External News and Events
This section contains information about art history related jobs and opportunities.
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.
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‘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: email@example.com
Website address: http://www.bristol.ac.uk/arts/research/ice/events/2013/7.html
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Please reserve a place by 16 August 2013
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.
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/
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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 firstname.lastname@example.org by 30 November 2013.
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The BBC Academy is organising a day of free practical broadcasting experience in Glasgow on the 28th of August for female art history experts (plus experts in politics, culture, sport, medicine, history, natural history and science).
The Expert Women's Day in Scotland - which follows the acclaimed Expert Women’s Day events held in London and Salford - will offer a range of practical media experience designed to help female experts feel comfortable appearing on television, radio and online as contributors or presenters, including sessions on camera and in a radio studio; as well as masterclasses and networking with experienced programme makers and industry leaders.
This is a fantastic opportunity for women who want to share their knowledge, passion and expertise on TV & Radio in Scotland – and who want to help boost the representation of women in the media.
Could you help us spread the word to your art historians in Scotland via internal newsletters, email, twitter, facebook, etc? Or suggest ways I can contact them directly?
The deadline for applications is Tuesday 25th June 2013, so time is of the essence. More information – plus details of where to send the applications – is available at http://www.bbc.co.uk/academy/news/view/bbc_expert_women_scotland
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Event: Sculptural Mobilities Symposium
University College London, Bloomsbury, Wednesday 3 July 2013
Free to undergrads and postgrads, £10 otherwise
Book at sculpturalmobilities.eventbrite.com
Sculptural Mobilities: Programme: Tuesday 2 and Wednesday 3 July 2013
Venue: University College London, Bloomsbury
Organised Collaboratively by Kingston University’s Visual and Material Culture Research Centre and University College London’s Department of Scandinavian Studies
Supported by the Henry Moore Foundation
TUESDAY 2 JULY
7.30pm Screening and Social Event
Location: Wilkins Gustav Tuck Lecture Theatre, UCL
Thorvaldsen (1949) by Carl Theodor Dreyer
Screening and lecture by Dr Claire Thomson, Lecturer in Scandinavian Film and Head of UCL Scandinavian Studies
The film screening will be followed by an informal reception in the Wilkins North Cloisters, UCL
WEDNESDAY 3 JULY 2012
Sculptural Mobilities Symposium
Location: Wilkins Haldane Room, UCL
Introduction and Welcome
Dr Sara Ayres and Dr Elettra Carbone
Dr Claire Thomson and Professor Fran Lloyd
Panel 1: Courtly Patronage and Sculptural Mobilities
Dr Francesco Freddolini, Assistant Professor of Art History at Luther College, University of Regina, Canada: Denmark and the International Mobility of Italian Sculpture, c. 1709-1725
Cynthia Osiecki, PhD Fellow, Interdisciplinary Research Training Group `Baltic Borderlands´ at the Ernst-Moritz-Arndt-Universität, Greifswald: The Import of Flemish Sculpture into Sweden’s Courts in the Second half of the Sixteenth Century
Dr Kristoffer J Neville, Alexander von Humboldt Fellow at the Technical University in Berlin: A Gothic Neptune. Georg Labenwolff's Sculpture for the Danish Court, 1575-1583
Panel 2: Danish Myth, Italian Maestro: The Unveiling of Bertel Thorvaldsen
Stig Miss, Director of The Thorvaldsen Museum: The Making of Sculptural Awareness in Copenhagen: The Contribution of the Works of Thorvaldsen
Dr Elettra Carbone, Teaching Fellow in Norwegian, University College London: Reading Sculpture: The Remediation of Thorvaldsen’s Sculpture in Printed Culture
Professor David Bindman, the Emeritus Durning-Lawrence Professor of the History of Art, University College London: The Original Drawings for Thiele's biography of Thorvaldsen in the UCL Library
1.00pm – 2.00pm
During the lunch break there will be time to view the one-day exhibition Rediscovered: Unique Thorvaldsen Portfolios held by UCL Special Collections alongside Karin Lowenadler's Standing Male Nude (1936) Location: UCL Art Museum
Panel 3: Post-War Sculptural Exchange between Britain and the Nordic Region
Professor Frances A Lloyd, Associate Dean Research & Enterprise, Faculty of Art, Design & Architecture, Kingston University: “Back in from the Cold”: Karin Jonzen’s Commissions for the World Health Organisation
Christina Brandberg, PhD Candidate, University of Hull: Henry Moore in the Nordic Countries: the first two one-man-shows in 1952
Dr Sara Ayres, Postdoctoral Researcher, Faculty of Art Design and Architecture, Kingston University: Transfiguring Memorials in Norway and Britain
Panel 4: Curatorial Mobilities
Linda Hinners, Curator of Paintings and Sculpture, National Museum, Stockholm: Establishing a Platform for National Sculpture Production: The Recruitment of French Sculptors to Sweden during the Seventeenth and Eighteenth Centuries
Dr Liisa Lindgren, Senior Curator, Parliament of Finland, Helsinki: Sculpture Hand in Glove with Architecture: The Sculpture Collection at the Finnish Parliament
Dr Marjorie Trusted, Senior Curator of Sculpture, V&A: Medieval Scandinavia and Victorian South Kensington
Concluding Remarks and Final Discussion Chaired by Dr Marjorie Trusted
Drinks and Networking
Location: Wilkins Haldane Room, UCL
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Conference Dinner for Speakers and Guests
Location: Wilkins Terrace Restaurant, UCL
Emerging Empires: England and Muscovy in the 16th and 17th Century
Friday 14 June, 10.00-16.00 & Saturday 15 June, 10.00-17.15
Join us for an international conference bringing together scholars, curators and Historians to debate the diplomatic and trade relations between England and Muscovy.
Discover the politics, taste and gifts exchanged between the Royal Courts and the Russian Tsars.
In collaboration with the Society for Court Studies.
With the support of the Paul Mellon Centre for Studies in British Art.
Book online: http://www.vam.ac.uk/whatson/event/2286/emerging-empires-england-and-muscovy-in-the-16th-and-17th-centu-3566/ or call 0207 842 2211
FULL PROGRAMME: http://www.vam.ac.uk/whatson/media/uploads/files/Treasures_FINAL_16_April_2013.pdf
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ArtScapes: Urban Art and The Public – An Interdisciplinary Conference on Art and Urban Spaces (University of Kent 27-28 June 2013)
This two-day interdisciplinary conference hosted by the University of Kent aims to provide a forum for academic, policy and practitioner engagement with the relationships between the public and urban art.
Urban spaces are important loci of social contact, their physical and symbolic properties having a profound effect on everyday interactions. These sites are frequently subject to art interventions enacted for a range of aesthetic, social, political and economic purposes. Yet, while urban art can have transformative effects on the cityscape and in the development of urban cultures, the relationships between art and the public sphere represents a contested ground. Art, in such contexts, can be viewed variously as engendering civic participation and challenging the normative uses of public spaces, or as complicit with neoliberal development agendas and cosmopolitan elitism. Such practices, then, can be understood to intersect with a range of issues including those of urban aesthetics, the role of art institutions, public participation, user perception and experience of public places, the conceptualisation of material, virtual or imagined cityscapes, the regulation of urban space, and urban policy and politics.
This interdisciplinary conference seeks to critically examine the relationship between art and urban places, questioning in what ways urban art can engage with, create and change public spaces. How is urban art used in the formation of individual, city, regional and national identities? How might such interventions alter or foster new forms of interaction with and within communities? What are the possibilities presented by urban art for new modes of aesthetic and cultural behaviours?
The Conference Programme is available in the conference website. Main panel topics include: Public Space - Public Art, Graffiti, Public Art and Local Governance, Political and Social Context of Urban Art, and Public Art Interactions.
- Maurizio Cinquegrani (University of Kent)
- Carl Lavery (Aberystwyth University)
- Jonathan Vickery (University of Warwick)
You can register for participation following the link below:
Postgraduate students: free attendance / Other researchers: £5.00
Contact and further information details:email@example.com / http://artscapesgroup.org/
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American Art in Dialogue with Africa and its Diaspora
Smithsonian American Art Museum
Eighth and G Streets NW, Washington, D.C.
October 4-5, 2013
This symposium examines the role of Africa and the African Diaspora in the development of art of the United States, from nineteenth-century portraiture to American modernism; from the Harlem Renaissance to the contemporary art world. Speakers include Chika Okeke-Agulu of Princeton University, Krista Thompson of Northwestern University, Jeffrey Stewart of the University of California, Santa Barbara, Celeste-Marie Bernier of the University of Nottingham, James Smalls of the University of Maryland, Baltimore County, and artist and distinguished scholar David C. Driskell. A full schedule is listed below. For more information, visit AmericanArt.si.edu/research/symposia/2013/terra/.
The event is free, but registration is required at www.America-Africa.eventbrite.com. The symposium will be available through a simultaneous webcast; an archived version will remain online indefinitely. Recordings of past symposia including "Encuentros: Artistic Exchange between the U.S. and Latin America" and "East-West Interchanges in American Art" are now available on the museum's website, ArtBabble, YouTube, and iTunes U.
"American Art in Dialogue with Africa and its Diaspora" is organized by the Smithsonian American Art Museum in partnership with the Smithsonian’s National Museum of African Art and the National Museum of African American History and Culture. Part of the Terra Symposia on American Art in a Global Context, it is supported by a generous grant from the Terra Foundation for American Art.
Friday, October 4
9:30 a.m., Welcome
Elizabeth Broun, The Margaret and Terry Stent Director, Smithsonian American Art Museum
Johnnetta Cole, Director, National Museum of African Art
10:00 a.m.–noon, Opening Session
Respondent: Renée Ater, Associate Professor of Art History, University of Maryland, College Park
Tobias Wofford, Assistant Professor of Art History, Santa Clara University
"Feedback: Between American Art and African Art History"
Ikem Stanley Okoye, Associate Professor of Art History, University of Delaware
"The Americanist Quandary: Of the History of African Art in the Work of the American Artist"
Krista Thompson, Associate Professor of Art History, Northwestern University
"Reframing American Art: An African Diasporic Perspective"
2:00–3:30 p.m., Nineteenth-Century Portraiture
Chair: Renée Ater, Associate Professor of Art History, University of Maryland, College Park
Anne Lafont, Associate Professor of Art History, Université Paris-Est Marne-la-Vallée
"Paris-Philadelphia: African Figures around 1800, or Portrait of Yarrow as a Mameluke"
Shawn Michelle Smith, Associate Professor of Visual and Critical Studies, School of the Art Institute of Chicago
"Augustus Washington's Liberian Daguerreotypes and the Civil Contract of Photography"
Camara Dia Holloway, Assistant Professor of Art History, University of Delaware
"'Aglow in The Darkest Vistas': Africa, Racial Fantasy, and the Modernist Self Fashioning of F. Holland Day"
4:00–5:30 p.m., Primitivism and Modernism
Chair: Virginia Mecklenburg, Chief Curator, Smithsonian American Art Museum
James Smalls, Professor of Art History and Theory, University of Maryland, Baltimore County
"Féral Benga: African Muse of Modernism"
Mia Bagneris, Assistant Professor of Art History, Newcomb Art Department, Tulane University
"Fighting the Fetish for Fetiches: Africa in the Work of Palmer Hayden"
Nicholas Miller, PhD Candidate in Art History, Northwestern University
"'To Paint His Own People': William H. Johnson's Avant-Garde Gambits and the Orientalized Black Female Body"
Saturday, October 5
10:00 a.m., Welcome
Ruth Fine, Curator, National Gallery of Art, Washington (1972-2012), and Board Member, Terra Foundation for American Art
10:10a.m., Opening Remarks
David C. Driskell, Professor Emeritus of Art, University of Maryland, College Park
10:30 a.m.–noon, Developing a Trans-African Aesthetic
Chair: Kelly Quinn, Terra Foundation Project Manager for Scholarly and Educational Initiatives, Archives of American Art
Jeffrey C. Stewart, Professor of Black Studies, University of California, Santa Barbara
"From Transnational to Trans-African: The Circulation of Culture in the Work of Winold Reiss and Romare Bearden"
Rebecca Keegan VanDiver, Fellow, Carter G. Woodson Institute, University of Virginia
"Routes to Roots: Lois Mailou Jones's Engagement with Africa and the African Diaspora, 1938-70"
Tuliza Fleming, Museum Curator, National Museum of African American History and Culture
"AfriCOBRA in Motion: Evolutions from a Black Nationalist to a Trans-African Aesthetic"
1:30–3:00 p.m., Artists Travel to Africa
Chair: Christine Mullen Kreamer, Deputy Director and Chief Curator, National Museum of African Art
Anne-Grit Becker, PhD Candidate in Art History, Freie Universitat Berlin, Germany
"Towards a Language of Material: Cy Twombly's North African Sketchbook"
Chika Okeke-Agulu, Associate Professor of African and African Diaspora Art, Princeton University
"Living in Color: Jacob Lawrence and the Osogbo Experience in the Early 1960s"
Peju Layiwola, Associate Professor of Art and Art History, University of Lagos, Nigeria
"Transcultural Conversations: American and Nigerian Art in Dialogue"
3:30–5:00 p.m., Reframing the Traditional/Historical in Contemporary Art
Chair: Tuliza Fleming, Museum Curator, National Museum of African American History and Culture
Celeste-Marie Bernier, Professor of African American Studies, University of Nottingham
"Imaging the 'Face of the Fugitive Slave' Artist in Black Diasporic Self-Portraiture"
Venny Nakazibwe, Dean of The Margaret Trowell School of Industrial and Fine Arts, Makerere University, Kampala, Uganda
"African Textiles in Dialogue with Contemporary Fiber Art"
Daniel Haxall, Assistant Professor of Art History, Kutztown University of Pennsylvania
"In the Spirit of Négritude, or, Kehinde Wiley Goes to Africa"
5:00–7:00 p.m., reception, Luce Foundation Center for American Art
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Working Wonder Conference
14 June 2013.
Newcastle University, UK
Irene Brown, Newcastle University
Christian Mieves, University of Wolverhampton
Includes lunch and visit to Returning to the Philosophers’ Table Exhibition at Literary and Philosophical Society of Newcastle-Upon-Tyne.
To register, please use following link:
About the conference
Wonder has always been understood as a place outside of the familiar cultural framework. It has been linked to the fascination of change, the coincidence of oppositions, often placed at the threshold between aesthetic and scientific realms. The wondrous object becomes therefore not only the carrier of the inexplicable, but moreover exposes our relationship to the alien, enigmatic and perplexing. Recent scholarship has been focused on a variety of topics ranging from shifting aspects of curiosity and wonder (Benedict 2001), discursive qualities of the curiosity cabinet (Kenny 2004; Daston and Park 2001) the stability of the frame of wonder chamber (Stafford and Terpak, 2001), the destabilising effect of wonder on established norms (Platt 1999) and wonder within digital media (Gehl 2009; Beardon and Malmborg 2002; Buscher 1999 and others).
Wonder cabinets firmly establish the position of the subject, for whom the view was constituted, reaffirming the relationship between the object and the viewer. It is this scopic regime, which has the potential to enthral and transfix us, which shall be explored here. To what extent can wonder be seen as intense level of attention and as a ‘possibility of a fixation, of beholding something in wonder or contemplation, in which the attentive subject is both immobile and ungrounded’ (Crary 2000, 10).
A plethora of recent exhibitions underline the urgency of Wonder within contemporary visual art (MOMA Wunderkammer, 2008; Getty Institute Devices of Wonder, 2002, NGCA Wonders of the Visible World, 2012; Hayward Touring: Curiosity: Art and The Pleasures of Knowing, 2013).
This conference sets out to investigate the circumstances and motivations for the re-emergence of wonder in contemporary artistic practice and discourse. How do artists deal in their practice with fixation and the levels of attention often referred to as Wonder. The conference provides a platform for cross-disciplinary debate and the presentation of new practice-led research.
- the phenomenon of absorption or fixation of the viewer as response to the visual impact.
- wonder as strategy of breaching the dichotomy of science and art
- wonder in the age of new media
- wonder as questioning modes of representation and visibility
- wonder and its role in contemporary creative practice
- wonder’s role rendering the strange conceivable
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