Noticeboard

External News and Events - Horizons for Social Sciences and Humanities - Consultation

Wed, 22 May 2013 06:03:43 +0000

http://horizons.mruni.eu/consultation-2/ For any questions, please do not hesitate to contact consultation@mruni.eu From April 22nd on, we are contacting researchers that have carried out or plan to carry out EU-funded research in the Socio-economic Sciences and Humanities (SSH). We ask for their views on a set of five questions, in order to take the pulse of the SSH research community and prepare a declaration that will be handed over to research policy makers at the event. The European Commission proposals for the multi-annual framework for research and innovation (“Horizon 2020” – http://ec.europa.eu/research/horizon2020), discussed and modified by the European Parliament and the Council of Ministers, have structured research funding into interdisciplinary blocks defined as “societal challenges”. In this new structure, a new role for SSH is being envisaged. SSH are seen as core building block for realizing the Vision “Europe 2020” (http://ec.europa.eu/europe2020/ ): an “integrated approach” will replace previously existing dedicated funding streams. With a view to this unprecedented role that has been assigned to SSH research in Europe, the Lithuanian Presidency of the EU has decided to dedicate a specific conference to this discussion.The conference’s steering committee has decided to launch an online consultation on how to shape the roles of SSH in “Horizon 2020”. The objective is to learn more about the current situation and the ambitions of the research community, but also to identify the needs and structural problems of specific fields, with an emphasis on their potential to contribute to the success of the Vision Europe 2020. We are circulating this consultation to the wider SSH research community, irrespective of whether individuals or institutions are already active in EU-funded research. Indeed we believe it would be of great importance to reach out also to those SSH communities that have not yet been involved in EU-funding. This may include researchers who are based outside Europe, but are in cooperation with colleagues in Europe. Results of the consultation will be made publicly accessible online. They will also provide valuable input for the planned Vilnius declaration on “Horizons for Social Sciences and Humanities”. Below are the five questions to be answered until June 15th 2013, including specific examples whenever possible. Even if you do not plan to apply within the new scheme, your views will be very valuable to us. Thanks for your participation! The steering committee, Helga Nowotny (chair), R?taPetrauskait? (Vice Chair), Giedrius Vili?nas (Vice Chair), Jutta Allmendinger, Paul Boyle, Craig Calhoun, Gustavo Cardoso, Rivka Feldhay, Poul Holm, Pavel Kabat, Alain Peyraube, Aura Reggiani, Peter Strohschneider, Peter Tindemans, Wim van den Doel, Michel Wieviorka, Björn Wittrock If you want to receive updates on the consultation and conference, please indicate if we may include your email address in the conference mailing list. Consultation on the state of the Socio-Economic Sciences and Humanities (SSH) in Europe April 15th to June 15th, 2013 Please send your answers/statements via email to consultation@mruni.eu until June 15th, 2013 Please indicate your position/standpoint: e.g. individual researcher, representative of research institution, representative of association, …. and your fields of research! SSH research is often conducted in disciplinarily defined contexts. This may be an obstacle in a problem-driven research environment (“societal challenges”). Can you give examples of how your own research area has been involved in (a) opening up to other research fields, (b) translating findings and/or methods to or from other academic fields, (c) contributing to the emergence of new, cross-disciplinary fields, and/or (d) transcending, with its results and insights, the fields of academic research? The research agendas of the different subfields of SSH are very heterogeneous. What are the broad research questions, new methodological or theoretical developments, or generally new approaches that are high on your own research agenda? Which ones are high on the research agenda of your field? Where do you see potential contributions to societal relevance? “Horizon 2020”will provide new opportunities for SSH to contribute to new research on “societal challenges”. What are the potential contributions from your field? Please specify the “societal challenge/s” to which contributions from your research community are most likely, and suggest successful steps in this direction, if possible. Do you foresee (or have you experienced) obstacles that may prevent you and your research community from making contributions to the “societal grand challenges” approach? Please provide specific indications. In order to foster a more integrative approach that would also benefit the SSH research communities, what would you consider the most important incentives that “Horizon 2020” could provide? Should you have any additional comments, please feel free to share them with us. Your statements will be archived in anonymised format (unless explicitly stated otherwise) in a database at the Mykolas Romeris University, Vilnius. A report will be published on the conference website (http://horizons.mruni.eu ) and made widely available to the conference participants.

External News and Events - Call for Grant Applications - The Malevich Society

Wed, 22 May 2013 06:03:43 +0000

The Malevich Society is pleased to announce its call for 2013 grant applications. The Malevich Society is a not-for-profit organization based in New York dedicated to advancing knowledge about the Russian artist Kazimir Malevich and his work. In the belief that Malevich was a pioneer of modern art who should be recognized for his key contributions to the history of Modernism, the Society awards grants to encourage research, writing, and other activities relating to his history and memory. The Society welcomes applications from scholars of any nationality, and at various stages of their career. Graduate students are welcome to apply to the Society’s grants after completing at least one year of dissertation research. Proposed projects should increase the understanding of Malevich and his work, or augment historical, biographical, or artistic information about Malevich and/or his artistic legacy. The Society also supports translations and the publication of relevant texts. Application forms and instructions may be requested by telephone at 1-718-980-1805, by e-mail at info@malevichsociety.org, or may be downloaded from the web-site: www.malevichsociety.org. Deadline: September 30, 2013

External News and Events - Event - Art, Politics and the Pamphleteer

Wed, 22 May 2013 06:03:43 +0000

Art, Politics and the Pamphleteer A RadicalAesthetics/RadicalArt (RaRa) event People’s History Museum, Manchester, FRIDAY June 14th 2013 Book here Art, Politics and the Pamphleteer will explore the history and relevance of the pamphlet for contemporary art practice through presentations by speakers and performers. The one-day event will coincide with a small display of selected pamphlets from the PHM collection (curated by the RaRa organisers) together with a selection from our ‘call for pamphlets’. Radical Pamphlets It is written because there is something that one wants to saynow, and one believes there is no other way of getting a hearing. Pamphlets may turn on points of ethics or theology but they always have a clear politicalimplication. A pamphlet may be written either for or against somebody or something, but in essence it is always a protest. George Orwell (1948) in British Pamphleteers Volume 1, from the sixteenth century to the French Revolution For Orwell, the pamphlet is a polemical provocation. Through the 20thc and beyond, artists have worked and acted provocatively and polemically with text, images and performance, publishingwritings and producing pamphlets and manifestoes, including the Futurists (1909), Surrealists (1924), Fluxus (George Maciunas, 1963), First Things First (Ken Garland 1964), Mierle Laderman Ukeles (Manifesto for Maintenance Art 1969) and Stewart Home’s Neoist Manifestos(1987). More recently, in 2009, Monica Ross and fifteen others co-recited theUniversal Declaration of Human Rights on the Anniversary of The Peterloo Massacre at John Rylands Library Manchester and the Freee Art Collective have performed their manifestoes in a range of public settings. The edited book (2011) by Danchev 100 Artists' Manifestos: From the Futurists to the Stuckists (Penguin Modern Classics) demonstrates it as subject of current interest. The last decade has seen art’s increasing engagement with political and social issues, whereby in some instances artists’ activities have become indistinguishable from social activism (e.g. Wochenklauser) or other disciplinary functions (e.g. artist as ‘anthropologist’ as in Jeremy Deller’s Folk Archive).The art community’s current preoccupation with revolutionary movements and global politics is being addressed from different perspectives. The format and traditions of the ‘radical pamphlet’ may provide an alternative platform for artistic intervention and provocation. The People’s History Museum (PHM) is a national research facility, archive and accredited public museum, which contains unique collections of documents and artefacts. The collection includes the British Labour Party and Communist Party of Great Britain papers, extensive amateur and documentary film holdings and the largest trade union and protest banner collection in the world. The Museum suits our particular brief of radicality in its focus on histories of radical collective action. http://www.phm.org.uk/ The RadicalAesthetics-RadicalArt (RaRa) project was initiated in 2009 at Loughborough University (LU) under the auspices of the Politicized Practice Research Group (PPRG). The RaRa project and its associated book series (with I.B. Tauris) explores the meeting of contemporary art practice and interpretations of radicality to promote debate, confront convention and formulate alternative ways of thinking about art practice. Previous RaRa events have included ‘DIY cultures’ and Radical Footage: Film and Dissent at Nottingham Contemporary. http://www.lboro.ac.uk/departments/sota/research/groups/politicised/index.html http://www.ibtauris.com/Highlights/Radical%20Aesthetics%20Radical%20Art.aspx Gillian Whiteley G.Whiteley@lboro.ac.uk Jane Tormey J.Tormey@lboro.ac.uk

External News and Events - Call for Papers - Imaginary Exhibitions

Wed, 22 May 2013 06:03:43 +0000

Call for papers: Imaginary Exhibitions Henry Moore Institute, Leeds Wednesday 6 November 2013 This symposium is part of our present research project looking at 'Sculpture and its Exhibition Histories'. Through this project we address how developments in sculpture have impacted upon the spaces of exhibition, how the material conditions of the display of sculpture have played increasingly important roles in the meaning and making of sculpture as an art form, how the modes of presenting sculpture have shifted and how curatorial practice has impacted on the understanding of sculpture, and vice versa. The formal exhibition, staged indoors in the spaces of the art gallery or museum or outdoors in the sculpture park or urban setting, is key to these histories. This one-day symposium seeks to further complicate this larger history of sculpture and exhibitions by looking at the place of the 'imaginary exhibition' within this narrative. The ambitions and registers of such projects vary: they range from the utopian to the tentative, the immaterial to the highly materialised, through to exhibitions that were hampered by logistics or that were inscribed with impossibility from their inception. Instances of these 'imaginary exhibitions' are to be found internationally, across ancient, modern and contemporary epochs, in the work of many twentieth-century artists, including Constantin Brancusi, Marcel Duchamp, Henry Moore and David Smith, and embedded within curatorial, artistic and textual practices. We invite proposals for papers that examine: The sculpture exhibition that only exists on paper, for example as a text, painting, drawing or photograph; The sculpture exhibition as a fabricated or fictionalised phenomenon; The sculpture exhibition that only exists in the digital realm; The 'imaginary exhibition' in relation to André Malraux's 'Musée Imaginaire'; The unrealised or cancelled sculpture exhibition; The role of the studio in imaginary exhibitions; Proposals for imaginary settings for sculpture and invented indoor and outdoor environments for sculpture; The exhibition that exists as (or as part of) the presented art work The miniature sculpture exhibition Sculptures of exhibitions The deadline for submissions is Monday 1 July. Please send 250 word abstracts with a short CV to Kirstie Gregory, Research Programme Assistant: kirstie@henry-moore.org.

External News and Events - Event - Ink Now: Posters, Collectives and Art

Wed, 22 May 2013 06:03:43 +0000

Ink Now: Posters, Collectives and Art 6.30-8.30pm, Tuesday 4th June Refreshments available from 6pm Lecture Theatre CR100, London Met University, 41-47 Commercial Road, London, E1 1LA, nearest tube: Aldgate East, buses: 15, 254,205, 25. This is an evening of presentations and discussion about how posters have been used in different radical, political, feminist, collective and community settings. By looking at specific historical moments we hope to open up a conversation about radical ideas and collective practices in the contemporary art context. Suzy Mackie and Pru Stevenson, founding members of the See Red Women's Workshop Collective, which produced silkscreened feminist and community posters from c1974 up to the early 1990s, will show poster images and talk about why and how the collective was set up and the first 8 years. Jess Baines (LSE) will be presenting her research on the history of late 20th century radical and community printing collectives and co-ops in the UK - including: poster collectives, service printers, typesetters and print resource centres. Jess is also a former Member of the See Red Womens Workshop Dean Kenning (Kingston University and CSM) will be talking about the recent show at Portman Gallery: ‘Poster Production’ where he worked with art students from Morpeth School, Central St Martins and Reading University, and with several contemporary artists to produce posters based on different themes and according to various methods of working. Rachael House and Jo David from artist run Space Station Sixty-Five on posters and archives in the art space, including poster-related shows such as 'Shape and Situate' 'Rachael will also talk about her recent exhibitions 'Feminist Disco' and 'A Space of Potential' which draw on feminist cultures'? Chair: Anne Robinson (senior lecturer at London Metropolitan University and former member of See Red Womens Workshop) Each of the speakers will make a 20 minute presentation followed by an open discussion with time for questions. Admission free and all welcome, but please register at: http://inknowposters.eventbrite.com Email: anne.robinson@londonmet.ac.uk for further information Supported by The Facility, FSSH

External News and Events - Event - Art History and Psychoanalysis 2

Wed, 22 May 2013 06:03:43 +0000

ART HISTORY AND PSYCHOANALYSIS: WORKSHOP 2 Centre For Psychoanalytic Studies And The School Of Philosophy And Art History, University Of Essex Saturday, 8th June, 2-6pm Interdisciplinary crossovers between art history and psychoanalysis have a long, rich and productive history. Since Freud, many analysts have incorporated the study of visual art into their work, and art historians and theorists frequently incorporate concepts, methods and frameworks from psychoanalysis into theirs. However, while there can be no doubt that these exchanges have been incredibly fruitful, they also throw up significant methodological issues. What happens when ideas migrate from the analytic context into an artistic one and back again? What differences are there between the analytic situation and the artistic context? How can we incorporate modes of artistic experience into psychoanalytic frameworks? Do psychoanalytic concepts sometimes get lost in translation? This is the second in a series of three workshops which will address these issues. Although they are organised around speakers, the workshops will primarily be an opportunity for group discussions around methodological questions raised by our contributors. As well as a keynote speech, each session will include four short papers (c. 15 minutes), each followed by a longer discussion amongst the rest of the group (c. 40 minutes). We are especially keen on finding a mixture of participants from backgrounds in art and art history, as well as psychoanalysis and related fields, to make sure that these are genuinely interdisciplinary events. LOCATION - Seminar Room 3+4, Art History Department, University College London, 20-21 Gordon Square Registration – Free PROGRAMME 14:00 – 15:00 Keynote: Prof. Janet Sayers (Psychology Department, University of Kent) Two-way traffic in art and psychoanalysis 15:00 – 15:10 Coffee and Tea 15:10 – 16:30 Maïté Marciano (Kingston University) Divergent perspectives on Magritte’s Time Transfixed Jenny Nachtigall (UCL) Techniques of recording in Dada performance and psychoanalysis 16:30 – 16:40 Short Break 16:40 – 18:00 Robert Kilroy (Trinity College Dublin) Psychoanalysis and Art History: From Parallelism to Parallax Yasco Horsman (Leiden University) Listening to Art: On Theodor Reik’s notion of the Third Ear Contact Name (if applicable): David Hodge, Natasha Adamou, Matt ffytche Contact and further information details: artandpsychoanalysis@essex.ac.uk http://arthistoryandpsychoanalysis.wordpress.com/ The event is free, but registration is essential. To register, please email us at artandpsychoanalysis@essex.ac.uk

External News and Events - Call for Papers - Edited Volume on Graffiti

Wed, 22 May 2013 06:03:43 +0000

Call for Submissions for an Edited Volume on Graffiti This is an open call for submissions for an interdisciplinary, edited volume on the materiality of graffiti for an American academic press. We desire submissions from Anthropologists, Archaeologists, Art Historians, Sociologists, Historians, Folklorists, and scholars in related fields that take a broad view of the genre of graffiti. This book will serve as a handbook that presents a wide range of studies across regions and time periods and from the ancient past to present. We are interested in essays and research articles on the following topics: 1. The relationships between rock art and graffiti. 2. Regional and site specific graffiti studies from prehistoric and historic sites worldwide. Examples include: graffiti from Greek and Roman sites across the Mediterranean; historic graffiti left by explorers and tourists at significant archaeological and historic sites; Contact Era graffiti left by travelers at sites like Newspaper Rock, El Morro, and Inscription Rock in the Americas. 3. Studies of graffiti as resistance and emergence from the local level to the international scale— from individual works relating to neighborhood concerns to the graffiti of large scale events like the recent protests in Cairo's Tahrir Square or Cold War Era Graffiti across Europe. 4. Graffiti left by military and civilians in times of war and conflict. 5. The relationships between graffiti and murals. 6. The politics of defacement and prohibition. 7. Graffiti, territoriality, and the demarcation of public and private space. 8. Legal perspectives on graffiti. 9. Comparisons between preserving historically significant graffiti and removing modern tagging. 10. Graffiti as tribute and celebration. 11. Graffiti as high art and the role of graffiti artists such as Kenny Scharf (USA), Os Gemeneos (Brazil), Keith Haring (USA), and Banksy (UK) in the art and gallery world. 12. Theoretical and material studies of graffiti's physical and social permanence or impermanence. 13. Methodological studies of recording graffiti. 14. Methodological studies of preserving graffiti. Other works along these themes may be considered. Please submit the following via email attachment by July 15th, 2013: 1. A 200 to 400 word abstract outlining your proposed book chapter. 2. A 200 to 400 word biography describing your scholarly background and specific discussion of your work with graffiti and related topics. 3. A brief CV or scholarly resume. Send all inquiries or submissions to Troy Lovata, Ph.D. (Anthropologist/Archaeologists, Honors College, The University of New Mexico, Albuquerque) lovata@unm.edu or Elizabeth Olton, Ph.D. (Art Historian, Institute of American Indian Arts, Santa Fe & Honors College, The University of New Mexico, Albuquerque) edrakeolton@gmail.com

Job Opportunity - Job Opportunity - Tutor, Art History Summer School

Wed, 22 May 2013 06:03:43 +0000

Tutor Organization: Debate Chamber Ltd. Date Posted: 10/05/2013 Date Needed: 19/08/2013 City: London Country: United Kingdom Primary Category: Teaching Salary: £125 daily Type of Position: Part-Time Education Requirement: BA Experience Requirement: < 1 year Description & Details Debate Chamber is a small company offering high-end education opportunities for students aged 15-18 in a range of academic subjects. Our events give bright, motivated students the opportunity to explore new subjects and ideas and get a taste of undergraduate level challenges. We are looking for applicants to work with us on our Art History Summer School which is running on the 19th-23rd August. You can find full details about our Art History Summer School here: http://www.debatechamber.com/summerschools/art-history-summer-school/ including a full schedule of the topics including: Aesthetics, Renaissance, Modernism, the Visual Uncanny, Byzantine art and Curatorship. You can find out more about our courses more generally on our website here:www.debatechamber.com. Our teaching day runs from 10.30am - 4.30pm and the rate of pay is £125 per day. How to Apply / Contact For enquiries or applications, please contact Tom Davies, at tom@debatechamber.com. To find out more about the tutoring positions and to apply please go to: http://www.debatechamber.com/about/checkout/applying-to-work-as-a-debate-chamber-tutor/

Job Opportunity - Opportunity - Curator/Art Consultant

Wed, 22 May 2013 06:03:43 +0000

Curator/Art Consultant Commission-based Docent.co a new Arts eCommerce platform is seeking curators and art consultants to recruit artists, write copy, and help with marketing efforts. We are a virtual organization--We officially launch in July, demo site can be seen at www.Docent.co Contact and further information details: Write to info@docent.co for more information. Application Deadline June 17, 2013.

Job Opportunity - Job - Career Services Intern

Wed, 22 May 2013 06:03:43 +0000

Sotheby's Institute, Career Services Intern We are looking for a friendly, enthusiastic and fast-learning intern, with strong attention to detail, to offer administrative support to our Career Service, which helps MA and semester students and graduates seeking employment in the art world. Duties to include: A range of administrative support Answering email enquiries from students and employers Advertising jobs on an online careers database Diary management Researching jobs of interest to our students Requirements: Degree in art history Excellent written English Attention to detail Well organised. Well presented and used to a customer focussed environment A general interest in both the private and public sectors of the art world including museums, commercial galleries and foundations, auction houses, art consultancies, art publishing and arts PR. An additional language would be advantageous but not essential Eligible to work in the UK 3 month period (with two week trial period) Three days a week (flexible) Start 1st June £6.50 per hour Please send a covering letter and CV to: c.bradstreet@sothebysinstitute.com Deadline: Sunday 26th May About Sotheby's Institute For more than forty years Sotheby's Institute of Art has been preparing students for careers in the international art world. Our vision is to be universally acknowledged as the premier provider of advanced object-based art education, whose graduates combine passion for the visual arts with scholarship and market sophistication in order to flourish as leaders in the international art world. Our degrees are awarded by the University of Manchester in the UK and through the Regents of the State of New York and accredited by the National Association of Schools of Art and Design and combine professional training with academic study. The Institute combines a unique object-based approach to works of art and art history with study of the international markets and their practices. Its graduates combine a passion for art with scholarship and market sophistication. The Institute offers programs leading to PhD and MA degrees as well as courses taught on-line (available anywhere/anytime). There are also a variety of semester-long, study abroad and summer program options for graduate and undergraduate students as well as for continuing professional development. Special lectures, seminars and evening courses are offered throughout the year in both London and New York.

External News and Events - Call for Papers - Second Annual International Conference in Paragone Studies

Wed, 22 May 2013 06:03:43 +0000

Forthcoming Event: Second Annual International Conference in Paragone Studies Sept. 19-21, 2013, Flint, Michigan, USA Contact Name: Dr. Sarah Lippert | paragonestudies@gmail.com Deadline for submission: July 19th, 2013 Papers: Papers are invited for The Second Annual International Conference in Paragone Studies, to be held in the beautiful cultural centre of Flint, Michigan, just outside of the University of Michigan-Flint campus. The conference’s purpose is to support the scholarly investigation of the paragone, or rivalry in the arts, as it has been manifested in all media across history. Studies in all disciplines relevant to the persistence and history of competition in the arts, as well as inter-arts rivalry, will be featured. These include art history, visual culture, comparative literature, philosophy, aesthetics, the performing arts, critical theory, communication, cultural studies, linguistics, spoken-word, and musicology, amongst others. For instance, scholars might consider rivalries between individual artists, patrons of the arts, or nationalistic competition, hierarchies of the senses or media in aesthetic theory, arts-related organisations, debates over the superiority of one art versus another, ut pictura poesis and word/image studies, etc. To apply: Submit a 300-word abstract using the appropriate form on the Society website (http://blogs.umflint.edu/paragonestudies/). Please include a curriculum vitae. Presenters will read 20-minute papers. Round Table: The conference will also include a round-table session featuring artists who seek to discuss how competition in the arts, past or present, has impacted their works or professions. For example, at the inaugural conference of 2012, a sculptor spoke about how he navigates similarities between his work and that of a contemporary, while a poet addressed ongoing battles between formal and informal poetry in academia, and a digital-media artist explained how appropriation manifests itself as competition in her work. Each artist shared examples of his/her work through recitation, performance/spoken-word, and digital imagery. To apply: Submit a 300-word abstract outlining your presentation, using the form on the Society website (http://blogs.umflint.edu/paragonestudies/), as well as a curriculum vitae. Each featured round-table presenter will introduce the audience to his/her work in a brief 10-minute presentation, followed by discussion.

Job Opportunity - Job - Professor of Art History, SCAD Hong Kong

Wed, 22 May 2013 06:03:43 +0000

Professor of Art History Empower students to achieve their potential as a full-time professor of art history at SCAD Hong Kong. In this position, you will deliver an array of lectures and survey courses as part of the foundational curriculum, teach specialized electives and develop new courses that capitalize on the campus location. Requirements: Ph.D. in art history or a related field Vast knowledge of contemporary art methodologies Demonstrated success in college-level teaching Curatorial and exhibition experience with arts institutions, cultural arts programming and artists throughout the region Proven leadership skills and ability to work with students of diverse backgrounds Courses of study are registered with the Hong Kong Education Bureau, registration numbers: 261958-261971 and 262196-262202. It is a matter of discretion for individual employers to recognize any qualification to which these courses may lead. For complete submission requirements, please visit our website using the URL listed and follow application instructions: https://scadjobs.com/applicants/Central?quickFind=53959 Should you have questions regarding your application package, you may submit an email to Human Resources at scadfaculty@scad.edu. ABOUT SCAD The Savannah College of Art and Design is a private, nonprofit, accredited institution conferring bachelor’s and master’s degrees in distinctive locations and online to prepare talented students for professional careers. The diverse student body of more than 11,000 comes from all 50 United States, three U.S. territories and more than 100 countries worldwide. The education and career preparation of each student are nurtured and cultivated by a faculty of more than 700 professors with extraordinary academic credentials and valuable professional experience. Through individual attention in an inspiring university environment, and with advanced, professional-level technology, equipment and learning resources, SCAD is uniquely qualified to provide an exceptional education and unparalleled career preparation. SCAD has garnered acclaim from respected organizations and publications; see the latest at www.scad.edu/recognition. SCAD is an Equal Opportunity / Affirmative Action Employer and welcomes all persons without regard to race, color, national origin, religion, gender, age, sexual orientation or disability.

External News and Events - Member Offer

Wed, 22 May 2013 06:03:43 +0000

Win a Pair of Tickets to Lowry and the Painting of Modern Life at Tate Britain (Showing 26th June – 20th October) This summer, Tate Britain presents a major exhibition of landscapes by the much loved British painter L S Lowry (1887-1976) and we are giving one lucky individual the chance to win two tickets to see it. This is the first show held by a public institution in London since the artist’s death. Bringing together around eighty works, including Tate’s Coming Out of School 1927 and The Pond 1950, this show aims to re-assess Lowry’s contribution as part of a wider art history and to argue for his achievement as Britain’s pre-eminent painter of the industrial city. Lowry’s most frequent subjects were drawn from the streets he walked daily whilst working as a rent collector, subjects such as football matches, protest marches, evictions and fist-fights and workers going to and from the mill. But above all Lowry was a landscape painter and wished to show what the industrial revolution had made of the world. Without his pictures, Britain would arguably lack an account in paint of the experiences of the 20th-century working class. To be in with a chance of winning a pair of tickets to this landmark exhibition just send your name and contact details to competitions@akauk.com, and write ‘AAH’ in the subject line. Terms and Conditions: Competition tickets are valid until 6 October 2013. Subject to availability. No refunds allowed.

External News and Events - Event - Public Engagement and Impact: Articulating Value in Art and Design

Wed, 22 May 2013 06:03:43 +0000

Public Engagement and Impact: Articulating Value in Art and Design Symposium 23 May 2013 Institute of Contemporary Arts, London In 2010 The Work Foundation published a report entitled 'A Creative Block? The Future of the UK Creative Industries,' which stated, ‘the UK creative industries are now under threat from a combination of recession-induced cuts, [and] the global trends towards convergence and digitalization’, adding that, ‘unless acted upon quickly, there will be a block to the UK creative industries…as a driver of growth and innovation’ (Dr Benjamin Reid and Alexandra Albert, The Work Foundation, December 2010). Successive Arts Council policy goals have underlined the importance of greater public engagement and collaboration, with a view to attracting and inspiring new audiences and ensuring the arts are ‘sustainable, resilient and innovative’ (Achieving Great Art for Everyone, A Strategic Framework for the Arts, Arts Council England, November 2010). It was further observed in 2010 in an AHRC/ESRC report to the DCMS entitled Measuring the value of culture, that due to the ‘cooler climate’ facing cultural and arts organisations, central government and parts of the publically funded cultural sector have recognised the need to ‘more clearly articulate the value of culture using methods which fit in with central government’s decision-making’ strategies (Measuring the value of culture: a report to the Department for Culture, Media and Sport, Dr. Dave O’Brien, 2010). In light of the 2014 Research Excellence Framework these complexities are now being addressed with renewed vigour for UK art and design HE institutions. This symposium explores the social, cultural and political challenges around measuring public engagement in relation to evidencing impact, and the implications of this for those working in Higher Education and Museum/Gallery sectors. Symposium Programme 11.00 – Arrival and registration (ROTO? film-screening - cinema). 11.30 – Welcome, Professor Steve Swindells and Dr Anna Powell, University of Huddersfield. 11.40 – Speaker 1: Dr Claire Donovan, Reader in Assessing Research Impact, Brunel University. 12.05 – Speaker 2: Dr Sarah Shalgosky, curator of the Mead Gallery, University of Warwick, and Professor Stephanie James, Associate Dean/Head of the School of Visual Arts at Arts University College at Bournemouth. 12.30 – Speaker 3: Bob and Roberta Smith, contemporary artist. 13.00 – Plenary 1 - Creative feedback.* 13.30 – Lunch break (ROTO? film-screening - studio). 14.10 – Welcome back. 14.15 – Speaker 4: Dr Helen Pheby, Curator at Yorkshire Sculpture Park, and Peter Murray CBE, Founding and Executive Director of Yorkshire Sculpture Park. 14.40 – Speaker 5: Paul Manners, Director of the National Coordinating Centre for Public Engagement, Bristol. 15.05 – Speaker 6: Dr Rosa Scoble, Deputy Director of Planning, Research and Resources at Brunel University. 15.30 – Plenary 2 - Developing a visual narrative.** 16.00 – Refreshment break. 16.15 – Speaker 7: Ailbhe McNabola, Associate Director of Policy & Research at the Design Council. 16.40 – Speaker 8: Jocelyn Bailey, Head of Manufacturing Design and Innovation Policy, Policy Connect. 17.05 – Final plenary - summary and feedback, review of the day’s discussion topics and responses. 17.35 – Close. *Plenary 1 - Creative Feedback: This plenary encourages hands-on, creative responses to the ideas, questions and issues in discussion at the symposium. Utilising placards, banners and slogans, participants will work in small groups to create textbased artworks inspired by the themes of the day, presenting visually what they consider to be the most significant outcomes of the day’s talks. The outcomes of this workshop will be displayed throughout the day in the ICA’s studio space, enabling symposium attendees to view and, in turn, respond to a vibrant review of the symposium. **Plenary 2 - Developing a visual narrative: In this plenary delegates will be asked to add their ideas and opinions about the event’s discussion topics to a large-scale, wall-mounted mind map outside of the cinema space. Participants will be provided with colour-coded sticky-notes and pens, and will be asked to add text or image comments within the construction of the map. This will help to create a visual narrative that will expand and develop throughout the day. It is our intention to publish the symposium proceedings during the summer of 2013 - we envisage the plenary sessions, video, audio and on-line responses will contribute to the composition and content of the publication. Delegates will be divided into two groups and, on rotation, will be invited to contribute to each plenary session. We will also be asking people to use their SMART phones/laptops and the ICA’s wireless internet connection throughout the day to provide a microblog* entry on our Public Engagement blog, summarising their thus-far experience of the event and anything it has taught them. People will also be encouraged to respond to the comments of others to instigate a dialogue which, it is hoped, will continue after the event. *A Tweet-length (maximum 140 characters) comment on the site. Replacing the conventional feedback form, it is hoped that the above activities will help to create a dynamic and interesting review and summary of the event, while instigating further discussion. For further details and to register, please visit http://www.ica.org.uk/37062/Talks/Public-Engagement-and-Impact-Articulating-Value-in-Art-and-Design.html Go to http://contemporaryartengage.wordpress.com/ica-symposium/ for updates and to view the event programme and speaker abstracts. Please send any queries to Dr Anna Powell at a.powell@hud.ac.uk. This symposium is being organised by the University of Huddersfield, in partnership with the ICA.

AAH News and Events - AAH Internship Award

Wed, 22 May 2013 06:03:43 +0000

We are delighted to announce the first recipient of the new AAH Internship Award (a revision of the previous Voluntary Work Fund which is overseen by the Student members group) Samantha Lippett, is an undergraduate student at the University of Brighton studying Illustration with critical studies. Her internship will be at the Birth Rites Collection, Midwifery Dept in Salford, whose art celebrates natural childbirth and explores the problems and politics associated with medicalised childbirth. Samantha will participate in the research and curation of their latest project, Private View, Public Birth: The Global Perspective, the primary research for which will take place in Santa Fe, New Mexico in June 2013. The AAH will award Samantha £1990, to cover her travel expenses for her 30 days of work with the collection. We look forward to reading more about her internship and this fascinating project in her completion report.

External News and Events - Exhibition - The Seven Sins of Pieter Bruegel

Wed, 22 May 2013 06:03:43 +0000

THE SEVEN SINS OF PIETER BRUEGEL Exhibition of Paintings and Prints at Helston Folk Museum, Helston, Cornwall. MAY 13th – 30th Mornings only: 10am – 1pm. Free entrance. Closed Bank holidays and Sundays. Exhibition of nine authentic 16th century engravings by Bruegel from a private collection together with oil studies of many of his lesser known graphic works by Laurence Smith. Details also on website : www.pieter-bruegel.co.uk

External News and Events - Christopher Dresser Society Launch Event

Wed, 22 May 2013 06:03:43 +0000

Dresser Project event – and Dresser Society Launch 20th June 2013 Teesside University and the Dorman Museum Middlesbrough. The School of Arts and Media, at Teesside University and the Dorman Museum are launching the Christopher Dresser Society on Thursday, 20th June 2013 with a Christopher Dresser symposium and an exhibition launch. This will also provide an opportunity to view the newly acquired Christopher Dresser collection at the Dorman Museum, Middlesbrough and to go behind the scenes of the Ceramic and Jewellery collection of MIMA. Should you wish to attend, please let us know, numbers permitting we hope to organise additional events such as an informal gathering on the Wednesday evening, and visits on Friday, to the National Glass Museum, Sunderland and the "Angel of the North". I attach some thoughts for your consideration, with the proviso that the founding principles of the Christopher Dresser Society will need to be an iterative process, where all those attending will be able to contribute to its ambition and scope. For further information, please contact Paul Denison on P.Denison@tees.ac.uk. Dr Christopher Dresser was a contemporary of William Morris, being born in the same year in 1834. Both addressed issues around industrial production in Victorian Britain, but from radically different perspectives. Whilst Dresser accepted that industrialisation was here to stay, Morris looked to the principles of the medieval guilds. Dresser’s name is relatively unknown by a broad public, outside the worlds of antiques and design history. This is not the case with the likes of William Morris and Charles Rennie-Mackintosh both of whom are household names. The scale and breadth of Dresser’s work needs therefore to be further recognized and promulgated. The Christopher Dresser Society would address this aim. There are substantial reasons why the North East, and Middlesbrough in particular, should be a hub for such a society. Linthorpe Pottery is well known, but few know that Linthorpe wallpaper was also produced. It is even less well known that Middlesbrough was selected to be the base for Dresser’s dream of an art-industry complex in the 1880s. The Dresser family has strong links to North Yorkshire, Thirsk and Darlington and there is also record of the family having lived in Stockton when Dresser was very young. There are many champions for the study of Dresser in the North East including the Dorman Museum which houses both the largest collection of Linthorpe pottery in the world and a recently acquired collection of Dresser artefacts of some note. Teesside University, for its part, wishes to stimulate the need for further scholarship into Christopher Dresser and is committed to establishing the Christopher Dresser Society in collaboration with the Dorman Museum The Christopher Dresser society’s aims require definition. It is envisaged that this will initially be an iterative process. Your views and input would be most welcome. Amongst its considerations, the society would rightfully extend knowledge of Dresser’s influence within British, European and American design and material culture. It would provide a resource for those wanting to find sources and scholars who can help them with identification and contextual issues. It would join together communities of scholars, dealers and students at all levels. It would also serve to develop heritage resources and tourism in those locations where it is known that Dresser had some sway. These are some initial thoughts about Christopher Dresser Society which will be discussed further during the symposium launch event of the 20th June. Your additional participation in this and any future discussions is warmly welcomed. Harry Lyons/ Gerda Roper/ Paul Denison Day 1 9.30 Arrival 10.00 Dorman Museum: • Welcome/ Introduction to Dresser on Teesside / Dorman Museum and HLF project (Gill Moore /Paul Denison) • Overview of new resources and potential for scholarship (Jo Gooding) 11.20 Refreshment Break: 11.40 Tour of Resources: • Group round-robin tours: (15 min.s each plus turnaround) o Store + collection (Louise Harrison) o Gallery Space + redisplay plans (Gill Moore) o Resource Room + Archive (Jo Gooding 12:45 Buffet lunch at Dorman museum 2.15 Transport to mima Coach/mini-bus or 15 minute walk Behind the scenes; Ceramics, Jewellery and paintings collections and their current exhibitions, ‘Tracing the Century; Drawing as a Catalyst for Change’ and ‘Carl Andre Mass and Matter’. 5:00 Teesside University Refreshment, view small Dresser exhibition Constantine Gallery, Teesside University Formal welcome 6.00 Christopher Dresser Symposia finish symposium/ panel- Lecture theatre TBC Intro Prof G .Roper Speakers to Date: Christopher Morley, Henry Lyons, Paul Denison, Gill Moore, others to be confirmed Day 2 9:00 The way forward with the Christopher Dresser Society meeting. 10:15 Visit to Sunderland Glass Centre and Angel of the North, Darlington Railway Station and return to Middlesbrough.

External News and Events - Call for Papers - Work in Progress: Bringing Art into Being in the Early Modern Period Work in Progress: Bringing Art into Being in the Early Modern Period

Wed, 22 May 2013 06:03:43 +0000

Work in Progress: Bringing Art into Being in the Early Modern Period Fifth Early Modern Symposium Saturday 26 October 2013 The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN CALL FOR PAPERS Did I request thee, Maker, from my Clay To mould me Man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost, Book X (1667) Complex narratives spanning months, years or even decades exist behind the single bracketed date attached to artworks to indicate their moment of execution or completion. This one-day symposium will explore the ‘ante-natal’ development of early modern art from its conception to its ‘quickening’ and eventual birth. The process fascinated contemporary theorists and continues to raise questions for modern art historians. For example, when was an artistic project considered finished or unfinished? What terms were used to indicate the various stages of bringing an artwork into being, and what implications did these terms have for authorship and authenticity? The creation of art is not the work of a moment or achieved at a single stroke; it involves a series of transpositions from idea to study or plan, from sketch to painting, from plan to building and so on. How did early modern art reflect on the process of its own making? We invite 20-minute papers considering artistic ‘work in progress’ in the early modern period (c.1550-1800): what processes of translation and transposition were involved in moving art out of the realm of ideas into the material world? Papers might analyse and discuss the evolution of an artwork from concept to creation or construction and consider each phase of development in turn. This could involve close examination of plans, drawings, studies, sketches, maquettes or bozzetti for the same artistic project and consideration of how each stage shaped the end product what did contemporary ideas, religious beliefs, and philosophical theories (those of Spinoza, for example) have to say about creativity - and how might these have informed the conception of the early modern work of art? As Peter Conrad (Creation: Artists, Gods & Origins, 2007) has suggested, ‘any investigation of art has to ponder the notion of God’s creation’. Vasari paid homage to the ‘ultimate initiator’ in his Lives of the Most Eminent Painters, Sculptors, and Architects and described Genesis as the adventures of a ‘creative intellect’ how might the early modern preoccupation with the idea of progress have been relevant to the creation of art? was creativity gendered in the period? Did the early modern version of sexual reproduction - in which women simply encased the precious, implicitly masculine kernel of creativity - affect contemporaries’ understanding of the way art was generated? can current theories and methodologies illuminate the process of art-making in the period? What can material data and scientific research methods, such as infra-red reflectography, dendro-chronology and chemical analysis of pigments, tell us? what happened when artistic aspiration collided with social and political realities or encountered financial and practical constraints? Papers might describe artistic indecision and frustration and examine the choices and creative opportunities that resulted. How did projects come to be altered or radically revised in scale and ambition? What were the implications of rejection in such cases as Caravaggio’s ‘St Matthew and the Angel’ for the Contarelli chapel in San Luigi dei Francesi? drawing on Victor Stoichita’s study of ‘meta-painting’, papers could explore how early modern artworks reflected on their own bringing into being and making. Vermeer’s ‘The Painter in his Studio’ (c.1666), ‘Las Meninas’ by Velázquez (1656-7), and Panini’s ‘Modern Rome’ and its pendant ‘Ancient Rome’ (1757) are examples of the many artworks from the period that take the process of artistic creation as their subject. We invite proposals from graduate students, junior scholars, curators, and conservators for papers that explore one or more of the above-mentioned issues in any artistic medium (painting, sculpture, architecture, decorative arts, print media, graphic arts and the intersections between them). Theoretical and technical approaches are equally welcome. We do not at present have a budget for travel and accommodation for speakers. Students from outside London are encouraged to apply to their institutions for funding to participate in the symposium. Please send proposals of no more than 300 words along with a 150 word biography by 21 June 2013 to anya.matthews@courtauld.ac.uk and giulia.weston@courtauld.ac.uk Organised by Anya Matthews and Giulia Martina Weston (The Courtauld Institute of Art) The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN tel +44 207 848 2785/2909 web http://www.courtauld.ac.uk/researchforum/index.shtml

External News and Events - Call for Papers - 'Pyrotechnic Sculpture'

Wed, 22 May 2013 06:03:43 +0000

Call for Papers - Pyrotechnic Sculpture Henry Moore Institute, Leeds. Wednesday 21 November This one-day symposium coincides with the Henry Moore Institute exhibitions: Dennis Oppenheim; Thought Collision Factories, Jean Tinguely: Spiral and Stephen Cripps: Pyrotechnic Sculptor. All three of these sculptors pushed the boundaries of sculpture not only by employing purpose-built mechanised objects and kinetic contraptions, but also through pyrotechnics. Each of them turned to fireworks, explosives, flares, fires and other kinds of combustibles and detonations to make temporary sculptural works, the sparks of which shone brightly across the landscape of contemporary sculpture in Europe and North America throughout the 1960s, 1970s and 1980s. Fire, flare and smoke were all harnessed by these artists for visual, sonic, material and spatial effects, in fascinating, ambitious and imaginative ways, with associations and meanings that extend well beyond their more literal ‘dematerialising’ qualities. The increasingly elaborate mechanised sculpture-constructions of Dennis Oppenheim (1938-2011) are well represented through his ‘Firework Series’ from the early 1980s. This body of work includes large and complicated welded steel sculpture-contraptions such as ‘Second Sight for a Staircase’ (1981) (incorporating sparklers, rockets and Roman candles), ‘Launching Structure. An Armature for Projection’ (1981-82) (using butane gas ignition systems, rockets, ricochet shields, arc lights and spinning blades) and ‘Formula Compound: A Combustion Chamber: An Exorcism’ (1982) (comprising flares, rockets and fountains). These works are situated both indoors and outdoors, ‘events’ as much as ‘objects’. Oppenheim’s sculptures were indebted to those of Jean Tinguely (1925-1991) who began experimenting with mechanical sculptures in the 1930s. Welding scrap metal, spinning motors, celebrating chance and staging self-destructing machines, Tinguely unleashed a new kind of kinetic sculpture onto a public more familiar with the idea of sculpture as static and monumental. His ‘Homage to New York’, the machine that destroys itself, as it was advertised in 1960, was one of his most ambitious fire-starting sculpture-performances, staged in the Sculpture Garden of the Museum of Modern Art. Cripps wrote his student dissertation on Tinguely. His exploration of fire and flare was complex, allied to installation, performance and experimental music as explosions and detonations were harnessed for their sonic as much as visual effects. As Anne Bean recalled of his 1979 Modern Art Oxford performance: ‘there was a tremendous air of expectancy with the hanging of gongs and cymbals, odd bits of machinery, suspicious-looking explosive devices, buckets of water, strange suspended alien-looking horn-like instruments, as well as malicious-looking bags of unknown substances.’ Many of his pyrotechnic performances were one-off experimental works, and were audio-recorded as well as filmed and photographed. We welcome thirty minute papers that look at examples of pyrotechnic sculpture found across the modern and contemporary period, both before and after the work of these three artists. We are seeking new and original research on this kind of work, interested in its deployment of kinetic sculptural form and use of activated assemblage, its accounts of temporality and ephemerality, its collision of object and event, sculpture and performance, its modes of staging, display and re-display, and finally, in the on-going life of this kind of work today, as well as its recent history. Please email a 250 word abstract and a copy of your CV, by Friday 14th June 2013, to Kirstie@henry-moore.org

Students - Call for Papers - AAH New Voices: Art and Decolonisation

Wed, 22 May 2013 06:03:43 +0000

New Voices: Art and Decolonisation 16 November 2013 Henry Moore Institute, Leeds Call for Papers Art and its histories have ‘complex entanglements’ with empire and imperialism, to borrow a phrase from theorist Nikos Papastergiadis. In collaboration with the Henry Moore Institute, New Voices investigates the intersections of art and decolonisation to ask what the specific implications of decolonisation are for art and art history. This symposium turns attention to the geo-political struggles, revolutions and cultural recalibrations that artists and art historians have championed, challenged and negotiated as imperialism and colonialism weakened their grip and took on new forms. New Voices aims to identify the roles art has played in the volatile moments at the end of various empires in order to ask how has art depicted and enabled the production of cultural identities amidst rapid political change seen in examples that include the decline of the Roman, Byzantine and Ottoman Empires, decolonisation in the twentieth century, the fall of the Berlin wall, Indian independence and the spirit of liberation that swept across Africa. New Voices is also interested in addressing how the visual arts has resisted and altered the terms of domination or homogeneity in the contexts such as the Arab Spring and international Indigenous struggles for self-determination. The effects of deterritorialisation, migration and modernisation on art and its institutions are of particular interest. As New Voices is hosted by Henry Moore Institute, a centre for the study of sculpture, we welcome submissions which consider sculpture and the Leeds Museums and Galleries sculpture collections, managed on partnership with the Henry Moore Institute. We invite proposals that explore themes including: Art, national independence and self-determination Cultural affirmation and hybridity International Indigenous collectives and networks Global exhibitions and the complexities of national representation Contemporary approaches to ethnographic collections Historiography, methodologies and their relationships to decolonisation Case studies of how curators, artists and collectors have engaged with postcolonial art historiography to produce new narratives while learning from the past Submit abstracts of 350 words, with a 150 word biography, to the organisers, Charlotte Stokes, Imogen Wiltshire, Sibyl Fisher and Anna Beketov, by 1 October 2013 via email: artanddecolonisation@gmail.com

External News and Events - Conference - Life after Death

Wed, 22 May 2013 06:03:43 +0000

ART & DEATH 3: Life after Death 10.00 – 12.30 Thursday 23 May 2013 Research Forum, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN This is the third and last of a series of 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 third workshop will focus on representations of the perceived fate of the body and soul after death, as well as the continuation of a relationship (if only in memory) between the living and the dead, and will examine how this might vary for a community, a family and an individual. Organised by Jessica Barker and Ann Adams (PhD Candidates, The Courtauld Institute of Art) Admission free, all welcome – No booking is necessary PROGRAMME 10.00 – 10.05 Welcome and Introduction: Jessica Barker and Ann Adams Session 1: Imagining the Soul – Chair: Jessica Barker 10.05 – 10.30 Maria Grasso (PhD Candidate, The Courtauld Institute of Art) The iconography of the depiction of Amand’s soul in Valenciennes, Bibliothèque municipale, Ms. 500 10.30 – 10.55 Jonathan Kewley (PhD Candidate, University of Durham) The New England Winged Soul: artistic convention or theology in stone? 10.55 – 11.05 BREAK Session 2: Remembering the Dead – Chair: Ann Adams 11.05 – 11.30 Natalie Zeldin (M.A., University of Texas) Hybrid Iconography of Portuguese Sephardic Tombstones 11.30 – 11.55 Martin Stiles (M.A. Birkbeck College, University of London) ‘Copied from an earlier portrait’: Eighteenth-Century posthumous ancestral portraits at Halswell Hall 11.55 – 12.20 Joana Ramôa Melo (PhD, Universidade Nova de Lisboa) The dead as protagonists: the funerary programme designed for Inês de Castro (Alcobaça, Portugal) as propagandistic commemoration and a vehicle to ‘resurrect’ the lady as queen 12.20– 12.30 Panel Discussion

External News and Events - Lecture - Letter-writing and Painting 1500-1900

Wed, 22 May 2013 06:03:43 +0000

Research Forum Visiting Professor Programme Peter Stallybrass (Walter H. and Leonore C. Annenberg Professor in the Humanities and Professor of English and of Comparative Literature and Literary Theory, University of Pennsylvania) Tuesday, 14 May 2013 17.30 - 18.45, Kenneth Clark Lecture Theatre Lecture: Letter-writing and Painting 1500-1900 In this lecture, Peter Stallybrass will focus both on the material practices of letter-writing in Europe from 1500 to 1900 and on painted representations of the reading and writing of letters in this period. The lecture will include hand-outs of exact facsimiles of four letters (dated 1557, 1762, 1828, and c.1888) as an aid to examining continuities and transformations in letterwriting practices and to help understand how folding patterns and filing systems are represented in paintings. Peter Stallybrass is Director of the History of Material Texts at the University of Pennsylvania and Senior Research Fellow at Queen Mary College, University of London. He has also taught at the École des Hautes Études en Sciences Sociales and the Collège de France. He is at present working with Roger Chartier on a history of the book from wax tablets to e-books. The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN tel +44 20 7848 2909/2785 web http://www.courtauld.ac.uk/researchforum/index.shtml Organised by Professor Caroline Arscott

External News and Events - Conference - Art and Maps since 1945

Wed, 22 May 2013 06:03:43 +0000

Art and Maps since 1945 Second Annual Graduate Conference, School of Philosophy and Art History, University of Essex, Colchester, United Kingdom - 17th May 2013 Keynote speaker: Jonathan Harris, Professor in Global Art and Design Studies and Director of Research for the Winchester Centre for Global Futures in Art and Design Media at the University of Southampton. In the postwar period, maps have become increasingly common as an artistic medium, but this rise to prominence emerges from several distinct historical trajectories. One important lineage is that linked to Conceptual Art and its legacy, where the map, like the diagram, has been used as a figure of social abstraction, raising questions about the space and its representation as well as art and communications technology. Elsewhere, groups such as the Situationist International and certain strands of performance art have been concerned with the production of art (or anti-art), in or as ‘real space’, something that pushes the boundaries of mapping and perhaps art practice to their limit. In such practices, maps have been an important means of producing, documenting and disseminating activities, whilst tactics of counter-mapping have been used to question representational hegemonies, even representation itself. Equally many artists have sought to contest what is at stake in mapping from a postcolonial standpoint – to redraw maps or to erase them altogether. These are only some of the many engagements with map-making in postwar art. This conference examine specific examples of such practices, but also draw out potential common threads. In more recent years, changes in technology, for example satellite navigation and locative media, and transformations in the (geo)political landscape have significantly impacted map-making practices, and we will be investigating these developments as well. PROGRAMME 9.30 – Registration 10:00 – 10:10 – Introduction 10:10 – 11:15 – PANEL 1 – Psychogeographic Legacies Berit Hummel – Centre for Metropolitan Studies, Technical University of Berlin, Mapping Dériville. Playtime, Alphaville and the Recapturing of Urban Space. Ruth Burgon – University of Edinburgh, 'Lost in this City and in this Story': Maps, Stories and the Fractured Subject on the Work of Sophie Calle and Janet Cardiff COFFEE BREAK 11:35 – 12:45 – Panel 2 – Locative Media Dan Frodsham – University of Exeter, Locating 'Place' on the Maps of Mobile Social Networks: The Case of 'COMOB' Gavin MacDonald – Manchester Metropolitan University, Bodies Moving and Being Moved: Mapping Affect in Christian Nold's Bio Mapping LUNCH BREAK 13:45 – 14:55 – Panel 3 – Mapping Beyond the 'Western' Imaginary Felipe Palma – Goldsmiths, University of London, The Translation Act, or The Performative Maps of the Atacama Desert, South America Henry Skerritt –University of Pittsburgh, Mapping Colonial Massacres onto the Ancestral Landscape COFFEE BREAK 15:15 – 16:25 – Panel 4 – Time, Histories, Entropy Hugh Govan – Specific Objects, Precarious Journeys: On Robert Smithson's Non-Site: Line of Wreckage (1968) and Mapping in Post-Minimal Art Regina Mamou – Mapping Collected Memory in Amman, Jordan 16:25 – 17:05 – Keynote Address Jonathan Harris - 'Mother Nature on the Run: Austerity and utopian globalisms in the visual arts in the 1970s' For more information artandmaps@essex.ac.uk or see http://artandmaps.wordpress.com Selected conference proceedings will be published in a special issue of rebus, the department’s online journal of Art History and Theory. Contact and further information details: artandmaps@essex.ac.uk

External News and Events - Call for Papers - Transmaterial Aesthetics: Experiments with Timber in Architecture and Technology

Wed, 22 May 2013 06:03:43 +0000

Call for Papers Transmaterial Aesthetics: Experiments with Timber in Architecture and Technology International Symposium, ANCB Metropolitan Laboratory, Aedes Network Campus Berlin, 1-2 October 2013 In the light of increasing environmental awareness, timber emerged at the forefront of material investigations in architecture over the past decades. Waste material from the end of the manufacturing process, or recycled material is fused with other materials to produce composites with changed structural, performative and aesthetic properties. Pulped, cast, bundled, 3D-printed, and robotically-stacked, new technologies enabled a radical shift away from traditional tectonics and towards articulations previously associated with other materials such as concrete, masonry and plastics. Together, these experiments give rise to a new techno-aesthetic paradigm that could be described as a form of transmateriality. In nineteenth century architectural theory, Gottfried Semper’s Practical Aesthetics already suggested a synthesis between artistic and technological developments brought about by processes of material transfiguration (Stoffwechsel). Today, new visual languages emerge alongside innovative technologies that permit the realistic study of material changes across structures: in folded plates, grid-shells and multi-reciprocal frames, structural integrity is achieved through grading, layering and fusing of surfaces. In practice, developments in timber range from Walter Gropius’s and Konrad Wachsmann’s Packaged House, which unsuccessfully attempted to sell the modern dream of technologically advanced living to the masses, to Jürgen Mayer H’s Metropol Parasol whose captivating elastic forms promise the activation of public space. In order to explore the interplay between aesthetics and technology in timber architecture, we seek submissions that probe the topic of transmateriality from perspectives that redress imbalances and missing links in the debate. We welcome critical investigations of historic or theoretical content, as well as practice-oriented contributions and case studies exploring the latest technological research in timber. We also invite proposals for workshops. Submissions: Please send a 500-word abstract and a short cv to the symposium convenors Sandra Karina Löschke (sandra.loschke@uts.edu.au) and Matthias Ludwig (matthias.ludwig@hs-wismar.de) by 3 June 2013. Abstracts will be double-blind refereed and notifications will be sent out by 17 June, 2013. If accepted, they will be published on the institutional websites. The symposium is supported by ARUP and the UTS Centre for Contemporary Design Practices

External News and Events - Call for Papers - Russian Avant-Garde and the First World War: Culture, Contacts, and Contexts

Wed, 22 May 2013 06:03:43 +0000

Russian Avant-Garde and the First World War: Culture, Contacts, and Contexts Maria Kokkori, The Art Institute of Chicago; and Maria Mileeva, The Courtauld Institute of Art. Email: mkokkori@artic.edu and maria.mileeva@courtauld.ac.uk Please submit a 1-2 page double-spaced proposal, letter of interest, CV and contact information to both convenors. It could be argued that the First World War had a more profound influence on the politics and aesthetics of Russian visual culture than the October revolution. The metaphor of war was connected to the idea of innovation, and the quest to destroy the old aesthetics for the sake of creating new art. The avant-garde is by definition “embattled”, and for the Russian avant-garde artists, war signified revolution and liberation as well as the restructuring of social life and the human environment. Marking the centenary of the outbreak of the First World War, this session is intended as an interdisciplinary project. Participants are invited to explore questions of transformation of Russian art, culture and national identity, currents of Russian modernism and cultural exchange through papers on painting, sculpture, graphics, cinema, music, theater, and architecture as well as exhibitions, and art education policies. For the full call for papers, see: http://www.collegeart.org/proposals/2014callforparticipation Deadline: 6 May 2013

External News and Events - Event - Art History and Psychoanalysis

Wed, 22 May 2013 06:03:43 +0000

Centre For Psychoanalytic Studies And The School Of Philosophy And Art History, University Of Essex Friday, 3rd May, 2-6pm Interdisciplinary crossovers between art history and psychoanalysis have a long, rich and productive history. Since Freud, many analysts have incorporated the study of visual art into their work, and art historians and theorists frequently incorporate concepts, methods and frameworks from psychoanalysis into theirs. However, while there can be no doubt that these exchanges have been incredibly fruitful, they also throw up significant methodological issues. What happens when ideas migrate from the analytic context into an artistic one and back again? What differences are there between the analytic situation and the artistic context? How can we incorporate modes of artistic experience into psychoanalytic frameworks? Do psychoanalytic concepts sometimes get lost in translation? This is the first in a series of three workshops which will address these issues. Although they are organised around speakers, the workshops will primarily be an opportunity for group discussions around methodological questions raised by our contributors. As well as a keynote speech, each session will include four short papers (c. 15 minutes), each followed by a longer discussion amongst the rest of the group (c. 40 minutes). We are especially keen on finding a mixture of participants from backgrounds in art and art history, as well as psychoanalysis and related fields, to make sure that these are genuinely interdisciplinary events. LOCATION - Ivor Crewe Seminar Room, University of Essex Registration – Free PROGRAMME 2pm – Keynote Prof. Margaret Iversen (University of Essex) - “Carving, Modelling, Casting” 3.10pm – Session 2 Andrés Montenegro (University of Essex) - “Displacements of the Uncanny” Rosa Nogues (CRMEP, Kingston University) - “The Body of Sexuation: Feminist Art Practice” 4.40pm – Session 3 Imogen Wiltshire (University of Birmingham) Painting as Psychotherapy: The Crossover Between Art and Psychoanalysis at Arthur Segal's Painting School for Professionals and Non-Professionals (1937- 1944) Iain Matheson (Independent Researcher) - “William Burroughs, un hombre invisible: the meta-psychology of l'ecriture in a speculative case of Bionian psychosis” Contact: artandpsychoanalysis@essex.ac.uk http://arthistoryandpsychoanalysis.wordpress.com/

External News and Events - Event - London & The Emergence of a European Art Market (c.1780-1820)

Wed, 22 May 2013 06:03:43 +0000

LONDON AND THE EMERGENCE OF A EUROPEAN ART MARKET (c.1780–1820) Friday 21 and Saturday 22 June 2013 10am–5.30pm, Sainsbury Wing Theatre The National Gallery, Trafalgar Square, London The French Revolution and the ensuing Napoleonic Wars instigated a sweeping redistribution of art throughout Europe. Large volumes of valuable objects – often entire collections, from monasteries, churches, and palaces – were widely dispersed via auction and private treaty sales. Networks of agents provided the infrastructure for the circulation of art works and sales information across borders, which promoted a flourishing international art market. This two-day conference seeks to examine the role of London in this developing market by shedding new light on the mechanisms of the art trade that connected major European centres around 1800. Scholars from a range of disciplines and countries will discuss broad research questions such as: Did the long-term effects of the political turmoil in France alter the existing networks of dealers and connoisseurs? What would have been the motivations to ship art works to distant cities? How sophisticated was the auction catalogue as economic tool and literary genre in various countries? And is it really possible to talk about a European art market or were there still relatively independent local markets? Organised by the Getty Research Institute, Los Angeles, and The National Gallery, London. Tickets and booking Tickets for both days: £65/£40 concessions (£20 students with valid student ID) Tickets for one day: £40/£30 concessions (£10 students with valid student ID) For further information about the programme and to make a booking, go to: http://www.nationalgallery.org.uk/whats-on/calendar/conference-21-22-june-2013

AAH News and Events - AAH2013 Conference News

Wed, 22 May 2013 06:03:43 +0000

Please tell us about your AAH Conference experience via our online feedback form The recent AAH2013 Annual Confenrence & Bookfair at the University of Reading went really well. We are hugely grateful to the organisers, speakers, delegates and helpers who contributed towards making this such a sucessful event. AAH2013 was attended by over 500 delegates, including speakers, convenors, keynotes, publishers and conference assistants. Delegates enjoyed two off-site visits, one to Windsor Castle which included rate and exclusive access to the prints and drawings archive, and the other to Sandham Memorial Chapel at Burghclere to experience Stanley Spencer's epic murals. Delegates also had access to some of the University's collections and archives, include Samuel Beckett's archive, Max Weber paintings and some of Whistler's drawings. Adrian Forty and Maarten Delbecke's opening keynote 'in conversation' about architecutral history prompted much discussion. Okwui Enwezor's keynote lecture about 'Contemporary African Art' spurred a myriad of broader debate and discourse, much of which took place at the drinks reception afterwards. So popular was this conference that we even ran out of Sandwiches on one day, which has never happened before. However, this was quickly rectified by the arrival of back-up provisions of sarnies, which apparently we much nicer! We very much hope to see you all again next year at our anniversary Annual Conference, AAH2014, at the RCA in London.

External News and Events - Event - Summer University for year 12 students

Wed, 22 May 2013 06:03:43 +0000

Spend four days experiencing student life at The Courtauld Institute of Art and Gallery. This summer we are running a Summer University for year 12 students, currently studying at a UK state school or FE college, with an interest in finding out more about Art History and the possibilities of studying the subject at degree level. This is a free non-residential course designed for non-selective state school students whose parents or carers have not previously gone to university or who currently receive Income Support or Tax Credits. Contact: Stephanie Hesz Contact and further information details: education@courtauld.ac.uk http://www.courtauld.ac.uk/degreeprogrammes/admissions/open/summer-uni Deadline for applications – 29th April 2013

External News and Events - Call for Papers - 'Rethinking Early Modernity: Methodological and Critical Innovation since the Ritual Turn'

Wed, 22 May 2013 06:03:43 +0000

CRRS 50TH ANNIVERSARY ANNUAL CONFERENCE Rethinking Early Modernity: Methodological and Critical Innovation since the Ritual Turn Toronto, Ontario, June 26-27, 2014 http://crrs.ca/crrs-conferences/50th The Centre for Reformation and Renaissance Studies is celebrating its fiftieth anniversary with a conference in honor of Edward Muir, whose innovative studies of Venetian politics and culture helped to establish cultural anthropology and ritual as major analytical frameworks for scholarship on early modern European history. Building from Muir's contribution to the field, the conference hopes to focus on the significance of the methodological changes that have characterized early modern research in history, literature and art history over the last thirty years and to reflect upon how these changes have affected our understanding of the importance of the period. The conference will take place at Victoria University in the University of Toronto on June 26 and 27. Call for Papers Interested scholars are invited to submit a paper proposal on topics that exemplify new directions of critical inquiry spurred by the methodological developments over this period, including, but not limited to, the meaning of popular culture, the role of gender, microhistory, the discovery of the body, the importance of ritual, etc. Topics are also welcome that consider how methodological innovations in early modern scholarship—particularly in recent years—have informed changes in the nature of humanities inquiry, broadly conceived. We welcome papers from all disciplines, geographical areas, and periods housed within the rubric of early modern Europe. Scholars of all ranks are welcome to submit papers, including graduate students. The deadline for submissions is September 30, 2013. Please submit a title, short abstract (250 words maximum), and brief CV to Mark Jurdjevic and Rolf Strom-Olsen at crrs50th@gmail.com. Conference Information Further information about the event will be posted on the conference website: http://crrs.ca/crrs-conferences/50th/. Scheduling, travel and hotel information will be available in early 2014.

Funding Opportunity - Funding Opportunity - PhD Studentship, Birkbeck, University of London. European Art or Architecture 13th to 17th Century

Wed, 22 May 2013 06:03:43 +0000

Funding Opportunity: PhD Studentship, Birkbeck, University of London. European Art or Architecture 13th to 17th Century Outstanding candidates for part-time postgraduate research in the field of European Art or Architecture from the thirteenth to the seventeenth century are invited to apply for The Murray Research Studentship. The studentship, based in the Department of History of Art and Screen Media and supported by the Murray Bequest, covers part-time fees for a period of five years. Contact and further information details Dr Robert Maniura (r.maniura@bbk.ac.uk) http://www.bbk.ac.uk/arts/research/research-bursaries/murray-research-studentship Application Deadline 31 May 2013

Funding Opportunity - Funding Opportunity - PhD studentships at Falmouth University

Wed, 22 May 2013 06:03:43 +0000

Position: PhD studentships at Falmouth University Falmouth University invites applications to read for Research Degrees commencing in October 2013. We supervise students within, and across, art, design, media, writing and performance. We are particularly interested in receiving applications linked to our two main thematic areas of Sustainable Design and the Digital Economy, and where relevant the development of the Cornish economy. We recommend that you use our website to explore the many different research areas in which Falmouth University specialises prior to making your application, which can be accessed via this link http://air.falmouth.ac.uk/ The Material & Visual Culture Research Group welcomes applications on the history, circulation and interpretation of material and visual culture. This includes practice-based research that interacts/reworks existing material and visual culture in contemporary contexts. Contact: Dr Fiona Hackney or Dr Deborah Sugg Ryan fiona.hackney@falmouth.ac.uk or deborah.suggryan@falmouth.ac.uk Research degree studentships including fees and maintenance will be available on a competitive basis. Generally financial support for full time study is over a 3 year period and for part time is over four years. For October 2013 we are offering a combination of full and part time fee waivers, and part time bursaries. Contact and further information details RIO-Office@falmouth.ac.uk or 01326 255831 http://air.falmouth.ac.uk/about-phd Application Deadline Tuesday 28 May 2013 (by 5pm)

External News and Events - Event - Light, Colour, Veils

Wed, 22 May 2013 06:03:43 +0000

Light, Colour, Veils 10.00 – 18.00, Saturday 1 June (with registration from 09.30) The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN This conference celebrates the on-going work of Professor Paul Hills on the occasion of his retirement from The Courtauld. It takes as its themes, three subjects which are central to the scholarship of his books, The Light of Early Italian Painting (1987) and Venetian Colour: Marble, Mosaic, Painting and Glass, 1250-1550 (1999), and his more recent publications on veils. Although much of Paul Hills’ research and teaching have focused on renaissance Italy, it has always been informed by interaction with artists and an engagement with the art and ideas of other periods. This conference, then, seeks to bring together artists and art historians, renaissance scholars and philosophers in a discussion of light, colour and veils. Ticket/entry details: £16 (£11 students, Courtauld staff/students and concessions: over 60) 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 ‘Light, Colour, Veils’. For further information, email ResearchForumEvents@courtauld.ac.uk Organised by Scott Nethersole (The Courtauld Institute of Art) PROGRAMME 09.00 – 09.30 Registration 10.00 – 10.10 Welcome and introduction – Scott Nethersole (The Courtauld Institute of Art): First session – Chair: Scott Nethersole (The Courtauld Institute of Art) 10.10 – 10.30 Peter Mack (The Warburg Institute): Writing about Painting and Viewing Pictures 10.30 – 10.50 Mary Camp (The Courtauld Institute of Art): Beyond the Earthly Veil: Paragon and Paragone in Pontormo's Portrait of Maria Salviati 10.50 – 11.10 Jane Bridgeman (Central St Martins College of Arts & Design): ‘Pulchros et subtiles et albas’: A Glimpse of Women’s Veils in Early Renaissance Italy 11.10 – 11.30 Discussion 11.30 – 12.00 COFFEE/TEA BREAK (Tea/coffee provided in Seminar room 1) Second session – Chair: Katie Scott (The Courtauld Institute of Art) 12.00 – 12.20 Brendan Prendeville (Goldsmiths University of London): Where is Light: Painting and Phenomenology 12.20 – 12.40 Nicky Hamlyn (University for the Creative Arts in Kent and Surrey): Film, Cloths, Clouds (including the screening of ‘The Transits of Venus’ and ‘Panni’) 12.40 – 13.00 Stephen Bann (University of Bristol): The Veil of Parrhasius: Two Modern Avatars 13.00 – 13.15 Discussion 13.15 – 14.45 LUNCH (not provided except for the speakers and chairs) Opportunity to visit Drapes and Folds: An Exhibition in the Prints and Drawings Room curated by Stephanie Buck and Katie Scott, The Courtauld Institute of Art 14.30 – 14.45 Screening of Shirazeh Houshiary’s Veil Third session – Chair: Sheila McTighe (The Courtauld Institute of Art) 14.45 – 15.05 Chris Fischer (Statens Museum for Kunst, Copenhagen): A Genealogy of Vision – Fra Bartolommeo, Raphael, Titian and Barocci 15.05 – 15.25 Beverly Louise Brown (independent scholar): Seeing Red: Was Titian Too Young to Know Better? 15.25 – 15.45 Gabriele Neher (University of Nottingham): A return to the ‘Madonna in nubibus’: Moretto and Altarpieces in Brescia, 1520-1540 15.45 – 16.00 Discussion 16.00 – 16.30 COFFEE/TEA BREAK (Tea/coffee provided in Seminar room 1) Fourth session – Chair: tbc 16.30 – 16.50 Elisabeth Reissner (The Courtauld Institute of Art): Paul Hills: Making a Case for Meaning in the Matter of Painting 16.50 – 17.10 Christopher Le Brun (The Royal Academy): The Speech of Light 17.10 – 17.30 Paul Smith (University of Warwick): Veronese, Wittgenstein, and Ginger Rogers: The Meaning of ‘Red’ 17.30 – 18.00 Discussion and concluding remarks 18.00 RECEPTION (Front Hall)

External News and Events - Call for Papers - in:flux - 1845-1945: A Century in Motion

Wed, 22 May 2013 06:03:43 +0000

in:flux - 1845-1945: A Century in Motion University of Birmingham, 27th June 2013 Keynote speaker – Dr Matthew Rubery, Queen Mary University of London Interdisciplinary postgraduate conference – call for papers How did the rapid period of industrialisation in the nineteenth and twentieth centuries help to shape societies and lifestyles in the West? What types of social changes, movements and developments characterise this time period? This interdisciplinary postgraduate conference, in affiliation with the Centre for the Study of Cultural Modernity and hosted by the College of Arts and Law, seeks to explore the various ways in which this century was one of ‘motion’, in every sense of the word. The conference title seeks to encapsulate both the uncertainty and upheaval of this period as well as the physical and cultural movements that occurred at this time. We invite papers addressing these themes from postgraduate researchers and early-career academics working on this period from a variety of backgrounds. Topics could include, but are not limited to: Cultural or social movements political movements the Women’s Movement arts movements (musical, artistic, literary) religious and philosophical popular cultural trends (food, fashion, advertising) Physical movements mass movement of people (mobilisation of soldiers, migration from towns to cities) transatlantic and inter-continental travel (including emigration and immigration) leisure and tourism transport changing landscapes Development and progress media (cinema, audio technology and radio, print media) scientific and medical advances technology economic growth and/or recession development of nationhood These headings are suggestions only; we welcome proposals exploring crossovers between these topics, or addressing them from interdisciplinary perspectives. Abstracts of 250-300 words for 20 minute papers along with a short biographical note of no more than 50 words should be sent to pgculturalmodernity@contacts.bham.ac.uk by the 17th May 2013. We welcome any questions that you may have; please do not hesitate to contact us at the above address. For more information about the Centre for the Study of Cultural Modernity please visit their website: http://www.birmingham.ac.uk/research/activity/culturalmodernity/index.aspx @pgculturalmod | www.facebook.com/pgculturalmod | http://pgculturalmodernity.wordpress.com

External News and Events - Call for Papers - Beyond the Cut-Up: William S Burroughs and the Image Conference

Wed, 22 May 2013 06:03:43 +0000

Call for Papers: Beyond the Cut-Up: William S Burroughs and the Image Conference The Photographers’ Gallery, London, Saturday 15th February 2014 Confirmed plenary speakers: Professor Oliver Harris (Keele University) Professor Allen Fisher (Manchester Metropolitan University) William S. Burroughs’s complex and provocative uses of the image challenge critical and theoretical orthodoxies. His works in writing, visual arts, cut-up and collage, painting, assemblage, photography, and in sonic arts, constantly return in multiple ways to a detailed and politically urgent enquiry into the nature and effects of the image, the word-as-image, and beyond. Critical work on Burroughs’s art has hitherto focused mainly on his uses of cut-up techniques. However, his works offer very diverse responses to the multiple political and emotional functions of images in relation to modern and postmodern societies of control, and enable explorations of the status and potentials of the artist as agent within these contexts. These themes are insistent Burroughsian concerns. This conference will explore new theoretical interventions and accounts of Burroughs’s ideas of the image, its effects and modes of operation, its impact on human consciousness, its complex embedding within textual and other fields, its psychological and ideological transformations of perception. Papers are invited that explore themes ‘beyond the cut-up’, including, but not restricted to: Burroughs’s theories of the image Contextualising and theorizing Burroughs’s various uses of images His use of different images in a variety of creative / destructive contexts Permutations, intersections, interzones of the image Burroughs as image: composing and decomposing autopictoriality Recent theories of the image (eg Ranciere, Nancy, Laruelle, Flusser) and their potentials for understanding Burroughs’s works Burroughs’s uses of the image considered in relation to image-theories and works of his contemporaries – eg Gysin, Ginsberg, Ballard, McLuhan, Baudrillard Legacies in contemporary art, literature, photography, and film of Burroughs’s theories of and uses of the image. Proposals are invited for 20-minute presentations addressing these or other pertinent aspects of Burroughs’s art. This conference is being held at The Photographers’ Gallery during the exhibition Taking Shots: The Photography of William S Burroughs, January – April 2014. Conference organisers: Dr Patricia Allmer and Dr John Sears (Manchester Metropolitan University) Please send proposals (250 words max) by 1 July 2013 to the conference co-ordinator, Cheryl Platt: cherylplatt2@gmail.com Please note: The Photographers' Gallery is a not-for-profit organisation and cannot assist with conference travel or subsistence. Deadline for submission: 1 July 2013

External News and Events - Call for Papers: Science, Imagination, and the Illustration of Knowledge

Wed, 22 May 2013 06:03:43 +0000

Call for Papers Science, Imagination, and the Illustration of Knowledge 4th International Illustration Symposium. Organised by Illustration Research, in collaboration with University of Oxford Museums and Collections Oxford, UK, November 7-8, 2013 ‘Every great advance in science has issued from a new audacity of the imagination.’ John Dewey The Science, Imagination and the Illustration of Knowledge symposium will consider the contemporary and historical role of illustration in relation to the collection, processing, understanding, and organisation of knowledge and associated questions of epistemology and pedagogy. The symposium is organised by Illustration Research in collaboration with the Oxford University Museum of Natural History, the Pitt Rivers Museum, and the Museum of the History of Science and these world famous collections will provide an important context for the exploration of these issues alongside presentations from curators. We therefore invite submissions of papers on any of the following themes, and/or the suggestions of panels (three speakers). Drawing as a means of investigating the world Diagrams, working drawings and field notes Books and manuals, info-graphics, instructional and pedagogic material Visual taxonomies, classification and differentiation of categories of nowledge Visualising the invisible Visualising the body Phantasms, grotesques, shadows: the imagined body Science and magic Healing images Darwin’s legacy Papers are invited from practising illustrators, from scientists and from academics. Please submit 500 word proposals for papers and/or panels to Adrian Holme a.holme@camberwell.arts.ac.uk by Friday July 5, 2013. The Journal of Illustration Papers selected for presentation will also be considered for submission to the forthcoming Journal of Illustration (Intellect) http://www.intellectbooks.co.uk/journals/view-Journal,id=233/ . University of Oxford Museums and Collections http://www.museums.ox.ac.uk/ Illustration Research Illustration Research is an international network of academics, researchers and practitioners in the field of illustration. It has held annual International Symposia for the past three years: 2010 (Cardiff), 2011 (Manchester MMU), 2012 (Krakow Ethnographic Museum, Poland). http://www.illustrationresearch.com/

External News and Events - Event - ‘LIQUIDITY - Practice Research Symposium’

Wed, 22 May 2013 06:03:43 +0000

‘LIQUIDITY - Practice Research Symposium’ 10am-6pm, Friday 14 June 2013, Middlesex University, Hendon, Grove Building G229 REGISTER FREE AT EVENTBRITE http://www.liquidity-symposium.eventbrite.com This one-day practice research symposium sets out to explore the many articulations, explorations and manifestations of ‘liquidity’ in contemporary visual and material culture, history and theory. The event offers a unique opportunity for practitioners, researchers and scholars working across different fields to engage with any topic related to ‘liquidity’ broadly conceived. Speakers include Anna Dezeuze (Berlin), Luis-Manuel Garcia (Berlin), Lilian Haberer (Cologne), Helen Hester (Middlesex), Roman Kirschner/Marcel Finke (Cologne), Julie Mcleod/Elizabeth Lomas (Northumbria), Kassandra Nakas (Berlin), Lucia Vodanovic (Middlesex), Simon Weaver (Brunel), with a plenary presentation from Mark Davis (Founder and Director of the Baumann Institute, University of Leeds). Please visit the ADRI website for full programme details . "Liquid modern life is a daily rehearsal of universal transience. Today’s useful and indispensable objects, with few and possibly no exceptions, are tomorrow’s waste. Everything is disposable, nothing is truly necessary, nothing is irreplaceable. Everything is born engraved with the brand of death. Everything is offered with a use-by date attached. All things, born or made, human or not, are until further notice dispensable. Paraphrasing an old and famous statement, I would say that a spectre hovers over the liquid modern world, over its denizens and all their labours and creations; and that is the spectre of redundancy." Zymunt Bauman, ‘Liquid Arts’, in Theory, Culture and Society, 2007, v.24(1): 117-126 Organised by susan pui san lok with the ADRI Postgraduate Forum and generously supported by ADRI, the Art and Design Research Institute at Middlesex University. • DRAFT PROGRAMME at http://adri.mdx.ac.uk.contentcurator.net/liquidity-symposium

External News and Events - Event - Silent Spring: Chemical, Biological and Technological Visions of the Post-1945 Environment

Wed, 22 May 2013 06:03:43 +0000

Silent Spring: Chemical, Biological and Technological Visions of the Post-1945 Environment Travel Bursary Advertisement School of Arts, Birkbeck, University of London, Friday 7th June 2013 Contact: Catherine Spencer and Sophie Jones; silentspring2013@gmail.com Deadline for travel bursary applications is Monday 29th April 2013 A number of travel bursaries are available for postgraduates and early career researchers to participate in this project, which uses Rachel Carson’s Silent Spring to explore the relationship between arts and science research. Silent Spring celebrated its 50th anniversary in 2012: it still stands as one of the most influential texts on the damage caused to the natural environment by chemicals and nuclear fallout in the twentieth century. Taking Carson’s book as its starting point, this interdisciplinary post-graduate project aims to explore how a growing awareness of the biological, chemical and technological changes to the environment has shaped cultural explorations of nature and landscape in the post-1945 period, through visual art, literature and film. For more information please visit http://www.silentspringboard.org To apply for a Travel Bursary for the Birkbeck workshop, please send a copy of your CV together with a statement of up to 300 words on why you are interested in attending the workshop, and how your research intersects with the project themes, to silentspring2013@gmail.com by Monday 29th April.

Funding Opportunity - Funding Opportunity - Curatorial Fellowships

Wed, 22 May 2013 06:03:43 +0000

Announcing Three Curatorial Fellowships The Contemporary Art Society and the Whitechapel Gallery are delighted to offer three curatorial fellowships providing a unique opportunity to undertake substantial research into public collections in England. As part of the Whitechapel Gallery’s on-going programme to open up public and private collections the Contemporary Art Society are collaborating with the Whitechapel Gallery on the development of four displays from September 2013, running over a 12 month period. These displays will draw works from collections held by the Contemporary Art Society’s membership of 59 publicly funded museum and galleries across England. They will be researched and conceived by three curatorial fellows, in collaboration with the Whitechapel Gallery and the Contemporary Art Society. Focusing on the North West, East Coast, Midlands and South the displays will use the founding principle of many of these institutions - philanthropic giving - as a springboard to explore specific themes and bring together historic, modern and contemporary works from public collections across England. The displays will be accompanied by a touring exhibtion, related talks and events and a publication of essays contributed to by the curatorial fellows. We are currently inviting applications for the following three roles: The Curatorial Fellow (East Coast). Hosted by Ferens Art Gallery, Hull The fellow will focus on the role of art schools as sites of making and production (recognising their particular relationships to past industries) Display at Whitechapel Gallery: 10 December 2013 – 9 March 2014 Tour Middlesbrough Institute of Modern Art: March – June 2014 The Curatorial Fellow (Midlands). Hosted by Wolverhampton Art Gallery The fellow will focus on the positioning of particular works of art and the debates and discourses that have surrounded their perceived and actual value Display at Whitechapel Gallery, 20 March – 1 June 2014 Tour Rugby Art Gallery & Muesum: June – August 2014 The Curatorial Fellow (South). Hosted by Brighton Museum & Art Gallery The fellow will focus on the role of individuals in creating visions for particular collections Display at Whitechapel Gallery 12 June – 6 September 2014 Tour Towner (Eastbourne): September – December 2014 Bursary: £10,000 Timeframe: Fellows to research with collections - June to September 2013 In addition to the research period the fellows will be involved in the installation at Whitechapel Gallery and will contribute to the public programme at the Contemporary Art Society and Whitechapel Gallery during the display. An additional fee is available for their involvement in the tour. Deadline: 5pm, 3 May 2013 Interviews: 14 and 15 May at Contemporary Art Society For further information and to download the job description click here These fellowships follow our successful Pilot scheme in the North West and are generously supported by Arts Council England.

Funding Opportunity - Funding Opportunity - Central Saint Martins College of Art and Design, University of the Arts, London

Wed, 22 May 2013 06:03:43 +0000

Funding opportunity at Central Saint Martins College of Art and Design, University of the Arts, London One Vice-Chancellor’s Scholarship worth £5,000 towards fees (deadline end of May) and six Trask bursaries worth £2,000 each towards fees (deadline mid-September) for Masters in Research in Art course with specialist subject pathways in either Artists’ Moving Image or Exhibitions Studies or Art Theory and Philosophy. For further details see: http://www.csm.arts.ac.uk/courses/postgraduate

External News and Events - Event - Beyond the Western Mediterranean: Materials, Techniques and Artistic Production, 650–1500

Wed, 22 May 2013 06:03:43 +0000

Event - Beyond the Western Mediterranean: Materials, Techniques and Artistic Production, 650–1500 10.00 – 18.00, Saturday 20 April 2013 (with registration from 09.30) Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London WC2 The notion of a shared Mediterranean culture has become a central tenet in the study of medieval art history. Growing out of the Roman mare nostrum, the Mediterranean as a conduit of communication, dissemination, and transmission throughout the Middle Ages is shaping the scope of our discipline. Yet the investigation into the Mediterranean remains unbalanced, and while the northern and eastern edges of the basin are well investigated, historiographical and political considerations have limited the study of the sea’s southern shores, not to mention the exchanges across that other sea – the sea of sand – that lies beyond those territories’ southern borders. This one-day workshop at The Courtauld Institute of Art takes as its topic the broader sphere of influence of the Western Mediterranean. Focusing primarily on interconnections in the Western Mediterranean basin, from the Maghreb to Italy, from Ifr?qiya to Iberia, we will also investigate how this north-south axis extended well beyond the littoral regions to encompass sub-Saharan kingdoms. The day’s proceedings are primarily intended to implicate art historians in this discussion about a global middle ages, and we will draw from interdisciplinary discoveries in recent years, especially the wealth of archaeological work accomplished by London-based colleagues. The material culture of these regions, including such luxurious materials as ivory, gold, ceramics, pigments and textiles, augments the limited offerings of historical texts in delineating the complex interactions across geographical boundaries. In this way we hope to probe the foundations of a world artistic culture not only through shared materials and techniques, but also through the yearnings and desires such interactions engendered. More information and programme here: http://www.courtauld.ac.uk/researchforum/events/2013/apr20_BeyondtheWesternMediterranean.shtml Ticket/entry details: £16 (£11 students, Courtauld staff/students and concessions: over 60) 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 ‘Mediterranean’. Organised by Sarah Guérin (The Courtauld Institute of Art) and Mariam Rosser Owen (Victoria and Albert Museum)

External News and Events - Conference - Victor Pasmore, Richard Hamilton: radical innovation in art, architecture and art education in the North East

Wed, 22 May 2013 06:03:43 +0000

Victor Pasmore, Richard Hamilton: radical innovation in art, architecture and art education in the North East This conference is taking place at the Live Theatre, Newcastle, across one and a half days, on May 3-4, 2013. The various papers offer original insights into the teaching of Basic Design; Hamilton's interest in TV, politics and advertising; his collaboration with Duchamp, and with Pasmore on exhibition-making; Hamilton, Alloway and information theory; Pasmore's involvement with the building of Peterlee new town and its Apollo Pavilion; and Hamilton's late engagement with digital technology through the lens of his Basic Design pedagogy. These and other papers will explain why Newcastle University's School of Art occupied a leading position amongst art schools in Britain in the 1950s and 1960s. Cumulatively, what will be discussed is a rare moment in the history or art and design in this country, when a regional development made a vital contribution to the history of modernism. For further information on this conference and access to its Full Programme follow this link: http://www.ncl.ac.uk/sacs/fineart/conferences/pasmore/ Tickets for this conference are now on sale through the Live Theatre. They can be obtained by 'phone - 0191 232 1232 - or online http://www.live.org.uk/whats-book/conference-victor-pasmore-and-richard-hamilton

External News and Events - Event - Historical Displacements and Vital Narratives after the American Century

Wed, 22 May 2013 06:03:43 +0000

Forthcoming Event: Historical Displacements and Vital Narratives after the American Century Saturday, 18 May 2013 10.00 - 18.00 (tbc) with registration from 09.30 Venue: Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, London WC2R 0RN Speaker(s): include James Boaden (University of York), Eric de Bruyn (Universiteit Leiden), Larisa Dryansky (l'Université Paris-Sorbonne [Paris IV]), Suzanne Hudson (University of Southern California) and Molly Nesbit (Vassar College), Luke Skrebowski (University of Cambridge) Ticket/entry details: Open to all, free admission but booking is required in advance. BOOK ONLINE: http://courtauld-institute.digitalmuseum.co.uk. In case of queries, email researchforum@courtauld.ac.uk Organised by: Dr William McManus (Terra Foundation for American Art Postdoctoral Fellow,The Courtauld) This one-day international conference highlights the more pressing interpretive issues around art made during the past eighty or so years. A motivation for this reappraisal is to ask how we might now understand and situate art from within the ending—or at least the transitioning to an acute new stage—of what is often regarded as the “American century”. Such periodization could in part be seen as cause for disciplinary anxiety that marks the potential formation of a new provincial elitism with its artifacts dwarfed by a more urgent global diaspora. Perhaps a mixed blessing though, this disparity it seems is amply compensated through an increased celebration of modern and contemporary American art as a new set of cultural strategies, movements and periods to be exported. As these different considerations must be measured in part against recent years, which are ultimately defined as episodic states of economic, “natural”, political and social crisis (all serving equally to neutralize critical engagement and historical concerns) papers will eschew an overall thematic focus to emphasize the varying and discontinuous concerns that led to this transformed cultural order. Topics covered will include the continuing development of art history as a contemporary discipline; the shifting relations between particularities of language and vision in the twentieth century; oppositions between scientific advances and counter-cultural tendencies in performance and film; and the present legacies of radicalism. The keynote lecture will be given by Molly Nesbit; other speakers include James Boaden, Eric de Bruyn, Larisa Dryansky, Suzanne Hudson and Luke Skrebowski. This conference has been made possible by the Terra Foundation for American Art. For further information see: http://www.courtauld.ac.uk/researchforum/events/2013/summer/may18_VitalNarratives.shtml

External News and Events - Call for Papers - Queer Gothic: Difference and Sexuality in British Art and Architecture

Wed, 22 May 2013 06:03:43 +0000

Chicago, 12-15 February 2014 Deadline: 6 May 2013 Queer Gothic: Difference and Sexuality in British Art and Architecture Historians of British Art Session CAA Annual Conference 2014 Chairs: Ayla Lepine, Yale University; and Matthew Reeve, Queen’s University. ayla.lepine@yale.edu and reevem@queensu.ca Over the past four centuries, the Gothic style and its range of significations (including pre-modernity, romanticism, the foreign, and Catholicism) have been frequently employed as a locus or a cipher for sexuality. Within broadly Anglican, neo-classical visual cultures, the style could express non-normative, minoritized experience, manifesting the values and ideals of alternative subjectivities. Recent work in art history, literature and gender studies has shown that from the Early Modern period to the present, Gothic aesthetics and ideas were appropriated and critiqued as an alternative historicist landscape within which diverse constructions and expressions of self could take place. Neo-Gothic aesthetics can be productively explored as a method of visual communication wherein queerness has been imagined, signaled, displayed, and censored. For historians of British art, the Gothic Revival and queer theory are increasingly marshaled as ways of understanding the wider phenomena of sexuality, historiography, and resistance. This panel welcomes new research on queer Gothic across architecture, art, and design, which may speak to emerging ways of seeing tradition, innovation, futurity, utopianism, and the tensions between survival and revival. Your submission should include an abstract of 250-500 words, a letter ?explaining your interest and expertise in the subject as well as CAA ?membership status, and a CV with contact information (including summer ?contact information, if applicable). Please also inform us if you are? submitting proposals to other sessions at the conference. ?CAA individual membership is required of all participants. No one may ?participate in more than one session in any capacity. A paper that has ?been published previously or presented at another scholarly conference? may not be delivered at the CAA Annual conference.? Acceptance in this session implies a commitment to attend that session ?and participate in person.? The submission deadline is May 6 2013. Please send submissions to? ayla.lepine@yale.edu and reevem@queensu.ca.

External News and Events - Symposium - Sabotage: (Self-) Destructive Practices in Latin American Contemporary Art

Wed, 22 May 2013 06:03:43 +0000

Sabotage: (Self-) Destructive Practices in Latin American Contemporary Art Friday 26th April 2013 09.00 - 18.30 Gustave Tuck Lecture Theatre UCL, London With the participation of Robin Greeley (University of Connecticut/Harvard University) and Erica Segre (University of Cambridge) https://www.ucl.ac.uk/art-history/events/sabotage-symposium To sabotage is to disrupt a dynamic, to purposefully or unconsciously ruin or fail a system. Once primarily a worker’s strategy, sabotage has become a recurring artistic practice in contemporary art and one partaking in the ‘reflexive turn’ of late modernity’s aesthetic practices. From the 1960s onwards, the aesthetic notion of sabotage has been notoriously present in Latin American art as a central mechanism of resistance against censorship and a cultural practice confronting state violence, heterosexual normativity, and neoliberalism. This one-day symposium examines the uses - and limitations - of sabotage in Latin American contemporary art and attempts to place the notion within a larger reflection on the politics of the image, the aesthetics of violence, the tensions between art and spectacle and the position and responsibility of the artist in the face of political turmoil or systemic injustice. This event is free but registration is required. To register: http://sabotage.eventbrite.com/ Organised with the generous support of UCL Centre for the Study of Contemporary Art and Rainhart Gallery. Contact : Sophie Halart (UCL): sophie.halart.10@ucl.ac.uk Mara Polgovsky (University of Cambridge): mp592@cam.ac.uk https://www.ucl.ac.uk/art-history/events/sabotage-symposium

External News and Events - Call for Papers - KAPSULA Magazine

Wed, 22 May 2013 06:03:43 +0000

KAPSULA Magazine Call for Papers As a quarterly listserv dedicated to engaged and evaluative art criticism, Kapsula promotes art criticism that dares to be critical, even if that means publishing a negative review. Championing strong opinions and even stronger writing, Kapsula aims to enliven art criticism for a new generation of readers. We are now welcoming submissions for the first issue, which will explore the theme of crisis as it relates to contemporary art. The theme of crisis stems from the oft-mentioned "crisis in art criticism," but we are looking for submissions that interpret the topic broadly. This could include considerations of crisis in connection to: Arts funding Artistic communities Museum/gallery attendance Medium-specificity Artistic practices that explore financial, personal, social, political or theoretical crises These are tumultuous times, after all. We should point out, as others have, that Artforum has addressed the "crisis of the object": to spare readers repetition (and rage) avoid this territory. We are open to exploratory art writing and alternative formats such as ficto-criticism, interviews, or illustrated texts. Manuscripts can range from 2000 word features to 500 word briefs. Ordinarily we recommend formatting reviews as standards or briefs (1000-500 words), however, we will consider exhibition or book reviews as features (2000 words) in exceptional cases. deadline: May 24th at midnight

External News and Events - Event - Art History Taster Day for AS and A2 Level Students

Wed, 22 May 2013 06:03:43 +0000

ART HISTORY TASTER DAY FOR AS AND A2 LEVEL STUDENTS LIVERPOOL HOPE UNIVERSITY, 12 JUNE 2013 Liverpool Hope University will be holding an Art History Taster day for AS- and A2-level students at their Creative Campus on 12 June 2013, from 10am – 3.30pm. The day will involve art history taster sessions and a visit to the nearby Walker Art Gallery in Liverpool city centre. The taster day is free and is designed to supplement AS- and A2-level students’ current or future studies. The event is suitable for those already taking Art History as an AS/A2-level subject or those considering it at degree level. The sessions will be interactive, allowing students to get a real sense of Art History as a degree subject and as a career. The schedule for the day is as follows: Time Activity 10am – 10.15am Arrival on campus, registration & refreshments 10.15am – 10.30am Welcome to Liverpool Hope University and Art History Taster Day 10.30am – 10.50am Studying Art History at Degree Level - Dr Kathrin Wagner and Dr Amelia Yeates 11am – 11.50am Art History Taster Lectures Lecture A: Renaissance: the beginnings of early modern art Lecture B: Early Twentieth-Century Art: European Avant-Gardes 12 noon – 12.45pm Cornerstone Gallery Activity 12.45pm – 1.30pm Lunch 1.30pm – 2pm Journey to Walker Art Gallery & Welcome 2pm – 2.30pm Walker Art Gallery Collection Talks Pre-Raphaelite Collection – Dr Amelia Yeates Sculpture Collection – Dr Kathrin Wagner Craft & Design Collection – Dr Fiona Ward 2.30pm – 3.20pm Walker Art Gallery activity 3.20pm – 3.30pm Event evaluation & close If you or any of your students would like to attend the taster day or you have any questions please contact Charlotte Hall, Recruitment Administrator on hallc@hope.ac.uk or 0151 291 3739. Please confirm attendance by Friday 24th May. This event is funded by Liverpool Hope University’s Faculty of Art & Humanities and the Association of Art Historians.

External News and Events - Course - Executive Master in Art Market Studies

Wed, 22 May 2013 06:03:43 +0000

Institute of Art History, University of Zurich Announcing the 2013 Executive Master in Art Market Studies in Zurich The part-time study program will begin in September 2013 The Executive Master in Art Market Studies program equips participants with the professional and innovative skills needed to master the challenges of today’s art market. It promotes entrepreneurial thinking, thereby fostering an ethical approach to the art market. An outstanding network of art market specialists and professionals bring a broad range of knowledge and experience to our program. The unique integrative and interdisciplinary approach of the Art Market program sets the course for personal and professional career development. The participants of the Executive Master in Art Market Studies program will develop their knowledge of the history, materials and production processes of fine and applied arts; evaluate artwork and use the latest art market analytical tools; use case studies to improve their legal knowledge and marketing skills; understand art market regulations and tax optimization strategies; learn to synthesize and analyze processes that are critical to small and midsized businesses, and to develop innovative marketing solutions for galleries and auction houses and develop leadership and decision-making skills. The program is primarily designed for university graduates who are currently active in the art market or who intend to be. Professional experience will be considered. The University of Zurich (UZH) awards the following diplomas: Executive Master/Master of Advanced Studies UZH in Art Market Studies (MAS, 65 ECTS), Diploma of Advanced Studies UZH in Art Market Studies (DAS, 35 ECTS) and Certificate of Advanced Studies UZH in Art Market Studies (CAS, 20 ECTS). The program is taught entirely in English. The part-time Master’s program begins September 2013 for a duration of 2 years (CAS/DAS at least one year). Courses are held on Fridays and Saturdays in Zurich. Workshops and study trips abroad will be organised. Contact: Dr. Nicolas Galley, nicolas.galley@uzh.ch | www.emams.uzh.ch Deadline for applications: May 31st, 2013

AAH News and Events - AAH Response to HEFCE consultation on Open Access

Wed, 22 May 2013 06:03:43 +0000

As many of you will no doubt already be aware, following the recent Finch Report the government are currently pushing forward reforms of academic publishing of scholarly work in the UK, with the expectation that publications across all disciplines will soon be "open access" in some form. HEFCE, the Higher Education Funding Council for England, and RCUK, the umbrella body of Research Councils, are facilitating this move to open access, and as such have been consulting widely. As an organisation which both publishes an academic journal and which represents the interests of a wide vareity of academics, this is clearly a crucial issue for the Association. The Trustees have, collectively, fed input into an official response to HEFCE's most recent Call for Advice, with specific reference to the particular issues affecting our discipline, including our need to be able to use third-party images from agencies whose standard licenses may not allow their reproduction in online, open access formats. Our full response can be downloaded from here (PDF). If you have any questions or concerns about Open Access issues, please do not hesitate to contact us via admin@aah.org.uk; please also note that we are running a session on these issues at our Annual Conference in Reading on Saturday 13th April between 1pm and 2pm.

External News and Events - Event - AQA CPD Event for Teachers - 'Understanding and interpreting architecture'

Wed, 22 May 2013 06:03:43 +0000

Understanding and interpreting architecture Summer 2013 Course focus Would you like to: have a better understanding of architecture? become more familiar with specialist vocabulary? learn to identify different architectural styles? discover how architectural analysis can lead to interpretation? More information In this one-day workshop we will: examine a range of building types and architectural styles learn how to formally analyse buildings consider how materials and structural techniques contribute to the form and function of buildings explore the relationships between form, function and meaning. Overview This professional course will be led by Graham Whitham, former Chief Examiner for AQA A-level Art History. Graham wrote the new specification and currently teaches Art History at the University of Kent. He is the author of two books on Art History aimed at A-level and undergraduate students: ‘Understand Art History’ and ‘Understand Contemporary Art’, published by Hodder. Get in touch: teachercpd@aqa.org.uk or 0161 957 3646 Find out more about us: aqa.org.uk/cpd View dates and book online: coursesandevents.aqa.org.uk Interested in this course being delivered at your school or college? Contact our in-school CPD team today to discuss your needs on 0161 957 3330 or email inschoolcpd@aqa.org.uk Suitable for: • All teachers of Art History and Art and Design; teachers interested in an interdisciplinary approach in their subject, such as History; teachers wishing to introduce Art History into their schools or colleges. Duration and fee: This course runs from 10:15 - 15:45 (full day) The course fee of £225 includes refreshments, lunch and materials.

External News and Events - Event - Visual Culture in Crisis: Britain, c.1800-Present

Wed, 22 May 2013 06:03:43 +0000

Event: Visual Culture in Crisis: Britain, c.1800-Present This conference will take place at the University of York from Friday 10th – Saturday 11th May 2013. It seeks to explore how visual cultures have simultaneously responded to – and emerged from – the successive crises that have been deemed to constitute (post)colonial modernity. Contact:: Catherine Spencer and Sean Willcock For more information, or to register, please email us at visualcultureincrisis@gmail.com, or visit our website http://visualcultureincrisis.wordpress.com/

External News and Events - Call for Papers - Benjamin, Barthes, and Fashion

Wed, 22 May 2013 06:03:43 +0000

CALL FOR PAPERS http://benjaminbarthesandfashion.tumblr.com/ Fashion and Theory: Exploring critical perspectives in fashion and dress studies Friday 28th June 2013 The University of Manchester Benjamin, Barthes, and Fashion Historian, philosopher and literary critic Walter Benjamin wrote on fashion’s relationship to modernity, commodity fetishism, history, and memory. In his unfinishedArcades Project, the notes for a large section on Fashion reveal Benjamin’s desire to read the medium of dress culturally, materially, historically, and through his own brand of Marxist analysis. Roland Barthes developed a semiotic system for interpreting the discourse of fashion. Barthes’The Fashion System, the seminal work on fashion and semiotics, suggests fashion can be understood as a language composed of codes, signs, and significations. Both Barthes and Benjamin wrote on fashion’s relationship to temporality, memory and history, and both critically investigated the potential of dress as metaphor in literary and visual analysis. In the vein of such work as Caroline Evans’ Fashion at the Edge (2003), which utilizes Benjamin’s writing on fashion and time, and Malcolm Barnard’sFashion as Communication (1996), which engages with Barthesian semiology, this conference invites new critical readings of fashion that engage with Benjaminian and Barthesian theories. For this conference we invite researchers in fashion studies, dress history, costume studies, art history, visual studies, cultural studies, history, literature or other relevant disciplines to submit papers that engage with themes of temporality/chronology, semiotics, history, memory, and the process of fashion. In addition to papers that apply Benjaminian and Barthesian theories, we also encourage papers that present critical readings of Benjamin’s and/or Barthes’ writing on fashion and clothing. A non-exhaustive list of topics that might be addressed in relation to Barthes and Benjamin: the study of dress through literary sources; the study of history through the study of dress; fashion as an historical medium; the operational mechanism of fashion as a system; textile/photographic archives, memory and dress; fashion and temporality; fantasy and desire in historical dress; semiotics and fashion; commodity fetishism and clothing; historical and cultural readings of fashion cycles/processes; spaces of fashion/fashion productions; the operational modes and movements of fashion; the place of ‘anti-fashion’ in the fashion system; semiotic readings of staging/displaying/exhibiting fashion. Caroline Evans is our confirmed keynote speaker. Please email a 300 word abstract with Name, Title, and Affiliation to Wendy Ligon Smith <wendyladysmith@gmail.com> by 1st April 2013.

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

Wed, 22 May 2013 06:03:43 +0000

HARTS & Minds: Bristol Journal of Humanities and Arts - Call for Papers Space and Place in the Humanities and Arts This call for papers invites submissions for the third edition of HARTS & Minds due to be published online in September 2013. Abstracts should be approximately 300 words in length and articles no longer than 6000 words. Your article may explore but is not limited to the following subjects: Aesthetic responses to gallery and non-gallery spaces; Significant aspects of space within visual representations; Use of concert spaces, both historical and contemporary; Topographies; Solitude or crowds; Performance venues and staging; Psychological and figurative space; Urban or rural; Architecture and its role in other discourse; Archaeological spaces; Surveillance, panoptical structures; Space and place as realms of becoming; Queer places and spaces; Gendered spaces; In language and semiotics; Geographies and archaeologies; Ethnicity and space; Disabled spaces and places; Monstrous or haunted spaces; - War and space, battlefields or memorial gardens, Set design, the construction of space and the representation of place in film, television; Cyberspace, virtual realities; Spaces and places of the future, utopian or dystopian. Please submit your abstract and draft article along with an academic CV to editors@harts-minds.co.uk by 17th May 2013. Please consider that HARTS & Minds is intended as a truly inter-disciplinary journal and therefore esoteric topics will need to be written about with a general academic readership in mind. Articles should be previously unpublished works and copyright of published articles will remain with HARTS & Minds. The editors accept no responsibility for copyright infringement of images, graphs, etc used by individuals submitting papers to the journal. You must ensure that you have permission to use any visual or graphic material before submitting your paper. Further information about submission guidelines is available at the journal website, www.harts-minds.co.uk. If you have any pressing questions or concerns please use the aforementioned email address to contact the editorial board.

External News and Events - Event - Art History in the Pub, Carlisle

Wed, 22 May 2013 06:03:43 +0000

Toby Phips Lloyd - “Our fantasies support our sense of reality, and this is in turn a defence against the real.” As part of the University of Cumbria’s commitment to bringing the best in cutting-edge art-historical research to a wider community, we are pleased to announce the fourth installment of our "Art History in the Pub" series of talks, lectures and events. 5.00pm Thursday 21 March 2013 The Milbourne Arms 150 Milbourne Street, Carlisle, CA2 5XB. Our invited speaker is Toby Phips Lloyd, Newcastle-based artist working with alter egos and interpretations of identity. Lloyd explores ways the individual engages with their surroundings, the effects this has on how they interpret their identity and the boundaries between fiction, reality and illusion. http://tobyphipslloyd.co.uk/ Free to attend – all are welcome

Funding Opportunity - Funding Opportunity - Marfa Contemporary Artist in Residence

Wed, 22 May 2013 06:03:43 +0000

Marfa Contemporary Artist in Residence $900 monthly stipend The Marfa Contemporary Artist in Residence program was instituted in 2012 with the aim of supporting the development of artists of diverse ages, backgrounds, and disciplines. Artists involved in painting, drawing, sculpture, photography, installation, performance related media and other fine art media are eligible to apply for a residency. The competition is open to US residents currently residing in the US. Non US residents residing in the US may be eligible to apply if they are currently in receipt of the necessary visas and documentation to continue residence. The residency is for a three month period; requests for extension of the residency will be considered on a case-to-case basis according to individual needs and the resources of the Gallery. To apply for a 2013 Fall residency (Mid- Sept - mid Dec or Nov 13 - end Jan 14) we can be flexible , please visit our website at www.marfacontemporary.org and pay the online application fee of $20 and send the stipulated application materials to Marfa Contemporary by June 1st 2013. Contact and further information details: natalie@marfacontemporary.org 011-432-729-3500 www.marfacontemporary.org Application Deadline: June 1st 2013

External News and Events - Call for Papers - Trust and Transparency in the Art Market: Complement or Substitute?

Wed, 22 May 2013 06:03:43 +0000

Trust and Transparency in the Art Market: Complement or Substitute? Sotheby's Institute of Art & Skate's Art Market Research Meeting Overview: There is widespread agreement that trust is at the heart of the art world. Individuals rely on trust-based relationships for transactions where hand-shake deals are the norm. Institutions build their brands on the strength of their reputations and the power of social networks and relationships. Historically, the art world has also been characterised by a profound lack of transparency. It has been described as the last unregulated market in the world. On the one hand the secret, private and undisclosed nature of transactions protects market participants and encourages their participation. Confidentiality is at the heart of a highly personalised service. These inefficiencies create opportunities for existing and new players. On the other hand, the same opacity makes it difficult to manage business, monitor risk and discourages investment. As scandals of fakes and forgeries, collusion and contracts abound, the art world acquires a shadowy reputation and confidence in the art markets fades. This one day conference will challenge, test and unpack the relationship between Trust and Transparency in the Art World. It will ask the fundamental question – are they Complements - do they reinforce each other? Or are they Substitutes - can one replace the other? Drawing on both cutting edge academic research and expert practitioner experience, this conference will bring together thought-leaders from across disciplines in an analysis of how trust and transparency shapes the art world and its future. At a time when economic and financial crisis has shaken trust in global markets and institutions, the role of oversight and regulation is being re-evaluated across sectors as diverse as financial services, the health sector and creative industries. This conference will provide a topical discussion of such issues specific to the world of art and collectibles. With the astronomical growth witnessed in these markets in the past few decades, coupled with a technological revolution enabling the entry of new consumers and companies and the emergence of an investor group who treat art as an asset class, calls for greater protection of existing and potential consumers are not far away. An expert debate regarding the interaction of trust and transparency in the art world could not be more timely. Conference topics include, but are not restricted to, the following: What is the relationship and/or trade-offs between trust and transparency in the markets for art and collectibles? Specifically, are they complements or substitutes? How are trust and transparency defined and understood by art market participants and institutions? Do trust and transparency, or the lack thereof, affect trade, institutional and interpersonal relationships and transactions in this market? Can comparisons be made with other sectors be made (e.g. private equity, hedge funds, creative industries, etc.)? What can historical perspectives contribute to understanding the nature and evolution of trust and/or transparency in these sector? What is the effect of the growth of emerging markets and globalization on trust and transparency in the art market? What role has been played by technology and the internet in changing notions of trust and transparency? What is the role of the regulation and national or international legal systems in promoting or enforcing trust and transparency? What is the relationship between the investment value of art and collectibles and trust and transparency in the market? How have increases in available information and the development of art market metrics and market indices affected art market trust and transparency? Other topics relating to the general theme of the conference are welcome. Call for Papers/Presentations: The Conference will include a range of papers on topics relevant to the understanding and analysis of trust and transparency in the Art world, including what lessons might be learned for other sectors of the economy. Contributors wishing to be considered for presentation should submit an abstract to the conference organiser Dr Anna M. Dempster by 20th March 2013 We invite both theoretical and empirical papers pertaining to ongoing and/or new research or practice. Interdisciplinary approaches are encouraged, so papers from a range of theoretical, methodological and analytical perspectives are welcome. Organizers: Dr. Anna M. Dempster, Sotheby's Institute of Art: a.dempster@sothebysinstitute.com Anna Lipskaya, Skate's LLC & Elena Zavelev, Skate's LLC

External News and Events - Event - 'Global goes Local: Visualizing Regional Cultures in the Arts of Greater China'

Wed, 22 May 2013 06:03:43 +0000

“Global goes Local: Visualizing Regional Cultures in the Arts of Greater China” International Conference WLB109, Lam Woo International Conference Centre, Hong Kong Baptist University 27 - 29 June 2013 This international and interdisciplinary conference aims to create dialogue among specialists and practitioners from the fields of Fine Art, Art History, Museum Studies, Visual Culture, Cultural Studies and other relevant disciplines, examining the role and significance of local art and cultures in balancing the impact of globalization. Focusing on the cultural ties between mainland China, Taiwan, Hong Kong and Macao, the conference seeks to explore the representation of national and cultural identities in the creative arts produced in all of these regions. It is also designed to encourage discussion about the preservation and deployment of local art and heritage in cultural policy, art education and museum practice. More than 30 scholars, curators, artists and research students from over 10 countries will present papers and participate in discussions in this event. Keynote speakers: Prof. Toshio Watanabe, University of the Arts, London Mr Feng Boyi, Independent Curator Other speakers: Prof. John Aiken, Hong Kong Baptist University Miss Madeline Eschenburg, Univeristy of Pittsburgh Dr Ho Siu Kee, Hong Kong Baptist University Dr Michelle Huang, Lingnan University Prof. Huang Xiaopeng, South China Normal University / HB STATION, Times Museum, Guangzhou Dr Florian Knothe, University of Hong Kong Miss Hana Kucharovicova, China Academy of Art / Comenius University, Slovakia Dr Celine Lai, Chinese University of Hong Kong Mr Frank Lei, Macao Polytechnic Institute Ms Tianshuang Liang, SOAS, University of London Dr Liu Yu-jen, Academia Sinica Ms Annette Loeseke, Independent Researcher & Museum Consultant Dr Rui Oliveira Lopes, University of Lisbon Dr Lo Wai Luk, Hong Kong Baptist University Mr Jin Meyerson, Artist Dr Sandy Ng, Hong Kong Polytechnics University Dr Lars Nittve, M+ Dr Pi Li, M+ Miss Josepha Richard, University of Sheffield Dr Natalie Seiz, Art Gallery of New South Wales, Sydney Ms Shen Shui-chi, SOAS, University of London Mr Lukas Tam Wai Ping, Chinese University of Hong Kong Dr Raymond Tang, Hong Kong Museum of Art Dr Vivian Ting, Hong Kong Baptist University Dr Minna Valijakka, University of Helsinki, Finland Dr Christine Vial-Kayser, IESA / Musée-Promenade Prof. Frank Vigneron, Chinese University of Hong Kong Dr Florian Wagner, University of Erlangen-Nuremberg Dr Wang Ruobing, The National Art Gallery Singapore Mrs Emma Watts, Hong Kong Baptist University Ms Michelle Wong, Asia Art Archive Registration To enjoy early-bird rates, please register online by 1 June 2013. Full-time students are eligible for concessionary rates. For details of the registration and conference programme, please visit: http://ava-conference2013.hkbu.edu.hk Website: http://ava-conference2013.hkbu.edu.hk Email: ava-conference@hkbu.edu.hk Deadline for online booking: 1 June 2013

External News and Events - Summer School - Neuroarthistory

Wed, 22 May 2013 06:03:43 +0000

Summer School - NEUROARTHISTORY Saturday 27 and Sunday 28, July 2013 Director: Prof John Onians; Consultant for Neuroscience: Prof Adam Zeman with Dr Helen Anderson and Dr Kajsa Berg Sainsbury Institute for Art University of East Anglia, Norwich UK From the Zeitgeist to Mentalités, from Psychoanalysis to Discourse Theory, from Phenomenology to Embodiment, from Post-Structuralism to Agency and the Distributed Mind, the last hundred years have seen the emergence of many new frameworks for understanding the mental and physical activities of artists, patrons and viewers. All of these approaches make assumptions about the brain. Now those assumptions can be tested and refined using the latest neuroscience. The project is not new. Scholars interested in the history of art, from Winckelmann and Warburg to Gombrich and Baxandall, have long used a knowledge of the brain to enhance their enquiries. The only difference today is that new technologies enable this generation to take those enquiries much further. This two-day Summer School builds on the Director’s experience as co-organiser of the two-week Summer Institute in Neuroscience and the Humanities held in 2011 at the Stanford Center for Advanced Study in the Behavioral Sciences and funded by the Mellon Foundation. It will engage twenty MA, Doctoral and Post-Doctoral students and Junior Faculty in the evaluation and advancement of this challenging new enterprise. The event, to be held in the Sainsbury Centre for Visual Arts, will review the latest knowledge of the brain and will survey the ways in which this knowledge has been, is and might be used to help in the understanding of art and visual culture. Participants will be encouraged to present their own views on the possibilities for the future within their own areas of interest. Envisaged as the precursor of a longer Summer School in 2014, this event is an element in a developing project, promising to give researchers in art/visual culture a role of leadership within the humanities. Summer School Fees (including refreshments, lunches and accommodation): Single £60; Twin £40 (Saturday night). Members of the Association of Art Historians: Single £50; Twin £30. Applications, including CV and short statement of interest, are invited from MA, Doctoral and Post-Doctoral students and Junior Faculty working on the art/visual culture of any place or period within the context of any discipline. They, as well as requests for information, should be addressed to John Onians: j.onians@uea.ac.uk before April 30.

External News and Events - Call for Papers - Third Text

Wed, 22 May 2013 06:03:43 +0000

Third Text, online and hard copy art journal, publisher Routledge, Francis & Taylor. www. thirdtext.org http://www.tandfonline.com/action/aboutThisJournal?journalCode=ctte20 Third Text is an international art and visual culture journal founded in 1987 and has to date published 121 issues. The journal occupies a forefront position at the research interface of contemporary art practice and critical theory. Third Text invites submissions of original articles that will contribute radically new perspectives on the global artworld and its challenges to the ecology of contemporary art practices in the aftermath of postcolonial and institutional critiques. The journal welcomes varied explorations of visual art, cinema, video, photography, performance and activist art. Articles of 6000 words are preferred but lengthier ones will be considered on merit. Contributors should consult authors’ guidelines on submissions in http://www.thirdtext.org/guidelines. Third Text has launched a bi-monthly online platform which also calls for original submissions of articles and reviews (1500 words) to be published under Creative Commons Agreement with authors. Third text is a peer reviewed journal. Submissions and questions should be addressed to Basia Sliwinska, Associate Editor, articles.thirdtext@btconnect.com

External News and Events - Call for Papers - Art Crossing Borders: The Birth of an Integrated Art Market in the Age of Nation States (Europe, ca. 1780-1914)

Wed, 22 May 2013 06:03:43 +0000

CFP: Art Crossing Borders: The Birth of an Integrated Art Market in the Age of Nation States (Europe, ca. 1780-1914) Europe and its Worlds: Cultural Mobility in, to and from Europe, International Conference at the Radboud University Nijmegen (The Netherlands), 16-18 October 2013 Deadline: 20 April 2013 During the long nineteenth century continuing improvements in the road and transportation infrastructure ensured that the local art markets in Europe became connected like never before, both in the proverbial and literal sense of the word. Ever more paintings, art lovers and artistic information crossed regional and national boundaries, culminating in a truly integrated European art market. Paintings increasingly found new destinations in foreign private and public collections, while more and more artists, art lovers and art dealers could freely roam the European continent in their never-ending pursuit of aesthetic pleasure and/or commercial benefit. Information networks equally tightened, allowing dealers and collectors to easily communicate across wide distances and at the same time stay close to the pulse of art scenes abroad. The increasing internationalisation of the European art world was closely intertwined with a growing importance of the very conceptual categories that this integration seemed to question: artistic and commercial labels referring to nationality, most conspicuously articulated in the division of art production into separate national “schools” in (popular) art historical literature, art criticism, early museum catalogues and, most importantly in this context, auction catalogues and catalogues of contemporary art exhibitions and commercial galleries. Thus, major art dealers imported thousands of paintings from abroad, but often pitched them as typical examples of a national “school”; universal exhibitions introduced foreign artists to local markets, but were also based on a logic of emulative competition along national lines; and artists often sought patronage abroad, but usually preferred nurturing the taste for the foreign in other countries to adapting their own work to foreign taste. Many of these developments are often glossed over rather quickly, because most histories of the art market, like most histories of art itself, are still written along national lines. The aim of this panel is to tackle this deficit head-on and to contribute in this way to the writing of a global history of the art market, while not losing out of sight the historical impact of the national paradigm that paralleled the market’s integration. This session therefore raises the central research question how the integrating European art market of the long nineteenth century (1780-1914) simultaneously countered and constructed the notion of national painterly “schools”, along the crucial axes of nationalism and internationalism. It thus also addresses the decisive challenge that Europe still faces today: how to harmonize disharmonious local, national and transnational voices. Please send proposals (max. 400 words) for a 20 minute paper for this session to Jan Dirk Baetens (J.Baetens@let.ru.nl) and/or Dries Lyna (D.Lyna@let.ru.nl). For more information, see http://www.ru.nl/europeanditsworlds/conference/introduction or contact the session convenors.

External News and Events - Call for Papers - '10 Years On: Art and Everyday Life in Iraq and Iran'

Wed, 22 May 2013 06:03:43 +0000

Call for Papers Winchester Centre for Global Futures Forum 2013 10 Years On: Art and Everyday Life in Iraq and Iran 7th – 8th June 2013 This two-day public forum will open wide discussions about society, culture and everyday life in Iraq and Iran. For decades, the Western media have shown these countries as threats to global peace. This event brings together specialists and professionals in mass media, the visual and performing arts, cultural and social studies and history to examine Western representations of Iraq and Iran. But, more importantly, this forum offers diverse alternative accounts of real life in Iraq and Iran today. Ten years on from the invasion of Iraq led by the US and the UK, and in the continuing context of the apparent direct threat posed both from and aimed at Iran, this timely gathering focuses on these countries and the broader regional context in four related and under-examined areas: Everyday culture and ways of life Women, power and a changing social order Media accounts generated within and without Iraq and Iran Contemporary art and design in the region Event speakers, along with media including film, fine arts and design, will contribute to a vital and creative debate touching on the related significance of ‘the Arab Spring,’ multiple performances and mediations of politics and identities, the changing status of men and women in these societies in political and cultural crisis, the places of contemporary art and everyday life, as well as the peoples originally from Iraq and Iran now living in, or between, Britain and the Middle East. In the process, it will take up a politics and an economics of representation: who gets to represent whom? Who gets to represent themselves? Whose representations count, have currency, are circulated, and validated as knowledge? The Forum will be hosted by Winchester Centre for Global Futures in Art Design & Media in partnership with Ibraaz (www.ibraaz.org). The meeting over two days will include invited speakers, roundtable discussions and sections for short papers on the four topics outlined above. Allotted discussion time will enable considerable interactive involvement from audiences throughout the event. Proposals for papers addressing the forum's four key themes will be welcome. Please send proposals of no more than 200 words in length to Dr. Victoria Walters at V.M.Walters@soton.ac.uk no later than Friday, 29th March 2013. Conference booking will be available from late March at http://www.southampton.ac.uk/wrc/globalfuturesforum2013.

External News and Events - Call for Contributions - Workshops on Psychoanalysis and Art History

Wed, 22 May 2013 06:03:43 +0000

WORKSHOPS ON PSYCHOANALYSIS AND ART HISTORY - A collaboration between the Centre for Psychoanalytic Studies and the School of Philosophy and Art History at the University of Essex. CALL FOR CONTRIBUTIONS FIRST EVENT: University of Essex (Colchester) Friday May 3th. SECOND EVENT: London (venue tbc) Friday May 24th. FREE OF CHARGE. Please register in advance by emailing your name, contact details and any instituti: Natasha Adamou, David Hodge. http://arthistoryandpsychoanalysis.wordpress.com or email at artandpsychoanalysis@essex.ac.uk SUBMISSION DEADLINE: Friday March 15th.

External News and Events - Event - Renaissance Encounters

Wed, 22 May 2013 06:03:43 +0000

RENAISSANCE ENCOUNTERS A Symposium in Honour of Professor Deborah Howard Organized by Vicky Avery and Naby Avciouglu Friday, 28 June 2013 Old Divinity School, St John’s College, University of Cambridge For details of the programme and online booking go to: www.hoart.cam.ac.uk/renaissance For student discount rates and general enquiries, please contact: Francé Davies Department Secretary Email: DH-Symposium-Reg@aha.cam.ac.uk Tel: +44 (0) 1223 332975 Fax: +44 (0) 1223 332960

External News and Events - Event - Identification of Prints Seminar 2013

Wed, 22 May 2013 06:03:43 +0000

Paper Restoration Seminar 2013 In cooperation with IADA (International Association of Book and Paper Conservators) Location and Organisation: Hildegard Homburger, Papierrestaurierung Krefelder Str.17, 10555 Berlin Tel +49-30-3912503, hombu@freenet.de Identification of Prints Date: 24.10.-25.10.13 Lecturer Hildegard Homburger Participants 8 participants Language English Content The artistic and reproduction printing techniques undergo a constant development. Modern technology allows a great variety of relief, intaglio, lithography, screen and digital print. In the course the different techniques will be presented in their historical context and technical procedures. Their different methods and modern variations will be explained in detail. The different techniques (artistic and reproduction) will be examined with original prints in magnification. Two participants will share a makroskope. Looking at the original prints the distinctive characteristics of each technique will be worked out and the identification exercised. The two days provide an opportunity to look at a great number and variety of original prints under magnification and to exercise the identification of their techniques. Fee 260,- € IADA-members 305,- €

External News and Events - Call for papers - Yinka Shonibare MBE: Material Positions

Wed, 22 May 2013 06:03:43 +0000

Yinka Shonibare MBE: Material Positions Yorkshire Sculpture Park, West Bretton, Wakefield, 27 June 2013 Confirmed keynote speakers include: Professor Angela McRobbie and Carol Tulloch This one-day conference aims to explore the history and development since the mid 1990s of Yinka Shonibare's work in the British context, and to examine its position within the global culture of contemporary art today. Led by the University of Huddersfield in association with Yorkshire Sculpture Park the conference accompanies Yinka Shonibare MBE: Fabric-ation, the UK's most extensive exhibition to date of work in sculpture, film, photography and painting from 2002-2013 by the internationally renowned Anglo-Nigerian artist. We welcome papers from academics, artists and curators addressing aspects of the whole spectrum of Shonibare's work. 300 word abstract and 100 word speaker biography to be submitted by Monday 15 April 2013 To be emailed to Dr Alison Rowley: a.j.rowley@hud.ac.uk and Dr Catriona McAra: c.f.mcara@hud.ac.uk Please send a copy to both addresses. For more details please visit: http://www.hud.ac.uk/research/researchcentres/cricp/news/yinkashonibarembematerialpositionscfp.php and http://www.ysp.co.uk/events/yinka-shonibare-mbe-material-positions

External News and Events - Events - New Event Series at the Dulwich Picture Gallery

Wed, 22 May 2013 06:03:43 +0000

New Event Series at the Dulwich Picture Gallery If you’ve ever wanted to learn more about the gallery itself and delve a little deeper into the history of the objects and paintings on display this is your chance! Expert speakers including Curators, Conservators, Art Historians and Academics will present a range of thematic talks on various aspects and artists represented in our collection. The first two topics are Changing Narratives: Telling Stories in Paintings and Murillo and Justino de Neve: The Art of Friendship. Changing Narratives: Telling Stories in Paintings Saturday 16 March 10.30am – 1pm Highlighting the diversity of the Gallery’s collection this talk will examine the changing approaches to western narrative painting. From the intricate geometrics of Poussin to the flamboyant twists and turns of Tiepolo many of these works provided a springboard for the greatest innovations in the history of painting With art historian Ben Street £16 (Concessions and Friends £15) Curator’s Saturday Morning Lecture Murillo and Justino de Neve: The Art of Friendship Saturday 20 April 10.30am – 1pm An exclusive opportunity to learn more about the artist 17th C Spanish painter Murillo, the focus of our current exhibition. The experts involved will present new insights from their original research With Chief Curator Xavier Bray, Assistant Curator Sorcha Ni Lideadha and Conservators Nicole Ryder and Sophia Plender £16 (Concessions and Friends £15) To Book call Lettie Mckie on 0208 299 8732 or online at the link below. For more information email l.mckie@dulwichpicturegallery.org.uk http://www.dulwichpicturegallery.org.uk/whats_on/lectures/saturday_study_mornings.aspx

Job Opportunity - Jobs and Fully-Funded PhD Studentships at Middlesex University

Wed, 22 May 2013 06:03:43 +0000

Middlesex University’s School of Art and Design has a number of jobs available, from lecturer to professor, in Visual Culture, Fine Art, Fashion, Interiors, and Design, with a closing date of 6th March. Details can be found in this link: http://www.mdx.ac.uk/aboutus/Work/enhancing-research/index.aspx#School%20of%20Art%20and%20Design We also have some full PhD studentships available – closing date 22nd march. Details are here: http://www.mdx.ac.uk/research/applications/fees/bursaries/art-design.aspx

External News and Events - Call for Papers Yinka Shonibare MBE: Material Positions

Wed, 22 May 2013 06:03:43 +0000

This one-day conference aims to explore the history and development since the mid 1990s of Yinka Shonibare’s work in the British context, and to examine its position within the global culture of contemporary art today. Led by the University of Huddersfield in association with Yorkshire Sculpture Park the conference accompanies Yinka Shonibare MBE: Fabric-ation, the UK’s most extensive exhibition to date of work in sculpture, film, photography and painting from 2002-2013 by the internationally renowned Anglo-Nigerian artist. We welcome papers from academics, artists and curators addressing aspects of the whole spectrum of Shonibare’s work. 300 word abstract and 100 word speaker biography to be submitted by Monday 15 April 2013 To be emailed to Dr Alison Rowley: a.j.rowley@hud.ac.ukand Dr Catriona McAra: c.f.mcara@hud.ac.uk Please send a copy to both addresses.

External News and Events - Lecture - 'Poetic Recuperations: The Ideology and Praxis of Nouveau Réalisme'

Wed, 22 May 2013 06:03:43 +0000

RIHA Lecture 2013 Tuesday 5 March 2013 5.30pm, Kenneth Clark Lecture Theatre, Courtauld Institute of Art Dr Wood Roberdeau (Lecturer in Visual Cultures, Goldsmiths, University of London) Poetic Recuperations: The Ideology and Praxis of Nouveau Réalisme As a theorist, Pierre Restany (1930-2003) sought to establish a structure in which the work of Marcel Duchamp could be considered a ground zero, a cleared platform from where art practices could leap. Invoking the concept of the readymade and altering its scope confirmed a style that was also enhanced by a sociological interest in the quotidian. Restany’s ideology of Nouveau Réalisme developed alongside capitalism in post-war France and the paradigm shift from quasi-Marxist cultural reconstructions to the accumulation of wealth. Confronted with the questions proposed by previous avant-gardes, the artists associated with the movement at its genesis effectively renegotiated the discourse surrounding the autonomous work of art or formal object by choosing to engage with the promise of economic and technological progress. It could be said that Restany's claims pertained more to a way of life than to a way of making art and yet, as an art critic, he was bound by his discipline. This lecture seeks to liberate him somewhat by taking a closer look at his modernist arguments alongside selected artworks and the wider philosophical terrain of contemporary aesthetics. Wood Roberdeau is a lecturer on the undergraduate Art History programme at Goldsmiths, University of London. His current research addresses the capacity for artworks to inform common experience in terms of duration, relationality, urban and rural domesticities, culinary materialism, and object-oriented ontology. This is the fourth annual lecture associated with the RIHA Journal, the Journal of the International Association of Research Institutes in the History of Art, launched in 2010. It represents an ambitious effort to coordinate and support the multiple approaches to art historical research in RIHA’s many member countries through the production of a freely accessible online journal. The Journal makes use of local editors from all the member institutes, including The Courtauld, to peer review and publish outstanding articles in this field. Managed by Dr Regina Wenninger in the Zentralinstituts für Kunstgeschichte in Munich, the Journal is supported by the German government in the form of specially adapted ‘Plone’ software for multi-site editing. For further information see: http://www.riha-journal.org Open to all, free admission Organised by Professor Caroline Arscott

External News and Events - Event - 'After Conceptualism: Performing Transference circa 1977'

Wed, 22 May 2013 06:03:43 +0000

Monday 18 February 6.00pm, Research Forum South Room Dr William McManus (Terra Foundation for American Art Postdoctoral Fellow, The Courtauld) After Conceptualism: Performing Transference circa 1977 Oriented by Vito Acconci’s The Red Tapes (1977) this seminar will survey the shift toward narrative in much video and film-based American art of the mid-1970s. Along with Acconci, artists such as Dan Graham, Anthony McCall, James Nares, Yvonne Rainer, and others began to relinquish a task-directed and scripted self (either as implicit actor or visible object) as the primary and emphatic compositional tool of their work and to incorporate it into more acculturated environments enabled by film and video. Beyond clarifying historical turns in these older artists’ work, the basic arguments will be extended to bear on certain claims made for “activist” art in the present. Open to all, free admission Organised by Dr Klara Kemp-Welch

External News and Events - Lecture - In Search of a Pulse - Chinese Conceptual Art of the 1990s

Wed, 22 May 2013 06:03:43 +0000

In Search of a Pulse - Chinese Conceptual Art of the 1990s Karen Smith (writer and curator) 18:00, Tuesday 19 February Research Forum South Room, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN The acclaimed Chinese art historian Karen Smith will discuss the lesser-known aspects of conceptual practice in Chinese art of the 1990s. While such works were more difficult to export abroad, they were key to the development of artistic practice and, as a result, to what we see of art in China today. Karen Smith is a British art historian specialising in contemporary art in China since 1979. She has written widely on the subject for numerous journals and exhibition catalogues, and is the author of numerous artist monographs, including Ma Ke, Shi Jinsong, Jia Aili and others. She has also authored several books on China’s contemporary art scene and its history including As Seen 2 and As Seen 2011: Notable Artworks by Chinese Artists (published by Beijing World Publishing Corp., 2012 / Commercial Press 2012) and Nine Lives: The Birth of Avant-Garde Art in New China (Timezone 8, 2008). Her curatorial work includes numerous group and solo exhibitions for China's contemporary artists in China as well as abroad, including A Potent Force: Duan Jianyu and Hu Xiaoyuan, at Rockbund Art Musuem, Shanghai (2013), The Real Thing at Tate Liverpool (2007),The Chinese: Photography and Video Art from China at the Kunstmuseum Wolfsburg (2004), Music to My Eyes at Today Art Museum, Beijing (2009), and Subtlety at Platform China (2008), as well as solo exhibitions for Liu Xiaodong, Ai Weiwei and Xu Bing in the US and the UK. She has lived in Beijing since 1992. Open to all, free admission Organised by Dr Wenny Teo (The Courtauld Institute of Art)

External News and Events - Event - Temple and Tomb: Reimagining the Sacred Buildings of Jerusalem

Wed, 22 May 2013 06:03:43 +0000

Temple and Tomb: Reimagining the Sacred Buildings of Jerusalem 13.00 – 18.10, Friday 15 March (with registration from 12.30) 09.30 – 17.40, Saturday 16 March (with registration from 09.00) God and humankind had been at one in paradise. The sanctuary of Jerusalem’s Temple, whose decoration recalled Eden, was in Jewish thought the navel of the world, the intersection of heaven and earth. The Temple was destroyed in 70 CE. The Christian Melito was already writing of Golgotha as the world’s centre by 160 CE. Many more of the Temple’s mythologies – and supposedly of its Solomonic and later artefacts – would be transferred to the Church of the Holy Sepulchre built by Constantine and completed in the construction of its Rotunda. Justinian and his panegyrists spoke in their turn of Hagia Sophia as the new Temple. The Dome of the Rock was probably designed to counter and surpass the Holy Sepulchre of the ‘Christian polytheists’. The Crusaders spoke of Al-Aqsa Mosque as the Temple or Palace of Solomon, and the Dome of the Rock as the Temple of the Lord in which the infant Jesus had been presented to God. The sanctity and significance of Jerusalem were recreated throughout Christendom in centrally planned churches and architectural motifs, in liturgical forms and in civic myths. In this Forum we study the expressions of the Temple and the Sepulchre in Christian architecture, and medieval devotion – both Christian and Muslim – to the holy places. The Courtauld Institute of Art and the Temple Church are coming together for their second joint-conference in March 2013. We will again spend time in the Temple’s Round Church, itself one of the grandest recreations of Jerusalem to survive in the West. To book a place: £26 (£16 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 ‘Temple and Tomb’. Organised by The Rev’d Robin Griffith-Jones (Master of The Temple; and senior lecturer in Theology, King's College London), Professor Eric Fernie (The Courtauld Institute of Art) and Professor David Park (The Courtauld Institute of Art For further information, email ResearchForumEvents@courtauld.ac.uk or call: 07834 521471

External News and Events - Call for Papers - Art and Maps Since 1945

Wed, 22 May 2013 06:03:43 +0000

Art and Maps Since 1945 Second Annual Graduate Conference, School of Philosophy and Art History, University of Essex, Colchester, United Kingdom - 17th May 2013 Keynote speaker: Jonathan Harris, Professor in Global Art and Design Studies and Director of Research for the Winchester Centre for Global Futures in Art and Design Media at the University of Southampton. Call for Papers (Deadline: 1st March, 2013): In the postwar period, maps have become increasingly common as an artistic medium, but this rise to prominence emerges from several distinct historical trajectories. One important lineage is that linked to Conceptual Art and its legacy, where the map, like the diagram, has been used as a figure of social abstraction, raising questions about the space and its representation as well as art and communications technology. Elsewhere, groups such as the Situationist International and certain strands of performance art have been concerned with the production of art (or anti-art), in or as ‘real space’, something that pushes the boundaries of mapping and perhaps art practice to their limit. In such practices, maps have been an important means of producing, documenting and disseminating activities, whilst tactics of counter-mapping have been used to question representational hegemonies, even representation itself. Equally many artists have sought to contest what is at stake in mapping from a postcolonial standpoint – to redraw maps or to erase them altogether. These are only some of the many engagements with map-making in postwar art. This conference will seek to both examine localised examples of such practices, but also to enquire after, and draw out, potential common threads. In more recent years, changes in technology, for example satellite navigation and locative media, and transformations in the (geo)political landscape have significantly impacted upon map-making practices. As such we are also particularly keen to consider contributions on recent and contemporary developments. We invite abstracts of around 300 words for 20 minute papers, along with a short 50 word bio, by the deadline of 1st March 2013 to artandmaps@essex.ac.uk Submissions from graduate students and researchers working within art history and related disciplines are encouraged. Possible topics may include, but are not limited to: Maps and Land Art Maps as documentation Postcolonial mapping Maps in Conceptual and post-conceptual art Psychogeography and Situationist Maps Maps and performance Mapping power relations Exhibition maps Counter-mapping Map collages Maps in painting Mapping technologies Locative Media Interdisciplinary approaches For more information artandmaps@essex.ac.uk or see http://artandmaps.wordpress.com Selected conference proceedings will be published in a special issue of rebus, the department’s online journal of Art History and Theory.

External News and Events - Call for Papers - "Eew, gross!" Disgust in Art since the 1960s

Wed, 22 May 2013 06:03:43 +0000

"Eew, gross!" Disgust in Art since the 1960s SECAC Annual Meeting in Greensboro NC from October 30 to November 2, 2013 Even though the emotion of disgust, which is one of the most intriguing and socially significant emotions of humans, has become an integral part of the arts over the past decades, it has stayed remarkably absent from art historical, philosophical or pedagogical discourse. As a countercultural aesthetic practice, an instrument of social or political criticism, a medium to question concepts of social or gender roles and identities, disgust in art is a difficult, yet important topic that calls for closer examination. Therefore, this panel aims at exploring the emotion of disgust in art since the 1960s and invites papers from a variety of disciplines and cultural angles that investigate topics like different forms of disgust in art, meanings and functions, triggers and significance of disgust in art in relation to a respective cultural and social environment, or the special situation that disgusting art creates with regard to its reception. Session chair: Anja Foerschner, The Getty Research Institute, anja.foerschner@gmail.com Please submit an abstract (200 words max.) using the online submission form at: https://secac.memberclicks.net/index.php?option=com_mc&view=mc&mcid=form_135500 For more information go to: http://www.secollegeart.org/conference Submission deadline: April 20, 2013, midnight, EDT

Job Opportunity - Job - Head of Asian and African Studies for an internationally renowned library

Wed, 22 May 2013 06:03:43 +0000

Devonshire Arts and Heritage is delighted to be recruiting for a Head of Asian and African Studies for an internationally renowned library. The Library contains over 150 million items including manuscripts, printed books, newspapers, maps, photographs, stamps, sound recordings, prints, drawings and ephemera from all over the World. The post holder has overall management responsibility for a total of 21 specialist curatorial staff; 6 of which will be direct reports. The post is permanent and full time. First stage interviews will take place on the first week of March, so you must be fully available then, and if successful be available to start within a reasonable amount of time after that. The Post Holder Will: Motivate, build trust, inspire and ultimately lead a team of Asian and African specialists Have the ability to identify what is important and achievable for the curatorial team to conserve the collection, in order for it to continue being the best of its kind Support and mentor team members through regular one to one and group meetings Continue to build and strengthen relationships with other internal departments Develop service propositions to exploit the collections across a range of formats, seeking and brokering partnerships with other libraries, research institutions and technology partners as appropriate Act as an effective advocate for the Library and communicate with stakeholders nationally and internationally Leading negotiations re: major acquisitions of heritage and archival material, liaising with the Development Office, Communications etc., as appropriate Be able to make strategic decisions, implement and oversee the completion of plans accordingly Develop and implement innovative and creative approaches to strengthen the Library’s user experience Essential Requirements Include: First degree level qualification or above in a relevant discipline or subject Exemplary collection management experience You must have a proven area of academic and practical expertise relevant to the collection Previous employment experience in a library, museum, academic institution or in the fine art/antiquities sector Experience in leading and overseeing the development of corporate plans, strategies and programmes Knowledge of new developments in digitisation and emerging research trends and methodologies Experience of budgetary and financial management Oral and written fluency in the English language Information technology skills, including web-based skills Ability to travel for work purposes as and when required Salary: £47,246-£54,871 depending on experience + wonderful benefits. In order to apply, please send your covering letter and CV to Ana, agiles-myers@devonshire.co.uk, with “Head of Asian and African Studies” in the subject line of your e-mail or call 0203 047 4628 for a confidential conversation. Only suitable applicants will be contacted.

External News and Events - Event - Art & Death Workshop 2: Death and Dying

Wed, 22 May 2013 06:03:43 +0000

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)

AAH News and Events - AAH Incorporation Documents

Wed, 22 May 2013 06:03:43 +0000

As indicated in Bulletin 112, the AAH is planning to become an incorporated charity from 2014. Proposed new Articles of Association and Member Regulations are available for download here. Articles of Association Member Regulations

External News and Events - Event - Utopia III: Contemporary Russian Art and the Ruins of Utopia

Wed, 22 May 2013 06:03:43 +0000

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

External News and Events - Event - Utopia III: Contemporary Russian Art and the Ruins of Utopia

Wed, 22 May 2013 06:03:43 +0000

External News and Events - Course - At Close Quarters: The English Country House and its Collections

Wed, 22 May 2013 06:03:43 +0000

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.

External News and Events - Event - Devils and Dolls: Dichotomous Depictions of the Child

Wed, 22 May 2013 06:03:43 +0000

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

External News and Events - Call for Papers - 'Fifth Biennial Art History Symposium, “Palimpsest: The Layered Object.”'

Wed, 22 May 2013 06:03:43 +0000

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

External News and Events - Call for Papers - TSQ: Transgender Studies Quarterly

Wed, 22 May 2013 06:03:43 +0000

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).

External News and Events - Call for Papers - Pre-Raphaelitism: Past, Present and Future

Wed, 22 May 2013 06:03:43 +0000

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/

External News and Events - Event - ‘Copy, Version and Multiple: the replication and distribution of portrait imagery’

Wed, 22 May 2013 06:03:43 +0000

‘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/

External News and Events - Event - Michael Craig-Martin in Conversation with Jonathan Watkins

Wed, 22 May 2013 06:03:43 +0000

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)

External News and Events - Event - '‘Great with Child: Tudor and Jacobean Pregnancy Portraits’ by Karen Hearn'

Wed, 22 May 2013 06:03:43 +0000

Public art history lecture: ‘Great with Child: Tudor and Jacobean Pregnancy Portraits’ by Karen Hearn Hosted by the Society of Antiquaries at Burlington House (Piccadilly), 5 February 2013, 1.00 pm, Free Contact and further information details: rladue@sal.org.uk, www.sal.org.uk No booking required

External News and Events - Call for Papers - Seismopolite Journal of Art and Politics

Wed, 22 May 2013 06:03:43 +0000

Call for papers – Seismopolite Journal of Art and Politics Theme: The Politics of African Contemporary Art www.seismopolite.com Recent approaches to African contemporary art often celebrate the advent of a global contemporary art scene in which they see an abolition of the provincialist and historicist concepts that were imposed by the West during the colonial period. One assumes that by taking part in new and post-historical/ post-national networks of exchange, facilitated by large-scale international exhibitions, biennials and fairs, artists can express themselves more truly as they are no longer doomed to wrestle with the notions of the pre-colonial/ colonial; to be measured against Western art-historical paradigms, or to be defined via enduring fictions about their own parochialism. This issue of Seismopolite aims to assess the validity of this perspective and to further inquire into the possibilities and limitations pertaining to the global contemporary art scene in terms of addressing political issues in, and rewriting the history and future of African societies (as well as African art history) in a consequential way through art. In particular we wish to shed a critical light on how the contemporary art economy influences the political agency and interaction of artistic expression in African societies, and reversely, how African art, although it may be free to address political issues, can retain or represent such a political agency once it has become part of the global contemporary. Contributors from diverse disciplinary backgrounds are invited to submit essays, exhibition reviews or interviews that address the theme “The politics of African contemporary art” through a high variety of possible angles. Topics may include, but are not restricted to: The role of art and artists in the rewriting of (art) history and political geography. The development of international contemporary art venues/ festivals/ biennials in African countries, and their impact on the societal function and meaning of art in these contexts. The agency and potential of art to stimulate new future trajectories in precarious socio-political situations. Political activism and post-colonial consciousness in art and art communities under colonial rule. The relationship between cultural politics/ geopolitics and international contemporary art venues/ festivals/ biennials in African countries. Changes to the role and the economy of the artist in African societies. Processes of translation in the global mediation of African contemporary art. Aesthetics and politics of art in ‘African diaspora’. We accept submissions continuously, but to make sure you are considered for the upcoming issue, please send your proposal, CV and samples of earlier work to submissions@seismopolite.com within February 20, 2013. Completed work will be due March 8, 2013. Commissioned works will be translated into Norwegian and published in a bilingual version. Seismopolite Journal of Art and Politics is a bilingual English and Norwegian quarterly, which investigates the possibilities of artists and art scenes worldwide to reflect and influence their local political situation. Current issue: www.seismopolite.com Previous issues: www.seismopolite.com/artandpolitics Contact: submissions@seismopolite.com

External News and Events - Call for Papers - Seismopolite Journal of Art and Politics

Wed, 22 May 2013 06:03:43 +0000

External News and Events - Call for Papers - Protean Patriots? New Research on the 'Patriot Opposition' to Sir Robert Walpole.

Wed, 22 May 2013 06:03:43 +0000

Protean Patriots? New Research on the 'Patriot Opposition' to Sir Robert Walpole.7 June 2013, Hampton Court Palace. Call for Papers "This interdisciplinary one-day conference seeks to bring together both established and early career scholars from different faculties and professional backgrounds to debate the dynamic, yet amorphous, cultural and political group – the Patriot Opposition – who formed in opposition to the men and measures of the first ‘Prime Minister’, Sir Robert Walpole. Building on the History of Parliament’s 2007 ‘Politics and patronage: a tercentenary colloquium for Frederick, Prince of Wales’ this conference aims to widen the focus, and with the twentieth anniversary of Christine Gerrard’s influential monograph fast approaching, showcase new research on the subject. We welcome proposals for individual twenty-minute papers from literary scholars; historians; art, architectural and landscape historians, with the aim of replicating in the diversity of conference papers the many different mediums used by Frederick and the Patriots. The conference will be held in conjunction with Historic Royal Palaces at Hampton Court Palace on Friday 7 June and include a tour of the new Secrets of the Royal Bedchamber exhibition. Abstracts of no more than 250 words and a CV must be submitted to the conference organisers Oliver Cox (oliver.cox@history.ox.ac.uk) and Jennifer Scammell (j.scammell@newcastle.ac.uk) by 24 March."

AAH News and Events - Become a Member of the AAH Today

Wed, 22 May 2013 06:03:43 +0000

AAH News and Events - Special Offer

Wed, 22 May 2013 06:03:43 +0000

Direct debit 10 issues for £29 | save £15 Go to www.artmonthly.co.uk/buy

External News and Events - Event - 'War Conference', Bradford College

Wed, 22 May 2013 06:03:43 +0000

WAR CONFERENCE, BRADFORD COLLEGE Thursday 21st and Friday 22nd February 2013 At Bradford College & the National Media Museum The WAR conference will explore representations of people, cultures and landscapes touched, intertwined and transformed by war from 1914 to present day. Academics will present their research and personal responses to this emotive and challenging subject. http://www.bradfordcollege.ac.uk/whats-going-on/war-exhibition-conference-24-january-22nd-february Day 1 Thursday 21st February 2013 SESSION 1 Venue The Room at the Top, the National Media Museum 09.00 - 09.30 Conference Registration and Coffee 09.30 - 09.45 Ronan O’Beirne, Director of Learning Development and Research, Bradford College Welcome 09.45 - 10.45 Hilary Roberts, Head Curator, Imperial War Museum Photograph Archive 'Curating War' Hilary Roberts will consider some of the issues (personal, moral, ethical, aesthetic and practical) that she has encountered whilst working on projects relating to war photography. 10.45 – 11.00 Break 11.00 - 11.45 Wendy Frith, Lecturer & Course Tutor BA (Hons) Art and Design and BA (Hons) Fine Art, Bradford College I Love A Man In Uniform? ‘Heroism’, ‘Masculinity’ and the World War 1 Veteran The return to Britain of an unprecedented number of wounded and disabled veterans, during and after World War 1, provoked a crisis of representation in Lloyd George’s “Land Fit for Heroes”. The presence of these non-conforming bodies not only challenged official narratives of the war but also fundamentally undermined dominant discourses of ‘masculinity’, ‘beauty’ and ‘heroism’. This paper will examine the treatment and representation of these veterans and the diverse, and often contradictory, meanings with which they, and their bodies, were invested. 11.45 - 12.00 Transfer to Bradford College 12.00 - 13.00 Lunch in the Bradford Gallery, Bradford College and an opportunity to view the WAR exhibition in the Bradford Gallery SESSION 2 Venue Bradford College, Lister Lecture Theatre 13.00 - 13.45 Dr Patrick Eyres, Editor/Publisher, New Arcadian Journal The Naval Portraits of Eric Kennington, 1940: Sailors and Warships as Icons of British Masculinity. Accuracy, intensity and beauty – these keywords were selected in 1945 to encapsulate the vital ingredients of Britain’s official war art. The paper will explore how they characterise the naval portraits through which Eric Kennington created icons of British masculinity by dignifying ‘ordinary’ naval ratings and by personalising the heroic roles performed by the warships in which they served. In addition Kennington wanted to show civilian factory workers the ‘person’ that used the weapons they manufactured. As propaganda assets the portraits were exhibited in London and New York, and mass distributed through reproduction in books and magazines and as postcards. 13.45 – 14.30 Pam Brook, Lecturer, Bradford College The Heroic and the Brutalised: Representations of women in Britain & France during the Second World War I intend to examine themes of the representation of femininity during and just after the Second World War. This would involve examining images of women held in the collection of the imperial war museum in their archives of painting and photography. Many of the images were of a ‘heroic’ nature showing women engaged in war work and often in non-traditional roles such as munitions, farm work and transport. They were often shown in uniform or in garments that were not typically associated with feminine dress but yet project an idealised concept of womanhood. There are a small number of images that indicate the significant role undertaken by women in the Maquis or French Resistance and these contrast with women who were accused of collaboration following the liberation of France where they were subject to a process of defeminisation and of public humiliation. The paper would use methodologies that relate to fashion theory, social theory, feminist theory and theories of taboo and danger. 14.30 - 15.00 Break 15.00 – 15.45 Manya Doñaque, Lecturer, Bradford College WAR: Artist's responses and interpretations of conflict Inspired by the artworks of different artists the objective of this paper is to discuss different approaches on the subject of war, bringing other perspectives or points of view to this difficult but unavoidable theme. Concentrating on the subject of torture; I will compare other ‘oeuvre’ with two of my most recent pieces of work: an installation and an artist's book. My aim is to identify how different artists have portrayed and dealt with the subject and how we as artists have a 'duty' to reflect, comment and question what has been imposed or given. By analysing and exploring artists representations of trauma and torture, individual art practices, approaches and strategies are compared. 15.45 – 16.30 Plenary discussion 16.30 - 17.30 Drinks reception in the Bradford Gallery , followed by a meal in Bradford (tbc) Day 2 Friday 22nd February 2013 SESSION 3 Venue The Room at the Top, the National Media Museum MORNING 09.00 - 09.30 Conference Registration and Coffee 09.30 – 09.40 David Smith, Dean for Higher education Welcome 09.40 – 10.00 War Poetry recital. A selection of poems selected by Dr Robert Galeta Read by Damien O’Keeffe and Peter Rooney 10.00 – 10.45 Clare Lane, Free-lance Artist and Lecturer This paper will be presented by Dr Robert Galeta, Bradford College Lecturer on behalf of Clare Lane who is overseas during the conference. War Ruin as representation; shifting cultural perspectives of England, France and Germany: identity and signification Up until the second world war the ruin had a somewhat comfortable status as something which was the long lived spectator to the sublime powers of nature or as the representation of long past civilisations, corrupted and decayed, from which we can draw both warning and comfort. They had a distance of ancient history and would form the framework for stories and imaginings, nostalgic and melancholic in nature. The ruin of the 21st century landscape, however is constantly having its value re-assessed in contemporary cultural terms and as such is a dynamic form in both meaning and purpose. It is within this context that I wish to take a brief look at the ruins of the second world war. Do these ruins imbue the usual sense of mortality, melancholy and nostalgia? They do not. These are not the ruins of the sublime powers of nature and the on-going passage of time, they are the apocalyptic aftermath of extreme and explosive human violence. At the time war artists like Graham Sutherland recorded the instant devastation but today 67 years after the end of the second world war there are the remains of this specific event scattered through Europe. 10.45 – 11.30 Adrian Budge, Head of Public Engagement, the Royal Armouries The Camera & Captivity: Photography and Allied Prisoners of War, 1914-18 Photographs of Second World War Allied POWs are fairly familiar, but it was in the Great War that photography was first used extensively in POW camps. These images are much less well-known and yet they provide insights into life ‘behind the wire’ that add to written accounts. In addition, the portraits of prisoners provide an unusual twist on the conventions of early 20th century portrait photography and raise interesting questions about the insights that the camera can provide into the lives and attitudes of soldiers being held captive by their enemy ‘for the duration’. 11.30 - 11.45 Break 11.45 – 12.15 Deb Singleton, Director of Bradford Animation Festival. The National Media Museum Animated Films selection at Cubby Broccoli Cinema, National Media Museum In response to the conference theme, Deb Singleton Director of the Bradford Animation Festival presents a series of short films examining representations of war in contemporary animation. 12.15 – 12.45 David Smith, Dean of Higher Education, Bradford College Plenary Discussion 12.45 Close Lunch is available at the Museum Café or other nearby restaurants.

AAH News and Events - AAH 39th Annual Conference and Bookfair

Wed, 22 May 2013 06:03:43 +0000

Keynote Speakers: Adrian Forty (Professor of Architectural History, The Bartlett, University College London) 'in conversation' with Maarten Delbeke (Associate Professor of Architecture & Urban Planning, Ghent University and Lecturer in Art History, Leiden University) Okwui Enwezor (Curator and Director of Haus der Kunst, Munich)

External News and Events - Call for Papers - 'Stylistic Dead Ends? Fresh Perspectives on British Architecture between the World Wars'

Wed, 22 May 2013 06:03:43 +0000

STYLISTIC DEAD-ENDS? FRESH PERSPECTIVES ON BRITISH ARCHITECTURE BETWEEN THE WORLD WARS THURSDAY 20TH – FRIDAY 21ST JUNE 2013, ST JOHN’S COLLEGE, OXFORD CONFIRMED KEYNOTE: PROFESSOR ALAN POWERS (INDEPENDENT SCHOLAR/NYU LONDON) CALL FOR PAPERS As interest in the full range of architecture in the interwar years grows, now is a good time to examine the various manifestations of modernism and non-modernism in the period. This symposium, to be held at St John’s College, Oxford, will pick up on the richness and variety of architectural output that engaged with the International Style whilst not ideologically part of it, and that which sought to ignore it all together. This symposium aims to bring non-Modernist, but not necessarily non-moderne, monuments, to the foreground. The symposium aims to encourage terms like the neo-Georgian, Tudoresque, streamline moderne, twentieth century gothic revivalism, and vernacular to be discussed and to engage with each other on the same platform. The recourse to discussion of style, and the evolution of style, needs to be problematised. The narrative of architectural history has tended towards the development of style rather than the examination of architectural ideas across a number of simultaneously existing stylistic options. Were there formal or theoretical interests that transcended stylistic concerns during the interwar period? We are seeking papers on this material, including but not limited to the following broad areas, from architectural historians and scholars of related fields: Public and commercial architecture Domestic architecture International practice and influence (how foreign practice influenced British architects and vice-versa, British architectural output throughout the Empire etc) Architectural theory and methodology (how does work on this period bring into focus broader theoretical and methodological questions) ‘Afterlives’: any aspect of a building’s life after its completion (architectural, textual, or visual reformulations or appropriations) Cross-disciplinary, cross-media approaches and responses to interwar architecture (e.g. filmic responses to interwar architecture, papers from non-architectural historians etc.) We invite proposals for 20-minute papers on interwar architecture from academics and graduate students working in architectural history. Please email abstracts of no more than 300 words by February 4th, 2013 to stylisticdeadends@googlemail.com. David Lewis Neal Shasore History of Art Department/St John’s College Oxford University www.stylisticdeadends.co.uk

External News and Events - Call for Papers - Sculptural Mobilities Symposium

Wed, 22 May 2013 06:03:43 +0000

Sculptural Mobilities Symposium 12th June 2013, University College London, Bloomsbury, London WC1E 6BT “Sculptural Mobilities: tracing the flows of sculptural artworks between the Nordic Countries and Europe from the early modern period to the present day,” is a one-day symposium organised collaboratively by University College London?s Department of Scandinavian Studies, and Kingston University?s Visual and Material Culture Research Centre. The interdisciplinary symposium will investigate the cultural mobility of sculptural artworks. Positioning the Nordic Countries as a contact zone of sculptural exchange, the project will trace the flows of artworks to and from the Nordic Countries and Europe and examine the impacts these flows generate on both local/regional contexts of display and the nature of the sculptural artwork itself. Histories of sculpture within the Nordic region are arguably under-studied and the region?s influence upon and translation of influences from the wider Europe remain insufficiently traced. Our symposium will seek to emphasise the Nordic Countries? important role as an interstice between the East, West and the North, and to bring to light individual histories of sculptural mobility from the early modern period onwards. We welcome papers uncovering new histories of sculptural mobility and those focused on examples of contemporary practice, which continue the exchange of sculptural artworks and artists between the Nordic Countries and Europe today. Stephen Greenblatt has defined cultural mobility as „the restless process through which texts, images, artefacts, and ideas are moved, disguised, translated, transformed, adapted, and reimagined in the ceaseless, resourceful work of culture.? The sculptural artwork by contrast is often imagined as static and fixed, stable and immutable. To what extent is the sculptural artwork changed by transcultural recontextualisation? What is the potential for movement to compel a performative response within the moving object itself – what are the ways in which it is materially made to move via this process of transcultural exchange? Conversely, how do sculptures impact their new contexts of display? To what extent do moving sculptures confirm or critique the complexity, interdependence and instability of „localised? cultures? We are interested in examining the movements of specific sculptural artworks between the Nordic Countries and Europe from a range of interdisciplinary perspectives, encompassing the history of art and aesthetics, reception, geography, anthropology, economics, technology, identity and historiography; we hope to bring hidden histories of sculpture to light and to stimulate new research. Papers may draw upon the following and other, unlisted topics: Materiality and immaterial objects and environments Shifting landscapes and regional identities Curating moving/changing collections The relationship of an object to its site/s Trajectories and temporalities Technological reproducibility and reproduction, travelling copies Home and belonging, territorialisation Interpretation and reception Public and private contexts of display Commercial drivers of mobility Movement at the meta/macro/micro levels Permanence and commemoration Space and place The motives and agents of sculptural mobility Objects? life-stories/careers Exile and nationalism Environment and installation Construction and destruction Continuity and rupture Moving image and sound Performativity and participation The interchange of centres and peripheries of production and consumption Papers from the Symposium may be published in a special issue of the journal Scandinavica. An International Journal of Scandinavian Studies published by Norvik Press and funded by NOP-HS (Joint Committee for Nordic Research Councils in the Humanities and the Social Sciences). This symposium is funded by the Henry Moore Foundation. We invite proposals for twenty-minute papers from academics, early career researchers, postdocs and PhD students, artists and curators. Paper abstracts (maximum 300 words) and a short bio (maximum 100 words) should be submitted to Elettra Carbone (elettra.carbone@ucl.ac.uk) and Sara Ayres (S.Ayres@kingston.ac.uk) by March 15 2013. Deadline for Submission, 15th March 2013 Please return this form by email to admin@aah.org.uk

Funding Opportunity - Funding Opportunity - MA Art History & Curating

Wed, 22 May 2013 06:03:43 +0000

Liverpool Hope University is pleased to announce that it has available one AHRC studentship for 2013 entry on its MA Art History & Curating programme for either full- or part-time study. Please see http://www.hope.ac.uk/ahrc/ for further details.

External News and Events - Event - Silent Spring: Chemical, Biological and technological Visions of the Post-1945 Environment

Wed, 22 May 2013 06:03:43 +0000

Silent Spring: Chemical, Biological and technological Visions of the Post-1945 Environment Funding Opportunity – Workshop Travel Bursary Friday 1st March 2013 University of York, Humanities Research Centre, BS/008, 11.30 – 6pm An AHRC collaborative skills project with the University of York and Birkbeck, University of London Deadline for Travel Bursary Applications: Monday 28th January 2013, 5.30pm ‘In this now universal contamination of the environment, chemicals are the sinister and little-recognised partners of radiation in changing the very nature of the world – the very nature of its life.’ – Rachel Carson, Silent Spring, 1962. Rachel Carson’s classic polemic Silent Spring celebrated its 50th anniversary in 2012: it still stands as one of the most influential texts on the damage caused to the natural environment by chemicals and nuclear fallout in the twentieth century. Taking Carson’s book as its starting point, this interdisciplinary post-graduate project aims to explore how a growing awareness of the biological, chemical and technological changes to the environment has shaped cultural explorations of nature and landscape in the post-1945 period, through visual art, literature and film. We will consider both how scientists have used images and texts to communicate their ideas to the public, and how artists have responded to, used, and resisted scientific developments in their work. Through two workshops at York and Birkbeck in 2013, we will start unpacking some of the complications inherent in the use of terms such as ‘nature’ and ‘environment’, and the associations embedded in them. Workshop 1 at the University of York will provide an informal but stimulating forum for researchers and scholars from the humanities, social sciences and natural sciences to share work and ideas. Confirmed speakers include Dr Alice Bell (University of Sussex), Dr Fabienne Collignon (University of Sheffield), Dr Jo Applin (University of York) and Dr Isabella Streffen (University of Newcastle). Thanks to generous support from the AHRC, we are able to offer a limited amount of travel bursaries for up to £50 (on provision of receipts) to post-graduate students and early career researchers for travel to and from each workshop. We welcome applications from students in any of the Humanities and Sciences, including Geography, Environmental Sciences, Chemistry, History of Science, English and Related Literatures, History, History of Art, Film and Theatre Studies, Fine Art and Sociology. We hope that this will be a lively day full of discussion, and invite participants to share a short, informal five-minute summary of their work in a final group discussion section. Students with an interest in interdisciplinary exchange, whose work focuses on the post-1945 period, and is funded by the AHRC, will receive priority. To apply for a Travel Bursary for Workshop 1 in York, please send a copy of your CV together with a statement of up to 500 words on why you are interested in attending the workshop, and how your research intersects with its themes, to silentspring2013@gmail.com by Monday 28th January at 5:30pm. In your application, please state your institutional affiliation, and whether or not your research is funded by the AHRC. A separate application must be made for Workshop 2, deadline tbc. If you have any questions please don’t hesitate to contact the organisers at this address. Contact Catherine Spencer, Sophie Jones, Stephanie Lambert silentspring2013@gmail.com Deadline for submission: Monday 28th January 2013, 5.30pm

External News and Events - Event - 'Photography: From Talbot to Contemporary'

Wed, 22 May 2013 06:03:43 +0000

Photography: From Talbot to Contemporary at Sotheby’s Institute, London Evening Course Information and details about event (include venue, date and fee): As the field of photography gains increased recognition within the art world, this course provides a foundation in the history of the medium, from the experiments carried out in the nineteenth century by pioneers such as Daguerre and Talbot to the work of their celebrated successors, Edward Weston, Cindy Sherman, Andreas Gursky and Jeff Wall. Concluding with work by contemporary photographers, this series of lectures examines the way in which new methods of photography have been utilised by key practitioners, tracing its development from a simple means of recording the physical world to its current status as an influential and moving art form in its own right. Location: Sotheby’s Institute, 30-31 Bedford Square, London Times: Wine Reception 6.15pm; Lectures 6.45-8.00pm Dates: 29 January/ 5, 12, 26 February/ 5, 12 March 2013 Fee: £375 Contact and further information details: Martin Williams Tel: +44 (0)20 7462 3249 Email: m.williams@sothebysinstitute.com http://www.sothebysinstitute.com/Programmes/PLondon/PLDayEveningCourses/Photography.aspx Deadline for booking or submission (if applicable): Monday 28th January

External News and Events - Call for Papers - 'Advertising & Consumer CUlture'

Wed, 22 May 2013 06:03:43 +0000

University of York Centre for Modern Studies Third Annual Postgraduate Symposium: ADVERTISING AND CONSUMER CULTURE University of York, May 31, 2013 Commercial speech – advertising – makes up most of what we share as a culture . . . As the language of commercialism has become louder, the language of high culture has become quieter. – James B. Twitchell, Twenty Ads that Shook the World Throughout the modern period, advertising and consumer culture have dominated everyday life; moreover, the trappings of commercialism permeate much of supposed ‘high culture’. Commodities clutter the pages of novels from Dickens and Zola to Bret Easton Ellis; works by Joyce and DeLillo are enlivened by advertising jingles and slogans; brands and trademarks pervade the practice of artists from Picasso to Warhol and the visualisation of consumer desire is appropriated and challenged in the work of Richard Hamilton and Martha Rosler. Whether celebrating or critiquing advertising and consumer culture, art reflects our enduring fascination with them, despite research into the psychological effects of advertising, concerns over the evils of consumerism, and the often sinister nature of market research. The recent television show Mad Men, for instance, has revivified interest and scholarly debate surrounding the power of advertising and the consumer, as well as restaging debates around sexism, truth and the heteronormative ideal. Meanwhile, sociology in the wake of Erving Goffman continues to explore advertising’s uses and abuses of gender, identity and desire. Countervailing against consumerism and advertising’s many critics, theorists such as Michel de Certeau and the critical movement Thing Theory have endeavoured to examine advertising and consumer culture from a standpoint that goes beyond the model of the ‘passive consumer’ or Marx’s account of commodity fetishism. We invite abstracts for 20 minute papers from postgraduate students and early-career researchers working in the modern period (1850-present day) across the humanities and social sciences. This conference aims to provoke interdisciplinary discussion about advertising and consumer culture. We therefore welcome papers that address these topics from historical, sociological, political or anthropological perspectives, as well as papers that analyse advertisements themselves and the representation of advertising and modern consumer culture in literature, film, television, theatre, and visual art. Topics for discussion may include but are by no means limited to: The ways in which advertising and consumer culture intersect with issues of class, gender, sexuality and ethnicity Psychological/psychoanalytic perspectives on advertising and consumer behaviour; how identity is created and reflected through participation in consumer culture; the legacy of Freud and Bernays How artists have appropriated the techniques of advertising, or have been co-opted by advertising and commodity culture (Koons, Rosler, Murakami, Kusama and Hirst) Theorists who have engaged with advertising and consumer culture (Adorno, Barthes, Baudrillard, Certeau, Fukuyama, Goffman, Klein, Marx, McLuhan) The use of music in advertisement The formal innovations literature has adopted to create a poetics of advertising/consumer culture Shopping, the rise of the department store, brand names, and their representation in culture Histories of advertising agencies or ‘ad-men’ How the importance of advertising in art may challenge the boundaries between high and low culture and/or modernism and postmodernism Anti-consumerist movements (the Situationist International, Adbusters) and strategies (détournement, culture jamming) The recent transformations advertising has undergone as a result of social media The advert as spectacle or ‘event’ (celebrity endorsements, Christmas advertising, product placement, Pawel Althamer’s Real Time Movie) Figures who have worked in advertising, either before or during their artistic careers (Fitzgerald, Rushdie, DeLillo, Warhol, Lynch) Political advertising and the roles of politics in advertising Abstracts for papers should be no more than 300 words in length, and submitted by Monday 25th March 2013 to cmods-pgforum@york.ac.uk. We ask that applicants also include a short biography. For further information about the symposium or the CModS Postgraduate Forum, please contact us at this address, or visit http://www.york.ac.uk/modernstudies/postgraduate-forum/ Deadline for submission: Monday 25th March, 2013

External News and Events - Call for Papers - 'Sustainable art – facing the need for regeneration, responsibility and relations'

Wed, 22 May 2013 06:03:43 +0000

Sustainable art – facing the need for regeneration, responsibility and relations Institute of Art History, University of Wroclaw, Szewska Street 36, 50-139 Wroc?aw, POLAND November, 20-21, 2013 This conference offers an opportunity for scholars, Ph.D. students and artists to meet in Wroclaw and exchange ideas on the recently coined sustainable art – the ideas it brings, the horizons it expands and the troubles it causes. The notion of sustainable development has its roots in the “World Summit” conference in Rio de Janeiro in 1992. From then on, sustainable development has become a part of the global debate. There are three major grounds for discussing the ideas of sustainability: social, economic and ecological. In this context we want to ask about “sustainable art” – its condition and practices. Can the concepts - as various as non-productivity, environmental concerns, recycling, energy exchange, affective approach to history or political sanations after the oppression of the colonizers - constitute the new artistic practices under the banner of sustainability? Is sustainable art created both by Tino Seghal (who refuses the work its physical form) and Allora & Calzadilla (who draw attention to the geographic variability in Puerto Rico), Roman Ondak ( who levels the tension between the inside and outside of the national pavilion at the Venice Biennale), Pawel Althamer (who founded the garden and organizes tours for his neighbors), Marina Abramovi? (simply because of her presence) as well as the designers of furniture made from trash? Is sustainable art creating relational forms? And all this together is maybe a new utopia – a dream about the regeneration of mutual relations, non-violence or competition, taking the responsibility for the fate of the "others" and creating a brave new world? Is sustainable art an idealistic project, an affective initiative or rather a hard necessity? Or perhaps, the idea of avoiding destruction can only lead to statements deprived of energy, inspiration, and anger, so important nowadays and in the past, also in the avant-garde art? Or still, on the contrary, we can now better understand past, for instance, such essays as Maurice Maeterlinck’s Intelligence of flowers (1907) because we are keen readers of Bruno Latour and share his passion to “compose” a new world? Since in the Polish language the word “sustainable” does not exist, in order to express its meaning we have to describe it intricately – as existing of something thanks to the support or maintenance. Due to the fact that we have to explain what sustainable exactly is, we group together the artists and the works that would never be found close to each other otherwise. Are these collectives the new challenging classifications expanding our horizons or mere global clichés erasing our specific tradition? What is lost in translation? Sustainable art is already expressed by the entries in English and Spanish Wikipedia. Will we be able to add something to these entries, to go beyond mere admiration and cast a critical look at the new practices? Welcome to the discussion! Conferences on contemporary art, with the participation of the art historians, anthropologists and artists have been organized at the Institute of Art History, University of Wroclaw since 2010. Invariably, we have collaborated with the BWA Awangarda gallery in Wroclaw and therefore our meeting is an important event featuring an exhibition and interviews with the participating artists. From 2012, the co-organizer of the conferences is the Polish Institute of World Art Studies in Warsaw and with its support we took the initiative of publishing books. In the current year we are publishing Trickster Strategies in the Artists' and Curatorial Practice. All conferences are also discussed in the online magazine called "Opposite" http://opposite.uni.wroc.pl/konferencja/2012.htm which is under construction. Please submit the proposals of your presentations with short abstracts at sustainable.wroclaw@gmail.com by 30 June 2013. You may choose from the following sections of debates: 1. Social participation 2. Dignity and egalitarianism 3. Responsibility and moderation 4. Regeneration and relations 5. Integrity of the environment (local towards global) Organizers: Anna Markowska, Ph.D., Prof. of University of Wroclaw (anna.markowska@gmail.com) Magdalena Wor?owska, M.A. (mworlowska@gmail.com)

External News and Events - Forthcoming Exhibitions by Bill Balaskas

Wed, 22 May 2013 06:03:43 +0000

Forthcoming exhibitions and events featuring the work of Bill Balaskas. For more information and new additions visit www.billbalaskas.com. DISRUPTION, Royal College of Art Research Biennial Royal College of Art, Kensington Gore, London, UK 21 - 27 January 2013 (Opening reception: Tuesday 22 January, 6 - 9 pm) I am co-curating this exciting exhibition that brings together the work of researchers from across the RCA's six schools. Also, I am participating with a 23-metre banner exhibited on the facade of the college's main building. More information: http://disruption.rca.ac.uk/ ------------------------------------------------------------------ THE MARKET WILL SAVE THE WORLD Kasa Gallery, Sabanci University, Istanbul, Turkey 25 January - 8 March 2013 My first solo exhibition in Turkey, for which I will present recent video works and the new site-specific installation Monopoly (2013). The exhibition will open with a performance during which I will hand out 100 helium balloons to the visitors. More information: http://kasagaleri.sabanciuniv.edu/ ------------------------------------------------------------------ THE VISION OF THE MARKET Museum of Contemporary Cuts 25 January - 8 March 2013 A solo online exhibition inspired by my video The Wealth of Nations (2010). For each day of the exhibition, an image, video or text-based work will be disseminated through the MoCC's Facebook and Twitter pages. More information: http://museumofcontemporarycuts.org/ ------------------------------------------------------------------ INDIA ART FAIR, Video Lounge (with Kalfayan Galleries) NSIC Exhibition Grounds, New Delhi, India 31 January - 3 February 2013 Exhibited works: Parthenon Rising (II) & Info More information: http://indiaartfair.in/ ------------------------------------------------------------------ IN CASE OF EMERGENCY BREAK GLASS Vetlanda Museum, Vetlanda, Sweden 2 February - 3 March 2013 (A collaboration between Art:screen and Miden Festival) Exhibited work: Parthenon Rising (II) More information: http://www.vetlanda.se/vanstermeny/kulturfritid/museer/vetlandamuseum/utstallningar/artscreenfestontour2013.4.3eed94031359de5c45e8000948.html ------------------------------------------------------------------ CELEBRATION: 50 YEARS OF VIDEO ART Nordic House, Reykjavik, Iceland 7 - 10 February 2013 (In collaboration with Miden Festival) Exhibited work: Parthenon Rising (II) More information: http://www.nordice.is/ ------------------------------------------------------------------ ART COLOGNE, New Positions (with Kalfayan Galleries) Nominated for the 2013 AUDI Art Award for the most innovative young artist Koelnmesse, Cologne, Germany 18 - 22 April 2013 I will present three new works in the context of my nomination for the 2013 AUDI Art Award: a video piece, a neon installation and a flag. More information: http://www.artcologne.com/

External News and Events - Call for Papers - Artscapes: Urban Art and The Public - An Inter-disciplinary Conference on Art and Urban Spaces

Wed, 22 May 2013 06:03:43 +0000

Artscapes: Urban Art and The Public - An Inter-disciplinary Conference on Art and Urban Spaces University of Kent, 27- 28 June 2013 Invited Speakers: Maurizio Cinquegrani (University of Kent) Carl Lavery (Aberystwyth University) Jonathan Vickery (University of Warwick) Artistic interventions in the permeable urban context can alter and often tamper the contours of the contemporary cityscape; they can also be critical in the development of new forms of urban culture. While providing a perfect arena for artists and researchers to investigate the consolidated mechanisms of art institutions and to challenge the normative regulations concerning the use of public spaces, the new practices of urban art enclose an organic civic participation and a conscious collective criticism. From this point of view, contemporary urban space seems to become the vessel for a new understanding of art that extends its reach to the community both locally and globally (through digital dissemination), inviting participation and interaction and creating physical and virtual spaces for a new form of urban experience and aesthetic pleasure. This interdisciplinary conference hosted by the University of Kent aims to provide a forum for discussion and, through keynote lectures and selected presentations, to build a new understanding of the relationship between art and urban places. In what way can urban art engage with its audiences and create public spaces – material, virtual or imagined – within which people can identify themselves, discover new forms of interaction with the community and shape new modes of aesthetic behaviours? This conference aims at bringing together scholars with diverse interests and approaches to its subject, and we welcome abstracts from a range of disciplines including art, architecture, geography, sociology, philosophy, anthropology, history, politics and economics and urban planning. Examples of subjects for invited paper presentations, projects and works in progress include but are not limited to: forms of urban art street styles and urban behaviours architecture and art digital re-enaction of physical interventions city culture and urban transformation urban photography film and the city urban performance and social protest landscapes of urban art street art and political engagement the street and its aesthetics community interaction and architecture negotiating public spaces artistic interventions projects Submission process We invite submissions of short abstracts (500 words) on urban art and public spaces, plus a brief biography (100 words). The time slot for presentations is 20 minutes with a 15 minute session for questions at the end of each panel. Abstracts should be prepared for blind-refereeing. Please send your abstract as an attachment (.pdf or .doc) to: artscapesgroup@gmail.com The subject of the email should contain the words Artscapes submission. The body of the email should include author(s) name, affiliation, abstract title, 5 keywords, brief biography and the email address you would like us to use to communicate with you. Deadline for submissions: 26 March 2013. Notification of acceptance/non-acceptance: 8 April 2013. (Please let us know if you require acknowledgement of receipt for your submission.) Registration Postgraduate students: free attendance Other researchers: £ 5.00 Registration will be required prior to the conference. Registration opens on the 1st of June 2013. Details on how to register will follow in due course. Contact: ArtscapesGroup artscapesgroup@gmail.com

Schools - Event - Cambridge Pre-U Art History Getting Started (9799)

Wed, 22 May 2013 06:03:43 +0000

Cambridge Pre-U Art History Getting Started (9799) - January 2013 UK http://www.cie.org.uk/events/detail?event_id=48529&nes=0 Event type: Training Event for Teachers Dates: 28 January Venue: Westmister School (SW1P 3PF), London, UK Pre U Principal Art History (9799) Register for this event >> Cambridge International Examinations offers a comprehensive programme of professional development and support for Cambridge Pre-U. As part of this support we are running a series of free workshops. This workshop is designed for teachers who are considering starting a Cambridge Pre-U course, and have not yet attended a professional development workshop, or those who have been teaching for less than one year. These workshops will give an introduction to the syllabus and will give opportunities to discuss with colleagues the practicalities of starting to teach Cambridge Pre-U. Attendance is free of charge and refreshments and lunch will be provided. Please note: It is the responsibility of the delegates attending the conference to arrange and pay for their own travel and accommodation and all travel to and from the workshop venue is the sole responsibility of participants. CIE shall not be liable for any loss, including travel and accommodation costs suffered by or on behalf of any person who wished to attend the workshops should CIE cancel them for any reason whatsoever. Neither CIE nor its directors, officers or agents are responsible or liable for the safety and property of participants or their companions during the workshops or any related excursions. Participants are advised to seek information on potential health and security risks incurred by themselves or their companions at the workshops and to secure adequate insurance coverage.

External News and Events - Funding Opportunity - Mellon Postdoctoral Research Fellow in the History of Photography

Wed, 22 May 2013 06:03:43 +0000

We are pleased to announce that applications are now open for a two-year research and teaching appointment in the History of Photography, in association with the Bodleian Libraries, from September or October 2013, for an outstanding academic at an early stage of his or her career. Please follow the link to the University jobs page for further information: https://www.recruit.ox.ac.uk/pls/hrisliverecruit/erq_jobspec_version_4.display_form?p_display_in_irish=N&p_company=10&p_refresh_search=Y&p_process_type=&p_recruitment_id=106108&p_form_profile_detail=&p_display_apply_ind=Y&p_internal_external=E&p_applicant_no=

External News and Events - Event - ‘Sustainable Art Communities: Creativity and Policy in the Transnational Caribbean’

Wed, 22 May 2013 06:03:43 +0000

We are pleased to announce the details of the conference ‘Sustainable Art Communities: Creativity and Policy in the Transnational Caribbean’, at the Tropenmuseum, Amsterdam, on 5th and 6th February 2013. This is part of a two-year international research project led by Dr Leon Wainwright (The Open University, UK), with Co-Investigator Professor Dr Kitty Zijlmans (Leiden University), Dr Wayne Modest (Tropenmuseum, Amsterdam) and Tessa Jackson OBE (Institute of International Visual Arts, Iniva London). The project is funded by the Netherlands Organisation for Scientific Research (NWO) and the Arts and Humanities Research Council (AHRC, UK). The project explores how the understanding and formation of sustainable community for the Caribbean and its global diaspora may be supported by art practice, curating and museums. It fosters networks of exchange and collaboration among academics, artists, curators and policymakers from the UK and the Netherlands, as well as various countries in the English and Dutch-speaking Caribbean and their diaspora. Confirmed speakers include: Roshini Kempadoo, Erica James, Tirzo Martha, Marlon Griffith, Nicholas Morris, Wayne Modest, Anke Bangma, Alex van Stipriaan, Tessa Jackson, Siebe Thissen, Petrina Dacres, Rosemarijn Höfte, Kitty Zijlmans, Leon Wainwright. Entrance to the conference is free, but places are limited, and so we ask that you please reserve in advance by writing to Adri Felderhof, A.Felderhof@kit.nl http://www.open.ac.uk/Arts/sac/index.shtml

External News and Events - Call for Papers - Romanticism at the Fin de Siècle

Wed, 22 May 2013 06:03:43 +0000

Romanticism at the Fin de Siècle - An international conference on collecting, editing, performing, producing, reading, and reviving Romanticism at the Fin de Siècle Trinity College Oxford, 14-15 June 2013 Keynote Speaker: Professor Joseph Bristow (UCLA) Call For Papers This conference places Romanticism at the core of the British Fin de Siècle. As an anti-Victorian movement, the British Fin de Siècle is often read forwards and absorbed into a ‘long twentieth century’, in which it takes the shape of a prehistory or an embryonic form of modernism. By contrast, Fin-de-Siècle authors and critics looked back to the past in order to invent their present and imagine their future. Just at the time when the concept of ‘Victorian’ crystallized a distinct set of literary and cultural practices, the radical break with the immediate past found in Romanticism an alternative poetics and politics of the present. The Fin de Siècle played a distinctive and crucial role in the reception of Romanticism. Romanticism emerged as a category, a dialogue of forms, a movement, a style, and a body of cultural practices. The Fin de Siècle established the texts of major authors such as Blake and Shelley, invented a Romantic canon in a wider European and comparative context, but also engaged in subversive reading practices and other forms of underground reception. The aim of this conference is to foster a dialogue between experts of the two periods. We welcome proposals for papers on all aspects of Fin-de-Siècle Romanticism, especially with a cross-disciplinary or comparative focus. Topics might include: bibliophilia and bibliomania collecting cults editing objects performance poetics politics print culture sociability continuities and discontinuities Romanticism and Decadence Romantic Classicism European Romanticism and the English Fin de Siècle Deadline for abstracts: 30 January 2013 Please email 300-word abstracts to romanticfin@bbk.ac.uk Conference organisers: Luisa Calè (Birkbeck) and Stefano Evangelista (Oxford) This conference is co-organised by the Birkbeck Centre for Nineteenth-Century Studies and the English Faculty of Oxford University with the support of the MHRA

External News and Events - Call for Papers - Liquidity-Practice Research Symposium

Wed, 22 May 2013 06:03:43 +0000

Liquidity-Practice Research Symposium Friday 14 June 2013 Middlesex University Hendon Campus Grove G229 Call for Papers This one-?day practice research symposium sets out to explore the many articulations, explorations, and manifestations of ‘liquidity’in contemporary visual and material culture, history and theory. The symposium offers a unique opportunity for practitioners, researchers and scholars working across different fields to engage with any topic related to ‘liquidity’ broadly conceived. ‘Liquid modern life is a daily rehearsal of universal transience. Today’s useful and indispensable objects, with few and possibly no exceptions, are tomorrow’s waste. Everything is disposable, nothing is truly necessary, nothing is irreplaceable. Everything is born engraved with the brand of death. Everything is offered with a use-?by date attached. All things, born or made, human or not, are until further notice dispensable. Paraphrasing an old and famous statement, I would say that a spectre hovers over the liquid modern world, over its denizens and all their labours and creations; and that is the spectre of redundancy.’ Zymunt Bauman, ‘Liquid Arts’, in Theory, Culture and Society, 2007, v.24(1): 117-?126 We invite 20-?minute presentations from artists, curators, academics, research students, and other professionals in relevant fields – including art, design, architecture and social sciences – that focus on critical and socially-?engaged examinations of ‘liquidity’. Proposed themes include: liquid anxieties liquid architectures liquid archives liquid arts liquid cities liquid cultures liquid design liquid economies liquid histories liquid identities liquid languages liquid love liquid memories liquid modernities liquid places liquid sites liquid states liquid technologies liquid thinking liquid values Deadline: Please submit abstracts of up to 300 words together with a 100 word biography by Friday 1 February 2013 to with ‘CfP Liquidity Symposium’ in the subject line. This symposium is organised by ADRI, the Art and Design Research Institute’s Postgraduate Forum at Middlesex University. Find us at http://adri.mdx.ac.uk.contentcurator.net/ Connect to us at https://www.facebook.com/ADRI.Middlesex

External News and Events - Call for Papers - Mind the Map (working title)

Wed, 22 May 2013 06:03:43 +0000

Mind the Map (working title) | Kunstlicht Vol. 34 (2013) no. 2 Kunstlicht is a Dutch journal for visual art, visual culture and architecture. It is affiliated with VU University Amsterdam. For more information (in Dutch), see www.tijdschriftkunstlicht.nl. With Mind the Map, Kunstlicht aims to investigate the artistic power of the map. Why are so many artists drawn to this ‘medium’? In the twentieth century the ontological status of the map changed. ‘Critical’ or ‘radical’ cartography shifted the focus from the map as an arrested status quo, to ‘mapping’ as a performative and political act. Also outside the field of geography, concepts such as ‘story maps’, ‘narrative cartography’ and ‘soft atlas’ pop up ever more. In anthropology cartography has been used as an instrument to fathom the subjective experience of the everyday surroundings. These developments are reflected in the visual arts. Stanley Brouwn’s This Way Brouwn (1961) already alluded to an alleged relation between cartography and the individual perception of space long before this became a topos in anthropology. Walter Benjamin’s wish to graphically express the ‘bios’, the Raum des Lebens, on a map, has curiously come true in the Situationist International’s psychogeographical collages, in Richard Long’s ‘hiking maps’, and in On Kawara’s cartographic diaries (I Went, 1968-1979). For others, such as Kim Levin (see: ‘Farewell to Modernism’ (1979)), the map symbolized the urge to look outward, and escape from the self-reflexivity of the artwork as sanctioned by Modernism. Nowadays, art with cartographic material is no longer a rarity. Why do so many artists find the map so interesting? What explains the remarkable renaissance of this ‘medium’? The board of editors welcomes proposals for theoretical discussions on, among other topics, the changing ontological status of the map, or on the map as a device to order and visualize information. Art-historical analyses and original takes on specific case studies are also anticipated. Proposals (200 – 300 words) with attached résumés can be sent to redactie@tijdschriftkunstlicht.nl before 15 February 2013. Selected authors will be invited to write a 2,000 – 3,000-word paper (excluding notes). Papers may be written either in English or in Dutch, although we prefer native Dutch speakers to write in their native language. Authors who publish in Kunstlicht will receive three complimentary copies. Kunstlicht does not provide an author’s honorarium. Two years following publication, papers will be submitted to the freely accessible online archive at www.tijdschriftkunstlicht.nl/site/index.php/archief. Contact: Roel Griffioen redactie@tijdschriftkunstlicht.nl Deadline for booking or submission: 15 February 2012

External News and Events - Event - Murals in Britain 1920-1970: Revisions, revelations and risks

Wed, 22 May 2013 06:03:43 +0000

Murals in Britain 1920-1970: Revisions, revelations and risks Morley College, 60 Westminster Bridge Road, London SE1 7HT Friday 8 March 2013 Fee: £30 / students £20 includes lunch and refreshments Programme and Booking on www.c20society.org.uk (The Twentieth Century Society, 70 Cowcross Street, London EC1M 6EJ) Contact: Alan Powers (organiser for the Twentieth Century Society), pasquito@aol.com

External News and Events - Call for Papers - 'Unfolding the Medium: Contemporary Perspectives on the Visual Arts'

Wed, 22 May 2013 06:03:43 +0000

One-Day Symposium Unfolding the Medium: Contemporary Perspectives on the Visual Arts Despite its dismissal by postmodernist critics, the notion of 'medium' has never been discarded from visual arts’ discourses and practices. As Alex Potts (2004) shrewdly pointed it, abolishing medium specificity, which characterized Greenbergian modernism, does not mean putting an end to the concept of 'medium' itself. The 1970s art criticism indeed could not help referring to it and naming it. Yet the persistence of the medium seems to be accompanied by a confusion in its uses and functions, be it in the form of denial or abuse, default or habit. How can we analyze and clarify this discursive ambiguity? Is it the symptom of a true obsolescence? Or else – our hypothesis: is it an indication that despite its complex history, 'medium' is still a concept, not only useful but also critical to the artistic field? How can we reflect on the medium in 'the age of the post-medium condition' (Krauss, 1999)? It is obvious that ‘medium’ in art history does not function anymore as it used to, i.e. neither as a criterion of differenciation between the fine arts according to materials, techniques and skills (the metier), nor as the modernist principle establishing a hierarchy in the artistic field (de Duve, 1994). We must now take into account an enlarged field of the medium, due to the increasingly hybrid artistic practices peculiar to the 20th century. We must also consider the development and theorization of communication means (McLuhan, Ivins); the 'iconic turn' in art history which reevaluates the medium as the image-making’s milieu and catalyst (Boehm, Mitchell, Belting); and the rise of intermedial theories (Müller, Moser, Méchoulan). Hence the contemporary stakes of the medium seem to target the relation and the porosity between the mediums in a network of media practices, including yet exceeding the visual arts. Medium would therefore function less in terms of identity – providing specificity – than as a transforming agent for the image, or as an intention – a factor of dissemination. This symposium aims to examine the notion of ‘medium’ in a contemporary perspective, and its relevance for art history and its methodologies, as well as for artistic practices. Papers may address, but should not be limited to, topics within the following categories: Terminology How can we define the medium today? Considering the development of intermedial studies, can we still use the singular 'medium', and/or without any prefix? If 'medium' is not a criterion for artistic practices anymore, does it nevertheless keep a meaning that would be specific to the field of visual arts? Or else, does the notion of medium itself imply that we take into account a field of practices and discourses exceeding art history? How is medium different, if it is, from media? Can we reflect on the visual arts without referring to the 'medium'? History/epistemology How can we analyze the survival of the ‘medium’ as a term, no matter what it embraces as a concept, after postmodernism? In this respect, did postmodernist criticism, as it put an end to the medium-based categorization of the artistic field, represent a real break into practices and discourses? How does the medium impulse different methodologies today in art history? Which of the artistic production or art theory still fertilizes the medium? Why does the notion of medium persist, as critics advocate the extension of contemporary art beyond medial and disciplinary boundaries? Institutions Is it possible to map the medium, according to geographical and linguistic criteria, intellectual traditions and institutional partitions? To what extent do museums shape the questions addressed to the medium, as they are divided into medial departments for conservation reasons? How do they, as well as art centres, influence our perception of contemporary art through the issue of medium? What are the purpose and aspiration of monomedial exhibitions today? How do these exhibitions deal with the task of defining a medium? The symposium will take place on Friday, March 22, 2013, at the Université de Montréal, and will be supported by its Departement of art history and cinematographic studies. We invite art historians, art critics, curators and artists to send their paper proposals (300 words maximum) in pdf or word (.doc), designed for a 15 to 20-minute oral presentation, in French or in English. We will consider papers presenting achieved results, as well as ongoing research. The proposal must be accompanied by a curriculum vitae. Both documents will be sent jointly to the organizers, Ji-Yoon Han (ji-yoon.han[at]umontreal.ca) and Laurence Schmidlin (laurence.schmidlin[at]gmail.com), by February 3, 2013. The participants will be notified by February 6, 2013. Please note that we will unfortunately not be able to take charge of travel and accommodation costs. Ji-Yoon Han, Ph.D. candidate, Université de Montréal Laurence Schmidlin, Ph.D. candidate, Université de Genève

External News and Events - Courtauld Institute Spring 2013 Friends Lecture Series

Wed, 22 May 2013 06:03:43 +0000

Spring 2013 Friends Lecture Series supported by Friends of The Courtauld Visualising Knowledge in Early Modern Europe Lectures are free and open to all, and will be held at 17.30 in the Kenneth Clark Lecture Theatre Tuesday, 15 January Dr Eric Jorink (Researcher at Huygens ING; and Andrew W Mellon Foundation / Research Forum Visiting Scholar, Mellon MA) Borderline Cases. Art, Science and Religion in the Dutch Golden Age Tuesday, 29 January Dr Alexander Marr (Lecturer in the History of Art, 1400-1700, University of Cambridge) Ingenuity in the Gallery: the Gallery of Cornelis van der Geest Revisited Tuesday, 5 February Professor Rose Marie San Juan (Early Modern Italian art and visual culture, University College London) Wax and Bone: The Re-assemblage of the Body in Early Modern Cabinets of Display Tuesday, 26 February Professor Sven Dupré (History of Knowledge, Institute for Art History, Freie Universität Berlin; Research Group Director, Max Planck Institute for the History of Science, Berlin) Recipes and Images: Writing about the Visual, Visualizing Knowledge in Early Modern Antwerp Wednesday, 13 March (Note date) Professor Lorraine Daston (Director, Max Planck Institute for the History of Science, Berlin; Visiting Professor, Committee of Social Thought, University of Chicago) Seeing at One Glance: The Synoptic Image in Early Modern Science The Spring 2013 Friends Lecture Series brings together leading historians of art and of science to consider ways in which knowledge was made visible in Early Modern Europe. The series builds upon and critically engages with Svetlana Alpers’ ground-breaking book, The Art of Describing. Dutch Art in the Seventeenth Century (1983). It addresses a range of visual materials, including bone and wax, tables and charts, as well as oil paintings and prints. The lectures will explore the quest for knowledge with reference to physical spaces such as the humanist cabinet, the Kunstkammer and the anatomy theatre. The series is organised in conjunction with the Andrew W. Mellon Foundation interdisciplinary MA on Visualizing Knowledge in the Early Modern Netherlands c. 1550 -1730. Organised by Professor Joanna Woodall with Dr Eric Jorink Visualising Knowledge in Early Modern Europe Tuesday, 15 January 17.30, Kenneth Clark Lecture Theatre Dr Eric Jorink (Researcher at Huygens ING; and Andrew W Mellon Foundation / Research Forum Visiting Scholar, Mellon MA) Borderline Cases. Art, Science and Religion in the Dutch Golden Age The Dutch Republic of the Golden Age was famous not only for its art production, but also at the heart of the fundamental reconfiguration of knowledge that took place in Europe during the early modern period. Amsterdam especially was a nodal point, of both the emerging world trade and the production of works of art and the development of new scientific ideas. While ‘art’ and ‘science’ are commonly considered to be two distinct expressions of human culture, Eric Jorink will argue that the two were complementary, rather than opposites. Focusing on images depicting the natural world (for example, still life and landscape paintings, or of natural rarities) he will demonstrate that these works were more than expressions of vanitas, or the result of a presumed objective 'art of describing'. According to reformed orthodoxy, nature was God's second revelation to mankind. Observing Creation and representing it on paper, in paint, or in a cabinet of curiosities, was a tribute to the Divine Architect. Eric Jorink studied History at the University of Groningen and the École des Hautes Études en Sciences Sociales in Paris. In 2004 he gained his PhD cum laude at the University of Groningen with a thesis on the relation between science and religion in the Dutch Golden Age. Since 2001 Jorink has been working as a researcher at the Huygens Institute for the History of the Netherlands (Royal Netherlands Academy of Arts and Sciences) in The Hague. He has published widely on early modern scientific culture, including Reading the Book of Nature in the Dutch Golden Age, 1575-1715 (2010); together with Bart Ramakers, eds, Art and Science in the Early Modern Netherlands (2011); with Dirk van Miert, eds, Isaac Vossius (1618-1689) between Science and Scholarship (2012) and, most recently with Ad Maas, eds, Newton and the Netherlands. How Isaac Newton was Fashioned in the Dutch Republic (2012). Currently, he is finishing a biography of the Amsterdam microscopist Johannes Swammerdam (1637-1680). In 2012-13 he is co-teaching the Andrew W Mellon Foundation/ Research Forum Mellon MA special option on Visualizing Knowledge in the Early Modern Netherlands, c.1550-1730 with Professor Joanna Woodall.. Open to all, free admission Organised by Professor Joanna Woodall with Dr Eric Jorink

External News and Events - Call for Contributions - SmArtHistory.org

Wed, 22 May 2013 06:03:43 +0000

"Smarthistory.org is not only trying to create a resource for students (and informal learners), but also a platform for the discipline. More than 50 art historians have contributed (mostly essays) over the years, and we have a core group of amazing scholars that regularly contribute content. Where we desperately need help now is with non-Western content. We have some Islamic art and this area is growing but there is very little Indian, Chinese, Japanese, Pre-Columbian, Native (North) American, Pacific, and, most embarrassingly, zero sub-Saharan African art. We look for essays that are about 800 words. Essays generally fit into one of two categories, either they are broad introductions to a culture (see the introductory essays on ancient Egypt for example) or they focus on a canonical work of art (or something that should be canonical). Its best to spend so time on Smarthistory to see whats there, and to get a feel for our style. Tone is important to us. We work hard to make the content friendly and inviting but art historically sound. We particularly emphasize the experiential—essentially what so many good professors do when they talk to their classes about something they love. Sometimes we start with an anecdote or something that contextualizes the object for the reader. We try avoid a scholarly tone and we use specialized vocabulary consciously rather than reflexively (we always try to include a brief parenthetical definition when we do). Everything on Smarthistory has been contributed and is under a Creative Commons licence: CC BY-NC-SA 3.0 US. While we don't think contributions will count for much with a tenure or promotion committee, contributors do reach a world that is hungry for high quality educational content. Just over the past fall semester, Smarthistory was visited nearly one million times from more than 200 countries."

Students - Call for Papers: Student Symposium June 2013

Wed, 22 May 2013 06:03:43 +0000

The concept of 'identity' is prolific within the visual arts and in many ways its pertaining issues have shaped the discipline of art history. The biographical approach to reading artists’ work privileged by Vasari in his Lives (1550) has had a lasting influence. The portrait remains an effective medium through which to narrate the historical and contemporary identity of particular institutions and nations, and the art market continues to rely upon authentic attribution. Yet this art history of names remains problematic and by no means comprehensively represents either the discipline of art history or the plural notions of identity that have come to influence it. As art history has increasingly incorporated theories and approaches from other disciplines, how might we characterize art history’s identity as a discipline and to what extent does thinking about notions of identity offer a productive framework for the art historian? We welcome contributions that address notions of identity across all periods and contexts, at both ‘micro’ and ‘macro’ levels, from specific case studies about particular artists, groups or works, to broader historiographical investigations. Annual two-day AAH Student Symposium. We welcome contributions that address notions of identity across all periods and contexts, at both ‘micro’ and ‘macro’ levels, from specific case studies about particular artists, groups or works, to broader historiographical investigations. Papers that explore new critical positions are particularly welcome. Topics may include, but are not limited to: What histories have been generated out of artists’ self-portraits or those of their subjects and to what extent has patronage informed concepts of identity? In what ways has performance or the artist’s body been a site for contesting identity? How have concepts of identity within the visual arts shifted with globalization and/or postcolonial thought? To what extent is identity more or less relevant to particular genres, periods, and cultures? How has the identity of the art historian changed over time and what does it mean to be an art historian today? Papers should be 20 minutes in length. Abstracts of 250 words and a brief biography indicating your institutional affiliation should be submitted as a single Word.doc by email to AAHSS2013@gmail.com by 1 April 2013. All speakers must be members of the AAH. More information: http://www.aah.org.uk/events/student-symposium Convenors: Allison Goudie, Nicola McCartney, Charlotte Stokes & Imogen Wiltshire Tickets Members £35; Non-Members £45 (online booking available soon)

External News and Events - Event - Aspects of British Modernism: Art and Literature – a symposium

Wed, 22 May 2013 06:03:43 +0000

Forthcoming Event: Aspects of British Modernism: Art and Literature – a symposium School of Art History and World Art Studies, Sainsbury Centre for Visual Arts, University of East Anglia, on Wednesday 16 January, 1.00-6.30pm. Free entry, all welcome. Speakers: Kate Armond, Paul Edwards, Rachel Potter, Petra Rau and Greg Salter. Contact: Sarah Monks s.monks@uea.ac.uk and www.uea.ac.uk/art-history

External News and Events - Call for applications - online art journalism & writing course

Wed, 22 May 2013 06:03:43 +0000

Call for applications - online art journalism & writing course Do you want to write for newspapers, magazines or the Web? Is dealing with the media a part of your daily routine? Do you want to learn more about contemporary Asian art, the fastest growing area of the art market? If the answer is yes to any of these questions, then Art Radar’s new Diploma in Art Journalism & Writing is for you! Students undertaking any one of the four certificates in Art Radar‘s Diploma in Art Journalism & Writing will build a portfolio of articles to show prospective employers and graduate school admissions staff; be read by our prestigious readership of 12,000 unique viewers a month from top museums, galleries, auction houses and other art institutions; make useful contacts in the art world and position themselves for a career in art. Contact and further information details: http://artradarjournal.com/learning/diploma-in-art-journalism-writing/ Application Deadline Monday 21 January 2012

External News and Events - Call for Papers - 'Working Wonder'

Wed, 22 May 2013 06:03:43 +0000

WORKING WONDER Conference, Newcastle University Faculty of Arts and Humanities, Fine Art and the Gallery of Wonder is pleased to announce the Call for Papers for the WORKING WONDER Conference, 14th June 2013 at Newcastle University, UK. Please submit abstracts of up to 250 words to: wonder.conference@ncl.ac.uk. Abstracts can include proposals to present visual art projects as well as academic papers. Websites: http://conferences.ncl.ac.uk/wonderconference/ http://www.galleryofwonder.co.uk/ Deadline for submission: 28th Feb 2013

External News and Events - Call for Papers - Liquidity – Practice Research Symposium

Wed, 22 May 2013 06:03:43 +0000

Liquidity – Practice Research Symposium Friday 14 June 2013 Middlesex University Hendon Campus Grove G229 Call for Papers This one-day practice research symposium sets out to explore the many articulations, explorations, and manifestations of ‘liquidity’ in contemporary visual and material culture, history and theory. The symposium offers a unique opportunity for practitioners, researchers and scholars working across different fields to engage with any topic related to ‘liquidity’ broadly conceived. ‘Liquid modern life is a daily rehearsal of universal transience. Today’s useful and indispensable objects, with few and possibly no exceptions, are tomorrow’s waste. Everything is disposable, nothing is truly necessary, nothing is irreplaceable. Everything is born engraved with the brand of death. Everything is offered with a use-by date attached. All things, born or made, human or not, are until further notice dispensable. Paraphrasing an old and famous statement, I would say that a spectre hovers over the liquid modern world, over its denizens and all their labours and creations; and that is the spectre of redundancy.’ Zymunt Bauman, ‘Liquid Arts’, in Theory, Culture and Society, 2007, v.24(1): 117-126 We invite 20-minute presentations from artists, curators, academics, research students, and other professionals in relevant fields – including art, design, architecture and social sciences – that focus on critical and socially-engaged examinations of ‘liquidity’. Proposed themes include: liquid anxieties – liquid architectures – liquid archives – liquid arts – liquid cities – liquid cultures – liquid design – liquid economies – liquid histories – liquid identities– liquid languages – liquid love – liquid memories – liquid modernities – liquid places – liquid sites – liquid states – liquid technologies – liquid thinking – liquid values Deadline Please submit abstracts of up to 300 words together with a 100 word biography by Friday 1 February 2013 to with ‘CfP Liquidity Symposium’ in the subject line. This symposium is organised by ADRI, the Art and Design Research Institute’s Postgraduate Forum at Middlesex University. Find us at http://adri.mdx.ac.uk.contentcurator.net/ Connect to us at https://www.facebook.com/ADRI.Middlesex

External News and Events - Event - '1913: The Shape of Time'

Wed, 22 May 2013 06:03:43 +0000

1913: The Shape of Time One-day Symposium Saturday 26 January 2013 10am – 6pm This one day symposium brings together scholars working on early twentieth-century art to reconsider the extraordinary developments in modern sculpture that took place in 1913. The symposium will focus on the public life of such sculptural achievements, addressing key moments in its exhibition and display, in the textual and photographic circulation of its proposals and in its art critical promotion and reception across Europe and across languages. It focuses on single manifestations: an exhibition, a text, a poem, a manifesto, a performance, an event – all of which connect with the meaning of sculpture in this year. Programme: Jon Wood (Henry Moore Institute) - chair Patrick Elliott (Scottish National Gallery of Modern Art) ‘Emile Antoine Bourdelle’s Champs Elysées theatre reliefs and figurative sculpture in 1913’ Alexandra Parigoris (Independent scholar) ‘Disseminating objects of rarity: the publication of Picasso’s cubist assemblages in Les Soirées de Paris’ Linda Dalrymple Henderson, (University of Texas) - chair Michael White (York University) ‘Theorising Abstraction and Sculpture in 1913’ Mark Antliff (Duke University) ‘Jacob Epstein's “Tomb of Oscar Wilde”: Anarchism and Art for Insurrection's Sake, c. 1913’ Michael White (University of York) - chair Christopher Townsend (Royal Holloway University) ‘Dancing Queen: Body, Light and Movement in the Bal Bullier, 1913: Sonia Delaunay-Terk’s Robe simultané’ Christina Lodder (University of Edinburgh) ‘Victory over the Sun and Re-defining Sculpture in Russia’ Open to the public, booking essential. Tickets £10/£5 concessions This is a collaborative event between the Henry Moore Institute and the University of York. For more information contact Kirstie Gregory, Research Programme Assistant: kirstie@henry-moore.org, or book a place at this event online. Kirstie Gregory Research Programme Assistant Henry Moore Institute The Headrow Leeds LS1 3AH. kirstie@henry-moore.org telephone + 44 (0)113 246 7467

External News and Events - Call for Papers - ' London and the Emergence of a European Art Market (c. 1780-1820)'

Wed, 22 May 2013 06:03:43 +0000

London and the Emergence of a European Art Market (c. 1780-1820) Conference: venue & date: The National Gallery, London (21-22 June 2013) Call for Papers: abstract deadline & word-limit: 15 February 2013 (250 words) The French Revolution and the ensuing Napoleonic Wars with occupations of Italy, Spain and the Low Countries, instigated a sweeping redistribution of art. At the same time, the Papacy’s loss of temporal power undermined the enforcement of export laws in the Papal States. This convergence of events ensured that large volumes of paintings—often entire collections, from European monasteries, churches, and private palaces—were widely dispersed via auction and private treaty sales in a true diaspora of art. Current scholarship posits that amidst these large-scale market transformations London emerged as the new hub of the international art trade, replacing Paris. The well-known example of the move of the Orléans collection to London, where it was sold through various private treaty transactions and a series of auctions between 1798 and 1802, is often considered a pars pro toto for the British assumption of power on the international art market. While some studies have begun to address the velocity and scale of this redistribution, little has been done to analyze the dynamic networks of agents who provided the infrastructure for the circulation of art works and sales information throughout Europe. Economist Neil de Marchi recently pointed out that the financial market linking crucial centers such as Amsterdam, London, and Paris has been studied in depth, but comparable research into the “mechanism of the painting trade and the extent to which it was integrated across those centers has barely begun.” This conference aspires to tackle this issue by convening scholars and experts from a range of disciplines to discuss broad research questions such as: Did the long-term effects of the political turmoil in France alter the existing personal and professional networks of dealers and connoisseurs? What would have been the motivations to ship art works to foreign market places? How integrated was the European art market around 1800, or were there still relatively independent local markets? Was there an implied hierarchy of metropolitan markets or were conditions too volatile and fluid for fixed patterns to emerge? Given the vast amount of historical evidence now available to scholars, we have the capacity to address these micro and macro developments in innovative ways. Over the last two years the National Gallery, London, and the Getty Research Institute, Los Angeles, have collaborated on a project to research, transcribe, and index auction catalogues published in Great Britain between 1780 and 1800. By January 2013, almost 100,000 new sales records from c. 1,200 catalogues will be published online, via the Getty Provenance Index® databases. This will add significantly and strategically to the already extant data-pool of approximately half a million records from British, French, German, Dutch, Belgian, and Scandinavian Sales, spanning the period of c. 1780 to 1820. One of the main objectives of this international conference is to work towards a methodological synergy of art historical case studies and data-driven socioeconomic analysis in order to understand better the mechanisms of the international art trade at this pivotal period as well as the long-term implications for the history of collecting, the establishment of museums, and the formation of the discipline of art history. Topics for consideration include, but are not limited to: ARTWORKS Cross-border traffic of objects (cultural transfers, customs regulations, arbitrage, etc.) and its effect on the formation of private and public collections. AGENTS Market integration throughout Europe (national/transnational dealer networks, centre and periphery, impact of revolution and war, etc.) INFORMATION Auction catalogues as economic tool and literary genre (classification systems, lot sequence, transparency, connoisseurship, etc.) VALUES Idea of art as an investment (different national canons and currencies, growth of investment-minded collectors, ascendancy of the banker as a key player, price manipulation, etc.) Please send proposals for papers (to last 30 minutes) of no more than 250 words by 15 February 2013 to either/both: Susanna Avery-Quash Research Curator in the History of Collecting and Display The National Gallery, London susanna.avery-quash@ng-london.org.uk Christian Huemer Managing Editor, Project for the Study of Collecting and Provenance The Getty Research Institute, Los Angeles chuemer@getty.edu

External News and Events - Event - ' The History of the Future: Archives, Museums and their Value'

Wed, 22 May 2013 06:03:43 +0000

The History of the Future: Archives, Museums and their Value Miners’ Institute, Neville Hall, Westgate Road, Newcastle upon Tyne Date: 14-15 January 2013 http://research.ncl.ac.uk/mems/winterschool/ Organisers: Ruth Connolly (NU), Adrian Green (DU), Rachel Hammersley (NU), John J. Thompson (QUB) This Winter School is being run by the Medieval and Early Modern Research group at Newcastle University on behalf of Newcastle University, Durham University and Queen’s University, Belfast in preparation for AHRC BGP2. We hope this event will be both a fact-finding mission and a community-building exercise, conducted by researchers, archivists, and curators seeking to find the best ways to work together. To attend: The event is free and all sessions are open to all interested researchers, archivists and curators in North-East England, Northern Ireland and elsewhere. We particularly welcome postgraduate researchers. If you intend to come, please send a brief email to Dr. Ruth Connolly (ruth.connolly@ncl.ac.uk) to let her know. This is for administrative and catering purposes. The purpose of the two days is: 1. to develop a shared knowledge of the two regions’ assets in terms of archival holdings and museum/gallery collections. 2. to begin a dialogue where we can think collectively about how to support researchers, archives and museums and develop joint projects. 3. to think collectively about how we might better draw on archives and collections for research/research-training. 4. to learn from our existing and former PGRs about what PGRs need in order to make the best use of archival material in their research. The disciplinary reach is concentrated on English Literature, History, Geography, History of Art and Music and within a chronological range of 1400-1900. Summary Programme Opening: Mr. Tony Durcan (Director of Culture, Libraries and Life-long Learning , Newcastle City Libraries) A. Archives: Where are we now? The goal of this session is to map the landscape and future direction of archival research. The speakers will be Dr John Gurney (Visiting Fellow (History), NU), Ms Deirdre Wildy (Senior Subject Librarian,Special Collections, QUB), Dr. Keith Lilley (School of Geography, QUB) and Dr. Malte Urban (School of English, QUB). The talks will look at the history of archives with a particular focus on the reasons for the survival of some archives and not others and the implications of this for research; the achievements of the RASCAL project as a model for increasing knowledge of and access to archives; and the potential opportunities for archivists and researchers offered by the Digital Humanities. B. Archivists/Curators discussing their holdings: This strand will comprise seven speakers from archive, galleries and museums in the NE and NI. We will ask speakers to: 1. describe the holdings they have which could support doctoral or other research. 2. give their sense of how collaboration between their institution and the universities should or could function. What are the best ways in which we can support one another? We are very pleased to confirm the following speakers: Dr. Liz Bregazzi, (County Archivist Durham County Record Office), Mr. Jeff Cowton (Curator, Wordsworth Trust), Mr. Peter Hepplewhite (Tyne and Wear Archives), Ms Marie-Therese Mayne (Laing Art Gallery), Dr. Vivienne Pollock (Curator of Iconographic Collections, Ulster Museum), Mrs. Gabriel Sewell (Head of Collections, Durham Cathedral Library) and Dr. Bethany Sinclair-Giardini (Archivist, PRONI). C. PGR strand: Using the Collections We will hear from up to nine current or recently completed PGRs from the three institutions who are working, or have worked, in archival settings nationally and/or internationally, and on a diverse range of archival materials. Their talks will 1. illustrate how working in archives or alongside archivists has shaped their research and/or their view of their role as a researcher 2. draw on their research experience to discuss what they think a new PGR needs to know and learn in terms of doing archival research, and the likely issues (both theoretical and practical) that may arise. We are very pleased to confirm the following PGRs as speakers at the event: Ms. Beatrice Turner (NU), Mr. Andy Burn (DU), Mr. Richard Pears (NU), Ms Nicki Kindersley (DU), Mr Alex Brown (DU), Ms. Catherine Porter (QUB), Ms. Andrea Richardson (QUB) and Mr. Michael Smith (NU). D. Round Table This will comprise three speakers who will open up the session by outlining (briefly) the issues they see emerging from the earlier sessions: one academic, one PGR and one archivist. We want to use this session to think about the challenges of sharing resources and working together cross-institutionally in productive ways. We are very pleased to confirm that the session will be chaired by Professor Crawford Gribben (QUB) and that our speakers will be Professor Stephen Taylor (DU), Dr. Sheila Hingley (Head of Heritage Collections, DUL) and Dr. Craig Armstrong .

External News and Events - Call for Papers - 'Byzantine Greece: Microcosm of Empire?"

Wed, 22 May 2013 06:03:43 +0000

The 46th Spring Symposium of Byzantine Studies BYZANTINE GREECE: MICROCOSM OF EMPIRE? University of Birmingham, March 23 – 25, 2013 This Symposium Series has not infrequently been devoted to a region, district, or city of the Byzantine world. Not before time therefore it turns the spotlight upon the richly documented space of Byzantine Greece, with a specific focus, in the invited lectures, upon Early and Middle Byzantine Greece. Under the overarching title and question “Byzantine Greece: microcosm of empire?” recent research into the history, archaeology, art, and architecture of the Greek space, between the fourth and twelfth centuries inclusive, will be explored in five sessions of lectures, in communications (which can range more widely), and in special presentations (open lectures) about the work of the Byzantine Sections of the Greek Archaeological Service and the Byzantine archives of the British School at Athens. Lectures will concern Late Antiquity, the “Dark-Age” transition, urban and rural revival, Middle Byzantine patrons and patronage of art and architecture, and Middle Byzantine society within the Helladic space, led by discussants whose own work is related while being partly or largely focussed upon other or wider regions of the Early and Middle Byzantine world. Twenty-five distinguished scholars have agreed to present papers or act as discussants. CALL FOR COMMUNICATIONS Academics, research students, and other members of the scholarly community are invited to offer communications. Each session of communications will consist of five ten-minute presentations followed by discussions. Please send your abstract (of no more than 250 words) to Dr Archie Dunn via a.w.dunn@bham.ac.uk by December 31, 2012 at the latest. PROGRAMME/REGISTRATION/BOOKING/PAYMENTS/ACCOMMODATION Please visit www.birmingham.ac.uk/bomgs or www.birmingham.ac.uk/springsymposium .

External News and Events - Call for Papers - 'Negotiating Boundaries. The Plural Fields of Art History'

Wed, 22 May 2013 06:03:43 +0000

Negotiating Boundaries. The Plural Fields of Art History Barber Institute of Fine Art University of Birmingham Monday 1st – Tuesday 2nd July 2013 The formation of art history as a discipline was underpinned by the claim to a special area of expertise which, in the late nineteenth and twentieth centuries, was accompanied by the development of particular concepts and methods, from the formal and spatial analysis of Wölfflin, Riegl or Schmarsow to the iconology of Panofsky. Linked to the emergence of the concept of autonomous art, the establishment of the discipline was achieved by means of certain exclusions; a rigid line of demarcation was drawn between art history and archaeology, aesthetic judgments were deemed irrelevant and, in a mirroring of Kantian thought, the decorative and applied arts became the objects of a separate, less prestigious, domain of inquiry. For all the recent talk of interdisciplinarity, these exclusions still shape the terrain of scholarship, producing numerous incongruities. Art historians still seldom discuss the applied arts, while in the Anglophone world architectural history remains a separate subject (with its own professional and discursive institutions). Prehistoric art and the art of the classical worlds are still topics mostly of interest for archaeologists rather than art historians, while the division between fine art and the applied arts has produced a caesura between the ‘traditional’ and the ‘modern’ in the historiography of, for example, the art of the Islamic world or China. This conference is not concerned with calling for a renewed embrace of interdisciplinary thinking, but rather with considering the implications of the status quo. Why are certain art historical topics still the domain of researchers in other disciplines? What are the consequences? Given the contemporary skepticism towards totalizing forms of thought, should it be even seen as a problem that discourse on art is so plural? Proposals are invited that address either general theoretical issues or which examine specific case studies that case light on the wider questions of historiography. Proposals should be submitted to Matthew Rampley, University of Birmingham. Email: m.j.rampley@bham.ac.uk Deadline for proposals: Friday 22nd February 2013.

External News and Events - Information Sought - Gwyther Irwin

Wed, 22 May 2013 06:03:43 +0000

AAH Member Peter Jones is seeking information on the British artist Gwyther Irwin (1931-2008), in particular friends, associates and artworks in regional and private collections. Please contact peter.jones@solent.ac.uk if you have any information.

External News and Events - Call for Papers - American Art in Dialogue with Africa and the African Diaspora

Wed, 22 May 2013 06:03:43 +0000

CFP: American Art in Dialogue with Africa and the African Diaspora Smithsonian American Art Museum, Washington, D.C. October 4 & 5, 2013 Since the beginning of the transatlantic slave trade, Africa has played an important---albeit shifting, contested, and often unseen---role in the history of art of the United States. American artists of diverse racial and ethnic backgrounds with various agendas have imagined and depicted Africa and African peoples in their work or turned to African cultures and art objects for inspiration. Anthropologists and art historians have scrutinized African American visual production in search of cultural retentions, while many modern and contemporary black and Latino artists have alternately highlighted or occluded reference to Africa or African Diasporic cultures in their work. Artists from the U.S. who have traveled to the continent or engaged firsthand with international African Diasporic communities have often found themselves and their work altered by these experiences in significant and unexpected ways. More recently, globalization and the growth of international biennial exhibitions have facilitated multi-directional exchange and brought contemporary artists from Africa and the Diaspora increasingly into contact with the mainstream U.S. art scene. The conference organizers seek original, innovative scholarship investigating heretofore unexamined aspects of this transatlantic dialogue, from the visual culture of slavery and abolitionism to American modernism; from the Black Arts Movement to the contemporary art world. Papers engaging with a wide range of visual art media including performance art, decorative arts, folk art, and craft are welcome. Paper proposals should be written in English and should include a 300- to 500-word abstract and a short curriculum vitae. They should be sent to Amelia Goerlitz, Fellowship and Academic Programs Coordinator, Smithsonian American Art Museum, P.O. Box 37012 MRC 970, Washington, D.C. 20013-7012, U.S.A., or via e-mail to AmericanArtSymposium@si.edu. Deadline for submissions: January 30, 2013. Confirmed speakers will be required to submit the text of their 30-minute symposium presentations by September 1, 2013. The symposium will be available for viewing in a simultaneous and, later, an archived, webcast. Funds for travel and accommodations are available. Presenters from outside of the U.S. may be eligible for additional funds to support the travel of an international graduate student guest. "American Art in Dialogue with Africa and the African Diaspora" is being organized by the Smithsonian American Art Museum with funding from the Terra Foundation for American Art. For regularly updated symposium information, please visit www.AmericanArt.si.edu/research/symposia/2013/terra/.

AAH News and Events - Student Summer Symposium

Wed, 22 May 2013 06:03:43 +0000

The Student Summer Symposium is a two-day annual conference of post-graduate research papers which takes place at a different university each year in early Summer. IDENTITY CONSTRUCTION AND MEANING University of Oxford | 20-21 June 2013 Keynote Speakers • Prof. Craig Clunas, History of Art, University of Oxford • Prof. Marcia Pointon, Senior Research Professor, Norwich University of the Arts • Bob and Roberta Smith; Artist and Honorary Fellow of Arts, University College Bournemouth Booking Deadline: 1 June 2013

External News and Events - Event - Active Poetry: Polish Art in Public Space

Wed, 22 May 2013 06:03:43 +0000

Event: Active Poetry: Polish Art in Public Space 6th December, Courtauld Institute of Art 13.30 – 18.00 (with registration from 13.00) Research Forum South Room The symposium is to coincide with the exhibition ‘Active Poetry: Introduction to Polish Art in Public Space’ that will take place at Shoreditch Town Hall in December 2012. The exhibition investigates the transition of artistic methods and attitudes from the late sixties to the present, with reference to the socio-political changes accentuated by the 1989 moment. The exhibition focuses on the shift of artists’ interest in a ‘secondary’ audience – an audience that is prepared and accustomed to perceiving art within institutions, where the documentation of art in public space is presented – to ‘primary’ witnesses and participants of the events, who are often accidental and unaware. The main aim of the exhibition is to reveal the process of inclusion of the viewer into works located in a public space. We seek to investigate a certain paradigmatic shift from the negative diagnosis of socio-political life before 1989 to recent manifestations of attitudes of empathy towards cases of social injustice and exclusion taking place in particular, local spaces. The first panel focuses on recent undertakings in public space, exploring contemporary strategies and questioning the objectives of artists and curators. Conflicts, claims to homogeneity and difference, power and authority in public space, today, serves as a point of departure for accounts offered by the organisers of a series of recent undertakings. The second panel focuses on questions related to the documentation and archivisation of art in a public space. As the exhibition consists primarily of documentation, the tension between recording of the ephemeral and the desire to preserve, as well as the subsequent, retrospective shift back to the secondary audience are pertinent. We address the idea of the trace and examine the consequences and the persistence of events and re-visiting them in a different socio-political context. TICKET/ENTRY DETAILS: Open to all, free admission but due to limited space advance booking is required. Book online here: http://courtauld-institute.digitalmuseum.co.uk (An automatic email of confirmation will be sent to you – if you do not receive it, please contact: researchforumevents@courtauld.ac.uk) Organised by Malgorzata Misniakiewicz with Dr Klara Kemp-Welch (The Courtauld Institute of Art) More information here: http://www.courtauld.ac.uk/researchforum/events/2012/autumn/dec6_PolishArtinPublicSpace.shtml

External News and Events - Call for Papers - The British Empire and the Great War: Colonial Societies/ Cultural Responses

Wed, 22 May 2013 06:03:43 +0000

Conference - The British Empire and the Great War: Colonial Societies/ Cultural Responses Invitation: To mark the 100th anniversary of the outbreak of the Great War in July 1914, Nanyang Technological University invites speakers to participate in an international conference to be held in Singapore from 20-22 February 2014. Confirmed Keynote Speakers: Tim Barringer, Paul Mellon Professor of the History of Art, Yale University. John M. MacKenzie, Emeritus Professor in Imperial History, Lancaster University. Hew Strachan, Chichele Professor of the History of War, University of Oxford. Jay Winter, Charles J. Stille Professor of History, Yale University. Rationale: ‘The foundation of empire is art and science. Remove them or degrade them, and the empire is no more. Empire follows art and not vice versa as Englishmen suppose.’ William Blake, ‘Annotations to Reynolds’ Discourses’ in Joshua Reynolds, Discourses on Art (Yale University Press, 1975), p. 285. ‘When the “Studies in Imperialism” series was founded more than twenty-years ago, emphasis was laid upon the conviction that “imperialism as a cultural phenomenon has as significant an effect on the dominant as on the subordinate societies”,’ Professor John M. MacKenzie, on the series description of ‘Studies in Imperialism’ for Manchester University Press. In 1914 almost one quarter of the earth’s surface was British. When that same empire and its allies went to war in 1914 against the Central Powers, history’s first global conflict was inevitable. The statistics speak for themselves in terms of recruited soldiers and auxiliaries from the British Empire: 1,300,000 Indian, 500,000 Canadian, 300,000 Australian, 100,000 New Zealand; 80,000 South African; 15,000 West Indian and Cypriot. They came too, in smaller numbers, from places like Rhodesia, Tonga, the Falkland Islands, Ceylon and Kuwait. It is the social and cultural reactions within these distant, often overlooked, societies now thrust into the mainstream of modern industrial conflict, which is the focus of this conference. The organisers are especially interested in papers which allow a decentralisation of socio-cultural analysis away from the more predictable metropolitan perspective (and away from the monolithic notion of empire) to focus instead on contrasts and complementarities of ideology throughout the geographical and ethnic extremes of both the ‘formal’ and ‘informal’ empire. From Singapore to Australia, Cyprus to Ireland, India to Jamaica, and around the rest of the British imperial world, further complexities and interlocking themes will be addressed, for example; how different strata and subsets of imperial society shaped and were shaped by the experience of total war; and how disparate societies and cultures – in all their manifestations and on their various ‘home fronts’ – shaped and were shaped by the war. As the thematic list below indicates, this conference will be of particular interest to those actively researching amongst other things: imperial and colonial history / theory, war and society, war and culture, art history, cultural studies, music history, photography, propaganda, education, pacifism, gender studies, class and race structures / relations, at the end of the pax Britannica. The themes of the conference must relate to British colonial societies and culture of the Great War and might very well include (but not necessarily be restricted to) the following areas:- Cultural reflection, formation, creation and deception. Indigenous and diaspora responses Constructions of the English and / or British Empire? Nationalism versus trans-nationalism Inter-cultural and / or multi-cultural responses Cultural erasure and historiography Mimicry, mediation and masculinity Migration and transformation Religion, secularism, philanthropy and missionaries Archaeology, museums and collecting Ideological binaries from the metropole to the periphery Civil liberties in the empire Imperial pacifism and conscientious objectors Cultural / imperial rivalry between allies Colonial women and women in the empire ‘High’ versus ‘low’ cultural responses to war Propaganda and the empire Film and the empire Music and the empire Artists and the perspectives of artists Poets / authors and the written word (including children’s literature). Photography and perspectives of photographers Imperial broadcasting and popular entertainment Linguistics and change Colonial political elites Imperial/colonial forces Imperial/colonial loyalties and disloyalties Race relations at the front, at the centre, and at the periphery Shaping of collective identities Educating the young: History text books throughout the empire University education, intellectual elites and the next generation Abstracts: A 200-word abstract and a short biography of about 100 words should be sent to both organisers by 14 June 2013. Michael Walsh, Associate Professor in Art History, Nanyang Technological University, Singapore. mwalsh@ntu.edu.sg Andrekos Varnava, Lecturer in Modern History, Flinders University, Australia. andrekos.varnava@flinders.edu.au

External News and Events - Event - 'London at the Library: Episode 1'

Wed, 22 May 2013 06:03:43 +0000

London at the Library: Episode 1 Dr. Matthew Green and Marcus Riddell Westminster Reference Library Thursday 29th of November. Our inaugural evening will feature Dr Matthew Green (writer and guide) on London's 17th century coffee houses and Marcus Risdell (archivist of the Garrick Club) on London's Gentlemen's clubs. A soundtrack for the city will be provided by The Clerkenwell Kid. Dr Green’s illustrated, caffeinated talk will take you on a whirlwind tour of London’s original - and best - coffee houses. Hear the story of how, in 1652, a bitter black drink from Turkey transformed the face of London forever, brought people together, and inspired brilliant ideas that would shape the modern world. Immerse yourself in the cosy, smoky atmosphere of the Georgian coffeehouse and hear tales of all that went on inside: from dolphin dissections to lethal duels over Latin grammar, from inquisitions of insanity to salacious gossip-mongering. Feel a tinge of nostalgia for the lost, candlelit world of flickering conviviality, intellectual enlightenment, and unbridled creativity as our streets are invaded by bland Starbucks clones. Free shots of gritty black coffee, brewed 17th-century style, included. Marcus Risdell will then describe how the earliest London Clubs met in the Coffee Houses and Inns of 18th century London. Here, behind closed doors, gentlemen (and they were predominantly gentlemen) could enjoy each others' sociability whilst gaining access to an exclusive network of contacts. The 19th century witnessed an explosion in Club making catering for all classes and occupations. There were clubs for authors, for the theatrical profession, for travellers, reformers, soldiers and politicians of all colours: even one for mountaineers. Quite a few survive today. This talk will open a door onto this most private world and offer a peek at London’s unique Clubland. Admission: £6 in advance from http://www.wegottickets.com/event/190202 or £8 on the door. Westminster Reference Library 35 St Martin’s Street London WC2H 7HP Telephone: 020 7641 5250 Email: referencelibrarywc2@westminster.gov.uk For details of all events www.westminster.gov.uk/services/libraries/news/wrfevents/ For details of our location, directions and opening hours see www.westminster.gov.uk/services/libraries/findalibrary/westref/ Nearest Tube: Leicester Square, Piccadilly Circus, Charing Cross Buses: 11, 24, 29, 176 or any that go to Trafalgar Square or Charing Cross Road

External News and Events - Event - 'London at the Library: Episode 1'

Wed, 22 May 2013 06:03:43 +0000

External News and Events - Art History in the Pub CARLISLE - "Wherever I Stand is the Birthplace of My Nation"

Wed, 22 May 2013 06:03:43 +0000

Art History in the Pub Matt Baker, artist working in public space Wherever I Stand is the Birthplace of My Nation…. projects in Govan 5.00pm, Thursday 6 December 2012 The Milbourne Arms 150 Milbourne Street, Carlisle, CA2 5XB. Tel. 01228 541194 Free to attend – all are welcome As part of the University of Cumbria’s commitment to bringing the best in cutting-edge art-historical research to a wider community, we are pleased to announce the third installment of our "Art History in the Pub" series of talks, lectures and events. Our speaker is Matt Baker, one of Scotland’s leading public artists giving an illustrated talk on a socially-engaged approach to public practice (http://sacrificialmaterials.blogspot.com)

External News and Events - Event - ‘From a Sculpture Study Centre to the Henry Moore Institute (and back again): the evolution of a legacy’

Wed, 22 May 2013 06:03:43 +0000

21 November 2012, 6pm John Thorp, Leeds Civic Architect ‘From a Sculpture Study Centre to the Henry Moore Institute (and back again): the evolution of a legacy’ Henry Moore Institute Boardroom While he was in the process of establishing The Henry Moore Foundation in the mid-1970s, Henry Moore donated generously to Leeds Art Gallery. This enabled the City Council to address the dilemmas posed to the Art Gallery by inherited urban design, architectural and technical problems. The Council subsequently selected John Thorp's plans for an extension of the Art Gallery, to create a robust Sculpture Gallery. From 1976 to the early 1980s Moore also engaged creatively, through the encouragement and financial support of his Foundation, in a sequence of four phases of extension, restoration, conversion and new-build works. In this talk, Thorp will explain how the experience of making the Sculpture Gallery as a building resonated profoundly with the process of forming sculpture and will describe the complex and challenging process prior to the eventual laying of the foundation stone by Moore and the formal opening of the refurbished and extended galleries by Her Majesty the Queen in November 1982. John Thorp began working as an architect for the City Council in 1970 and became Civic Architect when the role was created in 1996 and is responsible for the development of much of Leeds' recent civic landscape. The Henry Moore Institute is open until 8pm on Wednesday evenings. Free, but advance booking essential, as places are limited: Kirstie Gregory (Research Programme Assistant): kirstie@henry-moore.org

External News and Events - Call for Papers - Art History and Bildwissenschaft: interfaces, interactions, antinomies

Wed, 22 May 2013 06:03:43 +0000

Art History and Bildwissenschaft: interfaces, interactions, antinomies The Center for The History of Images and Visual Culture, Masaryk University and Moravian Gallery Brno 28-29 March 2013 Keynote speaker: Professor Horst Bredekamp (Humboldt University) It is a well-established fact that the discipline of art history has over the decades increasingly opened itself to the study and interpretation of non-art images, including scientific and utilitarian imagery. Ten years ago, Horst Bredekamp has even urged that art history should rediscover its legacy of an all-inclusive image science – or Bildwissenschaft. Others have argued that art historians should assume a leading role in a truly multidisciplinary image science. In the meantime, however, in German academia, Bildwissenschaft has already established itself as a respected, bourgeoning and ambitious discipline alongside history of art, as evidenced e.g. in an increasing number of independent image-science departments and a massive flood of new publications, thus providing an alternative to “visual studies” as typically practiced in Anglo-American academia. At the same time, it can be argued that the potential of the Bildwissenschaft as truly multidisciplinary image-science remains largely unfulfilled, as its response to fundamental methodological and theoretical challenges imposed by contemporary scientific images has been limited. The aim of the conference is to reflect on practices and agenda of Bildwissenschaft in relation to the discipline of art history and on various issues and problems arising at the intersection of these two fields of enquiry. It will explore various modes and points of interface, interaction and antinomy (actual, as well as potential) between art history and Bildwissenschaft, both in university/academic environment and in the realm of museum and exhibition practice. While historiographic issues and specific case studies are not to be excluded, the focus of the meeting should be on conceptual, theoretical and methodological issues and their implications for research, teaching and museum/exhibition projects and presentation strategies. Possible issues include, but are by no means limited to: Is Bildwissenschaft as a specific academic discipline feasible and promising project outside its native context of German academia? What is the potential role of multidisciplinary image science in contemporary research university? What are the possibilities and limits of the transfer of specific concepts, theories and skills of image analysis between disciplines of humanities and sciences? Is a general theory of image, which could be applicable to a wide-range of artistic and epistemic images, possible and desirable project? Is Bildwissenschaft a potential place of productive cooperation/interaction between the exact sciences and humanities? Please email abstract of up to 300 words to kesner@mail.muni.cz by 10 January 2013.

External News and Events - Call for Papers - Art, Anxiety, and Protest in the Edwardian Belle Époque

Wed, 22 May 2013 06:03:43 +0000

Call for Papers Art, Anxiety, and Protest in the Edwardian Belle Époque Graduate Student Symposium Saturday, March 2, 2013 Yale Center for British Art New Haven, Connecticut britishart.yale.edu The belle époque, the long summer garden party of the Edwardian afternoon, when there was a lightness in the air, when “the fruit was ripe and we were eating it”; all that was a class-based, wishful misremembering across the chasm of 1914–18. —Lisa Tickner, The Spectacle of Women: Imagery of the Suffrage Campaign, 1907–14 In retrospect it may seem a belle époque, but no époque is altogether belle to those who are living through it, and the Edwardian period shares our century’s right to appropriate Auden’s phrase, “The Age of Anxiety.” —Samuel Hynes, The Edwardian Turn of Mind This one-day graduate student symposium considers the visual arts in Britain and its empire, America, and Continental Europe between 1901 and 1910—the era marked out by the reign of the British monarch Edward VII—in relationship to the intersecting social, economic, sexual, political, and psychological tensions and anxieties of the period. The opening decade of the twentieth century is still often perceived as a golden age of luxury, glamour, and relative social stability, before the cataclysm of World War I. The historian George Dangerfield, investigating the “strange death of liberal England,” conversely argued in 1935 that it was also a period of crisis that saw, inter alia, an upsurge in militant trade unionism, the agitation for women’s suffrage, the origins of fascism, impending constitutional crisis, and imperial unrest. Similar tensions were felt across Europe and the Americas during this transitional period. This symposium will consider the ways in which the first decade of the twentieth century came to be interpreted both as a golden age and an age of anxiety and protest, and how the visual and material culture of the time registered ambivalent feelings about the state of society in Britain and beyond. The symposium coincides with the opening of Edwardian Opulence: British Art at the Dawn of the Twentieth Century, the first major international exhibition in more than a generation devoted to surveying the full depth and breadth of the visual arts in Britain during the first decade of the twentieth century. The exhibition itself aims to overturn such diametrically opposed notions of the Edwardian period as either a golden age or a period of upheaval, showing instead that these are two points on either end of a continuum along which many new and viable perspectives of art and culture of the period may be plotted. While the exhibition focuses on the artistic production, consumption, and display of the cultural elite, this symposium will also consider the material and visual culture of protest and opposition. Papers are invited on topics relating to Britain and its empire, the United States, and Continental Europe (especially France, Germany, Austria-Hungary, Russia, and Scandinavia). Topics may include, but are not limited to: nostalgia for the past and avant-garde radical change in the arts notions of luxury and decadence in Britain and America since the 1880s the anxiety of empire (e.g., the Boer Wars; the Congo reform movement) the femme fatale, the “new woman,” feminism, and suffragism racial politics, eugenics, and the Nietzschean idea of the superman art at the dawn of psychoanalysis the interplay between art, science, and the occult (e.g., Theosophy) popular culture; working-class culture photography and early cinema British socialism and the arts (e.g., Fabianism and culture) Early Modernism and the Arts and Crafts movement We invite proposals for 25-minute papers on this theme from graduate students working in any discipline. Special consideration will be given to papers examining the topic in relation to British art and culture. Cross-disciplinary and comparative studies are particularly welcome. Please e-mail abstracts of no more than 300 words by January 7, 2013. lars.kokkonen@yale.edu Lars Kokkonen Postdoctoral Research Associate Research Department Yale Center for British Art Travel funds for speakers are available upon application.

External News and Events - Call for Papers - Invene Journal - 1st Issue

Wed, 22 May 2013 06:03:43 +0000

Invene Journal- 1st Issue Invene is a French-based new research journal edited with research students in mind. This journal aims at encouraging students’ research and making it visible. Invene is both a paper and electronic Journal, published on an annual basis. The Journal accepts papers in all languages but reserves the right to refuse papers in a language in which we cannot find reviewers. Currently, we welcome submissions in English, French, Spanish, German and Japanese. Invene is a multidisciplinary journal which encourages interdisciplinary thinking. The first issue of Invene will be published in September 2013. The issue will focus on the theme ‘Exchanges between East and West’, ranging from cultural, commercial, diplomatic or linguistic exchanges. This issue aims at raising a manifold of questions. How are exchanges between East and West developed across the centuries? What contributes to the exchanges? How do they contribute to create images of the East and the West? The call for papers includes, but is not limited to exchanges in all their forms: East/West: frontiers and stereotypes Dichotomous representation of the world: East/West Eastern culture as ‘other’ Involvement of political/cultural institutions in the construction of an image of the East/West Stereotypes and reality Greek influence in the East Christian missions in the East The lingua franca The Ottoman Empire The Seleucid Empire: between East and West The eastern religions in the Roman Empire The reception of Eastern culture in Europe and America/ the reception of Western culture in the East The popular image of the East in Europe/ the popular image of Europe in the East Cultural interrelations Representations in the media The East in European art/ The West in Eastern art Eastern art in Europe and America Learning about the East from Europe: possibilities and limits Researching the East as a foreigner Student exchanges: a new kind of exchanges? We welcome articles of 2 to 6 pages, including footnotes (see the writing guidance below for the size and font). For each issue, we also accept up to two larger papers (up to 16 pages), that will determine the main theme of the issue. So please, feel free to send us papers that do not respond to the main theme, we will consider them for the next issue. We also accept research in progress, including methodologies, reviews (book, film, exhibition…), conference records, etc. They should not be longer than 1 page, including footnotes. Contact and further information details: invene.submissions@gmail.com For more information, visit http://invene.blogspot.fr/ Deadline for submission: 1st March 2013

External News and Events - Funding Opportunities - Terra Fellowships and Professorships 2013

Wed, 22 May 2013 06:03:43 +0000

With funding from the Terra Foundation for American Art, The Courtauld Institute of Art’s Research Forum is pleased to announce the following fellowships/professorships: 1) The 2013-2015 Postdoctoral Teaching Fellowship for the teaching and study of historical American art (pre-1980). The award will enable a recent postdoctoral scholar to teach at The Courtauld Institute of Art and to undertake a major research project intended for publication. The Fellow will teach one course in the first year and two courses in the second year on selected American art topics. 2) One short-term (twelve-week) Visiting Professorship in American art (art history, architectural history or art conservation) is available in the Spring academic term (January to March) of either 2014 or 2015. The professor will give one full-term course that is integrated with The Courtauld Institute of Art's curriculum and will participate in other scholarly activities. 3) One short-term (one-week) Visiting Professorship in American art (art history, architectural history or art conservation) who will share his or her research with The Courtauld’s community formally (through lectures and seminars) and informally Further details of all these initiatives are given below. The deadline for all of these is 15 January 2013. For information about the Terra Foundation for American Art and related initiatives see their website (http://www.terraamericanart.org/europe) Terra Foundation for American Art Postdoctoral Teaching Fellowship at The Courtauld Institute of Art For period 1 September 2013 to 31 July 2015 Salary - £57,702 (approx. US$92,300) for this period (payment will be in sterling, subject to tax and National Insurance deductions) (1st year salary: £29,712 pa; 2nd year salary £30,535 pa pro rata). The total package available including salary, benefits, research, travel and living expenses has a value of up to US$100,666 With funding from the Terra Foundation for American Art, The Courtauld Institute of Art’s Research Forum is pleased to announce the 2013-2015 fellowship for the teaching and study of historical American art (pre-1980). The award will enable a recent postdoctoral scholar to teach at The Courtauld Institute of Art and to undertake a major research project intended for publication. The Fellow will teach one course in the first year and two courses in the second year on selected American art topics. The Fellow will participate in The Courtauld’s research seminars and in the research culture generally. This fellowship is part of an initiative of the Terra Foundation that aims to develop international interest, knowledge, and scholarship in the field of historical American art, and it is being awarded in conjunction with similar fellowships at the Freie Universität in Berlin and the Institut national d’histoire de l’art in Paris. Applicants are expected to be at an early stage of their career, not currently holding, or having held a permanent university post and having received a doctorate within the three-year period prior to taking up the award. The scheme offers an early career researcher in the field of historical American art the possibility of gaining experience of research and teaching in a notable centre of art historical studies, which will enhance his or her curriculum vitae, improve his or her prospects of obtaining permanent teaching posts, and further the knowledge of American art. Candidates for the postdoctoral fellowships who have taken up a Terra Foundation for American Art postdoctoral teaching fellowship at the John F. Kennedy Institute of American Studies, the Institut national d'histoire de l'art, or The Courtauld Institute of Art within the last four years will not be considered. Applicants are asked to submit (1) a completed application form, with two letters of recommendation, including one from the candidate’s supervisor (these can be sent separately); (2) an equal opportunities monitoring form. CV’s alone will not be accepted. For further details please visit the Courtauld website http://www.courtauld.ac.uk/vacancies/TerraPostdoctoralTeachingFellowship.shtml or email recruitment@courtauld.ac.uk or telephone 020 7848 1881. Please return completed application forms to the Human Resources Manager, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN, marking the envelope private and confidential, or send by email to recruitment@courtauld.ac.uk. Closing date: 15 January 2013 Candidates will be notified of the result by mid-March 2013. The Courtauld Institute of Art promotes equal opportunities. Terra Foundation for American Art Visiting Professorship (Twelve Weeks) at The Courtauld Institute of Art Twelve-weeks in Spring (January – March) 2014 or 2015 Open to junior and senior professors with a salary of up to US$22,838 (payment will be in £ sterling, subject to tax and National Insurance deductions). Additionally a package for research, travel and living expenses is available with a value of up to US$13,699 With funding from the Terra Foundation for American Art, the Research Forum is offering one short-term (twelve-week) Visiting Professorship in American art. This professorship is part of an initiative of the Terra Foundation that aims to internationalise the field of historical American art, building a network of scholarly peers and has been awarded in conjunction with similar professorships at the Freie Universität Berlin and the Institut national d’histoire de l’art in Paris. For information about this initiative, please see the Terra Foundation website (http://www.terraamericanart.org) This appointment will be offered to a scholar of American Art whose work plays a defining role in the disciplines of art history, architectural history or art conservation and who is willing to share his or her research with The Courtauld’s community formally (through lectures and seminars) and informally. In addition to presenting his or her research, the Visiting Professor will teach a BA course and meet with graduate students and postdoctoral fellows to discuss their individual projects. The Professorship will be held during The Courtauld’s spring term (January to March 2014 or 2015). Candidates for the visiting professorships who have held a Terra Foundation for American Art visiting professorship or postdoctoral teaching fellowship at the John F. Kennedy Institute of American Studies, the Institut national d'histoire de l'art, or The Courtauld Institute of Art within the last four years will not be considered. Applicants are asked to submit (1) a completed application form; (2) two letters of recommendation (these can be sent separately); (3) an equal opportunities monitoring form. For further details please visit The Courtauld’s website http://www.courtauld.ac.uk/vacancies/TerraVisitingProfessorship.shtml or email recruitment@courtauld.ac.uk or telephone 020 7848 1881. Please return completed application forms to the Human Resources Manager, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN, marking the envelope private and confidential, or send by email to recruitment@courtauld.ac.uk. Closing date: 15 January 2013 Candidates will be notified of the result by mid-March 2013. The Courtauld Institute of Art promotes equal opportunities. Terra Foundation for American Art Visiting Professorship (One Week) at The Courtauld Institute of Art One-week Visiting Professorship in the academic years of either 2013-14 or 2014-15 With funding from the Terra Foundation for American Art, the Research Forum is offering a one-week Visiting Professorship in American art. This professorship is part of an initiative of the Terra Foundation that aims to internationalise the field of historical American art, building a network of scholarly peers and has been awarded in conjunction with similar professorships at the Freie Universität Berlin and the Institut national d’histoire de l’art in Paris. This appointment will be offered to a scholar of American Art whose work plays a defining role in the disciplines of art history, architectural history or art conservation and who is willing to share his or her research with The Courtauld’s community formally (through lectures and seminars) and informally. In addition to presenting his or her research the Visiting Professor is expected to meet with graduate students and postdoctoral fellows to discuss their individual projects. The Professorship will be held during either the 2013-14 or 2014-15 academic years, in the alternate year to the twelve-week Visiting Professorship also currently been offered. Candidates for the visiting professorships who have held a Terra Foundation for American Art visiting professorship or postdoctoral teaching fellowship at the John F. Kennedy Institute of American Studies, the Institut national d'histoire de l'art, or The Courtauld Institute of Art within the last four years will not be considered. For the one-week appointment there is no formal application procedure. Those interested should send an expression of interest with a CV by email to: researchforum@courtauld.ac.uk, marked for the attention of Professor Caroline Arscott. For further information contact: researchforum@courtauld.ac.uk Deadline for expressions of interest: 15 January 2013 If sending an expression of interest by post, these should be addressed to: Professor Caroline Arscott c/o Cynthia de Souza Research Forum The Courtauld Institute of Art Somerset House The Strand London WC2R 0RN UK The Courtauld Institute of Art promotes equal opportunities. For further information about the Terra Foundation for American Art see their website: www.terraamericanart.org

External News and Events - Talk - "Something to See Here: For a Militant Visual Culture Practice," by Nicholas Mirzoeff

Wed, 22 May 2013 06:03:43 +0000

Goldsmiths College, University of London - The Department of Media & Communications' Radical Media Forum: Media Experiments presents: "Something to See Here: For a Militant Visual Culture Practice," by Nicholas Mirzoeff - Thurs., Nov. 29, 5:30, Goldsmiths (U of London) - New Academic Building, LG02. (Free, no reservations necessary.) In this presentation, I will describe how my work has unfolded from the analysis of critical visuality studies into a militant research practice over the past two years. I'll demo my project about the Algerian Revolution and its place as a key site on the border between the global North and South. It was produced in Scalar, a multi-media born digital authoring software, which led me to think more closely about how I produce media, as well as describe them. Finally, I'll talk about how the interface of digital humanities and critical visuality came to shape my durational writing project called Occupy 2012 in which I write every day in regards to the Occupy movement. This is a critical project based on a performance art model in direct (inter)action with an ongoing social movement. Biography: Nicholas Mirzoeff is Professor of Media, Culture and Communication at NYU. He is the author of many books including The Right to Look: A Counterhistory of Visuality (2011) and editor of The Visual Culture Reader (3rd edition, 2012). He has recent essays in Critical Inquiry, Social Research and Public Culture. His current projects engage with the Occupy movement; and the aesthetics of extinction. For further information, see: http://www.gold.ac.uk/calendar/?id=5848 and https://sites.google.com/site/mcradicalmedia/

External News and Events - Conference - The Art Press In The Twentieth Century: History, Criticism And The Art Market In Magazines And Journals

Wed, 22 May 2013 06:03:43 +0000

The Art Press In The Twentieth Century: History, Criticism And The Art Market In Magazines And Journals A one-day conference organised by Sotheby’s Institute of Art and The Burlington Magazine 1st February 2013 at Sotheby’s Institute of Art, 30 Bedford Square, London WC1B 3EE The Burlington Magazine is one of Britain's oldest monthly art-historical publications. Founded in 1903 by a group of art writers that included Robert Dell, Roger Fry, Bernard Berenson and Herbert Horne, its aim was to cover all aspects of the fine and decorative arts, to combine scholarship with critical insight and to treat the art of the present with the same seriousness as the art of the past. Sotheby's Institute of Art in London was founded by Sotheby’s auction house in 1969. It is now an independent not-for-profit institute and offers six MA programmes across a range of visual art disciplines and art business, together with semester and summer courses. These are validated by the University of Manchester with whom there is also a joint PhD programme. Research and teaching at Sotheby’s Institute focuses on the art work and its context within the framework of the art world and market. The aim of the joint conference is to explore how the international press, via art-historical writing and criticism in magazines and journals, has intersected with the reception and understanding of art, collecting, the art market and the teaching of art history. Registration fee: £25 – Students £10 Contact: conference@burlington.org.uk

External News and Events - Call for Papers - The Paris Fine Art Salon, 1791-1881

Wed, 22 May 2013 06:03:43 +0000

Call for Papers - The Paris Fine Art Salon, 1791-1881 A three-day conference to be held in the University of Exeter, 4-6 September 2013. 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. We invite proposals for papers which explore issues and ideas centred around the Paris Salon as an artistic and cultural event in the period 1791-1881. Areas that may be considered include the Salon’s importance for the careers of the exhibiting artists, its relationship to other exhibition spaces in Paris and the provinces, its management by the State, the shifting role of the Académie des Beaux-arts and/or the Salon jury, viewing conditions in the Salon, the impact of changes in Salon management on such issues as participation rates and stylistic innovation, and the exhibition’s significance as a social as well as artistic event. Please email James Kearns at J.Kearns@exeter.ac.uk with a title and 150-word abstract of your proposed 20/25-minute paper by 25 January 2013. To see the project page click here [http://humanities.exeter.ac.uk/modernlanguages/research/conferences/paris_salon/]

External News and Events - Call for Papers - Art Writers in Britain

Wed, 22 May 2013 06:03:43 +0000

Art Writers in Britain Workshop Series: Call for Papers Tate plans to hold a series of workshops in 2013 about art writers based in Britain from 1900 to the present day. The series aims to stimulate new research – particularly archive-based research – about the work and influence of individual art writers. Each workshop will focus on individual writers, though the series as a whole will provide a forum for investigating the history, reception and impact of art writing in Britain and elsewhere. The workshops will ask, for example, how have different authors approached the task of responding in writing to art? What impact or influence did they have? How can the relationships between different forms of art writing be characterised, and how can a history of art writing be conceptualised? How has the emergence of different forms of dissemination over the twentieth century – from illustrated art magazines to websites and blogs – affected the nature of art writing and the social function of the art writer? These are broad questions that can be addressed in numerous ways, and we welcome the participation of specialists and postgraduate students from a range of disciplines and subject areas. Tate’s Archive holds the papers of a number of important art critics, historians, theorists and commentators, including Roger Fry, Robert Melville, Adrian Stokes, J.P. Hodin, Kenneth Clark, John Rothenstein, David Sylvester, Barbara Reise, John Russell and Charles Harrison. Presentations on these figures are particularly welcome, although the series is by no means limited to writers represented in Tate’s Archive. If you would like to lead a workshop or make a short presentation on a particular art writer or related theme, please send an email with details of your proposal (approximately 250 words) and a short CV to artwriters@tate.org.uk as soon as possible and no later than 31 December 2012. Deadline for submission: 31 December 2012

External News and Events - Event- Cornelia Parker in Conversation with Richard Cork

Wed, 22 May 2013 06:03:43 +0000

Cornelia Parker in Conversation with Richard Cork The Eye of the Storm 5.30pm, Tuesday 6 November Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, strand, WC2R 0RN Visitors to the 1997 Turner Prize exhibition were confronted by Cornelia Parker’s arresting installation. Deftly and poetically, she suspended in a vertical downpour the scorched fragments of a Texas baptist church struck by lightning. But many of her major works are the outcome of destruction initiated by the artist herself. In 1988 she asked a steamroller driver to flatten 1,000 pieces of silverware carefully laid out in a curving line. Then Parker picked them up and set about making an installation from the squashed remains. Her most celebrated work, Cold Dark Matter: An Exploded View, is even more dramatic. With expert help from the British army, she blew up a shed whose shattered contents were then transformed into a suspended masterpiece which threw shadows on the surrounding walls. But aggression is always countered by dry humour in her work. And the fragments achieve an alternative beauty of their own as they float and spin, like something resurrected, in the air. Richard Cork is an award-winning art critic, historian, broadcaster, exhibition curator, and former Professor of Fine Art at Cambridge University and Senior Fellow at The Courtauld Institute of Art in London. Four volumes of his critical writings on modern art were published by Yale in 2003, and his new book is 'The Healing Presence of Art: A History of Western Art in Hospitals’. ENTRY DETAILS: £7 (one price only). Space is limited so advance booking is required. BOOK ONLINE here: http://courtauld-institute.digitalmuseum.co.uk Organised by Professor Caroline Arscott

External News and Events - Lecture - The Princess and the Scroll

Wed, 22 May 2013 06:03:43 +0000

The Autumn Lecture of the Society for the Promotion of Byzantine Studies Professor Leslie Brubaker (University of Birmingham) The Princess and the Scroll 6.00pm, Thursday, 8 November 2012 Research Forum South Room, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN Professor Leslie Brubaker will be giving the first public lecture on a hitherto unknown and unpublished thirteenth-century illustrated Byzantine prayer scroll. Leslie Brubaker is Professor of Byzantine Art History and Director of the Centre for Byzantine, Ottoman and Modern Greek Studies, University of Birmingham. Her publications include Inventing Byzantine Iconoclasm (2012), The cult of the Mother of God (with M. Cunningham, 2011), Byzantium in the iconoclast era, 2 vols (2011 and 2001, with J.F. Haldon), Gender in the Early Medieval World (2004, with J.H.M. Smith), and Vision and Meaning in Byzantium (1999). The event will be followed by a reception in Seminar room 1. Liverpool University Press are happy to sponsor a reception, immediately after the Autumn Lecture, publicising the launch of the first volume in their new series, Translated Texts for Byzantinists. Professor Elizabeth Jeffreys will be signing copies of her new publication, Four Byzantine Novels (Liverpool, 2012). Organised by Dr Tim Greenwood (School of History University of St Andrews) and Dr Antony Eastmond (The Courtauld Institute of Art) Open to all, free admission

External News and Events - Symposium - (Re) Orientations: China in the Western Artistic Imagination From the 1960s to the Present Day

Wed, 22 May 2013 06:03:43 +0000

(Re) Orientations: China in the Western Artistic Imagination From the 1960s to the Present Day 17.30 – 19.30, Friday 9 November 2012 The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN This symposium explores the impact of Chinese art, culture and politics on the Western artistic and intellectual imagination, focusing on the 1960s and 1970s. Professor Sarah Wilson’s paper looks at the influence of Maoist China on French artists, filmmakers and writers such as Jean-Luc Godard, Gérard Fromanger and the Tel Quel group between 1966 and 1976; a period of radical political instability in France, coincident with the decade of the Great Proletarian Cultural Revolution in China. In conversation with Dr Wenny Teo, the acclaimed artist John Dugger – who in 1972 became the first American artist to visit the People’s Republic of China since its founding in 1949 – will discuss how his first-hand experience of Cultural Revolutionary China as well as the in-depth research he conducted on traditional Chinese landscape painting has continued to inform his practice to this day. Ticket/entry details: Open to all, free admission. Advance booking not available Organised by Dr Wenny Teo with Prof Sarah Wilson (The Courtauld Institute of Art) PROGRAMME 17.30 n- 18.00 Professor Sarah Wilson (The Courtauld Institute of Art): ‘Desire Is Everywhere’: MAO and France, 1966-1976, In Art, In Theory, In Situ 18.00 – 18.40 John Dugger (artist) in conversation with Dr Wenny Teo (The Courtauld Institute of Art): A Star on the Palm of your Hand 18.40 – 19.30 Discussion 19.30 RECEPTION (Front Hall)

External News and Events - Conference - Revival: Utopia, Identity, Memory

Wed, 22 May 2013 06:03:43 +0000

Revival: Utopia, Identity, Memory 11.30 – 19.10, Friday 23 November (with registration from 11.00) 09.15 – 18.45, Saturday 24 November (with registration from 08.45) Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN Revivalism in art and architecture is a fundamental though often overlooked aspect of modernity. From the nineteenth century to the present, styles, ideologies, techniques and approaches have been revived and re-framed. Revival: Utopia, Identity, Memory seeks to investigate the diverse dimensions of revivalism, exploring its meanings and impacts across cultures, periods and media. The extent to which revivalism has been harnessed to promote idealist visions, assert aspects of personal or corporate identity, and grant fresh purchase on memorialization and nostalgia are all productive trajectories for investigation. The phenomenon’s implications for art and architectural history in relation to tradition, repetition, originality, transnationalism, patronage, religion, colonialism, historicism, reproduction, authenticity, resistance and power will be investigated. This conference will generate new understandings regarding selective reiterations or reworkings of the past to create new art, architecture and design. Its themes allow us to question common threads that may be traced between apparently disparate projects, such as resurgences of techniques or materials, medievialism, utopian futurism, empire and style, and the persistence of ‘neo’ in the midst of an ever-urgent quest for originality. Showcasing research from emerging and established scholars, the event encourages an academic process that uncovers convergences and supports broadening views to consider how histories are reinvented and to chart the notion of revivalism itself. Ticket/entry details: £26 (£16 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 ‘Revival’ conference. For further information, email ResearchForumEvents@courtauld.ac.uk Organised by Ayla Lepine (The Courtauld Institute of Art) PROGRAMME Friday 23 November (DAY 1) 11.00 – 11.30 Registration 11.30 – 11.45 Welcome and Introduction – Ayla Lepine (The Courtauld Institute of Art) 11.45 – 12.45 Keynote – Glenn Adamson (Victoria and Albert Museum): Goodbye Craft: A History of Departures 12.45 – 13.30 BREAK FOR LUNCH (lunch provided for speakers and session chairs) SESSION 1: The Quick and the Dead – Chair: Jack Hartnell (The Courtauld Institute of Art) 13.30 – 13.50 Martin Horacek (Brno University of Technology): Death Wish: End of a Style and the Historiography of Architecture 13.50 – 14.10 Tom Stammers (Cambridge University): Scavenging the Old Regime in Nineteenth-Century Paris 14.10 – 14.30 Pat Hardy (Museum of London): Reviving Eighteenth-Century Pastoralism in Nineteenth-Century British Colonial Visual Culture 14.30 – 14.50 Discussion 14.50 – 15.05 REFRESHMENT BREAK (Lecture Theatre) SESSION 2: Territories and Affiliations – Chair: Nathaniel Walker (Brown University) 15.05 – 15.25 Fiona Allen (Leeds University): From the Workshop to the Auction Block: the Aesthetics, Ethics and Politics of Jean Prouvé's Maisons Tropicales 15.25 – 15.45 Alyson Wharton (Mardin Artuklu University): Armenian Architects and Nineteenth-Century Revivalism 15.45 – 16.05 Michelle Jackson (Parsons/Cooper-Hewitt): Longing for Past and Future: Cultural Identity and Central European Revivalist Glassware Designs 16.05 – 16.25 Talinn Grigor (Brandeis University): Deploying the Past: Strategies of Anti-colonialism in Qajar and Parsi Architecture 16.25 – 16.55 Discussion 16.55 – 17.20 COFFEE/TEA BREAK (tea-coffee provided – seminar room 1) SESSION 3: Cultured Utopias – Chair: Ayla Lepine (The Courtauld Institute of Art) 17.20 – 17.40 Karen Koehler (Hampshire College): Bauhaus Ghosts 17.40 – 18.00 Nathaniel Walker (Brown University): A Style for All Time: Orientalist Hybridity as Futurism in Victorian Utopian Architecture 18.00 – 18.20 Jonathan Mekinda (University of Illinois, Chicago): Revivalism in Italian Architecture and Design, 1925-55 18.20 – 18.40 Rosalind McKever (Kingston University/Estorick Collection): Futurism and the Past: Avant-gardism, Tradition and Temporalities in Italian Art and its Histories 18.40 – 19.10 Discussion 19.10 RECEPTION Saturday 24 November (DAY 2) 08.45 – 09.15 Registration 09.15 – 10.15 Keynote – John Harvey (Aberystwyth University): The Retrieval of Revival: Recollecting and Revisiting the Evan Roberts Wax Cylinder SESSION 4: Rethinking Memory – Chair: Sarah Guerin (The Courtauld Institute of Art) 10.15 – 10.35 Florence Alibert (Bibliothèque/Université de Clermont-Ferrand): Books as Pocket Cathedrals: A French Connection for the Gothic Revival 10.35 – 10.55 Niccola Shearman (The Courtauld Institute of Art): ‘Linear Fantasies’: Reviving the Woodcut in the Weimar Republic 10.55 – 11.15 Ana Sofia Pereira da Silva (ETSA-UPM, Madrid; CEAU-FAUP and FAUP, Oporto): F. Kiesler’s Endless House or the Re-invention of the Cave 11.15 – 11.35 Discussion 11.35 – 12.00 COFFEE/TEA BREAK (tea-coffee provided – seminar room 1) SESSION 5: Public Nostalgias – Chair: Rosalind McKever (Kingston University/Estorick Collection) 12.00 – 12.20 Jody Patterson (Plymouth University): Public Art and Cultural Crisis: The 1930s Mural Renaissance 12.20 – 12.40 Alan Powers (Greenwich University: 1937 and Victorian Revivalism 12.40 – 13.00 Alison Hokanson (The Metropolitan Museum of Art): Henri De Braekeleer and Belgium’s Nineteenth-Century Revivalist Movement 13.00 – 13.20 Discussion 13.20 – 14.20 BREAK FOR LUNCH (lunch provided for speakers and chairs) SESSION 6: Contested Rebirths – Chair: Matt Lodder (Reading University) 14.20 – 14.40 Elizabeth McCormick (Henry Moore Institute) Early Medieval Sculpture and the Celtic Revival 14.40 – 15.00 Jeremy Melius (Johns Hopkins University): Secondary Modernisms 15.00 – 15.20 Philip Jacks (George Washington University): Ferro-Concrete and the Search for Style in the ‘American Renaissance’ 15.20 – 15.40 Discussion 15.40 – 16.10 COFFEE/TEA BREAK (tea-coffee provided – seminar room 1) SESSION 7: Housed and Adorned – Chair: Karen Koehler (Hampshire College) 16.10 – 16.30 Wendy Ligon Smith (Manchester University): Mariano Fortuny’s Delphos Gown: A Pleating Together of Time(s) 16.30 – 16.50 Mariana Pestana (The Bartlett School of Architecture, UCL): Who’s the Host and Who’s the Guest in the Exhibition Household? 16.50 – 17.10 Matt Lodder (Reading University): The New Old Style: Tradition, Archetype and Rhetoric in Contemporary Western Tattooing 17.10 – 17.30 Discussion 17.30 – 18.45 Keynote and Closing Remarks – Deborah Cherry (TrAIN, University of the Arts London) 18.45 RECEPTION

External News and Events - Event: Art Historians’ Retreat in Gurgaon, India

Wed, 22 May 2013 06:03:43 +0000

Art Historians’ Retreat in Gurgaon, India Join International Arts & Artists, Dr. Jyotindra Jain and the Sanskriti Foundation for two weeks of immersion in Indian contemporary and historical art. January 5-21, 2013, Sanskriti Foundation, Gurgaon, India; $2800 USD includes shared housing, all meals, tuition, airport transfers, local transportation and staff support on site. Contact: Emily Rossberg emilyr@artsandartists.org Deadline for booking: November 9, 2012 for sign-up and deposit of $300 USD.

External News and Events - Screening - " Family Ties: Tracing Ancestral Homelands"

Wed, 22 May 2013 06:03:43 +0000

Family Ties: Tracing Ancestral Homelands A preview screening of new film works by Suze Adams and Lizzie Thynne exploring family, landscape and memory, followed by a panel discussion. Saturday 3rd November 2.30 – 5.00pm Lecture Theatre, 17 Young Street (off High Street Kensington) Richmond University, The American International University in London Kensington, London W8 5EH Nearest Tube: High Street Kensington Free entry, but please register via deborah.schultz@richmond.ac.uk in order to secure a place. Communion Suze Adams, UK, 2012, 11:56’ The place that inspires Communion is the Hebridean Isle of Mull, home to Suze’s maternal ancestors, where for the past decade she has been investigating and tracing family connections. From the starting point of oral histories, on Mull she has been exploring the inter-relationship between a self and a place in relation to notions of home – does home constitute people or place, is it now or then, here or there? Communion was first performed at S’Airde Beinn, a location significant to the Morison family and is a work that, through multiple sensory layers, examines issues of belonging and identity. Focusing on her own relationship with Mull, Suze asks what and where we might call ‘home’. On the Border Lizzie Thynne, UK, 2012, 56’ A daughter’s exploration of her Finnish family’s history prompted by the letters, objects, and photographs left in her mother's apartment. Fragmented memories, dreams, and diary entries are juxtaposed with the director’s journey to significant places and people in that history from during and after the Russo-Finnish wars, 1939-1944. Her mother, Lea, and her siblings were evacuated from the disputed border territory of Karelia and Lea's father was killed in 1941, fighting alongside the Germans against the Soviets. The story of her father’s death in action is contrasted with the more indirect impact of the war and its aftermath on the destinies of Lea, her mother and siblings. The Family Ties Network is a group of writers and artists who first came together at the Family Ties: Recollection and Representation conference held at Senate House, University of London in March 2012, organised by Dr. Sally Waterman and Dr. Katia Pizzi from the Centre for the Study of Cultural Memory at the Institute of Germanic & Romance Studies.

External News and Events - Study Day - Paul Neagu: Nine Catalytic Stations

Wed, 22 May 2013 06:03:43 +0000

Paul Neagu: Nine Catalytic Stations Study Day 31 October 2012 12pm-5pm The Henry Moore Institute has been researching the artistic practice of Paul Neagu (b. Bucharest, 1938, d. London, 2004) over the last fifteen years. In 2000 the artist and the Generative Arts Trust donated a number of drawings to the Leeds Museums and Galleries sculpture collection; in 2002 the collection purchased two maquettes for his 'Starhead' sculptures and archival material; his work was included in the displays Sculpture on Paper (2004) and Drawing on Sculpture: Graphic Interventions on the Photographic Surface (2007); and, most recently, we showed 'Palpable Object (Mosaic)' in United Enemies: The Problem of Sculpture in Britain in the 1960s and 1970s, reproducing his 1969 'Palpable Art Manifesto' in the exhibition catalogue and showing Cake Man Event and Hyphen Ramp - 88 Riots at The Serpentine as part of the film programme which accompanied the exhibition. Although an important contributor to the production of sculpture in Britain, Neagu's work has received little critical attention. This study day draws together artists, academics, writers and curators to discuss his work as a part of our research towards a solo exhibition of the artist's work in autumn 2014. Speakers include art historian Mel Gooding, who interviewed the artist for National Life Stories: Artists Lives (a copy of which is available in our Research Library), artist/curator Peter Lewis, art historian Ileana Pintilie and curator Magda Radu. This workshop was prompted by the donation by the Paul Neagu Estate of a series of significant works from Neagu¹s 'Nine Catalytic Stations' body of work to the Leeds Museums and Galleries sculpture collection. Part of the day will involve time in the gallery with the works on view. Papers: Ileana Pintile, "Paul Neagu and the generative art" Mel Gooding, "Nine Catalytic Stations: Neagu's British work in context" Peter Lewis, "The Generative art of Paul Neagu: Object as Catalyst" Magda Radu, "A Contextualisation of Paul Neagu's Early Works: from Neagu's Boxes to the Palpable Art Manifesto" Tickets: £5/£3 concessions (lunch included). Booking is essential for this event. For more information contact Kirstie Gregory, Research Programme Assistant: kirstie@henry-moore.org. Kirstie Gregory Research Programme Assistant Henry Moore Institute The Headrow Leeds LS1 3AH UK telephone: +44 (0) 113 246 7467 fax: + 44 (0) 113 246 1481

External News and Events - Symposium - Art and Its Afterlives

Wed, 22 May 2013 06:03:43 +0000

Art and Its Afterlives Fourth Early Modern Symposium 09.30 – 17.45, Saturday 17 November 2012 (with registration from 09.00) The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN Art and Its Afterlives aims to address the ways in which the work of art continues to resonate after its creation. While much art history takes as its focus the initial facture of the work of art, this one-day symposium explores what happens to early modern art after the moment of its making. How did early modern works continue to be created in their display, preservation, and reception from the moment of their creation on? Papers will examine how art is shaped by its afterlives – whether these collect, curate, cut up, cut out, copy or correct it – and the ways in which art both persists and changes through time as a material object, a field of generative meaning, and a subject of debate and interpretation. Material, technical and social histories as well as theoretical approaches drawn from the discipline of art history and other fields of the humanities are welcome. Accounts from curatorial practice and the field of museology are also encouraged. The question of afterlife is an pertinent topic for art history in general, where the work of art is uniquely tied to a particular assemblage of materials which inevitably change with time, rendering fraught questions of preservation, the presence or possibility of copies, the idea of original state, and how a work of art is staged for a viewer. Less material but no less concrete, the interactions between the work and the viewer, and between the work and the its assumed referent are not stable but open to change. The question of afterlife is particularly relevant for the early modern period, when emergent art markets and cultures of collection allowed not only the circulation of artworks, but also their appropriation and adaptation. Taking as its point of departure Bourdieu’s encouragement to investigate ‘not only the material production of the work but also the production of the value of the work’, this symposium privileges the afterlives of art and the alternative histories they present. Art and Its Afterlives is the fourth symposium of The Courtauld’s Early Modern Department. Organised by Laura Sanders and Francesca Whitlum-Cooper (The Courtauld Institute of Art) Ticket/entry details: £16 (£11 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 ‘Art and Its Afterlives’. For further information, email ResearchForumEvents@courtauld.ac.uk PROGRAMME 09.00 – 09.30 Registration 09.30 – 09.40 Introduction – Laura Sanders and Francesca Whitlum-Cooper (The Courtauld Institute of Art) 09.40 – 11.00 SESSION 1: Finding the Original Stephanie Knöll (Heinrich-Heine-Universität Düsseldorf): Holbein’s Images of Death and the Construction of Authorship and Authenticity in Nineteenth Century Art Historical Discussions Antonia Putzger (Technische Universität, Berlin): What (or Who) Makes an Original? Maximilian I of Bavaria as Collector and Creator of German Renaissance Art Gabriella Szalay (Columbia University, New York): Wipe It With a Damp Cloth! Restoring Early Netherlandish Paintings Discussion 11.00 – 11.30 COFFEE/TEA BREAK (tea-coffee provided – seminar room 1) 11.30 – 13.10 SESSION 2: Contexts of Reception Christina Ferando (Columbia University, New York): From Altarpiece to Masterpiece: Titian’s ‘Long Unnoticed’ Assumption of the Virgin Giulia Weston (The Courtauld Institute of Art): Salvator Rosa’s British Afterlives Edward Houle (McGill University, Montreal): The Petits Appartements at Versailles and the Vicissitudes of Heritage Owen Hopkins (Royal Academy of Arts): Hawksmoor in the Twentieth Century Discussion 13.10 – 14.10 BREAK FOR LUNCH (lunch not provided except for the speakers) 14.10 – 15.50 SESSION 3: Appropriation and Re-making Jason Nguyen (Harvard University, Boston): Translation, Illustration, and Transmutation: Authorship and Authority in Claude Perrault’s Les dix livres d’architecture de Vitruve (1673) Amy Concannon (Tate Britain, London): Cut, Paste, and Copy: Hubert Robert, François Boucher and the Culture of Appropriation Amongst French Artists in the Eighteenth Century Heike Zech (Victoria and Albert Museum, London): From Sacred to Profane? The Afterlife of a Seventeenth Century Augsburg Masterpiece Sian Bowen (Northumbria University, Newcastle): Capturing the Ephemeral: Materiality and Transience Through Drawing Practice Discussion 15.50 – 16.20 COFFEE/TEA BREAK (tea-coffee provided – seminar room 1) 16.20 – 17.45 SESSION 4: Display and Preservation Anna Bortolozzi (National Museum, Stockholm): Notes from the Underground: the Afterlife of Old St. Peter’s in the Vatican Grottos and Other Stories Noémie Etienne (Barnard College, New York): From the Wall to the Museum: Material and Symbolic Transformations of Paintings in Paris in the Eighteenth Century Ronit Milano (Ben-Gurion University, Israel): On Trojan Dogs and Long-Lasting Artistic Quarrels: The Case of Jeff Koons in Versailles Discussion and concluding remarks 17.45 RECEPTION (Front Hall)

External News and Events - Call for Papers - SYMPOSIA IRANICA: First Biennial Iranian Studies Graduate Conference

Wed, 22 May 2013 06:03:43 +0000

SYMPOSIA IRANICA: First Biennial Iranian Studies Graduate Conference Hosted by the University of St Andrews, 13-14 April 2013 CALL FOR PAPERS: Symposia Iranica invites proposals for papers that relate to any aspect of Iranian studies. These include (but are by no means limited to): literature, political science, philosophy, archaeology, religions and theology, geography, historiography, sociology, anthropology, music, history of art, architecture, international relations, education, history, linguistics, Diaspora studies, new media and communication studies, film, and the performing arts. Interdisciplinary papers are also very welcome. Submissions are welcomed from the following: 1. final year undergraduates 2. postgraduates (enrolled) 3. doctoral candidates 4. post-docs (subject to graduation between 2009-12) All abstracts are subject to double-blind peer-review. Deadline for submissions: November 30th, 2012 More Information For details on the conference, prizes, & more, please visit: http://www.symposia-iranica.com To get updates directly to your newsfeed, see: http://www.facebook.com/SymposiaIranica Plenary Sessions ‘Iranian Nationalism and the European Enlightenment’, Chaired by Prof. Ali M. Ansari, University of St Andrews ‘The Art and Architecture of Islamic Iran’, Chaired by Prof. Robert Hillenbrand, University of Edinburgh ‘The Hagiography and Historiography of Iran’, Chaired by Prof. Charles Melville, University of Cambridge Early Career Scholars Q&A Also, there will be a session featuring academics, publishers, funding bodies, and leading early career scholars who will share their experiences and answer your questions on how to develop a successful academic career in Iranian studies and academia generally. Questions may be submitted in advance to: questions@symposia-iranica.com. More details will be released in November. We gratefully acknowledge the support of Iran Heritage Foundation, the Soudavar Memorial Foundation, I.B.Tauris, and the University of St Andrews. Contact and further information details: www.Symposia-Iranica.com / info@Symposia-Iranica.com Deadline for submission: 30 November 2012

External News and Events - Prize - Art in Translation Student Prize

Wed, 22 May 2013 06:03:43 +0000

Art in Translation Student Prize: £250 Art in Translation offers a fresh perspective on global art writing and practice, covering all areas of the visual arts. To expand our advisory network, to locate texts that lie outside the Western canon, and to engage young scholars in its project, Art in Translation is offering an annual prize of £250 for the best recommendation of a text worthy of translation and publication. The competition is open to registered University students of art history or related disciplines, either undergraduate or postgraduate. The recommended text must already have been published in a language other than English, and meet at least one of the following criteria: Groundbreaking within the field and in the broader field of visual studies Accurately reflects current concerns and issues in the subject area Highly representative of the source culture and methodology Valuable introductory text, opening an initial path into areas of research and scholarship unfamiliar to the target readership A classic text within the source language, not necessarily focused on the source culture A classic text within the source language, focused on the source culture A text that makes a significant contribution to the global practice and understanding of art history and visual culture To submit your idea, please download the Recommendation Form from www.artintranslation.org and send your completed form toartintranslation@bergpublishers.com Closing date: 31 October 2012

External News and Events - Frank Davis Memorial Lecture Series Autumn 2012

Wed, 22 May 2013 06:03:43 +0000

Frank Davis Memorial Lecture Series Autumn 2012 Sponsored by the F M Kirby Foundation and The Prince’s Foundation Histories in Transition Seminar: Aspiring to the Condition of Music Tim Barringer (Paul Mellon Professor of the History of Art, Yale University) Tuesday, 23 October 12.00 - 14.00, Research Forum South Room Walter Pater's dictum of 1877 'all art constantly aspires to the condition of music' is regularly cited with regard to the Aesthetic Movement. Music is invoked as a metaphor for painting in which formal qualities outweigh or replace altogether narrative concerns. The imbrication of music into every aspect of Victorian Aestheticism was, however, far more complex than this would suggest. This seminar will examine the role of music in British culture of the 1860s and '70s, referring to actual performers, performances and works, critical and musicological discourse, and the attempts of painters such as Frederic Leighton, Dante Gabriel Rossetti and Albert Moore to create what one might describe as a musical visuality in addition to a musical iconography. Gilbert and Sullivan's 'entirely Aesthetic' operetta, Patience, provides the perfect foil for Aestheticism's nostrums; a musical satire on art aspiring to the condition of music. Tim Barringer is Paul Mellon Professor of the History of Art at Yale University. His books include Reading the Pre-Raphaelites (1999; new edition, 2012) and Men at Work: Art and Labour in Victorian Britain (2005). With colleagues he co-authored American Sublime, and co-edited Art and the British Empire and Art and Emancipation in Jamaica. He is currently completing a book Broken Pastoral: Art and Music in Britain, Gothic Revival to Punk Rock and is co-curator of Pre-Raphaelites: Victorian Avant-Garde (Tate, 2012). Co-edited volumes in preparation include Victorian Jamaica and Panoramic Vistas. Open to all, free admission Lecture: Broken Pastoral and the English Folk: Art and Music in Britain, 1880-1914 Tim Barringer (Paul Mellon Professor of the History of Art, Yale University) Tuesday, 23 October 17.30, Kenneth Clark Lecture Theatre This lecture examines the revived interest in folk culture in late-Victorian and Edwardian Britain, exploring the relationships between ethnography, musicology and the study of historical arts and crafts. Professor Barringer contends that the aesthetic potency of visual and musical compositions drawing on folk sources lay in the widespread acknowledgement of the imminent disappearance of folk culture in the face of modernity and mechanized warfare. Under consideration are the photographer P.H. Emerson, painters George Clausen, Henry Herbert La Thangue and Augustus John, the gardener and writer Gertrude Jekyll, ethnographer E.B. Tylor, and composers Sir Hubert Parry, Ralph Vaughan Williams and Percy Grainger. Tim Barringer is Paul Mellon Professor of the History of Art at Yale University. His books include Reading the Pre-Raphaelites (1999; new edition, 2012) and Men at Work: Art and Labour in Victorian Britain (2005). With colleagues he co-authored American Sublime, and co-edited Art and the British Empire and Art and Emancipation in Jamaica. He is currently completing a book Broken Pastoral: Art and Music in Britain, Gothic Revival to Punk Rock and is co-curator of Pre-Raphaelites: Victorian Avant-Garde (Tate, 2012). Co-edited volumes in preparation include Victorian Jamaica and Panoramic Vistas. Frank Davis Memorial Lecture Series Autumn 2012 The 2012 Frank Davis Memorial Lecture Series explores intersections between modernity and historicism worldwide. It extends and enriches the Research Forum project Revival: Utopia, Identity, Memory and interacts with the provocative Research Forum theme, ‘The Quick and the Dead’. Spanning art, architecture and design across America, Europe and Asia from the nineteenth century to the present, each lecture demonstrates the allure and the value of the past in forming challenging responses to new circumstances. Interrogating the nature of revival, historicism and transnationalism, the series engages with nature and artifice, ritual and memory, and the flexible meanings of materials, images and structures that simultaneously inhabit traditional and innovative territory. Traditionally sponsored by the F M Kirby Foundation, this year the Frank Davis Memorial Lecture Series is in addition sponsored by The Prince’s Foundation for Building Community; Transforming Lives through Engaging, Educating and Empowering People. “The Prince's Foundation believes that sustainably planned, built and maintained communities improve the quality of life of everyone who’s part of them. They help us both live better at a local level and start dealing with the broader global challenges of urbanisation and climate change. Our goal is a future where all of us can take part in making our communities more sustainable. We're working with everyone from local residents groups to governments to make it happen.” See www.princes-foundation.org Lectures are at 5:30pm in the Kenneth Clark Lecture Theatre: Tuesday 23 October Tim Barringer (Paul Mellon Professor of the History of Art, Yale University) Broken Pastoral and the English Folk: Art and Music in Britain, 1880-1914 Tuesday 20 November Rémi Labrusse (Professor, Université de Paris Ouest - Nanterre) Orientalism and "Islamophilia" Tuesday 27 November Tapati Guha-Thakurta (Director and Professor in History, Centre for Studies in Social Sciences, Calcutta) The Dead Object of Public Statuary: Sculptural Iconographies of Colonial and Postcolonial Calcutta Tuesday 4 December Toshio Watanabe (Professor, University of the Arts London; and Director, Research Centre for Transnational Art, Identity and Nation [TrAIN]) Ryoanji Garden as the Epitome of Zen Culture: The Process of Transnational Canon Formation This year the Frank Davis Memorial Lecture Series will include two seminars which will take place in the Research Forum South Room as follows: Monday 8 October, 12.00 - 2.00pm Mark Cheetham (Professor, University of Toronto) Landscape & Language: from Conceptualism to Ecoaesthetics Tuesday 23 October, 12.00 - 2.00pm Tim Barringer (Paul Mellon Professor of the History of Art, Yale University) Aspiring to the Condition of Music Open to all, free admission Organised by Dr Ayla Lepine

External News and Events - Call for applications - Jan van Eyck Academie, Maastricht

Wed, 22 May 2013 06:03:43 +0000

Call for applications Are you a pioneer, looking for innovation? Would you like to meet inspiring people who really have something to say? Is it time for confrontation and intensification? Do you long for time and space to develop yourself? Then this is the moment to apply to the Jan van Eyck Academie in Maastricht (NL). The Jan van Eyck Academie is an international post- academic art institute that offers space to ambitions, plans and work of artists, designers, writers, curators, thinkers. The Jan van Eyck Academie has a long history of recurrent development. Now, once more, the institute finds itself at the crossroads of change, which will be shaped with its new participants, from 1 January 2013. That is why the Jan van Eyck Academie is looking for pioneers, trailblazers with the ambition to make the academy into the post-academy of the future. Deadline: 15 November 2012 More info: http://www.janvaneyck.nl/tagged/call-for-applications-2013

External News and Events - Event - London art in the age of jazz African & Asian portraits & artists in London between the wars

Wed, 22 May 2013 06:03:43 +0000

London art in the age of jazz African & Asian portraits & artists in London between the wars Explore your attic and bring along your artwork, letters & photos showing portraits of African or Asian people Talk to our experts about these objects and artworks and how to look after your precious items Help uncover diverse hidden histories on the lives of artists and models of African and Asian heritage in London between 1919 and 1939 20 October 2012, 12 noon until 4pm at Camden Local Studies and Archives Centre, Holborn Library, 32-38 Theobalds Road, London WC1X 8PA To find out more, visit our website www.ucl.ac.uk/equianocentre or email: equianocentre@ucl.ac.uk or telephone: 020 3108 5095

External News and Events - Art & Death Workshop Series (Event and CfP)

Wed, 22 May 2013 06:03:43 +0000

Art & Death Workshop Series 10.00 – 12.30, Thursday 1 November 2012 Research Forum South Room, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN This is the first of a series of three workshops to be 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 first workshop, with diversity in region and period, will focus on the images and objects related to the impact that the certainty of death has on individuals and the community. Ticket/entry details: Open to all, free. Due to limited space, advance booking is required. BOOK ONLINE here: http://courtauld-institute.digitalmuseum.co.uk PROGRAMME 10.00 – 10.05 Welcome & Introduction: Jessica Barker (The Courtauld Institute of Art) Session 1: Ante-mortem funerary monuments – Chair: Jessica Barker 10.05 – 10.25 Jeehee Hong (Syracuse University, New York): Commemorating the Future Dead: Ante-mortem images of rituals in tombs of middle-period China 10.25 – 10.45 Michal Ron (Freie Universität, Berlin): Is Marcel Broodthaers Dead? The Revelation of the Artist’s Gravestone 10.45 – 10.55 Discussion 10.55 – 11.10 REFRESHMENT BREAK Session 2: Vanitas motifs – Chair: Ann Adams (The Courtauld Institute of Art) 11.10 – 11.15 Introduction: Ann Adams 11.15 – 11.35 Sara Frier (Graduate Centre of City University, New York) and Samuel Luterbacher (Independent): Mortality in Motion: Macabre Rosaries from 16th century Europe 11.35 – 11.55 John Renner (The Courtauld Institute of Art): Good and Bad Corpses: Images of Death in Early Franciscan Art 11.55 – 12.15 Kaia Magnusen (Rutgers University, New Jersey): Death and the Mädchen: Vanitas Motifs in the Weimar Works of Otto Dix. 12.15 – 12.30 Discussion Organised by Jessica Barker and Ann Adams (The Courtauld Institute of Art) Art & Death Workshop Series CALL FOR PAPERS for forthcoming workshops Workshop 2 (21 February 2013): Death and Dying A ‘good death’ War and violence Funerals/Professional mourners Funerary monuments, memorial architecture, cemetery design Post-mortem portraits Images of the corpse in painting, sculpture, film, photography, etc. Crucifixion imagery Death in museum collections 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 the following dates: 10 January 2013 for workshop 2 (21 February 2013): Death and Dying 11 April 2013 for workshop 3 (23 May 2013): Life after Death For planning purposes, it would be helpful to have an indication of interest in the later workshops, in advance of submission of a proposal. Organised by Jessica Barker and Ann Adams (The Courtauld Institute of Art)

External News and Events - Caroline Villers Research Fellows Double Lecture - ‘What are we that you should care for us?’ Painting and Repainting Monuments of the English Reformation

Wed, 22 May 2013 06:03:43 +0000

Caroline Villers Research Fellows Double Lecture Thursday, 25 October 2012 18.00 - 19.30, Kenneth Clark Lecture Theatre Dr Jim Harris (Caroline Villers Research Fellow 2011-12, The Courtauld) ‘What are we that you should care for us?’ Painting and Repainting Monuments of the English Reformation During his tenure as 2011-12 Caroline Villers Research Fellow, Jim Harris investigated two groups of late sixteenth- and early seventeenth-century tomb monuments in London churches, at St Margaret’s Westminster and St Olave Hart Street. By examining the evidence preserved in the paint layers of their polychrome surfaces, the project sought to understand something of the fate of these remarkable sculptures over the past four centuries and the ways in which their changing appearance has reflected shifting attitudes to colour in church interiors and to the objects that comprise the English liturgical environment. This lecture will discuss the results of these technical examinations and consider the variety of ways in which their subjects have been cared for, or not cared for, during the course of their long lives. Jim Harris took his BA, MA and PhD at The Courtauld Institute of Art where he was the Andrew W Mellon Foundation/Research Forum Postdoctoral Fellow for 2011 and Caroline Villers Research Fellow for 2011-12. He was recently appointed Andrew W. Mellon Foundation Teaching Curator at the Ashmolean Museum of Art and Archaeology in the University of Oxford, where he is continuing with research into English polychrome sculpture. Dr Pia Gottschaller (Caroline Villers Research Fellow 2012-13, The Courtauld) Drawing the Line: Straight Edges in Modern Abstract Art The conscious limiting of modern abstract painters to the use of colour, surface texture and mostly geometric forms in their art making meant that each of these individual compositional elements received unprecedented amounts of attention, by both the creator and observer. With the introduction of pressure-sensitive tape in Europe and the US in the late 1930s, artists were suddenly able to paint perfectly straight lines and edges of forms. Some artists, however, preferred to continue to painstakingly paint their lines free-hand, often with the argument that taped edges appear ‘anti-human'. This lecture will present the project’s three main research topics: how do these technical choices relate to the meaning of selected artists’ work, among them Piet Mondrian, Ben Nicholson, Barnett Newman, Mark Rothko, John McLaughlin and Bridget Riley? What implications does the use or refusal of tape have for their actual artistic process? And how or to which degree do we, from a neuroesthetic point of view, perceive these very subtle differences? Pia Gottschaller took a BA in art history from Ludwig-Maximilians-Universität in Munich and trained at The Courtauld Institute of Art to become a painting conservator (Dip 1997), then worked at the Harvard University Art Museums, Cambridge (1997-1998), and at the Menil Collection, Houston, where she participated in the conservation of the Rothko Chapel murals (1998-2000). She received her Ph.D. in 2003 from Technische Universität Munich for a thesis on the painting technique of Blinky Palermo. 2003-2005 Associate Conservator at the Whitney Museum of American Art, New York. 2005-2007 Postdoc Research Fellow at Bibliotheca Hertziana, Rome. 2009-2010 Assistant Fine Arts Director at German Academy Villa Massimo, Rome. Since 2011 freelance curator and author with a focus on postwar European and American art. Open to all, free admission Organised by Professor Aviva Burnstock

External News and Events - Lecture - Modes of Replication and the Loss of the Original: Processes of Art Making in Pre-Modern Europe

Wed, 22 May 2013 06:03:43 +0000

Research Forum Visiting Conservator Programme Michele Marincola (Sherman Fairchild Chairman and Professor of Conservation, Conservation Center of the Institute of Fine Arts, New York University) Tuesday, 30 October 2012 17.30 - 18.45, Research Forum South Room The Courtauld Institute of Art Lecture: Modes of Replication and the Loss of the Original: Processes of Art Making in Pre-Modern Europe Walter Benjamin’s seminal essay, ‘The Work of Art in the Age of its Technological Reproducibility’ draws a distinction between the autonomous aesthetic experience generated by unique art objects of the pre-modern era, and the effect on the viewer of mechanically reproducible media of the twentieth century, especially photography and film. This lecture will seek to complicate his differentiation by looking closely at the processes of production in pre-modern art, in particular for a group of objects we might term ‘unique multiples’. Examples of serial sculpture-making from the Renaissance to the 19th century suggest that the reproduction of works of art was concerned with more than simply the imitation of an original image. For certain types of pre-modern objects, it can be argued that an original does not even exist, a situation more familiar to us from contemporary art. Open to all, free admission Organised by Professors Aviva Burnstock and Susie Nash

Funding Opportunity - 2013 Terra Foundation Academic Awards, Fellowships, & Grants in American Art

Wed, 22 May 2013 06:03:43 +0000

2013 Terra Foundation Publication Grants & Essay Prize The deadline for all essay submissions and grant applications is January 15, 2013. International Essay Prize for American Art, Smithsonian American Art Museum This prize recognizes excellent scholarship by a non-U.S. scholar in the field of historical American art (pre-1980). Manuscripts should advance understanding of American art, demonstrating new findings and original perspectives. The prize-winning essay will be translated and published in the scholarly journal American Art. Additionally, the winner receives a $1,000 award and a $2,000 travel stipend to give a presentation in Washington, D.C., and meet with museum staff and fellows. For more information, please visit americanart.si.edu/research/awards/terra/. Publication Grants These grants provide support for publication projects on historical American art (pre-1980) that make a significant contribution to scholarship and have an international dimension. Projects may include translations of texts on American art; publications written by non-U.S. scholars or those with a significant number of non-U.S. contributors; and publications with a focused thesis exploring American art in an international context. Projects must be under contract for publication. Books may receive up to $30,000; articles may receive up to $3,000. For more information, please visit terraamericanart.org/grants/publication-grants/. 2013 Terra Foundation Academic Grants & Fellowships The deadline for all academic award, fellowship, and grant applications is January 15, 2013 unless otherwise indicated. Terra Summer Residency Fellowships in Giverny, France These eight-week residential fellowships provide the opportunity to pursue individual work and research in a community of peers while being mentored by senior artists and scholars. Ten fellowships are awarded annually to predoctoral students at an advanced stage of research and writing on pre-1980 American art and visual culture and to artists with a master’s degree. Candidates must be nominated by a professor at an academic institution. Fellows receive lodging, a $5,000 stipend (artists receive an additional $300 for materials), and a contribution to travel costs. For more information, please visit terraamericanart.org/terra-summer-residency. Smithsonian American Art Museum Fellowships in Washington, D.C. These one-year residential fellowships support full-time independent research by scholars from abroad researching historical American art (pre-1980) or by U.S. scholars who are investigating international contexts for American art. Fellows receive research and travel allowances, plus a stipend of $30,000 for predoctoral fellows and $45,000 for senior or postdoctoral fellows. For more information, please visit americanart.si.edu/research/opportunity/fellows/terra. Doctoral and Postdoctoral Research Travel Grants to the United States Six to nine grants are awarded annually to doctoral students and postdoctoral scholars outside the United States to travel to the United States for research on pre-1980 American art and visual culture. Doctoral students receive up to $6,000; postdoctoral scholars (those who received their degree within ten years of the application deadline) receive up to $9,000. Destinations and duration of travel are determined by fellows. For more information, please visit terraamericanart.org/research-travel-grants. Academic Program Grants These grants provide support for symposia, colloquia, and scholarly convenings on American art that take place in Chicago or outside the United States; or that take place within the United States and examine American art within an international context and/or include a significant number of international participants. Letter of inquiry deadlines: December 14, 2012, and March 14, 2013. For more information, please visit terraamericanart.org/academic-program-grants. 2013 Terra Foundation Postdoctoral Teaching Fellowships and Visiting Professorships The deadline for all professorship and fellowship applications is January 15, 2013. Postdoctoral Teaching Fellowship at the Courtauld Institute of Art, London, 2013-2015 This two-year postdoctoral fellowship supports advanced inquiry in the history of American art, conservation, and museum studies and is integrated with the postdoctoral fellowship program of the Courtauld Institute of Art Research Forum. The selected fellow teaches three historical American art courses, participates in scholarly activities organized by the institute, and organizes an international scholarly event. Fellow receives a $134,564 stipend (over two years). For more information, please visit courtauld.ac.uk. Postdoctoral Teaching Fellowship at the Institut National d’Histoire de l’Art, Paris, 2013-2015 This two-year postdoctoral fellowship focuses on the history of American art and visual culture. The selected fellow teaches four semester-long courses to undergraduate and master’s-level students at a French university, participates in local seminars at the Institut National d’Histoire de l’Art and at the hosting university, and organizes academic programs on related research topics. The fellow receives a $107,000 stipend (over two years). For more information, please visit inha.fr. Visiting Professorships at the Courtauld Institute of Art, London, 2013-2015 Two professorships are available at the Courtauld Institute to present the best recent scholarship on historical American art. A twelve-week professorship requires administering one full-term course integrated with the institute’s curriculum and participating in other scholarly activities. A one-week intensive professorship entails a public scholarly event, a seminar, and a special visit to a London gallery, archive, collection, or library relevant to American art history. Stipends are determined by seniority of the scholars. For more information, please visit courtauld.ac.uk. Visiting Professorships at the Institut National d’Histoire de l’Art, Paris, 2013-2015 These eight-week visiting professorships focus on the history of American art and visual culture. Visiting professors give lectures and seminars at a French hosting university and participate in workshops, conferences, and other scholarly gatherings. One visiting professorship is available for each academic year. Visiting professors receive a $32,500 stipend. For more information, please visit inha.fr. Visiting Professorships at the John F. Kennedy Institute, Freie Universitat Berlin, 2013-2015 These three-month visiting professorships focus on the history of American art and visual culture. Visiting professors offer specialized courses, seminars, and lectures and participate in the larger academic community throughout their stay. Two professorships are available for each academic year. Visiting professors receive a $36,000 stipend. For more information, please visit jfki.fu-berlin.de. Terra Foundation for American Art 29 rue des Pyramides 75001 Paris – France T: 33143206701 www.terraamericanart.org

External News and Events - The Burlington Magazine Art Historiography Seminar Series

Wed, 22 May 2013 06:03:43 +0000

The Warburg Institute - The Burlington Magazine Art Historiography Seminar This series investigates the changing histories of art produced by successive generations of art critics and art historians from the nineteenth century till the present. The seminar will explore the canonical formats of art-historical writing (connoisseurship, art criticism, and academic art history) but also aims to encourage discussion on how external factors shaped the construction of art history; it will include interpretations produced by museums, commercial galleries, auction houses and various types of art press. The series brings together scholars working on similar, often intersecting subjects, with the aim to share ideas and promote further research. Attendance to each seminar is free. Lecture Room, The Warburg Institute, Woburn Square, London WC1H 0AB All seminars start at 16.30. Free entrance, without a readers’ ticket. 29 October Samuel Shaw, 'Like an inspired Baedeker': William Rothenstein as Art Writer. 3 December Rosalind McKever, A primordial tomorrow: Primitivism and the Italian Primitives through Futurist eyes 14 January Paul Hills, Writing on Renaissance colour: Adrian Stokes and John Shearman 4 February Giovanni Gasbarri, 'The greatest discovery of our century': ‘Byzantine’ forgeries and the strange case of Sacro Tesoro Rossi 11 March Susanna Avery-Quash, Connoisseurship at the National Gallery: the impact of Sir Charles Eastlake as first Director For information on this seminar please contact Barbara Pezzini, pezzini@burlington.org.uk

External News and Events - Lecture - 'Forging Ahead: The Jägers-Beltracchi Case and the evolving role of scientific and technical art historical analysis in authentication'

Wed, 22 May 2013 06:03:43 +0000

Thursday, 8th November 2012 Forging Ahead: The Jägers-Beltracchi Case and the evolving role of scientific and technical art historical analysis in authentication Dr. Nicholas Eastaugh Art Access & Research Ltd., London, and the Pigmentum Project, University of Oxford Wolfgang Beltracchi is currently serving out a sentence for perhaps one of the largest art fraud cases of recent times: dozens, if not hundreds, of works purportedly by German Expressionist and other modern masters such as Derain and Ernst produced across several decades that are calculated to have earned the gang tens of millions of Euros. But what are the further implications for the art world? How, for example, could such a large group of works in a wide range of styles get past so many vigilant specialists for so long? Moreover, why did material analysis, a key component in the ultimate identification and exposure of the fakes, only come into play so late in the day? The Beltracchi case, as others such as the prevalence of fakes in the Russian art market and American Abstract Expressionism do, presents a direct challenge to us. While the root motives may be typically financial, the end results include undermining the legitimate art market and corrupting our understanding of art history. In this lecture Dr. Eastaugh, whose study of the so-called Rotes Bild mit Pferden painting triggered the original arrest of Beltracchi, will examine the background to the case, discuss the wider technical findings on the Beltracchi corpus and draw lessons from the strengths and weaknesses exposed in the field’s current approaches to questions of authenticity. Dr. Nicholas Eastaugh originally trained as a physicist before studying conservation and art history at the Courtauld Institute of Art, London, from where he also received his doctorate. Additionally, Dr. Eastaugh is currently an Honorary Visiting Fellow at the University of Oxford. He jointly established the Pigmentum Project, an interdisciplinary programme aimed at harnessing both science and art history to further the study of historical pigments that led to the publication of the well-known Pigment Compendium. For 25 years Dr. Eastaugh has also been a consultant in the scientific study of paint and paintings, with a worldwide range of clients that includes numerous museums and other organisations, all major auction houses, as well as many leading dealers, numerous private collectors and conservation studios. In 2009 he co-founded Art Access and Research Ltd. with the aim of furthering the application of science in art history as well as widening access to scientific and technical art history methods in authenticity studies. Doors open at 6pm. In the Grand Robing Room at Freemason's Hall, 60 Great Queen Street London WC2B 5AZ. Close to both Covent Garden and Holborn Tube Stations. Tickets: Icon members: £10, non- members: £15. Free wine and cheese inc. in price of ticket. Please register by sending your name and stating if you are an Icon member. Your name must be on the security list no later than Tuesday, 6th November 2012. RSVP Clare Finn +44 20 7937 1895 or finnclare@aol.com

External News and Events - Event - Australian Painting in Britain: Cultural Diplomacy, Art and National Identity

Wed, 22 May 2013 06:03:43 +0000

AUSTRALIAN PAINTING IN BRITAIN: CULTURAL DIPLOMACY, ART AND NATIONAL IDENTITY Anatomy Museum, 6th floor, King's College Strand Campus 2/10/2012 (09:00-17:00) Presented by the Menzies Centre for Australian Studies. Attendance is free. Please book via our eventbrite page, or just turn up on the day. A symposium to commemorate the 50th anniversary of the Australian Painting: Colonial, Impressionist, Contemporary at the Tate Gallery in 1963 (first shown 1962 in Australia) Full details at http://www.kcl.ac.uk/artshums/ahri/centres/menzies/eventrecords/auspaint.aspx

External News and Events - Ford Madox Brown & the Victorian Imagination Workshop

Wed, 22 May 2013 06:03:43 +0000

Ford Madox Brown & the Victorian Imagination Workshop Northumbria University, Newcastle-upon-Tyne Friday 9 November 2012 Venue: Squires Building, Rm 210; 12.30 am – 5.15 pm Is Ford Madox Brown the most misunderstood and under-appreciated of all the great Victorian artists? During the artist’s lifetime his works were defined by critics as chaotic, confusing, disturbing, lacking unity or unsophistication. Ruskin reckoned that Brown’s obsessive vision explained an art that drained life from the things it represented. This ‘traditional’ view dominated until the 1980s when many ‘new’ art historians began to use key works by Brown to address Victorian attitudes to social topics. This workshop brings together fresh research on Brown’s critical aspirations and artistic achievements underpinned by an appreciation for Brown’s romantic critique of academic culture and subscription to a belief in art’s depiction or embodiment of the full richness and particularity of human experience. Schedule 12.30 Introduction & Welcome 12.40 Paul Barlow (Northumbria) 'Brown’s Hogarth' 13.10 Colin Trodd (Manchester) 'Ford Madox Brown and the William Blake Brotherhood' 13.40 Colin Cruise (Aberystwyth) 'Composing meanings: space and invention in Ford Madox Brown’s paintings, 1843-55' 14.10 Break 14.30 Elizabeth Prettejohn (York) 'Ford Madox Brown and History Painting' 15.00 Nicholas Tromans (Kingston) 'Drawing Teeth: Reflections on Brown’s Mouths' 15.30 Matthew Potter (Northumbria) 'Ford Madox Brown as Art Teacher' 16.00 Roundtable Discussion: Manchester Art Gallery Exhibition: 'Ford Madox Brown: Pre-Raphaelite Pioneer' 16:45 Open Session 17.15 End There is no registration fee but spaces at the workshop are limited so please email matthew.potter@northumbria.ac.uk to reserve a place.

External News and Events - Lecture - Kasper Koenig, ‘Skulptur Projekte Münster 1977-2007'

Wed, 22 May 2013 06:03:43 +0000

Each year the Henry Moore Institute launches the new academic year with a day of tours and talks about our programmes and collections culminating with our Annual Guest Lecture, which is open to all. The 2012 Keynote Lecture is with Kasper Koenig. 6pm Leeds Art Gallery lecture theatre Kasper Koenig, ‘Skulptur Projekte Münster 1977-2007' From the age of 23, when he was invited to organise a show of work by Claes Oldenburg at the Moderna Museet in Stockholm, Kasper Koenig has been curating groundbreaking contemporary exhibitions. He co-founded Skulptur Projekte Münster in 1977, realising proposals by Richard Serra, Joseph Beuys, Ulrich Rukriem, Claes Oldenburg, Carl Andre, Richard Long, and Donald Judd, and returned to curate the once-a-decade exhibition in 1987, 1997, 2007 and 2017. Skulptur Projekte Münster is the most important large-scale periodic study of sculpture. In the 1970s, Koenig was editor of Press of the Nova Scotia College of Art and Design. After returning to Germany to teach at the Academy of the Fine Arts in Duesseldorf, he served as professor and later president of the Staedelschule in Frankfurt, where he became the founding director of the exhibition space Portikus. He has served as director at Museum Ludwig in Cologne between 2000 and 2012, developing numerous exhibitions including, most recently Before the Law: Post-War Sculpture and Spaces of Contemporary Art. In this lecture Koenig talks about the four Skulptur Projekte Münster that have taken place over the last forty-five years, discussing their achievements and challenges, and looking ahead to 2017. The event is free. Booking essential. Contact Kirstie Gregory, kirstie@henry-moore.org Kirstie Gregory Research Programme Assistant

External News and Events - Call for Papers - 'Visual Culture In Crisis: Britain C.1800-Present'

Wed, 22 May 2013 06:03:43 +0000

Visual Culture In Crisis: Britain C.1800-Present University Of York, Humanities Research Centre, 10 May 2013. Keynotes: Professor Christopher Pinney (Ucl) And Dr Eric Stryker (Southern Methodist University). The word ‘crisis’ is frequently invoked to assess Britain’s current place in the world: crises in finance, journalism, politics and geopolitics dominate the media, all of which see the term used both to reflect, and manipulate, a sense of uncertainty and confusion on personal, national, and global levels. Taking its cue from Hardt and Negri’s location of ‘crisis’ as central to European modernity, this conference seeks to explore how visual cultures in Britain during the nineteenth and twentieth centuries have simultaneously responded to – and emerged from – the successive crises that have been deemed to constitute the country’s (post)colonial modernity. Crisis might signify avant-garde break-through and embrace of modernity. It might impel artistic breakdown or flight from modernity, anarchic celebration or resistance in the form of protest. Crisis in visual culture could above all be emblematic of the contingent nature of personal and political identities. As both a product and a precipitant of the inter-state and inter-subjective networks that have emerged in conjunction with imperialism and economic globalisation, crisis can articulate a disharmony between metropole and colony, centre and periphery, state and individual, working constantly to disrupt the geographical, cultural and class boundaries of ‘Britain’. We welcome submissions from artists and scholars across the humanities and social sciences, but ask that papers address crisis primarily in relation to visual and material cultures. Possible topics include, but are by no means limited to: (Post)colonial crises, from the multiple insurgencies against British rule, to the strategic posturing of the ‘Great Game’, the competitive expansionism of the Scramble for Africa, inter-war imperial geopolitics and the post-1945 rhetoric of ‘decline’ associated with events like the 1956 Suez Crisis Cultures of protest, including socialist, anti-capitalist resistance; anti-war and anti-nuclear demonstration; feminist and queer challenges to normative constructions of gender and sexuality; and the Blk Art Group’s demand for political and aesthetic recognition The experiences, effects and challenges of immigration, emigration and diaspora Psychological and philosophical crisis, which could range from crises of faith, epistemology and perception, to psychoanalytical and existential crisis The rise of the illustrated press and its attendant demand for political caricature and satire, photojournalism, war reportage, and military technologies of vision Individual responses to environmental crisis (William Blake, Gustav Metzger, Patrick Keiller), social crisis (William Morris, Walter Crane) and (geo)political crisis (Richard Hamilton, Mona Hatoum) Avant-garde attitudes to modernity and industrialisation in terms of so-called ‘embrace’ or ‘retreat’, as well as at material, conceptual and institutional levels: Pre-Raphaelitism, Aestheticism, Arts and Crafts, The Omega Workshop and Bloomsbury Group, Vorticism, Surrealism, Pop, Signals, London Filmmakers' Cooperative. Please email abstracts of up to 500 words to Sean Willcock and Catherine Spencer at visualcultureincrisis@gmail.com by Monday 10th December 2012.

External News and Events - Lectures - Courtauld Institute Research Seminars

Wed, 22 May 2013 06:03:43 +0000

Research Seminars programme (autumn term 2012) MODERN AND CONTEMPORARY Monday, 8 October – Luke Skrebowski (University of Cambridge): After Hans Haacke: Tue Greenfort and the Problem of an Eco-Institutional Critique. 6.00pm, Research Forum South Room Monday, 22 October – Malgorzata Misniakiewicz (The Courtauld Institute of Art): The Dialogic Principle in Mail Art. 6.00pm, Research Forum South Room Monday, 5 November – Jordan Tobin (The Courtauld Institute of Art): Bordering on the Supreme: Malevich 1913-1915. 6.00pm, Research Forum South Room Monday, 19 November – Julie Solovyeva (The Courtauld Institute of Art): Dance-speak: On Oral Interaction in Contemporary Dance. 6.00pm, Research Forum South Room Monday, 3 December – Tamara Trodd (The University of Edinburgh): Machine Aesthetics on Film. 6.00pm, Research Forum South Room EARLY MODERN Monday, 1 October – Martin Myrone: "Like a great circus tent": Folk Art, Art History and the Museum. 6.00pm, Research Forum South Room Monday, 29 October – Eric Jorink (Andrew W Mellon Foundation /Research Forum Mellon MA Visiting Professor, The Courtauld; and Researcher at the Huygens Institute for Netherlands History [Royal Dutch Academy of Arts and Sciences] in The Hague): From Amsterdam to London. Hans Sloane and the Dutch Culture of Collecting. 6.00pm, Research Forum South Room Monday, 12 November – Tom Balfe (The Courtauld Institute of Art): Fake Fur: the Animal Body Between Pleasure and Violence in the Work of Jan Fyt. 6.00pm, Research Forum South Room Monday, 26 November – Richard Taws (University College London): Images in the Air: Telegraphic Vision in Post-Revolutionary France. 6.00pm, Research Forum South Room HISTORY OF PHOTOGRAPHY Wednesday, 14 November – Hope Kingsley (Education and Collections, Wilson Centre for Photography): An Axis Between Old and New: Exhibiting Photography at the National Gallery. 5.30pm, Research Forum South Room. Further information here: http://www.courtauld.ac.uk/researchforum/events/2012/autumn/nov14_HistPhoto.shtml RENAISSANCE Wednesday, 7 November – Tom Henry (University of Kent from January 2013): Men in Black. Signorelli, Raphael and Renaissance Cloak-Giving (with a discussion of the Signorelli and Raphael exhibitions of 2012). 5.30pm, Research Forum South Room Wednesday, 5 December – Sue Jones (The Courtauld Institute of Art): Jan van Eyck's Inscriptions: Texts, Images and Materials. 5.30pm, Research Forum South Room MEDIEVAL WORK-IN-PROGRESS Wednesday, 31 October – Andrea von Hülsen-Esch (University of Duesseldorf): Old Women and Witches: Reflections on the Visual Roots of Long-Lived Prejudices. 5.30pm, Research Forum South Room Wednesday, 21 November – Peter Kidd (freelance researcher): The St Albans Psalter Under the Microscope. 5.30pm, Research Forum South Room All seminars are free and open to all Further information : http://www.courtauld.ac.uk/researchforum/calendar.shtml Research Forum The Courtauld Institute of Art Somerset House, Strand, London WC2R 0RN

External News and Events - Call for Papers - Art & Market

Wed, 22 May 2013 06:03:43 +0000

Art & Market (working title) | Kunstlicht Vol. 34 (2013) no. 1 Art is a luxury good. During every period of economic stagnation the cultural sector’s dependence on money is painfully emphasized. The two traditional benefactors, the state and the private sector, are subject of an age-old debate: is it preferable to be endorsed by state money or by the market? Art that is independent of commerce is of vital importance for society, is how the maxim goes; therefore this freedom should be secured with public funds. Directly opposing this belief is the neoliberal conviction that artist and institution should be able to stand on their own two feet; art that is important enough will be supported by individuals and private parties, the argument goes. This ideological division of opinions has animated the art world since at least the nineteenth century, and now the line between public and private is about to be unsettled once more. Public actors disappear or are withdrawn in the expectation that the market will take control of the no-man’s land. The implication of this development is the necessary reconfiguration of the rules and values within the art world itself. What this will result in is unclear. As the art world’s infrastructure in many countries is challenged, predominantly so in the Netherlands and Belgium, and, as a response, stimulated in others, such as Germany, the moment is there to pose questions that touch upon both the ideological, practical, and historical aspects of this matter. Do neoliberal approaches to art, that see no objection in large economic interests, have a corrupting influence on art’s integrity, or are they the most qualitatively sustainable answer in times of crisis? Or is ‘good’ art per definition unprofitable and therefore outlawed in a capitalist market economy? Is a critical attitude towards state budget cuts and the commercial forces that are unleashed as a result, a necessary ideal, or spurred by the self-interest of the art world, which benefits from unconditional state support? In what way do museums relate to the (art) market? How do the operations of galleries and dealers change? How do auction houses react to the developments? How do the roles of the patron, the sponsor and the collector evolve? How does the present condition of the art market differ from previous periods? Can the contemporary art world learn from the financial ethics of past times, or can we put today’s hardships into perspective by comparing them to historical situations? This publication is a platform, both for historical and contemporary case studies, for political and theoretical debate, but also to transcend ideological oppositions: in search of the fundamental problems and sustainable solutions. Doesn’t the time demand a new theoretical approach to the art market? Proposals (200 – 300 words) with attached résumés can be sent to redactie@tijdschriftkunstlicht.nl before 22 October 2012. Selected authors will be invited to write a 2,000 – 3,000-word paper (excluding notes). Papers may be written either in English or in Dutch, although we prefer native Dutch speakers to write in their native language. Authors who publish in Kunstlicht will receive three complimentary copies. Kunstlicht does not provide an author’s honorarium. Two years following publication, papers will be submitted to the freely accessible online archive at www.tijdschriftkunstlicht.nl/site/index.php/archief. Contact: Maeike Kimsma, Jesse van Winden. redactie@tijdschriftkunstlicht.nl Deadline for submission: 22 October 2012

External News and Events - Frank Davis Memorial Lecture Series - Autumn 2012

Wed, 22 May 2013 06:03:43 +0000

Frank Davis Memorial Lecture Series - Autumn 2012 Sponsored by the F M Kirby Foundation and The Prince’s Foundation Histories in Transition The 2012 Frank Davis Memorial Lecture Series explores intersections between modernity and historicism worldwide. It extends and enriches the Research Forum project Revival: Utopia, Identity, Memory and interacts with the provocative Research Forum theme, ‘The Quick and the Dead’. Spanning art, architecture and design across America, Europe and Asia from the nineteenth century to the present, each lecture demonstrates the allure and the value of the past in forming challenging responses to new circumstances. Interrogating the nature of revival, historicism and transnationalism, the series engages with nature and artifice, ritual and memory, and the flexible meanings of materials, images and structures that simultaneously inhabit traditional and innovative territory. Traditionally sponsored by the F M Kirby Foundation, this year the Frank Davis Memorial Lecture Series is in addition sponsored by The Prince’s Foundation for Building Community; Transforming Lives through Engaging, Educating and Empowering People. “The Prince's Foundation believes that sustainably planned, built and maintained communities improve the quality of life of everyone who’s part of them. They help us both live better at a local level and start dealing with the broader global challenges of urbanisation and climate change. Our goal is a future where all of us can take part in making our communities more sustainable. We're working with everyone from local residents groups to governments to make it happen.” See www.princes-foundation.org Lectures are at 5:30pm in the Kenneth Clark Lecture Theatre: Tuesday 9 October Mark Cheetham (Professor, University of Toronto) and Mariele Neudecker (artist; and senior lecturer Bath Spa University) Re-Inventing Landscape Traditions for the Present Tuesday 23 October Tim Barringer (Paul Mellon Professor of the History of Art, Yale University) Broken Pastoral and the English Folk: Art and Music in Britain, 1880-1914 Tuesday 20 November Rémi Labrusse (Professor, Université de Paris Ouest - Nanterre) Orientalism and "Islamophilia" Tuesday 27 November Tapati Guha-Thakurta (Director and Professor in History, Centre for Studies in Social Sciences, Calcutta) The Dead Object of Public Statuary: Sculptural Iconographies of Colonial and Postcolonial Calcutta Tuesday 4 December Toshio Watanabe (Professor, University of the Arts London; and Director, Research Centre for Transnational Art, Identity and Nation [TrAIN]) Ryoanji Garden as the Epitome of Zen Culture: The Process of Transnational Canon Formation This year the Frank Davis Memorial Lecture Series will include two seminars which will take place in the Research Forum South Room as follows: Monday 8 October, 12.00 - 2.00pm Mark Cheetham (Professor, University of Toronto) Landscape & Language: from Conceptualism to Ecoaesthetics Tuesday 23 October, 12.00 - 2.00pm Tim Barringer (Paul Mellon Professor of the History of Art, Yale University) Aspiring to the Condition of Music Open to all, free admission Organised by Dr Ayla Lepine

External News and Events - Lecture - Before Banksy: Ernest Pignon-Ernest

Wed, 22 May 2013 06:03:43 +0000

Before Banksy: Ernest Pignon-Ernest Friday, 12 October 2012 12.30 - 14.00, Research Forum South Room Ernest Pignon-Ernest (b. 1942, Nice) lives and works in Paris. Since the mid 1960s – through May '68 and after – he has pasted provocative images onto walls and in urban spaces: “...I try to understand whatever is visible – what happens: space, light, colours...but at the same time I attempt to perceive the invisible or no longer visible: history, hidden memories and symbolic dimensions… I interpose a fictional element, an image, into a real place.....which aims both to transform this place into an artistic space and to work on its memory: revealing, disrupting, perturbing, exacerbating...” The key forerunner of Banksy in Britain, Ernest Pignon-Ernest is one of the few living artists who appeals not only to artists and art critics, but to the general public. Yet despite his fame in France, he is unknown in the English-speaking world. This event is a unique opportunity to meet the artist in person and discover his work, which asks questions about art institutions, art history and not least, politics. Jacopo Galimberti will provide a short introduction to Ernest Pignon-Ernest's art practice, which will be followed by a Q & A with the artist. Open to all, free admission Organised by Jacopo Galimberti with Professor Sarah Wilson

External News and Events - Lecture - Contextualising Contemporary Asian Art

Wed, 22 May 2013 06:03:43 +0000

Contextualising Contemporary Asian Art Friday, 12 October 2012 18.00 - 19.30, Research Forum South Room Speakers: Tan Boon Hui (Singapore Art Museum) Dr Wang Chunchen (Museum of the Central Academy of Fine Arts, Beijing) Zehra Jumabhoy (The Courtauld Institute of Art) In recent years, contemporary Asian art has gained admittance to prestigious Western institutions, international biennials and art fairs on an unprecedented scale. While the heightened visibility of Asian art is regarded by many as a positive development, the papers presented in this symposium seek to put the wide variety of artistic practice from the Asian region into critical context by examining socio-historical, political and conceptual specificities of artistic production, display and reception. The papers will be followed by a panel discussion (chaired by Dr Wenny Teo), Q&A and an informal reception. Abstracts are available on the website: http://www.courtauld.ac.uk/researchforum/events/2012/autumn/oct12_ContemporaryAsianArt.shtml Open to all, free admission Organised by Dr Wenny Teo and Zehra Jumabhoy (The Courtauld Institute of Art)

External News and Events - Conference - Artists Work in the Museum: histories, interventions and subjectivity

Wed, 22 May 2013 06:03:43 +0000

Artists Work in the Museum: histories, interventions and subjectivity Victoria and Albert Museum, London, SW7 2RL Friday 12 & Saturday 13 October, 10.00-17.15 This conference will bring together artists, curators, historians and museum professionals to explore the history of the artist as museum professionals, the museum environment and archive as the content of artistic production, the hidden subjectivity of the many artists working in museums and galleries alongside their practice and dynamic roles they play in 21st century museums and galleries. Speakers include: Charles Saumarez Smith, Susanna Avery- Quash, Calum Storrie, James Putnam, Martha Flemming, Zandra Ahl, Beatrice Von Bismarck, Teresa Gleadowe, Sally Tallant and Neil Cummings. In collaboration with the Museums and Galleries History Group. Per day: £25, £20 concessions, £10 students Contact the bookings office on 020 7942 2211 Book online at http://www.vam.ac.uk/whatson/event/1966/artists-work-in-the-museum-histories-interventions-and-subject-3204/

External News and Events - Conference - 'Display: Consume: Respond - Digital Engagement with Art'

Wed, 22 May 2013 06:03:43 +0000

Computers and the History of Art www.chart.ac.uk CHArt 28TH ANNUAL CONFERENCE Display: Consume: Respond - Digital Engagement with Art Thursday 15 - Friday 16 November 2012 The Gallery, 70 Cowcross Street, London EC1M 6EJ This year's conference will look at how new developments in information and communications technology affect the ways in which we engage with art. New forms of digital display or emerging modes of viewing art may have profound effects on both our understanding of the artwork itself (the way we consume it) and our ability or appetite for describing, curating and managing it (how we respond to it). The morning session on Friday 16th is @ Free World Centre, 60 Farringdon Road, London EC1R 3GA Booking information, a draft programme and paper abstracts are available online at http://www.chart.ac.uk/chart2012/. Deadline for reduced rates: 15 October 2012.

External News and Events - Conference - New Perspectives on the Romantic Period

Wed, 22 May 2013 06:03:43 +0000

New Perspectives on the Romantic Period A student-led conference in association with the Tate Research Centre: British Romantic Art 6 November(11.30-18.00) and 7 November (10.00-16.00), Tate Britain The Tate Research Centre: British Romantic Art aims to promote research on British art from around 1770 to 1850. Tate’s collection of watercolours and drawings, and major holdings of the work of William Blake and John Constable is among the greatest in the world. With a special focus on Blake, Constable and Turner, the Centre offers a programme of events and activities aimed at encouraging research on these artists and on the Romantic era as a whole, as well as the legacy of Romantic art and culture in Britain and around the world. This two-day conference, organised by PhD students in collaboration with Tate, will feature papers by British and international post-graduates working on the Romantic period with contributions focusing on British art and visual culture of the period c.1770–1850. Papers will offer new perspectives on the iconic artists of the Romantic period: Turner, Constable, Blake, David Wilkie, Edwin Landseer, John Sell Cotman, John Martin, James Barry and Benjamin Robert Haydon, all of whom are represented in the Tate collection. Themes under discussion in the conference will include the material concerns of artists, examining the use of different media artists’ multidisciplinary interests and approaches, and their self-representation and identity, as well as landscape and travel, political and religious themes, and cross-period connections. The conference will make use of Tate Britain’s resources, with the chance to get up close to works in the collection and see items that are rarely shown in public. Attendance to the conference is free and open to current students. Places are limited, so please book early to secure a place: newperspectives@tate.org.uk Conference blog: britishromanticart.tumblr.com Join the Twitter conversation at: #britishromanticart Programme 6 November 2012: 11.30-18.00, Tate Britain (Manton Studio) Session 1: Travel and Romantic journey Sarah Moulden, Cotman in Yorkshire: Patronage, Pencil, Resistance Aneta Lipska, Word-painting and 19th century aesthetic discourses in Marguerite Blessington’s Journals Session 2: Turner’s multidisciplinary practice Marion Martin, Mingling voices: Turner’s early exhibited works Christine Lai, ‘Perpetual Revolution’: J. M. W. Turner & Romantic Architecture Session 3: Prints Hayley Flynn (née Morris), Landscape in Blake: the Job Illustrations Esther Chadwick, Experiments in Liberty: Barry’s Phoenix and late-18th-century artists’ prints in Britain Session 4: Iconography of space and place Vivien Estelle Williams, The bagpipe as a national identifier: English v. Scottish Romantic portrayals Jordan Mearns, Romancing the Past: Mary, Queen of Scots and Sentimental Historiography in Late Eighteenth-Century British History Painting María Egea García, Artists’ Studios in English Painting: 1770-1850 7 November 2012: 10.00-16.00, Tate Britain (Manton Studio) Session 5: Material matters Sarah Gould, The Paradigm of texture in the works of Constable and Turner: redefining matter Alice Coombs, Glass and Paper: Manufacturing Experience in John Martin’s ‘The Last Judgement’, ‘The Great Day of His Wrath’ and ‘The Plains of Heaven’ Gabriella Szalay, Material Matters: Jan van Eyck in the Age of Romanticism Session 6: The body Thomas Ardill, Healing Miracles in British Art, c.1812-1823 Cora Gilroy-Ware, Turner’s Reclining Venus, 1828 Session 7: Romantic legacy Lee Hallman, Frank Auerbach, Leon Kossoff and the Legacy of British Romanticism Shannon Rollins, Anachronism as Aesthetic: Steampunk and J.M.W. Turner Laura Kuch, The Seed of Romanticism: In Search of the Blue Flower: Exploring the relevance of the German Romantics’ ideas in artistic creation today - An artist’s (re)search

External News and Events - Call for Papers - ‘Dialogues Between Life and Death’

Wed, 22 May 2013 06:03:43 +0000

18th Annual Medieval Postgraduate Student Colloquium: ‘Dialogues Between Life and Death’ A colloquium to be held on Saturday 2 February 2013 Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London WC2 This colloquium will address how communication and interactions between the living and the dead are depicted in art by focusing on the liminality, or the thresholds where these interactions take place. Papers should explore art objects or architectural structures that demonstrate the ways in which the living approached or experienced death and the afterlife, especially how such depictions reflected cross-cultural or geographical differences. For many in the Middle Ages, this issue would have involved how perceptions of Heaven, Hell and the Last Judgment were envisioned in art and the audience’s reception of such images. For others, it would have encompassed myths, magic and mysticism, and how they were used in communicating with those in the post mortem world or to reconcile the very idea of death. Such perceptions and behaviours generated artworks involving Apocalyptic images; legends like that of the Three Living and the Three Dead; visions and apparitions of saints, both in the afterlife and revisiting the living; the use of relics to communicate with saints; and legacies as dialogues between the dead and their descendants via objects such as coats of arms, wills and bequests, and badges and inscriptions. Papers could discuss liminal beings such as angels, demons, or other supernatural entities which cross the boundaries between the living and the dead; liminal spaces such as funerary chapels or tomb monuments; liminal experiences such as visions and visionary experiences; and the liminality of once-living materials (eg ivory and parchment) given an afterlife by the artisans who repurposed them into art objects. Possible topics may include but are not limited to: Depictions of visions and visitations, including annunciations, apotheoses, stigmata and dreams, as direct communication between the living and the otherworldly Relics, reliquaries, icons and other devotional and intercessory objects, along with saints’ vitae, as a material bridge between the living and the dead Apotropaic images used around liminal spaces such as doorways to protect the living from evil entities Architecture as transitional space between Heaven and Hell Cross-cultural and geographical differences in approaching and depicting life after death, both Christian and non-Christian, Western or non-Western Manuscripts such as Apocalypses and apocryphal scripture as evidence of medieval concepts of the afterlife The patronage by an individual of items as preparation for his or her death Group preparation for death through the cult of saints, including those that developed within the lifetime of the saint and those which developed after death Spolia and the reuse of materials or objects emphasising the regeneration of objects Medieval art history as an on-going dialogue between the living and the dead The Medieval Colloquium offers the opportunity for research students at all levels from universities in the UK and abroad to present their research and receive feedback in a friendly and constructive environment. We cannot offer travel subsidies for speakers, and therefore students from outside London are encouraged to apply to their institutions for funding to attend the colloquium. Please send proposals of 200–300 words, for papers of 15–20 minutes, to rachel.hapoienu@courtauld.ac.uk by 1 December 2012. http://www.courtauld.ac.uk/researchforum/events/2013/spring/feb02_18thMedievalPostgradColloquium.shtml

External News and Events - Conference - Russian Culture in Exile (1921-1953)

Wed, 22 May 2013 06:03:43 +0000

14.00 – 18.30, Friday 2 November (with registration from 13.30) 10.30 – 17.30, Saturday 3 November (with registration from 10.00) Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN Intended as a broad interdisciplinary project, this conference will be dedicated to the Russians who left after 1921, and who used to say: "We are not in exile, we are on a mission"; and those who stayed behind and, like Nikolay Punin, were condemned to internal exile and persecution. In the context of this international conference the following themes will be examined: the struggle of the Russian composers, historians, politicians, artists, art-critics, philosophers, scientists and writers to adapt to the new life in emigration, or under the new regime in the Soviet Union. How did those who left and those who stayed behind adapt? Did they adapt? What compromises did they have to make, and what effect did this have on their work? This conference is also planned to coincide with the launch of Natalia Murray's book The Unsung Hero of the Russian Avant-Garde. The Life and Times of Nikolay Punin, which was published by Brill Academic Publishers in June 2012. To book a place: £26 (£16 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 ‘Russian Culture in Exile’ conference. Organised by Natalia Murray (The Courtauld Institute of Art) and Maria Kokkori (The Art Institute of Chicago) on behalf of the Cambridge Courtauld Russian Art Centre. Further information and programme here: http://www.courtauld.ac.uk/researchforum/events/2012/autumn/nov02_RussianCultureinExile.shtml

External News and Events - CFP: The Terra Foundation for American Art International Essay Prize

Wed, 22 May 2013 06:03:43 +0000

The Terra Essay Prize recognizes excellent scholarship by a non-U.S. scholar in the field of historical American art (ca. 1500-1980). Ph.D. candidates and above are eligible to participate. Preference will be given to studies that address American art within a cross-cultural context and offer new ways of thinking about the material. A strong emphasis on visual analysis is encouraged. Manuscripts previously published in a foreign language are eligible if released within the last two years. For scholars from English-language countries, only unpublished manuscripts will be considered. The prize-winning essay will be translated and published in American Art, the Smithsonian American Art Museum's scholarly journal. We are pleased to announce an increased and enhanced prize award this year: the winner will receive a $1,000 cash award and a $2,000 travel stipend to give a presentation in Washington, D.C., and meet with museum staff and fellows. Contact and further information details For submission guidelines and a list of past recipients, visit www.americanart.si.edu/research/awards/terra/ Application Deadline: 15 January 2013

External News and Events - Seminar - Sacred Traditions and the Arts

Wed, 22 May 2013 06:03:43 +0000

Sacred Traditions and the Arts Thursday 11 October, 2012 18.00 – 19.30, Research Forum South Room, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN Dr Michaela Giebelhausen (University of Essex) Invisible Cathedral: Reconsidering the Sacred in Today’s Art Museum Professor Frances Spalding CBE (Newcastle University) Helen Sutherland, Patron and Collector: Art and Sacrament in the Fells The seminar on Sacred Traditions and the Arts is a joint venture between the Department of Theology and Religious Studies at King’s and The Courtauld. It seeks to place researchers in dialogue who are working on any aspect of the sacred and visual culture. It is open to all scholars and students who have an interest in exploring the intersections of religion and art regardless of period, geography or tradition. On 11th October, Dr Michaela Giebelhausen will present a paper titled Invisible Cathedral: Reconsidering the Sacred in Today’s Art Museum. Professor Frances Spalding will speak on Helen Sutherland, Patron and Collector: Art and Sacrament in the Fells. These papers both explore the boundaries of sacred experience and sacrament in relation to institutional and personal contexts. Art collecting, display strategies, and the importance of space and place will be foregrounded in relation to modern Europe. There will be ample time for discussion and questions following the papers. The event will be concluded by an informal reception. Open to all, free admission This seminar is jointly organised by: Professor Ben Quash (King’s College London) and Dr Ayla Lepine (The Courtauld Institute of Art)

Job Opportunity - Job opportunity Assistant Professor of French

Wed, 22 May 2013 06:03:43 +0000

The Department of French and Italian at the University of Colorado, Boulder invites applications for an Assistant Professor, Tenure Track, in the area of 19th c. French literature, culture, society. We are especially interested in a scholar who would enhance our current initiative to augment existing expertise in literary studies with a fuller inclusion of the cultural and social aspects of France and the Francophone world. PhD in French Language, Literature or other relevant fields by 8/1/13 required, along with native or near native fluency in French and ability to teach basic undergraduate French literature. All applications accepted electronically at https://www.jobsatcu.com, posting 818565, including; CV, 3 letters of reference, writing sample (French or English), transcripts,dissertation abstract. Review will begin 11/16/12 and continue until position filled. Please contact James Andrew Cowell at cowellj@colorado.edu for further information

External News and Events - Study workshop - Peter Lely: A Lyrical Vision

Wed, 22 May 2013 06:03:43 +0000

Peter Lely: A Lyrical Vision - Study workshop 14.30 – 18.30, Friday 19 October 2012 (with registration from 14.00) Research Forum South Room, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN This study workshop is organised in association with The Courtauld Gallery’s autumn exhibition Peter Lely: A Lyrical Vision (11 October 2012 – 13 January 2013). It will examine the remarkable but largely forgotten group of narrative paintings produced by Peter Lely (1618-80) before his appointment as Principal Painter to Charles II. Many of these works depict a pastoral world of shepherds, nymphs and musicians in idyllic Arcadian settings. Organised around The Courtauld’s enigmatic The Concert, the exhibition also includes an important group of little-known paintings loaned from historic private collections. By 1654 Lely was judged to be ‘the best artist in England’ but from then on, aided by a flourishing studio, he produced almost exclusively portraits. The exhibition and the study workshop aim to locate Lely’s production before 1660 within the literary and cultural contexts of the 1640s and 50s. A number of short papers will be followed by the opportunity for more informal discussion in the exhibition space. Ticket/entry details: £11 (free for Courtauld students but due to limited space advance booking is required) 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 ‘Peter Lely’ study day. For further information, email ResearchForumEvents@courtauld.ac.uk Organised by Caroline Campbell (The National Gallery/The Courtauld Gallery) PROGRAMME 14.00 – 14.30 Registration 14.30 – 15.00 Caroline Campbell (The National Gallery/The Courtauld Gallery): Welcome and introduction to the exhibition, Peter Lely: A Lyrical Vision 15.00 – 15.30 Karen Hearn (independent scholar) : Lely's Haarlem Context 15.30 – 16.00 Jeremy Wood (University of Nottingham): Lely and the Old Masters in London before 1660 16.00 – 16.30 COFFEE/TEA BREAK (Tea/coffee provided in Seminar room 1) 16.30 – 17.001 David Taylor (The National Trust): “That pow'rful Lilly, now awaken’d”: early pastoral portraits by Peter Lely 17.00 – 17.30 James Loxley (University of Edinburgh): Among the "modern Picts": Lely and Lovelace 17.30 – 18.30 Visit to the exhibition, discussion to be led by Joanna Woodall (The Courtauld Institute of Art) 18.30 RECEPTION (Front Hall)

Job Opportunity - Job - Art History Presenter for Online Film Series

Wed, 22 May 2013 06:03:43 +0000

"The Searchers Casting are looking for a genuine professor / teacher / lecturer of art age between 40 - 65 years old for a series of films that will be made for an online library of the Humanities. This will be an ongoing job that will last for at least 5 years and where filming would take place one day a month only. The payment is to be confirmed for the whole job but we wish to make a test run for corporate use only and the payment for this will be £350 for one day's filming which we will shoot on Tuesday 25th Sept. So what i'm looking for is genuine history of art teachers / professors who would be available to come and see the director, producer and myself for a casting and meet on this coming Friday 21st Sept with the hope that they may start filming on the following Tuesday. If the company I am working for win the bid the prospects of someone earning a good wage over the next 5 years is excellent. If interested please contact myself at : waynesearcher@mac.com or ring me direct on 07958 922829"

Museums & Exhibitions - Bursary - Subject Specialist Network: European Paintings Pre-1900 Research Bursary

Wed, 22 May 2013 06:03:43 +0000

SUBJECT SPECIALIST NETWORK: EUROPEAN PAINTINGS PRE-1900 RESEARCH BURSARY Supported by The Pilgrim Trust Applications are invited for a bursary to fund research focusing on pre- 1900 European paintings. European Paintings Pre-1900 is a Subject Specialist Network for UK museum professionals, led by the National Gallery. This network provides the opportunity to share knowledge, expertise and new ideas about these paintings, including looking at ways of improving public engagement through display and interpretation. The bursary will enable a museum or gallery professional to work for a sustained period on a particular piece of research into some aspect of pre-1900 European paintings (ie continental but not British Art for which there are other sources of research funding) in their organisation’s collection. The work could consist of research into one or more paintings for a particular purpose, e.g. an exhibition, a new display, a catalogue or other form of print or online publication. The research could focus on an artist, painting technique, subject matter, historical context or collection history. The research period is up to a year (approx November 2012 to end October 2013), but the project must have a defined public outcome and a defined deadline even if this is set beyond the period of the research. The successful applicants might use the funds to visit the National Gallery and other libraries and archives in London in the course of their research. The funding could also be used for a short period of research abroad. The National Gallery is happy to provide advice and guidance as requested. Funding The bursary is up to £1,000, to be spent on accommodation, travel and subsistence only (i.e. not staff salaries). Bursary holders will submit invoices (with receipts) for payment by the National Gallery. The applicant can propose the best means of using the budget to enable their study. As above, the National Gallery is happy to provide advice and guidance as requested. How to apply The application should include the following: a description of the project (600 words) proposed places of research – e.g. The National Gallery Library and Archive estimated use of funds outcomes, aims and achievements proposal for timescale of research and outcomes target audience for your research output information about the applicant together with a curriculum vitae a formal letter of support from a relevant senior member of staff At the end of the project, the candidates will be expected to produce a summary report (c 600) words which could be circulated to the SSN network and placed on the National Gallery website, for example. Applications should be sent by email to mary.hersov@ng-london.org.uk Mary Hersov, National Programmes Manager, The National Gallery, London Deadline for applications: Friday 5 October 2012 Applications will be considered by Susan Foister, Deputy Director, The National Gallery; Mary Hersov, National Programmes Manager, The National Gallery; and two members of the Advisory Committee for Research on European Painting: Ann Sumner, Director, Birmingham Museums and Alison Yarrington, Dean of Faculty of Arts and Social Sciences, University of Hull All applicants will be contacted by email to inform them of the selection results by 31 October 2012. If you have any questions, please contact Mary Hersov.

External News and Events - Prize - Art in Translation Student Prize 2012

Wed, 22 May 2013 06:03:43 +0000

Art in Translation Student Prize: £250 Art in Translation offers a fresh perspective on global art writing and practice, covering all areas of the visual arts. To expand our advisory network, to locate texts that lie outside the Western canon, and to engage young scholars in its project, Art in Translation is offering an annual prize of £250 for the best recommendation of a text worthy of translation and publication. The competition is open to registered University students of art history or related disciplines, either undergraduate or postgraduate. The recommended text must already have been published in a language other than English, and meet at least one of the following criteria: Groundbreaking within the field and in the broader field of visual studies Accurately reflects current concerns and issues in the subject area Highly representative of the source culture and methodology Valuable introductory text, opening an initial path into areas of research and scholarship unfamiliar to the target readership A classic text within the source language, not necessarily focused on the source culture A classic text within the source language, focused on the source culture A text that makes a significant contribution to the global practice and understanding of art history and visual culture To submit your idea, please download the Recommendation Form from www.artintranslation.org and send your completed form to artintranslation@bergpublishers.com Closing date: 31 October 2012

External News and Events - Event - Book Launch: The Sculpture of F.E. McWilliam

Wed, 22 May 2013 06:03:43 +0000

Book Launch: The Sculpture of F.E. McWilliam With introductory talk by co-authors Denise Ferran and Valerie Holman 19 September 2012, 7.15-8pm Henry Moore Institute Reception The Henry Moore Institute marks the occasion of the publication of The Sculpture of F.E. McWilliam with an evening wine reception at the Institute, and an introduction by co-authors Denise Ferran and Valerie Holman. Published by Ashgate in association with The Henry Moore Foundation, this book is a part of the British Sculptors and Sculpture series edited by Dr Penelope Curtis. The sculpture of F.E. McWilliam (1909-92) defied categorisation, with his long and productive career resulting in an impressively varied body of work. At the heart of his artistic practice lies a feeling for the human figure as an object of perception and a vehicle of sensation. His sculpture conveys precisely how certain movement or emotion is experienced, characterised by a sense of contained energy, imminent movement, or rest that is temporary and short-lived. F.E. McWilliam was described by Bryan Robertson in 1992 as ‘one of the truest artists to work in England this century’. Yet despite achieving great acclaim in his lifetime, McWilliam’s contribution to modern art has been unduly neglected in recent years. This book, the first to include a comprehensive catalogue of the artist’s sculpture, re-establishes McWilliam’s considerable artistic reputation. The Sculpture of F.E. McWilliam is available to purchase on the night at a 25% discount. The book launch follows an evening lecture at the Institute related to our current exhibition Sarah Lucas: Ordinary Things: 6pm: Dr Alison Rowley, ‘Fertile Objects: Penetralia, Sarah Lucas and English Modernism’ It is not necessary to book for the book launch but please contact kirstie@henry-moore.org if you would like to book for the lecture.

External News and Events - Panel Discussion - From Paper Architecture to Research Architecture - Institutionalising the Impossible?

Wed, 22 May 2013 06:03:43 +0000

Panel Discussion - From Paper Architecture to Research Architecture - Institutionalising the Impossible? 18:00 – 20:00, Friday 5 October Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN To coincide with Calvert 22’s solo exhibition of new work by leading Russian artist and architect Alexander Brodsky, The Courtauld Institute of Art and Calvert 22 host a panel discussion exploring conceptual design of the late Soviet period and its pertinence to contemporary international Research Architecture. Speakers Yuri Avvakumov (Utopia Foundation, Moscow), Alexander Brodsky (Moscow), and Ines Weizman (Department of Architecture and Spatial Design, London Metropolitan University) discuss their work in relation to the question of the institutionalisation of the impossible. The discussion will be followed by a reception Ticket/entry details: £5/£3 (students) – Payment (cash) on arrival at the door. No advance booking required. For further information contact klara.kemp-welch@courtauld.ac.uk Organised by Dr Klara Kemp-Welch (The Courtauld Institute of Art) and Lina Dzuverovic (Calvert 22)

External News and Events - Event - Artists work in the museum: histories, interventions and subjectivities

Wed, 22 May 2013 06:03:43 +0000

Artists work in the museum: histories, interventions and subjectivities Fri 12 October & Sat 13 October 2012 Hochhauser Auditorium in the Sackler Centre at the V & A http://www.vam.ac.uk/whatson/event/1966/artists-work-in-the-museum-histories-interventions-and-subject-3204/ This conference will bring together artists, curators, historians and museum professionals to explore the history of the artist as museum professionals, the museum environment and archive as the content of artistic production, the hidden subjectivity of the many artists working in museums and galleries alongside their practice and the dynamic roles they play in 21st century museums and galleries. Speakers include, Charles Saumarez Smith, Susanna Avery- Quash, Calum Storrie, James Putnam, Martha Flemming, Zandra Ahl, Beatrice Von Bismarck, Teresa Gleadowe, Sally Tallant and Michael Stanley.

External News and Events - Job - Assistant or Associate Professor of Architectural History

Wed, 22 May 2013 06:03:43 +0000

Position: Assistant or Associate Professor of Architectural History The Department of Art History at Dartmouth College invites applications for a full-time appointment in the architecture of the late antique through medieval periods in the Mediterranean world. We seek a scholar-teacher with a strong commitment to innovative research and undergraduate education. An interest and competency in the Islamic tradition is especially welcome. Candidates should be willing to participate periodically in directing the department’s foreign study program in Rome. Please send a letter of interest, current CV, and an essay, article, or dissertation chapter and arrange to have three letters of reference sent to the Chair of the Mediterranean Architectural History Search, Department of Art History, Dartmouth College, 6033 Carpenter Hall, Hanover, NH 03755-3570. Applications in digital form are also acceptable and should be sent to art.history@dartmouth.edu. Dartmouth is committed to diversity and encourages applications from women and minorities. The deadline is November 30, 2012.

External News and Events - Event - Shared Visions II,Art, Theatre and Visual Culture in the Nineteenth Century

Wed, 22 May 2013 06:03:43 +0000

Shared Visions II - Art, Theatre and Visual Culture in the Nineteenth Century Saturday 6 October 2012 School of Theatre, Performance and Cultural Policy Studies, Millburn House, Warwick University Supported by the Humanities Research Centre, Warwick University You are invited to attend this one day symposium which explores the relationship between art, theatre and visual culture in the nineteenth century. This event follows on from the ‘Shared Visions’ conference which took place at Warwick University in February 2012. Invited speakers will give papers and position statements that look across disciplinary boundaries to consider the issues which underlie the unprecedented level of interchange between theatre and the visual arts during this period. Programme 10.00 – 11.30: Welcome followed by Panel 1: Shearer West, University of Oxford, position statement Jim Davis, University of Warwick, Artists and Actors in the Age of Romantic Sociability Marcus Risdell, Curator, Garrick Club, Actor, painter, collector, photographer: Theatre and its collections 11.30 - 12. 00: Tea & Coffee 12.00 – 1.30: Panel 2 Catherine Hindson, University of Bristol, Grangerizing Theatre History: Public Events, Stage Celebrity and Visual Culture Kate Newey, University of Exeter, The Industrial Sublime David Mayer, University of Manchester, Trouble at t’ millpond: an early film and a late-Victorian stage 1.30 – 2.15: Lunch 2.15 – 3.45: Panel 3 Stephen Bann, University of Bristol, Exhibiting Theatricality: Further Thoughts on Delaroche Patricia Smyth, University of Warwick, ‘Unimaginable Illusion’: Emotional Response in Nineteenth-Century Art and Theatre Kurt Taroff, Queen’s University Belfast, The Spectacle Within: Symbolist Painting and Minimalist Mise-en-Scène 3.45 - 4.15: Tea & Coffee 4.15 – 5.00: Concluding Discussion followed by Drinks Reception. Symposium fee: £20.00 (£10.00 postgraduates) Registration is open: www2.warwick.ac.uk/fac/arts/theatre_s/staff/jim_davis/sharedvisions For further information on the symposium please contact patricia.smyth@nottingham.ac.uk or Jim.Davis@Warwick.ac.uk.

External News and Events - Exhibition - 'Mathieu Kleyebe Abonnec - An Italian Film (Africa Addio)'

Wed, 22 May 2013 06:03:43 +0000

MATHIEU KLEYEBE ABONNENC AN ITALIAN FILM (AFRICA ADDIO) Tower Works Engine House, Leeds 5 October 2012 – 21 December 2013 In the engine house of a former pin factory in Leeds, French artist Mathieu Kleyebe Abonnenc presents his latest film work, which, with the voices of local children, tells stories old and new of the exploitation of metal-rich African subsoils by foreign powers. Abonnenc’s new work confronts the contemporary and historic exploitation of copper in the Katanga region of Congo, a region that has been repeatedly ravaged since its colonization by Belgian King Leopold II in the 19th Century. Leopold looted small copper crosses, originally forms of currency made by a sect known as the ‘copper eaters’, that were shipped to Europe for industrial use. As a way of underlining the violence of the colonial act and its continuing contemporary enactment in the post-industrial context, Abonnenc has subjected several copper crosses, bought from private collectors to a process of recasting, with the help of a local foundry. The resulting film is the first part of a wider body of work that takes Jacopetti and Prosperi’s notorious 1960 film Africa Addio as a starting point to discuss the imperial nostalgia embodied by this film and by particular instances of modern art. Press Preview 4 October 5 – 6 pm For further information please contact Gill Park on gill@pavilion.org.uk or 0113 343 2718 Notes An Italian Film (Africa Addio), 5 October – 21 December, Tower Works, Globe Road, LS11 5QG. Open Weds 12 – 7.30 pm and Thurs – Sat 12 pm – 5pm Pavilion is a visual arts commissioning organisation that produces new work with exceptional contemporary artists. Each autumn two commissions are brought to fruition and exhibited in high potential sites across Leeds. www.pavilon.org.uk Mathieu Kleyebe Abonnenc (born French Guiana, lives and works in Paris) uses drawings, installations, photographs, interviews and archives, to counter collective amnesia and erasure of experiences and traumas. In 2011 he was commissioned by Gasworks to produce Foreword to Guns for Banta, which uses the films of pioneering film-maker Sarah Maldoror as a catalyst to ask whether the spirit of liberation movements of 60's Africa can be reactivated. His installation and performance work For Julius Eastman was presented at the Palais de Tokyo as part of La Triennale 2012: Intense Proximity. Partners Arts Council England, Brass Founders, Creative Space Management, Ecole des Beaux-Arts de Nantes Metropole, Homes and Communities Agency, Leeds City Council, Les Ateliers de Rennes

External News and Events - Job - 'Histoire de L'Art du Moyen Âge', Université Laval

Wed, 22 May 2013 06:03:43 +0000

Histoire de L'Art du Moyen Âge Poste de professeur, professeure au Département d’histoire. Poste à temps complet. Rang : adjoint. Entrée en fonction : 1er août 2013 Date de clôture du concours : 4 janvier 2013 Qualifications : Doctorat en histoire de l’art ou domaine équivalent obtenu au plus tard à la date d'entrée en fonction. Spécialisation en histoire de l’art du Moyen Âge (Ve - XVe siècle) : Orient et/ou Occident Description du poste : Enseignement aux trois cycles dans les programmes d’histoire de l’art. Enseignement de l’histoire de l’art du Moyen Âge du Ve au XVe siècle dans les différentes formes d’expression. Recherches et publications dans le domaine de spécialisation. Participation au fonctionnement du Département, de la Faculté des lettres et de l’Université. L’Université Laval est une université francophone où l’enseignement se donne en français. Valorisant la diversité, l’Université Laval invite toutes les personnes qualifiées à présenter leur candidature, en particulier les femmes, les membres de minorités visibles et ethniques, les autochtones et les personnes handicapées. La priorité sera toutefois accordée aux personnes ayant le statut de citoyen canadien ou de résident permanent. Un dossier en format PDF, comprenant une lettre de présentation, un curriculum vitæ, 3 lettres de recommandation (envoyées directement par courriel à la direction du Département), un chapitre de la thèse de doctorat accompagné de la table des matières de la thèse, ainsi que 2 publications pertinentes dans le domaine visé (en format papier si elles ne sont pas disponibles en PDF), doit parvenir au plus tard le 4 janvier 2013, à 12 h, à : hst@hst.ulaval.ca ou à l’attention de : Michel Fortin, directeur Département d’histoire Bureau 5309, Pavillon Charles-De Koninck Université Laval 1030, av. des Sciences-Humaines Québec (Québec) G1V 0A6 CANADA Les candidats et les candidates retenus après étude de leur dossier seront rencontrés entre le 7 et le 28 février 2013. Pour plus d’informations sur le Département d’histoire, voir http://www.hst.ulaval.ca.

External News and Events - Artists' work in the museum: histories, interventions and subjectivities

Wed, 22 May 2013 06:03:43 +0000

This conference will bring together artists, curators, historians and museum professionals to explore the history of the artist as museum professionals, the museum environment and archive as the content of artistic production, the hidden subjectivity of the many artists working in museums and galleries alongside their practice and the dynamic roles they play in 21st century museums and galleries.

Job Opportunity - Job - Tenure-Track Faculty Position in the History of Architecture and the Built Environment

Wed, 22 May 2013 06:03:43 +0000

Tenure-Track Faculty Position in the History of Architecture and the Built Environment Department of Art History, Faculty of Fine Arts Concordia University Concordia University’s Department of Art History invites applications for one tenure-track position in the field of the History of Architecture and the Built Environment for July 1, 2013. Taking advantage of its location in the Faculty of Fine Arts, the Department of Art History offers full undergraduate degree programs in Art History, Art History and Film Studies and Art History and Studio Art. Our MA program focuses on the art, visual cultures and built environments of North America, while students in our inter-university PhD program pursue a wide range of doctoral projects that are international, historically-diverse and theoretically-informed. With a complement of 12 full-time faculty members, the department is committed to a curriculum and research environment that acknowledges the diversity of methods in the fields of art history and theory and encourages students to become active contributors to the discipline as early as possible in their studies. We are interested in art historians who can examine the history of architecture and built environments in North America across all historical periods, using new interdisciplinary perspectives that encompass such concerns as sustainability and work within global contexts. Expertise in the architectures of at least one other region of the world would be advantageous. The successful candidate will be expected to teach a variety of undergraduate courses, some specific to architecture and others bringing architecture into new considerations of historical and contemporary interactions across cultures. From the outset, the candidate will also contribute teaching to the MA program and supervision for MA and PhD students, while maintaining an active research profile that includes, where appropriate, interdisciplinary undertakings. The candidate will be expected to participate in curriculum development and in university service involving committee and administrative work. Applicants should possess a completed PhD, teaching experience at the post-secondary level, a demonstrated ability to conduct and disseminate innovative research and a record of administrative and committee service. Although classes are taught in English, fluency in French would be considered a major asset. Submissions should include a covering letter, a curriculum vitae, a statement of teaching philosophy and interests, evidence of teaching effectiveness (including course syllabi and student evaluations), a research statement and writing sample, and the names and contact information of three referees, one of which must be the candidate’s department chair or dean or someone in a direct supervisory role. Applications should be submitted or postmarked on or before November 1, 2012 to: Mailing address: Dr. Catherine MacKenzie, Acting Chair, Department of Art History Concordia University 1455 De Maisonneuve Blvd. West, EV 3-820, Montreal, Quebec, H3G 1M8 Canada Tel: (514) 848-2424 ext. 4700 Fax: (514) 848-4584 Email: Catherine.Mackenzie@concordia.ca Civic address for in-person and courier delivery: Engineering, Computer Science & Visual Arts Integrated Complex Sir George Williams Campus 1515 Ste. Catherine Street West, EV 3-820, Montreal, Quebec, H3G 2W1 Canada For further information, applicants are encouraged to consult: Department of Art History: http://art-history.concordia.ca Faculty of Fine Arts: http://finearts.concordia.ca Academic Services for Fine Arts Faculty: http://finearts.concordia.ca/officeofthedean/servicesandresourcesforfaculty/ Subject to budgetary approval, we anticipate filling this position, normally at the rank of Assistant Professor, for July 1, 2013. Appointments at a more senior level may also be considered. Review of applications will begin immediately and will continue until the position is filled. All qualified applicants are encouraged to apply; however, Canadian citizens and permanent residents of Canada will be given priority. Concordia University is committed to employment equity.

External News and Events - Event - Michel Remy Lecture: Humphrey Jennings’ Forest of Signs

Wed, 22 May 2013 06:03:43 +0000

Michel Remy Lecture: Humphrey Jennings’ Forest of Signs Saturday 15 September, 3–4.30pm firstsite, Lewis Gardens, High Street, Colchester CO1 1JH, Essex £5; £3 concessions Michel Rémy is Professor of Literature at the University of Nice – Sophia Antipolis, and author of Surrealism in Britain (Ashgate Publishing, 1999), a comprehensive and biographically-rich study of the British Surrealist movement. Contact and further information details: 01206 577 067

External News and Events - Lecture - Henry Moore Institute Annual Guest Lecture

Wed, 22 May 2013 06:03:43 +0000

Each year the Henry Moore Institute launches the new academic year with a day of tours and talks about our programmes and collections culminating with our Annual Guest Lecture, which is open to all. The 2012 Keynote Lecture is with Kasper Koenig. Kasper Koenig, ‘Skulptur Projekte Münster 1977-2007' Friday 19 October, 6pm Leeds Art Gallery lecture theatre From the age of 23, when he was invited to organise a show of work by Claes Oldenburg at the Moderna Museet in Stockholm, Kasper Koenig has been curating groundbreaking contemporary exhibitions. He co-founded Skulptur Projekte Münster in 1977, realising proposals by Richard Serra, Joseph Beuys, Ulrich Rukriem, Claes Oldenburg, Carl Andre, Richard Long, and Donald Judd, and returned to curate the once-a-decade exhibition in 1987, 1997, 2007 and 2017. Skulptur Projekte Münster is the most important large-scale periodic study of sculpture. In the 1970s, Koenig was editor of Press of the Nova Scotia College of Art and Design. After returning to Germany to teach at the Academy of the Fine Arts in Duesseldorf, he served as professor and later president of the Staedelschule in Frankfurt, where he became the founding director of the exhibition space Portikus. He has served as director at Museum Ludwig in Cologne between 2000 and 2012, developing numerous exhibitions including, most recently Before the Law: Post-War Sculpture and Spaces of Contemporary Art. In this lecture Koenig talks about the four Skulptur Projekte Münster that have taken place over the last forty-five years, discussing their achievements and challenges, and looking ahead to 2017. The event is free. Booking essential. Contact Kirstie Gregory, kirstie@henry-moore.org Kirstie Gregory Research Programme Assistant Henry Moore Institute The Headrow Leeds LS1 3AH UK telephone: +44 (0) 113 246 7467 fax: + 44 (0) 113 246 1481 kirstie@henry-moore.org www.henry-moore.org

External News and Events - Art History and Sound - Workshop series: ‘The Listening Art Historian’

Wed, 22 May 2013 06:03:43 +0000

Three workshops to be held on: 6 December 2012, 14 March and 30 May 2013 (10.00 – 12.00) The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN CALL FOR PAPERS Art historians constantly encounter traces of sound. These can take the form of notes in an illuminated manuscript, a textual echo of past noise and lost voices, or depictions of instruments, singers and dancers, captured on panel, canvas, paper, film or in wood, marble and bronze or spaces that have been specifically designed and built to embrace and amplify sound: pulpits, choir stalls, opera houses, the floor of the stock exchange. The aural is continuously intertwined with visual arts as content or context. In the 20th and 21st centuries especially artists have variously incorporated sounds, live and recorded, in their performances, happenings and multi-media installations putting into question the silence and fixity of visual art. As a result of the collapse in the Enlightenment of the Renaissance notion of the unity of the arts and the substitution of a modern division of temporal from spatial art forms, art historians have generally limited their research and interpretation exclusively to the visual aspects of art and have disregarded the existence, never mind the significance, of the aural. Despite the recent broadening of art history’s disciplinary boundaries to include ‘non-traditional’ media as well as related fields, art historians are primarily trained to analyse and explain the non-ephemeral dimensions of art. When the visual approaches the transient qualities of the aural it raises problems of methodology and terminology. This workshop series aims to explore both historical and contemporary instances of sound in art history, as well as some of the theoretical and methodological questions arising from this preoccupation. It is designed to provide an open platform for all art historians concerned with collecting, analysing, interpreting and describing sound(s) to meet and discuss ways of hearing visual art. Topics for discussion may include, but are not limited to: • In what kind of media do art historians encounter notions of sound such as music, voice or noise and with what methods do they explore these traces of the aural? • How do art historians, with their specific background in the analysis of visual arts, collect, listen to, ‘process’ and write about sound? • In regards to aurality, can research fields such as soundscape, Klangkunst, acousmatic voice, developed by neighbouring disciplines, be fruitfully used in and adapted for art history? • How does our preoccupation with the aural inform or perhaps change our understanding of the visual, and vice versa? This workshop series will be hosted at the The Courtauld Institute of Art on three different occasions throughout the academic year 2012/13. Each workshop will consist of four papers that will function as catalysts for a subsequent round table discussion, and each workshop will address the dynamics existing between aurality and art historical material, tools and methods from a different angle, generated around the proposals we receive. We welcome proposals of 20 minutes long papers in all periods, media and regions that deal either with case studies or broader methodological questions. Please send your abstracts of 250 – 300 words and a short biography to irene.noy@courtauld.ac.uk and michaela.zoschg@courtauld.ac.uk by 28 September 2012. For organisational purposes, we also kindly ask you to indicate on which of the dates (indicated above) you would like to present and whether you will be able to attend all three workshops. We cannot offer travel subsidies for speakers, and therefore students from outside London are encouraged to apply to their institutions for funding to attend the workshops. Organised by Irene Noy and Michaela Zöschg with Dr Katie Scott (The Courtauld Institute of Art)

External News and Events - METAFLUX - knowledge exchange platform

Wed, 22 May 2013 06:03:43 +0000

The METAFLUX Platform The two-day event will begin with a private preview of the Bronze exhibition at the Royal Academy of Arts. After travelling to the Royal College of Art, School of Fine Art Battersea there will be in-depth responses to the exhibition and related topics, by key-note speakers including; Peta Motture(V&A), Dr. Francesca Bewer (Harvard) and Dr. Trish Lyons (RCA). We will finish off the day with a glass of wine or two at the opening of the ‘Pop Up’ METAFLUX exhibition in a gallery at the RCA. This will be a chance to see work produced by attendees of METAFLUX (all welcome to contribute a piece of work, details below). There will also be a screening of Tarkovsky’s masterpiece Andrei Rublev. The morning session of the second day contains a series of exploratory resentations and discussions around foundry practice. Topics to be discussed include: The Horse and the Pineapple – affecting techniques: anxiety and ambition in foundry works, Dark Materials – research methods in foundry practice research followed by, Japanese Managata Casting - Ed Allington will talk about his current research into Japanese Managata Casting– a traditional form of sand casting. Marking the formation of the Art School Foundry Association (ASFA) the three afternoon round table discussions will consider the role of art school foundries in Education and Commerce,Chains of Knowledge: history, present and future of the art school foundry. The final round table hosted by Peta Motture will open out a foundry knowledge transfer and exchange, Transubstantial, direct ‘burn out’ moulds, a case study for art historians, curators and founders. Venue: Royal College of Art, School of Fine Art, Battersea, London Cost: £25 per day (Students £15) The whole event ends with a reception the Founders’ Hall Smithfields. For more information visit our website http://foundry.rca.ac.uk

External News and Events - Arts Researchers Guides

Wed, 22 May 2013 06:03:43 +0000

Through a visual narrative, the Art Researchers' Guide Series will take you to libraries and repositories with art and design resources in different cities, revealing whether that material is in book, archives, or audio visual format. Available online for art historians are Guides to Edinburgh and Leeds. http://bookshop.blackwell.co.uk/jsp/search_results.jsp?publisher=ARLIS%2FUK+%26+Ireland%2Cthe+Art+Libraries+Society

External News and Events - Call for Papers - ' “Global goes Local: Visualizing Regional Cultures in the Arts of Greater China”

Wed, 22 May 2013 06:03:43 +0000

“Global goes Local: Visualizing Regional Cultures in the Arts of Greater China” International Conference Academy of Visual Arts, Hong Kong Baptist University 27 - 29 June 2013 This international and interdisciplinary conference aims to create dialogue among specialists and practitioners from the fields of Fine Art, Art History, Museum Studies, Visual Culture, Cultural Studies and other relevant disciplines, examining the role and significance of local art and cultures in balancing the impact of globalization. Focusing on the cultural ties between mainland China, Taiwan, Hong Kong and Macao, the conference seeks to explore the representation of national and cultural identities in the creative arts produced in all of these regions. It is also designed to encourage discussion about the preservation and deployment of local art and heritage in cultural policy, art education and museum practice. Scholars, art administrators, artists and research students are invited to submit proposals for pre-formed panels or individual papers that consider critically, but are not restricted to, the following topics: Challenges and opportunities in preserving the regional cultures of Greater China Commonalities and distinctiveness of culturally specific works of art The construction of “Chineseness” in the art of the Chinese diaspora The deployment of local culture in visual arts and international exhibitions The roles of museum, school and media in promoting local art and culture Chinese folk art and popular culture Community art and domestic art space Memory and cultural heritage preservation and revitalization Each paper will be allocated 20 minutes and organized into panels, comprising three to four speakers with a discussant to encourage debate. Submission Proposals in Word format, including a 300-word paper abstract and a two-page CV, should be submitted to Dr Michelle Huang at ava-conference@hkbu.edu.hk by 30 November 2012. For further details of the conference and the abstract proposal form, please visit: http://ava-conference2013.hkbu.edu.hk

AAH News and Events - Collaborations: in conversation with John Christie

Wed, 22 May 2013 06:03:43 +0000

2012 marks the 40th Anniversary of two of John Berger’s major works: the novel G, winner of the Booker and James Tait Black Memorial Prizes, and the collaborative SFTA/BAFTA-winning BBC TV series and book Ways of Seeing. In celebration, the Centre for Life-writing Research at King's College London, and the Department of English and Drama at the British Library - home, since 2009, to the major collection of Berger’s papers - are holding a series of events, including the exhibition John Berger: Art and Property Now (open for the event). As part of the season, Gill Hedley (curator, critic and member of AICA) and the filmmaker, artist and publisher John Christie will hold a conversation to discuss Christie’s collaborations with John Berger. As a maker of artists’ books since 1975 John Christie has produced more than 20 limited editions for both the renowned Circle Press and his own imprint Objectif. His prints, drawings and artists’ books are in collections worldwide (Tate Gallery, the V & A and MOMA, New York). As a director and cameraman his TV programmes include Another Way of Telling, a BBC series on photography made in collaboration with John Berger and Jean Mohr; Salvage of Soho Photographer, a C4 documentary on John Deakin and First Hand, a series of seven films based on literary manuscripts from the British Library. FREE ADMISSION (venue holds up to 60 places) please click here to book a place

External News and Events - Conference - 'Disturbing Pasts: Memories, Controversies and Creativity’'

Wed, 22 May 2013 06:03:43 +0000

Disturbing Pasts: Memories, Controversies and Creativity’ http://www.open.ac.uk/Arts/disturbing-pasts/ We are pleased to announce the details of the conference ‘Disturbing Pasts: Memories, Controversies and Creativity’ at the Museum of Ethnology, Vienna, on the 20th to 22nd November, 2012. This is part of a two-year international research project led by Dr Leon Wainwright (The Open University, UK) and funded by HERA (Humanities in the European Research Area, the European Science Foundation). ‘Disturbing Pasts’ brings together artists, photographers, curators, policy makers and academics from around the world, with the aim of networking with one another and exploring creative engagements with controversial and traumatic pasts in art practice, curating and museums. Our theme: Traumatic pasts have complex and often dramatic influences on the present. In many countries, legacies of war, colonialism, genocide and oppression return again and again to dominate contemporary politics, culture and society. The controversies surrounding traumatic pasts can shape policy, make or break governments, trigger mass demonstrations, and even spark violent confrontation. These pasts also inspire rich visual and creative responses, through which the past is remembered, remade and challenged, and the public space of the modern museum is the primary venue for these responses. Confirmed speakers include artists, curators, policy-makers and academics: Peju Layiwola, Dierk Schmidt, T. Shanaathanan, Christopher Cozier, Rita Duffy, Paul Lowe, Rafa? Betlejewski, Joanna Rajkowska, Heather Shearer, John Timberlake, Shan McAnena, Sofia Dyak, Wayne Modest, Liv Ramskjær, Maria Six-Hohenbalken, Margit Berner, Clara Himmelheber, Maruska Svasek, Fiona Magowan, Alexander Etkind, Uilleam Blacker, Andrij Portnow, Elizabeth Edwards, Sigrid Lien, Susan Legêne, Annette Hoffmann, Erica Lehrer, Simon Faulkner, Carol Tulloch ‘Disturbing Pasts’ marks a collaboration between three HERA-sponsored research consortia drawn from universities throughout Europe, in partnership with the Museum of Ethnology, Vienna. They are: ‘Creativity and Innovation in a World of Movement’ (CIM) ‘Photographs, Colonial Legacy and Museums in Contemporary European Culture’ (PhotoCLEC) ‘Memory at War’ (MAW) The project will generate audio-visual material to be made available through the Open Arts Archive (www.openartsarchive.org) and published as a special issue of the Open Arts Journal (www.openartsjournal.org). Entrance to the conference is free, but places are limited, and so we ask that you please reserve in advance by writing to Julia Binter, Julia.Binter@ethno-museum.ac.at Committee members for the project include: Dr Leon Wainwright (The Open University, UK), Dr Barbara Plankensteiner (Museum of Ethnology, Vienna), Dr Maruska Svasek (Queen’s University, Belfast), Professor Elizabeth Edwards (De Montfort University, Leicester), Dr Alexander Etkind and Dr Uilleam Blacker (University of Cambridge). The project ‘Disturbing Pasts: Memories, Controversies and Creativity’ is financially supported by the HERA Joint Research Programme which is co-funded by AHRC, AKA, DASTI, ETF, FNR, FWF, HAZU, IRCHSS, MHEST, NWO, RANNIS, RCN, VR and The European Community FP7 2007-2013, under the Socio-economic Sciences and Humanities programme.

External News and Events - Job - Andrew W Mellon Foundation/Research Forum Postdoctoral Fellowship

Wed, 22 May 2013 06:03:43 +0000

The Courtauld Institute of Art Andrew W Mellon Foundation/Research Forum Postdoctoral Fellowship (Mellon MA) 1 September 2013 to 31 August 2014 £28,138 per annum The Courtauld Institute of Art Research Forum, with the support of the Andrew W. Mellon Foundation, is offering a fellowship to an early career researcher in the field of History of Dress or non-fiction film, with an interest in the interwar period and/or the Second World War. This fellowship will give the Fellow the opportunity to pursue a research project while gaining teaching experience in a research environment and participating in the launch of an interdisciplinary M.A. course. In addition to undertaking research and playing an active role in the Research Forum, the Fellow is expected to teach one B.A. course and to act as an affiliate to the Research Forum/Mellon Foundation M.A. course being offered for the first time in 2013-2014 (Documenting Fashion: Modernity, Film and Image in America and Europe, 1920-45) by Dr Rebecca Arnold in collaboration with the Mellon Visiting Professor, a specialist in non-fiction film. Applicants must be at an early stage of their career, not currently holding or having held a permanent university post and having received a doctorate within the three years prior to the start date of the post (and no later than December 2012). Applicants are asked to submit (1) a covering letter explaining the candidate’s specific interest in the Fellowship; (2) a completed application form; (3) two letters of recommendation, including one from the candidate’s supervisor - these can be sent separately; and (4) an equal opportunities monitoring form. For further details please visit the Courtauld website www.courtauld.ac.uk or email recruitment@courtauld.ac.uk or telephone 020 7848 1881. Information about the Research Forum/Mellon M.A. courses can be found in the Research Forum Groups and Projects section of the Research Forum website, http://www.courtauld.ac.uk/researchforum/projects/MellonMA.shtml Closing date: 5 October 2012 Final selection of the Fellow will be made in early November 2012 The Courtauld Institute of Art promotes equal opportunities

External News and Events - Call for Papers - Beyond the Western Mediterranean: Trade and Exchange of Materials, Techniques and Artistic Production, 650–1500

Wed, 22 May 2013 06:03:43 +0000

Trade and Exchange of Materials, Techniques and Artistic Production, 650–1500 A symposium to take place on 20 April 2013 The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN CALL FOR PAPERS The notion of a shared Mediterranean culture has become a central tenet in the study of medieval art history. Growing out of the Roman mare nostrum, the Mediterranean as a conduit of communication, dissemination, and transmission throughout the Middle Ages is shaping the scope of our discipline. Yet the investigation into the Mediterranean remains unbalanced, and while the northern and eastern edges of the basin are well investigated, historiographical and political considerations have limited the study of the sea’s southern shores, not to mention the exchanges across that other sea – the sea of sand – that lies beyond those territories’ southern borders. This one-day workshop at the Courtauld Institute of Art Research Forum takes as its topic the broader sphere of influence of the Western Mediterranean. Focusing primarily on inter-connections in the Western Mediterranean basin, from the Maghreb to Italy, from Ifr?qiya to Iberia, we will also investigate how this north-south axis extended well beyond the littoral regions to encompass sub-Saharan kingdoms, the Atlantic Ocean, and even the British Isles. The day’s proceedings are primarily intended to implicate art historians in this discussion about a global middle ages, and we will draw from interdisciplinary discoveries in recent years, especially the wealth of archaeological work accomplished by colleagues around London. The material culture of these regions, including such luxurious materials as ivory, gold, ceramics, pigments and textiles, augments the limited offerings of historical texts in delineating the complex interactions across geographical boundaries. In this way we hope to probe the foundations of a world artistic culture not only through shared materials and techniques, but also through the yearnings and desires such interactions engendered. We seek papers that address evidence touching on connections between at least two regions, for example the transfer of technologies from one region to another, the trade in raw materials, or the emulation of artistic forms. Please send abstracts of 250-300 words to sarah.guerin@courtauld.ac.uk or m.rosserowen@vam.ac.uk by 3rd September 2012. Organised by Sarah Guerin (The Courtauld Institute of Art) and Mariam Rosser Owen (Victoria and Albert Museum)

External News and Events - Events at the National Gallery

Wed, 22 May 2013 06:03:43 +0000

National Gallery EVENTS LISTINGS SEPTEMBER – NOVEMBER 2012 All events are free unless otherwise stated. For further information on all events at the Gallery please visit www.npg.org.uk/events Ticket booking Visit the website, call 020 7306 0055 or visit the Gallery in person. Late Shift Thursdays and Fridays 18.00 – 21.00 Admission Free www.npg.org.uk/lateshift Late Shift in partnership with FTI Consulting Family Events Storytelling No ticket required. Sessions last approximately 45 minutes. For ages 3+ and their carers. Family Art Workshops Free ticket required, available one hour before the event starts on a first come, first served basis. Sessions last approximately 90 minutes. For ages 5+ and their carers. Workshops and Drop-in Drawing Suitable for all levels, materials are provided SEPTEMBER Saturday 1 September 12.00 Portrait of the Day Sunday 2 September 13.00 – 16.00 Sunday Session Pop Prints Inspired by Warhol’s screen-prints in The Queen, create prints with artists Alison Kusner and Dawn Purkiss. For ages 14 – 21. 15.00 Gallery Talk Highlights of the Collection With historian Lucinda Hawksley. Thursday 6 September 13.15 Lecture The Regicides of King Charles I Charles II avenged his father’s murder in an epic manhunt. Find out more with writers Don Jordan and Michael Walsh. 18.00 – 20.45 Resident DJ Edward Otchere Vinyl set inspired by our current exhibitions. 19.00 In Conversation Anderson & Low on the Road to 2012 International photographers Jonathan Anderson and Edwin Low talk about their approach to portraiture and the Road to 2012 project. 19.30 Exhibition Tour BP Portrait Award 2012 Enjoy the highlights of this contemporary portrait exhibition. Free tour ticket required, available from 18.00 on the day. Friday 7 September 18.30 Live Music Maya Youssef Award-winning Kanun player and educator, Youssef performs an exciting solo programme. 18.30 – 20.30 Drop-in Drawing Get creative in our free artist-led class with Robin Lee Hall. 19.30 Gallery Talk Introductory Tour A whistle stop tour of highlights in the Collection, the Gallery’s history and top tips for enjoying your visit Saturday 8 September 12.00 Portrait of the Day Sunday 9 September 15.00 Gallery Talk The British Empire Historian James Hicks introduces some of the people involved and explores imagery in the portraits. Thursday 13 September 13.15 Lecture Octavia Hill: Activist, Social Reformer & Environmentalist To mark the centenary of Hill’s death, cultural commentator Samuel Jones celebrates her lasting legacy including changes in social housing and founding the National Trust. 18.00 – 20.45 DJ Listen and unwind at the Late Shift Bar. 19.00 Lecture Portraits of Writers: David Harsent on Seamus Heaney £5/£4 Inspired by the current display On Paper: Portraits of Writers, poet David Harsent discusses the work of Seamus Heaney. In partnership with the Royal Society of Literature. 19.30 Gallery Talk Everything you wanted to know about the Stuarts, but were afraid to ask... In just 30 minutes. Friday 14 September 18.30 Live Music Dunya Trio Music from the Eastern Mediterranean and Middle East. 18.30 – 20.30 Drop-in Drawing Take inspiration from the Gallery and get creative with artist Viyki Turnbull. 19.30 Exhibition Tour BP Portrait Award 2012 Enjoy the highlights of this contemporary portrait exhibition. Free tour ticket required, available from 18.00 on the day. Saturday 15 September 10.30 Storytelling for Families Followed by a fun art activity. 11.30 Family Art Workshops Explore portraits in the Collection, followed by an art activity. 12.00 Portrait of the Day 13.30 Storytelling for Families Followed by a fun art activity. 14.30 Family Art Workshops Explore portraits in the Collection, followed by an art activity. Sunday 16 September 15.00 Gallery Talk Soldiers of the Crown Join historian Lesley Rivett to explore the portraits of military figures past and present. Thursday 20 September 13.15 Lecture Are you sitting comfortably? Artist and art historian Liz Rideal explores chairs as a key ingredient for poses in portraits, from Queen Elizabeth I to Christine Keeler. 18.00 – 20.45 Resident DJ Edward Otchere Vinyl set inspired by our current exhibitions. 19.00 Lecture The Changing Faces of Fame £5/£4 How have perceptions of fame been influenced by portraiture? Rob Dickins, who has worked with celebrities for over 40 years, takes us from Watts to Warhol and from Garbo to Gaga. 19.30 Gallery Talk A Photographer’s Eye Road to 2012 photographer Jillian Edelstein highlights portraits which have influenced her work. Friday 21 September 18.30 Live Music Tomorrow’s Warriors Hip big band jazz by the coolest and most diverse youth jazz orchestra in the country. 18.30 – 20.30 Drop-in Drawing Get creative in our free artist-led class with Marc Woodhead. 18.30 – 20.30 Workshop Painting in the Studio £10 Taking inspiration from the BP Portrait Award, join this artist-led portrait painting session Friday 21 September 19.30 Gallery Talk Road to 2012 Katherine Green talks about her experiences photographing sporting community groups in East London, as part of the Road to 2012 project. Saturday 22 September 12.00 Portrait of the Day 14.30 – 17.00 Walk The Image of Royalty £15/£12 Walk through Westminster exploring what the buildings and statues can tell us about the changing face of the monarchy. Led by London Blue Badge Guide Sarah Ciacci. Includes tour and ticket for The Queen exhibition. Sunday 23 September 15.00 Gallery Talk Contemporary Portraits Artist Marc Woodhead highlights portraits from 1990 to the present day. Thursday 27 September 14.00 Visualising Portraits Leopold McClintock Picture description for visually impaired visitors. 18.00 – 20.45 DJ Listen and unwind at the Late Shift Bar. 19.00 In Conversation Hew Locke £5/£4 Artist Hew Locke, whose portrait Medusa is in the current Queen exhibition, talks about his work and the changing nature of royal portraiture with Curator Paul Moorhouse. 19.30 Gallery Talk Picturing History What do some of our most intriguing portraits reveal about the time in which they were painted? Led by John Wilson in British Sign Language, with interpretation into English. Friday 28 September 18.30 Live Music Flux With the sounds of bansuri, bass, cajon, guitar and more, expect to hear refreshing melodies and pumping rhythms. Friday 28 September 18.30 – 20.30 Life Drawing Inspired by the Poetry of Motion display, explore how to capture movement in this class led by artist Adrian Dutton. Free ticket required, available to book in advance online or in the Gallery from 18.00 on the day. 19.30 Gallery Talk Portraits of Writers Assistant Curator Inga Fraser highlights some of the writers of fiction, philosophy, history and poetry in this contemporary display. Saturday 29 September 12.00 Portrait of the Day Sunday 30 September 15.00 Gallery Talk Mirror Mirror Explore a selection of self-portraits in the Collection with artist Alison Kusner. OCTOBER Thursday 4 October 13.15 Lecture - Marilyn Monroe Join author Michelle Morgan to explore Marilyn’s time in Britain, including the recently disclosed Laurence Olivier papers. 18.00 – 20.45 Resident DJ Edward Otchere Vinyl set inspired by our current exhibitions. 19.00 In Conversation Chris Levine Artist Chris Levine talks about his work, including the larger than life portraits of the Queen (on display in the current exhibition), with Curator Paul Moorhouse. 19.30 Exhibition Tour The Queen: Art & Image Find out more about this exhibition and the evolving image of Queen Elizabeth II. Free tour ticket required, available from 18.00 on the day. Timed exhibition ticket must be purchased. Friday 5 October 18.00 – 22.00 Late Shift Extra - Back To The Drawing Board Pick up a timetable and enrol for drawing classes and painting workshops, pass an art history test, attend a gig or skip lessons and hang out in the bar. With BSL interpretation. Free. Some events will be ticketed. Sign up to the Gallery’s e-newsletter for updates. Part of the Big Draw 2012. Saturday 6 October 12.00 Portrait of the Day 13.00 – 16.00 Drop-in event Walk the Line Join guest artists for an afternoon exploring movement and line drawing in the galleries. As part of the Big Draw 2012 with the Campaign for Drawing. With BSL interpretation. All ages welcome, especially families and young people. Sunday 7 October 13.00 – 16.00 Sunday Session On Screen Explore the Marilyn Monroe display with photographers Anthony Luvera and Gisela Torres and take iconic portraits. For ages 14–21. 15.00 Gallery Talk Highlights of the Collection -With historian Justin Nolan. Thursday 11 October 13.15 Lecture The Crown Jewels Historian Dr Anna Keay tells the story of the most complete collection of royal regalia in the world. 18.00 – 20.45 DJ Listen and unwind at the Late Shift Bar. 19.00 In Conversation Portraits of Writers: A.S. Byatt & Philip Hensher £5/£4 A.S Byatt shares the experience of having her portrait created, and the tradition of painting not from life but from interior imagining with writer Philip Hensher. In partnership with the Royal Society of Literature. Thursday 11 October 19.30 Gallery Talk Everything you wanted to know about the Tudors, but were afraid to ask... In just 30 minutes... Friday 12 October 18.30 Live Music Ana Silvera ‘Stunning... operatic and folk elements with magical storytelling’. The Guardian 18.30 – 20.30 Drop-in Drawing Get creative in our free artist-led class with Gayna Pelham. 19.30 Exhibition Tour The Queen: Art & Image Find out more about this exhibition and the evolving image of Queen Elizabeth II. Free tour ticket required, available from 18.00 on the day. Timed exhibition ticket must be purchased. Saturday 13 October 12.00 Portrait of the Day Sunday 14 October 15.00 Gallery Talk Scientists Join historian Marc Zakian for a tour of portraits of scientists past and present. Thursday 18 October 13.15 Lecture Fred Daniels Explore the style and legacy of the 1940s film photographer, with author Ewa Reeves and BFI Stills Curator Nigel Arthur. 18.00 – 20.45 Resident DJ Edward Otchere Vinyl set inspired by our current exhibitions. 19.00 In Conversation Making a British Nation: Macaulay & Son £5/£4 In the first of a season of events exploring British identity and belonging, Professor Catherine Hall and guests look at the Victorian historian Macaulay, one of the founding Trustees of the National Portrait Gallery. 19.30 Gallery Talk Poetry of Motion Explore the body in motion with a tour of sports people and dancers in the current display, led by Assistant Curator Inga Fraser. Friday 19 October 18.30 Live Music Living Room in London Pioneering fusion of bass clarinet, hang drum and a string trio with musicians from the Solstice Quartet and LSO. 18.30 – 20.30 Drop-in Drawing Get creative in our free artist-led class with Andy Pankhurst. 19.30 Gallery Talk Octavia Hill Discover this radical social reformer and her contemporaries with Assistant Curator Lizzie Heath. Saturday 20 October 10.30 Storytelling for Families Followed by a fun art activity. 11.30 Family Art Workshops Explore portraits in the Collection, followed by an art activity. 12.00 Portrait of the Day 13.30 Storytelling for Families Followed by a fun art activity. 14.30 Family Art Workshops Explore portraits in the Collection, followed by an art activity. Sunday 21 October 15.00 Gallery Talk Trafalgar Day Nelson won the Battle of Trafalgar on this day in 1805. Explore what led to the victory with historian Alan Read. Thursday 25 October 14.00 Visualising Portraits James I Picture description for visually impaired visitors. 18.00 – 20.45 DJ Listen and unwind at the Late Shift Bar. 19.00 Philosophy Salon Death Prince Henry died at just 18 years old, leading to national mourning. Join us for a philosophical discussion on death. Thursday 25 October 19.00 Poetry Evening £5/£4 Join poet John Stammers and special guests for an evening of poetry inspired by the Jacobean court and the life of Prince Henry. 19.30 Gallery Talk The Art of Drawing Join Andy Pankhurst for an artist’s impression of the drawings in this new display. Interpreted in BSL. Friday 26 October 18.30 Live Music Victor Vertunni & Band Performing songs from his new album based on William Blake’s ‘Songs of Innocence & Experience’, acclaimed as a ‘masterpiece of musical invention.’ 18.30 – 20.30 Life Drawing Explore how to capture the essence of dance inspired by the Poetry of Motion display. Led by artist Grace Adam. Free ticket required, available to book in advance online or in the Gallery from 18.00 on the day. 19.30 Exhibition Tour The Lost Prince See the highlights of this new exhibition with Associate Curator Rab MacGibbon. Free tour ticket required, available from 18.00 on the day. Timed exhibition ticket must be purchased. Saturday 27 October 11.00 – 17.00 Workshop Illustration £30/£25 Join illustrator Sion Ap Tomos to explore a range of drawing materials and create your own images inspired by Jacobean books. Includes a ticket to The Lost Prince exhibition. 12.00 Portrait of the Day Sunday 28 October 15.00 Gallery Talk The Lost Prince’s Family Join historian Alex Rodriguez to meet the portraits of Henry Stuart’s family and explore the early Stuart dynasty in England. Monday 29 – Wednesday 31 October 11.00 – 16.00 Three-day Workshop - A Right Royal Photoshoot Inspired by the Mario Testino display take your own photographic portraits, considering the formal versus the informal and close-ups versus backdrops. Led by photographer Othello De’Souza Hartley and set designer Carrie Louise. For ages 14–21. Monday 29 October – Friday 2 November 11.00 – 16.00 Half-Term Family Activities Family Portraits Enjoy a week of fun activities exploring family portraits in the Collection. NOVEMBER Thursday 1 November 13.15 Lecture Pins and Poking Sticks Dress historian Jacqui Ansell decodes the richly symbolic fashionable and fancy dress at the Jacobean Court. 18.00 – 20.45 Resident DJ Edward Otchere Vinyl set inspired by our current exhibitions. 19.00 Lecture Rebellion and Revolution £5/£4 In 1605 Guy Fawkes attempted to assassinate King James 1, father of Prince Henry. Join the intellectual fireworks as we discuss protest. 19.30 Gallery Talk Queer Perspectives Stroll through the Gallery with Queer Perspectives resident artist Sadie Lee and special guest. Friday 2 November 10.00 – 18.00 Conference The Lost Prince £30/£25 An international academic conference presenting new scholarship on the life and death of Henry, Prince of Wales. Speakers include John Peacock, Luke Morgan and Karen Hearn. Includes a ticket to The Lost Prince exhibition. 18.30 Live Music The Lost Prince: Matthew Long & Elizabeth Kenny Tenor Matthew Long and lutenist Elizabeth Kenny perform works written for Prince Henry both before and after his death. 18.30 – 20.30 Drop-in Drawing Get creative in our free artist-led class with Sue Wilson. 19.30 Gallery Talk Introductory Tour A whistle stop tour of highlights in the Collection, the Gallery’s history and top tips for enjoying your visit. Saturday 3 November 12.00 Portrait of the Day Sunday 4 November 13.00 – 16.00 Sunday Session Costume Construction Inspired by armour and costume designs in The Lost Prince, create paper costume pieces with artist Grace Adam and designer Georgia Lowe. For ages 14–21. 15.00 Gallery Talk Highlights of the Collection With historian Paul Johnson. Thursday 8 November 13.15 Lecture Two Sculptors, Four Figures Portrait sculptors Sean Henry and Mark Richards discuss the ideas and challenges behind the production of two recent public sculptures. 18.00 – 20.45 DJ Listen and unwind at the Late Shift Bar. 19.00 Lecture Portraits of Writers: Margaret Drabble on Doris Lessing £5/£4 Author Margaret Drabble discusses the ethics of portraiture, the public versus the private image, the defining of character in paint and prose, and the many faces of Doris Lessing. In partnership with the Royal Society of Literature. Thursday 8 November 19.30 Gallery Talk Everything you wanted to know about the Georgians, but were afraid to ask... In just 30 minutes... Friday 9 November 18.30 Live Music Check signage on the day for details. 18.30 – 20.30 Drop-in Drawing Get creative in our free artist-led class with Robin Lee Hall. 19.30 Gallery Talk Scandal and Intrigue Take a look at some of the more scandalous histories in the Collection. Saturday 10 November 12.00 Portrait of the Day Sunday 11 November 15.00 Gallery Talk Remembrance Sunday Explore the impact of war on British artists with art historian Julie Barlow. Thursday 15 November 13.15 Lecture Faces from the Streets of Elizabethan London Chief Curator Tarnya Cooper considers the lives and self promotion of middle class Elizabethans, exploring portraits of merchants, lawyers, writers and artisans who lived and worked in late 16th-century London. 18.00 – 20.45 Resident DJ Edward Otchere Vinyl set inspired by our current exhibitions. 19.00 Exhibition Tour Taylor Wessing Photographic Portrait Prize Take a tour of this year’s portraits. Free tour ticket required, available from 18.00 on the day. Exhibition ticket must be purchased. 19.00 Lecture The Forgotten Prince £5/£4 Sir Roy Strong, author of the first fully documented biography of Prince Henry, reflects on the Prince as a major figure who has been written out of the nation’s cultural history. Friday 16 November 18.30 Live Music Matthew Rogers New music created specially for the Gallery space, interweaving elements of procession and installation with more traditional performance. 18.30 – 20.30 Drop-in Drawing Get creative in our free artist-led class with Viyki Turnbull. 19.30 Gallery Talk Facial Hair To celebrate Movember, join historian Lucinda Hawksley to see some splendid examples of whiskery, beardy hairiness in the Collection. Saturday 17 November 10.30 Storytelling for Families Followed by a fun art activity. 11.30 Family Art Workshops Explore portraits in the Collection, followed by an art activity. 12.00 Portrait of the Day 13.30 Storytelling for Families Followed by a fun art activity. 14.30 Family Art Workshops Explore portraits in the Collection, followed by an art activity. Sunday 18 November 15.00 Gallery Talk The Other Lost Princes Inspired by The Lost Prince exhibition, historian Sarah Ciacci searches for other lost Princes and Princesses in the Collection. Thursday 22 November 13.15 Lecture Staging the life and death of Henry, Prince of Wales Professor Gordon McMullan explores the response of Shakespeare and his contemporaries to the life and death of Henry Stuart and the marriage of his sister Elizabeth. 18.00 – 20.45 DJ Listen and unwind at the Late Shift Bar. 19.30 Exhibition Tour The Lost Prince Join Curator Catharine MacLeod to find out more about the exhibition. Free tour ticket required, available from 18.00 on the day. Timed exhibition ticket must be purchased. Friday 16 November 18.30 Live Music Matthew Rogers New music created specially for the Gallery space, interweaving elements of procession and installation with more traditional performance. 18.30 – 20.30 Drop-in Drawing Get creative in our free artist-led class with Viyki Turnbull. 19.30 Gallery Talk Facial Hair To celebrate Movember, join historian Lucinda Hawksley to see some splendid examples of whiskery, beardy hairiness in the Collection. Saturday 17 November 10.30 Storytelling for Families Followed by a fun art activity. 11.30 Family Art Workshops Explore portraits in the Collection, followed by an art activity. 12.00 Portrait of the Day 13.30 Storytelling for Families Followed by a fun art activity. 14.30 Family Art Workshops Explore portraits in the Collection, followed by an art activity. Sunday 18 November 15.00 Gallery Talk The Other Lost Princes Inspired by The Lost Prince exhibition, historian Sarah Ciacci searches for other lost Princes and Princesses in the Collection. Thursday 22 November 13.15 Lecture Staging the life and death of Henry, Prince of Wales Professor Gordon McMullan explores the response of Shakespeare and his contemporaries to the life and death of Henry Stuart and the marriage of his sister Elizabeth. 18.00 – 20.45 DJ Listen and unwind at the Late Shift Bar. 19.30 Exhibition Tour The Lost Prince Join Curator Catharine MacLeod to find out more about the exhibition. Free tour ticket required, available from 18.00 on the day. Timed exhibition ticket must be purchased. Friday 23 November 18.30 Live Music Marc Almond & Jeremy Reed These two dazzling performers return by popular request to initialize Against Nature through song and poetry. 18.30 – 20.30 Drop-in Drawing Get creative in our free artist-led class with Grace Adam. 18.30 – 20.30 Workshop Photography in the Studio £10 Learn portrait photography skills inspired by the Taylor Wessing Photographic Portrait Prize with photographer Antonio Olmos who exhibited in the 2011 exhibition. 19.30 Gallery Talk The Art of Drawing Find out about this pivotal moment in the history of drawing, as it became a fashionable art form, with Assistant Curator Clare Barlow. Saturday 24 November 12.00 Portrait of the Day Sunday 25 November 15.00 Gallery Talk Royal Collecting Art historian Amanda Gubbins explores the royal tradition of patronage from Henry VII to the present day. Thursday 29 November 14.00 Visualising Portraits Taylor Wessing Photographic Portrait Prize Picture description for visually impaired visitors. 18.00 – 20.45 DJ Listen and unwind at the Late Shift Bar. 19.00 In Conversation Making a British Nation: Family Stories £5/£4 Professor Catherine Hall and guests discuss the place of family in history writing. Why is it usually men who write national histories? What part do women play in those stories? Thursday 29 November 19.30 Gallery Tour Not on the Label Ever wondered what doesn’t get written on the labels? Find out more… Led by John Wilson in BSL, with interpretation into English. Friday 30 November 18.30 Live Music ENO The finest voices from the English National Opera’s training programme, Opera Works, sing repertoire connected to the Gallery’s Collections. 18.30 – 20.30 Life Drawing Practice your drawing skills sketching from a model in this artist-led class. Free ticket required, available to book in advance online or in the Gallery from 18.00 on the day. 19.30 Exhibition Tour Taylor Wessing Photographic Portrait Prize Take a tour of this year’s portraits, by some of the most exciting photographers working today. Free tour ticket required, available from 18.00 on the day. Exhibition ticket must be purchased Please check signage in the Ondaatje Wing Main Hall for more information or visit www.npg.org.uk. National Portrait Gallery opening hours Monday, Tuesday, Wednesday, Saturday, Sunday: 10am – 6pm (Gallery closure commences at 5.50pm) Late Opening: Thursday, Friday: 10am – 9pm (Gallery closure commences at 8.50pm) Nearest Underground: Leicester Square/Charing Cross Recorded information: 020 7312 2463 General information: 020 7306 0055

External News and Events - Call for Papers - Visual intersections: negotiating Easterness and Westerness

Wed, 22 May 2013 06:03:43 +0000

Association RIdIM (Repertoire International d'Iconographie Musicale), in association with Don Juan Archiv Wien, is organising the 14TH INTERNATIONAL RIdIM CONFERENCE ON MUSIC ICONOGRAPHY: Visual intersections: negotiating Easterness and Westerness to be held in Istanbul (Turkey), 5 – 7 June 2013. The Conference will present recent research on topics related to musical iconography, with particular attention to the following three themes: Iconography and the study of musical instruments Music iconography of the Middle East, including Byzantine and Ottoman Art and issues related to the exchange between East and West and the discourse on “Exotism” in visual sources The concept of object-oriented analyses in music iconography Offers of full-length (up to 40-minute) papers and shorter (maximum 15- minute) contributions are invited. Papers should focus on the presentation of original research and findings, and may be on any topic relevant to the above three themes. Presentations which incorporate live musical performance will be most welcome but should be presented as a paper-recital or paper-demonstration. The languages of the abstracts and presentations will be English and / or French. Papers must be delivered in person at the Conference by at least one of the named authors. There will be a fee for participation in the Conference. The organisers request that abstracts (200 words maximum) of full-length papers and titles of short contributions should be sent by e-mail to conference@ridim.org by 30th November 2012. Please indicate the length of presentation envisaged. Acceptance of submissions will be notified to the author by 31st January 2013. Accepted abstracts will be placed on the RIdIM website. Please include with the abstract a brief curriculum vitae of 100 words maximum, a brief statement in which you express your agreement that your presented conference paper may be published in the conference proceedings prepared by RIdIM. These two items obviously are not included in the word count of the abstract as above. Please notify the organisers as soon as possible (preferably by e-mail) if you expect to attend the Conference – whether or not you intend to give a paper – to help with planning, and so that you will then receive further information about the meeting. Information about the Conference will be maintained on the website: http://www.ridim.org/conferences.php For further information, please contact RIDIM@sas.ac.uk, indicating in the subject header: “Istanbul Conference 2013”

External News and Events - Symposium - Art, Theatre and Visual Culture in the Nineteenth Century

Wed, 22 May 2013 06:03:43 +0000

Shared Visions II Art, Theatre and Visual Culture in the Nineteenth Century Saturday 6 October 2012 School of Theatre, Performance and Cultural Policy Studies, Millburn House, Warwick University Supported by the Humanities Research Centre, Warwick University You are invited to attend this one day symposium which explores the relationship between art, theatre and visual culture in the nineteenth century. This event follows on from the ‘Shared Visions’ conference which took place at Warwick University in February 2012. Invited speakers will give papers and position statements that look across disciplinary boundaries to consider the issues which underlie the unprecedented level of interchange between theatre and the visual arts during this period. Key questions/issues to be addressed include: How are we to understand ‘theatrical’ painting / ‘pictorial’ theatre? What factors were driving the thriving interface between the arts during in this period? What factors lay behind the reassertion of genre boundaries in the latter part of the century? How did the relative values placed on word and image develop throughout the nineteenth century? The class connotations of spectacular theatre; definitions of ‘popular’ culture; issues of ’high’ and ‘low’ culture in theatre and the visual arts • Anglo-French exchanges Confirmed speakers: Shearer West, University of Oxford, t. b. a. Stephen Bann, University of Bristol, t. b. a. Jim Davis, University of Warwick, Artists and Actors in the Age of Romantic Sociability Kate Newey, University of Exeter, The Industrial Sublime Marcus Risdell, Curator, Garrick Club, Actor, painter, collector, photographer: Theatre and its collections David Mayer, University of Manchester, Trouble at t’ millpond: an early film and a late-Victorian stage Kurt Taroff, Queen’s University Belfast, The Spectacle Within: Symbolist Painting and Minimalist Mise-en-Scène Catherine Hindson, University of Bristol, Grangerizing Theatre History: Public Events, Stage Celebrity and Visual Culture Patricia Smyth, University of Warwick, ‘Unimaginable Illusion’: Emotional Response in Nineteenth-Century Art and Theatre Symposium fee: £20.00 (£10.00 postgraduates) Registration opens 28 August: www2.warwick.ac.uk/fac/arts/theatre_s/staff/jim_davis/sharedvisions For further information on the symposium please contact patricia.smyth@nottingham.ac.uk or Jim.Davis@Warwick.ac.uk.

External News and Events - Job - Open Rank – Global Arts Studies

Wed, 22 May 2013 06:03:43 +0000

University of California, Merced School of Social Sciences, Humanities and Arts: Assistant, Associate, or Full Professor of Art History and Visual Culture The School of Social Sciences, Humanities and Arts (SSHA) invites applications for an open-rank, tenure-track faculty position to begin July 2013. We seek candidates whose scholarship focuses on artistic cultures and traditions (pre-20th century) outside of Europe and the U.S., especially the Middle East, South or Southeast Asia. Candidates whose scholarship and/or teaching is globally comparative and grounded in a critical understanding of Euro-American art history are particularly desirable. We are particularly interested in candidates who are committed to challenging boundaries of discipline, genre, geography and history, and to working with colleagues in music studies and other fields to develop a global arts studies program that is thoroughly interdisciplinary. For more information or to apply for the Assistant Professor: http://jobs.ucmerced.edu/n/academic/position.jsf?positionId=4098. For more information or to apply for the Assoc/Full Professor: http://jobs.ucmerced.edu/n/academic/position.jsf?positionId=4099. Contact and further information details: ShiPu Wang at swang7@ucmerced.edu Application Deadline: October 1, 2012

External News and Events - Call for Papers - 'Beyond the Western Mediterranean: Trade and Exchange of Materials, Techniques and Artistic Production, 650–1500'

Wed, 22 May 2013 06:03:43 +0000

A symposium to take place on 20 April 2013 The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN The notion of a shared Mediterranean culture has become a central tenet in the study of medieval art history. Growing out of the Roman mare nostrum, the Mediterranean as a conduit of communication, dissemination, and transmission throughout the Middle Ages is shaping the scope of our discipline. Yet the investigation into the Mediterranean remains unbalanced, and while the northern and eastern edges of the basin are well investigated, historiographical and political considerations have limited the study of the sea’s southern shores, not to mention the exchanges across that other sea – the sea of sand – that lies beyond those territories’ southern borders. This one-day workshop at the Courtauld Institute of Art Research Forum takes as its topic the broader sphere of influence of the Western Mediterranean. Focusing primarily on inter-connections in the Western Mediterranean basin, from the Maghreb to Italy, from Ifr?qiya to Iberia, we will also investigate how this north-south axis extended well beyond the littoral regions to encompass sub-Saharan kingdoms, the Atlantic Ocean, and even the British Isles. The day’s proceedings are primarily intended to implicate art historians in this discussion about a global middle ages, and we will draw from interdisciplinary discoveries in recent years, especially the wealth of archaeological work accomplished by colleagues around London. The material culture of these regions, including such luxurious materials as ivory, gold, ceramics, pigments and textiles, augments the limited offerings of historical texts in delineating the complex interactions across geographical boundaries. In this way we hope to probe the foundations of a world artistic culture not only through shared materials and techniques, but also through the yearnings and desires such interactions engendered. We seek papers that address evidence touching on connections between at least two regions, for example the transfer of technologies from one region to another, the trade in raw materials, or the emulation of artistic forms. Organised by Sarah Guerin (The Courtauld Institute of Art) and Mariam Rosser Owen (Victoria and Albert Museum) Deadline for submission: Please send abstracts of 250-300 words to sarah.guerin@courtauld.ac.uk or m.rosserowen@vam.ac.uk by 3rd September 2012.

Job Opportunity - Job - Assistant Professor, Department of Visual Studies

Wed, 22 May 2013 06:03:43 +0000

Lingnan University, a distinctive liberal arts institution in the Hong Kong Special Administrative Region, is committed to the provision of quality education distinguished by the best liberal arts traditions. Adopting a whole-person approach to education, it offers a wide range of honours bachelor’s degrees and postgraduate programmes up to the doctoral level in the disciplines of arts, business and social sciences. Lingnan University is fully committed to the pursuit of excellence in both teaching and research. Applications are invited for the following position, which will be tenable from January 2013 or by mutual agreement: Assistant Professor Department of Visual Studies (Post Ref.: 12/156/AAH) The Department of Visual Studies (http://www.LN.edu.hk/visual/) adopts an interdisciplinary approach to visual arts and visual culture. In keeping with a traditional liberal arts mission of cultivating flexible, humanistic, value-oriented skills and knowledge, the Bachelor of Arts (Hons) degree programme in Visual Studies is designed to combine practical training in how to understand and appreciate visual images with historical and theoretical reflection on visual representations. Understanding key aspects of the history of the visual arts is a crucial part of such a training, as is the students’ engagement with the best theoretical reflection on the psychological, conventional, and formal conditions of visual representation. Candidates should have a PhD degree in the relevant discipline, with relevant teaching experience and a good research record. Candidates should be able to teach in one or more of the following areas: Asian Art, Non-Western Art (other than Asian Art), Hong Kong Visual Culture, Fashion, Design, Architecture, Photography, Museum Studies and Arts Policy, and History of the Visual Arts. All else being equal, preference will be given to candidates who can teach in the areas of Asian Art and/or Museum Studies and Arts Policy. Candidates are required to provide information on their research records and evidence of quality teaching. Excellent communication and presentation skills are essential. Administrative experience will be a distinct advantage. The successful candidate is expected to have a strong commitment to teaching excellence and services to the Department and the University community, and to engage actively in quality research and publication. Appointment The conditions of appointment will be competitive. Remuneration will be commensurate with qualifications and experience. Fringe benefits include annual leave, medical and dental benefits, mandatory provident fund, gratuity, housing benefits and incoming passage and baggage allowance for the eligible appointee. Appointment will normally be made on an initial contract of three years, which, subject to review and mutual agreement, is renewable for longer-term appointment or substantiation. Application Procedure Applicants are invited to forward their dossier together with a personal data sheet (Form R1) which is obtainable from the University’s web site at http://www.LN.edu.hk/hr/application-forms, to the Human Resources Office, Lingnan University, Tuen Mun, Hong Kong by post, by fax (852) 2891-5782 or by email: recruit@LN.edu.hk (as attachment in MS Word format) on or before 15 August 2012. Applicants are required to provide names and contact information of three referees (with applicants’ prior consent for their providing reference). Please specify the post you are applying for and quote the reference number of the post in all correspondence. Further information on the University and its programmes and activities can be found on the University’s web site: http://www.LN.edu.hk. Enquiries can be directed to recruit@LN.edu.hk. The University reserves the right not to make an appointment for the post advertised, or to fill the post by invitation or by search.

Funding Opportunity - Call for proposals for the new BSR Conference Support Scheme Competition 2013-2014

Wed, 22 May 2013 06:03:43 +0000

Call for proposals for the new BSR Conference Support Scheme Competition 2013-2014 The BSR is pleased to announce the launch of its new Conference Support Scheme providing support for promising novel research on Rome and Italy. The key aim of the scheme is to provide support for genuinely interdisciplinary landmark conferences which will contribute to strategic and innovative areas of research on Rome and Italy and will link up with the BSR’s Research Themes and priorities. The scheme is open to all prospective conveners with links to UK higher education institutions. It reflects BSR’s longstanding commitment to promoting interdisciplinary research and building collaborative relationships with universities and research centres. For further information about the Scheme please go to the BSR Conferences page at http://www.bsr.ac.uk/research/conferences-at-the-bsr/

External News and Events - Course - 'Art Market Academy' by Sophie Macphearson Ltd

Wed, 22 May 2013 06:03:43 +0000

The Venice Academy was first held over the Biennale 2011 and is planned for the Biennale 2013. The idea is to introduce the internal mechanics of the international art world through a series of lectures, seminars, studio and exhibition visits. With its tradition of contemporary art activities- the Biennale, the Architecture Biennale, the Venice Film Festival, the presence of the Peggy Guggenheim Collection of 20th century Art, and Francois Pinault’s two major collections of contemporary art at the Palazzo Grassi and the Punta della Dogana and the Prada Foundation, Venice has always been at the cutting edge of the art world. We have brought together a team of international experts who speak about their specialist subjects and can provide a personal connection to the art world. Courses are limited to twenty people and last ten days. The Venice Biennale is the world’s leading exposition of contemporary art and every country that produces art is represented, whether in a national pavilion in the Giardini, the Arsenale or in one of the many ‘off-site pavilions’ scattered all around Venice, in palaces or churches. To be in the city whilst this incredible show is open is a wonderful experience. To be taken around the exhibitions by our team of critics, curators, dealers and an active contemporary artist is a privilege available to very few people. Venice in the summer is hot and wonderful. All lectures take place in air-conditioned rooms. Added to the impressive list of lectures there will be a comprehensive introduction to Venetian art given by Charles Hall, Director of the Academy, that includes a private night-time visit to the Basilica of Saint Mark and tours of many of the great churches and galleries of Venice, to see paintings by Giovanni Bellini, Titian, Carpaccio, Tintoretto, Veronese and Tiepolo amongst others. There will be the option to take a short three- session course in Italian cookery that takes place in the evenings with an internationally renowned English-speaking cook and to take four drawing and painting classes given by Tom Young, landscape artist. Faculty includes: Louisa Buck Broadcaster, journalist and author of two books on contemporary art and collecting Nicholas Hall International Director of Old Masters Auctions at Christie’s, New York Adam Lowe Director of Factum Arte, Madrid, creating museum-quality replicas of historic art and artefacts Jasper Sharp Curator of Contemporary Art at the Kunsthistorisches Museum (National Gallery) in Vienna. In 2013 he will be the curator of Austria’s pavilion in the Venice Biennale Venice Academy Tom Young Painter Gavin Turk Contemporary artist The course lasts for ten days and runs from 21st to 31st July 2013. Accommodation is in double occupancy rooms in a family-run hotel in the Dorsoduro district of the city, minutes away from the Peggy Guggenheim Collection and the Contemporary Art Collection of Francois Pinault at the Punta della Dogana. FEES: £2100 (NB: The fee includes hotel, breakfast, Venice travel pass, all entrances on the programme and the drawing and painting sessions but does not include flights to and from Venice, cookery classes and meals (except breakfast). It should be noted that if you require a single occupancy room there is a supplement. Some people may want to arrange thgeir own accommodation. If this is the case then the fee for the course will be altered appropriately. SUNDAY JULY 21 Arrival, registration and Check in to Hotel Messner 20.30 Dinner in Campo Santa Margherita MONDAY JULY 22 09.00 Meet outside hotel to walk to the Istituto Canossiano. 09.30 -10.00 Charles Hall: INTRODUCTION TO VENICE AND THE COURSE “Why are we here?” 10.15 -11.00 Sophie Macpherson: Working in the Art World; the concept of the Academy 12.15-13.15 Charles Hall - Venice – Geography, Climate and History explained 13.30-14.30 Louisa Buck: Contemporary Art and the Venice Biennale. A many-headed beast 15.30-18.30 Cookery Class TUESDAY JULY 23 10.00 -12.30 Charles Hall: A visit to Scuola Grande di San Rocco and the church of the Frari 13.30-14.30 Jane da Mosto: The science of saving Venice 15.00-16.00 Louisa Buck: The Dealers, how the primary market functions, the world of galleries 16.30-19.00 Louisa Buck: A visit to Francois Pinault’s Art collection in Punta della Dogana WEDNESDAY JULY 24 10.00-11.00 Louisa Buck: The business of writing about the scene 11.30-12.30 Gavin Turk: My life as an artist; from RCA to YBA 14.00 -15.00 Charles Hall – A visit to San Giorgio Maggiore, Palladio’s last triumph and the Cini Foundation 15.30-16.30 Adam Lowe – Art and reality – working in conservation and the delicate art of recreating masterpieces 17.00-19.30 Tom Young – Painting & Drawing class THURSDAY JULY 25 10.00-11.45 Louisa Buck and Gavin Turk – a tour of the Biennale in the Giardini 12.15-13.15 Adam Lowe: Working with museums & curators 14.00-15.00 Gavin Turk: Making it in the Art World. Why become an artist? 15.30-18.30 Tom Young – Painting & Drawing class FRIDAY JULY 26 10:00-12:00 A tour of the Accademia Gallery – The world’s most important collection of Venetian art from 11th century to 18th century 13:30-18:00 An afternoon at the Gervasuti Foundation, one of the most exciting and cutting-edge ‘off-site’ pavilions in Venice (voted as the best show by many during Biennale 2011) 18:30-21:30 Cookery Class 17.00-19.30 Tom Young – Painting & Drawing class SATURDAY JULY 27 12:00-15:00 A tour of the Biennale in the Arsenale SUNDAY JULY 28 Day off Swimming at the Lido! MONDAY JULY 29 09.00 -11.00 Jasper Sharp: Collecting and Curating; who gets the jobs… and what are the jobs? 13.30- 14.30 Nicholas Hall: Building a collection; how to work with collectors 15.30- 16.30 Jasper Sharp: Working with artists as a curator (with reference to the recent Lucien Freud show in Vienna and the curation of the Austrian Pavilion for The 2013 Venice Biennale) 19.20 The Basilica of San Marco at night. A Private and exclusive visit to one of the wonders of the Byzantine and Gothic world TUESDAY JULY 30 10.00-11.00 Nicholas Hall: The Secondary Market. How it works and where you can come in 11.30-12.30 Jasper Sharp: Contemporary Art, how can you tell if it’s any good? - Tastemakers at work 14.00-16.30 Jasper Sharp in The Giardini – The Austrian Pavilion and the story of putting the show together 17.30-19.30 Wrap up session with Sophie Macpherson and Charles Hall WEDNESDAY JULY 31 10.00 Check-out of hotel For more information and to book contact: Emma Gibbs AMA - Sophie Macphearson Ltd 66 Charlotte Street London W1T 4QE Tel. 020 7636 9878 Email: info@artmarketacademy.com www.sophiemacpherson.com

External News and Events - Andrew W. Mellon Foundation Postdoctoral Fellowship, 2013–2015

Wed, 22 May 2013 06:03:43 +0000

Andrew W. Mellon Foundation Postdoctoral Fellowship, 2013–2015 The Institute of Fine Arts announces a postdoctoral fellowship supported by a grant from the A. W. Mellon Foundation. This award will be for academic years 2013 – 2015. The A. W. Mellon Postdoctoral Fellow will be in residence at the Institute of Fine Arts, New York University. The fellowship is held in conjunction with the IFA/Andrew W. Mellon Foundation review of research and teaching in the fields of art history, archaeology and conservation. This fellowship will give the Fellow the opportunity to pursue a research project while gaining teaching experience at a graduate level and while participating in a major international research initiative. The Fellow is expected to carry out research on a project leading to a major publication. The fellow will participate in the meetings of the relevant working groups and will teach one graduate level course each year. In addition to these responsibilities, in the second year the Fellow is to organize a seminar, conference, or workshop stemming from their research topic. The A. W. Mellon Postdoctoral Fellowship award is $55,000 per year, with benefits. There is a further $12,000 housing allowance and $2000 for travel and research expenses. Residency Postdoctoral fellows are expected to reside in New York and to participate fully in the research activities of the IFA throughout the fellowship period. Fellows are provided with office space and have access to the resources of the libraries of the IFA and New York University as well as other specialized research libraries and collections in New York. Qualifications and Selection Applicants for 2013 – 2015 must have received the PhD degree between October 1, 2007, and October 1, 2012. The fellowship is awarded without regard to age or nationality of applicants. Applications are reviewed by a selection committee composed of IFA Faculty. There are no restrictions about the field of study, and applications are encouraged in fields not currently taught at the Institute of Fine Arts. Selection will be based on the merits and feasibility of the proposed research and on the academic and research excellence of the candidate New York University is an Equal Opportunity/Affirmative Action employer. We encourage women and minority candidates to apply. Application Applications must be received by November 1, 2012. Candidates must submit five (5) copies of application forms, including all materials. Three letters of recommendation in support of the application are required. After a preliminary selection, finalists may be interviewed in February 2013. The fellowship award will be announced by April 30, 2013. A. W. Mellon Postdoctoral Fellowships may not be postponed or renewed. For information on how to apply, please visit: http://www.nyu.edu/gsas/dept/fineart/application.htm For further questions please email: ya509@nyu.edu Applications should be mailed to: Andrew W. Mellon Research Activities Coordinator Institute of Fine Arts, New York University 1 East 78th Street New York, New York 10075

External News and Events - Call for Papers - ' Performing Architecture'

Wed, 22 May 2013 06:03:43 +0000

Performing Architecture - Saturday, October 13 Princeton University, School of Architecture, Betts Auditorium Performing Architecture is a one-day graduate symposium, bringing together emergent discourses in architecture and performance in order to identify shared critical methods and to devise new territories for practice. In their book A Thousand Plateaus, Gilles Deleuze and Felix Guattari put forward a philosophical provocation that continues to be an important starting point for contemporary cultural production: we do not yet know what a body is because we do not yet know what a body can do. Performance art, which focuses on unleashing the body against restraints, and architecture which contains, programs, and even disciplines the body, are the two fields in which the philosophical question is made most keenly present. In their intersection, a whole series of urgent new questions emerge. “Performing Architecture” examines the affinities between architecture and performance to identify spatial practices resistant to both late-capitalist compliance and the limitations of either discourse, both architecture's focus on interiority and formal autonomy, as well as the utopian view of performance studies of the body's capacity to resist acculturation. With the issues addressed at this symposium, we hope to offer lasting provocations to how we think of the body, space, structure, and design across the fields of performance and architecture--and beyond. Topics may include, but are not limited to: activism and the public sphere temporality and the event filmic architecture public art artistic adaptation curatorial practices institutional frameworks theater spectatorship ephemeral/temporary architecture utopia Please submit abstracts of 300 words for 20 minute presentations, along with a curriculum vitæ to performing.architecture2012@gmail.com by August 11, 2012.

External News and Events - Call for Papers - 'Inter-Culture 1400-1850 - Art, Artists & Migration

Wed, 22 May 2013 06:03:43 +0000

Inter-Culture 1400-1850. Art, Artists and Migration. International Art History Conference Liverpool Hope University (Creative Campus) Friday 5th and Saturday 6th April 2013 Call for papers Deadline: 1 October 2012 Focusing on the time between 1400 and 1850, this multi-disciplinary, international conference seeks to explore the complex implications that the emigration and immigration of artists had on their artistic development and also upon the society they were leaving and the new one they were joining. While major exhibitions, such as “Migrations” (January – August 2012) at Tate Britain, address the impact of migration on the cultural heritage and artistic production in a particular country, the conference seeks to investigate further this exciting topic by discussing thematically the latest research of international scholars. Instead of focusing on the 20th and 21st centuries and the strong consequences migration caused in modern and postmodern societies, we intend to look back and explore the effects of migration on art and artists in Europe and beyond before, during and shortly after the Industrial Revolution. Why have artists left their comfort zone, travelled to faraway places and adapted to new living conditions when only very few had a noteworthy impact on local artistic production, such as Hans Holbein the Younger at Henry VIII’s court or El Greco, who is the prime example for intercultural artistic exchange in early modern times? How important was national identity for the artists and also for the reception of their work? What are the differences and parallels between pre- and post-Industrial Revolution migration of artists? Themes for discussion: Perceptions of the artist (old and new society) New environments and influences on artistic practice Cultural confrontations Self-chosen emigration/immigration Forced emigration/immigration The returned artist Keynote Lectures: Professor Eberhard König, Free University Berlin Professor Fintan Cullen, University of Nottingham Guest Speaker: Tim Batchelor, Tate Britain The conference seeks to encourage an inter-disciplinary dialogue and invites papers from adjacent subjects that have a strong connection to the topic. Early career scholars are particularly invited to submit a proposal. Conference papers will be presented within thematic units and shall not exceed 20 minutes, followed by a 10 minute discussion. All speakers will get free accommodation on the campus of Liverpool Hope University. Proposals can, but do not have to, relate to one of the suggested themes. Please send your proposal of no more than 500 words (with name, institution, address, telephone number and E-mail address) to: Dr Kathrin Wagner Liverpool Hope University Creative Campus The Cornerstone 17 Shaw Street Liverpool L 6 1HP United Kingdom E-Mail: inter-culture@hope.ac.uk http://www.hope.ac.uk/inter-culture/ Phone: +44 (0)151 2913679

External News and Events - Terra Foundation for American Art International Essay Prize

Wed, 22 May 2013 06:03:43 +0000

The Terra Foundation for American Art International Essay Prize recognizes excellent scholarship by a non-U.S. scholar in the field of historical American art (circa 1500-1980). Manuscripts should advance understanding of American art, demonstrating new findings and original perspectives. The prize-winning essay will be translated and published in American Art, the Smithsonian American Art Museum's scholarly journal. We are pleased to announce an increased and enhanced prize award this year: the winner will receive a $1,000 cash award and a $2,000 travel stipend to give a presentation in Washington, D.C., and meet with museum staff and fellows. This prize is supported by funding from the Terra Foundation for American Art. The aim of the award is to stimulate and actively support non-U.S. scholars working on American art topics, foster the international exchange of new ideas, and create a broad, culturally comparative dialogue on American art. Ph.D. candidates and above are eligible to participate in the competition. Essays may focus on any aspect of historical American art and visual culture (pre-1980). Preference will be given to studies that address American art within a cross-cultural context and offer new ways of thinking about the material. A strong emphasis on visual analysis is encouraged. Manuscripts previously published in a foreign language are eligible if released within the last two years (please state the date and venue of the previous publication). For scholars from English-language countries, only unpublished manuscripts will be considered. Authors are invited to submit their own work for consideration. We urge scholars who know of eligible articles written by others to inform those authors of the prize. The length of the essay (including endnotes) shall not exceed 8,500 words with approximately 12 to 14 illustrations. The text of the essay should be submitted by e-mail as a Word file, accompanied by a PDF file containing all of the illustrations. A curriculum vitae should be included. Manuscripts submitted in foreign languages should be accompanied by a detailed abstract in English. The submissions must be sent to TerraEssayPrize@si.edu by January 15, 2013. Questions or comments may be addressed to the same address. For more information on American Art, please consult www.americanart.si.edu/research/journal. For details on the Terra Foundation for American Art, please visit www.terraamericanart.org. Terra Prize Recipients 2010: Sergio Cortesini, "Unseen Canvases: Italian Painters and Fascist Myths across the American Scene" 2011: Alex J. Taylor, "Unstable Motives: Propaganda, Politics and the Late Work of Alexander Calder" 2012: Sophie Cras, "Art as Investment and ‘Artistic Shareholding' Experiments in the 1960s"

External News and Events - AAH Art History Careers Day 2012

Wed, 22 May 2013 06:03:43 +0000

Art History Careers Day 2012 27 October 2012 - The Kenneth Clark Lecture Theatre, The Courtauld Institute of Art The Association of Art Historians is hosting a Careers Day for all those interested in pursuing a career in the arts on the 27th October in the Courtauld Institute of Art. Located in the centre of London, the Courtauld is an international hub of art historical research, and houses the world famous Courtauld Gallery. This year’s Careers Day welcomes a wide range of speakers, who will offer informative presentations on career paths into the art world, including museums, auction houses, art education, academia, libraries and archives. Whether you are preparing for postgraduate study, interested in a change of pace, or getting ready to embark into the real world, the AAH career’s day will help you along your way! To help you get the most out of the day, we have arranged refreshments and informal networking breaks for participants, during which you will be able to engage personally with each of the speakers over a cup of coffee or a glass of wine. This years speakers will include: Dr Rachel Sloan, Assistant Curator of Works on Paper, Courtauld Gallery. Dr Christina Bradstreet, Director of Career Services, Sotheby’s Institute of Art. Dr Matt Lodder, Finance and Policy Manager, Association of Art Historians. Annette Richardson, Head of Education, Somerset House. Alexis Ashot, Old Masters Specialist, Christie’s, London. Sara Wallace, Senior Library Assistant, Sackler Library, University of Oxford The Autumn Careers Day is open to all AAH members and non-members, and is primarily aimed at art historians at an undergraduate level. Places for this event are extremely limited and must be reserved in advance. Booking must be done online by clicking here Tickets: Members £6.00. Non-members £10.00. For further information please contact: Charlotte Stokes: charlottestokes101@hotmail.com Anna Beketov: fh10ab@leeds.ac.uk Matthew Klise: matt.klise@gmail.com

Independents - Call for Freelance & Independents’ Committee members

Wed, 22 May 2013 06:03:43 +0000

If you are interested in getting involved with the Association of Art Historians, and are not currently in permanent academic employment, then the Freelance & Independents’ Committee would like to hear from you. We are recruiting energetic and motivated individuals who are interested in sharing their skills and expertise within a vibrant community of independent and freelance Art Historians. Committee members are invited to attend quarterly meetings in London to discuss matters relating to the discipline (travel expenses paid within the UK), and to actively participate in organising events and activities for our membership across the country. As a committee member you would help to run a programme of conference panels, special interest sessions, career development events and funding schemes, in addition to researching and administering new initiatives that address the needs of our constituency. F&I members may fall into any of the below categories: Fixed-term teaching fellows or postdoctoral researchers (full or part time) Part time or sessional teachers/lecturers (HE or continuing education) Freelance researchers, writers or curators Self-employed Unemployed Retired If you are interested in joining, please complete the application form (available to download from here) and send along with a CV to admin@aah.org.uk.

External News and Events - Call for Papers - 'Photography and the Histories of Sculpture: What role has photography played in forming sculpture’s place in art history?'

Wed, 22 May 2013 06:03:43 +0000

39th Annual AAH conference and bookfair University of Reading, 11 – 13 April 2013 Conveners: Henry Moore Institute (Lisa Le Feuvre and Jon Wood) This session asks: what role has photography played in forming sculpture’s place in art history? Working across disciplines and histories of sculpture, exhibition making, museum studies and photography, this session discusses the formation of art historical narratives, seeking to unpack past narratives and ask questions of how future narratives might be constructed. Addressing the role photographs and their producers have played in articulating sculptures’ meanings and histories, this session invites papers that take stock of the impact of photography on the histories of sculpture and its shaping of understandings of ‘sculpture’ by: communicating exhibitions, collections and works; distributing, interpreting and fictionalising sculpture; developing art historical analyses and positions; enabling research of sculpture. This session is also interested in analysing the photography of sculpture as a subject of exhibitions and publications, as seen, for example, in the exhibitions Close Encounters: The Sculptor’s Studio in the Age of the Camera (Henry Moore Institute, 2000) and The Original Copy (MOMA, 2010). Likewise, the artistic treatments of sculpture through photography are pertinent to the relationship between sculpture and photography; these changing relations have ramifications for our developing art historical grasp of sculpture, as it becomes analysed as much through its representation as through its direct encounter. This session strives to be trans-historical, inviting papers from academics, artists, curators and writers addressing early photography as much as recent experiments. We invite proposals for 25 minute conference papers. Please submit a 250 word abstract and short CV to Kirstie Gregory (Research Programme Assistant) kirstie@henry-moore.org Deadline for submissions is Monday 12 November 2012. For more details visit our Research pages on www.henry-moore.org/hmi

External News and Events - Call for Papers - Devils and Dolls: Dichotomous Depictions of ‘The Child’

Wed, 22 May 2013 06:03:43 +0000

Confirmed plenary speaker: Professor George Rousseau, (Magdalen College, University of Oxford) Co-Director of the Oxford University Centre for the History of Childhood. Second plenary to be confirmed. An inter-disciplinary conference open to both postgraduates and academics at any stage of their career, seeking to examine the contrasting images and representations of children as angels or devils, innocent or evil, light or dark in fiction and culture and the field of Humanities. Why are children offered little dimension in representations? What is the significance of representing the child either as innocent or evil – to both the originating discourse and in a wider context? Is such polarization detrimental to our understanding of what it means to be a child and how we respond to real children? The “humanities” is intended as a fluid term; depictions from any period of history, any social or cultural context, fictional or media representations are encompassed. In light of this, submissions are invited from a range of disciplines and topics may include, but are certainly not limited to, depictions of the child as: A devil, demon, monster, wicked/sinful (for instance Heathcliff, Damien from The Omen, the child Sir Gowther) As angelic, child-saints or martyrs, innocent (paintings of putti, Romantic child figures, Little Nell) Contrasting images of the two in various fields; e.g. philosophical thought, religious doctrine The child as “uncanny” The child in art (Blake’s illustrations, Millett’s Bubbles, the Virgin and child) Televisual, cinematic or dramatic depictions. The Freudian child as depicted by psychoanalysts or psychoanalytic readings of figures. The child in horror/gothic fiction Monstrous births Supernatural children; vampires, werewolves, ghosts, zombies Contrasting images as represented in adult fiction and/or children’s literature Children in Victorian chapbooks – models of religious virtue? The sexualised child – innocent or corrupt? The child in myths, fairy and folk tales The “foreign”, tribal, refugee or postcolonial child Media representations of children. We invite abstracts of 250-300 words for 20 minute (previously unpublished) papers, sent in Word format to devils_dolls@live.co.uk by Friday 31st August 2012 with the “subject” of the email as ‘Devils and Dolls abstract’. Please ensure your abstract appears in the following format: Paper title 250 – 300 word abstract in plain text Name of author and affiliation Email address Up to ten keywords (these can be compound terms) Please also indicate whether, if required, you would be happy to chair a panel. All abstracts will be acknowledged by email receipt, and you should therefore receive an acknowledgement within 5 working days. Once the deadline has passed, a panel will review the abstracts anonymously and a draft conference plan will be constructed. We will reply to all submissions to offer both a decision and some feedback. If your paper is not selected at this time, we hope you are still able to attend the conference and contribute to the discussion. Some papers may be selected to comprise a collection of essays in the first edition of the Bristol Journal of HARTS following the conference.

External News and Events - Call for Papers - 'Re-visioning the Brontës'

Wed, 22 May 2013 06:03:43 +0000

The 'Re-Visioning the Brontës' conference will take place at Leeds in January 2013. A collaboration between the Stanley & Audrey Burton Gallery and the School of Fine Art, History of Art and Cultural Studies, the conference will coincide with two related exhibitions at the Gallery and Leeds College of Art. The conference is funded through a HEIF V award, (the University of Leeds Higher Education Innovation Fund). Call for Papers: JANUARY 2013 - Call for papers: 'Re-Visioning the Brontës', University of Leeds conference in conjunction with the exhibitions, 'Wildness Between the Lines' and 'Visions of Angria' Recent adaptations and interpretations of the Brontës' lives and works through film, art, literature and theatre raise questions about the continuing fascination with these literary figures, as well as highlighting the wider potential for artistic intervention or collaboration between artworks and audiences. Similarly, it is through innovative contemporary arts programmes that organisations like the Brontë Parsonage Museum and the Brontë Society seek to move beyond simple 'caricatures' of the family and encourage diverse audience engagement. This one day cross-disciplinary conference will explore the recent 're-visioning' of the Brontës through critically examining artistic responses and interpretations of their work. The conference will address ways in which the legacy of the Brontës is exerting an influence in a range of creative fields, and across a variety of media. A collaboration between the Stanley & Audrey Burton Gallery and the School of Fine Art, History of Art and Cultural Studies, the conference is taking place to coincide with two exhibitions. The first, 'Wildness Between the Lines', at Leeds College of Art, brings together the work of a wide range of artists who have been influenced by the Brontës. 'Visions of Angria', at the Stanley and Audrey Burton Gallery, showcases Brontë material from the University of Leeds Special Collections, accompanied by illustrations from students at Leeds College of Art. This theme lends itself to a broad field of research and practice. Submissions are welcomed from academics, artists, research students and professionals, and the format is not restricted to formal papers. Topics for discussion might include, but are not limited to: The Brontës' influence in contemporary culture Creative adaptations or reinterpretations of the Brontës' lives and works Curatorial interpretations of the Brontës The myth and legacy of the Brontës Responses to exhibitions of Brontë material Representations of the Brontës in literary biographies Confirmed speakers include Jane Sellars (Curator of Art, Mercer Art Gallery, Harrogate) and Professor Blake Morrison (Goldsmiths, University of London) in conversation with Dr Richard Brown (University of Leeds). Please email submissions, including a title, 400 word abstract and CV, to: bronte.revision@gmail.com by no later than Friday, 28 September 2012. Successful applicants will be notified by the 30 November 2012. Further questions are welcomed at this address. Find us at: The Stanley & Audrey Burton Gallery Parkinson Building Woodhouse Lane University of Leeds Leeds LS2 9JT Telephone: 0113 343 2778 Fax: 0113 343 5561 (Please mark for the attention of the Art Gallery) Email: gallery@leeds.ac.uk Gallery blog: http://blog.library.leeds.ac.uk/blog/art-gallery/ Facebook page: http://www.facebook.com/sabgallery Twitter: http://twitter.com/sabgallery

External News and Events - Call for Entries - Russian Art and Culture Postgraduate Writing Competition

Wed, 22 May 2013 06:03:43 +0000

Russian Art and Culture Postgraduate Writing Competition Call for entries Russian Art and Culture, the largest Russian art website in the UK, is launching a new graduate writing competition to coincide with our official launch event in November 2012. This prize is intended to give graduates an opportunity to have academic work published. Entries must relate to Russian/Soviet art (i.e. painting, sculpture, architecture, film, design or photography) and are invited from all recent (within the last 12 months) or current History of Art graduates enrolled on a Masters course or PhD. Submissions will be judged by a panel of experts in the field of Russian art. The prize winning entry will receive a £400 cash prize as well as publication of the essay on Russian Art and Culture website and in the first issue of a new online journal of graduate writing launched by the website in November. For full guidelines and details see http://www.russianartandculture.com/competition-russian-art-and-culture-postgraduate-writing-competition/ or contact with queries or submissions office@russianartandculture.com Deadline for submission: Monday 15 October 2012

External News and Events - Call for Papers - 'Art and Death'

Wed, 22 May 2013 06:03:43 +0000

Art & Death Three workshops: 1st November 2012, 21 February and 23 March 2013 The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN CALL FOR PAPERS A series of three workshops will be 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. The workshops will be structured to recognize that the certainty of death is accompanied by the foreknowledge and uncertainty of what may come after, and that visual representations of these phases have varied over time and between countries. The first workshop will focus on the images and objects related to the impact that the certainty of death has on individuals and the community; the second on art in the context of dying, death and burial; and the final one on representations of the perceived fate of body and soul after death, as well as the continuation of a relationship (if only in memory) between the living and the dead. Subjects for the workshops could include, but are not limited to: Workshop 1 (1 November 2012): Anticipation and Preparation Death insurance? Religious gifts and foundations Protective objects and amulets Tombs commissioned during a lifetime, testamentary desire and fulfilment Contemplating images of death, warnings to the living The cult of the macabre, images of illness and decay Apocalyptic visions Workshop 2: (21 February 2013): Death and Dying A ‘good death’ War and violence Funerals/Professional mourners Funerary monuments, memorial architecture, cemetery design Post-mortem portraits Images of the corpse in painting, sculpture, film, photography, etc. Crucifixion imagery Death in museum collections 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 the following dates: 20 September 2012 for workshop 1 (1 November 2012): Anticipation and Preparation 10 January 2013 for workshop 2 (21 February 2013): Death and Dying 11 April 2013 for workshop 3 (23 May 2013): Life after Death For planning purposes, it would be helpful to have an indication of interest in the later workshops, in advance of submission of a proposal. Organised by Jessica Barker and Ann Adams (The Courtauld Institute of Art)

External News and Events - Call for Papers - ' The Art Press in the Twentieth Century'

Wed, 22 May 2013 06:03:43 +0000

A one-day conference on the mediation of art history, criticism and the art market in magazines and journals organised by The Burlington Magazine and Sotheby's Institute of Art on 1st February 2013 The Burlington Magazine is one of Britain's oldest monthly art-historical publications. Founded in 1903 by a group of art writers that included Robert Dell, Roger Fry, Bernard Berenson and Herbert Horne, its aim was to cover all aspects of the fine and decorative arts, to combine scholarship with critical insight and to treat the art of the present with the same seriousness as the art of the past. Sotheby's Institute of Art in London was founded by Sotheby’s auction house in 1969. It is now an independent not-for-profit institute and offers six MA programmes across a range of visual art disciplines and art business, together with semester and summer courses. These are validated by the University of Manchester with whom there is also a joint PhD programme. Research and teaching at Sotheby’s Institute focuses on the art work and its context within the framework of the art world and market. The aim of the joint conference is to explore how the international press, via art-historical writing and criticism in magazines and journals, has intersected with the reception and understanding of art, collecting, the art market and the teaching of art history. Preference will be given to submissions based on art publications from the twentieth century, although proposals outside of this time period will be considered. Topics for discussion may include but are not limited to: History of individual journals Current state of the art press/digital media How the art press has facilitated and documented changing patterns and transnational connections How journals have shaped the foundation of the discipline of art history The influence of the art press on current educational programmes in museums The critic/dealer system Audience and reception of art magazines and journals How the art press has interacted with museums, reflecting, criticising or influencing their acquisition policy Female journalists and art periodicals Artists as critics Artists’ magazines Papers should be no longer than 20 minutes. Please send proposals of no more than 250 words by 30th September 2012 to Anne Blood (conference@burlington.org.uk). Registration fee: £25 – Students £10 – no registration fee for speakers http://www.burlington.org.uk/art-world/burlington-conference

External News and Events - Call for Papers - 'Bacon’s Books - Francis Bacon’s Library and its Role in his Art'

Wed, 22 May 2013 06:03:43 +0000

Bacon’s Books - Francis Bacon’s Library and its Role in his Art Friday 19th and Saturday 20th October 2012 Department of the History of Art, Trinity College Dublin and Dublin City Gallery, the Hugh Lane Call for Papers The painter Francis Bacon had a voracious interest in books, and his range of interests is evident in the substantial collection he amassed, on subjects as diverse as art history, literature, photography, history, politics, philosophy, cinema, sport, crime, medicine, languages, and travel. The personal library of an artist is widely recognised as an invaluable resource for understanding their work, and there is ample evidence that this was the case for Bacon. His studio was piled with books, and littered with loose leaves torn from them for reference. Evidence indicates that he plundered these for ideas and forms, both from the images and text, liberally interpreting them for his own purposes, and there is much remaining to be explored. The purpose of this call for papers is to invite scholars to present new research on the connections between Bacon’s art and his interest in books. This symposium is presented as a stage in the joint project between the History of Art Department, Trinity College Dublin and Dublin City Gallery the Hugh Lane. The Gallery is well known as the home of Francis Bacon’s meticulously relocated Reece Mews studio. In addition the Gallery has responsibility for Francis Bacon’s entire collection of c. 1,300 books. The Bacon’s Books project is intended to bring this invaluable resource to a wider audience, to facilitate further insight into the work of this major artist. Generously funded by the Government of Ireland via the Irish Research Council for the Humanities and Social Sciences (IRCHSS) the collaboration is led by Barbara Dawson, Director of Dublin City Gallery, the Hugh Lane, and Yvonne Scott, Head of the History of Art Department, Trinity College Dublin. The book collection has been comprehensively digitally catalogued, in a searchable database, drawing on the expertise of Dr Margarita Cappock, Head of Collections, and of Dr Monika Keska, IRCHSS-funded Research Assistant to the project. In addition to recording full publication details, the process involves photographing pages with notations and paint accretions, and documenting missing pages; it is also facilitating the identification of hundreds of the loose leaves found in the studio. This invaluable database will be available for researchers visiting Dublin, and an annotated version will be accessible online from June on the websites of the Gallery and the College (see below). Applicants for the symposium should send an abstract of no more than 300 words for papers of 20 minutes, along with an academic curriculum vitae or résumé, to: Yvonne Scott (scotty@tcd.ie) and Barbara Dawson (bdawson.hughlane@dublincity.ie) by Friday, August 17th, 2012. For further information on the project partners, see: http://www.tcd.ie/History_of_Art/ and http://www.hughlane.ie For general queries about the symposium, contact Dr Monika Keska: keskam@tcd.ie Bacon’s Book Project details: http://www.tcd.ie/History_of_Art/research/centres/triarc/bacon.php

External News and Events - Henry Moore Institute Dissertation and Essay Prizes 2012

Wed, 22 May 2013 06:03:43 +0000

Henry Moore Institute Dissertation and Essay Prizes 2012 The Henry Moore Institute is a world-recognised centre for the study of sculpture in the heart of Leeds. An award-winning exhibitions venue, research centre, library and sculpture archive, the Institute hosts a year-round programme of exhibitions, conferences, lectures, research and publications that aim to expand the understanding and scholarship of historical and contemporary sculpture. It is a part of The Henry Moore Foundation, which was set up by the sculptor Henry Moore in 1977 to encourage appreciation of the visual arts, especially sculpture. As part of the Institute's research programme, in 2012 three prizes will be awarded for extended pieces of writing on contemporary, modern or historic sculpture. The Henry Moore Institute Dissertation Prizes are open to BA and MA students of all disciplines. The Collections Essay Prize is awarded to a piece of original critical writing that attends to works or archive material from the Leeds Museums and Galleries collection and is open to all. Collections essays should be between 2,500 and 5,000 words in length. The winning entries will enter into our Research Library collection, and will be included in our online archive of winning entrants. Henry Moore Institute Dissertation Prize MA Dissertation Prize: £250; BA Dissertation Prize: £150 This award is for a dissertation written as part of academic coursework in 2012. Applicants should include a letter from their academic organisation to indicate their course and place of study. Henry Moore Institute Collections Essay Prize Collections Essay Prize: £150 The Henry Moore Institute manages the sculpture collection and archive of Leeds Museums and Galleries. This partnership has built one of the strongest public collections of sculpture in Britain. The Institute encourages researchers from across the country to explore our collections during the course of their graduate and post-graduate studies. The collection ranges from 1850 to the present day and spans sculpture, sculptors' drawings and archive material, which takes in correspondence, working notes, drawings and sculptors' tools. Our collecting policy is to tell the story of sculpture being made in Britain, paying particular attention to neglected practitioners, as well as those more widely known. Amongst the many artists represented in the collection are: Keith Arnatt, Phyllida Barlow, Helen Chadwick, Tony Cragg, Tacita Dean, Jacob Epstein, John Flaxman, Eric Gill, Barbara Hepworth, Phillip King, Bruce McLean, Claes Oldenburg, Eva Rothschild, and Bill Woodrow. Deadline: 30 October 2012 Essays should be submitted by email to Kirstie Gregory, Research Programme Assistant, with a cover letter indicating course of study where appropriate and which prize is being applied for - kirstie@henry-moore.org

Students - Call for Papers - 'AAH New Voices: Art and its Hierarchies'

Wed, 22 May 2013 06:03:43 +0000

New Voices 2012 Call for Papers AAH New Voices: Art and its Hierarchies University of Nottingham November 24th 2012 Keynote Speaker: Dr. Gabriele Neher, University of Nottingham “Good order is the foundation of all good things” Edmund Burke, 1790 This one-day conference will question the inherent or constructed hierarchical systems that have informed how we engage with art. Historically, hierarchical thinking has shaped knowledge about art and artists, from the priorities of the arts laid out by Plato and Aristotle to the cyclical, systemic approaches of Ghiberti and Vasari. In accordance with the ideals of the Age of Enlightenment, artistic practice and education became more formalised during the eighteenth century. Academies began to emerge throughout Europe that promoted a new set of criteria for classifying and assessing artistic importance. Established purveyors of taste attached value to specific styles, subjects and media, as well as to the gender, cultural, social, economic and geographical background of the artist. Art historians, collectors and writers too were implicated in, and contributed to, such processes of compartmentalisation. The nineteenth century witnessed a reaction against these strict Academic rules in favour of a more individualistic approach to art practice. However, new hierarchical systems replaced old ones; an emphasis on originality militated against the appreciation of paintings that were part of a larger artistic tradition. The twentieth century was characterised by profound political and social upheaval, along with geographical movement and cultural contestation that took the the forms of war, migration and new economies of exchange. These changes instigated in artists and cultural commentators a renewed awareness of the risks of hierarchical thinking. At the same time, paradoxically, existing hierarchies and value systems became re-entrenched in modernist practices, which some contemporary artists, art historians and curators continue to negotiate today. We welcome contributions that address the issues and questions outlined above or explore new critical positions. Topics may include, but are not limited to: The order of the genres (history, portraiture, landscape, etc.) Hierarchies and constructions of gender, age, race, disability, sexuality Modes of writing: history, criticism, theory, comment and blogging Taste, value judgement and connoisseurship Taxonomies of collecting/collections Authorship and audience Geographical hierarchies Cultures of display (fairs, exhibitions and festivals) Style, expression and art practice Economic and social hierarchies Papers should be 20 minutes in length. Abstracts of no more than 300 words should be submitted along with a CV to Mary Jane Boland, Sibyl Fisher and Alasdair Flint at artanditshierarchies@gmail.com by 8 October 2012. Submissions are open to AAH members only Tickets: Student Member: £10 Student Non-Member: £15 Member: £15 Non-Member: £20 Booking online shortly.

Funding Opportunity - Prize - The Berlin Prize, The American Academy in Berlin

Wed, 22 May 2013 06:03:43 +0000

The Berlin Prize Call for Applications 2013-2014 The American Academy in Berlin invites applications for its residential fellowships for 2013-14, as well as early applications for the academic years 2014-15 and 2015-16. The deadline is Friday, September 28, 2012. Applications may be submitted online or mailed to the Berlin office. The Academy welcomes applications from emerging and established scholars, and from writers and professionals who wish to engage in independent study in Berlin. Approximately 26 Berlin Prizes are conferred annually. Past recipients have included historians, economists, poets and novelists, journalists, legal scholars, anthropologists, musicologists, and public policy experts, among others. The Academy does not award fellowships in the natural sciences. Fellowships are typically awarded for an academic semester or, on occasion, for an entire academic year. Bosch Fellowships in Public Policy may be awarded for shorter stays of six to eight weeks. Fellowship benefits include round-trip airfare, partial board, a $5,000 monthly stipend, and accommodations at the Academy’s lakeside Hans Arnhold Center in the Berlin-Wannsee district. Fellowships are restricted to individuals based permanently in the United States. US citizenship is not required; American expatriates are not eligible. Candidates in academic disciplines must have completed a PhD at the time of application. Applicants working in most other fields – such as journalism, filmmaking, or public policy – must have equivalent professional degrees. Writers should have published at least one book at the time of application. The Academy gives priority to a proposal’s scholarly merit rather than any specific relevance to Germany. Composers are asked to visit the Academy’s website for details regarding the competition in music composition. The Guna S. Mundheim Fellowship in the Visual Arts is an invitation-only competition. Following a peer-reviewed screening process, an independent Selection Committee reviews finalist applications. The 2013-14 Berlin Prizes will be announced in late February 2013. For further information and to apply online, please see http://www.americanacademy.de/home/fellows/applications or contact: The American Academy in Berlin Attn: Carol Scherer Manager of Fellows Selection Am Sandwerder 17–19 14109 Berlin, Germany Telephone +49-30-804-83-0 Fax +49-30-804-83-111 cs@americanacademy.de

External News and Events - Call for Papers - Processes, Outcomes, Pathways and Products (POPP): Scottish Practice-as-Research Symposium

Wed, 22 May 2013 06:03:43 +0000

Processes, Outcomes, Pathways and Products (POPP): A Scottish Practice-as-Research Symposium 20th and 21st of November 2012 Deadline: Aug 10, 2012 POPP is an interdisciplinary symposium for postgraduate students and early career researchers in the Arts and Humanities who use practice-as-research methods in Scotland. The symposium will take place on the 20th and 21st November 2012 at the Centre for Contemporary Arts (CCA) in Glasgow. During this a formal peer-led research network with an online home will be launched. The event aims to reach beyond the traditional conference format by emphasising research training and opportunities to share practice. Research can be presented through papers and practice demonstrations which might include installations, performances, readings, exhibitions of artworks or maps, concerts, workshops or any similar formats. This conference seeks to contribute to the method of practice-as-research beyond disciplinary boundaries. As such contributions are welcomed from fields including but not limited to Theatre and Performance Studies, Art History, Creative Writing, Translation Studies, Education, Interpretation, Film Studies, Anthropology, Music and Sonic Arts, Architecture, Geography, Cartography, Ethnology, Archaeology, Design, Journalism, Publishing, Curating and Museum Studies and Archiving. Alongside the presentation of research projects, POPP will offer training workshops to attendees. Confirmed workshops include a creative training workshop with Anna Birch from the Royal Conservatoire of Scotland, workshops lead by the Humanities Advanced Technology & Information Institute (HATII) of the University of Glasgow and an Emerging Scholars Forum. Following the event there will be the opportunity to continue conversations on our Wikispaces site: http://par-scotland.wikispaces.com/ . This site will also be used to document the symposium. Call for submissions of either 20-minute research papers or presentations of practice Requirements The researcher must be affiliated with a Scottish institution. Practice must have a formal research element and be situated within the academy. Suggested questions and topics Questions and topics might include: Is practice a research process or a research outcome? What is the difference between practice-based research, practice as research and practice-led research? How do we speak about our practice and our research? Do we need two different voices to speak of these? Or one new voice? How does practice generate theorising and vice versa, what kind of knowledge results from practice-as-research? What are the epistemological foundations of practice-as-research? Does the framework of presentation affect the practice? If we present work as ‘art’ or as ‘research’, does it change? Can the practice-based researcher rely on the audience “getting/seeing it”? Practice as experiment - is there space for failure? Documentation and the archive What is the difference between practice-as-research and fieldwork? What role does the participant-observer and embodied knowledge play? How is practice-as-research assessed, institutionalised and disseminated? Is research produced by practice valued in the academy? Pedagogies of practice: how do we teach practice-as-research? Where are the borders and what are the differences between practice-as-research in the Arts / Humanities and the Sciences? In what ways does practice as research forge relations with areas outside the academy? How does practice as research impact outside the academy: practitioners, communities, industries? Further suggestions of areas not covered by the above points are welcome. Please submit An abstract of the paper or practice presentation of up to 250 words. If you are proposing a piece of practice, please include a description of how the practice sits within your research. Please include detailed information (not included in the word count) on technical and spatial requirements. Where practice is time-based the recommended length is under 60 minutes. You can submit entries for both written and practical work if you wish, but we cannot guarantee to have space for both. Please indicate which institution you are affiliated with. Our facilities We will have space available for performances, films, installations, concerts, exhibitions, workshops and readings. If your practice falls outside these parameters, then please suggest how we could accommodate your work. Limited technical provision will be available and so we encourage submissions with minimal technical requirements. There will be Q & A sessions following paper panels and practical presentations. Submissions Please submit your abstract by the 10th of August 2012 to par.scotland@gmail.com

External News and Events - Call for Papers - 'Death: the Cultural Meaning of the End of Life'

Wed, 22 May 2013 06:03:43 +0000

Death: the Cultural Meaning of the End of Life LUCAS Graduate Conference 2013 Leiden University Centre for the Arts in Society 24–25 January, 2013 Keynote Speakers: Professor Joanna Woodall, Courtauld Institute of Art, United Kingdom Professor Rosi Braidotti, University of Utrecht, Netherlands The Conference Death is a defining factor in the explorations of our subjectivity, art, history, politics, and many other aspects of our social interactions and perceptions of the world. In the modern age, conceptions of death have continued to shift and evolve, yet our perceptions are still fueled by an instinctive fear of the end of life. In recent decades, we have rebelled against the threat of death by inventing new technologies and medicines that have drastically increased our life expectancy—diseases and disabilities are gradually disappearing. Some believe that one day we will completely conquer the aging process, and ultimately death. Life can now be seen as a new form of commodity, a material object that we can trade, sell, or buy. Despite our attempts to shut-out death or overcome its inevitability, the end of life has remained a visible and unavoidable aspect of our society. From antiquity to the present day, perceptions of death have been represented through various different mediums: visual culture, art, literature, music, historical writing, cinema, religious symbols, national anniversaries, and public expressions of mourning. This conference aims to explore how death has been represented and conceptualized, from classical antiquity to the modern age, and the extent to which our perceptions and understandings of death have changed (or remained the same) over time. The wide scope of this theme reflects the historical range of LUCAS’s (previously called LUICD) three research programs (Classics and Classical Civilization, Medieval and Early Modern Studies and Modern and Contemporary Studies), as well as the intercontinental and interdisciplinary focus of many of the institute’s research projects. Proposals The LUCAS Graduate Conference welcomes papers from all disciplines within the humanities. The topic of your proposal may address the concept of death from a cultural, historical, classical, artistic, literary, cinematic, political, economic, or social viewpoint. Questions that might be raised include: How have different cultures imagined the end of life? What is the role of art (literature, or cinema) in cultural conceptions of death? How might historical or contemporary conceptualizations of death be related to the construction of our subjectivity and cultural identity? What is the cultural meaning(s) of death? To what extent has modern warfare changed our perceptions of death? How is death presented in the media and how has this changed? In what ways has religion influenced our reflections on death and the afterlife? Please send your proposal (max. 300 words) to present a 20-minute paper to lucasconference2013@gmail.com. The deadline for proposals is 15 November, 2012. You will be notified whether or not your paper has been selected by 1 December, 2012. As with the previous LUCAS Graduate Conference (2011), a selection of papers will be published in the conference proceedings. For those who attend the conference, there will be a registration fee of €45 to cover the cost of lunches, coffee breaks, and other conference materials. Unfortunately we cannot offer financial support at this time. If you have any questions regarding the conference and/or the proposals, please do not hesitate to contact the organizing committee at: lucasconference2013@gmail.com. Further details will be available online in the Fall. The organizing committee: Odile Bodde Maarten Jansen David Louwrier Jenny Weston

External News and Events - Call for Papers - 'Charming Intentions: Occultism, Magic and the History of Art'

Wed, 22 May 2013 06:03:43 +0000

Charming Intentions: Occultism, Magic and the History of Art Graduate Conference, Department of History of Art, University of Cambridge 3-4 December 2012 This two-day graduate conference will investigate the intersections between visual culture and the occult tradition, ranging from the material culture of ‘primitive’ animism, through medieval and Renaissance depictions of witchcraft and demonology, to the contemporary fascination with the supernatural in popular culture. The conference aims to provide a stimulating arena for the presentation of innovative research in this field as well as to offer a vibrant and thought-provoking forum for scholarly discussion and exchange. Acceptable topics include, but are by no means limited to, the following areas: The sacred and the profane; The material culture of magic, ritual and sacrifice; Objects of totemic, apotropaeic or fetishistic character; Aspects of mysticism in Jewish, Christian and Islamic art and architecture; Satanism, witchcraft and demonology; Sacred geometry, numerology and cosmology; The arcane sciences (including astrology, alchemy, gnosticism, the Hermetic tradition, the Quabalah and the tarot game); Art-theoretical discussions of the spiritual, the sublime, the marvellous, the numinous and the uncanny; Artistic investigations of myth, fantasy and utopia; Visual aspects of occult movements such as Rosicrucionism, Freemasonry, Theosophy, Mesmerism, Spiritism and New Age Spirituality; The supernatural and the spiritual in modern and contemporary art; Occultism and magic in contemporary popular culture. Presentations should not exceed a maximum of 20 minutes and will be followed by a 10-minute Q&A session. The sessions will be chaired by senior scholars within the University of Cambridge's History of Art Department. We also hope to publish selected conference papers in a book of proceedings. Abstracts of no more than 300 words should be sent to charming.intentions@gmail.com alongside a CV of 1-2 pages. Deadline for submission is the 30th of September 2012. All abstracts will be peer-reviewed and successful applicants will be notified about acceptance of their papers before the 15th of October 2012. Early applications are strongly encouraged. The Conference Committee: Josefine Baark, PhD Candidate, Homerton College Gabriel Byng, PhD Candidate, Clare College Imma Ramos, PhD Candidate, Pembroke College Daniel Zamani, PhD Candidate, Trinity College

External News and Events - Job - Assistant Professor, Stony Brook University

Wed, 22 May 2013 06:03:43 +0000

Position Title: Assistant Professor Company Name: Stony Brook University Location: Stony Brook, NY 11794 Stony Brook University’s Program in Art History, Theory and Criticism invites applications for a tenure-track Assistant Professor in early 20th century European art. We are especially interested in scholars working at the intersection of visual art and performance, as well as those exploring the impact of the historical avant-garde outside of Europe. The successful candidate will have the opportunity to teach undergraduate classes and graduate seminars, advise MA, MFA and PhD candidates, and support the interdisciplinary Art and Philosophy program at Stony Brook’s Manhattan campus. To apply, submit a State employment application, cover letter, resume, statement of teaching philosophy and three letters of recommendation to: Andrew Uroskie, Chair of Search Committee, Department of Art, Staller Center for the Arts, Stony Brook University, Stony Brook, NY 11794-5400. Applications must arrive on or before September 15, 2012. For a full position description, application procedures or to apply online, visit www.stonybrook.edu/jobs (Ref. #F-7332-12-06). Stony Brook University/SUNY is an affirmative action, equal opportunity educator and employer. Apply Here: http://www.Click2Apply.net/95bjzxx

AAH News and Events - AAH Perspectives in Art History: 'The Battle for Leonardo: curating and connoisseurship'.

Wed, 22 May 2013 06:03:43 +0000

AAH Perspectives in Art History: 'The Battle for Leonardo: curating and connoisseurship'. Public lecture by Luke Syson. 28 August, 6 – 7.30pm, Scottish National Gallery, Edinburgh. Free, but ticketed. Luke Syson, is Iris and B Gerald Cantor Curator in Charge, European Sculpture and Decorative Arts, The Metropolitan Museum of Art in New York. He was formerly Curator of Italian Painting before 1500 and Head of Research at the National Gallery in London. He was responsible for the recent Leonardo exhibition. Funded by the Association of Art Historians this is a collaborative initiative between the AAH, University of Edinburgh (History of Art), Edinburgh Art Festival and National Galleries of Scotland. Price: Free (but ticketed) To pre-book tickets: Information Desk (Gardens Entrance) Scottish National Gallery, The Mound, EH2 2EL. Or call 0131 624 6560 between 9.30am and 4.30pm. Collect pre-booked tickets on the night of the event. For further information about this venue, please go to www.nationalgalleries.org.

External News and Events - Conference - 'Symbolist Landscape in Europe 1880-1910'

Wed, 22 May 2013 06:03:43 +0000

The University of Edinburgh are pleased to announce the full line up for the Symbolist Landscape in Europe 1880-1910 conference. The 2-day international conference will take place on 4 and 5 October 2012 at the National Galleries of Scotland, Edinburgh. Eight 30-minute papers and a plenary lecture will be given and will include a visit to the exhibition Van Gogh to Kandinsky: Symbolist Landscape in Europe 1880-1910 (14th July − 14th October 2012). The distinguished group of speakers include Sharon Hirsh (Rosemont College), Patricia Berman (Wellesley College), Michel Draguet (Royal Fine Arts Museums of Belgium) and Dario Gamboni (University of Geneva). Redefining European Symbolism, 1880-1910 is a network funded by the Leverhulme Trust. The partners are the University of Edinburgh, the National Galleries of Scotland, the Van Gogh Museum, Amsterdam, the Musée d’Orsay and the Institut National d’Histoire de l’Art, Paris and the University of Geneva. It has staged two research seminars (on the Nabis, VGM, November 2010 and Symbolist landscape, INHA, March 2011) and two conferences: on the Nabis, Amsterdam, VGM, October 2011 and on European Symbolism, Musée d'Orsay, April 2012. Further information can be found on the website: http://sites.ace.ed.ac.uk/symbolism. We hope you will also have a look at the Symbolism Database https://symbolism.ace.ed.ac.uk This is an online community of symbolist researchers, a space for open discussion and networking. Registering with the database is the best way to keep up to date with the network’s activities. The full schedule is as follows: Symbolist Landscape in Europe 1880-1910 Thursday 4 & Friday 5 October 2012 Hawthornden Lecture Theatre, Scottish National Gallery, Edinburgh Thursday 4 October 2012 1.30pm-1.55pm: Registration 1.55pm: Welcome by Michael Clarke (National Galleries of Scotland) Chair: Richard Thomson (University of Edinburgh) 2-2.45pm: The City as De-structured in Symbolist Landscape Sharon Hirsh (Rosemont College, Pennsylvania) 2.45-3.30pm: God in the Numbers: Nordic Landscape and Symbolist Realities David Jackson (University of Leeds) 3.30-4pm: Coffee break 4-5pm: Keynote Lecture: ‘La Vie Végétative’: Phytomorphism in Symbolist Landscapes Dario Gamboni (University of Geneva) 5-6pm: An opportunity to view Van Gogh to Kandinsky: Symbolist Landscape in Europe 1880-1910 exhibition 6-7pm: Drinks reception in IT Gallery, Scottish National Gallery Friday 5 October 2012 Chair: Frances Fowle (University of Edinburgh/National Galleries of Scotland) 9-9.45am: Little Sublimities, Hidden Technologies, and National Narration - Patricia Berman (Wellesley College, Massachusetts) 9.45-10.30am: Gauguin, Hodler, Leistikow: The Mood of Landscape - Kerstin Thomas (University of Mainz) 10.30-11am: Coffee break 11-11.45am: At the Edge of the Abyss: Symbolism, Nietzscheism and Vertiginous Landscapes - Charlotte Foucher (Pantheon-Sorbonne University, Paris 1) 11.45am-12.30pm: Immanence and Transcendence: The Iconography of the Mystical Landscape - Katharine Lochnan (Art Gallery of Ontario) 12.30-2pm: Lunch break (not provided) Chair: Rodolphe Rapetti (Institut National d’Histoire de l’Art) 2-2.45pm: From Whistler to Khnopff: Painting Softly or the Strange Musicality of Symbolist Landscape - Michel Draguet (Royal Fine Arts Museums of Belgium) 2.45-3.30pm: Colour Tones and Tonalities: Symbolist Art and Music around 1900 - Edwin Becker (Van Gogh Museum) 3.30-4pm: Coffee break 4-4.45pm: Round table discussion with Dario Gamboni, Peter Dayan, Anna-Maria Von Bonsdorff and Richard Thomson Booking Information Tickets* cost £25 (£15 concessions); £10 student ticket and are available from the Information Desk at the Scottish National Gallery or call 0131 624 6560 between 9.30am-4.30pm with debit/credit card details. *Includes exhibition ticket and wine reception For enquiries, please contact Craig.Landt@ed.ac.uk (0131 651 4248) http://sites.ace.ed.ac.uk/symbolism/ http://www.nationalgalleries.org For entrance to the National Galleries: http://www.nationalgalleries.org/visit/gardens-entrance/

External News and Events - Lecture - Current Unresolved Issues Regarding Globalism in Art History

Wed, 22 May 2013 06:03:43 +0000

James Elkins (E.C. Chadbourne Chair of art history, theory, and criticism at the School of the Art Institute of Chicago) Saturday 7 July 2012 4.00pm, Kenneth Clark Lecture Theatre, The Courtauld Institute of Art In the last decade the question of art history’s global reach – or lack of it – has appeared as an inescapable topic for art history. As the discipline of art history wakens to the possibility of worldwide art historical writing, it also becomes more seriously engaged with postcolonial theory, critical theory, anthropology, visual studies, cultural studies, and subaltern studies, all of which have been intermittently or continuously interested in art practices outside of Europe and North America. This lecture reports on some recent attempts to understand the phenomenon, including the Clark Art Institute’s Mellon project to study world art histories; the books Is Art History Global? and World Art Studies; the 2007 Stone Summer Theory Institute Series Art and Globalization; and a conference in Beijing in May 2010. Open to all, free admission but due to limited space advance booking is required. Book online here: http://courtauld-institute.digitalmuseum.co.uk Organised by Julian Stallabrass and Liz Kim (The Courtauld Institute of Art) The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN tel +44 207 848 2785 web http://www.courtauld.ac.uk/researchforum/index.shtml

External News and Events - Call for Papers - "“Research Issues in Art History from the Late Middle Ages to the present.”

Wed, 22 May 2013 06:03:43 +0000

The Association of Greek Art Historians (AGAH), (member of the Comité International d'Histoire de l'Art, CIHA) in collaboration with the Department of Theory and History of Art, (ASFA) organizes its 4th Conference in Art History under the general title “Research Issues in Art History from the Late Middle Ages to the present.” The purpose of the Conference is to offer art historians, who live and work in Greece and abroad, a platform for the presentation of new and original research. Our aim is to include papers from the entire spectrum of research in the history of art from the early modern period to the present. The organizers invite papers by researchers at different stages of their career including doctoral students, independent scholars, academic staff, curators etc. Please note that membership to AGAH (Association of Greek Art Historians) is not compulsory for inclusion in the programme. Potential participants are invited to submit: 1. A letter of application together with a proposal for a 20-minute paper including a title and abstract in Greek (maximum 400 words). 2. A brief CV with full contact details and current professional status of applicant. Proposals should be addressed to the Organizing Committee-4th Conference in Art History, and should be sent electronically to both of the following email addresses: ndas78@otenet.gr and ioannou@phl.uoc.gr. Deadline for submissions: 30 June 2012. All applicants will receive an acknowledgment of receipt of their paper proposals within 10 days from the date of their application. Acceptance notification will be send by July, 31st at the latest. Official conference language: Greek The organizers will make every possible effort to secure adequate funds for the coverage of travel expenses and two-night accommodation for those among the speakers who will have to travel from outside Athens and have no other residential alternative. The relevant expenses for speakers from abroad will be covered within the limits of the conference’s budget. The conference proceedings will be published. Organizing Committee ΕuthimiaGeorgiadou-Koundoura, Aristotle University of Thessaloniki Nikos Daskalothanassis, Athens School of Fine Arts Panayotis K. Ioannou, University of Crete, Board member of AGAH Evgenios D. Matthiopoulos, University of Crete Angeliki Pollali, Deree-The American College of Greece, Board member of AGAH Aris Sarafianos, University of Ioannina, Board member AGAH Contact and further information details: ndas78@otenet.gr, ioannou@phl.uoc.gr Deadline for submission: 30 June 2012

External News and Events - Conference - Home/Land: Women, Citizenship, Photographies

Wed, 22 May 2013 06:03:43 +0000

5-7 July 2012 The Design Centre, The School of The Arts, Loughborough University http://www.lboro.ac.uk/departments/sota/HomeLand/HomeLands_homepage.html This conference is the culmination of an International Network Project called ‘The Lens of Empowerment’, a partnership between The School of the Arts, Loughborough University; The Michaelis School of Fine Art, University of Cape Town, South Africa; the University of the Fraser Valley, British Columbia, Western Canada; and the International Academy of Art Palestine. Each partner is contributing a conference session in which they will introduce women, citizenship and photographies in their homeland. The conference has been designed as a single strand conference to ensure that all delegates will hear, respond to and discuss all papers. We hope that the wide range of presentations being delivered by international historians, theorists and practitioners will generate useful debates on our theme and the ways in which, by using and interpreting lens-based images, women engage with histories, geographies, and processes of representation related to home, land, homeland and home/land. Full programme available for download from here (PDF). Single day booking £30, full conference booking £80, student booking £70 Contact: Marsha Meskimmon (M.G.Meskimmon@lboro.ac.uk) Marion Arnold (M.Arnold@lboro.ac.uk)

External News and Events - News - Another 21,000 Paintings Join the Nation’s Art Collection on Your Paintings

Wed, 22 May 2013 06:03:43 +0000

Public Invited to Tag Paintings to Help Build a National Online Catalogue Your Paintings is the first project of its kind to create a complete online catalogue of every oil painting in the national collection, at www.bbc.co.uk/yourpaintings. The Public Catalogue Foundation (PCF), in partnership with the BBC, today announced that a further 21,000 oil paintings have been added to the Your Paintings website. This takes the total to 145,000 paintings on the site. Two national museums join the site today: The National Portrait Gallery and Amgueddfa Cymru – National Museum Wales. The National Portrait Gallery, an enthusiastic supporter of the PCF since inception, holds the nation’s foremost portrait collection with over 330,000 portraits from the 16th century to the present day. Today, the gallery’s entire collection of oil paintings joins Your Paintings with almost 3,000 now available to see on the site. Your Paintings welcomes some 2,400 works from the Amgueddfa Cymru – National Museum of Wales collection, having so far been represented by a sample selection of paintings. The collection highlights Wales’ unique visual tradition and its place within a wider British and International context through works from Tudor to modern Wales, and masterpieces of Impressionism including Renoir’s La Parisienne which featured in the first Impressionist exhibition in 1874. Among the latest collections uploaded to the site is The Ashmolean. Founded in 1683, The Ashmolean is Britain’s oldest public museum and possibly the oldest museum in the world. Works by Batoni, Canaletto, van Dyck, van Gogh, Monet, Rubens, Titian and Uccello are among the 1,500 paintings that have been added to the site. The PCF is delighted to see the first half of the City of Westminster’s collections uploaded, which brings us one step closer to finishing the digitisation of Greater London’s enormous art collection which has had to be divided into several ‘bite-size’ chunks. The Royal Academy of Arts entire collection of 900 oil paintings is being revealed for the first time on Your Paintings. Works include Giampietrino’s early copy of Leonardo da Vinci’s Last Supper. Other highlights in Westminster are the Ministry of Defence Art Collection with a unique Leonardo Guzzardi Portrait of Admiral Horatio Nelson, an astounding contemporary collection at the Royal College of Art, and the largest ensemble of portraits of English medieval and Tudor monarchs outside The National Portrait Gallery at the Society of Antiquaries, whose collection was assembled before the foundation of the country’s national museums and galleries. Over 2,500 paintings drawn from 46 National Trust properties in the West Midlands, North West of England, including the Lake District, and Northern Ireland have been added to the site. Your Paintings now boasts half of the National Trust’s vast collection of some 12,500 works, the rest of which will join the site by the end of 2012. Important holdings of paintings at Upton House, Dunham Massey, Shugborough, Attingham and Tatton Park are featured alongside properties with smaller collections including Beatrix Potter’s Hill Top and Quarry Bank Mill. The National Trust’s paintings provide an insight into the history and artistic heritage of Northern Ireland, the rural North and the cosmopolitan Midlands from the industrial revolution to the present day. Moving further afield, Your Paintings welcomes the addition of the Isle of Man to the site. Together, the ten collections illustrate the history of the Island, with paintings documenting stories of agriculture and fishing, once the mainstays of the economy. Also rich with paintings of coastal scenes and seascapes are the paintings catalogued across Plymouth and Torbay. Stanley Spencer’s representation of Plymouth is an intimate exploration of Plymouth Hoe, whilst Stanhope Alexander Forbes’ plein air masterpiece, A Fish Sale on a Cornish Beach, at Plymouth City Council: City Museum and Art Gallery illustrates the story of the fishing industry in Cornwall during the 1800s. Finally, joining Glasgow Museums already on the site, are 1,400 paintings held at 19 new collections from across the rest of Glasgow. On display will be works by George Stubbs, Henry Raeburn, Allan Ramsay and Joshua Reynolds. Notable additions include The Glasgow School of Art, and the Hunterian Art Gallery, University of Glasgow’s unrivalled collection of the work of James Abbott McNeill Whistler, and Rembrandt’s beautifully-preserved The Entombment. To help the BBC and PCF identify and catalogue what can be seen in each painting, the public is being invited to ‘tag’ the nation’s paintings. Tagging is fun, easy and you don’t need to be an art expert to do it. The results will allow future users of the Your Paintings website to find paintings of subjects that interest them. Your Paintings Tagger is at http://tagger.thepcf.org.uk Sandy Nairne, Director, National Portrait Gallery, London, said: “We are delighted that the National Portrait Gallery’s 3,000 paintings will be a part of this extraordinary undertaking to catalogue the nation’s collections. We are very proud of the Gallery’s long association with the Public Catalogue Foundation, an organisation which shares our aims, channelled through our own digitisation of 100,000 portraits, to make works of art as accessible as possible to the widest public.” Oliver Fairclough, Keeper of Art, Amgueddfa Cymru – National Museum Wales, said: “Working with the PCF we now have good colour photography of all the oil paintings owned by Amgueddfa Cymru – over 2,000 in total. As part of the Your Paintings website they will reach new audiences around the world. The digitisation of Amgueddfa Cymru’s paintings, and those of the National Library of Wales and of Welsh regional museums is also transforming our understanding of the visual arts in Wales over the last four centuries, and is a hugely exciting development.” Dr Christopher Brown, Director of the Ashmolean, said: “We are delighted to be part of this exciting new website which will increase public access to our collection of European art. A team at the Ashmolean has collaborated with the PCF in editing entries for over 1500 oil paintings which will go online. From highlights such as Paolo Uccello’s Hunt in the Forest and paintings from the Pissarro Family Archive, Your Paintings will also include works that are not currently on display. This is a remarkable resource that will enable online visitors to search and cross-reference the Ashmolean’s paintings with the rest of the UK’s public collections.” Dr Charles Saumarez Smith, Secretary and Chief Executive, Royal Academy of Arts, said: “I am absolutely thrilled that the Royal Academy’s collection has gone online on the Your Paintings website. I have immediately found pictures which I wasn’t aware that we owned and hope that it will encourage the collection to be better known and more studied.” Dominic Wallis, Head of Development, The Society of Antiquaries, said: “The Society is really excited to be involved with the Public Catalogue Foundation. The project will open up our valued collection to the public, and vindicates the Society’s active programme of picture conservation and development; our fellowship and volunteers helping preserve some of the rarest and most valuable examples of the material culture of our past.” Alastair Laing, Curator of Pictures & Sculpture, National Trust, said: “In the 25 years that I have been Picture & Sculpture Curator for the National Trust, it has always been my ambition to get images and essential information about all the paintings in the collections in our care in the public domain. This the Public Catalogue Foundation is – wonderfully – now doing.” Sarah Staniforth, Museums and Collections Director, National Trust, said: “The National Trust has the largest collection of oil paintings of a single institution in England, Wales and Northern Ireland, in its care and on permanent public display. This will be the first time our paintings from our historic house collections will all be seen in glorious colour and worldwide, thanks to the Public Catalogue Foundation's photography campaign and the BBC.” Pamela Robertson, Senior Curator and Professor of Mackintosh Studies, The Hunterian, said: “The PCF Glasgow launch is a major achievement. It will put on-line for the first time and for free, a fully-illustrated catalogue of the University of Glasgow’s outstanding painting collection and enable this to be linked to holdings across the UK. The site will be a real delight for lovers of art across the globe.” Nicola Moyle, City Curator, Plymouth City Museum & Art Gallery, said: “This is the first time in the 100 year history of Plymouth City Museum and Art Gallery that the full extent of our near 1000 oil paintings will be visible in one place. With our limited space and resources, the drive of the PCF and BBC to deliver such an ambitious project has pushed us on to make our publicly owned collections accessible for all.” Kirsty Neate, Curatorial Services Officer, Manx National Heritage, said: “Working with the PCF has been a great way to increase public access to – and public awareness of – the paintings which we hold on behalf of the Manx people; it is also a good illustration of the way that the internet can be used to bring our collections to a wider audience.” Nicholas Serota, Director, Tate, said: “The Your Paintings website is an important undertaking that will reveal the depth and breadth of the nation's collections of paintings, many of them published online for the first time. Through ambitious collaboration between organisations across the UK this bold project complements our ambition to connect audiences with art in an immediate way online, something we will take for granted in the future.” Andrew Ellis, Director, the Public Catalogue Foundation, said: “No country has ever embarked on such a monumental project to showcase its entire painting collection online. Working with collections and individuals all over the UK, this project will reveal to the world the UK’s extraordinary holding of oil paintings.” Saul Nassé, Controller of Learning, BBC, said: “Your Paintings is a beautiful thing. Our partnership with the PCF has meant hidden treasures from across the UK are now on show, 24 hours a day, for us all to appreciate and learn from. It’s a perfect example of how the BBC, as a public service broadcaster, can come together with a cultural partner like the PCF to create something unique that enriches the public realm.”

External News and Events - Event - Revival: Utopia, Identity, Memory: Curators in Dialogue on the Persistence of Histories

Wed, 22 May 2013 06:03:43 +0000

Wednesday 20 June 2012 17.30 – 19.00, Kenneth Clark Lecture Theatre The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN http://www.courtauld.ac.uk/researchforum/events/2012/summer/jun20_Revival.shtml Speakers: Abraham Thomas (Design Curator, V&A) Sonia Solicari (Principal Curator, Guildhall Art Gallery) Dr Scott Nethersole (The Courtauld Institute of Art) Chair: Professor Caroline Arscott (The Courtauld Institute of Art) This open session is the first public event for the Research Forum’s 2012 project, Revival: Utopia, Identity, Memory. Three speakers with rich and varied curatorial experience at the V&A, Guildhall Art Gallery and the National Gallery will recount ways in which revivalism and the concept of ‘neo’ has impacted upon their practice. Topics for discussion include architecture and the significance of gallery interiors, revival in relation to collections, exhibition planning and strategies for display, and the status of historicism in museum and gallery identities. Abraham Thomas has curated numerous exhibitions including 1:1 – Architects Build Small Spaces and Owen Jones and the Alhambra. His current exhibition at the V&A focuses on the designer Thomas Heatherwick. Sonia Solicari has been responsible for a major rehang of the Victorian collection at Guildhall Art Gallery. Her exhibitions at Guildhall include The Age of Elegance: 1890-1930 and Atkinson Grimshaw, Painter of Moonlight. She is currently planning a 2013 exhibition on contemporary artists’ interactions with Victorian culture. Prior to joining The Courtauld as lecturer in Italian Renaissance Art, Dr Scott Nethersole was Harry M Weinrebe Curatorial Assistant at the National Gallery, London. He curated Devotion by Design: Italian Altarpieces before 1500 at the National Gallery in 2011. Open to all, free admission Organised by Dr Ayla Lepine (The Courtauld) Contact: Cynthia de Souza researchforum@courtauld.ac.uk

Schools - Open Day and Careers Talk - University of Buckingham

Wed, 22 May 2013 06:03:43 +0000

University of Buckingham Department of Art History and Heritage Management 25th June 2012 Programme 10.45: Registration at Chandos Road Building, Foyer. 11.00am – 12.15pm: Studying Art History at Buckingham Talk with question & answer session. 12.30pm: Campus Tours 1.00 – 2.00pm: Break. Visitors are invited to explore The University/Buckingham Town centre during this time. 2.00 – 3.45pm: Careers in the Art World Guest Speakers: Sarah Allen, Head of Research, Hauser & Wirth Richard Dorment, Art Critic, The Telegraph Katy Sanders, Paintings Conservator, National Museum of Wales Philip Warner, Claydon House Property Manager, The National Trust 4.00pm: Tea Additional Information Confirmation Please confirm your attendance by contacting Lisa Atamian, on Lisa.Atamian@buckingham.ac.uk . Please notify us of any special requirements that you may have. Parking Visitor parking is available at the Chandos Road car park and on the Island car park, accessible from Hunter Street. Please see the map (over-leaf) for directions. We look forward to seeing you on the day! For more information about the Department, please visit our website at: www.buckingham.ac.uk/humanities/arthistory You can also find us on facebook: www.facebook.com/buckinghamarthistory

External News and Events - Event - Breaking Boundaries “Intrigue, uncertainty and humour” Why work in an Integrated Design Team?

Wed, 22 May 2013 06:03:43 +0000

Date: Thursday 28 June 2012 Time: 12:45 for tea, coffee & biscuits, 1pm start. Venue: first floor seminar room, Design School, Loughborough University. Seminar title: “Intrigue, uncertainty and humour” Why work in an Integrated Design Team? The task of fracturing Ashford’s ‘tourniquet-like’ ring road needed both a visionary and radical approach. The ring road’s grip on the city stymied the physical growth of communities, neighbourhoods, industry and commerce. The project needed to transform and regenerate the ring road-highway into a street, and a street into an accessible, safe and refreshing series of community spaces. Above all, it needed to Break Boundaries. A multi-disciplinary team of experts set out to break those boundaries. This included: Artists Highway Engineers Landscape Architects Lighting Designers Traffic Planners Urban Designers Alongside partners and advocates in both the Local and County Authority and within the ring road’s local communities. The Integrated Design Team delivered an innovative and cohesive ‘shared space’ scheme, re-designating and re-delineating how vehicles and pedestrians shared the former ring road landscape. In this context, ‘shared space’ also functions as a metaphor, illustrating how the project team worked together, as an Integrated Design Team, on the creative, functional and pragmatic project components. During the seminar event, key members of the team will reflect and review their roles in the Breaking Boundaries project. Thus examining, with the benefit of hindsight, the project’s successes, failures and, crucially, their experiences of working in an Integrated Design Team. Please RSVP to art@antoinetteburchill.com .

External News and Events - Summer Course - 5th International Jacobean Lessons At USC: Diáspora Xacobea

Wed, 22 May 2013 06:03:43 +0000

July 26th - 29th 2012 University of Santiago de Compostela Director: Miguel Taín Guzmán Secretary: Paula Pita Galán Information and Questions: secretaria.leccionesjacobeas@gmail.com http://www.usc.es/cultura/uveran12index.htm (USC Summer Course web site / "Universidade de Verán") Place: Main Hall, Faculty of Geography and History Places: 150 Registration: On line (at USC Summer Course web site): from May 15th to July 13th At USC Summer Course Office: from June 20th to July 13th Course fee: 120 € Reduced fee for students, unemployed people, pensioners: 70 € 5th INTERNATIONAL JACOBEAN LESSONS AT USC: JACOBEAN DIASPORA International Jacobean Lessons at USC is a yearly Summer Course of the University of Santiago de Compostela (USC). The main idea of the course is to approach the latest research on the Jacobean phenomenon to those who have an interested on it. Each year USC professors join national and international researchers in academic lessons about the Pilgrimage, the town of Santiago de Compostela and its cultural heritage, and spread of the cult to Saint-James. The lessons are combined with cultural activities in order to provide the attending people a wider experience that includes a one-day-journey by The Way to Fisterra (the European End-of-the-World). PROGRAM July 26th SECTION 1: PILGRIMAGE, CATHEDRAL AND SAINT-JAMES FEASTS 9,00h. Opening by the Dean of USC, authorities and the Course director 9,30h.-11h. Gerhard Wolf (director of the Kunsthistorisches Institut at Florence): Pilgrimages in Mediterranean area and beyond: the case of Saint-Catherine´s Monastery on Mount Sinaí. 11h.-12,30h. Carmen Pugliese (director of magazine Peregrina): The journey to Santiago de Compostela as a pilgrim of the Italian friar Giacomo Antonio Naia (1717-1719). 12.30 h.-14 h.: Miguel Taín Guzmán (professor of History of Art at Universidad de Santiago de Compostela): The feasts in honour of Apostol Saint-James: from fireworks castles to neomedieval facades 16h.-20h. Cultural Activities: Guided visit to Museo de la Catedral de Santiago (Saint-James Cathedral´s Museum) and explanation of the restauration of the Cathedral Cloister´s Frieze Jacobean Films Session: Saint-Jaques – La Mecque (Coline Serreau, France, 2005) July 27th SECTION 2: HANDWRITINGS AND DOCUMENTS ABOUT THE WAY OF SAINT-JAMES 9,30h.-11h. José Antonio Souto Cabo (professor of Galician Filology at University of Santiago): The Crónica de Iria and the Jacobean cult in the 15th Century. 11h.-12,30h. Manuel F. Rodríguez (Director of Gran Enciclopedia del Camino de Santiago, Manager at S.A de Xestión do Plan Xacobeo and Lecturer of Sciences of Communication of the University of Santiago): Jacobean rites and legends of Compostela in travellers´ literature. An unexplored heritage. 12.30 h.-14 h.: Xosé M. Sánchez Sánchez (Manager at Saint-James Cathedral´s Archive): Papal concessions and communications to Santiago de Compostela´s Church during the Western Schism (1378-1417): Politics, Church, and Papacy. 16h.-20h. Cultural Activities: Guided visits to Museo das Peregrinacións e de Santiago (Pilgrimage and Saint-James Museum) Jacobean Films Session: The Way (Emilio Estevez, USA, 2010) July 28th SECTION 3- JACOBEAN DIASPORA 9,30h.-11h. Annette Münchmeyer (universidad de Cottbus): An unsolved mystery: The construction of the Portico de la Gloria´s Crypt at Saint-James Cathedral 11h.-12,30h. Juan Mª. Montinajo García (Professor of History of Art at Universidad de Málaga): Santiago degli Spagnoli Church and the Spanish in Rome during the 19th Century 12.30 h.-14 h.: Miguel Ángel Castillo Oreja (catedrático de historia del Arte de la Universidad Complutense): Saint-James at Museo del Prado. 16h.-20h. Cultural activities Guided Visits to the Jacobean Heritage of Santiago de Compostela: The Medieval Heritage of Santiago Javier Raposo Martínez (History of Art researcher at Universidad de Santiago) The Baroque Heritage of Santiago Miguel Ángel Cajigal Vera (History of Art researcher at Universidad de Santiago) Guided Visits to restaured masterpieces: Saint-James Cathedral´s wooden Choir (Atlas S.L.) and Chapel of Ánimas´altarpieces (Alfa Arte Restauración) Asociación C.R.G. de Empresas e Profesionais da Conservación e Restauración de Bens Culturais de Galicia July 29th SECTION 4- IN THE WAY Walk by the section of The Way of Saint- James in Galician Death Coast: Lira- Fisterra Cape, guided by members of Galician Friends of The Way Association (AGACS), and the lecturers of the Course. 9,00h. Go out of the pullman from Plaza de Galicia 10:30h.- 14,00h Start of the walk in Lira 14,00h. Lunch time 16,30h.- 18,30h. Second half of the journey 18,30h. Free time 20,30h. Tour on boat from Fisterra visiting the coast and seeing the sunset beside the Cape 23,00h. Back to Santiago

External News and Events - Course - Beginner's Guide to Contemporary Art

Wed, 22 May 2013 06:03:43 +0000

http://benstreet.co.uk/?p=191 and http://www.saatchi-gallery.co.uk/beginners_guide.htm Ben Street's new beginner’s guide to contemporary art for the Saatchi Gallery starts 14th July. The course will take place on Saturday afternoons 2 – 4pm, 14th July – 18th August (no session on the 28th July). The course includes visits to out-of-the-way galleries in the East End, blue chip galleries in the West End, a visit to an artist’s studio, and other museums and galleries in London. Here are some testimonials from the most recent course: ‘Ben has a depth of knowledge, lucidity of expression and passion which is contagious and enlightening.’ ‘What I liked best of all was the approach to contemporary art by visiting a range of locations; from established museums to tiny galleries in the East End. The visits are both informal and relevant, and a refreshing contrast to the slide show lectures of the past. Ben’s enthusiasm is infectious and his relaxed approach belies an impressive knowledge and understanding of artists’ work past and present.’ ‘Ben is the perfect guide. [He] has helped me understand, appreciate and look at contemporary art with fresh eyes and appreciation.’ ‘Ben’s style of teaching is friendly, informative and intelligent. He doesn’t force a particular critical approach, apart from encouraging open-mindedness, and he values the contributions that members of the group make to discussions about art.’ ‘The course has allowed me to explore galleries I’ve been meaning to for ages, with the added value of having someone who is clearly passionate, excited and most importantly, knowledgeable about the art and the spaces.’ ‘I’ve found Ben’s teaching style to be extremely liberal and encouraging – he’s clearly interested in making sure his students are making the most out of what they’re looking at, without pushing ideas or opinions. I think the course is well organised, it’s relaxed, fun and insightful for anyone walking in to the London art scene with no previous experience of it.’ ‘I very much enjoyed each session, for its variety and for opening my eyes and mind to the world of contemporary art. I can highly recommend the sessions to anyone.’ ‘I think Ben Street is AMAZING – my knowledge of art stopped in the 80′s and A LOT has happened since. After 7 weeks with Ben, I don’t feel daunted by my lack of knowledge. He introduction to contemporary art is painless and I think our group really ‘bonded’. I am looking forward to the next course.’ ‘Greatly enjoyed the many sessions given by Ben Street on getting to understand contemporary art. He is most knowledgeable and is able to tailor the talks for a broad range of people from those who know little and know some of contemporary and modern art. Importantly, he knows the gallery owners and artists and had arranged for them to speak with the group. Especially good was the visit to Peckham Rye and the talk from Michael Petry. I highly recommend Ben’s sessions to anyone who wants to know more about contemporary art and its scene in London.’ The cost is £125 per person, excluding travel costs, or £25 per session. Anyone over 18 is welcome to attend. Places will be allotted on a first come, first served basis. For more information and to book your place on the course please contact admin@saatchigallery.com.

External News and Events - Exhibition - Hepworth and Moore 1928-1938: Happisburgh 1930 and the Development of Modern British Sculpture

Wed, 22 May 2013 06:03:43 +0000

Aldeburgh Festival Exhibition 2012 Saturday 9 June to Sunday 24 June 10 am - 5 pm Daily The Peter Pears Gallery 152 High Street Aldeburgh Suffolk IP15 5AQ In the summer of 1930 Barbara Hepworth (then aged 27), her husband Jack Skeaping (29) and Henry Moore (32) and his wife, Irina, rented The Manor House at Happisburgh on the east coast of Norfolk for a working holiday. They were joined by Douglas Jenkins, who brought his girlfriend, and the painter Ivon Hitchens. The following year they took Church Farm just outside the village of Happisburgh. This time Douglas Jenkins came with his new wife, Mary. Hepworth invited Ben Nicholson, as well as Margaret Gardiner along with her friend, Helen, who was to look after two-year-old Paul Skeaping. After the holiday at Church Farm, Skeaping left Hepworth. The next year Hepworth and Nicholson started to live together. This exhibition brings together the largest collection of photographs of these two holidays that has ever been assembled. Also shown for the first time are photographs of the sculptural works made by both Hepworth and Moore between 1928 and 1938. The juxtaposition of these photographs makes it possible to to compare the interests and concerns of these two important sculptors during this period and shows how the East Anglian pebble was a major influence on them both, acting as a catalyst to finding a form and language through which to explore abstraction. The exhibition is curated by Hugh Pilkington who has previously curated two exhibitions for the Aldeburgh Festival: Paul Nash Photographs (2004) and The Poetry of Crisis- British Art 1935 to 1950 (2006). mail@hughpilkington.org Aldeburgh Music 01728 687 100 www.aldeburgh.co.uk

External News and Events - Conference - 'Histories of British Art, 1660-1735: Reconstruction and Transformation'

Wed, 22 May 2013 06:03:43 +0000

20-22nd September at King’s Manor, University of York, UK. Histories of British Art is the third and final conference organised as part of "Court, Country, City: British Art, 1660-1735", a major research project run by the University of York and Tate Britain, and funded by the Arts and Humanities Research Council. Held at King’s Manor in York, this three-day conference includes a drinks reception at York City Art Gallery and a visit to Beningbrough Hall for a private viewing of the National Portrait Gallery’s collection of 18th century portraits. Keynote speakers: Malcolm Baker – Diana Dethloff – Charles Ford – David Solkin A range of international speakers will present their research on panels including: Netherlandish influences on British Art – Aristocratic patronage – British portraiture – Print, copies and communication – Art & Virtuosi – Prospects – Art writing in Britain – Rebuilding projects – Later Stuart court culture – Other painting histories – Artists and collecting To view the provisional programme and register a place please visit: www.york.ac.uk/british-art-2012 Conference spaces are limited and we therefore encourage early booking to avoid disappointment. For any other queries please email Clare Bond, Administrator of the Centre for Eighteenth-Century Studies, University of York at clare.bond@york.ac.uk

Funding Opportunity - Funded Project Report - ‘Research and Reveal’: A collaborative project between the University of Bristol and Amgueddfa Cymru – National Museum Wales

Wed, 22 May 2013 06:03:43 +0000

‘Research and Reveal’: A collaborative project between the University of Bristol and Amgueddfa Cymru – National Museum Wales, funded by a bursary from AAH Museums and Exhibitions Committee Project Report Thanks to a Collaboration Award from the AAH, co-ordinated by its Museums and Exhibitions Group, Amgueddfa Cymru – National Museum Wales, Cardiff, has been working on a research and display project with the History of Art department at the University of Bristol. Six postgraduate students researched and curated Revolutionary Dreams (24 March – 9 September 2012). Their brief involved the selection, interpretation and redisplay of paintings from the Museum’s outstanding collection of ‘pre-Impressionist’ and nineteenth-century French Realist art. The project formed one of the Collaborative Study Units in the University’s taught Histories and Interpretation MA course, where students are given the opportunity to undertake both object based research as well as practical curatorial experience in a public collection. The participants’ work was closely supervised and mentored by university staff Prof. Elizabeth Prettejohn (Head of History of Art) and Ed Lilley (Senior Lecturer), as well as the Museum’s Assistant Curator of Historic Art, Dr. Anne Pritchard. For the Museum, there were three principal aims, which included encouraging the career development of potential future curators. It was also a chance to promote academic awareness and scholarship in a relatively under-researched area of the collection. Lastly, it was important to facilitate public access to the collection – both through the inclusion of works previously in store and the conservation work commissioned in preparation for the display. Practical experience is an increasingly vital component of a graduate’s CV when making the transition from higher education into a curatorial career. This is reflected by the large numbers of speculative applications for voluntary work received by the Museum from students each year. The popular Collaborative Study Units that form part of the University’s History of Art MA offer such experience within a formalised and structured framework, which a museum may struggle to achieve independently. With the additional £5000 funding from the AAH the two institutions were able to formulate an ambitious course programme which resulted in an innovative new display and extensive interpretation presented in a variety of formats. The nature of the AAH bursary scheme offered a number of unique advantages. The £5000 limit was appropriate to the scale of the project, and the spending criteria were incredibly flexible. Funding could be used equally towards research and travel costs as it could for costs related to producing and installing the display. Whereas many other research grants are only available at doctoral or post-doctoral level, the AAH award also allowed the involvement of Masters students at a key stage in their career development. The compulsory elements of the unit took place in the University’s first semester, between October 2011 and January 2012. Teaching was in the form of 12 weekly seminars held either at the University or at the Museum in Cardiff, combining art historical study and practical activity. Meetings with members of museum staff from the Learning, Design, New Media, Communications and Conservation departments also helped enhance the element of professional experience. The students worked as a team to select thirty-two paintings for display, from a list of around eighty. Together they constructed a narrative, title, and five sub-themes, and allocated works accordingly. They also gave thought to the practicalities of size, condition and whether works were included in the previous display. Of those shortlisted, around a third had not been displayed recently, and five were deliberately singled out for conservation. These included the cleaning and revarnishing of François Bonvin’s The Young Housewife and Augustin-Theodule Ribot’s The Admonition. Most significant, however, was François-Marius Granet’s The Choir of the Capuchin Church, Rome, painted for the Duchesse de Berry in 1817 and exhibited at the Paris Salon of 1819. The condition of its large ornate frame, probably constructed for the 6th Duke of Devonshire after he purchased the painting in 1836, had been deteriorating for some time and was preventing its display. Money from the bursary was used to employ an external specialist frame conservator to consolidate, re-touch and re-gild areas of the gesso decoration. Due to the size of the frame, the work was carried out in the gallery, roped off but in public view, which in itself aroused much visitor interest. The students divided the shortlisted works among themselves for the purposes of research, on which they based their 5000-word course essays as well as the interpretive text for the display. The AAH funding paid for all their travel costs, both to Cardiff as well as to the National Art Library and British Library in London. It also covered the costs of graphic design and printing for the gallery labels, theme panel and six-sided illustrated leaflet for visitors. Most of the students were new to the subject of nineteenth-century French art, some even to the field of art history. As a first-semester unit, therefore, the project was particularly demanding and ambitious. It was met with great enthusiasm, however, and they generally coped extremely well. They found the distinction between academic essays and writing interpretive text for a public audience to a strict word limit unexpectedly challenging, and needed further editorial guidance. Although their inexperience may have been a disadvantage during the initial stages of the unit, they were able to benefit from seeing the display installed and opened to the public in March 2012. Some chose to contribute to non-compulsory elements of the project. Three of the students, for example, submitted short articles to be published on Rhagor, the research pages of the Museum’s website ( http://www.museumwales.ac.uk/en/rhagor/revolutionary_dreams/ ). This allowed more freedom to explore their individual discoveries and personal interests. They have also given tours of the display. These, and the lunchtime lectures given by the University’s specialists Ed Lilley and Prof. Stephen Bann, have been extremely well attended. The initiative also received a positive response from other museum professionals when it was presented as a curatorial case study at the Subject Specialist Network: European Paintings pre-1900 study day – organised by the National Gallery and held at the Museum in April. The novelty of the project and the fresh perspective demonstrated by the display and related talks has attracted much interest from visitors and brought considerable attention to this area of the collection generally. The project has exceeded the expectations of all parties involved. Feedback from the students, while commenting on the challenging workload, has been highly enthusiastic. They especially appreciated the opportunities for work experience and requested more weight be given to these elements in their final grades. For the Museum, the project has enhanced aspects of collection care and research as well as generating public access and exposure. Thanks to the funding from the AAH, we have been able to establish the lasting benefits of this type of collaboration and hope that it has laid the path for other such initiatives to come. Anne Pritchard, Amgueddfa Cymru – National Museum Wales May 2012 For more details on the bursary, and to apply, see http://www.aah.org.uk/funding/museum-bursary

Schools - Tower of London and the National Gallery AS/A2-level History of Art study days

Wed, 22 May 2013 06:03:43 +0000

2012 - Wednesdays: 3 October, 7 November, 5 December 2012 2013 - Wednesdays 16 January, 6 February and 20 March 2013. 10:30am – 3:30pm (morning session at the Tower of London, afternoon at the National Gallery) Tickets: £10 per student An exciting opportunity for students and teachers to closely engage with two great artworks of the 14th century and learn from the experts who care for them. Historic Royal Palaces Tower of London and the National Gallery have teamed up to offer your students a unique study day designed specifically to support the existing AQA A-level History of Art syllabus. The study day Students will be introduced to two rare surviving works of art made in England in the 14th century during the reign of Richard II: The Byward Tower wall painting at the Tower of London 'The Wilton Diptych' at the National Gallery Tower of London Students will have exclusive access to the Byward Tower which is not currently open to the general public. Here, students will view the wall painting in situ where they will begin to piece together the story of this rare installation. Investigative skills will be strengthened as students begin to discuss and develop a contextual understanding of why and how it was painted. National Gallery The day continues at the National Gallery with a close viewing of the Wilton Diptych and a discussion in comparison with other paintings in the Gallery’s collection. Students will then explore the techniques of pigment mixing through practical demonstrations in the Education Centre's Creative Space. A plenary at the end of the day will recap on how to apply the considered examples and relevant skills to study and exams. Curriculum links AQA AS and A2 Unit 2 HART2 – Themes in History of Art: Subjects and genres, materials, techniques and processes, form and style, historical and social contexts, patronage Unit 4 HART4 – Investigation and Interpretation: Art and Architecture in thirteenth- and fourteenth-century Europe Further information and booking Find out more about the History of Art study day in association with the National Gallery. Book your place by phone, fax, email, or via the online booking form. Full details about the three-step booking process are available at the Historic Royal Palaces booking page.

External News and Events - Call for Papers - ' Politeness and Prurience: situating transgressive sexualities in the long eighteenth century'

Wed, 22 May 2013 06:03:43 +0000

A major international and multidisciplinary conference hosted by the History of Art Department at the University of Edinburgh September 2-3 2013 DEADLINE FOR ABSTRACTS: 10 September 2012 Embedded within the narrative of John Cleland’s infamous novel Fanny Hill, or Memoirs of a Woman of Pleasure (1748), is a vignette which affronts the moral compass of even the tale’s sexually promiscuous protagonist. Having attended a ‘drag masquerade’, Fanny bears witness, through a convenient crack in a wall, to a sodomitical act, which she finds ‘not only universally odious but absurd’. Despite her apparent condemnation, Fanny pruriently watches on. In its dichotomous nature, Fanny’s reaction – suggestive of both outrage and intrigue – mirrors reactions to homosexuality in the eighteenth-century and in its subsequent historiography, wherein it is treated at once as a site of fascination, but considered separately from the history of normative sexualities. Yet, situated as it is, within this literary feast of heterosexual eroticism, Fanny Hill’s same-sex love scene may seem incongruous. Cleland’s text however, proffers a way to approach homosexuality as both explicitly aberrant and problematic, but still located within the general lexicon of eighteenth-century sexual congress. By the same token, Cleland offers a model for resituating the homosexual narrative within a wider historiography of sexuality, where its relationality to dominant modes, not its difference from them, might fruitfully be used as a way to re-evaluate transgressive sexualities during the period. In his 2006 article ‘Queering Horace Walpole’ George Haggerty advocates an approach to the history of sexuality wherein the search for a ‘concrete account of same-sex sexual behaviour’ is rejected, forcing the historian ‘to look elsewhere in almost every case’. Accordingly, this conference will privilege the assessment of cultural evocations of the ‘other eighteenth century’; the transgressive will be firmly identified as, and sought within dominant modes of eighteenth-century culture and its discourses. In the realm of visual culture, transgressive and deviant sexualities have previously been interpreted as autonomous and distinct from these prevailing modes. Hogarth’s famous print-series A Harlot’s Progress (1732) and A Rake’s Progress (1735) have been interpreted simplistically – in accordance with their appellation – as ‘modern moral histories’. As such they have routinely been presented as providing antitheses to a broadly defined moral exemplar of ideal polite culture. Such a prima facie interpretation however, boldly precludes the rich scopophilic potential provided by scenes of prostitution and illicit sexuality, locating it instead within the polite framework of moralising art. Like Fanny, the viewer of such images is at once repulsed and titillated. Yet Hogarth’s satirical oeuvre is not merely a visualisation of moral imperatives central to polite culture, but a vivid visualisation of a real section of contemporary society. In reintegrating these apparently oppositional forms of behaviour a clearer picture of eighteenth-century society and culture emerges. Hogarth’s images may therefore be viewed not as simply the commentary on the mores of an apparently ‘polite’ society via the representation of its very opposite, but, analogous to David Halperin’s definition of ‘queer’ in Saint Foucault: Towards a Gay Hagiography (1997), as ‘a positionality vis à vis the normative’. In an attempt to highlight underwritten facets of contemporary sexuality, texts such as G. S. Rousseau and Roy Porter’s Sexual Underworlds of the Enlightenment (1987) which have labelled themselves as examining the ‘other’ or ‘underworld’ have instead further problematised the role and import of such histories to wider eighteenth-century culture. The aim of this conference is therefore not to present illicit sexuality as an underbelly to a dominant polite culture, but to reconcile the ‘two eighteenth centuries’ that have for too long been presented as the subject of two discrete discourses – politeness and prurience. As well as dealing with the interface between politeness and prurience as it appears throughout eighteenth-century visual, material and literary culture more generally, specific topics for papers could include: Bodies – the venereal body, castrati, physicalities, sadomasochism Settings – home and abroad, urban centres, rural backwaters Spaces – the architectural exterior and the private interior, the bagnio, the brothel, the masquerade Gaze/Experience – viewing sexualities, the keyhole testimony, description and biography Material Evidence – the objects of sexuality, dress, sex aids, collections, erotica Masculinities and Femininities – gender roles, reversals and subversions Modes of the illicit – sodomitical, Sapphic, pathological, pederastic, extra-marital, rape Public & Private – reception/reaction, fear/celebration, homophobia, display, expression Language – parlance, designation, rumour, slander, code We invite abstracts of no more than 500 words to Dr. Viccy Coltman (Head of History of Art), Jordan Mearns & Freya Gowrley at politeness.prurience@gmail.com by 10 September 2012.

External News and Events - Call for Papers - Fourth Early Modern Symposium: Art and Its Afterlives

Wed, 22 May 2013 06:03:43 +0000

A conference to take place on Saturday 17 November 2012 at The Courtauld Institute of Art. Art and Its Afterlives aims to address the ways in which the work of art continues to resonate after its creation. While much art history takes as its focus the initial facture of the work of art, this one-day symposium explores what happens to early modern art after the moment of its making. How did early modern works continue to be created in their display, preservation, and reception from the moment of their creation on? Papers will examine how art is shaped by its afterlives – whether these collect, curate, cut up, cut out, copy or correct it – and the ways in which art both persists and changes through time as a material object, a field of generative meaning, and a subject of debate and interpretation. Material, technical and social histories as well as theoretical approaches drawn from the discipline of art history and other fields of the humanities are welcome. Accounts from curatorial practice and the field of museology are also encouraged. The question of afterlife is an pertinent topic for art history in general, where the work of art is uniquely tied to a particular assemblage of materials which inevitably change with time, rendering fraught questions of preservation, the presence or possibility of copies, the idea of original state, and how a work of art is staged for a viewer. Less material but no less concrete, the interactions between the work and the viewer, and between the work and the its assumed referent are not stable but open to change. The question of afterlife is particularly relevant for the early modern period, when emergent art markets and cultures of collection allowed not only the circulation of artworks, but also their appropriation and adaptation. Taking as its point of departure Bourdieu’s encouragement to investigate ‘not only the material production of the work but also the production of the value of the work’, this symposium privileges the afterlives of art and the alternative histories they present. Topics for discussion may include, but are not limited to: Histories of collection and display – acquisition and the accrual of value; assignment of category or genre; travel and re-contextualization; political appropriation and/or subversion Conservation and technical art history – preservation vs. restoration of past state; hidden layers and the discovery of the underneath; changing material support Reception and criticism –boundary between art and reception; development of art historical practice; shifting contexts of viewership and viewer negotiation Copy and imitation – changing perceptions of a master’s hand vs. workshop; forging and faking; serial reproduction; changing conceptions of emulation and originality; contemporary uses of early modern works and spaces • Destruction and embellishment – iconoclasm and the religious image; revolution and vandalism; disassembly and remaking; framing and re-framing Art and Its Afterlives is the fourth symposium of The Courtauld’s Early Modern Department. We invite proposals from scholars and postgraduates for papers that explore the theme of art and its afterlives in all forms of visual and material culture from the early modern period (c.1560-1848) including painting, sculpture, architecture, decorative arts, performance, print media, graphic arts, and the intersections between them. Please send proposals of no more than 250 words by 1 July 2012 to laura.sanders@courtauld.ac.uk and francesca.whitlum-cooper@courtauld.ac.uk. Further information: http://www.courtauld.ac.uk/researchforum/events/2012/autumn/nov17_FourthEarlyModernSymposium.shtml Organised by Laura Sanders and Francesca Whitlum-Cooper (The Courtauld Institute of Art)

External News and Events - Conference - 'Contested Views: Visual Culture & The Revolutionary and Napoleonic Wars'

Wed, 22 May 2013 06:03:43 +0000

Thursday 19 and Friday 20 July 2012 Tate Britain, Clore Auditorium 10.00 –17.45 Plenary Speakers: Mary Favret, Gillian Russell, Susan Siegfried, Paul White In July 2012, in advance of commemorations of the bicentenary of the Battle of Waterloo, Tate Britain will be hosting a two-day conference exploring the profound impact of the Revolutionary and Napoleonic Wars on visual cultures from the outbreak of pan-European conflict in 1792 to the present day. This international event will gather speakers from a range of disciplines and will foster knowledge and understanding of the ways in which the ‘First Total War’ has been mediated in visual cultures in Britain and continental Europe and throughout the world. Organised by Satish Padiyar (The Courtauld Institute of Art), Phil Shaw (University of Leicester), and Philippa Simpson (Royal Museums Greenwich) for the Tate Research Centre: British Romantic Art Attendance is free, but booking is essential, visit www.tate.org.uk/whats-on/tate-britain/conference/contested-views This event is supported by The Courtauld Institute of Art Research Forum, Tate Britain, and AHRC

External News and Events - Call for Papers & Artists' Proposals - “Red Art” – Leonardo Electronic Almanac

Wed, 22 May 2013 06:03:43 +0000

“Red Art” – Leonardo Electronic Almanac The MIT Press; Leonardo/ISAST; Goldsmiths, University of London; FACT; and Sabanci University. LEA Special Issue: “From New Media to Old Utopias: ‘Red’ Art in Data Capitalism?” Senior Editors: Lanfranco Aceti (LEA Editor-in-Chief), Julian Stallabrass (Courtauld Institute of Art) and Susanne Jaschko (prozessagenten) Editor: Bill Balaskas (Royal College of Art) Call for papers From the early stages of its development, New Media Art readily adopted a variety of means of artistic engagement and expression that aim at serving modes of utopian social being: from multi-modal collaboration to public participation and from open software applications to hacktivism, the germs of leftist political thought seem to abound in the art of the Digital Age. Prompted by the economic crisis, New Media Art appears to increasingly employ the tools provided by new technologies in order to penetrate all aspects of global social living and propagate such apparatuses as catalysts for socioeconomic change. New Media artworks and art projects have gradually formed a common practice whose objectives allude to utopian theories of social organization lying closer to certain visions of communism, direct democracy and anarchism, rather than to the realities of neoliberal capitalism within which new media are produced and predominantly operate. The Leonardo Electronic Almanac (LEA) is inviting proposals from academics, critical theorists and artists for an issue investigating the relevance of communist utopianism to New Media Art’s ideological dispositions. Relevant areas of interest addressed by the issue’s contributors could include, but are by no means limited to: Art, technology and social media The rise of New Economies and the rise New Media Art The working class and affective labour in data capitalism New media artworks as commodities: “use” and “exchange” values Digital Art and symbolic or cultural capital New Media Art’s reaction to the global economic crisis (2008-2012) Legal issues and new concepts of intellectual property in Digital Art The online democratization of art The art of protest: from anti-globalization to the “Facebook Revolutions” and the "Occupy” movement The role of New Media Art in ex-communist countries Hacktivism as art: a revolution for the Digital Age? Tactical Media and its progeny The institutionalization of radical New Media Art Histories of leftist aesthetics Through the synthesis of such diverse points of view, the issue will attempt to demystify whether and to what extent the art of the Digital Age is, or could be, the result of the seemingly paradox combination of capitalism’s products and communism’s visions. Guidelines for paper proposals: (a) Subject heading: Red Art (b) 500-word abstract for articles, in doc format. (c) Deadline for abstracts: 31/08/2012 (d) Length for full articles: around 5,000 words (e) Deadline for submission of full articles: 30/11/2012 (f) 2 images at 72 dpi resolution no larger than 800 pixels width (g) Links to previous work, videos or personal websites. For scholarly papers, please, submit the final paper ready for peer review. Your contribution will be reviewed by at least two members of the LEA board and revisions may be requested subject to review. For themed and pictorial essays, please, submit an abstract or outline for editorial consideration and further discussion. Please keep your news, announcements and hyperlinks brief and focused; include contact details and a link to an external site where relevant. We reserve the right to sub-edit your submissions in order to comply with LEA policies and formats. Where material is time-sensitive, please, include both embargo and expiry dates. In all cases, specify special system considerations where these are necessary (platform, codecs, plug-ins, etc.) Call for artists' portfolios and biographies The Leonardo Electronic Almanac (LEA) will produce an online and printed issue, as well as present artists, artists’ groups and art collectives online. Also, LEA envisions the co-production of an exhibition in a gallery space, based on the contributions collected through this Call. We particularly welcome manifestos and polemical texts of all forms, political and artistic statements, accounts of art projects and presentations of online platforms and artists’ networks related to the areas of interest delineated in the Call. Guidelines for artists’ proposals: (a) Subject heading: Red Art (b) Manifestos, Artists/Curatorial Statements, Resumes of Practice, or other texts: 3,000 words maximum, in doc format (larger text can be discussed and approved by the senior editors) (c) CVs, in doc format, no more than 3 pages (d) Portfolios or accounts of artworks (links are preferred), should you email material no more than 12 images at 800px width x 514 height at 72dpi (e) Links to previous work, videos or personal websites. (f) Deadline: 31/08/2012 All proposals should be sent to: info@leoalmanac.org Our publication formats allow for full-colour throughout and we encourage rich pictorial content where relevant and possible. Note, however, that all material submitted must be copyright-cleared (or due diligence must be evidenced). For online publication a wide variety of media content may be considered (animation, mp3, flash, java, etc.) For further information or image submission, contact: Ozden.Sahin@leoalmanac.org

External News and Events - Conference - Korean Contemporary Art International Conference: Between Tradition, Modernity and Globalisation

Wed, 22 May 2013 06:03:43 +0000

Korean contemporary art has gained a strong presence on the contemporary art scene, with a new generation of artists making names globally. At the same time, Korea maintains a strong domestic contemporary art scene, quite distinct from the transnational circulation of Korean art. However, the literature on Korean contemporary art in English is dispersed and dominated by monographic studies. This major international conference, to be held at The Courtauld Institute of Art in partnership with another major London venue, will offer a new opportunity to reinterpret modern and contemporary Korean art. Leading scholars, artists and curators will discuss Korean art in the context of its history, politics and place in the contemporary art world. Developed by The Courtauld Institute of Art and SUUM Academy & Project with the support of the Victoria and Albert Museum, London, this major conference will be a networking platform for UK and international audiences with an interest in Korean contemporary art in the global context. Further information and programme available here: http://www.courtauld.ac.uk/researchforum/events/2012/summer/jun29_KoreanArtConf.shtml To celebrate the conference, SUUM will host an open salon and studio tour on Saturday 30 June at its London venue: Earlang House, SE1 8EQ (RSVP@suumproject.com). Organised by Jiyoon Lee (SUUM Global Curatorial Project Office), Liz Kim and Professor Julian Stallabrass (The Courtauld Institute of Art) This event has been made possible by the generous support of the Arts Council Korea. To book a place: £26 (£16 students, Courtauld staff 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 ‘Korean Art’ conference. For further information, email ResearchForumEvents@courtauld.ac.uk Contact Name (if applicable): Contact and further information details: ResearchForumEvents@courtauld.ac.uk

External News and Events - Colloquium: Taking Time: Chardin’s Boy building a House of Cards and other paintings

Wed, 22 May 2013 06:03:43 +0000

Announcing a colloquium to mark the end of the exhibition Taking Time: Chardin’s Boy building a House of Cards and other paintings at Waddesdon Manor, Aylesbury Saturday, 14 July, 2012 10.00 am to 6:15 pm Confirmed Speakers: Colin Bailey – Upstairs/Downstairs: Dress, Status, and the Imaginary in Chardin’s Genre Paintings Emma Barker – Chardin’s Images of Women: Representing Domesticity John Chu – Chardin, Mercier and the English Art Market René Démoris – Espaces et âges du jeu chez Chardin Charlotte Guichard – Des écritures ordinaires? Les signatures de Chardin Anna Grundberg – The archival hunt for the trail of the destroyed Rothschild Chardins Rachel Jacobs – Play and Learning: an introduction to the 18th century jeux de société at Waddesdon Manor Humphrey Wine - Observations on the National Gallery Chardins A conference fee of £40.00 will include coffee, tea, lunch, and drinks reception. For further details and application to attend, please contact Diane Bellis, Collections Department, Waddesdon Manor, Nr. Aylesbury, Buckinghamshire, HP18 0JH: diane.bellis@nationaltrust.org.uk Places will be limited to 60 persons and bookings will be taken strictly on a first come- first-served basis.

Schools - News - CCEA Art History A-Level to be discontinued

Wed, 22 May 2013 06:03:43 +0000

CCEA has now written to all examination centres in England to inform them of their decision to begin a phased withdrawal of the qualifications they offer there, including AS and A2 art history. Full details are on their website at http://www.rewardinglearning.org.uk/newsroom/2012/210512.asp. AQA will continue to offer A-Level Art History curricula in England. Any queries or concerns regarding the provision of art history at AS and A2 should be directed to us via schools@aah.org.uk.

External News and Events - Call for Papers - Politeness and Prurience: situating transgressive sexualities in the long eighteenth century

Wed, 22 May 2013 06:03:43 +0000

A major international and multidisciplinary conference hosted by the History of Art Department at the University of Edinburgh (September 2-3 2013) DEADLINE FOR ABSTRACTS: 10 September 2012 Embedded within the narrative of John Cleland’s infamous novel Fanny Hill, or Memoirs of a Woman of Pleasure (1748), is a vignette which affronts the moral compass of even the tale’s sexually promiscuous protagonist. Having attended a ‘drag masquerade’, Fanny bears witness, through a convenient crack in a wall, to a sodomitical act, which she finds ‘not only universally odious but absurd’. Despite her apparent condemnation, Fanny pruriently watches on. In its dichotomous nature, Fanny’s reaction – suggestive of both outrage and intrigue – mirrors reactions to homosexuality in the eighteenth-century and in its subsequent historiography, wherein it is treated at once as a site of fascination, but considered separately from the history of normative sexualities. Yet, situated as it is, within this literary feast of heterosexual eroticism, Fanny Hill’s same-sex love scene may seem incongruous. Cleland’s text however, proffers a way to approach homosexuality as both explicitly aberrant and problematic, but still located within the general lexicon of eighteenth-century sexual congress. By the same token, Cleland offers a model for resituating the homosexual narrative within a wider historiography of sexuality, where its relationality to dominant modes, not its difference from them, might fruitfully be used as a way to re-evaluate transgressive sexualities during the period. In his 2006 article ‘Queering Horace Walpole’ George Haggerty advocates an approach to the history of sexuality wherein the search for a ‘concrete account of same-sex sexual behaviour’ is rejected, forcing the historian ‘to look elsewhere in almost every case’. Accordingly, this conference will privilege the assessment of cultural evocations of the ‘other eighteenth century’; the transgressive will be firmly identified as, and sought within dominant modes of eighteenth-century culture and its discourses. In the realm of visual culture, transgressive and deviant sexualities have previously been interpreted as autonomous and distinct from these prevailing modes. Hogarth’s famous print-series A Harlot’s Progress (1732) and A Rake’s Progress (1735) have been interpreted simplistically – in accordance with their appellation – as ‘modern moral histories’. As such they have routinely been presented as providing antitheses to a broadly defined moral exemplar of ideal polite culture. Such a prima facie interpretation however, boldly precludes the rich scopophilic potential provided by scenes of prostitution and illicit sexuality, locating it instead within the polite framework of moralising art. Like Fanny, the viewer of such images is at once repulsed and titillated. Yet Hogarth’s satirical oeuvre is not merely a visualisation of moral imperatives central to polite culture, but a vivid visualisation of a real section of contemporary society. In reintegrating these apparently oppositional forms of behaviour a clearer picture of eighteenth-century society and culture emerges. Hogarth’s images may therefore be viewed not as simply the commentary on the mores of an apparently ‘polite’ society via the representation of its very opposite, but, analogous to David Halperin’s definition of ‘queer’ in Saint Foucault: Towards a Gay Hagiography (1997), as ‘a positionality vis à vis the normative’. In an attempt to highlight underwritten facets of contemporary sexuality, texts such as G. S. Rousseau and Roy Porter’s Sexual Underworlds of the Enlightenment (1987) which have labelled themselves as examining the ‘other’ or ‘underworld’ have instead further problematised the role and import of such histories to wider eighteenth-century culture. The aim of this conference is therefore not to present illicit sexuality as an underbelly to a dominant polite culture, but to reconcile the ‘two eighteenth centuries’ that have for too long been presented as the subject of two discrete discourses – politeness and prurience. As well as dealing with the interface between politeness and prurience as it appears throughout eighteenth-century visual, material and literary culture more generally, specific topics for papers could include: Bodies – the venereal body, castrati, physicalities, sadomasochism Settings – home and abroad, urban centres, rural backwaters Spaces – the architectural exterior and the private interior, the bagnio, the brothel, the masquerade Gaze/Experience – viewing sexualities, the keyhole testimony, description and biography Material Evidence – the objects of sexuality, dress, sex aids, collections, erotica Masculinities and Femininities – gender roles, reversals and subversions Modes of the illicit – sodomitical, Sapphic, pathological, pederastic, extra-marital, rape Public & Private – reception/reaction, fear/celebration, homophobia, display, expression Language – parlance, designation, rumour, slander, code We invite abstracts of no more than 500 words to Dr. Viccy Coltman (Head of History of Art), Jordan Mearns & Freya Gowrley at politeness.prurience@gmail.com by 10 September 2012.

Schools - For Teachers: AQA Day Course on Introducing Art History

Wed, 22 May 2013 06:03:43 +0000

The AQA examination board is offering a day course for teachers wishing to introduce History of Art into their schools. It focuses on a better understanding of architecture. Places are available on Wednesday 13th June in Oxford, and the course will be repeated on Monday 18th June in London. For details: https://coursesandevents.aqa.org.uk/training/search/EventDetails.action?model.selectedCompoundEventId=A-LEVELHISTORYOFART%3AUNDERSTANDINGARCHITECTURE.

External News and Events - Resource - Art Researchers’ to Guide to Edinburgh

Wed, 22 May 2013 06:03:43 +0000

Editors: Kerry Eldon & Rose Roberto ISBN: 978-0-9562763-2-2 £5.00 Pre-Publication/Conference Rate £6.50 Regular Price Built atop majestic hills, Edinburgh?s ancient roots reach back to the Bronze Age. As the centre of the Scottish Enlightenment, philosophers, poets, scientists and artists were drawn to the city. Now the capital of Scotland, it continues to expand as a cultural, commercial and artistic centre. This handbook describes the major libraries and repositories in Edinburgh with art and design resources. It will allow you to more fully explore the city, and direct you to the most appropriate libraries and archives to suit your research needs. Special features include: a city-wide map at-a-glance navigation icons a time-saving subject index to collections a peek into each place with full-colour images To order your copy, please fill out this form and mail it to the address below or contact the ARLIS Business Manager at: arlis@vam.ac.uk or +44 (0) 20 7942 2317

External News and Events - Symposium: The Legacy of the Roman Republican Senate

Wed, 22 May 2013 06:03:43 +0000

September 6–8, 2012 University of Glasgow http://www.gla.ac.uk/schools/humanities/events/conferences/senate/#d.en.220919 Republican Rome has been a powerful and contested constitutional model in the western political tradition. But the Senate is a relatively neglected element in the model. This symposium, supported financially by the British Academy, will explore the roles that the Senate has played in the development of politics, political culture and constitutional theory since the end of the Roman Republic. The organiser is Catherine Steel. Attendance is free but registration is required by 1 August 2012 - to register, please click here.

External News and Events - Job - Lecturer in Art History 1450 to 1800

Wed, 22 May 2013 06:03:43 +0000

Lecturer in Art History 1450 to 1800 Art History and Visual Studies, University of Manchester http://www.jobs.ac.uk/job/AEM397/lecturer-in-art-history-1450-to-1800/ Closing date : 20/06/2012 Reference : HUM-01188 Salary : £32,801 to £45,486 Employment type : Permanent Applications are invited for a lectureship in Art History in the period 1450 to 1800. A specialism in any area of European art, or in the inter-relationships between European and non-European art, eg. Latin American, Indian, or East Asian art, will be considered. The ability to teach widely about artists and art movements central to the art historical understanding of this period would be an asset. You should have a PhD, research and publications of high quality, and be committed to teaching at all levels. The post is available from 1 September 2012. Informal enquiries can be made to Professor David Lomas, Professor of Art History: Email: david.c.lomas@manchester.ac.uk Further Particulars Art History and Visual Studies at Manchester Art History and Visual Studies (AHVS) is one of the UK’s foremost art history departments and amongst the most wide-ranging. The lecturer would join a thriving research community that includes 4 postdoctoral fellows and an AHRC-funded research centre. Currently, AHVS is located within the School of Arts, Histories and Cultures where it is one of eight subject areas. This is soon to be merged with the School of Languages, Linguistics and Cultures, creating a very large concentration of Arts and Humanities expertise. The merger will greatly facilitate cooperation among the many scholars working on visual culture across both Schools. AHVS has a strong interdisciplinary orientation, with close ties to other disciplines and research centres across the university, including the Centre for Museology. The lecturer will be joining AHVS at an exciting time of expansion as we have just made two new appointments in the area of modern and contemporary art. We currently have 10 full-time members of academic staff in AHVS, offering a wide chronological and geographical coverage. This includes four staff (Dr Anthony Gerbino, Dr Emma Loosley, Dr David O’Connor, Dr Cordelia Warr) with expertise in art, architecture and material culture of premodern Europe and the Middle East. The academic staff of AHVS all have accomplished international research profiles. AHVS gained an impressive result in the Research Assessment Exercise of 2008 when it was ranked fifth across all subjects in the university and fourth out of 30 art history departments in the UK. We are looking to maintain our strongly competitive position in the REF 2014. AHVS has healthy recruitment at all levels, from undergraduate to PhD. The annual intake of undergraduate students is approximately 60. AHVS brings in around 20 taught Masters students each year, and there is a group of some 35 PhD students. AHVS is constantly innovating in its undergraduate curriculum. Some years ago, we took the decision to broaden our teaching beyond European art, though student demand for canonical subjects within European art remains strong. We are also seeking to improve the employability of our graduates, an increasing concern of students, by expanding our teaching in topics relating to galleries and museums and through closer cooperation with the Whitworth Art Gallery. There is excellent library provision in the John Rylands University Library, which in recent years has greatly expanded its electronic journals and image databases. The renowned John Rylands Library at Deansgate houses special collections of pre-modern manuscripts and early printed books, and valuable holdings in the history of science and medicine. AHVS students benefit from an in-house teaching library. In addition to the Whitworth, AHVS maintains close links with the Manchester Museum and other art galleries in the region: Manchester Art Gallery; the Henry Moore Institute in Leeds; Walker Art Gallery; Tate Liverpool. Job Description AHVS’s development strategy has highlighted the need for a specialist with research and teaching interests in art and visual culture of the period 1450-1800. The successful candidate will join a strong premodern teaching and research cluster and it is hoped that the person appointed will complement the existing expertise. Accordingly, we are seeking someone whose research and teaching deals with major artists and art movements - especially in painting - relevant for the art historical understanding of this period. Specialists in any aspect of European art, including Britain, or in interrelationships between European and non-European art, eg. Latin American, Indian or East Asian art, may apply. An interest in expanding global networks of cultural exchange in the period would be welcome, as would an interdisciplinary approach to visual culture and the capacity to foster research and teaching synergies with other subjects in the School. The person appointed: will be expected to teach at undergraduate and MA level will be expected to recruit and supervise PhD students will be expected to undertake research at a high level and to publish in peer-reviewed journals or other scholarly publications will take a full part in the life and administration of AHVS will be expected to apply for external research grants This is a key appointment in both the research and teaching strategies of AHVS and the person appointed will need to be highly motivated and to familiarise him- or herself rapidly with the research and teaching cultures of the School. He or she will be expected to carry out administrative roles and to contribute fully to the life of the subject area. The personal research of the individual appointed will be supported with sabbatical leave. The post is available from 1 September 2012. Person description The following are essential: a completed PhD in a relevant field. a specialism in European art, or inter-relationships between European and non-European art, between 1450 and 1800. the ability to teach widely about artists and art movements, especially painting, that are central to art history in this period. research and publications of high quality commensurate with inclusion in REF 2014. robust plans for future research and publications. relevant teaching experience and a strong commitment to innovation in teaching and to enhancing student experience. the ability to take a full part in the management and administration of the curriculum at all levels. The following are desirable: an interest in the expanding global networks of economic, political and cultural exchange in the period 1450-1800. an interdisciplinary approach to art and visual culture drawing upon or intersecting with other disciplines. an awareness of current historiographical and methodological issues and approaches in art history, and a willingness to contribute to such teaching. success in obtaining research funding, or collaboration on a research or exhibition project. Shortlisted candidates will be invited to interview and will be asked to give a presentation to staff and students.

External News and Events - Course - 'The Art World Unpacked' - Saatchi Gallery, London

Wed, 22 May 2013 06:03:43 +0000

The Art World Unpacked In this intensive, informative and enjoyable week-long course, participants will gain an insight into the workings of the contemporary art world from a number of perspectives. Meeting artists, gallery owners, and curators, and visiting a range of different spaces - from large-scale galleries to hidden gems of the East End to a working artist's studio - you'll have first-hand access to the complex and fascinating world of contemporary art. Taught by museum educator (National Gallery, Tate Modern, MoMA), art fair co-director (Sluice) and art writer (Art Review) Ben Street, this course is aimed at 18-25 year olds with an interest either in working in or understanding the art world. Dates: 6th – 10th August 2012, 2 – 4 pm Course begins at the Saatchi Gallery, London, SW3 4RY Cost: £100 For more information and to book your place please email francesca@saatchigallery.com Places are limited and given on a first come, first served basis so book early to avoid disappointment. If you need any more convincing, here is what others have said of Ben Street’s ‘Beginner’s Guide to Contemporary Art’ course...: ‘Ben has a depth of knowledge, lucidity of expression and passion which is contagious and enlightening.’ ‘Ben is the perfect guide. [He] has helped me understand, appreciate and look at contemporary art with fresh eyes and appreciation.’ 'Ben’s enthusiasm is infectious and his relaxed approach belies an impressive knowledge and understanding of artists’ work past and present.’

External News and Events - Lecture - 'Discoveries and re-evaluations: painting practices under the microscope'

Wed, 22 May 2013 06:03:43 +0000

Discoveries and re-evaluations: painting practices under the microscope Libby Sheldon (UCL Art History) Thursday 28 June, 13.15 BP Lecture Theatre, The British Museum Free, booking advised. http://www.britishmuseum.org/whats_on/events_calendar/june_2012/discoveries_and_re-evaluations.aspx Paintings are not always what they seem to be on the surface. Technical investigation, particularly of pigments, has revealed not only surprising differences between the present and the original appearance of works – a violet colour transformed to pale orange, for example - but also the use of unexpected ingredients for certain effects. Recognising the changes to colouring as well as identifying materials can lead to re-evaluation of both the meaning and sometimes the date and attribution of images. This talk uncovers the practices of artists as different as Hilliard and Reynolds; highlighting those of Elizabethan portraitists in the lifetime of Shakespeare. It also asks what this new information means. This lecture can also be viewed live online at www.ucl.ac.uk/lhl/streamed

External News and Events - Call for Papers - 'Display: Consume: Respond - Digital Engagement with Art'

Wed, 22 May 2013 06:03:43 +0000

Computers & the History of Art CHArt 28th Annual Conference Thursday 15 - Friday 16 November 2012, Central London venue TBC www.chart.ac.uk Since its foundation in 1985 CHArt has engaged in topical issues in Digital Art History. This year CHArt is looking at how new developments in information and communications technology affect the ways in which we engage with art. New forms of digital display or emerging modes of viewing art may have profound effects on both our understanding of the artwork itself (the way we consume it) and our ability or appetite for describing, curating and managing it (how we respond to it). CHArt invites papers that examine emerging practice and where it impacts upon digital art practice, research and curation. Areas for consideration include: Control of authorship, ownership and access Collaboration and the interdisciplinary break-down Participation, quick response and interaction Consumption, re-use and mashup Mobile technology, apps and education Connections between art, interface design, usability and user experience Globalisation, agility, dissemination and big data Liquidity and permeability of digital culture Contributions are welcome from all sections of the CHArt community: art historians, artists, architects and architectural theorists and historians, philosophers, curators, conservators, scientists, cultural and media theorists, archivists, technologists and educationalists. Submissions should be in the form of a 300-400 word synopsis of the proposed paper with brief biographical information (no more than 200 words) of presenter/s, and should be emailed to chart@kcl.ac.uk by Friday, June 1st 2012. Please note that submissions exceeding the stated word count will not be considered. Postgraduate students are encouraged to submit a proposal. CHArt is able to offer assistance with the conference fees for up to four student delegates. Priority will be given to students whose papers are accepted for presentation. An application form and proof of university enrolment will be required. For further details about the Helene Roberts Bursary please email anna.bentkowska@kcl.ac.uk. CHArt c/o Department of Digital Humanities Kings College London 26-29 Drury Lane London WC2B 5RL chart@kcl.ac.uk

External News and Events - Exhibition - Rembrandt Exhibition: 78 etchings from the original plates

Wed, 22 May 2013 06:03:43 +0000

Opening: Sunday 13 May Venue: Goldmark Gallery, 14 Orange Street, Uppingham, Rutland, LE15 9SQ FREE ENTRY 01572 821 421. Open Monday to Saturday 9.30- 5.30, Sunday and Bank Holidays 2.30-5.30. www.goldmarkart.com More details: http://www.rembrandtetchings.co.uk/

External News and Events - Course - Design History & Material Culture and Art in the Contemporary World: Exciting MA Opportunities at National College of Art and Design, Dublin

Wed, 22 May 2013 06:03:43 +0000

Design History & Material Culture and Art in the Contemporary World: Exciting MA Opportunities at National College of Art and Design, Dublin Applications are now being accepted for the following Masters programmes offered by the Faculty of Visual Culture at the National College of Art and Design (NCAD), Dublin 1 MA – Design History & Material Culture The Master of Arts: Design History and Material Culture provides a dynamic platform for the study of design and material culture from the eighteenth century to the present day. An innovative series of themed modules introduces students to objects, spaces and the material culture of everyday life, and to the range of critical and interdisciplinary approaches which are used in design and material culture studies. This course draws on the wide-ranging academic expertise of faculty members in the fields of the history of decorative arts and design, dress history, architectural history and material culture as well as interacting with studio staff and students, and benefits from close relationships and joint initiatives with a wide range of museums, cultural institutions and historic properties. We welcome graduates from a wide variety of backgrounds, including: design; fine art; art history; history; archaeology; sociology; politics; literature; film studies; architecture; or communications. For more information on this MA programme please email the course coordinator: Dr Anna Moran (morana@ncad.ie) or the Visual Culture secretary (visualculture@ncad.ie) Further information is also available on the course website (http://www.designhistory.ie). 2 MA Art in the Contemporary World: www.acw.ie An intensive masters programme focusing on contemporary art practices and their critical, theoretical, historical and social contexts. Participants will interrogate the relationship between theory and practice in the context of our innovative network of peers and colleagues. We welcome graduates from a variety of backgrounds, including: fine art; art history; philosophy; literature; film studies; architecture; communications; or design. Art in the Contemporary World regularly collaborates with key cultural institutions in Ireland such as: Irish Museum of Modern Art; Irish Film Institute; Dublin City Gallery; Kerlin Gallery and The Irish Pavilion at the Venice Biennale. In recent years guests included: Massimiliano Gioni, curator at the New Museum in New York; Katrina Brown, director of the Glasgow International Festival of Contemporary Art; Kathrin Rhomberg, curator of the 2010 Berlin Biennale; Frieze magazine senior editor Dan Fox; film-maker Kenneth Anger; writer Rebecca Solnit; eminent American art critic Irving Sandler; art writer Maria Fusco and artists Lynda Benglis, Liam Gillick, Phil Collins, Susan Philipsz, Duncan Campbell and Walid Raad. Students can apply for one of two pathways available in both full and part time options: (i) Visual Culture Pathway (a theory only option); and (ii) Combined Fine Art / Visual Culture Pathway (run as a collaboration between the Faculties of Fine Art & Visual Culture and intended for practicing artists) For more information contact the course team: Declan Long (longd@ncad.ie) or Francis Halsall (halsallf@ncad.ie). Application info. Deadline for applications: 11 June 2012 Both MA programmes are offered on a full-time or part-time basis over one or two years respectively. For information on application guidelines, fees and funding, please see the postgraduate prospectus: http://www.ncad.ie/postgraduate/postgrad_taught.shtml NCAD is the leading provider of postgraduate art and design education in Ireland. It provides advanced study, practice and research across art, design, education, history, theory and criticism. Its Faculty of Visual Culture is an interdisciplinary centre for teaching and research in humanities and social science disciplines with particular focus and expertise across the history, theory and criticism of art, design and visual culture.

External News and Events - Vincula – 4th Annual Slade/UCL Art Museum Collaboration

Wed, 22 May 2013 06:03:43 +0000

Vincula – 4th Annual Slade/UCL Art Museum Collaboration The 4th annual Slade/UCL Art Museum collaboration began with an invitation to today's artists to develop their own practices while exploring and responding to art from the past. With the Museum's vast collections of award-winning works by Slade alumni as well as works by revered Old Masters situated only minutes away from the artists' studios, this collaboration presents a unique opportunity for a dialogue across time through which to explore new ideas. This exhibition features the work of selected finalists. Location: UCL Art Museum South Cloisters UCL Gower Street London WC1E 6BT Opening times 8 May – 8 June Mon – Fri, 1-5pm Admission free Contact and further information details: Email: Nina Pearlman, college.art@ucl.ac.uk Tel: 020 7679 2540

External News and Events - Lecture - 'Figure/Ground and the Embattled Self: Jackson Pollock's Late Work'

Wed, 22 May 2013 06:03:43 +0000

Figure/Ground and the Embattled Self: Jackson Pollock's Late Work Tuesday, 8 May 2012 17.30 - 18.30, Kenneth Clark Lecture Theatre Angela Miller (Professor, Department of Art History and Archaeology, Washington University), Terra Foundation for American Art Visiting Professor This talk will consider Jackson Pollock’s late works, from 1951 forward, in relation to the return of figural elements and to his move away from the poured paintings that established his fame. Angela Miller will situate this late work within a cultural and aesthetic field animated by concerns about male subjectivity in the post-war decade; and within Pollock’s own psychologically charged struggle with art history and family history. Angela Miller teaches Art History at Washington University in St. Louis. She has lectured and published in a range of areas spanning from the 16th century to the mid-20th. Her work has focused on constructions of cultural nationalism, and on the politics of form in the arts. Miller’s 1993 book Empire of the Eye: Landscape Representation and American Cultural Politics, 1825-1875, won awards from the Smithsonian Institution and the American Studies Association. She is a lead author, along with five others, of American Encounters: Art, History, and Cultural Identity (Pearson, 2008), an integrated history of the arts from pre-conquest to the present. Recent publications include an essay on the American reception of Surrealism, the US Popular Front, and Dia/Beacon’s Zoe Leonard exhibition. She was the inaugural Terra Professor of American art in Paris in 2010, and a visiting scholar at the JFK Institute for North American Studies in Berlin in November 2010. Open to all, free admission Organised by Professor Caroline Arscott This Visiting Professorship has been made possible by the Terra Foundation for American Art www.terraamericanart.org Contact and further information details: researchforum@courtauld.ac.uk

External News and Events - Lecture - 'America America: Sturtevant’s Repetitions, Pop, and the Rise of American Postwar Art'

Wed, 22 May 2013 06:03:43 +0000

America America: Sturtevant’s Repetitions, Pop, and the Rise of American Postwar Art Dr Elisa Schaar (Terra Foundation for American Art Postdoctoral Fellow, The Courtauld Institute of Art) Tuesday, 15 May 2012 17.30 - 18.30, Kenneth Clark Lecture Theatre Sturtevant’s recent award of a Golden Lion for Lifetime Achievement marks the pinnacle of her belated critical recognition. This comes almost fifty years after Robert Rauschenberg won the Grand Prize at the Venice Biennale (the first American to do so) and ironically posed with Sturtevant as Adam and Eve, primal figures of a new American art scene several times removed from European painting. By now Sturtevant is commonly acknowledged as a forerunner of appropriationists such as Sherrie Levine for having made one-to-one repetitions of works by artist peers, including Jasper Johns’ Flags, Claes Oldenburg’s Store, Marcel Duchamp’s Fountain, Joseph Beuys’ Fat Chair, and Andy Warhol’s Marilyns, notably, with Warhol’s own silkscreens, in New York starting in the early 1960s. She has consistently asserted that ‘the brutal truth of the work is that it is not copy’ and that ‘gender has nothing to do with the work’. By her own account, it was mounting hostility and misunderstandings that led her to withdraw from the art world in the early 1970s – until the appropriationists caught up with her a decade later and she returned to the scene with a Deleuzian explanatory framework for her practice and a new set of repetitions spanning from Kiefer Jason to Gober Wedding Gown and Gonzalez-Torres America. The Paris-based artist has now turned to making video, installation and performance work on themes of sex and death in the digital age, alongside further repetitions such as Duchamp Fresh Widow. Of late she is a regular presence on the London art scene too. In this lecture, Elisa Schaar looks beyond Sturtevant’s most well-known repetitions, the artist’s own statements and the intriguing issues of authorship and originality that have dominated the discussion. She reconsiders the work’s historical context and artistic connections in American postwar art, giving consideration to the particular nature of that post-1945 art scene as male-dominated, consumer-oriented and increasingly internationalized. A major exhibition of Sturtevant’s work, Image over Image, is currently on view at the Moderna Museet, Stockholm (17 March to 26 August 2012). Elisa Schaar is Terra Foundation for American Art Postdoctoral Fellow at The Courtauld Institute of Art. She is currently writing a book on forerunners of appropriation art circa 1964-1974, and co-organizing a two-day international symposium on American Art and the Mass Media that will take place at the Institut national d’histoire de l’art (INHA) in Paris on 2 and 3 May 2012. Her article ‘Spinoza in Vegas, Sturtevant Everywhere: A Case of Critical (Re-)Discoveries and Artistic Self-Reinventions’ appeared in Art History, December 2010. Open to all, free admission Organised by Professor Caroline Arscott This Postdoctoral Fellowship has been made possible by the Terra Foundation for American Art www.terraamericanart.org Contact and further information details: researchforum@courtauld.ac.uk

External News and Events - Conference - ' Insight Palestina: Images, Discourses, and the Image of Discourse'

Wed, 22 May 2013 06:03:43 +0000

Co-organised by Dr. Gil Pasternak (The University of Huddersfield) and Lior Libman (The Hebrew University of Jerusalem; The University of Leeds), ‘Insight Palestina’ is a one-day international conference to be hosted at the University of Leeds (UK) on 7 June 2012, 9.30 – 20.45. Keynote Speakers and Paper Titles: Prof. Sander Gilman: SCANDAL! Images, Discourses, and the Image of Discourse that ‘hurt people’s feelings’ Prof. Griselda Pollock: Screen Memories: Making Pasts Futures in ‘And Europe Will Be Stunned’ by Yael Bartana Dr. Ihab Saloul: Sites and Insights: Exilic Memory and the Politics of the Anti-linear Sound-Image Confirmed Speakers and Paper Titles: Dr. Alma Mikulinsky (University of Hong Kong): Crossing Discursive Borders: Representations of Checkpoints in Palestinian Art and Film Dr. Simon Faulkner (Manchester Metropolitan University): Israel/Palestine and the Politics of Curiosity Dr. Orly Shevi (Tel Aviv University): Ici et Ailleurs – Godard’s Cinematic reflections on the Israeli-Palestinian Conflict Lior Libman (The Hebrew University of Jerusalem): Shadows over the Land Without Shade: The Iconisation of the Kibbutz in the 1950s as an acting-out of post-Nakba Cultural Trauma Dr. Gil Pasternak (The University of Huddersfield): Jewish Soldiers of the Time: Ethos, Pathos and Logos in Rineke Dijkstra’s ‘Israel Portraits’ Screening and Artist’s Talk: Yael Bartana and Slawomir Sierakowski (founder and chief editor of Krytyka Polityczna magazine) will discuss Bartana's piece ‘And Europe Will be Stunned’ (2011) REGISTRATION IS NOW OPEN: http://www.store.hud.ac.uk/browse/product.asp?catid=208&modid=1&compid=1 University of Leeds and Huddersfield Students: Free Delegates Early Bird Registration: 26 April – 7 May 2012: £15 Delegates Late Registration: 8 – 20 May 2012: £20 ___________________________________________________________________________ For updates please do follow us on Twitter @GilPasternak or at: http://gilpasternak.wordpress.com/

External News and Events - Training - An Introduction to Art and Design Reference Resources

Wed, 22 May 2013 06:03:43 +0000

The Art Library Leeds Central Library, Leeds Tuesday 1st May 2012 A workshop from ARLIS and the Leeds Art Libraries in Cooporation (LALIC) for those new to the world of art librarianship or scholarship, or those wishing to update their skills in art and design enquiry work and research. The day features presentations from leading art librarians, who will provide up-to-date information on the key print and electronic resources and strategies for effective research. There is a significant practical element to the day, allowing delegates to put into practice the skills and knowledge acquired in the computer training suite. Databases training includes: Oxford Art Online, Bridgeman Education, Art Index and Art Sales Index. There is also a behind-the-scenes tour of the Art Library at Leeds Central Library. Details can be found here: http://www.arlis.org.uk/documents/events/adrr_leeds_booking_form_v2.pdf or by contacting Jennie-Claire Perry at j.c.perry@arts.ac.uk by Friday 27 April 2012.

External News and Events - Henry Moore Institute: Events Announcement

Wed, 22 May 2013 06:03:43 +0000

Michael Dean: Government A series of readings by Michael Dean and Chris Sharp 25 April 2012, 5pm Henry Moore Institute Galleries 1, 2 and 3 Single, precise words are always the starting point for Michael Dean. Writing is an essential part of his work: his sculptures are accompanied by intimate, observational texts exploring the object qualities of words. Like government papers, these pages are subjective policies, documents written with a specific thought in mind that, once distributed, becomes subject to interpretation by others. Government, Dean’s first museum solo exhibition presented in Galleries 1, 2 and 3, quotes from and transforms the Institute’s galleries. During the exhibition Dean has invited four artists to make use of the exhibition space in events that use sculptures as projection screens and sound stages. Placing the spoken word in space is, for Dean, as much a sculpture as any object. In this first event, Michael Dean gives a series of readings with fellow artist Chris Sharp. Other artists appearing in this events series include Franziska Lantz, Ed Atkins and Becky Beasley. Michael Dean studied at Goldsmiths College between 1998 and 2001. His work has been shown in solo and group exhibitions across Europe, including at Kunsthalle Frieburg in Germany, the Zabludowicz Collection in London, Nomas Foundation in Rome, MAK in Vienna and the Centre for Contemporary Art in Riga. Chris Sharp was born in the US and lives and works in Paris. His writing has appeared in Art Review, Frieze, Kaleidoscope, Art Monthly, among other magazines. He recently co-curated with Joanna Fiduccia The Zero Budget Biennial,and Under Destruction, with Gianni Jetzer - a survey of destruction in contemporary art, at the Tinguely Museum, Basel and the Swiss Institute, New York. Sharp is currently working on A Necessarily Incomplete Anthology of Withdrawal, with Archive Books, Berlin. The Henry Moore Institute is open until 8pm on Wednesday evenings. Free, but advance booking essential as places are limited Booking: Kirstie Gregory (Research Programme Assistant): kirstie@henry-moore.org http://www.henry-moore.org/hmi

External News and Events - Symposium on IRWIN/Neue Slowenische Kunst - East Art Map: History is Not Given. Please Help to Construct It

Wed, 22 May 2013 06:03:43 +0000

UCL and the gallery Calvert 22 have collaborated to organise a major symposium exploring the practice of the Slovenian art collective IRWIN/Neue Slowenische Kunst. Archive as Strategy: Conversations about Self-historicisation across the East Symposium - East Art Map: History is Not Given. Please Help to Construct It Saturday 2 June, 2-6.30pm Pearson Lecture Theatre, UCL Main Quad, Gower Street, (North-East Entrance) To reserve your place please email sarah.james@ucl.ac.uk Speakers include Charles Esche, Gediminas Gasparavicius, IRWIN, Saša Nabergoj, Milena Tomic, Jonah Westerman, and Klara Kemp-Welch. This symposium will explore IRWIN and their project East Art Map in relation to strategies of self-archiving, self-historicisation and re-enactment in Eastern European art. It will involve an afternoon of presentations from established speakers and postgraduate researchers engaging with issues surrounding IRWIN’s practice, EAM, archival tendencies in Eastern European art, and the legacies of these practices today (with specialists exploring the legacies of the project in relation to artistic and curatorial practice, art institutions and the writing of art history). IRWIN are arguably the most influential art movement to emerge from the Balkan region in the latter half of the 20th Century. These events run in parallel to the new exhibition on at Calvert 22, which is the first major UK exhibition of IRWIN, the visual arts component of NSK, founded in Ljubljana (Slovenia) in 1983. This ambitious exhibition will feature seminal projects from the past twenty years. Neue Slowenische Kunst was established in what was then Yugoslavia. Concerned with the political unrest in the region at the time and issues of national identity NSK projects broke through the limitations of the visual arts. Highly collaborative and based around a constant flow of ideas, NSK provided a platform that brought together theatre, music, painting, literature, philosophy, design and performance, reaching into society at large. For more information, please visit our website: https://www.ucl.ac.uk/art-history/events/irwin-neue-slowenische-kunst

External News and Events - Exhibition - At Play 2012

Wed, 22 May 2013 06:03:43 +0000

At Play encourages viewers to gaze, remember, touch, explore, trust, think, laugh, peer, concentrate, join in, bend down, take a chance... and play. It explores the way that play can be free and spontaneous or bound by rules and conventions – as with board games and sport. The exhibition considers ideas about rules or the lack of them and the spirit of the Olympics in the year that the summer Olympics come to Britain. At Play also supports artists in making participatory, engaging and interactive work in a variety of art forms. New Ashgate Gallery presents work by AM Bruno, Linda Francis, Flora Gare, Este MacLeod, Kirsty E Smith and Cally Trench. At Play 2012 is a project in partnership with the New Ashgate Gallery, Surrey, South Hill Park, Berkshire, and OVADA, Oxfordshire, exploring concepts of play and participation. At Play is collaboratively produced and curated by Dr Outi Remes and Cally Trench. It is supported by The Arts Council England. Exhibition runs from 8th June 2012 - 14th July 2012 Free Entry Opening Hours: Tuesday to Saturday, 10am to 5pm. Location: New Ashgate Gallery, Waggon Yard, Farnham, Surrey, GU9 7PS Website: http://www.newashgate.org.uk/ Telephone: +44 (0)1252 713208 Email: gallery@newashgate.org.uk

External News and Events - Call for Papers - 'The Modern Interior as Space and Image'

Wed, 22 May 2013 06:03:43 +0000

We invite proposals for the CAA panel “The Modern Interior as Space and Image.” Please refer to the call for papers below. – Proposals are due May 4th. For further information, see: http://collegeart.org/proposals/2013callforparticipation The Modern Interior as Space and Image Hollis Clayson, Northwestern University; and Anca I. Lasc, University of Southern California. Email: shc@northwestern.edu and lasc@usc.edu In the nineteenth century—the Era of the Interior—decora¬tion was displaced from aristocratic and religious interiors to bourgeois households. Current art-historical scholarship—still indebted to a modernist discourse seeing cultural progress as synonymous with the removal of ornament from both utilitar¬ian and “fine art” objects—has yet to acknowledge the impor¬tance of the decoration of the myriad interior spaces of the 1800s. By addressing the modern transatlantic interior as both image and space, this panel seeks to redefine interiors and their objects as essential components of modern art and experience. Possible topics include modern interiors as arenas for industrial artists; bourgeois leisure and living spaces as sources for modern paintings; ideologies of privacy that arose from the new interior; the development of the profession of interior decorator; the iconography of the interior in visual culture; and the rise of col¬lecting and exhibition practices inspired by the modern interior.

External News and Events - Call for Papers - 'A thousand lines of flight': Post-anarchism and Contemporary Art

Wed, 22 May 2013 06:03:43 +0000

Anarchist Studies Network Conference – Making Connections Loughborough University 3-5th September 2012 'A thousand lines of flight': Post-anarchism and Contemporary Art 'Post-anarchism decentralizes the political movement, motions toward tactical rather than strategic action, brings anarchist thought into touch with a range of influences …and provides the foundation for a thousand lines of flight' (Duane Rouselle, 2011) In 2003, David Graeber wrote about 'new anarchism' as a meshing of practice and theory which embraced horizontalist, open-ended experimental approaches to revolutionary vision and strategies. In this panel stream we ask – what does a post-anarchist art practice look like? What does it sound like? How and where does it function? We invite – and bring together - theorists and practitioners to offer contributions which explore these questions through discourse, practice, performance or intervention, experimentally, practically, gesturally, impossibly. Please send proposals/abstracts (300 words) to Gillian Whiteley g.whiteley@lboro.ac.uk and Kuba Szreder derszer@googlemail.com Deadline extended to 1st May Co-convenors Gillian Whiteley/bricolagekitchen & Kuba Szreder Politicized Practice Research Group School of the Arts Loughborough University contact g.whiteley@lboro.ac.uk For info on the conference see http://anarchist-studies-network.org.uk/

External News and Events - Conference - ' Invention, Philosophy and Technology in the Seventeenth Century'

Wed, 22 May 2013 06:03:43 +0000

Wednesday 23rd May 2012 University of York, CREMS - Berrick Saul Building – Treehouse and BS/008 9.15 Registration 9.30 Technology and the mysteries of trade (Treehouse) Ayesha Mukherjee (Exeter), The economy and philosophy of manure in Hugh Platt (title tbc) Paddy Bullard (Kent), Isaac Walton and Joseph Moxon, on technical manuals. (title tbc) Eleanor Decamp (Oxford), [Keep] sharpe Instruments...as neere as you can, ever hidden from the eyes of the Patient’: the visibility of surgical objects in seventeenth-century literature 10.45 Coffee 11.15 Invention, Rhetoric and the rhetoric of invention, Part 1 (Treehouse) Tullia Giersberg (King’s College, London), Cornelis Drebbel’s Perpetuum Mobile and the Contested Meanings of Invention in Ben Jonson’s Mercury Vindicated from the Alchemists at Court (1614-15) Raphael Hallett (Leeds), ‘Invention’, ‘Creation’ and Early Modern Laboratory Culture 12.00 Lunch 1.00-1.45 Invention, Rhetoric and the rhetoric of invention, Part 2 (BS/008) Helen Hills (York), ‘'Inventio and invenzione: from saintly relic to art and back in baroque Italy' Adam Ganz (Royal Holloway), “Close, naked, natural" How the Lens changed writing 2.00 Making things and the cost of labour (BS/008) Michael Harrigan (Warwick), Plantation, Labour and Technology in the Early Modern Antilles Katherine Hunt (London Consortium, University of London) , From procedural to miscellany: how to make a firework in the mid-seventeenth century. Cesare Pastorino (Sussex), Francis Bacon and the State Promotion of Innovation: the Early Stuart Patent System 3.30 Coffee 4.00 Getting Dirty in Early Modern England: Mines and Drains (BS/008) Daisy Hildyard (Queen Mary’s), ‘The Workmen could give me very little Account of any thing’: John Locke and Daniel Defoe meet miners. Will Calvert (Cambridge), "Invention, National Power, and the Limits of the Possible in Early Stuart England." Claire Preston (Birmingham), 'Big Dig: the poetics of early-modern drainage'. Contact kevin.killeen@york.ac.uk Attendance is free and open, but it would be appreciated if you could let me know that you plan to attend. http://www.york.ac.uk/english/news-events/browne/

External News and Events - International Jacobean Lessons at the University of Santiago de Compostela (USC)

Wed, 22 May 2013 06:03:43 +0000

V International Jacobean Lessons At Usc: Diáspora Xacobea Universidade De Verán Da Usc 2012 (USC Summer Course 2012) July 26th-29th 2012 Director: Miguel Taín Guzmán Secretary: Paula Pita Galán Information and Questions: secretaria.leccionesjacobeas@gmail.com HTTP://LECCIONESJACOBEAS.BLOGSPOT.COM HTTP://WWW.USC.ES/CULTURA/UVERAN12INDEX.HTM (USC Summer Course web site) Dates: July 26th - 29th 2012 34 hours 2 ECTS (people interested in applying for ECTS should mark this option during registration) Place: Main Hall, Faculty of Geography and History Places: 150 Registration: On line (at USC Summer Course web site): from May 15th to July 16th At USC Summer Course Office: from June 20th to July 16th Course fee: 120 € Reduced fee for students, unemployed people, pensioners and USC professors and staff: 70 € V International Jacobean Lessons At Usc: Jacobean Diaspora International Jacobean Lessons at USC is a yearly Summer Course of the University of Santiago de Compostela (USC). The main idea of the course is to approach the latest research on the Jacobean phenomenon to those who have an interested on it. Each year USC professors join national and international researchers in academic lessons about the Pilgrimage, the town of Santiago de Compostela and its cultural heritage, and spread of the cult to Saint-James. The lessons are combined with cultural activities in order to provide the attending people a wider experience that includes a one-day-journey by The Way to Fisterra (the European End-of-the-World). PROGRAM July 26th SECTION 1: PILGRIMAGE, CATHEDRAL AND SAINT-JAMES FEASTS 9,00h. Opening by the Dean of USC, authorities and the Course director 9,30h.-11h. Gerhard Wolf (director of the Kunsthistorisches Institut at Florence): Mediterranean Pilgrimages and over: the case of Saint-Katherine in Mount Sinaí Monastery 11h.-12,30h. Carmen Pugliese (director of magazine Peregrina): The journey to Santiago de Compostela as a pilgrim of the Italian friar Giacomo Antonio Naia (1717-1719). 12.30 h.-14 h.: Miguel Taín Guzmán (professor of History of Art at Universidad de Santiago de Compostela): The feasts in honour of Apostol Saint-James: from fireworks castles to neomedieval facades 16h.-20h. Cultural Activities: Guided visit to the Cathedral Museum/ Jacobean Films Session: Saint-Jaques – La Mecque (Coline Serreau, France, 2005) July 27th SECTION 2: HANDWRITTINGS AND DOCUMENTS ABOUT THE WAY OF SAINT-JAMES 9,30h.-11h. José Antonio Souto Cabo (professor of Galician Filology at University of Santiago): The Crónica de Iria and the Jacobean cult in the XVth Century. 11h.-12,30h. Manuel F. Rodríguez (Director of Gran Enciclopedia del Camino de Santiago, Manager at S.A de Xestión do Plan Xacobeo and Lecturer of Sciences of Communication of the University of Santiago): Jacobean rites and legends of Compostela in travellers´ literature. An unexplored heritage. 12.30 h.-14 h.: Xosé M. Sánchez Sánchez (Manager at Saint-James Cathedral´s Archive): Papal concessions and communications to Santiago de Compostela´s Church during the Western Schism (1378-1417): Politics, Church, and Papacy. 16h.-20h. Cultural Activities: Guided visits to Pilgrimage and Saint-James Museum / Jacobean Films Session: The Way (Emilio Estevez, USA, 2010) July 28th SECTION 3- JACOBEAN DIASPORA 9,30h.-11h. Annette Münchmeyer (universidad de Corttbus): An unsolved mystery: The construction of the Portico de la Gloria´s Crypt at Saint-James Cathedral 11h.-12,30h. Juan Mª. Montinajo García (Professor of History of Art at Universidad de Málaga): Santiago degli Spagnoli Church and the Spanish in Rome during the XIXth Century 12.30 h.-14 h.: Miguel Ángel Castillo Oreja (catedrático de historia del Arte de la Universidad Complutense): Saint-James at Museo del Prado. 16h.-20h. Cultural activities: Guided Visits to the Jacobean Heritage of Santiago de Compostela Javier Raposo Martínez (History of Art researcher at Universidad de Santiago): The Medieval Heritage of Santiago Miguel Ángel Cajigal Vera (History of Art researcher at Universidad de Santiago): The Baroque Heritage of Santiago July 29th SECTION 4- IN THE WAY Walk by the section of The Way of Saint- James in Galician Death Coast: Lira- Fisterra Cape, guided by members of Galician Friends of The Way Association (AGACS), and the lecturers of the Course. 9,00h. Go out of the pullman from Plaza de Galicia 10:30h.- 14,00h Start of the walk in Lira 14,00h. Lunch time 16,30h.- 18,30h. Second half of the journey 18,30h. Free time 20,30h. Tour on boat from Fisterra visiting the coast and seeing the sunset beside the Cape 23,00h. Back to Santiago

External News and Events - Conference - American Art and the Mass Media

Wed, 22 May 2013 06:03:43 +0000

American Art and the Mass Media Wednesday 2 to Thursday 3 May 2012 Institut national d'histoire de l'art (INHA), 2 rue Vivienne, 75002 Paris This two-day international symposium considers the dynamic interplay of the fine arts and the technologies and structures of the mass media across the long narrative of American art history. Taking as an occasion the 'Warhol: Headlines' travelling exhibition that premiered at the National Gallery of Art in Washington in the autumn of 2011 and that systematically explored Andy Warhol’s artistic preoccupation with the visual culture of journalism, our program aims to grant visibility to the exciting correspondences or tensions that emerge when such disciplinary boundaries as have fractured the study of the fine arts and more instrumental communicative media are, even if only temporarily, set aside. The spectrum of research encompasses moments of intersection between fine arts discourse and the various technological and historically specific modalities of mass media culture from the sixteenth-century printing press and the nineteenth-century panorama to the experimental cinema of the sixties and our present social media sphere. Speakers include James Boaden, Jean-Loup Bourget, François Brunet, Annie Claustres, Christian Delage, Molly Donovan, Sara Doris, John Fagg, Ursula Frohne, Kristen Gresh, André Gunthert, J. Carlos Kase, Jason LaFountain, Filip Lipinski, Ségolène Le Men, Michael Lobel, Nenette Luarca-Shoaf, Richard Meyer, Jorge Ribalta, Stephanie Schwartz, and Maria Slowinska. Organized by Dr Jason E. Hill (INHA) and Dr Elisa Schaar (The Courtauld Institute of Art) Sponsored by the Terra Foundation for American Art and co-sponsored by The Courtauld Institute of Art and by the Institut national d'histoire de l'art (INHA) in Paris in partnership with the Ecole Normale Supérieure, the Université Paris-Ouest Nanterre la Défense and the Université François Rabelais de Tours Open to all, free admission Program in English and French Further information and programme: http://www.courtauld.ac.uk/researchforum/events/2012/summer/may2_AmericanArtMassMedia.shtml http://www.inha.fr/spip.php?article3934

External News and Events - Call for Papers - ' Socialist Realist Art: Production, Consumption, Aesthetics'

Wed, 22 May 2013 06:03:43 +0000

An International Conference, sponsored by the Center for Baltic and East European Studies, Södertörn University, Stockholm, in collaboration with the Museum of Modern Art, Stockholm Stockholm, 19-20 October 2012 Since the early 1990s, there has been a striking growth of interest in the legacy of Soviet Socialist Realist art, which has reshaped our understanding of it in fundamental ways. A substantial body of research has demonstrated that the method of Socialist Realism was a highly creative and diversified cultural arena that was both heterogeneous in its pictorial strategies and often conflicted and ambivalent in its representations of the social and political messages of the day. Yet the label 'totalitarian' continues to influence the ways in which Soviet art is interpreted and contextualised, limiting our understanding of Socialist Realism and obstructing its integration into a broader narrative of twentieth-century art. In the proposed conference we seek to examine the diverse interests and influences which contributed to the ongoing and heterogeneous development of Socialist Realist art from the 1930s to the 1980s. Participants will be invited to focus on aspects of Socialist Realist fine art production, evaluation and consumption in order to consider the ways in which artistic conventions of pictoral representation were established, adapted and transformed to reflect the changing nature of the Soviet project. This approach will facilitate a shift away from the tendency to draw conclusions about Socialist Realism based on a limited number of canonical works of art and acclaimed artists, and will encourage a reappraisal of the diversity and originality of creative output in its formal, stylistic and geographical variations. Proposed topics may include (but should not be restricted to) the following: How did Socialist Realist art develop over time and according to changing socio-political contexts? On what basis should specific periods can be identified, for example “Stalinist” or “post-Stalinist” art? What were the variations in Socialist Realist art beyond Moscow and Leningrad: across the different parts of the RSRSR and the other SSRs? How did the centre-periphery relationship function in the Soviet art world? Who were the audiences for Socialist Realist art and how was fine art consumed in the Soviet Union? What was the role of the art critic in the definition of artistic merit? How was value and significance ascribed to works of art in the absence of an art market? What was the role of the state in the definition of Socialist Realist art and how was the interface between artists and art world authorities managed? What was the status of minor genres within the canon of Socialist Realist art (e.g. landscape, still life, personal portraiture) and what new and hybrid genres emerged? How did artists seek to manipulate the development of Socialist Realism according to their own aesthetic preferences and agendas? How did Socialist Realist art in the USSR relate to broader international narratives of Realism in the visual arts of the twentieth century? How did Soviet Socialist Realism relate to the art sponsored by other authoritarian regimes, in the inter-war period and after? Is “totalitarian art” a viable concept? How did the ideas and methods of Socialist Realist art relate to developments in other fields of cultural production in the USSR and vice versa? Was Socialist Realism a uniform canon, or did it vary across the fields of art, literature, music, film, architecture and so on? Proposals for Papers We invite proposals dealing with these or related themes. Proposals should include your name, institutional affiliation, email address, proposed paper title, 150-word abstract and short curriculum vitae. Post-graduate students are encouraged to apply. Successful applicants will be asked to submit a conference paper of around 3000 words for pre-circulation before the conference. Participants will be asked to cover their own travel expenses. We are currently exploring possibilities for support for accommodation expenses. The submission deadline for proposals is 20 April 2012. Applicants will be informed about acceptance by around 1 May 2012. Contacts For general questions and further information, please contact Mark Bassin (mark.bassin@sh.se). Please submit proposals via email to Oliver Johnson (o.johnson@sheffield.ac.uk) For new and updated information visit: http://socialistrealistart.blogspot.co.uk/

External News and Events - Conference - 'Design without Frontiers: Interdisciplinarity and Collaboration in Soviet Art, Architecture, and Design'

Wed, 22 May 2013 06:03:43 +0000

Pembroke College, the Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) and the University Library, University of Cambridge 20-21st September 2012 From July-December 2012, the University Library, Cambridge, will hold an exhibition of items from the Catherine Cooke Collection, a world-class assemblage of books, periodicals, posters, plans, photographs, and ephemera relating to Russian and Soviet art, architecture, urban planning, and design. Bequeathed in 2004, the collection includes items of great rarity and importance. This conference – a collaboration between the University Library and the departments of History of Art and Slavonic Studies – will complement the exhibition, and raise the profile of the Cooke Collection as a premier resource for the study of Russian and Soviet art of the twentieth century. The conference will draw together an international line-up of speakers to debate the way in which design was uniquely un-compartmentalised in Soviet Russia. Creative practice was marked by an emphasis on collaborative endeavour, reaching across disciplinary boundaries. Architects, poets, painters and designers were united in formal and informal collaborative networks, leading to innovative design collectives, and to the unprecedented erosion of any lasting divisions between architectural, graphic, textile, theatre, and urban design. The conference aims to investigate the roots and legacies of these collaborative networks by looking back to the Silver Age and forward to the late Soviet and post-Soviet period, as well as re-examining the Soviet avant-garde. Venue: Pembroke College, the Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) and the University Library, University of Cambridge Date: 20-21st September 2012 Website: http://www.crassh.cam.ac.uk/events/1683/ Contact: Helga Brandt, CRASSH hb380@cam.ac.uk

External News and Events - Conference - ' Great Exhibitions in the Margins, 1851 – 1938'

Wed, 22 May 2013 06:03:43 +0000

Great Exhibitions in the Margins, 1851 – 1938 University of Wolverhampton, 26-27 April 2012 City Campus North, MX building, MX004 Research has for a long time focused on world fairs, great exhibitions or expositions universelles in the capitals of Europe and in the large cities of the USA. Their crucial role in communicating ideas about the identities of the exhibiting nations (and their relation to other cultures) and in showcasing contemporary art and design has been examined in detail. In the heyday of these spectacular events, smaller cities and regional centres worldwide, staged their own “great exhibitions” modelled on those held in the national (or imperial) centres. Their goals, although executed on a more modest scale, were often the same and involved the promotion and sale of goods but also communication of ideas, ideologies andidentities. These smaller shows usually had large ambitions and tried to engage not only the local population but also national and international audiences and exhibitors. This symposium turns attention to the exhibitions of arts and industries in the regions outside the capitals and to the assumptions that lay behind them. Book your place via estore at www.wlv.ac.uk/sadstore (student discount available). For more information, please contact Marta Filipova at Marta.Filipova@wlv.ac.uk Programme 26 April 2012 9.30-10.00 Registration 10.00 Opening 10.05-10.15 Welcome from Dr. Bryony Conway, Dean of School of Art and Design 10.15-11.15 Keynote speech: Prof. John R. Davis, Kingston University, Exhibitions and the Nation-State: the All-German Exhibition at Berlin, 1844 11.15-11.30 Coffee break 11.30-13.00 Session 1: The colonial experience Rebecca Rice, Victoria University of Wellington, New Zealand, A ‘Ramble’ through art at the 1865 New Zealand Exhibition Giovanni Arena, The Second University of Naples, Italy, A fair for an empire. Politics of imagery in the colonial exhibitions of the 20th century organized by the Italian government Laurence Gourievdis, Blaise Pascal University, France, An Clachan, the Gaelic village at Glasgow’s 1911 Scottish Exhibition of National History, Art and Industry 13.00-14.00 Lunch 14.00-15.30 Session 2 Constructing spaces, constructing places Taina Syrjämaa, University of Turku, Finland, Interconnected exhibitions: constructing and experiencing the condensed world in Helsinki in 1876 Jeffer Daykin, Portland Community College, USA, International ambitions of exhibitions at the margins: The relationship of the Osaka (1903) and Portland (1905) expositions Anne Neale, University of Tasmania, Australia, International exhibitions and urban aspirations: Launceston, Tasmania in the 19th century 15.30-15.45 Coffee break 15.45-17.15 Session 3 The state and the nation I. Livia Lazzaro Rezende, College of Industrial Design of Rio de Janeiro, The artifice of nature and the naturalisation of the state at the 1922. The Rio International Exhibition Denise Gonyo, University of Brighton, The development of the modern nation at the Indian National Congress Exhibitions, 1901-1906 Miklós Székely, Ludwig Museum – Museum of Contemporary Art, Hungary, A capital on the margins, the case of Budapest between 1867-1917 27 April 2012 9.30-10.00 Registration 10.00-11.30 Session 4 The state and the nation II. Samuel D. Albert, The nation for itself: The Budapest 1896 Millennial Exhibition and the Bucharest 1906 National GeneralExhibition Tomáš Okurka, Unviersity of J. E. Purkyn?, Czech Republic, In search of a centre. Exhibitions in the German-speaking areas of Bohemia before the First World War Sezgi Durgun, Marmara University, Turkey, From the “Culture Park” to the “International Expo”: The ?zmir Fair 11.30-11.45 Coffee break 11.45-13.15 Session 5 Cities with great ambitions I. Marta Filipová, University of Wolverhampton, Displaying the Black Country. Wolverhampton’s great exhibitions of 1869 and 1902 Marina Muñoz, Universitat Pompeu Fabra, Spain, The 1888 Barcelona’s World Exhibition: an atypical case of a great exhibition Wilson Smith, University of Edinburgh, Old London, Old Edinburgh: constructing historic cities 13.15-14.15 Lunch 14.15-15.15 Session 6: Cities with great ambitions II. Claire O’Mahony, University of Oxford, Frontiers, friends and foes: The International Exhibition of Eastern France 1909 Davy Delepchin, Royal Museums of Fine Arts of Belgium, The Ghent World’s Fair (1913): Reconciling historicism and modernity with exoticism 15.15-15.45 Closing remarks

External News and Events - Call for Papers - The Art of the Gift: Theorizing Objects in Early Modern Cross-Cultural Exchange

Wed, 22 May 2013 06:03:43 +0000

CAA 2013, NYC, Feb 13-16 Panel: The Art of the Gift: Theorizing Objects in Early Modern Cross-Cultural Exchange Organizers: Nancy Um, Binghamton University; and Leah Clark, Saint Michael’s College. Email: nancyum@binghamton.edu and leah.clark@mail.mcgill.ca This panel focuses on the visual culture of gifts during the dynamic early modern era, when objects of exchange played an important role in burgeoning cross-cultural encounters, long-distance economic interactions, and diplomatic engagements. Its aim is to examine the unique contributions that art history may offer to the critical legacy of the gift with its anthropological and sociological roots, such as a concern for the visuality of objects in motion, an interest in collecting and display, and an awareness of how objects of exchange may give rise to new social and artistic practices. The panel organizers encourage theoretically engaged papers that represent the broad geographic scope of the gift encounter, locate gifts in dynamic cross-cultural matrices of circulation and consumption, stake out territory within or in response to exchange theory, and/or consider the shifting and unstable meanings of objects as they changed hands across time and space. Deadline: May 4 2012 For further information on the CAA conference and directions for submitting abstracts, please visit: http://www.collegeart.org/pdf/2013CallforParticipation.pdf or http://www.collegeart.org/news/2012/03/28/propose-a-paper-or-presentation-for-the-2013-annual-conference/

External News and Events - Conference - ' Activating Stilled Lives: The Aesthetics and Politics of Specimens on Display'

Wed, 22 May 2013 06:03:43 +0000

Department of History of Art, University College of London 17.-18. May 2012 http://www.ucl.ac.uk/art-history/events/culture_of_preservation The past twenty years saw an explosion of exhibitions fathoming the relations between art and science as well as numerous refurbishments of natural history or former colonial museums. Many of these displays and gallery transformations mobilised specimens, be it taxidermied animals or preserved human body parts. Objects were put into new contexts opening up their meanings, others disappeared in storage or travelled back to the countries where they were once collected. The conference will address the challenges institutions face when dealing with formerly living entities and consider the aesthetics and politics of their display. The idea is to discuss the use of specimens in temporary exhibitions, museums or university collections and the role curators, art and artists have been playing in the transformation of these spaces. We would also like to consider how preserved specimens have changed through the altering contexts in which they have been displayed: One could name the initial transformation of organisms into objects, the more recent re-definition of pathological specimens as human remains, or the dramatic rearrangements that took place when natural history, anthropology or anatomy collections (many dating from the nineteenth century) were updated – coinciding with a shift in audiences, from specialists to a broader public. Historical displays were often significantly altered, or even destroyed and replaced by „techy“ but at times also by sentimental, „post-modern“ installations still awaiting a critical assessment. Beyond that, the question of preservation shall be considered in a more expanded sense, as this subject area offers a unique opportunity to reflect more broadly on issues of conservation and their ethics and to raise a variety of questions such as: How and why do various cultures preserve elements of what is considered as nature? How does this relate to environmental notions of conservation and extinction? Should flawed specimens be disposed of? Can museums as a whole be considered cultural preserves? Should we preserve the preserves? And last but not least: Do we really need to embalm everything? Thursday, 17 May 2012 UCL, JZ Young Lecture Theatre, Anatomy Building, Gower Street 2.30 Mechthild Fend & Petra Lange-Berndt: Exhibiting Preserves Session one: REASSEMBLING Chair: Sam Alberti (Director of Museums and Archives, The Royal College of Surgeons of England) 3.00 Hans-Jörg Rheinberger (Historian of Science, Berlin): Preparations Revisited 3.45 Rose Marie San Juan (Art Historian, London): Bones in Transit: the Re-Animation of Human Bone in Early Modern Cabinets of Display 4.30 John MacKenzie (Professor Emeritus of Imperial History, Lancaster): The Natural World and Imperial Legitimation: Hunting, Trophies, Taxidermy and Museums 5.15 Tea break 5.45 Robert Marbury (Artist / Minnesota Association of Rogue Taxidermy, Baltimore): Personal Computers as the New Wunderkammer and the Rise of Rogue Taxidermy 6.30 Reception at the Grant Museum of Zoology, University College of London (Rockefeller Building, University College London, 21 University Street, London WC1E 6DE) Friday, 18 May 2012 UCL, Gustave Tuck Lecture Theatre, Wilkins Building, South Wing, Gower Street (access via Gower Street / Main Quadrangle or Gordon Street) Session two: HANDLING Chair: Mechthild Fend (Art Historian, London) 10.00 Petra Lange-Berndt (Art Historian, London): Subsculpture: Assembling a Museum of Attractions 10.45 Steve Baker (Artist and Art Historian, Norfolk): "Dead, dead, dead, dead, dead" 11.30 Tea Break 12.00 Angela Matyssek (Art Historian, Marburg / Maastricht): "Museumlifes": Mould, Decay and the History of the Object 12.45 Lunch break Session three: DISPLAYING Chair: Bergit Arends (Curator Contemporary Art, The Natural History Museum, London) 14.30 Panel discussion on "Curating Specimens" with Claude d’Anthenaise (Director, Musée de la chasse et de la nature, Paris), Christine Borland (Artist, Glasgow), Lisa O'Sullivan (Director, Center for the History of Medicine, New York Academy of Medicine), Johannes Vogel (Director, Museum für Naturkunde, Berlin) 16.00 Tea break 16.30 Anke te Heesen (Historian of Science, Berlin): Displaying the Infinite Amount 17.15 Nélia Dias (Anthropologist, Lisbon): The Fate of Human Remains from the Musée de l'homme to the Musée du quai Branly 18.00 Final discussion The conference is organised by Petra Lange-Berndt and Mechthild Fend. The event is open and free for all, but please register with Pandora Syperek, pandora.syperek.09@ucl.ac.uk

External News and Events - Breaking Ground: 75 Years of Pioneering Archaeology

Wed, 22 May 2013 06:03:43 +0000

Breaking Ground: 75 Years of Pioneering Archaeology A new exhibition entitled 'Breaking Ground: 75 Years of Pioneering Archaeology', created by MA Museum Studies students, will open to the public on 10 May. Breaking Ground is an exhibition created as part of UCL Institute of Archaeology’s 75th anniversary celebration that looks at how the people, practices, and ideas of London’s Institute of Archaeology have changed the way we explore and understand the past. The exhibition runs from May 2012 until February 2013 and will showcase a wide range of objects from the Institute's unparalleled collections as well as photographs from the Institute's archives. The exhibition will be displayed in the A.G. Leventis Gallery of Cypriot and Eastern Mediterranean Archaeology at the Institute. Admission Free Listings Information UCL Institute of Archaeology 31-34 Gordon Square London WC1H 0PY Nearest Tube: Euston Square, Euston Station, Warren Street, Goodge Street, Russell Square Tel: +44 (0)20 7679 7495 Email: breaking.ground.75@gmail.com UCL Webpage: http://www.ucl.ac.uk/archaeology/calendar/articles/20120510 Blog: http://breakingground75.tumblr.com/ Twitter: https://twitter.com/#!/bg75ioa Facebook: https://www.facebook.com/#!/bg75ioa Opening Event for Breaking Ground: 75 Years of Pioneering Archaeology Archaeology Showoff An associated event, Archaeology Showoff, will be held in London on 24 April. UCL Institute of Archaeology students are organising an open-mic event for those working, studying or interested in archaeology. Acts range from stand-up comedy to live music, all with an archaeological twist. The Institute’s own renowned archaeologist Tim-Schadla Hall will serve as compère for the evening at The Monarch in Camden. Doors open at 19:00 Show starts at 19:30 The Monarch, Camden 40-42 Chalk Farm Road London, NW1 8BG Admission Free UCL Webpage: http://www.ucl.ac.uk/archaeology/calendar/articles/20120424 Facebook: https://www.facebook.com/#!/events/193387220771154/ For further information, please email Chloe Bent (Marketing Co-ordinator): breaking.ground.75@gmail.com

External News and Events - MSc in Eighteenth-Century Cultures at the University of Edinburgh

Wed, 22 May 2013 06:03:43 +0000

The first graduate programme of its kind to focus on the cultural history of the eighteenth century, based in the capital city of the Scottish Enlightenment and the world’s first UNESCO City of Literature. Students taking this programme work closely with a team of international experts in visual, material, literary, and social history, including scholars based in History, History of Art, Divinity, and Law. We collaborate with archivists and curators from National Museums Scotland, the National Galleries of Scotland, and other cultural repositories. Our expertise covers British, European, and transatlantic approaches to this period. This programme provides students with a wide-ranging introduction to the cultural life of the eighteenth century, from a perspective befitting our location in Scotland’s capital. In addition to weekly seminars and research training, leading to a summer spent preparing their dissertations, students on this programme take an internship in one of Edinburgh's world-class repositories of Europe’s cultural heritage. They develop skills in curatorship, archival management, conservation, restoration of architectural monuments and gardens, or engage in public history. Upon graduation, you will have gained the research and practical expertise in cultural history for a career within or beyond the scholarly world. You will also have had the unique opportunity to make a meaningful contribution to our understanding of cultural life in the eighteenth century. Contact: Adam Budd, Programme Director, University of Edinburgh Telephone: +44 (0)131 650 3834 Email: adam.budd@ed.ac.uk www.shca.ed.ac.uk/postgraduate www.facebook.com/uoe.grad.hca

External News and Events - Symposium - ' Recording Britain'

Wed, 22 May 2013 06:03:43 +0000

Recording Britain Fri 20 April 2012 10:30 – 17:30, Victoria and Albert Museum, London This symposium will explore the presence of the past, national identity, taste and nostalgia in relation to the Recording Britain collection of water colours and drawings produced at the start of World War II. This collection of watercolours and drawings is a fascinating account of the country in the early years of the Second World War when lives, landscapes and precious buildings were under threat. Speakers include Patrick Wright, David Heathcote, and artists Ingrid Pollard, Abigail Reynolds, Simon Roberts and Paul Scott. £25, £20 concessions, £10 students To book visit http://www.vam.ac.uk/whatson/event/1404/recording-britain-symposium-2507/ or call 020 7942 2211

Schools - Resource for A-Level School Teachers

Wed, 22 May 2013 06:03:43 +0000

The AAH would like to bring to your attention the Portraits GCE AS Level Art History Resource (Information and Activities for Secondary Teachers of Art History) assembled by the National Portrait Gallery. The resource document is available for download at: http://www.npg.org.uk/assets/files/pdf/learning/NPG_Art_History_Resource_Jan_2012.pdf Further details can be found on the NPG website at http://www.npg.org.uk/learning/digital/portraiture.php and http://www.npg.org.uk/learning/schools-and-colleges.php. Much of it will also be relevant as groundwork for AS syllabus Year 13. The resource has been test run by A Level Art History students been approved by the School's Group of the Association of Art Historians.

External News and Events - Special Offer - Sonatas at the Barbican

Wed, 22 May 2013 06:03:43 +0000

The Association of Art Historians has the pleasure of offering free tickets to a concert in Barbican Hall the 10 of april 2012 at 7.30 pm by : Jania Aubakirova, piano (Kazakhstan) : Prize Long-Thibaud in Paris Aiman Mussakhajayeva, violin (Kazakhstan) : Prize Paganini, Italy and Prize Tchaikovsky in Moscow Denis Shapovalov, cello (Russia) : Prize Tchaikovsky in Moscow and discovers by Maestro Rostropovich at the Barbican Hall in London on Tuesday, April 10, 2012 at 7.30 pm. Discover these greats musicians in the following program : Brahms : Sonata No.3 for violin and piano, D minor, op.108 Franck : Sonata for violin and piano A major Mendelssohn : Piano Trio No. 1 in D minor op. 49 To get 2 free tickets to this concert, forward this advert to the following address, londonconcerthall@gmail.com and include your full name. An email confirmation for 2 tickets will be returned to you (subject to availability).

External News and Events - Wellcome Library Masterclass: Interpreting Caricature

Wed, 22 May 2013 06:03:43 +0000

At this new Wellcome Library event, attendees will be introduced to items from our collections, interpreted by acknowledged experts. On the 27th April (2.30pm-4pm), our speakers will select a number of works from the Wellcome Library's collections on the theme of Medicine and Caricature, and unpick the meanings and details contained within these artworks. The session will also include a discussion of the selected items with attendees. The event will be of particular interest to those with a strong research interest in the History of Art, History of Medicine or Visual Culture. Speakers: Prof Ludmilla Jordanova, Professor of Modern History, Kings College London William Schupbach, Iconographic Collections Librarian, Wellcome Library The session is free, but pre-registration is essential and numbers are limited to 15. Please email Tracy Tillotson (t.tillotson@wellcome.ac.uk) to book a place.

External News and Events - Call for Papers - 'Insight Palestina: Images, Discourses, and the Image of Discourse'

Wed, 22 May 2013 06:03:43 +0000

Dr. Gil Pasternak (The University of Huddersfield) Lior Libman (The Hebrew University of Jerusalem; The University of Leeds) Keynote Speakers: Professor Griselda Pollock Professor Sander Gilman Dr Ihab Saloul This one-day conference will focus on visual and textual images produced within, and in relation to, the circumstances of the Israel-Palestine struggle. Its aim is to explore and challenge a range of current research approaches to cinematic, documentary, literary, fine art and other media images. It will look into academic studies and patterns of interpretation which tend to solidify exclusive perceptions of politicised images. While such explorations often evoke a belligerent discussion, in which challenging theoretical perspectives are commonly being buried, this conference will specifically focus on perceived relationships between politically-engaged academic investigations, and the political agendas represented by the objects of their inquiry. Intending to embrace theoretical and political complexities, Insight Palestina will investigate the reciprocity between images and historical narratives in a context that exceeds formal state, non-reflective and non-self-critical historiography. In this respect, the organisers aim to explore modes of academic inquiry that are not removed from politicised discourses, while resisting the activation of tangential biased forces and demands. How can academic research modify socio-cultural perceived norms and conventional understandings to materialise a platform which allows for critical distance from binary-oriented political debates? Can academic research open up a space which does not compromise critical theorisation, activism, and radicalism while avoiding the reiteration of biased ideologies? Do academic investigations of politically-loaded images always-already generate or reinforce existing perceptual regimes and opinionated dogmas? In other words, are academic researchers bound to using familiar methodologies in a manner reiterating and cementing political structures, constructions and divisions, even when intending to challenge or reconcile between them? These are some of the relevant questions this conference wishes to explore through the examination of various case studies. This call for papers invites proposals that span the widest possible range of periods within Israeli and Palestinian history, historical accounts, theories, Israeli and Palestinian cultures, societies and modes of image-making, whether visual or textual, art-related, documentary, professional or vernacular. Abstracts should be sent via email to Dr Gil Pasternak g.pasternak@hud.ac.uk and to Lior Libman lior.libman@mail.huji.ac.il by 15th April 2012. Submissions should be of 300 words in Microsoft Word or PDF format, and should include your name, title, email address, academic position and affiliation. All proposals will be read by the Conference Advisory Board: Dr Verina Gfader, Catriona McAra and Dr Juliet Macdonald. Successful applications will be allotted 20 minutes to present their papers, followed by ten minutes for questions. Researchers, lecturers, practitioners and postgraduate students are all encouraged to apply. Applicants must propose new and original research; selected speakers may be given the opportunity to extend their papers, and prepare them for academic publication – more details about it will be provided at a future date. About the Organisers: Lior Libman is Honorary Associate Scholar at the Centre for Jewish Studies, University of Leeds. She is a Ph.D. Candidate at the department for Hebrew Literature at The Hebrew University of Jerusalem, writing her dissertation on the representation of the Kibbutz in Israel, 1948-1954. Libman’s work engages critically with the relationship between historiographical and artistic images of history. She is a winner of The Hebrew University President Scholarship for Outstanding Research Students in the Humanities (2009-2013), and the Wolf Foundation Scholarship for Outstanding Doctoral Candidates (2012). Dr Gil Pasternak is Senior Lecturer in Photography and the Photography Course Leader in the School of Art, Design and Architecture at the University of Huddersfield. He was awarded his Ph.D from the History of Art Department at University College London (UCL), specialising in the theory and history of photography in the context of fine art and visual cultures. Pasternak’s published research focuses on the participation of vernacular photography in the solidification and subversion of state policies, in the alteration of Middle-Eastern cultural historical topoi, and in acts of political violence.

External News and Events - Symposium - ' Beyond the Frame: Portraits and Personal Experience in Renaissance Europe, c.1400 – 1650'

Wed, 22 May 2013 06:03:43 +0000

Admission free, all welcome – No booking is necessary In Renaissance art historical scholarship, the category of the portrait has provided a key framework for thinking about and discussing representations of the individual, an emphasis that has been echoed in a range of recent exhibitions celebrating Renaissance ‘faces’. The inaugural Renaissance postgraduate symposium invites new scholars to explore the limits of this framework. It aims to encourage students of the Renaissance, in its broadest definition, to consider the domestic, devotional and urban environments of portraits. Contributors are invited to consider how the experience of viewing, commissioning and living with portraits affects our understanding of their meaning and function, situating the images within their historical contexts rather than within the museum’s exhibition space. Likewise, we invite participants to challenge the terminology of portraiture and to consider objects and images which do not fit into the conventional category of the ‘portrait’ but which nevertheless ‘portray’ individuals. PROGRAMME 09.00 – 09.30 Registration 09.30 – 09.40 Welcome and Introduction – Emily Gray and Harriette Peel (The Courtauld Institute of Art) 09.40 – 11.20 SESSION 1: Private Faces in Public Places – Chair: Elizabeth McDougall (The Courtauld Institute of Art) 09.40 – 10.00 Tomasz Grusiecki (McGill University, Montreal): Portraits of the Impostor Tsarina Maryna Mniszech and the Politics of Public Imagery in Poland and Muscovy (1605-1606) 10.00 – 10.20 Emma Capron (Christie's): Recontextualising the Perussis Altarpiece: the Political Portrayal of a Florentine Family Caught in the Turmoil of Fifteenth-Century Avignon 10.20 – 10.40 Irene Brook (independent scholar): Pietro Bembo’s Iconography Reconsidered 10.40 – 11.00 Eva Papoulia (The Courtauld Institute of Art): Gregory XII’s Architectural Programmes for Rome 11.00 – 11.20 Discussion 11.20 – 11.45 COFFEE/TEA BREAK 11.45 – 13.00 SESSION 2: Up Close and Personal – Chair: John Renner (The Courtauld Institute of Art) 11.45 – 12.05 Anna Koopstra (The Courtauld Institute of Art): The Donor’s Portrait within the Convent: Jean Bellegambe’s Flines Diptych 12.05 – 12.25 Ruthie Ezra (University of Cambridge): Framing a Funerary Fantasy: an Account of Ambiguity in the Twins Clara and Albert de Bray 12.25 – 12.45 Jacqueline Spicer (University of Edinburgh): Making Up Faces: Cosmetics and Portraiture in the Italian Renaissance 12.45 – 13.00 Discussion 13.00 – 14.00 BREAK FOR LUNCH (not provided) 14.00 – 15.40 SESSION 3: Reflections on Reality – Chair: Jim Harris (The Courtauld Institute of Art) 14.00 – 14.20 Nicholas Herman (Institute of Fine Art, New York University): Paint it Better: From Death Mask to Portrait in Renaissance France 14.20 – 14.40 Geoff Nuttall (The Courtauld Institute of Art): Sacred and Profane Likenesses: Images of the Patron in an Early Fifteenth-Century Funeral Chapel 14.40 – 15.00 Maya Corry (University of Oxford): An Androgynous Ideal? The Casio ‘Portraits’ of Giovanni Antonio Boltraffio 15.00 – 15.20 Jeongho Park (Institute of Fine Art, New York University): El Greco’s Concept of Portraiture in Religious Paintings 15.20 – 15.40 Discussion 15.40 – 16.15 COFFEE/TEA BREAK 16.15 – 17.30 SESSION 4: Performing Identity – Chair: Per Rumberg (The Courtauld Institute of Art) 16.15 – 16.35 Catherine Lofthouse (University College London): Venetian Renaissance Artists Fashioned as Performers 16.35 – 16.55 Albert Godycki (École Pratique des Hautes Études, Paris): Portraiture, Shared Experience and the Construction of Communal Identity in Jan Van Scorel’s Jerusalem Pilgrim Portraits 16.55 – 17.15 Mary Camp (The Courtauld Institute of Art): Reading into Friendship: Pontormo’s Portrait of Two Friends c.1524 17.15 – 17.30 7.30 – 17.45 Discussion Concluding Remarks: Scott Nethersole (The Courtauld Institute of Art) 17.45 RECEPTION Organised by Emily Gray and Harriette Peel (The Courtauld Institute of Art)

External News and Events - Call for Papers - Branching Out: Botany and the Sculptural Object

Wed, 22 May 2013 06:03:43 +0000

£10 / £5 students. Contact: Elizabeth McCormick, Elizabeth@henry-moore.org Please email a 300 word abstract and one page CV by Monday 2 April 2012. Branching Out: Botany and the Sculptural Object moves beyond well-explored examples to shed light on the fact that vegetable matter and plants have been used by artists, collectors and theorists not only as a concrete material, but also on a metaphoric or symbolic level. Botanical imagery, fantastical and decorative or realistic and pedagogic, has formed a powerful undercurrent in European sculpture and engagement with the object since the seventeenth century, inspiring artworks ranging from Gian Lorenzo Bernini's 'Apollo and Daphne' (1622-5) to the relief sculpture of Gilbert Bayes' 'The Lure of the Pan Pipes' (1932-3). Often expressing a multiplicity of ideas about nature, the perennial appeal of botanical symbolism to sculptors has resided in its ability to negotiate a complex network of meanings, standing at the interstice between the sacred and profane; mysticism and science; conservation and consumption; colonisation and transplantation; growth and decay. From the seventeenth century onwards, science has played a key role in the sculptural representation of flora. Horticultural grotesqueries spoke of a plant world rendered worryingly unstable by the 'new science' which had begun microscopic investigations of living cells and newly examined the effects of light and gravity on plant development. The work of Lamarck and Darwin created a powerful new vision of nature for the nineteenth century, with the visual impact of this work reflected in the ornamental excesses of the Art Nouveau movement that drew upon the overabundance of plant imagery available during the fin-de-siècle to produce objets d'art inspired by the exotic and unfamiliar. In the twentieth century, the dying embers of imperialism witnessed the last great botanical expeditions to the Himalayas, while new technologies and the birth of genetics helped both publicise botany's position at the cutting-edge of scientific enquiry and the capricious mechanics of vegetable life. Recognising in these discoveries proof of marvels hitherto unknown, sculpture in the early twentieth century drew on botany as an exhilarating symbol of hybridism and metamorphosis. Post-war artists from Joseph Beuys to Yves Klein and Mario Merz have also incorporated readymade objects with vegetative connotations, such as tree-trunks, sponges and fresh vegetable into their oeuvre. This conference examines the ways in which botany has acted as a continuing source of inspiration in sculpture, concentrating on sculpture produced between the mid-nineteenth and the mid-twentieth century. Deadline for submissions: Monday 2 April 2012. To apply, please send a 300 word abstract and one page CV to Dr Elizabeth McCormick, Henry Moore Institute Post-doctoral Research Fellow: elizabeth@henry-moore.org Conference Convenors: Dr Edward Juler and Dr Marion Endt-Jones, both Henry Moore Foundation Post-doctoral Fellows, 2009-11 and 2008-9 respectively.

External News and Events - Courtauld Institute Visiting Conservator Events

Wed, 22 May 2013 06:03:43 +0000

Ann Hoenigswald is Senior Conservator of Paintings at the National Gallery of Art in Washington, DC. She completed her undergraduate degree in art history and history at the University of Pennsylvania and received both a certificate in conservation from the Intermuseum Conservation Association as well as a MA in conservation from Oberlin College. She has treated numerous paintings from the collection of the National Gallery of Art and is particularly interested in nineteenth century and early modern works. Much of her research has focused on artists’ materials and techniques and on artists who reveal the process of painting. Her research tends to be done in close collaboration with art historians and conservation scientists. Recent publications have included the “short hand” of oil sketches on paper and the equipment of the plein air painter; varnishes, surface appearance and the intent of the artist; Picasso studies; and the history of restoration. She is responsible for coordinating the conservation contributions to the National Gallery of Art’s forthcoming Systematic Catalogue of paintings from the second half of the nineteenth century and has worked with the web team at the Gallery to produce websites on Manet and Picasso. She has been the recipient of the CASVA (Center for the Advanced Study in the Visual Arts) paired fellowship in Conservation and also was an invited Guest Scholar at the Getty Center in Los Angeles. Tuesday, 17 April 2012 17.30 - 18.30, Kenneth Clark Lecture Theatre Lecture: Merging and Emerging Images: Layer and Metamorphosis in Picasso’s Art Ticket/entry details: Open to all, free admission Thursday, 19 April 2012 16.00 - 18.00, Research Forum South Room Seminar: New Painting/New Surfaces: Nineteenth-Century Matte Paints Ticket/entry details: Open to all, free admission

External News and Events - Call for Papers - Generations and Traditions: How Design Moves Forward

Wed, 22 May 2013 06:03:43 +0000

For consideration, please submit a 300-word abstract and CV as Word document attachments to artgradstusym@stthomas.edu by May 1st, 2012. Selected Participants will be notified by May 16th, 2012 and the full paper will be due by October 1st. Paper presentations will be twenty minutes in length, and the graduate program will award a prize to the best paper. Please direct questions to artgradstusym@stthomas.edu. We look forward to your submission. The University of St. Thomas Art History Department will host its third annual Graduate Student Research Symposium, Generations and Traditions: How Design Moves Forward, on Nov. 15 and 16, 2012. This year we welcome paper topics that address or problematize the generational passing of traditions and skills in artistic and architectural production. Research may explore cultural, methodological, theoretical and historical aspects of apprenticeship and academia across all time periods, media and geographical regions. For further information, please contact artgradstusym@stthomas.edu and request a flyer to be sent to you with more information on paper topics.

External News and Events - Event - Photography and the Unrepresentable - A History of Photographic (Mis)representation

Wed, 22 May 2013 06:03:43 +0000

Website: http://www.essex.ac.uk/arthistory/photography_and_the_unrepresentable/ Keynote Address: Professor Griselda Pollock (University of Leeds) Title: When History Assumes an Image: Problems with Knowing What You Are Seeing Photographic representation is commonly viewed as partial and fragmented. With today’s extreme overflow of images, photography increasingly emerges as formally deceptive and ideologically manipulative in how which it serves the construction, circulation, and validation of chosen discourses (e.g. colonialism, social violence and scientific truth). Further challenges to the notion of photographic representation lie in recent history: after World War II, the ethical implications of representation became a primary concern, while the very possibility of representation of traumatic events was questioned by theorists and artists alike. Yet, more recently, writings by Georges Didi-Huberman, Jacques Rancière, and Jean-Luc Nancy have sought to question the impossibility (or taboo) of representation, opening a discussion on how the links between photography, trauma and historical memory can be re-examined. How does the notion of the unrepresentable influence assumptions of photographic truth? What might the unrepresentable look like? Is there a representational impossibility specific to photography? When photography is requested to perform “adequate representation,” how and in what context does the request become justifiable? How do today’s image-making technologies affect the understanding of the unrepresentable? This conference aims not only to interrogate contradictions and arbitrariness inherent in the idea of the unrepresentable, but also to open up new perspectives on the relationship between photography and the unrepresentable in artistic, cultural and social practices today. --------- Programme 9:30 - 10:00: Reception 10:00 - 10:10: Welcome and Opening Remarks 10:10 - 11:10: Session 1: Photography and Alternative Reality Hana Buddeus (AAAD, Prague) Photography and Fiction in Czech “Action Art” Natasha Adamou (University of Essex) “Photography as a Hole”: Gabriel Orozco and Photography after Conceptual Art 11:10 - 11:25: Break 11:25 - 12:25: Session 2: History and Trauma I: The Presence of the Unrepresentable Giulia Smith (UCL) Zero and Zero: Nigel Henderson’s Camera Work Rachele Ceccarelli (University of Aberdeen) Indexing the War 12:25 - 13:25: Lunch Break 13:25 - 14:25: Session 3: Death and Anomaly: The Gaze of Photography Patrizia Munforte (University of Zurich) Visibility and Invisibility in Photographic Memorial Portraits of Deceased of the 19th Century Heather Linton (University of South Florida) Illumination and Victimization: Mental Illness in Paris and Abidjan 14:25 - 14:40: Break 14:40 - 16:10: Session 4: History and Trauma II: Documentation and Photographic Truth Anne-Sophie Garcia (McGill University) The Expression of Trauma and the Writing of History in Walid Raad’s Atlas Group Edward Bacal (UCL) Repetition, Return and Representation: Alain Resnais and the Traumatic Temporality of Mechanical Reproduction Yoko Tsuchiyama (EHESS) Visibility and Invisibility of the Nuclear Image in The Family of Man 16:10 - 16:40 Break 16:40 - 17:55: Keynote Address Professor Griselda Pollock (University of Leeds) When History Assumes an Image: Problems with Knowing What You Are Seeing 17:55 Closing Remarks 18:00 - : Wine Reception ---------- Registration is free to all delegates, but booking is essential. Please contact us at artpgconf@essex.ac.uk to reserve your place. More details of full programme, abstracts and speaker bios to be published on our website: http://www.essex.ac.uk/arthistory/photography_and_the_unrepresentable/patu_programme.html. This conference is generously sponsored by the School of Philosophy and Art History (SPAH) at the University of Essex.

Job Opportunity - Job - Museum Technicians with Conservation Experience

Wed, 22 May 2013 06:03:43 +0000

Devonshire Arts and Heritage Division is looking for ‘Museum Technicians with Conservation Experience’ to work on a temporary ad hoc basis for a number of London’s leading museums. We are looking for individuals with specialist knowledge/ background in any of the following areas: Stone Metals Glass Specimens Wood Acrylics Fossils Archaeology Textiles Painting Duties include: To install, arrange, assemble, and prepare artefacts for exhibition, ensuring the artefacts' safety, reporting their status and condition, and identifying and correcting any problems with the set-up. To assist in exhibit installations, constructing displays, dioramas, display cases and models. Clean objects, such as paper, textiles, wood, metal, glass, rock, pottery, and furniture, using cleansers, solvents, soap solutions, and polishes. Prepare artefacts for storage and shipping. To have knowledge of preservation procedures, such as control of temperature and humidity. Classify and assign registration numbers to artefacts. To assist in the handling, mounting, care, and storage of art objects. Cut and weld metal sections in reconstruction or renovation of exterior structural sections and accessories of exhibits. Build, repair, and install wooden steps, scaffolds, and walkways to gain access to or permit improved view of exhibited equipment. Pay Rate: £11 - £18 per hour, depending on experience. Please apply by writing a covering letter and enclosing your CV to Ana, agiles-myers@devonshire.co.uk. Only suitable candidates will be contacted.

External News and Events - Call for Project Participants - Revival: Utopia, Identity, Memory

Wed, 22 May 2013 06:03:43 +0000

Revivalism in art and architecture is a fundamental though often overlooked aspect of modernity. From the nineteenth century to the present, styles, ideologies, techniques and approaches have been revived and re-framed. Revival: Utopia, Identity, Memory seeks to investigate the diverse dimensions of revivalism, exploring its meanings and impacts across cultures, periods and media. The extent to which revivalism has been harnessed to promote utopian visions, assert aspects of personal or corporate identity, and grant fresh purchase on memorialization and nostalgia are all productive trajectories for investigation. Studies of art and architectural revivals tend to focus on biographical or stylistic approaches. This project, consisting of a workshop and major conference for an international cohort of interdisciplinary scholars, encourages intersecting and broadening views in order to chart the notion of revivalism itself. The phenomenon’s implications for art and architectural history in relation to tradition, repetition, originality, transnationality, patronage, religion, colonialism, historicism, reproduction, authenticity, resistance and power have yet to be intensively investigated. This project consists of two events at The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN. The first, on Wednesday 20 June 2012, will be a day-long workshop. The second, on 23-24 November 2012, will be a two-day conference. The purpose of the workshop is to explore intersections and encourage dialogue between scholars, and to discuss the importance of revivalism in broad terms. Workshop participants will also be invited to contribute research and topics for discussion to the November conference. The conference’s purpose is to crystalize and refine initial workshop conversations, establishing new ways of understanding revivalism. Participants will be drawn from early career and more established scholars, as well as artists and architects who actively engage with revival within their practice. Papers specifically addressing revivalism in relation to utopia, identity or memory are especially encouraged. It is hoped that speakers will attend both the summer workshop and the autumn conference in order to establish cohesion within the project and to create sophisticated collaborative responses to the theme. The deadline for expressions of interest is 16 April 2012. Please email a CV and 200-word statement of how your work engages with revivalism to the project convener, Ayla Lepine (ayla.lepine@courtauld.ac.uk).

External News and Events - Conference - European Painted Cloths C14th-C21st: Pageantry, Ceremony, Theatre and the Domestic Interior

Wed, 22 May 2013 06:03:43 +0000

This two day conference will explore the use of painted cloths in religious ceremony, pageantry, domestic interiors and scenic art. It will focus on their change of context and significance from the fourteenth to the twenty-first century exploring their different function, materials, and method of creation. The potential for large sizes, portability, and versatility for religious objects including banners, hangings, altarpieces, and palls was the impetus for the emergence of fabrics as a painting support in Western art in the Middle Ages. The demand for elaborate altarpieces, church furnishings, and liturgical objects increased in the thirteenth and fourteenth centuries due to changes to liturgical practice and an upsurge of religious fervour. The functionality of the works explains the survival of relatively few examples. Were paintings on fabric envisaged as ephemeral objects? There is evidence to the contrary. One of the most common forms of interior decoration for centuries, painted cloths have received less attention from art historians and historians than they deserve in part due to their poor survival. Often regarded as cheap substitutes for those who could not afford tapestries, their function has been oversimplified and their importance in providing imagery as well as literary subjects has been underrated. Scenic backcloths were once commissioned for court functions, part of an elaborate display of royal power and magnificence, such as the Field of the Cloth of Gold. The same methods and materials continued to be used for theatrical cloths. The nineteenth and twentieth century saw a resurgence in interest in the art form, as established artists, among them Burne-Jones, Rossetti, Picasso and later Piper, Hockney and Caulfield, took up commissions for the theatre and ballet. The conference, to be held at The Courtauld Institute of Art, will be run in collaboration with the Victoria & Albert Museum. Presentations by four keynote speakers will reflect the aim of the conference to bring together and foster interdisciplinary research between art and interiors historians, paintings and textile conservators. The keynote presentations will be: Dr Roland Krischel (Wallraf-Richartz-Museum & Fondation Corboud, Cologne, Germany) Cloths in and on Paintings - From Curtain to Shutter and Back Again Jo Kirby Atkinson (Scientific Department, National Gallery, London) The Trade and Import of Painted Cloths in 15th/16th Century London Sir Nicholas Mander (Owlpen Manor, UK) The Painted Cloths at Owlpen Manor, Gloucestershire Hilary Vernon Smith (Royal National Theatre, UK) The Changing Practice of Scenic Painters in England Peer reviewed papers presented at the conference will be published by Archetype Books Organised by Christina Young (The Courtauld Institute of Art) and Nicola Costaras (Victoria & Albert Museum) To book a place: £65 (£25 students and concessions). Free for Courtauld staff/students but space is limited so online booking is required. 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 ‘European Painted Cloths’ conference.

External News and Events - New Master's Degree Course in Garden History

Wed, 22 May 2013 06:03:43 +0000

The Master of Arts by Research in Garden History will be the latest addition to the series of innovating graduate programmes launched by the University’s Humanities Research Institute. Directed by one Britain’s leading scholars of garden history and landscape design, Professor Timothy Mowl FSA, the course will offer an exciting course of lectures and research seminars led by some of the leading international scholars in the subject. The course will include a series of intensive study days on the historical and cultural background to British gardens and landscapes, a residential weekend for a programme of visits to major masterpieces of landscape design, and sessions given by prominent historians to provide students with a secure basis in historical research methods. One of the most innovative aspects of the programme will be its series of seminars and working post-seminar dinners. These will run in a series of meetings between January and May 2013. Here, the leading authorities on historic and more recent gardens and landscapes will talk about aspects of understanding their heritage, appreciation, preservation and significance today. The seminar speakers for 2012/13 will include Sir Roy Strong FSA, Anna Pavord, Robert Adam RIBA, FRSA, and Professor Stephen Bann CBE, FBA, FSA. These seminars, held in the elegant surroundings of the Oxford and Cambridge Club in Pall Mall, will be followed by a reception and dinner at which students will have the opportunity to continue the discussion with the seminar speaker. The course and evening seminars are designed to inform and inspire students as they embark on their own research and writing for a thesis that is the main focus for the degree. The MA will be assessed and awarded wholly on the basis of the final dissertation, through which students will make their own contributions to the subject, guided by expert supervisors. As well as research students, the course of lectures, visits and evening research seminars can be attended by Associate Students who have an interest in the subject but are not undertaking the final dissertation for the degree. The Course Director, Professor Timothy Mowl FSA, enjoys an international reputation as one of Britain’s leading historians of architecture and landscape design. He is the author of the highly acclaimed Gentlemen and Players: Gardeners of the English Landscape (2000), and has written prolifically on architectural history and English cultural history from the seventeenth century to the nineteenth – including biographies of William Kent, Horace Walpole, and William Beckford. He is the scholar who conceived and directs the Historic Gardens of England series of county garden histories, funded by the Leverhulme Trust. The MA can be taken full-time in one year, or part-time over two years. The introductory lecture series (held between October and December) all take place on the same day each week, with a half-term break to accommodate the needs of those with family commitments. The evening research seminars, beginning in January, will usually take place fortnightly, with breaks at holiday periods. The arrangement aims to make it as accessible as possible to working students and others who can give up one day a week in the autumn term, and for those who will be completing the MA research and writing for the dissertation the fee will be all-inclusive, including the cost of visits and the evening research seminars and dinners. For further details about the University of Buckingham London Programmes, contributing lecturers to the new degree, and about applying to join the MA in Garden History either as a research student or an Associate Student, please contact: The Secretary for Graduate Admission, School of Humanities, University of Buckingham, Buckingham MK18 1EG Tel. 01280 820120 For course details, see http://www.buckingham.ac.uk/humanities/ma/gardenhistory . Further biographical and bibliographical information about Professor Timothy Mowl can be found at http://www.buckingham.ac.uk/research/hri/fellows/mowl .

External News and Events - Blasphemy & Redemption - Events responding to the exhibition Roee Rosen: Vile, Evil Veil

Wed, 22 May 2013 06:03:43 +0000

Blasphemy and Redemption is a series of talks, screenings and discussions that take up themes from the work of Roee Rosen in his current exhibition Vile, Evil Veil at Rivington Place. These events explore politics through sexual voicing, ventriloquism and exorcism and range from a talk with extreme performance artist Ron Athey to a screening and discussion of one of Britain’s earliest Black Power films Death May Be Your Santa Claus. The events are curated and chaired by Adrian Rifkin, Professor of Art Writing, Goldsmiths, University of London. Artists Talk: Roee Rosen 22 March, 6:30pm £5 (£3) Artist Roee Rosen in conversation with Vile, Evil Veil exhibition curator Hila Peleg ________________________________________ Blasphemy and Redemption events Ron Athey & Dominic Johnson in conversation Thursday 29 March, 6.30pm. £5 (£3) Exploring exorcism through extreme performance - Ron Athey screens short videos of his performance work and explores ideas of extremity as a bearer of cultural and aesthetic politics. The Work of Roee Rosen Thursday 12 April, 6.30pm. £5 (£3) Art historian Tamar Garb discusses Rosen's work considering juxtapositions of painting and video, writing and comedy, theology and pornography, and examining the specific place of exhibition Roee Rosen: Vile, Evil Veil in his oeuvre. The Night Porter Thursday 19 April, 6.30pm. £5 (£3) Art historian and writer Griselda Pollock discusses Director Liliana Cavani's controversial 1974 film The Night Porter in which a concentration camp survivor and her tormentor act out their relationship as a sexual cathexis after the end of the war. Death May Be Your Santa Claus Thursday 3 May, 6.30pm. £5 (£3) Screening and discussion with curator and writer David Dibosa on Frankie Dymon’s film exploring sexual and political identity in the context of 1960s London. For further information and to book tickets visit www.iniva.org Roee Rosen: Vile,Evil Veil Iniva (Institute of International Visual Arts) presents the first UK solo exhibition of Israeli artist, writer and filmmaker Roee Rosen: Vile, Evil Veil. The exhibition consists of two seminal works: the award winning film Out (Tse) and the installation piece Live and Die as Eva Braun. Rosen has also created a striking new artwork to cover the entire front window of Rivington Place. Roee Rosen is one of the most influential artists in Israel, and is known not only as a virtuoso painter, but also as a novelist, a polemic intellectual and an admired teacher. Exhibition listings Information Exhibition: Roee Rosen: Vile, Evil Veil Dates: 21 March – 5 May 2012 Venue: Rivington Place, London, EC2A 3BA Rivington Place public opening hours: Tuesday, Wednesday, Friday: 11am – 6pm Late Thursdays: 11am – 9pm (last admission 8.30pm) Saturday: 12noon – 6pm Admission: free info@rivingtonplace.org www.rivingtonplace.org Tubes: Old Street/Liverpool Street/Shoreditch High St Rivington Place is fully accessible, for parking & wheelchair facilities call +44 (0)20 7749 1240 About Iniva Iniva (Institute of International Visual Arts) engages with new ideas and emerging debates in the contemporary visual arts, reflecting in particular the diversity of contemporary society. We work with artists, curators, creative producers, writers and the public to explore the vitality of visual culture.(www.iniva.org) Iniva is supported by Arts Council England. About Rivington Place Opened in 2007, Rivington Place is home to Iniva and Autograph ABP. Designed by architect David Adjaye OBE, this award winning building is dedicated to the display, debate and reflection of global diversity issues in the contemporary visual arts. An ongoing programme of exhibitions and events is presented by Iniva in the 2 project spaces and Iniva’s Learning Space. It is also home to the Stuart Hall Library, Iniva’s unique research library with specialist resources and collections relating to contemporary international visual art.

External News and Events - Call for Papers - ' Insight Palestina: Images, Discourses, and the Image of Discourse'

Wed, 22 May 2013 06:03:43 +0000

Conference Organisers: Dr. Gil Pasternak (The University of Huddersfield) Lior Libman (The Hebrew University of Jerusalem; The University of Leeds) Keynote Speakers: Professor Griselda Pollock Professor Sander Gilman This one-day conference will focus on visual and textual images produced within, and in relation to, the circumstances of the Israel-Palestine struggle. Its aim is to explore and challenge a range of current research approaches to cinematic, documentary, literary, fine art and other media images. It will look into academic studies and patterns of interpretation which tend to solidify exclusive perceptions of politicised images. While such explorations often evoke a belligerent discussion, in which challenging theoretical perspectives are commonly being buried, this conference will specifically focus on perceived relationships between politically-engaged academic investigations, and the political agendas represented by the objects of their inquiry. Intending to embrace theoretical and political complexities, Insight Palestina will investigate the reciprocity between images and historical narratives in a context that exceeds formal state, non-reflective and non-self-critical historiography. In this respect, the organisers aim to explore modes of academic inquiry that are not removed from politicised discourses, while resisting the activation of tangential biased forces and demands. How can academic research modify socio-cultural perceived norms and conventional understandings to materialise a platform which allows for critical distance from binary-oriented political debates? Can academic research open up a space which does not compromise critical theorisation, activism, and radicalism while avoiding the reiteration of biased ideologies? Do academic investigations of politically-loaded images always-already generate or reinforce existing perceptual regimes and opinionated dogmas? In other words, are academic researchers bound to using familiar methodologies in a manner reiterating and cementing political structures, constructions and divisions, even when intending to challenge or reconcile between them? These are some of the relevant questions this conference wishes to explore through the examination of various case studies. This call for papers invites proposals that span the widest possible range of periods within Israeli and Palestinian history, historical accounts, theories, Israeli and Palestinian cultures, societies and modes of image-making, whether visual or textual, art-related, documentary, professional or vernacular. Abstracts should be sent via email to Dr Gil Pasternak g.pasternak@hud.ac.uk and to Lior Libman lior.libman@mail.huji.ac.il by 15th April 2012. Submissions should be of 300 words in Microsoft Word or PDF format, and should include your name, title, email address, academic position and affiliation. All proposals will be read by the Conference Consultancy Board. Successful applications will be allotted 20 minutes to present their papers, followed by ten minutes for questions. Researchers, lecturers, practitioners and postgraduate students are all encouraged to apply. Applicants must propose new and original research; selected speakers may be given the opportunity to extend their papers, and prepare them for academic publication – more details about it will be provided at a future date.

External News and Events - Call for Papers - 'The Spaces of Arts: Thinking the National and Transnational in a Global Perspective'

Wed, 22 May 2013 06:03:43 +0000

Is art history global enough to take up the challenge of cultural mixing, transnationalism, internationalization, and globalization, without neglecting cultural nationalisms and artistic territorialization processes, which are the fabric of our discipline? How do we understand the relationships between circulations, globalizations, and the production of ethnicity or nationality in the arts? What strategies can we develop, besides narration and description, to write a new history of the arts that escapes both historiographical nationalism and blind globalism, while paying due to the national and transnational dimensions of artistic creation? In response to these questions the École normale supérieure in Paris (ENS-Ulm) and Béatrice Joyeux-Prunel launched a vast research project in 2009. The ambition was to study arts and letters in a socio-spatial perspective that takes into account the spatial turn of Social Sciences. The result is ARTLAS, a digital atlas of arts and literature history which combines spatial, social, cultural, and esthetic questionings, with a narrative/descriptive approach, and visualization techniques, including charts and maps created with GIS technologies (Geographic Information Service). The reliance on a cartographic approach and multi-scale analysis grows from the conviction that we can transform the geohistorical reflections that Thomas DaCosta Kaufmann presented in Toward a Geography of Art (2004) into maps, and that the atlas model can contribute to meeting the challenge of global art history James Elkins exposed with Is Art History Global? (2006). Still, the format of ARTLAS is motivated by the conviction that we cannot separate the analysis of artistic circulations and globalization from the study of territorialization of artistic practices. In order to present ARTLAS on the American continents and engage in a dialogue with American scholars, the ENS is teaming with Purdue University to organize a conference which will take place on September 27-29, 2012 at Purdue. We have invited Professor DaCosta Kaufmann and Professor Elkins to present their respective takes on a global art history and the use of maps as art historical tools, while philosopher Edward S. Casey will address the links between art and maps. We are now inviting scholars, whose research is grounded in socio-spatial analysis and/or aims at meeting the daunting challenge of ubiquity in art history, to join the conversation and offer their perspectives. We welcome papers that explore the connection between the national and transnational in a global perspective for any object, period, and place in the history of arts and letters. On Saturday morning, a round table discussion animated by Professor David Lubin will provide the opportunity to reflect on everyone’s propositions, debate, and hopefully come up with concrete directions for the discipline. During the conference, The Atlas for Experimental Poiesis, an exhibition by London based artist Katherine E. Bash, will allow us to consider cartography in contemporary artistic practices. Papers and discussions generated by the conference will be published as a special issue of the ARTLAS Bulletin, a new publication series of the ENS in early 2013. Please send inquiries and proposals of no more than 500 words, along with a short CV, to the conference organizers, Catherine Dossin (cdossin@purdue.edu) and Béatrice Joyeux-Prunel (beatrice.joyeux-prunel@ens.fr) before 15 May 2012. The proposals will be reviewed by our scientific committee. Those accepted to present at the conference will be notified by June 15. Scientific Committee: Edward S. Casey (Stony Brook University), Christophe Charle (Paris Sorbonne), Thomas DaCosta Kaufmann (Princeton Univ.), Catherine Dossin (Purdue Univ.), James Elkins (Chicago Art Institute), Michel Espagne (Labex TransferS), Béatrice Joyeux-Prunel (ENS), Ségolène Le Men (Univ. Paris Ouest Nanterre-La Défense), David Lubin (Wake Forest Univ.), and Blaise Wilfert-Portal (ENS). For more information on the conference, see: http://www.spacesofarts.org For more information on ARTLAS, see: http://artlas.ens.fr

External News and Events - Conference - 'Johan Zoffany and his International Contexts'

Wed, 22 May 2013 06:03:43 +0000

The Paul Mellon Centre for Studies in British Art, the Royal Academy of Arts, London, and the Yale Center for British Art, New Haven, will be co-hosting a conference on Monday 14 May 2012 to accompany a major exhibition on the eighteenth-century Anglo-German artist Johan Zoffany (1733-1810). The exhibition, Johan Zoffany RA. Society Observed, curated by Martin Postle (Paul Mellon Centre) with Gillian Forrester (Yale Center for British Art), and MaryAnne Stevens (Royal Academy), is being held at the Yale Center for British Art from 27 October 2011 to 12 February 2012, and at the Royal Academy of Arts from 10 March to 10 June 2012. The conference aims to address Zoffany's art in the context of four locations that were central to his practice: Germany, England, Italy, and India. Born in Frankfurt in 1733, Johan Zoffany trained as an artist in Germany and Italy. In 1760 he moved to London, where he adapted brilliantly to the indigenous art culture and patterns of patronage, creating virtuoso portraits and subject pictures that proved to be highly desirable to a wide range of patrons. Of all the major artists working in eighteenth-century England, none explored more inventively the complexities of Georgian society and British imperial rule than Zoffany. Yet, despite achieving considerable success there, he remained in many ways an outsider, looking dispassionately at British society. Resisting complete integration into his adopted country, Zoffany travelled for extended periods in Europe and spent six years in northern India. His body of work offers unique perspectives on key British and European institutions, including the art academy, the royal court, the theatre, and the families of the aristocracy and bourgeoisie. In India, Zoffany constructed new idioms for portraying the emerging colonial society in both public and private spheres, as well providing a nuanced account of the complex network of power relations, race, and culture at a critical moment in British imperial history. For the full programme, please visit: http://www.paul-mellon-centre.ac.uk/146/ Ticketing The full booking fee, including coffee, lunch, tea and a post conference reception is £40; Student and Senior Citizen concessions are £20. To register for the conference check availability with Ella Fleming at the Paul Mellon Centre. Email: events@paul-mellon-centre.ac.uk Tel: 020 7580 0311 Fax: 020 7636 6730. Once a place is confirmed please send a cheque made payable to the Paul Mellon Centre to 16 Bedford Square, London, WC1B 3JA, including a self addressed stamped envelope.

AAH News and Events - AAH Audited Accounts and Annual Report 2012

Wed, 22 May 2013 06:03:43 +0000

To download our audited accounts for financial year 2011, please click here. If you have any questions or queries, they should be presented at the Association's Annual General Meeting (13.00 - 14.00, Friday 30 March, Christodoulou Meeting Room 15, Open University, Milton Keynes). Alternatively, either the Association's CEO, Pontus Rosén, Finance Manager Matt Lodder or Honorary Treasurer Richard Simpson will be happy to respond to queries by email.

External News and Events - Conference - 'Probing the Interior 1800-2012'

Wed, 22 May 2013 06:03:43 +0000

Bodily, psychic and spatial interiors can be mapped, traversed and violated in multiple ways. This one-day conference will interrogate and re-evaluate the contested terrain of the interior in its varied forms. It will examine the interlacing and overlapping of different types of interiors, and seek to re-position the ‘interior’ in critical terms. Moreover, it will attempt to develop new ways of thinking about the relationship between the decorative arts, furniture, bio-technologies, anatomy and space. The conference will take place in The Courtauld Institute of Art Lecture Theatre and conclude with panel, performance, and keynote address in the Anatomy Theatre at King’s College London. To book a place: £16 (£11 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 ‘Probing the Interior’ conference. For further information, email ResearchForumEvents@courtauld.ac.uk Organised by Dr Lucetta Johnson (The Courtauld Institute of Art) and Dr Keren Hammerschlag (King’s College London) This event is supported by The Courtauld Institute of Art Research Forum and the Centre for the Humanities and Health, King’s College London PROGRAMME 09.00 – 09.30 Registration 09.30 – 09.40 Welcome and Introduction – Keren Hammerschlag (King’s College London) and Lucetta Johnson (The Courtauld Institute of Art) SESSION 1: Thresholds – Chair: Gavin Parkinson (The Courtauld Institute of Art) 09.40 – 10.00 Ignacio Gonzalez Galan (Princeton University): Casa Miller: The Interior as a Stage for an Invented Personage 10.00 – 10.20 Madeleine Newman (Hull School of Art and Design / Leeds College of Art): Interior Reflections: Sculpture, Space and the Body in Rebecca Horn’s Rooms Encountering Each Other, 1974-75 10.20 – 10.35 Discussion 10.35 – 10.55 Ellery Foutch (University of Wisconsin-Madison): Dissecting the Perfect Man: Sandow’s Interior 10.55 – 11.15 Dominic Johnson (Queen Mary, University of London): Transition Pieces: Contemporary Art and Transgender Representation 11.15 – 11.30 Discussion 11.30 – 12.00 COFFEE/TEA BREAK (provided in Seminar room 1) SESSION2: Incision – Chair: Ludmilla Jordanova (King’s College London) 12.00 – 12.20 Ruth Richardson (independent scholar): Light, Ribs and Animalculae: Excavating Gray's Anatomy and London in the 1850s 12.20 – 12.40 Clare Willsdon (University of Glasgow): Murals as threshold, incision, and autopsy: Albert Besnard’s decoration at the Ecole de Pharmacie in Paris, 1883-86 12.40 – 13.00 Natasha Ruiz-Gómez (University of Essex): Exposing the Musée Charcot: The Medical Museum as Cabinet of Curiosities 13.00 – 13.10 Artist’s Talk – Rebecca Stevenson 13.10 – 13.30 Discussion 13.30 – 14.30 BREAK FOR LUNCH (not provided) And transfer to King’s College London Anatomy Theatre SESSION 3: Autopsy – Chair: Caroline Arscott (The Courtauld Institute of Art) 14.30 – 14.50 Mary Hunter (McGill University): Interiors and Indifference: Dissecting Bodies in Nineteenth-Century Paris 14.50 – 15.10 Susan Sidlauskas (Rutgers): Skins: John Singer Sargent’s Modern Subjects 15.10 – 15.30 Marcia Pointon (University of Manchester): Imprints and Affectivity 15.30 – 15.50 Discussion 15.50 – 16.15 COFFEE/TEA BREAK (provided at King’s College) 16.15 – 16.40 Kira O'Reilly (Queen Mary, University of London): I'm All Edges Respondent: Cadence Kinsey (University College London) 16.40 – 18.00 Keynote Address: Parveen Adams (Fellow of the London Consortium) 18.00 RECEPTION (King’s College) The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN tel +44 207 848 2785/2909 web http://www.courtauld.ac.uk/researchforum/index.shtml

External News and Events - Conference - ' Gothic Ivory Sculpture: Old Questions, New Directions (Day 2)'

Wed, 22 May 2013 06:03:43 +0000

Gothic ivory sculpture, surviving in large numbers in collections around the world, has thus far not received all the attention it deserves. The Gothic Ivories Project, launched on the web in December 2010 (www.gothicivories.courtauld.ac.uk), seeks to promote research in the field by providing an online catalogue of surviving pieces carved in Western Europe from c. 1200 to the early 16th century. This conference will celebrate the recent wave of new scholarship in the field and reassess the importance of these minute carvings for the study of medieval art. To book a place (for Day 2 at The Courtauld): £16 (£11 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 ‘Gothic Ivories Conference’. For further information, email ResearchForumEvents@courtauld.ac.uk This conference is the second part of a two-day Gothic Ivories In Focus event co-organised by the Victoria and Albert Museum and the Gothic Ivories Project and Research Forum at The Courtauld Institute of Art in London. The first part will be held on Friday 23 March 2012 at the Victoria and Albert Museum (further information: http://www.vam.ac.uk/whatson/event/1402/) Please note that each day requires a separate registration. Organised by John Lowden, Catherine Yvard (Courtauld Gothic Ivories Project), Glyn Davies and Paul Williamson (Victoria and Albert Museum, London). This event has been made possible by the generous support of the Research Forum, Thomson Works of Art Ltd, Sir Paul Ruddock, and Sam Fogg PROGRAMME 9.45 – 10.15 Registration 10.15 – 10.30 Introduction – John Lowden and Catherine Yvard: The Gothic Ivories Project at The Courtauld Institute of Art SESSION 1: The Making of Gothic Ivories – Chair: John Lowden (The Courtauld Institute of Art) 10.30 – 10.50 Sarah Guérin (The Courtauld Institute of Art): New Pygmalions: Ivory Sculptors of the Thirteenth Century 10.50 – 11.10 Matthias Weniger (Bayerisches Nationalmuseum, Munich): Towards a Re-evaluation of the Gothic Ivories at the Bayerisches Nationalmuseum 11.10 – 11.30 Ebbe Nyborg (Nationalmuseet, Copenhagen): The Beginnings of Gothic Ivory Sculpture. Recent Discoveries within a Group of Danish Ivories 11.30 – 12.00 COFFEE/TEA BREAK (tea-coffee provided – seminar room 1) SESSION 2: Re-assessing the Corpus – Chair: Sarah Guérin (The Courtauld Institute of Art) 12.00 – 12.20 Mark Redknap (Amgueddfa Cymru – National Museum Wales, Cardiff): Gothic Ivories from Medieval Wales: Contexts and Afterlives 12.20 – 12.40 Benedetta Chiesi (Museo Nazionale del Bargello, Florence): Re-assessment of the Leeuwenberg Group at the Museo Nazionale del Bargello 12.40 – 13.00 Émile van Binnebeke and Vincent Cattersel (Musées Royaux d’Art et d’Histoire/ Koninklijke Musea voor Kunst und Geschiedenis and KIK/IRPA, Brussels): A Closer Look at the Gothic Ivories in Brussels 13.00 – 14.30 BREAK FOR LUNCH (lunch not provided) SESSION 3: Secular Imagery and Literary Sources – Chair: Neil Stratford (correspondant étranger de l’Institut) 14.30 – 14.50 Paula Mae Carns (Illinois University, Urbana-Champaign): La Folie Tristan on Two Gothic Ivories 14.50 – 15.10 Naomi Speakman (The British Museum, London): The Battle of the Sexes: Gender Politics in the Legends of Aristotle and Virgil 15.10 – 15.30 Julia Saviello (Humboldt University, Berlin): Late Medieval Ivory Combs as Instruments of Order 15.30 – 16.00 SHORT BREAK (refreshments provided in the lecture theatre) SESSION 4: The Afterlife of Gothic Ivories – Chair: Michele Tomasi (Lausanne University) 16.00 – 16.20 Annie Kemkaran-Smith (The Wernher Collection at Ranger's House, London): The Wernher Ivories: Life in a Victorian Private Collection 16.20 – 16.40 Glyn Davies (Victoria and Albert Museum, London): ‘… this elegant little chest is remarkably good’: The Ivory Collecting of Francis Douce (1757-1834) 16.40 – 17.00 Concluding remarks 17.00 RECEPTION The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN tel +44 207 848 2785/2909 web http://www.courtauld.ac.uk/researchforum/index.shtml

External News and Events - Conference - 'Polychrome Sculpture: Artistic Tradition and Construction Techniques'

Wed, 22 May 2013 06:03:43 +0000

This two day symposium will focus on artistic traditions within the field of polychrome sculpture relating to construction techniques. This meeting is intended to follow on from the successful symposium held in Maastricht (October 2010) and is hosted by The Burrell Collection, one of Glasgow’s most prestigious museums. Emphasis is given to papers and posters presenting information regarding the construction processes within the field of polychrome sculpture and the conservation treatment of these artworks. It is hoped that a wide variety of three-dimensional polychrome supports will be addressed, including wood, terracotta, ceramic, ivory, metal, etc. Furthermore, comparisons between practices developed in different artistic circles will be given prominence. Language: All proceedings will be presented in English. Publication: Postprints will be published by Archetype Books. Dinner: A civic reception will be held on Friday 13th March at the Glasgow City Chambers. Registration: Registration Forms and Hotel Bookings: www2.seeglasgow.com/ICOM-CC completed forms should be emailed to: angela.pluck@glasgowlife.org.uk Fees: Early Bird: until 24 Feb 2012 After 24 Feb 2012 until 10 April 2012 ICOM-CC Member ₤ 105.00 ₤ 135.00 Non ICOM-CC Member ₤ 135.00 ₤ 155.00 Student (proof required) ₤ 65.00 ₤ 85.00 Conference Dinner Cost not included in fee (Please indicate on registration if you wish to attend) Payment to: Please include your surname with payment registration. Royal Bank of Scotland, IBAN: GB26RBOS83440000678753 BIC: RBOSGB2L Account Name: C&S Glas/Museums Organisers: Kate Seymour Stichting Restauratie Atelier Limburg, Maastricht (NL) & ICOM-CC k.seymour@sral.nl www.sral.nl Stephanie de Roemer Glasgow Museums / Glasgow Life The Burrell Collection, Glasgow (GB) Stephanie.deRoemer@glasgowlife.org.uk www.glasgowlife.org.uk Programme Friday 13th April Registration: 09.30 - 10.00 Welcome: 10.00 - 10.10 10.10 - 10.45 Conservation study of materials and construction techniques of Medieval and Renaissance sculpture as a strategy for the Burrell’s sculpture collection re-display, Stephanie de Roemer 10.45 - 11.15 Donatello, Brunelleschi and the Others. Construction techniques in early Renaissance wooden sculpture, Peter Stiberc 11.15 - 11.45 Coffee/Tea 11.45 - 12.15 Understanding Regional Practices in Wooden Polychrome Sculpture: Technical Analysis of the J. Paul Getty Museum’s Christ Child, Lynn F. Lee, J. Bassett, A. Desmas 12.15 - 12.45 The Crucifix from Kvikne Church: Analysis of the construction method, Anne Ørnhøi & H. Kempton 12.45 - 15.00 Lunch / Visits 15.00 - 15.30 Poster Presentations 15.30 - 16.00 Use of sized cloth for the construction of polychrome sculpture, Beate Fuecker 16.00 - 16.30 Preliminary studies and conservation treatment of polychrome sculpture “Virgen con Niño” of the Cathedral of Valencia, Spain, Maria Rodríguez, E. González, J. Valcárcel Evening: A civic reception will be held on Friday 13th March at the Glasgow City Chambers. Saturday 14th April Registration: 09.30 - 10.00 10.00 - 10.30 Materials and construction techniques used in two coloured wax-figurines produced by casting, Agnès Le Gac, J. Bleton, A. Candeias 10.30 - 11.00 Monumental polychromed clay sculptures in blocks, André Varela Remígio, João Pedro Veiga, Carlos Moura 11.00 - 11.30 Coffee/Tea 11.30 - 12.00 Technical study of a Portuguese 18th century clay Nativity Scene, Ana Bidarra, J. Coroado, F. Rocha 12.00 - 12.30 On the trail of a select group of Central European reliquary busts. Authorship attribution on the basis of constructive typology, Emilio Ruiz de Arcaute 12.30 - 14.00 Lunch / Visits 14.00 - 14.30 Late Medieval polychromed alabaster sculpture from Spain to England: an arth historian’s view, Kim Woods 14.30 - 15.00 An (18th century?) altarpiece dated till the first part of 16th century, Tone Marie Olstad 15.00 - 15.30 Construction techniques observed on three different altarpieces from the three most famous 16th century Flemish centers: study, comparison, conservation and restoration, Elsa Murta 15.30 - 16.00 Coffee / Tea 16.00 - 16.30 19th century construction and polychrome techniques of Pierre Cuypers and his studio: All that glitters is not gold, Arnold Truyen

Job Opportunity - Six Postdoctoral Research Fellowships at CRASSH, University of Cambridge

Wed, 22 May 2013 06:03:43 +0000

Salary: £27,578-£35,938 pa Applications are invited for 6 post-doctoral fellows to work on the European Research Council funded interdisciplinary, collaborative project entitled , to be located in the Centre for Research in Arts, Social Sciences and Humanities. Applications are encouraged with regard to any relevant field including history, art history, classics, literary studies, Jewish studies, history of archaeology, history of education, cultural history, history of scholarship, theology, history of biblical interpretation, philosophy, history of science, Egyptology, Assyriology. Applicants may propose to work on any relevant aspect of the five major themes of the project: the bible in and as history; the bible in and as fiction; the bible and its institutions; the material bible; archaeology and the bible. Applicants are strongly encouraged to read the further particulars, available on http://www.crassh.cam.ac.uk/page/1093/bible-antiquity.htm, where you will also find details of the project and how to apply. Applicants must hold a PhD in a relevant field by the application deadline of 2 April 2012. * Limit of tenure: Appointment is for five years, from 1 September 2012, and is non-renewable. Contact and further information details Catherine Hurley, ch335@cam.ac.uk Application Deadline: 2 April 2012

Job Opportunity - Assistant Editor in the pioneer Open Access academic book publishing program in Arts, Music, Architecture

Wed, 22 May 2013 06:03:43 +0000

We are seeking for PhD students specialized in a specific field of History, Theory or Philosophy of Art, Music or Architecture. BRIEF JOB DESCRIPTION Working from home using one’s own computer and internet connection; Supporting the Managing Editor in attracting high quality book proposals; Building some databases; Searching for candidates for Associate and Language Editors; Assistant Editors work part-time and are not paid; WHAT WE OFFER IN RETURN Work in dynamic team and exciting publishing project; Opportunity to acquire experience in modern and professional publishing; Opportunity to establish connections to the most recognized experts in their field; Your name added to the list of Editors at our website; References and recommendation letters; Contact and further information details: Monika Micha?owicz (mmichalowicz@versita.com)

External News and Events - Event - Ornament as Portable Culture: Between Globalism and Localism

Wed, 22 May 2013 06:03:43 +0000

Details about the conference are available online (http://isites.harvard.edu/icb/icb.do?keyword=k83922).

External News and Events - Conference - 'The Art and Science of Medieval Church Screens'

Wed, 22 May 2013 06:03:43 +0000

Fee: £30/£60 Full details online here: http://www.crassh.cam.ac.uk/events/1711/ Contact and further information details: Ruth Rushworth, Rhr32@cam.ac.uk Booking deadline Monday 23 April 2012

External News and Events - Conference - 'The Flaneur Abroad: International and Historical Perspectives on an Urban Archetype'

Wed, 22 May 2013 06:03:43 +0000

A conference co-organised by the Nottingham Institute for Research in Visual Culture and Urban Culture Network. Convenor: Richard Wrigley, Department of Art History The flâneur—the leisurely but vigilant urban stroller—is well-known as a quintessential nineteenth century Parisian archetype, and has attracted a distinguished array of champions and historians—from Balzac and Baudelaire to Walter Benjamin. However, although recent writing on the subject (The Flâneur, ed. Keith Tester, and the Invisible Flâneuse. Gender, Public Space, and Visual Culture in Nineteenth-Century Paris (2006), ed. Tom Macdonough & Aruna D’Souza) have certainly been eclectic in their scope, there has been little sustained attention given to the adaptation of the phenomenon outside Paris, let alone outside France and indeed Europe, whether in the form of modern sequels, contemporary echoes, as well as historic antecedents. List of Speakers: Simon Lee (Art History, University of Reading - Promenades in Enlightenment Madrid - The Tapestry Cartoon and new social spaces Vanesa Rodriguez-Galindo (History of Art, UNED, Madrid) - A Patchwork of Effects: Streets, squares and visions of late nineteenth-century Madrid Laurent Turcot (History, Université du Québec à Trois-Rivières) - The rise of the promeneur in 18th-century Paris Christian Deuling (German, Nottingham/Pedagogical University of Applied Sciences at Kreuzlingen) - Early Forms of flânerie in the German Journal London und Paris (1798 - 1815) Jo Briggs (Walters Art Gallery, Baltimore) - Lounge, Idle, Moon: Albert Smith's Natural History of the Idler Upon Town, an adaptation of Parisian flânerie in 1840s London Tatiana Senkevitch (University of Toronto) - The Phantasmagoria of the City: Nikolai Gogol's and Vasily Sadovnikov's Nevsky Prospect Claire Gheerardyn (Comparative Literature, University of Strasbourg) - When Flâneurs Meet the Mythical Peterburgian Wanderer: Andrei Belly's Fragmented Characters Kevin C. Robbins (History, Indiana University) - The Graphic Anarchist Flâneur? Emigré Print Makers in Paris and the Import/Export of Street Art as Radical Social Criticism in the New, Urban, Satirical Media of Glabalizing Europe, 1900 - 1914 Kathrin Yacavone (French, University of Nottingham) - Parisian Arcades - Berlin Loggias: Walter Benjamin's Child-Flâneur Oliver O'Hanlon (French, University College, Cork) - Le Flâneur salarié: The case of French journalist Henri Béraud's visits to Irish cities in 1920 Alexander McCabe (Modern Languages and Cultures, University of Glasgow) - The flâneur in the fog: the recurrence of northern port-town landscapes in the peripatetic narratives of French existentialism Robert Adlington (Music, University of Nottingham) - Without tendency: Amsterdam, situationism and atonal music Daniel Acke (French Literature and Culture, Vrije Universiteit, Brussels) - The flâneur in Brussels: French and Belgian literary perspectives in counterpoint Claire Launchbury (School of Modern Languages and Cultures, University of Leeds) - The Beirut flâneuses: Writing and the city in post-conflict Lebanon Contact and further information details: http://www.nottingham.ac.uk/art-history/research/conferences/flaneur-abroad.aspx

External News and Events - Art Crime Seminar by Robert Wittman (author of “Priceless”)

Wed, 22 May 2013 06:03:43 +0000

Robert Wittman (lead investigator of the FBI's Art Crime Team and author of New York Times bestseller "Priceless") is offering a five day seminar focusing on the practical application of investigative techniques to recover stolen art and cultural property. This seminar June 10-15, 2012 is not an art history or appreciation course; it focuses on real industry career opportunities in the fields of national and international investigation, art law, insurance, appraisal,museum security, conservation, and art financial services. Presented by professionals, the emphasis is on practical application in careers in the industry. The course will feature more than 20 hours of instruction spread across five days in downtown Philadelphia. Our instructors are world-renowned in their fields. For more information: www.robertwittmaninc.com 610-361-8929 Application Deadline April 1st, 2012

External News and Events - Conference - 'Exhibiting Research VI - Museums without Walls: Showing Art in a Digital Age'

Wed, 22 May 2013 06:03:43 +0000

Speakers include: Xavier Bray (Chief Curator, Dulwich Picture Gallery) Spencer Hyman (Chief Executive, Art Finder) Kirstie Beaven (Producer, Interactive Media, Tate Online) Joff Whitten (Public Programmes, The Courtauld) Chair: Sarah Hyde (Visiting Lecturer, MA Curating the Art Museum, The Courtauld) Visit a museum online, search a collection, or join a digital art market. Everything is possible on the internet. But what implications does the virtual presence of art images and collections have for the future of the ‘real’ museum experience? How do museums meet the public’s need for online content? How have digital platforms affected the role of the art curator? Join our panel of speakers as they discuss the current developments that are taking place in the digital realm of museums. Dr Sarah Hyde, as chair, will lead the discussion as the speakers draw on their experiences at diverse institutions to grapple with these issues. This debate is part of the ongoing Exhibiting Research series, organised by The Courtauld Institute of Art’s MA Programme Curating the Art Museum in collaboration with the Research Forum. The debate will be followed by a reception and informal discussion. Open to all, free admission For further information please contact: macurating@courtauld.ac.uk

External News and Events - Call for Papers - ' Invention, Philosophy and Technology in the Seventeenth Century'

Wed, 22 May 2013 06:03:43 +0000

This symposium will look the history of invention, technology and philosophy in the early modern era, the ways in which material life changed in the period. It will consider how the period constituted the relationships between science, philosophy and craft, or between trade and society. Topics might include: Public works and the provision of society - drainage, water, sewers, food, mining, weapons, surgical instruments, trade and trade-guilds; the regulation of the city; is 'capitalism' a helpful category for thinking the early modern era?; what was the relationship between science and society?; the early modern 'expert'; innovation and tradition; literature and invention; automata and the early modern machine. Speakers include: Claire Preston (Birmingham), Ayesha Mukherjee (Exeter) Contact Kevin Killeen - kevin.killeen@york.ac.uk This symposium is part of the entirely digressive Thomas Browne Seminar, whose designs for bullets made no impact whatsoever on the course of the civil war. http://www.york.ac.uk/english/news-events/browne/ http://www.york.ac.uk/crems/

External News and Events - Call for Papers - 'On the Spiritual in Russian Art'

Wed, 22 May 2013 06:03:43 +0000

Keynote Speakers: Professor Wendy R. Salmond (Chapman University, CA) Dr Oleg Tarasov(Russian Academy of Sciences, Moscow) Convenors: Louise A. Hardiman (lah45@cam.ac.uk) Nicola Kozicharow (nlek2@cam.ac.uk) (Department of History of Art, University of Cambridge) The Cambridge Courtauld Russian Art Centre (CCRAC) was founded in May 2011 on the joint initiative of Dr Rosalind Blakesley of the Department of History of Art, University of Cambridge and Professor John Milner of The Courtauld Institute of Art, London. Arising from significant research over many years among faculty and graduate students in both institutions, it aims to stimulate debate, support collaborative work, and generate and disseminate research on all aspects of the visual arts, architecture, design, and exhibitions in Russia and the Soviet Union. This conference, CCRAC's first in Cambridge, takes as its theme the concept of the 'spiritual tradition' in Russian art, in celebration of the centenary of Vasilii Kandinskii's seminal text, Über das Geistige in der Kunst (On the Spiritual in Art) (1910-12) - arguably one of the most influential works of Russian artistic thought in the context of international modernism. We propose this banner as a stimulus for a broader discussion of the intersection between spirituality and Russian art, which ranges beyond the extensive and enduring impact of Kandinskii's well-known manifesto for new directions in art. Through such exploration, we aim to highlight the current diversity and depth of Russian and Soviet art scholarship in Britain and overseas, while also providing a forum for the reassessment of one of its most frequently recurring and critical themes. We invite papers on a wide range of subjects, periods, artists and media which engage with the subject of religiosity or spirituality in Russian and Soviet art. These could include topics such as: the icon tradition and its ongoing significance; the intersection of religious art and the secular tradition in Russian painting; the twentieth-century resurgence of interest in icons and the engagement with the icon tradition in avant-garde art; the religious tradition and the decorative arts, including folk art and the revival of interest in pagan Russia; religiosity and Soviet art; artists for whom the religious or spiritual aspects of their art assumed particular significance (e.g. Ivan Kramskoi, Nikolai Ge, Mikhail Nesterov, Nikolai Rerikh, Nataliia Goncharova, Vasilii Kandinskii); new perspectives on significant works of Russian religious art (e.g. Andrei Rublev's Holy Trinity, Alexander Ivanov's The Appearance of Christ to the People); religiosity in contemporary Russian art (e.g. religion and spirituality in Soviet non-conformist art; Mikhail Epstein's concept of the "religious unconscious" in Russian post-modernism); the relevance of the spiritual tradition to the reception of Russian art, e.g. the Western perception of, and/or responses to, religiosity in Russian art. We invite submissions for 20 minute papers from established scholars, independent researchers and postgraduate students in all disciplines relating to the theme of the conference. Papers will be grouped into panels, organised thematically. Abstracts of up to 300 words should be sent to Louise Hardiman (lah45@cam.ac.uk) and Nicola Kozicharow (nlek2@cam.ac.uk) by 15 April 2012. Please include the title of your proposed paper, your name, institutional affiliation and full contact information (address, phone number, and email). http://www.hoart.cam.ac.uk/events/spiritualinrussianart The conference is supported by funding from the British Association for Slavonic and East European Studies (BASEES) and the Department of History of Art, Cambridge.

External News and Events - Call for Papers - 'Artist and Writers: Interdisciplinary Exchanges'

Wed, 22 May 2013 06:03:43 +0000

In the past, developments in the visual arts and literature frequently ran parallel to each other. Although painters and poets have always worked together (in the Renaissance, for instance, the painter Dosso Dossi and the poet Ludovico Ariosto produced collaborative plays), the exchange between visual artists and writers reached unequalled heights in the 20th century avant-gardes. The exchanges between Pablo Picasso and Guillaume Apollinaire hastened the development of Modernism, and even after his death the poet remained a great influence on Picasso (P. Read 2010). While in the 1950s Clement Greenberg called for the elimination of literary elements in the visual arts, American painters and poets worked frequently and closely together, the results of their exchanges leading to important shifts in the nature of postwar American literature and visual art (H. Smith 2000). However, it is precisely the works and practices that resulted from these encounters that have remained marginalized in the study of art and literature. What would happen if we were to centralize them? What discoveries would we make about the artists, their networks, and their heritage? One explanation for the results of these exchanges remaining in the periphery of scholars’ fields of vision, is the fact that they fall neither completely within the study of art, nor within the study of literature. However, the increasing presence of multimedia expressions in society calls for the opening up and questioning of existing disciplinary boundaries, and for the forming of new alliances. Which new or developing theories can help us better understand interdisciplinary projects from the past, the present, and the future (W.J.T. Mitchell 1994; J. Heffernan 2006; G.R. Kress and T. van Leeuwen 2006; B. Reed 2010)? Kunstlicht invites academic reflections on works and practices that resulted from encounters between visual artists and writers, and academic reflections that lay bare artists’ and institutions’ networks of exchange. We also look forward to essays that focus on theoretical examinations and examinations of theory. Both analyses of historical cases as well as reflections on the present will be considered. Furthermore, we encourage authors to propose research beyond these guidelines. Proposals (200 – 300 words) can be sent to redactie@tijdschriftkunstlicht.nl before 23 March 2012. Selected authors will be asked to write a 2,000 – 3,000-word paper (excluding notes). Papers may be written in either English or Dutch. Authors who are published in Kunstlicht receive three complimentary copies. Kunstlicht does not provide an author’s honorarium. Two years following publication, papers will be submitted to the freely accessible online archive at www.tijdschriftkunstlicht.nl/site/index.php/archief. Contact Name: Evelyn Austin, Ragna Manz Contact and further information details: redactie@tijdschriftkunstlicht.nl Deadline for booking or submission: 23 March 2012

External News and Events - Conference - 'Transition in the Medieval World'

Wed, 22 May 2013 06:03:43 +0000

This innovative conference addresses the theme of transition in its broadest possible context, seeking to cross borders and break boundaries of subject and discipline, by presenting an exciting programme of emerging and progressive scholarship which engages with visual and material evidence from the medieval period. This two-day conference presents a diverse range of speakers covering a multiplicity of topics from across the medieval spectrum to explore the idea of Transition, to produce a dynamic and significant contribution to the extant understanding of this fluid cultural milieu. This conference takes the theme of transition in its broadest possible understanding, seeking to explore, through the visual and material evidence, elements of the medieval which defy clear categorisation and offers the possibility for new avenues of thought around how the period is conceptualised, allowing for flexible, shifting and changing attitudes to the art, objects, places, ideas and histories which define it. There is an exciting program of speakers lined up to explore the idea of 'Transition' in the medieval world as addressed in Art History, History, Literature, Archaeology, Museology, Theology, Philosophy and other related disciplines. Online registration is available at http://store.york.ac.uk/browse/extra_info.asp?modid=1&prodid=0&deptid=0&compid=1&prodvarid=16&catid=289 For further information, or to book a place at the conference please email transtition@events.york.ac.uk or visit www.york.ac.uk/history-of-art/transition-medieval

External News and Events - 3,000 Oil Paintings from National Museums Liverpool Join the Your Paintings Website

Wed, 22 May 2013 06:03:43 +0000

The Public Catalogue Foundation (PCF), in partnership with the BBC, today announced that all oil paintings in National Museums Liverpool have been added to the Your Paintings website for the nation to enjoy. Your Paintings is a project to create a complete online catalogue of every oil painting in the national collection, whether on display or in store, at bbc.co.uk/yourpaintings Paintings by Old Masters such as Gainsborough, Martini, Rembrandt and Rubens, along with later works by artists such as Cézanne, Degas, Freud, Monet and Spencer are among the 3,000 paintings from National Museums Liverpool that can now be seen on Your Paintings. The National Museums Liverpool collection joins 3,150 other paintings from 35 collections across Merseyside that joined the site in 2011. The National Museums Liverpool paintings are drawn from seven museum sites in Liverpool. These include the Lady Lever Art Gallery and the Walker Art Gallery which both boast outstanding collections of paintings including Old Masters, Victorian art, notably Pre-Raphaelite works, and post-war British painting. Important holdings of paintings can also be found at Sudley House and The Museum of Liverpool. Merseyside Maritime Museum’s collection of marine artworks serves to remind us that the sea and shipping are key to Liverpool’s identity, whilst the smaller collection at the UK Border Agency National Museum gives a fascinating glimpse of British social and political history. Together these collections provide a unique insight into the history and artistic heritage Liverpool. To help the BBC and PCF identify and catalogue what can be seen in each painting, the public is being invited to ‘tag’ the nation’s paintings. Tagging is fun, easy and you don’t need to be an art expert to do it. The results will allow future users of the Your Paintings website to find paintings of subjects that interest them. Your Paintings Tagger is at http://tagger.thepcf.org.uk About Your Paintings Your Paintings is a partnership project between the BBC and the Public Catalogue Foundation (PCF) to put the United Kingdom’s entire collection of oil paintings online at www.bbc.co.uk/yourpaintings. This website is emerging as a unique learning resource, showing not only photographs and information about each painting but also selected BBC TV archive footage and links to further information. The website was launched at the National Gallery in the summer of 2011. Currently, the site shows around 110,000 paintings from over 1,400 collections. In total, the national oil painting collection amounts to some 200,000 works, held in 3,000 galleries, museums, universities, hospitals and other public institutions from across the UK, making it one of the largest and most diverse collections of paintings in the world. The plan is for all these paintings to be online by the end of 2012. With the help of crowd-sourcing technology pioneered by the Astrophysics Department at the University of Oxford to classify galaxies, and art historical input from the University of Glasgow, the public are being invited to go online and help classify or ‘tag’ the paintings catalogued by the PCF so that in due course the paintings can be searchable by subject matter. Paintings can be tagged by visiting http://tagger.thepcf.org.uk/ About the Public Catalogue Foundation The PCF is a registered charity. It was launched in 2003 to create a photographic record of all the oil paintings in public ownership in the United Kingdom. In addition to publishing its work online, the PCF is also publishing a series of printed catalogues. The painstaking research to locate the paintings up and down the country and collate the data has been carried out by 50 researchers. Over 30 fine art photographers have been employed to take photographs of these paintings over the life of the project. London-based staff focus on fundraising, processing and editing the data that comes in from the field, and clearing copyright. The PCF is funded principally by grants and donations. Under 20 per cent of its funding comes from the public sector. Whilst many hundreds of individuals and institutions have supported its work, the PCF’s principal funders are Arts Council England, Christie’s, the Esmée Fairbairn Foundation, the Garfield Weston Foundation, the J Paul Getty Jnr Charitable Trust, The Monument Trust, the Stavros Niarchos Foundation and the Wolfson Foundation. The PCF was founded by Dr Fred Hohler. Its Trustees are Charles Gregson (Chairman of the PCF), Robert Hiscox (Chairman of Hiscox plc), Menna McGregor (Clerk of the Mercers’ company), Alex Morrison (Founder and Managing Managing Director of Cogapp), Richard Roundell (Vice–Chairman of Christie’s UK), Marc Sands (Director of Audiences and Media at Tate), Dr Charles Saumarez Smith (Chief Executive of the Royal Academy), Graham Southern (Founding Director of Blain Southern) and the artist Alison Watt. The Director is Andrew Ellis. For more information go to www.thepcf.org.uk

External News and Events - 2,000 Oil Paintings from the London Borough of Camden Join the Your Paintings Website

Wed, 22 May 2013 06:03:43 +0000

The Public Catalogue Foundation (PCF), in partnership with the BBC, today announced that the first 2,000 oil paintings from public collections in the London Borough of Camden have been added to the Your Paintings website for the nation to enjoy. Your Paintings is a project to create a complete online catalogue of every oil painting in the national collection, at bbc.co.uk/yourpaintings Paintings by Canaletto, Hogarth, Benjamin West, William Orpen, Duncan Grant, Terry Frost and Raqib Shaw are among the 2,000 paintings in Camden that can now be seen on Your Paintings. These paintings are drawn from 10 diverse collections across the borough. Another 2,000 paintings from a further 25 Camden collections will be added to the site later this year as part of this ground-breaking project to reveal the nation’s entire oil painting collection to the public. The Camden collections going online include the the Wellcome Library which offers an insight into the history of health and wellbeing. The work of aspiring students – some now well-established artists – can be seen in the Central Saint Martins collection whilst Camden Council’s paintings bring to light mid-20th century works by well-known artists living in the borough at the time. The Local Studies and Archives Centre and Burgh House further illuminate the history and artistic legacy of the area, particularly Hampstead. Hospital art collections are represented by University College London Hospitals and the Royal Free. Finally, the works at the Sir John Soane’s Museum, including Hogarth’s ‘A Rake’s Progress’, form part of Soane’s eclectic personal collection. To help the BBC and PCF identify and catalogue what can be seen in each painting, the public is being invited to ‘tag’ the nation’s paintings. Tagging is fun, easy and you don’t need to be an art expert to do it. The results will allow future users of the Your Paintings website to find paintings of subjects that interest them. Your Paintings Tagger is at http://tagger.thepcf.org.uk About Your Paintings Your Paintings is a partnership project between the BBC and the Public Catalogue Foundation (PCF) to put the United Kingdom’s entire collection of oil paintings online at www.bbc.co.uk/yourpaintings. This website is emerging as a unique learning resource, showing not only photographs and information about each painting but also selected BBC TV archive footage and links to further information. The website was launched at the National Gallery in the summer of 2011. Currently, the site shows around 110,000 paintings from over 1,400 collections. In total, the national oil painting collection amounts to some 200,000 works, held in 3,000 galleries, museums, universities, hospitals and other public institutions from across the UK, making it one of the largest and most diverse collections of paintings in the world. The plan is for all these paintings to be online by the end of 2012. With the help of crowd-sourcing technology pioneered by the Astrophysics Department at the University of Oxford to classify galaxies, and art historical input from the University of Glasgow, the public are being invited to go online and help classify or ‘tag’ the paintings catalogued by the PCF so that in due course the paintings can be searchable by subject matter. Paintings can be tagged by visiting http://tagger.thepcf.org.uk/ About the Public Catalogue Foundation The PCF is a registered charity. It was launched in 2003 to create a photographic record of all the oil paintings in public ownership in the United Kingdom. In addition to publishing its work online, the PCF is also publishing a series of printed catalogues. The painstaking research to locate the paintings up and down the country and collate the data has been carried out by 50 researchers. Over 30 fine art photographers have been employed to take photographs of these paintings over the life of the project. London-based staff focus on fundraising, processing and editing the data that comes in from the field, and clearing copyright. The PCF is funded principally by grants and donations. Under 20 per cent of its funding comes from the public sector. Whilst many hundreds of individuals and institutions have supported its work, the PCF’s principal funders are Arts Council England, Christie’s, the Esmée Fairbairn Foundation, the Garfield Weston Foundation, the J Paul Getty Jnr Charitable Trust, The Monument Trust, the Stavros Niarchos Foundation and the Wolfson Foundation. The PCF was founded by Dr Fred Hohler. Its Trustees are Charles Gregson (Chairman of the PCF), Robert Hiscox (Chairman of Hiscox plc), Menna McGregor (Clerk of the Mercers’ company), Alex Morrison (Founder and Managing Managing Director of Cogapp), Richard Roundell (Vice–Chairman of Christie’s UK), Marc Sands (Director of Audiences and Media at Tate), Dr Charles Saumarez Smith (Chief Executive of the Royal Academy), Graham Southern (Founding Director of Blain Southern) and the artist Alison Watt. The Director is Andrew Ellis. For more information go to www.thepcf.org.uk

Funding Opportunity - AHRC Studentship for 2012 - Art History and Curating

Wed, 22 May 2013 06:03:43 +0000

Liverpool Hope University has been awarded a postgraduate studentship by the Arts and Humanities Research Council (AHRC) as part of the Block Grant Partnership Capacity Building scheme 2011-14. As a result, the following studentship (fees plus maintenance bursary) is available to successful applicants on the following programme, in either full-time or part-time mode: To start September 2012: One MA studentship in Art History and Curating Applicants must have resident status in the UK and meet the eligibility criteria set out in the AHRC's Guide to Student Funding (see Block Grant Partnerships). For more information, visit our website or contact the LHU Block Grant Coordinator (details below) The Departments of Music and Fine & Applied Arts are based at Liverpool Hope University's Creative Campus, which is on the edge of the thriving city centre and has seen investments of approximately £37m over the last decade. The final stage of development - a purpose-built Centre for Music, Performance and Innovation (Capstone building) - opened in Summer 2010, and houses a 300-seat concert hall suitable for music, drama and dance, and the University's new Steinway piano collection. (Liverpool Hope became an All-Steinway School in 2009.) The Cornerstone building, which houses the Fine & Applied Arts Department, is a vibrant gallery, performance and installation space. Creative Campus has been further transformed by the laying out of formal gardens that include outdoor performance spaces, and the creation of a dedicated reading room and postgraduate study area. Arts and Humanities students at Liverpool Hope University benefit from an infrastructure of strategic partnerships with cultural organizations, including National Museums Liverpool, Tate, the Royal Liverpool Philharmonic Orchestra, the European Opera Centre, Milapfest, Collective Encounters: Theatre for Social Change, Bluecoat, FACT, West Everton Community Council and Liverpool's Metropolitan Cathedral and Anglican Cathedral. This network of partnerships is one of the University's distinctive features, and postgraduates are encouraged to develop projects that make use of the resources arising from these collaborative partnerships in imaginative ways. For enquiries and full details regarding September 2012 entry, please contact: Mr Adam Waddingham PA to Dean of Arts and Humanities Liverpool Hope University Email: waddina@hope.ac.uk Tel: 0151-291 3225 For further information: http://www.hope.ac.uk/prospective/postgraduate-study/ahrcstudentships

External News and Events - Film Screenings - Radical Footage: Film and Dissent

Wed, 22 May 2013 06:03:43 +0000

Experimental film has played a significant role in contesting the political status quo from Lenin's early C20 declaration that cinema was the most revolutionary artform to DIY footage of the Arab Spring and anti-capitalist occupations. Locally and globally, film is being used to provoke, agitate, ask questions and generate new politicized communities. A selection of short radical films and commentaries - around the themes of anti-capitalism, protest, conflict and uprising - will explore the medium’s potential to contribute to social-political change. The day’s debate will be initiated by Oliver Ressler’s introduction to his films including What Would it Mean to Win? and What is Democracy? which you can watch here: http://www.ressler.at/what_is_democracy_film/ The programme includes shorts by Gary Anderson, Benj Gerdes, Neil Gray, Sacha Kahir, James Rowlins, Alexis Milne, Jordan McKenzie, Jessica Mautner, Fabienne Gautier, Irina Botea, Jacopo Natoli, Nisha Duggal. Discussions will be led by Esther Leslie (Birkbeck University of London), Martin O’Shaughnessy (Nottingham Trent University) and Gary Anderson (Liverpool Hope University/Free University of Liverpool). Schedule Registration 10.30 for 11am start with Oliver Ressler followed by panel discussion. 1pm break for lunch (NC is near lots of city centre eateries) Film programme and discussion continues through to 6pm, socialising, networking and drinks at bar through to 7pm To book a place visit the Nottingham Contemporary website: http://ncradicalaesthetics.eventbrite.com/?ebtv=C RadicalAesthetics-RadicalArt project is based at Loughborough University School of the Arts. Visit the RaRa website at http://www.lboro.ac.uk/departments/sota/research/groups/politicised/rara.html For further information contact RaRa organisers: Jane Tormey: J.Tormey@lboro.ac.uk Gillian Whiteley: G.Whiteley@lboro.ac.uk

External News and Events - Henry Moore Institute: United Enemies: On Sculpture in Art Magazines

Wed, 22 May 2013 06:03:43 +0000

Currently on show in the Main Galleries at the Henry Moore Institute is United Enemies: The Problem of Sculpture in Britain in the 1960s and 1970s. This exhibition looks at sculpture made by artists during this period, a time when the idea of sculpture was being radically contested. Our latest Library display has been selected from our collection of art magazines from the same period by independent writer and curator David Briers. Art magazines in the 1960s and 1970s were a crucial site for the circulation of ideas about sculpture, with the problems of sculpture wrested over on their pages. Briers, who founded the journal Pages, is joined by Anthony Davies and Jo Melvin to discuss their research into the ways that sculpture and art history have been tested, challenged and defined in art magazines. Davies is a writer, researcher and founding member of Mayday Rooms. Melvin is an art historian and Senior Lecturer and Fine Art Theory Coordinator at Chelsea College of Art & Design. The Henry Moore Institute is open until 9pm on Wednesday evenings. Free, but advance booking essential as places are limited Booking: Kirstie Gregory (Research Programme Assistant): kirstie@henry-moore.org http://www.henry-moore.org/hmi Henry Moore Institute The Headrow Leeds LS1 3AH

External News and Events - Call for Papers - ' Emblems of Nationhood: Britishness 1707–1901'

Wed, 22 May 2013 06:03:43 +0000

National identity is a central point of enquiry that is repeatedly called upon in contemporary social and political rhetoric. Our conference, ‘Emblems of Nationhood, 1707–1901’, will address the roots of this theme by discussing depictions of Britain and Britishness in literature, philosophy, and art between the Act of Union in 1707 and the death of Queen Victoria in 1901. Over the course of this multidisciplinary conference, we aim to explore how expressions of nationalism have moulded both critical perspectives on national identity and their creative products. Discussing emblems of nationhood in 2012 is a fitting way to mark the twentieth anniversary of Linda Colley’s seminal account of Britishness, Britons: Forging the Nation, and coincides with the Queen’s Diamond Jubilee. Several broad questions could potentially be explored in the course of the conference: What did Britishness mean in the eighteenth and nineteenth centuries, and how was it represented and perceived? To what extent is nationalism tied with military events and empire building? How “British” was Britain before the launch of the Empire? How did concepts of nationalism enter the public consciousness, both within the British Isles and abroad? What is the impact of artistic and cultural depictions of Britain and Britishness in domestic and international contexts? How can these historical ideas of Britishness enhance our contemporary understanding of the concepts of nationalism and national identity? Alongside panel sessions and a roundtable discussion on national identity in the period, public expressions of nationhood will also be represented: we are planning an exhibition of pictorial representations of Britishness in the form of cartoons, banknotes, war-landscapes, et cetera, as well as an evening of patriotic entertainment from the period. Suggested topics for papers might include, but are not limited to: Britannia and definitions of Britishness Liberty and Empire Four nations, archipelago and Britishness The Auld Alliance British history and histories of Britain Foreign and British taste Mother-nation and Commonwealth The Gothic revival, Gothic novels, and the ancient Gothic constitution Foreign perceptions of Britain and Britishness National anthems Expressions of Britishness in applied arts, satirical prints and cartoons The Great Exhibition of 1851 The iconography of British institutions Positive and negative forms of national identity We seek 250-word proposals for 20-minute papers from postgraduates and established scholars from across the Arts and Humanities. The deadline for submission is 1st March 2012. Please email submissions to EmblemsOfNationhood@gmail.com. If you have any questions please do not hesitate to contact the conference organisers, Dr Kristin Lindfield-Ott (mko4@st-andrews.ac.uk) and Jennifer Whitty (jw836@st-andrews.ac.uk).

External News and Events - Conference: ‘Art versus Industry?’

Wed, 22 May 2013 06:03:43 +0000

This two-day international and transdisciplinary conference aims to re-evaluate the intersections between the visual arts and industry in Britain during the long nineteenth century, with speakers including Dr Lara Kriegel (Indiana University), Dr Tom Gretton (University College London), Dr Colin Trodd (University of Manchester) and Dr Steve Edwards (Open University). The complexity and variety of nineteenth-century industrial culture and responses to it remain under appreciated. The idea that an ‘industrial culture’ might have existed in nineteenth-century Britain seemed paradoxical in the wake of Raymond Williams’ Culture and Society 1780-1950 (1958) and Martin Wiener’s English Culture and the Decline of the Industrial Spirit (1981). Both suggested a seemingly non-negotiable opposition between culture and industry. They privileged the writings of John Ruskin, and later William Morris, which resisted the incursion of mechanised production into the sphere of the fine and applied arts. ‘Art versus industry?’ looks beyond Ruskin and Morris to modify these characterisations. Recent studies of nineteenth-century literary culture have identified the development of a pro-industrial rhetoric in the early nineteenth century. How was this articulated in the visual arts? Debates over design reform in particular suggest the permeable boundaries between the artist, designer, artisan and operative, matched by a taxonomic conflation of art with design. Meanwhile, the prospect of widening the franchise of ‘taste’ often correlated with the embrace of new industrial technologies, as much as with the repudiation of them. ‘Art versus industry?’ seeks to uncover the complexities of the nineteenth-century ‘industrial culture’. Both days: £20.00 (£15 for students) Single day: £10.00 flat fee Contact Name (if applicable): Gabriel Williams gmw504@york.ac.uk Contact and further information details: Please visit http://artvindustry.blogspot.com/ for programme details, further information and to download the booking form. Deadline for booking or submission (if applicable): 9 March 2012 (Booking deadline)

External News and Events - Study Tour - Norwegian Sensibilities: The Oslo of Ibsen, Munch and Vigeland

Wed, 22 May 2013 06:03:43 +0000

Dr Elena Kashina (£400, includes entry to all museums and sites and travel between sites; travel to Oslo and accommodation are not included) The trip to Oslo will focus on the period from the 1870s to the 1950s. The last decades of the nineteenth century saw Norway actively sharing in the pan-European elation of re-discovering and re-defining national identities. In Norway, this was underscored by an intensifying drive towards national independence, after centuries of being ruled by Denmark (1536 – 1814) and then by Sweden (1814 – 1905). During our visits we will explore a distinctly indigenous tradition, expressed in paintings, sculpture and architecture, and in a language which represents a meeting of the broader European cultural expression and of Norway’s very own sensibilities. We shall start by visiting the National Gallery, and proceed to the Museum of Decorative Arts.The Munch Museum will offer an insight into a Norwegian interpretation of early twentieth- century aesthetics. Sculptural work by Gustav Vigeland, set in Oslo’s largest landscaped park, presents a reflection on the human condition, arguably informed by the historically forlorn nature of Norwegian lifestyle and by post-war reconstruction. Finally, the Oslo City Hall is a monument to Norway’s cultural and civic achievement. Raised on the site of a notorious slum area, it has a unique character symbolic of a unity of national romanticism and functionality. Lecturer’s Biography: Dr Elena Kashina studied for her MPhil in Mediaeval Viking and Scandinavian Studies at the University of Oslo, following an award of a scholarship by the Research Council of Norway and gained her PhD in the History of Art at Leeds in 2007. Her scholarly interests include changes of traditional iconographies in 16th-century Russia, in their political and cultural context, and the history of artistic patronage, with an emphasis on the 19th and 20th centuries. Her current research focuses on contributing to the edited collection on 'Representing the Past in the Nineteenth Century’, to be published by Ashgate in 2015. For further details contact e:mail: short.courses@courtauld.ac.uk: tel. 0207 848 2678 The Courtauld Institute of Art Short Courses Somerset House, The Strand London WC2R 0RN http://www.courtauld.ac.uk/publicprogrammes/studytours.shtml/

External News and Events - Event - Sir Michael Sadler Symposium

Wed, 22 May 2013 06:03:43 +0000

The symposium will mark the launch of the re-branded Leeds Art Collections Fund (LACF), one of the UK's oldest gallery Friends' organisations, which Sadler was instrumental in establishing in 1912. The University of Leeds celebrates Sadler's role as its Vice-Chancellor from 1911 until 1923, with a series of exhibitions of artwork and textiles which he donated, at its Stanley & Audrey Burton Gallery and the University of Leeds International Textiles Archive. The Sadler symposium, generously supported by the Paul Mellon Centre for Studies in British Art, will provide the opportunity to review and extend existing scholarship related to Sadler with a range of papers given by distinguished scholars from across the UK. It will focus especially on Sadler's legacy to British art history and education in the early 20th century. Free, but places are limited so please book your place in advance by e-mailing gallery@leeds.ac.uk, phone (0113) 343 2778, or online: http://sadlersymposium-eorg.eventbrite.com/

AAH News and Events - Art History in the Pub - Scotland. 'Tattooing as Artistic Practice'

Wed, 22 May 2013 06:03:43 +0000

As part of the AAH's commitment to bringing the best in cutting-edge art-historical research to a wider community, we have been running Art History in the Pub in Camden, London. Due to the overwhelming success of these events, we're delighted to be able to announce our new event series in Edinburgh, Art History in the Pub Scotland Our talks present a selection of the wide vareity of topics, periods, methods and apporaches common in art historical study, and are aimed at a generalist audience. AHitP Scotland is held at: The Banshee Labyrinth 35 Niddry St Edinburgh EH1 1LG http://www.thebansheelabyrinth.com/ Free to attend. Inaugural Event Tuesday 28 February 6:30pm Dr Matt Lodder (Association of Art Historians; University of Reading) - "Tattooing as Artistic Practice" The term “body art” seems familiar, and on the surface quite straightforward. It appears interchangeably with the term “body modification” in writing on these practices from every conceivable scholarly discipline: sociology, cultural studies, media studies, literary studies, psychology, ethnography, criminology, anthropology and even in articles which approach the topic from a medical or scientific point of view, including dermatology and psychiatry. Interestingly enough, however, the term “body art” has rarely appeared in any writing which takes an explicitly art-historical or art-critical approach, and has never been subjected to any sustained analysis which uses the methodologies deployed by specialists when engaging with other forms of art. If tattooing and its coincident technologies are “body art”, they have not as yet been understood as such by art historians. Almost without exception, critical writing on body modification technologies throughout history concerns itself with questions of subjectivity and motivation. Most who write about body modification technologies employ methodological approaches which limit investigations to the circumstances which prefigure any modification procedure, and concern themselves exclusively with issues which deal with that which comes prior to the modifications being carried out. As such, questions of impetus and impulse dominate the literature: Why would someone get a body piercing? What subjective truth are criminals expressing when they tattoo themselves? What drives someone to alter their body? What cultural coercion is at work when a woman gets a breast augmentation? What is the ritual significance or utility of a Maori facial tattoo? What psychiatric disorders are at work in such auto-destructive behaviours? These are all important, pertinent and interesting discussions, of course, but they all end, abruptly, once the scalpel blade or needle touches the skin. Once the procedure has begun, the answers to these types of question are already apparent; once the body begins to be altered, the period of interest ends. And with this myopic focus on what comes prior to the modificatory procedure rather than what results from it, such analyses studiously ignore what to me has always seemed the most fascinating and intriguing aspects of modified bodies: their look; their aesthetic; their materiality; the body art object itself. In an talk drawing on his doctoral thesis, Matt will address the history of tattooing as a professional artistic practice, illustrate several examples which complicate any simplistic notions of tattoos as art works in the conventional sense, and discuss various interactions between tattooing and the institutional fine art establishment. Biography: Dr Matt Lodder is an academic art historian, based in London. His work is concerned with the artistic status of body art and body modification practices, including tattooing, body piercing and cosmetic surgery, applying art-theoretical and art-historical methodologies to the study of the modified body specifically as an art object rather than a site for psychological, psychiatric, anthropological or ethnographic interest. He has acted as a contributor and expert consultant for various radio and television projects on body art and body modification, including BBC's 'Coast', on BBC Radio 5, BBC Radio Sheffield, on Channel 4 and on Australia's Triple J, and is currently working on a book which presents an art historical survey of tattooing from the 16th century to the present day.

External News and Events - Call for Papers - Performing Art History II: Conveying Research, Communicating Collaboration

Wed, 22 May 2013 06:03:43 +0000

Building on a further year of workshops and seminars, the Performing Art History Group present a second conference that seeks to explore the clarity, diversity, and freedom that can come from presenting art historical research directly to an audience, as opposed to through traditional publishing routes in books or journals. This year the conference will have an additional focus on collaboration. The topics of previous workshops, focusing on Television, Radio, and Internet Art History all address media that inevitably require creative alliances between different individuals with different skills. Likewise, the shift from more static forms of analysis encouraged by the limitations of print-based media and the subsequent rise of new technologies at the disposal of researchers, allows for interesting and diverse partnerships to emerge both within the discipline of art history and beyond it. As such, the conference will give an opportunity for scholars at all stages of their careers to experiment with dynamic, alternative methods of conveying research and communicating collaborations, with the format of papers able to both reflect and directly comment upon the subject presented. Abstracts are invited for short 15 minute papers from all areas of the discipline. In each case the art historical research presented should be further elucidated through novel and alternative presentation method, be it visual, aural, or action-based. Joint papers or collaborations between art historians, or between art historians and practitioners from other disciplines (visual arts, history, sciences, etc.) are especially encouraged. Possible papers: ‘Miro and the Sea: A Picture Essay’ ‘21st-Century Collage: a lecture on multi-media given in multi-media’ ‘The Poetry of the Parthenon: an architectural analysis in verse by historian and poet’ ‘Between Rubens and Poussin: a live debate’ ‘The Mediterranean Character of Picasso: a lost lecture by the artist’ ‘Technical Advances and Musical Collaborations: recent x-ray examinations of a 14th century altarpiece accompanied by a new musical arrangement Presentation techniques could include (but are not limited to): a collaborative lecture between two speakers or performers a picture essay or photo essay an accompanying visual montage, movie, animation, or artwork accompanying sound, music, or performance original use of digital or presentation technologies (PowerPoint, etc.) an online paper an improvised lecture a lecture in character Applicants should send an abstract of around 300 words clearly outlining the art historical focus of the paper, the paper’s presentational technique, and the nature of the collaboration (if relevant), alongside a short biography, to jack.hartnell@courtauld.ac.uk Deadline: 12th March 2012 Contact Name (if applicable): jack.hartnell@courtauld.ac.uk

External News and Events - Funding available for research into tiles and architectural ceramics

Wed, 22 May 2013 06:03:43 +0000

In order to support historical research in the field of British-made decorative tiles and architectural ceramics, the Tiles and Architectural Ceramics Society (TACS) is offering grants of up to £1,000 to suitable applicants. Please note that specific conservation projects (of objects or buildings) are not eligible unless a significant research element is included. TACS Research Grants are offered to assist with travel, subsistence and other research costs. They may be used to visit collections, libraries, archives or historic sites in the UK or abroad, in connection with research into British-made decorative tiles and architectural ceramics. They are not offered to assist with conference attendance. They are offered to students and researchers already engaged in study or research concerned with or related to the history of tiles and architectural ceramics. Projects offering matching funding to the TACS Research Grant will be looked upon with favour. For details and how to apply see www.tilesoc.org.uk/research.htm or contact Lynn Pearson at lynnpearson2@btinternet.com Application Deadline15 June 2012 and 15 December 2012

External News and Events - Conference - Mondrian, Nicholson and 20th Century Abstraction

Wed, 22 May 2013 06:03:43 +0000

09.30 – 18.00, Saturday 3 March 2012 (with registration from 09.00) Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN In 1936 Alfred H. Barr Jr’s history-making-and-shaping survey Cubism and Abstract Art put Piet Mondrian and Ben Nicholson together as the older and younger leaders of ‘geometrical abstraction’ in the Western World. It also announced that ‘geometrical abstraction’ was in decline, a judgement Mondrian immediately dismissed. For him, writing to Nicholson, ‘geom. abstr.’ was always in the ascendant. This conference will respond to the stimulus offered by the exhibition Mondrian/Nicholson: In Parallel, to explore the issues raised by the kind of non-figurative art for which Mondrian and Nicholson stood in the 1930s and after. What was specific to this kind of art both in the particular achievements of these two artists and more generally? How could it assert its importance in the 1930s, and what could it mean in a decade in which Utopian optimism met anxiety and fear in the descent towards war? Was there, despite Barr’s judgement, a future for what he dubbed ‘geometrical abstraction’, even beyond Mondrian’s death in 1944 and beyond the Second World War? Among those speaking will be Hans Janssen from the Gemeentemuseum in The Hague, Michael White from the University of York, and Lee Beard, editor of the forthcoming catalogue raisonné of Nicholson. There will also be free entry to the exhibition throughout the day, and the conference will end with an open discussion in which the curators involved, Christopher Green, Barnaby Wright and Lee Beard will participate. To book a place: £16 (£11 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 ‘Mondrian/Nicholson’ conference. For further information, email ResearchForumEvents@courtauld.ac.uk Organised by Chris Green and Barnaby Wright (The Courtauld Institute of Art) Contact and further information details: http://www.courtauld.ac.uk/researchforum/events/2012/spring/mar3_MondrianNicholson.shtml

External News and Events - The 2012 Courtauld Institute of Art Postgraduate Symposium

Wed, 22 May 2013 06:03:43 +0000

Showcasing New Research 2012 Thursday 8 March, 10.00 – 18.00 Friday 9 March, 13.00 – 18.00 Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN The 2012 Postgraduate Symposium will bring together third year research students working on art across a range of periods, themes and media. From Moscow to Mexico and from cathedrals to artists’ collectives, the symposium will provide a platform for the diverse work carried out by the Courtauld’s doctoral researchers. Papers will be organised into thematic, cross-period sessions, creating opportunities for exchange and dialogue between these emerging scholars. Open to all, free admission Organised by the Research Forum Postgraduate Advisory Group and PhD students PROGRAMME Thursday 8 March (DAY 1) 10.00 – 10.05 Welcome: Prof. Caroline Arscott, Head of Research 10.05 – 10.10 Introductory Remarks: Katie Faulkner 10.10 – 11.30 SESSION 1: Patronage and Commissions – Chair: Michael Carter Mary Camp: Jacopo Pontormo's ‘Portrait of Two Friends’ Amanda Dotseth: San Quirce de Burgos: Reforming a Romanesque Church for the Early Modern Period Susan Green: The Tree Of Jesse And The Carmelites In The Netherlands And Germany In The Late 15th And Early 16th Centuries 11.30 – 12.30 SESSION 2: Art and Exchange – Chair: Klara Kemp-Welch Anita Sganzerla: Castiglione's Etching, Diogenes Searching for an Honest Man Elizaveta Butakova: ‘Here lies the corpse of Soviet art…’ – or Malevich resurrected? The reception of ‘unofficial’ Soviet art in Paris, 1976-79 12.30 – 14.00 BREAK FOR LUNCH (not provided) 14.00 – 15.00 SESSION 3: Artistic Labour – Chair: Jim Harris Roo Gunzi: Stanhope Forbes, Newlyn Painter Emma Luker: Two Psalters, One Workshop 15.00 – 16.20 SESSION 4: Art and Death – Chair: Ayla Lepine Jack Hartnell: Anatomy as Analysis Tom Balfe: The Problem of Genre Classification in Gamepiece Still Life Geoffrey Nuttall: The Tomb of Lorenzo Trenta and the Limitations of Reality 16.30 – 16.45 TEA/COFFEE BREAK (provided) 16.45 – 18.00 SESSION 5: War and Authority – Chair: Keren Hammerschlag Julia Bischoff: Isidore Pils’ Tranchée devant Sébastopol, 1855 Rodrigo Canete: The Phenomenology of Authority in the Reign of Philip IV of Spain Katie Faulkner: An Edwardian Knight: Gilbert Bayes's Equestrian Statuettes 18.00 RECEPTION Friday 9 March (DAY 2) 13.00 – 14.00 SESSION 6: Defining and Inscribing the Role of the Artist – Chair Elisa Schaar Lois Oliver: Visitors in the Artist’s Studio: Nineteenth-Century Variations on a Theme Glyn Davies: Signed Chalices in Renaissance Tuscany 14.00 – 15.00 SESSION 7: Abstraction – Chair: Bill Roberts Jacopo Galimberti: The Geflecht Group in 1960s Germany Pei-Kuei Tsai: Exchangeability in Art after Modernism: Taiwanese artist Chen Chieh-Jen as a Case Study 15.00 – 15.30 TEA/COFFEE BREAK (provided) 15.30 – 16.30 SESSION 8: Display and Exhibition – Chair: Jack Hartnell Sara Knelman: Exhibiting the Everyday: Photography and the Art Museum Miranda Stern: The Artist as Curator in the Museum 16.30 – 18.00 SESSION 9: Architecture and Ornament – Chair: Katie Faulkner Jocelyn Anderson: Country House Art Exhibitions Lesley Milner: Two Northern Treasure Houses Amanda Delorey: The Politics of Integración Plástica: The Role of Murals in Mexican Social Housing Architecture

External News and Events - Call for Papers - Histories of British Art, 1660-1735: Reconstruction and Transformation

Wed, 22 May 2013 06:03:43 +0000

20-22nd September 2012, at King’s Manor, University of York The CFP is for a forthcoming conference on all areas of British Art, 1660-1735. We welcome proposals from graduate students, academics working in History of Art and other Humanities disciplines, curators and all others engaged in research on the field. The conference is a key output of a major AHRC-funded project on art of the period, ‘Court, Country, City: British Art, 1660-1735.’ This project is ran in collaboration between Tate Britain and the University of York, and led by Prof. Mark Hallett (York), Prof. Nigel Llewellyn (Tate) and Dr. Martin Myrone (Tate). Conference costs will be heavily subsidized thanks to AHRC funding, however spaces for the conference are limited and priority will be given to speakers. A number of graduate student bursaries will be available. Please see the attached poster for more details. Please send abstracts of no more than 300 words to claudine.vanhensbergen@tate.org.uk Deadline 2nd March 2012.

External News and Events - Courtauld Spring 2012 Friends Lecture Series

Wed, 22 May 2013 06:03:43 +0000

Art and Psychoanalysis: War in the Time of Peace Tuesday, 7 February - 17.30 - 18.30, Kenneth Clark Lecture Theatre Lyndsey Stonebridge (Professor of Literature and Critical Theory, University of East Anglia) The Perpetrator Occult: Francis Bacon Paints Adolf Eichmann Even though his postwar images of bespectacled men in glass boxes led many to assume he did, Francis Bacon never actually completed a painting of Adolf Eichmann. Yet if Bacon seems an irresistible artist to draw into contemporary discussions about perpetrators and their crimes, this is not simply because of the apparently compelling associations between his work, Holocaust iconography and postwar war crime trials. Encased behind glass, like Eichmann and his predecessors at Nuremberg, Bacon’s figures seem to look at us from within Hell itself. This is the perpetrator occult, an idiom that invites us to look, but not necessarily to reflect. In this lecture, Professor Stonebridge uses Bacon’s painting as a hinge first, historically (with Hannah Arendt), to think about the different kinds of perpetrator occults in the Nuremberg Tribunal and the Eichmann trial, and second, interpretatively (with Donald Winnicott), to draw out a contrast between the kind of looking that keeps the perpetrator behind glass, and a more implicated looking that might allow us to think critically and creatively about the kinds of political judgements we bring to the perpetrators of atrocity. Lyndsey Stonebridge is Professor of Literature and Critical Theory at the University of East Anglia, where she is also Associate Dean for Postgraduate Research in the Faculty of Arts and Humanities. She is the author, most recently, of The Judicial Imagination: Writing After Nuremberg (2011). Other publications include: The Writing of Anxiety (2007), The Destructive Element: British Psychoanalysis and Modernism (1998), British Fiction after Modernism: The Novel at Mid-Century, edited with Marina MacKay (2007), and Reading Melanie Klein, edited with John Phillips (1998). She is currently working on a new project, Refugee Writing: States, Statelessness and Modern Literature. This lecture series complements the 2011-12 Research Forum/Andrew W Mellon Foundation MA on ‘Art and Psychoanalysis: Fifty Years of War in the Time of Peace, 1960-2010’, taught by Professor Mignon Nixon with Visiting Professor Juliet Mitchell (University College London Psychoanalysis Unit). The course is conceived as a dialogue between art and psychoanalysis on questions of war and war protest. The lecture series offers cross-disciplinary perspectives on art, psychoanalysis and war. Open to all, free admission Organised by Professor Mignon Nixon Spring 2012 Friends Lecture Series supported by Friends of The Courtauld Art and Psychoanalysis: War in the Time of Peace Lectures are free and open to all*, and will be held on the following Tuesdays at 17.30 – 18.30** in the Kenneth Clark Lecture Theatre (* note that on 31 January, entry will be on a first-come-first served basis) (** note earlier start time on 6 March, see below) Tuesday, 17 January Juliet Mitchell (Research Forum / Andrew W Mellon Foundation MA Visiting Professor at The Courtauld; Director of PhD program in Psychoanalytic Studies, UCL; Mellon Visiting Research Scholar, Witswatersrand.S.A.), Psycho-analysis: War and the Law of the Mother Tuesday, 31 January Thomas Hirschhorn (artist), Crystal of Resistance Tuesday, 7 February Lyndsey Stonebridge (Professor of Literature and Critical Theory, University of East Anglia), The Perpetrator Occult: Francis Bacon Paints Adolf Eichmann Tuesday, 21 February Silvia Kolbowski (artist), Dead Subjects Speak: Silvia Kolbowski Presents Her 2010 video, A few howls again? Tuesday, 6 March, 17.00 - 18.30 (Note timing) Jacqueline Rose FBA (Professor of English, Queen Mary, University of London) Charlotte Salomon – Painting Against The Dark This lecture series will complement the 2011-12 Research Forum/Andrew W Mellon Foundation MA on ‘Art and Psychoanalysis: Fifty Years of War in the Time of Peace, 1960-2010’, taught by Professor Mignon Nixon with Visiting Professor Juliet Mitchell (University College London Psychoanalysis Unit). The course is conceived as a dialogue between art and psychoanalysis on questions of war and war protest. The lecture series will offer cross-disciplinary perspectives on art, psychoanalysis and war. Organised by Professor Mignon Nixon

External News and Events - Call for Papers - 'Authenticity'

Wed, 22 May 2013 06:03:43 +0000

University of York Centre for Modern Studies Post-Graduate Annual Symposium 2012 31st May 2012; Call for Papers deadline: 26th March 2012 University of York, Bowland Auditorium, Berrick Saul Building This second annual symposium of the University of York Centre for Modern Studies Post-Graduate Forum will focus on the theme of ‘Authenticity’: The signs of authenticity pervade our everyday interactions with the world, from the authentic takeaway to the historical television re-enactment and the claimed impartiality of the commercial press. In response to the British riots in the summer of 2011, Tudor historian David Starkey made the distinction between the authentic and inauthentic citizenry. Those who partook in looting and affray were figured as outside authentic structures of legal and moral behaviour, ‘feral’ even. The insidious and barely concealed attribution of inauthenticity to what in London was a predominantly black community set off racial tension that for many years now has been thought of as behind us. Authenticity, then, had become the buzzword in the reenlivened discourses of politics, race, class and culture. Through this interdisciplinary conference, the Centre for Modern Studies Post-Graduate Forum seeks to explore and question the associations and assumptions that have come to coalesce around the concept of the ‘authentic’. From the art historian Hal Foster’s charting of the ‘Return of the Real’, through its philosophical instantiations in Marx, Sartre, Heidegger, Keirkegaard and Adorno, by way of the pop/mass culture debate in Cultural Studies, to the notion of performative ‘masquerade’ in theories of gender and sexuality – issues of authenticity thread through much recent work in the humanities and the social sciences. For example, the Victoria and Albert Museum’s recent exhibition on postmodernism aims to historicise a discourse famous for its slippery employment of replication, reproduction and rearrangement into a compartment of the authentic academic canon. We therefore invite abstracts for papers from post-graduates working in the humanities and social sciences disciplines in the modern period (1850-present). We would welcome interdisciplinary papers, and submissions from panels. Possible topics for papers include but are not limited to: The authenticity debate in twentieth century philosophy Critical Counterfactualism Hoaxes, deceptions and counterfeiting Documentary film and television Photography Journalism Cuisine Digital authentication and access Intellectual property and copyright Identity: race, class, gender, sexuality Mimesis and verisimilitude Materiality / immateriality – replication, the virtual / digital (gaming) Fantasy / utopia / visionaries / spiritualities / sci-fi Costume, cross-dressing / beauty industry and cosmetics Geographies of authenticity – i.e. ‘native’ and ‘indigenous’ vs. ‘foreigner’ ‘alien’ Immigration / migration Abstracts for papers should be 300 words in length, and the deadline for submissions is Monday 26th March 2012 at 5.00pm. Please send abstracts to cmods-pgforum@york.ac.uk – if you would like more information about the symposium or the CMODS Postgraduate Forum, don’t hesitate to contact us at this address. Contact Name (if applicable): Centre for Modern Studies Post-Graduate Forum cmods-pgforum@york.ac.uk Website: http://www.york.ac.uk/modernstudies/postgraduate-forum/ Call for Papers deadline: 26th March 2012

External News and Events - Call for Participation - The history of graphic satire in Canada, from the colonial period to the onset of the Cold War

Wed, 22 May 2013 06:03:43 +0000

Editors: Dominic Hardy, Annie Gérin and Lora Senechal Carney From the time of the introduction of printing in the early colonial period to the end of the Second World War and the beginning of the Cold War, Canadian visual culture was enriched by a huge increase in graphic satire. Although associated with public contexts in which 18th century prints gave way to ephemeral journals, mass-media newspapers, specialist political publications (which ranged widely from fascist to communist, with most situated in between), and publicly funded exhibitions, Canadian graphic satire also permeated the private realm, in letters, journals and diaries that show the full dimension of visual satire in Canadian life. This publication will bring together essays grounded in approaches ranging across art history, theories of satire and humour, word/image theory, film and photographic history, linguistics, anthropology, history, political sciences, literary criticism, and all fields that study any of the visual cultures of Canada. Essays may focus on particular artists, media, institutions or targets of visual satire. They might also highlight particular social processes, community formations or cross cultural exchanges. The book is intended for an international audience of readers interested in histories of visual culture. While it will be published in English, French-language submissions (to be translated professionally before publication) will also be welcome. Please send proposals of up to 400 words with a one-page c.v. to each of the editors at the email addresses listed below by May 1, 2012. Notifications of acceptance of proposals will be sent out by June 1st. Essays of about 7,000 words (footnotes included) will be required by December 1, 2012 and will be subject to review by the editors and by external peer reviewers before final decisions are made on inclusion in the volume. Submissions, CVs and any enquiries should be addressed to the three editors: Dominic Hardy, Université du Québec à Montréal, hardy.dominic@uqam.ca Annie Gérin, Université du Québec à Montréal, gerin.annie@uqam.ca Lora Senechal Carney, University of Toronto, carney@utsc.utoronto.ca

External News and Events - Conference - The Journal of Art Historiography 2012 Conference

Wed, 22 May 2013 06:03:43 +0000

26-27 March 2012, University of Birmingham After the ‘New Art History’ http://www.birmingham.ac.uk/schools/lcahm/departments/historyofart/events/2012/after-the-new-art-history.aspx Speakers Whitney Davis (University of California, Berkeley) and Griselda Pollock (University of Leeds) Fiona Allen and Simon Constantine (University of Leeds) Rina Arya (University of Wolverhampton) Noemi de Haro García (Universidad Autónoma de Madrid) Joanne Heath (University of Leeds) David Hulks (University of East Anglia) Krista Kodres (Art Institute, Tallinn) Jenni Lauwrens (University of Pretoria) Matthew Rampley (University of Birmingham) Renja Suominen-Kokkonen (Åbo Akademi University) Ian Verstegen (Moore College of Art and Design, Philadelphia) Jennifer Way (University of North Texas) Shearer West (Oxford University) The term ‘new art history’ has long been an established – albeit contentious – part of the critical lexicon of the art historical discipline. Associated with the pioneering social and feminist art histories of T J Clark and Griselda Pollock of the 1970s (expanding in subsequent decades to encompass post-colonial, Freudian, post-Freudian and wider gender-studies approaches), it denoted a conceptual shift that foregrounded the dependence of intellectual inquiry on a priori ideological / political values. In recent years such interlinking has been undermined in a number of ways. Embryonic discourses such as neuro-art history, environmental approaches to art and neo-Darwinian accounts have sought to create alternative ‘objective,’ ‘scientific’ and depoliticised paradigms of inquiry. On the other hand, it has been seen as insufficiently self-critical; for many proponents of visual studies its institutional success has led to a blunted vision, in which the value of basic categories, such as ‘art’ allegedly remain uninterrogated. Finally, growing external political pressures on the Academy, which have been focused on instrumentalising art history, are potentially threatening to turn the discipline into a service industry for the market, stripping it of its force as a mode of radical social and cultural inquiry. This conference will examine the state and futures of radical art history within this context. What has been gained for the discipline over the past 40 years, and what are the dangers for these gains in the present? What are the current challenges for radical art history, and how are they being met? full programme [pdf] Fee Daily rate: £25 Full conference: £40. Students / unwaged: £10 / £20 Contact: m.j.rampley@bham.ac.uk

External News and Events - Conference - Buddhist Art Forum

Wed, 22 May 2013 06:03:43 +0000

Wednesday 11 to Saturday 14 April 2012 Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN This Forum will be a major event of an exceptional kind, seeking to address the philosophical issues concerning Buddhism and art in a profound and holistic way. Drawing contributors from widely varied backgrounds from Asia and the rest of the world, the Forum will have four overarching themes dealing with Buddhist art: definition; creation and function; conservation; and its role in the contemporary world. It will be the first time that a representative group of those with a stake in Buddhist art–monks, artists, art historians, archaeologists, conservators, curators, and officials–are gathered to consider such issues, and a unique opportunity for synergistic discussion. Prompted by The Courtauld’s engagement with the complex challenges of preserving Buddhist art in China, India and Bhutan and The Ho Family Foundation’s aim to promote understanding of Buddhism, it is hoped that the Forum will make a genuine contribution to the awareness and understanding of issues and developments beyond regional and specialist boundaries. About forty contributors will engage with an audience of scholars, students and the general public who will participate in discussion throughout the event. The Forum will include evening receptions jointly hosted with the Victoria and Albert Museum and the British Museum, and another in The Courtauld Gallery. Booking is for all four days of the Forum. To book a place: £100 (£75 Courtauld staff/students and concessions). BOOK ONLINE: http://courtauld-institute.digitalmuseum.co.uk. For payment by cheque, or for further information, email ResearchForumEvents@courtauld.ac.uk . Since places are limited, The Courtauld regrets that it cannot guarantee that all booking requests will be accepted. Organised by David Park and Kuenga Wangmo (The Courtauld Institute of Art) .This event is sponsored by the Robert H. N. Ho Family Foundation. PROGRAMME DAY 1 DEFINING BUDDHIST ART 09.30 – 10.00 Registration 10.00 – 10.15 Introduction – Deborah Swallow and David Park (The Courtauld Institute of Art) Session 1: Chair: Deborah Swallow (The Courtauld Institute of Art) 10.15 – 10.45 Jigmé Khyentsé Rinpoche (Songsten, France): Buddhist Art as Support for Mind Training 10.45 – 11.15 Juhyung Rhi (Seoul National University): Becoming a Buddha: Enlightenment Versus the Buddha's First Sermon in Indian Buddhist Art 11.15 – 11.30 Discussion 11.30 – 12.00 COFFEE/TEA BREAK (tea-coffee provided – seminar room 1) Session 2: Chair: Christian Luczanits (Rubin Museum of Art, New York) 12.00 – 12.30 Peter Skilling (École française d’Extrême-Orient, Bangkok): Rhetoric of Reward, Ideologies of Inducement: Why Produce Buddhist 'Art' ? 12.30 – 13.00 Robert Sharf (University of California, Berkeley): Ritual Function of the Art of Major Central Asian Cave Sites 13.00 – 13.15 Discussion 13.15 – 14.45 BREAK FOR LUNCH (lunch not provided) Session 3: Chair: David Park (The Courtauld Institute of Art) 14.45 – 15.15 Melissa R. Kerin (Washington and Lee University, Lexington): Not What It Seems: Understanding Collection and Display Practices in a Western Himalayan Buddhist Shrine 15.15 – 15.45 Jigmed W. Namgyal (Namgyal Institute for Research on Ladakhi Art and Culture, Leh): NIRLAC’s Conservation Efforts in Ladakh 15.45 – 16.00 Discussion 16.00 – 16.30 TEA/COFFEE (tea-coffee provided – seminar room 1) Session 4: Chair: Jan Stuart (The British Museum, London) 16.30 – 17.00 Kate Crosby and Pyi Phyo Kyaw (School of Oriental and African Studies): The Mahamuni Image of Mandalay and His Brothers: Understanding Buddha Worship in Southeast Asian Context 17.00 – 17.30 Patricia Berger (University of California, Berkeley): The Problem of Authenticity: A Historical Geography of Buddhist Art in Eighteenth-Century China 17.30 – 17.45 Discussion 18.45 – 20.45 Evening Reception at the Victoria and Albert Museum, in the Dorothy and Michael Hintze Galleries with a viewing of the Robert H. N. Ho Family Foundation Gallery of Buddhist Sculpture DAY 2 CREATION AND FUNCTION OF BUDDHIST ART 09.45 – 10.15 For security purposes, participants are required to sign in at the door each day Session 1: Chair: Roderick Whitfield (School of Oriental and African Studies, London) 10.15 – 10.45 Matthew Kapstein (University of Chicago): The Oracle and Temple of La mo Icog: Aspects of History and Iconography 10.45 – 11.15 Tadeusz Skorupski (School of Oriental and African Studies, London): Buddha's Stupa and Image: In search of the Ultimate Icon 11.15 – 11.30 Discussion 11.30 – 12.00 COFFEE/TEA BREAK (tea-coffee provided – seminar room 1) Session 2: Chair: Beth McKillop (Victoria and Albert Museum, London) 12.00 – 12.30 Youngsook Pak (School of Oriental and African Studies, London): Blazing Light. Calamity-Solving Images in Medieval Korea 12.30 – 13.00 Claudine Bautze-Picron (CNRS, Paris, and Free University of Brussels): Painted and Architectural Ornamentation of the Temples of Pagan: More than Mere Iconography and Decoration 13.00 – 13.15 Discussion 13.15 – 14.45 BREAK FOR LUNCH (lunch not provided) Session 3: Chair: Sharon Cather (The Courtauld Institute of Art) 14.45 – 15.15 Dorjee Tshering (Department of Culture, Thimphu): Relationship of Conservation to the Function of Monuments with Particular Reference to Buddhism in Bhutan 15.15 – 15.45 John Clarke and Diana Heath (Victoria and Albert Museum, London): A New Image of the Mahasiddha Virupa, a Major Addition to the Corpus of Yongle Bronzes: Conservation and Art Historical Investigations 15.45 – 16.00 Discussion 16.00 – 16.30 TEA/COFFEE (tea-coffee provided – seminar room 1) Session 4: Chair: Deborah Swallow (The Courtauld Institute of Art) 16.30 – 17.00 Alice Kandell (New York): Why Collect Tibetan Art? 17.00 – 17.30 Francesca Herndon-Consagra (Pulitzer Foundation for the Arts, St Louis): Opening the Eyes: Experiencing Buddhist Art in a Building by Tadao Ando 17.30 – 17.45 Discussion 18.45 – 20.30 Evening Reception in the Joseph E Hotung Gallery of Oriental Antiquities at the British Museum DAY 3 CONSERVATION OF BUDDHIST ART 09.45 – 10.15 For security purposes, participants are required to sign in at the door each day Session 1: Chair: Sharon Cather (The Courtauld Institute of Art) 10.15 – 10.45 Christian Luczanits (Rubin Museum of Art, New York): Conservation and Research in Buddhist Art: Questions of Ethics, Documentation and Reconstruction from a Practical Research Perspective 10.45 – 11.15 Lisa Shekede and Stephen Rickerby (The Courtauld Institute of Art): Buddhist Wall Paintings of Bhutan: Material Traditions and Conservation Realities 11.15 – 11.30 Discussion 11.30 – 12.00 COFFEE/TEA BREAK (tea-coffee provided – seminar room 1) Session 2: Chair: David Park (The Courtauld Institute of Art) 12.00 – 12.30 Charlotte Martin de Fonjaudran (The Courtauld Institute of Art), Sreekumar Menon and Maninder Singh Gill (Art Conservation Solutions, Delhi): Sumda Chun and Other Early Buddhist Wall Painting Sites in Ladakh: Practical and Ethical Conservation Issues from Obscuring Surface Layers to Failing Structures 12.30 – 13.00 Alexander von Rospatt (University of California, Berkeley): Buddhist Strategies of Keeping its Sacred Shrines Alive: the Example of the Svayambh?-caitya of Kathmandu 13.00 – 13.15 Discussion 13.15 – 14.45 BREAK FOR LUNCH (lunch not provided) Session 3: Chair: Roderick Whitfield (School of Oriental and African Studies, London) 14.45 – 15.15 Wang Xudong (Dunhuang Academy): The Issues Facing the Dunhuang Caves and Preventative Conservation 15.15 – 15.45 Lorinda Wong (Getty Conservation Institute, Los Angeles): Applying the China Principles: the Getty Conservation Institute's Work at Dunhuang and Chengde in China 15.45 – 16.00 Discussion 16.00 – 16.30 TEA/COFFEE (tea-coffee provided – seminar room 1) Session 4: Chair: Sharon Cather (The Courtauld Institute of Art) 16.30 – 17.00 Susan Whitfield (The British Library, London): The International Dunhuang Project and the Conservation and Digitisation of Buddhist Art 17.00 – 17.30 Yoko Taniguchi (University of Tsukuba): Conserving Bamiyan’s Wall Paintings: Dilemmas and Practical Issues 17.30 – 17.45 Discussion 18.30 – 20.30 Evening Reception in The Courtauld Gallery DAY 4 ROLE OF BUDDHIST ART IN THE CONTEMPORARY WORLD 09.45 – 10.15 For security purposes, participants are required to sign in at the door each day Session 1: Chair: Kuenga Wangmo (The Courtauld Institute of Art) 10.15 – 10.45 Matthieu Ricard (Shechen Monastery): The Use of Sacred Buddhist Art in the Tibetan Tradition as a Support for Spiritual Transformation: Inner Meaning and Symbolism 10.45 – 11.15 Richard Blurton (The British Museum, London): Contemporary Buddhist Pilgrimage and Devotional Practice in the Eastern Himalayas 11.15 – 11.30 Discussion 11.30 – 12.00 COFFEE/TEA BREAK (tea-coffee provided – seminar room 1) Session 2: Chair: Kate Crosby (School of Oriental and African Studies, London) 12.00 – 12.30 Caroline Humphrey (University of Cambridge): The Difficulties of Being a Painter Monk in Contemporary Inner Mongolia (China) 12.30 – 13.00 Francesca Tarocco (New York University): The Wailing Arhats: Buddhism, Photography and Resistance in China 13.00 – 13.15 Discussion 13.15 – 14.45 BREAK FOR LUNCH (lunch not provided) Session 3: Chair: Deborah Swallow (The Courtauld Institute of Art) 14.45 – 15.15 Antony Gormley (London): Body Space and Body Time: Living in Sculpture 15.15 – 15.45 Alexandra Munroe (Guggenheim Museum, New York): The Third Mind: Buddhist Imaginary in American Art from Fenollosa to Cage 15.45 – 16.00 Discussion 16.00 – 16.30 TEA/COFFEE (tea-coffee provided – seminar room 1) Session 4: Chair: David Park (The Courtauld Institute of Art) 16.30 – 17.00 Tenzing Rigdol (New York): Tibetan-ness, an Aesthetic Quest 17.00 – 17.30 Marsha Haufler (University of Kansas): Gifts for Mt. Myohyang: Pohyon Temple and the International Friendship Exhibition 17.30 – 18.00 Boreth J. Ly (University of California, Santa Cruz): Politics of Visions: Manifestations of Maitreya in Mainland Southeast Asia Art 18.00 Discussion and Concluding Remarks The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN tel +44 207 848 2785/2909 web http://www.courtauld.ac.uk/researchforum/index.shtml

External News and Events - Call for Project Proposals - Responses to Nottingham Contemporary

Wed, 22 May 2013 06:03:43 +0000

The AHRC-funded project, Think Tank: The Flash Journal is a collaborative e-journal aimed at engaging people from the East Midlands (aged 16+) with the themes and issues on display at Nottingham Contemporary; our creative partner for this year (2011-2012). We understand that people experience strong reactions (both positive and negative) when visiting a gallery or museum, so we have decided to provide an online space through which these thoughts can manifest themselves, in order to provide a degree of longevity to exhibitions and their spaces. All we ask is that individuals visit Nottingham Contemporary; think about how they want to respond to what they find within the gallery and/or its surrounding environment, and submit the project idea to us for consideration. (All accepted projects will be shown at our launch event (June 2012, Nottingham Contemporary) and judged by the audience. There will be monetary prizes on offer for 1st, 2nd and 3rd places). www.thinktankflashjournal.org (under construction) www.twitter.com/thinktankflash Limited travel and equipment bursaries are available, please contact: thinktankflashjournal@gmail.com for more information.

External News and Events - Deadline Extension for Call for Papers: Photography and the Unrepresentable - A History of Photographic (Mis)representation

Wed, 22 May 2013 06:03:43 +0000

A One-Day Art History Graduate Conference 15 May 2012 Room 4.722 (Senate Room) University of Essex, Colchester, United Kingdom Extended Deadline for Papers: 16 February 2012 Keynote Speaker: Professor Griselda Pollock (University of Leeds) CALL FOR PAPERS Contributions are invited for the first Art History Graduate Conference to be held within the School of Philosophy and Art History (SPAH) at the University of Essex. Graduate students from MA or PhD programmes are invited to submit paper abstracts on the theme of Photography and the Unrepresentable. The conference is an opportunity to take part in the first interdisciplinary conference within the department and to meet other graduate students engaged in the study of photography, art theory and philosophy.hotographic representation is historically partial, fragmented and suspected of having been manipulated. After World War II, the ethical implications of representation became a primary concern, while the very possibility of representation of traumatic events was questioned by theorists and artists alike. More recently work by Georges Didi-Huberman (Images in Spite of All, 2003; trans. 2007), Jean-Luc Nancy (The Ground of the Image, 2003; 2005) and Jacques Rancière (The Future of the Image, 2003; 2007) have each subjected art historical narratives of the photographic image to a critique of the notion of representation itself. We are particularly interested in extending such questions about the impossibility (or taboo) of representation to open a discussion on how the links between photography, trauma and historical memory can be re-examined. As in the case of Didi-Huberman’s reflections on the representation of the Holocaust in his Images in Spite of All, photography perhaps best functions as a discursive site in which either the idea of the unrepresentable emerges as self-evident or its fictitious nature simultaneously manifests, hides, and collapses. Questions arising from this include: What does the notion of the unrepresentable do to assumptions of photographic truth? What might the unrepresentable look like? Is there a representational impossibility specific to photography? When photography is requested to perform “adequate representation,” how and in what context can this request be justified? This conference aims not only to interrogate contradictions and arbitrariness inherent in the idea of the unrepresentable, but also to open up new perspectives on the relationship between photography and the unrepresentable in artistic, cultural and social practices today. Contributions might also focus on issues of censorship, the role of chance and the impact of digitalization as recurrent themes in a history of photographic (mis)representation. We invite submissions from graduate students, both MA and PhD, from all disciplines, on topics that may include, but are not limited to: The unrepresentable and the unimaginable The aporia of representation: impossibility or interdiction? Photography and the representation of catastrophe Montage and historical imagination Can photography represent thought? Can digital images be linked to trauma in the same way that analogue (indexical) ones are? Photography and mourning: voice, memory and myth Representation and photographic truth Artists who take the photographic apparatus as the subject of their work. (e.g., Marcel Duchamp, Gerhard Richter, Robert Smithson and Tacita Dean) Links between photographic authenticity and transparency in modernist architecture Please send 300-word abstracts of 20 minute-papers accompanied by a short CV to artpgconf@essex.ac.uk by 16 February 2012. Successful submissions will be notified as soon as the reviewing process is completed. Selected conference proceedings will be published in a special issue of rebus, the online journal of Art History and Theory at the University of Essex. Further information and updates will be available through the conference website: http://www.essex.ac.uk/arthistory/photography_and_the_unrepresentable/ Conference Organizing Committee: Aline Guillermet (PhD candidate in Art History) Hugh Govan (PhD candidate in Art History) Taisuke Edamura (PhD candidate in Art History)

External News and Events - Call for Papers - ' Spaces of (Dis)location'

Wed, 22 May 2013 06:03:43 +0000

The College of Arts, University of Glasgow, is excited to announce Spaces of (Dis)location, a two-day multidisciplinary graduate conference taking place on 24th – 25th May 2012. As national and cultural boundaries are blurred in our increasingly global society, the ideas of space and location – whether physical or metaphysical, real or imaginary – are evolving. This notion provides the stimulus for a conference that we hope will inspire creativity and debate across many subjects in the arts and humanities. A major aim of this conference is to foster networks and connections across different institutions and subjects. It is also our intention to publish an edited volume with articles from this conference through the University of Glasgow’s international postgraduate research journal eSharp. Possible topics may include, but are not limited to: Ideas of space: physical and imaginary Spatial dichotomies (urban/rural, public/private) Globalization Localism Cultural and natural spaces Adaptation (literary, linguistic, cinematic, etc.) Cultural diaspora Immigration Spaces of performance The space of the body We welcome submissions of abstracts for papers in the classic 20-minute format, but are also keen to accept different presentation formats. There will be a poster session and a Pecha Kucha session on each day of the conference and we would welcome your submissions in these formats too. A Pecha Kucha presentation consists of 20 slides, each shown for exactly 20 seconds, so the entire presentation will therefore last 6 minutes and 40 seconds. It is an engaging and challenging format for researchers at every stage of their career, but provides a particularly creative format for those just starting their research to receive feedback on their project design and initial findings. The poster sessions will take place during conference coffee breaks. Presenters will have the opportunity to briefly introduce their poster and then the posters will all be on display during the break. The poster session will offer a space for presenters to introduce their research to other participants and, like the Pecha Kucha format, is particularly helpful to those just starting their research. In addition to the poster and Pecha Kucha formats, we will also accept proposals for short performance pieces or films that reflect the themes of the conference. If you wish to submit such a proposal, please also provide us with any technical specifications that your piece will require. Please submit abstracts or proposals of no more than 250 words as e-mail attachments to: arts-pgconference@glasgow.ac.uk. Please include a 50 word biography and specify which presentation format you would like to use. Deadline for submissions is Friday 9th March 2012. More information regarding the conference (including information on accommodation and transportation) can be found on the conference’s Wordpress page: http://spacesofdislocation.wordpress.com/

AAH News and Events - Art History in the Pub at the Camden Crawl

Wed, 22 May 2013 06:03:43 +0000

The AAH is proud to be able to announce that a day's worth of art history lectures will be forming part of the Camden Crawl Festival, on May Bank Holiday Weekend. http://www.thecamdencrawl.com/artist/profile/art-history-in-the-pub/ On Sunday, May 6th, the AAH will be presenting several lectures and talks on art historical themes at The Enterprise Tavern in Camden Town, London, as part of the programme of the long-running music and culture festival, The Camden Crawl. Launching the festival season each Spring, the Camden Crawl quickly became renowned as first to showcase the forthcoming year’s most hotly tipped artists to sold out audiences since its inception at the height of Britpop in 1995. After three critically acclaimed years, the festival took a lengthy breather before re-launching in its current form in 2005. Started as a conduit to showcase the best emerging artists alongside surprise guests and seminal legends to die-hard music lovers, music industry and media under one umbrella, the Crawl has always prided itself in making live music affordable and accessible to everyone. Equally, with an aim to grow community between the artists appearing, fans and the new music promoters behind the scenes, the festival has retained its policy to democratically book talent via its eclectic committee of tastemakers and promote its artists on a level playing field. To enhance exposure for performers and create unique value for punters, the Crawl ticket price traditionally includes a free download compilation, programme guide and magazine featuring it’s curators and artists appearing. In 2007, the festival expanded across a weekend and has, by day, become a sprawling carnival-style arts festival featuring comedy & spoken word, short film, pop quizzes, busking, acoustic performances, workshops, karaoke, exhibitions and more. By night, the two mile-long stretch of pavement assumes its position as an all out live music extravaganza playing host to more than 200 of the best new talents performing across the area’s infamous venues. The Camden Crawl has grown from a 5 venue and 20 artist affair to an event which included more than 50 venues and 250 artists and events in 2011. One ticket (available as a weekend pass or day ticket) is exchanged for a wristband at a main entrance point and allows unlimited access to all Crawl venues, outdoor arena, after show parties and daytime activities.