u tin 88 in Association of For information on advertising, membership and distribution contact: February Art Historians A AH Administrator, Claire Davies, 70 Cowcross Street, London EC1M 6EJ 2005 Registered Charity No. 282579 Tel: 020 7490 3211; Fax: 020 7490 3277;
ART HISTORY by GEN DOY, MALCOLM GEE AND CHRIS BREWARD
bout 40 people attended a joint meeting of the AAH schools members' group was read in her absence. A AAH and the DHS (Design History Society) in A wide range of teachers and researchers in art and November 2004 to consider the issue: 'Are we in Crisis? design history were represented, although it was noted Challenges in Teaching and Research in the New that the majority were from the 'new university' sector. Century7. The meeting was addressed by Jonathan The reason for this was probably that the issues facing Vickery (AAH and Warwick University), Chris Breward new universities as a result of the last RAE and falling (DHS and Victoria and Albert Museum), Barbara student numbers have yet to make an impact on art and Burman (DHS and Winchester), Fran Lloyd (AAH and design history provision in old universities, which have Kingston University). A paper from Carol Jacobi of the tended to do better in terms of money and student numbers.
RESEARCH AND TEACHING THRIVING The meeting was stimulating and useful, raising a wide range of issues and proposing possible courses of action in response to the current situation. Overall the sense was that the disciplines are not in crisis - indeed in some respects they are thriving, for example in terms of the quality of research and teaching being carried out by our members.
However, at times things looked pretty bleak. Barbara Burman from Winchester reported on course closures and redundancies in the area of design history (several have also closed in art and design history), and hoped that postgraduate provision would continue to thrive, thus ensuring the survival of the subject. Fran Lloyd from Kingston also felt that postgraduate numbers were holding up well, and that this was encouraging for the CD future. However, it was later apparent that both associations have to work hard, hopefully together, to • • ensure the survival and development of art, design and architectural history from school level upwards, and that postgraduate provision alone would not be enough, AAH ANNUAL CONFERENCE nor should it be.
AS/A LEVEL NUMBERS CAUSE FOR CONCERN Conception: Reception One particularly concerning factor was that only around 1,000 students take the one existing AS/A2-level in Art History, and of these the great majority are from Bristol 31 March - 2 April 2005 independent schools. (There are only 200 people studying AS/A2-level Art History in the state school see page 21 sector.) Carol Jacobi analysed this depressing scenario: Art History is still perceived as a dilettante subject, AAH Executive Committee, Representatives and Staff
Executive Committee Students AAH Representatives Outi Remes ELECTED OFFICERS (VOTING) History of Art Dept (non-voting) Chair University of Reading Treasurer Colin Cruise Blandford Lodge Peter Baitup School of Art and Design Whiteknights, PO Box 217 Temple Farmhouse Staffordshire University Reading RG6 6AH Chapel Street Flaxman Building Tel: 0790 093 7401 Broadwell College Road
Designed and typeset by Jannet King. Printed in Brighton by TJie Print House ISSN 03079163P while in fact the A level is too difficult (so that even of supporting continuing scholarship and a public independent schools are dropping it); the subject has no profile for the work of art, design and architectural presence at all in the pre-16 syllabus. This compares historians. It was also noted that museum-based with 6,000 AS/A level students doing film studies, the research (curating, catalogue writing, exhibition and curriculum of which has been very well structured and gallery development work) was possibly undervalued nurtured, apparently. by some panels at the last RAE by comparison with more 'traditional' book and journal outputs, and that Considerable discussion took place about the 'identity' some work will need to be done to persuade the new of the discipline, and it was felt (not by all!) that the panels to alter their perceptions. notion of 'visual culture' had perhaps diffused the profile and identity of art and design history. It was felt On the positive side, it was noted that 280 students that there should be common propaganda by the DHS enrolled for the MA in art history at the Open University and the AAH to support the public profile of our (though some did not find the course to be what they discipline, in teaching (at all levels), research and in expected/wanted) so there is a demand for the subject at museums. The old problem of the lack of a text book for an advanced level. And when students come into AS/ A level students was raised, but clearly no publisher contact with our subject (which is almost invisible in is going to take this on with a small number of possible schools), for example as part of a general first-year sales in the UK. The key would seem to lie in the US course of study at university, they are very enthusiastic. market. In conclusion it was decided that: Jonathan Vickery, and others, made the suggestion that • a sub-committee of members of the DHS and the advisory bodies could be created to support particular AAH should meet twice yearly to take these issues strategies within the discipline. It seems that university further, and to develop closer links between us vice-chancellors and the like pay attention to the views of businessmen/women interested in the arts, as well as • there should be an annual meeting of Heads of local councillors, MPs and arts council officers. Department and other key representatives of our Advantages of networking could help the position of a subjects small, intellectually lively, and culturally and socially valuable subject area. After some discussion, it was felt • there should be a collection of statistics on numbers that more work was needed to investigate how exactly of courses and students doing art and design history, these advisory/advocacy bodies would work and in as well as an effort made to establish a database of art what context. Toshio Watanabe felt they were best and design historians in the UK suited to specific initiatives, and made the important • the executives of the DHS and the AAH would point that we need to build international connections discuss this meeting and suggestions arising from it, and collaborations. such as the idea of specific project advisory committees, at the next available opportunity. RESEARCH ASSESSMENT EXERCISE The RAE was discussed, of course, and it was felt that The AAH and the DHS would like to thank Ken the RAE was doing exactly what it had been created to Quickenden and the other members of art and design do: result in some teaching-only establishments, the history at UCE Birmingham, as well as the closing of courses, and the retrenchment of the administrators at the AAH and DHS, for their help in discipline away from adventurous interdisciplinary making this meeting possible and ensuring the smooth projects back into very specialist areas, since people running of the afternoon's events. wanted to 'play safe' and try to publish with traditional GEN DOY university presses, and a small number of journals. MALCOLM GEE Barbara Burman felt that 'we are back where we were 20 CHRIS BREWARD years ago'. Gen Doy felt it was more like 30 years ago, as some departments are now doing nothing but service teaching. It was felt that there was nothing 'wrong' with teaching critical studies (or whatever we want to call it) to studio-based students, but that it was definitely different from teaching to specialist students in art and design history. Also, the requirements and/or expressed wishes of studio staff were a strong influence on course development, and sometimes the notion of 'history' suffered as a result.
Chris Breward stressed the importance of links between museums/ galleries and HE courses and research. Such collaborations (the potential for which will increase once the AHRB becomes a Research Council), offer one way On this and subsequent pages the Executive Committee members give ANNUAL REPORTS their annual reports, to be discussed at the AGM on 2 April (see p6).
MEMBERSHIP Chair This has been a good year for the AAH; however, we still need to encourage an increase in membership y first year as Chair of the AAH numbers. There are some new incentives for members started with an important issue M renewing their subscriptions and we need to encourage for members working in Higher our friends and colleagues to join - or perhaps re-join - Education - the opening stages of the and to enjoy the benefits. RAE 2008 process. The nomination panel set up by the EC met in the early summer and On a related matter, I draw attention to that part of the made recommendations for the Sub-panel Chair and Hon. Secretary's report indicating forthcoming membership of the subject panel, as well as for specialist vacancies on the Executive Committee. I would advisors. At the time of writing, HEFCE has just encourage active participation in the Association, so announced that the Sub-panel Chair for art history will please nominate suitable candidates! be Sandy Heslop (University of East Anglia). The membership of the sub-panel will be announced in the I look forward to working with all members to further very near future and will be known by the Bristol our aims and objectives as a professional association. conference. My thanks to the AAH nomination panel - My thanks to AAH Officers and EC members for giving Tom Gretton, Christiana Payne, and Evelyn Welch - for so much time to the running of the Association and to all their hard work, to AAH members for allowing their our Administrator, Claire Davies.
names to go forward, and to those who took the time COLIN CRUISE and trouble to forward nomination forms.
FORUM ON ART HISTORY One of my first promises - delivered at the Nottingham AGM following a request from the floor - was to Contents facilitate the organisation of a forum to discuss the current state of art history as a discipline in universities The Challenges Facing Art History 1 and colleges. This took place, organised by Gen Doy and Annual Reports Malcolm Gee, at the University of Central England in Chair 3 November (see report on page 1). Administrator 4 It was a lively, positive and forward-looking session; Hon Secretary 6 many ideas were raised in several short and well- Independents 7 informed papers. We hope to act on the best of them in CIHA 7 the near future. One of the distinctive features of the day Students 8 was the representation made by members of the Design Museums & Galleries 8 History Society; I hope that will show a way forward for Universities & Colleges 9 future initiatives that have a bearing on the interests of Schools both societies. 10 Artists' Papers Register 11 FORUM ON PUBLICATION Art History 12 A second forum, on the current state of art history The Art Book 13 publication, organised in conjunction with the Bulletin 13 Courtauld Institute, will take place on 2 June (see page 9). I hope there will be as many good papers, ideas, and AGM agenda 6 questions as there were at Birmingham. Once more, I Rona Gotten 9 would encourage AAH members to attend and Managing the RAE torum 9 participate. If you have suggestions for further forum Publication forum 9 topics, please contact me or raise them at the Students' News 14 forthcoming AGM. Careers in Art History 15 In the autumn we had a drive to encourage an increase New Voices 16 in the number of members taking subscriptions to TJie AAH Student Fund 18 Art Book by the sending out of a sample copy of the Awards and Bursaries 19 &20 magazine. It is too early to assess the effectiveness of AAH Bristol Conference 2005 21 this measure as members have yet to renew their AAH Leeds Conference 2006: Call for Sessions 31 subscriptions, but I hope there will be a good response Conference News 32 to this promotion. Contact Details 36
3 ANNUAL KEPORTS
conference programme, which will include a diverse Administrator range of sessions and prominent keynote speakers, I am pleased to report that in 2004 promises to make for an exciting few days. In fact, the 1158 new members joined the forthcoming conference is already looking popular, so Association, a figure that is on a par book early to avoid disappointment, especially if you with the previous year, and which will be requiring university accommodation. As an again sees increases in student and AAH member attending the Bristol conference you will low-income membership. With the continue to benefit from reduced or subsidised delegate introduction of new membership categories, it is fees. Similarly, if you are a speaker, you will still be anticipated that 2005 will attract even more new entitled to further discounts. Members, and non- members. members, wishing to attend the conference should complete the enclosed booking form and return it to me Membership figures overall have, however, continued to before 25 February to benefit from additional early fall, most noticeably with standard membership booking reductions. subscriptions taking Art History and/or Tlie Art Book (see membership figures for 2004 below, with the previous Last year's conference, hosted by the University of year's figures in brackets). Once again this raises Nottingham, was a great success, attracting around 400 questions about how best the AAH can serve its delegates and several new members. Hopefully, Bristol members and reflect the subject area as a whole, issues will prove equally as enjoyable and productive. that will be addressed throughout the forthcoming year. NEWS & EVENTS WEB PAGE In the meantime, if you have any comments regarding Following the transfer of the AAH website to a membership or would like to suggest ways in which we commercial server in 2003,1 have continued to manage might improve or expand on membership benefits the site direct from the main office, which has allowed please let me know. for quicker and more frequent updates. The re- introduction of the 'News & Events' page has proved If you have not yet renewed your membership for 2005 I very popular and is, I hope, something that continues to would urge you to do so - particularly if you are be of use and interest to both members and the general planning to attend this year's annual AAH conference at public. If you or your institution is organising an event the University of Bristol and wish to take advantage of or conference in 2005 and you wish to post information the concessionary booking fees. The jam-packed
AAH Membership 2004 Unwaged OCCUPATIONAL PROFILE FOR 2004 With AH and TAB 4 [5] Academic 324 [338] Membership figures, categories and With AH only 8 [5] Museums 52 [64] occupational profile as of December With TAB 4 [4] Students 338 [326] 2004 [2003 figures in brackets] With Bulletin only 9 [7] Schools 14 [15] Independent 76 [89] Total Membership 1020 [1048] Low-income Other 190 [188] With Bulletin only 40 [45] Unaccounted 26 [28] Members taking: Art History (AH) only 294 [300] Life NEW MEMBERS IN 2004 The Art Book (TAB) only 91 [ 101 ] With AH and TAB 5 [6] Academic 28 [31] AH and TAB 343 [358] With AH only 6 [8] Museums 2 [8] Bulletin only 247 [248] With TAB 0 [0] Students 114 [90] With Bulletin only 43 [43] Schools 1 [1] Institutions subscribing to Bulletin only Europe Independent 1 [8] 41 [41] With AH and TAB 17 [18] Other 12 [18] With AH only 21 [18] Total 158 [156] MEMBERSHIP CATEGORIES With TAB 8 [9] Ordinary With Bulletin only 15 [14] GEOGRAPHICAL PROFILE With AH and TAB 146 [173] UK members 826 [856] With AH only 165 [177] USA and RoW England 760 / Northern Ireland 9 / With TAB 58 [67] With AH and TAB 26 [24] Scotland 42 / Wales 15 With AH only 41 [45] European members 79 [74] Joint With TAB 6 [7] Austria 1/Belgium 1/Cyprus 1/Denmark 2/ With AH and TAB 6 [6] With Bulletin only 8 [11] With AH only 8 [9] Finland 1/France 9/Germany 14/ With TAB 0 [0] Corporate 56 [51] Greece 7/lreland 12/ltaly 5/Jersey 1/ UK 22 [20] Luxemburg 1/Malta 1 /Netherlands 9/ Student Poland 3/Portugal 1/Romania 1 /Spain 4/ Europe 12 [12] Switzerland 5 With AH and "TAB 83 [75] USA and RoW 22 [19] With AH only 45 [38] USA and RoW members 113 [116] With TAB 14 [14] Institutions 41 [41] Australia 9/Brazil 1 /Canada 17/China 2/ With Bulletin only 132 [125] UK 25 [27] Hong Kong 1 /Israel 1/Japan 4/New Europe 5 [3] Zealand 2/Singapore 1 /South Africa 2/ USA and RoW 11 [11] USA 73 ANNUAL REPORTS on the 'News & Events' webpage, please forward brief details and a website address to me at [email protected] (entitling your message: AAH News & Student Support Fund Events). The website now includes listings of books to review for Art History Many thanks to all those who and listings of Independent Freelance Art Historians (which will eventually donated to the Student Support turn into a revised directory). Future additions and developments to the site Fund. This subsidises the annual will be aimed at making it more up-to-date, functional and user-friendly. conference fees of around 50 student members. Sticking with the exciting world of technology, 2005 will see the AAH, like all other organisations, move from using BACS to using the new BACSTEL- Do please consider making a donation to the fund - when IP system to transfer payments. This should make it easier for members who renewing your membership, filling are currently - or who might wish to start - paying for their subscriptions in your own conference booking via direct debit to stagger the annual fee over the duration of the year. form, or simply by sending a Further information about direct debit options and changes will be available cheque to the AAH, with a in due course. covering letter indicating that it is a donation to the fund. NEW MEMBERSHIP LEAFLET 2005 will see a new AAH membership leaflet come into print, which will MEMBERS WHO DONATED IN 2004 reflect the current image and incentives of the Association and its J C Allan publications. If you would like a copy or handful of these leaflets to H E Beale distribute to colleagues of students, please let me know and I will post them L Bourdua on (free of charge!) Thanks to the hard work of several SMG members, a S G Conrad revised Careers in Art History will also be available in early 2005. This long- L Cook awaited second edition has been updated, re-designed and enlarged. Please contact me for more details or copies of this new 100-page book. S P Cooper M Crinson Please remember to renew your membership if you have not already done C Cruise so. If you are a member of CAA or SAAH, you are still entitled to a 15% J Davies discount on your membership fee. C M Donovan Best wishes for 2005. P Dufton CLAIRE DAVIES C A Farr H Forbes E Fraser-Stansbie Central Slide Library J C Grossinger The provision of visual resources is of course a pre-requisite for teachers J P Kennedy Scott of art history and visual culture. After almost a decade of feverish activity S T Kulbranstad Walker in the development of digital media and online images, using 35mm D Lomas photographic slides remains a practical option for the majority of lecturers for whom image quality, availability of subject matter and M McQuillan flexibility of ideas for various lectures are the main issues. W Measure M Meskimmon Of course, methods of digital image analysis have created exciting new V S H Northcote approaches to understanding works of art in a way that continues to G Pollock enhance specialist areas of academic research and methodology. B Preston However, there now appears to be a Yetro' return to the convenience and affordability of slide projection by many teachers who have given E Prettejohn PowerPoint a whirl but have found the equipment cumbersome to use or D Rowe its image-quality disappointing. W Sheridan J Steer If you teach art history or visual culture and you need access to a C Trodd high-quality slide loan service you may wish to try visiting the Central N Tyson Slide Library at Birkbeck, University of London, which is located at 39 Gordon Square, London WC1. J P Vickery C Warr For details about this valuable and unique visual resource, visit < www. bbk. ac. uk/ce/csl/ > T Watanabe or you may wish to put your queries about borrowing slides to either: S L Watts Rodger Sykes
5 ANNUAL REPORTS Hon Secretary
he following members will leave T the Executive at the 2005 AGM, 31st Annual General Meeting having served for three years: Malcolm Gee and Richard Williams. 9.30 AM - 11.00 AM SATURDAY 2 APRIL 2005 The EC would like to thank them both Lecture Theatre 1 for all the hard work they have done 3-5 Woodland Road, University ot Bristol on behalf of the Association and wish The AGM is open to all current AAH members, whether them all the best in the future. or not they are attending the Annual Conference. NOMINATIONS FOR EC Please bring your membership card with you. We are now seeking nominations for the two spaces The Minutes of the 30th AGM were printed in Bulletin available on the EC, which will be filled at the AGM in 86, June 2003. April. The closing date for the receipt of nominations for Agenda members of the EC is Friday 11 March. 1. Apologies Please send all nominations on the relevant form (which you can obtain from the AAH administrator 2. Minutes of the 30th AGM in Nottingham
PROXY VOTING FORM 6. Honorary Treasurer's Report The proxy voting form, for those people unable to 7. Report from the Editor of Bulletin attend the AGM, is included with the Bulletin and, when 8. Report from the Editors of Art History completed, should be returned to the Administrator by 18 March. By signing this you allow the Chair or your 9. Report from the Editors of The Art Book nominee to use your vote if required on any issues. 10. Reports from the Members' Groups: Please complete the form if you are unable to attend the meeting. Museums and Galleries Independents DACS AND THE AAH Lines of communication with DACS are now well- Schools established. In March 2004, Christiana Payne and Universities and Colleges Richard Williams had a productive meeting with Steve Vaid, Head of Operations, and John Robinson, Director Students of Services. Steve Vaid came to the annual conference at 11. Report from the British Chair of CIHA Nottingham and gave a presentation, which was 12. Report from the Convenor of the Artists' Papers followed by a lively discussion. He also attended the EC Register meeting in June 2004, when he reported on DACS's recent negotiations with academic publishers. Plans for 13. Report from the Convenors of the Leeds digital licensing, and for block agreements with Conference 2006 publishers (rather than authors) for the payment of 14. AOB copyright fees, are underway. DACS do seem to be genuinely sympathetic to the needs of academic authors and slide library users: they have certainly had plenty of opportunities in the last year to hear our point of view.
We hope to set up another meeting soon. Meanwhile, members should continue to let me know of their experiences with DACS, and of any particular grievances and issues that you would like us to highlight in our discussions with DACS.
CHRISTIANA PAYNE
6 Independents
s we enter a new year, art history PLANS FOR TRIPS A seems to be somewhat assailed, We arrange trips to places of art-historical interest, at as a discipline, by threats to the which members have the opportunity to meet each continuation of undergraduate other. We are looking for ideas for places to visit this courses in some universities. Our year, particularly if one of our members has 'inside7 discipline is not alone in this, but this contacts and can arrange for a group to visit something does not make it any easier for those not normally open to the public, such as a 'behind the immediately affected. I suspect that the ranks of our scenes' tour of a gallery, museum or other place of art- Independent members may soon be enlarged by some historical interest. Please email me if you have any art historians who, until now, have been fully employed suggestions. as lecturers. Some freelance art historians of long At this year's conference in Bristol, we will be joining standing may find that institutions that have forces with the Students' Group to hold our own traditionally been good sources of work are not (un)official conference dinner. I would like to see more providing as much as they once did. members getting to know each other and supporting In this situation, it is more important than ever to each other professionally. We have a wide range of network and ensure that one is alert to every possibility members, with very different backgrounds, interests, of work, perhaps from different sources than the usual and areas of expertise; we need to pool our strengths ones. The Independents' Group exists to facilitate and rise to the challenges of changes in our environment networking among freelance art historians and those not and the effects these have on our discipline. I hope that I permanently employed full time in an art-history- will meet many more of our Independent members at related post. This may include a number of graduates Bristol - both at the dinner and at our Special Interest and those with recently acquired higher degrees who Group Meeting. Meanwhile, I wish you all a successful have not yet found work in this field, or anyone and prosperous 2005. working in areas such as art publishing, auction houses FRANCES FOLLIN or art dealerships for which the AAH does not have specific special interest groups. The Independents7 Group is here to represent, and promote the interests of, this diverse constituency. If you have recently CIHA graduated, or expect to graduate this year, remember to he 31st congress of the CIHA, Sites and Territories of keep up your AAH membership - the Independents' T Art History, took place as planned in the last week of Group can make it worthwhile for you: perhaps through August 2004. It was an inspiring occasion, with around our network you will find that elusive first job. 650 delegates, and thirteen lively parallel sessions. A grant from the Getty enabled the organisers to subsidise We help our members to network, in various ways. We visitors from a number of countries, and student have an online newsgroup, Art-line, with its own bursaries were also provided through the agency of the website, where members can pass on details of any work American CIHA committee, among others. Nicole opportunities that they hear about but are unable or Dubreuil and Johanne Lamoureux of the Universite de unwilling to undertake themselves. A number of such Montreal were aided notably by Eduardo Ralickas in the opportunities have been circulated during 2004. We also preparation and running of the conference. Both the pass on news of conferences and seminars. We send an Conference Centre and the city of Montreal as a whole annual email newsletter to all those Independents for proved exceptionally welcoming. Among the plenary whom we hold valid email addresses. If you have not events, it is possible to single out as specially memorable had one recently, it is because we do not have an up-to- the lectures by Mieke Bal and Michael Fried, for which date email address for you (even if you think we do!) - the Museum of Contemporary Art and the Musee des please email me on
uring 2004, the Student he past year has been one of great D Members' Group (SMG) has T change and upheaval for me and strengthened its reputation as the key has resulted in the AAH taking a firm organisation for UK art history back seat in proceedings whilst students, and has initiated a number mountains of work had to be done. of exciting new projects, while I believe this is a situation developing its existing ones. experienced by most of my colleagues 2004 brought student members together in numerous in the museum world. Since April 2004 I have been SMG events that consisted of two one-day New Voices working for one of the newest innovations in the conferences (the Henry Moore Institute, Leeds, and the cultural sector, Renaissance in the Regions. As the University of Reading), the annual Summer School Exhibitions Officer for Tyne and Wear Museums, (Exeter, the University of Plymouth), and the Student supplied by the North East Regional Museums Hub, I Session and the Student Dinner (the A AH Old/New have experienced many genuinely positive new projects. conference in Nottingham). Altogether, 37 student In particular, the work on partnerships between national members had the valuable experience of presenting their institutions and the regions has become a vital part of research in an informal and encouraging atmosphere. regional strategy for audience development and learning. The response of the public to bringing In addition to the active conference programme, the important objects from national museums to Newcastle SMG has given both helpful advice and invaluable and Sunderland, for example, has been fantastic! financial support for students developing their careers. The SMG has organised a number of informative I know my experiences with Renaissance and new workshops and forums, such as the postgraduate relationships formed with colleagues throughout the funding forum, and our workshops on curating country is not strictly a report on the subcommittee exhibitions, voluntary-work placements, careers in since this time last year. But I think it is a good example galleries and auction houses and on getting your work of how the members of the group could work together published. The SMG thanks our renowned speakers, in a more proactive way. Although the Museums who have included Dr Anna Gruetzner Robins, Dr Association supplies us with many of the functions we Shearer West, Professor Elizabeth Prettejohn, Professor officially need, the AAH could provide new contacts Sam Smiles, Dr Gemma Blackshaw, Dr Will Rea, Mr and ideas, with the potential for new partnerships. The Michael Newman and Ms Francesca Fiumano. possibilities are endless. There are often times when I wish I had a group of people to advise on a problem or Importantly, our career support has also included UK, even suggest an exhibition that might be worth hiring. Europe and worldwide lists of institutions willing to All of the members of the Museums and Galleries accept students for placements. Moreover, the Student subcommittee would be perfectly equipped for this, as Fund contributes towards the costs of members indeed would many other members of the AAH. undertaking UK work-experience placements. Members of the SMG have also worked hard in editing the Careers In light of this inspiration for the purpose of our group, in Art History book, out in January 2005. Many thanks to I'd like to suggest we begin again with the e-group. I the editors, and to all the authors for their kind would like it to be a friendly forum for all art curators contribution. (or even exhibition officers!) to discuss their current issues or projects. If there is something exciting The SMG has also embarked on two new and vital happening where you are, we would like to know about projects: the Postgraduate Research Database and the it! Watch out for details in the next Bulletin. List of Postgraduate-Friendly Journals. The Postgraduate Research Database enables links between AMY BARKER PhD and MA students working in similar areas. The List of Postgraduate-Friendly Journals, out in Spring 2005, provides a helpful list of journals that accept articles from students new to publishing. The database and the list will be accessible via the AAH website. conference, we have received 35 paper proposals. The I am pleased to see that all SMG projects have been popularity of these projects demonstrates that there is a received with great enthusiasm, and the SMG is proving high demand for student activities. I would like to thank very popular. We currently have 16 active members: six all enthusiastic AAH student members for their active more than a year ago. Regarding conferences, there were participation. I am also grateful to all energetic SMG 35 bookings for the last New Voices conference in members and Claire Davies for their numerous hours Reading. For our recent call for papers for the Student generously given for making these projects possible. Session, to be held at the AAH Conception : Reception OUTI REMES Universities and Colleges Rona Goffen his has been a busy year for the virtual Universities T and Colleges Sub-Committee, and has mainly been (1944-2004) dominated by the need to focus on the implications of Rona Goffen, Board of Governors Professor of Art the forthcoming Research Assessment exercise. During History at Rutgers University, died on 8 September the last AAH meeting we held a pre-sessional meeting 2004. She was a distinguished art historian of the for Heads of Department and Research Managers on the ins and outs of the forthcoming RAE, and over the Italian Renaissance whose innovative publications summer we consulted on opinions concerning the main included Piety and Patronage in Renaissance Venice: panel (now a combined panel of Art and Design, Music, Bellini, Titian and the Fransciscans (1986), Spirituality in Dance, Media Studies and Art History) and organised a Conflict: St Francis and Giotto's Bardi Chapel (1988), series of nominations to the panel itself. Bellini (1989), Titian's Women (1997) and Renaissance Rivals: Michaelangeli, Leonardo Raphael, Titian (2002). The Chair of the Art History RAE panel 2008 has now A recipient of numerous awards and fellowships, she been announced. It is Sandy Heslop, Head of the School served on the executive board of the Renaissance of World Art Studies and Museology, University of East Society of America, was co-editor and later associate Anglia. Sandy Heslop, who was Slade Professor of Fine editor of Renaissance Quarterly, a member of the Art, University of Cambridge in 1997-98 specialises in board of advisors for CASVA, and active in the medieval visual culture and has published extensively Committee to Rescue Italian Art, and a valued on English seals. member of the International Advisory Board of Art On 31 March, 2005 Sandy and Bruce Brown, the chair of History. The January 2005 issue of the journal (29.1) is the Main Panel will meet with members of the AAH dedicated to her life and work. who are heads of department or responsible for DEBORAH CHERRY managing research, during a day session in Bristol Editor, Art History dedicated to the RAE. This directly precedes the annual AAH conference and will give the chairs a chance to outline the progress that has been made in determining the criteria for RAE assessments and to listen to concerns or suggestions from the AAH. The afternoon Art History: Research & will be dedicated to sharing issues that managing research poses for those managing art history groups. Academic Publishing
EVELYN WELCH 3 JUNE 2005 Courtauld Institute Art History Organised jointly by the AAH and the Association of Association of Courtauld Institute of Art Research Forum -'i \n 1 listoriaiio and the \ri I li I.I i • This workshop is designed to explore the ways that art Research historical research can be most efficiently and Assessment Exercise effectively communicated. The current crisis in academic publishing, the THURSDAY 31 MARCH prohibitive costs ot photographic rights, the University of Bristol proliferation of new technologies and the pressures to publish for the next RAE, all lead to a number of Organised by the AAH for the benefit of members. concerns about publication and the future of research Designed for HoDs, or those involved in the management in art history. Representatives from funding bodies, of research in their schools or departments. publishers and editorial boards will be invited to speak Sandy Heslop, to these concerns, to pose questions and to Chair of the Art History RAE Panel, and collectively suggest ways to support creative thinking Bruce Brown, and high level investigation in the discipline. Chair of the Main Panel, The Research Forum was established at the Courtauld will make short presentations. Institute in the autumn of 2003. One of its aims is to act The afternoon will be dedicated to sharing issues that . as a catalyst for exchange among people and managing research poses for those managing RAE institutions engaged in the study of the visual arts. The submissions in art history. Research Forum looks forward to collaborating with the AAH in organising discussions about the issues that There will be a cost of £45 for the day. affect research in art history. Please contact Evelyn Welch on
9 ANNUAL REPORTS Schools
here is an air of both crisis and even for primary teachers which, in the light of the T opportunity to 2005. The subject is discussions at the Future Forums Conference in certainly precarious, but at the same Birmingham, would seem to be a pertinent move. Tate time there is a lot going on within and Britain is interested in this too, so the committee will beyond the committee, especially in look into all three options. relation to the Tomlinson report, and Resources remain an issue, but the AAH bibliographical a great deal of enthusiasm from guide for teachers of A2 is more or less complete and teachers and students. we are we working on one for AS. This is intended to THE A LEVEL identify existing texts that are appropriate in tone and As expected, performance has risen again this year, with language. It is published on out website and will be the coursework module doubling in quality. An issued in modified form by the AQA board as part of adjustment of grade boundaries has meant that the their 2005 initiatives in improving teacher support. It overall proportion of As did not increase so much: just a has been warmly welcomed by teachers who, we hope, few percent. The most important development in this will help us to expand and up-date it. area has come from the Executive Committee, which has written to QCA and AQA requesting a review of the The publication of the AS textbook fell through at the difficulty of History of Art in relation to other subjects. last hurdle but we are at least left with a very detailed This move was prompted by the consistency of feedback proposal and are hopeful of finding another publisher. from teachers, and statistics from ALIS (A level PARTICIPATION Information System, Durham University), which The conference and improvement in communications calculate that History of Art is currently one of the and collaboration with other institutions has brought strictest exams - roughly equivalent to Physics. about an expansion of awareness of, and participation Anecdotal evidence that departments are closing in, our activities and an increase in attendance at because they are not offering students as good a chance meetings. Our new members are very welcome and will of the best grade as subjects such as English or History is we hope, initiate new ventures in 2005. supported by the fact that only 995 candidates sat the full A2 this year (4,000 did so in 2000). The profile of the AAH has expanded considerably this year. We are very pleased to be working much more Examiner training and marking systems have also closely with universities and schools as well as the continued to cause concern, but relations between the board and the government. AAH Schools were committee and AQA have continued to develop and we represented at the Future Forums Conference in hope to propose putting a voluntary advisory body at Birmingham and at the NSEAD Conference at Tate the disposal of the board to smooth out some of these Britain this January and, as a result, we have been problems. invited to consult with the QCA about the syllabus changes that are being finalised in the wake of the Another new departure for the committee is to draw up Tomlinson report. an experimental alternative syllabus for an Art History International Baccalaureate, spearheaded by one our Finally I'd like to welcome back our indispensable members: Toby Parker of Haileybury School. secretary, Kate Evans, from her sabbatical.
One of the key aims for 2005 is to look into ways that the CAROL JACOBI subject can be expanded outside the independent sector.
PUBLICATIONS & CONFERENCE The Ways of Seeing conference in November was an unalloyed success. The help of Claire Davies, Tina Melbourne, Julie Hadley and Julian Urhart was particularly appreciated, as well as the vivacity of our key speakers: Dr Simon Lee, Andrew Graham-Dixon and Jonathan Glancey.
We were also lucky enough to have nine Tate professionals working with small groups of students in front of actual works in the afternoon. 200 students and teachers were thus presented with a variety of art historical approaches from experts from the academic, media and gallery fields. Tate Britain is keen to repeat the formula next year, and the day has brought requests for something similar for Art and Design teachers and ANNUAL REPORTS Artists' Papers Register
he past year has seen further changes in the project's T personnel. Dimitrios Fragkos resigned as project Resources for Art Historians officer in April, whilst we learned in November that Miranda Stead had decided not to return from maternity Members of the AAH may not be aware of the leave. Given the project's advanced state, it was decided following: that advertising for and appointing another project H-ArtHist - a discussion and information forum for art officer would be a waste of time and resources, and so history belonging to H-Net - Humanities & Social Alex Chanter continues to perform sterling work as the Sciences Online. sole project officer. The project has been re-scheduled to H-ArtHist was set up in 2001 by a group of German art run until the end of May 2005, ensuring that the full four historians and it continues to include a large person-years of work planned and budgeted for are still percentage of Germany-based art-history news. This in worked. itself may be of interest to some. However, H-ArtHist is an international mailing list and, potentially, the ideal Work has continued apace on compiling the Register forum for disseminating information and discussions and between my last, verbal report at last year's AGM world-wide. I've been a list member from the outset and November 2004,1,475 records and 171 previously and would urge all AAH-members to join up to unrecorded artists had been added to the Register, broaden the scope and connect with colleagues whilst a further 239 artist records had been upgraded. everywhere. Subscription is free.
11 ANNUAL REPORTS Art History
I n 2004 Art History was redesigned, with an image in Difference and Excess in Contemporary Art, edited by Gill I colour on the cover, a revised internal layout, and new Perry, the Art History book of 2004, was published for fonts. The redesign has given the journal a bold and the College Art Association conference in February. Its striking appearance, enhanced by an increased number sales are robust. of illustrations. Next year's special issue is Between Luxury and the We have published essays on a variety of subjects, Everyday, on the French decorative arts of the eighteenth genres and media —painting, sculpture, manuscript century, edited by Katie Scott of the Courtauld Institute illumination, photography, film, prints, design and of Art, with Deborah Cherry. It will be published as 28.2 architecture, as well as on historiography. Whereas The journal and Art History books were represented at some essays focus on a single work, others take a the conferences of the College Art Association, broader remit. Our historical and geographical scope for Association of Art Historians, and CIHA @ Montreal. volume 27 has been wide: medieval and renaissance Italy, eighteenth-century Egypt, modern Europe and REVIEWS North America, seventeenth-century Netherlands; The journal has sought to vary the number and length of several essays have had a cross cultural focus on Japan/ reviews, ranging from short notices to long survey Canada, France/ Africa, Italy/Scotland. Contributors to articles. We have continued to include reviews of this volume are based in the UK and the US, in exhibitions. Monthly updates of all publications universities, museums and research institutes. received appear on the AAH website:
Issue 28.1 is dedicated to Rona Goffen, a valued member
12 ANNUAL REPORTS The Art Book
o retain and extend readership, journals need to Schmahmann (Rhodes University, South Africa), Partha T embrace change and this is reflected in decisions Mitter (University of Sussex, United Kingdom), Fae taken by The Art Book's editors and Editorial Committee Brauer (University of New South Wales, Australia) over the past year. Some changes occurred organically. Elizabeth Rankin (University of Auckland, New At the end of 2004 there were big changes on the Zealand), and Larry Silver (University of Pennsylvania, Editorial Committee. After three years as Honorary United States). Editor, Carol Richardson completed her term of office. I am particularly pleased to assume the office of Carol brought energy and a passion for art to her role. Honorary Editor, as the Board of Advisors is initiated. Her ideas and common sense, articulated in a musical My vision for TAB is no secret: my experience as an art Scots voice, helped to make Editorial Board meetings lively and entertaining forums for discussion that historian in Southern Africa gives me a perspective on generated results. She was, unfailingly, supportive of all Eurocentricism and its effect on publishing and the the work done by our very professional Executive interpretation of art that I want to see reflected in our Editor, Sue Ward, and I thank both Carol and Sue for journal and the books, people and events it features. building such a strong partnership. This enables me to The team at Blackwell continues to be supportive of Tlie assume my role as the new Honorary Editor with Art Book. Without their work and all the patient editing confidence and the knowledge that the changes we all and coordinating done by Sue Ward and Editorial envisaged in late 2004 will be realised. Assistant, Frances Follin, our journal would not have a growing list of subscribers and be 'in the black'. TAB can A number of members of the Editorial Board completed also be accessed online, through Blackwell and Synergy. their stint on the Board in 2004 and we thank Duncan Forbes, Frances Fowle, Julian Freeman, and Sylvia Whatever the efforts of the TAB infrastructure, the Lahav for their support and input over the years. We are journal depends on its reviewers for content. We have a pleased to welcome onto the Editorial Board, Eleanor number of regular contributors whose erudition and Tollfree, Paul Jobling, Maria Loh, and Gillian Whiteley. skilfully framed critiques make the act of reading about books and exhibitions pleasurable. We are also BOARD OF ADVISORS attracting - and still want - new reviewers. Proud An exciting development in late 2004 was the creation of though we are of the fact that TAB has a large number of our Board of Advisors. This international panel of art international subscribers, the publication's base is the historians will bring expertise in their specialist fields of AAH membership, and the Editorial Board, conscious of study and knowledge of particular regions of the globe the need to serve members' needs, welcomes your to enrich our vision. With their advice we hope to reach suggestions and comments. out to new readers and reflect art and books worldwide. Our Board of Advisors is currently comprised of Brenda MARION ARNOLD
Bulletin
he Bulletin has continued to be produced on time, I am always open to suggestions for articles, although I T and at the lowest possible cost to the Association. am unable to accept specialised academic papers, which have their proper home in other AAH publications. I I am grateful to all those who make a regular have, through my recent involvement with the newly contribution, and in particular to the members of the compiled Careers in Art History book (see page 15), been student group, who invariably provide interesting, made aware of the many different ways in which art well-presented material, to deadline. historians earn a living. I would love to hear from The Bulletin is able to fulfil the function of keeping those anyone involved in such areas as conservation, in academic institutions abreast of trends and exhibition organising, museum and gallery curation, developments in the management of their discipline. I gallery education, art tour lecturing. I am sure you have have long hoped for its pages to be used as a forum for some interesting stories to tell. robust debate, and strongly encourage members to offer Do get in touch. their own views on the future of their subject area. JANNET KING I hope members have enjoyed reading the articles by people who have undertaken work-experience placements and overseas research projects, and that these accounts have served the function of inspiring others to apply for such posts, and to the various funding schemes on offer.
13 A AH STUPE NT Exciting Spring Programme MEMBERS' GROUP would like to start by welcoming Bob Baggs and Banu Pekol, the new members of the Student Members' Group (SMG), and thank our graduating Chair - Outi Remes I member Patricia Allmer for her active contribution. (University of Reading) [email protected] 2005 is a promising year for students. The SMG has many exciting projects and not-to-miss conferences in our agenda, which includes the New Voices Bob Baggs conferences at Birkbeck College, London, 7 May, and at the University of (Open University) Nottingham in November. Our annual Summer School will be held this year at [email protected] Glasgow School of Art, 7-8 July.
Sophie Bostock But first we have the AAH Annual Conference - Conception : Reception - at the University of Bristol, 31 March - 2 April. The SMG offers a comprehensive (University of East Anglia) [email protected] programme, including our informative SMG Desk, informal dinner with the AAH Independents Group in the Spanish La Tasca restaurant and the Student Chrissie Bradstreet Session, with an interesting variety of papers. You will also have a chance to meet Deborah Cherry and Fintan Cullen, the editors of Art History, who have (Birkbeck College) kindly promised to give students one-to-one advice about publishing. [email protected] At the AAH annual conference in 2004, the SMG organised a forum about Sarah Chapman postgraduate funding opportunities. As we also believe in life after PhD, this (University of Newcastle-upon-Tyne) year's forum deals with postdoctoral funding. Ken Emond (British Academy) [email protected] and Chris Millward (AHRB) will talk about the provision of postdoctoral research funding, while Alex Bremner (Paul Mellon Centre Postdoctoral Ming-Hui Chen Fellow, University of Cambridge) will talk about being the recipient of funding. (University of Loughborough) Please see our conference programme for further details. [email protected] I am also pleased to inform you that a new edition of the Careers in Art History Elizabeth Coulson booklet is now available from the AAH office (see details right). The book was (Birkbeck College) a time-consuming project, but the hardworking editorial team of Graeme [email protected] Smart, Sophie Bostock, Ming-Hui Chen and Valerie Spanswick, along with all authors who share their expertise, have done a brilliant job. The booklet Terri Geis consists of an excitingly wide range of traditional and non- (University of Essex) traditional career options, relevant to history of art students. [email protected] Wishing you an energetic term and hoping to see you in Bristol. Lisa Hillier (Southampton Institute) OUTI REMES [email protected] Chair, Student Members' Group
Banu Pekol (Courtauld Institute) [email protected] \ I \ I Postgraduate Research Database Dawn Pereira (University of East London) The Student Members' Group database of postgraduate student [email protected] research is now available via
Amelia Yeates AAH STUDENT NEWS EMAIL BULLETINS (University of Birmingham) To sign up, send an email to
We are also pleased to announce our long-awaited forum on Postdoctoral Funding (Thursday, 2.45 - 3.45pm). This is a not-to-be-missed event for anyone considering research at post-doctoral level. Our speakers are: Ken Emond - Assistant Secretary, Research Posts and Projects, British Academy Chris Millward - Head of Research Programmes, AHRB Alex Bremner - Paul Mellon Centre Postdoctoral Fellow, University of Cambridge
Our speakers will provide an insight into the workings of the postdoctoral funding system, impart valuable advice for those considering applying for funding, and will also be available to answer any questions you may have.
Deborah Cherry and Fintan Cullan will be holding a 'Meet the Editors of Art History' session exclusively for students (Friday, 3.45 - 4.05pm), when they will be available to give advice on getting your research papers published, and to answer your questions.
After a long day exercising those brain cells, there will be a chance to relax at our annual dinner, to be held at 'La Tasca', a Spanish tapas restaurant (Friday, 8pm). This year we are joining forces with the Independents group, so the occasion promises to be bigger and better than ever! Advance booking through the AAH website is essential.
As always, the SMG desk will be up and running throughout the conference. This is the place to go to for any information you may need on SMG events at the conference, on how to get involved in other SMG activities, including presenting papers at our New Voices conferences, or just for a chat!
We're looking forward to meeting you at Bristol. For further information, please contact the SMG chair, Outi Remes
The answer to that burning question: What Next?
The AAH Student Members' Group has produced a new edition of Careers in Art History, last published in 1995. The revised and enlarged book provides information about the wide range of careers available to current and prospective art historians.
Each of the 28 chapters, written by experts in the field, describes a different career path, with its positive and negative points, the qualifications required and the availability of voluntary work placements. Further information, including where jobs are advertised, the contact details of useful organisations, and examples of further courses and training that can be undertaken, is given at the end of each chapter.
Careers covered include: archives, art librarianship, arts administration, art tourism, auction trade, book editing, book publishing, conservation, curating, exhibition organising, events organising, journalism, photography, picture research, and teaching. The 100-page book costs: in M HISTORY £5 (plus £1 p&p) or £45 for 10 copies (p&p included) AAH student members: £2.50 (plus £1 p&p) SECOND EDITION Payments can be made by cheque (made payable to ^Association of Acs Delation of Art Hist on am Art Historians') or by credit card. Institutions may send a Purchase Order, or request to be invoiced.
For more information or to order a copy of Careers in Art History please contact: Administrator, AAH, 70 Cowcross St, London EC1M 6EJ. Tel: 020 7490 3211
he fourth New Voices conference was hosted by the who were known as the Idyllists. Louise explored the T helpful Department of History of Art, the University significance of a small corpus of 1860s woodcut of Reading. The key objective of the conference was to illustrations that represent the West Country and offer students a chance to gain valuable experience in primarily Somersetshire, but were often printed with presenting their research in an informal atmosphere, poetry and without specific reference to time or place. without limiting conference themes. As a result of this, Louise questioned the representation of the rural idyll as the delegates enjoyed a wide range of different an artistic activity integral with the English landscape approaches to the history of art, addressing a variety of tradition, with its overtones of romanticism, regionalism time periods, from ancient erotic art to Renaissance and nationalism. convents, contemporary tableau and ephemeral art. In In her detailed paper Learning to Paint: The Academic addition to the papers, Dr Gruezner Robins' keynote Years of the Pre-Raphaelites, Kuei-ying Huang (University address and Francesca Fiumano's workshop provided of Essex) questioned the origins of the Pre-Raphaelite's invaluable advice for anyone interested in academic or bright, strong colour by exploring the influence of commercial exhibitions. academic teaching and theory on the painting technique Anna Gruetzner Robins' (Reading) fascinating keynote and colour usage during the formative years (1847-52) address focused on the topic of curating exhibitions. In of the Pre-Raphaelite Brotherhood. Kuei-ying suggested reference to her upcoming exhibition on Degas, that the transformation of the academic doctrine itself Toulouse Lautrec and Britain and her past exhibitions inspired the artists to emulate the Flemish style and the such as Post-Impressionism: Cross Currents in European network between academics and the Pre-Raphaelite Painting and Modern Art in Britain 1910-14, Dr Gruetzner artists was an important interface. Robins discussed the different stages of preparation, including presenting a plan, selecting, identifying and Jennifer Powell's (Birmingham) well-presented paper, getting access to works, writing a catalogue and hanging Germaine Richier and Existentialism: Inherent Problems the exhibition. Arising in the Discussion of Visual Art and Existential Philosophy, examined the relationship between Richier's The first student paper, Sex & Ancient Art - A Question of work and Existentialism with reference to Jean-Paul Pleasure? by Eloise Govier (St Andrews), pointed out Sartre, Simone de Beauvoir and Alberto Giacometti. that ancient erotic art is not simply a matter of the Jennifer argued that themes such as fear, alienation and depiction of lovemaking or nudity. The ancient 'erotic' uneasy relationships between human beings can be art includes bestiality, pederasty and androgynous found in Richier's work, but also acknowledged that enigmas and the numerous archaeological remains Sartre's conception of the relationship between the suggest that these were not solitary acts of artistic author-text/object-viewer silences the artist, which perversity: the Romans were genuinely enticed by such prevents the artist from communicating meanings to the content and some works had religious importance or viewer. were considered comical. In her inspiring paper, From Flesh to Stone and Back to Sarah Edwards (Reading), in her well-informed paper, Flesh: the Tableau in Contemporary Art, Janice Hitchens Envisaging Architectural Intention: an Investigation of the (UCL) considered how the representation of the figure Lost Original Design of Santa Chiara in Urbino, focused on in sculpture has changed. Janice focused on the Francesco di Giorgio Martini's impressive church and definition, derivation and history of tableau and the convent of Santa Chiara as a rare example of both distinction between the idea of tableau as a picture and convent architecture and fifteenth-century architecture. tableau as a pictorial representation. Janice suggested The convent was not completed in accordance with the that the tableau is still part of our art historical culture original Martinian design, and the available evidence and there is a kind of hybridity between performance, indicates that Martini sculpture and photography that was to some extent intended to create an even embedded in the tableau from the start. more impressive structure. Gabriel Gee (Paris X Nanterre), in Comparative Analysis Louise Hurrell (Plymouth), of (Some)Art Institutions Discourses in the 1990's, looked at shown right, gave a paper the ways which museums and art galleries constantly that focused on The define and redefine themselves in relation to their identification of Somerset as an audience(s). With reference to a variety of publishing Idyllic Location for the 1860s materials, Gabriel demonstrated the means of increasing Popular Illustration Boom audience targeting and public communication. Through the Work of John William North, 1842-1924, As part of the SMG careers workshop series, Francesca George John Pinwell, 1842-75, Fiumano, the owner of the upcoming FarmiloFiumano and Frederick Walker, 1840-75, Gallery, London, discussed the pros and cons of running
16 NEW VOICES
Mazafaka show, which reconciled the symbols and language of the Soviet past with its future in order to negotiate the exchange of a collective Soviet identity for an individual Russian one. Interestingly, Amy suggested that Afrika's personal awakening can translate into a universal experience.
I would like to thank the Department of History of Art, the University of Reading, for hosting this thought- provoking conference. Also, many thanks to all delegates and our wonderful speakers for their Outi Remes and Francesco Fiumono contributions. I am pleased to see that the New Voices conference series is gaining greater reputation, delegate a gallery. Importantly, Francesca emphasised that numbers have doubled and the conference is no longer running a successful commercial gallery is not just a just national but also an international event, which matter of finding new, exciting and talented artists, but makes the New Voices series an exciting part of the also requires hard work, dedication and great business SMG's agenda. skills. This enthusiastic workshop made a helpful comparison to Gruetzner Robins' earlier keynote OUTI REMES address, which had addressed curatorial questions from Chair, Student Members' Group an academic point of view.
In his thought-provoking paper Thinking through Theory and Practice, Philip Hawkins (Plymouth) The Association of Art Historians' Student Members Group Presents discussed different ways of thinking across disciplines, which may include threads of art practice, art history, and social and cultural enquiry. In reference to Irit Rogoff, Victor Burgin, Cobra Art, Henri Lefebvre and Gaston Bachelard, Philip asked us to consider how thinking through theory and practice can be relevant to research students and questioned his own practice-based PhD research through the blurred terrain of theory and practice.
Mary O' Neill (Loughborough), in Birkbeck aturday her fascinating paper, Ephemeral Art and Sacrifice, demonstrated how College 7th May ephemeral art has a bilateral quality London to sacrifice: it addresses knowledge 2005 about mortality, death denial, and v. terror management. However, in order to do that, it often sacrifices the art object in the process. Thus, accessing aforementioned knowledge when the work no longer exists is problematic. On the other hand, as the result of intervention by conservators, the work may exist only in a form that is no longer ephemeral.
Amy Bryzgel (Rutgers, New Jersey) i 1 / mt v: J m f v »* * in her paper, Afrika's Crimania: fjf Call for papers: For the opportunity to present your research in an informal and friendly atmosphere Negotiating Post-Soviet Identity, B send a 300 word abstract to [email protected] by 1st April 2005 or focused on the St Petersburg artist simply come along to listen and mingle with fellow students Fee is £5 and includes lunch and refreshments. AAH membership necessary. Afrika's (Sergei Anatolevich To book, download a form at www.aah.org.uk Bugaev) Crimania: Icons, Monuments, AAH STUDENT FUND Student Placement: Outreach at the National Gallery
I n summer 2004 I worked on the National Gallery I Outreach Programme as a student intern as part of my Masters in Art Gallery Studies at Leicester University. I assisted on, and evaluated, two outreach projects: a Heritage Lottery Funded (HLF) project with young Bangladeshi women from Tower Hamlets in East London, and a project called Line of Vision, working with young people who are 'looked after' by the public care system.
These projects are part of the National Gallery's strategy to widen access to its collection by targeting specific groups who may feel excluded from the community and cultural heritage it represents. Professional artists work alongside Gallery educators delivering sessions with a warm, welcoming and informal atmosphere. Time is shared between looking at, discussing and drawing from paintings in the Gallery, and practical art activities in the Gallery's Education Centre. Talks in front of Me helping with the finishing touches to the gilding of the HLF group's Casone chest paintings in the Gallery aim to offer a 'way in' to paintings for participants, rather than a comprehensive high- quality experience and are not let down in any history. All artwork produced by participants is way by the Gallery. I was interested in these problems respected as a personal response to the paintings and and used the experiences gained to inform my Masters issues discussed, and is inevitably informed by dissertation on the subject. participants' personal experience. Whilst at the Gallery, I also experienced the Family In the HLF project participants collaboratively decorated Programme, and delivered two short Gallery Talks on a reproduction of the Cassone chests in the National the Adult Programme. The evaluation report I have Gallery Sainsbury Wing. The finished chest represents written for the HLF project is being used as part of the parallels between traditional marriage chests in the Gallery's summative report to the HLF. women's Muslim tradition and this similar box from European culture. The Line of Vision group produced I thoroughly enjoyed the placement, which afforded large individual canvases, experimenting with different great insights into the everyday workings of a national painting techniques, and decorated the interior of small art gallery education department, and the planning and boxes with imaginary scenes - such as their ideal home organisation of outreach projects. I feel privileged to - creating 'perspective' boxes like that of Samuel van have worked with such talented young people and to Hoogstraten. The quality of the artwork produced by work alongside professional artists. I also gained participants was very high, and was displayed in the valuable insight into, and experience of, evaluation Space@NG in the methods - a useful skill for contemporary museum Education Centre practice. Furthermore, the project has confirmed that in autumn 2004. this area of art gallery endeavour is highly valuable and one in which I hope to find a career! I attended some CATHERINE TERRY planning AAH Student Member, meetings, helped artists set up the Education Rooms, and attended most Voluntary-Work Placement Lists sessions. As the evaluator of the projects I also designed, available for student members implemented, analysed and wrote up evaluation. Evaluation of projects like these is often problematic The AAH holds lists of institutions willing to accept because usual evaluation tools such as questionnaires students for voluntary-work placements. Send an are unsuitable for participants with limited literacy, and A4 s.a.e. to the value of 60p to: AAH Administrator, 70 where projects aim to distance themselves from a Cowcross Street, London EC1M 6EJ specifying which of the three lists you require: 'school-like' atmosphere. Yet evaluation is vital in order UK, Europe, or Rest of the world to ensure often-vulnerable participants receive a AWARD Need for your voluntary work placement? The Association of Art Historians may be able to help The STUDENT FUND offers financial assistance to AAH student members who arrange a voluntary work placement in a UK museum, gallery, heritage site or other visual art environment. Funds are available to subsidise the following: • daily travel • meals and accommodation • childcare • training and materials The maximum available per student is £20 per day, to a maximum of £500. Owing to finite resources there will be a selection process based on the information provided on the application form. HI Association of Guidelines and application forms are available from www.aah.org.uk. 31 May 2005 Art Historians John Fleming Travel Award 2005 \v^v Laurence King Publishing offers this award of £2000 annually in memory of the art historian John Fleming. He and Hugh Honour are the authors of A World History of Art. The aim of the award N/^^ ® is to encourage a better understanding of the arts from around the world. ^\ Entries are invited from undergraduate and postgraduate students of the history of art and architecture \. currently enrolled in UK universities, and who will still be enrolled at the time of travel. Judges of the entries will include Hugh Honour, together with representatives from the AAH Executive Committee and Laurence King Publishing. The deadline for submissions has been extended to 28 February 2005. The winner will be informed at the end of March 2005 and the award will be presented at the AAH Annual Conference in April. Application forms can be obtained from, and completed forms sent to: Claire Davies, The Administrator, AAH, 70 Cowcross Street, London EC1M 6EJ Rules for entry: • Submission of an essay of not more than 500 words, which should describe how the award will be used in travelling to sites of art historic interest • Each essay should be accompanied by: - an estimated breakdown of how the funds will be used - a copy of the applicant's CV - letters of recommendation from two academic referees • Entries from non-AAH members will be accepted • Preference will be given to applicants wishing to travel outside the UK The winning candidate will be asked to write a report on the completion of his/her travels. A World History of Art is published by Laurence King Publishing Ltd, £32 (paperback), £45 (hardback) Christie's Education Trust Grants for Venetian Research Scholarship History of Art and Gonnoisseurship The Trustees of the Gladys Krieble Delmas Foundation of New York announce that This award has been ereated to provide the up to £20,000 will be made available in opportunity for a graduate student to 2005/06 to scholars of Great Britain and undertake the Christie's Education M Litt in the History of Art and Connoisseurship run by the Commonwealth for research in Venice. Christie's Education in London and accredited The areas of interest envisaged concern by the University of Glasgow. both the past (history, art, architecture, The award covers the cost of the full fees payable (currently £11,250) music, law, science, literature, language) and Applications are invited for 2005-06 in the the present (politics, culture, conservation, following areas: environment^ of Venice and the territories Early European Art once s ubj ect to it. Fine and Decorative Arts Modern and Contemporary Art Further particulars may be obtained from the Secretary The Arts of China to the Foundation's Advisory Committee, Professor Michael Mallett, 2 Lansdowne Circus, For further information about Christie's Education Leamington Spa, Warwickshire, CV32 4SW, UK Courses and how to apply see our website Tel: 01926 425529: Fax 01926 452762 christie.com/education or call us on 0207 665 4350 < [email protected] > Applications should be sent to Deadline for Applications: 17 May 2005 Professor Michael Mallett by 25April 2005 MA in the HISTORY OF ART Over the past twenty years art history has had to question many of the assumptions and precepts that it had accepted as foundational. Presently, it seems caught between competing claims and knowledge formations that are often posed in terms of, for example, history and theory; history and philosophy, philosophy and archaeology, idealism and materialism - issues that have recently resurfaced in critical debates around contemporary art. The MA in the History of Art in the School of Fine Art, History of Art & Cultural Studies at the University of Leeds explores the problems that are framed and constantly reframed in these matrices and is very suited to the needs of those students who are coming to a more complex understanding of art history. Dedicated pathways through the programme allow students to do concentrated work in certain specialist areas such as the study of sculpture, architecture, and the social history of art. The School of Fine Art, History of Art and Cultural Studies at the University of Leeds has a large and vibrant postgraduate community that has close links with the Henry Moore Institute, the National Museum of Photography, Film & Television and the prestigious AHRB Centre for Cultural Analysis, Theory and History (Centre CATH). The MA in the History of Art at Leeds is committed to preparing students to undertake innovative, self-directed research at both taught graduate level and PhD level. For more information about the programme contact: Helen Clarke, Graduate Secretary, The School of Fine Art, History of Art & Cultural Studies, The University of Leeds, Leeds LS2 9JT or e-mail [email protected] AAH Annual Conference 2005 Conception: Reception III 31 MARCH - 2 APRIL 2005 Association of University of Bristol Art Historians he conference will focus attention on the relationship between the creation of the artwork and its T reception. A wide variety of papers will examine this crucial relationship from a multiplicity of angles. The individual sessions, while closely focused in theme, will incorporate different investigative methods to deal with a broad range of primary material. The concern of the Association of Art Historians to promote the study of chronologically and geographically diverse objects is reflected in the conference's list of topics, and it is particularly encouraging to see that the speakers themselves come from a wide variety of positions, establishments and areas of the world. The conference promises to provide a stimulating environment for the assimilation of new material and the exchange of ideas. Conference Organiser, Ed Lilley, History of Art Department, University of Bristol, 43 Woodland Road, Bristol BS8 1UU The Forgotten Surrealists: Belgian Surrealism are the politics of Belgian surrealism? How did 1924-1981 divisions, diasporas and internal differences influence Patricia Allmer (Independent Scholar) 82 Brooklyn Street, Belgian surrealism? How do Belgian surrealist Crewe, Cheshire, CW2 7JE This session proposes therefore to offer focused and An Paenhuysen (University of Leuven) Surrealism in the rigorous discussions of Belgian surrealism. It seeks to Provinces: Flemish and Walloon modernity in the interwar investigate the movement as well as individual artists period and close associates such as Pol Bury, Paul Delvaux, Jane Graverol, Paul Joosten, Marcel-G. Lefrancq, Rene David Scott (Trinity College Dublin) Word & Image in Belgian Surrealist Art: the case of Paul Delvaux Magritte, Marcel Marien, E.L.T. Mesens, Paul Nouge, Max Servais, Armand Simon, Andre Souris, Raoul Ubac Janet Stiles Tyson (University of North Texas) Tlie and others. What are the specific features of Belgian Persistence of Mystery: Rene Magritte as a regional artist surrealism and how does it relate to other surrealisms? Ben Stoltzfus (University of California, Riverside) How can its aesthetic concepts and practices be related Magritte and Robbe-Grillet: Surrealism and Metafiction to a specifically Belgian context? What distinctive aesthetic practices characterise Belgian surrealism? What Hilde Van Gelder (Katholieke Universiteit Leuven) Tracing Christian Dotremont Revolution and the Reception and Conception of Sentimentality Visual Culture in France 1789-1871 Emma Barker (Open University) 106 Thanet House, Thanet Emily Richardson, University College, London Street, London WC1H 9QG Claudette Hould (Universite du Quebec a Montreal) Tlie Nicola Foster (Open University/Suffolk College) Reception and Impact of the 'Tableaux historiques de la Emotions and the visual: Conception and Reception of Visual Revolution Francaise in France and Europe Art and Literature Zoe Kahr (University College London) Charlet's Tony Halliday (University of Newcastle) Love, Labour Depictions of Napoleon: Villain or Hero? and the Blunting of Sensibility: Diderot's Dilemma Valerie Mainz (University of Leeds) Festivals, Acts of Sue Rasmussen (University of Birmingham) George Commemoration and Works on Paper Morland: 'You must read him for the sentiment' Charity Mewburn (University of British Columbia) The Ann Wyburn-Powell (Independent scholar) George Irisli in French Satires: the exchange of poverty and Morland, the Slave-trade and the Wet-nurse revolution between France and Britain in the mid-19th cen tu ry John Bonehill (University of Leicester) 'The picture and the pavilion': national history and sentiment in John Emily Richardson (University College London) Taking Singleton Copley's 'Tlie Siege of Gibraltar' (1791) the biscuit: revolutionary sculpture made at the manufactory of Sevres porcelain. Nicholas Tromans (University of Leicester) They Didn't Know Wliether to Laugh or Cry: Tears and Pictures in Early Richard Taws (University College London) Identity Nineteenth-Century Britain Crisis: passports and the visual imaginary in revolutionary France Anna Green (University of East Anglia) Sentimental Revisions: French paintings of children and adolescents in the Susannah Walker (Sutton College of Learning for second half of the nineteenth century. Adults) The Production, Loss and Recovery of Popular Vivien Northcote (Independent scholar) The Renaissance Appeal: Exhibiting the work of Nicolas-Toussaint Charlet Christian Image in Victorian Religious Education Helen Weston (University College London) Magic Patrizia di Bello (Birkbeck College) Between Picasso and Lanterns in Revolutionary France: WJiere Street and Salon Lady Filmer: sentimentality, photography, and the history of intersect collage. 22 ANNUAL CONFERENCE 2005 Sarah Cheang (University of Brighton) Picturing the Scott Sherer (Kent State University) John Coplans: The Pekingese Dog in Early Twentieth-Century Britain Cruelty of Representing Human Embodiment Allister Mactaggart (Middlessex University/Chesterfield College) Reasons to be Tearful: Student Session still and moving images Christina Bradstreet, Department of History of Art, Film and Visual Media, Birkbeck College. Toby Juliff (University of Leeds) Rachel Wlnteread and Merav Yerushalmy (University of Essex) Shared Worlds - Tania Woloshyn Scratching the Surface of Irish Metalwork a Look at Relational Practices of the Eleventh and Twelfth Centuries Alexandra Paragons (University of Leeds) Looking Sarah Edwards A conception for the chaste: designing through Brancusi's bronze 'Newborn IV convent buildings in fifteenth-century Italy Joanne Lee (The Nottingham Trent School of Art & Kristin Patterson Eva Hesse's Biography as Methodology: A Design) Pricked in the eye: a carnal response to art Gendered Reception? Melissa Percival (University of Exeter) Strange Meetings: Jody Patterson Catherine Bauer and the Politics of New Deal Encounters with Imaginary Figures in European Paintiing, Social Reform: Modern Housing and the Struggle for a c.1600-1800 'People's Architecture' Leatrice Mendelshon (State University of New York, Nicky Ryan Armani: Fashion as Art? New Paltz) Tlie Viewer's Viewpoint: Simultaneity and the Lara Tomaszewska On Lotus Land: Aesthetics, Counter• Reintegration of the Fragment in Renaissance Art culture, and the Formation of the 'West Coast' in the 1960s 23 ANNUAL CONFERENCE 2005 Corpus Delecti: Aesthetics, Eugenics and the Dialogues, Discourses and Difference Sexed Body Margherita Sprio, University of Essex, Department of Art Fae Brauer, The University of New South Wales, History and Theory, Wivenhoe Park, Colchester C04 3SQ Helga Powell (University College, London) Title to be Benjamin Greenman (University of Essex) The New confirmed Communicative Future of Art in the 1970s and the Surreptitious Logic of Performance Gabriel Koureas (University of London) "Desiring Skin": Eugenics, Trauma, and Acting Out of Masculinities in the Chin-Tao Wu (Academia Sinica, Taiwan) Worlds Apart: visual culture oflnterwar Britain Problems of Interpreting Globalised Art Pat Simpson (University of Hertfordshire) Bolshevism Angela Dimitrakaki (University of Southampton) and "sexual revolution": Visualising New Soviet Woman as Methodology, (Post)feminism and the Moving Image in the an eugenic ideal, 1917-1932 Visual Arts of Contemporary Europe Anthea Callen (University of Nottingham) Man or Claire Pajaczkowska (Middlesex University) Machine: Ideals of the labouring male body and the aesthetics Transgression and transcendence in the sublime of industrial production in early twentieth-century Europe 24 ANNUAL CONFERENCE 2005 Agency and Mediation: Women's Contribution to Commissioned Women War Artists: Evelyn Dunbar (1906- Visual Culture between the Wars, 1918-1939 60), Ethel Gabain (1883-1950) and Evelyn Gibbs (1905-91) Britta C. Dwyer, Independent Scholar Dorothy Rowe (Roehampton University) Representing Given the diverse ways in which women earned a living Significant dangers are present in the politeness as cultural producers in the interwar period, these associated with the viewing of much art. The museum papers address women's work in design, print, could be said to anaesthetise the space in which work is illustration, mural decoration, poster art, theatre and displayed, whilst also providing a sheer excess of objects costume design, and film as well as more conventional to consume. In contrast, public art practice can often forms of painting or sculpture. produce a banality that verges on disappearance. On a more optimistic level, it is possible that boredom and Some of them also touch upon the problematic status of banality have the potential towards the sublime. women's contribution to the avantgarde and/or Individual works can also expose the viewer to the conversely their (relative) conservatism and the everyday coded habits and rituals which would celebration of women as 'personalities' in the press otherwise pass unnoticed - an illumination of detail versus the critical reception of their work(s). We have which can change patterns of behaviour. selected case studies where a transcultural and interdisciplinary approach to the analysis of gender is Mary O' Neill (Loughborough University) On the Benefit foregrounded. of Being Bored Katy Deepwell (University of the Arts, London) Joanne Crawford (University of Leeds) Being Bored to Attitudes to Work, Women and War: Women Artists' War Death Commissions and the Women's Work Sub-Committee at the Jo Applin (University College, London) '1000 Hours of Imperial War Museum, 1918-20 Staring': Tlie Everyday Greatness of Tom Friedman Glafki Gotsi (Independent scholar) 'Feminist art', 'female Christopher Kul-Want (Byam Shaw School of Art, art', 'sexless art' in a modernist context: conceiving and Central St Martins) The Subject of Addiction and receiving women's collective exhibitions in Greece in the years Contemporary Art 1925-37 Steven Gartside (MIRIAD, Manchester Metropolitan Anna Maria Carlevaris (University of Montreal) Her University) Banalities of Disappearance and Excess Hands Never Soft: Concetta Scaravaglione at the 1939 World Fair Paul Staiti (Mount Holyoke College) Capitalist Portraits: Tl\e Aesthetics and Politics of Dullness Karen Brown (Queens University, Belfast) Ireland, Women and the Illustrated Book - Reviving the past and Matilde Nardelli (University College, London) Still, presenting the future. Moving: Loops of Boredom Terri Geis (University of Essex) Tlie Mexican Mural of Dorothee Brill (London Consortium) Boredom, Excitement Aurora Reyes the De/construction of Meaning in Fluxus Christa-Maria Lerm Hayes (University of Ulster) Carola August Davis (University of Liverpool) A Woman's Work Giedion-Welcker: Misrepresented Pathbreaker and Is Never Done Collaborator of Modernists Outi Remes (University of Reading) Boredom and Banality Britta Dwyer (Independent scholar) The Zinkeisens as of Richard Billingham's 'Rays' a Laugh' Series ' Supermum-workaholics': Expanding concepts on modernism Kenneth Bendiner (University of Wisconsin-Milwaukee) and cultural geography Tlic Seat of Boredom: the Automobile Photographs of Robert Alice Strickland (University of Plymouth) Three Officially Frank 25 ANNUAL CONFERENCE 2005 Pauline Rose (Arts Institute, Bournemouth) Raymond Kitsch in Formation and On Parade: Conception, Moore: The Uncommonness of the Commonplace' Display and Audience Monica Kjellman-Chapin, Visiting Assistant Professor of Art 'Foul Biting' and other 'Accidents' of Facture in History, Department of Visual and Performing Arts, Clark Late 19th-Century Art: Surface, Subjectivity, and University, 950 Main St., Worcester, MA 01610. Tel: 508-793- the Marks of Modernity 7247; Fax: 508-793-8844 Paul Smith (University of Warwick) Cezanne's Kirsten Hardie (Bournemouth Arts Institute) All Grammatical Mistakes Consuming Kitsch - Elvis to Mister Wluppy Lewis Johnson (Sabanci University) Gesture and Hee-Young Kim (University of Alabama) Kitsch as 'The Simulacrum: Departing from Ideals of Deliberation in the Daily Art of Our Time' Criticism of Cezanne Anthony White (University of Melbourne) Modernism, Bryan Banks (University of Liverpool) Blot on the Fascism and Kitsch: Lucio Fontana Landskip: Constable's Materials of Meaning Gillian Whiteley (Loughborough University) Kitsch as Colin Trodd (University of Manchester) Completing cultural capital: art and populist aesthetics in Fifties Britain Blake: the Matter of Art and the Surface of Victorian Culture Paul Barlow (University of Northumbria) Pictures are Art History and the Uses of Reception Back: Photography, Surface and Violence Elizabeth Prettejohn, University of Plymouth 26 ANNUAL CONFERENCE 2005 forefront of the art historian's concerns. Moreover, we Jenny Graham (University of Plymouth) True or False? know far more about, say, the reception of Botticelli in Aesthetics of the real and ideal in Van Eyck's 19th-century the 19th and 20th centuries than we do about the painter reception in his Renaissance context. The original context of a Sophie Berrebi (University of Amsterdam) Dubuffet as a work such as the Venus de Milo is lost forever; it is only Model through its reception, both artistic and scholarly, that it has come to seem one of the greatest monuments of Piotr Juszkiewicz (Adam Mickiewicz University, classical antiquity. Hans-Georg Gadamer (Truth and Poznan) From the Composition of Space to Houses of Glass: Method, 1960) argued that interpretation always takes Remarks on the reception of the avant-garde in post-war place within history, and is subject to the contingencies Poland of its historical moment; there is no permanently correct reading of a text, but an ever-changing 'fusion of Narrative in Nineteenth-Century Art horizons' between text and interpreter. Modern theories Nina Lubbren, Department of Art and Design, Anglia of reading stress the importance of the reader for the Polytechnic University, East Road, Cambridge CB1 1PT construction of meaning (for example, the reception Elizabeth Prettejohn (University of Plymouth) Reception Matt Johnston (Radford University) Little Gems and and Ancient Art: TJie Venus de Milo Conspicuous Consumption: The Luminist Works of John F. Kensett and William Trost Richards Shelley Hales (University of Bristol) Re-casting Antiquity in the Crystal Palace Ruth Krul (Leiden University) Stories about the Past in Nineteenth-Century PolisJi Painting Areti Adamopoulou (University of Ioannina) European Modern Art and its Reception in Greece: The Case of the Nina Athanassoglou-Kallmyer (University of Delaware) ^Panathenaia Tliree Greek Artists or How to Make a Nation by Telling Stories Stephen Bann (University of Bristol) Reproducing the Mona Lisa in 19th-Century France Fiona Carson (University of East London) 'Most Awful of All Feminine Heads': Beatrice Cenci and 19th-Century Kathy McLaughlan (Independent Scholar) Responding to Constructions of Femininity Antiquity: The French Academy in Rome during the 19th Century Heather Birchall (Tate Britain) Narrative Art and the list-Century Museum Lene 0stermark-johansen (University of Copenhagen) From Speaking Marble to Silent Colour: Michelangelo's 'La Nicole Sliwian (Ruhr-Universitat Bochum) Narrative Notte' from Doni to Swinburne and Leighton Strategy in Symbolism: Fernand Khnopff s 'Memories' Bronwen Wilson (McGill University) Skepticism and Richard Thomson (University of Edinburgh) Borrowed Portraits of the Blind Fantasies and Observed Trauma: Refiguring Narrative in the 1890s Victoria C. Gardner Coates (University of Pennsylvania) Raphael's 'Transfiguration': From crusade propaganda to' Peter Cooke (University of Manchester) Narrative and opus ultima' Contemplative Immobility in Gustave Moreau's 'Tlie Suitors', 'Orpheus' and 'Salome' 27 Reconsidering the Artist-Model Transaction Renaissance Material Culture - Conceptions and Susan Waller, Department ot Art and Art History, University Receptions ot Missouri - Saint Louis, 509 Lucas, 8001 Natural Bridge Paula Hohti, University of Sussex, Road, Saint Louis, MO 63121 Jacki Willson (Loughborough University) 'My eyes, my Marie-Anne Michaux (Victoria & Albert Museum smile, it was for the girls, not the boys' (Lipton 1992, 90): /Royal College of Art) Private Armouries: Weapons in the revisiting Olympia and Site' French domestic interior of the first half of the 16 th century Alexander Kennedy (Independent Scholar) Leigh Bowery Sibylle Luig & Achim Stiegel (Kunstgewerbemuseum, th - Freud's uncanny object as iconoclastic subject Berlin) The Role of the 19 Century hi our Perception of Italian Renaissance Furniture Tracey Avery (University of Melbourne) Re-branding the Renaissance: Receptions and re-conceptions of the 'sgabello' in g deadline the nineteenth century bruary 28 ANNUAL CONFERENCE 2005 Function, and its Relation to the Conception and 'Lives' of the Renaissance Artists: Biography and Reception of Portraiture in the 18th Century Reception Caroline Stevens (University of Birmingham), 3 & 4 Glyn Tania String, History of Art Department, University of Bristol, Cottages, Y-Fan, Llanidloes, Powys SY18 6NF 43 Woodland Road, Bristol BS8 1UU Annegret Friedrich (University of Trier) Portrait The speakers in this session will offer reassessments of Production in Parisian Prisons during the French Revolution artists' careers, with particular reference to canonical Gill Perry (Open University) 'Women of Fashion and monographs, as well as broader critical engagements Fantastical Coquets': Marketing the Comic Actress in Late- with the current state of scholarship on artists in the Eighteenth Century British Art Renaissance. The session embraces both the Italian and Northern European Renaissance. Themes to be Joan Coutu (University of Waterloo) Epicurus and considered include reception, psychoanalysis and Pythagoras are in the Drawing Room and Cromwell and gender. Peter the Great are in the Hall Francesca Fiorani (University of Virginia) Tlie Legacy of Kate Retford (Birkbeck College, University of London) Leonardo's Art Theory Patrilineal Portraiture? Displaying Genealogy in the Eighteenth-Century English Country House Ann C. Huppert (Worcester College, Oxford) The Value of a Life: Baldassare Peruzzi and Giorgio Vasari Mark Hallett (University of York) Sir Joshua Reynolds's 'Beauties of the Present Age' Martin Kemp (University of Oxford) Does Biography Matter? Writing on Leonardo Mechthild Auerbach (University of Leipzig) The double portrait ofDaria Petrowna Saltykoffand the Baroness Natalia Beverley Lyle (Oxford Brookes University) '...but I know Mikhailowna Stroganoff: The representation of female what I like!' A Reappraisal of the Role ofPerugian Patrons in 'homoemotionality' in portraiture of the eighteenth century the Mid-Quattrocento Sabrina Norlander (University of Uppsala) A new Victoria Mier (University of Bristol) Hans Leinberger: A mythology for every need: Roman portraiture in the Victim of Methodology? eighteenth century Jeanne Nuechterlein (University of York) In Search of Allan Reynolds (University of Birmingham) A Man of his Holbein: The Life of an Elusive Artist Time: Masculinity and Joseph Wright's portrait of John Jeffrey Chipps Smith (University of Texas at Austin) Wliitehurst Erwin Panofsky's 'Tlie Life and Art of Albrecht Diirer' Susan Bennett (Birkbeck College, University of London) (1943): An Historiographic Consideration Portrait of a 'Tltankless Child' Georgiana Keate (1771-1850): Ben Thomas (University of Kent) Parallel Lives: Dante, Artist and Subject Michelangelo and the Reception of the Medici Chapel Sculpture 29 ANNUAL CONFERENCE 2005 Marjorie Trusted (Victoria & Albert Museum) Artists as 21st Century Art History: Global Reception Individuals in Renaissance Spain: The Sculptor and Cath King, Open University Robert A. Maxwell (University of Pennsylvania) Urban Michael Moore (University of Ulster) Recording Applied Iconography: Making Meaning in Twelfth-Century Aquitaine Art History: from apprentice craftsperson to applied art prac• titioner Timothy Juckes (Courtauld Institute of Art, London) Conception and Reception in Late-Gothic Church Design: the Emma Loosley (University of Manchester) Art History case of St. Elizabeth's at Kosice and Cultural Belonging in Contemporary Syria Thomas de Wesselow (King's College, University of Thomas A. Dowson (University of Manchester) Benin Art Cambridge) Tlie double conception and reception of and its Reception in Britain Today Ambrogio Lorenzetti's Sala delta Pace frescoes: text vs. Stephanie Koerner (University of Manchester) The 'End of image? Art' or Iconolash: 'Crisis of Representation' and Attempts to Steven Stowell (Balliol College, University of Oxford Globalise the 'New' Art History Making and Reading the Margins in the Hours of Catherine of Cleves Alfred Acres (Princeton University) Posing Intentions Andreas Petzold (Open University/University of Cambridge) Modernism and Romanesque Art Nancy Thompson (St. Olaf College) The Restoration and Recreation of the Bargello in Nineteenth-Century Florence Dominic Janes (Birkbeck College, University of London) Purity and Popery: Reception of Medieval Art in the Ecclesiastical Gothic Revival of early Victorian London Early booking deadline: 25 February 30 ANNUAL CONFERENCE 2006 OfT B BUT HIS MM: CM EMS. DISCMEIITS. MULEME/ITS. 32nd AAH ANNUAL CONFERENCE 111 5-8 APRIL 2006 III UNIVERSITY OF LEEDS Association of Art Historians Conference Organiser: Fred Orton School of Fine Art, History of Art and Cultural Studies, University of Leeds, Leeds LS2 9JT Conference Administrator: Josine Opmeer. E-mail: [email protected] In the world of the work place, our art history is hemmed in by budget deficits and staff-student ratios, validations and re-validations, bumf from HEFC and the RAE, British Academy, Leverhulme Trust and AHRB, demographics and numbers through the turnstiles, and so on. Whether the object of inquiry, conservation, exhibition, or pedagogy, is "art," "architecture," "design," "photography," "film," or whatever, our Conference is one of the few places free of administrative constraints imposed on us by learning and teaching committees, local authorities, boards of trustees, and so on, where we're allowed to do some "art history" on our own terms. That seems marvellously pragmatic, but art history doesn't have, at the moment, any established protocols and procedures or any strong sense of its identity and purposes. Maybe it had in the past, way back when, for a while, it was given over uncritically to the study of the canon and canonical artists, and concentrated on issues of form, style, iconography, and influence. No matter whether what we have now is diversification or pluralism or just a "widened scope," art history seems peculiarly cheerless. It is also uncertain about what will become of its place in the institutions that have traditionally accommodated it. The prevailing uncertainty presents us with a moment of opportunity. Why not ask ourselves what we're doing and why? What, within the past achievements and present circumstances of a broadly conceived art history, are we satisfied with, dissatisfied with, and downright disgruntled about? And with a view to what? Our Conference, coming early in the year before the RAE Census is taken, may help clarify how we might "submit" to a "discipline" that is not ours, and describe - if not define - the discipline that is ours. None of the foregoing should be read as calling for a Conference aimed at establishing a paradigmatic set of theories and methods, protocols and procedures, or whatever, for doing art history. Rather, it's calling for a Conference that, focused on our objects of study and our ways of making sense of them, might stimulate constructive argument about the art and art histories that are the concern of art history; about what art history might once have been; what it has become; what it might be; and even whether there is any life left in it. CALL FOR SESSIONS - deadline 15 April 2005 We hope to accommodate sessions of different lengths: 1 9 hours over two days (6 x 1 /2 hrs) 1 6 hours (4 x 1 /2hrs) 1 1 4 /2 hours (3 x 1 /2hrs) on a single day 3 hours for a round table discussion. Proposals for sessions should be sent to the Conference Administrator by e-mail or letter. Proposals should include a title and description (maximum 500 words), the name(s) and e-mail and postal address(es) of the organiser(s), and some indication of the length of the session. Session descriptions and a call for papers will be published in the June and October Bulletin. 31 CONFERENCE NEWS BRITAIN TURNER, WHISTLER, MONET TATE AESTHETICS, POLLUTION AND THE CITY Tate Britain, Friday 15 - Saturday 16 April 2005 An international academic conference coinciding with Tate Britain's major exhibition, Turner, Whistler, Monet, 16 February to 15 May 2005. Turner, Whistler, Monet explores the interrelationship between these three major artists. The conference focuses on artists' relationships and reputations; the aesthetics of pollution; and the representation of the modern, Imperial city. Speakers include: Caroline Arscott, David Gilbert, John House, Katharine Lochnan, Elizabeth Prettejohn, Jonathan Ribner, John Siewert, Suzanne Singletary, Sam Smiles, Barry Venning and Victoria Walsh. Tickets: £35 (£25 concessions) For more information or to book call 020 7887 8888 or book online at www.tate.org.uk/tickets Turner Whistler Monet sponsored by Ernst & Young Conference supported by the Paul Mellon Centre for Studies in British Art ROUGH DIAMONDS polishing partnerships with creative industries ARLIS/UK & Ireland Annual Conference LK& Ireland Art Libraries Society Aston University, Birmingham \ Thursday 7th - Saturday 9th July 2005 Birmingham's thriving creative communities include publishers, jewellers, photographers and artists. It is the second-largest media centre in the country and the home of internationally renowned museums, galleries and libraries. In July 2005 the ARLIS annual conference will explore the synergy between creative industries and art & design libraries. The sessions cover: • Practitioners from fields as diverse as digital media, crafts and fashion and their particular design-based information needs • How partnerships work within current initiatives such as Chrysalis and Creative Insight, and finding funding • Resources available on the web and online research methods • Perspectives from Russia and Scotland As ever, the workshops offer a wide range of particular skills development, including project management, providing for cultural diversity, creative approaches to inductions and using Blogs. For more information please check www.arlis.org.uk or contact Chris Fowler, Oxford Brookes University, Headington Library, Gipsy Lane, Headington, Oxford, OX3 OBP, T: 01865 483 138, E: [email protected] 32 • CONFERENCE NEWS Making, Selling, Seeing CONNECTING WITH The production and experience SCULPTURE of relief in the Renaissance from concept to conservation FRIDAY 4 MARCH - SATURDAY 5 MARCH 2005 MONDAYS AT 6.30PM Henry Moore Institute The Gallery, 70 Cowcross Street, London EC1 (courtesy Alan Baxter) To coincide with the exhibition Depth of Field: The (Tube or Thameslink: Farringdon Street) Place of Relief in the Time ofDonatello (23 September 2004 - 28 March 2005) this conference looks at the Spring Talks 2004, 2005, 2006 relief between the 14th and 16th centuries. The This three-year series of six-weekly talks is organised conference seeks to explore the place of the relief in jointly between the PMSA and groups who will daily life during the Renaissance - how it was made, illuminate varying stages in the life of a public experienced and encountered - in order to get a sculpture. sense of how, and why, this particular form of The 2005 series will consider 'Ideas into Reality'; in 2006 artistic production flourished in such varied and we will conclude with 'Life after unveiling'. The innovative ways at this time. programme for this year's unique initiative promises to continue a stimulating cross-fertilisation of ideas on This conference has been developed in collaboration aspects of public sculpture. with Peta Motture and Glyn Davies of the Victoria & Albert Museum. Chairs include Donal Cooper, 14 FEBRUARY 2005 Frits Scholten and Geraldine Johnson, with Sarah 'Ideas into Reality' Barry Mason Convenor: Anne Rawcliffe-King, Director, RBS Blake-McHam as discussant. 21 FEBRUARY For full details or to book please contact: 'The Design and Construction of Three Sundials in Ellen Tait Widely Differing Materials: perspex, glass and yew' Henry Moore Institute Douglas Bateman (Secretary, British Sundial Society) 74 The Headrow Convenor: Patrick Powers (Registrar, British Sundial Leeds Society) LSI 3AH 28 FEBRUARY Tel: 0113 246 7467 'Not by Half Richard Wilson 7 MARCH 'The Thing about Memorials' Harriet Frazer Memorials by Artists Convenor: Pedro Gaspar (Conservation Officer, War New Perspectives on Memorials Trust) 14 MARCH Surrealism and its Legacies 'The Journey from Dreams into Stone' Glynn Williams 'Bright Sparks, from new Triggers', Eileen Woods JUNE 2005 Convenors: Jo Darke (PMSA) and Eileen Woods (Chair, Landscape and Arts Network) Tate Modern Third Annual PhD Symposium organised by The AHRB 21 MARCH Centre for Surrealism and its Legacies 'Challenging the Past' Dr Rosalind Hopwood Convenor: Peter Knowlson (Chair, The Fountain Call for Papers Society) £5 for one lecture (available through booking or on Proposals for papers are invited for this symposium, door) or £15 season to attend the whole series which gives doctoral students the opportunity to present a 20-minute paper from their research on any aspect of surrealism and/or its legacies, to an audience of peers and established scholars of AAH members can post news of an surrealism. event on the AAH website Deadline for submissions: 1 May 2005. Members wishing to post an announcement should E-mail proposals in Word format email the text to: 33 CONFERENCE NEWS Brucke Centenary Modernity, Modernism Conference 1905/2005 and the Interior 1870-1970 Pioneers of German 19 AND 20 MAY 2005 Kingston University: Lawley Lecture theatre & Expressionism Dorich House, U.K 8-9 SEPTEMBER 2005 This will investigate the phenomenon of the modern University of Sussex interior in its broadest sense, including interiors designed and produced by professionals or amateurs, Call for Papers not necessarily looking modern but which can be seen as a response to 'modern life' There will be A two-day international conference will mark the 100th papers from design historians, architectural historians anniversary of the formation of the groundbreaking and cultural historians. Brucke group. This 'avant-garde' community was founded in Dresden in 1905 by young architecture £125, students £50. students Ernst Ludwig Kirchner, Fritz Bleyl, Erich Heckel, and Karl Schmidt-Rottluff, who banded together with Programme, booking form and abstracts can be the intent of reinvigorating German culture with a spirit found at Speakers include art historians Stephen Bann, Christopher Green, Caroline Jones, and Philippe-Alain Michaud; historians of science Cornelius Borck, Robert Advertising conferences in Bulletin Brain, liana Lbwy, John Pickstone, George Rousseau Conference details are carried free of charge, subject and Joseph Wachelder; philosophers Elie During and to space. Simply email details as a Word document to: Peter Osborne; literary historian Jeremy Stubbs and Jannet King Deadline for June Bulletin: 6 May Conference fee (two days, including lunch and coffee) £50 (£25 students). Day rate £25 (£10 students). If you wish to reserve a fixed space, and supply your To book a place, or find out more, please contact Anne own advertisement, please contact Jannet King for Kirkham < [email protected]> or Anna Dezeuze or advertising rate card. Julia Kelly Tel: 0161 275 0303/0304. 34 CONFERENCE NEWS Architecture + Art = New Visions, New Strategies 12-14 AUGUST 2005 Jyvaskyla, Finland 2nd International Alvar Aalto Research Conference on the Modern Architecture This international conterence brings together researchers and practitioners in architecture and art to reflect on and discuss the intersection between architecture and art. Focus will be on the shared material practices and intellectual projects during a period that spans from the immediate aftermath of the Second World War all the way to the present. Invited speakers and those presenting papers will map out developments in various parts of the globe, which led to the reassessment of disciplinary conventions and boundaries in both fields. History looms large over this project. Whether the call for the "synthesis of the arts" or for the "open work," the disciplinary questioning has often been motivated by a desire for increased social role and political significance. We invite you to come and learn from our speakers and share thoughts on this ongoing project. The organizers want to enrich and support the shared research project by generating discussion around, but not exclusively, the following topics: • Avant garde group formations consisting of artists and architects during the postwar era (e.g. Situationist International, Archigram, Independent Group, Cobra, Archizoom, etc.) • Collaborations of architects and artists (e.g. Eero Saarinen and Harry Bertoia) • Links between aesthetic and social formulations (e.g. New Monumentality, Mass Aesthetics) • New Strategies/Intellectual Exchanges (e.g. film and architecture) • Artistic/architectural movements (e.g. minimalism in art/minimalism in architecture) • New technologies enhancing collaboration between artists and architects (e.g. AEC software, CAM programs) The conference will be chaired by Eeva-Liisa Pelkonen, Architect,Ph.D. Yale University Invited speakers are: Caroline Bos (Holland), Romy Golan (Italy/Israel), Branden W. Joseph (U.S.), Joan Ockman, (U.S.), Juhani Pallasmaa (Finland), Felicity Scott (Australia) Further information: Alvar Aalto Academy, Tiilimdki 20, FI-00330 Helsinki, Finland [email protected], tel: +358 400 772 636, fax: +358 9 485 119 New research into the History of National and International Exhibitions, Festivals and World's Fairs FRIDAY 4 MARCH 2005 Victoria & Albert Museum, London This one-day symposium will examine issues such as: • how exhibitions and festivals contribute to or influence the development of style • the role of exhibitions and festivals in the formation of nationhood • exhibitions and festivals during and after empire • the gendering of exhibition or festival space • exhibitions and festivals as catalysts for political or social change • and methodological problems encountered in research in this area. Confirmed speakers include: Julie K Brown, independent researcher; Rika Devos and Mil de Kooning, Ghent University; Alexander Geppert, Essen; Michelle Henning and Ben Highmore, University of West of England; Emily Klancher, University of Michigan; Carolyn Malone, Ball State University Indiana; Anoma Pieris, University of Melbourne; Charlotte Wildman, Manchester University; Anne Wohlcke, Eastern Kentucky University; and Haluk Zelef from Ankara University and Hande Kokten from Middle East Technical University, Ankara. The event, which is organised by research students at the Royal College of Art/ Victoria & Albert Museum's department of History of Design, will be open to anyone with a research interest in the field, and no charge will be made for participation. Places will be limited, however. For further details please contact: Harriet Atkinson at 35