CfP: Universities Art Association of Canada/ l’association d’art des universités du Canada 2014 Conference

Call for Papers for the UAAC/AAUC 2014 Conference hosted by OCAD University in Toronto
October 23-26, 2014
Deadline for Submissions, June 18, 2014/ Date limite le 18 juin, 2014
Submission guidelines and full lists of sessions:
Selected sessions on architecture: 
With the foundation and expansion of the European Union, scholars of medieval architectural history have
been eager to employ the notion of free trade in order to suggest the idea of movement and exchange,
however, Medieval Europe was not segregated according to modern nationalistic boundaries. Thus, the ways
in which styles, as well as the people responsible for bringing these ideas from one major architectural site to
another, were able to transgress substantial distances requires detailed investigation. This session will
consider not only the clear visual relationships between medieval architectural and decorative programmes,
but also the distinct processes of transmission that facilitate this symbiotic exchange of ideas, styles and
people. How can we qualify the relationship between construction sites when medieval architecture borrows,
blends, adapts and distorts its models to create a new style? Papers may examine any aspect of this process
of architectural stylistic transmission in order to determine whether or not a tangible process of exchange,
based on practical commercial and socio-political networks, can be found behind the visual evidence.
Session Chairs: Jean-Sébastien Sauvé; Candice Bogdanski,
Affiliation: UQAM, Montreal, & York University, Toronto
Email address:; bogdansk@yorku.c
Vandalism—the destruction or mutilation of cultural artifacts, buildings, and works of art—is the very antithesis
of culture, the work of regressive iconoclasts and uncultured barbarians with a wanton disregard for beauty.
Right? This session takes a contrarian view, asking what it would mean to consider acts of vandalism as
culture, or as a site of engagement with cultural artifacts having its own motivations and logics. It solicits
papers that consider any aspect of what appears to be our undeniable ‘appetite for destruction’: when, and
why, do we turn our individual or collective animus to the objects and structures that surround us? What can
we learn from historical or contemporary instances of violence done to works of art and architecture? What can
such acts—and the responses they engender—tell us about the social and cultural significance of art and
architecture? In ascribing meanings and significance to the works they attack, do vandals recognize and reveal
some truth about these works and their cultural value? Is the vandal the last truly engaged critic or theorist?
Sessions Chair: Keith Bresnahan
Affiliation: Faculty of Liberal Arts and Sciences, OCAD University
Email address:
Henri Lefebvre’s 1974 book The Production of Space is a foundational text for the study of how space is
created, sustained, represented, and denied. Since then, scholars such as Yi-Fu Tuan, Doreen Massey, Nigel Thrift, Edward Soja, Michel de Certeau, Gilles Deleuze, Miwon Kwon, and Neil Leach have done much to
complicate and enrich our understanding of space. Our panel seeks analyses of art or architecture that
critically assess existing theoretical frameworks or propose new ones for understanding how space is currently
being produced and/or represented. We welcome submissions across a spectrum of media, topics, and
Session Chairs: Menno Hubregtse, Ph.D. candidate & Dr. Carolyn Butler Palmer
Affiliation: Department of Art History, Visual Art, and Theory, University of British Columbia;
Williams Legacy Chair, Department of History in Art, University of Victoria
Email address:;
This panel seeks to explore the complexities of collaborative creative practices between romantic partners. In
her essay ‘Collaboration Amongst the Four’ (1996), Janice Helland observed that collaborative practice
‘undermine[s] attribution, an important practice that plays a large role in museums and galleries, in the art
market, and most significantly, in the ideology that underlies traditional conceptions and definitions of modern
art making.’ Widely accepted notions of the ‘artistic genius’ focus on art making as an individual process of
self-expression often resulting in the authorship of a work attributed to the dominant (usually male) partner, and
relegating the lesser-known partner to an assistant status. Building on this problem of attribution, we hope to
explore varied complications of romantic creative partnerships, for example in relation to technical practice,
commerce, influence, identity, and legacy. We welcome papers from across the spectrum of visual culture, and
especially welcome interdisciplinary investigations (architect/artist/designer).
Session Chair: Dr. Robyne Erica Calvert & Dr. Gayle L. Goudy
Affiliation: Glasgow School of Art; College of Charleston
Lecturer, History of Instructor, History of Art Architecture and Design and Architecture
Email address:
How was the ‘Renaissance’ conceptualized at the time of the invention of ‘art history’ as a discipline? Is it still
a valid ‘period’ of art historical inquiry in the post-modern age? Or is the Renaissance more fruitfully defined
through the discourses of geographies, borders and other conceptual frames? This session invites UAAC/ AAUC contributions on theories, pedagogies and approaches to the reconceptualization of the ‘Renaissance’ in the context of art’s histories; papers can range from ‘big-data’ digital humanities projects and processes to
reflections on individual figures like Panofsky, Wittkower, Peter Burke etc.
Session Chair: Dr Sally Hickson
Affiliation: University of Guelph
Email address:
The development of many Canadian urban centers – politically, culturally, and structurally – has been
documented and explored creatively almost from their very emergence. While fundamentally important to
Canadian culture and identity, urban perspectives have often been overlooked in favor of artistic production
associated with notions of landscape and wilderness. This panel seeks to shed light on Canada’s urban side
by exploring how Canadian cities have been understood by those living in them and, perhaps just as tellingly, have been understood by outsiders. For example, how have art and architecture helped to interpret
or to define the cityscape? How have urban centers contributed to our ideas of nationalism? How has artistic
production helped to understand a city’s past and to shape its future? Panelists are invited to propose papers
that address the idea of the urban in Canada using historical or contemporary examples, case studies of
specific media from various artistic or architectural movements, exhibitions, publications or institutions
throughout Canada’s history and from
Session Chair: Elizabeth Cavaliere and Jessica Mace
Affiliation: Concordia University and York University
Email address: and
The objective of this society is to stimulate, foster, and disseminate knowledge of all aspects of visual culture in
the long eighteenth century. This HECAA open session welcomes papers that examine any aspect of art and
visual culture from the 1680s to the 1830s. Special consideration will be given to proposals that demonstrate
innovation in theoretical and/or methodological approaches. Please email proposals for 20-minute papers to
Session Chair: Dr. Christina Smylitopoulos
Affiliation: University of Guelph
Email address:

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