Greetings from your executive officers!  It is hard to believe that summer is upon us.  We would like to take this opportunity to review some of the high points of the past year.   Also, although next year’s CAA conference is still in the distance, we would like to fill you in on some of our tentative plans.  

CAA Conference in New York, 2011

It was great to see many of you in New York. Our presence at CAA was robust. We sponsored two excellent panels. Environmental Sustainability in Art History, Theory, and Practice, organized by RAC co-president Travis Nygard, included presentations by Max Libroiron (www.maxliboiron.com) and Cindy Persinger on current art practices involving trash, recycling, and traditional technologies while Kaylee Spencer presented on the aesthetics of Maya portraiture as responsive to shifting environments. Video Art as Mass Media? Was organized by Nate Harrison and Benj Gerdes (www.16beavergroup.org). Presentations by Jason Simon, Angela Dimitrakaki, William Kaizen, Ernest Larsen, and Priscilla Neri examined video art in terms of populism, activism, human rights advocacy and oppositional culture. For each session, we had an impressive 60 to 70 people in attendance.  Thanks again to Travis, Nate and Benj for organizing such successful and provocative panels.

RAC also sponsored a well-attended reception with a topical focus, Union Organizing in Academia. Two union organizers were present to lead discussions with attendees.  The first was Nayla Wren, Director of Organizing for the Screen Actors Guild (SAG), and the second was Andy Cornell, a leader in organizer at the Graduate Students Organizing Committee, United Auto Workers, at New York University.   Those in attendance shared their own experiences related to employment in academia.  Topics of discussion involved issues of fair hiring and employment, abusive labor practices, strategies for forming unions, and how to negotiate with institutional employers. 

At both the sessions and receptions, we had many requests for information about our group, and several new members have signed up subsequently.  As always, we encourage you to spread the word about the Radical Art Caucus to your friends, colleagues, and anyone else who will listen!  
 
We were also pleased that to announce that two conference attendees, who presented in our panels, were the beneficiaries of our Scholar/Activist grants. These grants, which cover CAA registration fees for students and underemployed members, have been made possible by generous donations from you all.  Thank you to those who have continued to support our organization with your membership dues and generous gifts.  

Our visibility at CAA this year was enhanced by our use of social media and posters. Thanks to Dan Wang for designing, writing, and publishing a special issue of the experimental Journal of Radical Shimming for the Radical Art Caucus (http://www.red76.com/jrs.html).  It was as a visually arresting way to reach the art community, which took the form of a broadsheet with innovative images, typography, and content. 

CAA Conference in Los Angeles, 2012 

When looking ahead to our next conference, we are pleased to say that there are interesting sessions and activities in the works.   We hope to see you there!.  

The Radical Art Caucus member Alan Wallach, who is on the faculty at The College of William and Mary, will be chairing our long session.  It is titled Politics of the Panoramic: Spectacle, Surveillance, Resistance.  His session abstract reads “The simultaneous invention in the early 1790s of the panopticon, a type of prison, and the panorama, a form of mass entertainment, marks the beginning of a new epoch in the history of visual domination.  Today, the panoramic and the panoptic so thoroughly pervade our culture that identification with the “eye of power,” as Foucault termed it, has become habitual, reflexive, unconscious, seemingly innocent.  Yet with the increasing proliferation of technologies of surveillance (e.g., CCTV), we find ourselves caught between the positions of viewer and viewed, of subject and object. If the panoramic inspires identification with regimes of surveillance, being the object of surveillance suggests a different response. The former implies a politics of complacency, the latter, a politics of resistance.  This panel welcomes studies of artists and artworks both high and popular as well as investigations of applications of, and responses to, technologies of panoramic vision, representation, and surveillance.”   

Kaylee Spencer, one of our co-presidents, will be chairing our short session on
Administrative Abuses and Faculty Resistance in the Fine Arts: Case Studies in Academic Labor.   In this panel discussants will consider the ways that fine artists and art historians, working in higher education, are laborers. Presenters will  address questions such as: Is the recognition of creative expression as equivalent to academic research and scholarship being eroded by administrators? Are administrators increasingly less inclined to regard visual artists and art historians as essential contributors in a liberal arts curriculum? Are administrators increasingly more prone to consider the visual arts and its practitioners as expendable extras? Are institutions prone to rely increasingly on adjunct labor in the fine arts? And, in the face of the present vulnerability of arts professionals, what is the role of unions and what strategies of resistance can be employed?  We are hoping that this session will spawn a greater critical discussion about the state of artistic employment in academia, which will resonate in longer-term conversations.  

We don’t want to be serious all of the time in Los Angeles, so we think that a party is in order!  We discussed this with many of you in New York, and the consensus was that a party should be held off-site.   There is a longstanding desire among our members to make the CAA conference extend into the community, allowing members to enjoy the broader city life.  This will also enable us to avoid the often exorbitantly priced hotel catering.  If anyone has location suggestions for a good off-site party venue, please let us know.  Ideally we would like to find a venue with good food at affordable prices near the Los Angeles Convention Center, which also serves alcohol.  If none of you have ideas, then we will rely on some recommendations from the Los Angeles-based union organizer who was at our conference in New York, Nayla Wren.  

As always, you are all encouraged to share with us items of interest that will take place at the conference, such as sessions or papers that we may also be interested in.  If you would like to organize additional “shadow” events in conjunction with the conference, we would all be happy to hear it.  We all know that Los Angeles has a robust arts scene, so we can imagine innumerable possibilities.  

CAA Conference in New York, 2013

It is hard to believe that we already need to be thinking about the conference in 2013, but it is true.  Institutions like CAA plan things far in advance.  To that extent, we would like to invite all members of RAC to either individually or collaboratively submit a proposal for our sponsored session to be held at the 2013 conference in New York. In the past, themes for our sessions have been proposed by the elected officers of RAC or at business meetings. In the interest of expanding member involvement, we are opening up the process this year in order to explore a wider range of topics. The proposal should include a one-to-two page description of your topic and a brief (no more than two page) c.v.  These documents should be sent to Joanna Gardner-Huggett, RAC Secretary (jgardner@depaul.edu) by email as attachments by May 30th.   RAC officers will select one proposal, which will be submitted to the board of CAA for approval at the end of the summer. Please don't hesitate to contact us if you have any questions about the process.  We hope that many of you will take this opportunity to contribute ideas for a stimulating session.

Thank you all for your continuing involvement with our organization.  We are looking forward to continuing to work toward making RAC the best that it can be. 

All the best,

Dear Friends,

I hope all is well with you. The attached announcement and petition is
going public today. Please distribute widely.

Website: http://gulflabor.wordpress.com/

Petition: http://www.ipetitions.com/petition/gulflabor/

FOR IMMEDIATE RELEASE

130 Artists Call for Guggenheim Boycott over Migrant Worker Exploitation
(New York, March 17, 2011) A group of leading artists, curators,
writers, and others launched a boycott of Guggenheim Abu Dhabi today
over the exploitation of foreign migrant workers building the museum
on Saadiyat Island, the United Arab Emirates.
More than 130 international artists, curators, writers and others have
signed a boycott to end all cooperation with the Guggenheim Abu Dhabi
and are demanding that the Guggenheim Foundation and its Abu Dhabi
partner take immediate and meaningful steps to safeguard the rights of
the workers constructing the new branch museum on Saadiyat Island.
Some of the artists who have signed the appeal have also decided to
boycott other Guggenheim locations around the world until this issue
is resolved.
"Artists should not be asked to exhibit their work in buildings built
on the backs of exploited workers," said Walid Raad, one of the
artists boycotting the Guggenheim. "Those working with bricks and
mortar deserve the same kind of respect as those working with cameras
and brushes."
In two extensive reports on the UAE, Human Rights Watch has documented
a cycle of abuse that leaves migrant workers deeply indebted, poorly
paid, and unable to defend their rights or even quit their jobs. The
UAE authorities responsible for developing Saadiyat Island have failed
to tackle the root causes of abuse: unlawful recruiting fees, broken
promises of wages, and a sponsorship system that gives employers
virtually unlimited power over workers.
After mounting criticism, the Guggenheim finally made a public
commitment in September 2010 to protect the rights of laborers
constructing its new branch. However the institution and, its Abu
Dhabi partner, the Tourism Development and Investment Company (TDIC)
have still not taken sufficient steps to better the conditions of
workers.
On March 10, 2011, TDIC announced that it "is broadening its existing
independent monitoring programme" and that it had revised its
Employment Practices Policy (EPP) to provide that  contractors "shall
reimburse Employees for any Recruitment Fees paid by them, without
deductions being imposed on their remuneration." However, TDIC also
stated that the monitor will examine only UAE and EPP violations,
which of course exclude significant labor law and human rights
protections guaranteed under international law. Furthermore, it has
not indicated whether the monitor's findings will be made public. With
respect to the EPP statement that contractors will reimburse workers
for fees, without enforcement mechanisms and a guarantee from TDIC and
the Guggenheim, it remains nothing more than an unenforceable promise
for which only workers bear the risk of loss.
"We support the building of cultural institutions on the Saadiyat
Island but we feel that it is our responsibility to do what we can to
ensure that the rights of workers are protected." said Emily Jacir, a
signatory.
The call followed an initiative by NYU faculty and students who are
trying to secure similar protections for the construction workers who
will be building the NYU Abu Dhabi campus, also on Saadiyat Island,
known as the "Island of Happiness".
Among those calling for the boycott are prominent artists Emily Jacir,
Walid Raad, Yto Barrada, Mona Hatoum, Shirin Neshat, Akram Zaatari,
Janet Cardiff, Willie Doherty, Hans Haacke, Thomas Hirschhorn, Alfredo
Jaar, Barbara Kruger, Antonio Muntadas, Paul Pfeiffer, Rirkrit
Tiravanija,, to name a few.
The full petition and list of current signatories is attached to this
press release. Additional material can be found at:
http://gulflabor.wordpress.com/.
For more information, contact:
In Sharjah, Walid Raad, Artist, +971508087430 or gulflabor@gmail.com,
In Sharjah, Emily Jacir, Artist,  +971656377770 or
gulflabor@gmail.comHYPERLINK "mailto:gulflabor@gmail.com",
In New York,  Ayreen Anastas, Artist, +1 718 388-5437 or
jobeuys@gmail.comHYPERLINK "mailto:jobeuys@gmail.com",
In New York, Rene Gabri, Artist,  +1 212 480-2099
renegabri@gmail.comHYPERLINK "mailto:renegabri@gmail.com",
In New York, Andrew Ross, Writer, +1 917-596-645 or andrew.ross@nyu.edu,

Radical Art Caucus Sponsored Session at the College Art Association Conference, Feb. 22-25, 2012 Los Angeles, CA.

Alan Wallach, The College of William and Mary, axwall@wm.edu

The simultaneous invention in the early 1790s of the panopticon, a type of prison, and the panorama, a form of mass entertainment, marks the beginning of a new epoch in the history of visual domination.  Today, the panoramic and the panoptic so thoroughly pervade our culture that identification with the ³eye of power,² as Foucault termed it, has become habitual, reflexive, unconscious, seemingly innocent.  Yet with the increasing proliferation of technologies of surveillance (e.g., CCTV), we find ourselves caught between the positions of viewer and viewed, of subject and object. If the panoramic inspires identification with regimes of surveillance, being the object of surveillance suggests a different response. The former implies a politics of complacency, the latter, a politics of resistance.  This panel welcomes studies of artists and artworks both high and popular as well as investigations of applications of, and responses to, technologies of panoramic vision, representation, and surveillance.

To propose a paper, complete the application as described in the Call for Participation on the College Art Association website: http://www.collegeart.org/pdf/2012CallforParticipation.pdf

Receipt deadline: May 2, 2011

How subversive really is the social uselessness of art?  Could art
play a more directly functional role in culture?  Dean Kenning and
Gavin Grindon challenge the idea that art should be allowed to take
critical positions safe from any real intervention. Participants
include Artur Zmijewski, Dmitry Vilensky (Chto Delat), James Marriott
& Jane Trowell (PLATFORM), John Roberts, Stephen Wright, Marina
Vishmidt, Peter Osborne and Gail Day.

In association with Stanley Picker Gallery Public Lectures on Art &
The Visual and Material Culture and Contemporary Art Research Centres
at Kingston University of London.

The increasing visibility of contemporary art, together with the shift
in art discourse towards the social dimension, not to mention the
sheer number of people now practicing as artists, all make the use
value of art a vital issue. At a local and national level contemporary
art has clearly taken on a role as instigator of local
regeneration/gentrification and city branding. Such projects usually
involve star artists, while activist, community and socially engaged
practices often take place off the art world radar, or else adopt
conventional art spaces as leverage for their work. How do
organisations and institutions with their resources and networks
influence this equation of art and use? In light of the radical
changes to higher education which are currently being pushed through
alongside simultaneous cuts in the arts budget, can we develop a
language beyond the business-model discourse of ‘creative industries’
in which to defend and promote the value of art to a wide public?

This symposium aims to ask: What is the use-value of art today, how is
it useful, and for whom? What are the particular imaginative and
cognitive skills, competences and approaches that could take effect as
part of the general symbolic economy beyond the artworld? What are the
lessons and influences of movements which sought an unambiguously
social and political function for their experiments? And finally, what
are the conditions that enable artists not simply to reflect upon the
world, but to act within and change it?

Tickets are available here:
http://www.whitechapelgallery.org/shop/product/product_id/800

Anti-Anti Utopia: Art, Technology and Hope

"A map of the world that does not include Utopia is not worth glancing at."
- Oscar Wilde

gallery@calit2 is calling for proposals from artists, curators and other life forms,  for exhibitions that will stimulate thought, desire or action on the  theme of "Anti-Anti Utopia: Art, Technology and Hope."

In a moment of global disaster (economic, geopolitical, etc.), hyper-surveillance, media swarms, censorship, functional limitations, and technological excesses, there is a nagging question--are we beyond invention? In a society of crisis, we invite possibility. In Cruising Utopia, queer theorist José Esteban Muñoz calls for an anti anti-utopia, condemning the political status quo and inviting the "radical aesthetic, erotic and philosophical experiment."

Against the anti-utopian lockdown of what can be imagined, of what can be illuminated, of what can be made - gallery@calit2 makes a call for work that can consider the difficult intersections found between art, technology and the new "not-yet-now" of hope emerging from the anti-anti utopian moment. Works that cruise utopia with queer futurities, with techno-utopianism after the end of utopia, art that continues creating utopian desires from dystopian fictions and the fictions of science, gestures that push forward new ecologies after the end of what cannot be imagined as the end. Anti-anti utopian art continues to build spaces of hope after the catastrophes of the present have removed utopia from the map.

gallery@calit2 welcomes responses from the local, national, and international communities. Proposals will be reviewed by the gallery committee, and judged according to artistic merit as well as convergence with the mission of the gallery.

PROPOSAL REQUIREMENTS:

1. Title and Project Description
2. Contact info for Curator and/or Artist (Email, phone, address)
3. Statement and Bio for Curator and/or Artist
4. Images of artwork (please link to online examples)
5. Exhibition layout  (within the 700 sqft  gallery, and for two 30 ft display walls)
6. AV needs (projectors, computers, monitors and sound system available upon request)
7. Budget needs up to $3000 (including any travel/shipping/supplies)
8. Preferred timeframe (Fall, Winter or Spring Quarter)

Deadline to receive proposals is December 15, 2010.
Proposals should be emailed as a single PDF to galleryinfo(at)calit2.net.
Applicants whose proposals are selected for exhibition for 2011-2012 at gallery@calit2 will be notified by May 1, 2011.

For more information about the gallery@calit2, please see our website at <http://gallery.calit2.net//>

Click here to download:

Binational Border Conference Announcement.pdf (449 KB)

(download)

Click here to download:

Binational Border Conference Announcement.pdf (449 KB)

[Versión en español, favor de ver abajo]

Anuncio y convocatoria
CONFERENCIA BINACIONAL SOBRE ASUNTOS FRONTERIZOS

Announcement and Call for Papers
BINATIONAL CONFERENCE ON BORDER ISSUES

San Diego City College
December 1, 2010
9 am - 3 pm
Room D 121A

"The U.S.-Mexican border es una herida abierta (is an open wound)
where the third world grates against the first and bleeds". -Gloria
Anzaldúa

 The U.S./Mexico border has become increasingly important and relevant
to populations living and interacting with one another on both sides
of this international boundary.  Impacts and perceptions of the border
region continue to be the subject of many contemporary research
projects, advocacy and activism.  Papers in this conference will
explore the impact of the border on populations living both in the
U.S. and Mexico. They may also discuss how these populations perceive
and respond to these impacts from various perspectives through current
research, activism, advocacy and life experience.

KEYNOTE SPEAKERS:

DAVID BACON, California-based writer and photographer, author of
Illegal People and The Children of NAFTA. VICTOR CLARK ALFARO,
Director of the Binational Center for Human Rights in Tijuana and a
lecturer in the Latin American Studies Department at San Diego State
University

This announcement is also a Call for Papers from current researchers,
activists, faculty, and students on both sides of the international
border.

Paper presentations will be 10 or 20 minutes in length (including
presentation and Q and A) and will address one or more of the
following topics:

Art, music, literature
Border studies curriculum
Baja California: development of the peninsula
Central American migrants
Conflict Resolution/mediation along the border
Drugs
Environment-toxic waste
Health, education, housing
Human Rights
Human Trafficking
Immigration/migration/emigration
Indigenous peoples
Life after deportation
Maquiladora industry
Militarization of the border
NAFTA
Physical impact on cultural (archaeological) resources
Racism
U.S. migration to Mexico

If interested, please submit a 250 word (maximum) abstract to by   Nov
2, 2010. Selected papers will be published in a new border studies
journal.

Art exhibition at the Centro Cultural de la Raza:  Nov 27 - Dec 2

E-mail and additional information:

E-mail: binationalconference@gmail.com
Blog: www.binationalborderconf.blogspot.com

This conference is sponsored/supported by: San Diego City College
President Terry Burgess, American Federation of Teachers local 1931,
City College Institute for Human Development, Department of Chicana
and Chicano Studies and Anthropology Program of Department of
Behavioral Sciences, Centro Cultural de la Raza

+++++  Sigue versión en español  +++++

Anuncio y convocatoria
CONFERENCIA BINACIONAL SOBRE ASUNTOS FRONTERIZOS

San Diego City College,
1 de Diciembre, 2010
9 am - 3 pm
Salón D 121A

"La frontera entre México y los Estados Unidos is an open wound (es
una herida abierta) donde el tercer mundo choca contra el primero y
sangra."  Gloria Anzaldúa

La frontera México/Estados Unidos es cada vez más importante para las
poblaciones que viven e interactúan en ambos lados de esta línea
internacional. En la actualidad, los impactos y percepciones de esta
región fronteriza son la base de múltiples proyectos de investigación
y organización. En esta conferencia, las presentaciones abordarán el
impacto de la frontera sobre poblaciones viviendo en México y EUA. Las
presentaciones también podrán explorar desde diversas perspectivas
cómo las poblaciones en ambos lados de la línea perciben y responden a
estos impactos. Las presentaciones podrán ser reportes de
investigación, presentaciones de organizaciones y narraciones de
experiencias de vida.

PRESENTACIONES MAGISTRALES:
DAVID BACON, Escritor y fotógrafo de California, autor de Illegal
People y Los hijos del TLC.
VICTOR CLARK ALFARO, director del Centro Binacional de Derechos
Humanos, Tijuana, y profesor de la Universidad Estatal de California
en San Diego.

Invitamos a organizadoras/es, investigadoras/es y a estudiantes en
ambos lados de la frontera internacional a participar en esta
conferencia.  Las presentaciones serán de 10 o 20 minutos (incluyendo
preguntas y respuestas)  y deberán explorar algunos de los temas
siguientes:

Arte, música, literatura
Deportación y la vida después de la deportación
Derechos humanos
Desarrollo de la península de Baja California
Drogas
Impactos físicos en los recursos culturales (arqueológicos)
Industria maquiladora
Mediación y resolución de conflictos en la frontera
Medio ambiente y basura tóxica
Migración de Centroamérica
Migración de Estados Unidos a México
Migración, emigración e inmigración
Militarización de la frontera
Pueblos indígenas
Programas sobre estudios fronterizos
Racismo
Salud, educación, vivienda
TLCAN
Tráfico humano

Si está interesada en exponer, favor de enviar un resumen de su
presentación (máximo de 250 palabras) a más tardar el 2 de noviembre.

Las presentaciones más relevantes serán incluidas en una nueva
publicación sobre estudios fronterizos.

Exhibición de arte en el Centro Cultural de la Raza: 27 Nov - 2 Dic

Correo electrónico y más información:

E-mail: binationalconference@gmail.com
Blog: www.binationalborderconf.blogspot.com

Esta conferencia es patrocinada o apoyada por: Terry Burguess,
presidente de San Diego City College; la Federación Americana de
Maestros, local 1321; el Instituto del Desarrollo Humano; el
Departamento de Estudios Chicanas y Chicanos; y el Programa de
Antropología del Departamento de Ciencias del Comportamiento; Centro
Cultural de la Raza

The *Radical History Review* is planning a special issue that explores how
historians, activists, curators, historic site and museum administrators, as
well as other creators and managers of historical content, address public
audiences around issues of the illicit or the illegal. With the goal of
"calling the law into question," the editors seek research-based and
reflective pieces that examine how engagement with histories of the illicit
or the illegal can challenge normative representations of how laws and moral
customs have been constructed, upheld, and discursively supported. We seek
contributions that examine why publicly engaged work should confront
histories of the illegal and illicit, which many people would rather avoid,
ignore, or forget. We are also interested in how publicly engaged work can
explore the social and cultural contexts that define and police what is
illegal or illicit, in a manner that provokes different publics to rethink
how these categories are created.

We are especially interested in submissions that address museum exhibits,
documentary films, websites, art, or writings intended for audiences outside
of academia. This special issue offers opportunities both to take stock of
the issues public historians, activists, and public scholars face in terms
of audience, funding, and institutional support, when they choose to engage
with histories of the illicit/illegal, and also to evaluate successful and
unsuccessful examples of work ­ in terms of influence, financial and
institutional support, and critical and popular reception ­ that have been
created to this end.

Examples of possible topics include:

€ Representation of criminality and vice in neighborhood and local public
history projects as well as in crime and vice tourism
€ Environmental justice tours that expose EPA violations (e.g. directed at
corporations/industry/etc.)
€ Local/regional/national museums that focus on the history of law
enforcement
€ Museological displays that address war crimes (e.g. the War Remnants
Museum in Ho Chi Minh City) or conscientious objectors/³draft dodgers²
€ Challenges posed by public history tours of former prisons and places of
incarceration
€ Public commemorations that intersect with histories of unlawful actions
€ The challenges of engaging public audiences around "illegal" migration and
the maintenance of territorial sovereignty
€ Public protest or public art questioning the moral and/or cultural
validity of religious laws and conventions
€ Conflicts over the inclusion of materials depicting violence or sexual
content in public projects aimed at children and youth
€ Museums and public history sites that contextualize international law and
the maintenance of human rights
€ Examinations of how the history of oceanic piracy has been portrayed in
public arenas
€ Web-based challenges to copyright and intellectual property laws, and
public defenses of such practices
€ Exhibits and other public displays aimed at supporting or discounting
reproductive rights
€ Public exhibits that address the use of banned substances (contemporary
and historical)
€ Explorations into how liberation narratives (such as gay liberation) offer
progressive histories of overcoming the stigma of being illicit or illegal,
at the expense of examining historical complexities
€ Analyses of when and how do formerly illegal acts become (publicly
sanctioned) icons of national culture? (Capoeira in Brazil is one example)
€ Documentaries (television/film/radio) focusing on insider trading,
corporate excess, and illegal market manipulations
€ Examinations of the challenges of securing funding and institutional
support for public projects that engage histories of the illicit/illegal

Because the *Radical History Review* publishes material in a variety of
forms, the editors will consider abstracts for scholarly research articles
as well as proposals for relevant photo essays, artwork, reviews
(exhibit/film/web/book), interviews, discussions between scholars and/or
activists, teaching reflections, and annotated course syllabi. Furthermore,
the editors encourage submissions that "call the law into question" in the
full range of geographic locations and eras.

Preliminary inquiries may be sent to the editors: Amy Tyson at
amytyson@gmail.com and Andy Urban at aturban@emory.edu.

*By September 1, 2010*, please submit a 1-2 page abstract summarizing the
article or other contribution you wish to submit tocontactrhr@gmail.com with
"Issue 113 abstract submission" in the subject line. By October 15, 2010
contributors will be notified whether they should submit their piece in
full. The due date for solicited, complete articles for blind peer review is
March 1, 2011. Articles that are selected for publication after the peer
review process will appear in volume 113 of Radical History Review, which is
scheduled for Spring 2012. Note: for artwork to be considered, please send
low-resolution digital files (totaling less than 2 MB in size) to
contactrhr@gmail.com(also with "Issue 113 abstract submission" in the
subject line). If chosen for publication it will be required that you send
high-resolution image files--JPG or TIF files at a minimum of 300 dpi--along
with permissions to reprint all images.

*Abstract Deadline:* September 1, 2010

*Email: *contactrhr@gmail.com