2018 ANNUAL 5 – 7 APRIL 2018 CONFERENCE Courtauld Institute of Art King’s College London

The close collaboration between two institutions – involving 2018 ANNUAL CONFERENCE numerous other museum and cultural partners in London – CO-ORDINATOR CHERYL PLATT will set the tone for a conference oriented to ‘looking [email protected] outwards’. 2018 ANNUAL CONFERENCE CONVENORS On the one hand, we challenge art historians and researchers to think about their JOANNA WOODALL Courtauld Institute of Art disciplinary relationships with other affiliated subjects in the arts and humanities KATIE SCOTT (and indeed beyond); on the other, we invite new perspectives on international Courtauld Institute of Art collaborations within the field. MICHAEL SQUIRE For further information, visit www.forarthistory.org.uk King’s College London KEYNOTE SPEAKERS Thursday 5 April (evening), tbc Friday 6 April (evening): TRISTRAM HUNT, Director of the V&A Saturday 7 April (lunchtime): GRISELDA POLLOCK, Professor of the Social & Critical Histories of Art I Director of Centre for Cultural Analysis, Theory and History, University of Leeds FESTIVAL CONFERENCE FEES As part of the 2018 conference on Friday 6 April there will be a Festival, which will be composed of various sessions, complementing the conference proceedings and Early Standard digging deeper into its themes in a discursive and exploratory environment. Full conference £300 £355 We will be investigating topics such as access to art history and knowledge of the (3 days) Full conference subject and corpus, and the alternative ways in which it can be interpreted, through £200 £255 audio description and British Sign Language. The Festival will offer art, music and (3 days) member debate in an informal opportunity for delegates and presenters to think around the Full conference conference and its papers. (3 days) student/ £130 £185 concession VISITS AND TOURS Full conference Visits are open to all registered delegates, but must be pre-booked. Full details (3 days) student/ £100 £155 about Annual Conference visits and tours will appear on the website. concession member BOOKFAIR & EXHIBITORS The 2018 Bookfair will take place in the Great Hall of King’s College London on all 3 Day delegate £180 £235 days of the conference and is free for delegates to attend. Exhibitors include: Day delegate £160 £215 Apollo Magazine, Artifex Press, Bloomsbury, Brill, IB Tauris, John Cabot University, member Laurence King Publishing, Leuven University Press, Lund Humphries, Manchester University Press, MIT Press, Peter Lang, Polity, Princeton University Press, Book online at Reaktion Books, Routledge (Taylor & Francis), Thames & Hudson, Wiley, and www.forarthistory.org.uk Yale University Press. Early booking deadline: 1 March 2018

1 A Bacchanal of Truth Alison Alder (Australian National University School of Art and Design) POSTED EXTRAVAGANZAS: The art of Aron Vinegar, University of Oslo exaggeration and the political poster ‘Look out!’ I read this headline for the Annual Conference as Larne Abse Gogarty (Humboldt Universität zu Berlin) Too a provocation launched in extremis. In the spirit of such an Much: Excess and commitment in contemporary art and interpretation, this session is an exploration of the logic and criticism passion of exaggeration, extravagance, hyperbolics, extremist positions, and excessive statements in and around art, art history, criticism, visual studies, philosophy and politics. It is an attempt to plumb the possibilities for Art and Law: Objects and spaces as legal and the necessity of exaggeration in order to generate new actors modes and thresholds of truth that do not entail adding knowledge to knowledge. Quintilian defined hyperbole as Jack Hartnell University of East Anglia, Norwich ‘the proper straining of the truth’; Thoreau wrote, ‘I am Kevin Lotery Sarah Lawrence College, New York convinced that I cannot exaggerate enough even to lay the This session considers the intersections between visual foundation of a true expression’; Badiou notes that, ‘(All) culture and the law. Art history has long investigated the role truths are woven from extreme consequences. Truth is of the law, from issues of visual evidence and legal always extremist’; and Hanna Arendt provocatively states aesthetics to ideas of artistic originality and authorship. But that ‘all thought is exaggeration’. This panel is not primarily recent scholarship has increasingly drawn attention to the interested in obvious examples taken from high modernism ways in which art can participate in the law’s actual – ‘the age of extremes’ in art and politics – but rather in operation. This session aims to broaden these exploring modes of exaggeration concerning art’s investigations along historical and disciplinary lines by relationship to aesthetics, truth, and politics in and for our tracing the long history of artistic intrusions into legal life, time focusing on moments when art and architecture, broadly Are there different modalities or new techniques that we defined, have functioned as legal actors in their own right. need to invent, and that we might add to those like How have aesthetic objects past and present actively hyperbole, assertion, tautology, rage, ellipses, or polemos? shaped the production and execution of the law as Does postmodernism and much of its aftermath witnesses or juridical subjects in themselves? How have necessarily mark the emergence of a postextremist state artists approached the courtroom as a site of artistic of consciousness, a ‘neo-mediocre climate’? If capitalism is production and intervention? And in what ways has predicated on its ability to produce and absorb all excess, aesthetic production sought to short-circuit legal what are we to do? What about our current political climate structures or forward alternative, even utopian, legal and its extremisms? systems? Tom Wilkinson (The Warburg Institute, London) Honest Legal Architectures Dollars: Why did money start telling the truth during the Matthew Wells (Victoria & Albert Museum / Royal College of German Hyperinflation, and could it do the same today? Art) Architectural Models as Evidence and Actors in the 19th Ingrid Halland (University of Oslo, Norway) ‘Nothing better Century than a touch of ecology and catastrophe.’ On Jean Olga Touloumi (Bard College) Building the Case, c1945 Baudrillard’s attempt to destroy the environment, 1970 Affect and the Courtroom Mara Polgovsky Ezcurra (Queens’ College, Cambridge) Reality Machine: Contested (visual) regimes of truth in a post- Daniel Zolli (The Pennsylvania State University) Bell on Trial: factual era. One exhibition, two Latin American cases Legal authority, agency, and exile in the ‘Piagnona’ of San Marco Amanda Boetzkes (University of Guelph, Canada) Annie Pootoogook’s Realism and the Plenitude of the Object Lela Graybill (University of Utah) The Forensic Eye and the Public Mind: The Bertillon system of crime scene photography Naomi Vogt (University College London) Where’s my magnetic trains and my electric­ness? Exuberance as form in Law and Borderlines the work of Ryan Trecartin and Lizzie Fitch Elsje van Kessel (University of St Andrews) Legal Agency, Emily Watlington (Massachusetts Institute of Technology, Asian material culture, and the freedom of the seas c1600 USA) Decorative, Domestic, Dumb: Lily van der Stokker’s Stacey Vorster (University of the Witwatersrand / University feminist flatness of Amsterdam) Rehabilitating Images of Justice in Post- Apartheid South Africa

2 Johanna Gosse (University of Colorado, Boulder) Border gender, identity, and religious art, and the capacity of art to Land Art: Social practice as transborder legal action in break boundaries regarding conventional understandings of postcommodity’s Repellent Fence (2015) ‘religion’ and ‘faith’. Spike Bucklow (University of Cambridge) The Rood Screen – Gateway to paradise Art and Religion: Theology, the sacred, Honor Wilkinson (Bowdoin College Museum of Art) The and visual culture Journey to Divine Understanding in the Architectural Diagrams of Richard of St Victor’s In visionem Ezechielis Ben Quash, King’s College London Whitney Davis (Berkeley) Presence and Scepticism Ayla Lepine, University of Essex Helena Capkova (Waseda University) Golconde as Concrete When art enters religious territory, it can open new spaces Crystal of Caves: A case of transnational intentional of encounter that provoke, illuminate, challenge, and community architecture disturb. The attachments of religious conviction, meanwhile, can discomfit the disinterested analysis of the Hannah Williams (Queen Mary, University of London) Sacred scholar of material culture. When scholarship in art history Space in the City of Enlightenment: Following religious art connects with research in religious studies and theology, through 18th-century Paris dialogues necessarily open outwards, therefore, onto Catherine McCormack (Sotheby’s Institute of Art) Relic as debates regarding religion and the sacred in visual culture Image and Image as Relic: The body of St Teresa of Avila in and in public and private life. Building on recent scholarship Rome by voices in theology, religion and the arts, including Sally Promey, Graham Howes, Gretchen Buggeln and Jonathan Anderson (Biola University) The Retrieval of Christopher Pinney, this session encourages new Theology in the Artworks of Kris Martin perspectives on diverse meetings worldwide between the Amitai Mendelsohn (The Israel Museum, Jerusalem) Behold sacred and the arts. the Man: Jesus in Jewish and Israeli art Across the past decade, art historians and theologians have begun to probe new zones of common ground and collaborate fruitfully. As an example, Stations 2016, staged in London during Lent 2016, was a remarkable but almost Art, Science, Craft and Industry in uncategorisable event. It created a route across London Postcolonial Historiographies which connected works of art hanging in museum spaces Deborah Swallow, Courtauld Institute of Art (Jacopo Bassano’s Christ on the Way to Calvary in the National Gallery, for example, or a Limoges enamel Zehra Jumabhoy, Courtauld Institute of Art sequence in the Wallace Collection) with works of art in Jahnavi Phalkey, King’s College London church spaces (many of them newly commissioned, Devika Singh, University of Cambridge temporary installations), and also with works of art in public and ostensibly ‘neutral’ spaces (such as a statue of ‘Science in India’ (1982), at London’s Science Museum, was Mahatma Gandhi in Parliament Square). It clearly showed a collaborative exhibition between the British and Indian that contexts are not only physical spaces; they are also governments that was supposed to demonstrate the human uses. The Bassano in the National Gallery could, at cultural equality of the two nations. Yet, according to its the very same instant that Lent, have been gazed upon by a critics, British curators deliberately ignored India’s science, tourist spending a morning enjoying art for art’s sake, and a celebrating its ‘innovative’ use of bullock-carts instead. pilgrim en route with Christ to Golgotha. Hence, ‘Science in India’ was informed by the same regressive logic that led, in 1872, to the founding of This session features papers from art historians and Bombay’s Victoria & Albert Museum (the BDL Museum), to theologians in fields that explore any tradition or period in showcase craft and industrial artefacts because Indians which art and religion interlace to produce new experiences were thought to be incapable of ‘fine art’. The message was and understandings of holiness and the sacred. These that ‘real’ artistic and scientific progress is the preserve of researchers break new ground in relation to liturgy and the ‘civilisers’. That orthodoxy is now under assault by a new ritual, interdisciplinary methodologies and cross- experimentation that combines art and science, and in fertilisations between theology and art history. They which craft plays an innovative role. For example, the BDL explore the unique status of religious objects in museums Museum regularly invites contemporary artists to riff off its and cultural institutions, interactions between sacred collection of Raj-era artefacts. As high art and craft scripture and the arts, religious implications for traditions coalesce, the fixed divide between the representational and abstract art, diverse intersections of

3 postcolonial world and its erstwhile conquerors is ‘East Asia’, ‘Southeast Asia’, ‘South Asia’, ‘Central Asia’, challenged. etc.)? This session invites reflection on the methodological issues and theoretical implications of both exhibiting ‘Asia’ Empire, Science and Nation in the Middle East and of analysing such past shows now. Chair: Sussan Babaie (Courtauld Institute of Art, London) In this session, we seek to question the stationary Shahar Marnin-Distelfeld (Zefat Academic College, Israel) perspective and centre/periphery binary implied by ‘looking National Botany: Art and science in early Israel out’, encouraging debate of past art exhibitions as a way to Orly Nezer (Ben Gurion University, Israel) Studio Ceramics think about more mobile and contingent histories that also and the ‘Craft as Design’ Discourse prompt us to look both inwards and sideways. In other words: discussion of exhibition histories that encourage Funda Berksoy (Mimar Sinan University of Fine Arts, looking in multiple directions. Istanbul) Art Exhibitions in Munch and Istanbul (1909–18): Cultural events as part of German Imperialist Policies Biljana Ciric (Independent curator and writer) Let’s Talk about Money: Shanghai first International Fax Art Exhibition Contentious Nationalisms: Craft, Art & Colonialism Lu Pan (Hong Kong Polytechnic University) Cathay Pacific’s Chair: Dr Yuthika Sharma (University of Edinburgh) ‘Contemporary Art in Asia’ Exhibitions (1965) Anais Da Fonseca (Tate Research Centre: Asia) Narratives Kathleen Ditzig (Nanyang Technological University, of the ‘In-between’: Indian arts and crafts in today’s Singapore) Constructing Southeast Asia: Soft power, alliances international display. and the first exhibitions of Southeast Asia Sonal Khullar (University of Washington, Seattle, USA) Samina Iqbal (Lahore School of Economics) Modern Art of Seeds of Change, Spectres of Death: Shweta Bhattad’s Faith Pakistan: Lahore Art Circle and the soft cultural diplomacy of (2016) the US Friederike Voigt (National Museums Scotland, Edinburgh) Diva Gujral (University College London) ‘Painters with a Contextualisation and Reinterpretation as a Means of Re- Camera’ (1968–69): In search of the photography exhibition in examining the Indian Collection at National Museums Scotland India (NMS) Kerstin Winking (Independent curator and writer) The Photography and Memories of a Nation Exhibition as Indonesian Revolutionary Weapon Chair: Mirjam Brusius (German Historical Institute London), Tina Le (University of Michigan-Ann Arbor) Exhibiting the Ana S Gonzalez Rueda (University of St Andrews) The Ephemeral: Thinking through reconstruction and restaging in Decolonial Archive: Uriel Orlow’s ‘Mafavuke’s Trial and Other contemporary Southeast Asian art Plant Stories’ Nayun Jang (The Courtauld Institute of Art, University of London) Rendering Invisible Memories Visible: Photography and memories of the Pacific War in East Asia Aural Affects and Effects: Explicit and Leila Anne Harris (The Graduate Center, City University of implicit sounds and rhythms in New York) Scenes of Industry: Expanding the history of contemporary visual media photography in India Olga Nikolaeva, University of Gothenburg Christine Sjöberg, University of Gothenburg Asia through Exhibition Histories Johnny Wingstedt, Dalarna University Lucy Steeds, Afterall, Central Saint Martins, University of When the body ‘looks out’ it does not only see, but it also the Arts London perceives the visual by means of other senses than sight. Different kinds of intermedialities enhance the notion of the Michelle Wong, Asia Art Archive entanglement of the senses. Sounds in digital environments Sarah Turner, Paul Mellon Centre, London of, for instance, the internet amplify the experience of different types of imageries, while movements such as Nada Raza, Tate Research Centre: Asia loops, short films and GIF-animations seem to create visual What does it mean to practise exhibition histories rather rhythms. In the space of, for instance, pop and rock live than art history? How are distinct disciplines drawn on, concerts, digital technologies are used to create advanced alongside or in contrast to art history when the focus lies on visual imagery, engaging aural, pictorial and embodied art gaining its public moment through the lens of ‘Asia’ (or notions in the construction of a gesamtkunstwerk. Thus, in examples ranging from live concert environments to, for

4 example, digital fashion magazines, visual imagery is immigrants, diasporic communities or other groups residing merged with aural affects and effects in different ways. (both literally and figuratively) ‘in-between’; activist art that interrogates borders and their meaning(s); the role of public This session is interested in how sound and audial art, public space, and social media in thinking beyond resources affect the visual and how the visual creates boundaries; the metaphorical and/or literal framing of a phenomenological experiences of the aural within work of art and its effects; the symbolic purpose or meaning contemporary visual media. The questions this session of frames in various cultural contexts. seeks to evolve are: What happens to the space of the visual when explicit and implicit audial means are involved? Shifting Boundaries How does the beholder’s space become affected by this? Mickey Abel (University of North Texas) Fluid Boundaries: A How can art historical methods and methodologies be phenomenological approach to ‘entry’ as a mutable spatial adapted to and challenged by this? praxis Lisa Deml (Independent scholar) Louder than Words. Catherine Holochwost (La Salle University) Body and Quietude as a practice of everyday resistance Disorder at the Margins of Antebellum American Art Astrid von Rosen (University of Gothenburg) Scenographing Sound in the Dance Archive: Affective atmospheres and Louise Siddons (Oklahoma State University) Seeing the Four transformative materialities Sacred Mountains: Navajo sovereignty in the photography of Laura Gilpin Fiona Davies (University of Sydney, Australia) A Bedside Medical Monitor’s Song Borders of Culture and Identity Melissa Warak (University of Texas at El Paso) The Clothes Theresa Avila (California State University Channel Islands) Make the Band: Nick Cave’s ‘soundsuits’ and the body sonic Revisions of Colonial Constructs: Maps of the New World and the cartoons of Eric Garcia Dawna Schuld (Texas A&M University) Sculptural Acoustics: Colouring the silence in Doug Wheeler’s Synthetic Desert Pauline Gan (Independent Scholar) Of Pirates, Dragons and Boogeymen: The fluid borders of Yee I-Lann’s Sulu stories

Rebecca Dubay (Kansas City Art Institute) Negotiating Beyond Boundaries: Artistic inquiries Contested Terrain: Zarina Hashmi, Mona Hatoum, and Emily into borders and their meaning(s) Jacir Mey-Yen Moriuchi, La Salle University (De)Constructing Walls Lesley Shipley, Randolph College Gerald Silk (Tyler School of Art, Temple University) Christo and Jeanne Claude’s Wall of Oil Barrels – The Iron Curtain: Borders have played a critical role in the development and Boundaries, borders, barriers, and binaries distribution of culture, often acting as frameworks that help or hinder our ability to ‘look outwards’. In The Location of Chelsea Haines (City University of New York) Naftali Bezem Culture, Homi Bhabha calls attention to the value of Inside and Outside the Green Line interstitial spaces, where borders, frames, and other Sari Patnaik (Ohio State University) Borderline Crazy: locations ‘in-between’ become ‘innovative sites of Humour, celebration, and radicality in contemporary art collaboration and contestation in the act of defining the idea of society itself’. Other philosophical considerations of Geo-Political Borders borders, such as Martin Heidegger’s concept of gestell, or George Flaherty (University of Texas at Austin) Commons enframing, Jacques Derrida’s deconstruction of from Borders: Teddy Cruz’s adaptable environments today Enlightenment aesthetics vis-à-vis the parergon, and Victor and tomorrow Stoichita’s analysis of framing devices in early modern Sarah Bassnett (The University of Western Ontario) Richard ‘meta-painting’, have demonstrated the transformative Mosse’s Thermal Imaging and the Political Economy of the power of edges, frames, borders, and boundaries in art. Refugee Crisis This session focuses on works of art, artistic practices, and Menno Hubregtse (University of Victoria) Airport Artworks art historical perspectives that think critically and creatively and International Borders: Place, security, and mobility about borders and their meaning(s). The goal is to expand our understanding of borders, whether physical or conceptual, historical or theoretical. In the spirit of pushing beyond boundaries of convention and ‘looking outwards’, this session will examine a variety of mediums, art historical periods, and/or curatorial practices. Papers address art that explores the significance of borders to migrants,

5 Roundtable Discussion There has, since classical antiquity, been a complex set of correspondences between the human body and the Beyond Disciplinary Borders: History of designed building. Such interactions spring from the science and history of art enduring art-theoretical ideal whereby art and architecture should imitate nature, as well as from broader cultural, Katy Barrett, Science Museum, London medical and anatomical thinking wherein the body is Sachiko Kusukawa, Trinity College, Cambridge described in terms of architecture and domestic Alexander Marr, University of Cambridge arrangement. Throughout recorded history, architects have turned to the proportions, structures, processes, and Sietske Fransen, CRASSH, University of Cambridge narratives of the human body when designing built spaces. Katherine Reinhart, CRASSH, University of Cambridge Likewise, artists and writers working in anatomy, medicine, politics and literature, to name a few, have turned to the Joanna Woodall, The Courtauld Institute of Art shape, design and spaces of the building when discussing One of the disciplines that has benefited enormously from and explaining the body. the work of, and working with, art historians is the history of Our panel will explore how this enduring correspondence early modern science. Indeed, one might say that looking has been expressed and shaped by visual culture. The out of the disciplinary boundary of history of science has papers will treat a broad array of visual and theoretical been imperative when studying a period where ‘science’ and material, and cover a very wide time period. From classical ‘art’ were not mutually exclusive practices or professions. antiquity to the twentieth century, the papers will address For the early modern period, there has been fruitful the intersections of body and architecture from many historiographic convergence between history of art and perspectives and employing many methodologies. The science – a move away from ‘canonical’ heroes, an panel will address both architectures which engage with increased interest in the processes of making, the role of theories of the body, and bodies which are shaped, treated collecting and circulation of objects, and the way in which or thought about in architectural terms. We have taken an knowledge and objects travel globally. interdisciplinary approach, bringing together scholars in This Round Table, chaired by Katy Barrett, Curator of Art architecture, history of medicine and science, literature, art Collections at the Science Museum, will reflect on the and visual culture. historical and historiographic synergy between history of Siobhan Chomse (Royal Holloway, University of London) science and history of art by focusing on key themes from The Fall of Priam and the Death of Troy: Embodied early modern science and art: Kusukawa (observation), architecture in Virgil’s Aeneid and its afterlife Reinhart (copying), Fransen (translation), Marr (epistemic images). These themes arise from the AHRC-funded Sarah Lippert (University of Michigan-Flint) Corpus Christi as research project ‘Making Visible: the visual and graphic the Bridge in Depictions of Sienese Mysticism practices of the early Royal Society’, a collaboration Adriano Aymonino (University of Buckingham) The Compass between historians of science and historians of art that and the Flesh: The Classicist body as architectural body seeks to understand how scientific, observational practices were closely intertwined with graphic practices. Joanna Rosemary Moore (University College London) Inside the Woodall, as respondent, will lead the discussion of the value Architecture of the Body in Early Modern Anatomical Prints of looking beyond disciplinary borders while looking out for Brenda Lynn Edgar (University of Geneva, Interfaculty possible pitfalls of disciplinary differences. Centre for Bioethics and Medical Humanities) De la décoration Humaine: Notions of skin in architecture and dermatology in the 19th century Body as Architecture/ Architecture as Hanna Baro (Heinrich-Heine-Universität Düsseldorf / Body Humboldt-Universität zu Berlin) The Life Cycle of a Building Kelly Freeman, University College London Lauren Downing Peters (Centre for Fashion Studies, Stockholm University) Building a Better Body: Architectural Rebecca Whiteley, University College London Discourses in stoutwear design, 1915–1930 [J]ust as the head, foot, and indeed any member must Michael Sappol (Uppsala University, History of Science & correspond to each other and to all the rest of the body in a Ideas) How to Get Modern with Body Architecture: Fritz Kahn, living being, so in a building [...] the parts of the whole body medical illustration and the architectural rhetoric of modernity must be so composed that they all correspond to one another. – Leon Battista Alberti, De re aedificatoria (c 1450).

6 Contemporary Art Histories Philippe Guillaume (Concordia University) Images Unfolding: A conversation about making the past present Sam Rose, University of St Andrews Emalee Beddoes, Museums Worcestershire and Division of Labour Gallery Critical Pedagogies: What constitutes Since Mieke Bal’s Quoting Caravaggio: Contemporary Art, ‘critical’ pedagogy for art and art history Preposterous History (1999), art historians have increasingly self-consciously turned to contemporary art as a means of today? rethinking earlier artworks and moments in the history of Emily Pringle, Tate art. Curatorial practice has likewise made use of the Trevor Horsewood, Association for Art History contemporary art ‘intervention’ as one strategy for the revivification of older, overly familiar, collection material. But This session explores a range of connotations and what is it that contemporary art actually does to earlier art theoretical positions associated with the term ‘critical’ and and its histories in these cases? And are there significant its relation to teaching and learning in art and art history shared features of the art historical and curatorial uses of today. Set against a backdrop of ‘critical pedagogy’ and the contemporary art? Or are these separate projects that are work of theorists such as Paulo Friere, Henry Giroux and bell isolated from, or even critical of, one another? hooks, the session explores what forms of teaching and learning are critical, in other words essential, in a global Looking both to art history and ‘out’ to curatorial practice social and educational context. and related forms of public engagement, this panel features three types of paper in order to examine these issues. First The session comprises contributions from UK and of all, it asks art historians and curators to reflect on cases international artists, art historians and educators that of curatorial ‘interventions’, where contemporary art has address recent research and/or provide vibrant and robust been brought into the museum setting in unexpected or arguments that make explicit the theoretical basis for art deliberately anachronistic ways. Secondly, it asks art education practice in formal, informal and non-formal historians who work primarily outside contemporary art to learning settings. In particular, the session seeks to explore re-examine their material in light of a contemporary art how and why art and art history pedagogy affords critical practice, and discuss what new light the one might shed on readings of society and our place within it. The session the other. Finally, it includes broader reflections on the use reviews the historic role of critical pedagogy in art and art of contemporary art as a means of engaging the art history education and its relevance today, presents case historical past, including overlaps and tensions between the studies of programmes utilising critical pedagogy, and art historical and curatorial aspects. considers the global challenges and opportunities facing art education pedagogy now. Michael Squire (King’s College London) The Classical Now Through a combination of both papers and world-café Hans Bloemsma (University College Roosevelt, Utrecht ‘provocations’, this session will examine extant and University) Rethinking Giotto: Tacita Dean’s Buon Fresco emerging research from a range of theoretical and (2014) institutional perspectives. The more discursive afternoon Tania Moore (The Sainsbury Centre for Visual Arts) Sarah session is intended to allow for greater discussion and Pickstone (Artist) A Contemporary Enlightenment: Angelica knowledge exchange, in line with the ethos of critical Kauffman reimagined’ pedagogy. Contributions and presentations from the session will form a publication for wider circulation in Andrea Bubenik (University of Queensland) Contemporary summer 2018. Baroque? Pat Thomson (University of Nottingham) A New Role for Aline Guillermet (King’s College, University of Cambridge) Visual Arts and Art Teaching in a Post-Critical, Post-Humanist Through the Digital Lens: Reconsidering painting and Education? information Charlotte Bik Bandlien (Oslo National Academy of the Arts Sarah Gould (Université Paris 1-Panthéon Sorbonne) Re- (KHiO)) Post-Art Pedagogy describing Turner in Light of the Materiality of British Contemporary Art Matthew Cornford and Naomi Salaman (University of Brighton) Teaching Art Students Art History: Radical Donal Maguire (Centre for the Study of Irish Art (CSIA), pedagogy in British art schools National Gallery of Ireland) Visualising Diaspora: Pathos of Distance at the National Gallery of Ireland Joanne Crawford (University of Leeds) Critical Art History As/Is Critical Art Practice Martha Langford (Gail and Stephen A Jarislowsky Institute for Studies in Canadian Art, Concordia University) and

7 Jane Trowell (University of Nottingham) Before we Begin: Jaime Tsai (National Art School, Sydney, Australia) Pixel Whiteness and coloniality in art education Pirates: Theft as Strategy in the Art of Joan Ross and Riikka Haapalainen (Aalto University, School of Arts, Design Soda_Jerk and Architecture, Espoo) Gallery Education as the Radical Act Vid Simoniti (Churchill College, University of Cambridge) of Hospitality Dadaist Strategies in Digital Art and in Alt-Right Kimberley Foster (Goldsmiths) Pedagogies of Attention and Leonor de Oliveira (Universidade NOVA de Lisboa, The Matter Courtauld Institute of Art) Paula Rego: Chaos vs order. A Dada Emily Pringle (Tate) Sustaining Critical Pedagogy in ‘Dark attitude against authority in the post –war period Times’ Clara Balaguer (The Office of Culture & Design) DIGONG MY Panel discussion will follow with contributions from LABS: (Gender) fluid identity of trolls in the Philippines of presenters and delegates President Rodrigo Duterte Montage Mädels The Production of Counter-Propaganda

Sarah Hegenbart (Technische Universität München) and Dada Data: Contemporary art practice in Mara-Johanna Kölmel (Leuphana University Lüneburg) The the era of post-truth politics Big DADA DATA: Tactics of resistance in the age of post-truth politics Sarah Hegenbart, Technische Universität München Mara-Johanna Kölmel, Leuphana Universität Lüneburg The era of post-truth politics poses a new challenge for Dangerous Bodies - Look out! Fashioned contemporary art practice. If populist politicians persuade bodies on the boundaries the masses by simplified conceptions of reality, how can art highlight the neglected nuances and complexities of our Royce Mahawatte, Central Saint Martins, London contemporary moment? How can art foster critical Jacki Willson, University of Leeds discourse that is often abandoned when subscribing to This panel explores the cultural intersection between simplified notions of reality? bodies, fashion and transgression. Bodies are political As part of the 100th anniversary of the Dada movement, players in culture. What role do fashioned bodies play in the online anti-museum Dada-Data was established in resistance, in meeting governmental boundaries or 2016 to revive the ideas behind the revolutionary art institutional power? Fashion is an aspect of modern warfare. movement. Mixing collages and hypertext, twitter and Style can defend and attack in cultural space. How do manifestoes, Instagram and readymades, the online fashioned bodies occupy the grey area between social platform provides a space to explore Dada, and connects its control and the resistance to power? In relation to Judith heritage with our everyday online life. Our session expands Butler and Athena Athanasiou’s idea of the ‘performative in on the idea of Dada-Data.net. It asks how an engagement the political’ (2013) this session would like to consider how with the aesthetic tactics of Dada, can help develop critical fashioned bodies – which are ‘revolting’, ‘laughing’, ‘unruly’, vocabularies for confronting our era of post-truth politics ‘grotesque’, ‘contaminating’, explicit, or silent and still – mediated by information floods and ‘big data’. Since it has enact resistant strategies of protest. been pivotal to the Dada movement to approach art and The multi-disciplinary session will also consider readings of reality as inextricably linked, this session explores whether historical fashion media. How do governmental changes find and how Dada strategies such as alienation, anti-aesthetics, embodiment in 18th-century masquerade, 19th-century collage, fragmentation and irony, may contribute to face fashion cultures, Modernist imagery? How does fashion the complexities of our time. intersect with race and gender discourses where Rebecca Smith (Liverpool School of Art and Design, colonialism, capitalism and embodiment are inextricably Liverpool John Moores University) Parafictions and linked? How do acts of fashioned stillness (not passivity), Immateriality: The legacy of the Berlin Dada media hoaxes in play, refusal or rage mediate conflict, and challenge, critique contemporary parafictive acts or attack violent regimes? Davide Banis (Research School for Media Studies (RMes), Conor Lucey (University College, Dublin) Social University of Amsterdam) Hacking the Newsroom: Dadaism, Transvestitism and the 18th-century Building World: The case tactical media and the potential of counterfactualism of the ‘Macaroni Bricklayer’ Jack Southern (University of Gloucestershire, City and Nigel Lezama (Brock University) Nicki Minaj and Cardi B Guilds of London Art School) The Multiple Narratives of Post- Donning and ‘Dissing’ Luxury’s Symbolic Status Truth Politics, Told through Pictures

8 Carmen Dexl (American Studies / Performance Studies, Sheila ffolliott (George Mason University) Portrait FAU Erlangen-Nuernberg) The Intersection of Performance Discourses: Danger ahead and Activism: The fashioned body of Josephine Baker Kerstin Maria Pahl (Humboldt University Berlin / King’s Andrea Kollnitz (Stockholm University) Terrifying Beauty. College London) Depressing and Deadly. Portraiture’s ability Self-performances between art and life in Leonor Fini’s oeuvre to hurt in long-18th-century England Francis Summers (UCA, Rochester) Non-Norm-(Hard)Core: Katherine Gazzard (University of East Anglia, National Hood by Air’s Porn Archive Maritime Museum and National Portrait Gallery) Mutinous Tars and Venerable Officers: Authority, rebellion and Rachel Dedman (Beirut, Lebanon) Embroidery and the dangerous portraits in the Royal Navy in the late 1790s Intifada: Stitching resistance in Palestine Georgia Haseldine (Queen Mary, University of London, and Pamela I Cyril-Egware (University of Port Harcourt, Nigeria) National Portrait Gallery) Effigies and Caricatures of Britain’s Abadi-a-ingo: The dress of protest in the Niger Delta Region Radical Reform Movement of Nigeria Samantha Chang (University of Toronto) Dangerous Alicja Raciniewska (Adam Mickiewicz University, Poznań, Domesticity: Portraits of maidservants in the Dutch Republic Poland) Polish ‘Black Protests 2016’: Political dress and the politics of fashion James Hall (University of Southampton) The Power of Grimaces: The influence of Tommaso Campanella’s mimicry technique on Baroque portrait caricature and on Franz Xavier Messerschmidt’s ‘character heads’ Dangerous Portraits in the Early Modern World Jennifer Germann, Ithaca College Deskilling or the Displacement of Skill: Melissa Percival, University of Exeter Artistic production outside of the studio Portraiture was a dynamic and, at times, disruptive artistic Dave Beech, Valand Academy, University of Gothenburg practice in the Early Modern period. Portraits could and did and Chelsea College of Art, London undermine, reconfigure, or otherwise step outside the Danielle Child, Manchester School of Art, Manchester bounds of social propriety. Rather than upholding or Metropolitan University reinforcing existing hierarchies and/or maintaining the status quo, these portraits challenged the expectations of This panel proposes that in art deskilling did not happen. spectators and consumers. Dangerous portraits could Labour history refers to the disappearance of skill with the disavow normative behavioural expectations, challenge the arrival of mechanisation, automation and the technical political order either openly or privately, or imagine and even division of labour. In art, we contend, skill did not disappear; generate new identities. How were social expectations rather, it was displaced from the artist to commercial engaged and subverted in portraits? Where and in what producers, assistants, technicians and other fabricators. forms were dangerous portraits consumed or shared? How The contracting out of skilled work is not new to artistic did artists, spectators, critics, and/or markets respond to practice; historically, it is visible in artisanal guilds and these challenges? renaissance workshops. The literature of art during the 1960s suppressed contracting out and other dimensions of This session considers Early Modern portraits that pushed skilled labour to focus exclusively on the author. Those beyond the bounds of social norms and expectations. It accounts that have acknowledged the apprentice, the engages the theme ‘look out!’ by allowing for reflection on journeyman, the studio assistant, the facilitator often limit identities traditionally viewed as ‘outside’ the bounds of the themselves to the melodramatic revelation that artists normative or desirable in terms of gender, race, class, since Duchamp do not make their own works, and express geography, etc., produced between 1500 and 1800.The moral outrage that artists exploit unacknowledged label ‘dangerous’ can pertain variously to sitters, portraits’ assistance. formal characteristics, conditions of portrait production, possible consequences for artists, and gossip and scandal This panel wishes to ‘look out’ beyond the author and the occurring ‘outside the frame’. studio and examine the role of the unnamed journeyman or ‘contractor’ in the creative process. Papers will examine Jennifer Van Horn (University of Delaware) Portraits of critically those modes of art-producing labour external to Enslaved Attendants in a New Nation the figure of the artist both before the period of so-called Nika Elder (American University) John Singleton Copley and ‘deskilling’ and after. the Perfidiousness of Colonial Portraiture

9 Dave Beech (Valand Academy, University of Gothenburg Loss, mourning and touching specimens at the Wildgoose and Chelsea College of Art, London) Art’s Division of Labour Memorial Library and the Discourses of Deskilling, Handicraft and Artistic Nicole Cochrane (University of Hull) A Beautiful Ruin: Loss Danielle Child (Manchester School of Art, Manchester and legacy in the collection of Sir John Soane Metropolitan University) Fabricating Value (The Invisible Hand Nada Kancevova (Academy of Fine Arts and Design, of the Maker) Bratislava) On Collecting Socialist Design: Between the Kirsty Sinclair Dootson (History of Art, Yale University) ordinary and the curiosity Industrial Oil Paints and the Texture of Capitalism: Making Charlotte Ashby (Birkbeck) Ceramic Dialogues: Japan, colour in late Victorian Britain Hamburg and Copenhagen Roxanne Ravenhill (Victoria and Albert Museum/ Royal Rachel Gotlieb (Gardiner Museum & Alfred University) A College of Art) ‘Used by all leading Architects and Builders’: Victorian Jug as Mutable Museum Signifier Contracting networks in Victorian London Sarah Coviello (Warburg Institute) When Objects Become Kim Charnley (Plymouth College of Art) Ian Burn, ‘Ex- Connoisseurs: Herbert Horne and the attribution of the conceptual’ Art and the Politics of Skill Torregiani Panels Lindsay Aveilhé (Artif Express) Lines Touching and Crossing: Caroline McCaffrey-Howarth (University of Leeds) ‘Sèvres- The role of drafter in Sol LeWitt’s wall drawings mania’: Being collected by Sèvres porcelain ‘ship’ vases? Kuba Szreder (Academy of Fine Arts in Warsaw) ) Circulation and its Discontents. Project-related modes of production and new division of artistic labour Difficult Conversations: Collaborative Felicity Allen The Disoeuvre: The complexity of an oeuvre for art practices across political divides the marginalised artist Alla Myzelev, State University of New York (SUNY) Geneseo Shirley Siegal, Independent Artist Dialogues: Things and their collectors In essence, this session is about difficult, sometime Nicole Cochrane, University of Hull impossible, conversations. Following the theme of the conference, ‘Look Out’, it hopes to continue conversations Lizzie Rogers, University of Hull on how both academics and artists could help to create Charlotte Johnson, Victoria and Albert Museum bridges of understanding in the most contested geographical areas. Acts of acquiring, collecting, curating and reception of the object are generally understood as reciprocal relations Responding to the current trend in contemporary art, craft between the collector and the object of desire. However, and design towards political and social activism and raising the content of that exchange or dialogue has often been awareness of the great conflict in our society, contributions taken for granted. Collecting for display and social focus on artworks that relate to conflict across political and advancement, collecting as speculation, collecting for love social borders and that aim to establish understanding of, etc have too often been accepted as self-explanatory, and to ask questions about, the role of art in establishing diverting academic enquiry elsewhere, and obscuring the conversations. complexities at the heart of collecting practice. This session Dimitra Gkitsa (Goldsmiths, University of London) Art builds on the recent development of scholarship in this field, Collaborations in the Post-Socialist Space: Reclaiming political exploring the push and pull between things and collectors, agency collectively artists and institutions. It questions how dialogues between parties transform the status, values, identity and character Rachel Marsden (The University of Melbourne, Australia) of each. It will engage with some of the more difficult Local Action to Global ‘Agitprop’: The digital voice of Chinese questions relating to collecting and identity, and illuminate occupy movements some of the moments, movements and materials which Shirley Siegal (Artist, Israel) Affective Art in the Age of have created, sustained and changed these dialogues. Activism Barbara Pezzini (University of Manchester & the National Ebru Esra Satici (Koc University’s Research Center for Gallery) Prime Minister, Collector and Collectable: William Anatolian Civilizations) Looking out for the Impact: Exhibiting Gladstone and his ‘things’, William Gladstone as a ‘thing’ sensitive topics in Turkey Sarah Wade (UCL) and Jane Wildgoose (King’s College Evanthia Tselika Conflict Transformation Art in Nicosia, London & Wildgoose Memorial Library) All That Remains: Cyprus: Dialogues across a divided city through social art practices 10 Lucy Weir (University of Edinburgh) Terrorised Masculinity: Claudia Cieri Via (Sapienza University of Rome) Hybris and Violation in visual culture Sacrifice. Aby Warburg and Ovid’s Metamorphosis through the images Jagtej Kaur Grewal (Panjab University) Materialising Sites of Contemplation in Contested Spaces Tijen Tunali (University of Tours-France) Collaborative Aesthetics in the Spaces of Conflict Framing Space through Architecture and Marine Tanguy (MTArt) Artists as Positive Cultural Influencers Film to our Modern Cities Jessica Schouela, University of York Hannah Paveck, King’s College London We experience architecture and film as media of duration Figuring Change: The early modern that unfold in time. The encounter of an embodied artistic reception of Ovid’s spectator or inhabitant with a film or a dwelling is informed Metamorphoses principally by motion and the succession of one frame or screen (architectonic and cinematic) to the next. These two Lydia Hamlett, History of Art, University of Cambridge modes of construction investigate the three-dimensional Philip Hardie, Classics, University of Cambridge occupancy and representation of space as it relates to both bodies and objects, framed within curated and mediated This session – co-convened by a classicist and an art spaces. Instantiating an experience of space that is far more historian – explores the art-historical legacy of Ovid’s than visual, architecture and film activate both sound and Metamorphoses and its underlying myths of classical touch, the latter being a mutual and relational ‘commitment’ transformation. The visual reception of episodes from the of the body and the world (Jennifer Barker). Metamorphoses has long been studied by art historians. Recent work on the text by classicists has focused on the How have architecture and film represented each other and aesthetics and politics of the gaze, the ecphrastic challenge in which ways do they, either similarly or distinctly, frame or to the artist and the transformative power of art. This design space? What happens to architecture when it is session puts art historians and classicists in dialogue with filmed and how might a building be described in terms of its one another. The papers cover a wide range of visual and cinematic qualities (Beatriz Colomina)? Moreover, how can performing arts: mural painting, sculpture, textiles, film and architecture challenge our perceptual habits? Can landscape garden, ballet, and masque. The contributors film convey atmosphere of space and the built environment ‘look out’ to the intersection of art history with changes in (Gernot Böhme)? social history, politics and the history of science, and they This panel explores the mutually informing link between relate shifts in art historical reception to the Ovidian architecture and film in an effort not only to open up the metapoetics of transformation. limits of these methods of representation but also to look Liz Oakley-Brown (Lancaster University) Crafting Ovid in beyond what typically gets included within the history of art. Elizabethan England: Textiles, texts and Hardwick Hall The papers address this link through a focus on the phenomenological experience of mediated spaces, film as a Antonio Ziosi (Università di Bologna) Medea’s medicamina: method of making space, and the framing and Ovid and modern medicine in the ‘Stories of Jason and Medea’ representation of interior and urban spaces in film. by the Carracci Adam O’Brien (University of Reading) Framing: The Lydia Hamlett (University of Cambridge) Experiencing Ovid inescapable motif? in British Interiors Ulrike Kuch (Bauhaus-University Weimar) In-between Space Linda Hinners (Nationalmuseum, Stockholm) Upstairs and Time: Stairs in film and architecture Downstairs. Ovid’s Metamorphoses in the Royal Palace of Stockholm Sarah Louise Smyth (University of Southampton) Framing Architecture in Joanna Hogg’s Unrelated (2007) and Barbara Ravelhofer (Durham University) Figuring Change: Exhibition (2013) Ovidian metapoetics in dance Sander Hölsgens (University College London) Blue Twilights John Harrison (Open University) Roman Poetic Influences in and Monochromatic Architecture in Chantal Akerman’s News 18th-century Stourhead – But which poet? from Home (1977) Elena Giusti (University of Warwick) Ovid’s Paravisual Sarah Mills (Leeds School of Architecture) ‘Cinematic Metamorphoses in the Borghese Gallery Commons’: Film architecture and an infrastructure of subtraction

11 Carolin Kirchner (University of California, Los Angeles) The Virginia M. Curry (University of Texas, Dallas, USA) Familia in Artist-Mediated Image: Embodied experience and the Eternam: The intimate imagery of the egalitarian Etruscan vernacular cityscape in Gary Beydler’s Pasadena Freeway couple Stills (1974) Mireia López-Bertran (Universitat de València, Spain) Anna Viola Sborgi (King’s College London) London’s Skyline Animated Jugs: Phoenician, Punic, and Iberian zoomorphic in Architecture and Film bottles Peter Sealy (University of Toronto) Angels in No Man’s Land: Manolis Mikrakis (National Technical University of Athens, The Berlin Wall in film, 1945–93 Greece) Achaeans, Phoenicians, and Genuine Locals: Ethnic approaches to the material culture of Early Iron Age Crete and

Cyprus and their limitations From the Phoenicians to the Celts: Fraser Hunter (National Museums Scotland) A Sideways Toward a global art and architectural Look at Celtic Arts history of the ancient Mediterranean

Kimberly Cassibry, Wellesley College, Massachusetts S Rebecca Martin, Boston University, Massachusetts Global Perspectives on Surrealism A transcultural history of art goes beyond the principle of Krzysztof Fijalkowski, Norwich University of the Arts additive extension and looks instead at the transformatory Matthew Gale, Tate processes that constitute art practice through cultural encounters and relationships, whose traces can be followed Jennifer Mundy, Tate Gallery back to the beginnings of history. Gavin Parkinson, Courtauld Institute of Art Taking Monica Juneja’s formulation as a starting point, this One of the most revolutionary and popular cultural session seeks case studies that promise to rewrite the movements of the 20th century, surrealism was inherently histories of ancient Mediterranean objects and buildings international in its scope and ambitions but its global impact that have languished in disciplinary interstices. Rather than has yet to be fully identified or evaluated. Originating in debating what does or does not constitute a history of Paris, home to artists, writers and intellectuals from many Egyptian, Phoenician, Greek, Roman, Celtic, or Etruscan art countries, the movement vehemently rejected colonialism – and rather than simply pointing to interconnections and nationalism (‘we are disgusted by the idea of belonging (Mediterraneanisation) and mixtures (hybridity) in an effort to a country at all’). Personal communications and journeys, to sidestep difficulties of classification – we seek new the staging of international exhibitions, and the research that consciously transcends these unnecessarily dissemination of books and magazines helped spread limiting ethno-cultural categories and national surrealism’s beliefs and practices. But how was the archaeological traditions. movement perceived in other countries? What were the With these transcultural and transnational case studies elements in its politics, philosophy, literature and art that serving as a foundation, the session will aim to individuals in other cultures found resonant or problematic? conceptualise core principles and methodologies that And in the post-war years, when surrealism was discounted might be put into practice in writing new histories and with as outdated by many, where and with what aspirations did it the particular goal of taking a first step toward establishing continue to flourish or influence artistic production? an open-access journal of Global Ancient Art History. In examining how surrealism was viewed beyond Western Ultimately, the session will aim to define the parameters Europe and North America, this session aims to look outside and contributions of a global art history of the ancient the usual geographies and interwar histories to gain a Mediterranean. clearer understanding of the movement’s global presence Jessica Nitschke (Stellenbosch University, South Africa) and enable a more complex and critical understanding of its Koinē: What is it good for? transnational appeal from the 1920s to the 1960s. It aims to bring to light the political and cultural particularities of how Erin A Peters (University of Pittsburgh and Carnegie surrealism was perceived and sometimes reframed in Museum of Natural History, USA) Connected Context: countries as diverse as Chile, China, Japan, Romania, Beyond cultural encounters, entanglement, and transmission Sweden and Turkey. In so doing, the session asks how our at Augustan Karnak current understanding of surrealism’s identity, significance Braden Lee Scott (McGill University, Canada) ‘The Stone is and legacy is changed by these global perspectives. the Message’: Processing the Pantheon’s portico Lauren Walden (Coventry University) Surrealism in China: The case of Lang Jingshan

12 Emil Leth Meilvang (University of Oslo) The Glow of the Aleksandra Gajowy (Newcastle University) Haunting the Whole: Mapping Scandinavian Surrealism Archive: Reparative readings of the AIDS narratives in Karol Radziszewski’s Chapel (2017) Karolina Koczynska (University of Edinburgh, Edinburgh College of Art) The Myths of Surrealism in Interwar Poland: Kyle Croft (Hunter College, New York) ‘I dream my nationality The case of Artes will disappear’: Privacy as a priority in the work of Teiji Furuhashi Will Atkin (Courtauld Institute of Art, University of London) John Potvin (Concordia University) Design and AIDS: Demonic Surrealism in Bucharest: Gherasim Luca and the Rethinking design history and historiographies Black-Magical Object

Katia Sowels (École Normale Supérieure, Paris) Chile: An example of conquest by the Surrealist object 1941–48 Roundtable discussion Ambra D’Antone (Courtauld Institute of Art/Tate Modern) Interdisciplinary Entanglements: Yüksel Arslan’s Surrealism and Turkish Iconography Towards a ‘visual medical humanities’ Jelena Stojković (Arts University Bournemouth) The Surreal Fiona Johnstone, Middlesex University Condition of Surrealism in Post-war Japan Natasha Ruiz-Gómez, University of Essex Elizaveta Butakova-Kilgarriff (Independent scholar) After Magritte: Victor Pivovarov’s ‘cerebral’ Surrealism Visual culture (including art history, fine art, and museum studies) is currently a marginal discipline within the medical humanities. This may be changing, with the recent integration of arts methodologies into medical education, HIV in Visual Culture: Looking to and a renewed interest in the efficacy of the arts as interdisciplinary approaches and global therapeutic tool. However, these developments have histories arguably served to instrumentalise the visual arts, and have failed to recognise that visual scholarship and practice has a Jackson Davidow, Massachusetts Institute of Technology vital role to play in the construction of knowledge (as Neil Macdonald, The University of Manchester opposed to simply the dissemination of it). The past ten years have witnessed a renewed interest in We believe that practitioners of art history and visual culture histories of HIV/AIDS in the art world and academy, as seen have yet to convincingly articulate the contribution their in several films, exhibitions, books, and countless citations discipline can make to this field. To address this, participants in contemporary art and activism. Existing studies of HIV in in this roundtable discussion will be invited to imagine the visual culture, however, overwhelmingly focus on queer art possibility of a ‘visual medical humanities’ as an arena for and cultural production that originated in New York City in productive critical engagement. Acknowledging that ‘the the late 1980s. But from its emergence in the early 1980s, space where one speaks’ and ‘the space where one looks’ the health crisis was at once local and global. The pandemic operate according to different sets of rules (Foucault, gave rise to a robust transnational network of artists and 1970), a ‘visual medical humanities’ might advocate for an activists who developed trenchant aesthetic strategies in increased sensitivity to the potential of the visible (and order to push for AIDS research, treatment, and legislation, invisible) to articulate that which may not be expressed in to fight social stigma, and to cope with pervasive loss. words. This panel examines such histories in a different light. At a Given the necessarily interdisciplinary nature of the medical moment when art’s histories are increasingly articulated in humanities, participants will consider how we might use the comparative, transnational and global terms, art historians tensions between disciplines constructively, and how the and those working in other disciplines have been invited to ‘messiness’ of interdisciplinarity might offer a valuable expand on, critique, and nuance histories and theories of space for critical collaboration and productive HIV/AIDS in the visual field. The virus affects boundaries, entanglement. communities and identities on local, global, bodily and Roundtable participants: disciplinary levels. How do these interact? Suzannah Biernoff (Birkbeck, University of London) Fiona Anderson (Newcastle University) Archive Fever: AZT, Wellcome, and the visual culture of the AIDS industrial Ed Juler (Newcastle University) complex Natasha McEnroe (Keeper of Medicine, Science Museum) Dan Udy (King’s College London) DIY Digital Healthcare: The Zoë Mendelson (Wimbledon College of Arts, UAL) visual culture of online buyers’ clubs

13 James Peto (Head of Programme, Wellcome Collection) (Intervention) Patricia de Montfort (University of Glasgow) ‘Suggesting, Exhorting, Encouraging…’: Louise Jopling’s Art Susan Sidlauskas (Rutgers University) School for Women (Intervention) Carol Jacobi (Tate) Missing Link: Isabel Rawsthorne – Jacob Epstein In/visibility and Influence: The impact of women artists and their work Samantha Niederman (University of York) Making the Invisible Visible: Frances Hodgkins and the men of romantic Helen Draper, Institute of Historical Research, University of modernism and neo-romanticism London (Intervention) Lila Yawn (John Cabot University, Rome) Carol Jacobi, Tate Miracle on the Tiber: Kristin Jones, the Tevereterno collective, The assumption that ‘influence’ is something that can be and William Kentridge’s Triumphs and Laments (2016) traced backwards (or even forwards, as Baxandall argued in Hana Leaper (Paul Mellon Centre) Film: A Lineage of Radical Patterns of Intention) is an issue for feminist art history. A Hospitality: From Vanessa Bell and Duncan Grant’s ‘Famous feminist art history, that is, that seeks to avoid implicitly Women’ dinner service to Judy Chicago’s The Dinner Party patriarchal genealogies and fully to acknowledge the effects Sue Tate (Freelance art historian and Visiting Research of women artists and their work in artistic realms Fellow, University of the West of England) Pauline Boty theoretically constituted in masculine terms and (British Pop Artist): Revealing contrapuntal genealogies, traditionally dominated by men. This session aims to review synergies and influence the age-old issue of ‘the anxiety of influence’ through the lens of feminism and the agency of women artists. Whitney Jo Applin (Courtauld Institute of Art) Note to Self: On the Chadwick’s edited book Significant Others (1996), which blurring of art and life in the work of Eva Hesse, Lee Lozano, focused on the relationships between artist-couples, and and Anne Truitt Lisa Tickner’s essay ‘Mediating Generation: The Mother– Ana Gabriela Macedo, Adriana Varejão and Paula Rego: Daughter Plot’ (OAJ, 2002), which examined the way in Patterns of an ‘embodied, explosive dialogue’ which women artists ‘thought through’ their mothers, are important contributions to this revision. This session aims (Intervention) Valeriia Berest (Peoples’ Friendship University to expand the discussion through evidence-based papers of Russia) Life beyond Politics: toward the notion of the art relating to periods and cultures in which the experience of women was or is structurally different from that of men. Julia Dabbs (University of Minnesota, Morris) Lessons from Just Looking? Art, pedagogy & the Life Stories: Early modern women artists as sources of object lesson in the Long 19th Century inspiration Elena Chestnova, Università della Svizzera Italiana (Intervention) Thays Tonin (Università degli Studi della Basilicata) and Luan Luis Sevignani (Università degli Studi di Andrea Korda, University of Alberta Trento) Artemisia Gentileschi, Anna Banti and Italy’s Artistic The popularity of object lessons in the 19th century attests Heritage to the fact that looking at things was not taken for granted Adelina Modesti (La Trobe University, Bundoora, Australia) as a straightforward or innate activity. Vision was to be Elisabetta Sirani of Bologna: Capomaestra of the Sirani educated. Its formation was embedded in a complex of Bottega, and her artistic legacy senses and ‘mental faculties’, which meant that seeing involved more than just the eye; it was both multi-sensorial (Intervention) Helen Draper (Institute of Historical and multi-dimensional. Looking was not always aimed solely Research, University of London) Angelica Kauffman R.A. v outwards, and the path between the subject and the object Joshua Reynolds R.A. was not necessarily a direct line. Glenda Youde (University of York) Beyond Ophelia: Elizabeth This session examines the history of the object lesson – a Eleanor Siddal as Rossetti’s ‘significant’ other pedagogical approach that relies on first-hand engagement (Intervention) Katy Norris (Tate & Bristol University) with artefacts and phenomena – by including contributions Exhibiting Ethel Walker’s ‘Nausicaa’: Lost meanings and artistic that investigate its ‘messy’ instances. The growth of both exchange at the Women’s International Art Club general and artistic education in the 19th century saw the methodology of learning through things expand into new Dorothy Nott (University of York) L’Angleterre n’a qu’un media, with images increasingly used as learning aids. peintre militaire. C’est-une femme Teaching activities of artists and historians led to the introduction of object lessons into artistic practices and art

14 historical writing, and in some instances, artworks screen grabs, captions, memes or, like these examples, themselves became object lessons. How can we Photoshop, some individuals feel liberated to create an understand 19th-century object lessons in view of this online war of pictures, informed by ideas regarding gender growing complexity? And what are the implications for our and leadership, in the run up to elections and referendums. conceptualisation of vision, which indeed ‘has a history’? This session is an interdisciplinary summit engineered to Sarah Anne Carter (The Chipstone Foundation and highlight how femininity is portrayed and usually attacked in University of Wisconsin-Madison) Picture Lessons: Object political imagery – official and homemade – in the UK and teaching and 19th-century visual culture abroad. In addition to case studies analysing images produced during the Scottish Independence Referendum Lucy Hartley (University of Michigan-Ann Arbor) ‘Pictures for (2014) and the recent UK General Election (2017), papers the People,’ or, Lessons in Art and Life also explore political imagery in Ireland and the USA. Shana Cooperstein (McGill University) Drawing Lines, The actions of 21st-century digital-image manipulators are Contracting Visual Habits: Félix Ravaisson and learning to see placed in various contexts – historically, politically and in ‘à Coup d’Oeil’ artistic practice – throughout the session. There is also Tamar Kharatishvili (Northwestern University) Learning how exploration of the ‘culture of celebrity’ and its impact on to See: Photographs of Karl Blossfeldt and Edward Weston elections, public opinion and gender stereotypes. Finally, Rosie Spooner (University of Glasgow and Glasgow School this session questions whether it is the role of art historians of Art) Showing and Telling: Object lessons at International today to help others navigate a largely confusing post-truth, World’s Fairs image-saturated world. Ariane Varela Braga (University of Zurich) Learning to ‘See Fern Insh (Courtauld Institute of Art) Sexy Sturgeon and Correctly’: The Architectural Courts at Sydenham as Butch Ruth: Digitally manipulated images, genderbashing and experiments of popular objet lessons? politics in the imagery of a divided nation Nickolas Lambrianou (Birkbeck College, University of Kevin Guyan (Equality Challenge Unit) Reflecting on the London) Matter in the Wrong Place: The object lessons of the Discipline: Gender, leadership and power in the history of art granite bowl Edwin Coomasaru (Courtauld Institute of Art) Gendering the Jason Vartikar (Stanford University) Stanford’s Colossal 2017 UK General Election: Theresa May, Jeremy Corbyn and Museum and Transportive Objects in the Stanford Family digital culture Collection Eva Garau (Università degli Studi di Cagliari) The Trojan horse of Femininity from Thatcher to May: Female leaders and gender bias during elections and beyond #LeaderImage – Exploring, analysing Yuwei Ge (Philipps-Universität Marburg) Through the and challenging attitudes towards Looking Glass: Women and leadership in the post-truth era gender and leadership in images of Timothy Ellis (Teeside University) ‘De Valera’s Gains’: politicians in the digital age Imagining masculinity in Irish political cartoons Fern Insh, Courtauld Institute of Art Phoebe Cunningham (Independent artist) The War for the Public Character: The power of image and fictioning and the Kevin Guyan, Equality Challenge Unit consequences of multiple authors in a post-truth society During the 2017 UK General Election campaign, Theresa Mark Wheeler (London Metropolitan University) Celebrity May presented herself as ‘strong and stable’ to try and ‘Outsider’ Politicians in the Digital Realm: Donald Trump’s convince the public she was a suitable Prime Minister. May’s 2016 US Presidential campaign and first year in office. inference of physically masculine attributes was an attempt to instill confidence. Her actions resonate with themes discussed in Wendy Brown’s Manhood and Politics: A Feminist Reading of Political Theory. In response to a culture whereby masculinity equates good leadership, digitally literate individuals are increasingly manipulating images of politicians to convey opinions on projected gender identities. For example, in 2017, supporters of Jeremy Corbyn Photoshopped his head onto the muscular body of James Bond, while doubters superimposed his face onto ‘weak and wobbly’ jelly. Using

15 Lesbian Constellations: Feminism’s Alexis Bard Johnson, Aché and the Production of Black queer art histories Lesbian Visual Culture Tara Burk (Rutgers University) ‘Hot Nights and Rowdy Catherine Grant, Goldsmiths, University of London Romps’: The queer art history of On Our Backs Laura Guy, University of Edinburgh

‘What is a lesbian? A lesbian is the rage of all women condensed to the point of explosion.’ Look out! The Comintern’s about! –The Woman-Identified Woman Manifesto, 1970 Rereading 20th-century globalisation before 1939 What are the unrealised possibilities in a meeting between lesbian-identified visual culture and emergent perspectives Sarah Wilson, Courtauld Institute of Art in queer feminist art history? This panel will follow Catherine Konstantin Akinsha, Budapest Lord’s contention that ‘feminism’ is a category I choose not to split from homosexual, from lesbian, or from the The first global cultural programme was the USSR’s oppositional politics implied by the word ‘queer’ (2007). propaganda drive in cities from Mexico to Shanghai, From this position, Lord traces a feminist art history that coopting intellectuals globally (Lenin’s ‘useful idiots’) and grapples with the instability and invisibility of the term functioning quite overtly (or clandestinely), with many a spy lesbian, imagining it as a set of ideas, rather than a stable story and sticky end. Despite many international historical identity. Comintern conferences, the ‘Cultural Comintern’ has been ignored. Yet it played a defining role in worldwide avant- Contributions to this panel track exchanges between gardes, ‘revolutionary realism’ and the photographic lesbian identity and visual culture across differing historic representation of industrial nations at work. Is it a pervasive moments and geographic locations. Turning variously ‘anti-communism’ – now 30 years after the fall of the Berlin toward the intimacies and affiliations, material conditions Wall – which accounts for art historians’ ‘blind eye’? and aesthetic strategies that ground experiences of identity, this panel builds upon the groundbreaking work of Directed from Moscow via Berlin and later Paris, with 67 artists and writers such as Laura Cottingham, Harmony national sections in the early 1930s, the Comintern aimed Hammond and Cherry Smyth to ask how lesbian visual to operate in major cities, and former or current colonial culture might be a resource for feminist art history. situations, fomenting not only revolutionary politics but a revolutionary art, its rhetoric coinciding so often with that of Framing current scholarship through emerging ‘revolutionary’ avant-gardes. It sponsored the German perspectives in queer feminist art history, the panel asks worker’s magazine AIZ, with John Heartfield’s how lesbian feminism might be rendered as something that photomontages; French Surrealists’ ‘anti-colonial’ exhibition ‘touches wires’ (Heather Love) between the terms ‘queer’ of 1931, the International Writers’ Congress of 1935, and and ‘feminist’ in ways that require exploding existing the international promotion of countless films (including categories within the field? Aelita or Battleship Potemkin). The Soviet push for socialist Melissa L. Gustin (University of York) Mossy Grottoes: Harriet realism from 1934 coincided with established academic Hosmer’s lesbian fountains painting practices from New York to Tokyo: the Communist affiliations and subject matter of Rivera and Kahlo in Mexico Katarina Wadstein MacLeod (Södertörn University) Elitist are a case in point. artists and activist women: Collaboration, co-ordination and cohabitation Konstantin Akinsha (Independent) All the Useful Idiots. The export of revolution and cultural pilgrimage Oona Lochner (Leuphana University of Lüneburg) ‘To Write Is to Become’: Feminist art writing by Jill Johnston and Arlene Cristina P D Cuevas-Wolf (The Wende Museum of the Cold Raven War, Max Kade Institute/USC for Austrian-German-Swiss Studies) John Heartfield’s Thälmann Montages or How the Liz Kim (Texas Woman’s University) Early video activism and Comintern Sabotaged the AIZ Lesbian Mothers (1972) Megan R Flattley (Tulane University) ‘The Montage Principle’: Amy Tobin (University of Cambridge) The Gymkhana and the The influence of Soviet film aesthetics on postrevolutionary Circus: Forms of erotic community between women Mexican photography Flora Dunster (University of Sussex) ‘These Women Are Sergey Fofanov (State Tretyakov Gallery, Moscow) The Beyond Recognition’: Del LaGrace Volcano’s xenomorphisis Reception of the First Exhibition of German Artists among the and the queer lesbian feminist Public in the USSR and the Role of Otto Nagel in Promoting the Show in Saratov

16 Fiks Yevgeny - artist intervention tbc Sarah Rose Shivers (Florida State University) The Exterior/ Interior Dynamic of St Ethelburga’s: Five centuries of a London Barnaby Haran (University of Hull) Tractor Travelogues: Louis parish church’s design history Lozowick’s lithographs of the Sovietisation of Tajikistan Shatavisha Mustafa (School of Arts and Aesthetics, Maria Mileeva (Courtauld Institute of Art) Exhibiting Jawaharlal Nehru University) Adornment of Public Buildings in Revolutionary Art: The invisible arm of the Comintern in India: Revisiting an initiative by the Ministry of Education and interwar Europe and USSR Culture post-independence Przemysław Strożek (Institute of Art Polish Academy of Camilla Pietrabissa (Centre Allemand d’Histoire de l’Art, Sciences) Red Sport International, Communist avant-gardes Paris and the Courtauld Institute of Art) The Cabinet Inside- and the global aspects of worker sport Out: Science collections and their relation to the outdoors Joe Thornberry (Lancaster University) A British Artist in Stalin’s Helen McCormack (Glasgow School of Art) Material Russia: Cliff Rowe in Moscow 1932–33 Interconnections: Anatomy, natural history and the fine arts in 18th-century interiors Deborah Sugg Ryan (University of Portsmouth) BBC2’s A Looking Out and In: Reflecting, remaking House Through Time: Reimagining and remaking domestic and reimagining historical interiors from interiors from 1838–2017 for television contemporary viewpoints Jennifer Gray (Edinburgh College of Art, University of Helen McCormack, Glasgow School of Art Edinburgh) Social, Material, Action: Reinterpreting and re- imagining historical domestic spaces and objects in Anne Nellis Richter contemporary practice Jennifer Gray, Edinburgh College of Art Catrin Huber (Newcastle University) Expanded Interiors: Recent research on the history of the domestic interior has Contemporary Site-Specific Fine-Art Practice in Dialogue with highlighted the significance of meanings embedded in the Roman Wall Paintings architecture, decoration and objects that comprise the Floor Koeleman (University of Luxembourg) Reimagining the furnishings and fittings of houses and homes. Such Lansdowne Dining Room Using the Metropolitan Museum’s increasingly rich and diverse investigation has Open Access Collections demonstrated an expansive reach, encompassing grand, architectural schemes and minute inventoried, personal belongings. Despite this development, often the interpretative and communicative aspects of art and design Medieval Eurabia: Religious that make up the social meanings of these spaces is crosspollinations in architecture, art and misrepresented or can be overly speculative. Therefore, in reflecting, remaking and reimagining historical interiors, the material culture during the High and Late contributions of artists, designers and craftspeople might Middle Ages (1000–1600) best be foregrounded in constructing ideas of authenticity, Sami Luigi de Giosa, Oxford University transparency, and materiality in the making process, alongside scholarly study. This panel explores such ideas by Nikolaos Vryzidis, British School at Athens reflecting on how historical interiors are remade and The coexistence of Christianity and Islam in the Medieval reimagined by looking in and out; at how a reassembling of Mediterranean led to a transfer of knowledge in architecture spaces ought to avoid ‘a shrinking definition of the social and material culture which went well beyond religious and itself’ (Latour, 2005). geographical boundaries. The use of Islamic objects in Surveying a range of interior ‘types’ from a number of Christian contexts, the conversion of churches into historical periods, this panel investigates how meaning is mosques and the mobility of craftsmen are only some made in refashioning domestic and social spaces, from the manifestations of this process. Although studies beginning palatial to austere. The panel includes art and design with Avinoam Shalem’s Islam Christianized (1996) have dealt historians, curators and practitioners who are all currently extensively with Islamic influence in the West and European working on these reimagined spaces, and asks: How are influence in the Islamic Mediterranean, sacred objects, and historical interiors made meaningful from a contemporary material culture more generally, have been relatively viewpoint? How might they be embedded in the social and neglected. From crosses found in Mosques, to European- grounded in the present? Christian coins with pseudo/-shahada inscriptions, medieval material culture is rife with visual evidence of the two faiths Introduction by Anne Nellis Richter Visualising the History of co-existing in both individual objects and monuments. the Interior

17 This panel will endeavor to address these issues, with aims to make new links between the history of art and the papers touching upon various aspects of material culture history of design in the western world. and art (from textiles to precious oils, and from manuscripts The second aim of the session is also to broaden the to rock crystals), and covering most of the Mediterranean geographical spread of this debate, by examining the links geography (from Spain to Sicily, and from Egypt to between pop art and design within a global context. The Byzantium and the Ottoman Empire). Finally, the contexts session also explores the art and design links across within which these interactions are negotiated reveal how different localities beyond the western world and asks, how multi-layered the religious arena can be, going well beyond did the links between pop art and design develop globally? the dynamic of exoticism and even otherness: from shared material culture and church interiors to the visual landscape Ben Highmore (University of Sussex) Instant Good Taste: of Christian-Muslim literati and luxurious artifacts laid to rest Pop connoisseurs, habitat, and the aesthetics of expendability in tombs. Rodney Nevitt (University of Houston) Designing the Beatles: Maeve O’Donnell-Morales (The Courtauld Institute of Art) The pop album in the era of pop art Islamic Objects on Castilian Altars: Luxurious building blocks Oliver Peterson Gilbert (LCCM/Open University) ‘It’s going for a new identity to be a fab, kandy-kolored leisure-living, kustom-built for Francesco Lovino (Center for Early Medieval Studies, Brno) comfort super-styled and slickline, bright new world.’ The Fine Arabs, Christians and the Gospel Marc. gr. Z. 539. Artz Associates, Kustom Design and Fine Artz pedagogy in the 1960s Vera-Simone Schulz (Kunsthistorisches Institut in Florenz) Beyond the Church Treasury: Laying Islamic artifacts to rest in Sofia Gotti (The Courtauld Institute of Art) The Only Way is Medieval Europe: The geopoetics of graves and gravestones Out of the Box: Politics or art for consumption? Buenos Aires, 1967–69 Hani Hamza (Independent scholar) Balsam Oil: Mamluk contribution to Medieval Christian liturgy Arielle Winnik (Bryn Mawr College) Tiraz Textiles with Coptic Language Inscriptions in Medieval Islamic Egypt Remembering and Forgetting the Enlightenment Miriam Ali-de-Unzaga (The Institute of Ismail Studies) Exploring Muslim-Christian Coexistence Materialised on Hans Christian Hönes (The Warburg Institute) Fatimid and Andalusi Textiles Daniel Orrells (King’s College London, Department of Nikolaos Vryzidis (British School at Athens) Empires of Silk: Classics) Greek ecclesiastical use of Islamic textiles, 11th to 17th Art history is often considered a child of the Enlightenment: centuries – The traits of an ever shifting pattern its methodological roots – aesthetics and historicism – are Gunseli Gürel (Oxford University) The Ottoman commonly associated with towering figures of the 18th Representations of the Hagia Sophia in the Mid-16th Century: century. Winckelmann and Kant loom large, and their A case study in the Ottoman Approaches to the Greaco- influence on the development of the discipline is Roman Heritage of Constantinople/Istanbul. uncontested. And yet, numerous art writers have been virtually forgotten, even though their contribution to and influence on 18th- Pop Art and Design and 19th-century discourses on art was probably just as important as the theories of the better-known German Anne Massey, Regents University London grandees. Pierre d’Hancarville or Jørgen Zoega are just two Alex Seago, Richmond, the American International names, representative of those whose work has not stood University in London the test of time. More often than not, these writers belong to what has been called the ‘Super-Enlightenment’: their This session takes as its subject the phenomenon of pop thinking is infused with mystical and occult ideas and is often art and looks outwards from this genre in two ways. Firstly, it interested more in history and myth than in beauty and looks at pop art and its underplayed relationship with pop style. design. As art history and design history have evolved in separate ‘academic silos’, the links between the history of That art history turned a blind eye might be surprising, given art and of design are therefore rarely explored. The recent attempts to reinvigorate approaches open to dominant discourse of pop art is one which focusses on ‘unreason’, in order to develop new ways for explaining the individual artists rather than on networks of influence and power of images. The renaissance of the work of Aby collaboration. Looking outwards from pop art, the session Warburg is notable here. This panel aims to evaluate these selection processes in the historiography and epistemology

18 of art history and aesthetics: where and why do art esotericism saturated America, Europe and Britain, the historians, from the 18th to the 21st century, acknowledge Romantics and Symbolists responded to mystical beliefs the Enlightenment legacies of their discipline and when is it expressed in Swedenborgianism, Spiritualism, Theosophy swept under the carpet? Does this canon formation in art and Occultism, while drawing on exposures to Eastern history differ from other disciplines, such as classics and religions. Reinterpretations of pagan mysticism prompted archaeology? Where has the ‘Super-Enlightenment’ left its the rediscovery of Folkloric primitivism. Meanwhile, Catholic traces in art historical thinking? and evangelical revivals, alongside renewed interest in Medievalism, revitalised Christian themes. In practice, the Katharina Boehm (University of Regensburg) Enlightenment proliferation of occult revivals at the fin-de-siècle Objects and the Future of Historicism: Remembering permeated the thematic programmes of artists and antiquarianism composers. Lindsay Allen (King’s College London) The Lost World of Wagner’s operas underscored the link between music, Persian Antiquity in the 18th Century myth, and mysticism through the synthesis of the arts: the Katherine Harloe (Reading) Sacred History, Art and Myth in Gesamtkunstwerk. Subsequently, Syncretism in mystical the Enlightenment: CG Heyne and the ‘archaeology’ of Greece philosophies was paralleled by formal correspondences in Christina Contandriopoulos (UQAM University) Shifting the the visual arts, especially in their ‘rhythmical’ qualities. Origins of Architecture: Primitive monuments and fertility cults Synesthesia would instigate the development of in antiquarian collections (1785–1805) abstraction. Helene Seewald (TU Berlin) Outline Drawings: The forgotten Our selection of interdisciplinary papers extends on these chapter of art history ideas by investigating how the interconnectedness between art and music was able to evoke and be inspired by Susanna Pettersson (Ateneum Art Museum / Finnish mysticism. National Gallery) The Nordic art journal: Writing new art history Anna-Maria von Bonsdorff (Finnish National Gallery) Between Sounding Canvas and Visual Music – From Sibelius to C Oliver O’Donnell (KHI Florence) Transcendental Visual Kupka Experience in 19th-Century American Art and Art History Georgia Volioti (University of Surrey) Mystical Affectivities in Sandrine Canac (Stony Brook University) Square Pegs in 19th-Century Visual Art and the Performativity of Grieg’s Round Holes. Robert Barry’s anti-rationalist project Kulokk Song Spyros Petritakis (University of Crete) Dismembering George Frederic Watts’s ‘Mesmeric Dolls’: Music and Seeing and Hearing the ‘Beyond’: Art, Theosophy in the painter’s late works music, and mysticism in the Long 19th Tobias Plebuch (Uppsala University) The Seduction of Myth: Century Georges Kastner’s Les Sirènes (1858) Michelle Foot, University of Edinburgh – History of Art Caroline Potter (University of London) ‘En blanc et immobile’: (Scotland) Erik Satie, mysticism and whiteness Corrinne Chong, Exhibitions research assistant, Art Gallery Barbara Swanson (York University, Canada) Divine Mysteries of Ontario, Canada and the Total Work of Art: Beyond a musical score in Natalia Goncharova’s Ideal Liturgie This interdisciplinary session explores the dialogue between art and music in addressing the subject of mysticism in the Jadranka Ryle (University of Manchester) Feminine long 19th century (1789–1918). To counteract the Abstraction: Parsifal and music in the painting of Hilma af Klint positivist current that gained momentum during the period, Susan Bagust (Royal Musical Association) Spiritual Monism artistic circles gravitated towards mystical means that and the Collapse of Form and Content in Early 20th-Century initiated the beholder and listener into truths that Expressionism in Painting and Music transcended the world of external appearances. The papers in this session gauge the scope of different interpretations of mysticism, and illuminate how an exchange between art and music may unveil an underlying stream of metaphysical, supernatural and spiritual ideas over the course of the century. The multiple facets of mysticism manifested across a diverse range of styles, aesthetics, and movements. As

19 Soundscapes: New challenges, new Laura Slater (Somerville College, University of Oxford) horizons Devotional Soundscapes in the Psalter of Queen Philippa Margit Thøfner, University of East Anglia Tim Shephard, Sheffield University Speaking Out: Siting the voice in There is a long and fruitful scholarly tradition of exploring contemporary Asian art the relationships between art and music. Amongst other things, the study of both entails working with objects, Pamela Corey, SOAS University of London spaces and practices that are profoundly embodied, Wenny Teo, Courtauld Institute of Art sensory and emotional. To work with and between art and music means becoming acutely attuned to the visceral as Voice is frequently evoked as a metaphor for agency in much as to the analytical. Yet there is still more to be narratives of contemporary art in Asia, pitched against gained. Recently, when commenting on the relationship authoritarian control over artistic expression in numerous between art history and musicology, Jonathan Hicks postcolonial, postwar, and post-socialist environments. In speculated that ‘it may be precisely in attending to the historical examples, such as in the self-criticism exercised in locations of expressive culture – whether noisy, communist China and Vietnam, voice was also used as a spectacular, or a combination of these and more – that our means of performing state disciplinary mechanisms, disciplines might find most common ground.’ illustrating the ways in which vocal articulation is perceived as an instrument of coercive subject formation. Orality – Our strand explores this proposition. What may be learned and its often vexed relationship to the written form – has from focusing on how music and sound – or even the silent thus come to the forefront as the medium of evocation of sound – is framed by places, spaces, objects, historiographies from below and a vital means of asserting rituals and other performative contexts and vice versa? individualism or non-official artistic collectivity. This panel More broadly, how does this common ground help us to seeks to develop new perspectives on the use and the map out and explore the problems and challenges currently function of the voice in contemporary art in Asia. Attending facing art historians who work with music and musicologists to a dimension of artistic practice that has received little working with art? For example, is it still a problem that many ‘visibility’, we hope to gather further theorisations of the of our current methods of enquiry have come from studies voice as artistic material, medium, form, and beyond. of European modernism? What happens when they are applied to earlier periods and/or different cultural contexts? Brianne Cohen (University of Colorado, Boulder) The Vital Together, we explore this and other methodological Materialism of Voice in Serpents’ Tails problems by focusing on specific soundscapes from diverse Chanon Kenji Praepipatmongkol (University of Michigan) locations and periods. Disfluency and the Concrete Poetry of Chang sae-Tang Andrew J Kluth (University of California Los Angeles) Kimberly Lamm (Duke University) ‘Mouth to Mouth’: Soundscape, Memory, and Meaning: Thoughts on Alan Deconstructing the voice and screening the fantasy of the Nakagawa’s Peace Resonance ‘mother tongue’ in the work of Theresa Hak Kyung Cha Meng-Jiao Chen (Soochow University) Cross-Cultural susan pui san lok (Middlesex University) Between the Voice Creation and Crossover in ‘Chinese Folk Jazz’ between the Words between the Work between us Charlotte Gould (Université Sorbonne Nouvelle) Recent Emilia Terracciano (The Ruskin School of Art, University of Soundwalks in Britain: Exploring new visualities Oxford) Listen In: The vegetal ecologies of Simryn Gill Zachary Furste (University of Southern California) Wax Vivian Kuang Sheng (The University of Hong Kong) Shen Museum: Assemblage, the LP, and the Anthology of Yuan’s Speechless ‘Tongues’: Speaking out beyond language American Folk Music barriers Lois Oliver (University of Notre Dame (USA) in London) Manet and Music: A case study on the future of dynamic

binaural sound Daria Rose Foner (Columbia University) Sight and Sound in Santissima Annunziata’s Chiostrino dei Voti Laura Stefanescu (University of Sheffield) Silent Soundscapes: Visual heavenly music in the chapels of the Ducal Palace in Urbino

20 Textility Shir Aloni Yaari (The Hebrew University of Jerusalem) The ‘Subversive Stitches’ of Anne Wilson, Tabitha Moses, and Mechthild Fend, UCL History of Art Jessica Lagunas Anne Lafont, Directrice d’études, Ecole des Hautes Etudes Morag Feeney-Beaton (Independent Scholar; Royal Opera en Sciences Sociales, Paris (EHESS) House, London) The Rhythm of Making Made Tangible: Technologies associated with textile production – such as Aspects of the relationship between spinning, weaving and the weaving, knitting, spinning, embroidering or dyeing – have human body often served as models for processes of art making and colouring. Painting and weaving have been aligned since antiquity, and artists drew, in their paintings and graphic work, comparisons between weaving and assembling brush The National in Discourses of Sculpture strokes or between spinning and drawing lines. in the Long Modern Period (c 1750–1950) This panel will newly explore such associations of textile Tomas Macsotay, Universitat Pompeu Fabra, Barcelona, production with artistic processes by joining them with Spain recent theorisations of ‘Textility’ (Victoria Mitchell), the Roberto C Ferrari, Columbia University, New York, USA ‘Textility of making’ (Tim Ingold) or with approaches that ‘look for the traces of the process that generated the Are specific histories of national ‘schools’ of sculpture work’ (Jean-Paul Leclercq). At the same, it will reconnect premised by the codifying of national identities? What role with earlier feminist approaches to textiles and textile has been reserved for modern European languages and production (eg Rozsika Parker) that aimed to destabilise their historical networks of cultural transfer in enabling or traditional hierarchies of media by highlighting not only inhibiting this circulation of nationalism in sculpture women’s involvement in textile production but also the criticism? From the veneration of Greek art by paradigmatic character of techniques such as weaving. The Winckelmann, to the Romantic idea of a Northern spirit in panel is also interested in the way in which crafted fabrics the work of Thorvaldsen; from the imperial narratives of serve as models for the human body, be it in the use of display at the World’s Fairs, to constructions of allegory in metaphors like ‘tissue’ or the association of dyes and body French Third Republic art; from monuments to fallen heroes colour. after World War I, to Greenberg’s and Read’s critical biases for national sculptors – varieties of imaginary geographies in Papers engage with art theory or art practices and forms of the long modern period have congealed into a fitful history fabrication (including, but not restricted to, textiles) that where sculpture is entrenched in projections of the national. mobilise and reflect ‘textility’ as a theoretical proposition. This panel is ‘looking out’ as it engages with interdisciplinary Discourses of exclusion and inclusion became part of how methodologies and encourages global perspectives on sculptors were trained, public spaces were ornamented, fabrics and their fabrication as models for thinking about and audiences were taught to read sculpture. These practices of making. discourses also played a role in the strengthening (and dissimulation) of increasingly border-crossing networks of Sadie Harrison (PhD candidate, UCL Science and industrial production, globalised art trade, and patterns of Technology Studies) Textility and the Experience of Nature in urban infrastructure and design. This panel will present 18th Century Women’s Practices papers that offer critical explorations of the national and its Chonja Lee (PhD candidate, Institut für Kunstgeschichte, tentative ties to the cosmopolitan in sculptural discourse, Bern University) Impression/Oppression: Indiennes challeging and also consider transdisciplinary dialogues between the paradigm of textility sculpture and its texts through art school writings, criticism, memoirs and biographies, etc. Courtney Wilder (PhD Candidate, The University of Michigan, History of Art) The Fingerprint of the Machine, Nóra Veszprémi (University of Birmingham) The National as Mercurial Textility, and Printed Dress Fabrics, 1815–51 Non-Classical: Shaping a national style in early 19th-century Hungary Marcia Pointon (Professor Emerita in History of Art, London) Ragged and Unravelled Andrew Eschelbacher (Portland Museum of Art) Broken Rhetoric: National aesthetics and the neo-Baroque in fin-de- Michele Avis Feder-Nadoff (Independent artist and siècle France anthropologist) How Hammers Weave: Copper-smithing in Santa Clara del Cobre Claire Jones (University of Birmingham) Sculpture ‘in Britain’ vs. ‘British’ Sculpture: Reintegrating the international within the Mei Mei Rado (Parsons School of Design, New York) Light as national Textility: Fashioning lamé in the 1910s and 1920s

21 Sharon Hecker (Independent scholar) Contested Loyalties? Steve Klee (University of Lincoln) An Aesthetics of Objectivity International sculptors and their posthumous national Arsalan Rafique (Independent) On Fortifying a Paranoid City: reputations (Medardo Rosso) Pakistan and security errors in times of perpetual conflict Jack Quin (University of York) ‘Let an Irish sculptor chisel it’: Raquel Wilner (Courtauld Institute of Art) Pareidolia as an The politics of sculpture-writing in the Celtic revival Explanation for the Misperception of Hidden Images in Art Cristina Rodriguez-Samaniego and Juan C Bejarano Michael Pinchbeck (University of Lincoln) Errors of Memory, (Universitat de Barcelona) Noucentista Sculpture and the Memories of Error: Slip-roads and pit-stops on The Long and Construction of a Catalan National Identity: The case of Winding Road Barcelona’s Plaça de Catalunya (1927–29) Nina Lübbren (Anglia Ruskin University) The Nationalist Languages of Sculpture Criticism in Germany, 1919–1945 The Weaver’s Workshop: Materiality, Veronica Davies (Open University) English and International: craft and efficacies in the art of tapestry Exhibiting Henry Moore’s sculpture in post-War Germany Katja Schmitz-von Ledebur, Kaiserliche Schatzkammer Wien The Politics and Aesthetics of Error Isabella Woldt, Bilderfahrzeuge-Project, The Warburg Institute, University of London Martin Lang, University of Lincoln Tapestry is a complex and expensive medium. From the Tom Grimwood, University of Cumbria Middle Ages, production of tapestry incorporated precious Responding to the election of George W Bush, the ‘war on stuffs, including silk, fine wool, gold, and silver thread. To this terror’ and subsequent domestic anti-terror legislation, art rich materiality it added a complicated and costly activists declared that we were living in a time of political, manufacturing process that involved diverse media economic and environmental error. The Errorist (drawing and weaving), and which therefore required multi- International was established to embrace error and professional teams of artists, both local and international, to establish an ‘international network’ in its name. Conversely, endowe these artefacts with a variety of motifs in elaborate the Clandestine Insurgent Rebel Clown Army (CIRCA) compositions. At its peak in the Renaissance and the waged a ‘war on error’, referring to G8 politicians as the Baroque, production was both local and international, the ‘world’s most dangerous “errorists”‘. complexity of the product necessitating the support of an international network of workshops and agents acting on These interventions reflected a long-standing relationship behalf of customers all over Europe and beyond. between art and error. For example, psychoanalytic interpretations of the gaffe or the slip of the tongue Tapestry is easily folded or rolled up, making the work of art provided the inspiration for Surrealist automatic writing and highly mobile. Owners were thus able to present tapestries the production of ‘exquisite corpses’; or the field of ‘glitch in different places and for a host of diverse occasions. It aesthetics’, which explores artistic possibilities that arise thus lent itself to a variety of purposes, both public and from random computer or electronic malfunction. private, as both symbol and sign, and as instrument and image of power and object of desire. Tapestry was thus Recent political developments in Britain and the USA invite exceptionally mobile, which invites questions about the accusations of a politics driven by error (‘misinformed’ relationship between technology, power, propaganda, voters, ‘post-truth’ politicians, ‘fake news’ agencies etc). representation, and aesthetics. This interdisciplinary session discusses how error has, can or might be addressed aesthetically, philosophically and This session will investigate specific aspects of tapestry, politically, in order to explore possible roles for aesthetics in both as an artwork and as a high-end product of industrial interpreting political error, and the political ramifications of production via discussion that is interdisciplinary in its look aesthetic error. The papers draw on a range of contexts and out. conceptualisations of error, and the session will conclude A group of international scholarly experts will consider the with a roundtable discussion exploring the role of error in development and innovations in tapestry production arising critique, disruption, and the potential for alternative politics. from changes in technology and in aesthetic taste. We will Ileana Parvu (Geneva School of Art and Design) Errors and question the kinds of technological challenges involved or Making Badly. The politics of Ion Grigorescu’s faulty technique how weavers and for example cartoonists responded to changes in disegno. We will particularly investigate how such Kyveli Lignou-Tsamantani (University of York) Visible and alterations impacted on the process of production and the Invisible ‘Frames’: Towards a consideration of representations function of tapestries. Whether they were the cause of the of ‘political errors’ in the 21st-century refugee crisis declining interest in and status of tapestry as art in industrial

22 revolution, and how we can explain tapestry’s revival in which we arrange our life experience, i.e., past, present and Modernism. future; on the other the withdrawal of visibility made it a complex object to imagine and visualise. An Earth Science, Anthropology of weaving with its unyielding remoteness and inert temporality, Ellen Harlizius-Klück (Research Institute for the History of geology has become today a model for the material Technology and Science, Deutsches Museum, Munich) The conditions of our contemporary life. In the digital and Tapestry of the Cosmos in Ancient Greece: An iconohistology anthropocene era, and in the midst of an irresolute – and Materiality, technique, exchange politically undermined – relation between Gaia and anthropos, natural history and human history, several artists Bruce Edelstein (New York University, Florence) Success deal with ‘geological imagination’. and Failure in Tapestry Design: Bronzino’s and Pontormo’s cartoons for the Stories of Joseph Enhancing the still unexploited convergences between the history of contemporary art and the politics of ecology, Kristen Adams (Ohio State University) Encountering between visual humanities and environmental humanities, Tapestry: Materiality and illusion in Jordaens’s Scenes of the session aims to explore the multiple ways artistic Country Life projects, art historical research, exhibitions and curatorial Mobility, exchange, workshop practices focus on the challenges posed today by the Cecilia Ruggeri (Université de Lausanne) Du peint au tissé: geological turn beyond anthropocentric humanities. Some reflections on cartoonists and weavers for post- Geology as model Raphael tapestries Esther Choi (History and Theory of Architecture, Princeton Pascal-François Bertrand (Université Bordeaux Montaigne) University) Against the Architectural Imagination: and Charissa Bremer- David (J. Paul Getty Museum) Sustainability’s image problem Entrepreneurial Strategies of the Beauvais Tapestry Kyveli Mavrokordopoulou (EHESS, Paris - Centre Georg Contractors in the 18th Century Simmel) Exploring the Implications of a Deep Geological Birgitt Borkopp-Restle (University Berne, Switzerland) A Disposal through the Essay Film Containment (2015) Three-Dimensional Art – Strategies and techniques in 16th- Geology as landscape century tapestry weaving and usage Gry Hedin (Faaborg Museum, Denmark) A Lost Coherence? Revival, crafts and criticism in Modernism Depicting the Anthropocene in Danish art today and in the Kay Wells (University of Wisconsin-Milwaukee) Medium 19th century Specificity from Tapestry Reform to Greenberg Agata Marzecova (Tallinn University, Estonia) The Caroline Levitt (The Courtauld Institute of Art, London) Re- Vernacular Geology of the Baltics forming the Past, Crafting the Modern: The Tapestries of Le Alexey Uldo (Independent Scholar) Geology as the History of Corbusier Art: Contemporary esoteric perspective Geology as medium Towards an Aesthetics of Geology in the Corinna Kirsch (Stony Brook University, State University of New York) Natural Technologies: Les Levine’s environmental Age of Anthropocene artworks, 1966–69 Maud Maffei, Independent Laini Burton (Griffith University, Queensland Australia) Riccardo Venturi, Gerda Henkel Stiftung Recovering a Geological Sublime: Cyborg Nest’s The North Sense Geology has been a topic of interest and attraction for artists, at least since JMW Turner’s ‘geological sublime’, as it Francesco Spampinato (Université Sorbonne Nouvelle, was famously put forward by John Ruskin. During the 1960s, Paris 3) Speculative Geology. Art faces the Anthropocene a time of cybernetics, technological upheaval and subsequent reshaping of our relations to time and space, Robert Smithson suggested the notion of ‘abstract geology’, tracing connections between geological, body and mental processes. In the 1960s and 1970s, what artists found particularly fascinating in the aesthetics of geology was the challenge of its double invisibility: on one side, the relation to ‘deep time’ threatened the three classical temporal dimensions within

23 Bob Dylan in a still from 1967 documentary film Don't Look Back, courtesy of Granamour Weems Collection. Alamy Stock Photo

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