http://www.aah.org.uk/rss/93 Fri, 10 Feb 2012 07:02:52 +0000 Zend Framework Zend_Feed en-us http://blogs.law.harvard.edu/tech/rss http://www.aah.org.uk/post/718 http://www.aah.org.uk/post/718 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]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/716 http://www.aah.org.uk/post/716   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    ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/715 http://www.aah.org.uk/post/715   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]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/714 http://www.aah.org.uk/post/714   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|  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/713 http://www.aah.org.uk/post/713   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]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/712 http://www.aah.org.uk/post/712   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.]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/711 http://www.aah.org.uk/post/711   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)  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/710 http://www.aah.org.uk/post/710   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/  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/706 http://www.aah.org.uk/post/706   The RadicalAesthetics-RadicalArt (RaRa) series of books expands the parameters of art and aesthetics in a creative and meaningful way beyond visual traditions. Encompassing the multisensory, collaborative, participatory and transitory practices that have developed over the last twenty years, Radical Aesthetics-Radical Art is an innovative and revolutionary take on the intersection between theory and practice. The series aims to: critique conventional approaches to thinking about art practice and aesthetics reconsider the interrelationships between theories and art practice on equal terms provide a useful resource to assist research and provoke discussion address current issues in response to contemporarycontexts encourage an interdisciplinary approach to discussion survey recent and current material and debate Titles already commissioned include: Practical Aesthetics: Events, Affects and Art after 9/11- Jill Bennett (July 2012) Eco-Aesthetics - Malcolm Miles Indigenous Aesthetics: Art, Activism and Autonomy – Dylan Miner Durational Aesthetics: Contemporary Art and the Prolongation of Time – Paul O’Neill and Mick Wilson Submission requirements Proposals should be 3 to 5 sides A4 and include: A statement outlining your theoretical position and interpretation of the theme Detailed synopsis Outline of each chapter content with reference to specific theories and examples of practice Indicative bibliography Author details should include: CV –1 page A4 maximum Brief description of academic interests and professional affiliations A list of publications A sample of recent publication (e.g. article or chapter in book) Proposals should be e-mailed to both series editors by the end of March and for further information regarding submission please contact E-mail: J.Tormey@lboro.ac.uk and G.Whiteley@lboro.ac.uk For further information about the RaRa project see website: http://www.lboro.ac.uk/departments/sota/research/groups/politicised/rara.html http://www.ibtauris.com/Highlights/Radical%20Aesthetics%20Radical%20Art.aspx  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/705 http://www.aah.org.uk/post/705   This one-day conference, held in conjunction with Nineteenth Century Theatre and Film, will explore the connections between art, theatre, and visual culture in the nineteenth century. During this period, the ‘art of seeing’ challenged the traditional dominance of the written word. Vision, previously denigrated as deceptive, became considered as a universal language, accessible to all, and more authentic than text. Popular theatre, especially melodrama, led the way in exploring the possibilities of the new visuality. This conference will explore the visual culture of theatre and exchanges between theatre and the visual arts. Plenary Speaker: Professor Shearer West, Head of Humanities Division, University of Oxford Conference fee: £20 (£10 for postgraduate students) Tea and coffee, lunch, and an evening wine reception are all included. Registration is now open: www2.warwick.ac.uk/fac/arts/theatre_s/staff/jim_davis/sharedvisions. Although the registration fee may be paid on the day of the conference, we would be grateful if delegates would register in advance, preferably by the 8th February, so that we have a sense of the numbers intended for catering purposes. For further information on the conference, please visit http://www2.warwick.ac.uk/fac/arts/theatre_s/staff/jim_davis/sharedvisions/, or contact Jim Davis: Jim.Davis@Warwick.ac.uk, or Patricia Smyth: patricia.smyth@nottingham.ac.uk. Directions: The department is located in Milburn House located in the University Science Park. It is about 10 minutes walk from the main campus by footpath, but there is no direct road access from the campus itself. The closest railway station is Coventry. If you are arriving by train, either take a cab to Milburn House directly or take a bus to main campus and walk. If you are driving, you will need to access Milburn House via Lynchgate Rd and the Science Park, as shown on the campus map. There are parking spaces for visitors at the front of the building. The main entrance to the building is at the side, facing right. Campus maps may accessed via http://www2.warwick.ac.uk/about/visiting/maps Accommodation: For any delegate who requires accommodation on campus on Friday 10th or Saturday 11th, accommodation is currently available starting from £60 per night at Scarman House and Radcliffe House, which may be contacted through reservations@warwick.ac.uk Early booking is advisable. Confirmed papers: Plenary Speaker: Shearer West, University of Oxford, 'Actors, Artists and Celebrity: Thomas Lawrence and the Siddons family' History and Narrative: Peter Cooke, University of Manchester, ‘Gustave Moreau: The Theatre, Theatricality, and Anti-Theatricality’ Cathy Haill, Victoria & Albert Museum, ‘“Hold it! What a Picture!” - Art, Living Pictures and Poses Plastiques on the Nineteenth-Century Stage’ Annabel Rutherford, York University, Toronto, ‘Drama in Art in Drama: The Interweaving of Visual Art and Theatre’ Stage Adaptation: Barbara Bell, Edinburgh Napier University, '“...taken from the original”: Word, Image and the Drive for Authenticity in Early Stagings of the Works of Sir Walter Scott’ Karen Laird, University of Manchester, ‘Reconstructing J. Ware's “The Woman in White: A Drama in Three Acts” (1860)’ Melissa Dickson, Kings College, London, ‘Visions of the Orient: Manufacturing the Arabian Nights on Early Nineteenth-Century London Stages’ The Art of Theatre: Lights, Costume, Scenery Veronica Isaac, Victoria & Albert Museum, ‘The “Art” of Costume in the Late Nineteenth Century: Highlights from the Wardrobe of “The Painter's Actress”’ Janice Norwood, University of Hertfordshire, ‘Posing Questions: The Iconology of Two Female Theatrical Impresarios’ Jane Pritchard, Victoria & Albert Museum, ‘The Iconography of the Ballet at the Alhambra, 1884 – 1912’ Religious Spectacle: Peter Yeandle, University of Lancaster, ‘Spectacles of Sin or Performances of Divine Grace? Seeing the Ballet Through Anglican Eyes, c. 1880 – 1900’ Anjna Chouhan, University of Leicester, ‘Performing Religion in Shakespeare on the Late Victorian Stage' Leanne Groenveld, University of Regina, '“I felt as never before, under any sermon that I ever heard preached”: English and American Responses to, and Representations of, the Oberammergau Passion Play, 1840 – 1900’ Dramatizing the Environment: Viv Gardner, University of Manchester, ‘The Image of a Well-ordered city: Manchester Theatre Architecture, 1880 – 1910’ Trish Reid, Kingston University, ‘Ah, my own village home before a palace”: Nostalgia and the Rural Idyll in Melodrama of the 1830s and 40s’ Mary Jane Boland, University of Nottingham, ‘Through the Eyes of Others: Reassessing Audience Engagement with Joseph Peacock's Pattern Day at Glendalough’ Stage Spectacle: Hayley Bradley, University of Manchester, Delighting the Eye Rather than the Ear: The Triumvirate's Autumn Dramas at Drury Lane Jane Jordan, Kingston University, ‘From Popular Novel to “Sensational Equestrian Drama”: Late Nineteenth-Century Theatrical Adaptation for “an amusement loving public”’ David Mayer, University of Manchester and Cassie Mayer, Independent Scholar, ‘Exit with Dead Horse’ ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/701 http://www.aah.org.uk/post/701   March 11 Beginning and Ending in Chinese Painting March 18 The Gentleman March 25 The Emperor April 1 The Merchant April 15 The Nation April 22 The People Craig Clunas has been professor of the history of art, University of Oxford, since 2007. He received his BA and MA degrees in Chinese studies from the University of Cambridge and his PhD from the School of Oriental and African Studies, University of London. He served for fifteen years on the staff of the Far Eastern department of the Victoria and Albert Museum.  Subsequently, he taught art history at the University of Sussex, where he was appointed professor of history of art in 1997. In 2003 he returned to the University of London as Percival David Professor of Chinese and East Asian Art. Clunas has written numerous books on the art history and culture of China. Much of his work concentrates on the Ming period (1368 – 1644), with additional teaching and research interests in the art of twentieth century and contemporary China. His books include Elegant Debts: The Social Art of Wen Zhengming, 1470 – 1559 (2004), Pictures and Visuality in Early Modern China (1997), Fruitful Sites: Garden Culture in Ming Dynasty China (1996), and Superfluous Things: Material Culture and Social Status in Early Modern China (1991). His most recent book, based on his 2004 Slade Lectures, is Empire of Great Brightness: Visual and Material Cultures of Ming China, 1368 – 1644 (2007). He is completing a book on the cultural role of the Ming regional aristocracy and is co-curator of an exhibition on the early Ming period, Ming China 1400 – 1450: Courts & Contacts, scheduled to open at the British Museum in 2014.  Clunas received a DLitt (honoris causa) from the University of Warwick in 2010. He was the Slade Professor of Fine Arts, University of Oxford, in 2003 – 2004 and Edward H. Benenson Lecturer, Duke University, in 2003. In 1999 he was awarded the R. C. Hills Gold Medal of the Oriental Ceramic Society for outstanding contribution to the study of Oriental art.]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/700 http://www.aah.org.uk/post/700   Dance and drawing are intimately linked to the gesture that performs them. The dancing body creates a figure in space and leaves an impact on a site, while the action of the artist sets a point into motion and captures an ephemeral event, later reproduced in graphic or visual form. Throughout the 20th century, the performing arts and the visual arts converged in many instances. As artists investigated the embodied and energetic value of form, dancers and choreographers experimented with the interface between sign and action, between annotation and improvisation, between a spatial sense of self and an architectural configuration of movement. The hybridization of dance and drawing quickened from mid-century onwards, as performance art introduced innovative practices and as borders between disciplines were worn thin, causing intermedial forms to emerge. The body of the artist, whether a dancer or a visual artist, is thus shared by these practices and has become the instrument of their simultaneous realization. Drawing has indeed collided with dance in opening up to three-dimensional space, integrating surfaces (floor, ceiling, walls) as well as volumes into its process. It is this encounter that is the focus of this colloquium: it aims to evaluate and discuss the specific interaction of the two media and the ways in which their practices have become diversified since 1962, namely since events coinciding with the first public performance of the Judson Dance Group in New York. To obtain or to intentionally create a drawing is not always, however, the aim of a dance. Drawing has traditionally been considered as what survives on a surface, while the movement giving rise to it has been ignored – as if dance, within the framework of process art, was but a means among others, and not a purpose. Yet what happens if we reverse this thought? If we value what precedes the drawing? If dancing is not subordinated to drawing, but that the latter, as a trace, contains the memory of the former? Beyond the metaphor, how have dancers and visual artists applied physical movement and drawing in alternative ways, inverting these as improvisational tools or notational supports? What happens when drawing uses everything but paper? In turn, what remains when the tangible body has disappeared? What distinguishes dancers who draw and visual artists who dance? And is this distinction not fading ever more today? Is there a drawing without a gesture and a movement without a body? And what can be said about mechanical ballets: are drawing machines dancers, complete with a set of more or less programmed gestures? May the notion of "choreography" ultimately serve as a model, useful if partial, to theorize the correlation between dance and drawing? Such questions are crucial towards an integrated understanding of the arts of the 20th and 21st centuries. The transversality of dance and drawing releases new correspondences, as many studies and exhibitions are currently demonstrating. Researchers, art historians and dance historians are invited to propose a contribution that explores the connections of dance and drawing, understood as broadly as possible, as well as the reception of one by the other, from 1962 to today. Exchanges between diverse positions in Art history and in Dance history are encouraged, as well as non-Western perspectives. The colloquium is organized by the Department of Art History and Musicology of the Université de Genève (Switzerland) and will be held May 31st-June 1st, 2012, in French and in English. Abstracts for 20-minute papers (maximum 400 words) in either language must be received by February 24th, 2012, along with a complete curriculum vitae. Notices of acceptance will be sent out by March 19th, 2012. Please address abstract and CV in PDF format and by email to the organizers, Sarah Burkhalter (sarah.burkhalter[at]unige.ch) and Laurence Schmidlin (laurence.schmidlin[at]gmail.com).  "The body solves problems before the mind knows you had one. I love thinking on my feet, wind in my face, the edge, uncanny timing, and the ineffable." Trisha BROWN, « How to Make a Modern Dance When the Sky's the Limit », in Hendel TEICHER (ed.), exhib. cat. Trisha Brown : Dance and Art in Dialogue, 1961-2001, MIT Press, Cambridge, 2002, p. 290.]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/699 http://www.aah.org.uk/post/699   Papers are invited for Rivalry in the Arts: The Inaugural International Conference in Paragone Studies, to be held in the beautiful arts district of Flint Michigan from July 20th-21st, 2012. The conference’s purpose is to support the scholarly investigation of inter-arts rivalry in all areas and media, and to highlight the benefits of a paragonising methodology in studies of the humanities. The conference will feature the examination of the paragone, or rivalry in artistic practice and its related fields. All disciplines relevant to inter-arts rivalry will be supported, such as art history and visual culture, literary theory and comparative literature, philosophy, critical theory, visual communications, cultural studies, and musicology, amongst others. Papers addressing pedagogical concerns relating to how student, commercial or theoretical competition impacts teaching of the arts will also be considered. The inaugural event will kick off a regular series in paragone studies conferences. Rivalry may be interpreted in the broadest terms from all eras of history and global contexts. For instance, scholars may 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. The conference will also include two round-table sessions featuring artists representing different media, (such as multi-media, graphic design, animation, painting, sculpture, performance, conceptual art, music, literature, theatre, interior design, architecture, television, film, etc.). Featured artists in the round tables will debate the merits of their art forms, whether from a theoretical, practical, pedagogical, commercial, or other standpoint. The first round table, titled Ongoing Debates on the Merits of the Arts, will be dedicated to Benedetto Varchi, who sponsored one of the first public debates regarding the relative merits of the arts in Renaissance Italy, when he invited the luminaries of his day to defend their respective art forms. To apply: Complete the 'application to present a paper', or 'application to be featured in a round table' form located on the conference website, and e-mail it, along with a c.v. to paragonestudies@gmail.com by April 15, 2012. Abstracts should be no longer than 300 words. To access the forms and other conference information see http://blogs.umflint.edu/paragonestudies/]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/698 http://www.aah.org.uk/post/698   It is bizarre how little of twentieth-century science has been assimilated into twentieth century art. C.P. Snow, 1959 In his 1959 lecture “The Two Cultures” C.P. Snow asserted that the intellectual life of western society was increasingly being split into two polar groups: the sciences, and the humanities. The notion that visual artists and scientists are two entirely isolated strata of human activity and experience has proliferated since the nineteenth century, and continues to plague academic institutions and political policy today. The term “scientist” was coined in 1834 as a means of designating those who worked professionally in the various sciences. The “scientist” was described by direct analogy to the artist; suggesting that these now seemingly dichotomous areas of scholarship were in fact intended to exist in direct relationship to one another. This conference seeks to challenge Snow’s separatist assertion, and explore the ways in which visual artists have acknowledged, appropriated and assimilated the ideas and theories of the ever-expanding field of “science” in their work since c.1800, the moment at which the professionalization of the sciences engendered a seemingly irrevocable split in the academy. As a result, we hope to recoup a sense of interdisciplinary fluidity amongst the international fields of visual arts and sciences, in order to build as complex and nuanced a picture as possible of the exchanges and interconnections between the “two cultures” over the past two centuries. We invite abstracts for papers of 20minutes by postgraduates that address the theme of relationships between the visual arts and the sciences 1800-2011. We welcome submissions from students working across the humanities, fine arts, social sciences, and applied sciences, but ask that the papers specifically address such relationships from the perspective of visual or material culture. Possible themes for discussion might include, but are by no means limited to: Collaborations and communications between artists and scientists. Representation and/or use of scientific concepts, vocabularies or technologies by an artist in the creation of works. Modern medicine and representations of the body. Representations of warfare, machinery and technological development – their physical and psychological effects/treatments. The influence of post-Darwinian structures/theories on the visual realm. The effect of/responses to new media such as photography, film, and internet. The advent of cybernetics and computers, from early experimental use to contemporary digital media. The ways in which the relationship between art and science intersects with issues of class, gender, sexuality and ethnicity. The attitude of art education to science and vice versa. How established genres such as landscape and still-life have responded to scientific developments. Abstracts should be no longer than 300 words. We ask that applicants also submit a brief biography in addition to their abstract. The deadline for submission is February 24th 2012. All submissions should be sent to Kirstin Donaldson and Robert Sutton at TwoCultures2012@gmail.com along with any questions regarding the conference or abstracts.]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/697 http://www.aah.org.uk/post/697   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 beingused to provoke, agitate, ask questions and generate new politicized communities. A selection of short radical films andcommentaries will explore the potential of film to contribute to social-political change. The day’s debate will be initiated by Oliver Ressler’s introduction to his film What is Democracy? 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. 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 ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/696 http://www.aah.org.uk/post/696   Issue Two of the Autopsya journal, is based on a Topic that questions the possibility of the categorisation of cultural production.  The second issue of Autopsya continues the subject of categorisation raised in “The Analytical Language of John Wilkins” by Jorge Luis Borges, submitted with Topic One, and asks: Q Is it possible to divide human cultural production into the subdivisions; ‘Folkloric', 'Popular' and 'High' culture or, would you agree with Ticio Escobar that 'Deep down, all cultural phenomena are essentially hybrid’? In addition to the question we are submitting chapter 6 “The Popular and Popularity: From Political to Theatrical Representation” from the book ‘Hybrid Cultures: Strategies for entering and leaving modernity’ for by Nestor Garcia Canclini. The required structure for the Visual Studies can be found, along with content submission guidelines on our website here: Visual Study Structure The selection process is as follows: 3rd February 2012 - Deadline for Abstracts Submit two image pairs, with linking spaces and references, from your Study. Also please include your Bio details, as outlined in the content submission document. 6th February 2012 - Selection of Contributors Three contributors to be selected from submissions and notified. 4th March 2012  - Deadline for final study submission Submit your final Study, as outlined in the content submission document. 30th March 2012 - Puclication of Issue Two Visual Studies. Each chosen contributor will receive £50 once their study has been published. We hope that you will be moved to submit to Autopsya and look forward to receiving your entry. We would be very grateful if you could help us reach as many people as possible, by sharing this call for papers with your contacts. For more information, or to register interest, please contact us at info@autopsya.com]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/695 http://www.aah.org.uk/post/695   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: 9 March 2012 ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/694 http://www.aah.org.uk/post/694   The project has just reached the half way mark. When complete at the end of 2012 the website will show 200,000 paintings by some 40,000 artists. Discover the website – Over 100,000 paintings are already online www.bbc.co.uk/yourpaintings See the three minute BBC film that explains this monumental art project http://www.youtube.com/watch?v=_KpyPzMW4_I Help tag the paintings – A great way to see new paintings and contribute to an important project http://tagger.thepcf.org.uk/ Follow the project on Twitter: @Your_Paintings]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/693 http://www.aah.org.uk/post/693   We are delighted to welcome Professor Bronwen Wilson to The Courtauld Institute of Art this spring as Research Forum Visiting Professor. Currently teaching in the Department of Art History, Visual Art and Theory at the University of British Columbia in Vancouver, Bronwen Wilson is moving to the school of World Art Studies and Museology at the University of East Anglia in August 2012. She has had fellowships with the Social Sciences and Research Council of Canada and at Villa i Tatti, the Harvard University Center for Renaissance Studies, the Bogliasco Foundation, the Folger Shakespeare Library, and the Newberry Library. Her research interests include representational technologies and forms of imagery that blur the boundaries between genres, that protract and condense time, and that emerge from practices that impinge upon each other. Publications include The World in Venice: print, the city, and early modern identity (University of Toronto Press, 2005; Roland H. Bainton prize for Art History, 2006); Making Publics in Early Modern Europe: people, things and forms of knowledge, co-edited with Paul Yachnin (Routledge, 2010); a special volume of Art History, The Erotics of Looking: Materiality, Solicitation and Dutch Visual Culture co-edited with Angela Vanhaelen (2012); and articles in The Renaissance World (Routledge, 2007), The Journal of Medieval and Early Modern History (2007), Oxford Art Journal (2011), and Seeing across cultures, Ashgate (2012). She has completed a bookmanuscript, Facing Early Modernity: essays on appearance and perception in Northern Italy, and her current project is titled Journeys to Constantinople: inscription, the horizon and duration in early modern travel imagery. Tuesday, 24 January 2012 17.30 - 18.30, Kenneth Clark Lecture Theatre Lecture: Inscription and the Horizon in the Early Modern Mediterranean: Melchior Lorck’s Prospect of Constantinople (1559) Ticket/entry details: Open to all, free admission. Thursday, 26 January 2012 16.00 - 18.00, Research Forum South Room Seminar: Portraiture, Sincerity and the Ethics of Early Modern Conversation Ticket/entry details: Open to postgraduate students and history of art teaching staff.]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/692 http://www.aah.org.uk/post/692   The conference The Enlightenment Pope: Benedict XIV (1675-1758), hosted by Saint Louis University, Washington University and the Missouri History Museum, will bring together for the first time in the United States eminent international scholars expert in Pope Benedict XIV’s lifework and papacy. During a pontificate of eighteen years, Benedict advanced experimental and medical science, women’s authority in academic institutions, urbanism, and the arts and culture to a remarkable degree. One of the symposium’s chief goals is to help integrate ecclesiastical issues in general and the accomplishments of Benedict XIV in particular into the broader stream of research on the European Enlightenment. Principal themes of the conference include: the question of the compatibility of faith and science, women’s place in the realm of sanctity and the public sphere, the mission of the Church in the New World, church doctrine and liturgical reforms, and papal patronage of the arts. The program and online registration for the conference is available through the conference website: http://rll.wustl.edu/enlightenmentpope]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/691 http://www.aah.org.uk/post/691   http://www.hansardgallery.org.uk/education/conferences.html Deadline for papers: 30 January 2012 Convened by John Hansard Gallery with SCAN (digital and interdisciplinary arts agency) as part of the extended programme for the exhibition David Cotterrell: Monsters of the Id (11 Feb – 31 March 2012). Nation states, world power, economic models, the role of the citizen have all been in a state of flux over the last ten years. Historically art has been a significant reflection of change and in some cases has led the way in reworking policy. There is a resurgence of art work around new political agendas that either directly reflects current world themes or employs predominant new technologies or other materials and concepts inventively to make more subtle comment. While, since its inception, the photographic image has been questioned for its ‘truth’, it is now accepted that images are routinely manipulated and mediated in order to convey a message or context. This one day symposium will address the ways that artists in 21st Century are using new technologies, reflecting new political agendas, and are constructing imagery or concepts to represent the current world situation. We are looking for papers that address the following broad themes: Image Manipulation and Politics – How much has the ubiquity of image manipulation changed views on current affairs and their authenticity? How have artists responded to this? Hacking, art and the political agenda – Artists have in the post WWII decades manipulated software and hardware to convey ideas and concepts. How are they responding now? How are they dealing with the standardisation of proprietary software and hardware? Is the current trend in content and platform separation appropriate for artists? New display technologies, art and politics – After decades of working within the constraints of the screen or photographic image, artists are beginning to look at new forms of display. How have artists used new display devices as a conceptual tool? Which artists alongside David Cotterrell are using new displays to convey meaning? New Politics and Artist Responses – Artists are beginning to emerge that embody strong political ideas in their work. How are they responding across a range of media? How is this different from previous work that has a strong political agenda? Proposals If you are interested in contributing to the conference, please send proposals of no more than 250 words and your institutional affiliation to the conference convenor Peter Jones by email at peter.jones@solent.ac.uk by 30 January 2012. Speakers pay no conference fees.  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/690 http://www.aah.org.uk/post/690   Submission Deadline: by 5pm GMT, Friday, 20 January 2012 http://www.uea.ac.uk/art/events-news/events/britsh-art-symposium-2012 There have been two decades of vigorous interest in British art history, but up to now this has tended to assume a more or less unproblematic category of national identity and has not enquired closely into the elusive idea of ‘Britishness’. More recently, the concept of the transnational has proved to be a productive way for art historians in the 21st century to reflect not only on contemporary art, but also that of previous centuries. This graduate conference will address the extent to which these two approaches overlap in British art between 1851 and 1960, not only in terms of British artists working abroad and non-British artists adopting Britain as a base, but also in less tangible or previously unconsidered ways. Between 1851 and 1960, Britain’s global position altered radically – from the early consolidation of British imperial power in the mid-nineteenth century, through two world wars, the rise of the US to the reassessment of Britain’s political and cultural position in the post-war world, against a background of increasingly porous national and cultural boundaries. In this context, British art’s relationship with ‘the international’ seems a pertinent topic to consider, particularly from our own, increasingly ‘transnational’ perspective. ‘Transnational’ and ‘international’ are problematic terms here – the former reflects our own more fluid concept of nationhood in the 21st century, while the latter offers a clearer definition of how nations were considered between 1851 and 1960. But is it possible to study British art of this period from our ‘transnational’ viewpoint? Can we talk of British art as separate from Britain as a nation or nationality? If British art between 1851 and 1960 cannot be considered ‘transnational’ in our terms, nor wholly ‘British’, how can it be considered in ‘international terms’?  We welcome papers from graduate students working in any field who engage with and reflect upon British art as international art. Keynote speakers will be Michael Hatt of The University of Warwick and Emma Chambers of Tate Britain. Please send an abstract of up to 300 words to britartinternational@gmail.com by 5pm on Friday 20th January. Papers should be no longer than 20 minutes. Please include your name, institutional affiliation, contact details and paper title with your submission. For further information please contact britartinternational@gmail.com. Topics for discussion could include but are not limited to: The continued historical usefulness of ‘Britishness’ in analysing British art Internationalism and the self – roots, rootlessness and the multiple national identities of ‘British’ artists International travel and art Émigré activity and migration Britons and/or Anglophiles abroad Insularity and the failures of British Internationalism British art and fantasies/dreams of other cultures The relationships between British artists and colonialism, empire, the commonwealth, confederacy, NATO, etc. British art as export commodity – Britain as a brand? Internationalism and institutions – the interaction between nationalism and internationalism and gender/sexuality/economics Internationalism and war Deadline for abstracts: 20th January britartinternational@gmail.com Organised by Kate Aspinall, Rosanna Eckersley, Kitty Hudson and Greg Salter]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/689 http://www.aah.org.uk/post/689   PASSENGERFILMS is a public cinema run from the Cultural Geography department at Royal Holloway, University of London, presenting hot topics from cultural geography through screening and talks in central London. In our first month we were picked as Time Out Critic's Choice for Alternative Cinema and this year we are running a collaborative season with the Urban Film Laboratory based at the Bartlett, UCL. Our blog is at www.passengerfilms.wordpress.com and we can also be found on Facebook http://www.facebook.com/PASSENGERFILMS and Twitter (@passengerfilms). Our next night, on the 19th January, will be on cinematic visualisations of urban change and the passage of time. We will be celebrating the publication of Mark Tewdwr-Jones’ Urban Reflections: Narratives of Place, Planning and Change (Policy Press, 2011) with a book launch and screenings on the theme of URBAN PLANNING and its relationship with the narrative strategies of cinema. The feature screening, Terence Davies’ 'elegiac yet prickly' Of Time and the City (2008), is a love song and eulogy to Liverpool in the 1950s and 60s, using newsreel and documentary footage supplemented by his own commentary voice-over and contemporaneous and classical music soundtracks. The film was chosen on its release as Sight and Sound's Film of the Month with the Guardian describing it as ‘a British masterpiece, a brilliant assemblage of images that illuminate our past.’ We will also show two other short films about the use of land in planning projects and on film. R K Neilson-Baxter’s ‘All That Mighty Heart’ (1962), shot by the Oscar-winning David Watkins for British Transport Films, shows a poetic ‘day in the life’ of London during the construction of the new Victoria Line. It includes fleets of Routemaster buses, the control rooms of the tube, early CCTV, vintage lights at Piccadilly Circus and children building sandcastles on the banks of the Thames. The little known ‘Destination Louvain La Neuve’, a short film from the New Town Archive, shows a historic snapshot of idealistic urban planning in Belgium and its promotion. Mark Tewdwr-Jones (Professor of Spatial Planning and Governance at University College London’s Bartlett School of Planning and Architecture) will be giving a talk and introductions to the films drawing on ideas from his book, which will be available to buy on the night, followed by a Q&A at the end of the evening. The book draws on geographical, cinematic and photographic readings, offering a fresh incisive story of urban change, one that evokes both real and imagined perspectives of places and planning. One critic remarks, ‘We’ve long had books about places by geographers, and books about films and TV by critics – but they’ve remained in hermetically sealed compartments, separated by an impassable gorge. Mark Tewdwr-Jones has triumphantly bridged the gap. There will also be opportunities to talk to Mark during the drinks breaks. This is the second screening of a season by PASSENGERFILMS and the UCL URBAN LABORATORY. Thursday the 19th January at the Roxy Bar and Screen (128-132 Borough High St, London, SE1 1LB). Starts 7.30pm, entry £4.]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/688 http://www.aah.org.uk/post/688   Let us say, if only for the sake of argument, that abstract painting began with Manet, and ended with Abstract Expressionism, and that there is a “beyond.” How would we conceptualize this “beyond”? Would we say that it is painting’s own return to figuration? The extension of abstraction into other mediums: drawing, sculpture, dance, photography, and digital images? Or is it perhaps something internal to abstract painting itself—something that our critical paradigms did not permit us to see, but that later painters have rendered visible, and that calls for a different periodization? These are a few of the questions that this conference will address. Abstract Painting and Beyond is inspired by, and will coincide with, an exhibition of Charline von Heyl’s paintings and drawings at the Philadelphia Institute of Contemporary Art. The conference will begin with an evening conversation between von Heyl and Kaja Silverman, and continue over the following two days, with talks by a distinguished group of speakers including: Elise Archias, Nancy Davenport, André Dombrowski, Darby English, Briony Fer, Rachel Haidu, Michael Leja, Daniel Marcus, Christine Poggi, Anne M. Wagner, Margaret Werth Please visit www.kajasilverman.com for more details. Free registration: http://abstract_painting_and_beyond.eventbrite.com Contact: Erica Levin elev@sas.upenn.edu  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/684 http://www.aah.org.uk/post/684   Book live! is a collaboration between the Centre for Media and Cultural Research (CMCR) at LSBU and bookRoom Research Cluster at UCA Farnham. Co-organised by Emmanuelle Waeckerlé (Reader in Photography and Relational Practices at University for the Creative Arts and BookRoom lead academic) and Professor Richard Sawdon Smith (Head of Arts & Media at London South Bank University) The event will bring together theorists, researchers and practitioners to stimulate a dialogue across disciplines on the ability of the book to keep up with digital culture and the emergence of new modes of writing, of photographing, of reading, or archiving and of disseminating ‘on the page’ work. The purpose of this conference is to examine the current ‘transforming’ and ‘expanding’ of the book rather than its virtual disintegration. In addition to this call for papers and presentations the conference will include international guest speakers from the broader world of publishing, photography and experimental writing as well as short presentations of book works and a series of live experimental and durational ‘readings’. This will include keynote speakers Sharon Helgason Gallagher (founder and director of D.A.P and ARTBOOK in New York) and Joan Fontcuberta (photographer, artist and all-round critic of contemporary culture from Barcelona) as well as a performance of the full twelve hours of John Cage's Empty Words (first published in1979 by Wesleyan University Press) by Sylvia Alexandra Schimag (Germany), coinciding with the release of the complete recording by Editions Wandelweiser. Since the 1960’s the book has been reclaimed by photographers, writers, musicians and thinkers as a space for both experimentation and dissemination of their ideas; a familiar space with its own structure, boundaries, history and economy which is there to be explored or transgressed. A world wide interest in artist’s book, as a creative practice and field of study, has grown significantly in recent years, partly reflecting a return to, and recognition of, the aesthetic of materiality in an increasingly digital culture. With this an interesting dialogue between electronic and print culture has started to take place. Could Cyberspace become a new dimension in Ulysses Carrion’s 1960’s definition of a book ? (more than just an assemblage of pages but a ‘space time continuum’ for the unravelling of verbal, visual, or sonic narratives.) Beyond the conference we will be publishing papers and other contributions as a publication in its own right; an interesting survey of current thinking and innovative practice informed by both the themes and the findings of the conference. Edited and designed by bookRoom press, and published by RGAP. Details on http://www.thebookroom.net/ CALL FOR PAPER AND PRESENTATION max 25 minutes Call for papers, presentations, panels and ‘readings’ dealing with (but not limited to) the following themes and research questions; How has digital technology allowed the book to expand its boundaries, both in space and time? Innovative works and experiments combining digital and print technology in the making, reading, archiving or disseminating of books. Innovative or disastrous explorations and transgressions of ebook readers. What do we gain and lose with on screen ‘reading’ ? How is conventional publishing adapting to fast changing digital economy. What has become of collecting in our digital culture? What is knowledge now that computers can provide and keep everything ? High culture versus digital culture   Guidelines for Submission Deadline for abstracts: 15th january 2011 - Decision sent before 15th february Please send abstracts to Emmanuelle Waeckerle (ewaeckerle@ucreative.ac.uk) Submissions from doctoral students and early-career postdoctoral researchers are encouraged, as well as submissions from non-academic publishers, collectors, artists and thinkers. A submission should consist of a zipped folder containing: Individual paper: 500 word abstract, 50 words summary, 200 words artist statement, a curriculum vitae headed with author name(s), organization affiliation (if any), contact address, telephone, and email address (2 pages maximum). All in pdf format. Panel proposal: 500 word abstract, 50 words summary, of the panel’s theme with details of the panel’s chair (200 word artist statement) and possible contributors, a curriculum vitae headed with author name(s), organization affiliation (if any), contact address, telephone, and email address (2 pages maximum). All in pdf format Project presentation; 500 word abstract, 50 words summary, 200 words artist statement, a curriculum vitae headed with author name(s), organization affiliation (if any), contact address, telephone, and email address (2 pages maximum). All in pdf format . Website link or 2 images (jpg max 2MB each) of documentation and youtube or vimeo link for video documentation.  Experimental or durational reading or performance; 500 word abstract, 200 words resumé, A curriculum vitae headed with author name(s), organization affiliation (if any), contact address, telephone, and email address (2 pages maximum). All in pdf format. Web link or 2 images (jpg max 1MB) of documentation. Website link or 2 images (jpg max 2MB each) of documentation and youtube or vimeo link for video documentation. Details on http://www.thebookroom.net/   Registration Full Conference Early Bird Rate: £150/£75 concessions Standard Rate: £200/£100 concessions Single Day Early Bird Rate: £80/£35 concessions Standard Rate: £120/£55 concessions Performances only ( Saturday 9am to 9pm; ‘Empty words’ and other durational readings) £15/10 pounds concessions The Early Bird Rate will be available from 1 April 2012, when registration opens, until 1st May 2012, after which the standard rates apply. Details on http://www.thebookroom.net/]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/615 http://www.aah.org.uk/post/615   The judges of the inaugural Burlington Contemporary Writing Prize are Dr Nicholas Cullinan and Dr Anna Lovatt, assisted by Christopher Griffin, Ridinghouse Contributing Editor at The Burlington Magazine. Each applicant will be offered a specially reduced online subscription to The Burlington Magazine, providing digital access to all the latest articles and reviews. Submission requirements: Applicants must submit one unpublished review of a contemporary art exhibition of no more than 1000 words in length. All submissions must be written in English (although the art considered may be international). The submitted review should be emailed as a Word document to editorial@burlington.org.uk. Applicants must be no older than 30 (proof of age may be required). The applicant’s name, age, country of residence and occupation must be clearly stated in the application email. The deadline for submissions is Tuesday 31st January 2012. The Prize winner will be announced in April 2012.  For more information please contact: editorial@burlington.org.uk or see our website http://www.burlington.org.uk Application Deadline: 31/01/2011]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/681 http://www.aah.org.uk/post/681   Although terrorism, its contexts, histories and forms, has been the focus of intense academic activity in recent years, cultural representations of the terrorist have received less attention. Yet terrorism is dependent on spectacle and the topic is subject to forceful exposure in popular media. Dissident organisations produce images of the terrorist, for example as martyr, hero or avenger. Agencies, including national authorities, involved in combating terrorism, need to visualise the terrorist in order to give identity to the threat. While the terrorist is predominantly aligned with masculinity, women have been active in terrorist organisations since the late 19th century. Particularly since the 1980s, women have perpetrated suicidal terrorist attacks, including suicide bombing, where the body becomes a weapon. Such attacks have confounded constructions of femininity and masculinity, with profound implications for the gendering of violence and horror. The image of the terrorist, whether positive or negative, is always a gendered one. The primary aim of the Terrorist Transgressions network is to analyse the myths inscribed in these images and identify how agency is attributed to representation through invocations and inversions of gender stereotypes.       For further details or to register for a place please contact Nicola Capon (Network Administrator) n.r.capon@pgr.reading.ac.uk]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/679 http://www.aah.org.uk/post/679   The North American Society for Early Phenomenology (NASEP) invites all scholars working in the area of early phenomenology to submit abstracts on any topic relevant to the theme of the conference. This encompasses the members of the Munich and Göttingen circles (major and minor figures), their students, their influence, their place within the early period of phenomenology, their relationship to other philosophers, as well as their contributions to the development of early phenomenology. Papers may cover any relevant philosophical area: logic, ontology, epistemology, intentionality, aesthetics, ethics, etc. Graduate students are welcome to submit proposals. Abstracts should not exceed 300 words and must be received by email by March 2nd, 2012. Finished papers should not exceed 25 minutes reading time. We will be convening at the Madison Avenue Pub, a British pub-styled facility in the heart of downtown Toronto. Conference fees are $130 for full-time faculty and waged professionals and $70 for unwaged and student attendees. Fees will be collected on site at time of registration, or in advance by cheque or money order. The conference fee includes breakfast and lunch for both days. There will be a block of rooms set aside at the Madison Avenue Manor, a small 23-room hotel beside the pub (http://www.madisonavenuepub.com/madisonmanor/index.html). There is also the Holiday Inn Toronto Bloor Yorkville nearby (http://www.hitorontoblooryorkville.ca/toronto-hotels/), and many hotels in the vicinity. Submissions, payments, and questions should be sent to: Dr. Kimberly Baltzer-Jaray Philosophy Department University Of Guelph 50 Stone Rd East Guelph ON N1G 2W1 Email: phenomenology@me.com]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/677 http://www.aah.org.uk/post/677   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. Papers on any aspect of the use, abuse and analysis of the Republican Senate from the Roman Empire onwards are welcome. Particular areas of interest may include the role of the Republican Senate in early modern and modern political theory; the emergence of distinctive thinking regarding two-chamber legislatures and the extent to which these reflected awareness of Roman precendents; reference to Roman ideals in the responses to both the American and the French Revolutions; the use in these Revolutions of visual symbolism derived from the Roman Senate; and the development of new vernacular vocabularies to re-evaluate and apply political concepts derived from the classical Latin of the Roman Senate. Keynote speakers include Dean Hammer (Franklin and Marshall College), Thomas Munck (University of Glasgow), Carl Richard (University of Louisiana at Lafayette) and Matthew Roller (Johns Hopkins University). Abstracts (350 words max) for 30 minute papers should be sent to the organiser, Catherine Steel (catherine.steel@glasgow.ac.uk) by March 31st 2012.']]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/675 http://www.aah.org.uk/post/675   The complete course consists of 8 2 hour sessions, but participants can take part in one-off afternoons if they wish. The course includes the following sessions: What is contemporary art? Contextualising the contemporary at Tate Modern Collecting, display and the nature of taste at the Saatchi Gallery The daily practice of art: visiting an artist's studio Artists and galleries: a tour of east end galleries Understanding the art market: a visit to west end galleries More sessions will be added. Here's what one recent participant had to say: "Ben's contemporary and modern art course provides unique insight into the elusive and somewhat opaque London art world. Aimed at all audiences, from the experienced art professional wishing to further develop an understanding of the dynamics of the artistic universe, the aspiring collector to the layperson, Ben has a depth of knowledge, lucidity of expression and passion which is contagious and enlightening. The structure and diverse curriculum begins with mainstream collections and ends with an exploration of the hidden gems of east end commercial galleries- fully recommend." Course leader Ben Street has been teaching a wide range of audiences about art for the last 8 years, whether lecturing at the Museum of Modern Art and the Guggenheim Museum (New York), teaching A level Art History at Westminster School (2007-11), or storytelling (for small children) and lecturing (for adults) at the National Gallery. He's published essays on contemporary art for museums and galleries across Europe, and writes reviews for the international art magazine Art Review. He is also a freelance curator and set up an independent art fair this year in central London, called Sluice. If you're interested in participating in this course, please act quickly - I only have a limited number I can take. Contact Francesca Wilson at admin@saatchigallery.com. Costs The complete course is £200, with each individual session £25 each. Since it's designed as a complete course, it will make much more sense to do the whole thing, and a place for a one-off session cannot be guaranteed if the course is fully subscribed. Please address queries to Ben Street via streetben@gmail.com, thebenstreet.blogspot.com or on twitter @thebenstreet  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/674 http://www.aah.org.uk/post/674   http://www.ciha2012.de/en/programm/postgraduierten-programm.html The postgraduate program „Get in Touch – Objects, Places, People“ has as its theme “the encounter” – encounters with the participants of the conference, with experts in Nuremberg’s museums, and with the object as the central topic of the conference. In addition to the 21 sessions and their presentations, the CIHA conference in Nuremberg in 2012 will offer for the first time a special postgraduate program with workshops, a poster session and a lecture session, as well as a mentoring program. Doctoral candidates and young graduates in art history and cultural history are invited to apply to this program. The centrally-located poster session, publicly accessible for the entire duration of the conference, will be supplemented for the first time at a CIHA conference with short lectures by selected poster authors. At the center of “Get in Touch – Objects, Places, People” are the workshops reserved for postgraduates (“Tours and Talks”), which are dedicated to researching objects within a museum context on site at various institutions in Nuremberg. Through direct contact with the object in its various forms, the workshops explore the primary theme of the conference in greater depth. Workshops, poster sessions, short lectures, as well as the mentoring program guarantee an intensive exchange between postgraduates and other delegates during the entire CIHA conference. The Poster Session To participate, postgraduates (recipients of a master’s degree) can apply with posters about their current areas of research, in which the theme of “object” plays a central role. The poster should demonstrate thematic relevance to one of the 21 sessions of the CIHA conference. The poster abstracts will be printed in one of the CIHA conference brochures and will also be made available on the internet. The poster presentations, by virtue of their central location at the Nuremberg Convention Center CCN, will foster intellectual exchange regarding the concept of the object among scholars from different countries. To this end, postgraduates should plan to be available to conference participants for questions, answers, and discussions about their posters on the lecture days (July 16th/17th and 19th/20th). Short Lectures A lecture forum is planned over two days, during which time the authors of particularly strong poster contributions will be invited to deliver short 10-minute presentations on their work to conference participants. Workshops The postgraduate workshops offer unique opportunities to become familiar with current research concerning the object, as well as diverse groups of objects and their presentation within a museum context. The workshops also provide opportunities for discussion with experts, as they will take place in the Germanisches Nationalmuseum and in other museums within Nuremberg. The program will assemble as wide a range of object types and research methods as possible: from medieval documents to the technical consideration of the object, from architecture as monument to the perspective of curators, conservators, exhibition directors and museum educators. The workshops will take place in two time blocks on Wednesday, July 18, 2012. Each participant in the postgraduate program will have the opportunity to attend two workshops. The Mentoring Program In order to foster exchange among scholars of all generations, researchers in charge of the postgraduate program, together with the section leaders, shall assist the postgraduate researchers.]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/670 http://www.aah.org.uk/post/670   Keynote Speakers Professor Joel P. Eigen (Charles A. Dana Professor of Sociology, Franklin and Marshall College, Pennsylvania) Professor Melinda A. Rabb (Professor of English, Brown University, Rhode Island) Dr. Judith A. Tucker (Senior Lecturer in the School of Design, Leeds University) This cross-period and interdisciplinary conference seeks to situate and interpret states of mind from the eighteenth century to the twenty-first questioning how the space, place and historical context in which mental states are experienced shaped the narratives produced by individuals. Interweaving perspectives from across such disciplines as literature, history, philosophy, art history, creative writing, psychology and sociology, the conference will explore accounts of states of mind including mental illness, dreams, sleep-walking, imaginative states and self-awareness. The conference seeks to assess how these varying states of consciousness are expressed and how such narratives are influenced by historical change, continuity or the reconfiguration of these forms of expression. We would like to invite abstracts for papers from across disciplines on the theme of the conference, particularly related, but not limited, to the following key strands: Experience and Representation of Mental Illness the gap between individual experience and interpretations by medical and legal practitioners the relationship between mental distress, agency, literature and cognition representations of mental derangement and criminal responsibility Liminal States of Mind representations of liminal states of consciousness the relationship between experiences and representations of dreams and sleepwalking categorisation of imaginative states in cognitive science and philosophy concepts of interiority, selfhood and imaginative processing of real or fictional worlds Self-awareness and Place relationship between self and place, particularly regarding the past, decay and dilapidation artistic expressions of situating self-awareness creative representations of landscape as a geographic metaphor Abstracts of 300 words for 20-minute papers should be submitted no later than 31 January 2012 to the conference organisers: anita.oconnell@northumbria.ac.uk or leigh.wetherall-dickson@northumbria.ac.uk. Please see www.northumbria.ac.uk/statesofmind for details.]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/669 http://www.aah.org.uk/post/669   With the centenary of the Great War approaching, the BBC is in the planning stages of commissioning programmes to commemorate the War in and beyond 2014. This event will enable BBC staff to meet a range of academics specialising in this particular field, discuss the latest research and explore innovative approaches to the First World War with a view to helping to shape and influence BBC coverage of the centenary. The full call is available at: www.ahrc.ac.uk/FundingOpportunities/Pages/EOIAHRCBBCseminarWW1.aspx ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/668 http://www.aah.org.uk/post/668   Programs of the previous Spring-Academies temps can be accessed on the site www.proartibus.net. Participation in a Spring-Academy is a necessary prerequisite for obtaining the additional diploma in the international aspect of history of art. Both doctoral and post-doctoral candidates are encouraged to propose specific papers related to their subject of research in whatever period or field of art history they are concentrating, regardless of the format they wish to choose. Presentation of the subject Current research on the relationship between the Arts and Knowledge have led us to devote the tenth edition of the Ecole de Printemps of the Réseau International de Formation en Histoire de l'Art (International Network for Art-Historical Training) to this challenging theme. The topic has the advantage of encompassing the fields of arts and sciences and opening them to broader questions involving the relations between creation, art, and images on the one hand, and knowledge, cognition, thought patterns, learning paradigms, and know-how on the other. In other words, this project encourages consideration of the potential of the arts to fix, transmit, and translate -- in their specific visual and/or object related form -- knowledge of any nature (technical, practical, intellectual ...). At the same time (to break with the tendency to use one-way analogies) this theme promotes the study of imaginative and creative qualities in the sciences and the humanities, in terms of plasticity and form: from the canon of Polykletos to the films of Jean Rouch (the anthropologist and documentary film maker who inspired the New Wave), through the inventions of Leonardo da Vinci. We thus understand the arts in their broadest sense, without any preferred geographical focus or particular chronological period, and in their confrontation with knowledge, that is with information, discoveries, experiments and lessons learned in the hard sciences, social sciences and humanities, without any exception. Moreover, and above all, we consider art as knowledge. We would therefore like the young researchers who take part in these training days to be willing to examine both the material nature of their corpus -- that is to say, to raise issues related to the use and manipulation of the works studied – as well as their formal characteristics that art history has so often prioritized, in order to understand their cognitive aspect, both temporal and spatial. This could cover anything from Sapi-Portuguese ivories destined for the European luxury market to the production of graphic summaries or computational simulations devised by scientists in the presentation of their research results. Furthermore, from this perspective it is useful to keep in mind the work of Bruno Latour in general, and one of his books in particular: We Have Never Been Modern (Harvard University Press, 1993), which postulates the interdependence of cultural, political, religious and scientific facts both today and in earlier ages. Modernist illusion of progress rests on the separation between intellectual activities; on the one hand, the humanities, including the arts, and on the other, those disconnected from the human: technology and hard sciences. Bruno Latour reconstitutes the network of these activities and productions and thus makes possible this project of working on arts and knowledge in a variety of contexts. Papers may thus question elective affinities, but also phenomena of repulsion that govern relational dynamics between these two fields of invention, if indeed this register is one of those, or precisely the one, that the arts and knowledge have in common. Finally, as this subject poses a number of questions, it seems appropriate to propose several thematic headings for reflection. I. Man, the standard for art and anatomy Ever since the ancient explorations that aimed to define a system of human proportions to be transferred both to architecture and sculpture, a modeled or standardized form of the human body has served as a reference and a unit of measurement in the visual arts. The body serves either as a module -- like the ancient column --, as an end in itself -- especially in history painting, the highest genre in academic hierarchy -- or even as a matrix for avant-garde explorations which have broken away from an idealized human form. Parallel to these plastic explorations focused on the human body, artists have acquired scholarly tools for understanding this anatomical machine. For examples we can turn to the outstanding realizations of a Vaucansson or a Houdon, whose L'Ecorché in its various forms has been seen both as an artistic achievement, and as a return to the life sciences, as a theorem or a treatise. Distortions of the human body, and most particularly the female body, by Ingres, in Picasso's Cubist dismemberments, or through Orlan’s transformation of her own body, speak to the persistent challenge and fascination that the human body represents -- its limitations, its strength, its energy and its aura -- for mimetic art as well as for art that has moved away from imitation. In this quest, artists and scholars have devised parallel challenges of comprehension and invention that have opened a growing interdisciplinary field of study of man. This exploration goes beyond man's physiological reality in order to observe and represent him in his dimension as a social being, that is to say both in his historical and civilizational singularity and in his permanence from an era to another and from one area to another. In this context, a whole aspect of art history cannot be considered outside of naturalist, medical, anatomical and anthropological research and discoveries. It is thus interesting to revisit the visual arts from the viewpoint of the imitation and distortion of the human body and its direct corollary: man as a social being.     II. Between arts and knowledge: skills A concept that is particularly useful in approaching these porous fields of the arts and knowledge is that of skill – adopted from the conceptual tools of sociology (see Lucie Tanguy and Françoise Ropp, Savoirs et compétences, 1994) -- because it pre-eminently allows us to translate the ability to implement theoretical knowledge that governs both creation and invention of scholarly or artistic forms. The concept of skill could serve as a litmus test for a man or woman claiming to be an artist or scholar. Furthermore, what intellectual, manual, technical, or practical skills should one acquire in order to make art or practice science? More than mere abstract knowledge or practical ability, skill is the alchemy of the two, and this is apparent both in scientific and artistic discourses. It would therefore be fruitful to observe its manifestations in the framework of this exploration of art and knowledge. Adopting very different perspectives, from Titian, Goethe, Delacroix, Chevreul all the way down to practitioners of Color field Painting in the United States, all applied themselves to the study of color and made use of diverse and complementary skills to enrich its use -- whether from an artistic or scientific standpoint. We can imagine areas other than color that would be particularly suited for investigating similarly hybrid objects -- optical devices (the magnifying glass, microscope, photographic lens, camera ...) or the tools of geometry (the compass, pencil, scale tool ...) or the sculptor or architect’s technical equipment – that would prompt a renewal of traditional vertical investigations of the artist or the work as a means of understanding the horizontal flow of interests, experiments and their results within the skills variously developed in the making of an object. Similarly, we could revisit traditional skills used by the medieval illuminator dedicated to reinforcing workshop practices or those of the academic painter involved in making a painting intended for public exhibition: classical literary and historical culture, perspective, anatomy, and workshop practices for creating shadows or outlines. Furthermore, what skills do artists use when they leave visual or plastic production and venture into literature, whether in the form of pedagogically inspired texts, or political manifestos? In the twentieth century, do manual skills disappear with the advent of conceptual art, or when the execution of an artistic idea is delegated to a third party craftsman? These are some of the many areas where the question of competence is involved in repositioning the relationship between the arts and knowledge of all types in the contribution that they make within a society to the production of symbolic objects that may be more or less artistic, more or less scientific.     III. Minor genres / major knowledge Paradoxically, in the Western tradition, it seems that images that relate to naturalistic research were left to the artists considered minor. In other words, the hierarchy of genres that prevailed from the Renaissance to the Impressionists, meant that artists such as draughtsmen, sculptors and painters who specialized in painting flowers (from Brueghel to Redouté), in animal sculpture such as Barye or in the illustration of natural history, such as Jacques de Sève (Buffon's collaborator), were seen as minor figures, contributing to the accumulation of basic knowledge of fauna, flora and both local and global customs. Among their ranks were many who took part in scientific expeditions to unknown territories, and for a long time gave concrete form to representations of distant worlds that were soon to become colonies. One can think of Post and Eckhout for the Netherlands; Hodges -- Cook's travel companion to the South Seas -- or Régamey, sent to China and Japan by Guimet at the end of the nineteenth century. If we now look again at the work of Jacques Derrida (The Law of Genre in Parages. Cultural Memory in the Present, 2010.) in which he parallels literary genres (and the same would be true in the fine arts) and gender (that is to say, sexual identities), we find that there were many women who entered artistic careers through projects regarded as "secondary": Madeleine Basseporte, Anne Vallayer-Coster, Maria Sybilla Merian spring to mind. This triangulation of naturalist knowledge, the visual arts and gender invites complex interpretations of the respective and interrelated status of women in the worlds of art and knowledge, and especially of these artists' success by working at the margin of a double science (be they women or not), in confronting the challenge of convincing their peers that they were artists and/or scholars. What was the strategy, if indeed it was one, which corresponded to the option of treating secondary subjects? Was it a first step in one of these two careers or, to take the French example, a reflection of training circumstances that excluded women from the canonical teaching offered at the Academy? Or, conversely, can we interpret this phenomenon as a pioneering attempt to elevate the world of plants, minerals and animals to the rank of man? These questions are formulated in different ways in different contexts, but give rise in France as in Germany, Holland, Italy or beyond to studies that may prove particularly rich.   IV. Places of the Arts and Knowledge Museums of Fine Arts are indisputably places where the arts and knowledge come together, if only in their didactic ambition: the work and its label, or the proposed visit through regional or national schools. However, there are other institutions which, through their programs, are even more involved in this study of intellectual networks linking the arts and knowledge. We might mention the Museum of Hygiene in Dresden, which had its first public success in 1930 with the completion of Franz Tschakert’s Glass Man, a work that echoed contemporary Bauhaus ideals. And long before that time, we must consider the Kunstkammeret, the cabinets of curiosities, whose authors, through scholarship or intuition often bring together in convergent, but not systematically identical ways natural or man-made objects that have been bought or plundered, together with works of art, tools, monsters, exotica, etc. Installed in private homes and sometimes open to the public, these cabinets spread in modern Europe and preceded the museum as it developed in the second half of the eighteenth century. They were the product of individual curiosity and differed from collections of art, which were more often conceived with ostentation as a purpose. Some unexpected spaces also fall in this category: for example, the Sagrestia Vecchia in the Basilica of San Lorenzo in Florence, where frescoes on the vault painted by Giuliano Pesello represent the astronomical sky as seen from an observatory or the Dauphin's chamber at Versailles of 1705, which featured an armillary sphere made by the astronomer Jean-Baptiste Delure and the mechanic Jean Pigeon, hinged on a Rococo support by and unknown hand. Installed in the very room of the future king, this object was clearly a product of the combined knowledge of a decorator and two scientists. How have these places been interpreted over the centuries? What issues did they reveal, given their private, public or semi-public character? At what scale can an institution have access to this double mission today? Such questions, among others, can enrich our work.     V. Art as knowledge, knowledge through the work From Vasari to Courajod, by way of Strzygowski, artistic writing has been steeped in regionalist and then nationalist ideologies which often promoted the idea that the art of a given people is the most direct and accurate expression of its spirit. Tuscan, French, or German art forms supposedly convey the precise character and genius of their corresponding nation. Thus, in order to understand the soul of a people, it is sufficient to become familiar with the works of art it has produced. Equally, the promotion of certain forms of art by means of a proactive cultural policy, in the manner of a Colbert or a Mussolini, would guarantee national cohesion around a body of works, whose function is to safeguard shared know-how and common moral values. If the political appropriation of art as knowledge invites us to rethink the ambiguous will to promote this tenuous link between art and knowledge in different signifying contexts, it may also be of interest to investigate where subversion of this propagandist connection can occur. For certain artists’ self-creation as visionaries and holders of supernatural knowledge precisely escapes unifying cultural projects. Art as knowledge does not relate to a single source and can be deployed in divergent, even opposing, directions. Conversely, and throughout history, technical and scientific innovations have spurred the creative invention of artists who, whether consciously or not, have recuperated such experiments for utilitarian ends, diverting them from their primary function and applying them to the field of art: knowledge forming the artwork. Denis Canguilhem and Clement Chéroux have demonstrated this in their book on scientific photography (Le merveilleux scientifique – Photographies du monde savant en France, 1839-1918, Paris, Gallimard, 2004). Many other questions can be addressed, including that of the image that taps knowledge through its own resources, such as a frontispiece or an impresa, the purpose of which is to announce the contents a book or a thesis, or to condense a set of ideas that require a complex deciphering which relies on knowledge that is at work as much in the object’s making as in its reception. These paths are indicative rather than proscriptive. We will consider all proposals that lend themselves to the study of the complex and challenging dynamics that enrich the relationship between the arts and knowledge. Procedures and proposals Students (doctoral and post-doctoral) wishing to participate in this encounter are asked to send a (single) paper proposal of 20 minutes maximum, and a brief CV listing languages used, to their respective national representatives (see the list at the end of this document) before 12th of January 2012. Proposals, with the candidate’s name, email address and institutional affiliation, should not exceed 1800 characters or 300 words. They can be written in English, French, German or Italian, and should be submitted as a Word document. If possible, the title of the section (or sections) in which they wish to be included should be indicated. The proposals will be gathered, examined and selected by country. National representatives will send the list of the accepted proposals by email (EDP2012@inha.fr) on 1st of February 2012 to the organizing committee which, following consultation with the network’s scientific committee, will establish the definitive program of the Spring-Academy. The announcement of the selected participants will be published in the end of February 2012 on the websites of the network www.proartibus.net and of the INHA www.inha.fr. (NB: In the two weeks following the acceptance of their candidacy, participants will have to submit a correct translation of their proposal in another official language of the network.) Since everyone can give talks in their own language, a knowledge of other languages is required. Participants with native romance languages need to have at least a passive knowledge of either English or German. Participants from Anglophone or Germanophone countries need to have at least a passive knowledge of either French or Italian. Proposals for those wishing to participate as respondents Students who have participated twice or more in earlier Spring-Academies are asked to offer their candidacy solely as respondents. Furthermore, young scholars, post-doctoral and doctoral students whose research is well advanced can also participate in the Spring-Academy as respondents. The duties of the respondents involve leading the discussion at the end of each session by proposing a re-reading of the issues brought up by the participants. The respondents will summarize the session, ask new questions and pursue the debate along other lines, suggested to them by their own research. All candidates wishing to take part in the Spring-Academy as respondents are asked to send a copy of their CV and a brief statement of interest to their national representatives, underlining their specific qualifications for the chosen section before 12th of January 2012. Call for papers (professors) As with each session, the professors from the network can either propose a paper or preside over a session. Teachers wishing to intervene in the program are asked to make their intention known to the Organizing committee by email to this address: (EDP2012@inha.fr). Organizing committee Claude Imbert (ENS Ulm, Paris) Anne Lafont (INHA/Université Paris Est Marne-la-Vallée/EA 4120 LISAA) Ségolène Le Men (Université Paris Ouest Nanterre La Défense) Pascale Ratovonony (INHA/Université Paris I Panthéon-Sorbonne) Elodie Voillot (INHA/Université Paris Ouest Nanterre La Défense) Academic Partnerships : Catherine Bédard (Centre culturel canadien, Paris) Andreas Beyer (Centre allemand d’histoire de l’art, Paris) Veerle Thielemans (Terra Foundation for American Art, Paris) National representatives Canada: Todd Porterfield (Université de Montreal) - todd.porterfield@umontreal.ca France: Nadeije Dagen (ENS, Paris) - nadeije.dagen@ens.fr Anne Lafont (INHA/Université Paris Est Marne-la-Vallée/EA 4120 LISAA) -  anne.lafont@inha.fr Ségolène Le Men (Université Paris Ouest Nanterre La Défense) - Segolene.lemen@gmail.fr Germany: Thomas Kirchner (Goethe-Universität, Frankfurt-on-Main) - kirchner@kunst.uni-frankfurt.de Michael Zimmermann (Katholische Universität Eichstaett) -  michael.zimmermann@ku-eichstaett.de Italy: Marco Collareta (Università di Pisa) - m.collareta@arte.unipi.it Maria Grazia Messina (Università di Firenze) - mariagrazia.messina@unifi.it Japan: Atsushi Miura (Universität von Tokio) - amm579@arion.ocn.ne.jp Switzerland: Jan Blanc (Université de Génève) - jan.blanc@unige.ch United Kingdom: David Peters Corbett (University of East Anglia, Norwich) -  D.PetersCorbett@uea.ac.uk Richard Thomson (Edinburgh University) - r.thomson@ed.ac.uk United States: Henri Zerner (Harvard University) - hzerner@fas.harvard.edu]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/665 http://www.aah.org.uk/post/665   Barthes' "madness of photography" is both poetically and ontologically central to the medium, and is discernible from its very origins. This symposium will explore new perspectives on the many implications of madness in photography's history, theory, and practice. The symposium will explore a wide range of topics: the historiography of the medium, including writings on photography and madness, death, time, or memory; photo-manias; new modes of dissemination; the place of photography in social networking; artists or movements interested in achieving or documenting states of madness; photography's participation in the definition and construction of madness; the medium's connections to scientific and pseudo-scientific fields; and photography and madness outside of the Western tradition. Please visit this site for more information: http://www.scad.edu/experience/events/arthsymposium/2012 Andrew M. Nedd arthsymposium@scad.edu    ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/664 http://www.aah.org.uk/post/664   http://www.hansardgallery.org.uk/education/conferences.html Deadline for papers: 30 January 2012 Convened by John Hansard Gallery with SCAN (digital and interdisciplinary arts agency) as part of the extended programme for the exhibition David Cotterrell: Monsters of the Id (11 Feb – 31 March, 2012). Nation states, world power, economic models, the role of the citizen have all been in a state of flux over the last ten years. Historically art has been a significant reflection of change and in some cases has led the way in reworking policy. There is a resurgence of art work around new political agendas that either directly reflects current world themes or employs predominant new technologies or other materials and concepts inventively to make more subtle comment. While, since its inception, the photographic image has been questioned for its ‘truth’, it is now accepted that images are routinely manipulated and mediated in order to convey a message or context. This one day symposium will address the ways that artists in 21st Century are using new technologies, reflecting new political agendas, and are constructing imagery or concepts to represent the current world situation. We are looking for papers that address the following broad themes: Image Manipulation and Politics – How much has the ubiquity of image manipulation changed views on current affairs and their authenticity? How have artists responded to this? Hacking, art and the political agenda – Artists have in the post WWII decades manipulated software and hardware to convey ideas and concepts. How are they responding now? How are they dealing with the standardisation of proprietary software and hardware? Is the current trend in content and platform separation appropriate for artists? New display technologies, art and politics – After decades of working within the constraints of the screen or photographic image, artists are beginning to look at new forms of display. How have artists used new display devices as a conceptual tool? Which artists alongside David Cotterrell are using new displays to convey meaning? New Politics and Artist Responses – Artists are beginning to emerge that embody strong political ideas in their work. How are they responding across a range of media? How is this different from previous work that has a strong political agenda? Proposals If you are interested in contributing to the conference, please send proposals of no more than 250 words and your institutional affiliation to the conference convenor Peter Jones by email at peter.jones@solent.ac.uk by 30 January 2012. Speakers pay no conference fees.]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/663 http://www.aah.org.uk/post/663   Relationships between ceramics and sculpture are a focus for research at Cardiff School of Art and Design. This research has demonstrated that the interests of studio ceramicists and sculptors in Britain either overlapped or came into particularly sharp focus at certain periods during the last century or so. The Henry Moore Institute, Leeds, has in the last few years awarded research fellowships to explore such relationships and one outcome was the exhibition A Rough Equivalent, curated by Dr Jeffrey Jones in 2010 http://www.henry-moore.org/hmf/press/press-information/henry-moore-institute1/a-rough-equivalent . Both ceramics and sculpture now have to make a case for their survival as discrete disciplines within higher education and, increasingly within the arts, categories are blurred. Recently an issue of Interpreting Ceramics www.interpretingceramics.com was devoted to interdisciplinary approaches in American ceramics and the 2012 issue of the journal will address relationships between ceramics and sculpture. Against this background the conference seeks to illuminate shared concerns by examining points of formal, conceptual, theoretical and material convergences between the two disciplines, while also addressing key points of difference. Scope The conference conveners welcome a variety of papers that engage with the encounter between ceramics and sculpture. The terms ‘ceramics’ and ‘sculpture’ are intended to be interpreted broadly and include vessels, figurative work, collaborative work, installation and performance. Papers representing new research are particularly welcome and authors are invited to submit proposals based on, but not limited to, the following themes: Contextual grounding for the relationships between ceramics and sculpture. Materials and processes. Formal and conceptual language. The role of education. The role of curatorial practice in making relationships between ceramics and sculpture manifest. Institutional cultures. Case studies of individual artists, movements, debates etc. The iconography of the artist in the studio.   Submission, Presentation and Publication of Papers in Interpreting Ceramics Proposals for papers (300 words) accompanied by short biographies of the authors (150 words) should be submitted by 31st January 2012 in ‘Word’ format. All successful papers will be included in a special issue of Interpreting Ceramics to be published in conjunction with the conference. A number of slots will be available for presentations on the day of the conference. However it will be possible to publish additional papers in Interpreting Ceramics. If potential authors are unable to attend the conference (for example, international contributors) then ‘publication only’ submissions will be accepted. A detailed schedule for the submission, presentation and publication of the papers is available for potential authors and enquiries should be made by to adutton@uwic.ac.uk Deadline for booking or submission (if applicable): Deadline for abstracts is 31st January 2012]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/654 http://www.aah.org.uk/post/654   Articles Anthony Auerbach, ‘The Theoretical Eye’ 5-AA/1 Karen C. Britt, ‘These stones still speak: the progress of research on late Roman and early Byzantine mosaic pavements in the Eastern Mediterranean’ 5-KCB/1 Eliana Carrara, ‘Giovanni Battista Adriani and the drafting of the second edition of the Vite: the unpublished manuscript of the Lettera a Messer Giorgio Vasari in the Archivio Borromeo (Stresa, Italy)’ 5-EC/1 A.A. Donohue, ‘New looks at old books: Emanuel Löwy, Die Naturwiedergabe in der älteren griechischen Kunst’ 5-AAD/1 Maia Wellington Gahtan, ‘Epitaphs in Giorgio Vasari’s Lives’ 5-MWG/1 Eric Garberson, ‘Art history in the university: Toelken – Hotho – Kugler’ 5-EG/1  Tables 5-EG/2  Darrell J. Rohl, ‘The chorographic tradition and seventeenth- and eighteenth-century Scottish antiquaries’ 5-DR/1 Nathan J. Timpano, ‘The dialectics of vision: Oskar Kokoschka and the historiography of expressionistic sight’ 5-NJT/1 Ian Verstegen, ‘­Vasari’s progressive (but non-historicist) Renaissance’ 5-IV/1 Papers from the colloquium ‘I saperi di Ernst Gombrich: Teoria del visibile e analisi dell’arte’, Venice, March 2009 organised by Paolo Fabbri and Tiziana Migliore Preface, Paolo Fabbri and Tiziana Migliore, ‘Ernst Gombrich on the knowledge, theory and analysis of art’ 5-FM/1 Giuseppe Barbieri, ‘The criterion of simplicity in interpretation’ 5-GB/1 Omar Calabrese, ‘The bridge: suggestions about the meaning of a pictorial motif’ 5-OC/1 Lucia Corrain, ‘Beyond the cloud. Gombrich and the blindness of Orion’ 5-LC/1 Paolo Fabbri, ‘Beyond Gombrich: the recrudescence of visual semiotics’ 5-PF/1 Stefano Ferrari, ‘Gombrich, Art and Psychoanalysis’ 5-SF/1 Patrizia Magli, ‘How things look. The “Physiognomic Illusion”’ 5-PM/1 Katia Mazzucco, ‘The work of Ernst H. Gombrich on the Aby M. Warburg fragments’ 5-KM/1 Tiziana Migliore, ‘Discovery or invention? The difference between art and communication according to Ernst Gombrich’ 5-TM/1 Richard Woodfield, ‘Ernst Gombrich: Iconology and the “linguistics of the image”’ 5-RAW/1 Papers from a colloquium dedicated to the work of Fritz Saxl, marking the sixtieth anniversary of his death, organized by Claudia Wedepohl and held at The Warburg Institute on 13th June 2008. Rembrandt Duits, ‘Reading the Stars of the Renaissance. Fritz Saxl and Astrology’ 5-RD/1 Karin Hellwig, ‘Saxl’s approach to Spanish art: Velázquez and El Greco’ 5-KH/1 Dorothea McEwan, ‘Saxl and Boll’ 5-DMcE/1 Papers from the conference ‘Reconsidering the Historiography of the Historical Avant-Garde(s)’, co-organized by Michelle Jubin and Sam Sadow, students on the PhD program in Art History at the CUNY Graduate Center, New York, April 2011. Lori Cole, ‘What is the avant-garde? The questionnaire as historiography’ 5-LC/1 Pierluigi Serraino, ‘[A]rchitecture + [P]hotography + [A]rchive: the APA factor in the construction of historiography’ 5-PS/1 Papers from the colloquium ‘Constructing the Discipline: Art History in the UK’ held in Glasgow in November 2009 Hilary Macartney, ‘Experiments in photography as the tool of art history, no. 1: William Stirling’s Annals of the Artists of Spain (1848)’ 5-HM/1 Katia Mazzucco, ‘1941 English Art and the Mediterranean. A photographic exhibition by the Warburg Institute in London’ 5-KM/2 Christoph Schnoor, ‘Colin Rowe: Space as well-composed illusion’ 5-CS/1 Florian Urban, ‘Built historiography in Glasgow’s New Gorbals – the Crown Street Regeneration Project’ 5-FU/1 Beth Williamson, ‘Art history in the art school: the critical historians of Camberwell’ 5-BW/1 Translations Hubert Damisch, ‘ The Theoretical Eye’  translated by Anthony Auerbach 5-HD/1 Heinrich Gomperz, ‘On Some of the Psychological Conditions of Naturalistic Art’  originally published as ‘Ueber einige psychologische Voraussetzungen der naturalistischen Kunst’, Beilage der  Allgemeinen Zeitung, Jahrgang 1905, Nummer 160, München Freitag 14. Juli, 89-93, Nummer 161, Samstag 15. Juli, 98-101. Translated with an introduction by Karl Johns 5-KJ/1 Miao Zhe: Robert Bagley, Max Loehr and the Study of Chinese Bronzes, Ithaca, NY: Cornell East Asia Series, 2008, translated by Wang Haicheng, originally published in Chinese in Dushu, November 2010, 126-33. 5-MZ/1 Riccardo Marchi, ‘Hans Tietze and art history as Geisteswissenschaft in early twentieth-century Vienna’ translated by Clarice Zdanski with an introduction by Riccardo Marchi, originally published as Riccardo Marchi, ‘Hans Tietze e la storia dell’arte come scienza dello spirito nella Vienna del primo Novecento’, Arte Lombarda, 110/111, 1994, 55–66 5-RM/1 Julius Schlosser, ‘A dialogue about the art of portraiture’ Originally published as ‘Gespräch von der Bildniskunst’, Österreichische Rundschau, Volume 6, 1906, 502—516, and republished: Julius Schlosser, Präludien Vorträge und Aufsätze, Berlin: Bard 1927, 227—247.  Translated with an introduction by Karl Johns 5-KJ/2 Documents John Mack, ‘Fetish: Magic Figures in Central Africa’, originally published in Anthony Skelton (ed.), Fetishism: Visualising Power and Desire, London: The South Bank Centre in collaboration with Lund Humphries Publishers, 1995, ISBN 0 85331 677 5 5-JM/1 Kimberly A. Smith, ‘Real Style: Riegl and Early 20th Century Central European Art’, originally published in Centropa: Journal of Central European Art and Architecture 5, n. 1 (January 2005): 16-25. 5-KAS/1 Paul Taylor, ‘Henri Frankfort, Aby Warburg and “Mythopoeic Thought”’ 5-PT/1 Georg Vasold, ‘Riegl, Strzygowski and the development of art’ originally published in Towards a Science of Art History: J. J. Tikkanen and Art Historical Scholarship in Europe, Helsinki: Society of Art History, 2009 5-GV/1 Reviews Amanda Claridge: ‘Looking for Colour on Greek and Roman Sculpture’. Vinzenz Brinkmann, Oliver Primavesi, Max Hollein, (eds), Circumlitio.  The Polychromy of Antique and Medieval Sculpture.  Liebighaus Skulpturensammlung, Frankfurt am Main, 2010 5-AC/1 Jim Harris: ‘Looking at Colour on post-Antique Sculpture’. Vinzenz Brinkmann, Oliver Primavesi, Max Hollein, (eds), Circumlitio.  The Polychromy of Antique and Medieval Sculpture.  Liebighaus Skulpturensammlung, Frankfurt am Main, 2010 5-AH/1 Vanessa Dion Fletcher and Warren Bernauer: ‘‘Mapping Medievalism: An Indigenous Political Perspective’.  Kathryn Brush (ed.), Mapping Medievalism at the Canadian Frontier, London Ontario Canada: Museum London and the McIntosh Gallery, 2010 5-FB/1 Catherine Fraixe : ‘Action Française and culture : Life, Times and Legacy’.  Olivier Dard, Michel Leymarie, Neil McWilliam (éds), Le maurrassisme et la culture. L’Action française. Culture, société, politique (III), Villeneuve-d’Ascq, Presses universitaires du Septentrion, 2010 370 pp., £20.  ISBN 978-2-7574-0147-7 5-CF/1 Eric Garberson: ‘Franz Kugler’. Michel Espagne, Bénédicte Savoy, Céline Trautmann-Waller, Franz Theodor Kugler. Deutscher Kunsthistoriker und Berliner Dichter, Akademie Verlag, Berlin, 2010, ISBN 978-3-05-004645-7, ix + 251 pp, 35 black/white images. 5-EG/3 Robert Gibbs: ‘Gothic Art for the 21st Century?’. Roland Recht, Believing and Seeing: The Art of Gothic Cathedrals, Translated by Mary Whittall, The University of Chicago Press, Chicago and London, 2008 5-RG/1 John Mack: ‘Surfaces on African sculpture’. Leonard Kahan, Donna Page, and Pascal James Imperato (eds) in collaboration with Charles Bordogna and Bolaji Campbell with an introduction by Patrick McNaughton, Surfaces: Color, Substances, and Ritual Applications on African Sculpture, Indiana University Press, 2009 5-JM/2 Matthew Martin: ‘Style and Classification in the History of Art’. Robert Bagley, Max Loehr and the Study of Chinese Bronzes.  Style and Classification in the History of Art, Ithaca, NY: Cornell East Asia Series, 2008 5-MM/1 Margaret Olin: ‘German Orientalism’. Suzanne L. Marchand, German Orientalism in the Age of Empire: Religion, Race and Scholarship, Cambridge and Washington, D.C.: Cambridge University Press, 2009 5-MO/1 Edward Payne: ‘”Savage Spain”? On the reception of Spanish art in Britain and Ireland’. Nigel Glendinning and Hilary Macartney, eds, Spanish Art in Britain and Ireland, 1750–1920: Studies in Reception in Memory of Enriqueta Harris Frankfort, Woodbridge: Tamesis, 2010, 307pp., 17 colour and 56 b. & w. illus., £50.00 hbk, ISBN: 9781855662230. 5-EP/1 Ulrich Pfisterer: ‘Formal values and the essence of art’. Paul van den Akker, Looking for Lines. Theories on the Essence of Art and the Problem of Mannerism, Amsterdam: Amsterdam University Press 2010 5-UP/1 Matthew Rampley: ‘Re-reading Riegl’.Peter Noever, Artur Rosenauer and Georg Vasold, eds, Alois Riegl Revisited. Beiträge zu Werk und Rezeption. Contributions to the Opus and its Reception. Vienna: Österreichische Akademie der Wissenschaften, 2010. Michael S. Falser, Wilfried Lipp, Andrzek Tomaszewski, eds, Conservation and Preservation. Interactions between Theory and Practice. In Memoriam Alois Riegl (1858-1905). Proceedings of the International Conference of the ICOMOS International Scientific Committee for the Theory and the Philosophy of Conservation and Restoration, 23-27 April 2008, Vienna. Florence: Polistampa, 2010. 5-MR/1 Lou Taylor: ‘Sources for Fashion History’.  Peter McNeil, Fashion: Critical and Primary Sources, Berg, Oxford, 2009 5-LT/1 Responses Suzanne Marchand, response to Margaret Olin’s review of German Orientalism in the Age of Empire 5-SM/1 Peter McNeill, response to Lou Taylor’s review of Fashion: Critical and Primary Sources 5-PMcN/1 Paul van den Akker, response to Ulrich Pfisterer’s review of Paul van den Akker, Looking for Lines. Theories on the Essence of Art and the Problem of Mannerism, Amsterdam: Amsterdam University Press 2010 5-PvdA/1 Short Reviews Madhuri Desai: Parul Pandya Dhar (ed.), Indian Art History: Changing Perspectives, New Delhi: D. K. Printworld and National Museum Institute, 2011, 279 pp., 70 b&w illus., ISBN 812460597-1 5-MD/1 Andrew Hopkins: Andrew Leach, What is Architectural History? Polity, Cambridge, 2010 5-AH/1 Kristin A. Phelps: Mikelle Smith Omari-Tunkara, Manipulating the Sacred:  Yorùbá Art, Ritual, and Resistance in Brazilian Candomblé.  Detroit:  Wayne State University Press, 2005 5-KAP/1 Prassanna Raman: Paul Wheatley, The places where men pray together: cities in Islamic lands, seventh though the tenth centuries, Chicago: University of Chicago Press, 2001 5-PR/1 Conference report Niamh NicGhabhann, ‘Writing Irish Art History’ 5-NNG/1 Books received Carole P. Biggam, Carole A. Hough, Christian J. Kay and David R. Simmons (eds), New Directions in Colour Studies, Amsterdam/Philadelphia:  John Benjamins Publishing Company 2011. xii, 462 pp. ISBN Hb 978 90 272 1188 0 ISBN E-book 978 90 272 8485 3 5-CPB/1 Mark Cruse, Illuminating the Roman d’Alexandre: Oxford, Bodleian Library, MS Bodley 264: The Manuscript as Monument , London: D.S.Brewer 2011, 252 pages , ISBN-10: 1843842807, ISBN-13: 978-1843842804  5-MC/1 Lyckle de Vries, How to create beauty: De Lairesse on the theory and practice of making art, The Netherlands: Primavera Press 2011, 224 pages, ca. b/w 100 ill., ISBN 978-90-5997-102-8 [includes contents, sample chapter ‘Book III - The difference between the Antique and Modern manner’ and index] 5-LdV/1 Parul Pandya Dhar (ed.), Indian Art History: Changing Perspectives,  New Delhi: D.K. Printworld (P) Ltd. and National Museum Institute of History of Art, Conservation and Museology 2011, 279 pages, 61 b/w ill., ISBN 13: 978-81-246-0597-4 ISBN 10: 81-246-0597-1 [includes contents, introduction and index] 5-PPD/1 Kasper König, Emily Evans and Falk Wolf (eds), Remembering Forward: Paintings of Australian Aborigines since 1960, London: Paul Holberton 2010, 240 pages, 150 ill. £30, ISBN: 978 1 907372 14 8  5-KEW/1 John Hendrix, Roger Williams and Charles H. Carman (eds), Renaissance Theories of Vision, London: Ashgate 2010, 258 pages, 18 b&w ill., £65.00,  ISBN 978-1-4094-0024-0 [includes contents, introductory chapter and index]  5-HWC/1 Christopher R. Marshall (ed.), Sculpture and the Museum, London: Ashgate 2011, 286 pages, 63 b/w ill., £55.00, ISBN 978-1-4094-0910-6 [includes contents, introduction and index]  5-CM/1 Announcements The Warburg Institute: A Special Issue on The Library and Its Readers, Common Knowledge, Issue 18, number 1 (available January 2012) 5-CK/1 ‘Josef Strzygowski and the sciences of art’, preliminary conference programme, 29-31.03.2012, Bielsko-Bia?a, Poland 5-JS/1 Voices in Art History: AAH Oral Histories 5-AAH/1 Please direct queries and questions to Prof. Richard Woodfield, Editor of the Journal of Art Historiography.  richard.woodfield@ntlworld.com, http://arthistoriography.wordpress.com/   ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/661 http://www.aah.org.uk/post/661   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. Topics could include, but are not limited to: Self-fashioning Portraiture and problems of terminology Public and private spaces for portraits Portraiture and its relationship to literature, music & architecture Fashion, make-up and adornment Experience of the domestic space Mimesis The role of the patron New media: engravings, woodcuts, etchings The relationship between portrait and narrative Author portraits and book illustrations Funerary monuments Exhibiting Renaissance portraiture Collecting habits The Renaissance Symposium 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 symposium. Please send proposals of 250 words for papers of 20 minutes, and a short biography to: renaissance.consortium@courtauld.ac.uk by 20 January 2012 Organised by Emily Gray and Harriette Peel (The Courtauld Institute of Art) Contact and further information details: renaissance.consortium@courtauld.ac.uk Deadline for submission (if applicable): 20 January 2012]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/660 http://www.aah.org.uk/post/660   Assistant Professor - Medieval Art and Architecture The Art Department at Wellesley College seeks applicants for a tenure-track assistant professor in medieval art and architecture in the European and Islamic worlds. Candidates should specialize in either Islamic or Western medieval art and architecture with a demonstrated expertise in teaching in the allied field. Candidates should hold the PhD. or be near completion. Evidence of a promising scholarly record is required and applicants should have languages commensurate with teaching and research interests. In addition to offering courses in these two areas, the position includes teaching in the Department’s survey course. Wellesley College, a women’s institution, is one of the leading undergraduate colleges in the United States. It emphasizes strong teaching and original scholarship, and encourages interdisciplinary teaching and research. It also expects: collegiality, service within the College, and participation in professional organizations within the candidate’s area of specialization. The Art Department includes majors in Art History, Architecture, Studio Art and Media Arts and Sciences, and enjoys exchange programs with MIT, Olin College of Engineering, and Brandeis University. Applicants should send a letter of application that describes their teaching and research interests and a CV electronically, and provide three letters of recommendation (The online application will request names/email address so that recommenders or dossier services may submit the letters directly.) to: https://career.wellesley.edu. The application must be received by January 15, 2011. If circumstances do not allow you to submit materials through our on line application system, please email us at working@wellesley.edu. Wellesley College is an Equal Opportunity/Affirmative Action educational institution and employer. Successful candidates must be able to work effectively in a culturally diverse environment. Applications from women, minorities, and candidates with disabilities are encouraged.]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/658 http://www.aah.org.uk/post/658   'High Up On a Baroque Palazzo' is a not-to-be -missed, one night only performance which launches an exhibition of archival material relating to Nice Style, a collaborative performance group set up in 1970 by British artists Bruce McLean, Paul Richards, Gary Chitty, Robin Fletcher and Ron Carr. Highlighting the superficiality of the modern world, this irreverent group mimicked the posturing of 1970s bands and aped tuxedo-wearing celebrities. Wine will be served following the performance in the Institute reception. This event is free of charge. The galleries of the Henry Moore Institute are open until 9pm on Wednesday evenings. Questions can be directed to: Kirstie Gregory, Research Programme Assistant Henry Moore Institute The Headrow Leeds LS1 3AH tel +44 (0) 113 246 7467 kirstie@henry-moore.org. www.henry-moore.org]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/657 http://www.aah.org.uk/post/657   The study of Spanish drawings is a rapidly advancing area of research. Exhibitions devoted to early modern Spanish drawings are increasing in number, unknown works are being brought to light and new questions are being raised. What were the shifting attitudes towards drawing in Spain from the time of Juan de Juanes to the era of Picasso? To what extent do issues of style, subject matter and technique problematise the categorisation of drawings as ‘Spanish’? How does the study of drawings enhance our understanding of Spain’s artistic, social and cultural world? This conference is timed to celebrate the publication of the complete catalogue of Spanish drawings in The Courtauld Gallery collection by Zahira Véliz, and to coincide with The Courtauld’s associated exhibition, ‘The Spanish Line: Drawings from Ribera to Picasso’ (13 October 2011 – 15 January 2012). The conference aims to showcase new research on various aspects of Spanish drawings from the sixteenth through the twentieth century. Organised by Zahira Véliz and Edward Payne (The Courtauld Institute of Art) The cataloguing project has been undertaken as part of the IMAF Centre for Drawings at The Courtauld Gallery and has been supported by the Centro de Estudios Europa Hispánica This event is supported by The Courtauld Institute of Art Research Forum and IMAF, with additional sponsorship from ARTES To book a place: £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 ‘Spanish Drawings’ conference. ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/655 http://www.aah.org.uk/post/655   This one-day conference, held in conjunction with Nineteenth Century Theatre and Film, will explore the connections between art, theatre, and visual culture in the nineteenth century. During this period, the ‘art of seeing’ challenged the traditional dominance of the written word. Vision, previously denigrated as deceptive, became considered as a universal language, accessible to all, and more authentic than text. Popular theatre, especially melodrama, led the way in exploring the possibilities of the new visuality. This conference will explore the visual culture of theatre and exchanges between theatre and the visual arts. Panels will include: Stage Spectacle, History and Narrative, Dramatizing the Environment, Adaptation, The Image of the Actress, The Iconography of Dance, Religion and Ritual, and Violence. Conference fee: £20 (£10 for postgraduate students) Lunch, tea and coffee will be provided.   Contact: Patricia Smyth: patricia.smyth@nottingham.ac.uk. Registration is now open: www2.warwick.ac.uk/fac/arts/theatre_s/staff/jim_davis/sharedvisions  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/652 http://www.aah.org.uk/post/652   The ancient civilisation of Egypt is quite justly famous for the beautiful hieroglyphic inscriptions on tomb walls and the astonishing amount of papyrus documents discovered. Perhaps, what is less well-known is that these written sources cover an absolutely amazing range of subjects from laundry lists and love poems to last wills and testaments - offering us a fascinating and unique glimpse into the world of the Pharaohs, the Nobility and Working Men and Women. On this fully illustrated study day we shall discover and discuss a selection of topics, including: Royal decrees and Politics Medicine, Magic and Murderous concerns Religion and Moral Guidance Stories of Wonder and Adventure In addition, we shall consider the life of a scribe in ancient Egypt and his equipment. Although we are not learning how to read source materials in this study day, the types of scripts employed in these writings will be described and outlined. Importantly, we shall also consider the impact of ancient Egyptian writings on modern literature, so prepare to be surprised! A display of various ancient Egyptian writings will test your powers of observation and deduction! Cost: £40 Includes afternoon refreshments. Booking deadline 3rd February 2012 For further information please contact Richard email: study.egypt@virginmedia.com  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/650 http://www.aah.org.uk/post/650   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 colloquium 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.     Topics could include, but are not limited to:   Self-fashioning Portraiture and problems of terminology Public and private spaces for portraits Portraiture and its relationship to literature, music & architecture Fashion, make-up and adornment Experience of the domestic space Mimesis The role of the patron New media: engravings, woodcuts, etchings The relationship between portrait and narrative Author portraits and book illustrations Funerary monuments Exhibiting Renaissance portraiture Collecting habits The Renaissance Symposium 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 250 words for papers of 20 minutes, and a short biography to:  renaissance.consortium@courtauld.ac.uk by 20 January 2012 Organised by Emily Gray and Harriette Peel (The Courtauld Institute of Art)]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/649 http://www.aah.org.uk/post/649   Call for Papers Deadline: 16 December 2011 Confirmed Plenary Speakers: Mary Favret, Gillian Russell, Susan Siegfried, Paul White In July 2012, in advance of commemoration of the bicentenary of the Battle of Waterloo, Tate Britain is to host a two-day conference exploring the impact of the Revolutionary and Napoleonic Wars on world-wide visual culture, from the outbreak of the pan-European conflict with France in 1792 to the present day. Centred on themed panels, plenary lectures and workshops, this cross-disciplinary conference will promote knowledge and understanding of the range of ways in which the ‘First Total War’ has been mediated in visual cultures, not only in Britain and continental Europe but throughout the world. The organisers are keen to receive proposals for papers that present new research and/or methodological approaches. In particular we would like to encourage proposals from scholars from different disciplines who wish to work in collaboration with each other. We welcome papers that address, but are not limited to, the following topics: the impact of the Revolutionary and Napoleonic Wars on cultural and national identities the condition of exile as an effect/affect of war the roles that institutions play in mediating the public understanding of war (The Royal Academy, Westminster Abbey, The British Museum) the representation (or unrepresentablity) of pervasive violence medical arts architecture and sculpture panoramas, dioramas, illuminations and other spectacular displays the significance of ruins, both real and imagined the importance of guide books, diagrams and maps art works made by serving soldiers and prisoners of war the emotional and psychic effects of war games, toys and children’s materials the formation of memory through visual culture the representation of melancholy and mourning military fashions theatre and re-enactments photography and film Please send abstracts of 250 words to Phil Shaw (ps14@le.ac.uk) by Friday 16 December 2011. Organised by Martin Myrone (Tate Britain), Satish Padiyar (The Courtauld Institute of Art), Phil Shaw (University of Leicester), and Philippa Simpson (National Maritime Museum) This event is supported by The Courtauld Institute of Art Research Forum, Tate Britain, and AHRC]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/633 http://www.aah.org.uk/post/633   Spaces of Work 1770-1830 will address the relationships between workers and spaces in Britain. We aim to showcase current research and are particularly interested in interrogating under-analyzed types of work and space. For example, we hope to develop the theorization of types of work that critics have not conventionally understood as ‘work’ (the performance of music as practical activity, for instance). We also aim to bring attention to under-analysed spaces. For example, due to Romanticism’s traditionally rural focus, literary critics of this period have only recently begun to interrogate urban spaces; interdisciplinary discussion of urbanism in this period would therefore be particularly valuable. We aim to analyze the interfacing of work and space as two factors that fundamentally shape everyday life in order to gain a greater understanding of material life in the period. To these ends, 500 word abstracts are invited which attempt to answer questions such as the following: How do workers and their work uniquely shape space? How does space facilitate or hinder workers and their work? How does the social relationship among workers and between them and their supervisors/masters alter according to the work they are doing and the spaces in which they perform it? How does gender, race, and/or class inform workers’ relationship to each other in different contexts of space and work? Possible approaches could include, but are not limited to: genteel work and the city; work in spaces of ‘leisure’; work and (sub)urban domestic spaces; men’s work in the home; space and female accomplishment; work and emergent manufacturing/industrial spaces. Please send submissions to the conference organizers, Kate Scarth and Joseph Morrissey, at j.morrissey@live.co.uk by 01/12/2011. Papers at the conference will be thirty minutes in length, with a generous allocation for questions. Confirmed keynote speakers: Karen Harvey (University of Sheffield) and Jennie Batchelor (University of Kent)    ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/646 http://www.aah.org.uk/post/646   Proposals for conference papers, of about 20 minutes, are invited for a conference: Terrorist transgressions: gendered representations of the terrorist in contemporary culture: Violence, horror and gender to be held at the University of Reading on 28-29 January 2012. The AHRC-funded Terrorist transgressions: network on gendered representations of the terrorist brings together an interdisciplinary group of scholars to investigate how the terrorist has been represented in the visual arts, film, photography and the media. It gives specific attention to the question of gender in imagery of the terrorist. Modern discourses of the terrorist date from around 1945 and were given greater urgency after 2001 following terrorist attacks on America, London, Madrid and elsewhere. The horror experienced in Western societies was the appearance of a new sense of the vulnerability of the body politic, and therefore of the modern self with its direct dependency on security and property. The terrorist has been constructed as the epitome of transgression against economic resources and moral, physical and political boundaries. As Jameson has put it 'the image of the "terrorist"... is one of the privileged forms in which an ahistorical society imagines radical social change', displacing older images of criminals, revolutionaries and even the veteran. Although terrorism, its contexts, histories and forms, has been the focus of intense academic activity in recent years, cultural representations of the terrorist have received less attention. Yet terrorism is dependent on spectacle and the topic is subject to forceful exposure in popular media. Dissident organisations produce images of the terrorist, for example as martyr, hero or avenger. Agencies, including national authorities, involved in combating terrorism, need to visualise the terrorist in order to give identity to the threat. While the terrorist is predominantly aligned with masculinity, women have been active in terrorist organisations since the late 19th century. Particularly since the 1980s, women have perpetrated suicidal terrorist attacks, including suicide bombing, where the body becomes a weapon. Such attacks have confounded constructions of femininity and masculinity, with profound implications for the gendering of violence and horror. The image of the terrorist, whether positive or negative, is always a gendered one. The primary aim of the Terrorist Transgressions network is to analyse the myths inscribed in these images and identify how agency is attributed to representation through invocations and inversions of gender stereotypes. We welcome proposals for papers from all disciplines which address themes in the cultural representation of the terrorist and the question of gender. A short abstract (250 words) together with details of your institutional affiliation should be submitted to Sue Malvern and Gabriel Koureas by 16 December 2011 through the project administrator: Nicola Capon, email: N.R.Capon@pgr.reading.ac.uk Notification of accepted proposals will be given by 22 December 2011]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/644 http://www.aah.org.uk/post/644   Dr Jenny Stratford (Institute of Historical Research) - England and France: Royal Libraries in the Later Middle Ages The great Louvre library of the French kings, Charles V (1364-1380) and Charles VI (1380-1422), is very well documented. About a hundred books are known to survive today, many of them superbly illuminated. There are no inventories of the English royal library until the Tudor period, but long before Edward IV commissioned his huge illuminated books from Bruges, we can pinpoint royal books and suggest the library’s existence. Open to all, free admission Two thousand manuscripts from the Old Royal library were presented to the British Museum by George II in 1757. About one hundred and fifty of the most richly illuminated will be displayed in a joint British Library/Courtauld Institute of Art exhibition, Royal Manuscripts: The Genius of Illumination, at the British Library from 11 November 2011 to 13 March 2012. Taking this extraordinary collection as their starting point, the Frank Davis Memorial Lecture Series for 2011 will explore aspects of the patronage, manufacture, function and collection of books in medieval England and France, and will provide a broad context for these precious survivors of the library of the kings and queens of England. Jenny Stratford began her career in the Department of Manuscripts, the British Library. She is now a Senior Research Fellow of the Institute of Historical Research, University of London. Her interest in princely collections led to the groundbreaking publication of The Bedford Inventories: the Worldly Goods of John, Duke of Bedford, Regent of France, 1389–1435 (1993) and she continues to explore the political, economic and cultural implications of royal and princely inventories and to use visual evidence in interpreting them. She is the author of many articles and has contributed chapters to The Cambridge History of the Book in Britain (1999) and The Cambridge History of Libraries in Britain and Ireland (2006). Her new study, Richard II and the English Royal Treasure is to be published in 2012. Organised by Professor John Lowden]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/643 http://www.aah.org.uk/post/643   http://www.tate.org.uk/britain/eventseducation/talks/24841.htm Arguably, art criticism in Britain predates the emergence of art history. The distinctive tradition of writers from Hazlitt, Ruskin and Pater to Fry and Stokes prompts questions about the role of the art critic. If writing and judgement are the two prime roles, how do these survive in the rapidly changing world of the media? What kind of relationship does, and should, art criticism maintain with art history – and vice versa? These issues have been central to the concerns of major contemporary specialists like Baxandall and Fried. I draw on my own experience of the past half-century to pinpoint some of the dilemmas, and some of the possibilities, that they have engendered. Stephen Bann CBE FBA is Emeritus Professor of Art History at Bristol University, he has published widely on contemporary art in Britain, Europe and America. AICAUK Annual Lecture in association with Tate AICA (International Association of Art Critics) was established by UNESCO in 1949 and now has over 60 national sections and 4000 members concerned with the evaluation of contemporary art. Its history is documented in AICA in the Age of Globalisation edited by Henry Meyric Hughes and Ramon Tio Bellido, AICA Press 2010. Tate Britain Auditorium £9  (£7 concessions) – booking recommended Price includes wine reception For tickets book online Or call 02078878888]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/642 http://www.aah.org.uk/post/642   The call for social justice that is now spreading all over the world is a significant phenomenon that (re)opens new dimensions for art history as well as other political, historical and visual discourses.The shift towards neo-liberal capitalism and the dismantling of the welfare state is now being challenged. The call of the crowd in major cities such as Cairo, Rome, New York, Barcelona and Tel-Aviv, is changing the political agenda calling for greater solidarity and human compassion. This has been especially impressive coming from protesters of different social, political, gendered and cultural backgrounds. These changes echo, as well as build on, the paradigmatic shifts which have occurred within art theory and political thought in the last decade, where new theorizations and appreciation of the multitude, and wide ranging participatory practices have surfaced. Taking current social and political upheavals as our point of departure and looking back into history one wonders about other calls for social justice and the ways they shaped or have been shaped in artistic practices. In this symposium we welcome papers that relate to such points in history, which not only had a tremendous influence on human and social developments but also received attention in the art of the time. In some cases the artists were documenting the events; in others they were propagating their own ideas. There were cases in which the artistic production was perceived as a tool for spreading the news or as a space for developing new socio-political practices. We especially welcome papers addressing a complex view of these and other interlinked approaches. Our keynote speaker will be: Larry Silver(University of Pennsylvania) who will talk about: "War is Hell: Visualizing Warfare as Social Injustice" Please submit a proposal for a 20-minute talk, in 250 words or less, by 23January 2012, to:artandjustice@bgu.ac.il. Please include your name, professional affiliation and contact information. Topics may include but not limited to: Social aspects of the American, French or Russian revolutions in the art of the period The social dimension of Franciscan, Dominican or Jesuit reformations and their manifestation in the arts Protestantism and material culture injustice and the common people Social rights movements and the arts The others and their voices in artistic creation Art and the emergence of communism, fascism or any other modern ideology The interrelationship between art and propaganda, ideology or statesmanship. Rethinking communality in the production, dissemination and reception of art. ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/637 http://www.aah.org.uk/post/637   Speakers include, among others: Deborah Cullen of El Museo del Barrio; Katherine Manthorne of the City University of New York Graduate Center; Edward Sullivan of the Institute of Fine Arts at New York University; independent scholar Itala Schmelz; Valerie Fraser of the University of Essex; and artist Luis Camnitzer. View the full program, speakers' abstracts and bios, and archived webcasts of all eighteen lectures from the October 5 & 6, 2011, symposium online at www.americanart.si.edu/research/symposia/2011/webcast. We also welcome your feedback on the symposium! You can add your comments to the discussion board on our webcast page or email us directly at AmericanArtSymposium@si.edu. Encuentros: Artistic Exchange between the U.S. and Latin America is the third of five Terra Symposia on American Art in a Global Context, which are supported by a generous grant from the Terra Foundation for American Art.]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/636 http://www.aah.org.uk/post/636   Deadline for submission (if applicable): 30 November 2011 160 years after the 1851 Great Exhibition in London, and 60 years after the Festival of Britain, this international conference aims at scrutinizing displays and representations of the UK in international exhibitions. Creating an opportunity for interdisciplinary exchanges and discussions for researchers (doctoral, post-doc, and senior) and practitioners whose enquiry builds upon elements of British culture and history of international exhibitions is another goal of this conference project. Call for proposals International exhibitions have been an object of research in very diverse disciplinary fields. This conference is meant to serve as an opportunity to support exchanges of expertise and encourage discussions between researchers and practitioners whose work centres on elements of British culture and the history of international exhibitions. The range of this call for proposals is intentionally as welcoming as possible, inviting a diverse range of material and disciplinary approaches: history of art, of architecture, of graphics, of visual culture, of gender, social and regional studies.Considering the location for the conference, international exhibitions which took place near the Mediterranean are of special interest (such as Barcelona 1888, Turin 1902, Milan 1906, Seville 1929-30, Seville 1992, Lisbon 1998, and Saragossa 2008). Furthermore, the relation between the national question (England, Wales, Scotland, Ireland) within the United Kingdom itself and displays and representations of the United Kingdom in exhibitions is also worth considering. Participants may come from humanities and social sciences, from basic and applied research, and be affiliated with academic, heritage-based, or business-based organisations. The 2010 Shanghai Universal Exhibition ended, unsurprisingly, on a massive success in terms of visitor figures. Members of the international community and global companies rushed from all corners to feature in good position in the environment of this ephemeral showcase put together to quench the curiosity of an audience eager to consume and discover the world. In these early years of the 21st century, though, the participation of sovereign countries to such an event prompts more than ever all sorts of questions. The increasing number of available media and the growing circulation of information across the world may be a challenge for both state and entrepreneurial entities in their will to create and communicate a consistent narrative. Meanwhile, the public is more and more able to form an autonomous opinion on various questions. Might this enormous institutional investment, both physical and intellectual, be driven by precisely the one-of-a-kind nature of this type of gathering? In 2010, Greek-British architect Katerina Dionysopoulou explained about the UK building she had contributed to for the Shanghai Exhibition: ‘The biggest challenge of the project was to create a pavilion that the government would be happy to use as a platform to communicate how amazing the UK is without making it a straightforward advertisement. At the same time, we were trying to build an object that had never been built.’ (Source: Katerina Dionysopoulou, Heatherwick Studio, interview with Anna Xanthou, 20/05/2010, quoted in Fashion First Row ( http://www.fashionfirstrow.com ).) This emphasises several themes this conference is interested in: communication and political appropriation of the event, display and representation of a country throughout the event, and a consideration of technical and technological innovation. In a context of international competition and flamboyance, with a public both international and local, it is inevitable that the communication issue should arise: who is a national representation for? The other, the foreigner, the world? Or for oneself, one’s own nationals? More broadly, there is the question of the motivation: why does one wish to take part in the UK representation in international exhibitions? And perhaps, on the contrary, why would one shun the opportunity? These questions on institutional motivations for displays and representations find their counterpart in questions on individual motivation for taking part in this exceptional communication setting that international exhibitions have been: A thirst for knowledge? Curiosity? A desire to experience the event and subsequently to share the experience? Ultimately what are the results from the point of view of the public? National representation, technology, and relation to history: technical questions are also inevitable. Historically, exhibitions are the place to become familiar with progress and modernity. However, in the days of globalisation and instant communication, the display of innovation and technical or technological ‘revolution’ may seem less in the spotlight than it used to be several decades ago. Proposals may explore the way relations between education and entertainment of visitors as well as promotion and teaching have been negotiated in presentations of the UK. Considering the UK’s significant colonial history, proposals may reflect on the relations between the UK and colonial power in terms of display and representation in exhibitions. They could thus look at issues of colonial action, and then decolonisation and the post-colonial era: Why? How? To what ends? Proposals may be diachronic, to focus on short or long term trends, or synchronic, focussing on case studies illustrating wider concepts or trends particularly significant in the intellectual context of exhibitions and beyond in selected disciplinary fields. Comparative approaches are welcome, especially to emphasize specificities – or shared features – which have characterised UK presentations in exhibitions. The conference organizing committee plans to produce a publication presenting a selection of contributions in a cohesive editorial project. As such, proposals drawing on original, unpublished research are particularly welcome. Proposals for papers of 20 minutes, in English or in French, should include a title and a 300-word abstract. Proposals should in particular indicate how they fit into one or more of the areas detailed above, give some details on sources from which the proposal stems, and summarize the thesis of the contribution. Paper proposals are to be sent to both Eve Roy (melle_roy@yahoo.fr) and Guillaume Evrard (g.evrard@ed.ac.uk) before 30 November 2011. This conference is organized by GEIAB (Groupe d’études interdisciplinaires en arts britanniques, Paris), in collaboration with UMR TELEMME (Université Aix-Marseille 1) and HICSA (Université Paris 1-Panthéon-Sorbonne). Participants should plan to be responsible for their transport and accommodation expenses. Organizing committee: Guillaume Evrard, Gabriel Gee, Sophie Orlando, Eve Roy. Scientific committee: Jean-Lucien Bonillo, Rossella Froissart, Paul Greenhalgh, Jean-Marie Guillon, Claude Massu, Simon Texier, Sabine Wieber. The organizing committee will get in touch with all authors of paper proposals in December 2011.]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/635 http://www.aah.org.uk/post/635   Call for Papers It is proposed that the 2012 Conference will analyse the significance of Alvar Aalto and his heritage from various angles and on various scales. There has been a wealth of general studies on Aalto, as well as building monographs, but it is now time to take the next step in researching his architecture and influence. The seminar will be a multidisciplinary academic meeting, at which architects, researchers, historians and others interested in the subject will be invited to present their own academic contributions to the discourse on Aalto. Abstracts Abstracts are to be a maximum of 500 words. The deadline for submission of abstracts is December 15, 2011. Notification of acceptance will be sent by January 15, 2012. The abstracts will be made available to all conference participants. Please note that no editorial changes will be made. The official language of the conference is English. Abstracts are to be submitted to merja.h.vainio@alvaraalto.fi The Conference will be held in Seinäjoki Town Hall (designed by Alvar Aalto) on March 12 and 13, 2012, and on March 14 there will be an excursion to Alajärvi (town centre designed by Alvar Aalto) and Jyväskylä, where it will be possible to explore the contents of the Aalto archives, and visit the storage areas, and also to meet museum and archive personnel. For further information, please contact Director of Alvar Aalto Museum, Dr. Susanna Pettersson (susanna.pettersson@alvaraalto.fi) or see www.alvaraalto.fi Organizing and academic committee: Susanna Pettersson, Director, Alvar Aalto Museum Aino Niskanen, Professor, Helsinki University of Technology Ari Hynynen, Professor, Tampere University of Technology and City of Seinäjoki Olli-Paavo Koponen, Professor, Tampere University of Technology Dates to remember October 2011: Call for papers December 15, 2011: Deadline for abstracts January 15, 2012: Notification of acceptance March 12–14, 2012: Conference   Alvar Aalto Museum Helsinki University of Technology Tampere University of Technology City of Seinäjoki]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/632 http://www.aah.org.uk/post/632   http://www/art-history/news/flaneur-abroad-call-for-papers.aspx Deadline for submission: 30 December 2011]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/631 http://www.aah.org.uk/post/631   The Association for the Study of the Arts of the Present is pleased to announce a symposium exploring the current status of genre across the post-1960s visual, literary and performative arts. ASAP/4 invites speakers to reflect on the persistence, return and dynamic transformation of genres and to consider the role of genre in the creation, interpretation and evaluation of the arts of the present. What defines genre now? How is genre being performed in and across the post-1960s arts? What aspects of conformity, antagonism, variation and/or innovation are at work in contemporary uses of genre? How do current uses of genre relate to traditional distinctions between high and low art? What is the place of genre in the evolving theorization of transmediality? How do digital forms alter the genres to which they relate? Has our understanding of hybridity, quotation or appropriation of genres changed since they were theorized within postmodernism? What role do the genres of the present play a role in creating literary or artistic communities, or in linking critics with audiences? Proposals should include 300-word abstracts for papers, 700-word abstracts for roundtables or panels, with email addresses & brief CV statements for each speaker. Please send all submissions or queries to: asap@rca.ac.uk Proposal submission deadline: 15 April, 2012 Responses will be sent by 1 June, 2012 For more information see http://artsofthepresent.org ASAP/4: “Genres of the Present” is hosted by the Royal College of Art in collaboration with the Program Committee of A.S.A.P. The symposium host organizer is Lucy Soutter, Royal College of Art  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/629 http://www.aah.org.uk/post/629   Convenors, Professor Janet Ulph  (University of Leicester)  ulphju13@leicester.ac.uk  & Charlotte Woodhead (University of Warwick) c.c.woodhead@warwick.ac.uk. http://www.dmu.ac.uk/about-dmu/schools-and-departments/leicester-de-montfort-law-school/events/slsa/slsa-call-for-papers-themes.aspx This theme seeks to bring together discourse on the interface between, art, culture, heritage and the law. To this end papers will be welcomed concerning the legal and non-legal regulation of art, culture and heritage as well as the rights which exist in respect of these. Furthermore, participants may wish to engage in debates concerning the role played by morality in the context of preservation of the past and the need to curb the illicit trade in cultural objects. Papers may include, but are not limited to: The de-accessioning or acquisition of objects from museums and other cultural institutions; Legal protection of artistic works, the built environment and objects of cultural importance; The illicit trade in cultural objects; The relationship between property and culture; Cultural rights and human rights; Cultural institutions and the law; Minority rights and interests relevant to culture and heritage; Art and aesthetics and their relationship to law; Cultural discourse on law; and Law and humanities If you want to discuss your idea for a paper prior to submitting an abstract, please contact the theme organisers. Submission of abstracts must be made by Word document e-mail attachment to: slsa2012@dmu.ac.uk Abstracts must be no longer than 300 words and must include your title, name and institutional affiliation and your email address for correspondence. Please state clearly in the subject section of your e-mail that you are submitting an abstract for the SLSA Conference 2012. The deadline for the submission of abstracts is 16th January 2012. Abstracts submitted by this deadline will receive a decision to enable early registration by 31st January 2012.  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/628 http://www.aah.org.uk/post/628   Ann Jones (writer/photographer) - "Collateral Damage: What's Happened to Afghan and Iraqi Civilians?" This year, the Andrew W Mellon Foundation / Research Forum MA Special Option is Art and Psychoanalysis: Fifty Years of War in the Time of Peace, 1960-2010, co-taught by Mignon Nixon (The Courtauld) and Juliet Mitchell (UCL Psychoanalytic Unit). Please join us for this open seminar with renowned journalist and photographer Ann Jones. Open to all, free admission British and American forces in Iraq and Afghanistan operate in someone else's streets, someone else's backyard, someone else's living room. Ann Jones, who has worked as both humanitarian and journalist in Afghanistan and with Iraqi refugees in Jordan, Syria, and Lebanon, will talk about the experiences of Afghan and Iraqi civilians, the principal casualties of the long wars inflicted on their lands. Ann Jones, writer and photographer, has reported from war and post-war zones since 2002 on the lives of civilians and soldiers. She is the author of eight books, including Kabul in Winter: Life Without Peace in Afghanistan (2006) and War Is Not Over When It’s Over (2010), about the impact of many wars on women in Africa, Asia, and the Middle East. Her work appears frequently in The Nation, an American magazine of public affairs, and online at www.Tomdispatch.com. An authority on violence against women and former gender advisor to the UN, she now lives in Oslo.  Organised by Professor Mignon Nixon]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/626 http://www.aah.org.uk/post/626   Call for Papers Deadline: 5pm on 6th January 2012 We welcome papers from graduate students working in any field who engage with and reflect upon British art as international art. Keynote speakers will be Michael Hatt of The University of Warwick and Emma Chambers of Tate Britain. There has been two decades of vigorous interest in British art history, but up to now this has tended to assume a more or less unproblematic category of national identity and has not enquired closely into the elusive idea of ‘Britishness’. More recently, the concept of the transnational has proved to be a productive way for art historians in the 21st century to reflect not only on contemporary art, but also that of previous centuries. This graduate conference will address the extent to which these two approaches overlap in British art between 1851 and 1960, not only in terms of British artists working abroad and non-British artists adopting Britain as a base, but also in less tangible or previously unconsidered ways. Between 1851 and 1960, Britain’s global position altered radically – from the early consolidation of British imperial power in the mid-nineteenth century, through two world wars, the rise of the US to the reassessment of Britain’s political and cultural position in the post-war world, against a background of increasingly porous national and cultural boundaries. In this context, British art’s relationship with ‘the international’ seems a pertinent topic to consider, particularly from our own, increasingly ‘transnational’ perspective. ‘Transnational’ and ‘international’ are problematic terms here – the former reflects our own, more fluid concept of nationhood in the 21st century, while the latter offers a clearer definition of how nations were considered between 1851 and 1960. But is it possible to study British art of this period from our ‘transnational’ viewpoint? Can we talk of British art as separate from Britain as a nation or nationality? If British art between 1851 and 1960 cannot be considered ‘transnational’ in our terms, nor wholly ‘British’, how can it be considered in ‘international terms’? Topics for discussion could include but are not limited to: The continued historical usefulness of ‘Britishness’ in analysing British art. Internationalism and the self – roots, rootlessness and the multiple national identities of ‘British’ artists International travel and art Émigré activity and migration Britons and/or Anglophiles abroad Insularity and the failures of British Internationalism British art and fantasies/dreams of other cultures The relationships between British artists and colonialism, empire, the commonwealth, confederacy, NATO, etc. British art as export commodity – Britain as a brand? Internationalism and institutions – the interaction between nationalism and internationalism and gender/sexuality/economics Internationalism and war Contact: Rosanna Eckersley, Kitty Hudson, Greg Salter and Kate Aspinall britartinternational@gmail.com http://www.uea.ac.uk/art/events-news/events/britsh-art-symposium-2012 Please send an abstract of up to 300 words to britartinternational@gmail.com by 5pm on Friday 6th January. Papers should be no longer than 20 minutes. Please include your name, institutional affiliation, contact details and paper title with your submission. Conference registration is free, but booking will be necessary.]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/625 http://www.aah.org.uk/post/625   CFP Deadline: 15 November 2011 This one-day conference, held in conjunction with Nineteenth Century Theatre and Film, will explore the connections between art, theatre, and visual culture in the nineteenth century. During this period, the ‘art of seeing’ challenged the traditional dominance of the written word. Vision, previously denigrated as deceptive, became considered as a universal language, accessible to all, and more authentic than text. Popular theatre, especially melodrama, led the way in exploring the possibilities of the new visuality. We invite papers that explore the visual culture of theatre and exchanges between theatre and the visual arts. We are particularly interested in contributions which explore the following topics: Theatre as visual culture The relationship between word and image Theatrical illustration Theatrical portraiture Audiences and reception of art/theatre/visual culture Posters/playbills Visual technology: panoramas; dioramas; phantasmagorias; magic lanterns Stage spectacle: set design, scene painting, lighting, special effects, costume Stage pictorialism/stage tableaux/realization Local colour Illusion Authenticity Theatricality Attitude and gesture Theatre architecture Caricature Narrative/temporality History as spectacle Please submit abstracts (500 words maximum) to patricia.smyth@nottingham.ac.uk. Papers should be no more than 20 minutes long and will be followed by a panel discussion. Lunch, tea and coffee will be provided. Conference fee: £20 (£10 for postgraduate students) For further information, please contact Patricia Smyth at the above e mail address. url: www2.warwick.ac.uk/fac/arts/theatre_s/research/shared_visions/ CFP Deadline: 15 November 2011]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/624 http://www.aah.org.uk/post/624   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.    ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/622 http://www.aah.org.uk/post/622   http://www.ahrc.ac.uk/FundingOpportunities/Pages/NewGenerationThinkers.aspx In June of this year BBC Radio 3 and the Arts and Humanities Research Council (AHRC) announced the 10 academics selected for the inaugural New Generation Thinkers Scheme – the culmination of a pilot talent scheme for emerging academics from the arts and humanities with a passion for communicating the excitement of modern scholarship to a wider audience and who have an interest in broader cultural debate. The announcement attracted widespread media interest. The academics selected were chosen from a group of 57 finalists who attended a series of day-long workshops at the BBC exploring the key to making scholarly research into good programmes. They’ve gone on to work with BBC producers to develop their broadcasting ideas, contributed to Radio 3’s Free Thinking festival, made regular appearances on Radio 3’s arts and ideas programme Night Waves and pitched ideas for full length programmes based on their research. Now the AHRC and BBC Radio 3 are looking for applications for the New Generation Thinkers of 2012. Up to sixty successful applicants will have a chance to develop their programme-making ideas with experienced BBC producers at a series of dedicated workshops and, of these up to ten will become Radio 3’s resident New Generation Thinkers. They will benefit from a unique opportunity to develop their own programmes for BBC Radio 3 and a chance to regularly appear on air. This year the New Generation Thinkers scheme will also be joined by The Review Show on BBC TWOand the BBC Scotland Arts TV team who will be looking to develop New Generation Thinkers and their ideas into arts television. Radio 3 and its programmes Night Waves, the Verb, the Essay and the Sunday Feature has provided a platform for debate and commentary from scholars across the world. You could now join them on air. BBC Scotland Arts produces The Review Show and The Culture Show on BBC TWO, Imagine on BBC ONE, in addition to documentaries for all BBC network channels and programming in Scotland. Scholars who applied to last year’s scheme are welcome – and encouraged - to apply again, even if they made it to the finals. We welcome applications from researchers working in all areas of the arts and humanities. However, we particularly welcome ideas from researchers working in the area of the history and philosophy of science. Please note that no one research area will get preferential treatment over another. All applications will be assessed on their own merits against the application criteria.  For more information and an application form, please see the website at http://www.ahrc.ac.uk/FundingOpportunities/Pages/NewGenerationThinkers.aspx ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/621 http://www.aah.org.uk/post/621   The network is free to museum professionals around the UK. Its objectives are: Provide a stimulating and proactive network to support professionals working with European paintings pre-1900 in museums and art galleries around the UK Encourage knowledge and understanding of these works of art Facilitate future discussions and debate around research, interpretation, display and learning programmes in order to fully enable public engagement. Promote more in-depth research and interpretation of paintings in UK collections, building upon the work carried out by the National Inventory Research Project. Support the highest professional standards in the research, conservation, display and interpretation of European Paintings pre-1900. Champion the importance of European paintings pre-1900 within the museums sector. To manage the Subject Specialist Network there is a mailing list management system on JISCmail (the National Academic Mailing list service – www.jiscmail.com – European Paintings pre-1900) Please contact : Mary Hersov, National Programmes Manager, for more information. mary.hersov@ng-london.org.uk  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/620 http://www.aah.org.uk/post/620   The call for social justice that is now spreading all over the world is a significant phenomenon that (re)opens new dimensions for art history as well as other political, historical and visual discourses. The shift towards neo-liberal capitalism and the dismantling of the welfare state is now being challenged. The call of the crowd in major cities such as Cairo, Rome, New York, Barcelona and Tel-Aviv, is changing the political agenda calling for greater solidarity and human compassion. This has been especially impressive coming from protesters of different social, political, gendered and cultural backgrounds. These changes echo, as well as build on, the paradigmatic shifts which have occurred within art theory and political thought in the last decade, where new theorizations and appreciation of the multitude, and wide ranging participatory practices have surfaced. Taking current social and political upheavals as our point of departure and looking back into history one wonders about other calls for social justice and the ways they shaped or have been shaped in artistic practices. In this symposium we welcome papers that relate to such points in history, which not only had a tremendous influence on human and social developments but also received attention in the art of the time. In some cases the artists were documenting the events; in others they were propagating their own ideas. There were cases in which the artistic production was perceived as a tool for spreading the news or as a space for developing new socio-political practices. We especially welcome papers addressing a complex view of these and other interlinked approaches. Our keynote speaker will be: Larry Silver (University of Pennsylvania) who will talk about: "War is Hell: Visualizing Warfare as Social Injustice" Please submit a proposal for a 20-minute talk, in 250 words or less, by 23 January 2012, to: artandjustice@bgu.ac.il Please include your name, professional affiliation and contact information. Topics may include but not limited to: Social aspects of the American, French or Russian revolutions in the art of the period The social dimension of Franciscan, Dominican or Jesuit reformations and their manifestation in the arts Protestantism and material culture injustice and the common people Social rights movements and the arts The others and their voices in artistic creation Art and the emergence of communism, fascism or any other modern ideology The interrelationship between art and propaganda, ideology or statesmanship. Rethinking communality in the production, dissemination and reception of art. ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/618 http://www.aah.org.uk/post/618   Full price tickets £10, students £8 Plus students get 2-for-1 tickets on Mondays–Fridays from 14.30, just £5 each! Related lectures and talks The Imaginary Museum: from André Malraux to Grayson Perry Friday 11 November, 18.30 In 1947, French art theorist André Malraux wrote that the act of placing any work of art within a museum alters its meaning. In this lecture, Lisa Jardine, Queen Mary, University of London, and regular contributor to BBC Radio 4, discusses how Malraux’s theory applies to Grayson’s work in The Tomb of the Unknown Craftsman, and how an object’s significance can change depending on its context. £5, Members and concessions £3 Grayson Perry and contemporary British ceramics Saturday 26 November, 13.15 Pallant House Gallery in Chichester displays modern and contemporary British art, featuring several ceramics by Grayson Perry. Head Curator Simon Martin discusses the considerations and challenges of presenting contemporary ceramics in a gallery or museum. Free, booking advised Rodin to Moore: artists inspired by the British Museum Friday 2 December, 13.15 Prior to Grayson Perry, the Museum’s collection has inspired many artists. In this lecture, Donato Esposito, formerly of the Prints and Drawings Department, highlights key objects that have captivated artists and discusses their responses. Free, booking advised Booking +44 (0)20 7323 8181// britishmuseum.org]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/614 http://www.aah.org.uk/post/614   The notion of ‘subcultures’, articulated most prominently by Dick Hebdige in his 1979 seminal work, Subculture: The Meaning of Style, has undergone much revision in recent years. However a critical engagement with gender remains absent within the majority of work on ‘subcultures’. Indeed, Angela McRobbie’s (1980) ‘Settling Accounts with Subcultures: A Feminist Critique’ provides the cornerstone of our symposium, in terms of interrogating how gender is articulated in ‘underground’ cultural and social environments. The question of whether ‘subculture’ is still a valid term and how far ‘subcultural’ manifestations are reductively incorporated into the mainstream are relevant topics on the academic agenda. However research of girls and women’s subcultural productions and engagements from queer, feminist and transgender scholars (e.g. Jack Halberstam, Doreen Piano, Susan Driver, Elizabeth K Keenan, Mary Celeste Kearney and Kath Browne) carve out a new territory for understanding the ‘subcultural’. Given this reevaluation, it is timely to re-engage with how ‘subcultural’ genders (both femininities and masculinities) are represented in alternative society and discuss how far this can be politically subversive. For instance, the revival, nostalgia and popularity of rockabilly style, burlesque, roller derby, Slutwalks, Ladyfests, fanzine/blogging networks, Suicide Girls, Guerilla Girls, riot grrrl and the participation of girls in underground music cultures all point to the need for an academic engagement with strategies of cultural resistance to dominant identities and norms. Proposals of 200 words on subjects dating from the twentieth century onwards, are invited in but not confined to, the following areas: Commodity, mass culture and globalised cultures. ‘Bedroom cultures’: fanzines, magazines, gaming, social networking, blogs. Gender and ‘Urban Tribes’, ‘Neo-tribes’ and ‘scenes’. Youth culture, activism, ageing, politics and resistance. Fictions, films, archives, photography and art. The body: identity, fashion, aesthetics, tattooing, piercing and body modification Music: jazz, hip-hop, heavy metal, punk, goth, rockabilly, riot grrrl Sexual representation: queers, lesbians, gays, non-monogamy, straight, fetish. Underground/amateur sports: roller derby, baseball, football, softball, rounders. Race and racial identities. We would particularly welcome contributions from literature, film and television, art, photography, cultural studies, theatre, gender studies, psychology and sociology, history and politics. Performance proposals and innovative presentation methods are encouraged. We intend to publish a selection of papers submitted to the symposium. Proposals should be sent to claire.nally@northumbria.ac.uk and rosemary.white@northumbria.ac.uk by 1st April 2012. ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/613 http://www.aah.org.uk/post/613   Papers are invited that address queer art curating or curating queer art, especially in relation to feminism.  The keynote speaker will be Maura Reilly, Professor of Fine Art at Griffith University, Australia, and founding curator of the Sackler Centre for Feminist Art at Brooklyn Museum. Please email a 100 word abstract of your proposed paper, and cv, to Lara Perry, Lara.Perry@brighton.ac.uk, by November 7 2011.  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/612 http://www.aah.org.uk/post/612   "My name is Nicola Nokes, I am a Radio Production student at the University of Westminster. I am currently doing a radio feature for an assignment based on the subject matter of 'kissing'. I urgently urgently need an interview with an art specialist/historian who can talk about and interpret some famous pieces of art that involve kissing such as the Klimt piece 'The Kiss' and the Rodin sculpture also. It will only be broadcast to my lecturer and will take no longer than half an hour. I need an interview by Tuesday 1st so any help as soon as possible would be greatly greatly appreciated. Please help a student out! Many many thanks, Nicola Nokes Radio Production Student University of Westminster T: 07584286646 E: nicola_nokes@hotmail.co.uk"]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/610 http://www.aah.org.uk/post/610   Following in the footsteps of the conference Utopia I: Russian Art and Culture in 1900-1930 – held at The Courtauld Institute of Art in May 2011 - UTOPIA II is designed as a chronological extension of the themes and topics raised by the notion of utopia as a specifically Russian construct. The period covered in the papers of the conference - from 1930s until 1989 - will span the final half-century of the Soviet regime. Intended as a broad interdisciplinary project, the conference will investigate Soviet notions of utopia and dystopia, through social, artistic, literary and ideological intersections. Potential subjects to be examined in the context of Utopia in Russian art and culture include: philosophy, painting, architecture, town planning, theatre, music, literature, and cinema. The utopian intellectual tradition has a long history that some trace back to Plato’s Republic, even though most scholars consider Thomas More’s Utopia as the definitive starting point of modern utopian thought in the Western world. Utopia comes from the Greek ου (no) and τóπος (place) and implies both the no place and the (eutopos) good place; the not-yet and the possible, the nothing and the perfection. Utopias conveyed as a transformation, are entrenched in the culture and time in which they have emerged. Utopia and Utopianism in Russian art and culture vary from concrete images of a better place to abstract notions of a future state of freedom; they also range from spatial to temporal models. Utopian ideas in Russia were defined not as ideas in direct opposition to reality, but as objects of potential historical realisation. The conference is organised by the Cambridge Courtauld Russian Art Centre (CCRAC) and coincides with the exhibition at the Royal Academy 'Building the Revolution: Soviet Art and Architecture 1915-1935'. Following the conference on Saturday, the Royal Academy will host a special reception that will allow everyone from the conference to see the show. To book a place: £25 (£15 Courtauld staff/students and concessions) Please 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, clearly stating that you wish to book for the ‘UTOPIA II’ conference. For credit card bookings call 020 7848 2785 (9.30 - 18.00, weekdays only). Organised by Drs Maria Kokkori and Maria Mileeva with Prof John Milner (The Courtauld Institute of Art)]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/607 http://www.aah.org.uk/post/607   October 27 Marc Treib National Modernism: the landscapes of Christopher Tunnard and Soetemi Horiguchi (forthcoming) November 3 Janet Waymark Thomas Mawson, Life, Gardens and Landscapes (Frances Lincoln) November 10 Barbara Simms John Brookes, Garden and Landscape Designer (Conran Octopus) November 17 Trish Gibson Brenda Colvin – A Life in Landscape (Frances Lincoln) November 24 David Haney When Modern was Green: The life and work of Leberecht Migge, landscape architect (Routledge) December 1 Tim Richardson Landscape Urbanism versus Real Design (Futurescapes: Designers for Tomorrow’s Outdoor Spaces, Thames & Hudson) Season ticket members £33, non-members £45, students £25 Single tickets members £7, non-members £9, students £5 includes a glass of wine Booking on www.c20society.org.uk. Enquiries 020 7250 3857  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/605 http://www.aah.org.uk/post/605   Confirmed Plenary Speakers: Mary Favret, Gillian Russell, Susan Siegfried, Paul White In July 2012, in advance of commemoration of the bicentenary of the Battle of Waterloo, Tate Britain is to host a two-day conference exploring the impact of the Revolutionary and Napoleonic Wars on world-wide visual culture, from the outbreak of the pan-European conflict with France in 1792 to the present day. Centred on themed panels, plenary lectures and workshops, this cross-disciplinary conference will promote knowledge and understanding of the range of ways in which the ‘First Total War’ has been mediated in visual cultures, not only in Britain and continental Europe but throughout the world. The organisers are keen to receive proposals for papers that present new research and/or methodological approaches. In particular we would like to encourage proposals from scholars from different disciplines who wish to work in collaboration with each other. We welcome papers that address, but are not limited to, the following topics:  the impact of the Revolutionary and Napoleonic Wars on cultural and national identities the condition of exile as an effect/affect of war the roles that institutions play in mediating the public understanding of war (The Royal Academy, Westminster Abbey, The British Museum) the representation (or unrepresentablity) of pervasive violence medical arts architecture and sculpture panoramas, dioramas, illuminations and other spectacular displays the significance of ruins, both real and imagined the importance of guide books, diagrams and maps art works made by serving soldiers and prisoners of war the emotional and psychic effects of war games, toys and children’s materials the formation of memory through visual culture the representation of melancholy and mourning military fashions theatre and re-enactments photography and film Please send abstracts of 250 words to Phil Shaw (ps14@le.ac.uk) by Friday 16 December 2011. Organised by Martin Myrone (Tate Britain), Satish Padiyar (The Courtauld Institute of Art), Phil Shaw (University of Leicester), and Philippa Simpson (National Maritime Museum) This event is supported by The Courtauld Institute of Art Research Forum, Tate Britain, and AHRC]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/604 http://www.aah.org.uk/post/604   The workshop will involve a series of screenings of films, some well-known and others less so, that deal with the subject of terrorism. This programme will be interspersed with papers given by network members. There will also be a panel session on the ethics of representing terror featuring the curators Professor Felix Ensslin and Graham Coulter-Smith, the artists Hito Steyerl and Xenofon Kavvadias and the director Anne Crilly. There will be a conference dinner held at a local restaurant on the Saturday evening. The conference is free of charge, though there may be a nominal charge for lunch. To register please contact: Nicola Capon n.r.capon@rdg.ac.uk. Network Administrator www.reading.ac.uk/arthistory/terroristtransgressions]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/603 http://www.aah.org.uk/post/603   8th and G Streets NW, Nan Tucker McEvoy Auditorium Celebrate Gertrude Stein through talks by scholars and artists. This symposium is held in conjunction with the exhibition “Seeing Gertrude Stein: Five Stories,” at the National Portrait Gallery through Jan. 22, 2012. The program begins with a luncheon reception, followed by a tour of the exhibition with curators Wanda M. Corn and Tirza True Latimer; guest speakers and a panel will then discuss the theme of feminism, sexuality and Gertrude Stein. Advance registration, before 5 p.m. EST, Friday, Oct. 28, is recommended for this free symposium. Visit the website at www.american.edu/cas/art-history/femconf/index.cfm to register. Victoria Wolfe Public Affairs Intern Smithsonian Institution National Portrait Gallery 202.633.8299]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/601 http://www.aah.org.uk/post/601   http://sites.ace.ed.ac.uk/symbolism/ There are no registration charges but please contact Craig Landt (craig.landt@ed.ac.uk) to confirm your place. Thursday 27 October 16.45 – 17.30: Registration period at ABN AMRO Building 17.30 – 18.30: Elizabeth Easton (New York, Center for Curatorial Leadership), The Secret World of Nabis Photography. 18.30 – 19.30: Small reception Friday 28 October 09.30 ? 10.15: Fred Leeman (Amsterdam), Emile Bernard and the Nabis; the Nabis and Emile Bernard. 10.15 ? 11.00: Merel van Tilburg (University of Geneva), L'intérieur d'âme: projections of the unconscious in Fin?de?Siècle interiors by Vallotton and Vuillard. 11.00 – 11.30: Break 11.30 ? 12.15: Gilles Genty (Paris), The art of Georges Lacombe: symbolist representation of scientific knowledge. 12.15 ? 13.00: Fleur Roos Rosa de Carvalho (Amsterdam, Van Gogh Museum), Nabis or not Nabis: The Question of Henri Gabriel Ibels 13.00 – 13.45: Lunch 14.15 ? 15.00: Elizabeth Mix (Indianapolis, Butler University), Decorative Alchemy: Paul Ranson's Interior States 15.00 ? 15.45: Katia Poletti (Lausanne, Vallotton Foundation), Le regard de Félix Vallotton critique d’art sur ses contemporains dans les années 1890. 15.45 – 16.00 Break 16.00 ? 16.45: Katherine Kuenzli (Wesleyan University), The Nabis, Meier?Graefe and Narratives of Modern Art. 17.00 – 17.30: Buses will be ready to transport all guests together to the Van Gogh Museum. 17.30 Visit to Snapshot:Painters and Photography, 1888-1915 at the Van Gogh Museum  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/599 http://www.aah.org.uk/post/599     Excavating Tombs & Graves In Ancient Egypt Saturday 22 October, 11am - 5pm, £40 per person University of London, Hughes-Parry Hall, Garden Halls, 19 - 26 Cartwright Gardens, London WC1H 9EF Many people believe there cannot possibly be any more ancient tombs to be found in Egypt. Would you be surprised to learn that this is not true? There really are many more tombs, graves and mummies waiting to be discovered! If you are interested in Egyptian archaeology and want to find out .... How we know where to find burials in Egypt? How we excavate and record them? What techniques are used to examine burials? What happens to the mummies and objects we find? then this introductory and fun study day will answer these questions ........ and more! You can also test your knowledge in a fun practical session!  Forensic Aspects Of Archaeology Saturday 26th November, 11 am - 5 pm, £40 per person University of London, Hughes-Parry Hall, Garden Halls, 19 - 26 Cartwright Gardens, London WC1H 9EF Find out about the life and death of people from ancient times and places: Britain and Europe, the Americas and the Middle East. By examining human remains we can learn: - who is male, who is female - what people ate & the diseases they had - how long a person lived & possibly how they died - what they looked like in life By examining burials we can find out about people's religious beliefs and how they were prepared for their final journey Join us on this fascinating study day and YOU will learn how to do these biological examinations yourself AND test your skills in a hands-on practical session Joyce has undertaken many cemetery excavations in Britain, Egypt and Sudan and has studied human and animal remains from a variety of historical cultures, including CT scanning and forensic examinations. She is an acknowledged world-expert on skeletal and mummified remains and has made many tv appearances. Joyce has written widely on aspects of examining biological remains. The Study Days are aimed at Adults. Children of secondary age need to request permission from the Organizer. For further information or to book please contact Richard Barritt at  study.egypt@virginmedia.com]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/596 http://www.aah.org.uk/post/596   This talk will look at the materials that Mario Merz and other artists associated with Arte Povera used in the 1960s and 1970s. What accounts for their choices? And were these artists distinct in their practices from their Italian contemporaries, and from the avant garde elsewhere, in their emphasis on materiality as the channel for meaning in the objects they created? Mario Merz: What Is to Be Done? is the first solo exhibition by Italian Arte Povera artist Mario Merz in the UK for nearly thirty years. Alongside the selected works, two film portraits of the artist are on display, one by Gerry Schum ('Lumaca', 1970 from the Identifications series) and the other by Tacita Dean ('Mario Merz', 2002), whose Tate Modern Turbine hall commission opens tomorrow. As a writer and curator, Martin Holman was closely associated with the first solo exhibitions in British public venues by the Arte Povera artists Michelangelo Pistoletto (1991), Gilberto Zorio (2008) and Pino Pascali (2011). He has published widely on contemporary art. Formerly based in London, he currently lives in Italy. The Institute’s galleries and library are open until 9pm on Wednesday nights. This event is free of charge and open to all. It is not necessary to book. Other forthcoming speakers: 26 October, 6pm Nicholas Cullinan (Tate Modern) Merz's Legacies and Contemporary Art Henry Moore Institute The Headrow Leeds LS1 3AH tel +44 (0) 113 246 7467 kirstie@henry-moore.org. www.henry-moore.org]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/595 http://www.aah.org.uk/post/595   Art against the Wall is the third symposium of The Courtauld’s Early Modern department. The symposium will provide an occasion for established and emerging scholars to present and discuss their research together. This one-day symposium will explore the relationship between walls and art in early modern visual culture. During the period 1550-1850 the interplay between work and wall became increasingly complex as art objects began to pull away from the walls which had previously defined them. The enduring association between artistic skill and craft production meant that many art works were often still regarded as elements in overarching decorative schemes; paintings installed in eighteenth-century English domestic interiors, for example, continue to be described as part of the ornamentation, even as the furniture, of a room. Conversely, walls now had the power to redefine art works, giving them a new meaning through a new context; thus, in late sixteenth-century debates on the status of the religious image, walls – which map the division between sacred and secular space – take on crucial importance. Yet the wall could also become art, as the numerous examples of trompe l'oeil wall illustration to be found in seventeenth-century architecture and garden design suggest. Taking as its point of departure Derrida's insight that there can be no clear separation of ergon (work) from parergon (not-the-work, 'wall'), the symposium will attempt to investigate the rich questions raised by the phenomenon of art against the wall. To book a place: £15 (£10 students) Please 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, clearly stating that you wish to book for the ‘Art against the Wall’ symposium. For credit card bookings call 020 7848 2785 (9.30 – 18.00, weekdays only). For further information, send an email to ResearchForumEvents@courtauld.ac.uk Organised by Thomas Balfe and Jocelyn Anderson (The Courtauld Institute of Art)  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/594 http://www.aah.org.uk/post/594   CFP Deadline: 15 November 2011 This one-day conference, held in conjunction with Nineteenth Century Theatre and Film, will explore the connections between art, theatre, and visual culture in the nineteenth century. During this period, the ‘art of seeing’ challenged the traditional dominance of the written word. Vision, previously denigrated as deceptive, became considered as a universal language, accessible to all, and more authentic than text. Popular theatre, especially melodrama, led the way in exploring the possibilities of the new visuality. We invite papers that explore the visual culture of theatre and exchanges between theatre and the visual arts. We are particularly interested in contributions which explore the following topics: Theatre as visual culture The relationship between word and image Theatrical illustration Theatrical portraiture Audiences and reception of art/theatre/visual culture Posters/playbills Visual technology: panoramas; dioramas; phantasmagorias; magic lanterns Stage spectacle: set design, scene painting, lighting, special effects, costume Stage pictorialism/stage tableaux/realization Local colour Illusion Authenticity Theatricality Attitude and gesture Theatre architecture Caricature Narrative/temporality History as spectacle Please submit abstracts (500 words maximum) to patricia.smyth@nottingham.ac.uk. Papers should be no more than 20 minutes long and will be followed by a panel discussion. Lunch, tea and coffee will be provided. Conference fee: £20 (£10 for postgraduate students) For further information, please contact Patricia Smyth at the above e mail address. Deadline: 15 November 2011]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/593 http://www.aah.org.uk/post/593   This conference, hosted by the Paul Mellon Centre in London and the University of Surrey in Guildford, will explore the interfaces between art history and textual scholarship through the work of Charles Dickens. The conference programme will also feature a reception at the Watts Gallery in nearby Compton, Surrey, to coincide with the gallery's exhibition Dickens and Art. Plenary speaker: Professor Kate Flint (Rutgers University). Other speakers TBC. Dickens is renowned for the richness of his visual imagination and his publications encouraged readers to interpret his words with and through their accompanying illustrations. Not only was Dickens deeply engaged with ideas of the visual in his writing, but his work has also provoked responses from artists across multiple disciplines within the Victorian period and beyond. The conference seeks to build on recent interdisciplinary work (such as that of Kate Flint and Isobel Armstrong) that illuminates nineteenth-century understandings of visual culture. By focussing the conference through a writer whose work is embedded in the visual imagination, Dickens will provide a test case for examining and theorising the connection between text and image across two hundred years of cultural history. Further information at: http://www.surrey.ac.uk/english/research/dickens2012/index.htm Please submit proposals (of up to 250 words) by Wednesday 30 November 2011 at: http://www.ias.surrey.ac.uk/workshops/dickens/cfp.php Please email any enquiries to: g.tate@surrey.ac.uk]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/592 http://www.aah.org.uk/post/592   Life in the Middle Ages has traditionally been viewed in Hobbesian terms as nasty, brutish and short. However, more recent scholarship has challenged the notion that medieval men and women were helpless in the face of disease, war and famine, stressing instead the strategies they developed and deployed to help secure their safety. These included a preoccupation with the preservation of corporeal security; efforts to attain and maintain worldly status; and perhaps most importantly of all, an overriding concern for the eternal rest of the immortal soul. This colloquium will explore the artistic and architectural manifestations of these concerns. Changes in belief, politics and fashion have taken a heavy toll on the art and architecture of the Middle Ages, and the colloquium will also examine the physical survival, restoration and conservation of the art and architecture of the Middle Ages. 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 michael.carter@courtauld.ac.uk by 8 December 2011.  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/589 http://www.aah.org.uk/post/589   The workshop will involve a series of screenings of films, some well-known and others less so, that deal with the subject of terrorism. This programme will be interspersed with papers given by network members. There will also be a panel session on the ethics of curating terror featuring the renowned German curator Professor Felix Ensslin. There will be a conference dinner held at a local restaurant on the Saturday evening. The conference is free of charge, though there may be a nominal charge for lunch. To register please contact: Nicola Capon n.r.capon@rdg.ac.uk. Network Administrator www.reading.ac.uk/arthistory/terroristtransgressions]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/588 http://www.aah.org.uk/post/588   This symposium celebrates the centenary of the first exhibition of The Blue Rider at Galerie Thannhauser in Munich in December 1911. The Blue Rider was a global project including references as diverse as Japanese art, Russian folk art, children's drawings, Bavarian glass painting and artworks by contemporary European artists, musicians and writers. The two-day event will establish the divergent as well as related patterns of intention, outcome and influence presented under the name Der Blaue Reiter and explore its ongoing legacies and relevance today. Keynote presentations by Annegret Hoberg and Peter Vergo. Keynote performance by Stelarc. A performance of Kandinsky's Der Gelbe Klang (Yellow Sound) will take place on Saturday evening. In collaboration with University of Bristol and Centre for Fine Art Research Cardiff (CSAD). Supported by the British Academy and the Bristol Gallery Tate Modern Starr Auditorium £30 (£20 concessions), booking required For tickets book online at http://www.tate.org.uk/modern/eventseducation/symposia/24491.htm or call 020 7887 8888.   25 November 10:30 Welcome by Marko Daniel, Tate Modern 10.35 Introduction by Dorothy Rowe and Christopher Short 10.45 Annegret Hoberg Overview of Blaue Reiter 11.25 Peter Vergo Shape, form and appearance of the Blaue Reiter Almanac 12.05 Jessica Horsley From Russia with love: the Blaue Reiter almanac and Studiia Impressionistov. This paper attempts to establish Studiia Impressionistov as the single most important precedent for Der Blaue Reiter by examining the significant interconnections between the contributors and contributions to the two publications; comparing their structure, situating them in the perspective of periodical publications; and rooting the debate in its cultural and scholarly contexts. 12.30 Panel discussion and Q&A 12.55 Break 13.55 Claudia Delank Der Blaue Reiter and Japanese Art.  As Der Blaue Reiter was a global project encompassing a variety of art forms from different cultures on an international scale it is especially interesting that the leading artists of the group have extensively collected Japanese art. This paper will discuss the influence of Japanese art on Franz Marc, August Macke and Wassily Kandinsky based on new research. What did the artist select from Japanese art? How did Japanese art help them in the process of to formulate their abstract art? In what way did Japanese art serve as a role model? The presentation addresses the key role of Japanese art for the painters of Der Blaue Reiter in their search for the lost unity between life and the world. 14.20 Katherine Kuenzli The Primitive and the Modern in Der Blaue Reiter and the Folkwang Museum. This paper examines intersections between Der Blaue Reiter and the Folkwang Museum, one venue for the group’s 1912 exhibition. Founded by Karl Ernst Osthaus and designed by Henry van de Velde in 1902, the Folkwang was the first and only museum before 1914 to display modern and ‘primitive’ works alongside each other. The Folkwang Museum provides an important context for Der Blaue Reiter’s assertion that modernist and ‘primitive’ art sprang from a common spiritual impulse. 14.45 Christian Weikop The ‘Savages’ of Germany: A Reassessment of Brücke and Blauer Reiter 15.10 Panel discussion and Q&A 15.35 Tea break 15.50 Mercedes Valdivieso Horsewomen at Der Blaue Reiter?. The purpose of this presentation is to show the participation of several women in Der Blaue Reiter, not only as artists (Gabriele Münter, Elisabeth Epstein, Marianne Werefkin, Natalia Gontscharova, Maria Marc), but also as providing support, whether ideological, logistical or financial. To these we must add the contributions of Emmy Worringer and Elisabeth Erdmann-Macke, who, although they were not artists, helped to realize the projects of Der Blaue Reiter. 16.15 Nathan Timpano Feeling Blue: Der Blaue Reiter at the Tate Gallery, circa 1960.  In 1960, Tate launched a retrospective exhibition of Der Blaue Reiter, which, according to the contemporary press, was a failed endeavour. One critic derided the show for being too intellectually minded, and suggested that this German movement was only historically – and not artistically – significant. This paper alternatively proposes that the non-unified aesthetic of Der Blaue Reiter was the catalyst for the exhibition’s non-laudatory reception, given that it defied traditional, curatorial practices. 16.40 Shulamith Behr Female artistic identity and creativity in the Blaue Reiter.  Although women artists were welcome in the two exhibitions of the ‘Editors of the Blaue Reiter’, their role is regarded as peripheral to the centrality of Kandinsky’s and Marc’s collaborative enterprise. But does this necessarily mean that Gabriele Münter was merely spectator to this new and evolving male artistic partnership or did the Blaue Reiter exhibitions harbour the staging of more complex notions of gendered authorship and agency? Certainly, in 1913, the notion of a ‘blaue Reiterreiterin' was entertained in the correspondence between the poet and writer Else Lasker-Schüler and Marianne Werefkin. Used as a metaphor, the term suggests the integration of the rider and horsewoman, Werefkin being addressed as both ‘wilder Junge’ and ‘süsse Malerin’. This paper aims to go beyond stereotypical categories of binary thinking about the nature of masculinity and femininity in exploring women artists’ positioning in this avantgarde group. 17.05 Panel discussion and Q&A 17.30 Drinks in the Starr Auditorium Foyer 26 November 10:30 Introduction 10.35 Grahame Weinbren Kandinsky: A Close Look (2009). Commissioned by the Guggenheim Museum for the 2009-2010 Kandinsky retrospective, this film focuses on three paintings from 1913. A different approach is taken toward each: Painting with White Border starts with Kandinsky's essay discussing the painting, Small Pleasures uses eyetracking to investigate how viewers actually look at the work, and for Black Lines composer Dean Drummond was commissioned to write a score using the colour-sound connections proposed by Kandinsky. 11.15 Debbie Lewer Kleinkunst and Gesamtkunstwerk in Munich and Zurich: Der Blaue Reiter and Dada. This paper examines the connections between Der Blaue Reiter in Munich and Dada in Zurich in 1916-17. It appraises the significance of Kandinsky for Hugo Ball’s thinking about art. It explores how both the Blaue Reiter and early Dada aspired to a synthesis of Kleinkunst and Gesamtkunstwerk. Finally, it considers aspects of the ‘failure’ of Dada in Zurich on its original terms. 11.40 Annie Bourneauf Letters and Things: Wassily Kandinsky and Walter Benjamin on Language and Perception. This paper explores how Wassily Kandinsky's writings provoked Walter Benjamin to rethink the relation between language and perception. Benjamin's philosophy of language draws on the procedures Kandinsky proposes in Der Blaue Reiter and elsewhere for defamiliarizing words – for perceiving them as if they were incomprehensible. However, whereas Kandinsky argues for the expressive power of the visual shape of written language, Benjamin sees the word's ‘skeleton’ as expressionless in the extreme. 12.05 Colin Rhodes The Great Realism, or how the Blue Rider Almanac invented Self-Taught Art 12.30 Panel discussion and Q&A 12.55 Break 13.55 Stelarc Performance 14.35 Gregory Zinman Machines that Make Yellow Sounds: The legacy of Kandinsky’s light 15.00 Tea break 15.25 Sarah McGavran Die Tunisreise: The Legacy of Der Blaue Reiter in the Art of Paul Klee and Nacer Khemir. Der Blaue Reiter’s emphasis on artistic exchange between Europe and the ‘Orient’ shaped Klee’s engagement with the arts of Tunisia and determined his legacy for Tunisian artist and filmmaker Khemir. In his 2007 film Die Tunisreise, Khemir retraces Klee’s travels. For Khemir, Klee’s Tunisian watercolors are models for reconciling Islamic and modernist abstraction to convey the spiritual. They therefore provide an alternate view to mass media representations of Islam. 15.50 Rose-Carol Washton Long Is the Blaue Reiter relevant for the Twenty-First Century? 16.15 Panel discussion and Q&A 16.55 Closing Remarks 18.00 Yellow Sound performance]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/585 http://www.aah.org.uk/post/585   One of the most widely recognized and influential figures of children’s literature, Lewis Carroll’s Alice embodies a world of creative play and innovation that continues to fascinate with longevity and wide-ranging appeal. First written in 1864, Carroll’s original, self-illustrated manuscript marks the starting point for a fusion of word and image that combine to make the visual Wonderland. Innovation and experimentation surround Alice. From Carroll’s language puzzles to his photographic works, his association with the Liddell family, to the surrealism of the Mad Hatter, the blurring of fiction and reality is tied up in the perpetuation of Wonderland and the development of a unique cultural tradition. To coincide with the Alice in Wonderland exhibition at Tate Liverpool, this research forum invites proposals that respond to and explore the continued popularity of the worlds of Alice. Participants are invited to explore themes responding to the influence of Alice in relation to art practice, art history and literary experimentation. What is it that makes Alice so consistently appealing? How have artists and writers reflected upon and responded to Carroll’s creative world? What is the future for Wonderland? Topics could include, but are not limited to: Photography and Illustration: From Carroll to the Contemporary The Feminist Alice Reading Images/Drawing Words Word Play: Performing Language Wonderland Today The forum will be chaired by Catriona McAra. All current postgraduates students, or those who have recently graduated, are invited to submit proposals of no more than twenty minutes. Cross-disciplinary approaches are welcome. Please submit proposals (500 words max.) accompanied by a brief academic biography to alison.criddle@tate.org.uk no later than Saturday 15th October 2011. This Research Forum coincides with the symposia, Alice Through the Looking Glass on Friday 18th November 2011 at Tate Liverpool. Visit www.tate.org.uk for more information.]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/586 http://www.aah.org.uk/post/586   The objective of this one-day graduate student symposium is to work against earlier paradigms by asserting the existence of multiple forms of agency—artistic, cultural, political—in India from about 1600 to Independence and beyond. The symposium also aims to examine visual and cultural exchanges between India and the rest of the world, with special (but not exclusive)reference to Britain and the British Empire. We welcome papers discussing the broadest range of visual materials, from architecture and material culture through representations in various media, and proposing interpretations that may engage with questions of agency, artistic identity, power, and politics. We aim to complicate canonical categories such as the “Company School,” “Mughal Miniature,” “British Art” and “British India,” “Swadeshi,” and even “diaspora” by critiquing methodologies currently employed in researching, interrogating, and evaluating materials from this place and time. This symposium is informed by the recent proliferation of projects on India’s visual and material culture, including two exhibitions opening at the Yale Center for British Art in the fall of 2011: Johan Zoffany RA: Society Observed, which includes a substantial section devoted to the works the artist produced during his residence in India, between 1783 and 1789; and Adapting the Eye: An Archive of the British in India, 1770–1830,which concentrates on the complex networks of British and Indian artists, patrons, and scholars in the late eighteenth and early nineteenth centuries. Art, Agency, Empire: India in Global Contexts explores how, in a postcolonial period, it has become increasingly pressing to reevaluate India as a site of multifarious cultural (indeed intercultural) production, which has provoked global responses across media. Topics may include, but are not limited to: colonizing, Independence, and postcolonial contexts construction of identities spaces of India: maps, landscapes, cityscapes, panoramas architecture: exterior and interior monuments and monumentality popular print, graphic satire, illustrated books art as document/document as art bodies of evidence: collections, compilations, physical bodies methodological innovations caretaking sources: conservation, preservation, digitization 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 the British involvement in India. Cross-disciplinary and comparative studies are particularly welcome. Please e-mail abstracts of no more than 300 words by October 31, 2011. Lars Kokkonen Yale University 1080 Chapel Street PO Box 208280 New Haven, CT 06520-8280 Ph:(203)432-4779 Fax:(203)432-7180 Email: lars.kokkonen@yale.edu Visit the website at http://britishart.yale.edu/research/research-programs/conferences]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/583 http://www.aah.org.uk/post/583   To book a place: £15 (£10 Courtauld staff/students and concessions) Please send a cheque made payable to ‘The Courtauld Institute of Art’ to: Research Forum Events Co-ordinator, Research Forum, The Courtauld Institute of Art , Somerset House, Strand, London WC2R 0RN, clearly stating that you wish to book for the ‘When Art History Meets Design History’ conference. For credit card bookings call 020 7848 2785 (9.30 - 18.00, weekdays only). For further information, send an email to ResearchForumEvents@courtauld.ac.uk Art history and design history would seem to have ample common ground. ‘Social art history’ and other new forms of the discipline have been with us since the 1980s, and many art historians have long embraced everyday, non-canonical material (such as illustration art). The catholic nature of design history, conversely, leaves the door wide open for the study of fine art. The discipline’s fascination with questions of representation and mediation, too, finds obvious parallels in art historical methodology. Yet in practice, cross-pollinations between the study of fine art and the decorative arts rarely occur, at least in the early modern period. Medieval and Renaissance art historians do often deal with the full range of media, and the overlap between contemporary art and design is widely recognised. But in the early modern period and, to a lesser extent, the later nineteenth century, there is still a marked separation. Art historians continue to concentrate on the ‘fine’ arts of painting, sculpture and architecture and on fine or popular printmaking of a narrative character. Specialists in material culture, meanwhile, sometimes describe their remit as ‘anything that’s not fine art.’ There is sometimes an ideological assumption at work in this exclusion – as if in eschewing painting and sculpture, design historians occupied a democratic moral high ground. At Cross Purposes? When Art History Meets Design History aims to fill the space between the two fields. We hope to foster a cross-disciplinary discussion between leading art and design historians working on the period up to the 1880s. Each speaker is invited to focus on a case study from their own research in which the decorative and the fine are inextricably mingled; and further, to reflect on their own methodological relation to these two categories. How can combining the insights of art and design history enrich the work of both disciplines? What connections exist already, what remain to be pursued and, conversely, are there in fact areas in which the separation into ‘art’ and ‘design’ history remains meaningful or necessary? Organised by Dr Anne Puetz (The Courtauld Institute of Art) and Dr Glenn Adamson (V&A/Royal College of Art) PROGRAMME 09.30 – 10.00 Registration 10.00 – 10.20 Welcome and Introduction: Anne Puetz (The Courtauld Institute of Art) 10.20 – 11.00 Marta Ajmar (V&A/Royal College of Art): ‘All Arts Are Mechanical’: Investigating Shared Tools, Borrowed Words and the Common Ground of Craftsmanship in Renaissance Italy 11.00 – 11.30 COFFEE/TEA BREAK (Tea/coffee provided in Seminar room 1) 11.30 – 12.10 Richard Checketts (V&A/Royal College of Art): Natural History: Work, Stone, and Politics in the Cappella Altieri in Santa Maria Sopra Minerva in Rome 12.10 – 12.50 Deanna Petherbridge (artist, independent writer and curator): Graphic Intersections: Erga and Parerga 12.50 – 13.10 Discussion 13.10 – 14.20 BREAK FOR LUNCH (lunch not provided) 14.20 – 15.00 Celina Fox, Arts (independent scholar): Manufactures and Commerce: Promoting Polite and Mechanical Arts in the Early Years of the Society of Arts 15.00 – 15.40 Matthew Craske (Oxford Brookes): The Politics of Modelling in Late-Eighteenth-Century London 15.40 – 16.10 COFFEE/TEA BREAK (Tea/coffee provided in Seminar room 1) 16.10 – 16.50 Katie Scott (The Courtauld Institute of Art): Rococo History of the Social World: Nicolas Pineau via Bastide 16.50 – 17.30 Caroline Arscott (The Courtauld Institute of Art): William Morris Carpets: Action in Design 17.30 – 18.10 Discussion. Respondent: Glenn Adamson (V&A/Royal College of Art) 18.10 RECEPTION]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/582 http://www.aah.org.uk/post/582   Deadline: 30 September 2011 Contact: Dr. Brigitte Soelch (soelch@khi.fi.it) Dr. Erik Wegerhoff (wegerhoff@tum.de) Fusion Architecture From The Middle Ages To The Present Day: Incorporation, Confrontation Or Integration? Most histories of architecture tend to portray neatly-defined, self-contained examples of buildings from different eras. The built reality is, however, often very different. This is not only true of fittings and furnishings from later periods (i.e. a Gothic church equipped with Baroque altars) but also of the incorporation of almost whole, pre-existing buildings which are (re)framed and re-interpreted as a consequence. Renaissance Italy provides a number of examples, not least Vasari’s Uffizi in Florence which integrated both the medieval Zecca and a Romanesque church to create a new visual, spatial and architectural concept; or the Capitol in Rome which swallowed its medieval and ancient predecessors. Nonetheless, this phenomenon is not limited to any single period. Indeed, it continued well into the nineteenth and twentieth centuries and even continues today – one need only think of the Smithsons’ Upper Lawn Pavillion at Fonthill, UK, or Nieto Sobejano’s new art gallery in the bishop’s medieval palace at Halle, Germany. This round table session addresses issues of architectural incorporation and metamorphosis from the Middle Ages to the present day. Its focus lies not on the pragmatic appropriation of pre-existing structures but on their purposeful integration as part of intentionally planned new wholes. Why embed an existing building in a new structure? What formal, visual and spatial solutions are found? Do we go too far if we think of this action as actually venerating a pre-existing building? To what extent was the previous structure preserved, controlled, or regulated? We welcome contributions (of about ten minutes) that explore examples of architectural fusion and use these as keys to a broader theoretical and/or systematic perspective of the phenomenon. Our aim will also be to critically reflect upon a phenomenon which received considerable interest in postmodernist practise and discourse, but which has barely been systematically or theoretically discussed since. For details regarding submission of abstracts, please refer to the call for papers on the conference website: www.eahn2012.org Each speaker is expected to fund his or her own registration, travel and expenses. Please submit your proposal (max. 300 words) plus a brief CV by 30 September 2011 by e-mail to both Brigitte Soelch (soelch@khi.fi.it) Kunsthistorisches Institut in Florenz - Max-Planck-Institut, Florence, Italy and Erik Wegerhoff (wegerhoff@tum.de) Lehrstuhl für Theorie und Geschichte von Architektur, Kunst und Design, TU Muenchen, Munich, Germany]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/580 http://www.aah.org.uk/post/580   UCL Art Museum is delighted to host Word & Image, an exhibition exploring intercultural exchangen in the early modern period (c.1450-1800). Showcasing rare and impressive treasures from UCL’s library and art collections, the exhibition takes a fresh look at themes including travel, translation, and the traffic of goods and ideas. Word & Image provides a unique chance to see Albrecht Dürer’s original woodcuts from The Apocalypse (1498) next to its precusor The Nuremberg Chronicle (1493). Other highlights include extraordinary prints of Jesuit missionaries in China wearing local dress, icons of the Grand Tour such as the Apollo Belvedere and Laocoon, a 17th-century history of Lapland complete with pictures of skiers, and an early work of Egyptology. Early dictionaries will also be on display, along with important travel narratives and translations. The display is curated in association with the UCL Centre for Early Modern Exchanges and complements the Centre’s launch conference (15 - 17 September 2011). The exhibition is located in UCL Art Museum, South Cloisters, UCL, Gower Street, London, WC1E 6BT, +44 (0)20 7679 2540, www.ucl.ac.uk/museums/uclart. Admission is free, and the exhibition is open to the public Mon-Fri 1-5pm.]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/577 http://www.aah.org.uk/post/577 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/575 http://www.aah.org.uk/post/575 New Voices 2011 "Madness and Revolt" 25 November 2011,University of Edinburgh Booking for the conference is now online. ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/574 http://www.aah.org.uk/post/574 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/571 http://www.aah.org.uk/post/571 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/567 http://www.aah.org.uk/post/567 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/566 http://www.aah.org.uk/post/566 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/565 http://www.aah.org.uk/post/565 Ashgate Press. ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/564 http://www.aah.org.uk/post/564 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/562 http://www.aah.org.uk/post/562 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/561 http://www.aah.org.uk/post/561 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/560 http://www.aah.org.uk/post/560 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/555 http://www.aah.org.uk/post/555 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/553 http://www.aah.org.uk/post/553 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/552 http://www.aah.org.uk/post/552 http://ir.uiowa.edu/dadasur/) will mark the 90th anniversary of the discovery of Tutankhamun’s tomb by evaluating Egypt’s significant and diverse impact on surrealism. ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/549 http://www.aah.org.uk/post/549 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/546 http://www.aah.org.uk/post/546 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/543 http://www.aah.org.uk/post/543 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/542 http://www.aah.org.uk/post/542   It is a commonplace that sculpture is best encountered to be appreciated and that its forms and meanings are inadequately captured by the photographic image. This session takes up this familiar complaint, arguing that over the last hundred years or so it has been through sculpture's exhibition that it has been most articulately staged. Presented in the art gallery and museum, sculpture's complex meanings and its histories have been most sensitively presented. Unlike published accounts of sculpture, its exhibitions have been strikingly successfully in opening up the material and formal life of sculpture. Through means of presentation, arguments are constructed that highlight the subtle relations between objects and practices, which are less well articulated in more official, text-based readings and histories. Such presentations are to be found in museums particularly focused on sculpture and in the interests of curators with specialization in sculpture. However, they are also evident in broader art exhibitions in which sculpture is highlighted in relation to other media and cultural concerns, such as 'This is Tomorrow' (1956), 'When Attitudes Become Form' (1969), 'The Condition of Sculpture' (1975), 'Primitivism in Twentieth Century Art' (1984) and 'Les Magiciens de la Terre' (1989). This session invites consideration of exhibitions internationally across the last century and into the present. Of interest also will be papers that examine the exhibition of 'British Sculpture' through solo, group and survey presentation, including 'British Sculpture in the Twentieth Century' (1981), 'The Sculpture Show' (1983), 'Sculpture in Twentieth-Century Britain' (2003) and, most recently, 'Modern British Sculpture' (2011) at the Royal Academy. We invite proposals for 25 minute conference papers. Please submit a 250 word abstract and short CV to Kirstie Gregory, kirstie@henry-moore.org. Deadline for submissions is Monday 7 November 2011. 'Sculpture and its Exhibition Histories' is part of the 39th Annual AAH conference, held at The Open University, Milton Keynes. The session is convened by Lisa Le Feuvre and Jon Wood. Kirstie Gregory Research Programme Assistant Henry Moore Institute The Headrow Leeds LS1 3AH tel +44 (0) 113 246 7467 kirstie@henry-moore.org. www.henry-moore.org  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/541 http://www.aah.org.uk/post/541 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/539 http://www.aah.org.uk/post/539 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/538 http://www.aah.org.uk/post/538 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/537 http://www.aah.org.uk/post/537   The Saylor Foundation (www.saylor.org) have partnered with P2PU (www.p2pu.org) to run a mini version of our course on Baroque art. This study group examines the history of art in three of the most important art-producing centers of the seventeenth century. It follows the first two units of a course available at The Saylor Foundation. By the time we finish this course, we will be familiar with the most important art and artists of Western Baroque art. Familiarity with art history is helpful, but not requried. The course lasts for four weeks, each week being completed at your own pace. We will respond to the material covered on the course "Activity Wall" and will schedule a weekly chat for more structured discussion time. And here's the direct link to the course site: http://p2pu.org/en/groups/baroque-art-of-italy-spain-and-the-netherlands/  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/533 http://www.aah.org.uk/post/533   The idea is that for one week, a group of people who represent a varied mix of the UK population, try and help this person to work through this important crossroads in their life. They will be there to help make decisions and offer advice, in order to help get the individual to get back on the right track. This will be a rare opportunity to take part in a groundbreaking new programme idea, which aims to help people make the right decision and put the theory about the ‘wisdom of crowds’ to the test. We are currently looking for the people who can be part of the crowd that is offering advice; we are keen to hear from a diverse group of people with a variety of professional and social skills and voices. We hope to film the pilot in August. At this stage there is no obligation to take part, but we would like to talk to anyone who feels this might be an opportunity for them and would be interested in hearing more. We are keen that these people have a strong voices and skill sets and feel that Art Historians would be a fantastic group of people to be represented in this audience. We are interested in the crowd being made up of informed people with unique and varied skills.  Art Historians have a great way of looking at problems that would add a great deal to the group dynamic. At present we are looking for people in the South East of England. If you are interested in finding out more; Call Tom: 0203 4659079 Or Email: takepart@thegardenproductions.tv  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/532 http://www.aah.org.uk/post/532   Plenary speaker: Professor Kate Flint (Rutgers University). Other speakers to be confirmed. Dickens is renowned for the richness of his visual imagination and his publications encouraged readers to interpret his words with and through their accompanying illustrations. Not only was Dickens deeply engaged with ideas of the visual in his writing, but his work has also provoked responses from artists across multiple disciplines within the Victorian period and beyond. The conference seeks to build on recent interdisciplinary work (such as that of Kate Flint and Isobel Armstrong) that illuminates nineteenth-century understandings of visual culture. By focussing the conference through a writer whose work is embedded in the visual imagination, Dickens will provide a test case for examining and theorising the connection between text and image across two hundred years of cultural history. We invite proposals for panels and individual papers from scholars across disciplines. Topics might include, but are not limited to: Dickens and illustration The visual arts in Dickens’s work Responses to Dickens in the visual arts Dickens and performance Dickens in the press Dickens and new media Sciences of vision Dickens and commodification Dickens and aesthetics Observation and spying Perspective Blindness and the difficulties of representation Please submit proposals (of up to 250 words) by Friday 30 September 2011 to: g.tate@surrey.ac.uk The conference programme will also feature a reception at the Watts Gallery in nearby Compton, Surrey, to coincide with the gallery's exhibition Dickens and Art. See below for details: Dickens and Art will explore the significant connection between Charles Dickens and visual art. A remarkably visual writer, Dickens grew out of a tradition where illustration formed a significant part of both serial and book. He admired artists, probably more than his fellow writers, and had long and close friendships with several, including Clarkson Stanfield, Daniel Maclise, Frank Stone and William Powell Frith. His own taste in art and his views on art are manifest not only in his novels, but in his magazine Household Words where he publicly attacked Millais’ painting of Christ in the House of His Parents and the developments of the National Gallery. Dickens was interested in both contemporary artists and the art of the Old Masters which he viewed and commented on in his tours of Europe. The influence of Dickens was widespread and many artists chose to depict scenes from his novels as well as being influenced by the subjects and characterization in his work. Dr Beth Palmer Lecturer in English Literature AC Building, University of Surrey, Guildford, GU2 7XH, 01483 683013 Women's Authorship and Editorship in Victorian Culture: Sensational Strategies http://ukcatalogue.oup.com/product/9780199599110.do  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/531 http://www.aah.org.uk/post/531   This series has been programmed to accompany the current Henry Moore Institute exhibition Savage Messiah: The Creation of Henri Gaudier-Brzeska, which looks at the ways in which the life of this twentieth-century sculptor was constructed through biographical narratives and, in turn, through film. Three contemporary artists and writers will discuss the fictionalisation of the artist's life and work from a broader perspective, and the compelling power of the myths which structure and further generate these fictions. Wednesday 6 July: Paul Becker The Life and Work of Anton Lesseman Wednesday 13 July: Francesco Pedraglio A Few Stories in the Shape of Abstract Objects Wednesday 20 July: Chris Evans The Freedom of Negative Expression Artist Chris Evans will be screening and discussing two of his film works: The Freedom of Negative Expression consists of a production treatment, a trailer for the pilot of a proposed television mini-series, and two sculptures that cast their shadow on the projected trailer. The tagline for the proposed television mini-series could read ‘Betrayal is a Fine Art’. A wealthy, ambitious young American sets out to make his mark on the London art world, and uses the talents of a respected older artist to launch his career. But once his success seems assured, he discards her. She created him – now can she find a way to destroy him? The dialogue for the British Constructivist is written by Tirdad Zolghadr and is based on Evans’ recollections of a meeting with Gillian Wise, an artist relatively prominent in Britain in the 1960s. Will Bradley has scripted the part of the Nihilist and, collaborating with Evans, has developed The Freedom of Negative Expression into a production treatment – a plot-by-plot breakdown for the pilot of a television series. COMPANYis a 6 minute video developed through a script written with Will Bradley and edited by Dr. Walid El Kafrawy, the director of an Egyptian real estate company. In the short film we are witness to El Kafrawy's vision of "building communities from nothing but sand and flies'', where motivated people can escape the dense mayhem of Cairo to live in seclusion in the desert. Through given words, El Kafrawy reflects on how communities can be nurtured and how people can find company through the concurrence of "management and imagination, politics and engineering, capital and labour." Chris Evans' work often evolves through conversation with people from diverse walks of life, selected in relation to their public life or symbolic role. Sculptures, letters, drawings, film scripts and unwieldy social situations created as a result of this, are indexes of a larger structure through which Evans deliberately confuses the roles of artist and patron, genius and muse. Evans is based in London and Brussels. He has exhibited widely nationally and internationally and was a Henry Moore Institute Research Fellow in 1999. The Henry Moore Institute Research Programme is central to the activities of the Institute. Through it, we aim to encourage research into sculpture both within our walls and without, acting as a hub to develop a network of people with a particular interest in sculpture. Kirstie Gregory Research Programme Assistant Henry Moore Institute The Headrow Leeds LS1 3AH tel +44 (0) 113 246 7467 kirstie@henry-moore.org. www.henry-moore.org  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/530 http://www.aah.org.uk/post/530 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/526 http://www.aah.org.uk/post/526 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/524 http://www.aah.org.uk/post/524 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/522 http://www.aah.org.uk/post/522 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/521 http://www.aah.org.uk/post/521 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/523 http://www.aah.org.uk/post/523   The 10th NORDIK Conference for Art History in the Nordic Countries will be held in Stockholm during three days in October, 2012. This year, the conference will be organised jointly by the departments of Art history at Stockholm University and Södertörn University. The important deadlines for the Conference are the following: Call for sessions, deadline August 1st, 2011 Announcement of accepted sessions in September 2011 Call for papers in September, deadline December 1st, 2011 Call for Session Propoals: Deadline: August 1st, 2011 What are the hot spots in your field of art history? The NORDIK Conference for Art History is one of the formative events for individual careers and institutionalised academic practices. Who else knows your area of expertise? And do you know them? Do you want to Chair a Session for the 2012 NORDIK Conference in Stockholm? The Committee of the NORDIK Conference for Art History in the Nordic Countries cordially invites colleagues in the Nordic Countries and beyond to present Proposals for Sessions. We welcome academic scholars relating to the field of Art History in a broad sense. Instructions: Proposals for Sessions Submit Session title and a short introduction (500 words) to the organisers (see below). Sessions may deal with subjects and material in any area or time period. Topics focussing on historiography, methodology, and pedagogy are also welcome. Session proposals should consist of clearly formulated questions around a well-defined theme. This theme should also relate to current research in relevant fields. The Committee selects Sessions from among submitted proposals. The number of accepted conference sessions will depend on submissions and funding. Deadline for Session Proposals is August 1st, 2011. E-mail the following information to Charlotte Bydler (charlotte.bydler@sh.se) and Hans Hayden (hans.hayden@arthistory.su.se): Title of Session Maximum 500-word abstract with topical questions and relevant research Short resume, or curriculum vitae, including institutional affiliation and publications by session chairs (less than three pages) Contact details with telephone number, e-mail, and mailing address Confirmed Conference Sessions The organisers will notify Session contributors in August. Accepted conference Sessions will subsequently appear together in the NORDIK 2012 Call for Papers, posted on the NORDIK webpublication. The Chair collects and selects contributions for the Session. This responsibility includes informing panelists and organisers of their decisions. Deadline for submission of papers is December 1st, 2011. Sessions generally include three papers, 20 minutes each, assembled by Chair. However the Committee welcomes diverse session formats, paper presentations as well as round table panels. The session ends with summary and questions prepared by a discussant. The Chair leads the subsequent open discussion. More information will be given to Chairs (Discussants) on acceptance of a Session. You’ll find more information about the conference and about NORDIK on our renewed webpublication http://nordicarthistory.org For questions and queries, please contact Anna-Maria Wiljanen, Secretary, Nordic Committee for Art History via wiljanen@mappi.helsinki.fi.  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/520 http://www.aah.org.uk/post/520 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/519 http://www.aah.org.uk/post/519 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/518 http://www.aah.org.uk/post/518 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/517 http://www.aah.org.uk/post/517 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/516 http://www.aah.org.uk/post/516 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/515 http://www.aah.org.uk/post/515 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/507 http://www.aah.org.uk/post/507 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/505 http://www.aah.org.uk/post/505   Admission Free The Programme will include the following speakers: Helen Brown, Collection Manager, Cheltenham Art Gallery and Museum: the Baron de Ferrieres collection and the plans for future redevelopment plans for the museum Brendan Flynn, Curator (Fine Art), Birmingham Museums and Art Gallery: “Pictures for Palaces” – the old master paintings collection at the Birmingham Museum and Art Gallery Susan Foister, Deputy Director, National Gallery: The exhibition “Jan Gossaert’s Renaissance” at the National Gallery Andrew Greg, Director, National Inventory Research Project: The National Inventory Research Project and the PCF/BBC”Your Paintings” project Alexander Sturgis, Director, the Holburne Museum, Bath : the new building development at the Holburne Museum. Robert Wenley, Head of Collections and Learning, the Barber Institute of Fine Arts: The Barber Institute under Sir Ellis Waterhouse (1952-70) To book a place, please email: Mary Hersov, National Programmes Manager, National Gallery: mary.hersov@ng-london.org.uk by Friday 1 July. The Barber Institute of Fine Arts is open from 10am to 5pm, and there will be an opportunity to see the exhibition “Court on Canvas: Tennis in Art”. For more information about the Subject Specialist Network: European Paintings pre-1900, please see link: www.nationalgallery.org.uk/about-us/the-gallery-nationwide/subject-specialist-network  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/503 http://www.aah.org.uk/post/503   Deadline: 29 June 2011 http://www.crassh.cam.ac.uk/events/1659/ The absence of colour has been long been considered a defining characteristic of early modern printmaking. Colour printing from the hundreds of years between the invention of the printing press and 1700, when Jacques Christophe Le Blon developed the three-colour method we use today, has been thought of as rare and extraordinary. However, new research has revealed that bright inks added commercial value, didactic meaning and visual emphasis to subjects as diverse as anatomy, art, astronomy, biology, cartography, medicine, militaria and polemics in both single-sheet prints and books. Despite the significance and scale of these discoveries, the bias against colour continues to dominate print scholarship; the colour in colour prints is often ignored. As the technology to disseminate images in their original colour has spread, much important material has suddenly become available to scholars. Now that techniques that were thought to have been isolated technical experiments seem to have been relatively common practice, a new, unified history of, and conceptual framework for, early modern colour printing has become necessary, and significant aspects of early modern print culture now must be reconsidered. This conference aims to explore new methodologies and foster new ways of understanding the development of colour printing in Europe through an interdisciplinary consideration of the production. Proposals considering diverse aspects of early European colour printing in relief and intaglio from the middle ages to the turn of the eighteenth century are welcome, including those dealing with textiles and book illustrations. Please send a 250-word abstract for a 20-minute paper to impressionsofcolour@gmail.com by 22 June 2011. Conservators, rare book librarians and practising printers also are encouraged to apply. The conference will feature a demonstration in the Historical Printing Room and a display of early book illustrations printed in colour at the Cambridge University Library. It is convened by Ad Stijnman (University of Amsterdam) and Elizabeth Upper (University of Cambridge), with assistance from Emily Gray (Courtauld Institute and British Museum). Please contact impressionsofcolour@gmail.com with any questions.  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/502 http://www.aah.org.uk/post/502   The Animated Realities conference about the emerging field of animated documentaries is a collaborated event between the University of Edinburgh, Edinburgh College of Art and The Edinburgh International Film Festival. The conference will take place at Edinburgh College of Art, June 23-24 2011 with a concurrent screening programme of contemporary animated documentary work as part of the 65th Edinburgh International Film Festival. Animated Realities aims to bring together practitioners and theoreticians from a diverse range of disciplines in order to discuss and debate this hybrid and rapidly expanding area of contemporary visual culture. Registration for the event is now open (£90 for the 2 day conference, catering, events and EIFF film screenings, £45 for PG). For more details see http://www.animatedrealities.co.uk/index.html Animated Realities Conference Programme The Animated Realities conference is a collaborated event between the University of Edinburgh, Edinburgh College of Art and The Edinburgh International Film Festival to take place at Edinburgh College of Art, June 23-24 2011 Thursday June 23rd 9 – 9.30: Registration 9.30 – 10.30: Keynote - Paul Ward (Arts University College, Bournemouth) 10.30 – 11: Tea/coffee break 11 – 12.30: Paper Session 1 PANEL 1 - Defining Animated Documentary: Jennifer Jane Serra (Universidade Estadual de Campinas) – The Rê Bordosa Dossier: a Semio-Pragmatic Approach Paul Sellors (Edinburgh Napier University) – Drawing a Clear Line between Fact and Fiction in the Animated Documentary Pascal Lefèvre (Saint-Lukas Brussels University College of Art and Design) - The Modes of Animated Documentary PANEL 2 – Animated Documentary and the Spectacular: Leon Gurevitch (Victoria University of Wellington) – The Documentary Attraction: Animation, Simulation and the Rhetoric of Expertise Charles daCosta (Savannah College of Art and Design, Georgia) – Stirring it Up: Priming the Ordinary and Prodding the Invisible into the Animated Spectacle Bella Honess Roe (University of Surrey) – Spectacular Reality: The Pleasurable Tensions of Surface, Content and Context in Animated Documentary 12.30 – 1.15: Lunch 1.15 – 2.45: Paper Session 2 PANEL 1 - Fact and Fiction: Nea Ehrlich (University of Edinburgh) – Virtual Documents and Animated Photography Greg Bevan (University of Salford) and Marc Bosward (University of Derby) – "I Speak about Myself to You": Renegotiating the Voice of Documentary through Animation Aesthetics Mark Bartlett (Animation: an Interdisciplinary Journal) – Fictional Fact and Factual Fiction: The Document vs. the Documentary PANEL 2 – Animated Documentary and Otherness:   Maike Thies (ZHDK and Fantoche Animation Film Festival) – Animated Documentary’s Potential to Deconstruct Stereotypes of Mental and Physical Disease Daniel Bartoš (FAMU Film and Television Faculty of Performing Arts, Prague) – Thinking in Images: Representing Native Knowledge within Contemporary Visual Technologies Taru Henriksson (Aalto University Helsinki) – Animated Feelings of Femininity: Three Case Studies from Finnish Female Filmmakers 2.45 – 4. 15: Paper Session 3 PANEL 1 – Filmmakers on Animated Documentary: Anne Marie Fleming (Sleepy Dog Films) Samantha Moore (University of Wolverhampton and Loughborough University) – "Does this Look Right?" Working inside the Collaborative Frame Andy Frith (Northumbria University) and Robert Jefferson (Northumbria University) – Beyond Actuality: The Animated Response PANEL 2 – Animated Documentary, Architecture and Space: Suzanne Buchan (University for the Creative Arts) – Animated Psychogeography: Documenting Urban Space Lilly Husbands (King’s College London) – The Kaleidoscopic Windscreen: Stuart Hilton’s Experimental Animated Documentary Six Weeks In June Jeffrey Geiger (University of Essex) – "Like Nothing You ever Saw before Outside of a Dream:" Animating Aerial Vision 4.15 – 4.30: Tea/coffee break 4.30 – 5.30: Keynote: Sheila Sofian (University of Southern California) 6.00: Edinburgh International Film Festival screening – The Green Wave (Ali Samadi Ahadi, Ger, 2010) + Director Q&A. Screening venue: Filmhouse, Cinema 1, 88 Lothian Road 8.15: Drinks reception at the Edinburgh International Film Festival Delegate Centre   Friday June 24th 9.30 – 11: Paper Session 4 PANEL 1 – Animated Documentary: Historical Approaches: Annegret Richter (International Leipzig Festival for Documentary and Animated Films) – DOK Leipzig: the Home of Animated Documentary Mihaela Mihailova (Yale University) – Animation in American Nonfiction Film of the Silent Era: An Unlikely Union? Anna Ida Orosz (Budapest Eötvös Lóránd University and the Hungarian Kecskemét Animation Film Festival) – Ah, America! and Ah, America, Again! PANEL 2 – Animated Documentary and Spectatorship: Tsvetomira Nikolova (New Bulgarian University, Sofia) – The "Uncanny Valley" Hypothesis and/in Animated Documentaries Ohad Landesman (New York University) – Animated Recollection and Spectatorial Experience in Waltz with Bashir Nadide Gizem Akgülgil (Bilkent University, Ankara) – Using Animation in a Philosophical Film: Waking Life 11– 11.30: Tea/coffee break 11:30 – 1: Paper Session 5 PANEL 1 – Animated Documentary and Memory: Nanette Kraaikamp (Retort Art Space, Amsterdam) – Drawings to Remember Meghan Gilbride (University College London) – Memory Lapses: Visualizing the Porosity of Remembrance in Marie-Margaux Tsakiri-Scanatovits’ My Mother’s Coat Michelle Salamon (Voodoodog) – Animated Documentary in Relation to Time and Memory PANEL 2 – Theorising Animated Documentary: Andrew Warstat (University of Leeds and Blackpool School of Art) – Lewis Klahr and the Shuddering Image Cathy Slim (Plymouth College of Art) – The Power of Artificiality in Documentary Animation Lawrence Thomas Martinelli (University of Udine) – The Reasons for Animating Reality: Animated Documentary and Re-enactment in the Works of Jonas Odell 1 – 1.45: Lunch 1.45 – 2.45: Delegate Q&A with The Green Wave Director Ali Samadi Ahadi 2.45 – 4.15: Paper Session 6 PANEL 1 – Animated Documentary and Divided Nations: Debra Pentecost (University of British Columbia) – Trauma in the War Zone: Film Strategies in Waltz With Bashir Myria Christophini (Glasgow School of Art) – Animating Peace Manki Park (Loughborough University) – The Role of "Animated Interviews" in Online Virtual Worlds: Documentary Avatars PANEL 2 – Animated Documentary and Pedagogy: David Williams (Independent Scholar) – Sheila Graber and the Art of Documentation Phil Davis (Towson University) and Sujan Shrestha (Towson University) – The Truth in Illusion: Collaborative Approaches and Pedagogy in Documentary Animation Paul Goodfellow (Northumbria University) – The use of Animation in the Generation and Documentation of Ideas in Systems Painting 4.15 – 4.30: Tea/coffee break 4.30 – 5.30: Keynote: Paul Wells (Loughborough University) 5.45: Edinburgh International Film Festival screening – Animated Documentary Shorts programme: I Was A Child of Holocaust Survivors (Anne Marie Fleming, Can, 2010); American Homes (Bernard Friedman, USA, 2010); 1989 (When I Was Five Years Old) (Thor Ochsner, Den, 2010); The Next One (Barbara Raedschelders, Bel, 2010); The Stitches Speak (Nina Sabnani, Ind, 2009); My Mother’s Coat (Marie-Margaux Tsakiri-Scanatovits, GB, 2010); Abuelas (Afarin Eghbal, GB, 2011). Screening Venue: TBC 8.00: Conference Dinner and Drinks at The Counting House, 36 West Nicholson Street]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/501 http://www.aah.org.uk/post/501   This call for papers concerns the first conference, which will take place in Paris. (Calls for the papers for the other two events will be sent throughout 2011/12.) In Paris our hosts will be the INHA, the Fondation Singer-Polignac, and the Musée du Louvre. The focus will be on the material aspects of sculpture, and the various methodological approaches developed for sculptural study. One particular axis will be the consideration of American and European traditions and methodologies. Possible areas include: close consideration of sculpture's qualities and the markers or traces which lend themselves to appreciation (elements of carving style, manipulation of techniques) markers or traces of the work's provenance (analysis of the materials, style) and dating (methodologies, ideologies and stakes in dating) methodological critique (historiography, l'archéologie du bâti, connoisseurship) traces of use and function, consideration for sculpture in the round vs. relief; indication of installation (on a portal, as an altarpiece ensemble) Please submit proposals to : Jean-Marie Guillouët (jean-marie.guillouet@inha.fr), Conseilleur scientifique, INHA; Jack Hinton (jhinton@philamuseum.org), Assoc. Curator of Decorative Arts, Philadelphia Museum of Art; Robert A. Maxwell (maxwellr@sas.upenn.edu), History of Art Dept., University of Pennsylvania http://www.arthistory.upenn.edu/medievalsculpture/  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/500 http://www.aah.org.uk/post/500   During the three decades of Professor House’s career at the Courtauld Institute, the terrain of nineteenth-century art history and curatorship has witnessed transformations reminiscent in scale to Baron Haussmann’s project. Ten University Lecturers and museum professionals, who matured under his supervision, will present their current research about the art of the long-nineteenth century through four thematic frames: Antiquity, Modernity and Display; Embodiment and Evanescence; Nationhood and Decoration; Context and Temporality. To book a place: £15 (£10 Courtauld staff/students and concessions) Please 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, clearly stating that you wish to book for the ‘New Landscapes in Nineteenth-century Art History’ conference. For credit card bookings call 020 7848 2785 (9.30 - 18.00, weekdays only). Organised by Dr Claire O'Mahony (University of Oxford) Contact and further information details: ResearchForumEvents@courtauld.ac.uk    ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/499 http://www.aah.org.uk/post/499   This interdisciplinary conference will explore the relationship between art and politics in Britain from late antiquity to the present. The conference aims to provide a forum for both postgraduate and established scholars who are investigating the ways in which art can function as a tool for political legitimation, a method of political argument, and can express cultural values in material form. Potential topics for discussion will include the following: Art’s ability to influence political actions, movements, and personal worldviews The medium and display of political art The influence of community and collectivity in the production or function of political art The initiative and authority of the artist High art versus low art; avant garde versus kitsch in the reception of political imagery Convention and tradition in political images Methods for assessing the influence of political art Historical case studies of nationalistic art, propaganda, political cartoons, or other political material culture We welcome papers from scholars working on visual material in relevant fields including but not limited to history, literature, anthropology, archaeology, and sociology. To submit a paper, please send an abstract of up to 300 words to Laura Slater (lss33@cam.ac.uk) by 20 June 2011. Papers should be designed to last no more than 20 minutes and submissions should include the paper title, institutional affiliation, and AV requirements. Including light refreshments the event will be £10 for postgraduates and £15 for senior scholars. For further information please contact one of the organisers: Laura Slater (lss33@cam.ac.uk) or Chloe Kroeter (ck361@cam.ac.uk).  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/498 http://www.aah.org.uk/post/498   Contact: Louise Carson For more information, including a list of speakers, please see http://www.thehubcentre.info/talks-and-events/on-the-brink-of-change/. To book, please telephone (+44) 01529 308 710  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/497 http://www.aah.org.uk/post/497   Call for Papers Art against the Wall is the third symposium of The Courtauld’s Early Modern department. The symposium will provide an occasion for established and emerging scholars to present and discuss their research together. This one-day symposium will explore the relationship between walls and art in early modern visual culture. During the period 1550-1850 the interplay between work and wall became increasingly complex as art objects began to pull away from the walls which had previously defined them. The enduring association between artistic skill and craft production meant that many art works were often still regarded as elements in overarching decorative schemes; paintings installed in eighteenth-century English domestic interiors, for example, continue to be described as part of the ornamentation, even as the furniture, of a room. Conversely, walls now had the power to redefine art works, giving them a new meaning through a new context; thus, in late sixteenth-century debates on the status of the religious image, walls – which map the division between sacred and secular space – take on crucial importance. Yet the wall could also become art, as the numerous examples of trompe l'oeil wall illustration to be found in seventeenth-century architecture and garden design suggest. Taking as its point of departure Derrida's insight that there can be no clear separation of ergon (work) from parergon (not-the-work, 'wall'), the symposium will attempt to investigate the rich questions raised by the phenomenon of art against the wall. We welcome contributions relating to paintings, sculptures, decorative schemes, architecture and works on paper. Topics for discussion may include, but are not limited to: The wall as display space – the changes in modes of wall display in the early modern period, particularly as they contributed to our current idea of art; conceptual walls as alternative display spaces (e.g. the cabinet); walls as spaces for the re-contextualization of artworks The wall in representation – the significance of walls depicted in paintings and other media; walls in theatre and civic spectacle; the portrayal of named or historically-specific walls in art and material culture The wall as a medium for public memory – the role of walls in the expression of national or cultural identity; ‘creative defacement’ of walls (graffiti, despoliation, whitewashing) as a challenge to established power structures; walls for communication and for spectacle The wall as substrate – how physical characteristics of the wall-as-substrate (materials, situation, durability) may affect the artwork it supports; challenges posed by wall art for conservation and technical study; intersections with parietal art The wall as a work of art – creative uses of walls and partitions by architects, gardeners and urban planners; trompe l’oeil and illusionism; walls in the service of interior and exterior decoration The wall and the image in early modern art writing – how walls were conceptualized in treatises on visual art and related fields; the wall in relation to iconoclasm and the polarization of sacred and secular image; walls as interfaces between public and private realms Please send proposals of no more than 250 words by 15 July 2011 to thomas.balfe@courtauld.ac.uk and jocelyn.anderson@courtauld.ac.uk Organised by Thomas Balfe and Jocelyn Anderson (The Courtauld Institute of Art) ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/492 http://www.aah.org.uk/post/492 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/489 http://www.aah.org.uk/post/489 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/490 http://www.aah.org.uk/post/490 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/488 http://www.aah.org.uk/post/488   Henry Moore Institute Dissertation Prize MA Dissertation Prize: £250 BA Dissertation Prize: £150 Henry Moore Institute Collections Essay MA Essay Prize: £250 BA 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 Henry Moore Institute Collections Essay specifically invites submissions of original essays that attend to works or archive material from the Leeds Museums and Galleries collections. Over the last decade we have used the core of the collection, which is twentieth-century British (though we hold sculpture and archive material from the eighteenth and particularly nineteenth centuries), as a platform on which to build up a broader-based collection, representative of the practice of sculpture in Britain over the last century looking to work by neglected practitioners, as well as those more widely known. Amongst the many artists represented in the collection are: Keith Arnatt, Claire Barclay, Phyllida Barlow, Helen Chadwick, Tony Cragg, Tacita Dean, Jacob Epstein, John Flaxman, Gilbert & George, Eric Gill, Brian Griffiths, Barbara Hepworth, Phillip King, Langlands & Bell, Bruce McLean, Henry Moore, David Nash, Claes Oldenburg, Eduardo Paolozzi, Cornelia Parker, Eva Rothschild, and Bill Woodrow. Essays should be between 2,500 and 5,000 words in length and the result of original research. A coursework essay can be submitted. Students wishing to find out more about the collections should contact Kirstie Gregory. Submission details: Deadline: 30 September 2011 Contact: Kirstie Gregory, Research Programme Assistant. Email: kirstie@henry-moore.org. Telephone: 0113 246 7467.  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/485 http://www.aah.org.uk/post/485 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/483 http://www.aah.org.uk/post/483 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/476 http://www.aah.org.uk/post/476 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/475 http://www.aah.org.uk/post/475 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/473 http://www.aah.org.uk/post/473 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/472 http://www.aah.org.uk/post/472 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/468 http://www.aah.org.uk/post/468 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/466 http://www.aah.org.uk/post/466 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/465 http://www.aah.org.uk/post/465 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/464 http://www.aah.org.uk/post/464 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/463 http://www.aah.org.uk/post/463 Manpower, Ideology and Travel: Twelfth-Century Architectural Sculpture in Northern Spain Tuesday 3 May 2011. 5.30pm, Kenneth Clark Lecture Theatre, Courtauld Institute ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/462 http://www.aah.org.uk/post/462 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/461 http://www.aah.org.uk/post/461 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/460 http://www.aah.org.uk/post/460 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/458 http://www.aah.org.uk/post/458 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/457 http://www.aah.org.uk/post/457 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/456 http://www.aah.org.uk/post/456 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/454 http://www.aah.org.uk/post/454 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/450 http://www.aah.org.uk/post/450 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/449 http://www.aah.org.uk/post/449 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/448 http://www.aah.org.uk/post/448 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/446 http://www.aah.org.uk/post/446 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/445 http://www.aah.org.uk/post/445 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/444 http://www.aah.org.uk/post/444 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/443 http://www.aah.org.uk/post/443 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/442 http://www.aah.org.uk/post/442 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/441 http://www.aah.org.uk/post/441 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/438 http://www.aah.org.uk/post/438 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/437 http://www.aah.org.uk/post/437 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/436 http://www.aah.org.uk/post/436 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/435 http://www.aah.org.uk/post/435 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/434 http://www.aah.org.uk/post/434 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/433 http://www.aah.org.uk/post/433 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/432 http://www.aah.org.uk/post/432 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/431 http://www.aah.org.uk/post/431 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/430 http://www.aah.org.uk/post/430 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/429 http://www.aah.org.uk/post/429 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/423 http://www.aah.org.uk/post/423 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/428 http://www.aah.org.uk/post/428 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/427 http://www.aah.org.uk/post/427 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/426 http://www.aah.org.uk/post/426 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/425 http://www.aah.org.uk/post/425 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/424 http://www.aah.org.uk/post/424 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/422 http://www.aah.org.uk/post/422 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/419 http://www.aah.org.uk/post/419 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/418 http://www.aah.org.uk/post/418 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/415 http://www.aah.org.uk/post/415 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/416 http://www.aah.org.uk/post/416 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/412 http://www.aah.org.uk/post/412 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/408 http://www.aah.org.uk/post/408 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/407 http://www.aah.org.uk/post/407 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/406 http://www.aah.org.uk/post/406 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/401 http://www.aah.org.uk/post/401 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/405 http://www.aah.org.uk/post/405 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/404 http://www.aah.org.uk/post/404 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/403 http://www.aah.org.uk/post/403 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/402 http://www.aah.org.uk/post/402 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/400 http://www.aah.org.uk/post/400 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/399 http://www.aah.org.uk/post/399 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/398 http://www.aah.org.uk/post/398 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/397 http://www.aah.org.uk/post/397 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/396 http://www.aah.org.uk/post/396 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/395 http://www.aah.org.uk/post/395 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/394 http://www.aah.org.uk/post/394 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/393 http://www.aah.org.uk/post/393 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/392 http://www.aah.org.uk/post/392 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/390 http://www.aah.org.uk/post/390 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/389 http://www.aah.org.uk/post/389 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/388 http://www.aah.org.uk/post/388 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/387 http://www.aah.org.uk/post/387 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/386 http://www.aah.org.uk/post/386 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/385 http://www.aah.org.uk/post/385 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/384 http://www.aah.org.uk/post/384 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/383 http://www.aah.org.uk/post/383 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/382 http://www.aah.org.uk/post/382 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/381 http://www.aah.org.uk/post/381 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/380 http://www.aah.org.uk/post/380 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/376 http://www.aah.org.uk/post/376 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/375 http://www.aah.org.uk/post/375 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/374 http://www.aah.org.uk/post/374 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/373 http://www.aah.org.uk/post/373 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/372 http://www.aah.org.uk/post/372 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/371 http://www.aah.org.uk/post/371 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/370 http://www.aah.org.uk/post/370 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/368 http://www.aah.org.uk/post/368 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/367 http://www.aah.org.uk/post/367 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/366 http://www.aah.org.uk/post/366 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/365 http://www.aah.org.uk/post/365 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/363 http://www.aah.org.uk/post/363 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/361 http://www.aah.org.uk/post/361 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/358 http://www.aah.org.uk/post/358 ‘Words about Things’ Thursday 11 November 2010 at 6.00pm ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/357 http://www.aah.org.uk/post/357 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/356 http://www.aah.org.uk/post/356 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/355 http://www.aah.org.uk/post/355 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/352 http://www.aah.org.uk/post/352 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/351 http://www.aah.org.uk/post/351 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/350 http://www.aah.org.uk/post/350 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/349 http://www.aah.org.uk/post/349 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/346 http://www.aah.org.uk/post/346 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/345 http://www.aah.org.uk/post/345 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/342 http://www.aah.org.uk/post/342 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/340 http://www.aah.org.uk/post/340 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/339 http://www.aah.org.uk/post/339 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/338 http://www.aah.org.uk/post/338 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/336 http://www.aah.org.uk/post/336 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/334 http://www.aah.org.uk/post/334 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/332 http://www.aah.org.uk/post/332 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/331 http://www.aah.org.uk/post/331 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/330 http://www.aah.org.uk/post/330 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/329 http://www.aah.org.uk/post/329 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/327 http://www.aah.org.uk/post/327 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/326 http://www.aah.org.uk/post/326 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/323 http://www.aah.org.uk/post/323 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/322 http://www.aah.org.uk/post/322 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/321 http://www.aah.org.uk/post/321 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/320 http://www.aah.org.uk/post/320 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/318 http://www.aah.org.uk/post/318 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/317 http://www.aah.org.uk/post/317 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/316 http://www.aah.org.uk/post/316 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/315 http://www.aah.org.uk/post/315 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/324 http://www.aah.org.uk/post/324 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/311 http://www.aah.org.uk/post/311 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/305 http://www.aah.org.uk/post/305 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/284 http://www.aah.org.uk/post/284 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/304 http://www.aah.org.uk/post/304 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/303 http://www.aah.org.uk/post/303 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/300 http://www.aah.org.uk/post/300 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/297 http://www.aah.org.uk/post/297 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/296 http://www.aah.org.uk/post/296 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/292 http://www.aah.org.uk/post/292 Socio-political aesthetics and Eco-aesthetics - as part of a commissioned series of books 'RadicalAesthetics-RadicalArt'. ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/291 http://www.aah.org.uk/post/291 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/290 http://www.aah.org.uk/post/290 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/288 http://www.aah.org.uk/post/288 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/286 http://www.aah.org.uk/post/286 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/285 http://www.aah.org.uk/post/285 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/283 http://www.aah.org.uk/post/283 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/282 http://www.aah.org.uk/post/282 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/280 http://www.aah.org.uk/post/280 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/279 http://www.aah.org.uk/post/279 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/278 http://www.aah.org.uk/post/278 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/276 http://www.aah.org.uk/post/276 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/275 http://www.aah.org.uk/post/275 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/274 http://www.aah.org.uk/post/274 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/273 http://www.aah.org.uk/post/273 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/270 http://www.aah.org.uk/post/270 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/269 http://www.aah.org.uk/post/269 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/268 http://www.aah.org.uk/post/268 New Documents, curated by the internationally renowned photographer, editor and curator Martin Parr. ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/265 http://www.aah.org.uk/post/265 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/264 http://www.aah.org.uk/post/264 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/263 http://www.aah.org.uk/post/263 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/262 http://www.aah.org.uk/post/262 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/261 http://www.aah.org.uk/post/261 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/260 http://www.aah.org.uk/post/260 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/259 http://www.aah.org.uk/post/259 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/258 http://www.aah.org.uk/post/258 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/257 http://www.aah.org.uk/post/257 Portfolio: an ejournal for emerging research in visual culture. The journal would be open to PGRs and recently graduated PGRs and open to all forms of media to take full advantage of the possibilities of a web-based format. ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/254 http://www.aah.org.uk/post/254 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/252 http://www.aah.org.uk/post/252 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/251 http://www.aah.org.uk/post/251 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/249 http://www.aah.org.uk/post/249 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/248 http://www.aah.org.uk/post/248 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/245 http://www.aah.org.uk/post/245 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/244 http://www.aah.org.uk/post/244 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/242 http://www.aah.org.uk/post/242 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/240 http://www.aah.org.uk/post/240 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/236 http://www.aah.org.uk/post/236 PhD2Published are to provide a wealth of hints and tips for newbie academics on how they might get their all important first book in print in today’s market, as well providing discussion on the future of academic writing and publishing in the e-age. ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/237 http://www.aah.org.uk/post/237 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/235 http://www.aah.org.uk/post/235 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/234 http://www.aah.org.uk/post/234 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/233 http://www.aah.org.uk/post/233 Aesthetic Communities and Contextual Translation of Communal Art August 15-20, 2010, Yerevan and Ijevan, Armenia ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/232 http://www.aah.org.uk/post/232 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/231 http://www.aah.org.uk/post/231 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/230 http://www.aah.org.uk/post/230 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/227 http://www.aah.org.uk/post/227 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/226 http://www.aah.org.uk/post/226 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/221 http://www.aah.org.uk/post/221 'The Wanderings of a Chinese Lady: Plates, Parasols & Global Design in the Eighteenth Century' - Professor Christiaan Jörg (Leiden University): 6pm, Thursday 22 April, Arden House, University of Warwick, Coventry, UK. ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/223 http://www.aah.org.uk/post/223 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/222 http://www.aah.org.uk/post/222 Visualising and Exhibiting Fascism: Inhabiting the Colonial City, a seminar supported by The Institute for Transnational Studies in Languages, Linguistics and Cultures, The University of Manchester. Friday 30 April 2010, 2.30 to 4.30 pm. The University of Manchester, University Place, Oxford Road, Room 6.207. ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/220 http://www.aah.org.uk/post/220 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/219 http://www.aah.org.uk/post/219 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/211 http://www.aah.org.uk/post/211 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/216 http://www.aah.org.uk/post/216 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/214 http://www.aah.org.uk/post/214 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/213 http://www.aah.org.uk/post/213 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/212 http://www.aah.org.uk/post/212 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/210 http://www.aah.org.uk/post/210 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/209 http://www.aah.org.uk/post/209 Rebus are currently looking for 5000 to 7000 word essay contributions on any aspect of photography from the disciplines of art history, art criticism, visual culture, film and media studies, and aesthetics for the Summer 2010 issue. ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/208 http://www.aah.org.uk/post/208 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/205 http://www.aah.org.uk/post/205 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/206 http://www.aah.org.uk/post/206 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/204 http://www.aah.org.uk/post/204 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/203 http://www.aah.org.uk/post/203 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/202 http://www.aah.org.uk/post/202 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/200 http://www.aah.org.uk/post/200 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/196 http://www.aah.org.uk/post/196 "Poetics in Progress: Alternations of Models and Anti-Models in 16th Century Art, Literature and Culture in Early-Modern Italy". ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/194 http://www.aah.org.uk/post/194 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/193 http://www.aah.org.uk/post/193 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/195 http://www.aah.org.uk/post/195 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/192 http://www.aah.org.uk/post/192 www.iaa.bham.ac.uk/conferences/byzantine ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/191 http://www.aah.org.uk/post/191 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/190 http://www.aah.org.uk/post/190 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/188 http://www.aah.org.uk/post/188 Lucio Fontana´s Technical Means for Reaching Beyond the Third Dimension ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/178 http://www.aah.org.uk/post/178 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/187 http://www.aah.org.uk/post/187 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/186 http://www.aah.org.uk/post/186 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/185 http://www.aah.org.uk/post/185 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/184 http://www.aah.org.uk/post/184 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/126 http://www.aah.org.uk/post/126 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/181 http://www.aah.org.uk/post/181 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/180 http://www.aah.org.uk/post/180 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/179 http://www.aah.org.uk/post/179 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/177 http://www.aah.org.uk/post/177 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/176 http://www.aah.org.uk/post/176 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/175 http://www.aah.org.uk/post/175 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/174 http://www.aah.org.uk/post/174 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/173 http://www.aah.org.uk/post/173 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/172 http://www.aah.org.uk/post/172 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/168 http://www.aah.org.uk/post/168 http://www.journalofvisualculture.org/2009/12/the-2010-visual-culture-studies-conference/ Location: Room 2.05c, 4-12 Little Titchfield Street, University of Westminster, London W1W 7UW Cost: £20/£10 concession.   ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/169 http://www.aah.org.uk/post/169 http://www.journalofvisualculture.org/2009/12/the-2010-visual-culture-studies-conference/ ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/171 http://www.aah.org.uk/post/171 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/170 http://www.aah.org.uk/post/170 www.vam.ac.uk/conferences To book, please visit www.vam.ac.uk/tickets or call 020 7942 2211  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/167 http://www.aah.org.uk/post/167 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/166 http://www.aah.org.uk/post/166 'Conservation in Focus' Lectures are free and open to all, and will be held on the following Tuesdays at 5.30 – 6.30pm in the Kenneth Clark Lecture Theatre The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/165 http://www.aah.org.uk/post/165 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/148 http://www.aah.org.uk/post/148 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/147 http://www.aah.org.uk/post/147 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/151 http://www.aah.org.uk/post/151 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/150 http://www.aah.org.uk/post/150 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/149 http://www.aah.org.uk/post/149 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/146 http://www.aah.org.uk/post/146 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/145 http://www.aah.org.uk/post/145 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/143 http://www.aah.org.uk/post/143 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/142 http://www.aah.org.uk/post/142 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/141 http://www.aah.org.uk/post/141 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/140 http://www.aah.org.uk/post/140 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/138 http://www.aah.org.uk/post/138 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/137 http://www.aah.org.uk/post/137 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/133 http://www.aah.org.uk/post/133 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/136 http://www.aah.org.uk/post/136 Vestry House Museum, London E17 until 29 November, free entry, open Wed-Sun 10am-5pm Free Artists Talk: Saturday 28 November, 12pm at Vestry House  ‘Last Day at the Dogs’ an 106 page full colour book is available from Blurb.  www.katherinegreen.co.uk http://www.walthamforest.gov.uk/index/whats-on/going-to-the-dogs.htm  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/131 http://www.aah.org.uk/post/131 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/129 http://www.aah.org.uk/post/129 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/127 http://www.aah.org.uk/post/127 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/125 http://www.aah.org.uk/post/125 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/122 http://www.aah.org.uk/post/122 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/121 http://www.aah.org.uk/post/121 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/119 http://www.aah.org.uk/post/119 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/118 http://www.aah.org.uk/post/118 Objects of contemplation Natural sculptures from the Qing dynasty Gallery 4, Henry Moore Institute 12 December 2009 – 7 March 2010 This small but exquisite exhibition is concerned with the remarkable rocks collected in 17th-century China, and asks important questions about them: when does a rock become a sculpture, for example? How important is the role of the person who notices the rock in the first place; the person who finds it, cleans it, polishes it and places it on a pedestal? ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/117 http://www.aah.org.uk/post/117 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/116 http://www.aah.org.uk/post/116 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/115 http://www.aah.org.uk/post/115 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/113 http://www.aah.org.uk/post/113 nspeakman@britishmuseum.org.  ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/112 http://www.aah.org.uk/post/112 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/111 http://www.aah.org.uk/post/111 Close Encounters of a Frillip Moolog Kind Solihull Art Gallery, Solihull Arts Complex, Touchwood, Homer Road, Solihull, West Midlands B91 3RG 19th October - 14th November 2009 Monday & Thursday 9am-8pm, Tuesday & Friday 9am-6pm, Wednesday 10am-6pm and Saturday 9am-5pm  Artist’s talk: 29 October from 6-7pm ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/110 http://www.aah.org.uk/post/110 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/109 http://www.aah.org.uk/post/109 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/108 http://www.aah.org.uk/post/108 On behalf of the University of Cambridge, the AAH is pleased to be able to circulate the following information: The ARTiculation Prize invites students to give a short presentation on a work of art of their choice. Participating students will take part in one of three regional heats taking place across the country, in Cambridge, London and Wiltshire, in February and March 2010. Two entrants from each heat will be selected to take part in the Competition Final on Saturday 6 March. ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/107 http://www.aah.org.uk/post/107 Arrestingly real sculptures and paintings of the saints, the Immaculate Conception, and the Passion of Christ are among some 20 Spanish masterpieces of the 17th century on view in a landmark exhibition at the National Gallery of Art, Washington, from February 28 through May 31, 2010 and the National Gallery, London, where it will be on view from October 21, 2009, through January 24, 2010 ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/104 http://www.aah.org.uk/post/104 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/103 http://www.aah.org.uk/post/103 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/98 http://www.aah.org.uk/post/98 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/97 http://www.aah.org.uk/post/97 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/92 http://www.aah.org.uk/post/92 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/91 http://www.aah.org.uk/post/91 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/63 http://www.aah.org.uk/post/63 Sculpture in Painting is not so much concerned with comparing the two disciplines, but with the dialogue between them. ]]> Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/86 http://www.aah.org.uk/post/86 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/87 http://www.aah.org.uk/post/87 Fri, 10 Feb 2012 07:02:52 +0000 http://www.aah.org.uk/post/84 http://www.aah.org.uk/post/84