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Forthcoming Special Issues

Public Art as Political Action
Submission Deadline: March 1, 2018
Co-Editors: Cameron Cartiere and Jennifer Wingate

Public art is a process that often requires collaboration and compromise and, in the popular imagination, public art is also associated with the need for consent. However, the public sphere is an important place of dissent and many public art forms serve as interventions by critiquing the status quo, expressing dissatisfaction with the political powers that be, and questioning and reinterpreting historical narratives. This issue aims to examine topics surrounding protest art in the public realm. Submissions might explore the visual culture of protest movements; performances, projections, and posters that start public dialogues (physical and virtual) using visual means; historic or contemporary public art projects engaged with political protest. Submissions may also address how photography operates as a language of protest in the public realm. Though a resurgence in political art and protest brings contemporary art to the forefront, this issue also hopes to look at historic precedents for contemporary public protest art by revisiting the ephemera, public actions, and protest art of the past. Public Art Dialogue welcomes submissions from art historians, critics, artists, architects, landscape architects, curators, administrators, and other public art scholars and professionals, including those who are emerging as well as already established in the field.

SOUNDSITES: Experiments in Sound and Place
Submission Deadline: August 1, 2018
Guest Editors: Charles Eppley & Åsa Stjerna

For this issue, the editors invite critical articles, artist essays, and other writings that examine the topic of sonic public art from broad aesthetic, interdisciplinary, or cultural perspectives. Ideal articles will provide unique views on artists, artworks, and practices that employ sonic materials, methods, and concepts to engender encounters with public space. This issue will provide an overview of the fields of sonic art, historical and contemporary, from the theme of place and re-contextualize the aesthetic, discursive, and cultural frames of ‘sound art’ to include individuals, concepts, and practices that have been marginalized by disciplinary methods, narratives, and epistemologies. We are especially interested in articles that identify, analyze, and theorize sonic public art from critical vantages that challenge existing narratives and Western perspectives on art and music. In addition to formal and aesthetic inquiries, authors are encouraged to connect sonic public art to social, political, and economic paradigms that address how the processes of institutionalization, commodification, and mediation have affected public art-making in the late 20th and early 21st centuries. Possible topics include: sound sculpture; sound installation; environmental art; performance art; new music; environmental music; Fluxus; Minimalism; acoustic ecology; digital listening; noise pollution; queer sound; gender, race, identity and the cultural politics of listening; sonic protest; sonic weapons; acoustic architecture; accessibility and disability; diasporic sound and global listening cultures; and sonic urbanism (e.g., the sounds of revitalization/gentrification).