As of Fall 2007, InVisible Culture is a peer-reviewed journal and publishes thematic issues on a semiannual basis, fall and spring. Please submit completed papers (with references following the guidelines from the Chicago Manual of Style) of between 4,000 and 10,000 words to email@example.com. Inquiries should be sent to the same address. Please be aware that we will only accept papers that have not yet been published anywhere else and will not be published elsewhere within six months of our issue launch date.
Dialogues serves as a platform for short-form pieces (700-1000 words) that fall under two categories: 1) those that do not fit within the journal’s other sections and/or 2) those whose urgency demands a swift publication. These might be reviews of forthcoming/current exhibitions, artist’s books, music, performance, or literature. We also welcome submissions that meditate on broader questions and topics of contemporary visual culture. If you would like to write for Dialogues, please send your pitch and a short CV to firstname.lastname@example.org.
InVisible Culture seeks writers for 750 – 1,000 word book, film, and exhibition reviews. For books of interest, consult our list of reviewable books. Only original, previously unpublished submissions will be considered. Book, film, and exhibition reviews submissions are published on a rolling basis within the concurrent IVC issue. Submissions should follow IVC style guidelines. Interested reviewers, please see our call for submissions below. Proposals and inquiries can be sent to email@example.com.
IVC welcomes substantive and insightful film reviews from emerging and established scholars that address aesthetic and/or sociocultural content of a particular film, a filmmaker’s oeuvre, or series of films. The journal accepts both contemporary and historical works of film criticism, and submissions should be between 750 – 1,000 words. Submissions that engage with current academic and popular discourses in film, media, visual and cultural studies and place particular aspects of film and filmmaking within broader social, political, and historical contexts are especially encouraged. IVC also welcomes submissions that critically consider production, distribution, exhibition, organizing, curating, archiving, and research within film and media studies.
IVC welcomes critical assessments of museum and gallery exhibitions from emerging and established scholars that address the organization, presentation and curatorial rationale of a particular exhibition. Exhibition reviews should also consider how viewers engage with the exhibition, focusing on specific artworks and themes within the exhibition. Comparative reviews and critical essays on histories, theories, and practices of artmaking, exhibition, and curatorial models – biennials, retrospectives, social practice in the public sphere, politics of display and so on – are also welcomed. As such, exhibition reviews that engage with contemporary debates in art history, visual culture, museum studies, and material culture are especially encouraged.
Our video guidelines are fairly non-restrictive. We ask that it be in Quicktime Format or AVI format. Ideally, it would be output to a format such as H.264 provided that any of it includes material shot on HD or film-based media. We also ask that it be no longer than 30 minutes in length. Although the length issue is a bit flexible provided that we are given proper explanation/notice ahead of time.
For creative submissions that employ materials such as software, code, websites, games, and browsers, we require that they are compatible with our journal’s web-based platform (WordPress) and/or accessible via a live Universal Resource Locator (URL) on the Internet. The artist is required to document the artwork’s technical profile and to establish the artist’s intent for preservation strategies.
The rights for the piece must not be held by any other institution or website, so that we may exhibit it on IVC. Artists have the option to apply Creative Commons licenses to their artwork. These licenses allow other artists and the public to copy, distribute, display, perform and remix the copyrighted material as long as credit is given to the artist. Creative Commons licenses can be tailored to each individual work and determined by the artist during the submission process. If the artist does not wish to apply a Creative Commons license, they may choose to retain “All Rights Reserved” copyright of their work. The artist’s decision for copyright is publicly available when the work is displayed.
We also require an artist’s statement of no more than 2 pages, double-spaced.
Otherwise, just refer to the CFP main text for thematic/conceptual guidelines. Those basic guidelines/points of focus that would apply to a scholarly piece apply here.