May 2, 2013 § 1 Comment
Friday 10th – Saturday 11th May 2013, Bowland Auditorium, Berrick Saul Building, University of York.
Keynote Speakers: Professor Christopher Pinney (UCL), Dr Eric Stryker (Southern Methodist University), Dr. Chad Elias (University of York), and Corinne Silver (artist).
‘European mastery is always in crisis – and it is this same crisis that defines European modernity’ – Empire, Michael Hardt and Antonio Negri
The word ‘crisis’ is frequently invoked to assess Britain’s current place in the world: crises in finance, journalism, politics and geopolitics dominate the media, all of which see the term used both to reflect, and manipulate, a sense of uncertainty and confusion on personal, national, and global levels. Taking its cue from Hardt and Negri’s location of ‘crisis’ as central to European modernity, this conference seeks to explore how visual cultures from the 19th century to the present have simultaneously responded to – and emerged from – such successive crises. Crisis might signify avant-garde break-through and embrace of modernity. It might impel artistic breakdown or flight from modernity, anarchic celebration, or resistance in the form of protest. Crisis in visual culture could above all be emblematic of the contingent nature of personal and political identities. As both a product and a precipitant of the inter-state and inter-subjective networks that have emerged in conjunction with imperialism and economic globalisation, crisis can articulate a disharmony between metropole and colony, centre and periphery, state and individual, working constantly to disrupt the geographical, cultural and class boundaries of peoples and nations.
This two-day conference, generously supported the British Art Research School at the University of York and the Paul Mellon Centre for Studies in British Art, aims to begin unpacking some of these issues. See below for a full timetable of the event, or visit our website for more information: http://visualcultureincrisis.wordpress.com/
August 31, 2012 § Leave a Comment
5th October 2012, Trinity College Dublin, Long Hub Room
This richly diverse one day symposium at Trinity College Dublin will address the theme of cross-cultural exchange in Irish Art, architecture and material culture, exploring topics including Irish-American exchange, cultural communication between Ireland and China, and the impact of architecture and town planning in the 19th and 20th centuries . The central aim is to explore the theme of influence, both outward and inward, on art in Ireland from the pre-Christian to the Contemporary. The full programme for the day – which includes a keynote address from Sian Rainbird, Director of the National Gallery of Ireland – can be found at the Art Without Borders website, as can full details for registration (registration is essential, although the event is free, and must be recieved by Friday 21st September).
Call for Papers: Beyond the Western Mediterranean – Trade and Exchange of Materials, Techniques and Artistic Production, 650–1500
August 8, 2012 § Leave a Comment
Conference 20 April 2013 at The Courtauld Institute of Art; Call for Papers deadline: 3rd September 2012
The notion of a shared Mediterranean culture has become a central tenet in the study of medieval art history (see also the Mediterranean Mobilities website). Growing out of the Roman mare nostrum, the Mediterranean as a conduit of communication, dissemination, and transmission throughout the Middle Ages is shaping the scope of our discipline. Yet the investigation into the Mediterranean remains unbalanced, and while the northern and eastern edges of the basin are well investigated, historiographical and political considerations have limited the study of the sea’s southern shores, not to mention the exchanges across that other sea – the sea of sand – that lies beyond those territories’ southern borders.
May 3, 2012 § Leave a Comment
Tate Britain, Millbank, London, until 12 August 2012
This exhibition at Tate Britain explores British art through the theme of migration from 1500 to the present day, reflecting the remit of Tate Britain Collection displays. From the sixteenth- and seventeenth-century Flemish and Dutch landscape and still-life painters who came to Britain in search of new patrons, through moments of political and religious unrest, to Britain’s current position within the global landscape, the exhibition reveals how British art has been fundamentally shaped by successive waves of migration. Cutting a swathe through 500 years of history, and tracing not only the movement of artists but also the circulation of visual languages and ideas, this exhibition includes works by artists from Lely, Kneller, Kauffman to Sargent, Epstein, Mondrian, Bomberg, Bowling and the Black Audio Film Collective as well as recent work by contemporary artists.