Call for proposals for College Art Association Conference panel entitled:
FICTIVE ART
Conference dates: Feb. 19-22, 2003, New York City
Deadline for proposals: May 13, 2002.
Proposals may be submitted to the chairs by email. All participants must be
CAA members. Detailed submission guidelines can be found online at:
http://www.collegeart.org/caa/conference/2003/callforparticipation.html
Chairs:
Antoinette LaFarge (alafarge@uci.edu); University of California, Irvine;
Dept. of Studio Art, UC-Irvine, Irvine, CA 92697.
Lise Patt (licip@pacificnet.net); Institute of Cultural Inquiry; ICI, 1512
S. Robertson, Los Angeles, CA 90035.
PANEL DESCRIPTION
This panel will consider the rise of fictive art--works in which artists
deliberately combine textual and visual strategies to produce works that
straddle the boundary between art, fiction, and history. Reflecting Elaine
Scary's distinction between the made-up and the made-real, these "whole
worlds" rely on a wide variety of fictive strategies and authenticating
devices ranging from the nature of photography as objective witness
(Nicolas Kahn and Richard Selesnick's Circular River project; Warren
Neidich's Unknown Artist) to an appeal to the authority of specific
cultural forms such as the museum (David Wilson's Museum of Jurassic
Technology), scientific research (Joan Fontcuberta's Sputnik project;
Beauvais Lyons's Hokes Archives), and the encyclopedia (Luigi Serafini's
Codex Seraphinianus). Many recent fictive art projects are computer games
(Myst and Riven) or exploit the role-playing potential of the Internet (the
Kingdom of Talossa).
We invite artists working in this area to present their work; and we invite
critics, historians, anthropologists, and others to address such questions
as: What accounts for the current explosion of this kind of work, and is it
best categorized as art, fiction, pseudo-science, or something else?
Should fictive art be theorized along the same lines as the fictive reality
discussed in the literary theory of Wolfgang Iser and others? What is the
relationship of these works to such historical antecedents as Raymond
Roussel's "New Impressions of Africa"? Does this work create more anxiety
than pleasure in the viewer? How does fictive art manage to keep reality in
view even while overstepping its bounds?
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