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The Humanities and Sciences Department
of the School of VISUAL ARTS Presents
The Twenty-Third Annual National Conference
on Liberal Arts and the Education of Artists

Visions of War:
the arts represent conflict

War - (n) OE wyrre: to bring into confusion - is a persistent and evolving human activity, at once boring and exhilarating, brutal and sophisticated about which we can not seem to agree, though we have written millions of words probing its significance. War, like our skin, is too intimate to be known by words alone. The arts, however, express and represent directly, making visual and mental images as they witness and make war visible. Given war - all wars, this war - what do the arts and artists do, see, express that is similar to or different from military historians, cultural theorists and philosophers? How do the arts witness war? How have representations of war evolved along with war itself? Perhaps the arts can help us understand what it is about war that confuses us.

This conference invites proposals that examine the intersection of the arts and war in traditional visual art (sculpture, painting, drawing) and writing (poetry, story telling, memoir); documentary photography and photojournalism; film (documentary and fictionalized reenactments)and social documentary film; design (posters; military attire, architecture, armaments); Internet and technology (simulation games); from ancient to modern times, including western and non-western, propaganda and personally expressive art.

• Participants are invited to submit proposals for open sessions which include, but are not limited to:
  The Arts and witnessing, seeing and documenting: what art reveals about war: aesthetics; objectivity and subjectivity in changing visions of war; war as a destroyer and shaper of culture; nationalist myths and personal experience.
  
• Roles and responsibilities of the artist in war and peace: as maker, citizen, lawful bearer of arms, citizen soldier, witness, participant, observer, critic, activist, pacifist.
  
• Representation and media: signs and reality; as mimesis, reproduction or synecdoche; function, purpose and meaning of traditional arts versus function, purpose and meaning of internet-based and digital arts.
  
• Horror and heroism in narrative war myth: the allure of war and the seductions of violence; audience considerations; representation and technology; objectivity versus subjectivity.
  
• Information and images: objectivity and subjectivity; audience belief; technique, technology and compelling illusions; biases of the medium and discipline.
  
• Propaganda and the control of disturbing images: state war art versus personal expression; self-censorship by photographers, editors, publishers and writers.
  
• Educating young artists: pedagogy and mentoring in the studio and liberal arts classroom; teaching students to read images and words and to think critically about war.
  
• War as entertainment: from The Iliad to CNN and war films; simulation and Internet games; audience; the sublime; authenticity and meaning; biases of the medium; reenactments.
  
• Visual technologies: their speed, number, omnipresence and impact on culture, on image making and on audience understanding.
  
• Metaphor and war: the theater of war, the fruits of war, war on terror, the art of war (bingfa): words evading the reality of war.

Proposals for general topics are also welcomed: the role of liberal arts in the education of artists; art programs and art students; teaching; all academic areas (literature, philosophy, history, the sciences, etc.); art criticism; art history; administration; and curriculum.

For more information about these topics and the complete School of Visual Arts event, please visit our web site http://www.sva.edu or contact Dr. Maryhelen Hendricks, conference director, mhendricks@sva.edu or 212.592.2625.

Please forward abstract and proposal to:
Laurie Johenning, conference coordinator,
Humanities and Sciences Department,
School of Visual Arts,
209 East 23 Street,
New York, NY 10010

GENERAL CONFERENCE INFORMATION
Proposals: The conference's mission is to provide a forum for the exchange of ideas and information about the role of the liberal arts in the education of artists. Proposals are not juried, though they are judged on the basis of fulfilling the conference mission. Prospective participants are invited to submit proposals for individual presentations or for panel discussions (organized by the participant).

Interdisciplinary topics may also be proposed, for example: the role of liberal arts in the education of artists; art programs in a university context; art students; teaching; academic areas (e.g. art history, sociology, history, psychology) art education; administrative issues; curriculum; research assessing the value of the liberal arts in the education of artists.

Background information about the conference: Each year, since 1987, the Humanities and Sciences Department of the School of Visual Arts hosts a two-day, interdisciplinary, academic conference focusing on issues that concern both liberal arts and studio teachers of artists. The conference's mission is to provide a national forum for the exchange of ideas and information about the role of the liberal arts in the education of artists. Presenters are artists, instructors and administrators in public and private art colleges, universities and other institutions that have an interest in educating artists. The topics and keynote speakers of previous conferences have included:

2008: Design, the Arts and the Political: images and words that propagate and dissent
Keynote speaker: Steven Heller

2007: Art Education, Religion and the Spiritual.
Keynote speaker: James Elkins, author of On the Strange Place of Religion in Contemporary Art

2006: Reassessing the Modern, Modernity and Modernism.
Keynote speaker: Robert Storr, Rosalee Solow Professor of Modern Art

2005: In the Global World: American Art and Art Education
Panelists: D. Elaine A. King, Professor, Carnegie Mellon University;
Daniel Fischer, Professor, Academy of Art, Slovakia;
Dr. Edit Andras, Senior Research Fellow, Research Institute of Art History at the Hungarian Academy of Sciences, Budapest;
Dr. Janos Sturcz, Assistant Professor, Academy of Fine Arts, Budapest

2004: Art and Story
Keynote Speaker: David Carrier, Champney Family Professor of Case Western Reserve University and the Cleveland Institute of Art.

2003: The Educated Artist
Keynote Speaker: David Rhodes, President, School of VISUAL ARTS.

2002: Art Remembers
Keynote Speaker: Barbara Maria Stafford, art historian and the William B. Ogden distinguished service professor at the University of Chicago.

2001: The Arts and the Spiritual
Keynote Speaker: Donald Kuspit, art critic, writer and professor of art history and philosophy.

2000: Metamorphoses 2000 Expressive Technology, Art & the Humanities
Keynote Speaker: Jaron Lanier, musician, artist, writer, and lead scientist, National Tele-Immersion Initiative, Internet2 Central Laboratory

1999: How Art Shapes Culture and Shapes Meaning
Keynote Speaker: Dave Hickey, art critic; author of The Invisible Dragon and Air Guitar

1998: Rethinking Tradition: Educating the Artist for the 21st Century
Keynote Speaker: Peter Schjeldahl, art critic for The New Yorker

1997: Art at the Millennium
Keynote Speaker: Jules Feiffer, political cartoonist

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Conference Forms
The following links point files that are in PDF format. If you do not have Acrobat Reader click here to download it. It's free.

• Conference Registration Form
• Audio Visual Equipment Application Form
• Room Share Form

Conference Program Download
The following link points to a file in PDF format. If you do not have Acrobat Reader click here to download it. It's free.

• Conference Program

Proceedings Downloads
The following links points to files that are in PDF format. If you do not have Acrobat Reader click here to download it. It's free.

• Proceedings 2008
• Proceedings 2007
• Proceedings 2006
• Proceedings 2005
• Proceedings 2004
• Proceedings 2003
• Proceedings 2002
• Proceedings 2001
• Proceedings 2000

Questions Most Commonly Asked
Proposal Submissions Questions:

(1) Question: Can you send me an example of a successful abstract and proposal from the past, or guidelines?
Answer: There is no unique formula. I am looking for a 50 word, thesis-driven statement (an abstract) about the core of your topic. I also request a 200-word proposal in case I need more information. While the abstract is eventually published in the Program, the proposal is relegated to the archives. Once all abstracts have arrived, I arrange them into sessions. A successful abstract will combine some threads of the focus topic with the agenda of the conference itself (the connections between the visual and the liberal arts). This is a non-juried conference, so if your interests match ours, you will be accepted.

(2) Question: I am interested in submitting a proposal for an open session on a focused topic. Could you explain "open session" to me? Are there a number of submitters having a discussion, or does each presenter give a paper? How does this work?
Answer: An "open session" refers to one session of presenters whose papers are on the same, or allied, topic. Generally there are three presenters per session, occasionally four, rarely two. I arrange all sessions, unless there is a specific request for a group to create a pre-arranged panel, that is, with a few exceptions, I do not create panels.

(3) Question: Once a proposal is submitted, what is the process by which it is accepted or rejected?
Answer: Once a proposal is submitted, it is generally accepted, provided it conforms to the agenda of the conference. This is a non-juried conference. Once all abstracts and proposals have arrived on my desk, I arrange them into sessions - unless a panel has been proposed and arrives already complete with panelists and presider, then I supply a time, day and a room.

(4) Question: Do I need to express an interest in a particular session when I submit a proposal?
Answer: No, you do not need to choose a specific session. Once all abstracts have arrived, I arrange them into open sessions. An "open session" refers to a session of presenters whose papers are on the same, or allied, topics. (For example, a proposed paper on teaching geometry to art students could be placed in a session on math, or on teaching, or on computer graphics and education, depending on what other topics arrive with a similar interest.)

(5) Question: Do you have more information concerning the conference, number of participants, how the schedule is broken down?
Answer: The best way to get additional information is to contact Maryhelen Hendricks, Conference Director, (212 592-2625; email: mhendricks@sva.edu) or Laurie Johenning, (212 592-2624; email: ljohenning@sva.edu)
Generally, the number of participants varies each year, running from a low of 90 to a high of 140, depending on topic and school budgets. Presenters present in concurrent sessions (four rooms are used at a time) in the Algonquin Hotel's conference suite from Thursday morning until late Friday afternoon. The number of sessions varies from 30 to 36. Thursday afternoons are reserved for the Keynote Address.

Questions About Presiding:

(1) Question: I would like to preside over a session but am not sure what this means. Would you please explain?
Answer: First, thank you for considering this position, which contributes to the smooth running of the individual sessions. A Presider introduces each presenter and makes sure that each presentation stays within the 20-minute maximum time frame. At the end of the presentations, the Presider will coordinate the question & answer period. Basically, it is the Presider's task to keep things moving and - in an emergency - to notify the assistants that there is a problem (with AV, with noise, etc.)

(2) Question: I have been accepted as a Presider. At some point before the conference will the presenters send me a copy of their papers? Is it my responsibility to communicate with presenters regarding receipt of their papers? Of course, I want to read them before I preside over the session.
Answer: Each participant in your session has an abstract published on-line (under "Conference Program" within the Conference section itself.) You are not required (or even expected) to contact them. However, you may, if you wish, ask Laurie Johenning to send you a photocopy of their proposals, which will give you more information and insight and/or contact information. Many Presiders seek out the presenters in their session during the conference before the specific sessions begins to discuss how they would like to be introduced.

Questions about attending the Conference:

(1) Question: I am interested in attending. Is it necessary to submit a proposal or abstract, or can one attend because one is interested in the Conference topic.
Answer: Yes, we would be very happy to have you attend the conference as an observer. Most participants are also presenters, but each year a small percent (approx. 15 - 20%) of participants come for one or several sessions to gather information, network, talk with their peers, etc.

(2) Question: I'm applying for a travel grant. I need to know approximately the cost of lodging and meals. While the conference flyer makes clear the registration fee, it doesn't include these other items. Are conference participants expected to stay at the Algonquin Hotel; and, if so, is there a special room rate? Are some meals included in the conference registration?
Answer: The Conference registration fee includes the following meals and receptions: Wednesday night Welcoming Hour, Thursday night Reception after the Keynote Speaker. Continental breakfast and lunch on both Thursday and Friday. With this in mind, the costs for attending the conference will include the Registration fee, hotel fee, transportation costs and additional meals. The Algonquin does offer a special rate for Conference attendees (call: 212-840-6800); you may choose to stay elsewhere if you wish. When you submit your deposit, we will also inquire if you would like to share a room with another attendee. We do not make these arrangements, however we will distribute a list with contact information.

Registration questions:

(1) Question: I have four faculty who I would like to send to your October Conference (at least one of them is planning on submitting a proposal for a presentation). How would I go about registering my folks? Will there be a registration form, or can I simply reserve spots for them?
Answer: Whether you come as an observer or presenter it is necessary to contact my assistant, Laurie Johenning either by phone (212-592-2624) or email (ljohenning @sva.edu). She will send each one a registration form. If you wish to make a presentation, a 50-word publication ready abstract and a 200 word proposal should be sent to me.
I am looking for a 50 word, thesis driven statement about the core of the proposed topic. I also ask for a longer proposal in case I need more information. Once all abstracts and proposals have arrived on my desk, I arrange them into sessions. A successful abstract/ proposal will combine some threads of the focus topic and the agenda of the conference itself: the cross connections between the visual and the liberal arts. This is a non-juried conference, so if a proposal matches our interests, it will be accepted. Once accepted, the registration letter will be sent to the participant.

(2) Question: If we miss the deadline for deposits, can we still register in early September? Our fall schedules are a bit up in the air right now, and we would prefer not to submit non-refundable deposits if we are not certain that we can attend at least part of the conference.
Answer: If you wish, you may delay submitting the deposit, and you may still register in September. This may be helpful to you if you are unsure of your fall teaching schedule and you wish to come as an observer.
However, the deposit assures a presenter a place in a session. In general, I do not schedule a proposal in a session until I have received a deposit. Late registrations are scheduled if there is a vacancy in an appropriate session. If all appropriate sessions are full, I must reject the proposal.
We adopted the use of a non-refundable deposit to decrease last minute cancellations which impact negatively on other presenters in the same scheduled session and to help us give appropriate numbers to the Algonquin Hotel.

(3) Question: Does the deposit hold a room for one at the Algonquin Hotel? Is this the recommended place to stay? Cost of a room per night?
Answer: The deposit holds a place for you, as a presenter, and has no connection to the housing that you arrange separately with the Algonquin (or another) Hotel. The deposit is non-refundable. The registration fee covers two lunches, two breakfasts, a Thursday afternoon Networking Hour after the keynote address, all AV supplies and conference room use. The number of participants varies each year, running from a low of 90 to a high of 140, depending on topic and school budgets. Presenters present in concurrent sessions (four rooms are used at a time) in the Algonquin Hotel's conference rooms from Thursday morning until late Friday afternoon.

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