{"id":22187,"date":"2022-01-05T12:11:32","date_gmt":"2022-01-05T11:11:32","guid":{"rendered":"https:\/\/www.sfsic.org\/uncategorized\/la-presse-culturelle-aujourdhui\/"},"modified":"2022-01-05T12:19:31","modified_gmt":"2022-01-05T11:19:31","slug":"art-press-today","status":"publish","type":"post","link":"https:\/\/www.sfsic.org\/en\/cfc-event\/art-press-today\/","title":{"rendered":"The art press today : towards a reconfiguration of a media genre?"},"content":{"rendered":"<p><!-- fxzn:singledetail --><\/p>\n<div class=\"zone zn-singledetail\" id=\"fxzn-singledetail-1\">\n<div class=\"zone-block zn-singledetail-block alignwide va-top\">\n<div class=\"row\">\n<div class=\"columns large-8 large-push-4\">\n<div class=\"zn-singledetail-metabox\">\n<div class=\"zn-singledetail-pubdate pubdate\">\n\t\t\t\t\t<span class=\"pubdate-txt\">Posted on<\/span><span class=\"doubledot\"><\/span> <time class=\"pubdate-time\" pubdate datetime=\"2022-01-05T12:11:32+01:00\">5 January 2022<\/time>\t\t\t\t<\/div>\n<div class=\"zn-singledetail-thematiques with-sep-comma\">\n<ul class=\"termslist termslist-thematique\">\n<li class=\"termslist-item termslist-title\"><span class=\"termslist-titletxt\">Th\u00e9matiques<\/span><span class=\"doubledot\"><\/span><\/li>\n<li class=\"termslist-item tax-thematique term-media-and-journalism\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/thematiques\/media-and-journalism\/\" title=\"Media and journalism\"><span class=\"termslist-itemname\">Media and journalism<\/span><\/a><\/li>\n<li class=\"termslist-item tax-thematique term-memorial-cultural-and-heritage-mediation\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/thematiques\/memorial-cultural-and-heritage-mediation\/\" title=\"Memorial, cultural and heritage mediation\"><span class=\"termslist-itemname\">Memorial, cultural and heritage mediation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"row\">\n<div class=\"columns large-4\">\n<div class=\"zn-singledetail-sidebar bg-cornersquares\">\n<div class=\"zn-singledetail-infos\">\n<p class=\"zn-singledetail-reponse-date\">\n\t\t\t\t\t\t<span>Expected response for the<\/span><span class=\"doubledot\"><\/span> <strong>31\/01\/2022<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-reponse-type\">\n\t\t\t\t\t<span>Response type<\/span><span class=\"doubledot\"><\/span> <strong>R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-type\">\n\t\t\t\t\t\t\t<span>Event type<\/span><span class=\"doubledot\"><\/span> <strong>Conference<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n<div class=\"zn-singledetail-coordinators\">\n<h3 class=\"zn-singledetail-section-title\">Coordinators<\/h3>\n<ul class=\"zn-singledetail-coordinators-list\">\n<li class=\"zn-singledetail-coordinators-item\">\n\t\t\t\t\t\t\t<span>Lucie<\/span> <span>Alexis<\/span>, <span>Universit\u00e9 Grenoble Alpes, Institut de la Communication et des M\u00e9dias, GRESEC, chercheuse associ\u00e9e au CARISM et \u00e0 l\u2019Institut national de l\u2019audiovisuel<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<li class=\"zn-singledetail-coordinators-item\">\n\t\t\t\t\t\t\t<span>Flore<\/span> <span>Di Sciullo<\/span>, <span>Universit\u00e9 Paris 2 Panth\u00e9on-Assas, Institut Fran\u00e7ais de Presse, chercheuse associ\u00e9e au CARISM<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<div class=\"zn-singledetail-contacts\">\n<h3 class=\"zn-singledetail-section-title\">Contacts<\/h3>\n<ul class=\"zn-singledetail-contacts-list\">\n<li class=\"zn-singledetail-contact\">\n\t\t\t\t\t\t\t<span class=\"zn-singledetail-contact-name\">Abstracts<\/span><span class=\"doubledot\"><\/span><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"zn-singledetail-contact-mail prettylink\" href=\"mailto:presseculturelle2022@gmail.com\">presseculturelle2022@gmail.com<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"columns large-8\">\n<div class=\"zn-singledetail-contentbox\">\n<div class=\"zn-singledetail-eventinfo is-sfsic-label\">\n<div class=\"zn-singledetail-eventinfo-inner\">\n<h3 class=\"zn-singledetail-section-title zn-singledetail-eventinfo-title\">SFSIC labelled event<\/h3>\n<div class=\"zn-singledetail-eventdates\">\n\t\t\t\t\t\t<span class=\"zn-singledetail-label\">Event dates<span class=\"doubledot\"><\/span><\/span><\/p>\n<ul class=\"zn-singledetail-eventdates-list\">\n<li class=\"zn-singledetail-eventdates-item\">\n\t\t\t\t\t\t\t\tFrom <time class=\"event-start-time\" datetime=\"2022-05-09T00:00:00+00:00\">09\/05\/2022<\/time> at <time class=\"event-end-time\" datetime=\"2022-05-10T00:00:00+00:00\">10\/05\/2022<\/time>\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<p class=\"zn-singledetail-eventplace\">\n\t\t\t\t\t\t<span class=\"zn-singledetail-label\">Event place<span class=\"doubledot\"><\/span><\/span><br \/>\n\t\t\t\t\t\t<span class=\"zn-singledetail-eventplace-adr\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"adr-name\">Universit\u00e9 Paris II Panth\u00e9on-Assas<\/span>,<\/p>\n<p>\t\t\t\t\t\t<span class=\"adr-street\">391, rue de Vaugirard <\/span>, <span class=\"adr-city\">Paris<\/span>\t\t\t\t\t\t<span class=\"adr-cp\">75015<\/span>, <span class=\"adr-country\">France<\/span><br \/>\n\t\t\t\t\t\t<\/span>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"zn-singledetail-annonce wig-content\">\n<p>Nowadays, the cultural press can take a variety of formats and aspects, depending on the angle chosen, the readership or the specific issues being tackled: a well-reputed journal like <em>Artforum<\/em>; a generalist magazine like <em>ArtNews<\/em>, a cultural guide such as <em>Time Out<\/em> or a single medium-targeted publication like <em>Film Quaterly<\/em>. Going beyond those paper publications, one also has to encounter the great variety of online publications, from blogs to podcasts and e-magazines or cultural pure players (such as <em>ArtViewer<\/em>).<\/p>\n<p>This international symposium has the ambition of shedding light on this broad spectrum and outline the different ways in which media (both traditional and digital) can examine and write about visual arts, architecture, graphic design, cinema, music, literature, and so on. Papers may also focus on cultural industries (video games, movies, television shows\u2026).<\/p>\n<p>Furthermore, the art press, whose print runs are often low and readership somewhat specialized, deserves to be analysed through the scope of media studies and with the help of info-communicational tools. Indeed, this particular segment of the media has a lot to teach us about collective representations, beliefs and values given to contemporary art, cultural practices and ways of debating in society around it. Papers may tackle any aspect of artistic or cultural activity.<\/p>\n<p>Our goal in this conference is to implement an interdisciplinary approach to the matter of the artistic and cultural press. This conference also intends to encourage exchanges between researchers and actors from the media and artistic fields, in order to allow for discussions at the intersection of practical and theoretical viewpoints. Scholars and practitioners from various disciplines and approaches (history, media and communication studies, art history, literature, sociology, etc.) are welcome to submit abstracts for papers dealing critically with one or several of the following topics.<strong>\u00a0<\/strong><\/p>\n<h2><strong>\u00a0<\/strong><strong>1 \u2013 Historical models and influences<\/strong><\/h2>\n<p>This first line of research intends to question the variety of editorial forms that the \u201cart journal\u201d, the \u201ccultural magazine\u201d or the \u201ccultural news magazine\u201d can adopt. If a very rich bibliography is devoted to artistic and cultural periodicals of the XIX<sup>th<\/sup> and the first half of the XX<sup>th<\/sup> centuries<a href=\"applewebdata:\/\/EA25D8AF-F830-4D92-9273-A7CE305EF1F9#_ftn1\" name=\"_ftnref1\"><sup>[1]<\/sup><\/a>, the more recent period is often excluded from these studies that are privileging a chronological and diachronic approach. Periodicals that focus on the contemporary art world is thus a territory that is yet to be explored. This first axis intends to encourage reflections on the filiation of this rich editorial heritage by insisting on the contemporary period.<\/p>\n<p>It is then necessary to take a deeper look at examples of magazines that are currently being published, so as to wonder which models they derive from, which filiation they are the fruit of. Studies on long lasting periodicals such as <em>Art in America<\/em>(founded in 1912) are welcome. Papers in this section might take a monographic and historical perspective, question art journals over time, or consider memorable titles that have been decisive for more recent journals. Papers may also engage a transnational or trans-media perspective.<\/p>\n<h2><strong>2 \u2013 Diversification of online editorial forms<\/strong><\/h2>\n<p>How do art journals manage to explore new territories, especially digital ones? Cultural magazines are nowadays extended by blogs, webzines, accounts on social networks, collaborative platforms, audio-visual formats such as podcasts or filmed interviews, and so on. Art journals and magazines are thus rapidly moving away from the traditional paper model and heading towards a greater variety of formats, starting with the exploration of a digital\/paper complementarity. Let us mention the French blog <em>Jeunes Critiques d&#8217;art<\/em> (Young Art Critics), podcasts such as <em>Le bruit de l&#8217;art<\/em>, webzines like the Italian <em>Cura<\/em> or the American <em>Triple Canopy<\/em>, amateur websites such as <em>Sens critique<\/em> for movies. We can also mention hybrid formats offered by certain social networks and digital platforms such as the Twitch channels (&#8220;The Blank Contemporary Art&#8221;), Instagram accounts, YouTube channels, etc.<\/p>\n<p>To what extent are digital devices the result of editorial experiments? Papers in this section might focus on case studies and rely on the analysis of socio-technical devices that allow a diversification of cultural consumption. Papers may also focus on the reconfiguration of journalistic practices of art criticism and the adaptability of magazines to the digital world, their editorial line and the formats they use.<\/p>\n<h2><strong>3 \u2013 Editorial and discursive norms: from specificity to adaptation<\/strong><\/h2>\n<p>The specificity of the terms &#8220;review&#8221;, &#8220;journal&#8221; or &#8220;magazine&#8221; when considered through the lens of art press is yet to be determined, especially in a context where the obsolescence of art criticism is more and more often pointed out. However, this type of press is remarkably vivid, on a local as well as on an international scale. Although the art world is facing important mutations and issues (financial speculation, globalization, or more recently the Covid-19 crisis), the most established formats \u2013\u00a0starting with the exhibition review or the interview with an artist \u2013 are remarkably resisting and adapting to this moving context. How does the art press position itself <em>vis-\u00e0-vis<\/em> other genres of the press, and other types of discourse on art (institutional, academic)? Are there specificities inherent to cultural media?<\/p>\n<p>Papers may explore the editorial norms most commonly adopted by art journals, whether printed or online, as well as their evolution in order to question the values that underlie them. Graphic design, layout, rubric, editorial line&#8230; What are the formats, the editorial standards most characteristic of the art journal? In what ways do they evolve, in the face of the adaptation of titles to digital formats and to economic and social imperatives? In what ways do these norms adapt to such a diversification?<\/p>\n<h2><strong>4 \u2013 The art press in the \u201cexpanded field\u201d<a href=\"applewebdata:\/\/EA25D8AF-F830-4D92-9273-A7CE305EF1F9#_ftn2\" name=\"_ftnref2\"><sup>[2]<\/sup><\/a><\/strong><strong>\u00a0<\/strong><\/h2>\n<p>The cultural press seems to be torn between, on the one hand, a democratization of its contents and a hybridization of its forms (with, in particular, news magazine, fashion magazine, news bulletin&#8230;), and on the other hand an increasing fragmentation. This is made evident with the great increase of periodicals more and more specialized, dedicated to specific mediums even within the field of visual arts, such as drawing (<em>Roven<\/em>), amateur practices (<em>Profane<\/em>), or the youth of renown artists (<em>L\u2019incroyable<\/em>). Increasingly strong constraints weigh on the exercise of cultural criticism, and consequently on the editorial production of reviews: increase in the number of exhibitions and art shows, internationalization of artistic trajectories, financial pressure, lack of means for public institutions, etc. Those are some of the many elements which come to complicate the task of art critics, who face important issues of payment and independence. Art criticism as a whole is threatened by the pitfall of \u201ccultural promotion\u201d<a href=\"applewebdata:\/\/EA25D8AF-F830-4D92-9273-A7CE305EF1F9#_ftn3\" name=\"_ftnref3\"><sup>[3]<\/sup><\/a>: when advertisers (art galleries, foundations, etc.) finance a publication by the purchase of advertising spaces, the critic, as well as the magazine in which he\/she publishes, can experience pressure to value and promote the advertiser in question. Moreover, with reviews financed and published by institutions as <em>Palais<\/em> (Palais de Tokyo in Paris) or <em>Les Cahiers du MNAM<\/em> (published by the MNAM-Centre Georges Pompidou, Paris), the art review appears as essential to uncover mechanisms and networks structuring the artistic network and the values which determine its organization. However, in spite of these various pitfalls, the sector of the cultural press is dynamic and diversified, constitutes an attractive pole for journalists and often arouses professional aspirations. The vitality of free magazines, such as in France <em>Z\u00e9rodeux<\/em> or <em>Le Ch\u00e2ssis<\/em>, is a good witness of this phenomenon.<\/p>\n<p>Papers in this section could focus on the economic models of the art press and the strategies deployed to ensure its sustainability, as well as the different factors that allow the cultural press to fight against competition, especially that of the general press. Submissions may also underline the relations of collaboration, competition, or even \u201ccoop\u00e9tition\u201d<a href=\"applewebdata:\/\/EA25D8AF-F830-4D92-9273-A7CE305EF1F9#_ftn4\" name=\"_ftnref4\"><sup>[4]<\/sup><\/a> of the art magazines with each other, as well as in their networking within the art world (galeries, museums), and beyond: mainstream media, creative industries.<\/p>\n<p>Last but not least, the recent Covid-19 crisis calls to question the ways critics from the cultural sector have accommodated their practices with the mutations of cultural agenda during quarantine.<\/p>\n<h2><strong>Bibliography<\/strong><\/h2>\n<p>ALLEN Gwen (dir.), <em>The Magazine<\/em>, London, MIT Press \u00ab Documents for Contemporary Art \u00bb, 2016<\/p>\n<p>BAUDOIN Jean et HOURMANT Fran\u00e7ois (dir.), <em>Les Revues et la dynamique des ruptures<\/em>, Rennes, Presses universitaires de Rennes, 2007<\/p>\n<p>BOIVENT\u00a0 Marie, <em>La Revue d\u2019artiste, enjeu et sp\u00e9cificit\u00e9 d\u2019une pratique artistique<\/em>, Rennes, Incertain sens, 2015<\/p>\n<p>BONACORSI Julia et CROISSANT Val\u00e9rie, \u00ab\u00a0\u200b&#8221;Votre m\u00e9moire culturelle&#8221;\u2009: entre logistique num\u00e9rique de la recommandation et m\u00e9diation patrimoniale. Le cas de <em>Sens Critique<\/em> \u00bb, <em>\u00c9tudes de communication<\/em>, 2015\/2, n\u00b0\u00a045, p. 129-148<\/p>\n<p>BOURE Robert, \u00ab Sociologie des revues de sciences sociales et humaines \u00bb, <em>R\u00e9seaux, <\/em>n\u00b0 58, 1993, p. 91-105<\/p>\n<p>BOURGATTE Micha\u00ebl, \u00ab Pour une analyse informatis\u00e9e de la critique de cin\u00e9ma. Ce que dit la critique de la structure du champ cin\u00e9matographique \u00bb, <em>Questions de communication<\/em>, 2017\/1, n\u00b0\u00a031, p.\u00a0315-333<\/p>\n<p>CH\u00c8VREFILS-DESBIOLLES Yves et FROISSART-PEZONE Rossella (dir.), <em>Les revues d\u2019art<\/em>, Rennes, Presses universitaires de Rennes, 2011<\/p>\n<p>COLOMINA Beatriz, <em>Clip, Stamp, Fold: The Radical Architecture of Little Magazines, 196X to 197X<\/em>, Barcelone, Actar, 2010<\/p>\n<p>CORPET Olivier, FRANCK Thomas et GLORIE Caroline, \u00ab La revue comme discours d\u2019intervention\u00a0\u00bb, <em>Cahiers du GRM<\/em>, 12\/2017 [En ligne], <a href=\"https:\/\/journals.openedition.org\/grm\/1055\">URL\u00a0: <\/a><a href=\"https:\/\/journals.openedition.org\/grm\/1055\">https:\/\/journals.openedition.org\/grm\/1055<\/a><\/p>\n<p>CROISSANT Val\u00e9rie (dir.), <em>L\u2019avis des autres.<\/em> <em>Prescription et recommandation culturelle \u00e0 l\u2019\u00e8re num\u00e9riqu<\/em>e, \u00c9ditions des archives contemporaines, 2019<\/p>\n<p>CROISSANT Val\u00e9rie et SPANO William, <em>Le journalisme en miroir dans la presse culturelle lyonnaise au XIX<sup>e<\/sup> si\u00e8cle<\/em>, <em>Le Temps des m\u00e9dias. <\/em><em>Revue d\u2019histoire<\/em>, vol\u00a023, n\u00b0\u00a02, 2014, p.\u00a0165\u2011181<\/p>\n<p>DA COSTA KAUFMANN Thomas, DOSSIN Catherine et\u00a0 JOYEUX-PRUNEL B\u00e9atrice (dir.), <em>Circulations in the Global History of a Art<\/em>, Londres, Routledge, 2015<\/p>\n<p>HEIN Fabien, \u00ab Le critique rock, le fanzine et le magazine ; \u00e7a s\u2019en va et \u00e7a revient \u00bb, <em>Volume<\/em>, n\u00b05\u00a0, 2006, p. 83-106<\/p>\n<p>JOYEUX-PRUNEL B\u00e9atrice, <em>Les avant-gardes artistiques. Une histoire transnationale. Volume 1 (1848-1918) ;\u00a0 Volume 2 (1918-1945)<\/em>,Paris, Gallimard, 2016 et 2017<\/p>\n<p>LEENAERTS Danielle, <em>Petite histoire du magazine VU (1928-1940). Entre photographie d\u2019information et photographie d\u2019art<\/em>, Bruxelles, PIE Peter Lang, 2010<\/p>\n<p>NEWMAN Amy, <em>Challenging Art: Artforum 1962-1974<\/em>, New York, Soho Press, 2000<\/p>\n<p>REGIMBEAU G\u00e9rard, \u00ab Les index des revues d\u2019art contemporain : outils documentaires et documents \u00bb. Actes du s\u00e9minaire annuel \u00ab Les revues de sciences humaines et sociales\u00a0: \u00e9volutions et figures \u00bb, 1996, p. 37-50, [En ligne], URL\u00a0:\u00a0 <a href=\"https:\/\/halshs.archives-ouvertes.fr\/hal-00605217v2\">https:\/\/halshs.archives-ouvertes.fr\/hal-00605217v2<\/a><\/p>\n<p>STEAD Evanghelia et V\u00c9DRINE H\u00e9l\u00e8ne (dirs.), <em>L\u2019Europe des revues (1880-1920). Estampes, photographies, illustrations<\/em>, Paris, Presses Universitaires Paris Sorbonne, 2008<\/p>\n<p>STEAD Evanghelia,<em> Sisyphe heureux. Les revues artistiques et litt\u00e9raires\u00a0: approches et figures, <\/em>Rennes, Presses Universitaires de Rennes, 2020<\/p>\n<p>TRIGGS Teal, <em>Fanzines<\/em>, Londres, Thames &amp; Hudson, 2010<\/p>\n<p>WEBB Sheila, &#8220;Magazines and the visual arts: the ideal showcase&#8221;, in ABRAHAMSON David et PRIOR-MILLER Maria R., <em>The Routledge Handbook of Magazine ResearchThe Future of the Magazine Form<\/em>, New York, Routledge, 2015, p.\u00a0347-361<\/p>\n<h2><strong>Guidelines<\/strong><strong>\u00a0<\/strong><\/h2>\n<ul>\n<li>On the first page of your document, please state your paper\u2019s title and a short bio (100 words) specifying your name, institutional affiliation and e-mail address.<\/li>\n<li>Your abstract (300 words) is to be sent in .doc or .odt format to presseculturelle2022@gmail.com, by <strong>January 31<sup>st<\/sup>, 2022.<\/strong><\/li>\n<\/ul>\n<p>Members of the scientific committee will anonymously peer-review the abstracts.<\/p>\n<p>A peer-reviewed volume of a selection of papers will follow the conference.<\/p>\n<h2><strong>Agenda<\/strong><\/h2>\n<table width=\"424\">\n<tbody>\n<tr>\n<td width=\"272\">Launch for abstracts<\/td>\n<td width=\"152\">20\/10\/2021<\/td>\n<\/tr>\n<tr>\n<td width=\"272\">Last day to submit abstracts<\/td>\n<td width=\"152\">31\/01\/2022<\/td>\n<\/tr>\n<tr>\n<td width=\"272\">Notification of acceptance or refusal<\/td>\n<td width=\"152\">25\/02\/2022<\/td>\n<\/tr>\n<tr>\n<td width=\"272\">Symposium<\/td>\n<td width=\"152\">9-10\/05\/2022<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<h2><strong>Organizing committee <\/strong><\/h2>\n<p>Lucie ALEXIS, Assistant Professor, Universit\u00e9 Grenoble Alpes, Institut de la Communication et des M\u00e9dias, GRESEC, associate researcher with Institut national de l\u2019audiovisuel and CARISM<\/p>\n<p>Flore DI SCIULLO, PhD in Communication and media studies, ATER, Universit\u00e9 Paris 2 Panth\u00e9on-Assas, Institut Fran\u00e7ais de Presse, associate researcher with CARISM<\/p>\n<h2><strong>Scientific committee <\/strong><strong>\u00a0<\/strong><\/h2>\n<p>BLANDIN Claire (Professor, Universit\u00e9 Sorbonne Paris Nord, LabSIC)<\/p>\n<p>BOIVENT Marie (Assistant Professor, Universit\u00e9 Rennes 2, laboratoire PTAC)<\/p>\n<p>BULLICH Vincent (Assistant Professor, Universit\u00e9 Grenoble Alpes, GRESEC)<\/p>\n<p>CROISSANT Val\u00e9rie (Assistant Professor, Universit\u00e9 Lyon 2, ELICO)<\/p>\n<p>DESEILLIGNY Oriane (Assistant Professor, Universit\u00e9 Sorbonne Paris Nord, GRIPIC)<\/p>\n<p>DESMET Nathalie (Curator, Assistant Professor, Universit\u00e9 Paris 8, AIAC)<\/p>\n<p>DEVILLARD Val\u00e9rie (Professor, Universit\u00e9 Paris 2 Panth\u00e9on-Assas, CARISM)<\/p>\n<p>LAFON Beno\u00eet (Professor, Universit\u00e9 Grenoble Alpes, GRESEC)<\/p>\n<p>LAMBERT Fr\u00e9d\u00e9ric (Professor, Universit\u00e9 Paris 2, CARISM)<\/p>\n<p>MOURATIDOU Eleni\u00a0 (Assistant Professor, Universit\u00e9 Sorbonne Paris Nord, LabSIC)<\/p>\n<p>STEAD Evanghelia (Professor, USVQ, CHCSC)<\/p>\n<p>RIEFFEL R\u00e9my (Professor, Universit\u00e9 Paris 2 Panth\u00e9on-Assas, CARISM)<\/p>\n<p>RINGOOT Roselyne (Professor, Universit\u00e9 Grenoble Alpes, GRESEC)<\/p>\n<p>SAEMMER Alexandra, (Professor, Universit\u00e9 Paris 8, CEMTI)<\/p>\n<p>WRONA Adeline (Professor, Universit\u00e9 Paris IV, GRIPIC)<\/p>\n<h2>Notes<\/h2>\n<p><a href=\"applewebdata:\/\/EA25D8AF-F830-4D92-9273-A7CE305EF1F9#_ftnref1\" name=\"_ftn1\"><sup>[1]<\/sup><\/a> See in France scholars seminars dedicated to that matter, such as &#8220;P\u00c9LIAS : Les p\u00e9riodiques comme m\u00e9diateurs culturels (Litt\u00e9rature, arts, sciences)&#8221; :<\/p>\n<p><a href=\"http:\/\/msh-paris-saclay.fr\/event\/seminaire-pelias-periodiques-litterature-arts-sciences-les-periodiques-comme-mediateurs-culturels\/\">http:\/\/msh-paris-saclay.fr\/event\/seminaire-pelias-periodiques-litterature-arts-sciences-les-periodiques-comme-mediateurs-culturels\/<\/a> organized by Alexia Kalantzis, Norbert Verdier et H\u00e9l\u00e8ne V\u00e9drine\u201d, or &#8220;<a href=\"https:\/\/www.uvsq.fr\/quinzieme-seminaire-du-tigre-texte-image-groupe-de-recherche-a-lecole-2020-2021\">TIGRE (Texte-Image, groupe de recherche \u00e0 l\u2019\u00c9cole)<\/a>&#8220;, chaired by Evanghelia Stead, online collaborative projects and\u00a0 databases like the &#8220;<a href=\"https:\/\/modjourn.org\/\">Modernist Journals Project<\/a>&#8220;. See also Scholarly Societies like \u201c<a href=\"https:\/\/rs4vp.org\/\">Research Society for Victorian Periodicals<\/a>\u201d or &#8220;<a href=\"https:\/\/www.espr-it.eu\/\">ESPRit \u2013 European Society for Periodical Research<\/a>&#8220;.<\/p>\n<p><a href=\"applewebdata:\/\/EA25D8AF-F830-4D92-9273-A7CE305EF1F9#_ftnref2\" name=\"_ftn2\"><sup>[2]<\/sup><\/a> This concept of \u201cexpanded field\u201d is derived from Rosalind Krauss in her famous article &#8220;Sculpture in the Expanded Field&#8221;, p. 277-290 <em>in<\/em> Rosalind Krauss<em>, The Originality of the Avant-Garde and Other Modernist Myths <\/em>[1984], Cambridge, MIT Press. This term was then used in different contexts. See for instance its appropriation by the art critics of the german magazine <em>Texte zur Kunst <\/em>: Catherine Chevalier, Andreas Fohr (dir.), <em>Une anthologie de la revue Texte\u00a0Zur Kunst de 1990 \u00e0 1998<\/em>, Dijon, Les Presses du r\u00e9el, 2010.<\/p>\n<p><a href=\"applewebdata:\/\/EA25D8AF-F830-4D92-9273-A7CE305EF1F9#_ftnref3\" name=\"_ftn3\"><sup>[3]<\/sup><\/a> Cf. Matthieu B\u00e9ra, \u00ab Critique d\u2019art ou promotion culturelle ? \u00bb, <em>R\u00e9seaux<\/em>, n\u00b0117, 2003\/1, p. 153-187.<\/p>\n<p><a href=\"applewebdata:\/\/EA25D8AF-F830-4D92-9273-A7CE305EF1F9#_ftnref4\" name=\"_ftn4\"><sup>[4]<\/sup><\/a> This term combining \u00ab\u00a0competition\u201d and\u201dcooperation\u201d was coined by the businessman Ray Noorda and gained popularity throughout the 1990s. See for instance: Nalebuff &amp; Brandeburger, <em>Coopetition<\/em>, <em>A Revolution Mindset that Combines Competition and Cooperation<\/em>, New York, Crown Businness, 1996.<\/p>\n<\/p><\/div>\n<div class=\"zn-singledetail-partners\">\n<h3 class=\"zn-singledetail-section-title\">Partners<\/h3>\n<div class=\"zn-singledetail-partners-list row small-up-2 medium-up-3 large-up-5 partnerlist\" data-equalizer data-equalize-on=\"medium\">\n<article class=\"summarypartner partner-18215 column\">\n\t<a class=\"summarypartner-box\" href=\"https:\/\/carism.u-paris2.fr\/fr\" title=\"CARISM\">\t\t<\/p>\n<div class=\"summarypartner-box-inner\" data-equalizer-watch>\n<div class=\"summarypartner-imgbox\">\n<figure class=\"summarypartner-figure\">\n\t\t\t\t\t<img decoding=\"async\" class=\"summarypartner-img\" src=\"https:\/\/www.sfsic.org\/wp-inside\/uploads\/skp-membership\/demande_adh\/logo-carism.png\" alt=\"Logo CARISM\" ><figcaption class=\"summarypartner-img-caption show-for-sr\">Logo CARISM<\/figcaption><\/figure>\n<\/p><\/div>\n<div class=\"summarypartner-content\">\n<div class=\"summarypartner-content-inner\">\n<header class=\"summarypartner-header\">\n<h3 class=\"summarypartner-title\">\n\t\t\t\t\t\t\tCARISM\t\t\t\t\t\t<\/h3>\n<p class=\"summarypartner-acronym\">\n\t\t\t\t\t\t\tCARISM\t\t\t\t\t\t<\/p>\n<\/header><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<p>\t<\/a><\/article>\n<article class=\"summarypartner partner-3864 column\">\n\t<a class=\"summarypartner-box\" href=\"http:\/\/gresec.univ-grenoble-alpes.fr\" title=\"GRESEC\">\t\t<\/p>\n<div class=\"summarypartner-box-inner\" data-equalizer-watch>\n<div class=\"summarypartner-imgbox\">\n<figure class=\"summarypartner-figure\">\n\t\t\t\t\t<img decoding=\"async\" class=\"summarypartner-img\" src=\"https:\/\/www.sfsic.org\/wp-inside\/uploads\/skp-membership\/demande_adh\/logo-4.png\" alt=\"logo GRESEC\" ><br \/>\n\t\t\t\t\t\t\t\t\t<\/figure>\n<\/p><\/div>\n<div class=\"summarypartner-content\">\n<div 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class=\"button-txt-type\"> (pdf)<\/span><\/span><br \/>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<div class=\"zn-singledetail-keywords\">\n<h3 class=\"zn-singledetail-section-title\">Keywords<\/h3>\n<ul class=\"termslist termslist-post_tag\">\n<li class=\"termslist-item termslist-title\"><span class=\"termslist-titletxt\">Mots-cl\u00e9s<\/span><span class=\"doubledot\"><\/span><\/li>\n<li class=\"termslist-item tax-post_tag term-culture-en\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/tag\/culture-en\/\" title=\"Culture\"><span class=\"termslist-itemname\">Culture<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-medias-en\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/tag\/medias-en\/\" title=\"M\u00e9dias\"><span class=\"termslist-itemname\">M\u00e9dias<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-presse-en\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/tag\/presse-en\/\" title=\"Presse\"><span class=\"termslist-itemname\">Presse<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<p><!-- \/fxzn:singledetail --><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Posted on 5 January 2022 Th\u00e9matiques Media and journalism Memorial, cultural and heritage mediation Expected response for the 31\/01\/2022 Response type R\u00e9sum\u00e9 Event type Conference Coordinators Lucie Alexis, Universit\u00e9 Grenoble [&hellip;]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[135,136],"tags":[507,682,683],"thematique":[574,585],"sfsic":[27],"class_list":["post-22187","post","type-post","status-publish","format-standard","hentry","category-cfc-event","category-conference","tag-culture-en","tag-medias-en","tag-presse-en","thematique-media-and-journalism","thematique-memorial-cultural-and-heritage-mediation","sfsic-labels","wp-sticky"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The art press today : towards a reconfiguration of a media genre?<\/title>\n<meta name=\"description\" content=\"The CARISM and GRESEC research units organize a conference about &quot;The art press today : towards a reconfiguration of a media genre?&quot;. 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