External News and Events
This section contains information about art and design history related jobs and opportunities.
Posted 11 February 2013
Art & Death Workshop 2: Death and Dying
10.00 – 12.30, Thursday 21 February
Research Forum South Room, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN
This is the second of a series of three workshops being held at The Courtauld Institute of Art in 2012-2013 to explore the inter-relationship between art and death. These workshops have arisen from an informal group of doctoral students with shared interests in funerary monuments. This second workshop, again with diversity in region and period, will focus on the images and objects related to the nature and meaning of death. It will be accompanied by an exhibition by Rachael Allen of miniature models replicating objects from sites of death.
Open to all, free admission. No booking is necessary
PROGRAMME
10.00 – 10.05 Welcome and Introduction: Ann Adams and Jessica Barker (The Courtauld Institute of Art)
Session 1: A Good Death / A Violent Death – Chair: Ann Adams
10.05 – 10.25 Sophie Bostock (The Barber Institute of Fine Arts, University of Birmingham): A Practical Guide to Dying a ‘Good’ Death in the Early Eighteenth Century
10.25 – 10.45 Georg Geml (KU Leuven): Definitely Maybe. The Johannesschüssel and the Crucifix
10.45 – 11.05 Birgit Haehnel (Technische Universität, Darmstadt): ‘Instead of Facts’ – Teresa Margolles Reflections on Crime and Death in Mexico
11.05 – 11.20 REFRESHMENT BREAK
Session 2: Death Dissected – Chair: Jessica Barker
11.20 – 11.40 Maria Portmann (Kunsthistorisches Institut, Max-Planck Institut, Florence): Art and Anatomy: The Depiction of the Dead Body of Christ in Spain and Italy
11.40 – 12.00 Jack Hartnell (The Courtauld Institute of Art): Blanche’s Body and Opening Death in a Sculpture from Medieval Maubuisson
12.00 – 12.30 Discussion
Organised by Jessica Barker & Ann Adams (The Courtauld Institute of Art)
Art & Death Workshop Series
CALL FOR PAPERS
Workshop 3 (23 May 2013): Life after Death
- Images of the soul /resurrected or re-incarnated body
- Depictions of the afterlife
- The incorruptible body, saints, relics and reliquaries
- Remembering the dead, commemoration in art and/or performance
- The ‘immortality’ of the artist, post-mortem reputations
Format and Logistics:
- Length of paper: 20 minutes
- Four papers per workshop
- Location: Research Forum, The Courtauld Institute of Art
- Timing: 10am-midday
- Expenses: funds are not available to cover participants’ expenses
We welcome proposals relating to all periods, media and regions (including non-European) and see this as an opportunity for doctoral and early post-doctoral students to share their research.
Please send proposals of no more than 250 words to: Jessica.Barker@courtauld.ac.uk and Ann.Adams@courtauld.ac.uk by 11 April 2013.
Organised by Jessica Barker and Ann Adams (The Courtauld Institute of Art)
See more details >
Posted 5 February 2013
Forthcoming Event: Utopia III: Contemporary Russian Art and the Ruins of Utopia
13.45 – 19.45, Friday 22 February (with registration from 13.15)
10.00 – 19.45, Saturday 23 February (with registration from 09.30)
Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN
Utopia III is the third in a series of major conferences devoted to the theme of utopia in 20th and 21st century Russian culture organised by CCRAC (The Cambridge Courtauld Russian Art Centre).
Utopia III: Contemporary Russian Art and the Ruins of Utopia explores the afterlife of utopian thought in Russian art since the disintegration of the Soviet Union in the years 1989-91. The splintering of the vision of a collective Soviet utopia and the rise of individual utopias undoubtedly predated perestroika. During the Brezhnev years of stagnation, unofficial artists deployed a range of strategies to analyse the failure of the project of constructing Socialist society. If, for some, the collapse of the Soviet Union and entry into the free-market appeared to be a gateway to Western-style utopia, rapid socio-economic change left others out in the cold. Groups of Russian artists working since the 1990s have continued to explore collective organisation as a mode of political engagement, from Chto Delat’, to Voina, to those artists involved in the current protests against Putin’s government. As artists today wrestle with new forms of social and cultural decay, and as critics negotiate new forms of nostalgia, what, if anything, remains be salvaged from among the ruins of the Soviet utopia?
Bringing together artists, art historians, curators and cultural theorists to discuss recent transformations in the Russian cultural landscape, Utopia III addresses the following questions: How has Soviet avant-garde art been historicised, re-contextualised, and re-mobilized in recent years? Is the intersection of art and activism necessarily utopian? In what ways has the arrival of Capitalist utopia transformed the landscape of the contemporary Russian art world?
Ticket/entry details: £31 (£21 students, Courtauld staff/students and concessions)
BOOK ONLINE: http://courtauld-institute.digitalmuseum.co.uk Or send a cheque made payable to ‘Courtauld Institute of Art’ to: Research Forum Events Co-ordinator, Research Forum, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN, stating the event title ‘Utopia III’.
Organised by Dr Klara Kemp-Welch and Elizaveta Butakova (The Courtauld Institute of Art) ResearchForumEvents@courtauld.ac.uk
See more details >
Posted 5 February 2013
Forthcoming Event: Utopia III: Contemporary Russian Art and the Ruins of Utopia
13.45 – 19.45, Friday 22 February (with registration from 13.15)
10.00 – 19.45, Saturday 23 February (with registration from 09.30)
Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN
Utopia III is the third in a series of major conferences devoted to the theme of utopia in 20th and 21st century Russian culture organised by CCRAC (The Cambridge Courtauld Russian Art Centre).
Utopia III: Contemporary Russian Art and the Ruins of Utopia explores the afterlife of utopian thought in Russian art since the disintegration of the Soviet Union in the years 1989-91. The splintering of the vision of a collective Soviet utopia and the rise of individual utopias undoubtedly predated perestroika. During the Brezhnev years of stagnation, unofficial artists deployed a range of strategies to analyse the failure of the project of constructing Socialist society. If, for some, the collapse of the Soviet Union and entry into the free-market appeared to be a gateway to Western-style utopia, rapid socio-economic change left others out in the cold. Groups of Russian artists working since the 1990s have continued to explore collective organisation as a mode of political engagement, from Chto Delat’, to Voina, to those artists involved in the current protests against Putin’s government. As artists today wrestle with new forms of social and cultural decay, and as critics negotiate new forms of nostalgia, what, if anything, remains be salvaged from among the ruins of the Soviet utopia?
Bringing together artists, art historians, curators and cultural theorists to discuss recent transformations in the Russian cultural landscape, Utopia III addresses the following questions: How has Soviet avant-garde art been historicised, re-contextualised, and re-mobilized in recent years? Is the intersection of art and activism necessarily utopian? In what ways has the arrival of Capitalist utopia transformed the landscape of the contemporary Russian art world?
Ticket/entry details: £31 (£21 students, Courtauld staff/students and concessions)
BOOK ONLINE: http://courtauld-institute.digitalmuseum.co.uk Or send a cheque made payable to ‘Courtauld Institute of Art’ to: Research Forum Events Co-ordinator, Research Forum, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN, stating the event title ‘Utopia III’.
Organised by Dr Klara Kemp-Welch and Elizaveta Butakova (The Courtauld Institute of Art) ResearchForumEvents@courtauld.ac.uk
See more details >
Posted 5 February 2013
University of East Anglia in collaboration with The Attingham Trust for the Study of Historic Houses and Collections
At Close Quarters: The English Country House and its Collections
MA in the History of Art, University of East Anglia
The School of Art History and World Art Studies, University of East Anglia, and The Attingham Trust for the Study of Historic Houses and Collections are collaborating on a new option within the School’s History of Art MA degree, starting in September 2013.
At Close Quarters: The English Country House and its Collections provides a unique opportunity for the sustained and in-situ study of English country houses and their collections. Applications are now invited for entry in September 2013, with four scholarships of £1,000 available towards the cost of the fees for students who enrol in At Close Quarters (details below).
The History of Art MA consists of four modules and a dissertation. The MA and this option can be pursued full-time (in one year) or part-time (over two years). At Close Quarters is an option for two of those modules (both taught in the Spring semester) and consists of:
- One three-hour seminar per week for ten weeks taught by members of the School’s faculty, including leading historians of British, Italian, French, Spanish and Netherlandish art and architecture, and
- Five days’ intensive and all-inclusive residential study at Houghton Hall, with visits to other country houses in Norfolk. This period of study will be led and organised by Dr Andrew Moore, a Director of the internationally-renowned Attingham Trust Summer School for the study of historic houses and collections in England. At each site, students taking At Close Quarters will learn about significant aspects of the house’s creation, contents and curating from visiting tutors, including experts who teach on the Summer School.
At Close Quarters therefore offers students an unrivalled opportunity to immerse themselves in studying this topic for an entire semester, during which they will learn about the history, collections and management of English country houses, in-depth, on the spot and with the resources provided by the School and the Trust, two organisations renowned for academic excellence in the study of art history and cultural heritage. Topics addressed during the module will include aspects of the history of British portraiture; Grand Tour collecting and the taste for Old Master paintings; the production, display and conservation of tapestry hangings; the relationship between form, function and meaning in furniture design; the architectural treatise and the Italian villa; the history of gardens; the city, the country house and early modern sociability, and the presentation and display of the country house as a visitor attraction.
For the two additional modules in the History of Art MA degree programme, students can choose from the range offered within the School. Recent MA modules have addressed the arts of ancient Egypt, Byzantine Rome, medieval England, early modern Europe, Britain and its empire during the eighteenth and nineteenth centuries, early twentieth-century America, and late twentieth-century modernism. Students will also research and write a 15,000-word MA dissertation, which will be supervised by a member of faculty within the School and which may concern a topic arising from At Close Quarters.
Full-time tuition fees for students taking the MA in the History of Art including At Close Quarters during the academic year 2013/14 will be in the region of £7,000 for Home/EU students and £13,900 for International students. This includes a supplement to cover all accommodation, meals, transport and entry fees during the residential component of the module.
The Attingham Trust and the School of Art History and World Art Studies have agreed to offer four £1,000 scholarships towards the cost of the fees for students enrolled on At Close Quarters. These scholarships will be awarded on the basis of academic merit and financial need. Applicants wishing to be considered for a scholarship will be asked to supply a short statement of financial need.
Further details about the MA in the History of Art (full-time and part-time), postgraduate fees and scholarships, and how to apply for the MA can be found here. Entry requirements are typically a BA Hons 2:1 or equivalent in a humanities or social sciences discipline.
Places on At Close Quarters are limited and will be allocated on a first come, first served basis. At Close Quarters will be run subject to enrolment. Contact John Mitchell [ John.Mitchell@uea.ac.uk ] or Dr Sarah Monks [ S.Monks@uea.ac.uk ] for further information.
About the School of Art History and World Art Studies, UEA
We have a long-standing international reputation for academic excellence; ranked 1st in the UK for world-leading research in the latest Research Assessment Exercise, we are one of the most important and highly-rated History of Art departments in the UK. Our graduates go on to high profile posts in such prestigious institutions as the British Museum, V&A, Tate and Metropolitan Museum of Art in New York, as well as leading History of Art departments, publishers, the commercial art world and the cultural heritage sector. We are experts in classical, medieval, Renaissance, Baroque, modern and contemporary art, and our interests include not only European and North American art, but also the arts of Africa, Asia (including Japan), South America and the Pacific. We engage with all forms of visual and material creativity from oil painting, sculpture and drawing through to architecture, photography, video and installation art. We teach small groups of students in a friendly, supportive and open environment, supported by great facilities. This is why the Guardian University Guide consistently ranks us among the top three History of Art departments in the UK for student satisfaction with teaching and feedback, for staff-student ratio and for the quality of student resources. The School is based in Norman Foster’s world-famous Sainsbury Centre for Visual Arts, an icon of modern design, which contains an astounding art collection with major internationally-renowned works by artists such as Francis Bacon, Edgar Degas, Jacob Epstein, Henry Moore and Pablo Picasso. Students work in close proximity to this collection, “perhaps the greatest resource of its type on any British campus” according to the Times Good University Guide.
About The Attingham Trust
Founded in 1952 as The Attingham Trust and named after the neoclassical house in Shropshire at which the Summer School was first held, The Attingham Trust has built and sustained an international reputation for academic excellence. It offers specialised residential study courses, primary for people professionally engaged in the field, on country houses, their collections and settings, and on the history and contents of English royal palaces. It collaborates with a number of heritage organisations and museums, including the National Trust, English Heritage, The Royal Collection, Historic Royal Palaces and the Victoria and Albert Museum. Members of the staff of these organisations are regularly involved in teaching and others attend the Trust’s courses, which are highly competitive and restricted to those with an architectural, historical, conservationist or academic background, or a close professional involvement with the fine and decorative arts. Among its courses is the highly-regarded Attingham Summer School, which offers a unique and strenuous eighteen-day course, taught in-situ within about twenty-five historic houses, for a selected group of museum curators, architectural historians, conservationists and academics. Through At Close Quarters, the Attingham experience of contextual country house studies is being offered as part of a postgraduate degree that will also provide an insight into the issues encountered by owners, curators and property managers of the English country house.
About Norfolk
With its large agricultural estates, coastal proximity to the ports of northern Europe and thriving commercial cities, the county of Norfolk was once England’s most important political and economic region outside London. As a consequence, Norfolk has a substantial collection of country houses, including some of the most important examples still in private hands. Evidence for Norfolk’s historical importance can be found in the medieval origins of the moated manor house of Oxburgh Hall, and in the Jacobean houses at Blickling and Felbrigg, as well as Raynham Hall, a remarkably early example of European influence upon English domestic architecture. Raynham features the work of the leading eighteenth-century architect and designer, William Kent, which can also be seen to magnificent effect in two of the finest Palladian houses to have been built in England: Holkham Hall, the quintessential Grand Tour house, and Houghton Hall, built by Sir Robert Walpole, Britain’s first prime minister, in order to house his great collection of European master paintings and classical sculpture. Norfolk is also home to some of Sir John Soane’s earliest architectural work, as well as outstanding examples of large Arts & Crafts houses. Many of these houses, like others addressed in At Close Quarters, contain significant collections of fine and decorative art (from the medieval period through to the present day), as well as important antiquities, libraries and archives, making Norfolk an ideal region in which to study and research forms of artistic practice, patronage and collecting, as well as the history, contents, management and presentation of English country houses.
See more details >
Posted 5 February 2013
Devils and Dolls: Dichotomous Depictions of the Child
Registration is open!
This is an interdisciplinary event for the Arts and Humanities exploring a variety of depictions of the child. It is taking place at Clifton Hill House, University of Bristol 27th – 28th March 2013. Day passes are £35 each and are available through the University online shop, the link to which can be found on our website.
One panel is solely devoted to the representation of the child in art and photography, with other such papers spread across the conference.
Contact and further information details: http://devils-dolls-conference.weebly.com
Deadline for booking: 12th March 2013
See more details >
Posted 5 February 2013
Fifth Biennial Art History Symposium, “Palimpsest: The Layered Object.”
Savannah, GA. Feb. 28–March 1, 2014
Contact; Andrew M. Nedd arthsymposium@scad.edu
Deadline for submission: May 15, 2013
The Savannah College of Art and Design (SCAD) invites participation in the Fifth Biennial Art History Symposium, “Palimpsest: The Layered Object.” Feb. 28–March 1, 2014.
The media, techniques and materials of art-making comprise layers of knowledge and bear traces of the physical and intellectual act of creation. The art object changes as successive layers build-up over time or strip away material and evidence. A process of creation similarly yields destruction as new covers old, possibly masking or revealing the underlying trace. “Palimpsest: The Layered Object” will explore the relations between aesthetic inscriptions, erasures and the historical conditions of their media, whether drawing, film, incunabula, painting, print, sculpture, textiles, architecture or urban space. We seek to mine history, excavate knowledge and find meaning in the residue between layers of creation. We invite interdisciplinary contributions that merge art history with other fields and seek topics that explore the beginning of inscription as well as the remains of its erasure.
Please submit an abstract (300 words max) and a résumé by May 15, 2013 to arthsymposium@scad.edu
See more details >
Posted 5 February 2013
TSQ: Transgender Studies Quarterly
vol.1, no.4: “Trans* Cultural Production”
deadline: April 15, 2013
The arts have served as a cultural arena for imagining, creating, and proliferating transgender experiences and communities around the world. As part of its inaugural year, TSQ: Transgender Studies Quarterly (pub. Duke University Press) will feature a special issue examining trans* cultural production in art, film, dance, design, architecture, literature, and music. We seek papers that critically analyze the current state, history, and significance of these expressive forms as they address, depict, and are mobilized by trans* subjects broadly defined, including people whose gender/sex expression is not informed primarily by contemporary Western constructions and conventions. The issue will feature trans* makers and communities alongside essays exploring cultural production by non-trans* makers as such production impacts trans* lives, trans* politics, and/or trans* theory. We invite submissions exploring the repercussions and resonances of trans* representation in non-trans* contexts as well as work developing trans* interpretations of creative work not originally intended to engage specifically trans* people or concerns.
Rather than a survey of best practices or major figures, the issue aims to offer a forum to examine the wider issues attending to the representation of trans* in the arts and to demonstrate the value of trans* as a heuristic lens for interpreting creative work more generally. While the focus of the issue is scholarly research, we also hope to include a small selection of shorter, less formal essays that engage with critical issues in trans* cultural production from curatorial, marketing, and practitioner perspectives.
Possible areas of inquiry include but are not limited to:
- the history of transgender/transsexual/gender-nonconforming representations in the arts and their varying receptions
- trans* living as aesthetic practice
- transnational receptions and interpretations of gender and sexual representations
- the dominance of autobiography and portraiture in the history of trans* representations in the West; new directions for cultural production
- the imag(in)ing of new bodily morphologies
- bioarts
- trans* performance/trans* performers
- examinations of trans* cultural production that do not rely on the representation of human bodies
- the imaging of trans* communities, both real and utopian
- the effects of the global circulation of trans* cultural production; the mainstreaming of particular trans* visibilities
- distinctions and convergences between trans* and queer interpretative approaches to the arts
- the marketing and circulation of trans* fiction, self-help literature, and other print media
- curating trans* communities
- trans* as remix and appropriation (e.g. in relation to mainstream film, advertising imagery, fashion and/or music)
- trans* embodiment as/in relation to artistic form
- case studies of specific locales or sites that have supported trans* artistic communities
To be considered, please send submissions by April 15, 2013, to tsqjournal@gmail.com along with a brief bio including name, postal address, and any institutional affiliation. Completed texts are encouraged, but an abstract may also be submitted in lieu of a full paper. Abstracts should be no more than 250 words and should include a brief statement of work completed on or relevant to the submission. Illustrations should be included with both completed submissions and abstracts.
Accepted authors will be contacted in May, with the full text of all submissions due October 1, 2013. The expected range for scholarly articles is 5000 to 7000 words and 1000 to 2000 words for shorter critical essays and descriptive accounts. Peer review will be conducted on all accepted submissions.
Any questions should be addressed by e-mail sent to all guest editors for the issue: Julian Carter (California College of the Arts, juliancarter@cca.edu), David Getsy (School of the Art Institute of Chicago, dgetsy@saic.edu), and Trish Salah (University of Toronto, trish.salah@utoronto.ca).
See more details >
Posted 5 February 2013
Pre-Raphaelitism: Past, Present and Future
13th-14th September, 2013, Oxford
Call for Papers
KEYNOTE SPEAKERS
Dr Alison Smith (Tate Britain)
Professor Isobel Armstrong (Birkbeck)
CONTEXT AND AIMS
In the wake of recent major exhibitions and publications such as Tate Britain’s
Pre-Raphaelites: Victorian Avant-Garde and The Cambridge Companion to Pre-
Raphaelitism, this two-day conference will present new and innovative approaches
to the study of Pre-Raphaelitism by bringing together established academics,
museum curators and research students. This conference also seeks to examine Pre-Raphaelitism as a bridge between Romanticism and Aestheticism, and to engage with current critical work regarding its relationship to Modernism in literature.
The breadth and diversity of Pre-Raphaelite art, literature and design will be drawn
on in order to consider major questions such as: What is Pre-Raphaelitism? Where does the movement begin and end? Who should be included or excluded? What are its major influences, and to what extent has it influenced other artists and movements? How have perceptions of Pre-Raphaelitism changed or remained the same since its nineteenth-century beginnings?
FORMAT AND THEMES
This will be a two-day conference, organized jointly by Professor Christiana Payne
and Dr Dinah Roe (Oxford Brookes University), Colin Harrison (Ashmolean Museum)
and Dr Alastair Wright (Oxford University). Academic sessions will be held at the
Ashmolean Museum (Friday 13th) and St John’s College (Saturday 14th). A programme of guided walks and talks around Pre-Raphaelite sites in Oxford will be held on Sunday 15th September.
We invite proposals for papers on all aspects of Pre-Raphaelite work, especially with
a cross-disciplinary focus. Papers by current or recently graduated research students
are welcome, as well as those by more established scholars. Topics for discussion
might include, but are not limited to:
- The interaction of word and image in Pre-Raphaelite painting, writing and design
- Reactions to the exhibition, Pre-Raphaelites: Victorian Avant-Garde
- The events of 1848-50, and the original aims of the Pre-Raphaelite Brotherhood
- The importance of science and technology
- International contexts, reception and influences
- Pre-Raphaelitism and religious and intellectual history (for example, the ideas of Carlyle, Ruskin, the Oxford Movement)
- The Pre-Raphaelites and Oxford, including new research on paintings and
drawings in the Ashmolean Museum
- The relationship between painting and photography
- Music in Pre-Raphaelite art and literature
- The Pre-Raphaelites as art and literary critics
- The significance of collectors and patrons of the Pre-Raphaelites
- Women in Pre-Raphaelitism, as objects of representation and/or as artists and writers
- Urban and natural landscapes in Pre-Raphaelite art and literature
- Poetic innovations of the Pre-Raphaelites
- Developments in technique (painting, materials, sculpture and frames)
- The influence of Pre-Raphaelitism on architecture and public space
- Portrayals of Pre-Raphaelites in biography, fiction, film and television
- Print culture and journalism
- The effect of digital culture on the study of Pre-Raphaelitism
CONTACT US
Professor Christiana Payne and Dr Dinah Roe
cjepayne@brookes.ac.uk d.roe@brookes.ac.uk
If you are interested in attending as a delegate please email to reserve a place.
BOOKING DETAILS
Conference booking opens in May 2013
CALL FOR PAPERS
Please submit abstracts of 300 words for 20 minute papers with a CV to: Dr Dinah
Roe (d.roe@brookes.ac.uk) and Professor Christiana Payne (cjepayne@brookes.
ac.uk) no later than 31 March 2013.
http://www.english-languages.brookes.ac.uk/conferences/2013/pre-raphaelitism/
See more details >
Posted 5 February 2013
‘Copy, Version and Multiple: the replication and distribution of portrait imagery’ seminar
A seminar for professionals engaged with British portraits – curators, academics, scholars, museum-based learning professionals, conservators.
Tuesday 19 March 2013,
M Shed, Princes Wharf, Wapping Rd, Bristol, BS1 4RN.
Tickets £40/£25/and limited number of complimentary places. Full details on the website.
Full programme, booking form, and information on complimentary tickets on the Understanding British Portraits website http://www.britishportraits.org.uk/events/portrait-replication-and-distribution-seminar-m-shed-bristol-19-march-2013/
See more details >
Posted 5 February 2013
Michael Craig-Martin in Conversation with Jonathan Watkins
Art and Faith
6.00pm, Thursday 28 February
Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN
Michael Craig-Martin’s An Oak Tree, first exhibited in 1974, is one of the most provocative and telling art works of our times. A glass of tap water on a glass shelf, it could not be more transparently what it is, but the artist asserts it is an oak tree. Not just called an oak tree, nor merely a symbol of an oak tree: through a kind of transubstantiation it is an oak tree.
This public conversation, between Michael Craig-Martin and Jonathan Watkins, Director of Ikon Gallery, revisits the still contentious claims of this work to tackle fundamental questions about the nature of art itself. It will dwell on the essentially religious impulse of art, the necessary (if not sufficient) factor of faith through which art is identified as art, better than non- art, deemed good for us and somehow transcendental. And it will provide an opportunity for lively speculation on the future for art without such faith.
Michael Craig-Martin was born in Dublin in 1941, educated in the United States, and has lived in London since the mid-60s. He is a key figure in the history of British conceptual art over the last decades, both for his work and his teaching. His work, in a variety of media, from painting and modest-scaled sculptures made of household materials to ambitious and large-scale installations of wall paintings, both temporary and permanent, has been shown widely here and abroad, including at recent retrospectives at the Irish Museum of Modern Art (2006/7) and Kunsthaus Bregenz (2006). As Professor of Fine Art at Goldsmiths College, he has exerted a powerful influence on generations of young British artists, including Damien Hirst and Julian Opie.
Jonathan Watkins has been Director of Ikon Gallery, Birmingham, since 1999. He has curated a number of large international exhibitions including the Biennale of Sydney (1998), Facts of Life: Contemporary Japanese Art (Hayward Gallery, London 2001), Quotidiana (Castello di Rivoli, Turin 1999), The Tate Triennial (2003), Shanghai Biennale (2006), Sharjah Biennial (2007), and the Guangzhou Triennial (2012). He writes extensively on contemporary art, including, recently, Giuseppe Penone, Martin Creed, Semyon Faibisovich, Yang Zhenzhong, Noguchi Rika, Caro Niederer, Beat Streuli and Cornelia Parker. He was the author of a recent monograph on Japanese artist On Kawara.
Ticket/entry details: (£3). Avdance booking required. BOOK ONLINE here: http://courtauld-institute.digitalmuseum.co.uk
Organised by Martin Caiger-Smith (The Courtauld Institute of Art)
See more details >