---

2024 

A Guide to Academic Publishing in American Art and other Peer-Reviewed Journals

SCAH Members-Only Workshop
Robin Veder, Executive Editor of American Art
Monday, May 20, 2024 • 12:30–2 PM ET • Zoom

When you want to share your scholarship, it’s important to think about where to publish. Led by Robin Veder, Executive Editor of American Art, this workshop is about how to select the best journal for your work so that your article is a good fit for the venue and so you can reach the audiences that are important to you.

Topics may include developing a first draft, searching for appropriate publications, and working on revisions following peer review, among other things. The workshop will include time for attendees to ask questions on specific topics of interest.

Robin Veder is the Executive Editor of American Art, the Smithsonian American Art Museum’s peer-reviewed journal for art history scholarship. She has published extensively on transatlantic art history, visual culture, history of the body and landscape studies. Her book, The Living Line: Modern Art and the Economy of Energy (2015), illuminates connections among the histories of modern art, body cultures and physiological aesthetics in early-20th-century American culture. Before joining the museum’s staff, Veder was a tenured associate professor of humanities, art history and visual culture (2010–2016) and assistant professor (2004–2010) at Penn State University, Harrisburg. She received her bachelor’s degree from San Francisco State University (1991), and her master’s degree (1995) and doctorate (2000) in American studies from the College of William and Mary.

---

Fugitive Ecologies in Contemporary Art

2024 College Art Association Annual Conference
Chair: Allison K. Young, Louisiana State University
Saturday, February 17, 2024 • 3–5 PM
Hilton Chicago • 8th Floor – Lake Ontario

For historian Sarah L. Lincoln, the term “fugitive ecology” describes a range of subaltern relationships to the land, soil, and planet enacted in response to conditions of alienation and dispossession. As she indicates, fugitivity not only suggests “modes of being, knowing, and acting on the run, perpetually mobile, lacking a legal or official relationship to place” but also “oppositionality to a system predicated on the ‘fixing’ of bodies.” Yet even under the duress caused by the tangible spatial violence of enslavement, apartheid, colonization, reservations, prisons or plantations, such transgressive practices of tending the earth have persisted as strategies of both resilience and care.

This panel asks how “fugitive ecologies” have been proposed or theorized by contemporary artists, particularly in the wake of climate catastrophe. It considers the many resonances of the “wake” offered by Christina Sharpe – as visible disturbance, as a view towards the past, as openness of mind, or care in mourning – which are made manifest amidst present ecological breakdown.

Responding to environmental crises of industrial, nuclear, and colonial origin, artists have served as documentarians and activists, gardeners and radical botanists, and community archivists. What possibilities for decolonizing our relationship to nature are envisioned or demonstrated in contemporary art? How have artists drawn from alternative, Indigenous and subaltern onto-epistemologies when engaging with natural materials or landscape representations? How have artists responded to the collapse of world systems in the wake of the pandemic - alongside calls to action on the fronts of climate change and social justice?

Papers
Invasive Species: Nonbelonging and Utopia in Flaka Haliti’s ‘Maybe I Ate It?’ • Andrew Hennlich, Western Michigan University

Distance and Risk: Chim↑Pom & Finger Pointing Worker • Jason Waite, University of Oxford

Shadow Worlds: Plotting Alternative Futures for the Earth • Kate Keohane, University of Oxford

How to Improve the World Through Vulnerable Listening • Brianne Cohen, University of Colorado at Boulder