CFP: Visual Arts and Popular Music (10/31/06; journal issue)

full name / name of organization: 
Claude Chastagner


Visual arts and popular Music
France - USA - Great Britain

Universit=E9 Paul Val=E9ry, Montpellier III, France.

PLASTIC is a new refereed, free, on-line, multidisciplinary journal, =20
which covers all aspects of the relationship between popular music =20
and the visual arts (painting, photography, sculpture, installations, =20=

video=85) in France, Great Britain, and the USA. PLASTIC means to =20
explore the cross-references and echoes that can be found among =20
contemporary artistic practices from an aesthetic, economic, or =20
political perspective. The editors are looking for unpublished, =20
innovative articles, written for both academic and non-academic =20
audiences. Each issue may contain substantial articles, shorter =20
topical pieces, news, interviews, bibliographical essays and book =20
reviews, annotated discographies, excerpts from forthcoming =20
publications... There will be one issue a year, however, responses to =20=

the articles will be added as they are received. The editors also =20
welcome polemical pieces.

General editor: Claude Chastagner

Editorial group : Ami Barak (Minist=E8re de la Culture, Paris), =20
V=E9ronique B=E9ghain (Bordeaux), John Dean (Versailles Saint-Quentin), =20=

Jean-Michel Ganteau (Montpellier), Georges-Claude Guilbert (Rouen), =20
Joe Kruppa (Austin, Texas), Guillaume Laurent (Sofia-Antipolis), Nick =20=

Myers (Montpellier III), Neil Nehring (Austin, Texas).

First publication: April 2007. Topic: music/museum


What=92s going on in museums and galleries? In 2000, the MOMA released =20=

compilations conceived as reflections of the shows it organized, rock =20=

and techno music for Pop art to the present time, classical music for =20=

pre-World War II painting. =93Proceeds from the sales of these products =20=

are used to support its programs=94 explained the record sleeves. The =20=

Cit=E9 de la Musique in Paris devoted recent or current shows to Anglo-=20=

American rock artists (Pink Floyd, Jimi Hendrix, John Lennon), which =20
included numerous contemporary art pieces. Nashville, Cleveland, =20
Seattle, institutions devoted to rock or country music proliferate. =20
On display: instruments, photographs, video clips, stage clothes. =20
Liverpool celebrates Beatles music in style, with a museum. A growing =20=

number of contemporary art pieces want you to don a headset or enter =20
a space inundated with rock or techno music. The Chinese art videos =20
of the recent Chengdu/Montpellier biennale heavily featured Asian =20
rock. The rock band Art Brut explores (and denigrates) modern art in =20
their songs.

What is at stake then in such visual and aural intertwining? What and =20=

who benefits from the incorporation of music in an art piece, in a =20
museum? Is it for the money, for fun, because it is fashionable? How =20
can music be showcased through visual artifacts? What are the texts =20
that underwrite these practices? What are they seeking: legitimacy, =20
cover-up, uncharted territories? Who is at the origin of the meeting: =20=

artists, gallery owners, critics? This first issue of PLASTIC opens =20
the door to the different actors and interpreters of the art and =20
music fields to give an account of this synergy, give it a meaning, =20
question its relevance, explore its various fields.

Submissions for music/museum should be sent to:
before October 31st, 2006. Any submission received after this =20
deadline will nevertheless be included in the =93responses=94 section =20=

after acceptance from the publishing board.

Guidelines for submissions:

Submissions can either be in English or in French (maximum 30 000 =20
signs, including spaces). All articles should follow the MLA =20
guidelines and include an abstract in the opposite language, plus a =20
selection of 10 keywords. Articles should include a substantial =20
number of valid url. Two referees will read each submission anonymously.

All visual and audio documents should be copyright cleared. =20
Contributors are responsible for obtaining permission to reproduce =20
and put on line any material in which they do not hold copyright and =20
for ensuring that the appropriate acknowledgments are included in =20
their article. A signed, written permission should be forwarded for =20
all interviews, specifying agreement for written and/or oral =20

An answer will be sent to authors within three months after reception =20=

of the submissions.

Submissions should be sent via e-mail exclusively. Include in your =20
accompanying message a note stating exactly the name and the version =20
of the software used. The article must also be sent in RTF version.

All views and conclusions are those of the authors of the articles.


A cover page should be submitted with the article, providing the =20
author=92s name and postal address, telephone number, and electronic =20
mail address.

Bibliographical references should be incorporated in the text using =20
the author-date system. Examples:

=85the incidence has been documented by John Williams (1991)=85

=85as discussed above (Williams 1991, p.164)=85

=85the incidence has already been documented (O=92Brien 1994; Williams =20=


A complete bibliography/discography should be provided at the end of =20
the article, following notes, if any.

Use the following:

Attali, Jacques. 1977. Bruits. Essai sur l=92=E9conomie politique de la =20=

musique (Paris :


Redhead, Steve (ed.). 1997a. The Clubcultures Reader; Readings in =20
Popular Culture

         Studies. (Cambridge, Ma: Blackwell Publishers)

____1997b. Post-fandom and the Millenium Blues/ The Transformation of =20=

         culture.(London: Routledge)
Bonniol, Marie-Pierre. =91Sonic Youth, du style au geste ou la =20
pr=E9tention esth=E9tique

         d=92un groupe de rock=92 in Volume !, 2002, pp.61-81

Quotations of more than c. forty words should be indented; type the =20
source on the last line at the right-hand margin.

Claude Chastagner
Universit=E9 Paul Val=E9ry, Montpellier III
Route de Mende
34199 Montpellier Cedex 5 France

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Received on Tue Apr 25 2006 - 10:19:22 EDT