Once again addressing the A in SLSA:
Gendering the Posthuman
This session invites submissions from art historians, curators and artists who
examine relationships between art, gender and technology from the 1960s to
present-day. Cold War fascination with the possibilities of new
technologies inspired influential critic and curator Jack Burnham in 1968 to call for a new
posthuman paradigm for art, characterized by a synthesis of the
technological and biological. The relationships between individual identity and technology
were later addressed by feminist artists in the early 1970s, who embraced new
technologies, such as video, as tools capable of facilitating social progress
and gender equity, but who also criticized domestic and military technologies
as tools of patriarchal domination. In the 1980s, scientist Donna Haraway hailed
the internet as an anonymous space where women might adopt alternate identities
and perhaps shape the gender politics of an emerging cyber-frontier. Her
utopianism was challenged by feminist critiques of the internet leveled by
artists in the 1990s, many of whom also targeted technologies affecting
women’s reproduction and the environment. Has recent art, including film, installation,
net art and performance,adequately addressed issues of gender in an
increasingly post-human present? Have new technologies in the art-making process yielded
greater gender equality, or replicated cultural inequality? How have the
intersections between gender and technology changed, if at all, over the past
40 years? Is a feminist critique of technology still viable or even relevant???
Due May 2, 2011
Proposals for participation in sessions should be sent directly to the
appropriate session chair(s). If a session is cochaired, a copy should
be sent to each chair, unless otherwise indicated. Every proposal
should include the following six items:
1. Completed session participation proposal form, located at the
end of this brochure.
2. Preliminary abstract of one to two double-spaced, typed pages.
3. Letter explaining speaker???s interest, expertise in the topic, and
CAA membership status.
4. CV with home and office mailing addresses, email address, and
phone and fax numbers. Include summer address and telephone
number, if applicable.
5. Documentation of work when appropriate, especially for sessions
in which artists might discuss their own work.
6. If mailing internationally, it is recommended that proposals be
sent via certified mail.
Please submit abstract to:
Christine Filippone, Ph.D., Millersville University of Pennsylvania
email@example.com and Julie Wosk, Ph.D., State University of New
Maritime College , firstname.lastname@example.org