Opportunity Blog

Mission San Luis, a 64-acre living history museum located in Tallahassee, Florida, is seeking an engaging and detail-oriented General Services Specialist-SES (Visitor Services Supervisor) to oversee the Mission’s visitor services operations including directly managing the El Mercado retail store and supervising the rental program. The perfect candidate will be an integral member of the Mission’s management team working to provide superior customer service and successful retail operations. This position will supervise four OPS positions and one Career Service Position. This is a full-time SES position with an annual salary range of $46,000-$50,000.

Along with your application please submit a resume and cover letter detailing any work experience and explaining why you are the best candidate. No resumes without a cover letter will be considered.

Minimum Qualifications:

• High School diploma or equivalent with four years of related experience    
• At least two years of full-time experience in retail, visitor center management, venue rentals, customer service, or similar field, Or
• A bachelor’s degree in business, hospitality, marketing, retail merchandising or another field, and
• Two years of full-time experience in a supervisory role       
• Resume and relevant cover letter detailing applicant’s experience in retail, which includes a description of the work performed.
• Able to work weekends   

Preferences:

• Bachelor’s degree in business, hospitality, marketing, retail merchandising or related field
• Experience working as a merchandise buyer and product developer.
• Experience working in a museum gift shop or in a museum or similar institution

MORE DETAILS / HOW TO APPLY

Art History – Full Time Online

The Department of Fine, Digital, and Performing Arts at Shawnee State University invites applications for a Full-Time Online, non-tenure-track faculty position in Art History, to begin Fall 2026.
The successful candidate will be an enthusiastic and dedicated educator committed to developing an appreciation for art history across the student body. We seek a broadly trained art historian with a strong interest fostering curiosity about the visual arts and art history across the student body and teaching art history as a meaningful part of a general education experience. The primary responsibilities will be to support the general education coursework by engaging with non-art majors while additional opportunities to teach other art history courses may be available in accordance with departmental needs and disciplinary expertise.

This full-time, online-only teaching appointment has no additional service or requirements. The position is available for continual renewal.

Call for Applications
FSU Humanities Center Undergraduate Fellows
2026-2027

Program Details:

The newly created Humanities Center at FSU is accepting applications for up to fifteen undergraduate Fellows for the 2026-2027 academic year. Undergraduate Fellows at the Humanities Center will have the opportunity to: 1) workshop their humanities research projects with their fellows cohort and with faculty of the Humanities Center; 2) present the results of their projects at the annual Undergraduate Humanities Symposium; and 3) regularly participate in casual small group discussions with visiting lecturers and scholars in the humanities. In addition to their participation in workshops as presenters or peers, undergraduate fellows will also be expected to attend Humanities Center lectures and serve as ambassadors for the humanities across campus. Undergraduate fellows will receive a stipend of $1,000 to support their research.

Eligibility:

Rising juniors and rising seniors who will be in residence at FSU in Tallahassee during 2026-2027 are eligible to apply. Applicants must be planning a humanities research project as part of their upcoming course work (for example: a HITM project, an Honors Colloquium project, a senior capstone project, a DIS project, or a project in either a Scholarship in Practice course or an Upper-Division Writing course). Applicants must have a GPA of at least 3.5.

Application:

To be considered for this prestigious fellowship, email the following documents by September 16:

1. A written proposal (~300-500 words) detailing the humanities-focused project you will undertake in the coming academic year. Your proposal must specify the nature of the project (e.g., a thesis), the department in which you are seeking a degree, and the faculty member with whom you will work.
2. An unofficial university transcript.
3. A short statement (100-150 words) indicating how you hope to benefit by inclusion in the 2026-2027 class of Fellows.
4. A resume is not required but may be relevant in some cases.

Info Session for Applicants:

There will be an info session for prospective applicants on September 11. Attendance is not required as part of the application. Time and place TBA prior to the beginning of the Fall 2026 semester.

How to apply:

Send your application to the FSU Humanities Center with “Undergraduate Fellowship” in the subject box: humanities.center@fsu.edu.

Questions:

Contact the FSU Humanities Center at humanities.center@fsu.edu.

Full-Time Museum Educator 

We’re seeking a dynamic and creative Museum Educator to lead an exciting new school outreach initiative at the Gadsden Arts Center & Museum. This full-time, two-year position will focus on building meaningful connections between the museum and K–12 students, teachers, and school leaders across public and private schools. The Museum Educator will design and deliver engaging, exhibition-based learning experiences that extend beyond the museum walls—developing lessons inspired by major exhibitions and the permanent collection, and aligning them with state learning standards across disciplines such as art, literacy, history, science, and math. This role also involves cultivating strong partnerships with educators, coordinating school visits, and creating impactful pre-visit, onsite, and post-visit programming.

Part-Time Collections Assistant

We’re seeking a detail-oriented and research-driven Part-Time Collections Assistant to support the collections work of the Gadsden Arts Center & Museum. This position plays a key role in strengthening the accessibility, organization, and scholarly depth of the museum’s permanent collection. The ideal candidate brings strong writing and organizational skills, and an interest in museum collections and scholarship. This is a part-time position scheduled for one day per week (8 hours onsite) and reports to the Curator.

DETAILS & APPLICATION

The FSU Humanities Center will award eight Dissertation Fellowships for the academic year 2026–2027. Fellows will be in residence August 25, 2026 to July 31, 2027. Each fellow will receive $4000 in supplemental funding.

The Center recognizes that structured interaction with a community of writers advantages a junior scholar writing a dissertation, enhancing the likelihood of timely completion. The Center aims to foster interdisciplinary collegiality among dissertation writers in workshop and retreat settings, and other social events.

Applicants must be ABD in one of the following fields: Art History, Classics, English, History, Modern Languages, Musicology, Philosophy, Religion.

Annual Theme

“The Human and the Humanities” will be the theme of the FSU Humanities Center for 2026–2028. Projects undertaken at the Center will comprehend that theme in some form as scholars build from their research specializations and disciplinary grounding to larger views of the meaning and place of the humanities in intellectual and social life, and in relationship to citizenship and human flourishing.

Eligibility

To be eligible for a FSU Humanities Center Doctoral Fellowship, applicants must:

Fellows are expected to participate actively in HC events throughout the fellowship year. This includes attendance at periodic HC gatherings (lunches, lectures, receptions, and other events), contribution to the Center’s annual collaborative scholarly project, and a workshop presentation of research to the cohort. Fellows are integral members of the HC community and are expected to engage fully in its collective work.

Application Requirements

A complete application must include all of the following components:

Selection Criteria

Applications will be reviewed by the FSU Humanities Center Board. In evaluating proposals, the Board will apply the following criteria, while also attending to the goal of assembling a dynamic and representative cohort of fellows:

Timeline

June 1, 2026: Applications due at 11:59 PM. Send applications in one file to: humanities@fsu.edu

June 22, 2026: Announcement of the Inaugural Class, FSU Humanities Center Dissertation Fellows

August 25, 2026: Doctoral Fellows convene

Contact

Questions about the fellowship may be directed to Jennifer Clark, Administrative Director, FSU Humanities Center: humanities.center@fsu.edu

The newly-formed Integrated Studies Department at the Pacific Northwest College of Art at Willamette University seeks a dedicated college lecturer to join a service department that supports the General Education component of the BFA degree. Within Integrated Studies, students take 100 and 200-level courses that explore topics within art history, ecology, history, literature, gender studies, sociology and an array of other academic fields, typically in an interdisciplinary format. 

The Art History Lecturer will teach multiple sections of the first-year Core Seminar courses. These sequenced Art History courses introduce foundational skills in critical thinking, creative inquiry, and research while grounding students in a global, multicultural understanding of art and design. In addition to teaching Core Seminar courses, the Art History Lecturer will teach sections of the major-specific “History of” courses at the 200 level. These chronological, discipline-specific courses facilitate deeper understanding and are central components to the college-wide learning outcome of “creative discipline fluency.”

The ideal applicant will have expertise (or be willing to develop expertise) in at least two of the following areas: History of Photography; History of Painting and Drawing; History of Design Arts; History of Object, Space, and Time; History of Fashion; History of Animation.

Lecturers at PNCA are full-time, benefits eligible 12-month, 1.0 variable FTE employees. Lecturers may teach across several departments but are assigned a home department where their departmental service is organized and tracked.

MINIMUM QUALIFICATIONS

• Master’s level in field of study

• Applicants will have and demonstrated work/applied experience in their field of study (e.g. publishing, research or cultural writing).

• Applicants will be comfortable with using technology used in a classroom setting.

• Applicants will be able to demonstrate pedagogical knowledge of their subject area and have at least 3 previous years (in semester equivalents) experience teaching at the collegiate level. 

• Experience teaching both in-person and via common online/digital learning platforms (e.g., Google Meet, Zoom).

• Applicants should be proficient in teaching visual culture and art history from a global, critical perspective; ability to teach discipline-specific “History of” courses with a preference for History of Design Arts and History of Animation courses.

• Proficiency with Google Suite and Canvas Learning Management system.

Salary: $60,000

Typical Work Schedule & Location: This is a teaching position that is understood as a 12-month variable position with teaching duties that may be scheduled Monday through Friday 8am-9pm. Faculty will teach 7 courses annually between fall and spring semester. This position works within the PNCA faculty; however, may occasionally be offered teaching assignments at our Salem campus, based on curriculum demand.

FULL DETAILS & APPLICATION

The Amon Carter Museum of American Art invites applications for the 2026–2027 Davidson Family Fellowship. The Fellowship provides support for scholars holding a PhD (or equivalent) or PhD candidates to work on research projects in American art that advance scholarship by connecting with objects in the Carter’s permanent collection. The stipend rate is $5,000 per month for a minimum one-month to a maximum four-month period of full-time research at the Museum. During their stay, fellows will actively participate in the scholarly life of the Museum, and at the end of their appointment they are asked to present research progress in the form of a lecture or roundtable discussion.

The application deadline is June 30, 2026, for a fellowship to begin on or after October 1, 2026, and end by September 30, 2027. Housing and travel expenses are to be managed and funded by the fellow.

The Fellowship is funded by the Museum and the Davidson Family Foundation with the goal of enriching the human experience through the full spectrum of American creativity. The Fellowship fosters unexpected connections through great American art. It is meant to inspire and serve a diverse set of communities, from local to global, create dynamic, approachable, inclusive, and thought-provoking experiences, and promote use of the nation’s cultural treasures.

For more on our mission and a full description and application form: https://www.cartermuseum.org/research-carter/fellowships

The University of California, Riverside’s Art History Graduate Student Association invites submissions for the 14th Annual Conference, Materiality of Objects. The conference will take place on Saturday, May 16th, 2026.  We would be grateful if you could circulate this email and the attached CFP. 

We welcome papers that attend to objects as physical and spatial presences–shaped by texture, labor, technique, and geology–and as agents embedded in systems of circulation, power, and belief. How do materials anchor art in specific places and ecologies? How do objects move through economic, colonial, religious, and institutional networks? How do processes of extraction, touch, decay, and repair entangle symbolic meaning with lived experience?

Please submit your abstract and CV to ahgsa.ucr@gmail.com by March 31, 2026, at 11:59 pm PST. We invite abstracts of no more than 300 words for in-person 10-12-minute paper
presentations. Proposals from graduate students and independent scholars across the humanities will be considered, including Art, Art History, Anthropology, Classics, Literature, Dance
Studies, Ethnic Studies, Global Studies, History, Media and Cultural Studies, Music, Religious Studies, and Philosophy, among others. Contact us at ahgsa.ucr@gmail.com with any questions.

Selected speakers will be notified in April 2026.

Applications for the new Eloise Quiñones Keber Fellowship will close on Sunday, March 1, 2026. The amount of the 2026 award is $2,000 and the fellowship supports research travel for a scholar working in any area of pre-Columbian, early modern, or colonial Latin American art history for the period 1300–1700. The fellowship is intended to allow researchers to visit relevant sites and museums to study works of art in situ for scholarship and teaching.

More information about the fellowship can be found on our webpage. If you have any questions please write to us at rsa@rsa.org; we’re happy to help.

If you are unable to view this image, visit this site for details:

https://www.ringling.org/about-ringling/careers/internships-fellowships/

Mission San Luis has a full-time and a part-time position available. Both are living history positions. The part-time would be perfect for a student that would like to get experience working at a museum. For information and to apply interested candidates can visit DOS – OPS MUSEUM EDUCATION PROGRAM S – 45945222 Job Details | State of Florida

The Saint Louis Art Museum is pleased to offer four full-time, paid summer internships in 2026. These positions are open to current and recent undergraduate and graduate students. Applications are due by 11:59 pm CST on Sunday, March 1, 2026. Please follow this link to learn more about the program, specific internship areas, and application instructions: https://www.slam.org/careers-opportunities/internships/.

Call for Papers and Artworks:

Outer Limits

The liminal expands across a spatio-temporal divide, limning demarcations between inside and outside, now and then, here and there, and us and them. Reaching for it, we might bump up against, and sometime erode, boundaries between the known and the unfamiliar. Yet, working through liminality engages not only with phenomenological experience but with processes and enactments. What might be necessary indeterminacies challenge ‘normative’ understandings or standard passages. Its affectual eventuations align with the anxieties of our current moment: an inexorable state of wait, being caught in-between.

We are all a little on edge these days, and though we may feel trapped, reflecting on liminal conditions might imagine queer and other non-standard or resistant wayfinding in the project of conceptualizing future-bound transformation or roundabout, even unstable, ways of unsettling the false consciousness of the status quo. If edges delineate barriers, such limits can also be productive and goad us into thinking, seeing, and pushing beyond. Maybe Mean Girls (2004) had it right: suggesting a radical rethinking of liminality by announcing that “the limit does not exist.” Or, to reframe, what are the stakes of questioning the very nature of being limited? As Luce Irigaray suggested in This Sex Which is Not One: “Leave definitiveness to the undecided; we don’t need it.”

For the inaugural Symposium and Exhibition presented through UCSD’s Art and Media History, Theory and Criticism department, we invite contributions that expand between fields and disciplines to consider liminality experientially, methodologically, and/or critically, and which present as zones of both vulnerability and possibility. What might arise when we center or trouble the interstitial in artistic practice? How does attention to instability, the unstable, or the marginal, open new relationalities across art and critical reflection, but also archives and institutions? What are the methodological and aesthetic stakes of working in and on the liminal, between disciplines, genres, or epistemologies? And what are the ontological risks and affordances of liminal discourse?

Though this conference seeks to push the boundaries, or challenge the limits, of the academic conference itself we offer these areas of thought as a beginning point to extend from:

● Edging, and its potentiality:

Satisfaction and fulfillment, delay and deferrals, or just being on the verge…

● Limbo, or lying in wait:

Caught in suspension, uncertainty, and anti-progress

● Straddling Margins, and trans identifications:

Border crossings, being between, refusing to fit

● Bottoming, and the downward turn:

Bottom-up formations of power, bottoming out, or just being down

● Passing, or its inverse of the neither/nor:

Asexual erotics, reveal and conceal strategies, or countering binaries

● Capacitations, or reaching the limit:

Blocks, barriers, moving through, and finalities

● Beyond Bounds, and its afterlives:

Thresholds, holes, and delimiting

Submissions

This event is organized by graduate students in UCSD’s PhD Program in Art and Media History, Theory and Criticism, the PhD Program in Art Practice, and the MFA Program. Through such interdisciplinary exchange we seek to provide space for those just breaking through, and we happily welcome emergent scholars, practices, and practitioners (alongside more established thinkers and makers) to share original research and creative work in this experimental format.

For presenters: We invite abstracts that think with and beyond these areas of interest (approximately 300 words), and also welcome experimental lectures and nontraditional presentations, to be submitted alongside a condensed CV (maximum 5-page PDF).

For artists: We welcome submissions of artworks in any medium for a group show and screeningaccompanied by a project description (approximately 300 words) and 3-5 images of the work (as .jpgs), to be submitted similarly alongside a condensed CV (maximum 5-page PDF).

We finally ask that all applicants include five keywords that situate the work submitted.

Please send all materials to visartssymposiumucsd@gmail.com by January 31, 2026. Accepted participants will be notified by February 10, 2026.

Don’t hesitate to contact us if you have any questions about this symposium or the submission process.

Rethinking Collections Stewardship

In partnership with the Indian Arts Research Center (IARC) at the School for Advanced Research and Gilcrease Museum, the Indigenous Collections Care (ICC) Speaker Series explores new frameworks for museum collections stewardship centered on Indigenous knowledge and values. Leading up to the anticipated release of the Indigenous Collections Care Guide, this series will highlight key components and themes within the upcoming Guide.

Through four panels—Intellectual Care of Collections, Physical Care of Collections, Relationship Building and Consultation, and Use and Access of Collections—panelists will engage in moderated conversations and roundtable discussions on culturally appropriate care practices. Each session highlights practical strategies, case studies, and collaborative approaches for reshaping institutional protocols around consultation, documentation, conservation, and access. Join us to learn from experts leading this vital work and to consider how your own institution can incorporate Indigenous care considerations into its collections stewardship practices.

Intellectual Care of Collections
February 3, 2026
2:00 – 3:30pm Central

Panelists:
Kara Vetter, Museum of Us
Evan Mathis, Museum of the Cherokee People
Meghan Dorey, Myaamia Heritage Museum and Archive

Physical Care of Collections
March 3, 2026
2:00 – 3:30pm Central

Panelists:
Dyan Youpee, Fort Peck Assiniboine and Sioux Tribes
Rebecca Rupe, Match-E-Be-Nash-She-Wish Band of Pottawatomi Indians
Amy Covell-Murthy, Carnegie Museum of Natural History

Relationship Building and Consultation
April 7, 2026
2:00 – 3:30pm Central

Panelists:
Laura Elliff Cruz, School for Advanced Research
Chance Ward, History Colorado
Marti Only A Chief, Pawnee Nation

Use and Access of Collections
May 5, 2026
2:00 – 3:30pm Central

Panelists:
Amanda Lancaster, Alutiiq Museum
Sarah O’Donnell, The Osage Nation
Ed Jolie, Arizona State Museum
RaeLynn Butler, The Muscogee (Creek) Nation

Call for Papers: The Twenty-first Annual Yale University American Art Graduate Symposium

Theme: Local

Date: April 11, 2026

Keynote Speaker: Dr. Caitlin Beach, Associate Professor of Art History, CUNY Graduate Center

What is at stake in identifying artists, subjects, materials, and economies as local? The term commonly circumscribes a particular space while evoking feelings of inclusion. To be “a local” is to belong to a place or a people, to have insider knowledge, to see oneself as part of a community, to be and feel at home. From quilts made by generations of Black women in Gee’s Bend to the centuries-long production of lienzos by Ñuu Dzaui, Nahua, and other Indigenous artists, objects play outsized roles in shaping and defining the local. Embracing the local may also function as a subversive move. Establishing a local artistic identity can oppose hegemonic national narratives, a gesture in line with what Arjun Appadurai has termed “the production of locality.” Maroon communities in the Caribbean, for instance, blended West African traditions with Taino knowledge and indigenous materials to assert their own definitions of place within imperial landscapes.

Across time, place, and media, artists and viewers alike have imagined and reimagined the local, stretching and compressing its contours to define who falls within its bounds. The term’s elasticity continues to provide fertile ground for new interpretations within art history and beyond. How does the local open onto discourses of repatriation and conservation, or histories of migration, diaspora, and Indigeneity? How do we navigate the term alongside related concepts like intimacy, insularity, and domesticity? How might locality interface with decoloniality?

Featuring Dr. Caitlin Beach as our keynote speaker, the Twenty-first Annual Yale University American Art Graduate Symposium asks what centering the local affords art historical inquiry. We welcome submissions exploring art, architecture, performance, and visual and material culture across the Americas, including the Caribbean, North, Central, and South America. Possible topics include, but are not limited to:

● Community-based artistic practices, collectivized artistic labor, and local artistic identity

● Local materialities and histories of industry

● Indigenous understandings of space, the local, and (home)lands

● Site specificity and placemaking

● Local audiences and reception

● The local in relation to provincialism, urbanism, and cosmopolitanism

● Local ecologies and economies; agrarianism and rural uplift

● Tourism and the commodified local

● The local and the nation state, narratives of locality and universality

You are invited to submit an abstract of no more than 350 words and a CV to americanist.symposium@gmail.com by January 31, 2026. Accepted participants will be notified in mid-February. “Local” will take the form of a day-long, in-person symposium, with food and hotel accommodations provided for all speakers.

• Archives Centennial Intern
• Circus Collections Intern
• Education Youth and Families Intern
• Technical Theater Intern

The Washington Metropolitan Area Transit Authority (WMATA) is seeking a strategic and creative public art professional with a passion for connecting projects to broader organizational goals, customer experience, and measurable impact. This role is responsible for shaping how public art contributes to increased ridership, an enhanced customer experience, and greater awareness of community initiatives across the Metro rail and bus network. We are seeking an experienced Arts Program Manager with a proven track record of delivering public art and cultural programming within a large, complex organization, while ensuring compliance with safety, accessibility, and operational standards. The ideal candidate demonstrates the ability to align organizational strategy, project management, artist partnerships, and community engagement to deliver impactful, accessible, and compliant arts programming that strengthens public connection to transit.

Minimum Qualifications

Education

• Bachelor’s degree in Arts Administration, Fine Arts, Art History, Museum Studies, Urban Planning, or a related field.

Experience

• Seven (7) years of progressively responsible experience managing public art programs, cultural projects, or similar initiatives preferably in transit, civic, or institutional settings.

Preferred

• Advanced degree in Arts Administration, Fine Arts, Art History, Museum Studies, Urban Planning, or a related field preferred.

Job Summary

The Arts Program Manager leads the development, implementation, and management of WMATA’s Arts in Transit program, increasing ridership and enhancing the rider experience through thoughtfully integrated public and community art. This role oversees all aspects of public and community art integration throughout Metro stations, facilities, and events, including permanent commissions, temporary exhibitions, performing arts programming, and other community engagement initiatives. The Arts Program Manager works collaboratively across departments to increase awareness and ridership, ensure artistic excellence, all while improving operational requirements, safety standards, budget parameters, community engagement, and programmatic evaluation and impact.

Learn more on LinkedIn: https://www.linkedin.com/jobs/view/4351390757/

Appalachian State University in Boone, NC, seeks a PhD graduate (by the time of hiring) for a non-tenure track position as Lecturer in Art History. This is a 9-month, 3/4-time position. The lecturer will teach six courses per year, including art history surveys and upper-level courses in area(s) of specialization.
Teaching will occur in person at the Boone campus. Requirements:

• Demonstrated specialization in any period of global art history/visual culture.
• College-level teaching experience at the TA level or beyond.

Complete details and application here: https://appstate.peopleadmin.com/postings/52551

Graduate Student Call for Papers/Proposals: Ekphrasis: An Art History Graduate Journal

Department of the History of Art and Architecture at Tufts University Inaugural issue to be published Spring 2026

All submissions are due by January 20, 2026 to tufts.ekphrasis.journal@gmail.com. Please include the relevant section title (Academic Essay, Book Review, or Exhibition Highlight) in the subject line of your email submission. E

kphrasis is an online scholarly journal produced by the graduate students of the Department of the History of Art and Architecture at Tufts University. Published annually in partnership with Tisch Library, the journal will provide a platform for art historical exploration and analysis to fulfill its essential objective of foregrounding critical, diverse, and innovative perspectives both within and beyond Tufts University.

Academic Essays For the inaugural issue of Ekphrasis, we welcome academic essay submissions from current graduate students or those who have recently (within the past three years) completed a graduate program at the master’s or PhD level in or related to the field of art history. Academic essays should be approximately 2,500-3,000 words (excluding footnotes) and written on any topic broadly pertaining to art history. Essays should be previously unpublished and submitted in full, with correctly formatted Chicago-style citations.

Images should be integrated into the text (rather than as a list of figures at the end), and authors whose submissions are selected for publication will be responsible for securing reproduction permissions from the copyright owner of any included images. Selected authors will work with the Ekphrasis Image and Copyright Editor to ensure that proper permissions are obtained.

While future issues may be centered around a designated theme, the call for papers for the Spring 2026 issue does not have a thematic guideline. As such, we welcome academic essays on any topics relevant to the field of art history, across all time periods and geographical contexts.

Selected submissions will be edited by the Ekphrasis faculty-supplemented editorial board. Interested graduate students should submit, along with the academic essay in full, a CV and short professional and academic biography compiled into a single document to tufts.ekphrasis.journal@gmail.com.

If you have any questions regarding academic essays or the journal at large, please contact kristen.lauritzen@tufts.edu or kate.haggarty@tufts.edu.

Book Reviews Ekphrasis welcomes book review submissions from current graduate students or those who have recently (within the past three years) completed a graduate program at the master’s or PhD level in or related to the field of art history. Book reviews should be between 500-1,000 words and focus on scholarly publications regarding art historical topics published within the last three years, employing a descriptive as well as analytical approach to the text at hand.

We request that proposals be no more than 100 words and contain publication information for the proposed book (author, editor, book title, publishing information, and ISBN). Please also include a CV and a short professional and academic biography compiled into a single document and submit all items to tufts.ekphrasis.journal@gmail.com.

If you have any questions regarding book reviews, please contact Maria Wuerker at maria.wuerker@tufts.edu.

Exhibition Highlights Ekphrasis invites current graduate students or those who have recently (within the past three years) completed a graduate program at the master’s or PhD level in or related to the field of art history to submit short pieces (no longer than 500 words) that highlight art exhibitions taking place throughout the greater New England area. These submissions are not intended as full reviews, but as concise features that capture the essence of an exhibition, offering readers a broad view of the region’s art scene. Each highlight should provide an overview of the relevant artist or artists and explore the major themes presented in the exhibition.

Preference will be given to exhibitions that remain on view during the journal’s publication period (April-June 2026). Interested graduate students are asked to submit a 100-word proposal to tufts.ekphrasis.journal@gmail.com, describing the exhibition they wish to feature, along with a CV and a short professional and academic biography, compiled into a single document.

If you have any questions regarding exhibition highlights, please contact Kendall Murphy at kendall.murphy@tufts.edu.

Call for Papers: The Twenty-first Annual Yale University American Art Graduate Symposium

Theme: Local

Date: April 11, 2026 

Keynote Speaker: Dr. Caitlin Beach, Associate Professor of Art History, CUNY Graduate Center

What is at stake in identifying artists, subjects, materials, and economies as local? The term commonly circumscribes a particular space while evoking feelings of inclusion. To be “a local” is to belong to a place or a people, to have insider knowledge, to see oneself as part of a community, to be and feel at home. From quilts made by generations of Black women in Gee’s Bend to the centuries-long production of lienzos by Ñuu Dzaui, Nahua, and other Indigenous artists, objects play outsized roles in shaping and defining the local. Embracing the local may also function as a subversive move. Establishing a local artistic identity can oppose hegemonic national narratives, a gesture in line with what Arjun Appadurai has termed “the production of locality.” Maroon communities in the Caribbean, for instance, blended West African traditions with Taino knowledge and indigenous materials to assert their own definitions of place within imperial landscapes.

Across time, place, and media, artists and viewers alike have imagined and reimagined the local, stretching and compressing its contours to define who falls within its bounds. The term’s elasticity continues to provide fertile ground for new interpretations within art history and beyond. How does the local open onto discourses of repatriation and conservation, or histories of migration, diaspora, and Indigeneity? How do we navigate the term alongside related concepts like intimacy, insularity, and domesticity? How might locality interface with decoloniality? 

Featuring Dr. Caitlin Beach as our keynote speaker, the Twenty-first Annual Yale University American Art Graduate Symposium asks what centering the local affords art historical inquiry. We welcome submissions exploring art, architecture, performance, and visual and material culture across the Americas, including the Caribbean, North, Central, and South America. Possible topics include, but are not limited to:

• Community-based artistic practices, collectivized artistic labor, and local artistic identity

• Local materialities and histories of industry

• Indigenous understandings of space, the local, and (home)lands

• Site specificity and placemaking

• Local audiences and reception

• The local in relation to provincialism, urbanism, and cosmopolitanism

• Local ecologies and economies; agrarianism and rural uplift

• Tourism and the commodified local

• The local and the nation state, narratives of locality and universality

You are invited to submit an abstract of no more than 350 words and a CV to americanist.symposium@gmail.com by January 31, 2026. Accepted participants will be notified in mid-February. “Local” will take the form of a day-long, in-person symposium, with food and hotel accommodations provided for all speakers.

The Florida State University Art History faculty and graduate students invite current PhD and MA students to submit abstracts for papers to be presented at the 42nd Annual Art History Graduate Student Symposium. The symposium will take place March 6–7, 2026, on our main campus in Tallahassee, FL.

The Symposium keynote speaker this year will be Claudia Brittenham, Professor of Art History and Race, Diaspora, and Indigeneity and Director of the Center for Latin American Studies at the University of Chicago. Dr. Brittenham’s research focuses on the art of ancient Mesoamerica, with particular attention to the ways that the materiality of art and the politics of style contribute to our understanding of the ontology of images. 

The symposium committee welcomes papers that represent an advanced stage of original research from all areas of study within art and architectural history and visual and material culture. Paper sessions will take place Friday and Saturday with critical discussions following each speaker. Papers presented will be considered for inclusion in Athanor, our internationally distributed, peer-reviewed journal.

Please include the following in your application:

• Abstract (maximum 500 words), including a paper title

• Current CV

We encourage applicants to ask a faculty advisor to review the paper before submission.

The deadline for submission is December 1, 2025.

Send abstracts and CV to: FSUSymposium@gmail.com

For updates, visit arthistory.fsu.edu/sympo

FSU’s Native American and Indigenous Studies Center strives to support student research and artistic activity that focuses on and engages with Native American and Indigenous communities across the globe. Towards that end, this grant fund provides students with reimbursable funding to assist in research, travel, and creative works that are focused on creating and/or developing knowledge with Native and Indigenous partners and/or to support travel related to disseminating knowledge at conferences, meetings, and/or workshops. Creative works and activities associated with Indigenous nations are also encouraged.
COMPLETE DETAILS & APPLICATION REQUIREMENTS