite you to participate and encourage you to spread the word. This open call will accept all submitted projects. The deadline to be included in our website is Friday, December 7, 2012. Please send an email to united@immigrant-movement.us with “To the Unknown Migrant” as the subject line and attach the following:

1 Word document that includes:
Name of participant(s) / Name of the group
Contact Information
Location of project (Specific Site, City, Country)
Project description (250 word max)
Links/URLs for participant websites
1 image that represents your project, if applicable:
File must be in JPG format
72dpi
1000 pixels on the longest side

Following December 18,  please send us the documentation of your “To the Unknown Migrant” monument so that it can be added to the IM International website archive.

Looking forward to your creativity.

Un abrazo,
The Immigrant Movement International Team

(And sorry for the last minute notice at NCN, but we’ll hope late is better than never.)

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Call For Papers: The Asch Drone Project

The Solomon Asch Center is starting a web project on drones–how they function in the present and what they may become in the future. This project aims to explore the politics of government use of drones for surveillance and interdiction, private and corporate use of drones; privacy and due process issues raised by use of drones, fifth generation warfare using drones, and any issue relating to how the technology used in drones will play out in the future.  The Asch Drone Project seeks contributions from scientists, engineers, social scientists, lawyers, artists, journalists and citizens to provide a multi-faceted online presentation incorporating text essays and visuals relating to drones.  An online gallery will display Afghan folk art, fine art, cartoon, and photographic representations of drones.  The Project is open to all types of interpretations and opinions, and to any length text from a paragraph to a multipage essay.  If you have visuals or links to existing blogs to suggest, or if you are able to write something for the project, please get in touch with Asch Associate Director for Conflict and Visual Culture Initiatives Jonathan Hyman at jhyman@brynmawr.edu and identify your inquiry or submission in the subject  field as such: attention Asch Drone Project.

The Asch Drone Project expects to open on the Asch web site (www.aschcenter.org) no later than 1 January 2013.  If enough good essays are contributed, authors may be invited to participate in a Special Issue of the journal Dynamics of Asymmetric Conflict (www.informaworld.com/dac), edited by Asch Co-Director Clark McCauley.

For a decade the Solomon Asch Center for the Study of Ethnopolitical Conflict, now located at Bryn Mawr College, has brought together social scientists from many disciplines-history, political science, psychology, linguistics, economics, law, sociology and anthropology — to analyze the underlying causes of conflict, how conflict can be managed constructively to avoid widespread violence, and how to ameliorate the refugee problems that flow from intergroup violence. 

Credit: File Photo

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Call For Papers: Domestic Images in the Digital Era

Visual Communication Quarterly

Call for Papers

Visual Portfolio: Domestic Images in the Digital, Online, and Viral Era

Guest Editors: David D. Perlmutter and Lisa Silvestri, The University of Iowa

Today anyone with a cellphone and an Internet connection can create and distribute images without professional training or a governmental or industrial institutional affiliation. Whether funny cat YouTube uploads, vacation videos (from a tsunami site) or pictures of the humiliation of Iraqi prisoners, images that once fell under the genre of “domestic” are now regularly erupting onto world attention, controversy, and influence. Likewise, ordinary citizens are delivering the first visual “draft of history” because they are first on the scene of breaking news-from terror-filled moments in a London subway after a bombing to an airliner landing on the Hudson River.

This special issue of VCQ seeks scholars and practitioners who study or document the blurring between “home” photography and “public,” professional, or commercial photography as it becomes increasingly indistinct in our viral digital/online/social media age.

Among possible questions to ask: What does it mean when the “home mode” goes viral? How does the role of the professional photographer and industry change when “citizen journalists” are creating so much public content? What new genres of photography are emerging in the home-public fusion? How does the domestic origin of an image affect its reception? What are the historical antecedents to this phenomenon (e.g., images of the Holocaust that were originally souvenir snapshots by its perpetrators or domestic scenes of celebrities made famous after their deaths?)

VCQ: Visual Communication Quarterly solicits contributions for an upcoming special issue on the domestic image. VCQ welcomes essays that consider the relationship between “home” and “public” modes of photography, visuality in a viral era, digitization, Photoshopping, cropping, and dissemination. In addition to theoretically grounded, critical essays, we will consider the submission of visual essays and photo pieces. Max. word length for essays: 7500.

Deadline for submissions: February 20, 2013

VCQ: Visual Communication Quarterly publishes scholarship and professional imagery that promotes an inclusive, broad discussion of all things visual, while also encouraging synthesis and theory building across our fascinating field of study. See: http://vcquarterly.org/ for submission style and guidelines. Please email an electronic version of your essay (as an MS Word document), along with a 100 word abstract, to david-perlmutter@uiowa.edu. For portfolios, send inquiry first.

EDITOR
Berkley Hudson, Missouri School of Journalism

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Artsia.com’s Online Art Market: The Photos

Post by guest correspondent Lindsey Davis

Photographers all over the world have been selling their prints online through a new curated art market. Artsia.com, representing the Society of International Artists, was launched last month as an attempt to better connect professional artists to those who love and want to buy their work.

Herve Constant is a photographer on Artsia, a London-based French artist whose pieces work to convey narratives or statements about society and the way we communicate with one another.  “Although I may have different interests along the way, insofar as one travels, one more or less arrives at the same point of departure.”  His piece “The Same Story” was published in conjunction with a poem by Mary Kay Rummel in the Original Limited Edition called ARTLIFE, and is now in the archive collection of the Los Angeles Museum Contemporary Art. 


Giovanni Capriotti is an Italian artist working in Toronto, Canada. His passion lies in documentary photography, and he’s traveled and lived globally, keeping track of his path in photographs.  His piece “All I Need” from the project “Moon Safari” shows a scene outside a fast food restaurant called Tim Hortons, a couple entering and a man leaving the eerily lit parking lot. He adds that “In my early work I was focused on the effects that we have manifested in our reality, now I find myself trying to articulate the trends and causes that we, as modern humans, are making on our world.”

Guilherme Ghisoni is a Brazilian photographer born in Santa Catarina with a background in philosophy and music. While researching the philosopher Ludwig Wittgenstein for his Ph.D. at the Federal University of Sao Carlos in Brazil, his reading began to affect his photographic art and layers of meaning began to emerge.  His piece, “Yet Present – Itapema” features a hummingbird flying gracefully with beak proudly lifted, in front of a nondescript purple background surrounded by layers of white airy bubbles.  He remarks that”My current works can be seen as a consequence of my interest in the contemporary philosophy of time and its bearing on photography.”

Artsia is working to create and support a community of passionate professional artists like these in every kind of medium, and is now representing more than 500 carefully selected artists worldwide.

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Sony World Photography Awards 2013

The World Photography Organization manages the Sony World Photography Awards, which offer several levels of competition ranging from amateur to professional photography.  This year’s deadline for submission is January 4, 2013.  Information is available at the website, along with images of previous winners and notables as well as current entries.

“Bear’s Claw,” Moorcroft, Wyoming, by Mitch Dobrowner, 2102 SWPA Photographer of the Year.

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