AAH

External News and Events: Event - Contemporary Responses to Portrait Collections

Event - Contemporary Responses to Portrait Collections

16 July 2013, Birmingham

This seminar on 16 July 2013 will showcase excellent examples of collections undertaking collaborations with artists, sponsoring mentorships, and fostering participation projects with various audiences. Many of these innovative portrait-focused projects are taking place in the West Midlands this summer, and the seminar aims to present some of these inspiring case studies and share the reflections of those involved; artists, collections, and participants.

Our venues for the day will be Birmingham Museum & Art Gallery (morning) and the Barber Institute of Fine Arts (afternoon), and the seminar will be co-chaired by Toby Watley, Head of Programming at BMAG and Robert Wenley, Deputy Director at the Barber

Speakers will include:

• Simon Taylor, Head of Learning, Ikon Gallery. Life Still: Portraiture and End of Life Care Anton Want, Photographer. PitProfiles: Re-profiled – The Changing Face of an Industry
• Dr Sadiah Qureshi, Lecturer in Modern History, and Shahmima Akhtar, undergraduate student, Department of History, University of Birmingham. Catlin, museums and the future of collaborative teaching
• Ruth Clarke, Participation Manager, National Portrait Gallery. Creative Connections – connecting young people with contemporary artists to create new artworks inspired by the Gallery’s Collection
• Brian Griffin and Mihaela Calin, Photographers. The Propagation of Interest
• Shelley Longford and Jas Lally, MA students, History of Art, University of Birmingham. Defining Faces: Experiencing Co-Curatorship

Details of the programme, tickets (£40/£25), and the availability of complimentary tickets are all on the Understanding British Portraits website here. Join the Understanding British Portraits mailing list for the monthly newsletter.

Contact and further information details:
http://www.britishportraits.org.uk/events/contemporary-responses-to-portraiture-birmingham-tuesday-16-july-2013/

External News and Events: Event - Yinka Shonibare MBE: Material Positions

 Yorkshire Sculpture Park YINKA SHONIBARE MBE: MATERIAL POSITIONS 27.06.13 / 10.00 / £40, £20 concessions

Confirmed speakers: Angela McRobbie | Carol Tulloch | Miranda Stearn Dr William Rea | Dr Karen Dennis | Richard Johns Melanie Vandenbrouck To find out more and book your place visit ysp.co.uk/events

One-day conference led by The University of Huddersfield in association with and at YSP to explore the history, development and context of Shonibare’s work.

Programme
10:00 - 10:15
Greetings and introductory remarks: Dr Alison Rowley

10:15 - 11:15
Keynote: Professor Carol Tulloch
Yinka Shonibare MBE: Making – Freedom-Recalcitrant

11:15 - 11:35
Refreshments (provided)

Session 1
11:35 - 11:55
Miranda Stearn
Yinka Shonibare MBE: Scratching the Surface at the National Gallery

11:55 - 12:15
Dr Karen Dennis
YA MTU HUPANGWA NA MUNGU: A Conversation with Cloth

12:15 - 12:35
Discussion and Questions

12:35 - 14:00
Lunch (not provided)

Session 2
14:00 - 14:20
Dr William Rea
Textile, Tradition, Context: Performance and Tricky Hybrids, or When did Mrs Carter meet Yinka Shonibare MBE?

14:20 - 15:00
Dr Richard Johns and Dr Melanie Vandenbrouck Blowin' in the Wind: The Maritime Worlds of Yinka Shonibare MBE.

15:00 - 15:20
Discussion and Questions

15:20 - 15:40
Refreshments (provided)

15:40 - 16:40
Keynote: Professor Angela McRobbie
Re-Visiting New Ethnicities: Shonibare, Stuart Hall and the Rise and Roots of Black British Art Worlds

16:40 - 17:00
Round table and final questions

17:00 - 19:00
Exhibition tour and wine reception

About the Speakers

Carol Tulloch is Professor of Dress, Diaspora and Transnationalism at the CCW Graduate School and member of the Transnational Arts, Identity and Nation Research Centre (TrAIN) at the University of the Arts, London. She is also TrAIN/V&A Fellow at the V&A Museum. Her work as a curator and writer includes: ‘Dress and the African Diaspora’, special issue of Fashion Theory, The Journal of Dress, Body and Culture (editor, 2010), Style-Fashion-Dress: From ‘Black’ to ‘Post-black’ (2010), Being at Home: Familial Dress Relations and the West Indian Front Room (2009), Resounding Power of the Afro Comb (2008), and Black British Style (co-curator 2004). Carol was principal investigator of the Dress and the African Diaspora Network (2006–7).

Miranda Stearn is a doctoral student at the Courtauld Institute of Art, London. Her research focuses on museum-commissioned artist interventions, looking at how and why museums and galleries bring in contemporary artists as interpreters of their collections. Underlying her project is an aspiration to understand the prevalence of these types of projects in the UK museums sector and to examine the implications for museums, collections, artists and audiences. She is currently Arts and Heritage Development Co-ordinator for London Borough of Richmond upon Thames and has worked in public sector arts and heritage for eight years.

Dr Karen Dennis is Senior Lecturer in Historical and Theoretical Studies at the University of Huddersfield. She is an educator who designs and a designer who educates and takes an active role in both practical and theoretical work. Combining research with teaching she maintains a studio in Leeds where she produces garments made from recycled clothes and is involved in the delivery of community-based workshops. She has worked for a number of NGOs and international agencies investigating the link between textile and clothing production and development, and she also helps to run a community theatre group involved in political street theatre and festival performances.

Dr William Rea is Senior Lecturer in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds. His major research concerns the masquerades of the Ekiti Yoruba in Nigeria but more broadly is focused on the art history of West Africa and Africa in general, both in terms of the classical traditions and the visual response to modernity. He is developing research on cultural entrepreneurship and the creative industries in Lagos and Ibadan.

Dr Richard Johns and Dr Melanie Vandenbrouck are Curators of Art at Royal Museums Greenwich.

Angela McRobbie is Professor of Communications at Goldsmiths, University of London. Her most recent book is a work of feminist theory, titled The Aftermath of Feminism (2009). She is currently completing a book on working lives in the new creative economy, titled Be Creative? Making a Living in the New Culture Industries, and she has written a number of essays on the black arts and cultural studies including the work of Yinka Shonibare MBE.
 

External News and Events: Call for Papers - The Noises of Art Audiovisual Practice In History, Theory and Culture

The Noises of Art Audiovisual Practice In History, Theory and Culture

The School of Art, Aberystwyth University, in collaboration with The Courtauld Institute of Art, London, and Aberystwyth Arts Centre
4 –6 September 2013

The conference addresses what is arguably the most prolific, varied, and groundbreaking period in the coming together, exchange, and mutual influence of visual art and sound-based practices (such as music and the spoken word). It aims to explore (principally) the visual artist’s engagement with sound, noise, music, and text while at the same time recognising that there is a traffic of musicians, sound artists, and text artists moving in the opposite direction, who aspire to cultivate visual analogues for their work. Thus, the conference is situated at the intersection of several movements that are converging upon a point of visual-audio synthesis and exchange. In general, although not exclusively, the forum will provide and the opportunity to:

• draw together visual artists and text-based artists who also use sound as a mode of creative production as well as musicians and sound- or noise-based artists who also use images (static or kinetic) as a mode of creative production
• discuss, describe, exemplify, and present individual and collaborative practice
• examine the commonalities, distinctives, and relationship of image, sound, and aural text in terms of their essence, methodologies, technologies, theories, aesthetics, historical trajectories, and modes of discourse
• explore audio-visual practice from the perspective of cognitive, perceptual, and psychological studies.?

The sound and art practice strands will be organised by John Harvey and Paul Croft of the School of Art, Aberystwyth University. The sound and art history strand will be organised by Irene Noy and Michaela Zoschg of The Courtauld Institute of Art, London. The venue and conference administration will be overseen by Alan Hewson and Sophie Bennett of the Aberystwyth Arts Centre, Claire Pickard of the School of Art, and Siân Williams.

We welcome abstracts for 20-minute-long papers, in all media and on any periods and regions, that deal with either case studies or broader methodological, theoretical, and historical questions, as well as proposals for improvisatory projects.

Please send either abstracts of 250–300 words or proposals of 700 words (including sample image (JPEG format) and sound or video files (mp3 or mp4 format), where appropriate and a short biography of 100–150 words, and all inquiries to Sophie Bennett (sob@aber.ac.uk) by 1 July 2013. For more information, please visit http://noisesofart.weebly.com

External News and Events: Call for Papers - HARTS & Minds: Journal of Humanities and Arts

 HARTS & Minds: Journal of Humanities and Arts - Call for Papers

This call for papers invites original submissions from postgrads or early careers researchers on the subject of ‘Death and Decay’ for the third edition of HARTS & Minds, an online postgraduate journal for students of the Humanities and Arts, which is due to be published online in Winter 2013-14. www.harts-minds.co.uk

Submissions should adhere to the guidelines available on our website.
You can either send us an abstract (approximately 300 words in length) and a completed article (no longer than 6000 words) OR you may provide an abstract (300 words) and a synopsis outlining the structure and argument of your intended article (approximately 1500-2000 words).

You must use the article template available on our website to format your article. All submissions should be sent with an academic CV to editors@harts-minds.co.uk by Friday 4th October.

We will also consider Creative Writing pieces (poetry or short stories of up to 6,000 words) please email for more details.

Subjects may include but are not limited to the following:

• Medical Humanities (e.g. Parasites, disease, autopsy, the cadaver)
• Rituals and rites of the dead in various cultures
• Burial practices
• Death and dying in global literatures
• Visual Death; in art, photography, illustration, in film and television, on stage
• Death personified: the Grim Reaper, Yama & Lord of Naraka, Hel, Hades etc.
• The geography of death; real or mythological
• Decay if buildings, bodies, nature, morals
• Reincarnation, immortality
• The death of discourse, language, the author, God -Death as taboo
• War and death
• The future of death in a posthuman world.
• Moral death
• Death: presence and absence
• Afterlife, textual afterlives.
• Hauntings, the undead, vampires, zombies.
• Eschatology
• The value of Death: what makes a justified or honorable death?
• Dirt and debris, Wrecks and ruins, Flotsam and Jetsam
• Elegy, Obituary, the Funeral March, Eulogy
• Monuments, Memorials and the Archive
• Suicide, both literal and metaphorical.

Please consider that HARTS & Minds is intended as a truly inter-disciplinary journal and therefore esoteric topics will need to be written with a general academic readership in mind.

The Editors
HARTS & Minds

editors@harts-minds.co.uk
www.harts-minds.co.uk

External News and Events: Call for Papers - Mobilities of Craft since 1900: Economics, Politics, Aesthetics

 CFP: Mobilities of Craft since 1900: Economics, Politics, Aesthetics (proposed panel, AAS Meeting, Philadelphia, March 27-30, 2014)

The twentieth century saw a heightened interest in the intersection between craft, design and high art, both in Asia and elsewhere, with productive intersections across national borders (such as American artists in residency in India and Japan), possibilities of (limited) cultural preservation through commercial distribution (e.g. Madhubani painting), and the means to shore up political relations (as in Southeast Asia during the Cold War).

This panel investigates the mobility of craft in the context of twentieth and twenty-first century global flows of capital and asymmetrical power relations. Focused on craft in relation to Asia (conceived broadly), we also seek innovative scholarly approaches to questions of the movement of crafts and aesthetics, questions of authenticity, and engagement with commerce. Does the framework of Orientalist appropriation and romanticization as articulated by early twentieth-century scholars and critics such as Coomaraswamy and Yanagi remain useful? Or, do we require new methods to raise questions about the movement of craft objects and related processes of creation, distribution, display and use across the globe—in cultures of migration, as mobilized by varieties of transport, as outsourced goods in transnational export/import flows, as traded for cultural diplomacy, or as contextualized in relations of aesthetic agency and constraint? How has craft objects' mobility impacted craft’s participation in economies and political orders? Does the circulation of craft preclude other forms of visual and material culture? What expectations about the significance of its makers do craft demonstrations produce and reify? How do the locations where craft processes are demonstrated—rural areas, regional cities, national museums, festivals, (aspiring) cultural hubs in Asia and abroad—contribute to or limit craft's significance? Later in the century, the rise of "fair trade" movements seem to rework the role of craft. Did the rise of neoliberalism reshape the significance of craft materials and processes along with links to tradition and locality? Has attention to craft in its materiality overshadowed or potentially erased other, less physical modes of cultural expression such as dance, music, or storytelling? Does craft remain associated with folk or the vernacular along with discourses of authenticity and ethnic purity?

We welcome papers that address any of these trajectories at the intersection of craft, commerce, and the movement of material culture and aesthetics around Asia and around the world, from a range of disciplinary perspectives.

Please send abstracts (250 words) and a short cv to both of the above email addresses by July 15, 2013. We will be submitting a panel to the AAS Annual Meeting held March 27-30, 2014 in Philadelphia.

Rebecca M. Brown, Johns Hopkins University, rmbrown@jhu.edu
Jennifer Way, University of North Texas, Jennifer.Way@unt.edu

External News and Events: Event - The Eye of Ra: midsummer rite with Gaggle

Event -  The Eye of Ra: midsummer rite with Gaggle

This event is part of Petrie Museum’s programme for its Timekeeper installation, 12 June-3 August, www.astormisblowing.org

Information and details about event (include venue, date and fee):
Saturday 22 June, 2-4pm, FREE

Wilkins Roof Garden (via UCL front entrance on Gower Street), London WC1E 6BT.

Inspired by the ancient Egyptian rites that took place in the five spare days between each calendar year, all-women alternative choir Gaggle perform as the daughters of the sun god Ra. With sounds from DJ-artists Russell Jones and zitrone, plus black cocktails, amulet-making and green eye make-up to fend off misfortune.
 
Further information: www.astormisblowing.org | http://www.ucl.ac.uk/museums/petrie

External News and Events: Exhibition - A Storm is Blowing

A Storm is Blowing : UCL Petrie Museum of Egyptian Archaeology launches installation by artist-curator Cathy Haynes

12 June – 3 August 2013
UCL Petrie Museum of Egyptian Archaeology, Malet Place, London WC1E 6BT
Open Tuesdays-Saturdays, 1-5pm, FREE entry

What does time look like? From an18th-century parent of Facebook’s timeline to an ancient Egyptian game of life, A Storm is Blowing is an improvised 3D diagram questioning the idea of time.

Created by artist-curator Cathy Haynes in response to discussions with time experts and members of the public, the installation features 35 historical pictures and models of time including a miniature trapeze act, the future figured as a many horned-goat, a 5-metre chart of history as a stream, and an astronomical wormhole.

Find out more about the history of understanding time and explore how we experience and represent time today.

http://www.ucl.ac.uk/museums/petrie
www.astormisblowing.org

External News and Events: Event - ‘Internationalism and the Arts: Imagining the Cosmopolis at the long fin de siècle’

‘Internationalism and the Arts: Imagining the Cosmopolis at the long fin de siècle’

Venue: the Clore Auditorium, Tate Britain
Date: 5-6 September 2013
Fee: attendance is free

Contact email: iceresearchnetwork@gmail.com
Website address: http://www.bristol.ac.uk/arts/research/ice/events/2013/7.html

Please reserve a place by 16 August 2013

External News and Events: Event - The Paris Fine Art Salon, 1791-1881

 Event - The Paris Fine Art Salon, 1791-1881 – University of Exeter, 4-6 September 2013

A three-day conference at the University of Exeter. Conference papers to be delivered in either English or French.

Keynote speakers:

Professor Susan Siegfried (University of Michigan)
Professor Pierre Vaisse (University of Geneva)
Professor Richard Wrigley (University of Nottingham)

The Paris Fine Art Salon dominated French artistic life throughout the nineteenth century. Organised by the State, and usually lasting between two and three months, the Salon was an annual or biennial showcase for the contemporary visual arts and a conspicuous manifestation of French artistic hegemony. It provided artists with the most important opportunity available to present their work to the public, attract a clientele, launch and sustain a career, and compete for state honours and prizes, and public and private buyers and commissions. For the public it was a huge social and cultural event, attracting hundreds of thousands of visitors from across Europe and beyond.

The conference will coincide with the completion of a three-year, AHRC–funded project, entitled Painting for the Salon? The French State, Artists and Academy, 1830-1852. The participants in the project, Professor James Kearns (Principal Investigator), Dr Alister Mill (Research Fellow) and Harriet Griffiths (doctoral candidate) will each present elements of their research at the beginning of the second day, which will be devoted to the period 1830-1852. The first day will be devoted to the period 1791-1830, the third to 1852-1881.

Bookings made before 30 June will benefit from a reduced rate.

For full details and booking, please go to http://humanities.exeter.ac.uk/modernlanguages/research/conferences/paris_salon/

External News and Events: Call for Papers - Consensus politics and the new patronage: art and the postwar settlement, 1945-1979

 Consensus politics and the new patronage: art and the postwar settlement, 1945-1979
Conference: 17 April 2014. Teesside University, Middlesbrough, UK.
Call for Papers Deadline: 30 November 2013.

A one-day conference is being held to explore the interactions between visual culture and the postwar settlement. The artists of postwar Britain were both beneficiaries and critics of the postwar settlement that lasted from the end of the Second World War to the election of Margaret Thatcher. State spending on the arts and arts training increased, and there were unprecedented opportunities for arts practitioners to intervene directly in the process of remaking modern Britain.

The shift away from the nineteenth century inheritance of private patronage influenced various aspects of British visual culture. New state funded institutions, such as the Design Council and the Arts Council, wielded enormous power in artistic life, as the new source of commissions and exhibition space. Artists now existed in symbiosis with the state, local authorities, town planners and the builders of new universities and galleries. Working constructively with state-funded groups, artists, architects and designers were deployed to remake and redesign local communities in the 1950s and 1960s. This interdependence also furnished new opportunities for critical appraisal of domestic and international politics by architects, designers and painters.
The new era of state patronage thus created a nexus in which the postwar settlement was both sustained and critiqued. In addition, it also helped to reconfigure the profession, throwing up challenges to the historic division between the ‘amateur’ and ‘professional’ artist, as well as creating new arts bureaucrats and institutions.

Papers are invited that will investigate how artists and practitioners critiqued ‘consensus’ politics and the social and cultural certainties of the 1945-79 period, and how the structures of postwar Britain shaped artistic practice. We are particularly interested in proposals that explore the following themes:

• Artistic engagement with ‘remaking’ communities
• The impact of publicly funded bodies (including ACBB, Design Council and BFI) on artistic practice or collections.
• The ‘values’ of such bodies and their impact
• Amateurs and Professionals
• Arts policy
• Community Art
• Art and feminism
• Art and the politics of race

An edited collection based on the presented papers is planned.

The conference will be co-convened by Dr Natasha Vall and Dr Matthew Grant, and will be held at Teesside University on 17 April 2014. Abstracts of 250 words, for papers of 20-30 minutes, should be sent to n.vall@tees.ac.uk by 30 November 2013.