VISUAL PEDAGOGIES: London 2018
Our Call for Papers is now closed. Please check back in early 2018 for a complete schedule and information about attending the conference.
We look forward to seeing you in London!
5th Biennial Conference of the
International Association for Visual Culture
September 13 - 15, 2018
London College of Communication / University of the Arts London
Jill Casid (University of Wisconsin - Madison, Keynote); Teresa Cisneros (The Showroom);
Inés Dussel (Cinvestav, Mexico, Keynote); Joanne Morra (Central Saint Martins);
Griselda Pollock (University of Leeds, Keynote); Emily Pringle (Tate);
Amanda du Preez (University of Pretoria); Will Strong (Calvert 22); Sofia Victorino (Whitechapel Gallery)
Can we teach what we see? Can we see what we teach? How is the world changed, reaffirmed, or progressed through the visual? How does it slip back? What impact can thoughtful uses of images in teaching, scholarship, artistic, and political practice have on the future, as well as on the telling of history?
How can we as scholars, practitioners, educators, and concerned citizens of the world see ourselves as teachers of and through the visual, whatever our context?
The International Association for Visual Culture will feature papers and creative proposals that address the issues of visual pedagogies from different starting points that include but are not limited to:
The visual as a tool for teaching: i.e., teaching through showing, uses of interactive learning tools including Digital Humanities, using the classroom as a space for community involvement or public-facing projects;
Visual pedagogies as a political tool: from the protest image to leveraging an image as a tool for “militant research”;
The teaching of Visual Culture Studies: academia and visual culture, teaching and inventing diverging new methodologies in teaching the significance of visual literacy across disciplines, including the critical consumption and production of images;
Thinking through ways to “decolonize the classroom” in changes in course structure, assigned texts, and assessment;
Different challenges posed across visual media, both historically and in terms of the media themselves: film versus photography; prints versus text; digital versus postdigital;
Interrogating racism, gender and sexual discrimination, ableism, and religious, and ethnic persecution through visual pedagogies;
The significance of the visual in a world where “alternative facts” and “post-truth” discourse is infiltrating public discourse and threatening democracy;
The visual as a scientific instrument: We welcome proposals that tackle the questions of various scientific approaches to visual pedagogies;
Emancipation and the pedagogy of the visual: breaking the ‘all seeing eye,’ including both challenging the truth of the image, and introducing non-ocular-centrism to fields like Visual Culture Studies, Art History, Film Studies, artistic practice, and political engagement.
Organization: The conference will be organized around a series of keynote speakers, and core thematic panels with breakout sessions. We will assign the core themes based on proposals. We invite anyone interested especially in organizing a “teaching session” (i.e., a demonstration, group activity, etc.) to specify this in their proposal.
Support for speakers and contributors: The IAVC will charge a nominal sliding scale fee for conference attendance. These details will be posted on our website in early 2018. Via the funds collected from the small conference fee, we hope to be able to offer assistance to speakers and contributors who can demonstrate financial need.
2016 / THE SOCIAL / BOSTON (convened by Lanfranco Aceti)
2014 / VISUAL ACTIVISM / SAN FRANCISCO (convened by Julia Bryan-Wilson, Jennifer González, and Dominic Willsdon with support from the SFMOMA)
2012 / NOW! Visual Culture / NEW YORK (convened by Nicholas Mirzoeff) 2010 / Inaugural meeting / LONDON
A GROWING LIST OF RESOURCES RELATED TO OUR CONFERENCE THEME
Art History Pedagogy & Practice (AHPP) is a peer-reviewed, open-access e-journal dedicated to advancing teaching and learning in art history. The journal provides a forum for scholarly discourse that articulates and presents the range of pedagogical methods for learners in formal, informal, and virtual learning environments. Art History Pedagogy & Practice embraces multiple research models that examine the effectiveness of instructional strategies and technologies that build the skills, theories, concepts, and values necessary to art historical practice. Art History Pedagogy & Practice also fosters exchange between art history and allied fields including art and museum education, studio art and design, visual and material culture, and the digital humanities by considering the role of technology and the material object to enhance understanding and intellectual development.
Smarthistory is a collaboration of more than 200 art historians, archaeologists, curators and other specialists who want to make the highest-quality art history learning content freely available to a global audience. Contributing editors oversee specific content areas.
Clemente provides free, accredited college courses in the humanities to those marginalized by economic hardship and adverse circumstances. Using the Socratic method, the Clemente Course provides a rigorous education in literature, philosophy, American history, art history, and critical thinking and writing. The experience of Clemente students around the world has demonstrated that through the dialectics of learning, in a caring and respectful classroom, participants develop crucial tools to set in motion personal and societal change, and are empowered to participate more fully in civic life.