ACASA

Arts Council of the African Studies Association

Webinar – Understanding Museum Audiences and African Arts Provenance

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3 November 2023 – 17 EAT/10 EDT/7 PDT

Registration is now open! Through 2 November

This webinar is exclusive to ACASA members and will be held virtually over Zoom. Use the button at the bottom of this email to join or renew your membership. You must log in to your member account to register.

Register for the Webinar

Understanding Museum Audiences and African Arts Provenance

Highlighting provenance—the ownership history of a work of art or other object—has been growing in museums as part of important conversations about collecting and exhibiting African cultural heritage. But how much do museum visitors understand about provenance, and what is their interest in it? Do museums present provenance in a way that is engaging and easy to understand? The Department of Research and Evaluation of the Cleveland Museum of Art has undertaken audience evaluations in 2021 and 2023 that seek to answer these questions. These digital and in-person evaluation projects center on the museum’s African arts gallery, and a September 2020 reinstallation of eight works from the Benin Kingdom that include full provenance on their gallery labels in addition to on the museum’s website. As one of the few museums with an R&E department, this research represents a unique perspective on visitor viewpoints about provenance and an important tool for enhancing communication.

In this webinar, CMA’s Hannah Ridenour LaFrance (Research Manager, Department of Research & Evaluation) and Courage Kusena (Past Undergraduate Intern, Department of Research and Evaluation) will discuss the goals, methods, and findings of these evaluation projects. Facilitating the conversation, Kristen Windmuller-Luna (Curator of African Arts) will discuss the history of sharing provenance information at CMA, and consider how insight gained from evaluations of museum visitors’ engagement with and understanding of provenance can be implemented in future exhibitions.

This webinar is exclusive to ACASA members and will be held virtually over Zoom. Use the button at the bottom of this email to join or renew your membership.

Join or Renew your Membership

ACASA Award for Curatorial Excellence

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2024 ACASA Curatorial Excellence Award
Call for Submissions – Due February 15, 2024

The submission window is now open for the 2024 Awards for Curatorial Excellence. Submissions must be received by February 15, 2024. The awards will be presented at the 19th ACASA Triennial, to be held in Chicago from August 7-11, 2024.

The Awards for Curatorial Excellence recognize the important contributions to the dissemination and understanding of African and African Diaspora Arts made through exhibitions. Exhibitions related to permanent collections, loan shows, commissioned works or community interventions organized by museums, galleries, cultural centers, and exhibition spaces of all sorts are eligible. Up to two awards for curatorial excellence will be given. Runners up may also be recognized.

Eligibility

The exhibition should have opened between Sept. 1, 2019 and Sept. 1, 2023.

Exhibition eligibility: Both nominator and nominee(s)—if different–must be ACASA members in good standing. Join ACASA

Incomplete or late submissions will not be considered.

Submission Process and Materials

Eligible exhibitions should be uploaded by the nominator to this form with the submission materials listed below. All submission materials must be received by February 15, 2024.

All submissions should include the following materials:

  1. Cover page indicating title of exhibition, dates, venue(s), curator(s) names
  2. Synopsis of exhibition (one-page)
  3. Sample publication where applicable. This can include PDFs of take-away brochures, exhibition preview article or other means of documentation and distribution of project. If no publication was possible, please submit a bibliography of 5 key sources germane to the show’s thesis or points of departure.
  4. Sample didactics (labels or other interpretive materials, such as on-line description, that demonstrate the exhibition’s intellectual content and curatorial vision. Not to exceed 3-pages)
  5. Visual documentation: up to 5 still digital images, at least one of which must show installation, context or performance space; up to 2 videos or links, not to exceed 3 minutes in length to document performance or time-based projects.
  6. Link to or documentation of innovative uses of technology or interactive engagement
  7. Description of institution, organization or entity originating the exhibition (for example museum, independent art space, pop-up…, including mission, history, collection (if applicable), size, staff, budget, audience and other information pertinent to understanding the context in which the exhibition emerged.
  8. Documentation of community response. Up to three (3) examples that demonstrate various perspectives. These might include emails, sample entries from audience response books, or social media postings and not just critical or press reviews.

Assessment Criteria

For consideration for this award, the awards committee will consider exhibitions that:

  1. Generate new scholarship across the humanities or beyond
  2. Open new perspectives on the field
  3. Collaborate with and/or contribute to local or stakeholder communities
  4. Demonstrate innovative approaches to exhibition design and presentation
  5. Expand understandings or uses of technology

Please contact Caroline Bastian, ACASA Project Manager, for any questions or comments at bastian@acasaonline.org.

Call for Panel and Roundtable Proposals

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The ACASA board is pleased to announce that our 19th Triennial Symposium of African Art will take place in Chicago, Illinois, USA from August 7 through 11, 2024.

RADICAL LISTENING: HUMAN-CENTERED APPROACHES TO AFRICAN ARTS

We invite proposals for panels and roundtables at this time (August 1- December 1, 2023). A call for individual papers for open panels and participation in open roundtables will follow on January 5, 2024.

Recently the field of African arts has shifted from object-centered approaches to ones that are human-, community-, and artist-centered. Who is speaking? How can we listen to each other and invite more diverse and globally-entangled voices? Some strategies for human-centered approaches include collaboration, wellness, healing, pluralities of knowledge, the sustaining and building of relationships, fostering new generations, thinking generously and inclusively and active listening in lieu of, or in addition to, object-centered approaches. We particularly invite panels that consider negotiating plurality of perspective and positionality, and diversifying forms of expertise and knowledge production.

  • Diversifying the field of African arts
  • Tangible and intangible knowledges and scholarly approaches
  • Networking and broadening voices
  • Community and artist-centered approaches
  • Artist, museum, and/or community approaches or responses to wellness and healing
  • Pluralizing knowledges, expertise, and the production of knowledges and expertise
  • Developing and sustaining individual, museum, and institutional relationships and partnerships, especially international ones
  • Fostering the next generation of artists, scholars, and communities
  • Personhood and people-centered approaches and/or their relationship to tangible artworks
  • Empathy, radical listening, thinking generously and inclusively
  • Mentorship, exchanges, collaborations
  • Transparency in museum and institutional practices
  • Decoloniality and decolonial approaches to the arts of Africa

This list is meant to be suggestive and not exhaustive, and submissions on any topic beyond the core theme are also welcome. We also welcome proposals for alternative formats – please contact Paul Basu or Amanda M. Maples if you would like to discuss.

Regular panels will be 120 minutes long with either a) four 20-minute papers and a discussant or b) five 20-minute papers. 90-minute roundtables or alternative discussion-based formats (such as lightning talks or poster presentations) are welcome–creativity encouraged.

Participants may only present one paper but may serve as a discussant on another panel or as a presenter on a roundtable.

Proposals for panels and roundtables may be open with a suggested topic or fully constituted with all proposed participants identified. Participation may be in person, virtual, or a combination of these two.

Panel and roundtable proposals must include the following:

  • Title of Panel/Roundtable
  • Name, Professional Title, Affiliation of Proposer
  • Name, Professional Title, Affiliation of Participants (if fully constituted)
  • A proposal not to exceed 500 words describing the theme and scope
  • An abstract not to exceed 100 words to be published on the ACASA Triennial website, ACASA Member Newsletter, ACASA Social Media channels, and H-AfrArts website/listserv
  • Contact information of the chair(s), including phone and e-mail (this information is for internal use only and will not be publicized)

The submission deadline for panel and roundtable proposals is December 1, 2023.

Please submit to https://www.acasaonline.org/2023-triennial-paper-proposal-submission/

Panel, roundtable, and paper proposals may be submitted by anyone, but an active ACASA membership is required to take part in the symposium. Visit https://www.acasaonline.org/join-acasa/ to find information on ACASA membership and to join.

Further deadlines:

  • January 5, 2024: Program Committee will announce the approved panel and roundtable proposals on the ACASA Triennial website and publicize them via ACASA Newsletter and H-AfrArts website
  • January 5, 2024: Submissions for individual papers to open panels and participation in open roundtables begins
  • February 1, 2024: Deadline for submission of individual papers to panels and participation in roundtables to panel/roundtable chairs
  • March 1, 2024: Deadline for chairs’ submission of fully constituted panels and roundtables to the Program Committee
  • Spring 2024: Preliminary panels and roundtables announced

Triennial Programming Committee:

Paul Basu, University of Oxford (paul.basu@anthro.ox.ac.uk)

Amanda M. Maples, New Orleans Museum of Art (amaples@noma.org)

George Agbo, University of Edinburgh (gagbo@exseed.ed.ac.uk)

Juliana Ribeiro da Silva Bevilacqua, Queen’s University (jrds@queensu.ca)

Zainabu Jallo, University of Basel (zainabu.jallo@unibas.ch)

Mathew Oyedele, University of Benin (oyemart@gmail.com)

Alexandra M. Thomas, Yale University (alexandra.m.thomas@yale.edu)

Key 2024 Symposium Dates.

Tuesday, August 6 – Registration Desk opens.
Wednesday, August 7–Saturday, August 10 – Panels held at the DePaul University Loop Student Center.
Thursday, August 8 – Keynote lecture given at the Art Institute of Chicago.
Friday, August 9 – Dinner & Awards Ceremony followed by the famous ACASA Dance Party at DePaul University’s Lincoln Park Student Center.
Sunday, August 11 – Museum Day at the Art Institute of Chicago.

Stay tuned for more information and calls for papers!

Grant/Fellowship Listing: Upcoming Call for Applications for Getty Residential Grants

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The Getty Research Institute is pleased to announce themes for residential grants and fellowships for pre-docs, post-docs, and scholars at the Getty Center and Villa for the 2024/25 academic year.

Applications will open on July 1, 2023. Applications are due by October 2, 2023.

AFRICAN AMERICAN ART HISTORY INITIATIVE GRANTS
The African American Art History Initiative (AAAHI) will support two fellows to generate new knowledge in the expanding field of African American art history. As part of the larger scholar year cohort, AAAHI Fellows have opportunities to present their research and receive feedback from an interdisciplinary group of peers. While proposals do not have to address the concurrent annual theme, they may highlight any salient intersections with it.

This residential program provides financial support and housing to scholars who are expanding critical inquiry of African American art and its frameworks. Projects that propose engagement with Getty’s growing collections of archival and primary source material related to African American art history—particularly post-World War II—are welcome. However, relevance to Getty holdings is not a project requirement. We invite applications from scholars who focus on African American art and visual culture in all time periods and media and in a broad range of theoretical and methodological traditions. Applicants should indicate how their project would align with AAAHI’s aim to make African American art history more visible to the public and accessible to the scholarly community worldwide.

EXTINCTION GRANTS

In this moment of extreme environmental decay and monumental epidemic loss, the Getty Scholars Program invites applications on the pressing topic of extinction and its bearing on the visual arts and cultural heritage. Scholars are asked to contemplate how representational practices are deployed to cope with the precarious survival of plants, animals, and humans; the ever-present specter of species-level extinction and resource exhaustion; and, at the most extreme pole, the brutality of mass atrocity. On another level, atrophy, decay, and obsolescence constitute the temporal dimensions of certain artistic practices, especially as creative approaches, technologies, media, formats, and ideals become outmoded or superseded. The finality of disappearance may also portend a certain amount of hope for rebirth, innovation, or recovery. We invite proposals on these topics from art historians and those from related to disciplines.

Please find the full call for applications and theme text on the Scholars Program webpage: gty.art/scholars

Vacancy: Royal Ontario Museum Curator of Global Africa, Toronto, Ontario, Canada

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Application Deadline: MAY 12, 2023
THE MUSEUM

The Royal Ontario Museum (ROM) is Canada’s celebrated international museum and houses important collections of art, culture and nature. ROM is the largest and most attended museum in Canada, attracting more than 1.3 million visitors per year. It has a membership of over 24,000 households and 66,700 individual members and an annual budget of $80 million CAD. ROM is a world leader in communicating its research and collections to the public. A globally recognized field research institute, home to more than 13 million artworks, cultural objects and natural history specimens, ROM features 40 galleries and exhibition spaces in its original heritage building and its 2007 Michael Lee-Chin Crystal designed by Studio Daniel Libeskind.

EVOLVING FOR THE 21ST CENTURY

ROM’s vision is to become a distinctly 21st-century museum, one that will be globally known for expanding the boundaries of knowledge, innovation in presenting that knowledge, and public relevance within the intersecting worlds of art, culture, and nature. To realize this vision, ROM has embarked on a new strategic direction that builds on its strengths and capabilities while evolving in step with a rapidly changing world. The Museum is becoming an ever more outward-facing institution, focused on playing a central role in community and cultural life, while increasing impact – artistic, cultural, and scientific – nationally and internationally.

Situated in the most diverse major city in the world, within a province and country known for pluralism, openness and global perspectives, ROM is well positioned for the future and for an even greater role on the world stage. By leveraging ROM’s strengths and capabilities, and applying them in fresh and far-reaching ways, by investing to create greater engagement through inclusion, transdisciplinary thinking, digital practices and innovation, ROM is charting a new and bold way forward as it pursues its goal to become one of the world’s foremost museums. Learn more about ROM’s Strategic Direction.

THE POSITION

ROM seeks a thoughtful, strategic curator, gifted at communications and alliances, with a strong background in African contemporary, historic and diasporic art for its Curator of Global Africa position. The successful candidate will lead programming and presentation of ROM’s Global Africa collection in galleries, exhibitions, and other initiatives developed through collaboration with local communities, artists and scholars and with a commitment to using community-engaged curatorial models. This Curator will develop and implement a strategy to reinterpret the existing Global Africa collection that ROM has built in the past and to expand its holdings, especially in representation of contemporary Global Africa. The curator will expand the reach of ROM scholarship and museum initiatives through publications, lectures, and academic work. In the context of ROM’s strategic direction toward a more global, transdisciplinary storytelling model, the Global Africa curator will champion cross-cultural and transdisciplinary perspectives that highlight the relevance of ROM’s collections of art, culture, and nature in contemporary societies.

The Curator of Global Africa is responsible for the development and care of ROM’s Global Africa collection, which counts over 12,000 objects from the African continent and beyond. This is the largest collection of African art in Canada and one that offers endless opportunities for engagement and collaboration with the diverse African and African diaspora communities in the Greater Toronto Area as well as researchers and students. This position will also be responsible for expanding the research on the provenance of ROM’s historical holdings, strategic deaccessioning, repatriation, and expansion of the collection in keeping with contemporary museum practice and thought in the field. In a moment when the push for repatriation recurrently questions the historical foundation of the encyclopedic museum, gallery development, exhibitions and collecting strategies must connect the past with the present in an ethically grounded, visually effective, community-minded and emotionally engaging way.

ROM welcomes candidates who are passionate about the study and interpretation of the arts of Global Africa, and who are invested in new ways of thinking about and presenting arts of Africa and its diaspora communities in an encyclopedic museum. Applicants with research specializing in historical and contemporary aspects of African art history, visual studies or material culture are encouraged to apply.

The successful candidate will work closely with local Black communities, including both Anglophone and Francophone diaspora communities, global African partners, donors, scholars, and diverse ROM audiences. Critically, the successful candidate will take a leadership role in reinterpreting ROM’s art and heritage from Global Africa and developing a new vision for both permanent and temporary displays. The curator will be a specialist within the field but also interested in broad issues and questions related to Indigenous art and cultures that have relevance in Canada and the contemporary world. Curatorial knowledge should extend widely regarding historical periods and media.

ROM is open to considering a range of candidates from an Associate Curator level to Senior Curator, consistent with the candidate’s experience and the strategic goals of the Museum. The position reports to the Co-Chief Curator, Art and Culture, and the Curator will be a member of the ROM Curatorial Union (ROMCA).

DUTIES & RESPONSIBILITIES
EXHIBITIONS AND COLLECTIONS
  • Steward the Global Africa collection, including study, rotation and display, care and record-keeping, provenance research, digitizing and publication.
  • Curate ROM’s Global Africa collection with a commitment to collaboration, including with external community stakeholders and with internal curatorial colleagues and interpretive staff to generate important visitor-centric and transdisciplinary exhibitions.
  • As part of an integrated team of ROM curators and staff, develop innovative and relevant interpretive approaches for the Global Africa Gallery as a part of ROM’s Gallery Master Planning.
  • Establish a 10-year Global Africa collection development plan in alignment with ROM’s mission, vision, and strategic planning, and acquiring and repatriating in accordance with ethical standards.
  • Work with African partners and museum leadership in stewarding collaborations that may lead to repatriation or restitution of objects.
PUBLIC PROGRAMS AND OUTREACH
  • Work collaboratively with museum educators and engagement staff to initiate programs and school curriculum related to the arts and cultures of Global Africa and with community stakeholders to ensure programming is aligned with issues relevant to broad, contemporary audiences.
  • Working with interpretation and education colleagues, propose, prepare and give public programs, lectures, tours, and workshops to the general public, professional colleagues, volunteers, local cultural organizations, and other groups.
  • Engage the many African diaspora communities in Toronto, Ontario and Canada including business and cultural communities.
FUNDRAISING

In collaboration with fundraising staff, actively cultivate support for exhibitions, galleries, programs, symposia, acquisitions, research grants, and fellowships through association with cultural and professional organizations, foundations, and patrons at the local, national and international level.

RESEARCH AND PUBLICATIONS:
  • Maintain professional affiliations in scholarly and museum curatorial organizations, professional societies, and relevant committees.
  • Strengthen connections with colleagues from the University of Toronto and other academic institutions in the city.
  • Explore, maintain and promote relationships with museums and other cultural organizations in Africa and abroad.
EDUCATION & EXPERIENCE:
  • A Ph.D. in African or African diaspora art history, contemporary art, culture, anthropology or a closely related field at the time of appointment, or the equivalent in relevant experience, exhibitions and/or publications.
  • A strong curatorial record focusing on the arts and heritage of Global Africa and /or a strong academic record in a relevant discipline.
  • A keen interest in the dynamics of cultural heritage and contemporary culture is a plus.
  • A strong background of work within a museum environment, knowledge of peer institutions, and experience developing and implementing programs and exhibitions, and working with internal and external stakeholders; experience working with issues of provenance is an asset.
  • Track record of working successfully with community partners to establish institutional trust and repair relationships. Experience facilitating difficult conversations around race, equity and social justice is a plus.
  • A record of peer-reviewed publications is an asset. There is an opportunity for cross-appointment to the University of Toronto.
PERSONAL CHARACTERISTICS
  • Intellectually curious with an appetite to engage a wide array of topics and to work with colleagues across disciplines.
  • Ambitious for the institution and its efforts to develop strong networks into the local community and with established international scholars and institutions.
  • Has an interest in leveraging interdisciplinary possibilities and programs to build collaborative partnerships internally and externally.
  • Responsive to the ideas of others. Has high emotional intelligence.
  • A strong communicator and a door-opener, proactively seeking partnerships, networks and input from community members. Able to build alliances.
  • Able to prioritize competing demands within a large, multi-layered, and active museum.
  • Enjoys working as part of a strong and integrated team to build new experiences for ROM’s visitors.
  • Aspirational to build high caliber programs, but patient and flexible, able to set incremental goals.
  • Sensitive to cultural heritage and aware of the complex societal pressures present in this work.
ROM CURATORS ARE ALSO EXPECTED TO:
  • Participate in fulfilling the learning mission of the museum, through university teaching and/or through supervision of interns and students at the museum.
  • Facilitate research on the collection by outside/visiting scholars and develop one’s own program of original, scholarly research, usually relating to ROM collections and exhibitions.
  • Work with the ROM Library to build resources on the study of the arts of Global Africa.
COMPENSATION:
  • Salary range is $68,487 – $150,000 CAD.
  • ROM is open to considering a range of candidates from an Associate Curator level up to Senior Curator, consistent with the candidate’s experience and the strategic goals of the museum. The salary increases according to rank and experience; the range is governed by Collective Agreement.
  • Full benefit coverage includes medical and dental plan, life insurance, long term disability, and pension.
  • NOTE: This is a unionized position, and the Curator will be a member of the ROM Curatorial Association (ROMCA).

To apply in confidence, email:

1) letter expressing interest in this particular position, giving brief examples of past exhibition, programs and collections experience and proposed research areas and projects;

2) curriculum vitae;

3) names of three references with contact information.

Submit application by May 12, 2023, to retained search firm: Connie Rosemont, Museum Search & Reference, SearchandRef@museum-search.com. All qualified candidates are encouraged to apply for this international search. However, Canadian citizens and permanent residents will be given priority.

Nominations are welcome.

Short-listed candidates subsequently will be asked to provide publication samples.

ROM is committed to fair and accessible employment practices. ROM considers equity, diversity, and inclusivity to be foundational to their institutional success. They seek to foster a workplace that reflects the full breadth of the communities they serve and welcomes applications from women, racialized persons, Indigenous/Aboriginal People of North America, LGBTQ2S+, and people with disabilities. Upon request, suitable accommodations are available under the Accessibility for Ontarians with Disability Act (AODA) to applicants invited to an interview.

ABOUT TORONTO

Toronto is the fourth-largest city in North America. It is the country’s financial and business capital, and it welcomes 40 million tourists a year. It supports a lively arts-and-culture scene that includes museums, galleries, performing arts organizations, festivals (including the pre-eminent Toronto International Film Festival), a diverse restaurant scene and many working artists. It is home to 5 universities and 4 colleges. Toronto’s housing and job market, economic development and population growth have been expanding rapidly over the past decade, and it is recognized as one of the most diverse and multi-cultural cities in the world with 47 percent of the population self-reporting as “part of a visible minority.”

One of the most livable cities in the world, Toronto is ranked as the safest metropolitan area in North America. It has many excellent public schools and a comprehensive public transportation system that includes buses, metros, trolleys, and a public bike program. The city has trendy and up-and-coming neighborhoods while at the same time, there are quiet neighborhoods providing an escape beyond the bustle of downtown. Lake Ontario makes up the southern boundary of the city and provides many kilometers of beautiful, accessible waterfront. The city has many parks, and there are also many recreational opportunities near the city for canoeing, hiking, and outdoor beauty. Toronto is surrounded by Ontario’s Greenbelt, a 2-million-acre area of green space, farmland, forests, wetlands and watersheds that provide multiple farmers’ markets and local food options within easy reach. Niagara Falls is less than 2 hours away and sits adjacent to southern Ontario’s wine-growing region.

Visit: Royal Ontario Museum Curator of Global Africa,

Toronto, Ontario, Canada

Assistant Professor-Animation/Interactive Design or Graphic Design

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East Carolina University        

Assistant Professor-Animation/Interactive Design or Graphic Design

Vacancy #:  940735
Recruitment Range:  Commensurate with Qualifications
Closing Date:  Open Until Filled

Organizational Unit Overview

The School of Art and Design provides a multidisciplinary approach to art and design that creates opportunities for students to develop creative and critical thinking abilities by thinking through making. The School enrols more than 550 students in twelve areas across four degrees. The School of Art and Design is the largest BFA Art program in the University of North Carolina system and has been continuously accredited by NASAD since 1962. The School has 40 full-time faculty and is located in the Jenkins Fine Arts Center, a 142,000-square foot facility with specialized equipment, tools, and technology for the School’s disciplines—animation/interactive design, art education, art history, film and video production, ceramics, glass, graphic design, illustration, metal design, painting, photography, printmaking, sculpture, textile design. From computer labs, a digital loom, CNC routers, and laser cutters to a wood shop, foundry, letterpress shop, black and white dark room and beyond, the School’s facilities are comprehensive and available to faculty and students to think, make, and work across the School’s disciplines.

The School takes responsibility for actions and the future we build, and acknowledges the diversity of our community as we work toward a thriving, supportive community that values, acknowledges, and respects our differences and creates opportunities for everyone. To achieve the mission of social justice, we commit to holding ourselves and our leadership accountable for creating an inclusive, diverse community that provides opportunities for underrepresented community members; presenting artists from underrepresented communities in our teaching practice, providing context for the traditional/historical canon, and teaching the work of contemporary artists working in and outside the museum/gallery model, educating ourselves on race and social justice issues to decolonize classroom environments and actively foster compassion, understanding, and appreciation for each other’s differences; increasing the number of invited guest lecturers and exhibitions from more diverse communities; supporting the community (students, faculty, staff, guests), particularly regarding race, socio-economic class, and intergenerational poverty; recruiting students and hiring faculty from more diverse backgrounds to amplify underrepresented voices, working collaboratively toward shared goals of inclusivity and justice; identifying, locating, critiquing, and challenging factors that have contributed to and perpetuated a disconnect between the predominately white leadership (administration, faculty, and staff) and the more diverse community we serve; and developing a culture in which identifying mistakes is encouraged and welcomed, as well as taking responsibility for mistakes and committing to respectful action in the future.

Job Duties 

The School of Art and Design at East Carolina University seeks nine-month, tenure-track Assistant Professor in the area of Animation/Interactive Design or Graphic Design. The position is defined broadly within the animation/interactive design or graphic design area and will also teach first year and shared experience courses. This position will teach 3 three-credit courses per semester. This position will continue their art and/or design research, creative activity and/or scholarship; mentor students; engage with other faculty regularly; participate in departmental activities, such as recruiting; engage in opportunities for curricular and course development that reflect their expertise and professional experience; and participate in service to the School, College, University and community; and other activities as appropriate.

The animation/interactive design program, a concentration within the BFA Art, prepares students for a variety of professional outcomes ranging from interactive design, animation, to character and game design. The graphic design program, another concentration within the BFA Art, prepares students for a variety of professional outcomes ranging from print/publication design, branding, to motion and UI/UX.

Contingent upon available funding.

Minimum Education/Experience     

Minimum Qualification (candidates must have):

  • Terminal degree (MFA or equivalent) in animation, game design, interactive design, or related field (for animation/interactive design) or graphic design or related field (for graphic design)
  • Evidence of potential for creative activity and/or research in their area of expertise

Preferred Experience, Skills, Training/Education       

  • Preferred candidates may have one or more of the following:
  • Evidence of teaching as instructor of record in higher education
  • Evidence of creative activity and/or research
  • Interest in interdisciplinary learning, making, and/or scholarship
  • Interest in multi-cultural and/or cross-disciplinary visual culture

 Special Instructions to Applicant    

To apply, candidates must submit the following materials:

  • Cover letter addressing position description
  • Curriculum Vitae
  • A statement describing how the applicant would contribute to the development of a diverse and inclusive learning community at ECU through their teaching, scholarship, and/or service.
  • Teaching Philosophy
  • List of at least three professional references including affiliation, email address, and phone number (letters of recommendation will be required at a later date)
  • A link to your personal website that includes: 20 images of personal work and 20 images of student work (if available)

Please be aware that if selected as a candidate of choice, an automatic e-mail will be sent to the individuals entered by the applicant in the References section the PeopleAdmin applicant tracking system. Letters of reference submitted via the PeopleAdmin applicant tracking system will be verified and considered towards meeting this requirement.

Additional Instructions to Applicant         

In order to be considered for this position, applicants must complete a candidate profile online via the PeopleAdmin system and submit any requested documents. Additionally, applicants that possess the preferred education and experience must also possess the minimum education/experience, if applicable.

Applications will be considered until position is filled. Please submit an online ECU application for vacancy #940735 to ECU Human Resources at http://jobs.ecu.edu.

Eligibility for Employment    

Final candidates are subject to criminal & sex offender background checks. Some vacancies also require credit or motor vehicle checks. ECU participates in E-Verify. Federal law requires all employers to verify the identity and employment eligibility of all persons hired to work in the United States.

East Carolina University is an Equal Opportunity/Affirmative Action Employer.

Visit this job posting at https://ecu.peopleadmin.com/postings/57186

Endowed Assistant or Associate Professor of African American and/or African Diasporic Art

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UA logo

Locations: Fayetteville
Time type: Full time

Current University of Arkansas System employees including student employees and graduate assistants need to log into Workday on My Apps. Simply enter “Find Jobs” in the Workday search bar to view open positions.

All Job Postings will close at 12:01 a.m. CT on the specified Closing Date (if designated). To view the job posting closing date please return to the search for jobs page.

If you close the browser or exit your application prior to submitting, the application process will be saved as a draft. You will be able to access and complete the application through “My Draft Applications” located on your Candidate Home page.

Type of Position: Faculty – Tenure/Tenure Track

Workstudy Position: No

Job Type: Regular

Work Shift: Day Shift (United States of America)

Sponsorship Available: Yes

Institution Name: University of Arkansas, Fayetteville

Founded in 1871, the University of Arkansas is a land grant institution, classified by the Carnegie Foundation among the nation’s top 2 percent of universities with the highest level of research activity. The University of Arkansas works to advance Arkansas and build a better world through education, research and outreach by providing transformational opportunities and skills, promoting an inclusive and diverse culture and climate, and nurturing creativity, discovery and the spread of new ideas and innovations.

The University of Arkansas campus is located in Fayetteville, a welcoming community ranked as one of the best places to live in the U.S. The growing region surrounding Fayetteville is home to numerous Fortune 500 companies and one of the nation’s strongest economies. Northwest Arkansas is also quickly gaining a national reputation for its focus on the arts and overall quality of life.

As an employer, the University of Arkansas offers a vibrant work environment and a workplace culture that promotes a healthy work-life balance. The benefits package includes university contributions to health, dental, life and disability insurance, tuition waivers for employees and their families, 12 official holidays, immediate leave accrual, and a choice of retirement programs with university contributions ranging from 5 to 10% of employee salary.

Below you will find the details for the position including any supplementary documentation and questions, you should review before applying for the opening.

If you have a disability and need assistance with the hiring process, please submit a request via the Disability Accommodations | OEOC | University of Arkansas (uark.edu) : Request an Accommodation. Appli­cants are required to submit a request for each position of which they have applied.

For general application assistance or if you have questions about a job posting, please contact Human Resources at 479.575.5351.

Department: School of Art Art History

Department’s Website: https://fulbright.uark.edu/departments/art/

Summary of Job Duties:

The Art History Program in the School of Art, in Fulbright College of Arts and Sciences at the University of Arkansas, invites applications for a tenure-track Endowed Assistant or Associate Professor in Art History, focusing on African American and/or African Diasporic arts. Interdisciplinary, intersectional, transnational, transregional, decolonial, community-based, and social justice approaches centering on overlooked or marginalized histories, such as Afro-Latinx traditions, are particularly welcome. The position is open in terms of chronological focus. This is a nine-month faculty appointment, with a standard workload of 40% research, 40% teaching (2 courses per semester), and 20% service. Expected start date is August 14, 2023.

Scholars with a passion for collaboration, program-building, and partnership-development are also encouraged to apply. Applications are also encouraged from those invested in making art history accessible and compelling to first-generation students and students from communities underrepresented in U.S. arts institutions. The Art History Program in the School of Art is actively committed to diversifying art historical knowledge and approaches, embracing new methodologies, and educating students in a multivocal and inclusive art history. This effort is reinforced by several new initiatives within the School of Art, including the Bridge Program, which provides structural support to all new faculty, especially those historically underrepresented in academia and their chosen fields, and a new student mentoring program.

We are a vibrant and growing program. This position is considered fundamental to the implementation of our new MA program in the arts of the Americas, developed in partnership with the Crystal Bridges Museum of American Art and its contemporary arts satellite, the Momentary. For this and future hires, we seek creative thinkers who will contribute to the diversity and excellence of the intellectual community in the School of Art, Crystal Bridges, and the growing arts ecosystem of Northwest Arkansas. Endowed positions come with a significant annual research budget of up to $60,000 to support scholarship, the expectation of a research record appropriate to the prominence of the appointment, and the requirement of at least one community outreach effort per year.

The successful candidate will teach courses at the masters and undergraduate level, play an active role in implementing the new MA program in arts of the Americas (expected launch date of Fall 2023), participate in and help to guide future faculty and student recruitment, and regularly collaborate with staff at Crystal Bridges and the Momentary. Candidates may also teach in the Honors College and at the university’s Rome Center, and co-design courses with colleagues in Studio and other units. Art history faculty have ties to African and African American Studies, Latin American and Latino Studies, and the Indigenous Studies Program, among other departments and initiatives. Additional resources include the University of Arkansas Museum, the Fine Arts Center Gallery, the Museum of Native American History in Bentonville, and the many museums in the region, including the First Americans Museum in Oklahoma City, OK, the Philbrook Museum of Art in Tulsa, OK, the Dallas Museum of Art, the New Orleans Museum of Art, and the Nelson-Atkins Museum in Kansas City, MO.

Qualifications:

Minimum Qualifications:

  • Ph.D. in art history or a related field like African American studies, African diaspora studies, visual culture studies, or performance studies, conferred by the date of appointment
  • An established record of innovative scholarship
  • A commitment to diversity in teaching and research

Preferred Qualifications:

  • Interest or experience in interdisciplinary, transdisciplinary, and cross-campus collaborations
  • Active or emerging commitment to service and leadership
  • Demonstrated commitment to program building and partnership development
  • Demonstrated commitment to community outreach

Additional Information:

APPLICATION INSTRUCTIONS

Completed applications received by 01/13/2023 will be assured full consideration. Late applications will be reviewed as necessary to fill the position.

For additional inquiries, please contact search committee co-chairs Dr. Janine Sytsma at sytsma@uark.edu and Dr. Ana Pulido Rull at apulidor@uark.edu.

Required Documents:

  • a cover letter addressing research and teaching
  • a statement describing commitment to diversity and inclusion in research and teaching
  • curriculum vitae
  • two scholarly writing samples (preferably published or forthcoming research, submitted in a single PDF)
  • the names and contact information of three referees

Review of applications will begin immediately and will continue until the position is filled.

About the School of Art:

In 2017, the University of Arkansas was awarded a $120 million gift from the Walton Family Charitable Support Foundation to establish a School of Art in the J. William Fulbright College of Arts and Sciences. The gift created the first and only school of art in the state of Arkansas, and is helping to advance art education, design, art history and studio art in the state while providing unparalleled access and opportunity to students. In addition, in 2017, the School of Art also received a $40 million gift from the Windgate Foundation to develop and build a new Studio Art and Graphic Design facility. Most recently, in 2021, the Windgate Foundation gave a $30 million partial challenge grant to develop and build a facility to house a professional gallery, auditorium, the foundations program, as well as idea fabrication and arts entrepreneurship labs. The mission of the School of Art is to develop one of the highest quality educational, research and service programs in the visual arts available nationally. The School of Art is a fully accredited institutional member of the National Association of Schools of Art and Design (NASAD) and includes 54 faculty, 8 staff members, and more than 500 students. There are currently 8 degree options: BFA in Art Education, BFA in Graphic Design, BFA in Studio Art, BA in Art History, BA in Studio Art, MA in Art Education, MFA in Studio Art, and MDES in Communication Design. An MA degree in Art History will launch in fall 2023.

The School of Art at the University of Arkansas highly values equity, access, diversity, and inclusion in creating, studying, and teaching. This position is part of a cluster of searches designed to foster an equitable, innovative, and inclusive environment for teaching, mentoring, research, and service. The School of Art is especially interested in applicants whose work aims to broaden the canon, demonstrates a commitment to mentoring students from diverse backgrounds, creates the conditions for classroom experiences that are marked by empathy and mutual respect, and fosters collaboration, community, and open dialogue. We seek faculty committed to working and creating in ways that foster encouraging and supportive learning experiences that expand the School of Art’s current efforts to engage the campus and community in dialogue.

Salary Information: Salary is $70,000 at Assistant level, and $85,000 at Associate level

Required Documents to Apply:

Cover Letter/Letter of Application, Curriculum Vitae, Diversity Statement, List of three Professional References (name, email, business title), Writing Sample

Optional Documents: Proof of Veteran Status

Recruitment Contact Information: Dr. Janine Sytsma, search committee chair, sytsma@uark.edu

All application materials must be uploaded to the University of Arkansas System Career Site https://uasys.wd5.myworkdayjobs.com/UASYS

Please do not send to listed recruitment contact.

Special Instructions to Applicants:

Pre-employment Screening Requirements:

Criminal Background Check, Sex Offender RegistryThe University of Arkansas is committed to providing a safe campus community. We conduct background checks for applicants being considered for employment. Background checks include a criminal background check and a sex offender registry check. For certain positions, there may also be a financial (credit) background check, a Motor Vehicle Registry (MVR) check, and/or drug screening. Required checks are identified in the position listing. A criminal conviction or arrest pending adjudication or adverse financial history information alone shall not disqualify an applicant in the absence of a relationship to the requirements of the position. Background check information will be used in a confidential, non-discriminatory manner consistent with state and federal law.

The University of Arkansas seeks to attract, develop and retain high quality faculty, staff and administrators that consistently display practices and behaviors to advance a culture and climate that embeds inclusion, diversity, equity, and access. For more information on diversity and inclusion on campus, please visit: Division of Diversity, Equity, and Inclusion

The University of Arkansas is an equal opportunity, affirmative action institution. The university welcomes applications without regard to race/color, sex, gender, pregnancy, age, national origin, disability, religion, marital or parental status, protected veteran or military status, genetic information, sexual orientation, gender identity or any other characteristic protected under applicable federal or state law.

Persons must have proof of legal authority to work in the United States on the first day of employment. All applicant information is subject to public disclosure under the Arkansas Freedom of Information Act.

Constant Physical Activity: N/A
Frequent Physical Activity: N/A
Occasional Physical Activity: N/A
Benefits Eligible: Yes

Call for Proposals: Archival Absences: An Incomplete History of Photography

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Call for Proposals

Archival Absences: An Incomplete History of Photography

A photo-historical seminar for doctoral and post-doctoral scholars, organized and led by Tatjana Bartsch (Bibliotheca Hertziana), Elizabeth Otto (University at Buffalo), Johannes Röll (Bibliotheca Hertziana), and Steffen Siegel (Folkwang University of the Arts, Essen)

Supported by the Alfried Krupp von Bohlen und Halbach Stiftung, Essen Rome, Bibliotheca Hertziana, Max Planck Institute for Art History March 20–24, 2023

Deadline: October 20, 2022

Photo-historical research engages a vast array of materials. Scholars working in this field grapple with photographic images of all kinds—from Nicéphore Niépce’s heliographs to the most recent digital imagery. They are attentive to technologies of photographic production and reproduction as well as to the discourses and practices that frame the images. In manifold ways, photo historians can feel lured by the richness of relevant production and tradition. In other words, photography as a medium is not only easily accessed by countless users for many purposes; from a scholarly point of view, it is also a medium that encompasses a mass of researchable resources, a sheer abundance of personal collections and institutional holdings so vast it might even threaten to overwhelm the scholar.

Despite the massive accumulations of diverse material that potentially fall within the purview of histories of photography, such histories can never be considered “completed.” Instead, they are always partial, shaped by researchers’ interests and questions, conscious and unconscious decisions they make and the materials they are able to access. Like the production of photographs themselves, scholars’ work is framed by what Laura Wexler has called a “set of choices” akin to the crops and omissions that delineate the limits of photography’s purported offer of a window into the past. Paradoxically, the most comprehensive photographic collections and archives most clearly reveal not just the excellence of their own holdings, but also the lapses, gaps, exclusions, and oversights within those holdings. Our written approaches to the histories of photography replicate these relationships between what is present and absent, visible and invisible, available and inaccessible, preserved and lost.

These observations are our point of departure for the research seminar titled “Archival Absences: An Incomplete History of Photography.” Following on the Bibliotheca Hertziana in Rome and the Folkwang University of the Arts in Essen’s initiative for interdisciplinary seminars on the theory and history of photography—founded with the first seminar in 2019 and, beginning this year, supported by the Alfried Krupp von Bohlen und Halbach Stiftung—we are pleased to announce the second such program that invites advanced Ph.D. students and recent post-doctoral scholars to present and discuss their research. With the seminar, we aim to2 develop a focused, multi-disciplinary analysis of the material, institutional, and even personal conditions that shape photo-historical practices of researching, writing, and publishing.

We seek to explore diverse means of knowledge production and methods for probing, mitigating, or bridging archival absences of many kinds. For as much as it is true that photo-historical research can claim an overwhelming opulence of sources, the opposite is always also true: in some cases, the archives’ silences are deafening. We want to delve into the significance of what we do not see, read, and experience, what we do not address, question, and investigate—and the reasons for these absences. We want to query the forces that control the possibility of becoming, being, and remaining present—and, as a corresponding other half of a pendant pair—the power of absence.

Over the past decades, research, especially from feminist and post-colonial perspectives, has offered substantial questions, arguments, and methods for identifying and confronting absences. This research shows the importance of addressing two interrelated lines of questioning: what is missing from the archives, and what is missing in our critical discourses? Drawing on both aspects, we invite applications from emerging scholars who will present new scholarship and, in the context of a week-long seminar, discuss a set of questions that relate to materials and institutions, methods and research fields, canons and historiographies. Among the relevant questions that applicants may wish to consider and that will shape the seminar are:

— What views have photographers captured? What have they missed, and why?

— What logics determine the creation and evolution of archives, analog and digital? How are archives shaped by the epistemic moments of their making, and how do they serve certain histories while betraying others? To what extent do photographers, archivists, or curators rely upon trends, past and present, to shape their photographic inquiries?

— What impacts do disciplinary frames have when it comes to archival care for photo-historical materials and also to scholarly interest? Should we valorize the diverse institutional cultures of presence and absence that prevail in various archives, libraries, and museums?

— How and why do archives select particular materials to collect and thus foster their privileged roles in creating visual histories? How and why do institutions exclude, neglect, or deaccession other materials? What is the impact of objects’ existence in analog or digital formats upon their perceived relevance for scholarly scrutiny?

— Which methods do we pursue when we search the content of an archive? How can we detect, distinguish, and address different types of absences, archival holdings as well as strands of research interests? How do we address the myriad negative spaces that constitute an archive as much as its accessible contents do?

— How do we address the photographic objects, traditions, and indeed entire histories that have been forgotten, damaged, destroyed, suppressed, censored, excluded, vanished, disappeared, or simply lost?

— How do we treat visual objects that, for religious, cultural, or personal reasons, were never intended to be collected or viewed publicly?

— How do we mark the incompleteness of our historiographic work? What theoretical ideas, such as “critical fabulation,” enable us to redress these absences? Can research on archival absences constitute another kind of presence?

— Can photo-historical research practices that address questions of being present or absent serve as role models for other disciplines? Relatedly, how can photo scholars learn from other disciplines grappling with a comparable set of problems?

We welcome proposals from Ph.D. students already in the dissertation phase and recent post-doctoral scholars (maximum of three years since degree) in art history and related disciplines with a strong photo-historical component. The seminar language will be English. All participants will present some aspect of their current research projects, which must relate to the program’s subject matter. Visits to several photographic archives in Rome will be an integral part of the seminar.

The Bibliotheca Hertziana will provide lodging in double rooms and reimburse the incurred expenses for traveling economy class up to 500 euros. In addition, participants will receive a modest daily allowance.

Please upload the following application materials as PDF-documents by October 20, 2022, on https://recruitment.biblhertz.it/position/11042816

— Title and 500-word abstract of the proposed topic (all participants will give a 30-minute formal presentation)

— Brief CV (Maximum 3 pages)

— Brief summary of your dissertation or postdoctoral project

— Names and contact details of two references

Questions and queries may be sent to: fototeca@biblhertz.it

The first seminar was followed by the publication of “Circulating Photographs,” a special issue of History of Photography, vol. 45, issue 1, 2021, co-edited by Antonella Pelizzari and Steffen Siegel: https://www.tandfonline.com/toc/thph20/45/1?nav=tocList.

The organizers anticipate selecting a limited number of the 2023 seminar’s final papers for publication in a similar volume.

Job Opportunity: Contract Project Manager/Arts Administrator

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Applications due 1 September 2022

The Arts Council of the African Studies Association (ACASA) seeks to hire a Contract Project Manager/Arts Administrator to support the professional activities of the ACASA Board. Learn more about the association on our website.

Tasks: Tasks include general board organization, operations development, and project management. The Project Manager/Arts Administrator will develop a centralized archive and archival organizational system, identify and implement a project management system, identify grant funding opportunities, and provide administrative support for event and outreach planning, including the Triennial Symposium of African Arts in Chicago, IL in Summer 2024.

Contract Term/Format: This is an annual contract position, lasting from 1 October 2022 to 30 September 2023, with two years of options to renew. The work will be, in large part, conducted remotely. The successful applicant must be available for regular online meetings with the ACASA Board and vendors. Meetings will take place at least once monthly in year one, and every two weeks (or more frequently) in the event year (Year Two). In Year Two, the successful applicant will be expected to travel to Chicago, IL for the Triennial symposium in Summer 2024. Economy class travel, standard conference lodgings, and per diem are included for conference purposes. The Points of Contact will be the ACASA President and Treasurer.

Contract value: Contract payments will be staggered, with once monthly payments at the conclusion of each month, upon submission of an invoice, totaling annually:

Year One: $71,370
Year Two: $74,940
Year Three: $78,690
Year Two travel and per diem: $10,000

Skills/Requirements: The successful applicant must have regular access to internet and cell phone service to complete this primarily remote position and must be fluent in English. They should be legally able to work and travel in the US. A familiarity with African arts is not required but is encouraged. Professional experience with and enthusiasm for project management and non-profit management is required. Applicants should have proficiency with the following:

  • Zoom (and/or other virtual meeting software)
  • WhatsApp
  • Google Drive Suite/Microsoft Office Suite/Dropbox
  • Web-based project management software (such as Trello, Basecamp, or Gitlab)
  • Creation and tracking of budgets

This contract position is intended for a recent graduate (up to 5 years) with a terminal degree (PhD, MBA, MFA, MLIS, or similar) and an interest in an arts administration career.

At all times during the performance of this contract, the contractor must obtain and provide evidence of own health insurance, accident insurance with a liability of up to 1 million dollars and worker’s compensation insurance in accordance with statutory requirements and limits.

EEO/AA Statement: ACASA is an equal opportunity/affirmative action employer that is committed to cultural and intellectual diversity. The ACASA Board encourages applications from women, persons of color, and persons with disabilities. Persons with disabilities have the right to request and receive reasonable accommodation.

Application Deadline: 1 September 2022

Start Date: 1 October 2022

Application Materials: 

  • Online application form
  • CV/resume
  • Single-page letter of interest that addresses relevant project management experience
  • Email and phone contact information for 3 references.

Application Process: Complete online application form and upload application materials via this link >>> Apply Now

Questions? Email us

African Critical Inquiry Programme Announces 2022 Ivan Karp Doctoral Research Awards

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The African Critical Inquiry Programme has named Vanessa Chen, Min’enhle Ncube and Suzana Sousa as recipients of the 2022 Ivan Karp Doctoral Research Awards. Chen, a South African student in the Department of Historical Studies, and Ncube, a Zimbabwean student in Social Anthropology, are both pursuing PhDs at University of Cape Town. Sousa is an Angolan student in History and a doctoral fellow at the Centre for Humanities Research at the University of the Western Cape. Support from ACIP’s Ivan Karp Awards will allow each of them to do significant research for their dissertations. Chen will work in Dutch archives for her dissertation, Collecting and Convening the Visual and Material Cultural History of Chinese Convicts, Exiles and “Free Blacks” at the Cape (circa 1654-1838). Ncube will conduct fieldwork in Zambia for her project Mapping the Ethics of Care Associated with Artificial Intelligence Technologies in Healthcare Infrastructures in Zambia. Sousa’s award will support her research at Angolan museums for her project “Angola Avante?” Making and Contesting Political Narratives of the Nation through Art and Visual Culture.

Founded in 2012, the African Critical Inquiry Programme (ACIP) is a partnership between the Centre for Humanities Research at University of the Western Cape in Cape Town and the Laney Graduate School of Emory University in Atlanta. Supported by donations to the Ivan Karp and Corinne Kratz Fund, the ACIP fosters thinking and working across public cultural institutions, across disciplines and fields, and across generations. It seeks to advance inquiry and debate about the roles and practice of public culture, public cultural institutions, and public scholarship in shaping identities and society in Africa through an annual ACIP Workshop and through the Ivan Karp Doctoral Research Awards, which support African doctoral students in the humanities and humanistic social sciences enrolled at South African universities.

About Vanessa Chen’s project:

Despite the documentary record of the early history of Chinese convicts, exiles, and ‘free blacks’ at the Cape (1654 – 1838) being fragmentary and scattered in multiple places, it is and should be seen as significant in the making of South Africa’s social history. Researchers have undertaken the task of bringing the stories of this subaltern group to the forefront, however, they have not reckoned with the making of this collection of documentary sources. Collecting and Convening the Visual and Material Cultural History of Chinese Convicts, Exiles, and “Free Blacks” at the Cape (circa 1654-1838) works to do so, and to re-curate these sources as an archive in and of itself. Chen’s dissertation examines the history of the extant documentary archival slivers that speak of Chinese presence at the colony alongside non-documentary materials, tracing and accounting for their presence and absence. She has already worked with archival sources in South Africa, and next will do on-site research at the National Archives of the Netherlands. Her final archival work will be in Indonesia. In the Netherlands, she will locate and collate records for document analyses, consult with archivists regarding the records’ biographies – their movement and reshaping to and from different repositories across time – copyright regulations and accessibility and negotiate permission to digitise and include the records in an eventual digital curation. Chen’s dissertation will enable a more comprehensive understanding of the nature and extent of the Cape Chinese archive, address deficiencies of colonial archiving, and underscore both the importance of representation and what can be made despite of the lack thereof.

About Min’enhle Ncube’s project:

Mapping the Ethics of Care will be the first in-depth ethnographic study on the ethics of care associated with artificial intelligence adopted in healthcare infrastructures in Zambia. Artificial intelligence software is increasingly being adopted to support healthcare infrastructure, raising issues underscored by postcolonial quandaries, neoliberalism from Copperbelt mining, and other developmental paradigms. Through eighteen months of research in Zambia, Ncube will investigate the creation of AI tools, the implications of adopting these into the healthcare infrastructures, and how this contributes towards the ethics of care in the area. The project will examine whether machine learning, its inputs of big data, and software development support or challenge the diversity and inequalities in southern Africa. Ncube’s project is a part of a larger strategic programme, Future Hospitals: 4IR and Ethics of Care in Africa, at the Institute for Humanities in Africa that reflects critically on data and AI’s implications for care infrastructures on the continent. Ncube will use epistemic disobedience (Mignolo 2011) as a framework to interrogate technology infrastructures, their epistemology, the fundamentals of ‘intelligence’ and its relevance in a post/neo-colonial landscape of care. With a dearth of literature on ethics associated with AI in the Global South, Ncube’s research addresses this gap in the context of broader anthropological inquiry in Zambia, which includes works from colonial-era and postcolonial Zambia (or Northern Rhodesia). It builds on scholarship regarding the anthropology of ethics and technology while fostering connections with past anthropological work to further the development of anthropology and social science in the region. The research also advances anthropology’s relevance in innovation praxis on the African continent.

About Suzana Sousa’s project:

“Angola Avante?” Making and Contesting Political Narratives of the Nation through Art and Visual Culture is concerned with the nation-building process in Angola after its independence in 1975, a process that occurred through arts and culture. It examines the history of cultural nationalism in the country and the political narrative that has engaged this history to legitimise the nation. This also involves exchanges between politics and visual culture in the context of civil war and the construction of national identity. The process of making the nation was enacted through cultural policy, national arts organisations, and museums that maintained an affinity with colonial ethnography. Sousa engages with the development of visual arts and the making of museums in the aftermath of the civil war. She argues that the policies and practices promoted by the Popular Movement for the Liberation of Angola (MPLA) have continued to be entrenched in colonial categories and distinctions. Her research seeks to understand these complexities and contradictions through fieldwork in two museums in Angola, the Dundo Museum and the National Anthropology Museum. The latter was founded a year after independence in the country’s capital and the former is a colonial enterprise from 1936 located in the east of the country, in an area administered by the mining company Diamang. The museums’ locations, Luanda and Dundo, are also an entry point to the diverse constructions of identity within the nation.

* * * * * * * * * * * * * * * * * * *

Information about the 2023 Ivan Karp Doctoral Research Awards for African students enrolled in South African Ph.D. programmes will be available in November 2022. The application deadline is 1 May 2023.

For further information, see http://www.gs.emory.edu/about/special/acip.html and https://www.facebook.com/ivan.karp.corinne.kratz.fund.