http://www.aah.org.uk/rss/94 Fri, 10 Feb 2012 07:02:19 +0000 Zend Framework Zend_Feed en-us http://blogs.law.harvard.edu/tech/rss http://www.aah.org.uk/post/707 http://www.aah.org.uk/post/707   http://www.thecamdencrawl.com/artist/profile/art-history-in-the-pub/ On Sunday, May 6th, the AAH will be presenting several lectures and talks on art historical themes at The Enterprise Tavern in Camden Town, London, as part of the programme of the long-running music and culture festival, The Camden Crawl. Launching the festival season each Spring, the Camden Crawl quickly became renowned as first to showcase the forthcoming year’s most hotly tipped artists to sold out audiences since its inception at the height of Britpop in 1995. After three critically acclaimed years, the festival took a lengthy breather before re-launching in its current form in 2005. Started as a conduit to showcase the best emerging artists alongside surprise guests and seminal legends to die-hard music lovers, music industry and media under one umbrella, the Crawl has always prided itself in making live music affordable and accessible to everyone. Equally, with an aim to grow community between the artists appearing, fans and the new music promoters behind the scenes, the festival has retained its policy to democratically book talent via its eclectic committee of tastemakers and promote its artists on a level playing field. To enhance exposure for performers and create unique value for punters, the Crawl ticket price traditionally includes a free download compilation, programme guide and magazine featuring it’s curators and artists appearing. In 2007, the festival expanded across a weekend and has, by day, become a sprawling carnival-style arts festival featuring comedy & spoken word, short film, pop quizzes, busking, acoustic performances, workshops, karaoke, exhibitions and more. By night, the two mile-long stretch of pavement assumes its position as an all out live music extravaganza playing host to more than 200 of the best new talents performing across the area’s infamous venues. The Camden Crawl has grown from a 5 venue and 20 artist affair to an event which included more than 50 venues and 250 artists and events in 2011. One ticket (available as a weekend pass or day ticket) is exchanged for a wristband at a main entrance point and allows unlimited access to all Crawl venues, outdoor arena, after show parties and daytime activities.    ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/704 http://www.aah.org.uk/post/704   Now available from LuLu.com in hardcopy and pay-for-download PDF versions. The hardcopy version is £5.00 + P&P, and the PDF download is £3.00 (DRM Free). An abridged sample is available for free download by clicking here Free shipping in January - use the code WHOASHIPPINGUK on checkout until 30th January! Don't Ask for the Mona Lisa - Guidelines for academics on how to propose, prepare, and organise an exhibition By Heather Birchall, Amelia Yeates The writing and publication of these guidelines was prompted by an event held by the Committee of the Museums & Exhibition Members Group of the Association of Art Historians (AAH), at the AAH Annual Conference at Manchester Metropolitan University in 2009. The session, entitled Curators Don’t Bite, attracted a large crowd of academics and museum professionals eager to hear about the experiences, both positive and negative, of other academics and curators who had organised exhibitions. Following the event, it was clear that there was a demand for some advice on how to propose exhibitions and, once a show had been agreed, the practicalities of working with curators and other museum staff. This publication therefore aims to provide an introduction to key aspects of exhibition curation, from the early planning stages to the design and opening of the show. Of course, every exhibition is different and, whilst this document cannot cover every aspect of exhibition planning, it does provide assistance to those organising both small-scale and large exhibitions, as well as offering guidance on working with paintings, sculptures, and contemporary installations. Whether your exhibition is to be held at a large venue, such as Tate Britain, with a team of curators, conservators, and technicians, or a smaller institution with only one or two members of staff, the intention of the authors has been to outline the possible eventualities and responsibilities associated with exhibition planning. The first part of this publication gives guidance on why and how to propose an exhibition, and offers general advice on exhibition planning and installation. It describes the roles performed by certain staff members in galleries and museums, and the responsibilities they carry when an exhibition is being put together. Some technical terms are highlighted in bold in the main text, and defined in the margin. The second part comprises case studies by academics who have worked on exhibitions for both large organisations, such as Birmingham Museum and Art Gallery, and small venues, including the Henry Moore Institute. This section also includes an interview with an exhibition designer that sets out some of the demands of fitting the design around the show’s theme, and sheds light on how to create a space that doesn’t overwhelm the exhibits.  At a time when museums and galleries are constantly tightening their budgets, a page at the end of this publication includes a list of funders to be approached if the museum’s budget cannot cover all the costs associated with the show, such as producing a catalogue or organising an associated study day or conference. Although the publication is primarily aimed at academics, and also freelances and students who may be considering putting together an exhibition proposal, we hope that it will also be useful for curators in the early stages of their careers working in a museum or gallery.   ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/685 http://www.aah.org.uk/post/685   Light Points, an exhibition of works by Linda Karshan, will be hosted by the Redfern Gallery, Cork Street, from 2 Feb.-1 March 2012. The show features new work from 2011, together with drawings from 1996 and 2002. To celebrate the exhibition, you are invited to attend Light Points: A Conversation: Linda Karshan in conversation with Alyce Mahon (Senior Lecturer in History of Art, University of Cambridge and a member of both the AAH and AICA-UK) on 23 February, 6-8pm. 'Movements and their Images', the 7-minute film of Karshan working in her studio, by Candida Richardson, will be also shown that evening and the filmmaker will be present. Please rsvp art@redfern-gallery.com; inquiries to 020 7734 1732. This exhibition and event have been planned to coincide with the exhibition at the Courtauld Gallery Lines Crossed-Grids and Rhythms on Paper, featuring the newly acquired drawing by Karshan, from 1996, surrounded by 16 Master Drawings from the Courtauld's Collection. In the exhibition, the Grid is explored as Perspective, as Narrative, as Design, as being 'Squared up', and finally as 'Mise en Page'. This event is a collaboration between the AAH and AICA-UK, intended to highlight topics in the area where art history and criticism meet. 'Lines Crossed' has been conceived to complement the Courtauld's major new exhibition Mondrian/Nicholson: in Parallel, on view at the Courtauld from 16 Feb.-20 May. The AAH (Association of Art Historians) promotes the professional practice and public understanding of art history in the UK and abroad. We represent the interests of those involved in all aspects of art history and visual culture. AICA (International Association of Art Critics) was established by UNESCO in 1949 and has over 60 national sections concerned with the evaluation of contemporary art.]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/683 http://www.aah.org.uk/post/683 ‘Public Speaking Workshop for Art Historians’ 9th February 2012, 10-5pm Association of Art Historians, 70 Cowcross Street, London EC1M 6EJ   Clear, effective and professional communication skills are absolutely essential to any aspiring academic. This workshop will focus on how to communicate your research more effectively, whether you are a seasoned presenter who feels there is room for improvement or a complete beginner at public speaking. Participants will learn and practice techniques of voice projection, controlling speed and tone, and methods of connecting with the audience in lecture theatres or seminar rooms. Speakeasy, a public-speaking training organisation, is offering a one-day workshop on the art of public speaking for art historians. Organised by an academic and a professional actor, the Speakeasy Workshop is specifically developed for art historians at the start of their career. Drawing on professional acting skills and techniques, our one-day course addresses the following issues: How to be an effective communicator in the lecture theatre, the seminar room or in the conference hall? How to get your message across, keep your audience engaged and actually enjoy the experience Voice projection, posture, body language and how to calm your nerves? Different modes of communication: how to lead seminars, chair conferences and conduct a Q&A Techniques for presenting, how to deliver complex ideas and personalise your style of delivery Methods of communication: how to use PowerPoint, present a poster and ‘how to think on your academic feet’? Owing to the interactive nature of the workshop, numbers are limited to 25. Book now to avoid disappointment.  Course requirements: All attendees are required to bring a printed copy of 150 words on/about their research- this could be part of a chapter or paper. Please also make sure that you wear loose comfortable clothing. Cost: Fee includes refreshments and a course pack. Lunch is not included, but there are a number of sandwich bars in the area. AAH Student Members: £40.00 AAH Members: £53.00 Non-AAH Members: £65.00 Book online now via http://www.datawareonline.co.uk/aah/Default.aspx?tabid=71&EventId=187 or see http://www.aah.org.uk/events/professional-development  ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/680 http://www.aah.org.uk/post/680   Organised by the Museums and Exhibitions Group of the AAH, this seminar is the latest in a series promoting collaboration between academics and museums, exploring different modes of working and how they can be of mutual benefit. The seminar will focus in the morning on three collaborative papers, where curators and academics will reflect on their experience of using collections as teaching resources. The day will conclude with a round table discussion, with curators, academics and students participating. Registration will begin at 10.00am and the day will conclude at 4pm. There is space for an audience of 69. With the increase in funding initiatives aimed at encouraging knowledge transfer and collaboration, the event is aimed primarily at education and museum professionals, but will be of equal benefit to students of various disciplines, and is meant to be practical above all. It aims to explore questions such as; What are the benefits/limitations/problems of using collections as teaching resources? In an age of digital media, how do collections retain their relevance to teaching practice? How do galleries/ museums balance the problems of preserving fragile and unique objects, while making them available to academics and students? We are hoping to attract an audience of both curators and academics and the afternoon session will aim to be as interactive as possible in order to assist colleagues in developing collaborative partnerships. Speakers include: Helen Armstrong (University of Durham Museums) Layla Bloom (Stanley & Audrey Burton Gallery, University of Leeds) Dr Andrea Fredericksen (Curator, UCL Art Collections) Dr Nicholas Grindle (UCL CALT) Marie-Thérèse Mayne (Laing Art Gallery, Newcastle upon Tyne) Helen Stalker (Whitworth Art Gallery, University of Manchester) Dr Ben Thomas (University of Kent) Dr Chris Whitehead (Newcastle University) Information for Delegates: Booking fee for delegates is £40 (£30 for AAH members). Online booking will be available shortly . Booking deadline is 23rd February 2012. Registration for the day begins at 10:00. The event itself will start at 10:30am and conclude at 4pm. It will be held in the Function Room at the Laing Art Gallery. The Laing Art Gallery is situated in the heart of Newcastle City Centre, five minutes walk from Monument Metro station. The Gallery is well signposted from the station. Parking is available behind the Gallery and at the nearby NCP car park. Further details of the location can be found here: www.twmuseums.org.uk/laing/makingavisit/ Tea and coffee will be available for delegates throughout the day. Lunch is not provided, but there is a café in the Gallery serving hot and cold meals, and numerous cafés and restaurants in the nearby City Centre. For further information please contact Marie-Thérèse Mayne marie-therese.mayne@twmuseums.org.uk .]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/676 http://www.aah.org.uk/post/676 The AAH promotes the professional practice and public understanding of art history. This statement gives our organisation focus in the work we do and lets new and prospective members know what we are about. Over the last nine months, we have worked on further defining what we want to accomplish by setting out joint aims.   We have done this through discussions and workshops with our trustees, staff and members. The member survey that we conducted about a year ago has also been a great help. We have come up with six proposed aims that you can read about on our website by clicking here. I would really appreciate member feedback on these proposed aims. If you could send a quick email telling us what you think before January 23, we will incorporate your views before trustees take another look at them on 3 February 2012. Thank you very much and make sure to enjoy the break. Best wishes, Pontus Chief Executive Association of Art Historians 70 Cowcross Street London EC1M 6EJ t. 020 7336 8499 e. pontus@aah.org.uk   AAH members and stakeholders are welcome to contact the Association with comments. Mission The mission of the Association of Art Historians is to: Promote the professional practice and public understanding of art history. Aims During 2012-2016, in furtherance of our mission, the AAH is focusing on six broad aims. Our aims ensure unity of purpose and effort and are divided into three areas: internal, where the organisation focuses on supporting its members; external, where the organisation reaches outside itself; and administrative, where we focus on our own governance and management. The six aims are intrinsically linked. Work in one area reinforces that of the others. By pursuing them, we pursue our mission. All our activities and resources are directed toward furthering one or more of our aims. Internal Aims PROMOTION AND PUBLICATION OF ART HISTORICAL RESEARCH We help our members take part in good quality art history related research at all levels and to have access to resources necessary to conduct such research. We publish, disseminate and support the publication and dissemination of good research for the benefit of our members and the discipline. We want our academic journal, Art History, to continue being regarded as world leading in the field and exemplary of best practice. We organise events where those involved with art history can present, discuss and learn about new research. We encourage the research of art history and celebrate research accomplishments at all levels. Examples of objectives: Annual conference Art History journal Events such as Summer Symposium Evaluation: Conference attendance figures Art History readership and submission rates Event attendance and feedback SUPPORT AND TRAINING We support our members as they pursue art history related careers and activities by providing topical and relevant information in appropriate formats. We organise professional training in relevant skills, techniques and practices. We provide small and specific grant support for individuals to pursue art history related careers and activities. We strive to make membership of the AAH affordable and beneficial to art historians that it may support them in their careers, study and research. Examples of objectives: Workshops Grants such as the Conference Grants Evaluation: Workshop attendance and feedback Number of individuals helped MEMBER ENGAGEMENT The AAH encourages an active and informed membership body that is interested and involved in their organisation. To this end we communicate with members in suitable formats, allowing for and valuing feedback. We help our members meet and network in order to learn and draw support from one another. We strive particularly for a large and engaged body of student members, because they are the future of the organisation and the discipline. Examples of objectives: Communications review Active communication with members through Bulletin, post, email and social media Network component to events Evaluation: Feedback from members Member interaction with office and group committees External Aims REPRESENTATION, PROMOTION AND ADVOCACY We speak for those who pursue art history related careers and activities. We promote the interests of our members and the discipline, its professions and related practice, to public and private bodies – government, universities, publishers, suppliers of visual material, relevant funding bodies, etc. We ensure our relevance by maintaining a membership level which represents a significant proportion of active art historians within all regions of the UK and some membership in most parts of the world where art history is pursued. We represent individuals and groups in all pursuits and professions where art history expertise is relevant. Through a diverse membership we highlight the importance of the study of humanities, culture and art for society and the economy. We believe that the serious study, analysis and interpretation of art are fundamental components of building a healthy cultural sector and strong culture industries, and that these are important aspects of all nations. We work with likeminded organisations to promote these truths to policy makers and funders. Through our membership and our actions we increase and enhance our public profile. Examples of objectives: Collection of annual ‘state of the discipline’ data Communications strategy Evaluation: Number of media mentions Membership numbers MAKE ART HISTORY ACCESSIBLE We organise events and produce publications that convey the essence as well as the latest findings in art history in a way that is accessible to people without specialised training. We do this to attract new entrants to the field and to raise awareness of what art history is and its relevance to society. We believe that teaching art history in schools will make the discipline stronger. We defend the teaching of art history in schools, universities and other institutions of learning and we work to ensure that those who engage in it have access to necessary resources. Examples of objectives: Events Communications strategy Textbook for schools Evaluation: Event feedback Number of pupils using the AAH textbook Administrative Aims A SMOOTH RUNNING AND FINANCIALLY SUSTAINABLE ORGANISATION Through learning and experience we ensure professional governance and management of the association, based on accepted best practice and compliance with charity regulations. We endeavour to have access to diverse skills and expertise on our committees and boards. Leadership should be transparent and responsive so that members maintain insight and influence over the organisation. We strive to always operate comfortably within the Association’s financial reserves. We seek to limit dependence on any one source of funding through a gradual increase in relevant sponsorships and fundraising and by developing other income sources. Examples of objectives: Governance review Investors in People or PQASSO external review Fundraising, sponsorships and grant applications Evaluation: Feedback from members Financial results Training attended by trustees, staff and volunteers    ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/630 http://www.aah.org.uk/post/630   "With a 10-week summer ahead of me, it seemed an ideal opportunity to arrange an internship between my undergraduate and postgraduate education. Since working in a Medieval and Renaissance art gallery in Paris I had discovered an enthusiasm for medieval manuscripts and their illuminations, therefore I contacted the curator of Illuminated Manuscripts at the British Library, Kathleen Doyle, to see if there was an internship possibility within the department. To my delight, she offered me a six-week placement. My main responsibility during this time was updating the online catalogue of illuminated manuscripts, a process which enables a digital facsimile of selected manuscripts to be made available to the general public. The image library would provide me with images of each folio in the manuscript, from which I would create details of the more elaborate decorated or historiated initials, as well as the miniatures and the bas-de-page scenes. These needed to be inserted into a database and each folio and detail needed a unique description, which would also be visible on the website. With manuscripts of over 300 folios (therefore over 600 rectos and versos)…this was quite a lengthy process! The experience, however, was invaluable. Particularly when working with some of the earlier bestiaries, there was imagery which I had never come across and scribes which, on first glance, seemed illegible. I was also given various small projects, such as to write a blog, update all the Roman de la Rose manuscripts’ descriptions and write catalogue descriptions for a couple of Oriental manuscripts. The department was busy preparing the forthcoming Royal Manuscripts Exhibition, therefore I was able to assist in some of the organisation for this as well as attend the BBC filming sessions of a series of documentaries which highlight some of these Royal Manuscripts. I feel very privileged to have witnessed such historical delights and am extremely grateful to all those who played a role in making my experience at the British Library so worthwhile."  ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/597 http://www.aah.org.uk/post/597   Our talks present a selection of the wide vareity of topics, periods, methods and apporaches common in art historical study, and are aimed at a generalist audience. AHitP is held at: The Monarch 40-42 Chalk Farm Road Greater London NW1 8BG Free to attend. To subscribe to our events mailing list, click here Next Event Monday 24th October 2011, 7:30pm. Dr Sam Gathercole (Croydon College) on Signs of Post-War Housing The subject of this illustrated talk is the signs that are often found as one approaches post-war housing estates in London. The signs generally feature maps of the estates, and function as a means of orientating the visitor. The signs also impose ideas on both these architectural environments and the buildings they contain. Issues emerge through the verbal and visual language of the signs; the references they make, and the allusions they generate; the aspirations and desires that they both reflect and encourage; and, the nature of the space that they map. Words like ‘utopia’ and ‘dystopia’ are often used to describe, respectively, the hopes and realities of post-war housing schemes, but it will be argued that it is a sense of ‘heterotopia’ that is commonly articulated through the estates’ signage. Michel Foucault described heterotopian spaces as being something “like counter-sites, a kind of effectively enacted utopia in which real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted.” On Foucault’s list of heterotopias were rest homes, psychiatric hospitals, prisons, cemeteries, cinemas, gardens, museums, libraries, brothels, and colonies. Housing estates might be added as another in that they too “have a function in relation to all the space that remains,” but are somehow separate from it. Biography: Sam Gathercole is a writer and lecturer based in London. He is Programme Leader for Cultural & Contextual Studies, in the Department of Art, Design & Media at Croydon Higher Education College. Recent writing includes exhibition catalogue texts on the work of Bruce McLean and Michael Brick. Other projects include the book and exhibition, concrete thoughts: modern architecture and contemporary, at Whitworth Art Gallery, Manchester, 2006. Additional publications include ‘Art and construction in Britain in the 1950s’, in Art History, Vol.29 No.5, 2006, and ‘Construction and the human gesture of organisation’, in Kenneth Martin & Mary Martin: Constructed Works, Camden Arts Centre, London, 2007.   Past Speakers: Monday 26th September 2011 - Dr Hannah Williams (Oxford) on "The Violent Suicide of François Lemoyne: An 18th-Century Art History Mystery" Monday 22nd August 2011: Dr Matt Lodder, "Not Just For Sailors Any More: Tattooing in the Media". The originally-scheduled talk, Dr. Petra Lange Berndt (UCL) on "Taxidermy and Colonial Practice" will be rescheduled soon. Monday 25th July 2011: Dr. Camilla Smith (University of Birmingham), "Tourism, Sexology and Homosexuality in Curt Moreck’s Guide to “Depraved” Berlin (1931)" Directions & Details The Monarch, Camden 40-42 Chalk Farm Road Camden NW1 8BG, http://www.monarchbar.com/events/ Telephone: 020 74822054 Email: info@monarchbar.com Getting there From Chalk Farm tube: Turn left out of the station and cross Chalk Farm Road at the lights. The pub is about five minutes walk down the road on the left. From Camden Town: Take the Camden High Street exit and turn right. Head up the street past Camden Lock and under the rail bridge and proceed up Chalk Farm Road. The pub is a couple minutes walk from the bridge on the right. By tube: Chalk Farm station (450m) – zone 2 / Camden Town station (530m) – zone 2 By train: Kentish Town West station (460m) / Camden Road station (550m) By bus: 24 (24hrs), 27 (24hrs), 31, 168, N5, N28, N31 – click here for a local bus map. Google Map]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/572 http://www.aah.org.uk/post/572 Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/570 http://www.aah.org.uk/post/570 Art History in the Pub" series of talks, lectures and events. Our talks present a selection of the wide vareity of topics, periods, methods and apporaches common in art historical study, and are aimed at a generalist audience. AHitP is held at: The Monarch 40-42 Chalk Farm Road Greater London NW1 8BG Free to attend. Next Event Monday 26th September 2011, 7.30pm - Dr Hannah Williams (Oxford) on The Violent Suicide of François Lemoyne: An 18th-Century Art History Mystery Paris, 4 June 1737: the celebrated artist François Lemoyne commits suicide. It started as an ordinary day. Lemoyne had been to his studio to give a lesson to his students and taken a meal with his cousin. But then events took a macabre turn. Lemoyne retired to his bedroom, carefully locked the door, took up his sword, and proceeded to inflict upon his body multiple fatal stab wounds, before dropping to the floor and dying in a pool of blood. Lemoyne’s death shocked and horrified his family and colleagues, and it has since presented something of a mystery for art historians. Why should this incredibly successful artist – first painter to Louis XV – have wanted to kill himself only months after completing what is now considered his magnum opus: the ceiling of the Apotheosis of Hercules at the Château de Versailles? Was it over money? Professional jealousy? A madness induced by lack of recognition? Could it have been murder? Or if it really was suicide, then how did Lemoyne complete his gruesome task? With most of the clues now lost deep in the past, some art-historical sleuthing is necessary in order to retrieve the traces. In this paper, I attempt to solve these perplexing mysteries through a forensic and art-historical analysis of the object responsible: Lemoyne’s sword. Using police reports, autopsies, and witness statements, I piece together the final hours of Lemoyne’s life and offer a material reconstruction of the now lost fatal weapon, exploring what Lemoyne’s sword looked like, what he did with it, and what it meant to him. Drawn from a larger study investigating what artists’ personal possessions reveal about their everyday lives, this case explores the limits and possibilities of object-biography, and presents an exercise in recovering the material history of an object when that object no longer materially exists. Can art history solve the crime? Come along and find out! Biography: Hannah Williams is a Junior Research Fellow in Art History at St John’s College, Oxford. A specialist in 17th- and 18th-century French art, Hannah completed her PhD at the Courtauld Institute of Art in 2010 and previously held a doctoral fellowship at the Centre Allemand d’Histoire de l’Art in Paris. She is currently writing a book on artists’ portraits and self-portraits entitled Face-to-Face with the Académie Royale: An Ethnography in Portraiture, which combines art-historical and anthropological approaches to investigate the culture of an early modern community of artists. Hannah is also researching a post-doctoral project – Painters and Parish Life – which traces the local social networks of artists in 18th-century Paris through a study of parish churches and religious art. With Katie Scott, she is writing a book on Artists’ Things, which offers an alternative guide to the material culture of 18th-century French artists through close studies of their personal possessions.   Directions & Details The Monarch, Camden 40-42 Chalk Farm Road Camden NW1 8BG, http://www.monarchbar.com/events/ Telephone: 020 74822054 Email: info@monarchbar.com Getting there From Chalk Farm tube: Turn left out of the station and cross Chalk Farm Road at the lights. The pub is about five minutes walk down the road on the left. From Camden Town: Take the Camden High Street exit and turn right. Head up the street past Camden Lock and under the rail bridge and proceed up Chalk Farm Road. The pub is a couple minutes walk from the bridge on the right. By tube: Chalk Farm station (450m) – zone 2 / Camden Town station (530m) – zone 2 By train: Kentish Town West station (460m) / Camden Road station (550m) By bus: 24 (24hrs), 27 (24hrs), 31, 168, N5, N28, N31 – click here for a local bus map. Google Map]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/554 http://www.aah.org.uk/post/554 Art History Book Series In this distinctive series, developed from special issues of Art History, leading scholars are invited to publish new research on key issues and to reflect on contemporary concerns in the discipline. Each collection of essays takes a particular theme and the scope is wide: from painting and sculpture to photography and video, urban history and architecture, collecting, and historiography. ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/551 http://www.aah.org.uk/post/551 on our website. ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/547 http://www.aah.org.uk/post/547 AAH Career's Day in 2011 will take place on 22nd October at the University of York. This event will cater primarily to those who do not hold postgraduate or doctoral qualifications in art history. ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/514 http://www.aah.org.uk/post/514 Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/447 http://www.aah.org.uk/post/447 Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/414 http://www.aah.org.uk/post/414 Kasimir Malevich, art history and art criticism; 6.30-8.30pm, including a drinks reception Monday 18 April 2011 The Gallery, 70 Cowcross St, Clerkenwell, London EC1M 6EJ ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/354 http://www.aah.org.uk/post/354 Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/314 http://www.aah.org.uk/post/314 Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/298 http://www.aah.org.uk/post/298 http://www.gla.ac.uk/departments/historyofart/aboutus/staff/yarrington. There were two nominations received for the post of Honorary Secretary - Dr. Veronica Davies (Open), and Professor Richard Woodfield (Nottingham Trent) - and as such, a vote of the membership is required. Please take a brief moment to navigate to http://www.surveymonkey.com/s/JZFLJQH to register your vote. The survey page includes brief statements and biographies for both candidates. Aside from voting directly for the two candidates, you will be able to vote for "Chair Proxy", which delegates your vote to the current chair of the Association, Professor Evelyn Welch. You will need to have your AAH membership number in order to vote - please contact the AAH office at admin@aah.org.uk should you require a reminder. Voting closes on the 1st September 2010. ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/266 http://www.aah.org.uk/post/266 Art History completes her term of office at the end of May 2011. Applications are therefore now sought for this position. ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/247 http://www.aah.org.uk/post/247 John Fleming Travel Award reports on her research trip to Kyoto, Japan. See http://www.aah.org.uk/students/funding-awards/john-fleming-award-2009-report for full details. ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/238 http://www.aah.org.uk/post/238 download. ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/228 http://www.aah.org.uk/post/228 AAH Annual Conference starts tomorrow! Please follow our Twitter page @arthistorians and the hashtag  #aah10 (or http://twubs.com/aah10) for regular updates and information!]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/197 http://www.aah.org.uk/post/197 The Art Book and the Association of Art Historians have great pleasure in announcing the winner of The Art Book Award 2009. ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/163 http://www.aah.org.uk/post/163 Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/161 http://www.aah.org.uk/post/161 Laurence King Publishing who offer this award of £2000 annually in memory of the art historian John Fleming, co-author with Hugh Honour, of the book, A World History of Art. ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/159 http://www.aah.org.uk/post/159 Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/157 http://www.aah.org.uk/post/157 http://www.aah.org.uk/museums Tickets are strictly limited, and early booking is recommended. Tickets cost £30 for non-members, £18 for AAH members. ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/153 http://www.aah.org.uk/post/153 Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/155 http://www.aah.org.uk/post/155 Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/152 http://www.aah.org.uk/post/152 RedLeader have completed the work on a comprehensive redesign of this site. Aside from a complete cosmetic overhaul of the site, we've added RSS functionality to the News and Events section, and, for the first time, have made a lot of information about the history of the Association available online. ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/144 http://www.aah.org.uk/post/144 Research Excellence Framework (REF) The Association is closely following the debate and consulation about the form of the forthcoming Research Excellence Framework (the sucessor of the RAE) that will determine universities' research-related funding from HEFCE. The Association's official response, prepared in collaboration with the Design History Society and the Society of Architectural Historians of Great Britain, can be downloaded from here. ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/106 http://www.aah.org.uk/post/106 http://twitter.com/arthistorians. This page will feed all the updates from our website into a format we know many of you are using to keep up-to-date. ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/105 http://www.aah.org.uk/post/105 New Bursary Schemes for Academics and Museum Professionals The Museums and Exhibitions Group is delighted to announce the launch of two new bursary schemes. ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/102 http://www.aah.org.uk/post/102 New Voices Student Conferences Organised by the AAH Student Members Committee, New Voices one-day postgraduate conferences provide a forum for students of art history and visual culture to present and discuss their current research in a stimulating, informal and supportive context. New Voices 2009: ART AND DESIRE University of York, Saturday November 7 2009 ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/101 http://www.aah.org.uk/post/101 AAH10 CONFERENCE University of Glasgow 15 – 17 APRIL 2010 The 36th AAH Annual Conference http://www.aah.org.uk/annual-conference/past-conferences/2010 Conference Convenor: Dr John Richards Keynote Speakers include: Professor Joseph Koerner - 'Hieronymus Bosch: Enemy Painting' CALL FOR PAPERS – Sumission deadline 9 November 2009 (Download PDF of full session list - includes convenor details). ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/100 http://www.aah.org.uk/post/100 AAH Student Dissertation Prize are invited from UK undergraduate and postgraduate students of History of Art and Visual Culture, enrolled on either practice-based or theoretical courses, whose work is on some aspect of the history of art in its broadest sense. This prize is awarded in collaboration with publishers, Thames & Hudson ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/90 http://www.aah.org.uk/post/90 http://www.miriad.mmu.ac.uk/aah09/videos/?id=3 ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/89 http://www.aah.org.uk/post/89 Call for sessions: Warwick 2011 invites the widest submissions to the 37th AAH Annual Conference. The 2011 Annual Conference is designed to showcase the diversity and richness of art history in the UK and elsewhere: we are looking for an extensive chronological range from ancient to contemporary (with a healthy dose in the middle). We want sessions that are geographically inclusive of Western Europe and the Americas, the Middle East and Asia. We also want to ensure that we have a full range of methodologies on offer ranging from object-based studies, socio-historical analyses, theoretical discourses, visual culture of the moving image, exhibition cultures and display. We would particularly welcome anthropological and archaeological approaches to the History of Art. The sessions should finally reflect the composition of our wide constituency – independent or academic researchers (including students) and museum curators. ]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/27 http://www.aah.org.uk/post/27 Bulletin. Click on the above link to find out more. From October 2009 Annual AAH Membership will run for 12 months from date of subscription.]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/23 http://www.aah.org.uk/post/23 future conference page for more details. Deadline for submissions is 17th April 2009]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/18 http://www.aah.org.uk/post/18 Independent Members of the AAH* who are session convenors or who have had a paper or a poster accepted, can apply for a grant of up to £300 to cover some of the expenses of attending the conference. For an application form please contact ch-indeps@aah.org.uk *Independent members must not have a full-time or near full-time employment within a single institution. They should have declared themselves as independent AAH members when joining/renewing. They must have been a paid-up AAH member for a full year prior to submitting an application.]]> Fri, 10 Feb 2012 07:02:19 +0000 http://www.aah.org.uk/post/11 http://www.aah.org.uk/post/11 apply for up to £500 towards expenses for study-related internships and voluntary work. Application deadline: 31 May 2009 ]]> Fri, 10 Feb 2012 07:02:19 +0000